Category Archives: 2026 New Releases

Album Review – Ethereal Rot / Ethereal Rot (2026)

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This Blackened and Technical Death Metal supergroup is unleashing upon humanity their debut opus, a cosmic horror story which lyrically represents the most accurate depiction of a true “Ethereal Rot” conceptually.

A Blackened and Technical Death Metal supergroup formed in 2021 from seacoast Maine and New Hampshire comprised of former members from The Last King, Sawtopsy and Sonic Pulse, the unrelenting Etheral Rot are unleashing upon humanity their highly anticipated self-titled debut album, a cosmic horror story which lyrically represents the most accurate depiction of a true “Ethereal Rot” conceptually. Having already released the EPs Until Existence Is Diminished Entirely (2020) and Cadaverine Skies (2023), the band currently formed of Cody Moreau on vocals, Dan Train and Brett Horton on the guitars, Taylor Belanger on bass, and Duncan Fosnough on drums brings their vision to life in their debut full-length album, leaving us eager for more of their music in a not-so-distant future.

The Beckoning Contagion starts in a serene, almost ethereal manner before morphing into a tech death beast led by the piercing guitars by Dan and Brett while Cody delivers demonic shrieks and roars nonstop, whereas That Which Dwells already kicks off in sheer violence and adrenaline, with Duncan taking the lead with his intricate yet visceral beats and fills in a lecture in Technical Death Metal. The following tune, titled Ophidian Womb, is as demented as its predecessors, with the vile gnarls by Cody walking hand in hand with the guitar madness blasted by Dan and Taylor, while Festum Terrae (a Latin phrase that translates to “Festival of the Earth” or “Feast of the Land”) sounds even heavier and more obscure, again presenting the thunderous, ruthless kitchen by Taylor and Duncan. Then after the wild and atmospheric instrumental interlude Transversing the Cosmic Plains, we face the closing aria Into the Naught, where all band members are on absolute fire, in special Duncan behind his drums, while Cody’s deep guttural add an extra dosage of insanity to their first-class Death Metal attack.

If you want to know more about this dark creature from the underworld, their music, tour dates and so on, you can find Ethereal Rot on Facebook and on Instagram, stream their caustic music on any platform such as Spotify, and of course, above all that, put your blood-soaked hands on their striking debut by purchasing it from BandCamp or by clicking HERE. Diving into space, H.P. Lovecraft and cosmic horror, the first ever full-length offering by Ethereal Rot is crafted for all fans of heavy music, especially those who enjoy the likes of Cattle Decapitation, Suffocation and The Zenith Passage, positioning the band as one of the must-listen names of the current scene. Not only that, Ethereal Rot is 100% independent, and they’re already planning to record the follow-up to their debut over the winter of 2027, showing us all that those guys are not fooling around when it comes to heavy music and, therefore, confirming we won’t need to wait for too long to enjoy another blast of their metallic and cosmic horror.

Best moments of the album: That Which Dwells and Into the Naught.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. The Beckoning Contagion 3:57
2. That Which Dwells 7:12
3. Ophidian Womb 7:46
4. Festum Terrae 6:16
5. Transversing the Cosmic Plains 5:44
6. Into the Naught 8:45

Band members
Cody Moreau – vocals
Dan Train – guitars
Brett Horton – guitars
Taylor Belanger – bass
Duncan Fosnough – drums

Album Review – Carbon Tomb / Passage to a Neutron Star (2026)

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A new band playing Dissonant Death Metal exuding raw, visceral energy and possessing far more expressive range than most bands in this style, this Danish creatures are ready to unleash chaos with their debut studio album.

“Reborn from the bog
Caesarean execution of the womb
In worship returning to the carbon tomb”

A new band playing Dissonant Death Metal exuding raw, visceral energy and possessing far more expressive range than most bands in this style, Denmark’s own Death Metal/Deathcore creature Carbon Tomb is ready to unleash chaos with their debut studio album, titled Passage to a Neutron Star. Showcasing a dystopian, futuristic artwork by world renowned artist Jon Toussas (Graphic No Jutsu), the debut opus by vocalist and guitarist Richardt (of the also amazing band Dysgnostic), vocalist and bassist Jeppe, and drummer Mikael presents songs that are highly structured and coherent, emphasizing the right moments, and are also comparatively more varied than normal. Without contradicting the sound, they even infuse Black Metal elements into some of the songs, rendering it diverse and interesting.

A sinister piano invades our minds before all hell breaks loose in the opening track Chanting Spells I, with their dissonant riffs and gruesome roars sounding utterly haunting, whereas the visceral guitar lines by Richardt permeate the air in the infuriated A Hidden Creature, while the same Richardt  and Jeppe deliver a Mephistophelian dual vocal attack. From the Giant’s Snout sounds even more dissonant and experimental, where their Death Metal and Deathcore sides clash beautifully, offering us all a monstrous sonority; and they continue to crush our damned souls in The Dog Hunter, led by the intricate yet demonic drumming by Mikael. After such an intense song we have Of God’s Neglect, another very experimental and multi-layered tune by the trio, with their harsh vociferations walking hand in hand with the crushing drums by Mikael.

Gogoffmagog is perhaps the most violent and aggressive of all songs, with their Death Metal essence burning brighter than a thousand suns, not to mention the deep roars by Jeppe sound venomous; and Tritons of Ichthyology sounds as detailed as its predecessors, with the scathing guitar work done by Richardt adding a Black Metal touch to their core sound while Mikael keeps hammering his drums nonstop. Reversed Head Renewal is one more good song by the trio, albeit not as exciting as the others (which, if I’m being honest, is a very difficult task). It’s still violent and technical, of course. And lastly, Passage to a Neutron Star is the epitome of their blend of Dissonant, Technical and Progressive Death Metal, demolishing our senses with their ruthless riffs, bass lines and drums, therefore ending the album in a majestic way.

As an interpretation of a style generally considered complex or inscrutable, Passage to a Neutron Star is surprisingly fluid, entertaining, and memorable, therefore appealing to admirers of the insanity blasted by names like Ulcerate, Dysgnostic, Devenial Verdict, Artificial Brain, and Mors Verum, among others torchbearers of Dissonant Death Metal arts. Furthermore, Carbon Tomb might be a new band, but its members are already seasoned musicians of the always exciting Danish scene, and if you want to know more about them you can find the band on Facebook, on Instagram, and on Spotify, and purchase their striking debut from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Having said all that, are you ready to return to the carbon tomb while enjoying the breathtaking Dissonant Death Metal by such an up-and-coming band hailing from stunning Denmark?

Best moments of the album: A Hidden Creature, Gogoffmagog and Passage to a Neutron Star.

Worst moments of the album: Reversed Head Renewal.

Released in 2026 Transcending Obscurity Records

Track listing
1. Chanting Spells I 2:49
2. A Hidden Creature 4:00
3. From the Giant’s Snout 3:21
4. The Dog Hunter 4:21
5. Of God’s Neglect 5:50
6. Gogoffmagog 1:53
7. Tritons of Ichthyology 4:29
8. Reversed Head Renewal 4:31
9. Passage to a Neutron Star 3:10

Band members
Richardt – harsh vocals, guitars
Jeppe – harsh vocals, bass
Mikael – drums

Album Review – Black Sites / For Eternity (2026)

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This American Progressive Thrash and Heavy Metal quartet is stepping into their next chapter with the release of their rockin’ fifth full-length offering.

Founded in 2016 initially as a studio project, but having evolved into a full-bodied band based out of Chicago, Illinois, the excellent Progressive Thrash/Heavy Metal quartet Black Sites is stepping into their next chapter now in 2026 with the release of their fifth full-length offering, titled For Eternity, following up on The Promised Land?, released in 2024. Produced by the band’s own vocalist and guitarist Mark Sugar and new drummer Chris Black, recorded at I Can’t Believe It’s Not Mace Street Studios (with drums recorded by Vladimir Ružičić at Kebac Recording Studio), and mixed and mastered by Dan Swanö at Unisound, the new album by the aforementioned Mark Sugar and Chris Black alongside newcomers Lee Smith on the guitar and Jose Salazar on bass showcases a development in the band’s sound and sees the new members’ contributions enhance the music’s sonic quality, always inspired by traditional Heavy Metal.

When It Calls sounds epic and captivating from the very first notes, with Mark showcasing all his vocal potency while his bandmates craft a strong Iced Earth-like sound, while Aquarius Betrayed reflects the frustration at the contradiction towards previous generations who reaped the benefits of the most socially liberated and progressive era in history, and then quickly turned their back on those values when they became inconvenient, with their guitars exhaling that frustration while Chris hammers his drums with anger and dexterity. Then their Progressive Metal feast goes on in full force with Above Soil, Beneath Sky, with Jose and Chris crafting a reverberating, massive kitchen; followed by Giving Up The Ghost, a song about the faltering of one’s belief, venturing through Stoner Rock and Metal lands while again showcasing a classy guitar work by Mark and Lee.

Blades (For The Chosen Ones) presents elements from the music by renowned acts the likes of Armored Saint and Iced Earth while keeping their core progressiveness intact; whereas Silent Wars, which concept derives from a quote by Robin Williams that says “everyone you meet is fighting a battle you know nothing about,” offers classic Hard Rock straight in your face. When Prophecy Fails, taken from a book of the same name, which describes a UFO cult that existed in Chicago in the 1950’s, is by far the most Heavy Metal of all songs thanks to the kickass riffs by Mark and Lee. Lastly, we face Unanswered For Eternity, a dark, gloomy and pensive ballad, ending the album on a high note, with the melodic vocals by Mark matching perfectly with their soulful solos.

Combining old school heavy music with guitar harmonies, melodic and clean vocals, and progressive elements, primarily drawing inspiration from the likes of Voivod, Black Sabbath, and King’s X, the indomitable rockers of Black Sites are on absolute fire from start to finish in their new album For Eternity, which can be purchased from their BandCamp. Don’t forget to also give them a shout on Facebook and on Instagram, staying up to date with all things Black Sites, to subscribe to their YouTube channel, and to stream their rockin’ tunes on any available platform like Spotify. Because heavy music is eternal, and it’s bands like Black Sites who are among us all to make sure it will never die.

Best moments of the album: Aquarius Betrayed, Blades (For The Chosen Ones) and When Prophecy Fails.

Worst moments of the album: Silent Wars.

Released in 2026 Independent

Track listing
1. When It Calls 5:09
2. Aquarius Betrayed 5:05
3. Above Soil, Beneath Sky 4:47
4. Giving Up The Ghost 6:43
5. Blades (For The Chosen Ones) 4:51
6. Silent Wars 4:51
7. When Prophecy Fails 5:49
8. Unanswered For Eternity 6:54

Band members
Mark Sugar – vocals, guitar
Lee Smith – guitar
Jose Salazar – bass
Chris Black – drums

Album Review – Cranial Osteotomy / Vortex Of The Dark Knowledge (2026)

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Fourteen years in the making and a full fifteen years since their debut album, this Russian Brutal Death Metal force returns with their sophomore offering, an irresistible, unstoppable surge of soul devouring power.

Fourteen years in the making and a full fifteen years since their debut album Victim Of Wicked Sickness was released, Omsk, Russia-based Brutal Death Metal force Cranial Osteotomy is finally releasing their sophomore beast, entitled Vortex Of The Dark Knowledge, an irresistible, unstoppable surge of soul devouring power that will shatter your body and haunt the hidden chambers of your mind. Mixed and mastered at Impulse Studios and Gravestone Studios, and adorned by a hellish artwork by Marco Hasmann (Kraanium, Fleshgod Apocalypse, Vile), the new album by Vad Moskalenko on vocals and guitar, Vladimir Pomytkin also on the guitar, Vitaliy Sturk on bass, and Vladislav Melnik on drums is destined to be one of the heaviest releases of the year, a decimating assault of guttural chaos, ritual, invocation, nightmares and death.

The beyond sinister intro Praecursor sets the stage for the band to pulverize us all in Thanatomorpheus, led by the massive, no shenanigans drums by Vladislav while Vad keeps barking like a true beast in the name of brutality. Hideous Monument of Ambrosial Pulchritude sounds even more demented and vibrant, with the guitars by Vad and Vladimir transpiring classic Death Metal, and their demolishing feast goes on in full force in Dipping into Sombre Quagmire, with Vladislav once again pounding his drums manically. Needless to say, there’s no sign of the quartet slowing down at all, offering our putrid ears more of their blend of Brutal Death Metal insanity in the form of Structures of Decadence Impurity.

With a name like Cathedral Butchery Feast it was obvious the music was going to be absolutely brutal from start to finish, with Vad’s guttural sounding insanely inhumane; while Divine Desecration keeps the atmosphere as gory and violent as it can be, again presenting a demented performance by Vladislav on drums. Then the classic initial beats by Vladislav ignite another infernal circle pit in Obscenity Aeon, with the guitars by Vad and Vladimir exhaling hatred and gore, whereas the excellent title-track Vortex of the Dark Knowledge presents a sound in the vein of the mighty Organectomy and Devourment, putting us all to dance in a cesspool of blood. And get ready for one final blast of slamming brutality by the band titled Scorched Diadem, with Vitaliy pounding his bass in the best Death Metal style until the very end.

Highly recommended for admirers of the absolute brutality blasted by renowned acts the likes of Suffocation, Condemned, Skinless and Internal Bleeding, just to name a few, you can find more information about the guys from Cranial Osteotomy on Facebook and on VKontakte, including their punishing live concerts, stream their sonic savagery on any platform like Spotify, and of course purchase their demented sophomore album from Comatose Music’s BandCamp or webstore. It’s been an undeniably long wait, no doubt about that, but you’ll be too busy screaming to worry about that when Vortex Of The Dark Knowledge drags you inexorably into its maelstrom of madness.

Best moments of the album: Hideous Monument of Ambrosial Pulchritude, Cathedral Butchery Feast and Vortex of the Dark Knowledge.

Worst moments of the album: None.

Released in 2026 Comatose Music

Track listing
1. Praecursor 0:46
2. Thanatomorpheus 3:46
3. Hideous Monument of Ambrosial Pulchritude 3:03
4. Dipping into Sombre Quagmire 3:31
5. Structures of Decadence Impurity 3:08
6. Cathedral Butchery Feast 3:37
7. Divine Desecration 3:17
8. Obscenity Aeon 2:57
9. Vortex of the Dark Knowledge 3:31
10. Scorched Diadem 4:06

Band members
Vad Moskalenko – vocals, guitar
Vladimir Pomytkin – guitar
Vitaliy Sturk – bass
Vladislav Melnik – drums

Album Review – Dysgnostic / End Whispers (2026)

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Continuing to refine their hypnotic blend of Technical and Dissonant Death Metal, this Danish squad returns with their sophomore album, sounding dense and complex while retaining the cover of darkness.

Continuing to refine their hypnotic blend of Technical and Dissonant Death Metal by adding more nuance and structure to it since their inception in 2021 in Roskilde, a city in Denmark, west of Copenhagen, the venomous beast known as Dysgnostic returns from the underworld with their sophomore offering, titled End Whispers, following up on their 2022 debut opus Scar Echoes. Displaying a hellish artwork by the always amazing Belial NecroArts, the newborn spawn by Thomas Fischer (Elitist, Apparatus, Defilementory) on vocals and bass, Simon Kannegard (Denial of God, Defilementory) and Mads Bertram H Gath (Crocell, Heaven’s Damnation) on the guitars, and Richardt Olsen (Carbon Tomb, Defilementory) on drums is dense and complex while retaining the cover of darkness, inducing a state of pleasurable numbness where you witness an otherwise harrowing maze of constantly shifting tunes and it all seems perfectly logical and in place.

The opening tune The Last Refrain feels like like a dissonant version of the mighty Immolation, with Thomas’ deep guttural walking hand in hand with the intricate, top-of-the-line drumming by Richardt, followed by Into Salvation’s Night, as technical and demolishing as the opening track, with the guitars by Simon and Mads cutting our flesh mercilessly in the name of Death Metal; and their strident riffage will also haunt our damned souls in The Black Sun, while Thomas and Richardt make the earth tremble with their obscure and thunderous kitchen. One of the singles released, the title-track End Whispers, offers more of the inhumane growling by Thomas, darkening our minds and thoughts mercilessly, whereas Ignis Fatuus starts in a serene, melancholic manner before evolving into a massive beast of Experimental and Dissonant Death Metal.

They continue to pulverize our senses with their harsh sounds in Feast of Emptiness, alternating between sheer savagery and very detailed, multi-layered passages, showcasing the band’s focus and passion for the genre; followed by The Shattered Timekeeper, again blending the heaviness of Death Metal with progressive, technical and dissonant elements, led by the massive beats by Richardt. The minimalist guitar lines by Simon and Mads will pierce your minds in Orphaned and Abandoned, exploding into absolute chaos and fury where Richardt once again pounds his drums nonstop, and the quartet concludes their dark festivities with the enfolding and grim Glimpses of a Lost Horizon, where their riffs and solos match flawlessly with the demonic vociferations by Thomas in a lecture in violence, dexterity and intricacy.

In the end, it’s clear that End Whispers is only as impenetrable as it is multifaceted, an album that starts making sense after a few listens and one that will make you keep coming back to it to unravel more of its intricacies, being therefore highly recommended for admirers of the music by Ulcerate, Evilyn, Gorguts, Crown of Madness, and Undersave, just to name a few. If you want to know more about such an amazing band from the always incredible Denmark, you can find those guys on Facebook, Instagram, and Spotify, and of course purchase their ass-kicking sophomore opus from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. The music by Dysgnostic is absurdly technical, dissonant and visceral, not recommended for the lighthearted, and once you let the sounds from End Whispers penetrate deep inside your mind, get ready for one hell of a ride.

Best moments of the album: Into Salvation’s Night, The Black Sun and Glimpses of a Lost Horizon.

Worst moments of the album: The Shattered Timekeeper.

Released in 2026 Transcending Obscurity Records

Track listing
1. The Last Refrain 3:18
2. Into Salvation’s Night 5:13
3. The Black Sun 4:16
4. End Whispers 3:27
5. Ignis Fatuus 6:16
6. Feast of Emptiness 4:31
7. The Shattered Timekeeper 4:40
8. Orphaned and Abandoned 4:05
9. Glimpses of a Lost Horizon 5:44

Band members
Thomas Fischer – vocals, bass
Simon Kannegard – lead guitars
Mads Bertram H Gath – guitars
Richardt Olsen – drums

Album Review – Necromonger / Emanation Of The Dying Perceptions (2026)

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Devoted to the sound of rotting, repugnant Death Metal, these Bulgarian brutes will attack armed with their debut offering, a love letter to the dismantling of the human form.

Formed in 2021 in Pleven, the seventh most populous city in Bulgaria located in the northern part of the country, by members of Fecal Body Incorporated, Cocklush and Concrete, gore obsessives Necromonger are devoted to the sound of rotting, repugnant Death Metal, undiluted, uncompromising and bone crushing. After years of immersion in their fetid fantasies, the band formed of Pigman on vocals, Agrogrinder on the guitars and bass, and Quill Rat on drums has emerged with a debut album to bring a shudder to the soul of all but the most hardened disciples of disgust, titled Emanation Of The Dying Perceptions, delving into the disturbing psychology of serial killers, exploring twisted human instincts, violent obsessions and the darkest corners of the human mind.

Arising from the deepest tombs of brutality, the trio comes ripping in Beyond the Pleasure Principle, with the gore spilling from their instruments sounding demented to say the least. Then the ruthless riffs and bass by Agrogrinder set the tone in Born in Grave Wax, while Pigman roars like a rabid creature from the abyss; followed by Dissection of Consciousness, the soundtrack to a grim horror movie no one can watch until the end without passing out, where the classic Death Metal beats by Quill Rat offer Pigman exactly what he needs to bark manically. Meconium Eater is another short and sweet display of the band’s core Gore Metal, perfect for some slamming, whereas back to a more detailed, longer and more visceral sound we face Confessions of a Dead Poet, also presenting hints of Goregrind to make things even more putrid and vile.

Those demented death dealers invite us all for a bloodbath inside the pit in Clite Skinner, with the devilish vocals by Pigman transpiring Brutal Death Metal violence, followed by Extrаct of Rotting Fetus, as cadaverous and demented as its predecessors, spearheaded by the hammering drums by Quill Rat. After that, Agrogrinder’s evil guitar will peel your flesh without mercy in Bloody Picasso, accompanied by the monstrous roars by Pigman, and if you feel like dancing in a cesspool of blood you can do it while listening to Autophagous Erection, offering an overdose of absolute gore and heaviness. Slaughter to the Bones feels a bit repetitive and generic, although their gory and putrid sounds can be noticed from start to finish, and if you go for the physical CD or cassette of the album you’ll get some nice bonus tracks. They treat us with Necromonger on CD, offering over nine minutes of Death Metal’s melodious gore, and Necrocannibal Polution on cassette, an eight-minute aria to be played during the end of the world.

Rooted deep in the early 90’s Death Metal sound, those Bulgarian brutes channel the spirit of Carcass, Impetigo, Mortician, Dead Infection, Pungent Stench and Autopsy. No gimmicks. No compromise. Just death, gore and total annihilation. You can join those gore obsessed musicians on Facebook and on Instagram, keeping an eye on their blood-drenched live performances, and of course put your damned hands on their striking debut from Xtreem Music’s BandCamp or webstore. With Emanation Of The Dying Perceptions, Necromonger have written a love letter to the dismantling of the human form. And as you listen to it, expect no mercy.

Best moments of the album: Born in Grave Wax, Dissection of Consciousness and Autophagous Erection.

Worst moments of the album: Slaughter to the Bones.

Released in 2026 Xtreem Music

Track listing
1. Beyond the Pleasure Principle 5:41
2. Born in Grave Wax 1:52
3. Dissection of Consciousness 7:53
4. Meconium Eater 1:28
5. Confessions of a Dead Poet 7:04
6. Clite Skinner 3:56
7. Extrаct of Rotting Fetus 2:02
8. Bloody Picasso 5:41
9. Autophagous Erection 4:22
10. Slaughter to the Bones 5:56

CD only bonus track
11. Necromonger (Instrumental) 9:19

Cassette only bonus track
12. Necrocannibal Polution 8:13

Band members
Pigman – vocals
Agrogrinder – guitars, bass
Quill Rat – drums

Album Review – Moonspell / Far from God (2026)

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Born out of five years of creative searching, doubt and ultimate rediscovery, the brilliant new opus by these Portuguese Dark Metal masters shines like a black diamond, luminous yet shadowed in texture and color.

Born out of five years of creative searching, doubt and ultimate rediscovery, the embracing Far from God, the new opus by Portuguese Dark Metal masters Moonspell is a work that feels like a rebirth, darker, sharper and emotionally unfiltered, following on the band’s more recent releases Extinct (2015), 1755 (2017), and Hermitage (2021). Produced, mixed and mastered by Jaime Gómez Arellano at Orgone Studios, and displaying another darkly beautiful artwork by Eliran Kantor, the new album by frontman Fernando Ribeiro, guitarist Ricardo Amorim, bassist Aires Pereira, keyboardist Pedro Paixão, and drummer Hugo Ribeiro shines like a black diamond, luminous yet shadowed in texture and color, both musically and sonically.

The enfolding guitar lines by Ricardo kick off the beautiful Cross Your Heart, with its poetic lyrics being declaimed by Fernando in great fashion (“Crosses and flowers by the side of the road / Someone died here, they were so fucking young / Skulls and bones, buried in the dirt / Morning has broken, it’s the wake of the ghost”); and in Far from God we face more of their vampiric lyrics (“I am not of this earth and I am not of this time / I don’t even exist, I could never belong / I am far from God”) while Aires blasts his bass in the name of absolute darkness in a lecture in Gothic Metal. Aires’ bass also ignites the band’s dark engine in Biblical, with the keys by Pedro bringing an extra touch of finesse to their music; and the stunning The Great Wolf in the Sky features Spanish musician Alicia Nurho on violin, which clashes majestically with the thunderous kitchen crafted by Pedro and Hugo, not to mention Fernando’s deep vocals sound hypnotizing.

Then they blast one of the most atmospheric yet also one of the heaviest songs of the album, titled Your Promise of Light, alternating between truly phantasmagorical moments and bursts of violence, all reflected on Fernando’s dynamic vociferations; whereas For the Love of Mortals reminds me of some of the songs from Extinct, where the band blends Gothic Metal with atmospheric and melancholic nuances, resulting in stunning ballad by Moonspell. Our Freedom to Fall is a hard hitting tune which will inspire us to bang our heads in pitch black darkness, presenting elements of Doom Metal to give it an extra kick, in special through Hugo’s pounding drums; and the scorching riffs by Ricardo bring an overdose of heaviness to Reconquista, offering six minutes of Fernando’s anguished, Stygian vocals, therefore concluding the album on a truly obscure and venomous mode.

Rather than bending to modern trends, Moonspell double down on identity and substance in Far From God, a bold and beautiful statement of Gothic Metal in its purest form, sounding dark, romantic, dramatic and unapologetically heavy. If you want to follow the band in their path to the dark side, you can find those Portuguese veterans on Facebook, Instagram and YouTube, stream their unique music on any platform like Spotify, and of course purchase the darkly enfolding Far from God from BandCamp or from Napalm Records. In the end, Far from God is not only a powerful reminder that Moonspell remain a defining force in the genre they helped shape, but an album that will certainly help save Gothic Metal from boredom and predictability.

Best moments of the album: Far from God, The Great Wolf in the Sky, For the Love of Mortals and Reconquista.

Worst moments of the album: None.

Released in 2026 Napalm Records

Track listing
1. Cross Your Heart 4:48
2. Far from God 5:06
3. Biblical 5:00
4. The Great Wolf in the Sky 5:50
5. Your Promise of Light 5:01
6. For the Love of Mortals 5:45
7. Our Freedom to Fall 4:41
8. Reconquista 6:11

Band members
Fernando Ribeiro – vocals
Ricardo Amorim – guitars
Aires Pereira – bass
Pedro Paixão – keyboards
Hugo Ribeiro – drums

Guest musician
Alicia Nurho – violin on “The Great Wolf in the Sky”

Album Review – Illwind / The Unfolding at the End of Light (2026)

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Born under the gray skies and sea mist of Lima, Peru, this Heavy, Doom and Post-Black Metal brigade will attack your senses with the lumbering heaviness of their debut album.

Born under the gray skies and sea mist of Lima, capital of Peru, with influences ranging from Black Metal to Stoner Rock to Post-Punk, and a clear aim to march towards the darker side of existence, the four-piece Heavy/Doom/Post-Black Metal brigade Illwind is unleashing upon humanity their debut opus, titled The Unfolding at the End of Light, providing five original tracks which paint a somber underworld to dive into, and a closing cover to climb back out of. Recorded at Dragonverde Studios, the first-ever offering by Marcos Coifman (Reino Ermitaño) on vocals and bass, Mauricio Guerrero (Argul) and Andres Rhor (Cobra) on the guitars, and Hokama (Arcada) on drums and guitar sounds at first stridently like a traditional doom record – lumbering heaviness, slow-yet-insistent rhythms, emotively clean vocals – but patience, like much orbiting the wider doom world, yields maximum immersion.

The massive Crimson Skies kicks off the album on a purely Doom Metal mode, with the sluggish beats by Hokama darkening the skies while also presenting Sludge Metal riffs and solos to give it an extra kick. Wanderer takes us back to the glory of 70’s Rock N’ Roll through Marcos’ passionate vocals, supported by a killer solo by Mauricio; while Portal keeps the atmosphere as dark and enfolding as it can be, with Marcos once again declaiming the song’s poetic lyrics accompanied by the striking guitars by Mauricio and Andres. Their Sludge Metal riffs bring forward sheer heaviness in God of Sleep, inspiring us all to bang our heads in pitch black darkness; followed by Lucifer’s Mule, offering our ears thirteen minutes of absolute obscurity crafted by the quartet, with their 70’s Heavy Rock vein pulsing stronger than ever boosted by the Stoner Rock drums by Hokama. And finally, let’s bang our heads to their cover for The Stooges’ masterpiece I Wanna be your Dog, an excellent rendition of one of the coolest songs by such an iconic band (and you can check the original version HERE, from their 1969 self-titled album).

With influences ranging from Neurosis and Swans to Black Sabbath and 70’s Hard Rock to Yob, Windhand, Monolord, Bellwitch, and Warning to Sonic Youth, Depeche Mode, or the aforementioned The Stooges, the band reached a mélange of musical mapwork which has truly given The Unfolding at the End of Light a relatively singular sound – equally ambient and extremely heavy, ominously moving yet dreamlike, and all of it with a surprisingly kaleidoscopic tint of melancholy. The album’s richly analog production heightens this sensation and penetrates the listener to his core, and if you also want to be part of such a unique sonic experience you can purchase the album from the Personal Records’ BandCamp or webstore. In other words, it’s time to begin the trip of The Unfolding at the End of Light, embracing you in darkness, and leaving you eager for more of the music by Illwind in the near future.

Best moments of the album: Portal and Lucifer’s Mule.

Worst moments of the album: None.

Released in 2026 Personal Records

Track listing
1. Crimson Skies 10:43
2. Wanderer 5:29
3. Portal 4:47
4. God of Sleep 8:55
5. Lucifer’s Mule 13:13
6. I Wanna be your Dog (The Stooges cover) 4:25

Band members
Marcos Coifman – vocals, bass
Mauricio Guerrero – lead guitar
Andres Rhor – guitar
Hokama – drums, guitar

Album Review – Dichotomy / Lucifer Owns The Fence (2026)

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This American death dealer strikes again with a new solo project, overflowing with rampant Death Metal riffs, firmly anchored to the roots of the genre but hitting with a powerful contemporary impact.

The multi-talented Jordan “HeavenHammer” Varela knows Death Metal. The essence of it runs through his veins. He’s the drummer for the crushing Lust of Decay, the multi-instrumentalist behind the ferocious music of Shuriken Cadaveric Entwinement, and a former member of legends of brutality Lividity. Now in 2026 this Charlotte, North Carolina-based death dealer strikes again with his new solo project, the venomous Dichotomy, and its debut offering Lucifer Owns The Fence. Overflowing with rampant Death Metal riffs, firmly anchored to the roots of the genre but hitting with a powerful contemporary impact, the album is a must-listen for fans of Hate Eternal, Deicide, Immolation, and Cannibal Corpse, among others, resulting in one of the most formidable and accomplished albums of Jordan’s career.

A demented guttural scream kicks off Jordan’s insane journey in He Is…, presenting no shenanigans, no artificial elements, just pure Death Metal madness flowing from his vocals, riffs and drums, and his relentless drumming is boosted by his metallic bass in The Antithesis, another bestial display of Death Metal by Jordan, followed by What A God, where he continues to blend old school sounds with a modern twist. Moreover, his guitar and bass work sounds amazing as usual, not to mention his drumming is demonic as expected. Jordan’s deep guttural will haunt your frail souls in The Fence, again presenting his trademark brutality for our total delight; while Better To Be Drowned With A Millstone Around The Neck carries an amazing title for a Death Metal song, and Jordan makes sure the music is just as harsh as those venomous words.

There’s no sign of Jordan slowing down or selling out at all in The Perseverance; quite the contrary, he keeps firing inhumane growls, Stygian riffs and demolishing beats and fills until the very last second. In The Greatest Lie Ever Told nobody but Jordan himself is sure which lie he’s talking about (as there are so many), but the Death Metal coming from his riffage and gruesome vocals will surely inspire you to slam into the pit even if you don’t like Death Metal. Through Christ We Live offers our putrid ears less than three minutes of pure savagery by Jordan, not recommended for the faint at heart, pounding our cranial skulls with his trademark beats and fills, until we face Satan Will Kill You, but let’s say Death Metal will save you, where his metallic bass and nonstop drums combo sounds like a sonic earthquake, ending the album on the most demented note imaginable.

Every note, every beat, every excoriating roar found in the nine tracks of unequivocal Death Metal on Lucifer Owns The Fence is the work of Jordan Varela, and if you want to show such a hardworking, talented and passionate metaller your support and admiration, you can find him and his Dichotomy on Facebook, and of course purchase a copy of his breathtaking new offering from the project’s own BandCamp, as well as from Rottweiler Records. In other words, be prepared for a monumental Death Metal assault to the sound of the fulminating Lucifer Owns The Fence, opening up the pit for a high dosage of violence and, therefore, fueling the unstoppable Jordan Varela to deliver another blast of Death Metal under Dichotomy in a not-so-distant future. It’s always amazing to witness one single person being responsible for an undisputed, demented high level of aggression and noise, and if there’s one thing Jordan has mastered doing, that is certainly delivering us all that and more in his solid career.

Best moments of the album: He Is…, What A God and Satan Will Kill You.

Worst moments of the album: None.

Released in 2026 Rottweiler Records

Track listing
1. He Is… 4:45
2. The Antithesis 3:28
3. What A God 2:49
4. The Fence 3:37
5. Better To Be Drowned With A Millstone Around The Neck 3:37
6. The Perseverance 2:30
7. The Greatest Lie Ever Told 3:21
8. Through Christ We Live 2:54
9. Satan Will Kill You 3:21

Band members
Jordan Varela – vocals, all instruments

Album Review – Monument of Misanthropy / Washington State Charm (2026)

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Vienna, Austria’s own Brutal Death Metal institution is back with a brand new full-length slab of extremity, a concept album chronicling the coming-of-age story of America’s probably most prolific serial killer, Ted Bundy.

Two years after their demolishing album Vile Postmortem Irrumatio, their sickening concept album based on the life of infamous serial killer Ed Kemper, Vienna, Austria’s own Brutal Death Metal institution Monument of Misanthropy has crawled back out of the basement with a brand new full-length slab of extremity, entitled Washington State Charm. Currently formed of George “Misanthrope” Wilfinger on vocals, Julius Kössler and Joe Gatsch on the guitars, Raphael Hendlmayer on bass, and Simon Martinsich on drums, the band is on absolute fire in Washington State Charm, a wholesome concept album chronicling the coming-of-age story of America’s probably most prolific serial killer, Ted Bundy, from the awkward upbringing to the early extracurricular activities, and the grand finale on the electric chair.

After the dark and sinister intro Obviously We Gotta Start Somewhere…, we’re pulverized by Monument of Misanthropy with the infuriated Neath Tacoma Asphalt, featuring guests Mendel Bij De Leij (Aborted) on lead guitars and Johnny Ciardullo (AngelMaker, Carcosa) on vocals, with the unstoppable drums by Simon inviting us for some good, no shenanigans slamming inside the pit. A Hunger Unstilled continues with their undisputed savagery, with the guitars by Julius and Joe breathing fire and aggressiveness, setting the tone for The 1974 PNW Spree, featuring guest lead guitars by Gabe Mangold (Enterprise Earth), even more infuriated and harsh, or in other words, another Brutal Death Metal beast spawned by such an indomitable band. Then we face another perturbing interlude titled Unfortunately WA before we’re crushed into pieces to the sound of Washington State Charm, and the title-track couldn’t have sounded more infernal and demented, with the visceral roars and gnarls by George sending shivers down our spines.

The band keeps hammering our cranial skulls with their undisputed brutality in Colorado Murder, with George’s deep, inhumane growls matching perfectly with the Death Metal riff attack by Julius and Joe; and Simon sounds like a wild creature out of control in The Hacksaw Blade, smashing his drums nonstop for our total delight. George’s scathing screams will penetrate deep inside our putrid minds in Chi Omega Blood Rage, supported by the thunderous bass by Raphael and the demonic beats and fills by Simon, followed by Suwannee Hog Shed, another blast of Brutal Death Metal madness by the quintet, with their guitars transpiring absolute chaos and hatred. Their last eerie, vile interlude, titled Could You Hear That?, will darken the skies before we face Strapped To The Throne (Burn, Bundy, Burn), featuring guest Hal Microutsicos (Engulf) on vocals, a bludgeoning tune that will sound fantastic if played live, perfect for some brutal slamming to the infernal riffs by Julius and Joe. And lastly, we’re treated to the bonus track The Eye Of Ra, featuring Shoi Sen (De Profundis) on lead guitars and Jean-Jacques Moréac (Misanthrope) on bass, and their cover for such a classic by Nile  from their 2009 masterpiece Those Whom the Gods Detest (check the original one HERE) is utterly insane to say the least.

“While we’ve stayed 100% true to ourselves musically, which means constantly reinventing ourselves, we’re pretty damn sure you’re going to love this new album. We obsessed over every microscopic detail, whether it’s a hidden arpeggio, a lyrical pun, or just another described act of unspeakable horror and maybe some truths about Ted you might not even have known yet. This isn’t just another death metal record you half-listen to while bench-pressing. It’s an experience. A deep look into a very, very sick human being’s brain,” commented George, and you can get more details about the band and their (serial) killer new album from Facebook and Instagram, stream their sick creations on YouTube and on Spotify, and of course purchase Washington State Charm by clicking HERE. “We serial killers are your sons, we are your husbands, we are everywhere. And there will be more of your children dead tomorrow,” said the insane Ted Bundy, and there’s nothing more precise than the venomous and technical brutality found in the new album by Monument of Misanthropy to turn such an evil mind into ruthless extreme music.

Best moments of the album: Neath Tacoma Asphalt, Washington State Charm, Chi Omega Blood Rage and Strapped To The Throne (Burn, Bundy, Burn).

Worst moments of the album: None.

Released in 2026 Listenable Records

Track listing
1. Obviously We Gotta Start Somewhere… 0:17
2. Neath Tacoma Asphalt 3:51
3. A Hunger Unstilled 1:24
4. The 1974 PNW Spree 3:39
5. Unfortunately WA 0:20
6. Washington State Charm 3:54
7. Colorado Murder 4:53
8. The Hacksaw Blade 3:45
9. Chi Omega Blood Rage 3:10
10. Suwannee Hog Shed 3:34
11. Could You Hear That? 0:35
12. Strapped To The Throne (Burn, Bundy, Burn) 2:53

Bonus track
13. The Eye Of Ra (Nile cover) 4:52

Band members
George “Misanthrope” Wilfinger – vocals
Julius Kössler – guitars
Joe Gatsch – guitars
Raphael Hendlmayer – bass
Simon Martinsich – drums

Guest musicians
Mendel Bij De Leij  – lead guitars on “Neath Tacoma Asphalt”
Johnny Ciardullo – vocals on “Neath Tacoma Asphalt”
Gabe Mangold – lead guitars on “The 1974 PNW Spree”
Hal Microutsicos  – vocals on “Strapped To The Throne (Burn, Bundy, Burn)”
Shoi Sen – lead guitars on “The Eye Of Ra”
Jean-Jacques Moréac – bass on “The Eye Of Ra”