Category Archives: 2026 New Releases

Album Review – Bras D’Honneur / Hate Speech (2026)

Posted on by
Reply

Behold the debut opus by this veteran duo from Ukraine, a 13-song, 35-minute torrent of primitive Black and Death Metal.

The latest creation of the duo R. (aka Roman Saenko) and V. (aka Vladislav Petrov), who are jointly infamous for bands like Drudkh, Precambrian, Blood of Kingu, and Rattenfänger, among others, Kharkiv, Ukraine-based Blackened Death Metal entity  Bras D’Honneur (an obscene gesture used to express contempt, roughly equivalent in meaning to phrases like “fuck you” or “up yours”) is unleashing upon our rotten society their debut opus, titled Hate Speech. Musically inspired by the likes of Von, Profanatica, Havohej and Belial, the new album by the aforementioned R. on vocals, guitars and bass, and V. on drums and keyboards is a 13-song, 35-minute torrent of primitive Black and Death Metal, adorned by the primeval, ruthless  artwork by Warhead Art to give the whole album an even more menacing and rebellious vibe.

R. and V. seem to be on their most devastating mode in the opening tune Trench Knife, with their devilish vociferations and blast beats sounding inhumane; and it looks like the entire album will be savage, which is the case in Scum of the Earth, where V.’s demented beats and fills match perfectly with R.’s deep guttural. Their violence only grows stronger in Regicide, with R. not only vomiting the song’s evil words, but his riffage is also caustic; followed by Main de Gloire, another ode to classic Black Metal with their primeval Death Metal twist, and they go full Death Metal in the poetically titled Eaten Alive by the Pigs, a lecture in the style led by R.’s venomous riffage. Crown of Nails offers one and a half minute of pure madness, a Black Metal extravaganza where V. shows no mercy for his drums, and in Stench of the Rotten Blood the duo continues to pave their path of absolute chaos and hatred, with V.’s raw beats kicking us hard in the head.

R.’s menacing, razor-edged guitar sets the tone in the bludgeoning tune Poisoning the Hearts with Malice, while his vociferations sound as if they’re coming from a beast that inhabits a sinister cavern, and they continue their metallic storm of Black Metal in Disemboweled, two and a half minutes of absolute obscurity and heaviness led by V.’s unstoppable drums. Goat Rapists continues the same darkened path from its predecessor, with its hybrid of demonic Black and Death Metal sounding as heavy as hell, whereas Judas Cradle also presents their classic visceral sonority, with the duo smashing their instruments like there’s no tomorrow. Bras d’Honneur, the song that carries the name of the band, couldn’t have sounded more hellish and pulverizing, a lecture in vile, unrelenting Blackened Death Metal with R. roaring like an evil creature, before all comes to an end with Sheep in Wolf’s Clothing, one minute of an instrumental devastation that would have been even more powerful with R.’s vocals.

In a nutshell, rough, rude, and unrepentantly so, Hate Speech sonically lives up to its title, stripping the primitivism of bands like Hate Forest down yet further, hammering through approximately two riffs per song, and making “blunt-force trauma” sound fanciful. Hate Speech is the record this modern world deserves, and you can purchase such a harsh and scathing album from the Primitive Reaction’s BandCamp or webstore, keeping the fires of Ukrainian Black and Death Metal burning and, therefore, inspiring R. and V. to continue their craft of darkness under their new project for the delight of everyone who knows how fucked up our world is today.

Best moments of the album: Regicide, Eaten Alive by the Pigs, Disemboweled and Bras d’Honneur.

Worst moments of the album: Sheep in Wolf’s Clothing.

Released in 2026 Primitive Reaction

Track listing
1. Trench Knife 2:55
2. Scum of the Earth 2:15
3. Regicide 3:17
4. Main de Gloire 2:31
5. Eaten Alive by the Pigs 3:04
6. Crown of Nails 1:35
7. Stench of the Rotten Blood 3:17
8. Poisoning the Hearts with Malice 4:28
9. Disemboweled 2:42
10. Goat Rapists 1:36
11. Judas Cradle 2:24
12. Bras d’Honneur 3:06
13. Sheep in Wolf’s Clothing 1:11

Band members
R. – vocals, guitars, bass
V. – drums, keyboards

Album Review – Ravenspell / Obsidian King (2026)

Posted on by
Reply

Get ready to be catapulted into the world of Heavy and Speed Metal ruled by this Canadian band armed with their incendiary debut album.

With a searing riff and a lung-bursting scream, get ready to be catapulted into the world of Obsidian King, the debut full-length album by Quebec City, Canada-based Heavy/Speed Metal force Ravenspell. Mixed and mastered by David Lizotte (Ültra Raptör, Saccage), and completed by the haunting artwork of renowned Canadian artist Carl Lavoie, the debut by Alisander The Seer on vocals, Ravok Blackwing on the guitars, Corvax Crowhammer on bass, and Volpale The Ravenous on drums (and yes, those are their stage monikers) benefits from a textured, organic sound that captures the blood, sweat, passion and belief of the musicians who have crafted it, being therefore highly recommended for fans of Iron Maiden, Cloven Hoof, Greyhawk, and Visigoth, among countless others metal brigades.

The razor-edged axe by Ravok provides Alisander with exactly what he needs to deliver pure soaring vocals in God the Watcher, an epic tune to properly kick off their feast of old school Heavy Metal, whereas again blending the harshness and violence of Speed Metal with their core metallic sound we have Onwards We March, even sounding Punk Rock-ish at times, with Volpale hammering his drums nonstop. The band then slows things down without letting their energy fade away in Book of the Dead, offering a neck breaking sonority led by Ravok’s killer riffage, followed by Warriors 9 to 5, carrying a very peculiar name for a straightforward Heavy Metal tune by the quartet, with Corvax and Volpale making the earth tremble with their classic kitchen. And leaning towards the Progressive Heavy and Power Metal blasted by bands like Greyhawk, the title-track Obsidian Wing sees Volpale dictate the pace while Alisander declaims the song’s epic lyrics in great fashion.

It’s time to put the pedal to the metal in the Speed Metal onrush entitled Hellstorm. Needless to say, this is where the band thrives the most, inviting us all to slam into the pit to the fast and furious riffs by Ravok. In the also excellent Raise Hell the initial drums by Volpale transpire Motörhead, which matches perfectly with the song’s title, bringing to our avid ears three and a half minutes of pure metallic nostalgia; and the band doesn’t let the ambience cool down not even a tiny bit in Relentless, another old school Heavy Metal extravaganza perfect for some wild headbanging. Battleaxe Apocalypse is perhaps the song with the coolest name of all, and the music is just as electrifying, with the solos and backing vocals by Ravok adding even more insanity to their music. Lastly, the closing song Attila begins in a serene manner before evolving into an Epic Heavy Metal attack where Ravok and Corvax blast their axes with tons of power, putting an Iron Maiden-inspired ending to the album.

In this age of fakery, imitation and flexible truths, Obsidian King stands tall as something real and vital, a work of substance, making sure the speed, melody, character and fire of Ravenspell be felt around the metal world. Hence, you can get in touch with those talented and hardworking Canadians via Facebook and Instagram, stream their music on Spotify or any other online platform, and of course purchase their incendiary debut offering from their own BandCamp, from Xtreem Music, or simply by clicking HERE. The Canadian ravens of Heavy and Speed Metal will put a metallic spell on you with Obsidian King, and be warned as once that spell consumes your soul, there will be a lot of headbanging. I said a lot.

Best moments of the album: Hellstorm, Raise Hell and Battleaxe Apocalypse.

Worst moments of the album: Warriors 9 to 5.

Released in 2026 Fighter Records

Track listing
1. God the Watcher 3:40
2. Onwards We March 3:51
3. Book of the Dead 4:23
4. Warriors 9 to 5 4:04
5. Obsidian Wing 4:03
6. Hellstorm 2:33
7. Raise Hell 3:29
8. Relentless 4:34
9. Battleaxe Apocalypse 1:50
10. Attila 7:50

Band members
Alisander The Seer – vocals
Ravok Blackwing – guitars, backing vocals
Corvax Crowhammer – bass
Volpale The Ravenous – drums

Album Review – Sermon To The Lambs / Sermon To The Lambs (2026)

Posted on by
1

A new entity from the depths of the Chilean Brutal Death Metal underground has emerged, armed with the soul-shaking savagery of their self-titled debut album.

A new entity from the depths of the Death Metal underground has emerged. Formed in 2023 in Concepción, Chile by guitarist and bassist Mauro M. (The Macabre, Esophagus) and drummer Victor Araneda (Disownment, In Asymmetry, Esophagus), with longtime friend Richard Aguayo (In Asymmetry, Esophagus) joining the duo in 2025 as their official vocalist, Sermon To The Lambs focus on the roots and spirit of the golden era of Brutal Death Metal, unleashing now in 2026 the soul-shaking savagery of their self-titled debut album. Adorned in the stunning artwork of Pär Olofsson (Winds Of Plague, Unleashed, Thy Art Is Murder), the album is set to leave its indelible mark, a suppurating wound, on the global Death Metal scene, being highly recommended for fans of Deeds of Flesh, Liturgy, Brodequin, Cinerary, and Enmity.

The trio comes crushing our skulls like a rabid beast in Crowned King Of The Worms, with the primeval beats by Victor bringing that raw flavor we love in Brutal Death Metal, followed by Sermon To The Lambs, the song that carries the name of the band, an absolutely demented tune with Richard basically vomiting the song’s gory, evil words nonstop. Mauro then shows no mercy for his stringed axe in Spitting In The Church Of The Nazarene, accompanied by the inhumane beats and fills by Victor in another killer display of brutality; whereas Maximum Apostasy, the very first single released by the band, starts in an ominous manner before exploding into their trademark savagery. Needless to say, Richard keeps screaming and delivering those putrid screeches that make Brutal Death Metal so great, and to keep the momentum going we face Saints Are The Centurions Of The Aristotelian Christ, presenting two and a half minutes of absolute chaos and violence by the trio.

In Flagrum Taxillatum the band delivers a more cadenced but heavy-as-hell sonority, in special through Richard’s deep, cadaverous guttural, keeping the album at an insane level of gore and aggression, while Scourging At The Pillar is another short and sweet Brutal Death Metal atomic bomb where Victor demolishes his drums in the name of extreme music. The blasphemous God Spat And The Man Was Done is perfect for an overdose of slamming into the mosh pit while Mauro extracts his most caustic, scorching riffs of the entire album, and of course, Richard’s vocals couldn’t have sounded more infernal, before we face Clergy’s Malevolence, one final slab of absurdity and violence by the trio, with Victor stealing the show with his demented drumming. Last but not least, like twin-headed devils, those two songs are reprised as bonus tracks featuring vocalist Jeff Page of Manifestations, and as his vocals are deeper than Richard’s, those alternate versions end up adding even more meat to the album.

Magnificently unforgiving, the debut by Sermon To The Lambs is an eruption of crawling horrors from a tortured, broken earth, and you can put your damned hands on such a gory, violent album by purchasing it from Comatose Music’s BandCamp or webstore. Don’t forget to also follow such a demented entity form the Chilean metallic scene on Facebook and on Instagram, staying up to date with all things Sermon To The Lambs, and stream their wicked creations on Spotify. Sermon To The Lambs are just starting their reign of absolute chaos and destruction with their debut album, and you better get ready because if you ever you cross their path, there will be blood.

Best moments of the album: Sermon To The Lambs, Maximum Apostasy and God Spat And The Man Was Done.

Worst moments of the album: None.

Released in 2026 Comatose Music

Track listing
1. Crowned King Of The Worms 4:06
2. Sermon To The Lambs 3:22
3. Spitting In The Church Of The Nazarene 2:36
4. Maximum Apostasy 3:37
5. Saints Are The Centurions Of The Aristotelian Christ 2:26
6. Flagrum Taxillatum 3:09
7. Scourging At The Pillar 2:34
8. God Spat And The Man Was Done 3:22
9. Clergy’s Malevolence 4:56

Bonus tracks
10. God Spat And The Man Was Done (alternate version) 3:22
11. Clergy’s Malevolence (alternate version) 4:56

Band members
Richard Aguayo – vocals
Mauro M. – guitars, bass
Victor Araneda – drums

Guest musician
Jeff Page – vocals on “God Spat And The Man Was Done (alternate version)” and “Clergy’s Malevolence (alternate version)”

Album Review – Insect Inside / Reborn in Blight (2026)

Posted on by
Reply

This Brutal Death Metal brigade from Russia will crush you with their sophomore album, continuing their apocalyptic storytelling, chronicling humanity’s downfall and the rise of the insectoid race.

Emerging from Chelyabinsk, Russia’s underground scene back in 2017, the ruthless Brutal Death Metal/Deathcore creature known as Insect Inside has carved a reputation for its tight and aggressive sound, blending groove-heavy slam with suffocating atmospherics. Now in 2026 the band formed of Ivan Tyulkin (Nauseating) on vocals, Pavel Pleshkov (Ocean In My Bath) on the guitar, Bogdan Pisavnin (Cold Blooded Murder, Traumatomy) on bass, and Daniel Sementsov (Nauseating, Morphogenetic Malformation) on drums returns with their sophomore effort, titled Reborn in Blight, following up on their 2021 debut The First Shining of New Genus and their 2022 EP Into Impending Apotheosis. Produced by the band itself, mixed and mastered by Sasha Borovykh at TsunTsun Productions, and displaying a vile artwork by Jon Zig, the album showcases the band’s evolution toward a rawer, more visceral tone. Lyrically, the album continues their apocalyptic storytelling, chronicling humanity’s downfall and the rise of the insectoid race.

Human consciousness is definitely a mistake in evolution, and the band presents that disturbing thought through their dark and visceral Death Metal in Echoes Of The Swallowed Sinners, with Ivan’s deep guttural sending shivers down our spines. Then featuring guest vocals by Angel Ochoa of Cephalotripsy, we have the brutal yet melodic and multi-layered Abhorrent Landscape, with the guitars by Pavel cutting our skin deep in the name of gore and violence; and their celebration of bestiality continues in full force in Fragments, with Daniel taking the lead with his demonic beats supported by Bogdan’s ruthless bass. Putrid Lament brings forward another display of modern-day Brutal Death Metal, with their riffs and bass lines boosting Ivan’s gruesome vocals in great fashion, followed by Hiveborn Abomination, featuring guest vocalist Josh Welshman of Defeated Sanity, and the band shows absolutely no mercy for our frail bodies in this first-class, nonstop display of aggression and gore.

There’s still a lot more to come, starting with the groove-infused Brutal Death Metal feast titled Flesh Cathedral, again presenting Daniel’s demented yet intricate beats and fills, and Obscuration Worship, an instrumental piece that, despite its interesting bass lines and rhythmic drums, doesn’t add much to the album, followed by Carnal Ruins, where Ivan reaches the deepest, most inhumane level of his gnarling, sounding like a creature form the abyss while Pavel inspires us all to slam like metalmaniacs to the sound of his vile riffs. Then featuring guest vocals by Lennon O’Donnell of Pestilectomy, Parasite Messiah offers our putrid ears classic Brutal Death Metal spearheaded by another killer performance by Daniel on drums. Their feast of gory, infernal sounds finally ends with the title-track Reborn In Blight, just as demonic, heavy and grim, with Pavel and Bogdan’s axes exhaling savagery.

Drawing inspiration from Brutal Death Metal with hints of Black Metal, citing Disentomb, Relics Of Humanity, Cryptopsy, Defeated Sanity, and Vulvectomy among their top influences, Insect Inside continue to spread their grotesque vision characterized by gloom, disgust, and apocalyptic themes to the four corners of the earth with their new album, and if you want to join them in such a demented quest you can find those Russians on Facebook, on Instagram, and on VKontakte, stream their music on Spotify, and of course purchase Reborn in Blight from the Gore House Productions’ BandCamp and webstore, or by clicking HERE or HERE. The era of the insectoids has begun, and there’s nothing better to celebrate such an important milestone in humanity’s decay than the brutal music blasted by Insect Inside in their new album.

Best moments of the album: Abhorrent Landscape, Hiveborn Abomination and Carnal Ruins.

Worst moments of the album: Obscuration Worship.

Released in 2026 Gore House Productions

Track listing
1. Echoes Of The Swallowed Sinners 3:31
2. Abhorrent Landscape 2:54
3. Fragments 2:18
4. Putrid Lament 3:35
5. Hiveborn Abomination 2:51
6. Flesh Cathedral 3:00
7. Obscuration Worship 1:20
8. Carnal Ruins 2:45
9. Parasite Messiah 3:29
10. Reborn In Blight 5:22

Band members
Ivan Tyulkin – vocals
Pavel Pleshkov – guitar
Bogdan Pisavnin – bass
Daniel Sementsov – drums

Guest musician
Angel Ochoa – vocals on “Abhorrent Landscape”
Josh Welshman – vocals on “Hiveborn Abomination”
Lennon O’Donnell – vocals on “Parasite Messiah”

Album Review – Oathbound / Colors In Grey (2026)

Posted on by
Reply

This up-and-coming Progressive Metalcore unity returns with their first full-length album, a forceful, profoundly human document that reminds us why metal, at its best, is the ultimate vehicle for spiritual connection and catharsis.

Hailing from the rain-soaked streets of Seattle, Washington, the electrifying Progressive Metalcore unity Oathbound channels the raw, unfiltered emotion that defines the human condition, including heartbreak, loss, addiction, and trauma. No subject is off-limits. Mixed and mastered by Aaron Chaparian (As I Lay Dying, Bleeding Through, Chimaira) at Iron Audio, the excellent Colors In Grey is the follow-up to their 2024 debut EP Until it’s Gone, representing the sound of a band formed of Chris Fox on vocals, Taylor Harper and Viktor Schultz on the guitars, Steve Schwarz on bass, and Travis Morlan on drums operating at an undeniable peak, a forceful, profoundly human document that reminds us why metal, at its best, is the ultimate vehicle for spiritual connection and catharsis.

In the dark intro Origins, the band crafts a melancholic ambience perfect for enfolding our souls before we face the title-track Colors in Grey, already exploding into sheer aggressiveness to the desperate roars by Chris supported by the melodious riffage by Taylor and Viktor, kicking off the album on a high note. Then in the hard hitting Set Adrift, Travis smashes his drums nonstop while his bandmates make sure there’s first-class Metalcore for everyone; and featuring Patrick Franiuk of Metalcore band Mémoire, Misunderstood is one of the most visceral and obscure of all songs from the album, with their clean and harsh vocals bringing to the music a stylish paradox, followed by The Masks We Wear, a decent song albeit a bit confusing at times, despite showcasing their excellent Djent-infused riffs.

Back to a more traditional Metalcore approach, it’s time for the band to invite us all to jump up and down with them in Insomniac, with Chris once again taking the lead with his raspy roars; whereas Searching For An Answer reminds me of some of the creations by Swedish Metalcore band My Dear Addiction, in special the pounding drums by Travis and its overall vibe. They put the pedal to the metal and bring forward the type of Metalcore we old school metalheads love the most in Hold On, feeling very aggressive while still showcasing their more melodic side, before they end the album with an overdose of progressiveness flowing from the axes by Taylor, Viktor and Steve in False Ideals, leaving us eager for more of their music in a not-so-distant future.

For Oathbound, Colors In Grey is only the beginning. With eyes set on nationwide touring and continued creative evolution, their mission remains the same, to offer catharsis, hope, and connection through music that speaks from (and to) the soul. Hence, you can join them in such a unique exploration of emotions through heavy music by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their music on Spotify, and of course by purchasing their caustic new album by clicking HERE or HERE. With Colors In Grey, their message is clear. Even in life’s darkest moments, there’s a silver lining – and a life still worth living.

Best moments of the album: Colors in Grey, Misunderstood and Hold On.

Worst moments of the album: The Masks We Wear.

Released in 2026 Eclipse Records

Track listing
1. Origins 1:31
2. Colors in Grey 3:23
3. Set Adrift 3:50
4. Misunderstood 3:57
5. The Masks We Wear 3:28
6. Insomniac 3:40
7. Searching For An Answer 3:26
8. Hold On 4:50
9. False Ideals 3:55

Band members
Chris Fox – vocals
Taylor Harper – guitar
Viktor Schultz – guitar
Steve Schwarz – bass
Travis Morlan – drums

Guest musician
Patrick Franiuk – vocals on “Misunderstood”

Album Review – Tardigrade Inferno / Hush (2026)

Posted on by
Reply

Russia’s own Dark Cabaret Metal outfit returns with their third studio offering, blending their thoughtful songwriting, ironic lyricism, and aesthetic visuals with an authentic sound delivered with studio precision.

Formed in 2016 in Saint Petersburg, Russia (but apparently now located in Melbourne, Australia), the charming Avantgarde/Progressive Dark Metal/Rock known as Tardigrade Inferno, named after the resilient “slow walkers” (tardigrades) and the concept of a fiery hell (inferno), returns with another overdose of their “Dark Cabaret Metal” in their third full-length album, titled Hush. Produced by Vladimir Lehtinen at Blastbear Sound, and with a darkly delicate artwork by Milena Kress, the follow-up to their 2023 sophomore Burn the Circus is a compelling result of the evolving signature style by vocalist Darya Rorria, guitarist Alexander Pavlovich, bassist Maxim Belekhov, and drummer Andrew Drew, and the sheer power of their live performances, blending their thoughtful songwriting, ironic lyricism, and striking, highly aesthetic visuals with an authentic sound delivered with studio precision.

The album kicks off with the circus-like intro The Final Show, a work of madness by the band, hitting us hard in the head before we face Hide’n’Seek, starting in a tribalistic way to the hammering drums by Andrew and, therefore, inspiring us all to headbang like true maniacs while Darya delivers a Stygian vocal performance for our total delight. Deadly Fairytales is kinda like the epitome of “Dark Cabaret Metal”, as if Slipknot decided to hit the dance floor or start their own musical, with Alexander’s riffs adding an extra kick to the music; whereas All In Your Head is a song that should sound incredible live, leaning towards the Alternative Metal played by bands like Butcher Babies and Wednesday 13, followed by Dead Fish Smile, and I’m not sure if it’s a dark ballad or just a slower-than-usual song, but in the end it gets a bit generic.

They get back on track and put the pedal to the metal in the high-octane Subatomic Heist, with the guitars by Alexander walking hand in hand with Maxim’s thunderous bass lines; and their avantgarde and experimental vein pulses harder in I.C.D., while Darya screams the song’s wicked words like a mad queen. Goor keeps the energy flowing with its futuristic background elements and the always heavy artillery crafted by Maxim and Andrew, while the title-track Hush brings to our avid ears a striking fusion of Dark Metal with Metalcore and Alternative Rock and Metal, with Darya’s vocals and Alexander’s eerie guitar lines being in absolute sync. Finally, after the piano interlude Hypograph, we’re treated to six minutes of total metal madness titled I Am Eternal, focusing on Darya’s introspective, deep vocals while her bandmates make sure every single space in the air is filled with their heavy sounds.

Having always paid special attention to the visual side of their art, from stage costumes and characters to their album covers, Tardigrade Inferno are on absolute fire from start to finish in Hush, inviting us all for a wild and whimsical journey together with the band. You can find more information about Tardigrade Inferno, their music, tour dates, and plans for the future on Facebook, on Instagram, and on VKontakte, subscribe to their YouTube channel, stream their discography on any platform such as Spotify, and above all that, grab a copy of the striking Hush from BandCamp. With the release of Hush, it’s also the first time the band’s mascot, the Tardigrade, is absent from the artwork, symbolizing a kind of coming-of-age. The toys have been left behind in the nursery, and you better get ready as the band’s lunatic music found in Hush will mercilessly drag you to hell.

Best moments of the album: Hide’n’Seek, Subatomic Heist and Hush.

Worst moments of the album: Dead Fish Smile.

Released in 2026 Independent

Track listing
1. The Final Show 2:29
2. Hide’n’Seek 3:40
3. Deadly Fairytales 4:16
4. All In Your Head 4:12
5. Dead Fish Smile 5:01
6. Subatomic Heist 2:53
7. I.C.D. 5:29
8. Goor 5:55
9. Hush 3:38
10. Hypograph 0:44
11. I Am Eternal 6:28

Band members
Darya Rorria – vocals
Alexander Pavlovich – guitars
Maxim Belekhov – bass
Andrew Drew – drums

Album Review – Unburier / As Time Awaits EP (2026)

Posted on by
Reply

Expanding their sonic scope while honing the intensity that defined their previous releases, this UK-based Technical Death/Thrash Metal brigade returns to action with a pulverizing new EP.

Expanding their sonic scope while honing the intensity that defined their previous releases, UK’s own Technical Death/Thrash Metal brigade Unburier is back in action with As Time Awaits, a short, sweet and extremely venomous three-track EP that sees vocalist and guitarist Ben Champion, guitarist Blake Hibberd, bassist Stan Mitchell, and drummer Kim Hughes blend old and new school Death Metal styles with technicality, hooks, and razor-sharp songwriting. Carrying the torch of the classic Death Metal sound into a new age, As Time Awaits is certain to enthrall longtime fans of the genre, appealing to fans of giants the likes of Death, Necrophagist, and Revocation, among several others.

The metallic, rumbling bass by Stan will punch you right in the head in Continuum while his bandmates offer an overdose of brutality and technical sounds, all boosted by Ben’s desperate harsh vocals, followed by Abyssal Uncertainty, the most lyrically-ambitious track of the EP, with nods to Camus, Lovecraft and other literary influences, where the listener is invited to witness a trapped laborer’s descent into madness, reflecting on and acknowledging the absurdity of his life and death. Ben and Blake continue to slash their axes mercilessly, offering endless adrenaline flowing from their riffs and solos in the best Technical Death and Thrash Metal style. The third and last song of such an incendiary EP, titled Survive the Vermin, leaves us eager for a lot more from this new phase of Unburier, with Ben’s demented roars matching perfectly with the song’s riffage, bass lines and infernal beats and fills.

Newcomers to Unburier’s realm of fury and technicality will find As Time Awaits to be a compelling introduction to the band’s evolving sound, and longtime listeners will be proud to follow the band’s growth across their earlier releases Thrasher’s Gold (2019), Twisted Existence (2022), and Nebulous (2024), and if you want to know more about such an up-and-coming band from the UK scene you can find those guys on Facebook and on Instagram, listen to their ass-kicking music on YouTube and on Spotify, and purchase their pulverizing new EP from BandCamp or by clicking HERE. After EP number three I guess we’re ready for the band’s first full-length album in the near future, and based on the heaviness found in As Time Awaits, we can rest assured it will be total annihilation.

Best moments of the album: Abyssal Uncertainty and Survive the Vermin.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Continuum 4:00
2. Abyssal Uncertainty 5:29
3. Survive the Vermin 4:59

Band members
Ben Champion – vocals, guitar
Blake Hibberd – guitar, vocals
Stan Mitchell – bass
Kim Hughes – drums

Album Review – Olhava / Memorial (2026)

Posted on by
Reply

This unstoppable Russian Blackgaze duo is back with their sixth studio album, moving through remembrance toward letting go and acceptance, a quiet reconciliation with what cannot be carried further.

After the burning, there is stillness. Continuing the path opened by their 2024 opus Sacrifice, Saint Petersburg, Russia’s own Atmospheric/Post-Black Metal/Blackgaze duo Olhava is back with their sixth studio album, entitled Memorial. Produced, mixed and mastered by Mikhail Kurochkin, and displaying a darkly captivating artwork by Margot Makletsova, the new offering by Andrey Novozhilov on vocals, guitars, bass and synthesizers, and Timur Yusupov on drums moves through remembrance toward letting go and acceptance, a quiet reconciliation with what cannot be carried further, a shared human state shaped by loss, exhaustion, love, and the fragile will to endure.

The first of the “Ageless River” instrumental tracks, Ageless River X, is a Blackgaze beast that goes on for almost five minutes, hypnotizing us all before we face After I’m Gone and its 14 minutes of atmospheric passages, blackened sounds and the anguished roars by Andrey, while Timur simply crushes his drums in the name of extreme music. Moreover, it completely switches from its core ferocity to a more ethereal sound halfway through it. When the Ashes Grow Cold, featuring a guest “screwdriver solo” (or whatever that is) by Artyom Selyugin (of bands like Show Me A Dinosaur, Somn, and hopeyouwell), is a multi-layered, otherworldly composition that lasts for over 20 minutes for our absolute delight, with its whimsical passages exploding into another round of the duo’s majestic dark music.

Then we have the next Blackgaze instrumental piece, Ageless River XI, heavier and more obscure, as if warning us all about the storm that’s about to begin in the title-track Memorial, where Andrey’s enfolding synths clash with his visceral vocalizations and the Doom Metal drums by Timur, evolving into a full-bodied beast of Post-Black Metal where the anguish flowing from Andrey’s roars is outstanding. Ageless River XII is maybe a bit too long for such a monotone sound, albeit it still builds the ambience for The River Wakes, where their Post-Black Metal vein pulses harder than ever without forgetting their Atmospheric Black Metal essence, and the result is simply superb, with its second half exhaling anger and despair from Andrey’s vociferations. And all comes to an end with Ageless River XIII, the last Blackgaze composition, putting a beyond climatic, eerie and suffocating finale to the album.

Dedicated to more than one loss, Memorial holds space for the dead, for love that has outlived itself, for time that cannot be returned, for friends forced to flee, and for selves left behind. Hence, you can get in touch with the duo and let their music embrace you by following them on Facebook and on Instagram, by streaming their music on Spotify, and of course by purchasing Memorial from the Avantgarde Music’s BandCamp, from Sound Cave, or by clicking HERE or HERE. Memorial offers Olhava’s sonic representation of countless dark emotions like loss, exhaustion, and love, touching deep inside our hearts and souls while speaking the language of atmospheric, melancholic and visceral heavy music.

Best moments of the album: After I’m Gone, When the Ashes Grow Cold and The River Wakes.

Worst moments of the album: Ageless River XII.

Released in 2026 Avantgarde Music

Track listing
1. Ageless River X 4:56
2. After I’m Gone 14:16
3. When the Ashes Grow Cold 20:21
4. Ageless River XI 5:33
5. Memorial 13:24
6. Ageless River XII 6:33
7. The River Wakes 7:29
8. Ageless River XIII 5:46

Band members
Andrey Novozhilov – vocals, guitars, bass, synthesizers
Timur Yusupov – drums

Guest musician
Artyom Selyugin – screwdriver solo “When the Ashes Grow Cold”

Album Review – Novomundo / The Cursed Cult (2026)

Posted on by
Reply

This Italian Groove Metal entity returns with their thrilling first full-length offering, a concept piece centered on Voodoo, its mysteries, rituals, and symbolic icons.

Born near Rome, Italy around 2012 with the idea to blend heavy and groovy music textures alongside various influences, rhythms, and instruments from all over the world, the unique Groove Metal entity known as Novomundo is unleashing upon us their first full-length opus, titled The Cursed Cult, following up on their 2024 EP  Echoes of Ego. A concept piece centered on Voodoo, its mysteries, rituals, and symbolic icons, the new offering by vocalist Valerio Cristiani, guitarists Carlo Ridolfi and Fabio Ciccone, and drummer Fausto Idini is a darker and more crushing take on their renewed sound, showcasing fourteen tracks of ferocity and raw energy blending dark ambient passages with a rotten edge, fusing death-groove and 2000’s metal influences enriched by modern tones and crust-core elements.

Their fusion of heavy music and tribal elements kicks off in full force with Son of Mawu, where Fausto’s primeval drums elevate Valerio’s screams to a whole new level, whereas Carlo and Fabio keep extracting darkly piercing riffs from their axes in Deathless, a heavy hitting tune perfect for slamming into the pit. Then after the short interlude Erzulie we face another ritualistic tune titled Bokor, with the venomous roars by Valerio exhaling Death and Groove Metal amidst a haunting sonority. The quartet continues to hammer their sonic weapons in The Coven, living up to the legacy of the genre, sounding at times like modern-day Machine Head; and we’re treated to another atmospheric interlude named Mojo, flowing into Vodun, a metallic ode to Voodoo where Fausto takes the lead with his pounding, bludgeoning beats and fills.

OSFTG continues where the previous song left off, perfect for some brutal headbanging to the grim roars by Valerio, while Le Marriage de Brigitte carries a weird name for another cinematic interlude before we’re crushed to pieces in Warlord, where Carlo and Fabio bring forward their most austere riffs of the album, this time reminding us of the glorious sound from Roots, by Sepultura. Despite its heaviness, the changes in God’s Violence end up making it a bit confusing to the listener; whereas they get back on track with the multi-layered extravaganza Maitresse La-Sirene, where modern and old school Groove Metal collide. Papa Legba is another tribute to the vile rituals of Voodoo, with Valerio and Fausto making a dynamic duo with their respective screams and beats, ending with the sinister outro Orishas, perfect for wrapping up the whole idea behind the album.

Touching on slavery, prejudice, and death as a way to give value to life, among other themes, The Cursed Cult guides the listener through the pantheon of Voodoo deities, called Loa, exploring their stories and traits as metaphors to convey the album’s core messages, while evoking emotional instability and a sense of unease, symbolizing the fear stemming from ignorance and unfamiliarity. Such a detailed and deep album of heavy music can be purchased from the band’s own BandCamp (or simply by clicking HERE), and you can get in touch with those talented Italians via Facebook and Instagram to know more about the band and their music, and also enjoy their idiosyncratic creations on YouTube and on Spotify. If Voodoo was a metal style, it would definitely be the music played by Novomundo, as their haunting new album is indeed a thrilling sonic ritual that will take the band places. Maybe some really dark ones.

Best moments of the album: Son of Mawu, Bokor, Vodun and Warlord.

Worst moments of the album: God’s Violence.

Released in 2026 Independent

Track listing
1. Son of Mawu 3:29
2. Deathless 3:47
3. Erzulie 0:33
4. Bokor 5:33
5. The Coven 4:10
6. Mojo 1:25
7. Vodun 3:53
8. OSFTG 4:09
9. Le Marriage de Brigitte 1:19
10. Warlord 3:32
11. God’s Violence 3:31
12. Maitresse La-Sirene 5:20
13. Papa Legba 4:39
14. Orishas 2:35

Band members
Valerio Cristiani – vocals
Carlo Ridolfi – guitar
Fabio Ciccone – guitar
Fausto Idini – drums

Album Review – Phasma / Purgatory (2026)

Posted on by
Reply

This Greek and American beast is ready to unleash hell with their third full-length offering, unfurling dimensions within the sound that they have concocted.

Attempting to meld influences ranging from Black Metal to Brutal Death Metal and everything in between, including Technical Death Metal, Blackened Death Metal and even Deathcore, the demonic Greek/American beast known as Phasma is unleashing hell with their third full-length offering, simply titled Purgatory. Displaying a Stygian artwork by George Angelis, the follow-up to their 2022 sophomore effort Epiales effortlessly oscillates from sharp Black Metal riffs to pummeling Death Metal blasts with matching vocal styles, and even toss in a breakdown or two in the middle, with every song feeling like an extension if not an improvisation over the previous one, as vocalist Luis Ferre and guitarist Jason Athanasiadis, with the support of session musicians George Markantonis on bass and Bill Nanos on drums, unfurl dimensions within the sound that they have concocted.

The dirty, devilish guitar by Jason sets the stage in I, quickly exploding into a beyond demented and technical feast of Black and Death Metal with Luis growling like a rabid beast for our total delight, followed by II, where another ethereal start evolves into more of the band’s trademark violence, with Bill’s infernal drums walking hand in hand with George’s thunderous bass lines. III sounds as visceral and ruthless as its predecessors, with Luis stealing the show with his deep guttural and bestial gnarling while Jason extract those Cannibal Corpse-inspired riffs that make Death Metal even deadlier; whereas IV presents hints of Dissonant and Avantgarde Death Metal added to their core brutality, keeping the album as sulfurous as it can be. Their insanity, heaviness and rage are boosted by the rumbling bass by George in V, getting utterly experimental at times while also showcasing a strong Deathcore vibe in its breakdowns; and lastly, they’ll pulverize us all with VI, where their Death Metal side gets even stronger, while Bill once again pounds his drums nonstop.

Bands playing a mix of styles isn’t uncommon but to intermingle influences of such disparate, almost contrasting styles is fascinating and remarkable especially when they have high replay value and lasting appeal. That’s exactly what Phasma have to offer in Purgatory, being highly recommended for admirers of the sonic madness blasted by bands such as Mgla, Dying Fetus, Crypts of Despair, Kriegsmaschine, and Psycroptic, just to name a few. You can get to know more about such a bestial duo from Greece and the United States by following the project on Facebook and on Instagram, staying up to date with their live performances, stream their unique creations on Spotify or any other streaming platform, and above all that, grab a copy of Purgatory from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, where you can also find their incredible merch designed by CVSPE. Like it or not, Phasma are here to stay, and they’ll mercilessly drag us to their own purgatory armed with their visceral new album.

Best moments of the album: I and III.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. I 5:00
2. II 4:13
3. III 4:24
4. IV 3:51
5. V 4:16
6. VI 4:47

Band members
Luis Ferre – vocals
Jason Athanasiadis – guitars

Guest musicians
George Markantonis – bass (session)
Bill Nanos – drums (session)