Category Archives: Album Reviews

Album Review – Vile Desolation / Annihilating The Consciousness (2026)

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This ruthless Indonesian trio is unleashing upon humanity their debut album of titanic, shocking power, offering us all Brutal Death Metal at its absolute, horrifying best.

From the ever-fertile spawning grounds of East Java, Indonesia comes another monstrous entry into the annals of Brutal Death Metal. Drawing on the extensive experience from its members in an array of bands from the Indonesian scene, Vile Desolation are unleashing upon humanity their debut album of titanic, shocking power, entitled Annihilating The Consciousness. Mixed and mastered at Endless Gruesome Studio, and bedecked in the bleak artwork of Timbul Cahyono of Bvllmetalart, the debut offering by Yudha Dwi Setyawan on vocals, Hendika Dwi Prasetyo on the guitar and bass, and Rama Maulana on drums is Brutal Death Metal at its absolute, horrifying best, positioning the band as apex predators of this most extreme musical landscape.

Rama wastes no time and kicks off the band’s demented feast of violence and gore in Veiled in Obscurity, while Yudha delivers those deep gnarls we all love so much in Brutal Death Metal. Whispers Through the Shadowed Gates carries a very poetic name for an absolutely devastating tune, with Hendika hammering his guitar and bass manically, supported by another bestial performance by Rama on drums, while Labyrinth of Torment starts with one of those dark, cinematic intros before all hell breaks loose to Yudha’s trademark “breeeeeeeeeeeeeees;” and Rama again dictates the pace in the infuriated Shattered Reverie while his bandmates make sure there’s plenty of blood and viscera in their music. And in The Sinister Symphony there’s not a single space left in the air. It’s pedal to the metal in a lecture in brutality by those Indonesian death dealers.

The second half of the album begins with another somber intro, with the bells tolling until we face more of the carnivorous roars by Yudha in Dementia’s Embrace, inviting us all to slam into the pit manically; and in Eyes of Madness we see the trio venture through old school Death Metal lands, sounding heavier and heavier as the music progresses, in special Yudha’s deep guttural. Then another phantasmagorical intro morphs into sheer bestiality in Eternal Lunacy, with Rama sounding like a demonic entity on drums; whereas in Chaos Unleashed the name of the song says it all, as it’s a lecture in Indonesian Brutal Death Metal led by the scorching riffs by Hendika. Their coup-de-grace comes in the form of Sanctified in Ashes, offering more of the trio’s venomous gnarls, visceral riffage and blast beats, ending the album on a demolishing mode.

Kiss goodbye to your sanity, as Vile Desolation are coming armed with their unrelenting debut album, and madness follows in their wake. If you think you have what it takes to face the gore, depravity and horror emanating from Annihilating The Consciousness, you should definitely follow the trio on Facebook and on Instagram, stream their bludgeoning music on any platform like Spotify, and grab a copy of the album from Comatose Music’s BandCamp or webstore. Fans of bands the likes of Suffocation, Anthropophagus Depravity, Beheaded and Molested Divinity will feel at home while listening to Annihilating The Consciousness, but in case you think those bands are way too heavy for you, I feel sorry for your frail soul.

Best moments of the album: Whispers Through the Shadowed Gates, The Sinister Symphony and Chaos Unleashed.

Worst moments of the album: None.

Released in 2026 Comatose Music

Track listing
1. Veiled in Obscurity 3:17
2. Whispers Through the Shadowed Gates 3:03
3. Labyrinth of Torment 2:27
4. Shattered Reverie 3:12
5. The Sinister Symphony 3:01
6. Dementia’s Embrace 3:10
7. Eyes of Madness 3:37
8. Eternal Lunacy 2:42
9. Chaos Unleashed 3:15
10. Sanctified in Ashes 3:01

Band members
Yudha Dwi Setyawan – vocals
Hendika Dwi Prasetyo – guitar, bass
Rama Maulana – drums

Album Review – IATT / Etheric Realms of the Night (2026)

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This American blackened band returns with their most immersive and conceptually daring work to date, unveiling a descent into dream consciousness.

Hailing from the pits of Philadelphia, Pennsylvania, Progressive/Melodic Black/Death Metal entity IATT (which stands for “I Am The Trireme,” an ancient maritime vessel, representing a shift in their musical style from their early Metalcore days) returns with their most immersive and conceptually daring work to date, entitled Etheric Realms of the Night. Mixed and mastered by Marcos Cerutti (co-founder of Black Lion Productions), the newborn spawn by Jay Briscoe on vocals and bass, Joe Cantamessa on lead guitars, Alec Pezzano on rhythm guitars and orchestral arrangements, and Paul Cole on drums and percussion is a worthy follow-up to their 2022 album Magnum Opus, unfolding as a continuous narrative that explores the fragile boundary between sleep and oblivion, consciousness and illusion, life and whatever waits beyond it, unveiling a descent into dream consciousness.

In the opening tune Drift Away the music gradually builds into a wall of Progressive Death Metal sounds led by Jay’s visceral screams, while Paul delivers an overdose of crushing beats and fills that transpire Black Metal; followed by To Lie Beneath, a nine-minute aria of darkness where the guitars by Joe and Alec breathe fire, supported by the always thunderous drums by Paul. Put differently, it’s like Opeth on steroids. Somniphobia already begins in full force, with all of its progressiveness clashing beautifully with its fury, not to mention its melodeath and dissonant riffs sounds amazing, whereas Pavor Nocturnus is one of the most Black Metal songs of the entire album, where its haunting atmosphere and intricate riffage and drums bring sheer joy to our blackened hearts. In the cryptic Quietus, the symphonic elements bring an avalanche of epicness to the overall result, with Jay once again barking and roaring nonstop, and their metallic dreams go on in Walk Amongst, another very detailed and multi-layered aria of Symphonic and Melodic Death Metal where Joe and Alec are again flawless on the guitars, before all fades into nothingness in the ethereal outro Hypnos.

With Etheric Realms of the Night, IATT venture deeper into psychological and conceptual territory, shaping a work that feels immersive, unsettling, and profoundly human, tracing the path from surrender to transformation, where dreams deepen into realms that no longer fade with morning light. Across its 48 minute runtime, the album unfolds with cinematic scope, guided by atmosphere, symbolism, and emotional momentum, and if you want to join IATT on such a unique voyage you can find those guys on Facebook, Instagram, YouTube, and Spotify, and of course purchase Etheric Realms of the Night from BandCamp, from their merch store, or by clicking HERE. Orchestral elements, unusual instrumentation, constantly shifting sonic landscapes, and the sense of a single story told in seven movements. That’s what IATT offer in their new album, inviting you to dream together with them while fully awake.

Best moments of the album: To Lie Beneath, Pavor Nocturnus and Walk Amongst.

Worst moments of the album: None.

Released in 2026 Black Lion Records

Track listing
1. Drift Away 6:39
2. To Lie Beneath 9:12
3. Somniphobia 6:04
4. Pavor Nocturnus 7:23
5. Quietus 7:18
6. Walk Amongst 8:06
7. Hypnos 3:38

Band members
Jay Briscoe – vocals, bass
Joe Cantamessa – lead guitars
Alec Pezzano – rhythm guitars, orchestral arrangements
Paul Cole – drums, percussion

Guest musicians
Didier Malherbe – flute
Valček – violin

Album Review – Frozen Soul / No Place of Warmth (2026)

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Like an air-raid siren warning of death from above, this Texan Death Metal brigade returns with their most definitive and rancorous statement to date.

Like an air-raid siren warning of death from above, Fort Worth, Texas-based Death Metal brigade Frozen Soul returns from their bitterly cold lair to unleash chaos upon humanity with their third studio album, the ruthless No Place of Warmth, following up on their critically acclaimed 2023 sophomore Glacial Domination. Produced by Josh Schroeder at Random Awesome! Recording Studio, and displaying a deadly artwork by James Bousema, the newborn beast by vocalist Chad Green, guitarists Chris Bonner and Michael Munday, bassist Samantha Mobley, and drummer Matt Dennard is a monolithic, majestic and exigent collection of anthems built on the perfect blend of ferocity and subtle melody, allowing soaring guitar leads to guide a lantern through the dark chasm of merciless riffs.

Just like the soundtrack to a spine chilling horror flick in an isolated and bitterly cold cabin, No Place of Warmth kicks off the album on a bestial mode, featuring vocalist Gerard Way (of My Chemical Romance), with Chad already delivering his trademark Death Metal roars. Then it’s time to head into the battlefield in cold and despondent lands in Invoke War, featuring guest vocals by the iconic Robb Flynn (of Machine Head), while Chris and Michael fire deadly, sharp riffs nonstop; followed by Absolute Zero, which despite its cool, demonic lyrics (“Ground to nothing / Concealed in snow / Reduced to / Absolute zero / Absolute / Zero / Zero”), it could have been a bit longer and more detailed. In Dreadnought we see guest vocalist Devin Swank (of Sanguisugabogg) make an infernal duet with Chad in another heavy-as-hell tune by Frozen Soul, with Samantha pounding her bass with endless rage, whereas Chaos Will Reign keeps their Death Metal fire burning thanks to another crushing performance by Matt behind his drums, who’s also ruthless in Eyes of Despair, offering Chad exactly what he needs to vociferate like a demonic entity.

The band then offers our putrid ears one of the heaviest and most violent of all songs in the album, titled Ethereal Dreams, with their caustic riffs walking hand in hand with the obscure, massive kitchen crafted by Samantha and Matt. And after another short tune titled Skinned by the Wind, offering more of the Death Metal riffs by Chris and Michael, it’s absolute chaos in Deathweaver, bringing the heavy hammer of winter directly to our heads with another gruesome performance by Chad on vocals, sounding as dark as evil as it can be. Their second to last breath of frozen Death Metal magic comes in the form of Frost Forged, where their scorching guitars will melt our faces before we fall into their deep freeze again; and although you might have survived crossing their frozen lands, you’ll be decimated inside the pit by Killin’ Time (Until It’s Time to Kill), where the demonic bass by Samantha brings absolute thunder to their sonority, ending the album on a beyond killer and bludgeoning mode.

Frozen Soul’s time is now, and No Place of Warmth is their most definitive and rancorous statement. Without a single moment of boredom, the album sees the band distilled to its primordial essence. No frilly edges, no indulgent ambient passages, just pure steamrolling Death Metal destruction at its most clinical. Having said that, if you think you have what it takes to enter their frozen realm of violence and destruction, you can find those Texans on Facebook and on Instagram, stream all of their creations of sheer Death Metal brutality on Spotify, and of course grab a copy of No Place of Warmth from their own BandCamp or from Century Media Records. Because when Frozen Soul attack, there’s definitely no place of warmth. Only old school, scathing and frostbitten Death Metal.

Best moments of the album: No Place of Warmth, Dreadnought, Ethereal Dreams and Killin’ Time (Until It’s Time to Kill).

Worst moments of the album: Absolute Zero.

Released in 2026 Century Media Records

Track listing
1. No Place of Warmth 4:50
2. Invoke War 3:16
3. Absolute Zero 0:53
4. Dreadnought 2:37
5. Chaos Will Reign 3:19
6. Eyes of Despair 3:03
7. Ethereal Dreams 4:55
8. Skinned by the Wind 1:28
9. Deathweaver 3:54
10. Frost Forged 3:55
11. Killin’ Time (Until It’s Time to Kill) 3:24

Band members
Chad Green – vocals
Chris Bonner – guitars
Michael Munday – guitars
Samantha Mobley – bass
Matt Dennard – drums

Guest musicians
Gerard Way – vocals on “No Place of Warmth”
Robb Flynn – vocals on “Invoke War”
Devin Swank – vocals on “Dreadnought”

Album Review – Lago / Vigil (2026)

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Resurfacing from the dark pits of Phoenix after eight years of silence, this unrelenting Death Metal beast returns with their third studio album, a dense and suffocating descent into lacerating and surgically cold darkness.

Resurfacing from the dark pits of Phoenix, Arizona after eight years of silence, the unrelenting Death Metal beast known as Lago attacks again with their third full-length opus, entitled Vigil, following up on their 2018 sophomore offering Sea of Duress. Recorded, mixed, and mastered by the band’s own Brian Miller, and showcasing a sinister artwork by the always amazing Adam Burke of Nightjar Illustration, the new opus by vocalist and guitarist Cole Jacobsen, guitarist Gus Barr, bassist Garrett Thomas, and drummer Brian Miller is a dense and suffocating descent into lacerating and surgically cold darkness, channeling the weight of dissonant and modern Death Metal while carving deeper into their own bleak and atmospheric sound.

The vicious guitars by Cole and Gus will penetrate deep inside your skin in the opening tune Behold, Ruin, offering an overdose of melodic yet feral Death Metal while Brian brings tons of groove to the music with his intricate beats and fills. Fodder presents another avalanche of heaviness and fury by Lago where Cole’s cadaverous guttural matches perfectly with the primeval kitchen blasted by Garrett and Brian, not to mention Gus’ guitar solos are utterly electrifying; and Lago are a band who loves to add elements of Progressive and Technical Death Metal into their music, which is exactly what we get in Procession Into Slaughter, with Brian once again taking the lead with his unrelenting drums. Initiation Rite is a song tailored for admirers of some good old headbanging thanks to the massive riffs by Cole and Gus, and it should become a fan-favorite if played live, whereas their raging riffs continue to crush our bodies and souls in In A House Of Ill Repute, also presenting hints of Doom Metal to give it an even darker vibe. After such a demented tune, Garrett and Brian are in total sync and on absolute fire in the hard hitting Kingdom Without Pulse, a lecture in Death Metal by those relentless guys; and finally, we’re invited for one last mosh pit with the detailed and multi-layered The Land Was A Desert, with Cole’s enraged roars elevating the song’s ferocity to a whole new level.

“The writing for Vigil began in 2023 and found the band rebuilt after a few years of relative silence and this also marks the first time we as a band have completely handled all aspects of the production ourselves. Expect the next step as we build upon our previous releases, calling upon influences from legends Morbid Angel, Immolation and Gorguts. Vigil will be out most focused release to date,” commented the band, and those talented metallers from Arizona are waiting for you on Facebook and on Instagram with more of their music, news and tour dates. Don’t forget to also stream their ruthless music on Spotify, and above all that, to purchase their extremely vile and aggressive new album via mailorder or from BandCamp. The guys from Lago are hungry for your blood armed with their visceral new opus, and hopefully it won’t take another eight years for them to strike again with a new album as devastating and sharp as Vigil.

Best moments of the album: Fodder and Kingdom Without Pulse.

Worst moments of the album: None.

Released in 2026 Everlasting Spew Records

Track listing
1. Behold, Ruin 6:12
2. Fodder 5:59
3. Procession Into Slaughter 5:29
4. Initiation Rite 4:46
5. In A House Of Ill Repute 7:46
6. Kingdom Without Pulse 5:44
7. The Land Was A Desert 6:12

Band members
Cole Jacobsen – vocals, guitars
Gus Barr – lead guitars
Garrett Thomas – bass, additional vocals
Brian Miller – drums

Album Review – Goholor / Locus Damnatorum (2026)

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It’s time to ascend to the place of the damned with the first full-length opus by this Slovakian horde, a throwback to the late 90’s heydays of Black and Death Metal.

Arising from the depths of suffering in Slovakia in 2010 at the instigation of vocalist Anton Piovarci and guitarist and vocalist Demo, later joined by Erik Čalfa on bass and Pio on drums, Michalovce-based Blackened Death Metal horde Goholor (which in the Enochian language, a constructed language used in occult traditions, translates to “ascend”) is unleashing upon humanity their first full-length opus, titled Locus Damnatorum, a Latin phrase that translates to “place of the damned,” following up on their 2016 debut EP In Saeculis Obscuris. Mixed and mastered by Tore Stjerna at Necromorbus Studios, the album feels like a throwback to the late 90’s heydays of Black and Death Metal, recalling the likes of Unanimated, Necrophobic, Sacramentum, Gates of Ishtar, and Sweden’s Sacrilege, while at the same time there’s just as equally their own personality injected into their atmospheric muscle.

There’s no hope for our putrid souls as the band kicks off their infuriated attack with Demonical Redemption, where Anton’s deep guttural sound inhumane while the guitar by Demo exhales sulfur. Pio continues to crush his drums like a true beast in the Black and Death Metal aria titled Black Rising Suffering, as dark as it’s heavy and demonic, followed by Divine Blood Invocation, which carries a classic name for a vicious extreme music tune where Demo and Erik’s stringed attack will send shiver down your spine. Last Groan Devoured by Death also portrays a very poetic and evil name, starting in a serene manner before evolving into a massive beast of Blackened Death Metal with Doom Metal nuances; and Pio is once again ruthless behind his drums in Ominous Delusion, offering Anton exactly what he needs to fire his cadaverous guttural roars. They definitely know how to craft deadly song names, and in Embraced by Demons Spell not only the title is menacing, but the music is a vile display of Death Metal savagery; whereas Demo sounds demonic armed with his axe in Nihillistic Torments, adding endless rage to the band’s core blackened essence, therefore ending the album on a sulfurous, grim note.

Continuing to focus on the dark and demonic side of society, such as hypocrisy, perversion, insensitivity, and obsession with religion, those Slovakian metallers are on absolute fire from start to finish in their newborn beast Locus Damnatorum, and you can get to know more about the band, their music and tour dates on Facebook, and purchase their incandescent new album from the Personal Records’ BandCamp or webstore. In other words, it’s time to ascend to the place of the damned alongside Goholor and their new album, a thrilling blast of underground extreme music that will surely keep such a talented horde more than ready to strike again with their venomous music in the coming years.

Best moments of the album: Black Rising Suffering, Last Groan Devoured by Death and Embraced by Demons Spell.

Worst moments of the album: None.

Released in 2026 Personal Records

Track listing
1. Demonical Redemption 5:45
2. Black Rising Suffering 5:04
3. Divine Blood Invocation 5:20
4. Last Groan Devoured by Death 8:25
5. Ominous Delusion 4:06
6. Embraced by Demons Spell 5:30
7. Nihillistic Torments 4:11

Band members
Anton Piovarci – vocals
Demo – guitars, vocals
Erik Čalfa – bass
Pio – drums

Album Review – Daemonium Regni / Daemonium Regni (2026)

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Let the demons enter your soul to the suffocating, ominous debut solo album by this multi-talented veteran hailing from Sweden.

Ominous, somber, and foreboding, Stockholm, Sweden-based Black/Doom Metal creature Daemonium Regni, which translates as “demon kingdom” from Latin, is the new solo-project by Micke Broberg of Unanimated, a dark and epic Black Metal feast for fans of Root, Bathory, and Ancient Wisdom. Mastered by Dan Swanö at Unisound Studios, and with layout by Daniele Valeriani (Mysticum, Mayhem, Triumph of Death, Unanimated), the album not only marks Daemonium Regni’s first full-length offering; as a matter of fact, it is the project’s very first sign of existence. Showcasing proficient arrangements with different layers added on top of repetitive riffs, and Latin lyrics performed as demonic growls as well as in the form of somber chanting, the album is absolutely dark from start to finish, leaving a mark on your soul after all is said and done.

Micke wastes no time and begin distilling his devilish, grim Black Metal in Mater Daemonium (or “mother of demons” from Latin), with its malignant vibe being driven by his sluggish Doom Metal beats and Stygian vocal lines. Then presenting a more demonic old school Black Metal sonority we’re treated to Ascendens Tenebrae (“ascending darkness”), where his guitar riffs transpire evil, not to mention his blast beats sound demented; and again offering a cryptic hybrid of Black and Doom Metal we face Silentium (Mors Itinerarum), or “silence (death of the paths),” with its background elements sounding absolutely haunting. However, it’s when Micke goes full Black Metal that he truly thrives, exactly like what we see in Luna Sanguinea (“blood moon”), presenting a well-balanced and demolishing fusion of scathing riffs, blast beats and evil vociferations for our absolute delight.

In Spiritus In Flammo (“spirit in flames”), Micke will destroy your frail soul with his demonic gnarls and phantasmagorical guitars and drums; followed by Sacrificium (“sacrifice”), a more introspective track working like an atmospheric interlude, albeit taking away some of the fury and darkness from all previous songs. After that, Micke slashes his axe mercilessly in the also Doom Metal-infused aria Magica Cultus (“magical cult”), one of the heaviest songs of the album boosted by his deep, infernal guttural; while ending his debut ceremony he offers our putrid ears a visceral Blackened Doom feast entitled Damnationem (“damnation”), and let’s be honest, he couldn’t have concluded his first solo endeavor in a more obscure and suffocating manner.

In summary, the eight tracks which together constitute Daemonium Regni’s eponymous debut album feel like a liturgy charged with foul energy held in the service of darkness and perdition, and in case you want to join Micke in absolute obscurity you can find the project on Facebook, and of course, purchase a copy of such a venomous album from the Darkness Shall Rise Productions’ BandCamp or webstore. In other words, it’s time to let the demons enter your impious soul to the sound of the debut by Daemonium Regni, and if the album is a sign of the path that Micke will follow in his future solo albums, we can rest assured that his darkness is among us all to stay.

Best moments of the album: Ascendens Tenebrae, Luna Sanguinea and Magica Cultus.

Worst moments of the album: Sacrificium.

Released in 2026 Darkness Shall Rise Productions

Track listing
1. Mater Daemonium 7:28
2. Ascendens Tenebrae 5:35
3. Silentium (Mors Itinerarum) 5:05
4. Luna Sanguinea 4:33
5. Spiritus In Flammo 7:23
6. Sacrificium 2:46
7. Magica Cultus 5:10
8. Damnationem 6:38

Band members
Micke Broberg – vocals, all instruments

Album Review – Hrob / Brána Chladu (2026)

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These ruthless Slovakian death dealers are ready to attack with their debut opus, a putrid Death and Doom Metal abomination that evokes a sense of dread and desolation.

Founded in the beautiful Slovakian capital of Bratislava in 2021 by vocalist ansd guitarist Michal Matúš Uharček and guitarist Kiko Kavický as a side-project to their band Krudus, the indomitable Death/Doom Metal creature Hrob ( a word of Slavic origin, primarily meaning “grave” or “tomb”) is unleashing hell with their debut offering, entitled Brána Chladu, or “gate of cold” from Slovakian. Recorded by Michal Matúš Uharček and Kiko Kavický, mixed by Michal Matúš Uharček, mastered by James Plotkin at Plotkinworks, and displaying a bitterly cold artwork by Jan Vlášek, the striking debut by the aforementioned Michal and Kiko alongside bassist Anton “Vrana” Rozbora and drummer Matej Žitňanský is a putrid Death and Doom Metal abomination that evokes a sense of dread and desolation, shifting between slime-slow passages soaked in brooding heaviness and shake-you-from-a-trance pummeling blasts.

The album’s sinister, atmospheric Intro will penetrate deep inside your mind before you’re dragged into darkness to the sound of Chrám Prázdnoty, or “temple of the void” from Slovakian, a beyond infernal display of Blackened Death and Doom Metal led by Matej’s crushing drums, all boosted by the gruesome, evil vociferations by Michal. Their Death and Doom Metal attack goes on in full force in Tiene Stromov (“shadows of the trees”), a lecture in the style where the guitars by Michal and Kiko exhale sulfur and obscurity, while the neck-breaking Genocída Snov (“genocide of dreams”) offers more of the band’s trademark sound, with Michal’s demonic guttural walking hand in hand with the sluggish beats by Matej. Then after the folk-ish interlude Medzihra we face Zotročený Oheň (“enslaved fire”), alternating between sheer Death Metal violence and grim Doom Metal passages, with Vrana and Matej hammering their instruments manically. And lastly, the title-track Brána Chladu concludes the album on a demolishing mode, with Michal and Kiko once again firing Stygian riffs nonstop.

Brána Chladu is undoubtedly a morbid celebration of those fertile years of the early-to-mid 90’s when death-doom rose from rotting Death Metal and each bled b(l)ack into the other, being therefore highly recommended for fans of early Paradise Lost and Septic Flesh as well as Disembowelment, Asphyx, and Gorement, among several others.  Those Slovakian death dealers are not fooling around when it comes to delivering sheer heaviness and doom in their debut offering, and you can get in touch with them to let them know how much you love their obscure music via Facebook and Instagram, stream their savage creations on Spotify, and grab a copy of their devilish album from the Night Terrors Records’ BandCamp or webstore. Brána Chladu is as deadly as it is cold, bringing to us all a venomous fusion of Death and Doom Metal that will certainly keep the band moving forward for years to come, letting their harsh music reverberate to the four corners of our decaying world.

Best moments of the album: Tiene Stromov, Genocída Snov and Zotročený Oheň.

Worst moments of the album: None.

Released in 2026 Memento Mori/Night Terrors Records

Track listing
1. Intro 1:25
2. Chrám Prázdnoty 7:15
3. Tiene Stromov 5:31
4. Genocída Snov 6:19
5. Medzihra 1:16
6. Zotročený Oheň 5:58
7. Brána Chladu 9:00

Band members
Michal Matúš Uharček – vocals, guitars
Kiko Kavický – guitars
Anton “Vrana” Rozbora – bass
Matej Žitňanský – drums

Album Review – Cage Fight / Exuvia (2026)

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Representing a new stage in their career, the sophomore beast by this UK metal entity retains the band’s raw, old school Hardcore heart while also exploring more multi-layered terrains, atmospheres and melodies.

The word Exuvia refers to the outer skin that’s shed by creatures like arachnids, crustaceans and insects, giving way for a new stage of life. It’s the perfect title for the sophomore opus by London, England-based Crossover/Hardcore outfit Cage Fight. Recorded by Sam Bloor at Lower Lane Studios, mixed by Jim Pinder (Sleep Token, Malevolence), and displaying a grim artwork shot by photographer Manuel Acquualeni (depicting a radiation mask, connecting both to fronwoman Rachel Aspe’s experience with her grandmother, and to the album’s title, while also also representing healing), the blistering, 11-track Exuvia finds the band formed of Rachel Aspe on vocals, James Monteith on the guitar, Will Chain on bass, and Nicholas Plews on drums in a time of change after their 2022 self-titled debut, retaining the raw, old school Hardcore heart of Cage Fight while also exploring more multi-layered terrains, atmospheres and melodies, making their sound bigger, tighter and more epic than ever before.

After the dark industrial intro Confined, featuring Rob Parton of electronic music project Arconic, get ready for total madness and chaos together with Cage Fight in Oxygen, where Nicholas simply hammers his drums like a demented creature, offering Rachel exactly what she needs to vociferate deeply and rabidly; while in Pig the indomitable Rachel calls out the creepy men who send women unsolicited messages online, and she makes sure she scares the shit out of those bastards with her she-devil roars in a true headbanging Hardcore feast. Pick Your Fighter, featuring Julien Truchan of Benighted, brings forward excellent lyrics (“Pick your fighter / The battle begins / Only one will win / Pick your fighter / The choice is yours / He looks up toward his dream / Recalling and rising / His thoughts elevate him / His fists are fiery waves / Here to smash the enclave / Refuse to be enslaved”) inspired by a French pop song named “Et c’est parti…” by Nâdiya; whereas James takes the lead with melodic yet visceral riffs in the hard hitting Un Bon Souvenir, blending Hardcore and modern metal music. And his guitar keeps exhaling aggression and fire in Deathstalker, with Rachel sounding possessed by a demonic entity on vocals.

The second part of the album begins with the atmospheric, creepy interlude Le Déni, or “the denial” from French, penetrating deep inside our souls before the band comes ripping with the title-track Exuvia, inspired by Rachel’s grandmother who is currently battling cancer, and who also helped her write the lyrics. The music is absolutely heavy, fierce and caustic, with Nicholas once again dictating the pace supported by the thunderous bass by Will. James then offers another round of his striking riffage in The Hammer Crush, inspiring us all to bang our heads together with the band until the very last second, with Rachel’s Death Metal-like vocals adding endless rage to the music. In IHYG (I Hate Your Guts) they invest in a more direct Crossover Thrash sonority, with the heavy kitchen by Will and Nicholas reverberating through the air in great fashion, followed by the expansive final track Élégie, which is about Rachel losing her grandfather, and the regret that can come from things left unsaid, offering a darker, more introspective side of the band. Moreover, Rachel lets all her anger and fear flow from her desperate vocals. There’s also an alternative version for one of the songs titled Un Bon Souvenir (Single Version), which is more like a bonus track as it’s a less detailed version of it. Not bad for some radio exposure, but the full version is way more compelling.

“With Exuvia, we took a step back and reflected on where we wanted to take things next. Our first record happened quickly: it came out of Covid, we had this crazy momentum with writing, and we just rolled with it. On this new record, we explored deeper in terms of songwriting and melody, and also got to know each other better as musicians,” said guitarist James Monteith. “One thing that has stayed the same is that we want to have fun. But now with the knowledge of who we all are, we’ve managed to hone in on a sound that we really want – it feels like a rebirth of the band.” You can get to know more details about the band’s sonic metamorphosis on Facebook and on Instagram, keeping an eye on their incendiary live shows, stream their music on YouTube and on Spotify, and of course put your blook-soaked hands on their new album by clicking HERE. Exuvia might represent an evolution in the sound by Cage Fight, and they might be shedding their skin in the process, but in the end when you look deep inside their soul, they’re still a metal band. Heavy, hungry, and ready to kill, armed with their stunning new offering.

Best moments of the album: Oxygen, Pick Your Fighter, Deathstalker and The Hammer Crush.

Worst moments of the album: Un Bon Souvenir (Single Version).

Released in 2026 Spinefarm Records

Track listing
1. Confined 1:28
2. Oxygen 3:06
3. Pig 3:18
4. Pick Your Fighter 2:44
5. Un Bon Souvenir 6:03
6. Deathstalker 3:24
7. Le Déni 1:46
8. Exuvia 5:56
9. The Hammer Crush 2:50
10. IHYG (I Hate Your Guts) 3:44
11. Élégie 5:57
12. Un Bon Souvenir (Single Version) 4:01

Band members
Rachel Aspe – vocals
James Monteith – guitar
Will Chain – bass
Nicholas Plews – drums

Guest musicians
Rob Parton – everything on “Confined”
Julien Truchan – vocals on “Pick Your Fighter”

Album Review – Drudkh / Thaw EP (2026)

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Ukraine’s own Black Metal entity returns with an introspective three-track EP, continuing to illuminate the path for those who dare to wander, to question, and to dream.

Born from the whispering winds and the brooding landscapes of Ukraine, a realm steeped in history and draped in the enigma of folklore, emerges Drudkh, a beacon of profound expression in the vast expanse of Black Metal. In the wake of their 2025 full-length album Shadow Play (or “Гра тіней” in their mother tongue), the band formed of Thurios on vocals, guitars and keyboards, Roman Saenko on the guitars and bass, Krechet on bass and keyboards, and Vlad on drums and keyboards extends this same creative breath with Thaw, or “Відлига” in Ukrainian, a three-track EP recorded during the album’s sessions and conceived within the same emotional horizon. If the album traced the tension between shadow and illumination, Thaw inhabits the fragile interval between stillness and movement, where change begins almost imperceptibly beneath a frozen surface, being therefore highly recommended for fans of Hate Forest, Windswept, and Agalloch.

The first song of the EP, titled Пам’ять (Memory), already brings to our avid ears the band’s harsh and piercing sounds, with Thurios delivering Stygian vociferations while Roman slashes his guitar and bass in great fashion; followed by the also obscure and harsh tune Десь, колись (Somewhere, Sometime), which begins in an introspective manner before morphing into a feast of Atmospheric Black Metal led by the caustic riffage by Roman. And last but certainly not least, Мить у вічності (A Moment in Eternity) is a full-bodied Black Metal attack by Drudkh, blasting our ears and minds with their devilish roars, scathing riffs and hammering drums while also presenting a good dosage of Doom Metal to give the whole song an even darker vibe, closing the EP on a visceral note.

Drudkh’s journey is one of introspection, seeking to create music that evokes a profound emotional resonance that stirs the depths of the human experience. In Thaw, they continue to illuminate the path for those who dare to wander, to question, and to dream, and you can easily follow such an exciting path by checking what the band is up to on Facebook, by streaming their unique creations on Spotify, and of course by purchasing their new EP from Bandcamp, from Season of Mist, or by clicking HERE. Thaw is a very complex and multi-layered EP, overflowing all types of emotions during its 20 minutes of music, and we can rest assured we’ll hear a lot more from Drudkh in the near future with another blast of excellence like what’s found in their striking new release.

Best moments of the album: Мить у вічності (A Moment in Eternity).

Worst moments of the album: None.

Released in 2026 Season of Mist: Underground Activists

Track listing
1. Пам’ять (Memory) 7:07
2. Десь, колись (Somewhere, Sometime) 5:51
3. Мить у вічності (A Moment in Eternity) 7:02

Band members
Thurios – vocals, guitars, keyboards
Roman Saenko – guitars, bass
Krechet – bass, keyboards
Vlad – drums, keyboards

Album Review – Kaasin / The Underworld (2026)

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The underworld is calling us all to the sound of the striking sophomore album by this unstoppable Hard Rock machine from Norway.

Widely respected for his collaborations with internationally renowned artists such as Glenn Hughes (Deep Purple) and Joe Lynn Turner (Rainbow), Norway-based guitarist Jo Henning Kaasin returns with his Hard Rock project Kaasin, alongside vocalist Jan Thore Grefstad (Saint Deamon, TNT), bassist Ståle Kaasin (Humbucker, 2020Vision), keyboardist Erling Henanger (Magic Pie, Holter) and drummer Per-Morten Bergseth (Jorn, Wig Wam, Course of Fate, Holter), offering us all a new studio album titled The Underworld, the follow-up to their 2021 debut Fired Up. Produced and recorded by Halvor Halvorsen, Jo Henning Kaasin and Ståle Kaasin, mixed by Halvor Halvorsen, and with artwork by Stan W. Decker, the album marks a new chapter for these Norwegian Hard Rock warriors, presenting a darker and more atmospheric sound while remaining firmly rooted in classic Hard Rock traditions built on strong melodies and solid musicianship.

It’s pedal to the metal in the striking Hard Rock feast entitled The Real World, with the melodic vocals by Jan bringing even more electricity to their music, also boosted by Erling’s stylish keys; and the rockin’ guitars by Jo and the rumbling bass by Ståle set the tone in Two Hearts, a mid-tempo Hard Rock song where Jan once again steals the show with his passionate vocals. We Speed at Night reminds me of some old school creations by the mighty Running Wild mixed with classic Hard Rock from the Sunset Strip, and the final result is obviously awesome; followed by Iron Horse, another solid rockin’ tune by those talented Norwegians, with its more delicate moments clashing in great fashion with the powerful vocals by Jan.

There’s still a lot more fuel to burn in The Underworld, starting with Invisible, offering pure Hard Rock and AOR magic blasted by the band, led by Per-Morten’s classic drums, while in Over the Mountain they add hints of Blues Rock to their core sonority. Moreover, Jo and Ståle are in total sync from start to finish, with Jo’s guitar solo sounding fantastic. Arabian Night is definitely inspired by the music by Deep Purple while keeping Kaasin’s own essence intact, with their guitars and keys exhaling epicness, and after the atmospheric interlude The Descent of Souls we face the title-track The Underworld, a Rock N’ Roll steamroller led by Jo’s sharp riffage and Per-Morten’s nonstop beats and fills while Jan keeps delivering his striking vocals until the very end.

The foundation of Kaasin was laid with a clear ambition to create contemporary Hard Rock with a classic spirit and a strong sense of identity, and both Fired Up and The Underworld bring forward exactly that sound and feeling for our absolute delight. The Underworld will certainly help the band go places and reach new heights, and if you want to join their Rock N’ Roll rocket ship you can follow the band on Facebook, staying up to date with their news and live performances, stream their rockin’ tunes on any platform like Spotify, and grab a copy of their incendiary new album from Pride & Joy Music. Having said all that, can you hear the underworld calling us all to the sound of the new album by the mighty Kaasin?

Best moments of the album: The Real World, We Speed at Night and The Underworld.

Worst moments of the album: The Descent of Souls.

Released in 2026 Pride & Joy Music

Track listing
1. The Real World 4:20
2. Two Hearts 3:43
3. We Speed at Night 4:20
4. Iron Horse 5:34
5. Invisible 5:17
6. Over the Mountain 4:57
7. Arabian Night 4:54
8. The Descent of Souls 1:36
9. The Underworld 3:52

Band members
Jan Thore Grefstad – vocals
Jo Henning Kaasin – guitar
Ståle Kaasin – bass
Erling Henanger – keyboards
Per-Morten Bergseth – drums