Category Archives: Album Reviews

Album Review – Disembodiment / Spiral Crypts (2025)

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This Canadian Death Metal quartet is finally storming back into the scene with their debut full album, digging you deep into the most gruesome slasher experience your deviated mind has ever experienced.

Sherbrooke, Quebec’s own Death Metal quartet Disembodiment is finally storming back into the most rancid and filthiest Death Metal scene with their debut full album Spiral Crypts, four years after their acclaimed EP Mutated Chaos, and it was definitely worth the wait. Recorded at the band’s own rehearsal space (vocals and guitars) and at Studio C (bass, drums and additional guitar tracks), mixed by the band’s own guitarist Christian, mastered by Carlo Altobelli at Toxic Basement, with a gory, sinister cover art by Slimeweaver (with additional artworks by draught__, and logo by the band’s drummer Eric), Spiral Crypts digs you deep into the worst and most gruesome slasher experience your deviated mind has ever experienced, all carefully brought into being by all four members of Canadian Death Metal band Oath Div. 666, those being Mathieu on vocals, Christian on the guitars, Carl on bass, and Eric on drums.

Like the soundtrack to a gory horror movie, the band will spread their metallic virus in Morbid Infestation, with Mathieu vomiting the song’s demented words accompanied by the caustic Death Metal riffs by Christian, followed by Stygian Overture, offering us all classic and gruesome Death Metal spearheaded by Eric’s unrelenting beats and fills, also presenting hints of Doom Metal to make things even more obscure. The title-track Spiral Crypts brings to our avid ears another round of heavy and visceral sounds by the band, with Christian’s riffage sounding truly vile; and Disembodiment then blasts a shorter Death Metal tune titled Putrification, with its three minutes bringing forward absolutely intense, unstoppable and thrilling violence.

Then a beyond cryptic, disturbing start gradually evolves into a massive wall of Death Metal thunder in Larval, slower than its predecessors yet just as pulverizing and grim, with Eric smashing his drums supported by Carl’s Stygian bass. Mathieu takes the lead once again with his deranged guttural in Infected To Rot, again delivering sheer insanity, with the low-tuned bass by Carl sending shivers down our spines; followed by Unknown Origins, two minutes of obscure, demonic sounds brought into being by those Canadian death metallers, before Sentient Inorganic Mess ends the album on a high note with the vile growls by Mathieu matching perfectly with Christian’s ruthless riffage.

In a nutshell, fans of the putrid, violent music blasted by some of the biggest names of the global Death Metal scene the likes of Incantation, Corpus Offal, Undergang, and Rottrevore will certainly enjoy what Disembodiment have to offer in Spiral Crypts, which is by the way available for purchase on BandCamp or via mailorder. You can also check what the band is up to on Facebook and on Instagram, including their ruthless live concerts, and stream their wicked creations on Spotify or any other streaming service. Because life is most definitely not made of rainbows, unicorns and butterflies; quite the contrary, it’s a downward spiral filled with gore, violence and hatred, and the music by Disembodiment is perfect for opening your eyes to that harsh reality.

Best moments of the album: Stygian Overture, Putrification and Infected To Rot.

Worst moments of the album: None.

Released in 2025 Everlasting Spew Records

Track listing
1. Morbid Infestation 6:04
2. Stygian Overture 5:04
3. Spiral Crypts 4:26
4. Putrification 3:02
5. Larval 4:44
6. Infected To Rot 3:45
7. Unknown Origins 1:52
8. Sentient Inorganic Mess 3:57

Band members
Mathieu – vocals
Christian – guitars, backing  vocals
Carl – bass, backing  vocals
Eric – drums

Guest musician
Frank Z. – intro on “Morbid Infestation”

Album Review – Ancient Torment / Follow the Echo of Curses (2025)

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The leading torchbearer of New England’s Black Metal will attack armed with their debut offering, an immersive, introspective journey through the shadows of abysmal suffering and mysteries of death’s embrace.

From the coastal reaches of New England, Rhode Island-based Ancient Torment emerged in 2016 as a leading torchbearer in the region’s Black Metal underground. Now, nearly a decade after their inception, the band formed of Stygal on vocals, Tormentum and Apparition on the guitars, Czarnobóg on bass, and Zealot on drums is prepared to unleash their first full-length, aptly titled Follow the Echo of Curses. Recorded at Distorted Forest Studio, mixed by Josh Welshman at Flux Studios NYC, mastered by Dan Lowndes at Resonance Sound Studio, and displaying a Stygian artwork by David Thiérrée, the band’s debut album is an immersive, introspective journey through the shadows of abysmal suffering and mysteries of death’s embrace, always taking influence from the gloomy darkness of the Finnish scene and triumphant misery of their Québécois neighbors to the north.

The band will destroy your senses right from the very first second in Hanging from a Dead Star, with Stygal already roaring like a beast for the delight of admirers of the darkest side of music while their riffage sounds absolutely sulfurous. Zealot shows no mercy for our putrid bodies in Spectre at the Crossroads, smashing us like insignificant insects while Czarnobóg sounds like an animal pounding his bass nonstop; whereas bringing sheer doom to our blackened minds it’s time for Sorrow Verses, with Tormentum and apparition firing their most obscure riffs of the whole album. In Dejected Dreams Molested in Purgatory, the music certainly lives up to the song’s poetic name, a Black Metal aria exhaling rage and darkness with Zealot once again making the earth tremble with his drums, followed by Under the Guise of Virtue, another long and detailed black mass by Ancient Torment where the demonic screeches by Stygal will send shivers down your spine while the music remains violent, deranged and thrilling until the very end. And finally, let’s open the gates of the underworld to the sound of the nine-minute aria Rotting Temperament, with their Black Metal magic flowing majestically to the scathing riffage by Tormentum and Apparition.

Within a duration of 42 minutes, Follow the Echo of Curses is a testament to the mysteries of true death worship, driven by nuanced aggression and drenched in cold melodies, covering themes that span the swirling depths of depravity, suffering, and infernal release. In other words, Ancient Torment have at last arrived to reclaim bloodied ground, and you can join their dark army by following the band on Facebook and on Instagram, by streaming their wicked music on Spotify, and of course by putting your damned hands on such a sulfurous album on BandCamp. Ancient Torment offer pure, unfiltered Black Metal in their debut offering, mastering the craft of the dark arts while remaining loyal to the foundations of the style, resulting in a must-listen for any worshiper of the darkest side of music.

Best moments of the album: Hanging from a Dead Star and Under the Guise of Virtue.

Worst moments of the album: None.

Released in 2025 Eternal Death

Track listing
1. Hanging from a Dead Star 6:44
2. Spectre at the Crossroads 5:47
3. Sorrow Verses 7:04
4. Dejected Dreams Molested in Purgatory 5:08
5. Under the Guise of Virtue 7:31
6. Rotting Temperament 9:00

Band members
Stygal – vocals
Tormentum – guitar
Apparition – guitar
Czarnobóg – bass
Zealot – drums

Album Review – Symphobia / Hideously Traumatic (2025)

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This Indonesian three-headed beast will crush us like insignificant insects to the sound of their debut album, an imposing invocation of purposeful destruction.

Formed in 2024 in Pare, a town and district in the Kediri regency within the province of East Java, Indonesia, the ruthless, demented Brutal Death Metal three-headed beast Symphobia is ready to unleash hell armed with their debut opus, entitled Hideously Traumatic. Featuring a coalition of members from Demented Heart, Perveration, and Orbital Element, those being Jossi Bima on vocals, Dodik Bhre on the guitar, and Humam Aliy on drums, Symphobia will crush us like insignificant insects to the sound of their new album, an imposing invocation of purposeful destruction with devastating blast beats, a tormenting riff attack and gore-choked vocals, all boosted by the striking mixing and mastering by Tonebetter Soundlab (Vox Mortis, Nattmaran, Murtad) for a scathing, scalding sound and adorned in the eye-impaling artwork of Timbul Cahyono of BvllArt (Massacre, Nocturnus A.D., Witchburner), resulting in a sonic killing machine devoted to the destruction of every living thing.

There are only two words I can say about the opening song Hecatomb, and they’re “HOLY SHIT!”, what a fulminating tune where Jossi gnarls like a demonic pig; and Humam is definitely NOT human behind his drums in Monstrously, blasting our faces rabidly while Dodik slashes his axe in the name of savagery. Heinous is another explosion of vomiting guttural vocals, demented drums and vicious riffs by the trio, showing no peace at all, just violence and hatred, whereas Jossi’s high-pitched screeches couldn’t have sounded more demented in Spurted, or in other words, it’s simply BREEEEEEEEEEEEEE! And Deceased presents an overdose of the most demonic, vile and grotesque form of Brutal Death Metal made in Indonesia, sounding devastating form start to finish.

Jossi’s pig-like guttural will disturb your inner peace in Scattered, accompanied by another infernal performance by Humam on drums; whereas their ruthless Brutal Death Metal attack goes on in full force in Convulsively, where the Cannibal Corpse-inspired riffage by Dodik sounds absolutely awesome. It’s pedal to the metal in the beyond devastating Incessant, a song that could easily be used as the perfect depiction of the most extreme form of heavy music found in Indonesia, followed by Abominable, and a name like that demanded total chaos, violence and gore, which is exactly what the trio has to offer us in this hellish “lullaby”. Last but definitely not least, Humam will pulverize our putrid, frail bodies in Inebriated, while Jossi continues to vomit and bark the song’s unfriendly “words” (or whatever language that is).

Definitely leaving lasting scars upon your mind, Hideously Traumatic is a one listening experience that you are never going to recover from, being therefore highly recommended for fans of Cannibal Corpse, Suffocation, Immolation, and Kill Everything, just to name a few. Needless to say, you can get in touch with those torchbearers of violence and gore via Facebook or Instagram, stream their music on Spotify, and of course purchase the album from Comatose Music’s BandCamp or webstore, but be warned that their new album is not your average extreme music release; it’s indeed hideously traumatic.

Best moments of the album: Monstrously, Spurted and Incessant.

Worst moments of the album: The fact there isn’t a bassist in the band makes their sound feel a little bit thinner than what it could be.

Released in 2025 Comatose Music

Track listing
1. Hecatomb 2:43
2. Monstrously 2:41
3. Heinous 2:43
4. Spurted 2:52
5. Deceased 2:44
6. Scattered 2:40
7. Convulsively 2:31
8. Incessant 2:25
9. Abominable 2:41
10. Inebriated 3:34

Band members
Jossi Bima – vocals
Dodik Bhre – guitar
Humam Aliy – drums

Album Review – Necht / The Inevitable Suffering EP (2025)

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This mysterious Symphonic Black/Death Metal cult returns with a scorching new EP presenting five “sermons” conjuring both the epic power of a cosmic battle and the grim reality of its earthly implications.

Following on quickly from their 2024 debut album The Prophecy of Karnifor, the mysterious Calgary, Alberta-based Symphonic Black/Death Metal cult Necht returns with a brand new EP, entitled The Inevitable Suffering. Operating jointly from the frozen wastelands of Canada and the damp gloom of Northern Ireland, the cult formed of Zenith Maharg on vocals, Ascendant Zhargor on the guitars, Ascendant демон on bass, and Ascendant Vlasfimos on drums presents in The Inevitable Suffering five “sermons” of Atmospheric Black Metal conjuring both the epic power of a cosmic battle and the grim reality of its earthly implications, each based on the myths and history of the Enkari – the early civilization from which the cult arose – as told in the controversial Enkari-B’ahn Scolls.

Like a creature arising from the underworld, the imposing, epic intro Over Ten Thousand Spears, B’ahn Rises Red kicks off Necht’s black mass before we face The Night That Knows No Dawn, starting in a cinematic manner and quickly exploding into the band’s trademark darkness led by the demented drumming by Ascendant Vlasfimos and the haunting gnarls by Zenith Maharg. Dread Is the Consort of the Dark is another harsh and infuriated display of Symphonic and Melodic Black Metal spearheaded by the Stygian riffage by Ascendant Zhargor, sounding perfect for a ceremonial black mass; and the visceral guitar lines by Ascendant Zhargor are boosted by the rumbling bass and drums by Ascendant демон and Ascendant Vlasfimos in As Oars Through Blood, offering Zenith Maharg exactly what he needs to darkly declaims the song’s impious words, morphing into the phantasmagorical outro …and so Across the Bloody Lake We Did Sail in Silence, putting a beyond obscure ending to one more successful gathering of the cult of the sun.

Such an amazing cult from the underground nailed it once again with The Inevitable Suffering, which is available for purchase from BandCamp or by clicking HERE, and for streaming on Spotify, and you can always join Necht and worship the sun together with them by following the cult on Facebook and on Instagram. “The Cult believed themselves to be spiritually bound to their sun-god, B’ahn, who was locked in a ceaseless battle for survival against His all-powerful mother, the Dragon Karnifor, as She sought to swallow Him and the world. The souls of dead Cultists could rise to join B’ahn in His struggle on the cosmic plains – and thus hold the Dragon back for just a little longer – but only if those Cultists died in battle. Thus, to the Cult, the only means to prevent the Apocalypse of the Dragon was, ironically, to prosecute an endless war on earth, which of course resulted in great misery for their people,” explained Zenith Maharg, leader of the Temple. “Thus, The Inevitable Suffering – for the Cult believed the suffering of war was fundamentally to be embraced as the only means of saving humanity.”

Best moments of the album: The Night That Knows No Dawn and Dread Is the Consort of the Dark.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Over Ten Thousand Spears, B’ahn Rises Red 2:04
2. The Night That Knows No Dawn 6:08
3. Dread Is the Consort of the Dark 6:12
4. As Oars Through Blood 4:18
5. …and so Across the Bloody Lake We Did Sail in Silence 1:18

Band members
Zenith Maharg – vocals
Ascendant Zhargor – guitars, choir
Ascendant демон – bass, choir
Ascendant Vlasfimos – drums

Album Review – Mass Deception / Resurrections (2025)

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The final chapter of the trilogy by this ruthless Dutch Thrash Metal outfit offers a powerhouse fusion of NWOBHM, Heavy, and Thrash Metal, packed with technical precision and explosive songwriting.

Founded in 2015 in The Netherlands with a bold vision to craft a trilogy of albums, Thrash Metal brigade Mass Deception laid the foundation with Revelations (2016) and Redemptions (2019), followed by the EP Halls of Amenti (2022). Now, with Resurrections, the final chapter arrives and it’s heavier, sharper, and more energized than ever before. Produced by Mass Deception and Jörg Uken, mixed and mastered by the same Jörg Uken at Soundlodge Studios, and displaying a sinister cover art by the band’s own guitarist Bänziger, the new album by Klaus on vocals, Waltmans and Bänziger on the guitars, Van Den Beuken on bass, and Sanders on drums is a powerhouse fusion of NWOBHM, Heavy, and Thrash Metal, packed with technical precision and explosive songwriting, drawing influence from genre-defining acts such as Flotsam and Jetsam, Meliah Rage, Laaz Rockit, Nocturnus, Testament, King Diamond and Judas Priest, all while forging a sound distinctly their own.

Rev up your engines as it’s total anarchy and violence in Gain of Function, a fun thrashing feast perfect for banging our heads like there’s no tomorrow, followed by Selling Souls! Buying Lies!, exhaling pure Thrash Metal from the Anthrax-inspired riffs by Waltmans and Bänziger while Klaus declaims the song’s acid lyrics in great fashion. Then after two hard hitting songs in a row, the band offers a more introspective mid-tempo tune titled Menticide, led by the intricate drumming by Sanders, followed by the futuristic interlude Metropolis, before the band attacks once again with 1984, putting the pedal to the metal with their infuriated riffs and classic Thrash Metal beats and fills. And The Road to Hell leads to Rome carries one of the most poetic names out there, offering more of the razor sharp riffs by the band’s guitar duo for our total delight.

Then we face another heavy interlude, entitled Saturn, setting the stage for the band to kick some ass in Ruins of Dominion, where the thunderous bass by Van Den Beuken transpires our good old Thrash Metal. Blue Flame of Anger is another explosion of thrashing madness led by the striking beats and fills by Sanders, putting us all to slam into the mosh pit manically, whereas Passenger of Time and V are two instrumental pieces that despite not being bad tunes, they end up taking away some of the album’s punch. On the other hand, Dark Matter brings back their fury and rage, with Sanders sounding demented behind his drums while his bandmates make sure the circle pit doesn’t stop moving as fast as possible. We’re then treated to the “calm before the storm” in the form of the semi acoustic Druids Descendants, warming us up for Reveal, Redeem & Resurrect, where Klaus takes the lead with his harsh storytelling vocals supported by the crushing drums by Sanders and the always striking riffage by Waltmans and Bänziger.

For the purists, there’s no AI, no MIDI drum computers, no shortcuts in Resurrections. Just raw, honest, and thunderous Heavy Metal, and you can experience all that and get to know more about Mass Deception by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their incendiary creations on Spotify, and of course by purchasing a copy of Resurrections from the Gruesome Records’ BandCamp. As aforementioned, Mass Deception are sounding tighter and more ruthless than ever in their new album, putting a beyond striking and climatic conclusion to their killer trilogy for the delight of all fans of our good old Thrash Metal.

Best moments of the album: Selling Souls! Buying Lies!, Ruins of Dominion, Blue Flame of Anger and Dark Matter.

Worst moments of the album: Passenger of Time and V.

Released in 2025 Gruesome Records

Track listing
1. Gain of Function 2:41
2. Selling Souls! Buying Lies! 2:33
3. Menticide 4:00
4. Metropolis 1:15
5. 1984 4:37
6. The Road to Hell leads to Rome 4:13
7. Saturn 2:05
8. Ruins of Dominion 2:56
9. Blue Flame of Anger 4:32
10. Passenger of Time 1:48
11. V 1:46
12. Dark Matter 3:21
13. Druids Descendants 3:03
14. Reveal, Redeem & Resurrect 6:36

Band members
Klaus – vocals
Waltmans – guitars
Bänziger – guitars
Van Den Beuken – bass
Sanders – drums

Album Review – Verdalack / Force from the Grave (2025)

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Tokyo, Japan’s own Speed Metal Forces are on the attack to the sound of their debut album, ready to take over the underground with violence and force.

Hailing from the always exciting city of Tokyo, Japan, Speed Metal warriors Verdalack are ready to take over the underground with violence and force armed with their debut full-length opus, entitled Force From the Grave, the follow-up to their 2022 demo Rites of Hell. Comprising eight hard-charging songs across a fun and frantic half-hour, Force From the Grave approximates its namesake through a laser-focused mindset and soundfield, with influences ranging from mid 80’s Speed Metal, ancient American Power Metal, and classic Japanese Hardcore-Punk, all masterfully crafted by the “Five Japanese V’s of the Apocalypse,” those being Villain on vocals, Vandal and Vortex on the guitars, Void on bass, and Vigor on drums.

The album starts in full force with the frantic and electrifying Axehead, where the band’s ruthless guitar duo fires some amazing Heavy Metal-infused thrashing riffs, and get ready for total war inside the pit to the sound of Heretic Flights, a fantastic hybrid of Thrash and Speed Metal with Villian’s vocals being flawlessly supported by the hammering beats by Vigor. In Desecrater the name of the song says it all, an avalanche of demented riffs and blast beats in the best 80’s Thrash Metal style, whereas Villain shows no mercy for our souls with his deranged vociferations in Blood Eagle, while Vandal and Vortex extract sheer adrenaline form their axes, resulting in the perfect soundtrack for slamming into the circle pit.

There’s still a lot more of the undisputed Speed Metal by Verdalack in the album, starting with Final Assault, where Vigor accelerates the song’s pace considerably, inviting us all to slam like true headbanging bastards. Then we face the title-track Force from the Grave, starting with melodious, piercing guitars by Vandal and Vortex before all hell breaks loose in the name of speed and aggression. Into the Flames offers our putrid ears another overdose of thrashing sounds in less than three minutes, with their early Megadeth approach working really well thanks to the unstoppable beats by Vigor; and the album ends with the absolutely mental Speed Metal tune Rites of Hell, leaving us all disoriented and absolutely satisfied with the band’s fast and furious feast of thrashing sounds.

Classics-minded but exuding an authentically fresh approach, Force From the Grave will throttle maniacs of Jag Panzer to Japan’s Bastard, Exciter to GISM, and Piledriver to Deathside. Put differently, the Tokyo Speed Metal Forces are on the attack, and you can fight side by side with Verdalack in the battlefield by following them on Instagram, staying up to date with their news, tour dates and other nice-to-know details about the band, and above all that, by purchasing their frantic, no shenanigans new album from BandCamp or from the Hells Headbangers’ webstore. Verdalack are undoubtedly making a name for themselves in the beyond exciting Japanese underground, with Force from the Grave representing just the first (and awesome) step in their promising journey.

Best moments of the album: Heretic Flights, Into the Flames and Rites of Hell.

Worst moments of the album: None.

Released in 2025 Hells Headbangers

Track listing
1. Axehead 3:36
2. Heretic Flights 3:09
3. Desecrater 3:19
4. Blood Eagle 3:58
5. Final Assault 4:21
6. Force from the Grave 4:48
7. Into the Flames 2:57
8. Rites of Hell 3:24

Band members
Villain – vocals
Vandal – guitars
Vortex – guitars
Void – bass
Vigor – drums

Album Review – Phobetor / A Solitary Vigil EP (2025)

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UK’s own acolytes of the very darkest Blackened Death Metal are back after four years with a brand new EP, a work of rare mystery and malevolence.

In Ovid’s Metamorphoses, Phobetor (‘Frightener’), so called by men, or Icelos (‘Like’), so called by the gods, is one of the thousand sons of Somnus (‘Sleep’). He appeared in dreams “in the form of beast or bird or the long serpent”. In heavy music, Phobetor are a London, UK-based Blackened Death Metal band who has been around since 2018, having already released the 2019 EP Burning Memories and their full-length albums When Life Falls Silent (2020) and Through Deepest Fears and Darkest Minds (2021). Now in 2025, the band formed of vocalist Debora Conserva, guitarists Ross White and Ben Ash, bassist Dredgewood, and drummer Marc Dyos is unleashing a new EP, titled A Solitary Vigil, a work of rare mystery and malevolence. Mixed by Ollie Roberts at Kettle Brew Studios, mastered by Lawrence Mackrory at Rory Sound Studios, and displaying a haunting artwork by Ghost Kid and photography by Scott Chalmers, the EP simply leads us deeper into the darkness than ever before.

The piercing riffs by Ross and Ben ignite the band’s detailed, visceral and grim feast of Black and Death Metal titled A Solitary Vigil, while Debora offers our putrid ears an overdose of sulfur and rage through her harsh vociferations, followed by Absence of Light, another bestial blast of Black Metal magic, with Marc smashing his drums in the name of pitch black darkness accompanied by the always thunderous bass by Dredgewood. Debora sounds like a demonic entity, roaring as a true she-demon in Black Fading Winter, while her bandmates fire the most caustic and evil form of Blackened Death Metal; whereas in The Vacant World Within Us we can say that such a poetic name deserved a no shenanigans sound, and that’s exactly what Phobetor bring forward with their infernal roars and demented blast beats. Last but not least, the razor-edged guitar riffs by Ross and Ben will penetrate deep inside your soul in Where Mournful Shadows Dwell, while Debora continues to hypnotize us with her devilish vocals until the very last second.

After all is said and done, you’ll quickly realize A Solitary Vigil is more than just the new EP by these acolytes of the very darkest Blackened Death Metal; as you peer into its impenetrable blackness, an obsidian mirror, it disgorges all the terrors you had forgotten were real, the dream monsters that hide in the deepest recesses of your mind, resulting in an onslaught of blackened death and mind-rending fear highly recommended for fans of Behemoth, Immolation, Belphegor, and Dark Funeral. Hence, don’t forget to join Phobetor in absolute darkness by following them on Facebook and on Instagram, by streaming their sulfurous creations on Spotify, and of course by purchasing A Solitary Vigil from BandCamp or Big Cartel. Phobetor are back from the netherworld sounding darker and more sinister than ever, and I bet you’ll succumb to their obscure powers once you begin your descent into madness to the sound of their Stygian new offering.

Best moments of the album: A Solitary Vigil and Black Fading Winter.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. A Solitary Vigil 3:54
2. Absence of Light 5:02
3. Black Fading Winter 2:58
4. The Vacant World Within Us 4:08
5. Where Mournful Shadows Dwell 4:41

Band members
Debora Conserva – vocals
Ross White – guitar
Ben Ash – guitar
Dredgewood – bass
Marc Dyos – drums

Album Review – Haxprocess / Beyond What Eyes Can See (2025)

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Playing incredibly heavy Death Metal music, this American group will attack with their sophomore album, sounding relentless in its barrage of gargantuan otherworldly riffs.

Playing incredibly heavy Death Metal music, leaden, thick and dark, while also somehow attempting to go progressive wielding that sound, like Morbid Angel covering The Chasm songs under the influence of Blood Incantation, Jacksonville, Florida-based Progressive Thrash/Death Metal brigade Haxprocess in unleashing upon humanity their sophomore beast, entitled Beyond What Eyes Can See, following up on their critically acclaimed 2023 debut The Caverns of Duat. Displaying another sick artwork by Juanjo Castellano (Ritual Fog, Typhonian), the new album by Lothar Mallea on vocals and guitar, Shane Williamson also on the guitar, Davis Leader on bass, and Adam Robinson on drums once again brings to our avid ears an overdose of epic songs averaging 10 minutes, sounding relentless in its barrage of gargantuan otherworldly riffs, what with the ever-changing patterns and combinations, albeit delivered in a comfortable pace so that everything can be registered for posterity, being therefore recommended for fans of Morbid Angel, Blood Incantation, The Chasm, Immolation, Opeth, Atvm, Atheist, Felgrave, and Typhonian, just to name a few.

Just like in their debut offering, the album begins in an atmospheric manner with the ethereal 11-minute beast titled Where Even Stars Die, with the deep, visceral growls and the slashing riffage by Lothar, alongside Shane also on the guitar, turning it into a must-listen song for admirers of Progressive Death Metal. The Confines of the Flesh is yet another complex, multi-layered and incandescent composition by the quartet, with Adam taking the lead with his intricate beats and fills while also presenting the raw and gory sounds of classic Death Metal the likes of Morbid Angel and Cannibal Corpse; and the band continues to embrace us in darkness and insanity with Thy Inner Demon Seed, with Davis firing absolutely mental bass lines while Adam keeps pounding his drums nonstop, all of course spiced up by another vile vocal performance by Lothar. Finally, after a beyond technical and melodic start we’re treated to an overdose of progressiveness and demented sounds in Sepulchral Void, with Lothar and Shane sounding brilliant armed with their axes, offering our avid ears several breaks, variations and tempo changes. In other words, it’s hard to describe the whole song in words due to its endless layers, an amalgamation of styles rooted in first-class Progressive Death Metal.

In summary, Beyond What Eyes Can See is an album that can withstand endless listens, offer everything a Death Metal fan would want, and yet do so much more than an average album would because of their constantly evolving music that manages to remain engrossing as well. Hence, don’t forget to give the band a shout on Facebook and on Instagram, stream their music on Spotify, and of course purchase such a multi-layered, captivating album from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Beyond What Eyes Can See is as epic as a Death Metal album can possibly get without letting go of any of the heaviness that’s an inherent part of the band’s sound, and if you think you have what it takes to face this metallic voyage blasted by Haxprocess, simply hit play and you’ll definitely have an amazing time.

Best moments of the album: Where Even Stars Die and Sepulchral Void.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Where Even Stars Die 11:28
2. The Confines of the Flesh 9:28
3. Thy Inner Demon Seed 10:43
4. Sepulchral Void 13:12

Band members
Lothar Mallea – vocals, guitar
Shane Williamson – guitar
Davis Leader – bass
Adam Robinson – drums

Album Review – Dephosphorus / Planetoktonos (2025)

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Greek forward-thinking grinders return from outer space with their fifth album, a ferocious collection of nine cosmic, menacing tracks delivering a boundary-pushing sonic journey.

“Pessimism is an indulgence and despair is kind of an insult to the imagination.” – Wade Davis 

Exploring science fiction and cosmology through cosmic aesthetics and a wide range of heavy, extreme music since their inception back in 2008, even dubbing their style as “Astrogrind”, Athens, Greece-based Death/Black Metal/Grindcore outfit Dephosphorus return with their fifth album, entitled Planetoktonos (a Greek word coined by the band, roughly translating to “Planetkiller”), following up on their 2020 opus Sublimation. Recorded and mixed by George Christoforidis at Ignite Music Studio, mastered by James Plotkin, displaying an intergalactic artwork by Jon Toussas of Graphic No Jutsu, and featuring guest musician Miltos Schimatariotis on all electronics (recorded at Northside Studio), the new offering by Panos Agoros on vocals, Thanos Mantas on the guitars, e-bow and chants, Kostas Ragiadakos on bass, and John Votsis on drums delivers a boundary-pushing sonic journey, sparking the imagination and inviting listeners to explore new dimensions of thought and sound.

The caustic riffs by Thanos and the pounding drums by John will transport us to another dimension in Living in a Metastable Universe, blending the innovation of Mastodon with the heaviness and insanity by Blood Incantation; and Thanos keeps embellishing the airwaves with his wicked e-bow in Hunting for Dyson Spheres, while Panos gnarls like a creature from an uncanny world, flowing into the also demented Pale Veins, offering a well-balanced, thrilling fusion of the harsher sounds of Black and Death Metal with Sludge Metal and more modern and experimental sounds, led by the incendiary drumming by John. Then the quartet shows no mercy for our souls in After the Holocaust, hammering our cranial skulls with more of their intergalactic heavy sounds.

Just when you think they couldn’t sound more infuriated or insane, they offer our avid ears the frantic and chaotic The Triumph of Science and Reason, with Panos roaring nonstop supported by the ruthless bass by Kostas, and those Greek bastards will attack our senses with two intense minutes in The Kinetics of a Superintelligence Explosion, with Thanos delivering his most Death Metal riffs of the whole album. The title-track Planetoktonos brings forward the band’s core sonic madness where Kostas and John will make the galaxy tremble armed with their infernal kitchen, and there’s still a lot of fuel to burn in Calculating Infinity, offering more of their demented vocal lines, thunderous, rumbling bass and intricate beats. Lastly, their voyage through the realms of progressive, avantgarde and experimental heavy music ends with Eternal Bloom, where Panos delivers his trademark vociferations supported by the austere riffage by Thanos.

Those Greek forward-thinking grinders once again aim to expand their listeners’ consciousness with Planetoktonos (dedicated to Swiss musician Didier Séverin, of bands like Knut and Strommorts, who sadly passed away in 2022), fostering a vision of a sustainable future where humanity not only survives but thrives in harmony with its biosphere, and even with AI. Drawing lyrical inspiration from The Expanse novel series by James S.A. Corey and from Superintelligence: Paths Dangers Strategies by Nick Bostrom, Planetoktonos is a ferocious collection of nine cosmic, menacing tracks that pay tribute to the energy and dynamics of trailblazing acts such as Anodyne, Nasum, Playing Enemy, Breach, Knut, Leviathan and Bolt Thrower, and you can join the band in their cosmic adventure by following them on Facebook and on Instagram, by streaming their excellent discography on Spotify, and by purchasing Planetoktonos from BandCamp, from 7Degrees Records, from Nerve Altar, or from Selfmadegod Records, or click HERE for all things Dephosphorus. End of transmission.

Best moments of the album: Living in a Metastable Universe, Pale Veins and The Triumph of Science and Reason.

Worst moments of the album: None.

Released in 2025 7Degrees Records/Nerve Altar/Selfmadegod Records

Track listing
1. Living in a Metastable Universe 3:05
2. Hunting for Dyson Spheres 4:20
3. Pale Veins 3:07
4. After the Holocaust 2:33
5. The Triumph of Science and Reason 1:51
6. The Kinetics of a Superintelligence Explosion 2:09
7. Planetoktonos 3:00
8. Calculating Infinity 3:27
9. Eternal Bloom 4:26

Band members
Panos Agoros – vocals
Thanos Mantas – guitars, e-bow, chants
Kostas Ragiadakos – bass
John Votsis – drums

Guest musician
Miltos Schimatariotis – electronics

Album Review – Ba’al / The Fine Line Between Heaven And Here (2025)

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This amazing Blackened Post-Metal act from the UK strikes back with a dark new album, drawing on the band’s personal experiences, exploring themes of grief, depression, suicide, substance abuse and existential dread.

Forged in the fires of Sheffield, in South Yorkshire, England, Blackened Post-Metal creature Ba’al (a title and honorific meaning “lord” in the Northwest Semitic languages spoken in the Levant during antiquity, which came to be applied to gods from its use among people) is unleashing upon us their new album, titled The Fine Line Between Heaven And Here, a caustic fusion of Black, Sludge and Post-Metal recommended for fans of Crippled Black Phoenix, Harakiri For The Sky, Inter Arma, and Sgaile, among others. Recorded and mixed by Joe Clayton at No Studio and mastered by Brad Boatright at Audiosiege, the same team that brought such a richly textured darkness to the last Ba’al release, and adorned in the stunning artwork of True Spilt Milk Designs, the new album by Joe Stamps on vocals, Nick Gosling and Chris Mole on the guitars, Richard Spencer on bass, and Luke Rutter on drums draws on the band’s personal experiences, exploring themes of grief, depression, suicide, substance abuse and existential dread, invoking the intensely human struggles that are played out against this backdrop of disparate elements and in every other place our troubled species has carved out a home.

Mother’s Concrete Womb is simply dark and sinister from the very beginning, gradually morphing into a massive hybrid of the harshness of Melodic Black Metal with the finesse of Post-Black Metal, with the nonstop screams by Joe sounding truly devilish, smoothly flowing into Waxwork Gorgon, where the minimalist yet caustic guitars by Nick and Chris exhale darkness, not to mention all Doom Metal elements present in the music make it even heavier and more compelling. Floral Cairn brings forward more of their neck breaking, melodic and piercing sounds, with Luke showcasing tons of dexterity and power behind his drums, dictating the song’s pace flawlessly; and the band then captures our senses in a dark embrace with the 11-minute aria Well of Sorrows, with the riffage by Nick and Chris guiding the listener through the band’s unruly Post-Black Metal waters, sounding all very detailed, vibrant and doomed. The Ocean That Fills a Wound is even more introspective and enfolding, another lecture in Post-Black Metal where Joe declaims the song’s pensive words with tons of passion, alternating between atmospheric moments and crushing, anguished passages, whereas lastly it’s time for Legasov, bringing to our avid ears one final onrush of melodic yet harsh sounds, with their haunting vocals, sharp riffs and Doom Metal drums putting a phantasmagorical ending to the album.

The journey through the musical landscapes in The Fine Line Between Heaven And Here is a dark and exciting one, and I’m sure you’ll have an amazing time listening to it from start to finish. Ba’al are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and you can not only stream their music on Spotify, but also purchase their excellent new album from BandCamp, from Road to Masochist, or by clicking HERE, letting their blackened sounds penetrate deep inside your mind and soul while at the same time connecting their music with your own personal experiences and struggles, proving why modern-day Post-Metal is one of the most humane styles in heavy music and, therefore, allowing the musicians involved to open up their hearts to us fans with each of their amazing songs, just like what’s offered to us all in The Fine Line Between Heaven And Here.

Best moments of the album: Well of Sorrows and The Ocean That Fills a Wound.

Worst moments of the album: None.

Released in 2025 Road to Masochist

Track listing
1. Mother’s Concrete Womb 12:56
2. Waxwork Gorgon 8:41
3. Floral Cairn 7:46
4. Well of Sorrows 11:03
5. The Ocean That Fills a Wound 13:25
6. Legasov 8:18

Band members
Joe Stamps – vocals
Nick Gosling – guitar
Chris Mole – guitar
Richard Spencer – bass
Luke Rutter – drums