Category Archives: Album Reviews

Album Review – Dysgnostic / End Whispers (2026)

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

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

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

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

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

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

Worst moments of the album: The Shattered Timekeeper.

Released in 2026 Transcending Obscurity Records

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

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

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

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

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

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

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

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

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

Worst moments of the album: Slaughter to the Bones.

Released in 2026 Xtreem Music

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

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

Cassette only bonus track
12. Necrocannibal Polution 8:13

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

Album Review – Moonspell / Far from God (2026)

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2026 Napalm Records

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

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

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

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2026 Personal Records

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

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

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

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2026 Rottweiler Records

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

Band members
Jordan Varela – vocals, all instruments

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

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2026 Listenable Records

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

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

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

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

Album Review – Feralia / Ultima Requies (2026)

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Delving deeper into their singular vision of Black Metal, this Stygian entity returns with their third offering, inviting us all for our final rest.

Delving deeper into their singular vision of Black Metal, forging a work that resists easy categorization, the uncanny Italian and Swedish entity known as Feralia (named after public religious ceremonies of ancient Rome held in honor of the dead upon the last day of the Parentalia) attacks again with their third studio offering, titled Ultima Requies, a Latin phrase that translates to “the last rest,” following up on their 2022 opus Under Stige / Over Dianam. Showcasing a grim artwork depicting a reinterpretation of the necromantic ritual of Erichto, the Thessalian witch described in “De Bello Civili” by Lucan, while the band’s sound remains anchored in a sense of the sacred, drawing from arcane and occult dimensions tied to the archaic Roman world, the album is neither rooted in old school orthodoxy nor aligned with the polished tendencies of contemporary production. Instead, it stands as a raw and evocative offering, where abrasive textures and ritualistic atmospheres converge into something austere, immersive and profoundly spiritual, all masterfully crafted by Erymanthon Seth on vocals, guitars and synths, Raijinous on the guitars and synths, Krhura on bass, and Summum Algor on drums.

The visceral riffs by Erymanthon Seth and Raijinous transpire classic Black Metal right from the start in Ballata Avernale, while the same Erymanthon Seth vociferates rabidly like a creature form the underworld; whereas Ver Sacrum also starts on a harsh and violent mode, exploding into a modern version of Black Metal not recommended for the lighthearted. Then in the nine-minute aria Pharsalia, we face an ethereal intro that gradually evolves into another bestial sound led by Summum Algor’s demolishing beats and fills, supported by the menacing bass by Krhura, followed by Empireo, with again their background keys embellishing the airwaves in an instrumental tune that sounds like it was taken from an Italian horror movie, warming us up for the scorching Marpiter, where Erymanthon Seth roars and gnarls in anguish and hatred while Summum Algor keeps hammering his drums manically. After that we face Defigere, one of the most detailed, dynamic and diverse songs of the album, with its hints of Doom Metal and Dungeon Synth adding an extra touch of insanity ot their core Black Metal madness, all boosted by the razor-edged guitars by Erymanthon Seth and Raijinous; and lastly, we have a more direct Black Metal extravaganza titled Miasma, where all instruments are breathing fire until all fades into oblivion.

Following the path opened by their previous albums Helios Manifesto and Under Stige / Over Dianam, the band further refined their language in Ultima Requies, balancing raw intensity with a deeply contemplative undercurrent. The result is an album that feels both immediate and timeless, grounded in the physicality of Black Metal yet reaching toward something intangible and eternal, and if you want to know more about such an obscure band you can find them on Facebook and on Instagram, stream their music on Spotify, and of course purchase their scorching new album from their own BandCamp, as well as from ATMF’s BandCamp or from Metal Odissey. This is Black Metal at its most evocative, atmospheric and Stygian form, inviting you for your final rest to the sound of its venomous lullabies.

Best moments of the album: Ballata Avernale and Defigere.

Worst moments of the album: None.

Released in 2026 ATMF

Track listing
1. Ballata Avernale 8:01
2. Ver Sacrum 8:50
3. Pharsalia 9:22
4. Empireo 5:20
5. Marpiter 6:57
6. Defigere 8:47
7. Miasma 6:27

Band members
Erymanthon Seth – vocals, guitars, synths
Raijinous – guitars, dynths, backing vocals
Krhura – bass
Summum Algor – drums

Album Review – Temple ov Ahriman / Heretics of Consensual Reality (2026)

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Welcome to the Temple ov Ahriman, and enjoy the debut studio offering of raw, visceral Black Metal by this grim American entity.

Born in 2021 from the creative mind of vocalist and multi-instrumentalist Thornicator (of Triacanthos and Vesperian Sorrow) as the culmination of several years of intense songwriting activity, Austin, Texas-based Black Metal outfit Temple ov Ahriman is unleashing upon us mere mortals a caustic blend of raw, visceral Black Metal in the form of its debut opus, entitled Heretics of Consensual Reality. Mixed by Kfir Gov at Evil Snail Studios (who also played drums on the album), mastered by Jack Control at Enormous Door Mastering, and showcasing a grim artwork by Mitchell Nolte, the album combines elements of Second-Wave Black Metal, contemporary Finnish Black Metal, and D-Beat, resulting in a tour de force that is guaranteed to take the listener on a demonic journey. “It was a little Hell seeing this project through to completion,” Thornicator stated. “Several years, thousands of dollars, and three studios later, I finally have a master recording that I feel does the material justice. It was my unwavering belief in the material that pushed me to continue despite innumerable setbacks.”

As Stygian as it is melodic, War In Heaven, featuring guest vocals by Sekt of Brüka, showcases the rumbling drums by Kfir Gov while Thornicator delivers visceral riffs nonstop, followed by Wrath of Iblis, another fast and grim composition by Thornicator where his striking gnarls sound absolutely demonic. Then investing in a more cadenced sonority we face Infernal Imperium, with the classic drumming by Kfir Gov adding a touch of Black N’ Roll to their music; whereas in SPQB, featuring additional vocals by Misery, Val Rozar and Von Hammerblast of Brüka, we face a demolishing Black Metal attack where Thornicator sounds inhumane on vocals while also armed with his bloodthirsty axe.

The second half of the album begins with the mid-tempo Melodic Black Metal tune White Death, keeping the album at a high level of malignancy; and back to a more infuriated, darker sonority we have the title-track Heretics of Consensual Reality, with the demented screams by Thornicator transpiring Black Metal. Then get ready to be kissed by the Black Metal sounds exhaling from all instruments in Baphomet’s Kiss, a multi-layered, vile composition offering fans of the genre a very good reason to succumb to absolute darkness, before we’re treated to Beyond the Veils of Maya, another detailed song presenting several layers, nuances, cryptic passages and the always infernal vociferations by Thornicator to conclude the album majestically.

Clocking in at a little over 42 minutes, Heretics of Consensual Reality proves Temple ov Ahriman is poised to take the underground by storm. “Years ago, my other band was to record an album, but our studio time was delayed due to the Coronavirus outbreak. Never one to sit idle for too long, I took the opportunity to write music for a follow-up release. What followed was a prolific period unlike anything I’d experienced before or since, and it quickly became apparent that I perhaps had too much material for just one band to learn and record. With the encouragement of a few good friends, I eventually decided to start my own spin-off project and thus Temple ov Ahriman was born.” If you want to experience all the obscurity, heaviness and fury blasted by Thornicator and his Temple ov Ahriman, you can find the project on Facebook, Instagram and Spotify, and don’t forget to purchase Heretics of Consensual Reality from BandCamp or by clicking HERE. In other words, as the great Dark Funeral say, welcome to the Temple of Ahriman. The infernal torture chamber no one survives.

Best moments of the album: War In Heaven, SPQB and Baphomet’s Kiss.

Worst moments of the album: White Death.

Released in 2026 Independent

Track listing
1. War In Heaven 4:25
2. Wrath of Iblis 4:53
3. Infernal Imperium 3:50
4. SPQB 5:00
5. White Death 5:45
6. Heretics of Consensual Reality 5:51
7. Baphomet’s Kiss 6:10
8. Beyond the Veils of Maya 6:42

Band members
Thornicator – vocals, guitars, bass, keyboards

Guest musicians
Kfir Gov – drums (session)
Sekt – female vocals on “War In Heaven”
Misery, Val Rozar & Von Hammerblast – additional vocals on “SPQB”

Album Review – Forsmán / Brenndar Rústir & Fuðrandi Fjörur (2026)

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One of the most promising new names to emerge from the Icelandic Black Metal underground is unleashing their pulverizing debut opus, showcasing  intricate riffing, shifting dynamics, and a dense atmosphere.

One of the most promising new names to emerge from the Icelandic Black Metal underground, Kópavogur-based horde Forsmán (pronounced “fors-mown”) is ready to attack armed with their debut offering, entitled Brenndar Rústir & Fuðrandi Fjörur, which translates from Icelandic as “burnt ruins & flowing shores,” following up on their 2021 debut EP Dönsum í logans ljóma. Produced by D.G., mastered by Viktor Árni Veigarsson, and showcasing another hypnotizing artwork by the great Paolo Girardi, the debut full-length by V. on bass and vocals, O. on the guitar and vocals, H. also on the guitar, and M. on drums brings forward the band’s trademark intricate riffing, shifting dynamics, and a dense atmosphere, therefore give their own Black Metal sound a demanding, fully formed character.

Drottinn fyrirgefur allt, or “the lord forgives all,” showcases dissonant and grim sounds from the very beginning, with O. and H. attacking us all with their scorching axes, flowing like an arrow in pitch black darkness before we face Svartir svanir, or “black swans,” with the pure Black Metal blast beats by M. giving the song an even heavier vibe, boosted by the visceral screams by V. and O. Andvana, or “death,” one of the first singles released, offers us all mere mortals an avalanche of blackened sounds led by the enfolding yet harsh guitars by O. and H., a no shenanigans, in-your-face explosion of Icelandic Melodic Black Metal spearheaded by the always thunderous beats and fills by M., and the band then delivers four minutes of chaos and fire entitled Valdníðsla, or “power abuse,” where the demonic roars by V. and O. will drag us down to their infernal lair for all eternity.

Kynjamyndir, or “gender images,” is a more introspective, devilish Blackened Death Metal aria by the quartet where their guitars exhale sulfur and hatred, reminding me of some of the more recent songs by the mighty Behemoth, whereas Lof mér líf þitt að taka, or “promise me your life to take,” follows a similar pattern as its predecessor, also sounding ruthless and vile from start to finish, with O. and H. once again consuming our souls with their obscure riffage. Hræ hins almáttuga, or “the corpse of the almighty,” is also blasphemous and sulfurous, showcasing hints of Progressive and even Dissonant Black Metal added to their core sonority; while lastly, get ready for a descent into the underworld to the sound of Barmafylltar fjöldagrafir, or “busty mass graves,” with their demonic vocal lines being effectively complemented by the thunderous drums by M. until all fades into oblivion.

Standing in the line of modern Icelandic Black Metal associated with Svartidauði, Sinmara, and Misþyrming, combining a dense atmosphere with focused, forward-driving songwriting, Forsmán already appear less like followers than a new voice within it with the release of the breathtaking Brenndar Rústir & Fuðrandi Fjörur, paving a very exciting path ahead of those young black metallers. If you want to join them in their quest for extreme music, you can find the boys on Facebook, stream their caustic creations on Spotify, and put your bloodsoaked hands on Brenndar Rústir & Fuðrandi Fjörur via BandCamp, via Metal Blade Records, or by clicking HERE. Iceland is a haunting masterpiece of contrast, a beautiful, primordial purgatory where the earth is violently born and slowly frozen to death, and there’s nothing better than the scathing Black Metal forged by Forsmán in their debut album to turn that violent nature into beautifully scorching sounds.

Best moments of the album: Andvana, Valdníðsla and Barmafylltar fjöldagrafir.

Worst moments of the album: None.

Released in 2026 Metal Blade Records / Vesperian GmbH

Track listing
1. Drottinn fyrirgefur allt 5:20
2. Svartir svanir 6:53
3. Andvana 6:03
4. Valdníðsla 4:23
5. Kynjamyndir 3:31
6. Lof mér líf þitt að taka 3:53
7. Hræ hins almáttuga 6:44
8. Barmafylltar fjöldagrafir 7:34

Band members
V. – bass, vocals
O. – guitar, vocals
H. – guitar
M. – drums

Album Review – Zørza / Twilight of the Golden Star (2026)

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Behold the sophomore opus by this incredible Polish Post-Black Metal duo, centered around a world collapsing into an endless cold, waiting to be reborn under a new sun.

Centered around a world collapsing into an endless cold, waiting to be reborn under a new sun, Twilight of the Golden Star is the second full-length album by Grodzisk Wielkopolski, Poland-based Post-Black Metal duo Zørza (which translates to “northern lights” from Polish), following up on their critically acclaimed 2024 debut Hellven. Recorded by the project’s own guitarist Eryk Lange at Tetra Wave Studio and G. Traschwandtner at Seven String Studio, mixed and mastered by the same Eryk Lange, and displaying a stunning artwork by Igor Datkiewicz of WS Artworks, the new album by the aforementioned Eryk Lange alongside bassist and keyboardist Kacper Bartkowiak, also featuring guest musicians V. Wahntraum (aka Michael “J.J.” Kogler of Harakiri for the Sky and Karg) and Amorth on vocals, and Mateusz Wróbel on drums, positions atmospheric depth and cold, hopeless storytelling at the center of its identity, becoming a must-listen for admirers of the genre.

The album begins with the expansive, massive title-track Twilight of the Golden Star, transporting our souls to an ethereal world ruled by Zørza where Eryk and Kacper craft an enfolding sonority perfect for the infernal vociferations by Amorth and V. Wahntraum; flowing into the introspective My Wounds, which morphs into a beast of Black and Post-Metal spearheaded by the caustic riffs by Eryk, with their guest vocalists once again piercing our minds with their visceral screams. And Mateusz then revs up the band’s ruthless engine in Death III, offering more of their Stygian yet melodic and delicate sounds, not to mention how venomous the guitar lines by Eryk sound from start to finish.

Get ready for a hurricane of absolute Black Metal madness blasted by the band entitled Against Theocracy, where Mateusz proves why he was chosen by Eryk and Kacper to take care of their drum duties, all boosted by another infernal vocal performance by Amorth; and they keep filling out every single space in the air with their blackened sounds in Stormspell, offering our avid ears eight minutes of abyssal vocalizations, grim riffs and a complete sense of despair. Finally, after the atmospheric interlude Zorza III, where Kacper builds a suffocating and melancholic ambience not recommended for the lighthearted, we face the closing aria The Devil Wears Well, bringing forward more of the massive beats by Mateusz while Amorth growls rabidly nonstop for our total delight.

While listening to each and every track from the excellent Twilight of the Golden Star, you’ll certainly feel your soul being consumed by the bitterly cold and dark sounds crafted by such an amazing Polish duo with the support of a crew of just as incredible musicians, proving once again how beautiful, captivating and visceral European Post-Black Metal can be. If you want to know more about Eryk and Kacper, their music, tour dates and other nice-to-know details about the project, and provide them with your utmost support, you can find Zørza on Facebook and on Instagram, enjoy their unique creations on YouTube and on Spotify, and purchase Twilight of the Golden Star from the Godz ov War Productions’ BandCamp or webstore. Our world is falling apart, but that doesn’t mean it’s coming to an end. As Zørza masterfully tells in their new album, it’s just going to be born again.

Best moments of the album: Twilight of the Golden Star, Against Theocracy and Stormspell.

Worst moments of the album: None.

Released in 2026 Godz ov War Productions

Track listing
1. Twilight of the Golden Star 10:30
2. My Wounds 5:59
3. Death III 5:44
4. Against Theocracy 6:39
5. Stormspell 7:58
6. Zorza III 3:13
7. The Devil Wears Well 4:50

Band members
Eryk Lange – guitars
Kacper Bartkowiak – bass, keyboards, lyrics, backing vocals

Guest musicians
V. Wahntraum – vocals on “Twilight of the Golden Star” and “My Wounds”
Amorth – vocals on “Twilight of the Golden Star”, “My Wounds”, “Death III”, “Against Theocracy”, “Stormspell”  and “The Devil Wears Well”
Mateusz Wróbel – drums (session)