Category Archives: Album Reviews

Album Review – U Kronakh / Archaic Dance of the Winds (2025)

Posted on by
Reply

Playing a harmonious blend of Atmospheric Black and Death Metal since their inception, this Ukrainian creature returns with their incendiary third opus.

Playing a harmonious blend of Atmospheric Black and Death Metal since their inception in 2020, with lyrics predominantly dedicated to the raw mysticism of the Carpathian Mountains and events of ancient times, Chernivtsi and Lviv, Ukraine-based creature U Kronakh has just unleashed their third full-length offering, titled The Archaic Dance of Winds (or “Архаїчний Танець Вітрів” in their mother tongue), following up on their 2024 opus Night Devours Being (or “Ніч Поглинає Буття”). Mixed and mastered by Roman “Morvudd” Sapozhnikov, and once again featuring a grim artwork by Ksenia Vasylevska (aka Wintersomnia), the new album by Wormwood on vocals, Voidger on the guitars and bass, and Lycane on drums showcases more of the project’s experimentations with an array of styles, resulting in a unique blend that doesn’t follow any rules nor fit into any specific music genre, as the band believes creativity exists precisely for such freedom.

The melancholic guitar lines by Voidger kick off the nine-minute atmospheric tune titled Black Mountain, offering an overdose of Post-Black Metal sounds as part of their core Atmospheric Black and Death Metal. Then investing in a more direct Black Metal sound with Death Metal nuances we have The River Named Opir, with Wormwood’s harsh vociferations exhaling hatred and obscurity while Lycane hammers his drums with tons of energy and fury. Into Lightless, Uncharted Depths keeps the atmosphere dense and pensive while adding an extra touch of melody to their core Atmospheric Black Metal thanks to the striking riffs and solos by Voidger; and the trio sounds in total and absolute sync in Night Visions Fade, breathing fire and darkness through their sonic weapons, with the lancinating roars by Wormwood reeking of insanity. Lastly, it’s time to break our necks headbanging to the closing tune About Those Who Are Silent Now, with Voidger and Lycane building a Stygian ambience perfect for Wormwood’s devilish gnarls.

Fans of bands the likes of Ezkaton, Silvern, Harakiri For The Sky, Ellende, and Moonsorrow, among several others, will have an absolute blast listening to Archaic Dance of the Winds, another solid step forward in the dark and exciting path taken by U Kronakh in their short but extremely prolific career so far. The uncanny musicians behind U Kronakh are waiting for you armed with their atmospheric sounds on Facebook and on Instagram, and don’t forget to also stream their entire discography on Spotify (or any other streaming service), and above all that, to purchase Archaic Dance of the Winds from BandCamp, or click HERE for all things U Kronakh. Their music is just as mysterious and distinctive as their name, and I’m sure it won’t take long for the band to stun us all once again with the successor of Archaic Dance of the Winds, because if there’s one thing that the guys from U Kronakh know how to do, that’s to keep working hard and crafting high quality grim music nonstop.

Best moments of the album: The River Named Opir and Night Visions Fade.

Worst moments of the album: None.

Released in 2025 Archivist Records

Track listing
1. Black Mountain 9:15
2. The River Named Opir 6:17
3. Into Lightless, Uncharted Depths 9:08
4. Night Visions Fade 7:31
5. About Those Who Are Silent Now 7:44

Band members
Wormwood – vocals
Voidger – guitars, bass
Lycane – drums

Album Review – Throne / That Who Sat Upon Him, Was Death (2025)

Posted on by
Reply

One of the strongest bands of the current American extreme music scene is back with a demolishing new album, solidifying themselves as a force to be reckoned with.

Having captivated and crushed those they have encountered with a ferocious, relentless and intricate formula of Melodic and Blackened Death Metal all their own since their inception back in 2014, Jackson, Michigan’s own four horsemen Throne are back with their most focused effort to date, poetically titled That Who Sat Upon Him, Was Death, the follow-up to their 2021 opus Pestilent Dawn, solidifying themselves as a force to be reckoned with, emerging as true contenders in the ever growing American Death Metal scene. Recorded at Bricktop Studios, engineered and mixed by Andy Nelson, mastered by Bradley Boatright at Audiosiege, and displaying a sinister artwork by Brian Sheehan, the new album by Nathan Barnes on vocals and guitars, Tim Kenefic on the guitars, Leslie Drake on bass, and Kollin Perpignani on drums is a lesson in brutality whilst continuing their descent with a heavy blackened lean, sure to satisfy the arm-crossed Suffo-crowd, while at the same time tickling those that worship at the altar of Behemoth.

Nathan and Tim’s wicked riffs kick off the band’s infuriated metal feast in Disentombed, supported by the bestial drums by Kollin in a lesson in vicious extreme music, flowing into the just as demonic To Breathe the Unknown, with Nathan’s devilish Brutal Death Metal-like growls matching perfectly with the demented bass and drums by Leslie and Kollin. They need less than three minutes to crush us mercilessly like putrid insects in Blasphemous Perversion, followed by the also infernal tune Realm of Immolation, where all band members sound like creatures from the netherworld, in special Kollin armed with his demonic blast beats.

Once again venturing through the realms of Brutal Death Metal, it’s time for a no shenanigans, ruthless display of aggression and fury by the quartet entitled Human Frailty, led by the inhumane screeches and roars by Nathan; and the same level of insanity is blasted in the utterly demented, bludgeoning composition titled Upon Deathless Winds, with the caustic riffs by Nathan and Tim walking hand in hand with Kollin’s stone crushing drums. The band still has a lot of fuel to burn, as we can clearly notice in Behold Impurity, offering a boisterous fusion of Black and Death Metal overflowing rage and despair, whereas lastly let’s get pounded into dust by Throne to the sound of Where Angels Cower in Fear, with Nathan’s scorching roars and the thunderous beats by Kollin putting a beyond violent ending to the entire album.

After all is said and done, you’ll find yourself suffocated by the blackened sounds crafted by Throne in their newborn spawn, pointing to a bight future ahead of those American metallers without a shadow of a doubt. Hence, if you want to know more about the band, their music, tour dates and so on, don’t forget to follow them on Facebook and on Instagram, to stream their sick creations on Spotify or any other streaming service, and to purchase a copy of their sulfurous new album from BandCamp or from the Redefining Darkness Records’ webstore in the US or in the EU and UK. Because in the end, that who sat upon him was Death, to the sound of the new opus by one of the most promising bands of the current extreme music scene worldwide.

Best moments of the album: Realm of Immolation, Upon Deathless Winds and Where Angels Cower in Fear.

Worst moments of the album: None.

Released in 2025 Redefining Darkness Records

Track listing
1. Disentombed 4:02
2. To Breathe the Unknown 3:37
3. Blasphemous Perversion 2:54
4. Realm of Immolation 3:43
5. Human Frailty 3:19
6. Upon Deathless Winds 4:22
7. Behold Impurity 4:34
8. Where Angels Cower in Fear 3:38

Band members
Nathan Barnes – vocals, rhythm guitars
Tim Kenefic – lead guitars
Leslie Drake – bass
Kollin Perpignani – drums

Album Review – Unbounded Terror / Something Is Rotten In Humanity (2025)

Posted on by
Reply

One of the very first Spanish Death Metal bands returns with a new and absolutely pulverizing album, proving there’s definitely something rotten in humanity.

One of the very first Spanish Death Metal bands, formed in the early 90’s from the ashes of Toxic Waste, Mallorca’s own entity Unbounded Terror is ready to unleash upon us all their fourth full-length offering, entitled Something Is Rotten In Humanity. Produced and recorded by the band’s own Vicente J Payá (Golgotha, Sons Of Cult) and mixed and mastered by Davide Billia (Avulsed, Holycide, Posthuman Abomination) at Mk2 Recording Studio, the new album by Andrew Espinosa on vocals and bass, and Ancor Ramírez and Vicente J Payá on the guitars, plus guests Davide Billia on drums and Alejandro Lobo on keyboards, sounds absolutely devastating, exactly how grim, rotten Death Metal should sound, and its ghastly demeanor is completed by the artwork of Juanjo Castellano (Furnace, Vomitory, Ribspreader), which captures that putrid spirit perfectly, being therefore highly recommended for fans of Paganizer, Carnation, Obituary, and Death, among several others.

The opener Fear of Dying sounds utterly brutal, heavy and evil from the very first second, with Andrew providing his welcome card by roaring deeply in the name of Death Metal accompanied by the massive beats by Davide, whereas Destiny of Evil is a short and sweet display of the band’s Death Metal savagery, with Ancor and Vicente hammering their stringed axes nonstop. They continue to deliver pure, unfiltered Death Metal in the also heavy and bludgeoning Demons in Your Mind, with Andrew barking nonstop while also firing low-tuned, rumbling bass jabs; and the band shows no mercy for our cranial skulls in Reviving, offering more of their rabid, deep growls, sick guitar lines and unrelenting drums.

The second half of the album begins in full force with Inside Death, where Davide smashes his drums with tons of fury and dexterity, resulting in pure, no shenanigans Death Metal for admirers of the genre. The band then enhances their animosity and heaviness considerably in The Disappointment, punching us hard in the face with their brutal and visceral sounds, followed by Divine Virtue, which sounds and feels a bit generic if compared to the rest of the album, although still showcasing the band’s characteristic Death Metal sonority. Ancor and Vicente extract sharp, piercing riffs from their axes in Believing Again, a ruthless display of classic Death Metal made in Spain spiced up by an ass-kicking guitar solo; and The Evil Cause offers us all one final onrush of deadly sounds by Unbounded Terror, with Davide dictating the song’s headbanging pace with his pulverizing drums.

In Something Is Rotten In Humanity, Unbounded Terror welcome us putrid humans to the world we have created, hewn from the raw substance of our greed and perversion, our endless fascination with cruelty and consumption, and you can experience all that in the form of their old school Death Metal music by purchasing a copy of the album from Xtreem Music’s BandCamp or webstore. Furthermore, don’t forget to give the band a shout (or maybe I should say an evil growl) on Facebook and on Instagram, and to stream their devilish creations on Spotify, because there’s definitely something rotten in humanity, and the classic Death Metal by Unbounded Terror is more than perfect to depict that evil that’s consuming our decaying world.

Best moments of the album: Fear of Dying, Inside Death and Believing Again.

Worst moments of the album: Divine Virtue.

Released in 2025 Xtreem Music

Track listing
1. Fear of Dying 3:41
2. Destiny of Evil 2:26
3. Demons in Your Mind 3:42
4. Reviving 3:27
5. Inside Death 3:42
6. The Disappointment 3:54
7. Divine Virtue 4:03
8. Believing Again 4:14
9. The Evil Cause 3:14

Bonus track
10. I’m a Freak (Wicked Lady cover) 5:01

Band members
Andrew Espinosa – vocals, bass
Ancor Ramírez – lead guitars
Vicente J Payá – guitars

Guest musicians
Davide Billia – drums (session)
Alejandro Lobo – keyboards (session)

Album Review – Lady Beast / The Inner Alchemist (2025)

Posted on by
Reply

Let’s ride into the battlefield to the sound of this true locomotive of old school Heavy Metal masterfully crafted by one of the most electrifying names of the current scene.

Flying the flag for refined Heavy Metal since their inception back in 2009, always influenced by metal titans the likes of Motörhead, Dio, Black Sabbath, Iron Maiden, Judas Priest, and Mercyful Fate, Pittsburgh, Pennsylvania’s own unstoppable force Lady Beast returns to action five years after their latest full-length opus The Vulture’s Amulet, and four years after their striking EP Omens, with a brand new album entitled The Inner Alchemist, continuing to melt our faces with their sturdy aesthetic, authentically 80’s-entrenched Heavy Metal that struts and gallops with equal aplomb. Recorded by Jason Jouver, mastered by Yavé “Rust” Rodriguez, and displaying an ass-kicking, evocative artwork by Adam Burke of Nightjar Illustration, The Inner Alchemist is a true locomotive of old school metal music masterfully crafted by frontwoman Deborah Levine, guitarists Andy Ramage and Chris Tritschler, bassist Amy Bianco, and Adam Ramage, offering more of their high-octane music infused with swords and sorcery.

The scorching riffs by Andy and Chris rev up the band’s metallic engine in Oracle’s Omen, a true banger where Deborah already distills her soaring vocals for our total delight; whereas their Power Metal vein pulses stronger than ever in Through the Eyes of War, with Adam dictating the song’s electrifying pace supported by the classic bass lines by Amy, being therefore recommended for some fun inside the mosh pit. The band then delivers an overdose of Heavy Metal magic in the title-track Inner Alchemist, a headbanging hymn where the rumbling kitchen by Amy and Adam is perfect for Deborah’s piercing vocal lines, morphing into Starborn, which offers our avid ears a serene, melancholic start in the best Iron Maiden way possible, then evolving into a more Judas Priest-inspired sound until the end.

Their feast of old school, no shenanigans sounds goes on in full force in Crone’s Crossroads, a frantic, in-your-face display of Heavy Metal where Adam hammers his drums nonstop while the riffage by Andy and Chris exhale fire and power; and their NWOBHM side explodes majestically in Feed Your Fire, where their caustic riffage and solos, as well as their fast-paced beats, match flawlessly with Deborah’s epic roars. Witch Light is an instrumental tune that sounds fairly decent, although I still prefer any song with Deborah’s vocals like what happens in The Wild Hunt, where she declaims the song’s lyrics beautifully supported by the galloping sounds blasted by her bandmates. Last but definitely not least, it’s pedal to the metal in the thrilling Off with Their Heads, sounding thrashy at times thanks to the infuriated riffs by Andy and Chris, therefore putting a wild conclusion to such a breathtaking album.

After all is said and done, you’ll notice that not only The Inner Alchemist is a pure Lady Beast album, but also that the production on the album beautifully highlights their heaviness, turning it into a special milestone in their already solid career. Having said that, Deborah and her henchmen are waiting for you to join them in the battlefield by following them on Facebook, Instagram and YouTube, by streaming their epic creations on Spotify, and of course by grabbing a copy of the breathtaking The Inner Alchemist from the Dying Victims Productions’ BandCamp or by clicking HERE. It’s time to ride through the vast realm of heavy music alongside Lady Beast to the sound of their newborn opus, keeping the flames of classic Heavy Metal burning for all eternity and, therefore, fueling the band to keep blasting our ears with more albums like The Inner Alchemist in the foreseeable future.

Best moments of the album: Through the Eyes of War, Crone’s Crossroads, Feed Your Fire and Off with Their Heads.

Worst moments of the album: Witch Light.

Released in 2025 Dying Victims Productions

Track listing
1. Oracle’s Omen 4:08
2. Through the Eyes of War 3:47
3. Inner Alchemist 3:48
4. Starborn 6:56
5. Crone’s Crossroads 3:27
6. Feed Your Fire 4:37
7. Witch Light 2:19
8. The Wild Hunt 3:28
9. Off with Their Heads 3:09

Band members
Deborah Levine – vocals
Andy Ramage – lead guitar
Chris Tritschler – rhythm guitar
Amy Bianco – bass
Adam Ramage – drums

Album Review – Fleshspoil / The Beginning of the End (2025)

Posted on by
Reply

A new force in Blackened Death Metal emerges from New York, blasting our faces with the 37 minutes of music found in their pulverizing debut offering.

A new force in Blackened Death Metal has emerged to lay waste to 2025. Featuring veterans Jeff Andrews (The Final Sleep, Armor Column, Hush, Ironweed) on vocals and guitars, Dan Saltzman (Illucinus, The Hunt) on bass, and Mike Van Dyne (Arsis, The Final Sleep) on drums, Troy, New York-based Fleshspoil are set to release their debut album, poetically titled The Beginning of the End. Produced, mixed and mastered by Brett Portzer at White Lake Music & Post, and displaying a darkly beautiful cover art titled “L’Umana Fragilità”, by Salvator Rosa (1656), The Beginning of the End consists of six pulverizing tracks clocking in at 37 minutes, offering us all the creative vision of Jeff Andrews and Mike Van Dyne in the most violent and grim form.

Featuring a guest guitar solo by Kyle Chapman (Aethereus, Blighted Eye) and John Judkins of Rwake on lap steel guitar, the band offers us all seven minutes of intricate sounds in Bleed Through This Life while also sounding haunting and devilish, flirting with Dissonant Death Metal at times. John Judkins also features in Skies Turn To Graves, which starts in a more melodic manner while offering even hints of Post-Metal before all explodes into another slab of brutality, with Mike kicking some serious ass on drums. Then a visceral roar by Jeff ignites the demented Fleshspoil, where their progressive vein clashes with an overdose of heaviness in the best way imaginable, not to mention how infernal the drums by Mike sound. After that, guest guitarist Petr Oplatka of Illucinus fires a sick guitar solo in Walking Dead, a more straightforward, in-your-face tune where Mike once again sounds ruthless on drums. Then a dark and sinister intro evolves into a grim fusion of Death and Doom Metal in A Frail Demise, with Jeff sounding inhumane on vocals while also firing some hellish riffs; whereas lastly, the trio offers our avid ears Born Into Despair, beginning in a gentle, melodic way and evolving into a more introspective tune that could have been a bit heavier in the end.

Highly recommended for fans of classic Death, Black, and Doom Metal, Fleshspoil deliver a haunting and aggressive soundscape during the entire The Beginning of the End, resulting in a very exciting start to the band and, therefore, pointing to a bright future ahead of them. I’m sure we’ll soon hear more from the band, which means you can start following them and stay up to date with their news and tour dates on Instagram, and show them your absolute support by grabbing a copy of the caustic The Beginning of the End from their own BandCamp, letting such an amazing trio from New York crush your spinal cord with their undisputed fusion of savagery and melody.

Best moments of the album: Bleed Through This Life, Fleshspoil and Walking Dead.

Worst moments of the album: Born Into Despair.

Released in 2025 Independent

Track listing
1. Bleed Through This Life 7:17
2. Skies Turn To Graves 6:36
3. Fleshspoil 7:12
4. Walking Dead 3:19
5. A Frail Demise 7:40
6. Born Into Despair 4:18

Band members
Jeff Andrews – vocals, guitars
Dan Saltzman – bass
Mike Van Dyne – drums

Guest musicians
Kyle Chapman – guitar solo and additional chaos on “Bleed Through This Life”
Petr Oplatka – guitar solo on “Walking Dead”
John Judkins – lap steel guitar on “Bleed Through This Life” and “Skies Turn To Graves”

Album Review – Arch Enemy / Blood Dynasty (2025)

Posted on by
2

The global legends of pure fucking metal return with their twelfth studio album, capturing the essence of the band in its collection of vicious, high-energy rippers.

Legends of pure fucking metal for nearly 30 years, Melodic Death Metal outfit Arch Enemy returns to the battlefield with their twelfth studio album, entitled Blood Dynasty, the follow-up to their 2022 beast Deceivers. Recorded and mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, produced by the band’s own Michael Amott and Daniel Erlandsson, and featuring a creepy artwork by Alex Reisfar, Blood Dynasty captures the essence of Arch Enemy in its collection of vicious, high-energy rippers without sounding outdated, always looking forward, therefore showcasing all the talent and passion for heavy music by frontwoman Alissa White-Gluz, guitarists Michael Amott and Joey Concepcion, bassist Sharlee D’Angelo, and drummer Daniel Erlandsson.

An imposing, epic intro suddenly explodes into Dream Stealer, with Michael and Joey sounding venomous armed with their axes while Alissa fires some of her deepest guttural roars ever. Needless to say, I would love to see and hear more of this more violent side of Arch Enemy. Then Daniel keeps pounding his drums in Illuminate the Path, sounding modern yet loyal to the band’s Melodic Death Metal roots; followed by March of the Miscreants, another violent and visceral display of heavy music by the band led by the blistering riffs by Michael and Joey, and A Million Suns, a solid composition by the band showcasing the trademark riffs and solos by Mr. Michael Amott. And it looks like the band wanted to get back to their most aggressive vibe in the album, with Don’t Look Down being the perfect example of that.

The second part of the album starts with the sinister interlude Presage, getting us pumped for Blood Dynasty, with Alissa barking the song’s  lyrics (“Cracks in the ice below our feet / Our own worst enemy on all fronts / A strategy of self-deceit? / A hornets nest, about to be released”) amidst an overdose of classic Arch Enemy. Paper Tiger also sounds ruthless, from its in-your-face intro declaimed by Alissa (“See no, hear no / Speak no evil / We are each our own devil / And we make this world our hell”) to its galloping pace led by Sharlee and Daniel, reeking of old school Melodic Death Metal for our total delight. I personally think there was no need for a ballad like Vivre Libre in the album, and although Alissa does a decent job with her potent clean vocals, the song sounds generic and out of place; whereas The Pendulum alternates between more cadenced moments and a fast-paced rhythm with elements of the Heavy Metal by Iron Maiden (and even some nuances of Power Metal). And lastly, there’s nothing better than a true banger to end the album like Liars & Thieves, with Daniel hammering his drums frantically while we all slam into the pit like true metalheads.

“This is our 12th studio album, and the rule of metal is that you’ve got to keep trying to say the same thing, but in slightly different ways!” says Michael Amott. “There’s a degree of familiarity in our sound, which I don’t see as a problem because we’re playing the music we love. But obviously we’ve got to throw a couple of curveballs in there each time, a few new interesting things to spice it up a little bit. How do you get people talking about your record when it’s the 12th one, you know?” Well, Mr. Amott is absolutely right, as all bands need to reinvent themselves once in a while to avoid getting repetitive or dull, and let’s say Arch Enemy have more than succeeded in doing that so far, with Blood Dynasty sounding strong from start to finish. You can find more information about the band and their tour dates on Facebook, Instagram and YouTube, get ready to rock to their new album on Spotify, and of course purchase it by clicking HERE, helping Arch Enemy stay atop of the world as the leaders of the Melodic Death Metal movement since their inception.

Best moments of the album: Dream Stealer, March of the Miscreants, Paper Tiger and Liars & Thieves.

Worst moments of the album: Vivre Libre.

Released in 2025 Century Media

Track listing
1. Dream Stealer 4:29
2. Illuminate the Path 4:48
3. March of the Miscreants 4:49
4. A Million Suns 3:45
5. Don’t Look Down 4:07
6. Presage 0:47
7. Blood Dynasty 3:51
8. Paper Tiger 3:56
9. Vivre Libre 4:07
10. The Pendulum 3:42
11. Liars & Thieves 4:20

Band members
Alissa White-Gluz – vocals
Michael Amott – lead guitars, backing vocals
Joey Concepcion – lead guitars, backing vocals
Sharlee D’Angelo – bass
Daniel Erlandsson – drums

Album Review – Nephylim / Circuition (2025)

Posted on by
Reply

This Dutch Melodic Death Metal brigade is ready to strike again with their sophomore album, exploring the concepts of “the cycle of life” and “the wheel of fate”.

Founded back in 2015 by friends Kevin van Geffen and Rens van de Ven in ‘s-Hertogenbosch, colloquially known as Den Bosch, a city and municipality in the province of North Brabant, in the Netherlands, Melodic Death Metal outfit Nephylim is ready to strike again with their sophomore opus Circuition, the long-awaited follow-up to their 2020 debut album Severance of Serenity. Produced by Joost van den Broek, Yarne Heylen and Nephylim, with guitars, bass and vocals recorded at Project Zero Studio and drums recorded at Sandlane Recording Facilities, mixed by Joost van den Broek at Sandlane Recording Facilities, mastered by Darius van Helfteren at Amsterdam Mastering, and displaying a captivating artwork by Giannis Nakos of Remedy Art Design, the new album by frontman Tijn Bosters, guitarists Kevin van Geffen and Ralph Lentink, bassist Rens van de Ven, and drummer Martijn Paauwe is a conceptual album that explores the concepts of “the cycle of life” and “the wheel of fate”, with each song being connected to a meaning or state of being such as the origin of life or birth, the consequences of old age, or everyone’s perception of the circle of life, always supported by the world famous Gothenburg Melodic Death Metal sound.

The first half of a two-part song is actually an intro, Travail Pt. I – Anima, a futuristic, whimsical composition that works as the calm before the storm that is the second half, titled Travail Pt. II – Animus, with all background elements elevating the band’s Melodic Death Metal to new heights, not to mention the guitars by Kevin and Ralph transpire melody and rage in the best Gothenburg-inspired style, connecting with Amaranth, where Martijn dictates the song’s rhythm with his classic beats, blending the best of bands like Dark Tranquillity, Insomnium and The Halo Effect. Grand Denial is another lengthy, intricate and energetic aria by Nephylim, with Tijn’s deep, enraged roars walking hand in hand with their boisterous instrumental pieces; followed by the title-track Circuition, which sounds even more melodic and epic, with the stylish riffs and solos by Kevin an Ralph embellishing the airwaves in great fashion. In Withered we face lyrics that reek of Melodic Death Metal (“Glimpse upon a tainted mind, Entangled by the heart of man / Reaching deeper and beyond, As the void smothers whole”) amidst a high-octane, metallic sonority, before all comes to an end with Inner Paradigm, presenting some welcome elements from other genres like Groove Metal and Djent, in special in the rumbling bass by Rens.

By pushing the boundaries in terms of overall production and quality, music and lyrical compositions, Circuition (which is by the way available in full on YouTube and on Spotify) is undoubtedly the band’s strongest effort to date, and will surely elevate the band to new heights in the world of heavy music. You can get to know more about those Dutch metallers on Facebook and on Instagram, stream their music on YouTube and on Spotify, and obviously support such a talented band by purchasing Circuition from BandCamp or Big Cartel, or by clicking HERE. Nephylim are surely one of the torchbearers of the Melodic Death Metal movement in their homeland, and it’s armed with albums like Circuition that they’re going places, ready to conquer new territories while blasting their undisputed music to metalheads worldwide.

Best moments of the album: Amaranth, Circuition and Withered.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Travail Pt. I – Anima 2:24
2. Travail Pt. II – Animus 6:13
3. Amaranth 5:31
4. Grand Denial 6:22
5. Circuition 5:19
6. Withered 6:18
7. Inner Paradigm 6:08

Band members
Tijn Bosters – lead vocals
Kevin van Geffen – guitars, clean & backing vocals
Ralph Lentink – guitars
Rens van de Ven – bass
Martijn Paauwe – drums

Guest musicians
Kevin van Geffen & Yannick Maris – orchestrations

Album Review – Necrambulant / Upheaval of Malignant Necrambulance (2025)

Posted on by
Reply

Enjoy this relentless record presented as an anthology of horror, gore, and slamming Brutal Death Metal by an amazing American band that describes their sound as “Inhuman Slam Grind”.

A relentless record presented as an anthology of all that the band represents, horror, gore, and slamming Brutal Death Metal, incorporating a full arsenal of Death Metal and Deathslam to further define their self-described sound of “Inhuman Slam Grind”, Upheaval of Malignant Necrambulance, the sophomore opus by Phoenix, Arizona-based horde Necrambulant, has something to offer on many levels of thematic brutality, including zombies, serial killers, cannibals, sci-fi, and Warhammer. Recorded, mixed, and mastered by Xander Bridge, produced by the band itself, and displaying a venomous cover art by Nev of Gruesome Graphx, the new album by vocalist Andy “Bonemeat” York, guitarist Ron Clark, bassist Trent Pittard and drummer Matt Riena is perfect for fans of Devourment, Kraanium, Cephalotripsy, Cannibal Corpse, and Abominable Putridity, bringing an overdose of heaviness and gore to admirers of the heaviest side of extreme music.

A horrid, desperate scream ignites the band’s overdose of brutality in Amalgamation of Gresome Curdling Ambonination, led by the inhumane gnarling by Andy in the best “BREEEEEE!” style possible, whereas the slashing guitar lines by Ron walk hand in hand with the primeval beats by Matt in Inhumane Creophagus Repulsion, a vile blast of Brutal Death Metal violence. The beautifully titled Catastrophic Inversion of Stellar Harmony Collapsing the Web of all Universal Matter into the Colossal Gaping Maw of the Widening Void that Heralds the Dawn of Absolute Unreality (Epoch.0) is highly recommended for some demented slamming into the pit, with Andy sounding even more putrid and demonic on vocals, flowing into the also demented Barbarian Brute Force Annihilation (BFTBG), where Matt hammers his drums nonstop. Their Brutal Death Metal attack goes on in the heavy-as-hell Sentenced to a Guttonous Pit, spearheaded by the trademark BREEEEEE! vociferations by Andy; and they show no mercy for our putrid, decaying bodies in Pestilential Ascendancy, offering more of their first-class, infernal riffs and blast beats.

Ineffable Tormenting Possession brings forward two and a half minutes of undisputed malignancy in the form of heavy-as-hell extreme music led by the crushing drums by Matt, followed by the also deranged Chunked Pus Chowder, carrying a sick name for an overdose of deep guttural roars, venomous riffs and classic, deadly drums, with Andy once again barking and vomiting the song’s lyrics in great fashion. The title-track Upheaval of Malignant Necrambulance will burst our ears with more of the band’s undisputed Brutal Death Metal sounds, whereas Coffin Meat offers the same level of savagery, albeit not as inspired (Andy’s depraved guttural is still there, of course). And last but not least, the dirty riffs by Ron and the metallic bass by Trent will pierce your damned soul in Self-Biologic Carnivorous Cannibalism, ending the album on a beyond visceral note.

“This new album is just a relentless barrage of slamming brutal death metal. We strived for a no-bullshit / no-filler tracklist that will just pummel the listener with heaviness. We spent the past two years working on fine-tuning these songs to be a proper representation of our original moniker of ‘Inhuman Slam Grind’. We hope this new album is something that fans of our earlier material will appreciate and something fresh for the newer fans as well. Expect a full audial assault of horror, gore, and guttural slamming sickness the Necrambulant way,” says the band, and you can join them inside their demented mosh pit by following them on Facebook and on Instagram, by streaming their music on any streaming platforms like Spotify, and above all that, by purchasing the bludgeoning Upheaval of Malignant Necrambulance from the Gore House Productions’ BandCamp or by clicking HERE, or you can also click HERE for all things Necrambulant. This is “Inhuman Slam Grind” at its finest, bringing horror, violence, blood and gore to your miserable life, and may this amazing slamming band from Phoenix continue to blast our ears with the brutality found in their unrelenting new album for many decades to come.

Best moments of the album: Inhumane Creophagus Repulsion, Pestilential Ascendancy and Chunked Pus Chowder.

Worst moments of the album: Coffin Meat.

Released in 2025 Gore House Productions

Track listing
1. Amalgamation of Gresome Curdling Ambonination 3:09
2. Inhumane Creophagus Repulsion 3:14
3. Catastrophic Inversion of Stellar Harmony Collapsing the Web of all Universal Matter into the Colossal Gaping Maw of the Widening Void that Heralds the Dawn of Absolute Unreality (Epoch.0) 3:14
4. Barbarian Brute Force Annihilation (BFTBG) 3:47
5. Sentenced to a Guttonous Pit 2:59
6. Pestilential Ascendancy 2:53
7. Ineffable Tormenting Possession 2:24
8. Chunked Pus Chowder 3:04
9. Upheaval of Malignant Necrambulance 2:01
10. Coffin Meat 2:50
11. Self-Biologic Carnivorous Cannibalism 3:00

Band members
Andy “Bonemeat” York – vocals
Ron Clark – guitars
Trent Pittard – bass
Matt Riena – drums

Album Review – Cradle of Filth / The Screaming Of The Valkyries (2025)

Posted on by
2

It’s time to live deliciously to the sound of the screaming Valkyries found in the fourteenth studio album by one of the most revolutionary bands in the history of extreme music.

Reigning supreme as one of the most revered, formative and notorious names in music, from the depths of the Extreme Metal underground to the peaks of mainstream pop culture itself, Suffolk, England’s ultimate blasphemers Cradle of Filth are back from the netherworld armed with their arrestingly catchy fourteenth studio album, The Screaming of the Valkyries, the follow-up to their 2021 beast Existence Is Futile. Produced, recorded, mixed, and mastered by Scott Atkins at Grindstone Studio, and displaying a beyond sinister artwork by Roberto Diaz (aka Arte del Caos), the new album by the iconic frontman Dani Filth, guitarists Marek ‘Ashok’ Smerda and Donny Burbage, bassist Daniel Firth, keyboardist Zoe Marie Federoff and drummer Martin ‘Marthus’ Skaroupka is a succinct summation of the ghosts of the band’s past and a bold step into the future, offering Dani’s unparalleled screams and equally identifiable growls alongside twin guitar attacks, symphonic flourishes, and an explosive rhythm section for the delight of all diehard fans of the band or newcomers to their sinister lair.

The opening aria To Live Deliciously is cryptic and atmospheric from the very first second, erupting into an overdose of Extreme Metal magic led by Mathus’ hammering drums, with Dani gnarling like a true servant of darkness. Then we have Demagoguery, bringing to our putrid ears over six minutes of absolute madness where the Stygian keys by Zoe match perfectly with the riffage by Ashok and Donny, also presenting the band’s characteristic haunting passages; and an avalanche of guitar shredding and epic keys permeates the air in The Trinity Of Shadows, offering us the past, present and future of Cradle of Filth in an exciting and compelling manner. Non Omnis Moriar, a Latin phrase that means “not everyone will die”, is a more cadenced yet heavy and caustic creation by the band, with Zoe’s operatic vocals bringing an extra touch of finesse to the music, whereas White Hellebore presents an overdose of Dani’s damned words (“Plucked from the grave on a moonless midnight / Sucking on staves, she was noted for fight / Intoxicated, I fell in love / With this curse and a cure for my rabid dementia”) amidst a sharp, devilish and classic display of Symphonic Black Metal.

The band’s guitar duo continues to fire their phantasmagorical riffs in You Are My Nautilus, offering more of Cradle of Filth’s undisputed, wicked sounds, with Marthus once again showcasing endless dexterity and heaviness behind his drums, followed by Malignant Perfection, showcasing a beautiful fusion of Gothic music with heavier styles, plus of course another dosage of their darkly poetic lyrics (“Kindred may I introduce / Upon the mortal fools / The evil that has shaken loose / From bondage to now rule / She walks at dusk to tragic serenades / As the river shivers at her passing darkness”). Ex Sanguine Draculae, which is Latin for “from the blood of Dracula”, carries a name that perfectly suits the band’s music and history, starting in an imposing, sinister way to Dani’s demonic roar while the guitars by Ashok and Donny transpire Black Metal magic; and last but not least, we have another long, multi-layered, detailed and vicious tune entitled When Misery Was A Stranger, with its cinematic intro reeking of Cradle of Filth before exploding into a frantic onrush of Symphonic Black and Gothic Metal led by Dani’s vicious gnarls, putting a beyond infernal and climatic ending to the album.

In a nutshell, The Screaming of the Valkyries beckons the brave into a new era of Cradle of Filth misadventure, celebrating massive melancholic melody, blackened thrash, and apocalyptic existential dread with a grinning smattering of unbridled revelry. Hence, don’t forget to follow the band on Facebook and on Instagram for news and tour dates (like their upcoming Chaos & Carnage tour in North America alongside Dying Fetus, Fleshgod Apocalypse, and other demented bands), to stream their music on Spotify, and of course to grab a copy of their impious new album from BandCamp or from Napalm Records by clicking HERE or HERE. It’s time to live deliciously to the sound of the screaming Valkyries that live inside the new album by the one and only Cradle of Filth, keeping the fires of extreme music burning bright until our decaying world comes to its inevitable end.

Best moments of the album: The Trinity Of Shadows, White Hellebore, Ex Sanguine Draculae and When Misery Was A Stranger.

Worst moments of the album: None.

Released in 2025 Napalm Records

Track listing
1. To Live Deliciously 5:32
2. Demagoguery 6:17
3. The Trinity Of Shadows 6:23
4. Non Omnis Moriar 5:06
5. White Hellebore 5:04
6. You Are My Nautilus 7:39
7. Malignant Perfection 6:46
8. Ex Sanguine Draculae 7:10
9. When Misery Was A Stranger 6:21

Band members
Dani Filth – vocals
Marek ‘Ashok’ Smerda – guitars
Donny Burbage – guitars
Daniel Firth – bass
Zoe Marie Federoff – keyboards, vocals
Martin ‘Marthus’ Skaroupka – drums

Album Review – Vallorch / The Circle (2025)

Posted on by
Reply

Behold the triumphant return to action by this Italian horde armed with their third full-length album, continuing their journey into the world of Folk and Symphonic Metal.

Forged in 2010 in the city of Venice, Italy, Folk Metal horde Vallorch, a name taken from a small Cimbrian village on the Cansiglio plateau, continues their journey into the world of Folk and Symphonic Metal with their third full-length installment, entitled The Circle, the follow-up to their 2015 album Until Our Tale Is Told, and a triumphant return to action by the band. Reborn from the ashes of their former selves, frontwoman Sara Tacchetto, vocalist and bassist ​Leonardo Dalla Via, guitarist ​Mattia Buggin, vocalist and keyboardist ​Marco Povolo, and drummer ​Massimo Benetazzo, supported by guest violinist Serena Zucco (of Adgarios) are ready to take the world by storm once again, inviting us all to join them in the battlefield or to simply party at a cozy and loud inn.

It’s a prancing Folk Metal party right from the start in To the Silver Summit, with Leonardo and Massimo dictating the song’s galloping pace while Sara distills her mesmerizing vocals nonstop, whereas Hellpath continues to showcase their upbeat folk sounds, with the bouzouki by Marco adding an extra touch of finesse to the overall result. Circle of the Moon is one of those songs born to be played live, where all riffs, bass lines and drums match perfectly with the uniqueness of the bouzouki, bagpipe and violin, followed by Drink Some More!, a raucous celebration of music, camaraderie, and revelry, where Mattia kicks some ass armed with his stringed axe; and the Celtic harp by ​guest Glorya Lyr (of Eard) brings a charming aura to the delicate ballad Antermoia, led by the always passionate vocals by Sara (not to mention the striking, soulful guitar solo by Mattia).

Their metallic party goes on in Röte Löon, which should translate as “red lion” from German, another captivating tune by such an amazing Italian horde, with Sara and Leonardo making an absolutely stunning vocal duet. Then back to a more Heavy Metal inspired sound, it’s time for the fierce battle hymn Salbanéo, recommended for fans of Folk Metal masters Korpiklaani, with Leonardo sounding amazing with his harsh vocals; whereas The Wild One is by far the most generic of all songs, not as captivating as the rest of the album, albeit the vocals by Sara still sound powerful. And lastly, we face Dyssomnia, the most epic and detailed of all songs (thanks in part to its duration), with the entire band sounding sharp, in special Marco armed with his keyboards and bouzouki, all spiced up by a thunderous performance by Massimo on drums.

Fans of Eluveitie, Alestorm, Wind Rose, and Korpiklaani, among others, will find much to love in the vibrant fusion of folk instrumentation and symphonic power found in The Circle, and you can be part of their sonic celebration by following them on Facebook and on Instagram, by streaming their inebriate creations on Spotify, and of course by grabbing a copy of The Circle from Rockshots Records, or by clicking HERE or HERE. In other words, it’s time to raise our glasses, let the music by Vallorch take over, and drink some more with those Italian metallers as they unleash their most refined and exhilarating work to date upon us all.

Best moments of the album: Circle of the Moon, Drink Some More! and Salbanéo.

Worst moments of the album: The Wild One.

Released in 2025 Rockshots Records

Track listing
1. To the Silver Summit 3:53
2. Hellpath 3:52
3. Circle of the Moon 3:34
4. Drink Some More! 3:42
5. Antermoia 5:00
6. Röte Löon 4:39
7. Salbanéo 3:59
8. The Wild One 4:10
9. Dyssomnia 9:08

Band members
Sara Tacchetto – vocals, choirs, tin whistle, bagpipe
​Leonardo Dalla Via – vocals, harsh vocals, choirs, bass, programming
​Mattia Buggin – electric and acoustic guitars
​Marco Povolo – vocals, choirs, keyboards, bouzouki, programming
​Massimo Benetazzo – drums

Guest musicians
Serena Zucco – violin
​Glorya Lyr – Celtic harp in “Antermoia”