Category Archives: Album Reviews

Album Review – Behölder / In The Temple Of The Tyrant (2025)

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This American horde will attack our senses with their debut opus, a true love letter to Epic Doom Metal inspired by classic Dungeons & Dragons.

Hailing from Philadelphia, Pennsylvania, in the United States, Behölder are an Epic Doom/Dark/Power Metal band inspired by classic Dungeons & Dragons, formed in late 2021 by guitarist Carlos Alvarez. Produced by the same Carlos Alvarez, mixed and mastered by Ronnie Björnström at Björnström Ljud & Produktion, and displaying a stunning artwork by Zsofia Dankova, their debut opus, titled In The Temple Of The Tyrant, features eight tracks of monstrous proportions, a true love letter to Epic Doom Metal weaving cautionary tales from the more grim, foreboding realms of fantasy against a backdrop of colossal riffs with elegant yet powerful melodies, all carefully crafted by vocalist John Yelland, guitarists Carlos Alvarez and Matt Hodsdon, bassist Michael Sanchez, and drummer Andrew Julkowski.

A Pale Blood Sky begins in a strong doomed vibe thanks to the heavy riffs by Carlos and Matt, supported by the always thunderous bass by Michael, and let’s all headbang like beasts to the epic vocals by John because those are awesome. Then their melodious, penetrating guitar lines set the tone in Dungeon Crawl, another feast of Epic and Doom Metal with a thrilling galloping pace; and it’s time for an even heavier tune titled Into the Underdark, with the pounding drums by Andrew walking hand in hand with the deep vocals by John, not to mention how powerful the bass by Michael sounds. After that we face Eyes of the Deep (featuring guest vocalist Tomi Joutsen of Amorphis), which reminds me of some of the darkest creations by Black Sabbath with Dio, in special from when they were called Heaven & Hell, with the entire band sounding tight, epic and fierce until the very last second.

The band then fires a more introspective composition entitled For Those Who Fell, offering seven minutes of dark, sluggish passages rooted in classic Doom Metal, or in other words, it’s a beautiful dark ballad by the band. Then investing in a primeval, tribalistic sound we have Draconian (Slave or Master), as if it was part of a somber, obscure ritual, with the riffage by Carlos and Matt penetrating deep inside our skin in great fashion, followed by Summoned & Bound, which lacks the same energy and punch from the previous songs. John still delivers his share of epicness through his vocals, though. And lastly we’re treated to I Magus, an amazing blast of Epic Doom Metal led by the thunderous vocals by John while his bandmates not only craft a powerful sound, but their backing vocals are also spot-on, putting a phenomenal and obviously epic ending to the album.

As the band itself likes to say, their debut album offers us all avid listeners “magic, mayhem and riffs heavier than a storm giant’s ass,” being therefore highly recommended for fans of Candlemass, Solitude Aeturnus, Sorcerer, and Memento Mori, among others. Hence, you can join the band in their magic metal quest by following them on Facebook and on Instagram, and of course by purchasing a copy of In The Temple Of The Tyrant from the Black Lion Records’ BandCamp or webstore, from Indiemerchstore, from Season of Mist, or simply by clicking HERE or HERE. In the end, Behölder are definitely going to make a lot of noise armed with their first ever album, adding an extra dosage of sheer doom to the already heavy and thunderous world of Dungeons & Dragons.

Best moments of the album: A Pale Blood Sky, Draconian (Slave or Master) and I Magus.

Worst moments of the album: Summoned & Bound.

Released in 2025 Black Lion Records

Track listing
1. A Pale Blood Sky 6:34
2. Dungeon Crawl 5:39
3. Into the Underdark 5:20
4. Eyes of the Deep 6:25
5. For Those Who Fell 6:58
6. Draconian (Slave or Master) 5:52
7. Summoned & Bound 5:34
8. I Magus 6:44

Band members
John Yelland – lead vocals
Carlos Alvarez – guitars, backing vocals
Matt Hodsdon – guitars, backing vocals
Michael Sanchez – bass, backing vocals
Andrew Julkowski – drums, backing vocals

Guest musician
Tomi Joutsen – vocals on “Eyes of the Deep”

Album Review – Wurmian / Immemorial Shrine (2025)

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Enter the shrine of first-class Melodic Death and Doom Metal crafted by this one-man project from France, and let the echoes from his debut album guide you on a brooding and immersive journey through sorrow, introspection, and existential desolation.

Founded in 2024 by Antoine Scholtès, the mastermind behind Atmospheric Black Metal project Inherits The Void, Clermont-Ferrand, Auvergne-Rhône-Alpes, France-based act Wurmian emerges with a mission to resurrect the essence of classic Melodic Death and Doom Metal. Drawing inspiration from the melancholic and introspective tones of bands like October Tide, Horrified, and Edge of Sanity, the project’s debut offering, titled Immemorial Shrine, embraces the duality of soaring melodies and crushing heaviness. Mastered by Simon Da Silva at The Empty Hall Studio, and displaying a classic logo by Dipayandas Art and a stunning, doomed artwork by Silvana Massa, Immemorial Shrine is a somber odyssey into solitude and decay, a brooding and immersive journey through sorrow, introspection, and existential desolation, turning it into a compelling listen for fans of both classic and modern death and doom.

Antoine begins embellishing the airwaves with his melodious guitar lines in Aeon Afterglows, reminding me of both old school and contemporary Paradise Lost with a harsher twist; whereas in the title-track Immemorial Shrine he showcases all his passion for Black and Death Metal without forgetting to add a good share of Doom and Gothic Metal to his sound, and the final result is simply beautiful. His Melodic Doom Metal attack goes on in Haven, with his guttural vocals and pounding drums being perfect for some sick headbanging, and our lone wolf speeds things up in Spires of Sorrow, offering a rawer, more direct Death Metal attack led by his classic beats and fills. Then back to a more pensive, melancholic sonority, Antoine roars with tons of anguish in Yearning Unseen, also delivering piercing, sharp riffs, followed by Sleeping Giants, another stunning composition by this multi-talented French musician that overflows Atmospheric Black and Death Metal for our total delight. And the closing song of the album, The Everflowing Stream, is another lecture in Doom Metal, with Antoine enhancing the acidity of his riffs and the depth of his Stygian roars for our vulgar delectation.

In the end, prepare to embark on a melancholic odyssey that echoes the spirit of the 90’s Death and Doom Metal while forging a path into the present in Immemorial Shrine, already available in full on YouTube and on Spotify. Hence, don’t forget to follow the project on Facebook and on Instagram for news, and maybe some live performances in the future in case Antoine assembles a live band for his shows, and above all, to purchase  Immemorial Shrine from  Wurmian’s own BandCamp or from the Pest Records’ BandCamp, or simply by clicking HERE. After all is said and done, simply enter the shrine of first-class Melodic Death and Doom Metal crafted by Wurmian. Let the echoes guide you.

Best moments of the album: Immemorial Shrine, Haven and Sleeping Giants.

Worst moments of the album: None.

Released in 2025 Pest Records

Track listing
1. Aeon Afterglows 4:55
2. Immemorial Shrine 4:54
3. Haven 6:33
4. Spires of Sorrow 4:36
5. Yearning Unseen 5:27
6. Sleeping Giants 5:21
7. The Everflowing Stream 7:19

Band members
Antoine Scholtès – vocals, all instruments

Album Review – Morbific / Bloom of the Abnormal Flesh (2025)

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This rotten-to-the-core Death Metal trio from Finland is back with their ruthless third studio album, their best, darkest and most disgusting melding of form and content to date.

A rotten-to-the-core, festering, mouldering and disgusting Death Metal trio (de)formed in the filthy and profaned boneyard of Kitee, Finland in early 2020, featuring Jusa Janhonen on vocals and bass, Olli Väkeväinen  on the guitars, and Onni Väkeväinen on drums, Morbific are ready to demolish our putrid souls with their third full-length album, titled Bloom of the Abnormal Flesh, a ruthless display of classic Death Metal that follows up on the horror and insanity of their 2021 debut Ominous Seep of Putridity and their 2022 sophomore album Squirm Beyond the Mortal Realm. Recorded by Jesse Räsänen at Vaskela Metal Forgery, produced by Morbific, mixed by the band’s own Jusa Janhonen, mastered by Mikko Saastamoinen, and displaying a sick cover art by Chase Slaker (with additional art by Martyrdoom Illustrations), Bloom of the Abnormal Flesh is undoubtedly Morbific’s best melding of form and content, conveying its dark, disgusting, and unconventional aura across every element.

A sinister intro quickly explodes into a filthy, raw Death Metal attack titled Smut Club (For the Chosen Scum), with Jusa roaring deeply supported by the bestial drums by Onni, and the trio goes full Death Metal in Panspermic Blight, pounding our putrid souls with their scorching riffs and demented beats and vociferations. Menagerie of Grotesque Trophies carries a beautiful title for a display of pure savagery, with the gore infested guttural by Jusa sending shivers down our spines; followed by Promethean Mutilation, living up to the legacy of 90’s Death Metal, sounding ruthless and vile with Olli extracting sheer aggression from his riffs and solos. And Womb of Deathless Deterioration (Trapped in the Essence of Putrescence) is another slab of brutality by Morbific, exhaling heaviness thanks to the grim roars by Jusa, despite sounding a bit generic if compared to the previous songs.

Then the Stygian, horror movie-like interlude Stifling Stagnant Reek will darken your minds and thoughts before Crusading Necrotization brings forward the trio at their most inhumane shape and form, blending their core Death Metal with the obscurity of Blackened Doom. Hydraulic Slaughter also showcases a “charming” name for a beyond heavy and demonic tune led by the razor-edged riffage by Olli; whereas From Inanimate Dormancy offers our damned ears almost six minutes of violence and gore blasted by the band, or in other words, it’s a headbanging tune led by the infernal growling by Jusa. Bloom of the Abnormal Flesh (A Travesty of Human Anatomy) is yet another six-minute descent into a world of violence and obscurity, with the crushing drums by Onni hammering our cranial skulls nonstop in great fashion, and last but not least, they still have energy left for one final attack titled Slithering Decay, offering two minutes of classic Death Metal spearheaded by Olli’s savage riffs.

The unrelenting, filthy Finnish bastards of Morbific are waiting for you on Facebook and on Instagram with more of their gore infested music, their tour dates and so on, and don’t forget to also stream all of their demented creations on Spotify or on any other platform available out there. Furthermore, in order to show them your utmost support and your deep passion for Death Metal, you can purchase a copy of the infernal Bloom of the Abnormal Flesh from their own BandCamp or from the Me Saco Un Ojo Records’ BandCamp, proving you’re a loyal servant of all things Death Metal. I guess it won’t take long for us to hear from Morbific again in the near future, blasting our faces with another slab of violence and gore like what’s found in their new album, and I bet you’re all eager for more of the depraved music crafted by such an amazing trio from Finland.

Best moments of the album: Panspermic Blight, Promethean Mutilation and Bloom of the Abnormal Flesh (A Travesty of Human Anatomy).

Worst moments of the album: Womb of Deathless Deterioration (Trapped in the Essence of Putrescence).

Released in 2025 Memento Mori/Me Saco Un Ojo

Track listing
1. Smut Club (For the Chosen Scum) 3:48
2. Panspermic Blight 3:51
3. Menagerie of Grotesque Trophies 4:35
4. Promethean Mutilation 3:29
5. Womb of Deathless Deterioration (Trapped in the Essence of Putrescence) 5:04
6. Stifling Stagnant Reek 1:25
7. Crusading Necrotization 4:16
8. Hydraulic Slaughter 3:53
9. From Inanimate Dormancy 5:58
10. Bloom of the Abnormal Flesh (A Travesty of Human Anatomy) 6:01
11. Slithering Decay 2:04

Band members
Jusa Janhonen – vocals, bass
Olli Väkeväinen  – guitars, backing vocals
Onni Väkeväinen – drums

Album Review – Vermilia / Karsikko (2025)

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Let your soul wander through the forest to the sound of the stunning third full-length offering by this one-woman Atmospheric and Pagan Black Metal entity from Finland.

In the Finnic religion, a “karsikko” was a set of markings made on a tree somewhere between a deceased person’s home and the burial site, which was believed to prevent the individual’s spirit from coming back. In heavy music, Karsikko is the stunning third full-length offering by one-woman Atmospheric Pagan/Black Metal entity Vermilia, following up on her 2018 critically acclaimed debut Kätkyt and her also amazing 2022 opus Ruska. Since 2017, vocalist and multi-instrumentalist Vermilia has been playing a beautiful hybrid of Epic Pagan Metal and sweet, raw and melancholic vocal harmonies with lyrics in her native language, and in Karsikko she has outdone herself with her strongest effort to date, a charming yet visceral album that lives up to the legacy of extreme music while at the same time it pays homage to her beautiful culture and roots.

The charming piano by Vermilia kicks off the dancing Pagan Black Metal title-track Karsikko, with her powerful, penetrating vocals matching perfectly with the song’s stunning wall of sounds. Vakat is the name of a traditional Finnish pagan festival, and that’s exactly what we get from Vermilia in this excellent song, perfect for dancing around the fire and raising our horns high in the sky. Then we have Kivutar, a Finnish goddess of pain and suffering whose name translates to “Lady of Pain”; musically speaking, Vermilia once again delivers an overdose of blast beats, scorching Black Metal riffs, and her fusion of clean vocals and harsh roars. And her classic drums and whimsical keys set the tone in Suruhymni, or “an anthem of mourning” from Finnish, embracing us in pitch black darkness in the middle of the forests of Finland.

Then the atmospheric, enfolding sounds crafted by Vermilia will penetrate deep inside your soul in Koti, or “home”, offering us all a well-balanced fusion of Black and Pagan Metal while again presenting her hypnotizing vocalizations; and in Veresi, or “your blood”, the name of the song says it all, demanding a heavier, more visceral sonority, and our lone she-wolf brings it while also sounding haunting thanks to her Doom Metal-inspired riffs and beats, presenting a fantastic rhythm, crisp instrumental and spot-on vocal lines. In Talven Jälkeen, or “after the winter”, we’re treated to more of her hybrid of harsh sounds and whimsical, embracing passages, with her work on the guitars and drums sounding utterly vibrant. Lastly, Vermilia ends the album on a high note with the dark and heavy Kansojen Kaipuu, or “the longing of nations”, where she gnarls like a creature of the forest for our total delight amidst sounds of pure Atmospheric Black Metal magic.

You can experience Karsikko in all of its glory on YouTube, on Spotify, or on any other streaming service, but of course in order to support the beyond talented Vermilia you can purchase her newborn beast from her own BandCamp or webstore, or by clicking HERE. Also, don’t forget to join her pagan festivities by following her on Facebook and on Instagram (including her unique, mesmerizing live performances), and by subscribing to her official YouTube channel, letting her fascinating music penetrate deep inside your mind, as your soul wanders freely through the darkly peaceful forests of her homeland. Karsikko is one of those albums that gradually takes over your spirit with each and every listen, a precious gem of the underground that will surely feature among the best albums of the year, inspiring Vermilia to continue her amazing path of Atmospheric and Pagan Black Metal for many years to come, as her connection with her pagan roots get stronger and stronger with each album released.

Best moments of the album: Karsikko, Suruhymni, Veresi and Kansojen Kaipuu.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Karsikko 4:44
2. Vakat 7:07
3. Kivutar 4:32
4. Suruhymni 5:08
5. Koti 3:28
6. Veresi 6:39
7. Talven Jälkeen 3:46
8. Kansojen Kaipuu 6:01

Band members
Vermilia – vocals, all instruments

Album Review – Grey Mountain / Grey Mountain (2025)

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A transatlantic metal project featuring members of several renowned acts strikes with their debut offering, a crushing fusion of Heavy, Death and Doom Metal with Post-Metal and other discordant influences.

A transatlantic metal project featuring members of Monsterworks, Bull Elephant, Construct of Lethe, and Black Harvest, Grey Mountain are unleashing upon us their self-titled debut opus, offering our avid ears a crushing fusion of styles from Heavy, Death and Doom Metal to Post-Metal and other discordant influences. Recorded by the band itself, mixed by vocalist and guitarist Jon Higgs (Thūn, Moose Cult), mastered by Dan Swanö at Unisound, and displaying a stylish artwork by guitarist and bassist Kishor Haulenbeek (Black Harvest, Construct of Lethe, In Human Form), the debut album by the aforementioned Jon and Kishor, alongside drummer James Garnett (Monsterworks), will hit you right in the jugular without a single drop of mercy, proving those three talented musicians are not fooling around with their new partnership.

The minimalist guitar lines by Jon and Kishor and the sluggish beats by James set the tone in Grey Mountain, offering a sharp fusion of Doom and Post-Black Metal, or in other words, the music couldn’t have represented better the name of the song (and also of the band). Perpetual Imbalance might be shorter in duration, but it’s as harsh and visceral as the opening track, with James hammering his drums in the name of modern-day Sludge Metal; followed by A Universal Evil, another melodic yet grim creation by the trio, offering a dynamic guitar duel between Jon and Kishor, being therefore perfect for breaking your neck headbanging. Then presenting a pure Post-Metal sonority we have Hermitage, with Jon’s anguished roars sounding beautifully haunting; whereas Many Shades, A Storm starts in a more introspective, serene manner before evolving into a not-so-exciting Post-Metal feast led by James’ classic beats. It’s time for the trio to crush their instruments in Decline and Fall, with Jon roaring like a beast amidst a modern-day fusion of Post-Metal with Doom and Sludge Metal, and the band fires one last breath of heavy and melodic sounds in the form of Living Mythology, with their riffs and solos sounding caustic and piercing until the very end.

Having already a second album planned in a not-so-distant future, Grey Mountain deliver an overdose of heaviness in their self-titled debut offering, which you can purchase from Ampwall or from BandCamp. Also ,although the band itself doesn’t have any official social media yet, you can get more details about the whole project as well as other projects from Jon’s Instagram, and who knows, maybe sooner than we can say “metal” we’ll see those guys hitting the stage together as Grey Mountain. Based on the quality of the music found in their debut, I think we all agree we need that to happen.

Best moments of the album: Grey Mountain, Hermitage and Living Mythology.

Worst moments of the album: Many Shades, A Storm.

Released in 2025 Eat Lead and Die Music

Track listing
1. Grey Mountain 6:39
2. Perpetual Imbalance 3:39
3. A Universal Evil 7:27
4. Hermitage 6:35
5. Many Shades, A Storm 4:30
6. Decline and Fall 3:52
7. Living Mythology 5:48

Band members
Jon Higgs – guitars, vocals
Kishor Haulenbeek – guitar, bass, vocals
James Garnett – drums

Album Review – Cryptosis / Celestial Death (2025)

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Netherland’s own Progressive Thrash Metal beast is back with their sophomore opus, expanding their reign of cerebral terror while drawing a red line between the horrors of the present day and the limitless chaos of the future.

Playing what they like to label as “futuristic multi-metal eruption”, Enschede, Netherlands-based Progressive Thrash Metal beast Cryptosis is back after their critically acclaimed debut Bionic Swarm and their 2023 EP The Silent Call with their sophomore offering, titled Celestial Death, expanding their reign of cerebral terror while maintaining their core policy of making epic music that refuses to be pigeonholed. Once again recorded by Olaf Skoreng at The Moon, mixed by Fredrik Folkare, mastered by Tony Lindgren at Fascination Street Studios, and showcasing a classy artwork by the always amazing Eliran Kantor, the new opus by vocalist and guitarist Laurens Houvast, bassist Frank te Riet, and drummer Marco Prij is a more nuanced and complex affair than their debut album, with lyrics that draw a red line between the horrors of the present day and the limitless chaos of the future.

The futuristic intro Prologue – Awakening will transport us to the metallic realm ruled by Cryptosis in Faceless Matter, with Marco already stealing the spotlight with his unparalleled drumming, offering Laurens all he needs to vociferate rabidly for our total delight in a killer display of Progressive and Technical Thrash Metal. Then the mellotron and synths by Frank will destroy your senses in Static Horizon, another blast of futuristic violence by the trio, followed by their 2024 version for The Silent Call, from their 2023 EP, sounding sharper and more dynamic, with Frank and Marco crafting a thunderous atmosphere perfect for Laurens’ riffs and roars. And in Ascending we face a fast, heavy, in-your-face blend of Thrash Metal and modern, otherworldly elements, sounding utterly vibrant form start to finish.

After the ethereal interlude Motionless Balance, the trio comes ripping once again with Reign Of Infinite, starting in an epic mode thanks to the visceral riffs by Laurens, striking us hard with their cryptic Thrash Metal attack; whereas slowing things down considerably we have Absent Presence, a more pensive, atmospheric tune albeit not as thrilling as the rest of the album. Then back to a more vicious sonority we have In Between Realities, with Laurens screaming manically supported by the metallic bass by Frank and the always demolishing beats by Marco; and Laurens continues to shred his axe mercilessly in Cryptosphere, offering more of the band’s extremely technical blend of Thrash Metal, resulting in by far one of the strongest songs of the album. Finally, we face Coda – Wander Into The Light, a captivating, eerie outro that puts a climatic conclusion to the band’s journey through an unknown dimension.

“We wrote a lot of different material. We had so many ideas, which eventually ended up on a slightly different path – a more cinematic path, I would say. This new record has a much darker atmosphere,” commented Frank, while Laurens also had some remarks about the album compared to their debut. “We learned a lot from our debut album. The biggest lesson we learned was how to create songs that really come together as complete pieces, rather than just combining riffs.” In other words, get ready for the second chapter of Cryptosis by following them on Facebook and on Instagram, by streaming their music on Spotify, and of course by purchasing Celestial Death from their own webstore, from BandCamp, or by clicking HERE or HERE. The hour is upon us, or maybe I should say the future of extreme music is upon us, led by those Dutch metallers armed with their technical yet always visceral music.

Best moments of the album: Ascending, Reign Of Infinite and Cryptosphere.

Worst moments of the album: Absent Presence.

Released in 2025 Century Media Records

Track listing
1. Prologue – Awakening 1:16
2. Faceless Matter 3:52
3. Static Horizon 5:10
4. The Silent Call 5:02
5. Ascending 3:38
6. Motionless Balance 1:48
7. Reign Of Infinite 5:44
8. Absent Presence 4:15
9. In Between Realities 3:47
10. Cryptosphere 4:22
11. Coda – Wander Into The Light 3:11

Limited Edition bonus track
12. Geometry Of A Digital Thought 6:36

Band members
Laurens Houvast – vocals, guitars
Frank te Riet – bass, mellotron, synths, backing vocals
Marco Prij – drums

Album Review – Usquam / Ex Nihilo (2025)

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One of the most promising hordes hailing from France attacks with a beyond stunning fusion of Black, Death, Doom and Post-Metal, exploring the depths of the human soul.

Since their inception back in 2018, Paris, France-based horde Usquam (also stylized in capital letters as USQUAM, a Latin adverb that means “anywhere” or “in any place”) has been shaping their own version of “blackened metal music” by combining Black, Death, Doom and Post-Metal, always with endless violence and melancholy. Now in 2025 the band formed of newcomer Jessy “Christ” Vignolle on vocals alongside guitarists Etienne “Eithenn” Gonin and Jonathan “Draugr”, and bassist Alain “Alwan” Nicolle has just unleashed upon us their first full-length opus, entitled Ex Nihilo, following up on their 2021 EP Reborn. Produced, mixed and mastered by Fred Gervais at Studio Henosis, the album showcases a central concept related to the ”Primordial Tradition”, a fundamental human experience that some believe contains all truths of all religions. Add to that the fact their lyrics explore the depths of the human soul in French, English and Latin, and there you have a bold, dense, detailed and captivating album of extreme music that’s at the same time meaningful and haunting.

Altar Ego sounds utterly atmospheric and enfolding from the very first second, with the band’s Post-Black Metal vein pulsing majestically, led by the deep, anguished roars by Jessy; whereas Etienne and Jonathan sound inhumane armed with their caustic riffs in Axis Mundi, offering us all a crushing, scorching fusion of Black and Death Metal. Then we’re treated to Athanor with its over six minutes of absolute darkness, sending shivers down our spines in the best Blackened Death Metal way possible while Alain pounds his bass with endless fury and dexterity; and a sinister, ritualistic intro explodes into an overdose of violence and obscurity led by the demented harsh screams by Jessy in Ego Sum (Qui Sum), while Alain once again destroys his bass, all spiced up by a striking solo by Etienne. And investing in a more lugubrious Doom Metal sonority we have Arcana Nox, with the cryptic sounds of Post-Black Metal adding a welcome extra dosage of heaviness to the overall result.

Their venomous sounds keep permeating the air in Egocide, with its more symphonic background enhancing its epicness, all while Jessy continue to growl like a true she-demon, followed by the thunderous The Mast, the most complex, intricate and multi-layered of all songs, a lecture in Blackened Death, Doom and Post-Metal with a melancholic, atmospheric start morphing into a pulverizing attack by the band. Moreover, whoever played drums in this album is indeed a headbanging beast. There’s still time for another melodic yet vile creation by Usquam titled Symbol, with the metallic, in-your-face bass lines by Alain hitting our cranial skulls mercilessly, and closing the album it’s time for a full Post-Black Metal aria entitled Persévérance, a majestic composition where Jessy sounds so anguished and desperate on vocals it’s beautiful and disturbing at the same time.

A melodic, symphonic and modern feast of Black Metal embraced by careful arrangements in which spirituality and philosophy are expressed, Ex Nihilo will certainly appeal to fans of bands the likes of Naglfar, Dimmu Borgir, Dark Funeral, and Gaerea, among many others, positioning Usquam as a force to be reckoned with in the underworld of extreme music. You can enjoy Ex Nihilo in all of its glory on YouTube and on Spotify, as well as on other streaming platforms, get to know more about such a unique band of the French scene by following them on Facebook and on Instagram, subscribe to their YouTube channel, and of course purchase a copy of this precious gem of heavy music from the Source Atone Records’ webstore as a digipak CD + booklet or as a very special digipak CD + booklet + shirt combo (or simply click HERE for all things Usquam). “Ex nihilo” is a Latin phrase meaning “out of nothing”, referring to “creatio ex nihilo”, the belief that matter is not eternal, but had to be divinely created; having said that, what are you waiting for to join one of the most promising names of the metal scene worldwide in their metallic studies of the human soul?

Best moments of the album: Axis Mundi, Ego Sum (Qui Sum), The Mast and Persévérance.

Worst moments of the album: None.

Released in 2025 Source Atone Records

Track listing
1. Altar Ego 5:07
2. Axis Mundi 4:32
3. Athanor 6:06
4. Ego Sum (Qui Sum) 3:28
5. Arcana Nox 4:19
6. Egocide 3:04
7. The Mast 5:31
8. Symbol 4:20
9. Persévérance 5:38

Band members
Jessy “Christ” Vignolle – vocals
Etienne “Eithenn” Gonin – lead guitars
Jonathan “Draugr” – guitars
Alain “Alwan” Nicolle – bass

Album Review – Reanimated / Vomit The Plague EP (2025)

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A horde of old school German metalheads will crush us all with their debut EP, celebrating carnage and domination just the way we like it in classic Death Metal.

A horde of old school Death Metal heads who worship the brutal god of the rotten, Kassel, Hesse, Germany-based entity Reanimated was formed in the beginning of 2022 from the ruins of different old Death Metal cults to spread mischief and showcase their passion and devotion for extreme music. Currently formed of vocalist Mike (from Melodic Death/Black Metal horde Dark Horizon, who released in 2024 the excellent album Darkness Falls Upon Mankind), guitarists Alex and Jörg, bassist Benni, and drummer Andre, Reanimated are ready to attack armed with their debut offering, a five-track EP entitled Vomit The Plague, celebrating carnage and domination just the way we like it in classic Death Metal.

Just hit play and you’ll face a cinematic intro titled Rebirth, with the desperate screams by an unknown woman setting a horrific tone in Infant Decapitation, a brutal, no shenanigans Death Metal avalanche blasted by the band where Mike sounds ruthless as usual on vocals supported by the classic beats by Andre. The title-track Vomit The Plague is even more infuriated thanks to the harsh riffage by Alex and Jörg, while Benni and Andre craft a beyond heavy kitchen for our total delight; whereas The Extinction is the perfect follow-up to the title-track, with the sirens in its intro warning the listener of the absolute chaos and despair that’s about to come, evolving into a demonic feast of old school Death Metal led by the harsh guitar lines by Alex and Jörg. Finally, let’s slam into the pit to the pulverizing two and a half minutes found in Flesh Collector, where Andre shows no mercy for his drums nor for our necks.

The ruthless horde known as Reanimator is waiting for you on Facebook, on Instagram and on YouTube with news, tour dates, and more of their music, and of course in order to show them your total support and admiration you can grab a copy of  Vomit The Plague from BandCamp, as well as stream it in full as many times as you want on Spotify. Now that Reanimated have finally left their obscure lair to spread evil across the world, I don’t think it will take too long for the band to unleash upon us their first ever full-length album, and if there’s one thing that can be said about that is that if they follow a similar pattern as the destructive music found in Vomit The Plague, it will be total chaos, violence and blood, always in the name of our beloved Death Metal.

Best moments of the album: Vomit The Plague and The Extinction.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Rebirth 1:07
2. Infant Decapitation 5:06
3. Vomit The Plague 5:31
4. The Extinction 5:38
5. Flesh Collector 2:38

Band members
Mike – vocals
Alex – guitar
Jörg – guitar
Benni – bass
Andre – drums

Album Review – Serenity in Murder / Timeless Reverie (2025)

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Japan’s own Melodic Death Metal beast returns with their stunning fifth opus, exploring the fragility of life, the complexities of human emotions and the eternal struggle between light and darkness.

Having carved their place in the Melodic Death Metal scene worldwide for almost 15 years, Tokyo, Japan-based Symphonic/Melodic Black/Death Metal outfit Serenity In Murder continues to push boundaries in 2025 with their latest masterpiece, entitled Timeless Reverie, their fifth studio album and the follow-up to their critically acclaimed 2021 opus Reborn, further refining their signature blend of raw aggression and symphonic beauty. Navigating a dark and emotional landscape, taking listeners on a journey through themes of time, destiny, inner turmoil and personal revolution, the new album by frontwoman Ayumu, guitarists Freddy and Ryuji, bassist Yu-ri and drummer Allen seamlessly weaves complex melodies, atmospheric symphonic elements, and crushing heaviness, exploring the fragility of life, the complexities of human emotions and the eternal struggle between light and darkness.

The band needs less than two seconds to already crush our souls in God Forsaken, as imposing, complex and heavy as it can be, led by the masterful drumming by Allen while all symphonic elements take its epicness to a whole new level; flowing into the also melodic yet visceral Matrix, reminding me of the sounds blasted by Soilwork, Children of Bodom and In Flames but with the band’s own technical Japanese twist. Freddy and Ryuji are on fire in Blue Roses Gracefully Fall, blasting sheer electricity through their lancinating riffs while once again the background orchestrations sound majestic, and it’s pedal to the metal in the melodeath feast entitled And the World Awake, where their guitars transpire heaviness supported by the rumbling kitchen by Yu-ri and Allen. Allen keeps hammering his drums nonstop in Never Defiled, while Ayumu roars and gnarls like a true she-demon for our total delight.

A Dance of Sorrow lives up to the legacy of Scandinavian Melodic Death Metal, with Ayumu once again stealing the spotlight with her piercing screams, whereas the band sets fire to the atmosphere in The Flames Ablaze, where the riffs and solos by Freddy and Ryuji will electrify your mind in great fashion. Revolt definitely sounds more modern than its predecessors, yet still raw and violent, with its vocal lines alternating between Melodic Death Metal and Metalcore, followed by the serene interlude Past: Timeless Reverie, bringing peace to our hearts before their new version of the song Noticed This Is the Betrayal, originally released in the 2015 album The Highest of Dystopia, sounding sharp and infuriated just the way we like it in melodeath, with Ayumu bursting her lungs by barking rabidly until the very end. Lastly, we have Hope: Timeless Reverie, a lengthy outro that despite sounding detailed and cinematic, takes away a tiny bit of the album’s punch due to its duration. It might have worked better if shorter or if it had vocals, but nothing to worry about as it’s still a good song.

After all is said and done, Timeless Reverie, which is by the way available in full on YouTube and on Spotify, showcases a band at the peak of their creativity and form, hopefully expanding their reach beyond their homeland and letting them spread their wings over other parts of the world like North America and Europe. Timeless Reverie is undoubtedly one of the precious gems of heavy music in 2025, and if you want to know more about the band and their music, you can find them on Facebook, Instagram and YouTube, and of course purchase a copy from BandCamp or by clicking HERE. The paradox between light and darkness (and no, I’m not talking about “Olbers’ paradox” in astronomy) seems to be a constant in heavy music, but few bands are capable of translating it into first-class, captivating music like what Serenity In Murder has to offer in their new album, turning it into a must-listen for anyone, and I mean anyone, who enjoys good music anywhere in the world.

Best moments of the album: God Forsaken, And the World Awake, Never Defiled and The Flames Ablaze.

Worst moments of the album: Hope: Timeless Reverie.

Released in 2025 Apostasy Records

Track listing
1. God Forsaken 4:13
2. Matrix 3:46
3. Blue Roses Gracefully Fall 4:08
4. And the World Awake 3:34
5. Never Defiled 4:40
6. A Dance of Sorrow 3:48
7. The Flames Ablaze 3:06
8. Revolt 3:18
9. Past: Timeless Reverie 1:25
10. Noticed This Is the Betrayal 3:28
11. Hope: Timeless Reverie 6:04

Band members
Ayumu – vocals
Freddy – guitars, clean vocals
Ryuji – guitars
Yu-ri – bass
Allen – drums

Album Review – Damon Systema / Ate (2025)

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Behold the debut offering by this Hellenic Melodic Dark Metal beast, drawing inspiration from the ancient Greek cycle of Hybris, Ate, Nemesis, and Tisis.

A Melodic Dark Metal band formed in 2009 in Athens, Greece by guitarist Akis Pastras, but that remained dormant until 2020, Damon Systema are unleashing upon humanity their first ever sonic offering, simply titled Ate. Produced, recorded, and mixed by Akis Pastras at 3rDi Lab-Station, mastered by George Nerantzis, and displaying a stunning artwork by Okim Tulal, the debut album by Ruby Bouziotis and Nick Vlachakis on vocals, Akis Pastras on the guitars and bass, and The Goat on drums offers a striking fusion of Progressive Death, Doom and Heavy Metal, drawing inspiration from the ancient Greek cycle of Hybris, Ate, Nemesis, and Tisis, exploring the timeless themes of pride, calamity, divine punishment, and ultimate reckoning, being highly recommended for fans of The Agonist, Arch Enemy, Aephanemer, Aversed, and Dark Oath, among others.

The sinister guitars lines by Akis kick off the eight minute extravaganza titled Moirae, a song about the inescapable grip of destiny, with the harsh roars by Nick creating a visceral paradox with Ruby’s hypnotizing clean vocals. Then The Goat takes the lead with his pounding drums in Lady Discordia, an incendiary, headbanging metal feast mirroring the strife and turmoil sown by the goddess of discord, where Ruby shines once again with her striking vocals; followed by Harvest of Tears, which channels the lament of Aeschylus’ The Persians, with devastating crescendos capturing the weight of loss and where once again Akis slashes his stringed axe in great fashion, offering a flammable fusion of Melodic Death Metal with Doom and Gothic Metal elements.

Akis then brings the groove armed with his bass in the title-track Ate, embodying the blinding madness inflicted by the goddess herself, flowing smoothly until its dark and piercing finale. Ruby then presents her deepest, most penetrating vocal lines in Adrasteia, an epic journey into Nemesis’ unyielding grip, supported by the massive beats by The Goat and a razor-edged guitar solo by Akis, before all comes to an end with Poenas Dare, delivering the crushing reckoning of Tisis, a punishing yet cathartic conclusion that resonates with the eternal struggle for atonement. Musically speaking, it’s the perfect Melodic Dark Metal tune to conclude the album, with the entire band sounding tight and on fire, with Nick screaming with tons of anger and hatred in his blackened heart, being complemented by another mesmerizing performance by Ruby while Akis continues to deliver sheer adrenaline through his riffs.

In summary, brace yourself for an odyssey of crushing riffs, haunting melodies, and timeless allegory in Ate, bridging the ancient and the modern, the mythological and the visceral, creating a sonic experience that lingers long after the final note fades. Those amazing Greek musicians are waiting for you on Facebook and on Instagram with more of their fusion of extreme music and Greek mythology, and you can grab your copy of the excellent Ate from the Theogonia Records’ webstore or BandCamp. Or in other words, simply face your inner calamity, embrace Ate, and let the powerful music by another fantastic Hellenic metal band penetrate deep inside your darkened soul.

Best moments of the album: Lady Discordia, Ate and Poenas Dare.

Worst moments of the album: None.

Released in 2025 Theogonia Records

Track listing
1. Moirae 8:16
2. Lady Discordia 6:25
3. Harvest of Tears 6:55
4. Ate 7:14
5. Adrasteia 8:22
6. Poenas Dare 7:25

Band members
Ruby Bouziotis – vocals
Nick Vlachakis – vocals
Akis Pastras – guitars, bass
The Goat – drums