Category Archives: Album Reviews

Album Review – Vultur / Cultores de Perdas e Linna (2025)

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One of the very first Black Metal acts featuring lyrics in Sardinian Campidanese language returns with a magnificent opus dedicated to the occultism and folk superstitions of their homeland.

Aggressive, unmerciful and fast-paced, showcasing intriguing riffs and a certain degree of dark violence, Portoscuso, Sardinia, Italy’s most devilish Black Metal horde Vultur, one of the very first Black Metal acts featuring lyrics in Sardinian Campidanese language, with themes about Sardinian occultism and folk superstitions, returns to the battlefield with their third full-length opus, entitled Cultores de Perdas e Linna, following up on their critically acclaimed 2014 album Ogu Liau. Recorded by Alberto Bandino at Cut Fire Mixing Studio, and displaying a grim artwork by the band’s own bassist Maristella Spanu (taking inspiration from the Sardinian popular mask “Su Boe”, one of the most important characters of Sardinian Carnival tradition), Cultores de Perdas e Linna, which means “stone and woods worshippers” (which is how Christians derogatorily defined the ancient Nuragic population), features eight songs overflowing darkness, brutality and, of course, Sardinian occultism and folklore, all masterfully brought into being by vocalist and guitarist Nicola Fulgheri (aka Attalzu), guitarist Nicola Spaziani, bassist Maristella Spanu, and drummer Lorenzo Balia.

Attalzu wastes no time and begins vociferating rabidly from the very first second in Su Frastimu, a pulverizing, sinister Black Metal onrush that gets even more cryptic thanks to its words in Sardinian Campidanese; and Maristella and Lorenzo fire a Marduk-like evil kitchen in Eternu Trumentu, again darkening the skies in the name of classic Black Metal. The band shows absolutely no signs of slowing or toning down their music in Su Spegu, with Lorenzo smashing his drums like a beast accompanied by the visceral riffage by Attalzu and Nicola. And Maristella continues to hammer her ruthless bass in Femina Mala, while Attalzu summons absolute darkness through his devilish growls.

After such a hurricane of Black Metal, we have the atmospheric interlude Arestis, setting the stage for Vultur to crush our damned souls in Cultores Lapides et Lignea, with the deep, imposing vociferations by Attalzu sending shivers down our spines while Lorenzo once again sounds demonic behind his drums, not to mention the scorching riffage by Nicola transpires Black Metal magic. Then adding the heaviest elements from Death Metal to their core sonority, its time for a deep, infernal tune by the quartet named Umbras, where all instruments sound as austere as possible, in special the demented drums by Lorenzo, flowing into the beyond atmospheric Nemini Parco, starting in a somber Gregorian chant manner before exploding into one final blackened attack by the band, led by the infuriated riffs and bass by Nicola and Maristella, respectively.

Sardinia is the island whose ancient population dates back to the Bronze Age, featuring a rich archaic history and culture, and whose folklore still breaths nowadays within its fond population. Having said that, it’s truly amazing that a band like Vultur also helps to keep that spirit alive through Black Metal, which is in my humble opinion the perfect music genre to represent any form of folklore or occultism, and Cultores de Perdas e Linna is a flawless depiction of the band’s talent and devotion to their homeland, being highly recommended for fans of Satyricon, Marduk, Mayhem, Immortal, Dissection, and Rotting Christ, among others. You can find those Italian creatures on Facebook and on Instagram, stream their music on Spotify, and above all that, purchase their new album from the Masked Dead Records’ BandCamp or webstore as a CD or as a very special Cultores de Perdas e Linna CD + Unholy Impurity CD bundle. Sardinian folklore has always been a very interesting and vibrant topic, but let’s say Vultur definitely know how to spice it up considerably armed with their breathtaking Black Metal attack.

Best moments of the album: Su Frastimu, Cultores Lapides et Lignea and Umbras.

Worst moments of the album: None.

Released in 2025 Masked Dead Records/Sulphur Music

Track listing
1. Su Frastimu 4:11
2. Eternu Trumentu 5:30
3. Su Spegu 3:53
4. Femina Mala 4:33
5. Arestis 2:25
6. Cultores Lapides et Lignea 5:20
7. Umbras 4:01
8. Nemini Parco 5:20

Band members
Nicola Fulgheri – vocals, lead guitars
Nicola Spaziani – guitars
Maristella Spanu – bass
Lorenzo Balia – drums

Guest musician
Federico Ruggiu – acoustic guitar and bass, effects

Album Review – Light Dweller / The Subjugate (2025)

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Vocalist and multi-instrumentalist Cameron Boesch strikes again with his fifth album, delving into themes of death, purgatory, and the cessation of time.

Founded in December 2017 by vocalist and multi-instrumentalist Cameron Boesch in Phoenix, Arizona, in the United States, Dissonant Death/Black Metal entity Light Dweller is set to release its fifth offering, entitled The Subjugate. Inspired by a broad spectrum of dissonant and melodic influences, including Cosmic Putrefaction, Defacement, Mesarthim, Convulsing, Violet Cold, Mare Cognitum, and more, Light Dweller has forged a unique path through the darker, more obscure realms of metal, with The Subjugate spanning six tracks delving into themes of death, purgatory, and the cessation of time, presenting a cohesive journey through these concepts, all embraced by another ass-kicking artwork by Adam Burke of Nightjar Illustration.

Cameron begins his riff and growl attack in full force in Echoes from the Spectral Void, offering our avid ears four minutes of top-of-the-line Progressive Death Metal; whereas Cessation of Time sounds as demolishing and experimental as the opener, with Cameron’s deep guttural walking hand in hand with his intricate yet heavy-as-hell drumming. Then a sinister intro evolves into another darkened amalgamation of sounds in Fracturing Light, where Cameron lets his Progressive Metal vein pulse harder than ever, and with his demonic gnarling matching perfectly with the music; followed by the eight-minute title-track The Subjugate, where Cameron invests in a very diverse and progressive sound by bringing into being several breaks, variations, and experimental and sharp sounds, all combined in a harmonic yet visceral way. In the second to last song of the album, titled Phasing Through the Veil, our one-man band shows no mercy for our souls with his demented riff, bass and drum attack, with its phantasmagorical ending flowing into Adrift the Expanding Nothingness, another bestial tune overflowing insanity and heaviness where he fires his most experimental riffs of the entire album, smashing our minds and souls mercilessly during its hellish seven minutes.

With each release, Light Dweller has evolved, skillfully weaving dissonance with melody, and balancing intense aggression with haunting, introspective passages, culminating now in 2025 with the excellent The Subjugate, and of course pointing to an even more interesting path ahead for Cameron. You can get to know more about him, his music and other details by following Light Dweller on Facebook and on Instagram, and show him your utmost support by streaming his music on Spotify or any other streaming service, and of course by purchasing The Subjugate from the Avantgarde Music’s BandCamp or from Sound Cave. This is undoubtedly Cameron’s strongest opus to date, but I’m sure we’ll hear a lot more from him in the near future, and we’ll say the same about his upcoming albums, as Light Dweller is always evolving, always looking forward, and always ready to surprise us all with its unique sounds.

Best moments of the album: Echoes from the Spectral Void and The Subjugate.

Worst moments of the album: None.

Released in 2025 Avantgarde Music/Unorthodox Emanations

Track listing
1. Echoes from the Spectral Void 4:29
2. Cessation of Time 5:20
3. Fracturing Light 4:45
4. The Subjugate 8:10
5. Phasing Through the Veil 4:38
6. Adrift the Expanding Nothingness 7:39

Band members
Cameron Boesch – vocals, all instruments

Album Review – Exhalus / Inexorable Decay EP (2025)

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An unpredictable Drone and Doom Metal entity from Finland returns with a beyond unique EP, featuring the raw, repetitive structures that have always been its core while also pushing into a more progressive direction.

Hailing from Lohja, a town in Finland located in the southern interior of the country (and home of a statue of the world’s saddest miner), Experimental/Progressive Drone/Doom Metal project Exhalus, the brainchild of vocalist and multi-instrumentalist Mircea Purdea, will darken your minds with its newborn EP, entitled Inexorable Decay, the follow-up to the 2022 album Failed Rituals to Ascend. Featuring the raw, repetitive structures that have been the core of Exhalus music throughout its 19 years of existence while also pushing into a more progressive direction, the EP is perhaps the project’s most experimental one yet. Furthermore, while it’s not the first one to use synthesized clean vocals, it’s the first that uses them this extensively, giving an extra touch of uniqueness to the whole album when compared to all of its previous releases.

The opening track Erosion sounds utterly sluggish, vile and disturbing from the very first second, with its deep gnarls and sharp riffage working as the soundtrack to a grim horror movie, followed by Vortex, offering a weird, unique fusion of metallic and groovy guitars and bass with eerie vocalizations, or in other words, it’s the epitome of Experimental Drone and Doom Metal. Mircea keeps hammering his guitar and bass in Grinder, again blending the past, present and future of experimental music while also presenting massive beats that add an extra dosage of heaviness to the overall result. Surrender continues from where the previous song ended, bringing to our avid ears wicked guitar lines and a complete sense of lunacy and despair during its three instrumental minutes; and last but not least, the EP ends with Faded, setting a serene mood to the sound of the piano that remains until the very end.

In the end, while at its core the music still had the approach of Drone Metal and the misery of Doom Metal, the structure became more and more progressive, with most songs on the EP not even being considered metal (if there’s a limit to what metal can be). Hence, if you want to know more about this uncanny entity from the land of ice and snow, you can find Exhalus on Facebook, stream more of its music on Spotify, and purchase a copy of Inexorable Decay from BandCamp (keeping in mind the CD digipak version of the album is limited to 50 copies only). No one knows what’s next for Exhalus, and I dare to say not even Mircea Purdea, keeping the project as fresh and vibrant as it’s mysterious and unpredictable, exactly how the fusion of Drone and Doom Metal shall always be.

Best moments of the album: Erosion and Grinder.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Erosion 2:43
2. Vortex 2:24
3. Grinder 3:26
4. Surrender 3:18
5. Faded 2:31

Band members
Mircea Purdea – vocals, all instruments

Guest musicians
Topias Jokipii – vocals on “Erosion”
Chris Kembry – guitars on “Faded”

Album Review – Shadow of the Talisman / As Above, So Below (2025)

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Behold this concept album of first-class Alternative Metal introducing us to The Dark One, who chooses to recruit and resurrect a broken man to transform him into a killing machine soon known as The Outlaw.

An Alternative Metal band from Flint, Michigan that takes concept rock to the next level while striving to unite all facets of the metal scene through complex musical journeys and heart-wrenching lyrics, and a community where every metalhead can find something perfect for them, Shadow of the Talisman are ready to kill armed with their debut opus, entitled As Above, So Below. Recorded at Raydon Studio with the help of Mark Stewart, serving as co-producer and mix engineer, the debut by vocalist Mike Smith, guitarists Zack Harrison and Owen Summerland, bassist Elijah Kinney, and drummer Kyle Williams is a concept album introducing us to The Dark One, who chooses to recruit and resurrect a broken man to transform him into a killing machine soon known as The Outlaw. This tragic devil’s plaything loses his reality like a dollar bill in a hurricane, and goes straight to a fiery Hell where a deal is made and the remains of his soul, shattered. When The Outlaw resurfaces on Earth as a gunslinging demon, he wreaks havoc in Westerntown, a metaphor for the civilized society this miscreant trashes and shreds. And even though he eventually has a change of heart, there is no future for him but to return to the Hell that forged him, where he is destined to annihilate The Dark One and become the new ruler of the underworld.

Just hit play and the band already comes ripping with six minutes of heaviness in the opener Arise, with its cinematic intro inviting us all to their metal feast spearheaded by the enraged roars by Mike; and Mike’s vocals remind me of the great John Bush in What Is Real?, while Zack and Owen deliver tons of heaviness and melody through their axes. Kyle and Elijah then bring the groove in Fiery Descent while Mike continues to scream the story of The Dark One and The Outlaw for our total delight, whereas Elijah’s metallic bass sets the tone in Dead with the Devil, offering a thrilling fusion of Alternative and Groove Metal, with Kyle hammering his drums until the song’s very last second.

The second half of the album begins with a song dedicated to The Outlaw, again showcasing the band’s dexterity and passion for melody and groove while remaining as heavy as possible. Then a Southern Rock-inspired intro evolves into Cursed, a ballad that sounds as if it was taken from an Avenged Sevenfold album. It could have been slightly shorter, though. Lastly, we have the two-part song that gives the name to the album, starting with As Above, perfect for some nice headbanging, for nonstop horns raising and for screaming it along with Mike, with its last part being a display of melodious, passionate riffs and solos by Zack and Owen, flowing into So Below, a beyond heavy and fulminating tune crafted by the band where their modern-day Groove Metal vein pulses harder than ever, putting a climatic, epic conclusion to the album and therefore to its background story.

A metallic tornado of genres and mediums swirled into a sensational horror story told through funky, break-oriented Alternative Metal featuring powerful vocals and intricate, raucous instrumentals, As Above, So Below will undoubtedly carve the name of Shadow of the Talisman in the current American metal scene, and you can put your dirty hands on such an electrifying album by clicking HERE or HERE. Don’t forget to also give the band a shout on Facebook and on Instagram, and to stream their incendiary music on YouTube, Spotify or any other streaming platform. Will we hear from The Dark One and The Outlaw again in the future, maybe in a new concept album by Shadow of the Talisman? As the answer to that is a mystery for now, let’s keep banging our heads to the fury blasted in As Above, So Below, one hell of an album (pun intended) from the modern American Alternative Metal scene.

Best moments of the album: Arise, Dead with the Devil and So Below.

Worst moments of the album: Cursed.

Released in 2025 Eclipse Records

Track listing
1. Arise 6:01
2. What Is Real? 5:43
3. Fiery Descent 3:09
4. Dead with the Devil 3:50
5. The Outlaw 5:16
6. Cursed 6:09
7. As Above 8:01
8. So Below 9:29

Band members
Mike Smith – vocals
Zack Harrison – guitar
Owen Summerland – guitar
Elijah Kinney – bass
Kyle Williams – drums

Album Review – Avulsed / Phoenix Cryptobiosis (2025)

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Spain’s own Death Metal veterans return in full force with a pulverizing new album, raising their violence to another level, sounding as brutal, heavy, intense and catchy as always.

With the new line-up in exhilarating form and a final touch of gore soaked magic applied by the mixing of Alejandro Lobo at Acórdica Studios, the mastering of Davide Billia at MK2 Studio, and a venomous artwork by Ukrainian illustrator Daemorph, the pulverizing Phoenix Cryptobiosis represents Madrid, Spain-based Death Metal veterans Avulsed at the peak of their form. Currently formed of the iconic frontman Dave Rotten, guitarists Victor Dws and Alejandro Lobo, bassist Alex Nihil and drummer Santiago Arroyo “GoG”, Avulsed are on absolute fire in their eighth studio album and the follow-up to their 2013 opus Ritual Zombi, raising their violence to another level, sounding as brutal, heavy, intense and catchy as always, turning the album into a pure delight for fans of Demigod, Carcass, Bolt Thrower and Cannibal Corpse, among others, with each track having a wealth of haunted vaults to explore (and you’ll just want the bloodshed to keep on coming).

Limbs Regeneration is evil, haunting and embracing form the very first second, an extended intro that will decimate your blackened minds before we face Lacerate to Dominate with its poetic yet caustic lyrics barked by Dave (“In the realm of shattered dreams / Where agony reigns supreme / Razor’s edge a bloodied gleam / Lacerate to crush the dream”) amidst a brutal Death Metal atmosphere. It’s time to open up the circle pit and begin the slamming feast with Blood Monolith, with Victor and Alejandro firing classic Death Metal riffs while Santiago hammers his drums nonstop, and they need less than three minutes to smash us like disgusting insects in Unrotted, followed by the also pulverizing Guts of the Gore Gods, with Santiago and Alex hammering their rumbling drums and bass, respectively, in the name of old school Death Metal. After such an overdose of violence, the title-track Phoenix Cryptobiosis brings to our avid ears that sinister, sluggish and gory version of Death Metal we all learned to love so much, and the final result is truly infernal.

Santiago then sets the pace with his classic beats in the fast and furious extravaganza titled Devotion for Putrefaction, with Dave once again melting our faces with his deep guttural roars, followed by Neverborn Monstrosity, five minutes of pure Death Metal showcasing the band’s passion for the extreme and an intense, bold atmosphere, with the riffage by Victor and Alejandro exhaling rage. They keep the momentum going with Dismembered, another savage display of Death Metal made in Spain where Dave sounds possessed on vocals; and Bio-Cadaver, carrying a charming name for an overdose of brutality, heaviness and gore blasted by Dave and his henchmen. Last but not least, Santiago brings an extra dosage of rage and insanity to their music in Wandering Putrid Souls, inviting us all to slam into the pit one final time together with those beyond talented servants of the extreme.

In a nutshell, Phoenix Cryptobiosis is everything you could desire from an unwavering, undiluted Death Metal album in this age of fractured loyalties and pandering to the thin-blooded masses, bringing forward a band that takes no prisoners in their quest for extreme music. Hence, you can join those Spanish metallers on Facebook and on Instagram to stay up to date with everything surrounding them, including their live concerts, stream their sick music on YouTube and on Spotify, and of course grab a copy of the infernal Phoenix Cryptobiosis from Xtreem Music’s BandCamp or webstore. Avulsed are coming in full force to crush our putrid bodies armed with their new album, and you better be prepared because impact is imminent, and it will be absolutely violent.

Best moments of the album: Blood Monolith, Devotion for Putrefaction and Dismembered.

Worst moments of the album: Limbs Regeneration.

Released in 2025 Xtreem Music

Track listing
1. Limbs Regeneration 2:55
2. Lacerate to Dominate 5:01
3. Blood Monolith 4:15
4. Unrotted 2:39
5. Guts of the Gore Gods 3:03
6. Phoenix Cryptobiosis 4:23
7. Devotion for Putrefaction 3:27
8. Neverborn Monstrosity 5:12
9. Dismembered 4:40
10. Bio-Cadaver 3:53
11. Wandering Putrid Souls 4:57

Band members
Dave Rotten – vocals
Victor Dws – guitars
Alejandro Lobo – guitars
Alex Nihil – bass
Santiago Arroyo “GoG” – drums

Album Review – Sepulchral Curse / Crimson Moon Evocations (2025)

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This ruthless Finnish horde demonstrates their unmatched ferocity and craftmanship in their third studio album, cementing their place at the very zenith of the global Blackened Death Metal scene.

Arriving merely two years after their bold leap forward with Abhorrent Dimensions, Crimson Moon Evocations, the third full-length opus by Turku, Finland-based Death Metal creature Sepulchral Curse, paints a vivid portrait of a band at their creative and productive peak. Recorded and mixed by Tomi Uusitupa at Oxroad Studios, mastered by Are Kangus, and displaying a dark and sinister artwork by Mark Erskine, the new album by vocalist Kari Kankaanpää, guitarists Jaakko Riihimäki and Aleksi Luukka, bassist Niilas Nissilä, and drummer Johannes Rantala demonstrates their unmatched ferocity and craftmanship, cementing their place at the very zenith of the global Blackened Death Metal scene.

The guitars by Jaakko and Aleksi rev up the band’s deadly engine in Wildfires, quickly morphing into a bestial Death Metal extravaganza to the crushing drums by Johannes, who sounds even more infernal in House of The Black Moon, with Kari’s utterly deep guttural adding an extra touch of heaviness to the band’s core Blackened Death Metal. Then the band goes full Death Metal in The Locust Scar, with the guitars by the band’s axed duo exhaling heaviness and hatred, whereas a sluggish, Doom Metal-infused start gradually evolves into another demented beast by Sepulchral Curse entitled Beneath The Dismal Tides, with Niilas and Johannes building the heaviest ambience of all songs armed with their demonic kitchen.

Then investing in a more melodic sonority it’s time for Empress of The Dead, without of course forgetting the band’s trademark bludgeoning sounds; whereas their second to last sonic attack comes in the form of The Currents of Chaos, with Kari roaring deeply like a demonic creature supported by the vile riffs by Jaakko and Aleksi. Finally, the band brings forward Crimson Passages, again blasting our damned souls with their Doom Metal-infused blackened sounds, showcasing crisp, piercing guitar lines in paradox with the inhumane, gruesome gnarls by Kari, resulting in not only one hell of a bestial song, but also putting a beyond phantasmagorical and haunting conclusion to one of the heaviest albums of the year.

“The backbone is death metal,” states vocalist Kari Kankaanpää about their newborn beast, “but we’ve never shied away from exploring new inspirations and influences, which shape the unique edge synonymous with Sepulchral Curse. Music needs to be dark, heavy and furious!” Crimson Moon Evocations indeed takes an even deeper dive into who Sepulchral Curse are and crystallizes the essence of their sound, helping the band to ascend to the pinnacle of Blackened Death Metal. Hence, if you want to “stay cursed” as the band’s frontman likes to say, you can find the band on Facebook and on Instagram, stream their wicked creations on Spotify or any other streaming service, and obviously grab a copy of their new album from the Dark Descent Records’ BandCamp or webstore in the US and the EU, or simply click HERE for all things Sepulchral Curse. In a nutshell, Crimson Moon Evocations is utterly dark, evil and, more important than that, extremely heavy, paving a fantastic path ahead of those Finnish beasts in the years to come.

Best moments of the album: House of The Black Moon, Beneath The Dismal Tides and Crimson Passages.

Worst moments of the album: None.

Released in 2025 Dark Descent Records

Track listing
1. Wildfires 4:58
2. House of The Black Moon 6:09
3. The Locust Scar 5:06
4. Beneath The Dismal Tides 5:29
5. Empress of The Dead 6:39
6. The Currents of Chaos 5:09
7. Crimson Passages 6:11

Band members
Kari Kankaanpää – vocals
Jaakko Riihimäki – guitar
Aleksi Luukka – guitar
Niilas Nissilä – bass, backing vocals
Johannes Rantala – drums

Album Review – Crown of Madness / Memories Fragmented (2025)

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An up-and-coming duo from Canada attacks with their first album, unique in the style of Dissonant Death Metal, sounding and feeling deeply personal and palpably emotive.

Port Coquitlam, British Columbia, Canada-based Dissonant Death Metal duo Crown of Madness has put out a slew of short-form releases, improving upon their sound with each one and culminating in their first full-length opus that sees the most evolved version of their music so far, entitled Memories Fragmented. Displaying an apocalyptic artwork by Erskine Designs, the new album by Sunshine Schneider on vocals, guitars and bass, and Connor Gordon on drums happens to be unique in the style of Dissonant Death Metal, sounding and feeling deeply personal and palpably emotive, and that poignant, introspective mood pervades their entire album, being therefore highly recommended for fans of Ulcerate, Devenial Verdict, Dysgnostic, and Gorguts, among others.

The beyond cryptic, devilish intro Visions From A Past Life will penetrate deep inside our psyche before the duo crushes our souls in Sovereign Blood, with Sunshine sounding amazing with her harsh vociferations and dissonant riffs, supported by the demolishing drums by Connor; and the same Connor continues to show his undeniable dexterity in Burdened, offering Sunshine exactly what she needs to shine with her she-demon gnarls. Ashes of Mine is another classy, visceral fusion of Death Metal with Dissonant, Experimental and Avantgarde Death Metal, perfect for some mosh pit action; and Sunshine and Connor sound even more in sync in When I Don’t Remember You, darkening the skies to their gripping riffs and blast beats.

The second half of the album begins in full force with Deafening, bringing forward two and a half minutes of top-of-the-line Dissonant Death Metal, inspiring the duo to sound even more demented in Sea of Fangs, in special Sunshine with her deep, venomous roars. Dreamless Nights No Longer brings to our avid ears an avalanche of Stygian, dissonant sounds by Sunshine and Connor that will invade our deepest thoughts, sounding ruthless form start to finish, and they keep blasting our senses with another cryptic tune entitled Hollow Thresher, which could have been slightly heavier or more dynamic, though. And lastly, we’re treated to The Grand Design, presenting more of their amalgamation of dark, doomed styles with pure insanity.

In a nutshell, Memories Fragmented is a beautifully tempered album underpinned by unforgettable melodies, an ambitious release but one completely devoid of pretence, which is bound to be regarded as one of the standout albums in the style in the years to come. Having said that, don’t forget to go check what the duo is up to on Facebook and on Instagram, to stream their music on Spotify, and of course to purchase a copy of such an incendiary album from the duo’s own BandCamp page, as well as from the Transcending Obscurity Records’ BandCamp, main store, EU store, or US store. This is first-class, unparalleled Death Metal made in Canada by a beyond talented duo, and I bet you’ll fall in love with them once you let the music found in their newborn spawn be the soundtrack to your own fragmented memories.

Best moments of the album: Sovereign Blood, When I Don’t Remember You and Dreamless Nights No Longer.

Worst moments of the album: Hollow Thresher.

Released in 2025 Transcending Obscurity Records

Track listing
1. Visions From A Past Life 2:30
2. Sovereign Blood 3:43
3. Burdened 3:06
4. Ashes of Mine 4:46
5. When I Don’t Remember You 4:32
6. Deafening 2:30
7. Sea of Fangs 3:52
8. Dreamless Nights No Longer 3:53
9. Hollow Thresher 2:56
10. The Grand Design 4:13

Band members
Sunshine Schneider – vocals, guitars, bass
Connor Gordon – drums

Album Review – Venamoris / To Cross or To Burn (2025)

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Dave and Paula Lombardo’s “vein of love” pulses once again through their sophomore album, delivering a multi-directional statement that resonates with character while side-stepping away from staid radio clichés.

Two years after the release of their debut album Drown In Emotion, Venamoris (taking their name from the Latin “vena amoris”, or “the vein of love,” purported to run from the left-hand ring finger to the heart), the Los Angeles, California-based Dark Pop/Rock/Metal duo of legendary drummer Dave Lombardo and Canadian-born singer-songwriter Paula Lombardo, returns to taction with their sophomore opus, entitled To Cross or To Burn. Engineered and produced by Dave Lombardo, mixed by Dave’s own son David A. Lombardo, mastered by Golden Mastering, displaying a charming yet dark artwork by Chippy (aka Heung-Heung Chin), and featuring very special guests Trevor Dunn (Mr. Bungle, Tomahawk), Ra Diaz (Suicidal Tendencies, Korn), Alex Skolnick (Testament), and Gary Holt (Exodus, Slayer), the new album by Paula on vocals, synthesizers and piano, and Dave on the guitars, bass and drums is another milestone in their career, delivering a multi-directional statement that resonates with character while side-stepping away from staid radio clichés.

Paula begins distilling her charming vocals in Stay With Me, featuring Trevor Dunn on contrabass, offering two minutes of classy music that will penetrate deep inside your heart. Dave then joins his wife with his unparalleled beats (as well as a solid performance on bass) in In The Shadows, also presenting some symphonic nuances; whereas Paula is on fire with her piano and smooth vocal lines in Truth, a song that could easily be played on any radio station so delicate yet powerful it sounds. In Stain Of Pain we’re treated to the magnificent sounds blasted by bassist Ra Diaz and guitarist Alex Skolnick in a Jazz-infused tune perfect for listening to together with your loved ones, while Spiderweb sounds very sexy, dark and alluring, with Dave’s beats matching perfectly with Paula’s minimalist piano notes.

Alex Skolnick is back in Burnt Paper, offering almost three minutes of darkly delicate sounds to our avid ears, followed by Holding On To Nothing, which presents a similar vibe as its predecessor, albeit not as enfolding nor mysterious. Then the always sharp guitar lines by Gary Holt bring a delicious vibe to their cover version for Animal Magnetism, originally recorded by Scorpions back in 1980 (check the original version HERE), from their classic album Animal Magnetism, while Paula shines on vocals once again. After that, it’s time for another devilish, atmospheric creation by the Lombardos titled Numb, presenting hints of Alternative Rock and Electronica; and closing the album we face the title-track To Cross or To Burn, ending the whole experience on a futuristic, cinematic way, with Dave again sounding amazing on both the guitar and drums.

“Creativity should have no limitations,” Dave remarks. “I don’t feel that there should be any musical style that Venamoris should avoid.” Having said that, what are you waiting for to explore the amalgamation of styles brought together by the Lombardos in To Cross or To Burn? You can find the duo on Facebook and on Instagram, stream their music on Spotify, and purchase their striking new album from BandCamp or by clicking HERE. Venamoris is the perfect example of how love and music unite in perfection when the musicians involved are not only extremely talented and focused, but also in absolute sync, translating their passion, struggles and emotions in real life into first-class music like what’s offered in To Cross or To Burn, touching the hearts of all of us in a beautiful and compelling way.

Best moments of the album: In The Shadows, Stain Of Pain and Animal Magnetism.

Worst moments of the album: Holding On To Nothing.

Released in 2025 Ipecac Recordings

Track listing
1. Stay With Me 2:02
2. In The Shadows 3:52
3. Truth 3:33
4. Stain Of Pain 2:51
5. Spiderweb 3:47
6. Burnt Paper 2:45
7. Holding On To Nothing 3:10
8. Animal Magnetism (Scorpions cover) 5:20
9. Numb 3:30
10. To Cross or To Burn 4:27

Band members
Paula Lombardo – vocals, synthesizers, piano
Dave Lombardo – guitars, bass, drums

Guest musicians
Trevor Dunn – contrabass on “Stay with Me”
Ra Diaz – bass on “Stain of Pain”
Alex Skolnick – guitars on “Stain of Pain” and “Burnt Paper”
Gary Holt – guitars on “Animal Magnetism”

Album Review – Grima / Nightside (2025)

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This cryptic, haunting Atmospheric Black Metal entity returns with its sixth offering, a dark ritual of ancient forest magic honoring the spirit of the Siberian Taiga.

With already 10 years of scene-stealing experience behind them, the cryptic, looming stars of Siberian Atmospheric Black Metal known as Grima are unleashing upon humanity their sixth full-length offering, the breathtaking Nightside, a dark ritual of ancient forest magic following up on their critically acclaimed 2022 opus Frostbitten. Produced by the band itself alongside Vladimir Lehtinen, recorded by Vilhelm and Serpentum at Grima The Mighty Studio, mixed and mastered by Vladimir Lehtinen at Blastbear Sound, and displaying a somber and classy artwork by Paolo Girardi, the new album by twin brothers Vilhelm on vocals and guitars, and Morbius on the guitars, with the support of session musicians Serpentum on bass, Vlad (Morokh, Solarfall, Ultar) on drums, Valentina Astashova (Eoront, WirgHata) on keyboards, and Sergey Pastukh on the bayan, is set to honor the spirit of the Siberian Forest, Taiga, while also bringing to our avid ears an overdose of high quality atmospheric and extreme music.

Serene, gentle sounds permeate the air in the atmospheric intro Cult, with the bayan by Sergey adding an extra touch of finesse to the overall result, exploding into Beyond the Dark Horizon, where Vilhelm’s harsh, devilish gnarls will send shivers down your spine supported by the classic Black and Doom Metal beats by Vlad, therefore resulting in a bold, dense and multi-layered aria of darkness by Grima. Then the striking sound of the bayan once again brings sheer magic to Flight of the Silver Storm, with the guitars by Vilhelm and Morbius exhaling Black Metal, being perfect for some vigorous headbanging in the bitterly cold darkness of the Siberian Tundra; and the gentle guitar lines by the Siberian twins ignite the also enfolding Skull Gatherers, with Serpentum and Vlad generating a heavy, pounding ambience tailored for Vilhelm’s venomous roars. Then featuring guest vocals by Savely Nevzorov (Deafknife, Ultar) and Ilya Panyukov, Impending Death Premonition is a lecture in Atmospheric Black Metal showcasing striking yet melodious riffs intertwined with sheer violence, anger and obscurity.

The second half of the album begins with the breathtaking The Nightside, with its menacing wall of sounds dragging us all to the cold landscapes of Siberia while their riffs and blast beats, supported by the whimsical keys by Valentina, sound utterly dynamic and captivating. They continue to darken the Siberian skies with their harsh but extremely beautiful music in Where We Are Lost, with Vilhelm and Morbius delivering a thrilling riff attack; whereas Savely and Ilya return in full force in Curse of the Void, starting again in an embracing, mysterious manner before such an amazing metal entity from Russia crushes our souls with their stylish Atmospheric Black Metal sounds. Lastly, the band invests in a more melancholic, cadenced sonority in Mist and Fog, bringing more elements from Doom Metal and even Depressive Black Metal to their core sound, with Vilhelm taking the lead with his sharp, devilish gnarling before all flows into the climatic outro Memories of a Forgotten Home, bringing some peace to our hearts and soothing our souls as we succumb to the enfolding darkness of the Taiga in the harshest of winter.

In addition to their unforgettable sound, the band’s eerie, piercing looks, towering like living trees with intimidating carved wooden masks and branched fingers, adds another haunting element to their brutal yet beautiful output. Hence, with their mysterious visual aura and intriguing sound, on Nightside, Grima continue to prove themselves as an unmissable band to watch within the genre, and you can explore their distinguished realm by following them on Facebook, Instagram, and VKontakte, stream their music on Spotify, and purchase their newborn beast from BandCamp, from Napalm Records, or simply by clicking HERE, letting the darkly menacing beauty of the night sky from the Taiga penetrate deep inside your soul to the sound of one of the best albums of extreme music of the year.

Best moments of the album: Flight of the Silver Storm,  Impending Death Premonition, The Nightside and Curse of the Void.

Worst moments of the album: None.

Released in 2025 Napalm Records

Track listing
1. Intro (Cult) 2:00
2. Beyond the Dark Horizon 3:36
3. Flight of the Silver Storm 6:01
4. Skull Gatherers 5:37
5. Impending Death Premonition 6:25
6. The Nightside 7:29
7. Where We Are Lost 6:31
8. Curse of the Void 4:35
9. Mist and Fog 5:09
10. Outro (Memories of a Forgotten Home) 2:03

Band members
Vilhelm – vocals, guitars
Morbius – guitars

Guest musicians
Serpentum – bass (session)
Vlad – drums (session)
Valentina Astashova – keyboards (session)
Sergey Pastukh – bayan (session)
Savely Nevzorov & Ilya Panyukov – vocals on “Impending Death Premonition” and “Curse of the Void”

Album Review – Christ Dismembered / Ov Vampiricy (2025)

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An infernal Black Metal horde from Down Under is ready to ride out into the world once more, bringing with them the heretical gospel that is their sophomore opus.

A tolling bell, a howling wind and chants of dire imprecation announce the return of Black Metal horde Christ Dismembered, Australia’s chief advocates of apostasy and servants of the beast. Forged in the fires of the city of Millicent, South Australia in 2012, the band now formed of Arch Worm on vocals and guitars, Doomsayer on lead guitars, Winter Demon on rhythm guitars, Skorpa on bass, and Plague on drums is ready to ride out into the world once more, bringing with them the heretical gospel that is Ov Vampiricy, the follow-up to their 2017 self-titled debut, their second full-length album of blood hungry Black Metal in their crusade against the light, being tailored for admirers of the music by Nifelheim, Immortal, Dark Funeral and Behexen, among many others.

The howling winds of evil will embrace you in the album’s intro, taking you on a one-way journey to the underworld in Fool’s Gambit, already offering a vibrant fusion of Melodic Black Metal with old school Black Metal, with Plague sounding simply infernal on drums for our total delight. Then the strident riffage by Doomsayer and Winter Demon will mercilessly pierce your damned minds in Mother of Demons, a lecture in Black Metal by the quintet exhaling pure hatred and obscurity, followed by The Numbers Oppose You, offering an extra dosage of sulfurous Black Metal with Arch Worm gnarling like a demonic entity; and there’s no sign of slowing down nor anything like that, as it’s pedal to the metal in an ode to all things Black Metal titled Under the Cross, perfect for some blasphemous action inside the pit.

After that, we have the atmospheric interlude The Banishment, the calm before the storm as this Australian horde will crush your putrid souls in A Ritual Most Foul, where Plague dictates the song’s pace with his intricate yet demolishing blast beats, keeping the album at a high level of blasphemy. Sorcerer of Nazareth is a pure old school Black Metal extravaganza showcasing all the passion for the dark arts by the band, followed by Child Devouring Servants of Satan, one of the most infernal of all tracks of the album, with Doomsayer and Winter Demon stealing the show with their flammable riffage. Their second to last offering from the pits of the netherworld, entitled See You In Hell, showcases another vicious gnarling attack by Arch Worm, whereas last but definitely not least, this horde from Down Under will burn your frail bodies to the sound of the fiery Riddled With Sin, with Skorpa and Plague making the earth tremble with their beyond venomous and rumbling kitchen.

The children of the night will be unbound and their infernal music will echo through the darkness once more to the sound of Ov Vampiricy, and you can join such an amazing horde from Down Under by following them on Facebook and on Instagram, by streaming their vile creations on YouTube and on Spotify, and of course by purchasing a copy of their impious new album from their own BandCamp page or webstore, as well as from MSH Music Group. After all is said and done, simply open your ears to the cries of the children of the night, open your arms to their embrace to the sound of their blasphemous and vile new opus, or grip your crucifix in shaking hands and weep, because Christ Dismembered will take no prisoners in their quest for old school Black Metal armed with their excellent new offering.

Best moments of the album: Mother of Demons, Under the Cross and Child Devouring Servants of Satan.

Worst moments of the album: A Ritual Most Foul.

Released in 2025 Independent

Track listing
1. Intro 1:45
2. Fool’s Gambit 5:21
3. Mother of Demons 4:15
4. The Numbers Oppose You 4:12
5. Under the Cross 4:34
6. The Banishment 2:30
7. A Ritual Most Foul 4:27
8. Sorcerer of Nazareth 6:29
9. Child Devouring Servants of Satan 4:33
10. See You In Hell 5:54
11. Riddled With Sin 5:13

Band members
Arch Worm – vocals, guitars
Doomsayer – lead guitars
Winter Demon – rhythm guitars
Skorpa – bass
Plague – drums