Category Archives: Album Reviews

Album Review – Novembre / Words of Indigo (2025)

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The newly reinvigorated Italian pioneers of Atmospheric and Progressive Gothic, Doom and Death Metal return with their most elaborately adorned and sonically refined opus to date.

Coinciding with 35 years since the band’s original inception under the Catacomb moniker, and after an extended period of inactivity following the release of their 2016 acclaimed album Ursa, the newly reinvigorated Italian pioneers of Atmospheric and Progressive Gothic/Doom/Death Metal known as Novembre return with their most elaborately adorned and sonically refined opus to date in the shape of their ninth studio album, titled Words of Indigo. Mixed and mastered by Dan Swanö (Opeth, Katatonia, Bloodbath) at Unisound, and displaying a classy artwork by Travis Smith (Opeth, Katatonia) of Seempieces Design Studio, the new album by vocalist Carmelo Orlando, guitarists Alessio Erriu and Federico Albanese, and drummer Yuri Croscenko, with the support of session bassist Fabio Fraschini, will embrace you in a melancholic yet warm darkness, being therefore highly recommended for fans of Sacturnus, Novembers Doom, Shores of Null, Les Discrets, Woods of Ypres, My Dying Bride, and Draconian.

After a whimsical intro the band comes crushing our souls with their share of melancholy and doom in Sun Magenta, spearheaded by the crisp, piercing guitars by Alession and Federico, whereas Statua showcases an even more pensive, darker side of the band, with the clean and harsh vocals by Carmelo sounding amazing from start to finish. The band continues to distill their fusion of Progressive and Doom Metal in Neptunian Hearts, sounding heavy while also bringing tons of melody to our avid ears; whereas Ann-Mari Edvardsen (of The 3rd and the Mortal) makes a stylish vocal duet with Carmelo with her stunning voice in House of Rain, adding even more darkness to their core sound and, therefore, resulting in a beautiful ballad of extreme music, followed by Brontide, keeping the ambience dense, grim and hypnotic thanks to another classy performance by all band members, with Yuri dictating the pace with his doomed beats and fills.

Then after the theatrical interlude simply titled Intervallo we face another blast of their Progressive Doom Metal in the form of Your Holocene, an enfolding, thrilling tune where Carmelo’s deep, nocturnal vocals sound even more powerful, supported by the always incendiary riffs by both Alessio and Federico. Chiesa dell’alba brings forward more of their mix of Paradise Lost-infused doom and the progressiveness of bands like Dream Theater and Allegaeon, again presenting the intricate and fierce drumming by Yuri, followed by Ipernotte, one of the most detailed, multi-layered and vibrant of all songs, where the guitar job by Alessio and Federico is beautifully complemented by the thunderous bass by Fabio Fraschini. And last but not least, the band will darken the skies and consume our minds with Post Poetic, where Carmelo yet again melts our faces alternating between clean, ethereal vocals and the madness of his harsh gnarls, flowing into the climatic outro Onde, putting a pensive, somber ending to the album.

An exquisite and finely-textured display of creative prowess exploring themes of danger and innocence, fear and nostalgia, the latest journey by Novembre takes the listener through the torrents of raging Death Metal and sweeping, uplifting passages of serene poignancy, all woven together as finely crafted and layered melodic epics. You can put your hands on Words of Indigo via BandCamp or by clicking HERE, and don’t forget to also start following the band on Facebook and on Instagram for news, tours dates and more of their music, and to stream the embracing sounds from all of their albums on Spotify. November is undoubtedly a month that transpires doom, and the music offered by Novembre in Words of Indigo will surely work as the perfect soundtrack for your gloomiest, darkest days of such a Stygian month.

Best moments of the album: Statua, Your Holocene and Post Poetic.

Worst moments of the album: Brontide.

Released in 2025 Peaceville Records

Track listing
1. Sun Magenta 7:23
2. Statua 6:05
3. Neptunian Hearts 6:11
4. House of Rain 7:33
5. Brontide 6:21
6. Intervallo 1:14
7. Your Holocene 5:29
8. Chiesa dell’alba 7:26
9. Ipernotte 6:52
10. Post Poetic 6:27
11. Onde 2:29

Band members
Carmelo Orlando – vocals
Alessio Erriu – guitars
Federico Albanese – guitars
Yuri Croscenko – drums

Guest musician
Fabio Fraschini – bass (session)
Ann-Mari Edvardsen – vocals on “House of Rain”

Album Review – Aephanemer / Utopie (2025)

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France’s own Symphonic and Melodic Death Metal powerhouse strikes back with their fourth studio offering, an ambitious, razor-sharp assault of epic melodies, relentless speed, and philosophical depth.

Following the roaring success of their previous albums Memento Mori (2016), Prokopton (2019), and A Dream Of Wilderness (2021), Toulouse, France-based Symphonic/Melodic Death Metal powerhouse Aephanemer strikes back with their fourth studio offering, entitled Utopie, or “utopia” in English, an ambitious, razor-sharp assault of epic melodies, relentless speed, and philosophical depth. Mixed by Dan Swanö at Unisound, mastered by Mika Jussila at Finnvox Studios, with vocals recorded by Yannick Tournier at Waïti Studios, and displaying a stylish artwork by Niklas Sundin, the newborn beast by Marion Bascoul on vocals, Martin Hamiche on the guitars, bass and orchestrations, and Mickaël Bonnevialle on drums surges with heavier classical influences, blistering riffage, Slavic folk undertones, and majestic orchestrations, shaping a sound that feels both ancient and forward-looking while engaging with the concept of utopia not as escape, but confrontation, questioning ideals through the sheer force of sonic precision, and the quest for a world of harmony between living beings.

The album starts in a serene manner with Échos d’un Monde Perdu, or “echoes of a lost world” in English, a cinematic intro that warms us up for Le Cimetière Marin (which title and a couple of verses were borrowed from a poem by Paul Valéry), or “the graveyard by the sea”, with Marion’s harsh vocals walking hand in hand with the striking riffs, keys and orchestrations by Martin. Then Mickaël sounds ruthless behind his drums in La Règle du Jeu, or “the rules of the game”, offering Marion exactly what she needs to kick some ass on vocals in a lecture in Symphonic Death Metal; and their metallic feast goes on in full force in Par-delà le Mur des Siècles, or “beyond the wall of ages”, again presenting intricate, melodic and absolutely electrifying guitar lines and orchestrations by Martin. After such a magnificent tune we have Chimère, the French word for “chimera”, another epic, no shenanigans tune by those French metallers, with Mickaël stealing the spotlight again with his unstoppable beats and fills.

The band shows no sign of slowing down at all in Contrepoint, or “counterpoint”, delivering a breathtaking fusion of Melodic and Symphonic Death Metal led by the venomous roars by Marion and the always incendiary riffs by Martin, whereas La Rivière Souterraine, or “the underground river”, starts like the score to an epic movie thanks to the amazing job done by Martin with his orchestrations, before exploding into eight minutes of sheer instrumental brilliance. Lastly, we’re treated to the album’s phenomenal two-part title-track, starting with Utopie (Partie I), where their cinematic vein pulses harder than ever before Marion comes ripping with her deep, inhumane harsh vociferations, flowing majestically into Utopie (Partie II), where the imposing wall of sounds crafted by Martin and Mickaël surpass all barriers of epicness, all of course spiced up by another thrilling performance by Marion on vocals, ending the album on an atmospheric, climatic and beautiful way.

In a nutshell, Aephanemer continue to carve their own path in the Symphonic and Melodic Death Metal landscape with Utopie, sounding faster, more epic, brutal and classical than ever, and you can join those beyond talented French metallers in their quest for heavy music via Facebook and Instagram, stream their awesome discography on Spotify, and of course purchase Utopie from their own BandCamp or webstore, as well as from Napalm Records or by clicking HERE or HERE. Utopie is more than just an album, it’s a storm of sound, a philosophical reckoning, and a powerful new chapter from one of Europe’s most vital and visionary metal bands, and I can’t wait to see what’s next in their striking career after such an amazing lecture in modern-day Melodic Death Metal.

Best moments of the album: La Règle du Jeu, Par-delà le Mur des Siècles, Contrepoint and Utopie (Partie II).

Worst moments of the album: None.

Released in 2025 Napalm Records

Track listing
1. Échos d’un Monde Perdu 1:16
2. Le Cimetière Marin 5:30
3. La Règle du Jeu 3:53
4. Par-delà le Mur des Siècles 5:14
5. Chimère 4:22
6. Contrepoint 4:31
7. La Rivière Souterraine 8:29
8. Utopie (Partie I) 7:55
9. Utopie (Partie II) 9:38

Band members
Marion Bascoul – vocals
Martin Hamiche – guitars, bass, orchestrations
Mickaël Bonnevialle – drums

Album Review – Phenomy / Phantasmagoria (2025)

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This unrelenting Lebanese outfit is back with their their distinctive fusion of Melodic Thrash, Groove, and Heavy Metal in their fourth studio album.

Formed in 2014 in Beirut, Lebanon, the unrelenting Thrash Metal squad known as Phenomy is ready to kill armed with their their distinctive fusion of Melodic Thrash, Groove, and Heavy Metal in their new offering, titled Phantasmagoria, the fourth studio album in their career, and the follow-up to their 2022 opus Syndicate of Pain. Produced, mixed and mastered by Jaroslav Celujko and Loïc El Haddad at Jaro Sound, recorded at Ontune Studio (vocals and bass), at Grotesque Productions (guitars), and at Sound Pressure Studios (drums), and displaying a modern yet dark artwork by Stefan Koidl, the new album by vocalist and guitarist Sam Felfy, guitarist Loïc El Haddad, bassist Peter Aoun, and drummer Rudy Bejjani sees the band take a solid step further in their career, positioning them as a driving force hailing from the Lebanese metal community.

The cinematic intro Prologue invites us to Phenomy’s dark and venomous realm in Hush, where they put the pedal to the metal and fire a striking fusion of Melodic Death, Thrash and Groove Metal led by the thunderous drums by Rudy. Then the bass by Peter sounds utterly metallic in Sins Of The Father, featuring vocalists Ricardo A. Haila and Léa Wardini, while Loïc keeps firing his trademark thrashing riffs. Shellshock Paradise starts in a melancholic vibe before evolving into a dark ballad by the band led by Sam’s deep, anguished vocals, whereas Gambit brings hints of the music from their homeland mixed with traditional Groove Metal, with the riffs and solos by Sam and Loïc exhaling passion. Then in Mad Man’s Waltz they tried to sound too much like Avatar, but the final result is not compelling nor vibrant at all.

Back to a much heavier, more exciting sound we face Swallow The Fear, with their riffs and beats walking hand in hand with the Machine Head-like vocals by Sam, and it’s time to jump up and down with the quartet in the Groove Metal extravaganza Sacrilège, once again showcasing nuances of the music form their own country, in special in its riffs. Phantasmagoria is another song with a cryptic intro that evolves into a progressive version of their Groove Metal, all embraced by Rudy’s classic drumming, followed by the seven-minute instrumental piece A Dream Within A Dream, and although I’m not a big fan of long instrumental songs, this one is quite entertaining. There’s still time for the sinister interlude Abel and The Frail, where the serene vocals by Sam warm up our hearts and souls before I, Witness concludes the album on a high and violent mode, undoubtedly the most thrilling song of all, with Sam’s guttural matching perfectly with the hurricane of sounds blasted by Loïc, Peter and Rudy.

Exploring themes ranging from personal struggles to societal and existential conflicts, Phenomy are on absolute fire throughout their newborn spawn, bringing their trademark heaviness, groove and melodic sounds to our avid ears in great fashion. Hence, you can get to know more about those talented metallers by following them on Facebook and on Instagram, including their live performances, stream all of their albums on any available platform such as Spotify, and of course grab a copy of the album from the Art Gates Records webstore as a CD + shirt bundle or as a CD + shirt + hoodie bundle or you can also click HERE. Phantasmagoria is undoubtedly the band’s strongest effort to date, and based on the quality of the music found in it I believe it won’t take long for such an excellent band to strike us once again with an incendiary album number five.

Best moments of the album: Sins Of The Father, Swallow The Fear and I, Witness.

Worst moments of the album: Mad Man’s Waltz.

Released in 2025 Art Gates Records

Track listing
1. Prologue 1:12
2. Hush 3:23
3. Sins Of The Father 4:20
4. Shellshock Paradise 4:57
5. Gambit 7:18
6. Mad Man’s Waltz 3:28
7. Swallow The Fear 4:42
8. Sacrilège 3:54
9. Phantasmagoria 4:46
10. A Dream Within A Dream 7:11
11. Abel and The Frail 3:55
12. I, Witness 4:35

Band members
Sam Felfy – vocals, guitar
Loïc El Haddad – guitar
Peter Aoun – bass
Rudy Bejjani – drums

Guest musicians
Ricardo A. Haila – vocals on “Sins Of The Father”
Léa Wardini – vocals on “Sins Of The Father”

Album Review – Glorious Depravity / Death Never Sleeps (2025)

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This deadly supergroup returns with their sophomore beast, showcasing the best elements of Death Metal, even with its roots in the old school sound and the music tinged with Thrash Metal influences.

With an illustrious lineup featuring members of Pyrrhon, Gravesend, Woe, and Scarcity, among others, New York, United States-based Death Metal brigade Glorious Depravity is ready to pulverize us all with their sophomore beast entitled Death Never Sleeps, following up on their 2020 debut Ageless Violence. Recorded and mixed by Joe Cincotta (Suffocation, Obituary) at Full Force Recording, mastered by Ryan Williams (The Black Dahlia Murder), and showcasing a sinister artwork by Dan Seagrave (Morbid Angel, Malevolent Creation), the newborn spawn by Doug Moore (Pyrrhon, Scarcity, Seputus) on vocals, Matt Mewton (Woe) and George Paul (Gravesend) on the guitars, John McKinney (Woe) on bass, and Chris Grigg (Woe) on drums is an album that showcases the best elements of Death Metal, even with its roots in the old school sound and the music tinged with Thrash Metal influences, being therefore perfect for fans of Cannibal Corpse, Monstrosity, Vader, Deicide, Sinister, Decapitated, and Power Trip.

Get ready to be pulverized like a putrid insect to the sound of Slaughter the Gerontocrats, kicking off the album on a demented mode to the gruesome roars by Doug, and Chris keeps hammering his drums like a true beast in Stripmined Flesh Extractor, offering more of the band’s trademark fusion of Death and Thrash Metal. Freshkills Poltergeist carries an excellent title for a song that reeks of old school Death Metal, led by the visceral, razor-edged riffs by Matt and George; whereas their Death Metal avalanche continues in full force in Sulphrous Winds (Howling Through Christendom), with Doug growling deeply accompanied by the rhythmic, venomous kitchen by John and Chris. The band then shows no mercy for our necks and bodies in the headbanging feast titled Scourged by the Wings of the Fell Destroyer, with their guitars exhaling absolute hatred.

Chris once again takes the lead with his unrelenting beats and fills in The Devouring Dust, living up to the legacy of bands the likes of Immolation, Cannibal Corpse and Morbid Angel; while the riffage by Matt and George will penetrate deep inside your skin in Carnage at the Margins, inviting us all to slam inside the pit like true metalmaniacs, all boosted by the inhumane gnarling by Doug. It’s then time to slow things down a bit and break our necks headbanging to the sound of Necrobotic Enslavement, accelerating its pace closer to the end until a true demonic finale, and lastly we’re treated to the title-track Death Never Sleeps, with their Stygian, vile sounds smashing our cranial skulls while Matt and George also fire some sick guitar solos for our absolute delight.

In comparison to their debut, they have refined and upgraded their music and have left no stone unturned in Death Never Sleeps, sounding  more impactful and powerful than ever before as well as having found more of their identity. You can get to know more about this evil supergroup by visiting them on Facebook and on Instagram, stream their demented creations on Spotify, and of course grab your copy of their new album from their own BandCamp, from the Transcending Obscurity Records’ main store, Bandcamp, Europe store or US store, or by clicking HERE. Death Never Sleeps is undoubtedly a significant release in the style, a top-tier, invigorating Death Metal opus, and I’m sure it will inspire them to keep crafting deadly music for years to come, gifting us with album number three in a not-so-distant but surely dark and demonic future.

Best moments of the album: Slaughter the Gerontocrats, Sulphrous Winds (Howling Through Christendom) and Carnage at the Margins.

Worst moments of the album: Necrobotic Enslavement.

Released in 2025 Transcending Obscurity Records

Track listing
1. Slaughter the Gerontocrats 3:53
2. Stripmined Flesh Extractor 3:09
3. Freshkills Poltergeist 3:17
4. Sulphrous Winds (Howling Through Christendom) 2:26
5. Scourged by the Wings of the Fell Destroyer 4:03
6. The Devouring Dust 3:26
7. Carnage at the Margins 4:39
8. Necrobotic Enslavement 3:25
9. Death Never Sleeps 5:44

Band members
Doug Moore – vocals
Matt Mewton – guitars
George Paul – guitars
John McKinney – bass
Chris Grigg – drums

Album Review – WitcheR / Öröklét (2025)

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Hungary’s own uncanny duo returns with their fourth opus, once again conjuring supernatural forces through their undisputed Atmospheric Black Metal based on classical music elements and strong synth harmonies.

Once again conjuring supernatural forces through their undisputed Atmospheric Black Metal based on classical music elements and strong synth harmonies, the uncanny Hungarian duo WitcheR returns with their fourth full-length opus titled Öröklét, or “eternity”, the follow-up to their 2022 opus Lélekharang and their 2024 instrumental EP of classical music covers Boszork​á​nyszimf​ó​ni​á​k. Recorded, mixed and mastered at Vrag’s Forest Studio, while again displaying a classy artwork by Grafit és Hamu, the new offering by Karola Gere on vocals and synths, and Roland Neubauer on vocals, guitars and drums showcases the band’s trademark sound with catchy melodies and elevated mood, while the lyrics continue to delve into the world of witchcraft, Hungarian folklore, adherence to old values, and the maximum opposition to the modern world.

The whimsical synths by Karola kick off the opening tune Örökség, or “heritage” in English, inviting us all to embark on an Atmospheric Black Metal journey where the sluggish beats by Roland add endless melancholy and heaviness to their sound. Then we have Szélhozó (which means “windbringer” or something like that), sounding like a devilish waltz where the duo fires the perfect fusion of their core Black Metal with classical music, all spiced up by the rich folklore of their homeland, with their harsh vociferations sounding darkly majestic; and more of their imposing sounds is offered to us all in Röghöz kötött (“bound to the moment”), where the listener is invited to explore its multiple layers behind the band’s trademark Atmospheric Black Metal curtain. After such a bold and dense musical voyage we face the fantastic title-track Öröklét, with Karola’s keys clashing in a beautiful way with Roland’s Black Metal riffage. In other words, the song is at the same time delicate yet powerful and gloomy, and I would love to see it played live. And lastly, we’re treated to their version of Franz Schubert’s Piano Trio No. 2 – Andante con moto, a Black Metal-fueled rendition of an undisputed classic from a time long forgotten.

The multi-talented Karola Gere and Roland Neubauer are waiting for you with news, tour dates and all other nice-to-know details about their unique and captivating WitcheR on Facebook, Instagram and VKontakte, as I’m sure they would love to hear what you have to say about their music. Don’t forget to also subscribe to their YouTube channel and stream their fantastic creations on Spotify, and above all that, to purchase the excellent Öröklét from their own BandCamp, from the Filosofem Records’ BandCamp, or from the Beverina Productions’ BandCamp. In the end, the music by WitcheR is the ultimate depiction of the thin line between Heavy Metal and classical music, and based on the first-class striking compositions in Öröklét, we can rest assured they’ll keep delivering such a high level of excellence for several decades to come.

Best moments of the album: Szélhozó and Öröklét.

Worst moments of the album: None.

Released in 2025 Filosofem Records/Beverina Productions

Track listing
1. Örökség 9:36
2. Szélhozó 8:08
3. Röghöz kötött 9:10
4. Öröklét 9:36
5. Piano Trio No. 2 – Andante con moto (Franz Schubert cover) 3:46

Band members
Karola Gere – vocals, synths
Roland Neubauer – vocals, guitars, drums

Album Review – Burned in Effigy / Tyrannus Aeternum (2025)

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This Chicago-based Neoclassical and Melodic Death Metal beast is ready to attack armed with the 11-track onslaught found in their sophomore offering.

Rising from the heart of the Midwest metal scene, Chicago, Illinois-based Neoclassical/Melodic Death Metal outfit Burned in Effigy is set to unleash their newest razor-edged assault, their sophomore opus titled Tyrannus Aeternum, or “the eternal tyrant” from Latin. Recorded at Beal Audio and Bricktop Recording, with production, engineering and mixing by Jordan Beal, and displaying a classy artwork by Timon Kokott, the follow-up to their 2022 debut Rex Mortem sees the band formed of Mark “Smedy” Smedbron on vocals, Steve Bacakos and Mike Hisson on the guitars, Matt Watkins on bass, and Eddie Dec on drums sharpen their sound to a lethal edge, delivering their most aggressive album to date while remaining loyal to their neoclassical and melodic foundations.

The band wastes no time and begins their metallic attack in Befouled Benefaction, led by the demented vocals by Mark and Eddie’s intricate and heavy-as-hell beats and fills, and the acoustic guitars by Steve and Mike will penetrate deep inside your soul before their absolute heaviness comes crushing in Retribution, a solid display of modern-day melodeath by those guys. Masquerade is a song perfect for slamming into the pit, sounding fast, heavy and caustic just the way we like it thanks to another amazing job done by Eddie on drums; whereas the Flamenco-infused interlude Procession puts us to dance and warms us up for Wage of Exile, a lecture in shredding and violence by the band, with their neoclassical vein clashing beautifully with their Death Metal approach.

The second half of the album kicks off with the hard hitting Sacrificial Seance, with Steve and Mike shredding their stringed axes mercilessly for our total delight while also presenting some dark, sinister passages. Monstrosity Reborn, perhaps the song with the most charming name of the album, again showcases Mark’s rabid vocals amidst a thrilling fusion of neoclassical sounds and pure heaviness. Then the second interlude of the album, titled Gallows Hymn, focuses on a classical music-like vibe, setting the stage for The Racking, a pulverizing tune that transpires Swedish Melodic Death Metal (made in Chicago, of course), with the band’s guitar duo once again sounding brutal yet very melodic. Crown Crusher is slightly generic if compared to the rest of the album, albeit presenting the band’s characteristic sounds, whereas Citadel closes the album on a high and very technical mode, with all band members being on total fire with their mix of intricacy and rage.

An 11-track onslaught that blends the band’s skillful musicianship and technicality with volcanic brutality, Tyrannus Aeternum is a must-listen for fans of extreme music with a strong melodic edge, and if you want to put your hands on such an imposing and vibrant album you can purchase a copy of it from BandCamp or by clicking HERE. Don’t forget to also show your support to those beyond talented musicians by following the band on Facebook and on Instagram, including their tour dates, and to stream their vicious creations on any streaming platform like Spotify. Because the tyrant might be ternal, but so is heavy music, and Burned in Effigy are proudly carrying the flag of a new generation of bands that surely know how to blend violence with the most epic and enfolding sounds you can imagine.

Best moments of the album: Masquerade, Wage of Exile and Citadel.

Worst moments of the album: Crown Crusher.

Released in 2025 Independent

Track listing
1. Befouled Benefaction 4:29
2. Retribution 4:37
3. Masquerade 3:06
4. Procession 1:24
5. Wage of Exile 4:09
6. Sacrificial Seance 4:49
7. Monstrosity Reborn 5:49
8. Gallows Hymn 1:04
9. The Racking 5:05
10. Crown Crusher 5:38
11. Citadel 5:03

Band members
Mark “Smedy” Smedbron – vocals
Steve Bacakos – guitar
Mike Hisson – guitar
Matt Watkins – bass
Eddie Dec – drums

Guest musician
Graham Southern – orchestrations, keyboards

Album Review – Malakhim / And In Our Hearts the Devil Sings (2025)

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Let the devil sing inside your dark and evil heart to the sound of the sophomore album by this up-and-coming Swedish Black Metal horde.

“You may claim to not know or believe in the Devil, but rest assured that the Devil knows you…”

From their formation in 2016 onward, the ascent of Umeå, Sweden’s own Black Metal horde Malakhim has been both steady and swift, from their first demo Demo I, to their first EP II, to their first full-length album Theion, culminating now in 2025 with the release of their sophomore opus, beautifully and poetically entitled And in Our Hearts the Devil Sings. Once again engineered by the band’s longtime friend and co-conspirator Marcus E. Norman (aka Vargher of Naglfar, Bewitched, Ancient Wisdom), with an ominous artwork by Kristina Pavleska of Mors Ultima Ratio Art (and additional booklet artwork by longtime friend Karmazid), the new offering by vocalist E, guitarists AK and AN, bassist TK and drummer VT isn’t strictly a concept album per se, as its lyrical themes are nevertheless deep, loosely based on the ideas of Yetzer Hara (Hebrew for “evil inclination”), a concept in Jewish thought that represents the innate human tendency to do evil, commit sins, or act against moral principles.

The album kicks off with the seven-minute black mass entitled And In Our Hearts the Devil Sings, exploding into sheer madness to the crushing drums by VT and the demonic vociferations by E, while Solar Crucifixion also starts in a Stygian, cryptic manner before all hell breaks loose to the scathing riffage by AK and AN, not to mention how piercing E’s vocals sound. Then investing in a more straightforward Black Metal sonority we face A New Temple, simply reeking of all elements that make the genre so compelling; and E’s demonic roar sets the tone in the electrifying, venomous Into Darkness We Depart, with TK and VT shaking the foundations of our rotten planet with their infernal kitchen. The pounding drums by VT will smash your cranial skull in Angel of the Bottomless Pit, again presenting the band’s trademark devilish riffs and otherworldly vocals, while Hearts Ablaze presents a classic Black Metal vibe, albeit it sounds a bit convoluted or too chaotic at times. Lastly, they get back on track with eight minutes of total darkness in the form of The Firmament Submits, where AK and AN sound ruthless with their striking riffs and solos before the song reaches its climatic, atmospheric ending.

Showcasing a concertedly more melodic and majestic Malakhim, offering the band’s trademark orthodox Black Metal with a death and doom vein, And In Our Hearts the Devil Sings is undoubtedly the band’s strongest effort to date, and you can join their sinister cult by purchasing a copy of the album from their own BandCamp, or from the Iron Bonehead Productions’ BandCamp or webstore. You can also find more information about such a talented horde on Facebook and on Instagram, stream their discography on any available platform like Spotify, or simply click HERE for all things Malakhim. Because if the devil truly sings deep inside our blackened hearts, we can all rest assured he’s singing the songs found in the new album by Malakhim.

Best moments of the album: And In Our Hearts the Devil Sings, Into Darkness We Depart and Angel of the Bottomless Pit.

Worst moments of the album: Hearts Ablaze.

Released in 2025 Iron Bonehead

Track listing
1. And In Our Hearts the Devil Sings 7:44
2. Solar Crucifixion 6:12
3. A New Temple 5:27
4. Into Darkness We Depart 5:50
5. Angel of the Bottomless Pit 5:32
6. Hearts Ablaze 4:30
7. The Firmament Submits 8:20

Band members
E – vocals
AK – guitars
AN – guitars
TK – bass
VT – drums

Album Review – Cemican / U k’u’uk’ankil Mayakaaj (2025)

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These unrelenting Mexican metal warriors are back with their breathtaking fourth studio album based on Mayan ideology, worldview, mysticism, and the universe.

Incorporating elements of the legends, mysticism and ideologies of ancient Mexican culture, being compared by Revolver to “Slipknot scoring Mel Gibson’s Apocalypto” by combining the modern instrumentation of a metal band with traditional pre-Hispanic instruments, Guadalajara, Mexico’s own Progressive Power/Thrash/Folk Metal tribe Cemican (or “The Duality of Life and Death” in the Mexican language Nahuatl) brings forth more of their unique music in their fourth studio opus entitled U k’u’uk’ankil Mayakaaj, translated as “the Mayan Resistance”, following up on their 2019 critically acclaimed album In Ohtli Teoyohtica In Miquiztli. Showcasing a stunning artwork by the band’s own Tlipoca (aka Alejandro Guzmán), depicting the great creation of the Mayan universe and the elements of life – water, fire, wind, and earth – by the great supreme Itzamnaaj, raising the great Temple of Kukulkan for the worship of the Mayan people, the new album by vocalist and guitarist Tecuhtli, bassist Ocelotl, drummer Tlipoca, and the tribalistic ensemble of Xaman Ek, Yei Tochtli, Mazatecpatl, and Itzcoatl is based on Mayan ideology, worldview, mysticism, and the universe. It contains various legends and stories of ancestral gods, the duality of life and death, as well as stories based on the band members, transformed with that touch that identifies us.

Kukulkán Wakah Chan (likely combining the Maya deity name Kukulkán, meaning “Plumed Serpent”, with the Nahuatl phrase Wakah Chan, meaning “Sacred Tree” or “Milky Way”) sounds utterly ritualistic and folk from its very first moments, with their wind instruments echoing through the air before exploding into an amalgamation of Thrash, Death and Groove Metal led by Tlipoca’s crushing beats and fills; whereas Tán tí le Xibalba, the second single of the album, speaks of the god of dead in the Mayan culture while keeping their heaviness clashing with the culture of their ancestors in a majestic way, being therefore an excellent choice for their live concerts. In El Niño Que Contemplaba A Las Estrellas (“the boy who gazed at the stars” from Spanish), the guitars by Tecuhtli lean towards classic Heavy Metal, as well as his vocals, followed by Viaje Astral Del Quetzal De Fuego (“astral journey of the fire quetzal”), sounding atmospheric and embracing from start to finish, with the bass by Ocelotl and the drums by Tlipoca being absolutely thunderous. Xaman Ek, Yei Tochtli and Mazatecpatl bring the glory of the past through their wind instruments in the tribal dance Horizonte De Almas (“horizon of souls”), exploding into an epic song that will inspire you to raise your horns for those beyond talented Mexicans, while El Castigo De Los Dioses (“the punishment of the gods”) is another song where the modern, electrified vibe of metal music makes a killer paradox with their cultural and folk sounds.

The howling wind invites us to another journey through Mayan lands in Tak Ti Ulaák Íin, one of the most ritualistic of all songs, where the band delivers their most primeval sounds of the album. Then the massive riffs by Tecuhtli ignite the imposing, multi-layered Los Guardianes De La Tierra (“guardians of the earth”), a lecture in Symphonic and Melodic Death and Black Metal that feels like it was taken from the most climatic moment of a period drama; and the band offers another blast of harsh and pounding sounds in Hun-Came, meaning “One Death”, the name of the senior of the two principal death gods in the Maya underworld Xibalba, with all vocals and backing vocals giving it an extra kick while Tlipoca hammers his drums mercilessly. ¿Donde Estas? (“where are you?) is some sort of power ballad entirely sung in Spanish by a mysterious guest female musician, a bit too generic compared to the other songs; while back to their trademark tribal sonority infused with the power of Heavy Metal we have Yóok’ ol Kaáb Maya, sounding and feeling epic and vibrant until the very end. Lastly, closing the album we’re invited to one final ritual by Cemican entitled Bolom Octé, a stunning sonic voyage back to the glory yet somber days of their ancestors.

Offering a sound that embodies that language of music with ancestral instruments that Cemican have achieved as its own unique and hallucinatory sound, fused with lyrics that blend Spanish with Yucatecan Mayan, U k’u’uk’ankil Mayakaaj is a tribute to their ancestral people, their stories and their customs, giving a valuable message of their language and their ancestral glory. Hence, you can enjoy the dark and aggressive atmosphere found in U k’u’uk’ankil Mayakaaj by purchasing the album from their own BandCamp, from the M-Theory Audio webstore, or by clicking HERE, and don’t forget to also follow the band on Facebook and on Instagram, subscribe to their YouTube channel, and stream their amazing albums on Spotify. Because U k’u’uk’ankil Mayakaaj is a way to revive what their warriors and their Mayan people were, honoring the great Mayan culture and representing the worldview and mysticism of their great ancestral empire.

Best moments of the album: Tán tí le Xibalba, Horizonte De Almas, Los Guardianes De La Tierra and Hun-Came.

Worst moments of the album: ¿Donde Estas?.

Released in 2025 M-Theory Audio

Track listing
1. Kukulkán Wakah Chan 5:45
2. Tán tí le Xibalba 4:01
3. El Niño Que Contemplaba A Las Estrellas 6:44
4. Viaje Astral Del Quetzal De Fuego 8:31
5. Horizonte De Almas 6:31
6. El Castigo De Los Dioses 5:26
7. Tak Ti Ulaák Íin 4:39
8. Los Guardianes De La Tierra 5:13
9. Hun-Came 5:29
10. ¿Donde Estas? 4:23
11. Yóok_ ol Kaáb Maya 5:45
12. Bolom Octé 4:30

Band members
Tecuhtli – vocals, guitars, wind instruments
Ocelotl – bass
Tlipoca – drums, percussion, wind instruments, backing vocals
Xaman Ek – wind instruments, backing vocals
Yei Tochtli – wind instruments, backing vocals
Mazatecpatl – wind instruments
Itzcoatl – choir vocals

Album Review – Aduanten / Apocryphal Verse EP (2025)

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This up-and-coming Melodic Death Metal outfit is unleashing a striking new EP, weaving a narrative of decay and despair driven by a maelstrom of intricate guitar work and a pummeling rhythm section.

An up-and-coming Melodic Death Metal entity based in Austin, Texas, featuring members of Obsequiae, Vex, Panopticon, and Horrendous, Aduanten are unleashing their full power on their new EP, entitled Apocryphal Verse. Recorded in the cities of Austin, Arlington, Boston, Chicago, and Dublin, mixed by Damian Herring at Subterranean Watchtower Studios, and mastered by Adrian Benavides, the follow-up to their 2021 debut EP Sullen Cadence sees the band formed of Ciaran McCloskey and Mike Day on the guitars and synths, and Eoghan McCloskey on drums and synths, with the support of guest musicians Tanner Anderson (Obsequiae, Panopticon) and Damian Herring (Horrendous) on vocals, Joel Miller on bass, and Adrian Benavides on percussion and synths, masterfully blend the searing aggression of classic Death Metal with the atmospheric introspection of Melodic Black Metal, weaving a narrative of decay and despair driven by a maelstrom of intricate guitar work and a pummeling rhythm section.

Cerulean Dream sounds experimental, avantgarde and grim from the very first second, with the devilish vocals by Tanner and Damian matching perfectly with the guitar lines by Ciaran and Mike, whereas they invest in a more progressive blend of Melodic Death Metal in Decameron, with the stylish riffs by the band’s guitar duo walking hand in hand with Eoghan’s melodic yet fierce beats and fills. Then bringing forward elements from the Melodic Death Metal played by giants the likes of Insomnium we have Grace of Departure, while also sounding a bit Melodic Black Metal thanks to all of its Stygian vociferations; and the crushing bass by Joel adds even more energy to The Weakening Sovereign, a galloping, intricate and scorching creation by the band, with their guitars once again breathing fire.

Fans of Dissection, Sacramentum, and Obsequiae will find the new offering by Aduanten to be an phenomenal addition to their collection, as the album is not only extremely heavy just the way we like it, but its lyrical themes of destruction, sorrow, and hopelessness are also perfectly mirrored in its dynamic and emotionally charged soundscapes. Those beyond talented musicians are waiting for you on Facebook, on Instagram, on YouTube, and on Spotify with news, tour dates, and more of their striking music, and of course you can show them your utmost support and purchase their new EP from BandCamp. The Melodic Death Metal presented by Aduanten in Apocryphal Verse is as aggressive and vibrant as it is intricate and detailed, and I’m sure we’ll hear a lot more from those guys in the near future based on the high quality of their music.

Best moments of the album: Grace of Departure and The Weakening Sovereign.

Worst moments of the album: None.

Released in 2025 Nameless Grave Records

Track listing
1. Cerulean Dream 5:16
2. Decameron 4:34
3. Grace of Departure 4:36
4. The Weakening Sovereign 5:00

Band members
Ciaran McCloskey – guitars, synths
Mike Day – guitars, synths
Eoghan McCloskey – drums, synths

Guest musicians
Tanner Anderson – vocals (session)
Damian Herring – vocals (session)
Joel Miller – bass (session)
Adrian Benavides – percussion, synths (session)

Album Review – Eldur / Rituals of Death and Necromancy (2025)

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This Icelandic Black Metal entity will take you on a journey that goes beyond simple listening in his debut album, a visceral and dense universe where chaos and harmony merge to create something truly unique.

After having sparked interest with a split CD and an EP, Reykjavík, Iceland-based Black Metal entity Eldur (aka Einar Thorberg Guðmundsson), who has been active since 1994 with bands such as Thule, Potentiam, Curse, Fortíð, and Katla, is finally ready to make his official debut with Rituals of Death and Necromancy, the first part of a series called Proscribed Chronicles of Niðavellir. A sonic wall of epicness and pure Black Metal, with Eldur’s usual heavy dose of 90’s influence and even Post-Black Metal nuances, Rituals of Death and Necromancy will take you on a journey that goes beyond simple listening, a visceral and dense universe where chaos and harmony merge to create something truly unique.

The opening track Exiled flirts with Symphonic Black Metal so imposing and epic it sounds, a lecture in darkness by Eldur with his vile roars and strident riffs sounding simply amazing from start to finish. Then an ominous intro to the sound of the howling wind sets the tone in Flight of Níðhöggr (a Germanic dragon in Norse mythology who is said to gnaw at the roots of the World Tree, Yggdrasil) before morphing into another Black Metal attack by our lone wolf who crushes his drums in the name of the dark arts; and every single time a song is called Shapeshifter we can rest assured it’s going to be heavy, violent and obscure, and Eldur brings to our ears exactly that Stygian vibe, whereas Murder and a Curse keeps the flames of Black Metal burning to Eldur’s evil vociferations and scathing riffs, albeit not as exciting as the rest of the album.

Svartálfaheimr (“world of black-elves”) is one of the Nine Realms in Norse mythology, and musically speaking Eldur kicks our asses mercilessly in a lecture in Black Metal infused with Nordic sounds, where his sometimes ruthless, sometimes sluggish beats bring extra flavors to the overall result. Eldur then speeds things up in the infuriated Black Metal chant Second Life, Second Death, offering a galloping, demonic sonority perfect for worshiping absolute darkness. The last couple of songs of the album surpass the six minute mark, starting with The Dark Mountains, as sinister and imposing as it can be, exploding into total insanity to his vile roars supported by the song’s phantasmagorical background keys, and closing the album we have the stunning Undead where Eldur’s visceral gnarls, riffs and blast beats live up to the legacy of the style, resulting in what’s perhaps the strongest song of the album and a good indication as to what’s next in his dark path.

An album brought into being not only for metal fans, but also for those who seek something deeper and more introspective in a musical landscape that, while rich in offerings, often feels repetitive, Rituals of Death and Necromancy can be purchased from BandCamp or from Metal Odissey’s webstore in the US or in the EU/UK, adding tons of depth, heaviness and power to your private collection. In the end, Eldur brings fresh energy to a scene that needs new impulses armed with the excellent Rituals of Death and Necromancy, challenging the listener to dive into their intricate sonic web and lose themselves in it.

Best moments of the album: Exiled, Svartálfaheimr and Undead.

Worst moments of the album: Murder and a Curse.

Released in 2025 ATMF

Track listing
1. Exiled 4:28
2. Flight of Níðhöggr 5:22
3. Shapeshifter 4:53
4. Murder and a Curse 6:23
5. Svartálfaheimr 5:24
6. Second Life, Second Death 4:50
7. The Dark Mountains 6:37
8. Undead 6:22

Band members
Eldur – vocals, all instruments