Album Review – Bloodbound / Field of Swords (2025)

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Raise your swords up high, as these Swedish Power Metal warriors march into a powerful future armed with their new concept album, moving past the year 1066 and into the Middle Ages.

Raise your swords up high, as Swedish Heavy/Power Metal warriors  Bloodbound celebrate 20 years of existence and march into a powerful future with Field Of Swords, the follow-up to their 2023 opus Tales from the North, and the eleventh studio album in their undisputed career. Recorded by the band itself alongside Niklas Johansson of Tungsten, who was also responsible for the mixing and mastering of the album, and displaying a classic artwork by Péter Sallai of Mortpaintgraphics, the new offering by Patrik J. Selleby on vocals, Tomas Olsson and Henrik Olsson on the guitars, Anders Broman on bass, Fredrik Bergh on keyboards, and Daniel Hansfeldt on drums draws once again to the Viking era, turning the page to another chapter in history, moving past the year 1066 and into the Middle Ages. As warfare evolves and the significance of forging iron with carbon leads to superior swordsmen, the bloodstained battlefields show new, grim faces, leaving room for more of Bloodbound’s vivid storytelling that continues to thrill all metalheads worldwide.

The Olson Brothers shred their axes nonstop right from the start in Field Of Swords, a fast and thrilling Power Metal attack where Daniel dictates the pace with his classic beats and fills, followed by As Empires Fall, living up to the legacy of giants of the style such as Rhapsody ov Fire, led by the powerful, striking vocals by Patrik. Then leaning towards the sonority blasted by Hammerfall and Stratovarius it’s time for Defenders Of Jerusalem, perfect for hitting the road on a warm summer day; whereas in The Code Of Warriors special guest Vera Bieber comes armed with her flute to give the song a truly Folk Metal vibe, and the final result is absurdly catchy, with Daniel once again kicking some ass behind his drums. Land Of The Brave is another song with a strong title, and of course the music is just as exciting, with Fredrik and Daniel crafting that galloping rhythm we all love so much in Power Metal; and it’s then time to get heavy with Light The Sky, spearheaded by the soaring vocals by Patrik and the scorching riffs and solos by Tomas and Henrik.

Bloodbound might be Swedish, but they bring that famous German Power Metal electricity to Teutonic Knights, with the band’s guitar duo once again firing an overdose of metallic riffs for our total delight. Let’s all raise or fists in the air together with Bloodbound in Forged In Iron, offering more of their classic fusion of Heavy and Power Metal, followed by Pain And Glory, my type of Power Metal song, one that will inspire you to head into the battlefield (aka the mosh pit) like a true metal warrior while Daniel’s frantic drumming speeds things up in great fashion. The second to last blast of pure energy by those Sweds comes in the form of Born To Be King, presenting again a strong Rhapsody ov Fire vibe, although a bit repetitive; and lastly, featuring guest vocals by Brittney Slayes of powerhouse Canadian band Unleash the Archers, who makes a brilliant duet with Patrik, The Nine Crusades puts a beyond epic ending to the album.

Showcasing eleven captivating battle hymns, Field of Swords is a diverse record with an aggressive and fast sound, illustrating the importance of purpose and perseverance with heroic tales in shining Heavy Metal armor. You can join those relentless Swedish warriors in the battlefield by following them on Facebook and on Instagram, keeping an eye on their breathtaking live shows, stream their vast discography on Spotify, and of course purchase Field of Swords from BandCamp or from Napalm Records. Valiant, vigorous, and ultimately victorious, Field Of Swords has come to expand Bloodbound’s domination, and I’m sure you’ll have an absolute blast yielding your sword in the battlefield while listening to the new album by one of the most important names of the current Power Metal scene worldwide.

Best moments of the album: The Code Of Warriors, Light The Sky and Pain And Glory.

Worst moments of the album: Born To Be King.

Released in 2025 Napalm Records

Track listing
1. Field Of Swords 4:11
2. As Empires Fall 3:54
3. Defenders Of Jerusalem 4:03
4. The Code Of Warriors 3:52
5. Land Of The Brave 4:18
6. Light The Sky 4:13
7. Teutonic Knights 3:57
8. Forged In Iron 3:47
9. Pain And Glory 4:11
10. Born To Be King 4:19
11. The Nine Crusades 4:31

Band members
Patrik J. Selleby – vocals
Tomas Olsson – lead and rhythm guitars
Henrik Olsson – guitars
Anders Broman – bass
Fredrik Bergh – keyboards
Daniel Hansfeldt – drums

Guest musician
Brittney Slayes – vocals on “The Nine Crusades”
Vera Bieber – flute on “The Code Of Warriors”

Album Review – Olde Throne / Megalith (2025)

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Behold the new opus by this New Zealand-based Melodic and Atmospheric Black Metal entity, a primal journey into the depths of prehistory, delving into the primordial darkness of the Neolithic age.

A Melodic and Atmospheric Black Metal band born in a time when main composer and frontman Harrison McKenzie was living in Glencoe, Scotland, the amazing Christchurch, New Zealand-based project Old Throne returns with another bold and multi-layered opus, entitled Megalith, following up on their 2022 debut An Gorta Mór and their 2023 sophomore In the Land of Ghosts. Even after moving back to his native New Zealand, Harrison felt deeply inspired by his experience in the highlands, translating such inspiration into the music found in all of his albums. Mixed and mastered by Tim Yatras (Austere, Germ), and displaying a stunning artwork by German illustrator Misanthropic Art, the newborn spawn by Harrison on vocals, guitars and bass, alongside Zannibal on lead guitars and synthesizers and the aforementioned Tim Yatras as their session drummer, is a primal journey into the depths of prehistory, delving into the primordial darkness of the Neolithic age. Drawing inspiration from stories of Celtic mythology, the album’s narrative is rooted in tales dating back as far as 10,000 BC, with the use of flutes, throat singing and tribal drums forging an immersive brand of Neolithic Black Metal.

The soothing sounds of Mother Nature permeate the air in the intro Primordial Realm, inviting us all to join Old Throne in an distant era long forgotten in The Most Elder Days, a lecture in Atmospheric Black Metal spearheaded by Harrison’s striking riffs and devilish roars, with all background elements giving it an even more epic and visceral vibe just the way we like it in extreme music. It’s then pedal to the metal in the Black Metal attack entitled My Throne, offering more of the band’s killer riffage, boosted by the blast beats by Tim; whereas An Drochshúil, an Irish-Gaelic term meaning “the evil eye” which refers to a supernatural curse or affliction caused by a malevolent glare or look, believed to bring harm to a person or animal, perfectly depicts that type of evil, with Zannibal’s synths bringing an extra dosage of darkness to the song.

Ail Na Mireann, which means the “Stone of the Divisions” and refers to a significant ancient stone on the Hill of Uisneach in County Westmeath, Ireland, sees the band shift to an even more obscure, melancholic sonority, with Harrison’s strident riffs and rumbling bass matching perfectly with his desperate growls. Then we face a stunning Atmospheric Black Metal storm titled Temple of the Sky, where Tim shows no mercy for his drums while Harrison and Zannibal extract pure adrenaline from their axes, not to mention the song’s captivating, mysterious female vocal lines. The second to last song in Megalith, titled Sceach Geal, a sacred tree in Irish folklore strongly associated with fairies and mystical beings, slows things down a bit while maintaining the album’s epic vibe, losing a bit of its energy close to the end, though; and lastly, get ready for the darkest of all songs, the ruthless Tuan’s Bane, alternating between Doom Metal moments and the sheer aggression of Black Metal, also offering some enfolding passages until its climatic and furious finale.

Conceived as a single, unbroken auditory ritual, Megalith is a continuous concept piece, with each track flowing seamlessly into the next, demanding to be experienced in its entirety from beginning to end, therefore resulting in the perfect meeting spot for SAOR and Naglfar alike, just to name a couple. Harrison and his henchmen are waiting for you with their breathtaking Neolithic Black Metal experience on Facebook and on Instagram, and don’t forget to also stream their undisputed creations on Spotify, and to purchase a copy of the excellent Megalith from the project’s own BandCamp, as well as from the Avantgarde Music’s BandCamp or from Sound Cave (in both CD and LP formats), or simply click HERE for all things Old Throne. This is by far one of the most interesting and unique Melodic and Atmospheric Black Metal projects of the current scene worldwide, and I’m sure you’ll have an absolute blast going back ten thousand years together with Old Throne to the sound of their imposing new album.

Best moments of the album: The Most Elder Days, Temple of the Sky and Tuan’s Bane.

Worst moments of the album: Sceach Geal.

Released in 2025 Avantgarde Music

Track listing
1. Primordial Realm 1:15
2. The Most Elder Days 5:14
3. My Throne 3:17
4. An Drochshúil 5:18
5. Ail Na Mireann 6:39
6. Temple of the Sky 6:18
7. Sceach Geal 6:50
8. Tuan’s Bane 7:58

Band members
Harrison McKenzie – vocals, guitars, bass
Zannibal – lead guitars, synthesizers

Guest musician
Tim Yatras – drums (session)

Album Review – Depravity / Bestial Possession (2025)

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Emerging from the pits of the underworld after a gap of five long years, this Australian Death Metal creature returns with their edgier and most violent album to date.

Emerging from the pits of the underworld after a gap of five long years since their 2020 opus Grand Malevolence, Perth, , Australia’s own Death Metal creature Depravity picks up from where it left off, ensuring that things remain that way as the band proceeds to add more nuance and color to their brand of music on their latest album, titled Bestial Possession. Maintaining the same line-up of Jamie Kay (The Ritual Aura) on vocals, Jarrod Curley (Pathogen) and Lynton Cessford (Iniquitous Monolith) on the guitars, Ainsley Watkins (Scourge) on bass, and Louis Rando (Impiety, The Furor) on drums, Depravity were able to retain their sound in Bestial Possession while fleshing out their compositions, always rooted in the old school sound but not necessarily sounding old school, with the gradual incorporation of Brutal and Technical Death Metal influences having a slightly contemporary edge. Add to that the demonic artwork by Paolo Girardi (Cryptopsy, Skaphos), and there you have one of the must-listen albums of the past few years for admirers of bands the likes of Morbid Angel, Suffocation, Deicide, Hate Eternal, and Nile.

Get ready for a ruthless onrush of malignancy in the form of the opening tune Engulfed in Agony, with Louis destroying our damned souls with his relentless blast beats accompanied by the scorching riffs by Jarrod and Lynton, followed by Eunuch Maker, portraying a controversial yet charming name for a Death Metal song, with their nonstop riffage providing Jamie with exactly what he needs to vociferate like a rabid beast. In Call to the Fallen a quick intro evolves into a groovy Death Metal sonority where the metallic bass by Ainsley will hammer you right in the head; and Awful Mangulation brings to our avid ears another blast of undisputed animosity and rage by those bastards from Down Under, where the guitar work by Jarrod and Lynton couldn’t have sounded more infuriated.

Rot in the Pit, one of the first singles released, reminds me a lot of some of the more recent creations by Cannibal Corpse, with Louis stealing the spotlight with his demented beats and fills; and they definitely know how to name their compositions like what happens with Aligned With Satan, flirting with Progressive Death Metal the likes of Blood Incantation, and of course it sounds incredible. Blinding Oblivion offers a straightforward, no shenanigans display of classic Death Metal where Jamie’s infernal roars walk hand in hand with the demonic kitchen by Ainsley and Louis, and let’s slam into the pit like true bastards to the sound of Legacy, sounding utterly fast, furious, and evil, with Jamie’s gruesome guttural being nicely supported by some rebellious backing vocals. Lastly, closing the album we face the venomous Catastrophic Contagion, a lecture in Australian Death Metal as the icing on the band’s blood-soaked cake.

Exuding sheer class, confidence, and maturity, Depravity function perfectly as a unit as we can all see in Bestial Possession, offering an avalanche of first-class Death Metal to us all before this tumultuous year ends. Hence, don’t forget to give them a shout, or even a guttural roar, on Facebook and on Instagram, staying up to date with their demented live performances, to stream their incendiary discography on Spotify, and obviously to purchase the excellent Bestial Possession from their own BandCamp, or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Australia might be a country known for its deadly animals, but once you get a taste of the violence crafted by Depravity in their new album Bestial Possession, you’ll then realize there’s something even more dangerous lurking in the shadows Down Under.

Best moments of the album: Eunuch Maker, Awful Mangulation and Aligned With Satan.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Engulfed in Agony 4:44
2. Eunuch Maker 4:43
3. Call to the Fallen 5:13
4. Awful Mangulation 3:31
5. Rot in the Pit 3:52
6. Aligned With Satan 4:47
7. Blinding Oblivion 4:26
8. Legacy 3:14
9. Catastrophic Contagion 4:23

Band members
Jamie Kay – vocals
Jarrod Curley – guitar
Lynton Cessford  – guitar
Ainsley Watkins – bass
Louis Rando – drums

Album Review – Sun of the Dying / A Throne of Ashes (2025)

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These Spanish doomsters continue to walk the path of authentic Death and Doom Metal in their dark and heavy newborn opus.

Inspired by genre classics like My Dying Bride, Anathema, and Paradise Lost, as well as more modern bands such as Ahab, Swallow the Sun, and Shape of Despair, Madrid, Spain-based outfit Sun of the Dying walk the path of authentic Death and Doom Metal, unafraid to incorporate touches from many other styles, like what they have to offer us all in their third full-length opus, entitled A Throne of Ashes. Recorded by Simón Da Silva at The Empty Hall Studio, mixed and mastered by Javi Félez at Moontower Studios, and with a classy artwork and layout by Manuel Cantero of Signonegro, the new album by vocalist Eduardo Guilló, guitarists Casuso and Roberto Rayo, bassist José Yuste, keyboardist David Muñoz, and drummer Diego Weser sees the band take a step even further into the realms of doom, resulting in a worthy follow-up to their 2019 sophomore The Earth Is Silent.

Minimalist sounds gradually grow into an aria of sheer obscurity entitled Martyrs, with Diego’s slow, grim beats matching perfectly with Eduardo’s introspective vocals, who also delivers those deep, enraged guttural we all love so much in Death and Doom Metal. Then enhancing their heaviness to a whole new level, the band offers the massive Black Birds Beneath Your Sky, where Casuso and Roberto hammer their axes in the name of doom supported by the crushing drums by Diego; and David’s keys and orchestrations add an extra touch of finesse and melancholy to With Wings Aflame, flirting with Melodic and Blackened Doom Metal, all boosted by the charming vocals by guest Teresa Marraco of the excellent one-woman project Antinoë. David kicks off the heavy-as-hell, Black Sabbath-infused The Greatest of Winters, while Eduardo vociferates in the name of primeval Death Metal; followed by House of Asterion, even more sluggish, somber and hypnotic, with Casuso, Roberto and José doing an amazing job armed with their stringed weapons. And lastly, closing A Throne of Ashes we face another overdose of Doom Metal titled Of Absence, putting a climatic ending to the darkened path paved by the band in the entire album.

Gloomy and somber from start to finish, A Throne of Ashes is undoubtedly Sun of the Dying’s strongest effort to date, positioning them as one of the most promising names of the Death and Doom Metal scene worldwide. Those Spanish doomsters are waiting for you on Facebook and on Instagram with more of their music, news, and their undisputed live performances, and don’t forget to also stream their heavy and pensive music on Spotify, and to grab a copy of the excellent A Throne of Ashes from their own BandCamp, from AOP Records, or by clicking HERE. Spanish doom has always been a thing of beauty, and it’s bands like Sun of the Dying who make it even more inspiring and captivating as they sit triumphant in their throne of ashes.

Best moments of the album: Martyrs and Black Birds Beneath Your Sky.

Worst moments of the album: None.

Released in 2025 AOP Records

Track listing
1. Martyrs 9:08
2. Black Birds Beneath Your Sky 5:01
3. With Wings Aflame 5:09
4. The Greatest of Winters 7:03
5. House of Asterion 7:22
6. Of Absence 7:43

Band members
Eduardo Guilló – vocals
Casuso – guitar
Roberto Rayo – guitar
José Yuste – bass
David Muñoz – keyboards, orchestration
Diego Weser – drums

Guest musician
Teresa Marraco – vocals on “With Wings Aflame”

Album Review – Havamal / Age Of The Gods (2025)

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Transcending their previous sound and rising with the full might of Asgard at their back, these Swedish Melodic Death Metal warriors are unleashing upon humanity their most ambitious work to date.

Transcending their previous sound and rising with the full might of Asgard at their back, Stockholm, Sweden-based Melodic Death Metal warriors Hamaval are set to unleash their most ambitious work to date, entitled Age of the Gods, following up on their 2021 sophomore opus The Shadow Chapter. More aggressive, forceful, and diverse than ever, Age of the Gods is a pinnacle in the band’s evolution, where symphonic grandeur collides with ferocious riffs, thunderous drums and growls echoing with the wrath of the Nine Worlds, all masterfully crafted by vocalist Björn Larsson, guitarists Lennie Spetze and Kjell Gilliusson, bassist Tino Vesanen, and drummer Stefan Peltonen.

The war of the gods is about to begin to the sound of The Pagan Path, with its imposing tribal sounds inviting us all to join the band in the battlefield before Stefan begins smashing his drums in the name of Melodic Death and Viking Metal, whereas Wolfraiders carries an excellent title for an even more excellent sound, with the guitars and keys by Lennie and Kjell transpiring of Amon Amarth while their guitar solos also sound utterly captivating. Stefan then dictates the pace in the ruthless The Day Of Reckoning, with all background elements giving it an extra touch of epicness led by Björn’s deep warrior roars, followed by Sigmund Fafnirsbane, a song about a legendary dragon slayer, with the band inviting us all to slam into the pit to their visceral riffs and harsh screams.

Then investing in an almost Symphonic Black Metal sound we’re treated to The Shaman, where once again Lennie’s keys bring sheer electricity to their music, being therefore perfect for prancing around the firepit while enjoying a pint of mead. The skies will get dark and the atmosphere pensive and somber in Hymns Of The Fallen, an inspiring chant dedicated to the ones who lost their lives in battle, sounding absolutely epic from start to finish; and the band blasts one of the fastest and heaviest of all songs, the thrilling Lokis Damnation, also presenting some welcome melodic passages and the always vibrant guttural by Björn. Finally, ending the album it’s time for absolute fury and violence in the form of Ashwalker, spearheaded by the crushing beats and fills by Stefan in a lesson in contemporary Melodic Death Metal.

Offering a distinctive musical identity characterized by powerful orchestration, elegant yet captivating riffs, and an eclectic fusion of Viking, Black, Power, and Death Metal influences, Age Of The Gods will undoubtedly carve Havamal’s place in Valhalla, and you can grab a copy of such an excellent album from the Art Gates Records’ webstore in three amazing bundles (pack I, pack II, and superpack). Don’t forget to also follow the band on Facebook and on Instagram, and to stream their music on Spotify, proving you’re also worthy of joining Havamal and the metal gods at the magnificent hall of the slain are you prepare for Ragnarök.

Best moments of the album: Wolfraiders, The Shaman and Ashwalker.

Worst moments of the album: None.

Released in 2025 Art Gates Records

Track listing
1. The Pagan Path 6:01
2. Wolfraiders 4:59
3. The Day Of Reckoning 5:53
4. Sigmund Fafnirsbane 5:14
5. The Shaman 5:36
6. Hymns Of The Fallen 5:44
7. Lokis Damnation 5:33
8. Ashwalker 4:56

Band members
Björn Larsson – vocals
Lennie Spetze – guitars, keyboards
Kjell Gilliusson – guitars
Tino Vesanen – bass
Stefan Peltonen – drums

Album Review – Midnite City / Bite The Bullet (2025)

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The party is just getting started with the new album by these torchbearers of classic Hair Metal and Hard Rock, and everyone is invited.

Since exploding out onto the scene like a tornado back in 2017, UK’s own Hard Rock/Hair Metal heroes Midnite City have taken on the world, grabbed the tired music scene by the scruff of its neck, injected passion, fun, melody, and colour back into it, and climbed to the top of the tree to be crowned the true kings of Hair Metal. Now in 2025 the band formed of Rob Wylde on vocals and guitar, Miles Meakin on lead guitar, Josh Williams on bass, Shawn Charvette on keyboards, and Ryan Biggs on drums returns with their strongest album to date, Bite The Bullet, ticking every single box fans expect from a Midnite City album. Mixed by Chris Laney (Europe, Crash Diet, Crazy Lixx, Pretty Maids), the album offers a bit of everything, from super poppy, catchy, and hook laden party Rock N’ Roll, to Melodic Rock monsters, to arena sized power ballads, to Glam Metal anthems laced with attitude and a side order of Hard Rock, and so on.

Let’s get this Hair Metal party started with Live Like Ya Mean It, where the classic vocal lines by Rob are boosted by the song’s even more classic backing vocals, followed by Worth Fighting For, another old school tune presenting hints of AOR with the guitars by Miles and Rob exhaling the glory of the 80’s, sounding absolutely inspired by the music from all bands who made those years so amazing. It’s Going To Be Alright is a bit too cheesy for my taste, despite Miles still kicking ass with his soulful solo, but in the end it’s a generic song. Then an overdose of Hard Rock and Hair Metal will crush your senses in Heaven In This Hell, led by the striking keys by Shawn, and their  rock and metal celebration goes on in full force in Running Back To Your Heart, with Rob stealing the show with his stylish vocals. Ryan then puts the pedal to the metal, hammering his drums in the best Hard Rock style, in Lethal Dose Of Love, again presenting those catchy backing vocals we all love so much.

After that, it’s time for a whimsical interlude entitled Archer’s Song, as if it was crafted to be featured in a romantic scene of an afternoon movie from the 80’s or 90’s, warming us up for Seeing Is Believing, one of those power ballads that make the hearts of diehard fans of Hair Metal beat even faster and warmer. The guitars by Rob and Miles are boosted by the rumbling bass by Josh and the upbeat keys by Shawn in No One Wins, keeping the adrenaline flowing through the album and making it impossible to stand still to its catchy vibe; whereas their Melodic Rock and AOR vein pulses harder than ever in Hang On Til Tomorrow, led by the crisp vocals by Rob and the classic drums by Ryan. Their rockin’ party ends with When The Summer Ends, a Van Halen-infused Rock N’ Roll extravaganza with Ryan once again kicking ass behind his drums, also presenting a killer keyboard solo by Shawn as the icing on the cake.

In a nutshell, Bite The Bullet delivers a sound that is made for the biggest stadiums around the globe, bringing back everything that was so thrilling, energetic, and flamboyant about late 80’s Hair Metal in one fell swoop, being highly recommended for fans of Tigertailz, Mötley Crüe, Crash Diet, and Crazy Lixx, just to name a few. You can get in touch with those torchbearers of old school Hair Metal by following them on Facebook and on Instagram, get your party going to the sound of their full discography available on Spotify, and of course purchase a copy of the electrifying Bite The Bullet from countless retailers such as HHV, Decks Records, and Bengans.
Because the party is just getting started with the new album by Midnite City, and everyone is invited.

Best moments of the album: Heaven In This Hell, Lethal Dose Of Love and When The Summer Ends.

Worst moments of the album: It’s Going To Be Alright.

Released in 2025 Pride & Joy Music

Track listing
1. Live Like Ya Mean It 4:44
2. Worth Fighting For 4:25
3. It’s Going To Be Alright 4:33
4. Heaven In This Hell 3:47
5. Running Back To Your Heart 4:47
6. Lethal Dose Of Love 3:59
7. Archer’s Song 1:08
8. Seeing Is Believing 5:06
9. No One Wins 4:33
10. Hang On Til Tomorrow 4:24
11. When The Summer Ends 4:41

Band members
Rob Wylde – vocals, guitar
Miles Meakin – lead guitar
Josh Williams – bass
Shawn Charvette – keyboards
Ryan Biggs – drums

Album Review – Lamp of Murmuur / The Dreaming Prince in Ecstasy (2025)

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This uncanny Los Angeles, California-based Black Metal entity once again raises the chalice of victory for the masses with a new beckoning of devotion and elegance.

“And you’ll come back to me
Bathed in the tears of countless full moons
My heart will beat
Like a wardrum of rebellion
On this black night, oh! So evil, so pure
Once again
In the heat of your spasms
And the light of my passion
My heart will beat…”

Two years since the release of Saturnian Bloodstorm, Los Angeles, California-based Black Metal entity Lamp of Murmuur has once again raised the chalice of victory for the masses with a new beckoning of devotion and elegance, titled The Dreaming Prince in Ecstasy. Recorded while engulfed in the caustic summer winds of 2023 with the guidance of the Seven Spears, the Circle of Gold Feathers and the always recurrent Crimson Agony, and showcasing a stunning artwork by Batdog (with layout by Eduardo Mora), the fourth studio album by vocalist and multi-instrumentalist M., or the Mythical Archduke of all Rebellion, of bands like Silent Thunder, Magus Lord and Fuinäehot, stands as the synergy of both sides of a bloodstained coin – triumph and grief, transcendence and torment.

The album starts with the cryptic, eerie intro The Fires of Seduction, dragging us all to Lamp of Murmuur’s Stygian lair in Forest of Hallucinations, exploding into an imposing wall of Symphonic Black Metal where M.’s striking keys and visceral roars clash majestically during the song’s over nine minutes of absolute darkness. Then investing in a more traditional Black Metal sonority, he hammers his drums and extracts sheer sulfur from his axes in Hategate (The Dream-Master’s Realm), followed by the also infuriated Reincarnation of a Witch, showcasing an amazing job done by M. with his demented riffs and beats, therefore living up to the legacy of Melodic Black Metal in an overdose of darkness by our lone wolf that sounds captivating from start to finish.

After the instrumental (and lengthy) interlude Angelic Vortex, we’re treated to the three-part title-track, starting with The Dreaming Prince in Ecstasy Part I – Moondance, evolving into an epic onrush of darkened sounds by M. with his thrilling riffage exhaling of fury and rage, while its last moments venture through more symphonic lands before The Dreaming Prince in Ecstasy Part II – Twilight Orgasm brings forward a sinister fusion of Doom and Black Metal, flowing into The Dreaming Prince in Ecstasy Part III – The Fall, a nine-minute aria of obscurity where M.’s cadaverous vocals will haunt your soul for all eternity, ending in a truly climatic manner. Lastly, featuring guest vocals by Crying Orc (Këkht Aräkh) and Xofrnk, we have A Brute Angel’s Sorrow, where instead of fast and furious Black Metal we face a delicate, grim display of melancholy.

Inspired by the primordial majesty of Black Metal yet unbound by its limitations, Lamp of Murmuur has gradually ascended these past years as one of the furthermost esteemed and sought luminaries within the new wave of Black Metal, with The Dreaming Prince in Ecstasy standing as another testament to the project’s unwavering pursuit of vision and freedom. Such an uncanny creature from the netherworld can be found on Instagram with news, tour dates and so on, and you can also stream all of its wicked creations on Spotify and, above all that, purchase the venomous The Dreaming Prince in Ecstasy from the project’s BandCamp or from Wolves of Hades, or simply click HERE for all things Lamp of Murmuur. Because The Dreaming Prince in Ecstasy is an offering of intoxicating grandeur, a hymn to the eternal dream of a soul yearning to be unchained, and I can’t wait to see what’s next in the career of one of the must-see names of the current Black Metal scene worldwide.

Best moments of the album: Forest of Hallucinations, Reincarnation of a Witch and The Dreaming Prince in Ecstasy Part III – The Fall.

Worst moments of the album: Angelic Vortex.

Released in 2025 Wolves of Hades

Track listing
1. The Fires of Seduction 1:48
2. Forest of Hallucinations 9:13
3. Hategate (The Dream-Master’s Realm) 7:38
4. Reincarnation of a Witch 5:25
5. Angelic Vortex 2:15
6. The Dreaming Prince in Ecstasy Part I – Moondance 7:08
7. The Dreaming Prince in Ecstasy Part II – Twilight Orgasm 6:18
8. The Dreaming Prince in Ecstasy Part III – The Fall 9:10
9. A Brute Angel’s Sorrow 4:21

Band members
M. – vocals, all instruments

Guest musicians
Crying Orc – vocals on “A Brute Angel’s Sorrow”
Xofrnk – vocals on “A Brute Angel’s Sorrow”

Album Review – Season of The Dead / Zombie Chronicles Vol.1 (2025)

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This newborn beast of blood-soaked, horror-infused Death Metal will eat your flesh to the sound of their debut album, a soundscape where zombies, decay, and gore come to life in audio form.

A visceral, cinematic Extreme Metal project born from the twisted minds of Titta Tani (former drummer of Necrophagia and Goblin), Giacomo Anselmi (former Goblin guitarist and current member of Goblin Legacy), and Enrico Giannone, founder and owner of Time To Kill Records, acting as producer and visionary behind the entire concept, United States-based Death Metal brigade Season of The Dead aims at resurrecting the blood-soaked legacy of horror-infused Death Metal, channeling the rotten spirit of bands like Necrophagia, Mortician, and Fulci, while paying tribute to the grotesque imagery and raw energy of cult underground horror films. Formed of the aforementioned Giacomo Anselmi (Goblin Legacy) on the guitars and Titta Tani on drums, alongside John McEntee (Incantation) and Fiore Stravino (Fulci) on vocals, and Dave Neabore (Dog Eat Dog) and Chuck Sherwood (Incantation) on bass, the album delivers a relentless assault of Death Metal brutality, layered with cinematic tension and ritualistic atmospheres, a soundscape where zombies, decay, and gore come to life in audio form.

Just like in a horror movie, the intro Necromancy brings to our putrid ears three unsettling minutes of obscurity, warming us up for Then We’ll Rise, inspired by Romero’s masterpiece Day of the Dead (and featuring related audio contributions), with John vomiting the song’s zombified words mercilessly supported by the crushing beats and fills by Titta. Voodoo Ritual starts in a phantasmagorical way, evolving into another slab of insanity by the band, even sounding Doom Metal at times to make things even creepier, whereas Giacomo fires classic, unrelenting riffs in the pulverizing, demented Events Of Flesh, accompanied by the venomous bass by Dave, again bringing absolute horror to our minds and souls just the way we like it in Death Metal.

In Open The Gates the vocals by Fiore exhale pure gore for our vulgar delectation, not to mention Titta is also ruthless behind his drums, while disturbing sounds ignite one more explosion of Death Metal by such an amazing supergroup entitled The Other Side, with John once again sounding like a zombified vocalist, and with Chuck and Titta making the earth tremble in this ode to insanity. The Stygian riffage by Giacomo kicks off the headbanging beast entitled Burning Moon Sickness, providing John with exactly what he needs to haunt our souls with his visceral growling; and closing such a unique album we have Bloodfreak, with its eerie sounds matching perfectly with the Doom Metal-infused beats by Titta while John continues to attack us all with his demented screams.

With influences ranging from Killjoy to City of the Living Dead, The Beyond, and Cannibal Holocaust, creating a soundscape that feels like a soundtrack to a lost VHS splatter nightmare, Zombie Chronicles Vol. 1 is just the first full-length chapter of Season of The Dead, a macabre journey into the heart of horror-infused Death Metal, and you can get in touch with those anti-heroes of blood and gore via Facebook and Instagram, and feed your excruciating hunger for Death Metal by streaming their music on Spotify and by purchasing their excellent debut album from their own BandCamp, or from the Time To Kill Records webstore. However, do not forget Zombie Chronicles Vol.1 is not just an album. It’s a chronicle of the undead, a sonic descent into rot, fear, and splatter, and you might not come out of it alive, joining their army of the undead for all eternity.

Best moments of the album: Then We’ll Rise, Events Of Flesh and Bloodfreak.

Worst moments of the album: Voodoo Ritual.

Released in 2025 Time To Kill Records

Track listing
1. Necromancy 3:13
2. Then We’ll Rise 4:37
3. Voodoo Ritual 4:03
4. Events Of Flesh 3:57
5. Open The Gates 3:53
6. The Other Side 4:54
7. Burning Moon Sickness 4:20
8. Bloodfreak 5:14

Band members
John McEntee – vocals
Fiore Stravino – vocals
Giacomo Anselmi – guitars
Dave Neabore – bass
Chuck Sherwood – bass
Titta Tani – drums

Album Review – Withering Soul / Passage of the Arcane (2025)

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A Blackened and Melodic Death Metal entity from Chicago strikes back with their devilish fifth album, a manifestation in the form of chilling soundscapes, foreboding atmospheres, contagious melodies and tortured chants.

Conjured into existence in 1999 in Chicago, Illinois, the uncanny Blackened/Melodic Death Metal entity Withering Soul is unleashing upon us their fifth studio album, entitled Passage of the Arcane, following up on their 2021 beast Last Contact. Mixed and mastered by Dennis Israel at Clintworks Audio, with drums recorded and engineered by Vince Ippolito at Swift Road Studios, and displaying another hypnotizing artwork by the indomitable Adam Burke of Nightjar Illustration, the new album by Christopher Grimes on vocals, guitars and synths, Joel Miller on bass, and Rick Hernandez on drums is a convergence of blackened atmospheres and sweeping song structures, a mystifying journey that exceeds boundaries while remaining fun and exciting, with the overall theme of the album involving human experiences traversing into cursed oblivion where each song explores its own story, ranging from unexplained disappearances to the supernatural.

In the album’s Intro, howling winds warn us all of the storm of heavy music that’s about to come in Attrition Horizon, where Rick sounds absolutely demonic armed with his vicious beats and fills, providing Christopher with exactly what he needs to shine on vocals. The band keeps demolishing our senses in Grievance Eludes the Light, a no shenanigans, in your face Melodic Death Metal beast spearheaded by the striking riffs by Christopher, and let’s then slam into the pit once again together with Withering Soul in The Monolith Embodied, with Rick kicking some serious ass on drums, sounding almost like a pure Death Metal chant. It’s time to face six minutes of dark passages and brutality in Gallery of the End, even presenting elements from Atmospheric Metal without of course forgetting their Black and Death Metal essence; followed by Trajectory, with guest Nick “Exhul” Morgan of Ossilegium providing the song with a sick guitar solo while the music is as infuriated and melodic as possible, albeit not as dynamic. More of their headbanging, visceral sounds penetrates deep inside our minds in Among Covetous Eyes, with Christopher’s roars sounding deep and evil, and last but not least we have Burden of the Valiant, the most progressive of all songs, with all riffs, bass lines and beats complementing each other flawlessly, not to mention its climatic finale.

Fans of Dark Fortress, Windir, Hypocrisy, Dissection, and God Dethroned, among others, will certainly enjoy the new opus by Withering Soul, a manifestation in the form of chilling soundscapes, foreboding atmospheres, contagious melodies and tortured chants echoing above an onslaught of calculated percussion. You can get to know more about such a talented and creative band on Facebook and on Instagram, enjoy their unique creations on Spotify, and purchase their excellent newborn baby from BandCamp. In the end, Withering Soul created a musical elegy that is both majestic and haunting, with Passage of the Arcane representing another phenomenal step in their solid path to darkness.

Best moments of the album: Attrition Horizon, The Monolith Embodied and Burden of the Valiant.

Worst moments of the album: Trajectory.

Released in 2025 Liminal Dread Productions

Track listing
1. Intro 0:51
2. Attrition Horizon 4:50
3. Grievance Eludes the Light 5:00
4. The Monolith Embodied 3:14
5. Gallery of the End 6:37
6. Trajectory 7:10
7. Among Covetous Eyes 5:33
8. Burden of the Valiant 7:50

Band members
Christopher Grimes – vocals, guitars, synths
Joel Miller – bass
Rick Hernandez – drums

Guest musician
Nick “Exhul” Morgan – guitar solo on “Trajectory”

Album Review – Fimbul Winter / What Once Was EP (2025)

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Brace yourselves for the Great Winter to the debut EP by this ruthless horde, a bold statement from a band built on unfinished business and a shared passion for the roots of Swedish Death Metal.

Forged in the fires of Tumba, Sweden by three former members of Amon Amarth who decided to go berserk together after a spontaneous reunion performing the band’s 1994 demo The Arrival Of The Fimbul Winter, the ruthless Death Metal horde named Fimbul Winter (or the “Great Winter,” the three-year-long, brutal winter that serves as the immediate prelude to Ragnarök in Norse mythology) is making their debut with a crushing EP titled What Once Was. Recorded at Witching Hour Audio (vocals) and at Wing Studios (guitars and drums), produced by the band itself, mixed and mastered by Marko Tervonen at Studio-MT, and displaying a grim artwork by Björn Gooßes of Killustrations, the debut by Clint Williams (Munitions) on vocals, Fredrik Andersson (Amon Amarth) and Anders Biazzi (Amon Amarth) on the guitars, and Niko Kaukinen (Amon Amarth) on drums, with the support of session bassist Tobias Cristiansson (Necrophobic, Grave, Dismember), delivers a sound that is cold, intense, and fiercely authentic, a bold statement from a band built on unfinished business and a shared passion for the roots of Swedish Death Metal.

The ass-kicking opening tune Storms Rage obviously sounds like the early days of Amon Amarth, and that’s excellent as the band continues a different path in the best “what if…?” style, led by the imposing, unrelenting riffs by Fredrik and Anders. Then the title-track What Once Was proves why Clint was chosen to be the voice of the band, as his enraged, deep gnarls match perfectly with their Swedish Death Metal sounds. Niko pounds his drums in the best Viking way in Mounds Of Stones, supported by the rumbling bass by Tobias, therefore resulting in a massive wall of Death Metal sounds, and you can feel absolute anguish flowing from Clint’s deep vocalizations in A Soul That Soared, supported by another infernal avalanche of beats and fills by Niko. Finally, closing the EP we’re treated to the headbanging In Solitude’s Embrace, offering us the trademark scorching riffs by Fredrik and Anders while leaving us absolutely eager for more of their music in the near future.

As torchbearers of the Swedish Melodic Death Metal tradition, the band channels decades of experience while staying true to the sound that defined them in their debut EP, from rediscovered riffs originally written for Amon Amarth to entirely new compositions, being therefore highly recommended for fans of early Amon Amarth, Unleashed, Hypocrisy, and Bolt Thrower, among others. “What Once Was reflects both where we come from and what we still believe in; honest, melodic death metal. No trends, no gloss, just the kind of elements we feel is missing in a lot of metal today,” commented the band. Hence, you can get in touch with those Swedish metallers via Facebook and Instagram, check their music on YouTube and on Spotify, and of course purchase their incendiary EP from BandCamp or by clicking HERE. The Great Winter is upon us all in the form of old school, no shenanigans Death Metal, and you better brace for impact as those Norsemen are not fooling around when it comes to crafting ruthless heavy music.

Best moments of the album: Storms Rage and In Solitude’s Embrace.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Storms Rage 3:52
2. What Once Was 5:14
3. Mounds Of Stones 5:31
4. A Soul That Soared 4:32
5. In Solitude’s Embrace 4:42

Band members
Clint Williams – vocals
Fredrik Andersson – lead guitars, orchestral arrangements
Anders Biazzi – guitars
Niko Kaukinen – drums

Guest musicians
Tobias Cristiansson – bass (session)