Album Review – WarWolf / The Final Battle (2025)

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Let the battle commence to the sound of the striking third studio album by this German Heavy Metal brigade.

Having emerged from the ashes of a band named Wolven back in 2021, Cologne, Germany-based Heavy Metal brigade WarWolf is back for the attack with their third studio album, titled The Final Battle, the follow-up to their 2023 opus The Apocalyptic Waltz. Produced, mixed and mastered once again by Grave Digger’s own  mastermind Chris Boltendahl at Graveyard Studio, the new album by frontman Andreas von Lipinski, guitarists Frank Noras and Peter Müller, bassist Florian Abegg and drummer Holger Bloempott offers exactly what a fan would expect from the band and even more, showcasing “Maiden-esque” influences with a slight Teutonic Metal touch, but this time rawer and more honest then ever.

The opener Eye of the Storm is simply fast, furious, striking, and showcases metallic lyrics for our total delight (“In the heart of chaos / Where tempests collide / Beneath the shadowed clouds / Where fears reside / An eye of the storm / A glimpse into the night / Where wars unfold / And souls take flight”), followed by Burning Skies, another slab of old school Heavy Metal where Frank’s soaring vocals are nicely boosted by all backing vocals. In The Lycan Empire, the title of the song matches perfectly with not only the band’s name but also with their traditional Heavy and Power Metal sound, whereas Fight the Invaders is not a very exciting song, not to mention it’s a long one too, despite the solid job done by Frank and Peter on the guitars. A New Hope presents a much more exciting sonority led by the galloping bass and drums by Florian and Holger, sounding very Iron Maiden-ish in the end.

Andreas continues to lead his bandmates with his soaring vocals in Time Stands Still, offering more of the band’s classic Teutonic Heavy Metal, with their riffs sounding sharp and vibrant; whereas serene guitar lines kick off the seven-minute aria The Dark Emperor, an ode to the NWOBHM with a German twist, led by the classic drumming by Holger, flowing into the headbanging tune Blood & Ice, a beautiful fusion of Heavy Metal and Hard Rock where the guitars by Frank and Peter are spitting fire. The second to last track of the album is a full-bodied, detailed nine-minute tune titled The Final Battle, starting in a serene acoustic manner, and alternating between heavier moments and deep introspective passages; and as the battle seems to be finally reaching its end, the band offers a soothing ballad titled The War Is Over, overflowing melancholy and grief.

In addition to all that, all songs have a continuous story so The Final Battle can be called a concept album, though each song can also stand on its own, and you can experience that metallic adventure by WarWolf by purchasing a copy of the album or streaming it as many times as you want by clicking HERE or HERE. You can also start following the band on Facebook and on Instagram, staying up to date with all things WarWolf (including their tour dates, like their upcoming European tour alongside the mighty Grave Digger), and stream their awesome music on any streaming platform like Spotify. Because the battle rages on, and the Teutonic beast WarWolf is definitely ready to fight by our side armed with their new album of undisputed, classic Heavy Metal.

Best moments of the album: Eye of the Storm, A New Hope and Blood & Ice.

Worst moments of the album: Fight the Invaders.

Released in 2025 Metalapolis Records

Track listing
1. Eye of the Storm 5:37
2. Burning Skies 5:04
3. The Lycan Empire 5:36
4. Fight the Invaders 8:23
5. A New Hope 5:41
6. Time Stands Still 4:05
7. The Dark Emperor 7:04
8. Blood & Ice 4:02
9. The Final Battle 8:52
10. The War Is Over 5:06

Band members
Andreas von Lipinski – vocals
Frank Noras – guitars
Peter Müller – guitars
Florian Abegg – bass
Holger Bloempott – drums

Album Review – Void Of Hope / Proof of Existence (2025)

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The horrors of reality are the proof of your existence, and this uncanny Black Metal trio from Finland is going to expose you to that harshness to the sound of their debut album.

A Finnish Black Metal trio born somewhere in time during a recording session that includes members from Moonlight Sorcery and Ondfødt and consider themselves influenced by bands like Gris, Silencer, Lifelover, Coldworld and Austere, Void of Hope are set to unleash their debut album, titled Proof of Existence. Composed and recorded in five days in the studio with -30°, -35° outside and in complete darkness for most of the day (with all screams taking place later and being recorded in two days), Proof Of Existence is a journey through mental health and depression, the outcome of which may be triumph or giving up, having started as Depressive Black Metal, but growing into much more.

The gentle, serene start in Gift of Life quickly morphs into a sluggish and pounding feast of Atmospheric Black Metal, with their riffs and beats sounding truly imposing, not to mention its devilish creature-like vociferations. Then fierce, hammering drums and caustic guitar lines set the tone in the title-track Proof of Existence, offering us all almost seven minutes of first-class, modern and ruthless Black Metal; and it’s now time for the skies to get as dark as a raven with 11 minutes of undisputed Black Metal in The Hollow Hymn, sounding and feeling absolutely haunting, multi-layered and penetrating from the very first second.

Then the delicate yet eerie interlude Inner Peace will prepare your putrid souls for total darkness in T.E.T.L., presenting seven minutes of blast beats, ruthless riffs and hellish gnarls not recommended for the lighthearted, a very detailed and impactful creation by such an uncanny Finnish trio, blending elements from different styles into their core Black Metal magic. The last act in Proof of Existence, entitled Decaying Years, sounds as haunting and mysterious as it can be, with its background piano notes walking hand in hand with its sluggish, Doom Metal-inspired beats, therefore ending the album on a high and devilish note.

Void of Hope are not an anonymous band, yet they do not consider their identities relevant, as regardless of what names are printed in the album, the music is all that matters. Void of Hope can be a place or a state of mind, and their debut album will simply show you that the horrors of reality are the proof of your existence. Although there isn’t much information online about the band apart from their recently created profiles on Facebook and on Instagram, you can put your damned hands on their newborn beast via the Avantgarde Music’s BandCamp page or from Sound Cave, and perhaps we’ll get to know more about those mysterious Finnish metallers as they spread their blackened wings upon humanity to the sound of their austere, grim and, therefore, more than necessary album.

Best moments of the album: Proof of Existence, The Hollow Hymn and T.E.T.L.

Worst moments of the album: None.

Released in 2025 Avantgarde Music

Track listing
1. Gift of Life 06:35
2. Proof of Existence 6:51
3. The Hollow Hymn 11:10
4. Inner Peace 1:55
5. T.E.T.L. 7:20
6. Decaying Years 8:20

Band members
*Information not available*

Album Review – Scitalis / Maledictum (2025)

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Your body and soul will burn to the new opus by this Swedish Black Metal horde, a haunting exploration of despair and wrath inspired by Sweden’s witch trials during “Det stora oväsendet” (1668–1676).

After their successful 2022 debut Doomed Before Time, Umeå, Sweden’s own Black Metal horde Scitalis returns with their sophomore opus, entitled Maledictum, a haunting exploration of despair and wrath inspired by Sweden’s witch trials during “Det stora oväsendet” (1668–1676). The band’s evolving lineup is reflected throughout the entire album, with newcomers W on drums and L on rhythm guitars joining vocalist and bassist A and lead guitarist S, resulting in a raw, emotional record that captures the agony and anger of the time while showcasing the band’s growth and uncompromising approach to our beloved Black Metal.

W already showcases his welcome card with his demented blast beats in Reborn, an old school, in-your-face Black Metal beast with A gnarling nonstop for our total delight, followed by Suffering, an avalanche of ruthless, sulfurous Black Metal for the masses led by the scorching riffs by S and L, showcasing over six minutes of absolute darkness for admirers of the genre. Seven Years Ov Blood is another bold, multi-layered creation by such an uncanny horde, with the strident riffs by S and L matching perfectly with A’s devilish vociferations; flowing into the also harsh and impious Trial, presenting hints of Blackened Doom in its sluggish beats and low-tuned bass.

This unyielding Swedish horde comes ripping once again in Burn Before Dawn, another savage composition blending the fury of classic Black Metal with the hypnotizing passages of Melodic Black Metal; and the guitars by S and L transpire pure evil in Ashes After The Fire, being gradually accompanied by the massive beats by W and the always visceral roars by A, resulting in a monumental aria of darkness and blasphemy. There’s time for one final breath of evil by Scitalis, entitled Endless Wrath, with the reverberating bass by A and his always menacing gnarls haunting our damned souls for all eternity, all boosted by another violent performance by W on drums.

After all is said and done, you’ll realize the Black Metal feast blasted by Scitalis in Maledictum (available in full on YouTube and on Spotify) is a more than perfect choice for representing the horror of the witch trials in Sweden in the 1600’s, and you can know more about the band, their music and the whole concept behind their pulverizing new album by following them on Facebook and on Instagram, by streaming their wicked creations on Spotify, and by grabbing a copy of the album on BandCamp or by clicking HERE or HERE. The burning of witches has always been a constant topic discussed by countless bands from all genres and subgenres of metal music, but it’s when you face a band like Scitalis that you can feel the fires burning your body and soul while they keep filling every single space in the air with their caustic music, exactly like what’s found in the incendiary Maledictum.

Best moments of the album: Suffering, Burn Before Dawn and Ashes After The Fire.

Worst moments of the album: Trial.

Released in 2025 Vendetta Records

Track listing
1. Reborn 4:16
2. Suffering 6:21
3. Seven Years Ov Blood 5:59
4. Trial 7:13
5. Burn Before Dawn 5:44
6. Ashes After The Fire 6:20
7. Endless Wrath 6:31

Band members
A – vocals, bass
S – lead guitars
L – rhythm guitars
W – drums

Concert Review – Wacken Metal Battle Toronto Round #1 (Hard Luck Bar, Toronto, ON, 01/25/2025)

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The iconic Hard Luck Bar in Toronto became a “metal ring” where four brave bands started wrestling for the undisputed prize of playing at the greatest metal festival in the world this summer.

INTRODUCTION: ARE YOU READY TO RUMBLE?

It was time to set this bitterly cold winter on fire in Toronto this Saturday with this year’s edition of Wacken Metal Battle Canada, starting with Wacken Metal Battle Toronto Round #1 with the bands PURVEYOR OF CHAOS, UNKLE SKURVEY, ISCHEMIC and PILLARS OF AUTUMN at Hard Luck Bar, the first step for each one of those four bands to win the coveted slot at Wacken Open Air taking place from July 30 to August 2 this year in Wacken, Germany, plus $1,000 CAD towards expenses, and VIP camping at the festival. Not only that, they also have the opportunity to win monetary and gear prizes at the international Wacken Metal Battle. Keith Ibbitson of Metal Paparazzi and I were there to cover such an important night for the underground metal scene in Toronto, and of course enjoy the music by those four amazing bands.

As a matter of fact, this year I was invited by the one and only JJ Tartaglia, responsible for Wacken Metal Battle Canada, and the vocalist and drummer for Heavy Metal/Hard Rock band Thunderor, to be one of the guest judges alongside Claus Nader (Futhark Records), Andrew Craig (Zombitrol Productions) and Ryan Hofing (Crimson Shadows). It was a true honor being chosen to evaluate the future of heavy music in Toronto, and I hope I did a good job to the point I get invited to this unique event more times this year and in all future editions of Wacken Metal Battle Canada. Having said all that, are you ready to rumble?

PURVEYOR OF CHAOS

The first band of the night was Heavy Metal/Hard Rock quartet PURVEYOR OF CHAOS, who hit the stage at 9pm armed with their heavy riffs and the soaring vocals by frontman Maxel Black. Playing songs form their 2022 self-titled album, which is by the way available on BandCamp and on Spotify, the band did a good job onstage and put everyone to bang their heads and raise their horns in the name of classic heavy music, and I’m sure if they refine their sound a bit, maybe by adding a second guitarist to their lineup and making the sound of their drums clearer, they’ll have a much better overall performance during their future live shows.

Band members
Maxel Black – vocals
Bulldog Bess Ross – guitars
Tenbears – bass
Fast Eddie – drums

UNKLE SKURVEY

Right after a quick break, Heavy Metal/Hardcore outfit UNKLE SKURVEY delivered a fun and vibrant performance to a very decent crowd at Hard Luck Bar, sometimes sounding like a Thrash Metal band, sometimes like a System of a Down cover band, which was a bit confusing but in the end worked relatively well. The songs Covid Mosh, World War 3, and Next Generation, all available on Spotify, sounded great live, with frontman Ché Cleland’s energy and facial expressions adding an extra touch of insanity to their show. I personally think if they focus on the sound from the song Next Generation in their future releases, and add a second guitarist to the band, they’ll definitely go places.

Band members
Ché Cleland – vocals
Doug Noel – guitars
Stephen ‘Stiv’ Scott – bass
Sean Mollison – drums

ISCHEMIC

The third band of the night was most definitely the heaviest of all, blasting a dark and deep fusion of Blackened Death and Doom Metal not recommended for the lighthearted. I’m talking about the five-headed beast known by the name of ISCHEMIC, spearheaded by the talented growler Isabelle Tazbir, who melted our faces with their undisputed heaviness and obscurity. Having released the album Condemned to the Breaking Wheel in 2024, which you can purchase or stream on BandCamp and on Spotify, their performance was beyond fantastic, proving Isabelle and her henchmen are more than ready for bigger stages worldwide.

Band members
Isabelle Tazbir – vocals
Adam Korchok – guitars
Jon Radic – guitars
Lyndon Quadros – bass
Mrudul Kamble – drums

PILLARS OF AUTUMN

Last but certainly not least, it was time for Technical/Symphonic Deathcore act PILLARS OF AUTUMN to deliver a massive, electrifying, technical and very professional performance to the crowd at Hard Luck Bar, with all songs, in special their new single Crestfallen Emissary, sounding amazing live. I highly recommend you go check their music out on BandCamp and on Spotify, paying very good attention to the demented fry screams by Nick Young and the insane bass lines by Kevin Chan Kin Fung, as those two guys sounded brilliant during their set this Saturday night in Toronto.

Band members
Nick Young – vocals
Devon Groat – guitars
Carl Pike – guitars
Kevin Chan Kin Fung – bass
Doug Noel – drums

AND THE WINNER IS…

…the Blackened Death and Doom Metal creature ISCHEMIC! Congratulations for the win! They now move on to the Ontario Final on March 21 at Rivoli in Toronto, and if you want to know more about the whole competition, the next rounds across Canada and so on go to the official Facebook page of Wacken Metal Battle Canada. Also, thanks to all media partners and promoters, including Bravewords.com, Metal-Rules.com, Metal Devastation Radio, Boonsdale Records, Asher Media Relations, and many others, for keeping the fires of underground music in Canada burning brighter than a thousand suns. I’m sure Ischemic will have another killer performance during the Ontario Final in March, and who knows, maybe they’ll be the ones to “rule them all” and venture through the sacred lands of Wacken Open Air in Germany this summer, proudly representing Canada at the greatest stage of all.

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Album Review – Irae / Promiscuous Fire EP (2025)

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Get ready for 23 minutes of timeless, medieval darkness masterfully crafted by one of the most sulfurous names of the Portuguese Black Metal scene.

A member of the infamous “Black Circle” together with Decrepitude, Mons Veneris, Rainha Cólera and Vetala, Lisbon, Portugal-based Black Metal entity Irae is unleashing upon humanity a sulfurous new EP titled Promiscuous Fire, following up on its critically acclaimed 2022 opus Assim na Terra como no Inferno. In Promiscuous Fire, the lone wolf Vulturius on “fires of tradition and demonic vengeance” (aka vocals, guitars and bass) is joined by guest J Goat on “apocalyptic beats, necromantic creations and doom” (aka bass, additional vocals and drum programming), plus guest vocals by Obskuritatem on two of the four songs, spreading pitch black darkness that only gets even more obscure to the venomous mastering by D.S. at Noise Portrait Recordings and the Stygian artwork by Ainul Iblis.

It’s pure old school Black Metal from the very first second in The Curse of Lael, led by the demonic gnarling by Vulturius, who’s also ruthless armed with his sulfurous axe, delivering caustic, visceral riffs nonstop; followed by Vinho de Gólgota, another fulminating explosion of Black Metal madness by Vulturius supported by J Goat and his thunderous bass. Furthermore, Vulturius vocals couldn’t have sounded more demonic, sending shivers down our spines throughout the entire song. Porco de Satanás continues to showcase Vulturius’ deep passion for extreme music and the dark arts, with the additional vocals by guest Obskuritatem bringing a welcome touch of dementia and evil to the overall result, whereas Endless Circle sounds and feels as disturbing, evil and thunderous as the other songs of the EP, with Vulturius being a beast incarnate on vocals once again to properly end the album on a high and demonic note.

For those who think Irae is “just” a raw Black Metal band, Promiscuous Fire will prove to be quite a reckoning. While by no means “polished” per se, there’s a decidedly refined amalgamation of cleaner tones and classic Black Metal songwriting in a Second Wave style, or in other words, it’s simply 23 minutes of timeless, medieval darkness, and you can savor all that by streaming the EP and all of the band’s previous releases on Spotify, and of course by purchasing a copy of the EP from BandCamp or from Signal Rex. Vulturius shows no mercy for our putrid, useless souls in his newborn opus, forged in the fires of the beautiful Lisbon, ready to spread his dark wings upon humanity and to keep carrying the torch of old school Black Metal for many years to come under his diabolical beast Irae, and I bet all fans of the darkest side of music will love to hear more from him sooner than later as his new EP is indeed amazing.

Best moments of the album: Vinho de Gólgota and Porco de Satanás.

Worst moments of the album: None.

Released in 2025 Signal Rex

Track listing
1. The Curse of Lael 6:06
2. Vinho de Gólgota 5:10
3. Porco de Satanás 6:30
4. Endless Circle 4:56

Band members
Vulturius – vocals, all instruments

Guest musicians
J Goat – bass, additional vocals, drum programming
Obskuritatem – additional vocals on “Porco de Satanás” and “Endless Circle”

Album Review – Belle Morte / Pearl Hunting (2025)

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Let the music by this global collaboration of sound and spirit crafted by one of the most innovative acts of the current Gothic and Symphonic Metal scene worldwide penetrate deep inside your soul.

Emerging as one of the most innovative acts of the current Gothic and Symphonic Metal scene worldwide, Minsk, Belarus-based Belle Morte returns with their highly anticipated sophomore album, titled Pearl Hunting, following up on their critically acclaimed 2021 debut Crime of Passion. Known for their dark, gothic edge and symphonic depth, the band formed of Belle Morte on vocals, Ilya Rogovoy and Ilya Petrashkevich on the guitars, Sergey Butovsky on bass, Maria Shumanskaya on keyboards, and Rostislav Golubnichiy on drums ventures into a bold new territory with their new album in collaboration with a lineup of fantastic, multi-talented guest musicians from across the globe. Recorded across continents, the album combines the majesty of Symphonic Metal with traditional sounds from countries as far-reaching as Mongolia, Japan, and Peru, blending Eastern, Celtic, and Latin influences into a transcendent fusion.

Featuring Hunt Max Kerner, Caterina Castiglioni, Yanina Yakshevich, and Ada Rusinkiewicz, each bringing forward the unique sounds of instruments like the Celtic bouzouki and the Germanic lyre, the title track Pearl Hunting is a gentle and soothing start to the album; and Tero Kalliomäki and his jouhikko join Belle Morte in Fallen Idol, a Symphonic Metal extravaganza where the guitars by Ilya Rogovoy and Ilya Petrashkevich exhale power and passion. In Exorcism we have guest Ulziisaikhan Khoroldamba armed with his Mongolian mornin khuur and throat singing (like what the guys from The HU offer in their creations), with Rostislav making sure there’s enough heaviness in the song thanks to his pounding drums; whereas featuring Lernik Khachatrian and his Armenian clarinet duduk, Belle Morte sounds absolutely passionate and melancholic on vocals for our total delight in Blame Me, followed by Wintersleep, featuring Ella Zlotos and Marta Masciola, providing Belle Morte with exactly what she needs to shine on vocals in this whimsical ballad, all boosted by Maria’s crying violin. And in Losing Faith we face the mesmerizing pan pipes, ocarina and quena by Carlos Carty, resulting in an enfolding folk tune where traditional sounds clash with heavy riffs.

Guest Maulana Malik Ibrahim blasts the unique sounds of the suling and gamelan in Black Waters, while Belle Morte and Sergey make a stunning vocal duet in another excellent metal ballad by the band; while Emma Spinelli and Rúben Monteiro bring the sounds of the lute and the hurdy-gurdy to the band’s core Symphonic and Gothic Metal in Willow, again presenting a striking fusion of melodic vocals, metallic guitars and hammering drums. Rúben Monteiro returns with the sounds of the saz baglama and oud in September, also featuring guest vocals by Ada Rusinkiewicz, offering us all more of Belle Morte’s charming yet penetrating vocals; and featuring Hisashi, Reigen Fujii and Souzan Kato, it’s east meets west in the rockin’ feast titled Jorōgumo, where once again Rostislav’s drums sound fierce, matching with the song’s harsh vociferations. Krew, featuring Yaroslav Dzhus, Alex Pilkevych, and Ada Rusinkiewicz, is a decent ballad in their mother tongue, albeit not as compelling as the rest of the album, while lastly we have the acoustic version of Exorcism, which feels like a special bonus track offered by Belle Morte, a beautiful rendition of one of the album’s best songs.

After all is said and done, Pearl Hunting showcases Belle Morte’s evolution into global musical storytelling while incorporating an impressive range of instruments, including the Belarusian duda, the Ukrainian sopilka, the Celtic bouzouki, and the Armenian duduk, alongside the Peruvian pan pipes, the Indonesian suling and gamelan, and the Japanese shamisen, koto, and shakuhachi. Each track offers its auditory landscape, pairing the intensity of Symphonic Metal with the haunting allure of the Trinity College harp or the guttural, earthy tones of the morin khuur. Hence, don’t forget to check what Belle Morte are up to on Facebook, Instagram, and VKontakte, to stream their music on YouTube and on Spotify, and to purchase the breathtaking Pearl Hunting by clicking HERE. Pearl Hunting is more than just a Symphonic Metal album, but a declaration of the beauty of all types of music, and how important music will always be to build a stunning connection between different people and their unique cultures.

Best moments of the album: Fallen Idol, Exorcism, Black Waters and September.

Worst moments of the album: Krew.

Released in 2025 WormHoleDeath

Track listing
1. Pearl Hunting 1:46
2. Fallen Idol 5:11
3. Exorcism 5:30
4. Blame Me 4:35
5. Wintersleep 5:18
6. Losing Faith 5:11
7. Black Waters 4:44
8. Willow 5:26
9. September 4:50
10. Jorōgumo 4:51
11. Krew 4:45
12. Exorcism (Acoustic version) 5:53

Band members
Belle Morte – vocals
Ilya Rogovoy – guitars
Ilya Petrashkevich – guitars
Sergey Butovsky – bass, backing vocals, vocals on “Fallen Idol”, “Black Waters”, “Jorōgumo” and “Krew”
Maria Shumanskaya – keyboards, violin on “Wintersleep”
Rostislav Golubnichiy – drums

Guest musicians
Max Kerner – Celtic bouzouki on “Pearl Hunting”
Caterina Castiglioni – Germanic lyre on “Pearl Hunting”
Yanina Yakshevich – Belarusian duda and Ukrainian sopilka on “Pearl Hunting”
Ada Rusinkiewicz – backing vocals on “Pearl Hunting”, “September” and “Krew”
Tero Kalliomäki – jouhikko on “Fallen Idol”
Ulziisaikhan Khoroldamba – Mongolian mornin khuur and throat singing on “Exorcism”
Lernik Khachatrian – Armenian duduk on “Blame Me”
Ella Zlotos – uilleann pipes, tin whistle and low whistle on “Wintersleep”
Marta Masciola – Trinity College harp replica on “Wintersleep”
Carlos Carty – pan pipes, ocarina and quena on “Losing Faith”
Maulana Malik Ibrahim – suling, gamelan and additional vocals on “Black Waters”
Emma Spinelli – lute on “Willow”
Rúben Monteiro – hurdy-gurdy on “Willow”, saz baglama and oud on “September”
Hisashi – koto on “Jorōgumo”
Reigen Fujii – shamisen on “Jorōgumo”
Souzan Kato – shakuhachi on “Jorōgumo”
Yaroslav Dzhus – bandura on “Krew”
Alex Pilkevych – backing vocals on “Krew”

Album Review – Unreqvited / A Pathway To The Moon (2025)

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One of the most respected Post-Black Metal acts in Canada returns with its eighth studio album, emerging as a new creature with luminous, polychromatic wings and ready to soar into stellar space.

Vocalist and multi-instrumentalist 鬼 (Ghost), the mastermind behind Ottawa, Ontario’s own Post-Black Metal/Shoegaze/Ambient entity Unreqvited, has a penchant for beautiful musical creations that reveal their claws and fangs only at closer inspection after spending some time on them. This solo project is firmly rooted in Blackgaze sonic soil but has also out sent tendrils into Ambient, Post-Rock, Post-Black Metal, and other related stylistic strata, with its seventh studio album, titled A Pathway to the Moon, taking an impressive evolutionary leap. Recorded by 鬼 at Unreqvited Studio, mixed by Benjamin V. Cooligan at New Alchemy Audio, mastered by Bogdan Makarov at NƎkkomix, and with cover artwork by Bérénice (Noirs Dessins) and layout by Irrwisch Artdesign, A Pathway to the Moon emerges as a new creature with luminous, polychromatic wings and ready to soar into stellar space; yet still it bears claws and fangs, being therefore highly recommended for fans of Alcest, Harakiri For The Sky, Deafheaven and Heretoir, among others.

The soothing, ethereal intro Overture I: Disintegrate will transport the listener to Unreqvited’s emotional journey starting with The Antimatter, offering ten minutes of beautiful yet dark passages blending the venomous side of classic Black Metal with the more modern nuances of Post-Metal, while the vocals by our lone wolf 鬼 exhale despair and obscurity. The other single released, titled The Starforger, begins in a calming, enfolding manner to the minimalist guitars by 鬼 while his vocalizations also bring melancholy and peace to our hearts; followed by Void Essence / Frozen Tears, a beautifully dark composition by Unreqvited that will surely take you to the stars to the sound of its melodious guitars and stylish piano notes. Into the Starlit Beyond sounds and feels even more spiritual and pensive than its predecessors, perhaps a bit too much albeit sounding very comforting, whereas Celestial Sleep brings forward two minutes of first-class Blackgaze, with 鬼 thoroughly putting together elements from several types of music, flowing into Departure: Everlasting Dream, a beyond atmospheric track that puts a charming yet somber conclusion to the album.

In a nutshell, A Pathway to the Moon takes Unreqvited closer to a traditional rock and metal album based on its songs than ever before – yet it is also the soundtrack of a most beautiful sonic journey, and you can join our mysterious lone wolf in his musical voyage by following the project on Facebook and on Instagram, by subscribing to its YouTube channel, and of course by purchasing the album from BandCamp or by clicking HERE, available as a stunning 36-page hardcover CD-artbook including a cover version for Cornfield Chase by Hans Zimmer (from the 2014 movie Interstellar) as a bonus track, as a black vinyl LP, and as a limited ash-grey marbled vinyl LP. Having said all that, it’s time to let the luminous creature known as Unreqvited soar high to the sound of its striking new album, elevating Canadian Blackgaze to new and exciting heights.

Best moments of the album: The Antimatter, The Starforger and Void Essence / Frozen Tears.

Worst moments of the album: Into the Starlit Beyond.

Released in 2025 Prophecy Productions

Track listing
1. Overture I: Disintegrate 2:19
2. The Antimatter 10:34
3. The Starforger 8:04
4. Void Essence / Frozen Tears 9:08
5. Into the Starlit Beyond 5:23
6. Celestial Sleep 1:49
7. Departure: Everlasting Dream 5:48

CD-artbook bonus track
8. Conrfield Chase 2:07

Band members
鬼 (Ghost) – vocals, all instruments

Guest musicians
Benjamin V. Cooligan – guitar solos on “The Antimatter” and “Into the Starlit Beyond”
Jamie Turton – additional orchestration on “Overture: I Disintegrate”, “Frozen Tears” and “Cornfield Chase”

Album Review – The Sun Through a Telescope / Warm, Grey Day (2025)

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Ottawa, Canada’s own Drone, Doom and Sludge Metal lone wolf will crush our senses with his new offering, capturing the rawness of the BBC Radio One and Peel Sessions in his distinctive sound.

Incorporating elements of Post-Metal, Doom Metal, Post-Rock, Doomgaze, Psychedelic, and Ambient in his music, Ottawa, Canada-based lone wolf Leigh Newton (aka Lee Neutron) and his Drone/Doom/Sludge Metal beast The Sun Through a Telescope strike again with a brand new offering, titled Warm, Grey Day, the thirteenth release (and fourth full-length album) in the project’s already solid career. Written, recorded and mixed by Leigh himself at G-West Studios, and mastered by Topon Das at Apartment 2 Studios, Warm, Grey Day captures the rawness of the BBC Radio One and Peel Sessions, which Leigh was listening to a lot during the writing and recording of the album, being therefore recommended for fans of Godflesh, Jesu, Oranssi Pazuzu, Zeal & Ardor, and Sumac, among many others.

The album kicks off with the 12-minute experimental tune Eyes Lambent, arising from the underworld like a devilish creature, feeling like a sonic mantra where Leigh delivers minimalist, haunting sounds from his instruments before all hell breaks loose in a feast of Drone and Doom Metal. Then Leigh and his sharp riffs ignite the sluggish Fantastic Waste, overflowing melancholy and obscurity to Leigh’s harsh vociferations; followed by Pathways I, presenting eight minutes of a space and time voyage in the form of Doomgaze, with Leigh experimenting with countless sounds in the background, flowing into the harsh Pathways II, a grim fusion of Drone, Doom and Sludge Metal, with Leigh hammering his drums while also gnarling nonstop.

We’re then treated to two and a half minutes of distorted yet melodious sounds in The Mercy, working as an interlude before we face Yellow Darkyard, the second song of the album that surpasses the 12-minute mark, sounding very emotional with a striking, passionate vocal performance by Leigh, who also does an amazing job on the guitars and drums, adding an extra touch of heaviness to the overall result and ending on a high and caustic note. In Green (Again) our lone wolf offers a lighter version of his project, almost like an acoustic track with his guitars exhaling hope and peace, before the album ends with the pure Ambient track Grey, putting a whimsical conclusion to such a diverse and interesting album.

It’s been a while since our last review of any release by The Sun Through a Telescope, with the lats one being the project’s 2017 album Black Hole Smile, and I must say it’s a pleasure to get in touch once again with such a talented musician and his unique take on the genre, always pushing the boundaries and always experimenting with new sounds and techniques. Hence, if you want to give Leigh a shout you can find him on Facebook, and of course purchase a copy of Warm, Grey Day from BandCamp (with a limited run of 20 cassettes available), which is also available on all streaming services like Spotify. I don’t think it will take long for us to hear again from Leigh and his The Sun Through a Telescope as the guy seems to be unstoppable, and as long as he keeps delivering to our avid ears high quality noise like what’s found in Warm, Grey Day we’ll be more than happy with that.

Best moments of the album: Fantastic Waste, Pathways II and Yellow Darkyard.

Worst moments of the album: The Mercy.

Released in 2025 Independent

Track listing
1. Eyes Lambent 12:21
2. Fantastic Waste 6:16
3. Pathways I 8:04
4. Pathways II 5:31
5. The Mercy 2:33
6. Yellow Darkyard 12:11
7. Green (Again) 3:25
8. Grey 5:01

Band members
Leigh Newton – vocals, guitars, bass, drums, programming, samples

Album Review – Tormentor Tyrant / Excessive Escalation Of Cruelty (2025)

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This seasoned trio of musicians from Finland will crush you with their first full-length album, one of the most savage, grinding, furious and primordial Death Metal releases you could face this year.

An ageless entity of evil featuring members from Corpsessed, Solothus, Tyranny, Profetus and Cataleptic, drawing musical influences from Death Metal’s first steps into existence, Helsinki/Järvenpää, Finland based Tormentor Tyrant will leave no survivors with their full-frontal assault of sonic devastation to the sound of their first full-length offering, titled Excessive Escalation Of Cruelty. Recorded at Furnace 5034 and Rehearsalucifer Studios, produced by Tormentor Tyrant, mastered by The Hand of Doom at Toxic Basement Studio, and displaying a sick artwork by Roni Ärling (with layout by Giorgio Spevo of Everlasting Spew Records), the new album by vocalist and guitarist S.Envenom, bassist and vocalist M.Malignant, and drummer J.Carnage is perfect for fans of Deicide, Malevolent Creation, Skeletal Remains, and Laceration, among others, resulting in one of the most savage, grinding, furious and primordial Death Metal releases you could face this year.

The Mephistophelean intro Upheaval Of Tyranny will transport you to the ruthless world ruled by Tormentor Tyrant in Capital Of Pain, offering us all a little more than two minutes of pure savagery led by the inhumane, demented roars by S.Envenom, and let’s keep slamming into the mosh pit to the sound of Torture Divine, where J.Carnage doesn’t stop hammering his drums not even for a single second. Their feast of violence has no time to end, with Tartarean Iron Grip presenting their most destructive side thanks to another bestial performance by J.Carnage on drums; and the trio sounds absolutely merciless and possessed in Crueler Tomorrow, with M.Malignant blasting his bass nonstop while also roaring manically.

In Pit of Anguish, there’s nothing else to do but diving into the circle pit like a true metalmaniac to the demonic vocals by S.Envenom and the band’s vile riffs and classic Death Metal solos, followed by Cosmic Wild Hunt, a brutal and demented display of Finnish Death Metal where their riffs, blast beats and infernal guttural roars sound perfect for some action during their live performances. Then it feels like they’re even more infuriated in Terminal Revelation, with the ruthless drums by J.Carnage providing S.Envenom with the exact level of violence needed to distill his visceral growls; whereas Heavy Death Bombardment, the last song of the album, is just as insane as all previous tracks, where S.Envenom and M.Malignant are beasts incarnate with their riffs and solos.

There’s no extreme down-tuning, no mysticality, nor anything like that in Excessive Escalation Of Cruelty, just sheer unrelenting evil violence in the old way, and the guys from Tormentor Tyrant would simply love to hear what you have to say about their demolishing creations on Facebook and on Instagram, and you can also stream their music on Spotify and, above all that, purchase their fulminating opus by clicking HERE (mailorder) or HERE (BandCamp). The beyond talented and savage musicians from Tormentor Tyrant are not fooling around; they’re out for blood, armed with the ass-kicking Death Metal found in their new album, and you better watch out because once you’re caught into their hurricane of sonic violence, there’s absolutely no way out.

Best moments of the album: Tartarean Iron Grip, Cosmic Wild Hunt and Terminal Revelation.

Worst moments of the album: None.

Released in 2025 Everlasting Spew Records

Track listing
1. Intro – Upheaval Of Tyranny 1:16
2. Capital Of Pain 2:20
3. Torture Divine 2:17
4. Tartarean Iron Grip 3:13
5. Crueler Tomorrow 3:20
6. Pit of Anguish 2:36
7. Cosmic Wild Hunt 4:20
8. Terminal Revelation 2:33
9. Heavy Death Bombardment 4:59

Band members
S.Envenom – vocals, rhythm guitars
M.Malignant – bass, lead guitars, vocals
J.Carnage – drums

Album Review – Harakiri For The Sky / Scorched Earth (2025)

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Austria’s own Post-Black Metal duo returns with another brilliant album, a snapshot of the world we are living, a world that’s tragically broken.

Despair, loss, love, and existential struggles have always been the foundation of the distinctive sound by Austrian Post-Black Metal duo Harakiri For The Sky since their inception back in 2011, with multi-instrumentalist M.S. and vocalist J.J. having gained recognition for pushing musical boundaries with their emotionally charged blend of Atmospheric Extreme Metal and Melodic Post-Rock, Grunge and modern Hardcore, carving out a genre of their own. Now in 2025 the duo attacks again with their new tour-de-force titled Scorched Earth, following up on their critically acclaimed 2021 opus Maere. Mixed and Mastered by Kristian Kohle at Kohlekeller Studio, with cover artwork and illustrations by Brvno Gonzalez, and featuring session drummer Kerim “Krimh” Lechner, the new album by J.J. and M.S. is their way of showing how rotten and decaying our world has become. “Our society is divided to its core and peace seems further away than ever in the last decades. This is what inspired the title of the new album: ‘Scorched Earth’ is a snapshot of the world we are living, a world that’s tragically broken.”

Heal Me, featuring Tim Yatras of Austere on guest vocals, offers a classic Harakiri For The Sky sound right from the start, with its atmospheric, gentle background clashing with the harshness flowing from M.S.’s riffs and Kerim’s beats. Keep Me Longing is an eleven-minute masterpiece by the duo where once again their heavy and soothing sounds collide in a brilliant manner, with M.S.’s riffs and bass being perfectly supported by the massive beats by Kerim; and the duo keeps delivering sheer brilliance in Without You I’m Just A Sad Song, another lengthy song that doesn’t feel long at all so dynamic, vibrant and thrilling it is, with J.J. roaring in great fashion until the end. Then letting their Post-Black Metal vein pulse stronger than ever we face No Graves But The Sea, where the electrifying riffs by M.S. will inspire you to bang your head like a maniac while Kerim dictates the song’s frantic yet dark pace.

Classy, charming piano notes will penetrate deep inside your mind in With Autumn I’ll Surrender, growing into a diverse, classic Post-Metal wall of sounds with J.J. once again bursting his lungs screaming, followed by I Was Just Another Promise You Couldn’t Keep, a lovely title for a passionate display of Post-Black Metal by the duo, also bringing hints of 80’s Gothic Rock in its core essence. Then featuring guest vocalist Serena Cherry of Svalbarduk we have Too Late For Goodbyes, alternating between sheer violence and pure ethereal moments, and if you go for any of the special editions of the album you’ll be treated to two bonus tracks, their rendition for Radiohead’s Street Spirit (Fade Out), featuring guest vocalist P.G. of Groza (check out the original version from the 1995 album The Bends); and Elysian Fields (featuring guest vocals by Daniel Lang of Backwards Charm), both excellent songs leaning towards a more introspective side of the band that are definitely worth the extra investment.

“Scorched Earth is like the conclusion of all the albums we’ve done in the past, all that Harakiri For The Sky stands and stood for, musically and lyrically. This is what we stand for, this is what made us, this is our story,” commented such an extraordinary duo of heavy music about their new work of art, and you can get to know more about them on Facebook and on Instagram, stream more of their music on Spotify, and grab a copy of the majestic Scorched Earth from the AOP Records’ BandCamp or webstore, or simply click HERE for all things Harakiri For The Sky. There’s endless darkness and beauty in Scorched Earth just like in real life, not only making the album truly special and already positioning it as a strong contender for album of the year, but also working as the perfect soundtrack for the toughest moments of our lives.

Best moments of the album: Keep Me Longing, No Graves But The Sea and With Autumn I’ll Surrender.

Worst moments of the album: None.

Released in 2025 AOP Records

Track listing
1. Heal Me 7:37
2. Keep Me Longing 10:40
3. Without You I’m Just A Sad Song 10:03
4. No Graves But The Sea 8:01
5. With Autumn I’ll Surrender 8:39
6. I Was Just Another Promise You Couldn’t Keep 9:01
7. Too Late For Goodbyes 7:53

Bonus tracks
8. Street Spirit (Fade Out) (Radiohead Cover) 5:35
9. Elysian Fields 5:10

Band members
J.J. – vocals
M.S. – guitar, bass

Guest musicians
Kerim “Krimh” Lechner – drums (session)
Tim Yatras – vocals on “Heal Me”
Serena Cherry – vocals on “Too Late For Goodbyes”
P.G. – vocals on “Street Spirit (Fade Out)”
Daniel Lang – vocals on “Elysian Fields”
Jorge Cisternas & Sunvher – backing vocals