Album Review – Grave Digger / Bone Collector (2025)

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A manifesto of pure, unfiltered old school German Heavy Metal masterfully brought into being by one of the most important bands in the history of the genre, going back to their raw and energetic roots.

Back to the roots or back to the future? No matter how you call it, Teutonic Heavy Metal masters Grave Digger have recorded the first album of their undisputed career completely without keyboard passages, entitled Bone Collector. Produced, mixed and mastered at Graveyard Studio, displaying a killer AI-generated artwork, and featuring for the first time ever guitarist Tobias Kersting, the follow-up to their 2022 album Symbol of Eternity finds its way back to long forgotten trademarks, showcasing all the passion for heavy music by the iconic frontman Chris Boltendahl alongside the aforementioned Tobias Kersting on the guitar, Jens Becker on bass, and Marcus Kniep on drums.

A dark, somber intro suddenly morphs into a high-octane Heavy Metal beast titled Bone Collector, with Marcus hammering his drums manically supported by the slashing riffs by Tobias while Chris’ vocals exhale pure metal as usual. The breathtaking The Rich, the Poor, the Dying is even faster and more infuriated than the opener, with Tobias and Marcus once again sounding inhumane with their respective riffs and beats, not to mention the song’s amazing Thrash Metal vibe; and the rumbling bass by Jens kicks off the also heavy-as-hell Kingdom of Skulls, transpiring old school Grave Digger for our total delight. The Devil’s Serenade is the perfect soundtrack for a wild road trip, with Tobias and Jens slamming their stringed axes in the name of our good old Rock N’ Roll, followed by Killing Is My Pleasure, another one of the previously released songs, offering a blast of first-class pure, unfiltered Heavy Metal recommended for some action inside the pit; whereas the riffs by Tobias continue to pierce our minds in Mirror of Hate, maybe the weakest (or perhaps I should say “the least strong”) song of the album.

In Riders of Doom we can easily notice that the name of the song is not in vain, as there’s a huge dosage of cryptic doom flowing from all instruments, in special from Jens’ massive, metallic bass lines, resulting in a true headbanging, horns raising metal extravaganza; and get ready to head into the battlefield (aka the mosh pit) together with Chris & Co. to the sound of the furious Made of Madness, a lecture in Heavy Metal with a strong thrashing base where Chris once again sounds superb on vocals, all spiced up by an ass-kicking solo by Tobias. Graveyard Kings brings forward more of their thrilling fusion of Heavy and Power Metal, keeping the album at a high level of heaviness and rage, and the quartet still has a lot of fuel to burn in the incendiary Forever Evil and Buried Alive, a flawless depiction of the power and importance of the music by Grave Digger to the history of Heavy Metal. Lastly, the album ends with the six-minute doomed tune Whispers of the Damned, with Marcus pounding his drums in the name of absolute darkness.

Raw, brutal, honest and yet catchy, Bone Collector is a manifesto of German Heavy Metal, old school at its best, without rust and patina, no self-copying and always authentic. This is how the band’s new work can be described, going back to their roots, but still sounding energetic, fresh and multifaceted, and you can get in touch with the band and stay up to date with all things Grave Digger, including their upcoming 45th anniversary tour, by following them on Facebook and on Instagram, and of course be part of their metallic legacy by purchasing Bone Collector by clicking HERE or HERE. Those veterans are more than ready to dig your grave and collect your bones to the sound of their new album, keeping the fires of their undisputed Heavy Metal burning for many decades to come.

Best moments of the album: Bone Collector, The Rich, the Poor, the Dying, Made of Madness and Forever Evil and Buried Alive.

Worst moments of the album: Mirror of Hate.

Released in 2025 Reigning Phoenix Music/ROAR! Rock Of Angels Records

Track listing
1. Bone Collector 4:19
2. The Rich, the Poor, the Dying 3:25
3. Kingdom of Skulls 3:45
4. The Devil’s Serenade 4:01
5. Killing Is My Pleasure 3:29
6. Mirror of Hate 4:43
7. Riders of Doom 4:55
8. Made of Madness 3:59
9. Graveyard Kings 4:13
10. Forever Evil and Buried Alive 3:34
11. Whispers of the Damned 6:16

Band members
Chris Boltendahl – vocals
Tobias Kersting – guitar
Jens Becker – bass
Marcus Kniep – drums

Album Review – Infested Angel / Threnodies to Eternal Despair (2025)

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An up-and-coming UK Death Metal duo is ready to unleash hell with their first full-length album, taking the listener to the darkest corners of the human soul.

A blastbeat-driven Death Metal band originating from Birmingham, England, the infernal duo known as Infested Angel has honed their sound even further in their new album Threnodies to Eternal Despair, embracing intense, brutal riffs that pulse with a powerful, sorrowful melody, working as the perfect follow-up to their 2021 EP Nourish Me, Satan and their 2022 EP Submit to Death. Recorded, mixed and mastered by Greg Chandler at Priory Recording Studios, and crafted with raw rage and sorrow by vocalist and guitarist Andrew “Mick” Bryan and drummer Patryk “Pat” Kaczmarek, the album promises to take you to the darkest corners of the human soul during its intense 11 songs.

The opener No Time for Despair portrays a story of the imminent and absolute loss of all humankind in an extinction event, reflected in its devilish lyrics (“Finally, the day has come, / Incinerate, she burns the sun, / All we had plundered, / All we had framed, / No Time for Despair, / No time to revere, / Submit to Death, / Our ending is here”), while the duo offers us all six (six six) minutes of absolute darkness and hatred in the form of ass-kicking Death Metal in To Never Return. Then we have Euphony of Dismay, with its lyrics roared by Andrew dealing with a chaotic personal self-reflection on experiencing suicidal depression (“On taking my life, / Of aching and strife, / Oh how could I wish it to be, / Forced into pain, / With cowing and shame, / A ruinous ending foreseen”) in an incendiary fusion of Black and Death Metal; and it’s impressive how two guys only can make so much noise like in Dread Incorporeal, with the blast beats by Patryk sounding truly chaotic and vile.

The acoustic, introspective interlude Fields of Ashes sets the stage for the duo to kill again in Control of Fear, sounding demolishing form start to finish, with Andrew slashing his axe while he also growls rabidly until the very end. Then we have The Lost Battle, featuring composer, sound design and pianist Nathaniel Coxon, with his gentle piano notes beautifully permeating the air until all hell breaks loose to the venomous roars by Andrew and the crushing beats by Patryk; and after such a dense tune, they keep firing sulfur and darkness in Misanthropic Elegy, with Patryk once again delivering bestial yet intricate beats. Darkness Envelops is not as exciting as the previous tunes, despite its heaviness and fury, while Suffering and Retribution is another hammering slab of Death and Black Metal where Andrew delivers his most inhumane guttural of all. Nathaniel Coxon returns in Into the Night’s Embrace, a serene outro that brings some peace to our hearts to conclude the album; however, there’s still time for two bonus tracks titled The Bastard Will Materialise and Unholy Decay, both utterly vile and heavy-as-hell.

Charging depictions of tragedy, loss and existential suffering straight to the heart of the listeners that have been subject to their inimitable style, Infested Angel sound merciless throughout their newborn beast Threnodies to Eternal Despair, which you can purchase from the Art Gates Records webstore as a CD + shirt bundle, a CD + hoodie bundle, or a CD + shirt + hoodie bundle, and don’t forget to also give the duo a shout on Facebook and on Instagram, to stream their music on Spotify, or simply click HERE for all things Infested Angel. Put differently, subsume yourself now into the Infested Angel cult and submit to death, letting the music found in their new album be the ultimate soundtrack to your eulogy.

Best moments of the album: To Never Return, Euphony of Dismay and The Lost Battle.

Worst moments of the album: Darkness Envelops.

Released in 2025 Art Gates Records

Track listing
1. No Time for Despair 3:59
2. To Never Return 6:06
3. Euphony of Dismay 5:11
4. Dread Incorporeal 6:46
5. Fields of Ashes 1:32
6. Control of Fear 4:58
7. The Lost Battle 6:44
8. Misanthropic Elegy 3:52
9. Darkness Envelops 5:14
10. Suffering and Retribution 3:58
11. Into the Night’s Embrace 2:33

Bonus tracks
12. The Bastard Will Materialise 3:47
13. Unholy Decay 5:21

Band members
Andrew “Mick” Bryan – vocals, guitars
Patryk “Pat” Kaczmarek – drums

Guest musician
Nathaniel Coxon – piano on “The Lost Battle” and “Into the Night’s Embrace”

Album Review – Deus Sabaoth / Cycle of Death (2025)

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An uncanny Ukrainian Black Metal horde is ready to attack armed with their debut opus, inviting listeners to confront the idea that, in death, humanity is ultimately isolated, no matter the illusion of belief.

Playing Melodic Black Metal with elements of doom inspired by classic Baroque music, especially the works of J.S. Bach, Ukraine-based horde Deus Sabaoth, a phrase that translates to “The Lord of Hosts”, is unleashing upon us their highly anticipated debut full-length album, Cycle of Death, which was carefully mixed and mastered by Anton Vorozhtsov. Reflecting in its lyrics different perspectives on religion and the existential concerns of those who confront their mortality while rejecting any religious beliefs, delving into a personal, internal struggle, exploring the complex emotions and conflicts faced by those who question the very nature of existence, Cycle of Death is a beautiful display of extreme music by this uncanny band, pointing to a bright future ahead of them, offering us fans of the darkest side of music another beautiful creature to listen to and admire.

Massive beats and rumbling bass lines will hammer your impious souls in The Priest, with their devilish gnarls adding a touch of malignancy to the overall result, flowing into Mercenary Seer, which starts in a soothing manner before evolving into a bestial Black Metal creature with all background elements enhancing the power of their riffage. Following such bestial tune, gentle piano notes ignite Cycle of Death, offering our avid ears a melodic yet devilish fusion of Doom and Black Metal with atmospheric elements, whereas Executioner continues with the sluggish and grim vibe from its predecessor, with its slow and steady beats inspiring us for some vigorous headbanging in total darkness.

The Blind is a gripping, modern-day Melodic Black Metal extravaganza with hints of Atmospheric Black Metal, presenting penetrating yet very gentle riffs, whereas Faceless Warrior is by far one of the most detailed of all songs, with the harsh vociferations by the band’s uncanny vocalist bringing sheer darkness to the music, not to mention how grandiose all background elements (like their piano notes) sound and feel. And lastly, it’s time for one final onrush of Black Metal with doom and atmospheric elements entitled Beginning of New War, with its cryptic passages and visceral, harsh moments clashing beautifully, therefore putting a Stygian ending to the album.

“Cycle Of Death is a journey through the bleak and twisted minds of its characters, captured across seven intense tracks. The album delves deep into the contrasts between the architects of faith and the consumed followers, revealing the dark interplay between belief, manipulation, and desperation,” commented the band about their debut opus, and you can get in touch with those mysterious Ukrainian metallers via Facebook and Instagram, listen to their wicked creations on Spotify, and purchase a copy of their sulfurous album from BandCamp or by clicking HERE. Deus Sabaoth invites listeners to confront the idea that, in death, humanity is ultimately isolated, no matter the illusion of belief, and their debut album will provide us all with the perfect soundtrack to that eternal void.

Best moments of the album: Mercenary Seer, The Blind and Faceless Warrior.

Worst moments of the album: Cycle of Death.

Released in 2025 Independent

Track listing
1. The Priest 4:39
2. Mercenary Seer 4:24
3. Cycle of Death 4:28
4. Executioner 3:44
5. The Blind 4:05
6. Faceless Warrior 5:36
7. Beginning of New War 4:01

Band members
*Information not available*

Album Review – Putrid Defecation / Tales from the Toilet (2025)

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The debut album by these Finnish Brutal Death Metal newcomers delivers seven tracks that embody the unapologetically brutal themes and aggressive soundscapes characteristic of the toilet slam genre.

Originally envisioned as a one-man project in 2019, Espoo, Finland’s own Brutal Death Metal/Deathslam newcomers Putrid Defecation are set to unleash upon humanity their debut opus, titled Tales from the Toilet, showcasing the band’s raw intensity, moving beyond the programmed drums of earlier works to feature a complete recording lineup. Mixed by Atte Karm, mastered by Brad Boatright at Audiosiege, and with a perverse, gory artwork by Lucker Riquelme, the album delivers seven tracks that embody the unapologetically brutal themes and aggressive soundscapes characteristic of the toilet slam genre, all carefully crafted by vocalist Joona Pätsikkä (who unfortunately left the band in November 2024), guitarists Peter Halin and Petteri Sillanpää, bassist Johnny Grinds and drummer Alpo Laitinen, being therefore recommended for fans of Cumbeast, Torsofuck, Cerebral Incubation, and Monumental Discharge.

Introduction to Constipation is a brutal slab of Death Metal overflowing gore and madness from Joona’s deep gutturals, whereas the guitars by Peter and Petteri will inspire you for some sick slamming in Airborne Backdoor Evacuation, supported by the ruthless drums by Alpo, followed by Whirlwind of Excrement, another three minute onrush of putrid sounds led by the gruesome gnarls by Joona. Then a weird intro evolves into more of their trademark Brutal Death Metal in Unremitting Hematochezia, with the sound of their guitars exhaling violence yet feeling very melodious.

Not only the title-track Tales from the Toilet is the longest of all songs, but it’s also the most dynamic, with the pounding drums by Alpo inspiring us all to slam like true bastards, followed by Impending Anal Leakage, a one minute demented assault with the guest vocals by Jori Kemppi of Discreant and Aleksi Kiianlehto of What Awaits Us being absolutely demented; and of course the album ends with more brutality and gore in Erfurt Latrine Disaster, with Johnny blasting his bass manically while Joona keeps vomiting the song’s depraved words.

As gory and putrid as it is technical and vibrant, Tales from the Toilet is definitely an album not recommended for the lighthearted, bringing to our ears an overdose of violence crafted with endless fury and blood by those talented Finnish rockers. If you want to get your hands dirty with the music by Putrid Defecation, you can stream their wicked creations on YouTube and on Spotify, and of course purchase their new album from BandCamp or by clicking HERE. Don’t forget to also give them a shout on Facebook and on Instagram, but you better be warned that once you’re caught in a mosh of toilet slam, your soul will become so grimy and smelly you will never be able to leave their cesspool of filth.

Best moments of the album: Airborne Backdoor Evacuation and Tales from the Toilet.

Worst moments of the album: None.

Released in 2025 Stadin Rec

Track listing
1. Introduction to Constipation 1:29
2. Airborne Backdoor Evacuation 3:05
3. Whirlwind of Excrement 2:58
4. Unremitting Hematochezia 3:03
5. Tales from the Toilet 3:55
6. Impending Anal Leakage 0:56
7. Erfurt Latrine Disaster 3:11

Band members
Joona Pätsikkä – vocals
Peter Halin – guitar
Petteri Sillanpää – guitar
Johnny Grinds – bass
Alpo Laitinen – drums, vocals

Guest musicians
Jori Kemppi – vocals on “Impending Anal Leakage”
Aleksi Kiianlehto – vocals on “Impending Anal Leakage”

Album Review – Hierarchies / Hierarchies (2025)

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Let’s all embark on a one-way trip to incessant and inevitable hallucinations to the sound of the debut opus by this Dissonant Death Metal creature.

Members of Acausal Intrusion and Dwelling Below conspired amongst themselves to create Dissonant and Technical Death Metal that pushes the limits of reality under a newborn beast named Hierarchies, labelling their own music as “low gain high energy aggressive jazzy tech death with lots of weird timing and insane riffage,” which is exactly what they have to offer in their self-titled debut album. Mixed by Nick Turner at Malevolent Sound Studios, mastered by Will Killingsworth at Dead Air Studios, and displaying a deadly artwork by Belial NecroArts, the album showcases vocalist and drummer Jared Moran (Dwelling Below, Acausal Intrusion), guitarist Nicholas Turner (Dwelling Below, Acausal Intrusion) and bassist Anthony Wheeler (Dwelling Below, Hollowed Idols) bringing into being a truly frightening experience not merely outwardly but one that is also psychologically scarring for the listener, and endlessly fascinating all the same.

The guitar lines by Nicholas sound utterly dissonant from the very first second in Entity, accompanied by the pounding drums and demonic gnarls by Jared, being full of breaks, variations, demented moments and grim passages. Consecrate Phenomenon is another experimental beast by the trio where Anthony hammers his bass nonstop while Nicholas keeps firing strident, piercing riffs for our total delight; and the band shows no mercy for our souls in Dimension, blasting an amalgamation of the visceral sounds of Death Metal with progressive and experimental nuances, with Jared roaring like a demonic entity. Then adding elements from Doom Metal to their already evil sonority we have Twilight Tradition, turning the song into a blackened, sluggish creature.

Abstract brings forward an ever-evolving, maniacal feast of harsh gnarls and cryptic riffs, all boosted by another hammering performance by Anthony on bass, followed by Complexity Parallels, perhaps the craziest of all tracks of the album, with the visceral guitar riffs by Nicholas sounding absolutely disturbing for our vulgar delectation. Subtraction presents their second to last display of insanity and heaviness compressed into five minutes of a truly unique sonic experience led by the intricate drumming by Jared, sounding as perturbing and experimental as it can be, and Vultures displays a more than proper name for a song to end such a wicked, vile album of Dissonant Death Metal, with all band members simply crushing their instruments with endless dexterity, madness and rage.

The debut album by Hierarchies is a dark, murky, nightmarish dive into a realm where trajectories from multiple dimensions manifest to intersect and overlap before dissipating, taking different temporal forms. Nothing is permanent in their world; the tunes change every few seconds and so does everything around them – the implications are in real-time and catastrophically mind-melting. Hence, if you want to experience all that and more, you can find the band on Facebook and purchase a copy of their caustic album from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, Europe store, or US store, joining the band on a downward spiral of your consciousness where the out-of-control thoughts overwhelm and overpower, taking you on a one-way trip to incessant and inevitable hallucinations.

Best moments of the album: Entity, Dimension and Complexity Parallels.

Worst moments of the album: Abstract.

Released in 2025 Transcending Obscurity Records

Track listing
1. Entity 7:30
2. Consecrate Phenomenon 5:02
3. Dimension 6:04
4. Twilight Tradition 6:43
5. Abstract 6:03
6. Complexity Parallels 5:07
7. Subtraction 4:56
8. Vultures 4:46

Band members
Jared Moran – vocals, drums
Nicholas Turner – guitars
Anthony Wheeler – bass

Album Review – Necrodeath / Arimortis (2025)

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Behold the last recorded testimony before the war is over for one of the most important Blackened Thrash Metal bands of all time.

The moment you hear it, you know it’s Necrodeath. Formed back in 1984 in the Italian city of Genoa, this unrelenting act is one of the real iconic Blackened Thrash Metal bands of all time, helping to shape the Italian metal scene and the international underground as it is today throughout their 40 years of existence. However, as all good things must come to an end, the band formed of Flegias on vocals, Pier on the guitars, GL on bass and Peso on drums is set to release their last recorded testimony before the definitive dissolution of the band, entitled Arimortis, followed by a farewell tour which will last throughout 2025, and after which the curtain will fall. Recorded, mixed and mastered by Pier Gonella, and featuring a sinister artwork by Max Bottino, Arimortis is everything you’ve learned to love in the music by Necrodeath and more, representing a beyond amazing conclusion to the band’s demolishing and thrilling path.

​The quartet wastes no time and invites us all for one last wild ride inside the pit in Storytellers of Lies, with Flegias sounding like a demented beast on vocals, or in other words, this is how anyone should start a Thrash Metal album. Then a sinister start evolves into another blackened attack by the band titled New God, spearheaded by the Slayer-inspired riffs by Pier; and Peso puts the pedal to the metal in Necrosadist, offering our putrid years another explosion of visceral Thrash Metal perfect for some mosh pit action, whereas Arimortis is another song with a sinister, atmospheric intro that quickly morphs into their undisputed thrashing madness, with Flegias roaring manically supported by the pounding drums by Peso. And to make things even more infernal we have Near-Death Experience, the perfect soundtrack for (guess what?) almost dying, with Pier once again delivering sheer animosity through his riffage.

Necrodeath still have a lot more fuel to burn in Arimortis, starting with Alien, with the creepy vociferations by Flegias exhaling pure Black Metal, followed by No More Regrets, a cadenced, grim and melodic creation by the quartet that will sound great during their upcoming last tour. It’s then time for over seven minutes of first-class, no shenanigans Thrash Metal the likes of Exodus and Anthrax entitled Metempsychosis (part two), inspiring us all to bang our heads nonstop to the demolishing beats by Peso, while Hangover sounds even more ferocious and thunderous thanks to the rumbling bass by GL and the always hammering drums by Peso, putting a demented ending to the album and to their entire discography.

​“Arimortis is a term of Latin origin which indicates the end of a war, the moment in which the fallen are honoured and altars are erected in their name (‘arae mortis’, the altars of death). Even today in some parts of Italy the term ‘arimo’ is used to declare the end of the games. We wanted to use this allegory to seal a path that lasted forty years, full of satisfactions, disappointments and revenge. The songs that make up the album contain several references to our long career,” commented Flegias, and you can fight alongside Necrodeath in their last crusade by following them on Facebook and on Instagram, by streaming their evil music on Spotify or any other streaming service, and of course by purchasing their final beast from BandCamp or from Time To Kill Records, or by clicking HERE. And as their blackened war nears the end, may their putrid souls rest in pieces.

Best moments of the album: Storytellers of Lies, Necrosadist and Hangover.

Worst moments of the album: Alien.

Released in 2025 Time To Kill Records

Track listing
1. Storytellers of Lies 3:37
2. New God 3:12
3. Necrosadist 3:57
4. Arimortis 3:39
5. Near-Death Experience 3:07
6. Alien 4:21
7. No More Regrets 5:37
8. Metempsychosis (part two) 7:21
9. Hangover 3:46

Band members
Flegias – vocals
Pier – guitars
GL – bass
Peso – drums

Album Review – Greh / Dysphoric Devotion (2025)

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A beyond talented German trio will take you on a Blackened Death Metal journey through a dark universe in which light and shadow constantly alternate.

A musical journey through a dark universe in which light and shadow constantly alternate, Dysphoric Devotion, the first full-length album by Karlsruhe, Germany-based Blackened Death Metal outfit Greh,  is a “world of sound” that is characterized by both raw violence and intense rage. Recorded and produced by Greh, mixed and mastered by Hard Drive Sounds, and displaying a sinister artwork by Aaron Bonogofsky, the new opus by Martin Kocula (Grau, Lethes Fluten) on vocals, Gjero Krsteski (Hellgreaser) on the guitar, and Maurice Monne (Act of Rage, Hard Strike) on drums is highly recommended for fans of Hexis, Konvent, Triptykon, and Primitive Man, among others, representing a reflection of human existence, full of contradictions, abysses and an irrepressible longing for redemption.

Maurice slams his drums mercilessly in the opening tune Chained Thoughts, generating a reverberating atmosphere boosted by the Stygian riffage by Gjero; whereas the title-track Dysphoric Devotion brings more of the trio’s hammering hybrid of Doom and Death Metal, with Martin’s brutal vocals spreading hatred and fear majestically. Illusional Cenotaph brings forward another three and a half minutes of heaviness and sluggish sounds perfect for some sick headbanging, followed by Thy Breath Not Mine, based on a true story about a near-death experience caused by a blood clot in the lungs during sleep, exploring the painful struggle between life and death and the eventual realization and fascination of nothingness; musically speaking, they blast our faces with one more round of demented Death Metal for our total delight.

The trio goes full Doom Metal in All Flesh Decays, with Gjero leading the pace with his damned riffage, not to mention how visceral the roars and gnarls by Martin sound from start to finish, and there’s no sign of the band slowing down or sounding any softer in Growth In Pain, with Maurice pounding his drums nonstop. The second to last song of the album, titled Through The Eye, will darken your minds and thoughts to the venomous growls by Martin in a slow, steady and evil celebration of darkness; whereas they conclude the album on a very high note with the pulverizing Enter My Oblivion, again showcasing their passion for all things heavy and grim, with Martin once again sounding infernal with his guttural roars.

Immerse yourself in powerful Death Metal riffs that collide with Atmospheric Doom Metal passages in Dysphoric Devotion, while distorted walls of guitars, booming drums and dark vocals create an oppressive atmosphere that will stay with you for a long time, and you can do so by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their hard hitting creations on Spotify, and obviously by purchasing their new album from BandCamp (or simply click HERE for all things Greh). Light and shadow, rage and violence, and a humongous dosage of heaviness in the form of blackened music. This is exactly what you’ll get in Dysphoric Devotion, and I can’t wait to see what’s next for this talented trio hailing from Germany.

Best moments of the album: Dysphoric Devotion, Thy Breath Not Mine and Enter My Oblivion.

Worst moments of the album: Growth In Pain.

Released in 2025 Fetzner Death Records

Track listing
1. Chained Thoughts 3:03
2. Dysphoric Devotion 3:52
3. Illusional Cenotaph 3:36
4. Thy Breath Not Mine 3:28
5. All Flesh Decays 3:46
6. Growth In Pain 3:16
7. Through The Eye 2:54
8. Enter My Oblivion 5:07

Band members
Martin Kocula – vocals
Gjero Krsteski – guitar
Maurice Monne – drums

Album Review – The Halo Effect / March Of The Unheard (2025)

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Let’s join this Swedish melodeath juggernaut in their march of the unheard to the sound of their incendiary sophomore album.

Gothenburg, Sweden’s own Melodic Death Metal outfit The Halo Effect may have begun as five old friends just making music for fun, but they’re now one of the most beloved new bands in Heavy Metal. Now in 2025 fans of bands like Dark Tranquility, Insomnium and Soilwork have a lot to celebrate with March Of The Unheard, a triumphant successor brimming with everything that made their 2022 debut Days of the Lost an instant breakthrough, showcasing all the talent and passion for heavy music by frontman Mikael Stanne (Dark Tranquillity, Grand Cadaver, Cemetery Skyline), guitarists Jesper Strömblad (Ceremonial Oath, Cyhra, Dimension Zero) and Niclas Engelin (We Sell The Dead, In Flames), bassist Peter Iwers (Fleetburner, In Flames), and drummer Daniel Svensson (In Flames, Diabolique).

Their Swedish melodeath vein pulses harder than ever in the opener Conspire To Deceive, with Jesper and Niclas slashing their axes in the best Scandinavian style, followed by Detonate, which will work majestically if played live, a pedal-to-the-metal creation by the band where Mikael’s roars and Daniel’s beats match flawlessly; and there’s no sign of slowing down at all, as the quintet continues to distill their Melodic Death Metal attack in great fashion in Our Channel To The Darkness. Then investing in a more cadenced, traditional sound, it’s time for Cruel Perception, led by the classic drums by Daniel, followed by What We Become, one of those songs perfect for some sick headbanging thanks to the pounding drums by Daniel, supported by the metallic bass lines by Peter.

After that, we face the epic, imposing interlude This Curse Of Silence, working as an intro to the title-track March Of The Unheard, offering our avid years an overdose of first-class Melodic Death Metal with nuances of classic Heavy and Power Metal. Needless to say, Mikael is once again bestial on vocals, which is also the case in Forever Astray, another great option for banging our heads while the band’s guitar duo continues to deliver sheer electricity form their sonic weapons. A grim start then evolves into another massive feast of hammering drums and sharp riffs in Between Directions, albeit not as powerful as the other songs; whereas in A Death That Becomes Us the band gets back to a more ferocious yet very melodic sonority, with Mikael leading his horde in another strong candidate for their live performances. There’s more classic Swedish metal music for the masses with Mikael roaring to the riffage by Jesper and Niclas in The Burning Point, before the album ends with the stunning Coda, an atmospheric and epic outro that puts a climatic conclusion to the entire record.

After all is said and done, March Of The Unheard isn’t just another opus of Gothenburg melodeath; it announces that The Halo Effect still have fresh ideas for the genre, 30 years after their members helped catapult it to international acclaim. Now united under one banner, they are gunning for global success once again, and you can know more about the band and enjoy their classy music by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their music on Spotify, and of course by purchasing their new album by clicking HERE, joining The Halo Effect on their exciting and metallic march of the unheard.

Best moments of the album: Detonate, What We Become, March Of The Unheard and A Death That Becomes Us.

Worst moments of the album: Cruel Perception and Between Directions.

Released in 2025 Nuclear Blast

Track listing
1. Conspire To Deceive 3:57
2. Detonate 3:58
3. Our Channel To The Darkness 3:29
4. Cruel Perception 4:04
5. What We Become 3:47
6. This Curse Of Silence 2:01
7. March Of The Unheard 2:59
8. Forever Astray 3:41
9. Between Directions 4:29
10. A Death That Becomes Us 4:07
11. The Burning Point 3:48
12. Coda 3:54

Band members
Mikael Stanne – vocals
Jesper Strömblad – guitars
Niclas Engelin – guitars
Peter Iwers – bass
Daniel Svensson – drums

Album Review – Barshasketh / Antinomian Asceticism (2025)

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This Scotland-based Black Metal beast returns with their first full-length in five years, their most direct album to date evoking authentic, purple-blue visions of the late 90’s.

It’s been a long and winding road for Black Metal beast Barshasketh from their earliest days in 2007 as a solo project of KG aka Krigeist in his native Wellington, New Zealand on to his relocation to Edinburgh, Scotland and building an actual band, from breakout third album Ophidian Henosis in 2015 on to the even-mightier Barshasketh in 2019, but even amidst all the lineup shuffles and geographical distance covered, one fact has remained firm, and that’s purest Black Metal, intentionally free of genre cross-pollination, chiseled and refined with patience and persistence, which is also the case with their newborn spawn Antinomian Asceticism, their first full-length in five years. Recorded by the band’s guitarist GM at Sonorous Studio and Necromorbus Studio, mixed and mastered by Tore Stjerna at Necromorbus Studio, and displaying a beautifully sinister artwork by Rodrigo Pereira Salvatierra (with additional illustrations and layout by Fenomeno Design), the new album by the aforementioned KG on vocals, guitars and keyboards, GM on the guitars, BB on bass, and MK on drums, vocals and keyboards is their most direct and concise record in many a year, with its melding of mysticism and might evoking authentic, purple-blue visions of the late 90’s as soundly as it stands upon palatably modern ground.

The bells tolling warn the listener of the brutal Black Metal attack that’s about to come in Radiant Aperture, with the devilish vocals by KG sounding truly haunting and evil; and KG and GM sound ruthless with their piercing, caustic Black Metal riffage in Nitimur in Vetitum, supported by the rumbling bass by BB. Lebenswelt Below is a Blackened Doom extravaganza where MK hammers his drums in absolute darkness, exploding into sheer savagery made in the pits of the underworld, whereas they continue to evoke the fires of the netherworld in Charnel Quietism, a classic Black Metal feast where KG once again vociferates like a demonic entity.

Phaneron Engulf is another song with a beyond sinister start, darkening our minds and hearts to the minimalist guitar lines by KG and GM, but the fact it’s an instrumental piece takes away a bit of its strength; followed by the title-track Antinomian Asceticism, keeping the album’s overall vibe grim and vile with MK’s sluggish, visceral beats inspiring us all to headbang in the name of evil. And the album ends with the fulminating Black Metal aria Exultation of Ceaseless Defiance, again presenting the band’s trademark riffs, beats and the always infernal gnarls by KG.

Torches ablaze, hearts enflamed. Eternal strife is the fuel. Barshasketh, which by the way derives from the Hebrew term Be’er Shachat, roughly translating as “pit of corruption”, are on absolute fire throughout their entire new album, proving that the five-year wait for new material from such an amazing horde was absolutely worth it. You can get more information about them on Facebook and on Instagram, stream their music on Spotify or on Apple Music, and of course purchase a copy of the caustic Antinomian Asceticism from BandCamp or from the W.T.C.Productions webstore, fueling the band’s Black Metal machine to keep roaring in the name of pure darkness and evil for all eternity from the bottomless pit with more amazing albums like their demented new offering.

Best moments of the album: Radiant Aperture, Lebenswelt Below and Antinomian Asceticism.

Worst moments of the album: Phaneron Engulf.

Released in 2025 W.T.C.Productions

Track listing
1. Radiant Aperture 6:47
2. Nitimur in Vetitum 5:46
3. Lebenswelt Below 6:48
4. Charnel Quietism 7:14
5. Phaneron Engulf 4:21
6. Antinomian Asceticism 7:26
7. Exultation of Ceaseless Defiance 5:08

Band members
KG – vocals, guitars, keyboards
GM – guitars
BB – bass
MK – drums, vocals, keyboards

Album Review – Lord Agheros / Anhedonia (2025)

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One of the leading Atmospheric and Avantgarde Black Metal names in Italy returns with its cinematic, emotional and dramatic seventh studio album.

One of the leading Atmospheric and Avantgarde Black Metal names in Italy, Catania, Sicily-based entity Lord Agheros takes us into a musically extreme world that mixes Nordic-style Black Metal with ancient and melancholic atmospheres linked to symphonic and ambient elements in its newborn spawn Anhedonia, the seventh studio album in its brilliant career. Recorded, mixed and mastered by Lord Agheros at Molon Labe Studio, with graphic project and layout by Federico De Luca, the new album by vocalist and multi-instrumentalist Gerassimos Evangelou offers a beautiful slab of what he likes to call “Atmospheric Emotional Black Metal”, bringing forward the cinematic essence of Ulver, the Avantgardism of Ihshan, the strength of Wolves In The Throne Room, the Mediterranean touch of Moonspell, and the dramatic elements of Empyrium.

A melancholic, soothing start evolves into a deep feast of harsh and ethereal vocalizations that lasts for over six minutes in Lament of the Lost, flowing into Harmony of Despair, which also starts in a serene manner before Gerassimos delivers devilish riffs and beats boosted by a grandiose backdrop, also presenting delicate piano notes and endless fire. Eclipse of Hope offers another enfolding dosage of his emotional version of Atmospheric Black Metal, alternating harsh, visceral moments and delicate passages, whereas a reverberating sound will enfold you in darkness in Lost Dreams Ritual, taking too long to take off despite its interesting tribalistic vibe.

Sorrow’s Shroud is a lot heavier, more introspective and somber than its predecessors, with Gerassimos kicking some ass with both his harsh vociferations and serene, soothing instrumental passages; flowing into the beyond atmospheric Soul’s Descent into the Void, with its piano notes matching beautifully with the female vocals by a mysterious guest vocalist, also connecting with the melodic track Tears in the Silence, where Gerassimos focuses on the ethereal sound of his acoustic guitar alongside the gentle sound of the piano, and ending with the Avantgarde Metal feast named Ancient Echoes, with all vocalizations and ambient elements putting a pensive conclusion to the album.

In a nutshell, Anhedonia is a sort of musical journey between esoteric and oriental sounds, Ambient-wave elements and references to Nordic musical traditions, but without losing the identity of the project made by the beauty of the atmospheres that blend inextricably with the sonic extremism of Black Metal. Hence, don’t forget to follow Gerassimos and his Lord Agheros on Facebook and on Instagram, to stream his music on Spotify, and of course to buy a copy of his striking new album from BandCamp or from My Kingdom Music’s BandCamp or webstore. As it is for years now, always expect the unexpected. Because this was, is, and will always be the main path of Lord Agheros.

Best moments of the album: Harmony of Despair, Sorrow’s Shroud and Soul’s Descent into the Void.

Worst moments of the album: Lost Dreams Ritual.

Released in 2025 My Kingdom Music

Track listing
1. Lament of the Lost 6:30
2. Harmony of Despair 3:46
3. Eclipse of Hope 4:34
4. Lost Dreams Ritual 5:02
5. Sorrow’s Shroud 5:50
6. Soul’s Descent into the Void 4:44
7. Tears in the Silence 5:12
8. Ancient Echoes 4:13

Band members
Gerassimos Evangelou – vocals, all instruments