Tag Archives: black metal

Album Review – Crescendium / DRAC (2026)

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Behold the sophomore opus by this Mystic Metal entity, a concept album telling the story of a nature-loving woman with magical abilities who fights for the greater good, yet a patriarchal society stigmatizes her and burns her alive.

Rebellion and darkness speak from the heart of German Progressive/Melodic Death/Black Metal Crescendium, the brainchild of frontwoman and composer Elena Cor Tauri. Under the flagship of Mystic Metal, the project sails through the abysses of the human soul to guide it into the light. Now in 2026 a mystical fog is settling over the metal world, and Crescendium is at its heart with the release of their sophomore opus DRAC (a word for “dragon,” formed from the song titles, which blend English, German, and Latin lyrics), following on their 2023 debut Within. Recorded by the band itself, and mixed and mastered by the band’s own Nikke Kuki at Collapsed Sanity Productions, the new offering by Elena Cor Tauri on vocals and guitars, and Nikke Kuki on bass and drums is a concept album set against the backdrop of collective wounds from the past, telling the story of a nature-loving woman with magical abilities who fights for the greater good; yet a patriarchal society stigmatizes her and burns her alive. This brutal fairy tale comes to an end with her transformation into a demon, no longer part of society, but free.

The imposing, almost apocalyptic intro Prologue: As Within, So Without darkens the skies and prepares the stage for Elena and Nikke to consume our souls in Dämmerlicht, weaving in quotes from the Malleus Maleficarum, the grotesque 15th century compendium of rules that was responsible for numerous witch burnings. Martin (aka ChaoZ, frontman for Black Metal band Verderbnis) appears as a dogmatic priest and guest vocalist, while Nikke’s rumbling bass and drums offer Elena everything she needs to roar like a true witch. Ravish My Flesh, Soil My Name carries a beyond poetic name for a hard hitting blend of Melodic Death Metal with Black Metal elements, with Elena’s roars and riffs sounding utterly demonic. Then an epic intro morphs into another blackened feast titled Anderswelt, with both Elena and Nikke blasting their sonic weapons nonstop supported by the song’s awesome choir-like background; whereas Chandra keeps their fire and insanity flowing, offering another ruthless performance by Nikke on drums, while Elena vociferates like a demented she-demon until the very end. and lastly, Epilogue: As The Universe, So The Soul is a calm and soothing creation by Elena, with her serene vocals and delicate piano bringing peace to our damned hearts.

How is the medieval witch hunt connected to women’s lives in today’s society? The answer to that question can be found in the excellent DRAC, which can be purchased from BandCamp or by clicking HERE. In contrast to a digital world where everything is frantic and overwhelming, the music in DRAC invites listeners to delve into their own shadows and transports them into a melancholic experience, with its mystical sounds telling of spiritual journeys, the eternal cycle of life and death, and the struggle against oppression. Don’t forget you can also find more information about Crescendium on Facebook and on Instagram, and stream their scorching music on any platform such as Spotify. DRAC is a reflection on forced exclusion and breaking free from a corrupt system. Night falls on dragon’s wings, and the unspeakable reveals itself in a musical crescendo of Black and Death Metal magic, courtesy of one of the must-see names of the current German extreme music scene.

Best moments of the album: Ravish My Flesh, Soil My Name and Anderswelt.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Prologue: As Within, So Without 2:33
2. Dämmerlicht 7:27
3. Ravish My Flesh, Soil My Name 6:22
4. Anderswelt 7:20
5. Chandra 7:20
6. Epilogue: As The Universe, So The Soul 5:29

Band members
Elena Cor Tauri – vocals, guitars
Nikke Kuki – bass, drums

Guest musician
ChaoZ – vocals on “Dämmerlicht”

Album Review – Malignant Spirit / A Serpent to Devour, A Servant to Abhor (2026)

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A highly enigmatic, underground Avantgarde and Dissonant Black Metal collective attacks with its first emission, creating a soundtrack of utter horror and consequence.

Under the Madonna
Moved by the Serpent
Held by the Axis

A highly enigmatic, underground Avantgarde/Dissonant Black Metal project, Malignant Spirit is a collective created by musicians within the ranks of Venomous Echoes, Sleep Paralysis and Veilburner, characterized by a strong theatrical imprint developed on multiple artistic levels. Together, they are the “Wardens of the Triarchy,” and because the band intentionally maintains deep anonymity, their exact geographic origin remains undisclosed to the public. The Obituist is the curator, he who speaks and the recorder of that which transpires; he does not sing, but documents the end of things as they occur. Ossiculum is the architect who builds from what is left behind. He is Coagula: From what survives, it builds something that cannot forget what it once was. Last but not least, Oxydyz’r is he who transforms through the processes of horror and dissolution. He is Solve: Where form persists, it intervenes; where structure resists, it erodes. A Serpent To Devour, A Servant To Abhor is the collective’s first emission, a monumental work in which Malignant Spirit operate within Extreme Metal without leaning into any genre labels, trying to create a soundtrack of utter horror and consequence perfect for fans of the scathing music blasted by Portal, Thantifaxath, Choir, and Mayhem.

Such a distinguished album couldn’t have started in a more phantasmagorical way than with the cryptic intro Nulla Via, O’ Nisi Vulnus, flowing into the demented, hypnotizing whirlwind of sounds named To Bruise The Heel Of Malkuth, where its visceral riffs and haunting background will consume our souls mercilessly. The Inheritance Of Her Ruin is another bestial creation by this uncanny entity, where their evil vociferations do not sound like they’re from this dimension; followed by This Is The Mystery Of The Blood Madonna, even more dissonant and demented than its predecessors, boosted by their infernal beats and fills. And O’ Exile, Spirit Me Away is extremely experimental and visceral form start to finish, as if the band decided to turn their music into a ritual of sounds.

In Wail! Wail! O’ Betrayal, Wail!, half of the song is way too weird, while the second part gets back to their hurricane of infernal riffs and vociferations in the name of extreme music; whereas A Serpent To Devour follows the same unique pattern as its predecessor, although it never flows into their trademark Black Metal madness and remains way too atmospheric almost until the end. In A Servant To Abhor we’re treated to an amazing job done by those eccentric creatures of the underworld on both the guitars and drums, crafting an enfolding and obscure ambience not recommended for the lighthearted; and lastly, your soul will be shredded to pieces to the sound of the 11-minute black mass titled …Is To Crown The Wound That Will Never Heal, where their evil gnarls and scathing guitars are complemented by wicked background keys for our total delectation, and all that chaotic beauty morphs into a dark piano outro that sounds climatic and punishing.

Wrapped in an evocative cover by Roberto Diaz, A Serpent to Devour, A Servant to Abhor, which can be purchased from BandCamp or from the Metal Odissey webstore in the EU and in the US, is an anxiety invoked hellscape built atop the Trees of Life and Death at a time when the infinite tried to become finite. It is in a place where movement was forced to stop, but pressure continued to remain. Even if every now and then the music coalesces around particularly catchy riffs, bizarre arrangements and unexpected rhythmic solutions, A Serpent To Devour, A Servant To Abhor is an alchemical nightmare that plunges the listener into the horror of a boundless, invincible chaos. Having said all that, do you have what it takes to face such an uncanny entity armed with its asphyxiating, devilish and dissonant debut offering?

Best moments of the album: To Bruise The Heel Of Malkuth…, This Is The Mystery Of The Blood Madonna and …Is To Crown The Wound That Will Never Heal.

Worst moments of the album: A Serpent To Devour.

Released in 2026 I, Voidhanger Records

Track listing
1. Nulla Via, O’ Nisi Vulnus 2:55
2. To Bruise The Heel Of Malkuth… 6:52
3. The Inheritance Of Her Ruin 5:27
4. This Is The Mystery Of The Blood Madonna 6:28
5. O’ Exile, Spirit Me Away 4:57
6. Wail! Wail! O’ Betrayal, Wail! 6:27
7. A Serpent To Devour 6:56
8. A Servant To Abhor 7:37
9. …Is To Crown The Wound That Will Never Heal 10:58

Band members
Oxydyz’r, he who destroys and alters
Ossiculum, he who rebuilds from the remains
The Obituist, he who records the result as truth

Album Review – Sepulchre by the Sea / Goldseeker EP (2026)

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This one-man Atmospheric Black Metal from the UK is back with a stunning three-track EP, inspired by three Edgar Allen Poe stories which reference ancient Egypt.

Having grown and evolved since its inception in 2019 from one man’s will to create Atmospheric Black Metal inspired by the works of Edgar Allen Poe into an increasingly ambitious studio project, Bristol, UK’s own entity Sepulchre by the Sea, the brainchild of vocalist and multi-instrumentalist Ashley Shannon, returns to its tried and tested mix of Atmospheric Black Metal, Shoegaze and Doom Metal, which has amassed a loyal following during its tenure, with a new three-track EP titled Goldseeker, following on the project’s previous efforts .​.​.​and So it Crumbles (2019), Conqueror Worm (2020), Ratiocinations (2021), and Seven Chambers (2024). Spanning over 27 minutes of dark and intense music, Goldseeker is inspired by the Edgar Allen Poe stories “Some Words with a Mummy,” “The Gold Bug” and ‘Ligeia,” all stories which reference ancient Egypt, beautifully translating the mysteries of the original stories into the extreme music played by Ashley and his Sepulchre by the Sea.

Ashley begins his trademark Atmospheric Black Metal attack with Blood of the Scarabeus, where his scorching riffs and blast beats give the song a stronger old school Black Metal vibe, not to mention his demonic gnarls and the song’s ethereal passages sound epic; while the title-track Goldseeker offers a striking fusion of Melodic and Atmospheric Black Metal, with Ashley extracting sheer agony, melancholy and pain from his harmonious guitar lines for our absolute delectation. And finally, Visions of Ligeia starts in a more introspective way to the doom-laden bass lines by Ashley, evolving into another modern-day beast of Atmospheric Black Metal where Ashly bursts his lungs screaming until the song’s dark finale to the sound of the bass and saxophone, putting a solid and climatic ending to the album.

With Goldseeker, Ashely once again managed to remain fresh, interesting and captivating even in a beyond saturated sea of Atmospheric Black Metal bands from all over the world, proving he still has a lot of fuel to burn in the coming years with his unique fusion of heavy music with the intoxicating stories crafted by the one and only Edgar Allen Poe. You can find more details about Sepulchre by the Sea on Facebook and on Instagram, stream his growing discography on any platform such as Spotify, and above all that, show Ashley your support and admiration for the darkest side of music by purchasing the EP from BandCamp. Ashley and his Sepulchre by the Sea never disappoint, and after such a thrilling EP I can’t wait to see what’s next for the “Edgar Allan Poe” of extreme music.

Best moments of the album: Blood of the Scarabeus.

Worst moments of the album: None.

Released in 2026 Anthrazit Records

Track listing
1. Blood of the Scarabeus 9:43
2.Goldseeker 6:48
3. Visions of Ligeia 11:34

Band members
Ashley Shannon – vocals, all instruments

Album Review – Konvent / Firesky (2026)

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Denmark’s own Death and Doom Metal witches return from the grave with their third opus, serving as both the atmospheric journey into the darkest depths of the soul and the guide out of the abyss.

Fiercely sinister and heavy as ever, Copenhagen, Denmark’s own Death/Doom Metal witches Konvent return from the grave with their third album, titled Firesky, following up on their critically acclaimed 2020 debut Puritan Masochism, and their scorching 2022 sophomore beast Call Down the Sun. Produced and recorded by Jacob Bredahl at Antfarm Studios, mixed by Jacob Bredahl at Dead Rat Studio, mastered by Brad Boatright at Audiosiege, and displaying a devilish artwork by the witch Nona Limmen, the new offering by Rikke Emilie List on vocals, Amira Liv Hernan on the guitars, Heidi Withington Brink on bass, and Julie Simonsen on drums is their bravest album yet. Constructed carefully, the record serves as both the atmospheric journey into the darkest depths of the soul and the guide out of the abyss. The Danish band goes to great lengths – literally and figuratively – to reshape the strong footprint they have already left in the scene. Five songs is all it takes the four-piece this time around to prove how incomparably weighty their sonic soundscapes can be, expanding on their influences and experiments significantly with Black Metal.

Exorcise is utterly heavy, dark and gloomy form the very first second, with Julie dictating the song’s lugubrious pace while Rikke delivers her deep, visceral roars nonstop for our absolute delight, with Amira’s Black Metal riffs also sounding haunting. Then we face Scorning, offering us all over nine minutes of sheer Doom Metal, also presenting delicate moments amidst the trademark heaviness blasted by the quartet, not to mention Amira and Heidi sound scorching armed with their axes. There’s nothing better than 11 minutes of undisputed, visceral doom like what they have to offer in In the Unknown, again presenting Rikke’s venomous gnarls supported by another overdose of scathing riffs by Amira while the amazing Julie keeps hammering her drums mercilessly, growing in intensity and darkness until its climatic, crushing and suffocating finale. Firesky, featuring guest vocals by Mai Soon Young Øvlisen (a Danish-Korean musician, composer, and vocalist for Experimental Post-Rock band Meejah), is absolutely melancholic and delicate yet still obscure and cryptic, with their vocals, guitars, bass and drums representing the epitome of modern-day Atmospheric Doom Metal, flowing into the touching, grim outro Postludium, putting a beyond embracing and emotional ending to the album.

“After four years, we are finally ready to release our third album, Firesky, as our most ambitious album yet. On this album we have experimented more with black metal, as it is a genre we are all very inspired by. Lyrically it has been impossible for us to ignore the political state of the world, and we have found it imperative to comment on the active decisions to withdraw basic human rights for women and LGBTQ people. Firesky is a screaming desire to burn everything down and to create a more solidary and empathic world,” commented the band, and you can start following those witches of doom on Facebook and Instagram, stream their music on Spotify, and put your blood-soaked hands on Firesky via BandCamp, via Napalm Records, or by clicking HERE. As aforementioned, get ready for an atmospheric journey into the darkest depths of the soul to the sound of the incendiary new opus by Konvent, and then arising from the abyss to the sheer power of their Doom Metal magic.

Best moments of the album: Exorcise, In the Unknown and Firesky.

Worst moments of the album: None.

Released in 2026 Napalm Records

Track listing
1. Exorcise 8:59
2. Scorning 9:20
3. In the Unknown 11:57
4. Firesky 7:53
5. Postludium 2:56

Band members
Rikke Emilie List – vocals
Amira Liv Hernan – guitars, backing vocals
Heidi Withington Brink – bass
Julie Simonsen – drums

Guest musician
Mai Soon Young Øvlisen – vocals on “Firesky”

Album Review – Hyperion / Elysia (2026)

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After a decade since the release of their critically acclaimed debut album, this Swedish Melodic Death and Black Metal horde returns with their incendiary sophomore opus.

After a decade since the release of their critically acclaimed debut album Seraphical Euphony, Stockholm, Sweden-based Melodic Black/Death Metal band Hyperion is back in action with their sophomore opus, titled Elysia. Recorded between 2020  and 2023 at Wing Studios, Studio Forlorn Halls and in various private locations, mixed and mastered by Sverker Widgren between 2023 and 2024 at Wing Studios, and showcasing a sinister artwork by the always great Khaos Diktator Design, the new album by Erik Molnar on the guitars, synthesizer programming and spoken words, Joel Hagroth on the guitars and spoken words, Mikael Malm on the guitars, Raul Vicente on bass, and Mauritz Flodin on drums and orchestrations offers a barrage of guitars and symphonies of a kind that is rarely seen, but great care has been taken to make them complement each other and draw you in to discover more the deeper you get.

The beyond atmospheric and cinematic intro Rapturous Overture sets the stage for Hyperion to crush our souls in Nefarious Sacrament of the Immorals, featuring guest Johan Nephente on vocals, kicking things off with endless fury to the blast beats by Mauritz and the scathing riffage by Erik, Joel and Mikael. Fides Novem, featuring guest vocalist Elias Lyxell, keeps their Black Metal magic burning to the killer riffs and solos by the band’s guitar triumvirate, followed by Iliou Persis, with the one and only Atterigner on vocals, not to mention the battle choir brings an overdose of epicness to the music, as well as Mauritz’s infernal drums. And Paraphrosynia, featuring Karin Eriksson on vocals, brings forward 12 minutes of absolute chaos and insanity, with Karin’s vocals reminding me of old school creations by Cradle of Filth, with all guitars, bass, keys and drums sounding stunning until the very end.

Then investing in an even more demented sonority we have Perennial Transcendence, with all grim vociferations matching perfectly with the thunderous kitchen by Raul and Mauritz; and after the acoustic interlude Vigil of Longing we face the second longest song of the album, titled Epic of Tribulation, starting in a phantasmagorical manner before morphing into a grandiose Symphonic Black Metal aria led by Mauritz’s crushing drums. Furthermore, the despair and obscurity flowing from all vocals is stunning. Epoch’s Eventide also alternates between darker, doom-ish moments and the sheer aggression of Black Metal, with the synths by Erik bringing an extra kick to the overall result, before we face The Primordial Wellspring, where despite its climatic vibe, it doesn’t know if it’s a ballad, an acoustic song or a classic Symphonic Black Metal tune.

“Elysia is an explosion of intensity in all kinds of directions. To call it an ambitious album would be an understatement. Hyperion never creates music with half measures and this is the ultimate statement of that. It is different from Seraphical Euphony, but still contains the vital elements that make us what we are. To make this album a reality has been a titanic effort and we are beyond excited to finally have it released to the world,” commented the band about their incendiary newborn spawn, and if you want to know more about such a talented horde hailing from Sweden you can find those guys on Facebook and on Instagram, stream their caustic music on any platform such as Spotify, and of course, above all that, show them your total support and admiration by purchasing their new album from their own BandCamp, as well as from the Willowtip Records’ BandCamp. This is Swedish Melodic Death and Black Metal at its finest, and let’s hope it doesn’t take another ten years for Hyperion to kick our asses once again with a new album just as great as Elysia.

Best moments of the album: Nefarious Sacrament of the Immorals, Paraphrosynia and Epic of Tribulation.

Worst moments of the album: The Primordial Wellspring.

Released in 2026 Willowtip Records

Track listing
1. Rapturous Overture 2:41
2. Nefarious Sacrament of the Immorals 6:52
3. Fides Novem 8:52
4. Iliou Persis 6:39
5. Paraphrosynia 12:41
6. Perennial Transcendence 6:52
7. Vigil of Longing 1:20
8. Epic of Tribulation 10:58
9. Epoch’s Eventide 9:18
10. The Primordial Wellspring 7:22

Band members
Erik Molnar – guitars, synthesizer programming, spoken words
Joel Hagroth – guitars, spoken words
Mikael Malm – guitars
Raul Vicente – bass
Mauritz Flodin – drums, orchestrations

Guest musicians
Johan Nephente – vocals on “Nefarious Sacrament of the Immorals”
Elias Lyxell – vocals on “Fides Novem”
Atterigner – vocals on “Iliou Persis”
Karin Eriksson – vocals on “Paraphrosynia”
Erik Molnar, Joel Hagroth, Mikael Malm, Mortuz Denatus, Johan Camling & Henrik Edman – battle choir on “Iliou Persis”

Album Review – Moorah / The Beast Called Ego (2026)

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Succumb to the new opus by this ritualistic Black Metal entity hailing from Czechia, a testament to the darkness that dwells within.

A ritualistic Black Metal entity hailing from Prague, Czechia, originally established in 2019 as a one-man project by Count Hroozah, Moorah are entering a new era with their sophomore opus, titled The Beast Called Ego, moving towards a more massive and organic sound from their 2021 debut Marnost nad marnost. Recorded at Riversound Productions and Seabeast Production Studios, mastered by the iconic Jaime Gómez Arellano at Orgone Studios, and showcasing a sinister artwork by Aaron Bonogofsky of October Midnight, the new opus by Count Hroozah on vocals and guitars alongside Severan on bass, Silenthell on timpani, and FX Grond on drums, with Ashok (former guitarist of Cradle Of Filth) joining the ritual as a special guest, offers more of the band’s unique vision of apocalyptic Black Metal, blending the traditional elements of classic Czech and Norwegian acts with modern Post-Metal, Post-Punk, and Blackgaze techniques. A distinctive part of their identity lies in the lyrical depth provided by Count Hroozah, whose poetry, previously published in literary magazines, explores themes of faith and individual destiny within an apocalyptic world.

You can feel the darkness permeating the air from the very first second in Left Hand Of Darkness, with the cryptic vociferations by Count Hroozah walking hand in hand with the thunderous drums by FX Grond, whereas Breitspurbahn Egotrip begins in full force to the striking riffs by Count Hroozah, blending classic Black Metal with contemporary Melodic Black Metal in over eight minutes of absolute obscurity. Eternal Ahasver starts in a melodic, almost melancholic way, again presenting a heavy and dense sound thanks to the rumbling kitchen crafted by Severan and FX Grond, followed by Baptism Of Scum, the most ritualistic and atmospheric of all songs, with Severan, Silenthell and FX Grond once again making the earth tremble. Then scorching riffs and solos, not to mention an overdose of Doom Metal beats, set the tone in Vasa Ship, a solid black mass by the quartet; whereas Démon za krkem (a Czech phrase that translates to “a demon behind your neck,” used metaphorically and psychosomatically to describe a heavy, persistent psychological burden or stress that weighs a person down) also ventures through the lands of Blackened Doom Metal, sounding very sinister and detailed, with its multiple layers and passages taking us on a visceral journey though the dark spearheaded by Count Hroozah’s caustic vocal lines.

“The motif, together with the album title The Beast Called Ego, represents a whispering entity that at first appears as a supportive friend. Yet the moment you surrender to its temptations, it watches your downfall with a grin and quiet satisfaction. Almost everyone has, at some point, succumbed to its false call through the influence of our own egos,” commented the band about the artwork, the title, and the music found in their newborn spawn, inviting us all to join them in darkness via Facebook and Instagram, to stream their music on Spotify, and to grab a copy of The Beast Called Ego by clicking HERE. The Beast Called Ego is a testament to the darkness that dwells within, further cementing Moorah’s place as a vital force in the contemporary extreme underground.

Best moments of the album: Breitspurbahn Egotrip and Démon za krkem.

Worst moments of the album: None.

Released in 2026 Art Gates Records

Track listing
1. Left Hand Of Darkness 6:07
2. Breitspurbahn Egotrip 8:27
3. Eternal Ahasver 5:26
4. Baptism Of Scum 5:33
5. Vasa Ship 5:54
6. Démon za krkem 7:43

Band members
Count Hroozah – vocals, guitars
Severan – bass
Silenthell – timpani
FX Grond – drums

Guest musician
Ashok – guitars

Concert Review – Arch Enemy & The Black Dahlia Murder (The Danforth Music Hall, Toronto, ON, 11/01/2026)

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It was absolute wrath over Toronto on a stunning night of Melodic Death Metal magic, courtesy of five of the must-see names of the current scene worldwide.

OPENING ACTS: Thrown Into Exile, Crypta and Septicflesh

We definitely cannot complain about the stunning weather that’s been over Toronto for weeks already, with no rain nor any major cold events at all. Quite the contrary, we’ve been experiencing a lot of sunshine, warm temperatures sometimes above +20oC, and no strong winds. That perfect combo made this Sunday night even more enjoyable when THROWN INTO EXILE, CRYPTA, SEPTICFLESH, THE BLACK DAHLIA MURDER and ARCH ENEMY destroyed us all with their undisputed Wrath Across North America 2026 Tour at The Danforth Music Hall, another first-class event brought to the city by Noel Peters of Inertia Entertainment. My buddy Blair Burch and I once again had a lot of fun covering the entire night, and in my case it was even more memorable since I’m a huge fan of both Crypta and Arch Enemy (to be fair, I’m a fan of all bands from such an incredible lineup), with all bands kicking our asses mercilessly and putting a huge smile on the faces of everyone who could not only enjoy a night of killer heavy music, but also do that without having to carry their heavy fall or winter coats.

After doors opened at 5pm, everyone who was already at the venue had basically one hour to chat with their friends, have a few beers, and grab some merch (and all bands had some top-of-the-line items, by the way) before Los Angeles, California’s own Metalcore act THROWN INTO EXILE kicked off the night with another electrifying performance, coincidentally again opening for Arch Enemy. And just like Arch Enemy, the band has a new vocalist, Joshua Santos (as well as new drummer, Hank Lin), not to mention their bassist couldn’t join them on this tour and was replaced by two of the tech guys from the other bands if I’m not mistaken. The band has been releasing a few interesting single in the past year (all available on Spotify), and two of those are part of their setlist, Nihilist and Behind the Veil, both igniting some serious mosh pits in Toronto, and if that’s an indication of what to expect from their next album, it’s going to be a banger.

Setlist
Send Me Below
Nihilist
Behind The Veil
Remorse
You’ve Fallen so Far

Band members
Joshua Santos – vocals
Mario Rubio – guitars
Austin Monzon – guitars
Javier Quinto – bass
Hank Lin – drums

The next band to hit the stage at The Danforth Music Hall were the unrelenting girls from Brazilian Death Metal brigade CRYPTA, and as expected they simply dpulverized us all and melted our faces with another demonic (yet short) performance in Toronto. Fernanda Lira, Tainá Bergamaschi, Victoria Villarreal and Luana Dametto showed no mercy for our putrid souls with a lecture in Death Metal, playing songs from their two albums Echoes of the Soul and Shades of Sorrow, plus their insanely dark, Black Metal-infused single A Portrait of Decay, all available on BandCamp and on Spotify, leaving us all completely disoriented and eager for more of their music in a not-so-distant future. Fernanda’s vocals were beyond devilish from start to finish, proving why she’s one of the best growlers of the new generation, and the next time Crypta pay a visit to Toronto I’m sure it will be a sold out show. And of course, the mosh pits will be brutal.

Setlist
The Other Side of Anger
Lord of Ruins
The Outsider
A Portrait of Decay
From the Ashes

Band members
Fernanda Lira – vocals, bass
Tainá Bergamaschi – guitars
Victoria Villarreal – guitars
Luana Dametto – drums

The lineup for this Wrath Across North America 2026 Tour is so fantastic to the point one of the special guests is already a headliner. I’m talking about the mighty Greek Atmospheric/Symphonic Death Metal institution SEPTICFLESH, one of those bands that you must see live (and listen to their discography anywhere like Spotify) if you consider yourself a true metalhead. Songs like Martyr, Anubis and Dark Art are always a treat, played to perfection by Spiros Antoniou, Psychon and Kerim “Krimh” Lechner. As you might have noticed, I left Christos Antoniou out of the list because, as explained by Spiros, he injured his ribs a couple of days before the tour started, but the band decided to still do the tour as a trio. Their sound was still massive, bold and hypnotizing, and the fans inside the pit were having a great time enjoying the band’s crushing heavy music. We all wish a speedy recovery for Christos Antoniou, and of course, as soon as he’s ready to rock again, we demand another Septicflesh concert in Toronto.

Setlist
Communion
The Vampire From Nazareth
Martyr
Coming Storm
Anubis
Dark Art

Band members
Spiros Antoniou – harsh vocals, bass
Psychon – guitars
Kerim “Krimh” Lechner – drums

THE BLACK DAHLIA MURDER

It was around 8:20pm when the first co-headliner of the night, Detroit, Michigan’s own Melodic Death Metal beast THE BLACK DAHLIA MURDER, brought another round of absolute violence, groove and hatred to the city of Toronto. Their setlist was once again a well-balanced mix of old school songs with newer material from their 2024 album Servitude, all available on BandCamp and on Spotify, and Brian Eschbach, Ryan Knight, Wes Hauch, Max Lavelle and Alan Cassidy made sure the intensity and fury of each song was multiplied by a thousand live. Those guys were on fire from the very beginning, absolutely happy to see their Torontonian fans kicking ass inside the mosh pit the entire show, and that connection between band and crowd was one of those things I love to witness at metal shows.

Not only the mosh pits were wild, but there was endless crowd surfing happening too, and some of those crowd surfers were the Toronto banana guys, a staple in the local music scene. And do you know who loves bananas? The band’s own Statutory Ape, who got into the stage jumping like a maniac during such an incendiary song, and was so excited he even went down to the mosh pit and then back to the stage crowd surfing. It was excellent, and proof that only metal concerts can provide you with pure, organic and no shenanigans fun. If you don’t like The Black Dahlia Murder, I’m sorry, but you’re bananas. Pun intended. And before I forget, happy birthday to their bassist Max Lavelle! It must have been really cool celebrating his birthday on tour in a city like Toronto, who sang a nice and loud Happy Birthday to the guy, and I’m sure he’ll want to come back to the city with his band sooner than his next birthday for another demolishing concert.

Setlist
Necropolis
Contagion
Mammoth’s Hand
Moonlight Equilibrium
Panic Hysteric
Nightbringers
Everything Went Black
Cursed Creator
A Vulgar Picture
Miscarriage
Statutory Ape
Christ Deformed
Utopia Black
What a Horrible Night to Have a Curse

Band members
Brian Eschbach – vocals
Ryan Knight – guitars
Wes Hauch – guitars
Max Lavelle – bass
Alan Cassidy – drums

ARCH ENEMY

Finally, after waiting years and years to see American-born-but-raised-in-Australia vocalist Lauren Hart live (as I’m already a fan of her vocals since her work with Once Human), I had the pleasure of witnessing such a beautiful lady simply pulverizing our souls with a breathtaking performance as the new voice of Swedish Melodic Death Metal institution ARCH ENEMY. After Sunday night I must say Lauren is not just a good fit for the band after the departure of Alissa White-Gluz, but a more-than-perfect choice for the job, injecting a humongous amount of adrenaline to the band’s already venomous music. She was unstoppable onstage, always smiling, always headbanging, always raising her horns, and the crowd was simply loving all that energy and passion, with the intense circle pit and crowd surfing turning up the heat considerably inside the venue. It was one of the wildest Arch Enemy concerts of the past few years in the city hands down.

So far, there’s only one song recorded with Lauren on vocals, the excellent To the Last Breath (available on both Bandcamp and Spotify), but that doesn’t mean she didn’t nail it while singing all other songs form their setlist. Quite the contrary, her screams were insane, supported by the classy riffs and solos blasted by the iconic Michael Amott, as well as Joey Concepcion, Sharlee D’Angelo, and the beast Daniel Erlandsson. Also, although Lauren mentioned Ravenous was the song that inspired her to scream while introducing herself to Toronto, she was simply phenomenal in Taking Back My Soul, in Dead Bury Their Dead, and in special in Bury Me an Angel, where she did an almost perfect impersonation of Johan Liiva singing. Don’t get fooled, my friends. Lauren might be all smiles, but when she’s screaming she’s absolute evil (in the best way possible, of course). After the all-time classic Nemesis, followed by Fields of Desolation (and a bunch of black and red balloons), the band said their farewells to the crowd, and I bet we’ll see them back sooner than you can scream “ravenous.” Hopefully already with a new album with Lauren on vocals, because with her fronting the band now, Arch Enemy sound deadlier than ever.

Setlist
Ace of Spades (Motörhead song)
Khaos Overture
The World Is Yours
Ravenous
War Eternal
Blood Dynasty
My Apocalypse
To the Last Breath
Taking Back My Soul
The Eagle Flies Alone
Bury Me an Angel
Dead Bury Their Dead
No Gods, No Masters
Nemesis
Fields of Desolation (Outro)
Enter the Machine

Band members
Lauren Hart – vocals
Michael Amott – lead guitars, backing vocals
Joey Concepcion – lead guitars, backing vocals
Sharlee D’Angelo – bass
Daniel Erlandsson – drums

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Album Review – JANVS / Fatum Est EP (2026)

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After over a decade of silence, one of the best-kept secrets in the Italian underground scene is rising from the ashes with a new EP where each song draws on a myth, a figure, or an episode from the Hellenic tradition.

After over a decade of silence, one of the best-kept secrets in the Italian underground scene is rising from the ashes. JANVS, the Roman god of beginnings, passages and endings, is a Progressive Black Metal entity formed in Genoa over two decades ago, which may have fallen through the tides of time for many, but never really forgotten. Now in 2026 the band formed of Matteo “Vinctor” Barelli on vocals, guitars, keyboards and programming, Claudio “Malphas” Fogliato on bass, and Massimo “m:A Fog” Altomare on drums returns from the waves of the Mediterranean sea with a new EP titled Fatum Est, which translates from Latin as “it is fate” or “it is destiny,” following up on their 2014 full-length offering Nigredo. Produced and mastered by the legendary Dan Swanö at Unisound, and displaying as its artwork the piece Studio per la Gorgone e gli Eroi (1890-1899) by Italian artist Giulio Aristide Sartorio, the EP is comprised of five songs where each song draws on a myth, a figure, or an episode from the Hellenic tradition, reshaping and deconstructing its narrative into an existential vision that is both intimate and universal.

The trio kicks off their feast of progressiveness and fury with Bucefalo, with the scathing riffs by Matteo walking hand in hand with his own roars and the massive beats and fills by Massimo. Then a serene intro evolves into another dark and visceral sound in Filo d’Arianna, slower and more introspective, bringing elements of Doom Metal to their core sonority while also exploding in absolute Black Metal magic; followed by Argonauti, a more straightforward blend of Progressive Black and Death Metal where Claudio and Massimo will crack the sky with their thunderous bass and drums. Quis tantus furor is perhaps the most experimental and diverse of all songs, flirting with Dissonant Death Metal at times, with Matteo once again vociferating like a demonic entity, before we face Gaugamela, which reeks of 90’s Swedish Black Metal. Moreover, all gnarling vocals, blast beats and obscure passages turn it into a must-listen for fans of the genre.

Dedicated to those who defy the gaze of the gods, burning without oxygen in infinitesimal and eternal moments of beauty and death, drowned in the void of a cosmos eternally identical to itself, devoid of any purpose, Fatum Est moves forward from the softer atmospheres of their 2008 album Vega, overflowing intensity and desperate cosmic ferocity. You can get to know more about JAVS via Facebook and Instagram, stream their unique music on Spotify, and of course put your hands on Fatum Est from the Avantgarde Music’s BandCamp or Sound Cave. Your destiny is sealed, and JANVS will make sure the soundtrack to your journey is heavy and electrifying armed with their newborn spawn.

Best moments of the album: Filo d’Arianna and Gaugamela.

Worst moments of the album: None.

Released in 2026 Avantgarde Music

Track listing
1. Bucefalo 3:44
2. Filo d’Arianna 4:19
3. Argonauti 4:41
4. Quis tantus furor 6:17
5. Gaugamela 3:48

Band members
Matteo “Vinctor” Barelli – vocals, guitars, keyboards, programming
Claudio “Malphas” Fogliato – bass
Massimo “m:A Fog” Altomare – drums

Album Review – Litost / Logos (2026)

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This emerging force in the Spanish extreme music underground returns with the last part of their trilogy dedicated to the three core modes of persuasion defined by Aristotle.

An emerging force in the extreme music underground built around a strong conceptual foundation inspired by Milan Kundera’s notion of “Litost” and Aristotle’s rhetoric, Valencia, Spain’s own Blackened Death Metal creature Litost crafts a sonic narrative driven by introspection, emotional conflict and the inevitable decay of the self, always exploring the darkest corners of human consciousness through an intense, atmospheric and boundary-pushing blend of Black and Death Metal. After the successful releases of their 2019 debut Ethos and their 2023 sophomore Pathos, the band formed of Manri Vidal on vocals and guitars, Joaquín García also on the guitars, Luis Bru on bass and vocals, and Dani Molina on drums is back with a new offering entitled Logos, the third installment in their trilogy dedicated to the three core modes of persuasion defined by Aristotle. While Ethos appeals to a speaker’s credibility and character, and Pathos targets the audience’s emotions, Logos relies on logic, reasoning, facts, and evidence to convince the listener.

The band wastes no time and drag us to darkness from the very first second in Tifón, with Dani sounding inhumane with his demolishing beats and fills accompanied by the visceral growls by Manri; while Ábrego on the other hand starts in an acoustic way before morphing into sheer Black Metal madness, with their guitars once again transpiring rage and obscurity. Then after the instrumental interlude Alabeo, where they showcase their passion for traditional Spanish sounds, we face Tràngol, featuring guest vocalist Eloi Boucherie (frontman of Vidres a la Sang), as disruptive, infernal and technical as it can be, not to mention what Luis and Dani do with their respective bass and drums is simply out of this world, resulting in a lecture in modern-day Black Metal.

Ponzoña offers a more introspective and demonic side of the band, with the guitars by Manri and Joaquín sounding as progressive as they’re vile, a downward spiral into chaos and madness; followed by Ocaso, bringing forward a more direct blend of Black Metal with progressive elements, albeit lacking the same punch as its predecessors. The rumbling bass by Luis will hammer your minds and souls in Nimbo, featuring guest vocals by Albert Batlle (from Perennial Isolation), presenting multiple layers, nuances and the always desperate roars by Manri, whereas they conclude the album with an overdose of progressive and grim sounds titled Cerrote, the perfect depiction of present-day Spanish Black Metal showcasing striking riffs, groovy bass lines and intense and captivating beats and fills.

In a nutshell, with a clear artistic vision and a growing presence on the live circuit, Litost continue to establish themselves as a compelling name within the  contemporary Extreme Metal landscape with the release of the excellent Logos, which can be purchased by clicking HERE. Don’t forget to also start following those amazing Spanish musicians on Facebook and on Instagram, including their breathtaking live concerts, and to stream more of their music on any platform such as YouTube and Spotify. In other words, after an overdose of character and emotion in their first two albums, Litost will melt our faces with the logic found in Logos, beautifully concluding their dark trilogy and, therefore, pointing to an even brighter future ahead of them.

Best moments of the album: Tifón, Tràngol and Cerrote.

Worst moments of the album: Ocaso.

Released in 2026

Track listing
1. Tifón 3:18
2. Ábrego 3:42
3. Alabeo 1:40
4. Tràngol 5:52
5. Ponzoña 4:41
6. Ocaso 4:27
7. Nimbo 4:59
8. Cerrote 4:50

Band members
Manri Vidal – guitars, vocals
Joaquín García – guitars
Luis Bru – bass, vocals
Dani Molina – drums

Guest musicians
Eloi Boucherie – vocals on “Tràngol”
Albert Batlle – vocals on “Nimbo”

Album Review – Urna / The Great Jihad (2026)

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Italy’s own Black and Funeral Doom Metal architects return after a long hiatus with their fifth full-length opus, approaching the notion of duality from an esoteric perspective and exploring its many manifestations.

Active in the Extreme Metal underground for more than two decades, Cagliari, Italy’s own esoteric Black and Funeral Doom Metal architects Urna return after a long hiatus with their fifth full-length opus, titled The Great Jihad, the follow-up to their 2013 effort Mors Principium Est. Recorded through multiple sessions between 2014 and 2025 across Italy and the United Kingdom, before being mixed and mastered by the band’s own guitarist MZ at 322 Studio in early 2026, and displaying a colossal artwork by Francesco Gemelli, the new opus by RM on vocals, MZ on the guitars and synthesizers, T (Sangue Nero) on bass, and Sibilans (Anamnesi, Simulacro) on drums is more poisonous and tense than its predecessors, retains the crushing atmosphere and funeral doom connection that have long defined Urna, while pushing their faster passages towards a harsher, more abrasive form of Black Metal. The conceptual framework once again expands RM’s personal spiritual journey through Hermetism, approaching the notion of duality from an esoteric perspective and exploring its many manifestations.

The first half of the album, named Creator, kicks off with First of Three, sounding cadaverous and grim from the very first second, with the harsh vociferations by RM sending shivers down our spines while Sibilans brings absolute heaviness with his blast beats, flowing into Second of Three, just as caustic and visceral as the first song, with MZ slashing his axe in the name of evil, sounding imposing and heavy as hell just the way we like it in Black Metal. And Third of Three starts in a serene, ethereal way before exploding into absolute chaos and heaviness, blending Black and Doom Metal in great fashion to the pounding drums by Sibilans, therefore concluding the album’s first act majestically.

Then we face the second act titled Created, starting with the title-track The Great Jihad, a more epic take on the band’s trademark Funeral Doom Metal essence led by the demonic roars by RM while his bandmates keep delivering absolute darkness and heaviness from their sonic weapons. Dream Death, Towards Rebirth is also dense, visceral and infernal, with the kitchen crafted by T and Sibilans exhaling Doom Metal insanity; and Four Levels of Infinite Splendour ends the album with an epic vibe while also bringing anguish and despair to our rotten souls, with the riffs by MZ once again cutting our flesh deep before the song’s climatic ending.

After all is said and done, you’ll realize that The Great Jihad is a work that feels both familiar and renewed, balancing oppressive density with moments of stark, otherworldly beauty, bringing a journey that began in 2005, when the album was originally crafted, to its intended conclusion. The guys form Urna might not be found on any social media (which in the end is never a bad thing, to be honest), but you can add their striking new album to your collection by purchasing it from the ATMF’s BandCamp or from Metal Odissey, showing your support and admiration for the band and their music. The Great Jihad is dark, intense, bold, multi-layered and, above all that, loyal to the foundations of a band that will never abandon their core Black and Funeral Doom Metal essence no matter what. Because although much has changed since the already distant year of 2003, Urna have not.

Best moments of the album: Second of Three and The Great Jihad.

Worst moments of the album: None.

Released in 2026 ATMF

Track listing
Creator
1. First of Three 5:55
2. Second of Three 4:43
3. Third of Three 7:02

Created
4. The Great Jihad 4:11
5. Dream Death, Towards Rebirth 6:42
6. Four Levels of Infinite Splendour 8:09

Band members
RM – vocals
MZ – guitars, synthesizers
T – bass
Sibilans – drums