Tag Archives: black metal

Album Review – Drudkh / Thaw EP (2026)

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Ukraine’s own Black Metal entity returns with an introspective three-track EP, continuing to illuminate the path for those who dare to wander, to question, and to dream.

Born from the whispering winds and the brooding landscapes of Ukraine, a realm steeped in history and draped in the enigma of folklore, emerges Drudkh, a beacon of profound expression in the vast expanse of Black Metal. In the wake of their 2025 full-length album Shadow Play (or “Гра тіней” in their mother tongue), the band formed of Thurios on vocals, guitars and keyboards, Roman Saenko on the guitars and bass, Krechet on bass and keyboards, and Vlad on drums and keyboards extends this same creative breath with Thaw, or “Відлига” in Ukrainian, a three-track EP recorded during the album’s sessions and conceived within the same emotional horizon. If the album traced the tension between shadow and illumination, Thaw inhabits the fragile interval between stillness and movement, where change begins almost imperceptibly beneath a frozen surface, being therefore highly recommended for fans of Hate Forest, Windswept, and Agalloch.

The first song of the EP, titled Пам’ять (Memory), already brings to our avid ears the band’s harsh and piercing sounds, with Thurios delivering Stygian vociferations while Roman slashes his guitar and bass in great fashion; followed by the also obscure and harsh tune Десь, колись (Somewhere, Sometime), which begins in an introspective manner before morphing into a feast of Atmospheric Black Metal led by the caustic riffage by Roman. And last but certainly not least, Мить у вічності (A Moment in Eternity) is a full-bodied Black Metal attack by Drudkh, blasting our ears and minds with their devilish roars, scathing riffs and hammering drums while also presenting a good dosage of Doom Metal to give the whole song an even darker vibe, closing the EP on a visceral note.

Drudkh’s journey is one of introspection, seeking to create music that evokes a profound emotional resonance that stirs the depths of the human experience. In Thaw, they continue to illuminate the path for those who dare to wander, to question, and to dream, and you can easily follow such an exciting path by checking what the band is up to on Facebook, by streaming their unique creations on Spotify, and of course by purchasing their new EP from Bandcamp, from Season of Mist, or by clicking HERE. Thaw is a very complex and multi-layered EP, overflowing all types of emotions during its 20 minutes of music, and we can rest assured we’ll hear a lot more from Drudkh in the near future with another blast of excellence like what’s found in their striking new release.

Best moments of the album: Мить у вічності (A Moment in Eternity).

Worst moments of the album: None.

Released in 2026 Season of Mist: Underground Activists

Track listing
1. Пам’ять (Memory) 7:07
2. Десь, колись (Somewhere, Sometime) 5:51
3. Мить у вічності (A Moment in Eternity) 7:02

Band members
Thurios – vocals, guitars, keyboards
Roman Saenko – guitars, bass
Krechet – bass, keyboards
Vlad – drums, keyboards

Concert Review – UADA & Mortiis (Lee’s Palace, Toronto, ON, 04/24/2026)

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The city of Toronto was taken by storm by the Witches of Dystopia this Friday night in a celebration of darkness, spirituality and witchcraft.

OPENING ACTS: Wraith Knight and Jerome Reuter’s Rome

After a Heavy Metal night on Thursday with the Burning Witches, it was time to join the Witches of Dystopia on Friday night as WRAITH NIGHT, JEROME REUTER’S ROME, MORTIIS and UADA took the city of Toronto by storm with their The Witches of Dystopia Tour MMXXVI, another massive event brought to the city by Noel Peters of Inertia Entertainment. The venue chosen for such a unique experience was Lee’s Palace (and it looks like it’s the only place UADA play in the city, by the way, as it was their third time there out of three shows), and of course Keith Ibbitson of Metal Paparazzi and I were there to enjoy such a dark celebration encompassing countless music styles, from Black Metal and Dungeon Synth to Darkwave and Melodic Black Metal. It was a night of ups and downs as expected when you have so many different styles billed together, but that’s fine. You only need to open your mind and let the music flow through your soul, it doesn’t matter if it’s heavy as hell, or smooth and atmospheric.

It was 7:30pm, only 30 minutes after the doors were open, when Camas, Washington-based Black Metal/Ambient/Dungeon Synth entity WRAITH KNIGHT ignited the festivities with its fusion of dark music and fantasy. The project is basically Nick Superchi (the brother of UADA’s own frontman Jake Superchi, with whom he has also co-founded Dark Forest Productions) on synthesizers, and you can enjoy its two album Deep in the Dungeons of the Dragonlord, from 2022, and Of Arcane Magic & Forbidden Knowledge: The Necromantical Passage, from 2026, on BandCamp and on Spotify. It was a bit weird seeing just one guy on the corner of the stage playing synths for 30 minutes, but it is what it is. Nick hasn’t joined this tour in vain, and all would make sense after UADA hit the stage later that night.

Band members
Nick Superchi – synthesizers

Then after a short break it was time for another one-man project to entertain everyone who beats traffic and was already at Lee’s Palace, Luxembourg’s own Neofolk act JEROME REUTER’S ROME. And again, it was only one guy onstage, this time playing an acoustic set on the guitar. Known for his time with Street Punk band The Skinflicks, and for his collaborations with Nergal in his Dark Folk/Blues project Me And That Man, Jerome is now putting a lot of focus and effort on Rome, and if you enjoy Neofolk you can go check his music on Spotify. I would have preferred a regular Black Metal band instead, fully electrified and loud, but again, nothing that could make the night less enjoyable.

Band members
Jerome Reuter – vocals, guitar

MORTIIS

The first main attraction of the night was Oslo, Norway-based Darkwave/Dungeon Synth/Electronic/Industrial Rock entity MORTIIS, and yes, all of those music genres and subgenres can be applied to the most famous troll in the music industry. I don’t know if he was the best option to tour alongside such a heavy band like UADA, but the crowd seemed to be enjoying his electronic music more than what I expected. Basing his setlist on his 2001 cult album The Smell of Rain, plus the new song Ghosts of Europa, from his upcoming album of the same name (to be released on June 21), all available on BandCamp and on Spotify, Mortiis and his henchmen Ashes on the guitar, and Jon Siren on drums put a lot of people to dance at Lee’s Palace, including Mortiis himself onstage, of course.

The only thing that REALLY bothered me during his entire concert was the excessive use of backing tracks, in special all keyboards and synths. I read somewhere that the reason for such was to maintain the atmospheric complexity of his studio recordings that cannot be fully replicated by a standard live band (and it also gave Mortiis more freedom to move around the stage, I must admit that), but when over 90% of the instrumental is based on keyboards and synths, that gets truly annoying. No idea what was going on inside the minds of the fans at the venue, as the ones dancing didn’t seem to care about it, while others were simply not moving at all. When Smell the Witch was over, I noticed some people leaving the floor section. Maybe they were there just for Mortiis, maybe they were afraid of being caught in a mosh during UADA, which proves again the lineup for this tour was very weird. It worked, but it was still weird.

Setlist
Ghosts of Europa
Marshland
You Put a Hex on Me
Mental Maelstrom
Spirit in a Vacuum
Monolith
Parasite God
Tundra
Demons Are Back
Doppelganger
Smell the Witch

Band members
Mortiis – vocals
Ashes – guitars
Jon Siren – drums

UADA

Finally when the clock was about to hit 11pm it was time for one of the best, if not THE best, Melodic Black Metal band of the current scene, Portland, Oregon’s own UADA, to crush our damned souls with another spiritual, hypnotizing and absolutely dark performance, almost three years after their demolishing 2023 concert at the same venue, but this time their concert was absolutely unique, playing in full their 2016 debut Devoid of Light (available on any platform like BandCamp and Spotify), in celebration of the album’s 10th anniversary, plus songs from Symphonic Black/Death Metal band Ceremonial Castings, formed by brothers Jake “Lord Serpent” Superchi and Nick “OldNick” Superchi, celebrating 30 years of the band. It was a very bold move as I’m not sure if everyone at the venue knew Ceremonial Castings, but the final result was majestic to say the least.

When Jake Superchi, Rob Shaffer, Nate Verschoor and Pierce Williams hit the stage and kicked off their venomous feast of Black Metal with the excellent Natus Eclipsim, followed by the massive title-track Devoid of Light, the heaviness and loudness at Lee’s Palace were turned up to 11, inspiring everyone to raise their horns, bang their heads nonstop, and slam into the circle pit, all while joining the band on their spiritual journey. As a huge fan of all UADA albums, it was a pleasure seeing Devoid of Light in full (and I think this was the 10th album played in full by different bands in the city in the past year or so, a very cool trend if you ask me), with Black Autumn, White Spring being the icing on the cake as usual. Superb performance by this must-see band from the metal underworld.

Then after the instrumental interlude comprised of The Wanderer, from their 2018 masterpiece Cult of a Dying Sun, Nick Superchi of Wraith Knight joined the band onstage for a special set based on the “Bewitching Black Metal” crafted by Ceremonial Castings. With its lyrics based on the art of black magic, witchcraft and rituals, the band seems to have been resurrected by Jake and Nick in 2020, and I must say I’m really happy they decided to bring such an amazing project back from the dead. The songs chosen for their special ceremony were Immortal Black Art, Into the Black Forest of Witchery, Barbaric Is The Beast, Come Forth Damnation, Damned Be Those of the Craft, and Midnight Deathcult Phenomena, all available on BandCamp and on Spotify, and I highly recommend you go after the music by Ceremonial Castings as it’s simply phenomenal. All fans loved every single second of the show, and I bet whoever was not familiar with Ceremonial Castings was certainly impressed with their killer music. In addition, they ended their set with an incendiary version of Emperor’s all-time classic I Am the Black Wizards. Do I need to say more?

There was only one issue with UADA’s classy performance involving one of the girls at the concert, but I guess both the girl and Jake regret their actions this Friday night. The same girl who went onstage to do splits at the Incantation concert (opening for Belphegor) earlier this year thought it was a good idea to do the same at UADA, but she clearly didn’t have a clue of what a UADA concert means. It’s not Thrash Metal, it’s not Death Metal, sometimes not even Black Metal. It’s a spiritual event, and the stage is sacred ground for the band. After doing her splits, Jake simply booted her out of the stage, and although her fall wasn’t that harsh, it was still a considerable fall. Jake apologized to her after the show, of course. I guess he was in his usual trance onstage and didn’t think properly before kicking her in the ass, but that also shows you cannot simply go to a concert and do whatever you want, like invading the stage, because depending on the band that’s not cool at all. In the end, it didn’t really matter, because UADA were beauifully insane, and I can’t wait to see them live again sooner than later. Without anyone going onstage to do splits, please.

Setlist
Devoid of Light (10-Year Anniversary)
Natus Eclipsim
Devoid of Light
S.N.M.
Our Pale Departure
Black Autumn, White Spring

Interlude:
The Wanderer

Ceremonial Castings (30-Year Anniversary)
Immortal Black Art
Into the Black Forest of Witchery
Barbaric Is The Beast
Come Forth Damnation
Damned Be Those of the Craft
Midnight Deathcult Phenomena

Encore:
I Am the Black Wizards (Emperor cover)

Band members
Jake Superchi – vocals, rhythm guitars
Rob Shaffer – lead guitars
Nate Verschoor – bass
Pierce Williams – drums

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Album Review – Cnoc An Tursa / A Cry For The Slain (2026)

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One of the most interesting acts of the Scottish metal scene returns with an evocative tribute to the history, the folklore, and the unique magic of their homeland in the form of their third album.

“Let warlocks grim an’ wither’d hags
Tell how wi’ you on ragweed nags
They skim the muirs an’ dizzy crags
Wi’ wicked speed;
And in kirk-yards renew their leagues,
Owre howket dead.” – Robert Burns – Address To The Devil

Eight years on from their last album, titled The Forty Five, Falkirk, Scotland’s own Blackened Folk Metal warriors Cnoc An Tursa (or “Hill of the Standing Stone” in Scottish Gaelic) returns with an evocative tribute to the history, the folklore, and the unique magic of their homeland in the form of their third album, entitled A Cry For The Slain. With the intuitive mastering of Jaime Gomez Arellano at Orgone Studios bringing depth and vigor to every note, and with all the emotion and secrets of its narrative captured in the evocative artwork of the unstoppable Olga Kann, the newborn opus by Alan Buchan on vocals, Rene McDonald Hill on the guitars and keyboards, and Bryan Hamilton on drums is a breathtaking album for fans of Primordial, Winterfylleth, Saor and Forefather, a beacon burning in the night of mundane modernity, calling to those of us who want more than we’ve been sold.

Na Fir Ghorma, which translates from Scottish Gaelic as “the blue men,” referring to mythical, human-sized, blue-skinned creatures in Scottish folklore, is a mysterious, atmospheric intro that warms us up for The Caoineag, a female spirit in Scottish Highland folklore, acting as a “weeper” or specialized banshee that foretells violent death, with Bryan hammering his drums mercilessly in a lecture in Scottish extreme music. Cailleach And The Guardians Of The Seven Stones refers to a deeply rooted Scottish and Irish mythological tradition centered on the Cailleach (the “Veiled One” or “Queen of Winter”) and a ritualistic, seasonal relationship with sacred stones that represent her family, while the music showcases Rene’s striking, primeval riffage matching perfectly with Alan’s soaring vocals; followed by Baobhan Sith, a malevolent, vampiric fairy from Scottish Highlands folklore, often described as a “fairy witch” or “fairy woman,” while the music leans towards classic Folk Metal, with its mysterious female backing vocals sounding simply stunning.

Rene and Bryan build a dancing atmosphere in Am Fear Liath Mòr, translated from Scottish Gaelic as “big grey man”, referring to a legendary, cryptid creature said to haunt the summit and passes of Ben Macdui in the Cairngorms, Scotland’s second-highest peak. Musically speaking, it reminds me of some of the thrilling songs by the mighty UADA; whereas in Alba In My Heart (where “Alba” is the Scottish Gaelic name for Scotland) the band makes sure they add all their admiration and love for their country to the music, with their riffs, drums and roars exhaling pride and power. Address To The Devil – 1786, a satirical poem that mocks the Calvinistic, fear-based religious teachings of 18th-century Scotland by treating the Devil (“Auld Hornie”) as a familiar, almost comedic figure rather than a terrifying entity, presents a more straightforward fusion of Black and Folk Metal led by Alan’s demonic growling, also displaying an ethereal passage with the same mysterious woman back on vocals; flowing into the piano-driven outro The Nine Maidens Of Dundee, a Scottish legend about a farmer’s nine daughters killed by a dragon near Pitempton, subsequently avenged by a hero named Martin.

“With this new album we feel like we are going back to our roots with a more guitar driven style and bringing back some of the folk elements musically and lyrically which was the original inspiration for the band,” commented the guys from Cnoc An Tursa, and by looking back they have found their way forward, reigniting their fire and forging an album that will resonate through the years to come. Alan, Rene and Bryan are waiting for you with their striking fusion of Scottish folklore and heavy music on Facebook and on Instagram, and don’t forget to also stream their unique creations on Spotify and, above all that, to purchase the excellent A Cry For The Slain from the Apocalyptic Witchcraft’s BandCamp or webstore. Cnoc An Tursa undoubtedly have Alba in their hearts, translating that passion for their homeland into first-class extreme music in their new album and, therefore, keeping the fires of their unparalleled culture burning bright for many decades to come.

Best moments of the album: The Caoineag, Baobhan Sith and Alba In My Heart.

Worst moments of the album: None.

Released in 2026 Apocalyptic Witchcraft

Track listing
1. Na Fir Ghorma 2:28
2. The Caoineag 7:40
3. Cailleach And The Guardians Of The Seven Stones 4:58
4. Baobhan Sith 6:39
5. Am Fear Liath Mòr 4:42
6. Alba In My Heart 7:20
7. Address To The Devil 7:32
8. The Nine Maidens Of Dundee 3:00

Band members
Alan Buchan – vocals
Rene McDonald Hill – guitars, keyboards
Bryan Hamilton – drums

Album Review – Blood Countess / Imperatrix Sanguinis (2026)

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It’s time to summon the dark legend of the Blood Countess, and drown quickly in the blood red waters of their scorching sophomore opus.

For nearly a decade now, UK’s own Black Metal beast Blood Countess has waged a war on weakness and mediocrity with a blackened sound strikingly authentic, nothing but the coldest, most merciless of the mid-to-late 90’s the likes of classic Enthroned, Lord Belial, and Thy Primordial. Four years after their critically acclaimed debut Occulta Tenebris, the ruthless frontwoman Nina “The Cuntess” Blackwood and her henchmen István and Átok on the guitars, Darianth on bass, and Michael Robinson on drums return from the underworld with their sophomore spawn, entitled Imperatrix Sanguinis, a Latin phrase that translates directly to “Empress of Blood,” surging forth with a savagery that’s merciless, punishing, and perversely addicting, perfect for those with a staunch, depraved constitution.

Get ready to have all your blood fully drained by The Cuntess in Chains of Misdeed, growling and screaming like a true vampiric entity while Darianth and Michael deliver infernal Black Metal sounds for our total delight, whereas Sadistic Marchioness is even more infuriated and demonic thanks to the ruthless riffage blasted by István and Átok, while Michael continues to hammer his drums without mercy. A Humiliating Plea for the Glorification of Erotic Suffering carries the most poetic name of all songs, and the music is just as infernal and obscure, with The Cuntess continuing to gnarl rabidly for our vulgar delectation; and the band then speed things up and melt our faces with their vile Black Metal magic in The Scavenger’s Daughter, led by Michael’s pulverizing beats and fills.

After the Cradle of Filth-like interlude Shakals of Sin, such a violent UK horde is out for blood again in Purge of Trencin, as demented and grim as its predecessors, with The Cuntess roaring flawlessly supported by the striking riffs by István and Átok, being therefore perfect for enjoying a blood-soaked circle pit during their live shows. Schadenfreude, or the pleasure derived by someone from another person’s misfortune, sees Blood Countess turn that distinguished concept into another feast of raw Black Metal, with Darianth and Michael once again presenting their devilish kitchen from hell; whereas lastly we face Anna Nádasdy, the daughter of the infamous Countess Elizabeth Báthory of Ecsed, with The Cuntess impersonating Anna in great fashion with her desperate, anguished screams, sounding utterly visceral, hypnotizing and disturbing from start to finish.

In a nutshell, Nina “The Cuntess” Blackwood and her Blood Countess remain true to their moniker in Imperatrix Sanguinis, spilling tales of Elizabeth Bathory’s reign of blood-soaked tyranny – obsession, sex, and perversion entwined with madness and hatred for humankind – all led by her invective throat. It’s indeed one of the strongest Black Metal albums of the year, and if you want to join The Cuntess in her quest for blood you can start following the band on Facebook and on Instagram, stream their caustic, impious creations on Spotify, and of course put your blood-soaked hands on the breathtaking Imperatrix Sanguinis by purchasing it from Dominance of Darkness Records’ BandCamp or webstore. In other words, it’s time to summon the dark legend of the Blood Countess, and drown quickly in the blood red waters of the mighty Imperatrix Sanguinis.

Best moments of the album: Chains of Misdeed, The Scavenger’s Daughter and Anna Nádasdy.

Worst moments of the album: None.

Released in 2026 Dominance of Darkness Records

Track listing
1. Chains of Misdeed 5:28
2. Sadistic Marchioness 5:03
3. A Humiliating Plea for the Glorification of Erotic Suffering 5:14
4. The Scavenger’s Daughter 3:57
5. Shakals of Sin 2:05
6. Purge of Trencin 6:30
7. Schadenfreude 4:32
8. Anna Nádasdy 5:53

Band members
Nina “The Cuntess” Blackwood – vocals
István – guitars
Átok – guitars
Darianth – bass
Michael Robinson – drums

Album Review – Anthea / Beyond The Dawn (2026)

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This California-based Symphonic Metal entity returns with their most ambitious release to date, showcasing a broader dynamic range, heavier arrangements, and a more pronounced dramatic identity.

Founded in 2015 by vocalist and keyboardist Diego Valadez, and known for their distinctive theatrical approach and dynamic blend of Symphonic, Melodic, and Progressive Metal elements, Los Angeles, California-based outfit Anthea is back with their third full-length album, titled Beyond The Dawn, the follow-up to their 2022 sophomore opus Tales Untold. Recorded at Dream Vale Studios, produced, mixed and mastered by the band’s own Diego Valadez, displaying a stylish artwork by Dávid Busai of Mordiggian Art, and featuring “The Sirens” Mel Del Real and Astrid Anaya on backing vocals, the new album by Diego Valadez on clean vocals, keyboards and orchestration, Juan Pina on harsh vocals and guitars, Marcos Mejia also on the guitars, Gabby Hawk on bass, and Peter Vasquez on drums is undoubtedly their most ambitious release to date, showcasing a broader dynamic range, heavier arrangements, and a more pronounced dramatic identity highly recommended for fans of Dynazty, Kamelot, and Powerwolf.

The title-track Beyond The Dawn blends the finesse of Symphonic Metal with the darkness of Black Metal thanks to the stunning clash of the clean vocals by Diego with the devilish gnarls by Juan, followed by Phantom in the Masquerade, offering a more direct version of Symphonic and Melodic Metal, with Juan and Marcos extracting pure adrenaline from their stringed axes. The Lost Soul sounds as epic and imposing as its predecessors, with Peter adding endless fuel and heaviness to the music with his classic drumming; whereas Awakening (Song for Spring) leans towards the current music played by bands like Epica and Nightwish, with Diego’s vocals being nicely supported by “The Sirens.” And Bygone Age (Chicxulub) is a multi-layered tune that sounds pure Symphonic Metal at times, also venturing through Symphonic Black Metal lands to give it an extra kick.

From Shadows to Light is a cinematic creation by Anthea, showcasing another ass-kicking performance by Peter on drums, supported by the massive bass lines by Gabby, followed by Crystal Moon, a good instrumental tune that unfortunately gets a bit tiresome after a while. They get back on track with the incendiary Wanderer’s Quell, with the riffs and keys by Marcos and Juan transpiring Melodic Power Metal. And it’s time to slow things down and enjoy the dark power ballad Whispers of the Heart, with Diego’s vocals and Marcos’ solo sounding stunning. Duality of Gaia is a straightforward Melodic Metal tune presenting their trademark fusion of clean and harsh vocals, always supported by the classic kitchen by Gabby and Peter; while lastly, we’re treated to their cover version for Tahnee Caine and Tryanglz’s hit Burnin’ in the Third Degree (check the original version HERE, recorded for the 1984 film The Terminator, and featured prominently in the Tech Noir nightclub scenes). Needless to say, they turn the song’s techno essence into sheer metal madness.

“This record pushed us to explore every corner of our sound – from fast and heavy tracks to more emotional and melodic moments,” commented the band, presenting a mature and confident chapter in their journey, offering a cohesive yet varied listening experience shaped by themes of growth, transition, uncertainty, and renewal. Blending compelling melodies, powerful orchestration, and expressive songwriting, the album surely helps the band to establish themselves as a distinctive voice within modern Symphonic Metal. With that said, you can get to know more about Diego Valadez and his Anthea on Facebook an on Instagram, stream their classy music on any platform like Spotify, and of course grab you copy of Beyond The Dawn from Rockshots Records, letting the melodious and electrifying Symphonic Metal by those American metallers penetrate deep inside your metal heart.

Best moments of the album: Beyond The Dawn, From Shadows to Light and Wanderer’s Quell.

Worst moments of the album: Crystal Moon.

Released in 2026 Rockshots Records

Track listing
1. Beyond The Dawn 4:13
2. Phantom in the Masquerade 3:32
3. The Lost Soul 3:44
4. Awakening (Song for Spring) 4:16
5. Bygone Age (Chicxulub) 4:03
6. From Shadows to Light 4:40
7. Crystal Moon 4:11
8. Wanderer’s Quell 3:53
9. Whispers of the Heart 4:46
10. Duality of Gaia 4:12
11. Burnin’ in the Third Degree (Tahnee Caine and Tryanglz cover) 3:38

Band members
Diego Valadez – lead vocals, keyboards, orchestration
Juan Pina – rhythm guitars, harsh vocals
Marcos Mejia – lead guitars
Gabby Hawk – bass
Peter Vasquez – drums

Guest musicians
Mel Del Real – backing vocals
Astrid Anaya – backing vocals

Album Review – Muerto / Eclipsed Realms (2026)

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A Stygian Mexican entity returns with their third album, offering a well-balanced blend of Black Metal with Doom and Post-Metal, with its atmosphere pressing down on the listener like a hand to the throat.

Against the backdrop of harrowing, plaintive music are the hollow echoes of an aggrieved, possessed-sounding woman, adding more malice to the music than anything possibly contrived. Eclipsed Realms, the third studio album by San Juan del Río, Mexico-based Black Metal entity Muerto (the Spanish word for “dead”), is a worthy follow-up to their 2023 sophomore Dust Fire Dust. Displaying a Stygian artwork by Ricardo González, the new opus by Penelope Matamoros on vocals and bass, Juan Mondragon (Necronos, Castleumbra) on the guitars, and Eddel Jared on drums offers a well-balanced blend of Black Metal with Doom and Post-Metal, as well as avantgarde touches, with its atmosphere pressing down on the listener like a hand to the throat, being therefore highly recommended for fans of Amenra, Emptiness, Opera IX, and Deathspell Omega, just to name a few.

Penelope begins distilling her venomous gnarls in Serpentine Echoes, while Juan and Eddel fire a scathing fusion of Black and Death Metal with Post-Metal nuances, sounding chaotic, cryptic and vile from start to finish. Then the minimalist and somber guitars and bass by Juan and Penelope set the tone in Veil of Desolation, evolving into a sluggish beast of Blackened Death and Doom Metal that will haunt your souls for all eternity; followed by Burning Shadows, as acid and visceral as its predecessors, with Penelope once again roaring like a true she-demon while Eddel smashes his drums with zero mercy for anyone who dares to cross his path. He keeps demolishing our putrid bodies in Wilderness, while the strident riffage by Juan couldn’t have sounded more obscure; and in Decay a Post-Black Metal start gradually evolves into a sinister feast of otherworldly sounds, keeping the album as dark and sulfurous as possible. Lastly, get ready for total annihilation with the eight-minute beast entitled Radiance, led by Penelope’s devilish vociferations and the always scorching Black Metal guitar lines by Juan.

Masterfully juggling various emotions in an aura of suffocating darkness, the new offering by Muerto presents a refreshing rawness in a time of overly processed music, and if you want to experience such a thrilling fusion of raw and dark sounds you can purchase the album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, as well as stream it as many times as you want on any platform like Spotify. Don’t forget to also follow the band on Facebook and on Instagram, staying up to date with all things Muerto, therefore darkening your minds and souls even more. The music presented by those Mexican metallers in Eclipsed Realms is truly embracing, harsh and hypnotizing, leaving us eager for more of their suffocating sounds in a not-so-distant future.

Best moments of the album: Serpentine Echoes and Radiance.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Serpentine Echoes 4:46
2. Veil of Desolation 6:48
3. Burning Shadows 4:55
4. Wilderness 4:36
5. Decay 6:31
6. Radiance 8:23

Band members
Penelope Matamoros – vocals, bass
Juan Mondragon – guitars
Eddel Jared – drums

Album Review – Melechesh / Sentinels Of Shamash EP (2026)

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The “Kings of Fire” of Blackened Death Metal return after over a decade with a scorching new EP, burning with the tension between chaos and sacred order, ruin and restoration, mortal defiance and divine decree.

The indomitable Melechesh, the “Kings of Fire” of Blackened Death Metal with Middle-Eastern and Folk Metal influences, who also label themselves as “Sumerian Thrashing Black Metal Pioneers,” are finally back into the battlefield over ten years after their last opus Enki with a fulminating three-track EP entitled Sentinels Of Shamash. Recorded and mixed by Kristian Kohlmannslehner at Kohlekeller Studio, with vocals recorded at Neverworld Recordings and Kingsize Soundlabs, with additional sessions at Forneus Studio, and displaying a classy artwork by Néstor Ávalos, the newborn spawn by Melechesh Ashmedi on vocals, guitars, keyboards, piano and folk instruments, Lord Curse on drums and percussion, Moloch on the guitars, backing vocals and folk instruments, and featuring the iconic Rob Caggiano as a guest bassist bass, Sentinels Of Shamash sees the band enter a ceremonial descent into ancient law, fire, and cosmic vigilance. Rooted in the solar authority of Shamash, god of truth and justice in Mesopotamian cosmology, the EP burns with the tension between chaos and sacred order, ruin and restoration, mortal defiance and divine decree.

Sharp, metallic guitar riffs set fire to the atmosphere in The Seventh Verdict, featuring guest Jessica Pimentel on vocals, boosted by hard hitting drums and Ashmedi’s infernal vociferations, inspiring us to headbang like true metalmaniacs in an overdose of Middle-Eastern Black Metal magic. The rumbling bass by Rob and the massive beats by Lord Curse offer Ashmedi and Moloch exactly what they need to cut our skin deep with their infuriated riffs in In Shadows, In Light, a rebellious and visceral Black Metal extravaganza by the band; and it’s pedal to the metal in the closing song Raptors of Anzu, offering our avid ears over six minutes of darkness, chaos, heavy-as-hell guitars, and the always piercing, hellish gnarls by Ashmedi, ending the EP on a beyond atmospheric, tribal and venomous mode.

In the end, Sentinels of Shamash stands as a mythological statement shaped in flame and discipline, a work of vigilance, a declaration that truth remains luminous even in eras of shadow. You can get to know more about the mighty Melechesh and show the band your utmost support by following the project on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their unique creations on most platforms such as Spotify, and of course by purchasing the EP from the Reigning Phoenix Music webstore (EU, US or UK), or simply by clicking HERE. The sentinels do not sleep. The sun does not close its eye. And through relentless sonic force, Melechesh remind us that judgment is eternal, and order, though challenged, will rise again in fire. All hail Melechesh and the Sentinels Of Shamash, and may their Extreme Metal fire keep burning for many centuries to come.

Best moments of the album: In Shadows, In Light.

Worst moments of the album: The fact that it’s only a three-song EP.

Released in 2026 Reigning Phoenix Music

Track listing
1. The Seventh Verdict 6:23
2. In Shadows, In Light 8:26
3. Raptors of Anzu 6:12

Band members
Melechesh Ashmedi – vocals, guitar, keyboards, piano, folk instruments
Lord Curse – drums, percussion
Moloch – guitars, backing vocals, folk instruments

Guest musicians
Jessica Pimentel – vocals on “The Seventh Verdict”
Rob Caggiano – bass (session)

Album Review – Sisyphean / Divergence (2026)

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Providing us all with an inspiring creative outlet of their unique-sounding Black Metal, this Lithuanian horde is finally back with their scorching third album.

Providing us all with an inspiring creative outlet of their unique-sounding Black Metal, true to their musical legacy and their history while also open to new inspirations, Vilnius, Lithuania’s own Blackened Death Metal horde Sisyphean is finally back with their third full-length offering, entitled Divergence, following up on their critically acclaimed 2022 sophomore Colours of Faith. Recorded at Hertz Studios, produced, mixed and mastered by Wojtek Wieslawski (Behemoth, Decapitated), and displaying another Stygian artwork by the beyond talented Chris Kiesling of Misanthropic-Art, the new album by Dainius P. on vocals, Kamil U. and Saulius B. on the guitars, Augustinas B. on bass, and Mantas D. on drums exhales aggression and creativity, with its lyrics providing depth that many writers would envy, therefore keeping their music always fresh and timeless.

The sinister, atmospheric intro The Tower will drag us to pitch black darkness before the band destroys our souls with A Point in the Abyss, with the classic blast beats by Mantas enhancing the song’s punch, offering Dainius exactly what he needs to roar like a true demonic entity supported by the cadaverous guitar lines by Kamil and Saulius. The band continues their path of chaos and obscurity in Occultation, where the stringed trio formed of Kamil, Saulius and Augustinas melts our faces with their dissonant and evil Black Metal sounds; and Sisyphean arise from the underworld in full force with Stupor Mundi, a Latin phrase meaning “wonder of the world” or “astonishment of the world,” used to describe the 13th-century Holy Roman Emperor Frederick II (1194-1250), eviscerating our putrid bodies with their cadaverous riffs, bass lines and drums while Dainius keeps haunting us all with his devilish vociferations.

The quintet speeds thigs up and spread sheer animosity and sulfur in Hunting for Answers, led by another galloping performance by Mantas on drums and supported by Augustinas rumbling bass. In Divergence is a lecture in modern-day Black Metal, also presenting the most infuriated elements of Death Metal, with Dainius sounding absolutely rabid and evil on vocals for our absolute delight; followed by Black Bird That Brings No Joy, bringing to our putrid ears an overdose of sharp, caustic words (“There’s little time for snakes / Those bastards suspended in infectious states / Stretching vines, grasping for every throat and wonder / Suddenly, an enemy / Who uses doubt as a potent weapon / Projecting woes and misfortunes”) while the music is a true Blackened Death Metal attack. Lastly, closing such a powerful and captivating album we’re treated to Sangfroid, offering over seven minutes of harsh, scathing sounds where the guitars by Kamil and Saulius transpire darkness.

After listening to Divergence, you’ll quickly realize Sisyphean play Black Metal for the future, perfect for the quietness of the winter forest, but also well suited for a walk through the city centre. You can get to know more about those unrelenting Lithuanian metallers on Facebook and on Instagram, stream their enfolding creations on Spotify, and of course purchase their breathtaking new album from BandCamp or by clicking HERE. Manipulation, narcissism and other similar physic disorders remain a huge part of the darkest corners of the human mind. How can those be exposed, how shall those be revenged and how can we learn from them? You’ll find the answers to those obscure questions in Divergence, but be careful, as the truth might at the same time set you free, and imprison your soul within your own self.

Best moments of the album: Stupor Mundi, In Divergence and Black Bird That Brings No Joy.

Worst moments of the album: None.

Released in 2026 Edged Circle Productions

Track listing
1. The Tower 1:43
2. A Point in the Abyss 5:32
3. Occultation 6:29
4. Stupor Mundi 6:15
5. Hunting for Answers 4:39
6. In Divergence 5:04
7. Black Bird That Brings No Joy 5:29
8. Sangfroid 7:20

Band members
Dainius P. – vocals
Kamil U. – guitars
Saulius B. – guitars
Augustinas B. – bass
Mantas D. – drums

Album Review – Apolaustic / No Plenitude Without Suffering (2026)

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Behold the heartfelt, meticulously put together, pristine-sounding debut from a veteran musician that is bound to stand the test of time if only on the basis of the sheer quality of melodies contained within.

Brought into being by former Stortregn vocalist and guitarist Romain Negro as an outlet for him to express his personal vision, Switzerland-based Melodic Black/Death Metal entity Apolaustic (an adjective describing someone or something entirely devoted to enjoyment, pleasure-seeking, or self-indulgence) is ready to unleash hell with their debut offering, titled No Plenitude Without Suffering. Displaying a grim, caustic artwork by Romain Negro himself, and featuring session musicians Merlin Bogado (Dyssebeia) on the guitars and bass, and Nicolas Muller (Akiavel) on drums, No Plenitude Without Suffering is a heartfelt, meticulously put together, pristine-sounding debut from a veteran musician that is bound to stand the test of time if only on the basis of the sheer quality of melodies contained within.

Devouring the Past is absolutely infuriated, grim and vile from the very first second, with Nicolas sounding inhumane on drums, therefore offering Romain exactly what he needs to vociferate like a demonic entity. They keep the atmosphere as dense and devilish as possible in Fragments from a Misty Journey, a lecture in Melodic Black Metal by Romain and his henchmen, followed by Testimony of an Obsolescent World, which starts in a serene, melancholic manner before the trio destroys our souls mercilessly, with Merlin’s riffs and solos exhaling sulfur and hatred. And Romain and his horde go full Black Metal in Shining Amidst the Lights, offering a demonic wall of sounds led by the massive beats and fills by Nicolas, perfect for some wild headbanging in pitch black darkness.

After such a demolishing sonority, the trio offers the nocturnal, doom-ish interlude Smells Like Dead Autumn Fire, setting the tone for Black Flame Reviver, a seven-minute journey through the realms of Melodic Black and Death Metal presenting multiple layers and nuances, spearheaded by Romain’s devilish vociferations. De Feu et de Cendre, which translates to “of fire and ash” (a French phrase describing destruction, rebirth, or remnants left behind by fire) is another bold and detailed aria of extreme music by Apolaustic, with Merlin stealing the spotlight with a flawless guitar performance; before we face Peregrination Towards Childhood Memories, showcasing one final breath of demonic sounds by the band, closing the album on a venomous and climatic mode.

Described as a mix of profound, emotional melodies and “blackened extremity,” Apolaustic’s aesthetic and music aim for a balance of intensity and depth, often featuring intricate, melodic, and atmospheric passages alongside faster, more aggressive Black Metal sections, being therefore perfect for admirers of the classy music blasted by renowned acts the likes of Dissection, Naglfar, Sacramentum, Unanimated, Thulcandra, Stortregn, and Dyssebeia. You can get in touch with Romain and his fantastic new project via Facebook and Instagram, staying up to date with their news, plans for the future and so on, stream their phenomenal creations on Spotify, and put your putrid hands on No Plenitude Without Suffering from their own BandCamp, from Big Cartel (including some superb merch items), or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In the end, it’s safe to say that No Plenitude Without Suffering will feature among the best underground albums of 2026, and I can’t wait for more of the blackened magic crafted by Romain in a not-so-distant future.

Best moments of the album: Fragments from a Misty Journey, Shining Amidst the Lights, Black Flame Reviver and De Feu et de Cendre.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Devouring the Past 5:42
2. Fragments from a Misty Journey 5:14
3. Testimony of an Obsolescent World 5:03
4. Shining Amidst the Lights 5:50
5. Smells Like Dead Autumn Fire 0:57
6. Black Flame Reviver 7:02
7. De Feu et de Cendre 6:29
8. Peregrination Towards Childhood Memories 4:35

Band members
Romain Negro – vocals

Guest musicians
Merlin Bogado – guitars, bass (session)
Nicolas Muller – drums (session)

Album Review – Cenotafio / La Escisión Acausal: Por La Vía Inversa Hacia La Descarnación (2026)

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This stormy and wrathful Black and Death Metal duo reveals themselves as a banner as well as an alliance with their long-awaited, scathing third album.

Hailing from the frontiers of southern Chile in a bloody transfixion that decomposes and darkens the veins of everything created under the stormy and wrathful Black and Death Metal that’s been inoculated all along the last decade, Temuco, Araucania-based entity Cenotafio reveals themselves as a banner as well as an alliance with their long-awaited third album, titled La Escisión Acausal: Por La Vía Inversa Hacia La Descarnación, English for “the acausal cleavage: through the inverted way to the fleshing out,” the follow-up to their 2019 sophomore opus Larvae Tedeum Teratos. Across the 43-minute album’s six tracks, the duo formed of Daniel Hermosilla on vocals, guitars and bass, and Patricio Kusnir on drums and vocals lays bare a supremely sepulchral landscape where genre delineations become irrelevant. Black Metal devours Death Metal, then vice-versa, all while a roiling undercurrent of Doom Metal provides the rhythmic sturm under drang that’s seemingly scattershot but eventually reveals its restless genius.

Atrabilis Taenia Solivm carries a cadaverous name for a song, starting in the most Blackened Doom manner imaginable before exploding into a chaotic blend of Black Metal led by their demonic vociferations and the ruthless drums by Patricio. Speaking of sluggish doom, I love it when a band that’s known for long, doomed songs decides to blast our faces with a sharp and shorter-than-usual tune like Osario, with Daniel delivering an overdose of insanity through his riffs and bass lines, resulting in a song not recommended for the faint at heart. And Nigredo Transfixión keeps the atmosphere as grim and unfriendly as possible, another caustic fusion of Black, Death and Doom Metal by the duo where Patricio steals the spotlight with his demented blast beats.

They continue to darken our minds and thoughts with the bludgeoning Acausal Escisión, presenting a caustic, visceral slab of Blackened Death Metal; and it’s time to enter a pit of deadly snakes in Viperidarium, offering our putrid ears a massive wall of sounds which end up boosting their Mephistophelian guttural to a whole new level of obscurity. And as the icing on their dark cake, we have Orbis Coagula, a multi-layered, evil, Stygian and brutal aria presenting the darkest elements of Doom Metal intertwined with the most vicious Black and Death Metal sounds, with Daniel ‘s riffs sounding absolutely disturbing and evil until the song’s climatic, vile end, sending shivers down our spines.

After immersing yourself into the dark and doomed waters of La Escisión Acausal: Por La Vía Inversa Hacia La Descarnación, you’ll quickly notice the wait for a new album by Chile’s monster Cenotafio was absolutely worth it. Buried under miles of Blackened Death and Doom Metal ash, the duo sounds on fire from start to finish, and if you want to show them your utmost support you can find those talented musicians on Facebook and on Instagram, stream their caustic music on Spotify, and purchase their sulfurous new album from their own BandCamp or from the Demoniac Productions’ BandCamp. Cenotafio are among us to spread sheer obscurity, blackening their Death Metal sounds while also turning their Black Metal vein even deadlier, with La Escisión Acausal: Por La Vía Inversa Hacia La Descarnación embracing us all in absolute darkness.

Best moments of the album: Osario and Orbis Coagula.

Worst moments of the album: None.

Released in 2026 Demoniac Productions

Track listing
1. Atrabilis Taenia Solivm 8:47
2. Osario 5:11
3. Nigredo Transfixión 7:30
4. Acausal Escisión 5:58
5. Viperidarium 5:13
6. Orbis Coagula 10:17

Band members
Daniel Hermosilla – vocals, guitars, bass
Patricio Kusnir – drums, vocals

Guest musician
Jimmy Henríquez – bass (live)