Behold the scorching new offering by this Maltese one-man Black Metal project, chronicling the descent and transformation of a man consumed by insatiable thirst for forbidden knowledge.
A concept prose based on a Maltese legend formally penned by Agostino Levanzin (which in turn is rooted in actual events from the 16th century), chronicling the descent and transformation of a man consumed by insatiable thirst for forbidden knowledge, Miġja ta Moħħ Miġnun (or “Journey of a Mad Mind”) is the seventh studio opus by Pieta, Malta-based one-man Black Metal institution Saħħar. Presenting elements from an amalgamation of styles added to its Raw Black Metal essence, the new album by the lone wolf Marton Saliba marks a significant step forward in his artistic evolution, further refining a sound rooted in isolation, heritage and a deeply personal vision. Emerging from a scene far removed from the genre’s traditional strongholds, Saħħar continues to carve out a distinct identity within the contemporary Black Metal landscape.
L-Għatxan, or “thirst” in Maltese, starts in a ritualistic way before Marton consumes our souls with his Black Metal riffage and stone crushing drums, whereas Għerf Minsi, or “forgotten wisdom,” is even more infuriated and grim, with Marton barking and screaming with tons of anger and hatred in his blackened heart. It-Tarf tal-Kożmu u ta’ Ruħi, or “the edge of the cosmos and of my soul,” carries a beautiful name for a doom-laden Black Metal extravaganza by our Maltese warrior, with his roars piercing our minds mercilessly; and he puts the pedal to the metal armed with his unstoppable blast beats in Fil-Palazz Sejjaħtilhom (“to the palace I called them”), a lecture in extreme music. His Doom Metal vein arises in Il-Miġja sa Sqallija (“the coming to Sicily”), as dark and sinister as it can be, while Ftakar fija!, or “remember me!,” continues with the same vibe as its predecessor, albeit a bit too sluggish and repetitive at times. L-Antikrist il-Ġdid (“the new antichrist”) alternates between cryptic, spine chilling moments and absolute darkness and chaos, putting a grim ending to the album, but if you go for the physical release you’ll get the scorching bonus tracks Id-Dinja Taħt Pajjżi (“the world under countries”) and L-Imlejka (“the angel”), both visceral and dense, therefore absolutely worth the investment in the CD version.
In a nuthsell, Migja ta Mohh Mignun expands on the project’s established sonic framework, blending harsh intensity with subtle melodic layers and a pervasive sense of decay. The result is a work that feels both immersive and unsettling, enveloping the listener in a bleak, almost otherworldly atmosphere, being therefore highly recommended for fans of renowned acts the likes of Dark Funeral, Gorgoroth, Mortuary Drape, and Dimmu Borgir. You can get more information about Marton and his Saħħar on Facebook and on Instagram, stream his discography on Spotify, and of course purchase Migja ta Mohh Mignun from BandCamp, from Time To Kill Records, or by clicking HERE. Marton and his Saħħar will certainly take you on a one-way descent into the deepest corners of an insane mind in their new album, and you better be prepared because once that descent starts, there’s no return.
Best moments of the album:Għerf Minsi, Fil-Palazz Sejjaħtilhom and L-Antikrist il-Ġdid.
CD bonus tracks 8. Id-Dinja Taħt Pajjżi 5:01
9. L-Imlejka 6:21
Band members Marton Saliba – vocals, all instruments
Guest musicians
David Cutajar – guitars (live)
Kyle Anthony Cortis – guitars (live)
Gordon O’Reilly – bass (live)
Demon, please leave my mind… Delusional fight… Beaten, feel so traumatized… Outraged and down…
As June in the Northern Hemisphere is always splendid, our metal lady of such a warm and vibrant month also had to be a splendid one. However, you’re absolutely wrong if you think she sings about happiness and joy. Quite the contrary, she doesn’t care if it’s sunny and warm outside, delivering a Stygian blend of Atmospheric Black and Doom Metal with her band powerful enough to block the sun like a true sonic eclipse. Her name is Kristien Cools, the frontwoman for Belgian doom entity Splendidula, and you better be ready because once you enter her realm of gloomy and visceral doom, there’s no escape.
Born on September 22, 1985 in Mol, a municipality located in the Belgian province of Antwerp, but currently residing in Temse, a municipality in East Flanders, Belgium, Kristien is not only a metal vocalist, but she’s also a digital creator and a financial assistant. Regarding her studies, she went to the Provincial Kunsthumaniora Hasselt (PIKOH), to SISA in Antwerp, and also studied Desktop Publishing at CVO Heusden-Zolder. In addition, she’s is in a relationship with Belgian musician Joachim Taminau, who’s by the way the drummer for Splendidula.
Kristien said that she already started singing from the very first moment she could, already as a young child. Even back then she said “I’m going to be a singer,” and she has stuck to that ever since. “I was in my first band when I was 17, with which I did gigs and recorded a CD. Splendidula is definitely the band where things got more serious. I actually waited a very long time before taking singing lessons, but I once read an article about a singing teacher who teaches the technique for heavier singing in a healthy way, and that piqued my interest.”
Effortlessly blending genres to create a unique and captivating sound while dealing with delicate topics such as spirituality, depression, nightmares and death, Temse, Belgium-based Atmospheric Black/Doom Metal entity Splendidula started back in 2008, but none of the founding members are part of the band anymore. As a matter of fact, the band only released their debut self-titled album in 2013, already including Kristien on vocals, but with a completely different lineup with David Vandegoor and Adriaan Paszewski on the guitars, Jo Flemings on bass, and Patrick Vanderhenst on drums. After that, already featuring Joachim Taminau on drums (as well as other band members), the band released the albums Post Mortem, in 2018, and Somnus, in 2021.
Things unfortunately took a dark turn for Splendidula in 2022 with the passing of bassist Peter Chromiak, who played with the band in the albums Post Mortem and Somnus. Both guitarists at that time, Pieter Houben and David Vandegoor, found it impossible to carry on and Kristien and Joachim had to find new band members. After guitarist Guy Van Campenhout joined the band, and with the departures of guitarist Kim Van Stichel and bassist Bart Deroissart, they released their 2026 opus Absentia, a deeply personal journey through themes of loss and remembrance, available on BandCamp and on Spotify. Furthermore, in all of their albums you’ll find really touching, grim and scathing creations such as Absentia, Echoes of Quiet Remain, Behind My Semblance, Oculus, and Drocht.
According to the band, their name is derived from “lamprohiza splendidula,” the Latin name for “firefly,” aiming to represent the mysterious and peaceful feeling that these insects express when they fly around trees or float over water at night. Sitting at the crossroads of Atmospheric Black Metal and Doom Metal, the band blends the raw intensity of Black Metal with the deep, immersive atmosphere of Doom Metal, and while classic influences are certainly present, their focus is on crafting a layered, emotional experience. The combination of visceral screams, ethereal synths, and heavy instrumentation builds an atmosphere that is both intense and hypnotic, as their music is all about emotion and immersion, drawing the listener into the darkness they create.
Kristien also had some interesting comments about the music style played by Splendidula in one of her interviews. “We actually started writing music without wanting to play a particular genre. For us, the atmosphere that a song radiates is more important than whether or not we fit into the box we’re put into. During this process, we’ve evolved to a sound with a typical Doom metal base, accompanied by different influences from Sludge, Post and Black Metal. In this way we’re not limited to the boundaries of a particular genre. We want to continue evolving and explore musical boundaries, without standing still, and of course we hope that our audience will show the willingness to grow with us.” Regarding the band’s usually bleak artworks, she mentioned that the band decided to go for a really somber, yet very meaningful style of monochromatic art, to connect further with the concept of dreaming. “Actually a part of the population dreams solely in black and white, and a lot of theories suggest that people tend to dream in black and white when they experience something traumatic. After overcoming that difficult period, colours are gradually returning. We found this connection between dreams and reality very intriguing.”
Although Splendidula is obviously Kristien’s only band, you can also find her as a guest vocalist for the song Of Winter’s Woe and Whishes Whispered, from the 2021 album Prelude to Void, and all female vocals in the 2022 album A Voidchaser’s Elegy, both by German Ambient Doom/Post-Metal act Eirð, with her delicate yet visceral vocals matching perfectly with the long composition by the band’s mastermind Andreas Georg Libera, going on for over 10, 15 and even 20 minutes. I’m sure we’ll see more special appearances from Kristien in the near future for other bands that play Black, Death, Doom, Post-Metal, or any other subgenre of extreme music, as her voice fits perfectly in any of the darkest styles in Heavy Metal.
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Within the Black Metal spectrum, Kristien said that some of her major musical influences are renowned acts the likes of Rotting Christ, Wiegedood, Austere, Hecate Enthroned, and Urfaust, among several others, saying she’s always been drawn to Atmospheric Black Metal. “There’s something about the darkness and atmosphere that truly moves me. It’s more than just music, it’s an emotional experience. Outside of metal, my ‘feel-good’ music is New Wave and EBM, as I love the melancholic yet danceable energy these styles bring. I listen to many genres, what truly matters is that the music evokes emotion,” she commented.
As the band wanted to dedicate Absentia to their deceased bassist Peter Chromiak, and as Kristien was looking for a way to express her emotions even further, that album is the one where you’ll find her most aggressive vocals, having received lots of tips on how to properly venture through the realms of screaming and guttural singing. “Personally, I like to be able to vary as much as possible, both the low and high vocals, and now with the screams added, so that people stay captivated, and for me that is interesting too, of course.” Not only that, she mentioned that the band’s creative process includes writing the music first, starting from a basic riff in the rehearsal room, and then experimenting with song structures and implementing some of their personal influences, which is when she begins crafting her vocal lines as well. “Remarkably, I usually create my vocals while driving the car. Belgian traffic jams seem to be the perfect occasion to play some rehearsal recordings and start singing along. In this way I often create melodies very instinctively, and only at the very last stage, these melodies are also accompanied by written words.”
Needless to say, Kristien loves to perform live, having already played in different Belgian cities like Antwerp, as well as outside of their homeland, and at Belgium’s second-largest metal festival, Alcatraz. Furthermore, when asked how she would determine the setlist when Splendidula is scheduled for a 30 or 40-minute slot anywhere, taking into account their songs are long and detailed (sometimes surpassing the nine-minute mark), she said that can be a bit of a puzzle, but in the end everything makes sense and the show flows really well. Also, as the band consistently uses visuals in the background, like video footage, to create the perfect atmosphere and give their concerts a more theatrical vibe, there’s always lot of work to be done by Kristien and the boys, but it’s all worth it as the audiences love every single second of their performances.
Lastly, as a Belgian citizen that’s proud of the metal scene in her homeland, Kristien recommends Antwerp’s own Doom/Death Metal band Marche Funèbre, who by the way released the amazing album After the Storm, in 2024; West Flanders-based Atmospheric Death/Black Metal act Thurisaz, who unfortunately played their last concert on December 6, 2024 in Kortrijk, Belgium, before calling it quits; and Mechelen’s own Atmospheric Sludge/Post-Metal band Pothamus, who released in 2025 the album Abur. Who knows, maybe one day we’ll see Kristien as a guest vocalist for one of these bands, or any other band from the darkest and most melancholic side of music, right? Because we need more of the voice of Kristien Cools in our rotten and decaying world, as her singing is as comforting as it’s dark and gloomy.
Prepare for a descent into blackened decay through the down-tuned, crushing Black Metal offered by this ruthless Slovenian horde in their incendiary new opus.
Bastard-born in a land of fractured identities, the venomous Slovenian Black Metal horde Ater Era channels the red soil of their homeland Istria as it rots, darkens, and transforms into something else entirely in their newborn spawn, titled Sinistria, the combination of the words “sinister” and “Istria.” Showcasing a blackened, oppressive, mid-tempo, riff-driven sound with weight and atmosphere, with lyrics in English, Istrian dialect and Slovenian, the follow-up to their 2017 album Clades represents a descent into blackened decay through down-tuned, crushing Black Metal with elements of Doom and Death Metal, embodying a sound that is oppressive and uncompromising, all masterfully brought into being by S.S. (aka Samuel Simonovič) on vocals and guitars, Eva Hreščak on bass, and J.G. (aka Jure Svarog Gams) on drums.
Grim, minimalist guitar and bass sounds permeate the air in Gorging On Devilries, being gradually joined by the pounding drums by J.G. and, therefore, crafting a dense and heavy atmosphere not recommended for the lighthearted; and the band ventures through the lands of Avantgarde and Experimental Black Metal in Terra Rossa, featuring guest musician Igor Pavletič on the trombone, with the riffs by S.S. and the rumbling bass by Eva making the earth tremble. The trio goes full Black Metal in Tema Trma, with the harsh vociferations by S.S. matching perfectly with the nonstop beats and fills by J.G., inviting us to join them in absolute chaos and darkness; while S.S.’s strident riffs ignite the band’s blackened engine in Bastard Born, filling every single space in the air with their Stygian sounds, not to mention his vociferations are also truly demonic, also presenting haunting, atmospheric passages to give it an extra taste. Lastly, we face the ten-minute aria of darkness titled Um Na Dnu, a phrase that translates directly to “mind at the bottom,” often used metaphorically in psychological or meditative contexts referring to exploring the deepest, subconscious, or foundational levels of one’s mind. Musically speaking, it’s a multi-layered display of contemporary Black Metal, ending the album on a vile and pensive mode.
Much like the land that inspired it, Sinistria exists in a state of tension between multiplicity and negation, origin and dissolution without seeking to reconcile these oppositions, but to inhabit them. Furthermore, while the core of Ater Era remains rooted in a primal Black Metal approach, their sound continues to expand into slower, more oppressive territories, adding multiple layers to their already dark and deep sonority. If you want to let their darkness embrace you, you can find Ater Era on Facebook and on Instagram, stream their Stygian music on YouTube and on Spotify, and of course grab a copy of their killer new opus from BandCamp or from On Parole Records. But you better be prepared as once you start your descent into total darkness together with Ater Era, there’s no turning back.
Best moments of the album:Gorging On Devilries and Um Na Dnu.
Worst moments of the album: None.
Released in 2026 On Parole Productions
Track listing 1. Gorging On Devilries 8:15
2. Terra Rossa 7:01
3. Tema Trma 7:41
4. Bastard Born 9:25
5. Um Na Dnu 10:08
Band members S.S. – vocals, guitars, production
Eva Hreščak – bass
J.G. – drums
Guest musicians Igor Pavletič – trombone on “Terra Rossa”
Eva Brajkovič – backing vocals on “Gorging on Devilries,” “Bastard Born,” and “Um Na Dnu”
Steve Broy – backing vocals on “Bastard Born”
Mitja Rupel – backing vocals on “Bastard Born”
Kariti – backing vocals on “Terra Rossa”
This uncanny Dutch collective returns with their suffocating fourth studio album, a dark and compelling work that once again pushes the boundaries between Black, Doom and Post-Metal.
Hailing from Breda, a city and municipality in the southern part of the Netherlands, located in the province of North Brabant, the uncanny Sludge/Post-Metal/Post-Hardcore entity The Fifth Alliance returns with their fourth studio album, titled Stenahoria, a dark and compelling work that once again pushes the boundaries between Black, Doom and Post-Metal. Recorded by Lander Cluyse at Hearse Studio, and mixed and mastered by Mendel bij de Leij, the follow-up to their 2019 album The Depth of the Darkness sees the band currently formed of Natalya Thelen (aka Thalos Sacritas) on vocals, Niels Termote and Matthijs Keuvelaar on the guitars, Puck Wildschut on bass, and Peter Scheffer on drums push into even more expressive territory, shifting between fragile, almost ethereal passages and massive, crushing moments, emerging from shared human experiences of sorrow, fear, and confinement, and therefore drawing the listener into an intense sonic journey through distress and introspection.
The album simply explodes in darkness from the very first second in Phoenix, with Natalya roaring in anger and hatred like a true she-demon while Peter hammers his drums like there’s no tomorrow in a lecture in Post-Black Metal madness. Then the minimalist but caustic and piercing guitars by Niels and Matthijs will put you in a trance in Benandanti, offering a grim fusion of Post-Metal with blackened, sluggish and visceral sounds, with Natalya stealing the show with her deep clean vocals. Fool on the Hill is as atmospheric as it is obscure and hypnotizing, with their Black Metal vein pulsing harder than ever thanks to the massive blast beats by Peter and the Stygian riffage by the band’s guitar duo; whereas in Battle of Barnet the band adds progressive and experimental elements to their core sound, providing Natalya with exactly what she needs to penetrate deep inside our souls with her flawless vocal performance. And closing the album we’re treated to the even more introspective and vile Jakob, where their Blackened Sludge Metal sonority erupts like a ruthless volcano, delivering metallic lava to our avid ears spearheaded by the scorching bass and drums by Puck and Peter before flowing into an absolute void.
A deliberate confrontation with discomfort, Stenahoria is a cathartic listening experience where intensity and fragility collide, creating a sound that lingers long after the final note fades, truly unfolding the more you sit with it, somewhere between the emotional intensity of Amenra, the atmosphere of Wolves in the Throne Room, and the dynamics of Cult of Luna, with those darker edges of Year of No Light and early Katatonia running throughout. Hence, you can get to know more about such a talented Dutch ensemble by following them on Facebook and on Instagram, stream their unique creations on Spotify, and of course purchase their striking new album from their own BandCamp, from the Tartarus Records’ BandCamp, from Ardua Music, or from Breathe Plastic’s BandCamp or webstore. The word “stenahoria” refers to a deep sense of emotional distress, anguish, sadness, or anxiety, derived from words meaning “narrow space,” and metaphorically signifying feeling suffocated, confined, or troubled. In other words, that’s exactly what you’ll feel while listening to the new album by The Fifth Alliance, with their dark music suffocating you until you can’t breathe anymore.
Best moments of the album:Phoenix and Fool on the Hill.
Worst moments of the album: None.
Released in 2026 Tartarus Records/Breathe Plastic/Ardua Music
Track listing 1. Phoenix 8:11
2. Benandanti 7:33
3. Fool on the Hill 7:35
4. Battle of Barnet 6:59
5. Jakob 7:28
Band members Natalya Thelen – vocals
Niels Termote – guitars
Matthijs Keuvelaar – guitars
Puck Wildschut – bass
Peter Scheffer – drums
Renowned worldwide for blending traditional American Death Metal with European and Scandinavian Death Metal, this deadly ensemble will attack armed with their ruthless third album.
Formed in 1999 in Clifton, New Jersey, the unrelenting Death Metal horde Funebrarum is renowned worldwide for a dark and heavy sound that blends traditional American Death Metal with influences from the European and Scandinavian Death Metal scenes of late 80’s and early 90’s such as Bolt Thrower, Demigod, and Abhorrence. After a long (but temporary) five-year hiatus due to the pandemic, career and familial responsibilities, the band formed of vocalist Daryl Kahan, guitarists Sam Osborne and Phil Tougas, bassist Kyle Winslow, and drummer Charlie Koryn is finally back into the battlefield with their third studio album, titled Beckoning The Void of Eternal Silence, following up on their 2001 debut Beneath the Columns of Abandoned Gods, their 2009 sophomore The Sleep of Morbid Dreams, and their 2016 EP Exhumation of the Ancient. Recorded by Charles Koryn at Elektric City Recording, and mixed by Steven Di Acutis at Sound Spa Productions, the album is perfect for fans of Incantation, Tomb Mold, and Autopsy, among others, keeping the fires of classic Death Metal burning majestically.
As if it was taken from a Sci-Fi horror movie, the intro The Arrival opens the gates of the underworld for Funebrarum to kill us all in Beckoning the Void of Eternal Silence, a lecture in Black, Death and Doom Metal showcasing an overdose of sluggish beats by Charlie while Daryl delivers deep, inhumane roars nonstop. Ša Nagba Amāru, the opening line of the standard Babylonian version of the Epic of Gilgamesh, translating from Akkadian to “he who witnessed the abyss”, is an absolute Death and Doom Metal feast blasted by the guys, whereas Through the Barren Halls of Grieving Emptiness continues their path of devastation and chaos, with Sam and Phil breathing fire through their riffs and solos. And Into Dark Domains is one of the heaviest and most doomed songs of the album, with the vocals by Andreas sounding utterly demonic.
It looks like their plan was to split the album in two acts, as we face the atmospheric interlude Ancestral Manor before all hell breaks loose in the incredibly heavy Anhela Odor Mortoruom (The Adepts), led by the massive bass and drums by Kyle and Charlie. Put differently, it can’t get any heavier than this. Then presenting a wild fusion of Death and Doom Metal we have From Rotting Burial Shrouds, with their vocals and riffs sounding primeval and intoxicating; and Kyle keeps blasting his bass without a single drop of mercy in Turning the Stones of Torment, keeping the album as incandescent as it is obscure. Last but certainly not least, they bring forward their most detailed, multi-layered and demonic composition to date, entitled The Whispering Cathedral – Epilogue, with the riffage by Sam and Phil darkening the skies in the name of extreme music until all fades into a climatic, vile finale.
After all is said and done, you’ll feel absolutely disoriented when the last notes in Beckoning The Void of Eternal Silence penetrate deep inside your rotten soul, proving how demolishing yet intricate and detailed the music by Funebrarum can be. If you want to know more about those guys, their tour dates, plans for the future and so on, you can find them on Facebook and on Instagram, and don’t forget to also stream their ruthless music on Spotify and on Apple Music. Beckoning The Void of Eternal Silence can be purchased directly from their own Bandcamp, or you can also get it from the Pulverised Records’ BandCamp or webstore. But be warned Funebrarum do not fool around when it comes to crafting Death Metal. Their music is deadly, and once it hits you, get ready to be crushed into tiny pieces.
Best moments of the album:Beckoning the Void of Eternal Silence, Anhela Odor Mortoruom (The Adepts) and The Whispering Cathedral – Epilogue.
Worst moments of the album:Ancestral Manor.
Released in 2026 Pulverised Records
Track listing 1. The Arrival 1:53
2. Beckoning the Void of Eternal Silence 5:30
3. Ša Nagba Amāru 6:56
4. Through the Barren Halls of Grieving Emptiness 4:26
5. Into Dark Domains 5:48
6. Ancestral Manor 1:32
7. Anhela Odor Mortoruom (The Adepts) 5:03
8. From Rotting Burial Shrouds 3:50
9. Turning the Stones of Torment 5:28
10. The Whispering Cathedral – Epilogue 8:44
Band members Daryl Kahan – vocals
Sam Osborne – guitars
Phil Tougas – guitars
Kyle Winslow – bass
Charlie Koryn – drums
Let’s use the new album by this ruthless Italian Death Metal entity as our weapon to defeat the concept of death as a total cessation of consciousness and existence.
Formed in 2001 in Northeast Italy, the unrelenting Death Metal outfit known as Chronic Hate has been building a strong presence in the European metal scene, performing alongside bands such as Obituary, Suffocation, Fleshgod Apocalypse, Pungent Stench, and many more, always combining many influences in the Extreme Metal genres, from the old school vibes of the early 90’s sound to the more contemporary blasting acts. Now in 2026 the band formed of Andrea on vocals, Daniele and Massimo on the guitars, Marco on bass, and Nicolas on drums strikes again with their third full-length opus, entitled Defeating the Oblivion of Life. Recorded by Daniele Tollon at Black Swamp Studio (vocals, guitars an bass) and by Ivan Moni Bidin at Artesonika Studio (drums), reamped, mixed and mastered by Greg Chandler at Priory Recording Studios, and adorned by a sinister artwork by Colin Marks of Rain Song Design, the album inaugurates a new, significant chapter for Chronic Hate, railing against a generational void through crude and direct lyrics, alternated with more intimate, lacerating and personal passages, resulting in undeniable emotional power and authenticity.
It’s pedal to the metal in the inhumane, demonic The Wrong, led by the ferocious beats and fills by Nicolas in a lesson in Black and Death Metal. With such a cool name it was obvious we were going to be pulverized by the band in Blastphemy, where Daniele and Massimo deliver pure Death Metal madness from their Immolation-inspired riffs, whereas a sinister intro quickly explodes into absolute chaos in Mass Distraction Program, with Andrea roaring and barking nonstop in the name of putrid, vile and grim extreme music. Let’s all feel the power of the riff in Regurgitated Brains before we have our faces melted by the band’s ruthless sounds led by Nicolas’ demonic beats and fills; and there’s no sign of the quintet slowing down at all in Despair… in Sorrow, with the bludgeoning kitchen by Marco and Nicolas bringing thunder to their sound.
Subjugated Minds sounds as metallic and heavy as it can be, with the guitars by Daniele and Massimo exhaling absolute aggression and fury, therefore living up to the legacy of 90’s Death Metal, while Born to Appear kicks off in an ominous manner before the boys pulverize us all with their multi-layered wall of Death Metal, spearheaded by another slab of the monstrous vocals by Andrea. The breathtaking Handcuffed invites us all to dive deep into a ferocious mosh pit, with their dark and deep vocals and riffs embracing us all in pitch black obscurity, and finally, we’re treated to the song that carries the name of the band, the crushing Chronic Hate, where Andrea’s guttural is boosted by another demented performance by Nicolas on drums.
The guys from Chronic Hate are definitely not fooling around when it comes to crafting deadly and visceral heavy music, and as you listen to each and every track from Defeating the Oblivion of Life you’ll feel all their rage, violence and passion for the extreme flowing through your veins. Those talented Italians are waiting for you with news, tour dates and more of their music on Facebook and on Instagram, and don’t forget to also stream their wicked music on Spotify, and to purchase their pulverizing new album from their own BandCamp or from Time To Kill Records. Defeating the concept of death as a total cessation of consciousness and existence, a “deep, dreamless sleep” without a post-mortem afterlife, can only be achieved with a lot of noise, and only first-class Death Metal like what Chronic Hate have to offer us in their new album can help us with such a difficult task.
Best moments of the album:The Wrong, Regurgitated Brains and Handcuffed.
Worst moments of the album: None.
Released in 2026 Time To Kill Records
Track listing 1. The Wrong 3:35
2. Blastphemy 3:20
3. Mass Distraction Program 3:05
4. Regurgitated Brains 2:45
5. Despair… in Sorrow 9:45
6. Subjugated Minds 4:31
7. Born to Appear 4:02
8. Handcuffed 3:31
9. Chronic Hate 5:04
Band members Andrea – vocals
Daniele – guitars, backing vocals
Massimo – guitars
Marco – bass
Nicolas – drums
This Ukrainian Black Metal horde returns in full force with their sophomore offering, tracing the quiet seduction of belief and exposing how easily comfort becomes deception.
“In this cold-lit sermon where redemption and obedience blur, and devotion feels less demanded than desired, the thrill lies not in force, but in the willing surrender to something feared, and thus revered.” – Deus Sabaoth
After the successful release of their 2025 debut Cycle of Death, the unrelenting Ukrainian Melodic Black Metal horde Deus Sabaoth wasted no time and continues to spread their dark music across the four corners of the earth with their sophomore opus, entitled Distortion of Lies. Exploring controversial themes such as religious criticism, existentialism, nihilism, and solitude, the new album by N-Exul on vocals, Alyona Neith on bass, piano, music composition and lyrics, and Ercld on drums, with the support of session musicians Anton Vorozhtsov on the guitars and Sofia Konstantynova on the violin, plus drum recording and partial composition by Dmytro Kim, drifts through the fragile architectures we build to protect ourselves from reality. It traces the quiet seduction of belief – whether wrapped in sacred language or stitched together from desperate hope – and exposes how easily comfort becomes deception.
The pulverizing opening track Worship starts in an epic manner before exploding into absolute Black Metal chaos where Ercld’s drums boost N-Exul’s vocals to a whole new level, kicking off the album on a sulfurous and demented note for the delight of all admirers of the darkest of arts. Then Alyona’s melancholic piano kicks off the title-track Distortion of Lies, a grim composition where the guitar by Anton exhales obscurity, proving why he was chosen by the band to be responsible for the album’s riffs and solos. After that, Alyona and guest Sofia Konstantynova embellish the airwaves with their respective piano and violin in Last Gleam, where Black Metal clashes in absolute darkness with the Stygian sounds of Doom Metal.
The scorching Imperishable Script is another song where Alyone steals the spotlight with her devilish piano, with all caustic Black Metal riffs and bass blasted by the band crushing our damned souls mercilessly. And in Tree of Knowledge the vile N-Exul declaims the song’s scathing words like a demonic entity, accompanied by the demented drumming by Ercld. For There Will Be Dawn offers us all a good display of Epic Black Metal, albeit not as dynamic nor detailed as the rest of the album, whereas their black mass comes to an end with Anton, Alyona and Ercld crafting a visceral and piercing sonority in Wooden Box, while N-Exul growls nonstop with tons of anguish and hatred in his heart.
“And beyond the longest night, there will be a dawn, when every distortion fades, leaving nothing but what was real all along,” cryptically commented the band about their newborn beast, and if you want to follow those Ukranian black metallers into oblivion you can find them on Facebook and Instagram, stream their previous album and very soon their new one on Spotify or any other platform, and above all that, grab a copy of Distortion of Lies from their own BandCamp, or from Paragon Records. Cold, blasphemous and grim, Distortion of Lies will keep the fires of Ukranian metal burning bright, inspiring Deus Sabaoth to keep delivering their blend of blasphemy and darkness for the delight of us all, mere mortals, for many years to come.
Best moments of the album:Worship, Imperishable Script and Tree of Knowledge.
Worst moments of the album:For There Will Be Dawn.
Released in 2026 Paragon Records
Track listing 1. Worship 5:13
2. Distortion of Lies 4:24
3. Last Gleam 4:33
4. Imperishable Script 6:12
5. Tree of Knowledge 5:25
6. For There Will Be Dawn 4:34
7. Wooden Box 4:40
Band members N-Exul – vocals
Alyona Neith – bass, piano
Ercld – drums
Guest musicians
Anton Vorozhtsov – guitars (session)
Sofia Konstantynova – violin (session)
UK’s own leaders and titans of Symphonic and Melodic Black Metal are back from the underworld stronger than ever with their vicious, breathtaking seventh studio offering.
Leaders and titans of Symphonic and Melodic Black Metal, England’s own Hecate Enthroned are finally back from the underworld with their vicious seventh studio album, beautifully entitled The Corpse of a Titan, a Lament Long Buried, following up on their 2019 beast Embrace of the Godless Aeon. Once again produced by the band itself alongside Dan Abela (Akercocke, Bleed From Within, Annal Nathrakh), who also mixed and mastered the album, and showcasing a stunning cover art created by Erskine Designs (Inanimate Existence, Bleed The Sky), the new offering by Joe Stamps on vocals, Nige Dennan and Andy Milnes on the guitars, Dylan Hughes on bass, Pete White on the piano and keyboards, and Matt Holmes on drums will pulverize us all with their signature fusion of Death Metal aggression with orchestral Black Metal atmosphere, once again cementing the band as one of the most important names in the history of extreme music.
The Stygian intro Adar Rhiannon (or “Birds of Rhiannon,” three magical, otherworldly birds from Welsh mythology associated with the horse goddess Rhiannon) sets the stage for the band’s undisputed Black Metal attack in Spirits Stir Within Our Ancestors Tombs, with Matt sounding simply demolishing behind his drums, adding endless rage and fury to their sound while the keys by Pete are utterly haunting. The devilish guitars by Nige and Andy will pierce your soul in The Arcane Golem, another lesson in Symphonic Black Metal by such a talented UK horde, whereas a beyond cryptic start gradually evolves into a massive Black Metal beast titled Steed of the Still Water, led by another pulverizing performance by Matt on drums. After that we have Pwca, a shape-shifting, mischievous, and often chaotic spirit or fairy from Celtic and Welsh folklore, with the music sounding maybe a bit too atmospheric and lengthy, but still very emotional.
The band gets back on track with the infuriated Black Metal beast titled Deathless in the Dryad Glade, also presenting elements from Death and Doom Metal to spice things up even more. A Gallery of Rotting Portraits, the first single released of the album, is utterly bestial, with the harsh vociferations by Joe walking hand in hand with the slashing riffs by Nige and Andy, and the always majestic keys by Pete. The Boreal Monastery sounds and feels massive, multi-layered and grim form start to finish, with the hammering drums by Matt sounding flawless, offering Joe everything he needs to scream like a demon, whereas lastly we face Into a Vale of Endless Snow, keeping their Symphonic Black Metal vein pulsing harder than ever, consequently ending the album on a demolishing note to the thunderous sounds blasted by Dylan, Pete and Matt.
“Our first release since 2019, these are huge, epic, hard-hitting songs carved in the traditional Hecate Enthroned way with a menacing veil delivered with a crisp punch. Lyrically based around ancient British myths and legends,” commented the band’s bassist Dylan Hughes, inviting us all to join the band in absolute darkness in the best British Extreme Metal style. Having said that, don’t forget to check what the band is up to on Facebook and on Instagram, to stream their undisputed discography on Spotify, and above all that, to purchase their venomous new opus from BandCamp or from M-Theory Audio. The corpse of a titan lies upon the shores of England, and Hecate Enthroned will make sure his demise reverberates to the four corners of the earth to the sound of their insane new album.
Best moments of the album:Spirits Stir Within Our Ancestors Tombs, Steed of the Still Water, A Gallery of Rotting Portraits and The Boreal Monastery.
Worst moments of the album:Pwca.
Released in 2026 M-Theory Audio
Track listing 1. Adar Rhiannon 0:43
2. Spirits Stir Within Our Ancestors Tombs 8:10
3. The Arcane Golem 6:14
4. Steed of the Still Water 7:09
5. Pwca 6:07
6. Deathless in the Dryad Glade 6:37
7. A Gallery of Rotting Portraits 4:40
8. The Boreal Monastery 7:03
9. Into a Vale of Endless Snow 7:10
Band members Joe Stamps – vocals
Nige Dennan – guitar
Andy Milnes – guitar
Dylan Hughes – bass
Pete White – piano, keyboards
Matt Holmes – drums
The Year of the Snake is upon us, and the mighty Serpent Lord will teach us the once forgotten ways of the old through the music found in his majestic debut album.
Originally written in 2005, shelved, rebirthed and reimagined in the Year of the Snake, the excellent The Once Forgotten Ways of Old, the debut offering by Battle Ground, Washington-based solitary Pagan Black Metal vessel Serpent Lord, forged in 2003 by vocalist and multi-instrumentalist Jake Superchi (UADA, Ceremonial Castings), but laid dormant for 20 years, stands as a triumphant and immersive work – melodic, fierce, and steeped in ritualistic energy. Recorded at Obsidian Spells, mixed and engineered by Jake Superchi himself, mastered by Arthur Rizk, and displaying a mythical and arcane artwork by Kris Verwimp, the album offers expansive riffing, evocative passages, and a dynamic interplay between harsh and atmospheric elements, both timeless and fully awakened, while at the same time preserving every note of its primordial conception.
Jake kicks off his Stygian ceremony with the massive, multi-layered hymn Aries Ram, where his trademark enraged roars walk hand in hand with his scorching riffs and blast beats in a lecture in Melodic Black Metal, followed by Constrictor, a more direct Black Metal tune in the vein of the old ones like Venom and Mayhem, with Jake once again crafting a beyond cryptic atmosphere with his flammable riffs and serpent-like vocals. And his raging guitar transpires obscurity in the intense title-track The Once Forgotten Ways of Old, offering moments of pure heaviness and ritualistic doom intertwined with his classic Black Metal madness. Then we face Enter Serpentagram, presenting elements from the mighty UADA (for obvious reasons) but still sounding unique, as well as another killer job done by Jake on vocals, guitars and drums, flowing majestically until its venomous finale; whereas A Pagan’s Spell is as tribal and grim as it can be, inviting us all for another black mass led by the indomitable Serpent Lord, with Jake once again extracting those scathing riffs we all love so much. Lastly, he offers us all Forever on the Grounds of Battle, the perfect fusion of Black, Folk and Pagan Metal, with its main riff inspiring us all to raise our horns and worship the mighty Serpent Lord. Needless to say, the album couldn’t have ended in a more epic, climatic and somber way.
Channeling the spirit of 90’s Pagan Black Metal, Serpent Lord emerges from decades of silence with a work that fulfills the promise of its early recordings. It’s an album shaped by time, and driven by an uncompromising vision of Black Metal. If you want to put your hands on such a unique and evocative album, you can purchase it from the project’s own BandCamp (worldwide), as well as from Eisenwald Records (Europe and UK) or from Obsidian Spells (North America). In other words, the Year of the Snake is upon us, and the imposing Serpent Lord will teach us the once forgotten ways of the old through the music found in his majestic debut album.
Best moments of the album:Aries Ram, Enter Serpentagram and Forever on the Grounds of Battle.
Worst moments of the album: None.
Released in 2026 Eisenwald Records
Track listing 1. Aries Ram 8:35
2. Constrictor 3:09
3. The Once Forgotten Ways of Old 8:36
4. Enter Serpentagram 4:58
5. A Pagan’s Spell 5:27
6. Forever on the Grounds of Battle 8:09
Band members Jake Superchi – vocals, all instruments
Behold the new opus by this unrelenting Finnish melodeath entity, bringing the band’s storytelling to life through vivid tales of horror, superstition, and doom.
Formed back in 2010 in Tampere, Finland, Torchia have steadily carved out a distinctive identity within the Extreme Metal scene by blending thrash-infused Melodic Death Metal with dark fantasy, gothic horror, and cinematic atmospheres. Produced by Janne Saksa and Villemorte, mixed by Janne Saksa, and mastered by Dan Swanö at Unisound, with killer artwork, illustrations and layout by Caelan Stokkermans Arts, the incendiary They Are Born Under Rules, the fourth full-length opus in their career, represents a defining chapter in the artistic journey by frontman Nox, guitarists Villemorte and Henri von Hardy, bassist Vulkan, and drummer Vincent Oscar Mill. Set against a bleak, 19th century-inspired gothic backdrop, the album brings Torchia’s storytelling to life through vivid tales of horror, superstition, and doom, uniting narrative depth with relentless musical force.
The opening song Nekromanteion is simply cinematic and grim from the very first second, with Nox’s deep, dark vocals walking hand in hand with their striking guitar lines by Villemorte and Henri, kicking off the album with tons of sulfur, insanity and Black and Death Metal energy. The band continues their infernal path with Hellmouth, blending the demented sounds of modern heavy music with old school symphonic and dark elements, resulting in a truly headbanging feast; and Vincent ignites the band’s ruthless engine in Into Hell, pounding his drums while the guitars by Villemorte and Henri exhale rage and fury in another strong contender for their live performances. Guess what? They remain in hell for the also hard hitting melodeath tune Hellstorm, again presenting the demonic vociferations by Nox for our total delight while also displaying some wicked guitar solos.
After such a high level of fire and sulfur, the band will crush our damned skulls with the infuriated Die Amour, perfect for breaking our necks headbanging to the massive beats by Vincent, followed by The Tiamat Machine, carrying a beautiful name for an epic, thrilling creation by those uncanny metallers, offering a clash of distinct sounds that will bring excitement and fear to our hearts, all boosted by the insane roars by Nox and all background cinematic sounds. The band then lets their Thrash Metal vein arise in Black Cat, adding speed and rebelliousness to their core Melodic Death Metal sounds while the guitar work by the band’s axe duo is once again fantastic; and Vulkan and Vincent will shake the foundations of the earth with their thunderous kitchen in Stygian Waters, keeping the album as powerful and aggressive as possible. Lastly, they slow things down a bit while keeping the atmosphere as dense and epic in Sanguine Masquerade, sounding like a dark and devilish waltz led by the grim vociferations by Nox.
“With this record, we wanted to push our sound further into darker and more cinematic territory without losing the immediacy and energy that defined our earlier work,” commented the band, expanding on the album’s direction, and if you’re a fan of the music by renowned acts the likes of Behemoth, Cradle of Filth, and Children of Bodom, you should definitely check what Torchia are up to on Facebook and on Instagram, bang your head to their caustic creations on Spotify, and of course purchase They Are Born Under Rules of the Darkness from BandCamp or from Rockshots Records as a CD or an LP. We’re living truly dark times, and although the music from Torchia’s new album is inspired by the 19th century, it’s beyond perfect for the chaotic state of our world.
Best moments of the album:Into Hell,The Tiamat Machine and Stygian Waters.
Worst moments of the album: None.
Released in 2026 Rockshots Records
Track listing 1. Nekromanteion 4:23
2. Hellmouth 4:08
3. Into Hell 3:38
4. Hellstorm 3:55
5. Die Amour 4:12
6. The Tiamat Machine 5:39
7. Black Cat 3:19
8. Stygian Waters 4:05
9. Sanguine Masquerade 4:46
Band members Nox – vocals
Villemorte – lead guitars, vocals
Henri von Hardy – guitars
Vulkan – bass, backing vocals
Vincent Oscar Mill – drums
A concept prose based on a Maltese legend formally penned by Agostino Levanzin (which in turn is rooted in actual events from the 16th century), chronicling the descent and transformation of a man consumed by insatiable thirst for forbidden knowledge, Miġja ta Moħħ Miġnun (or “Journey of a Mad Mind”) is the seventh studio opus by Pieta, Malta-based one-man Black Metal institution Saħħar. Presenting elements from an amalgamation of styles added to its Raw Black Metal essence, the new album by the lone wolf Marton Saliba marks a significant step forward in his artistic evolution, further refining a sound rooted in isolation, heritage and a deeply personal vision. Emerging from a scene far removed from the genre’s traditional strongholds, Saħħar continues to carve out a distinct identity within the contemporary Black Metal landscape.
In a nuthsell, Migja ta Mohh Mignun expands on the project’s established sonic framework, blending harsh intensity with subtle melodic layers and a pervasive sense of decay. The result is a work that feels both immersive and unsettling, enveloping the listener in a bleak, almost otherworldly atmosphere, being therefore highly recommended for fans of renowned acts the likes of Dark Funeral, Gorgoroth, Mortuary Drape, and Dimmu Borgir. You can get more information about Marton and his Saħħar on Facebook and on Instagram, stream his discography on Spotify, and of course purchase Migja ta Mohh Mignun from BandCamp, from Time To Kill Records, or by clicking HERE. Marton and his Saħħar will certainly take you on a one-way descent into the deepest corners of an insane mind in their new album, and you better be prepared because once that descent starts, there’s no return.
THE HEADBANGING MOOSE 