Tag Archives: black metal

Concert Review – Dimmu Borgir (History, Toronto, ON, 08/10/2026)

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The Grand Serpent of Black Metal took the city of Toronto by storm on a scorching Monday night.

OPENING ACT: Hulder

It was another hot and humid Monday night this summer in Toronto when the mighty DIMMU BORGIR, supported by the up-and-coming entity HULDER, took the city by storm with an overdose of obscure and blasphemous Black Metal at the excellent History during the band’s Grand Serpent Rising North America 2026. Unfortunately, my buddy Keith Ibbitson of Metal Paparazzi got seriously injured and won’t be able to take any more photos of concerts until at least the end of the year, but he introduced me to his friend Blair Burch, who’s also a metal photographer, and as you can see from the photos in this review Blair is also a badass. The lowest point, though, was the absence of Hypocrisy from the lineup due to issues with their visas to get into North America (or maybe it was just Canada, as no one knows the actual details), plus the fact we could have gotten Suffocation instead like in some US cities, which of course didn’t happen, but Hulder and Dimmu Borgir made sure they played louder than hell to make up for the cancelation of the tour of one of the trailblazers of our beloved Death Metal.

It was 7:30pm when Washington, United States-based Black Metal cult HULDER kicked off their dark, occult and scorching presentation (and I’m glad I was able to make it just in time for their show because Monday night traffic has been slightly lighter during the summer). Having released the magnificent Verbolgen just last Friday (available on both BandCamp and on Spotify), the band formed of the uncanny vocalist and guitarist Hulder and the ruthless bassist Necreon, with the support of live musicians Keld on the lead guitars, and Vapula on drums, put on a fantastic show for everyone already at the venue, playing songs from all of their albums, including some absolute bangers like View From Nemeton, Verses in Oath, and …And We Shall Sing. Hulder is impressive onstage, “hiding” her face behind her long hair, corpse paint and smoke, and letting the music speak on her behalf. I love that type of atmospheric and sinister vibe from bands like Hulder, and I honestly can’t wait to see the band kicking ass live again in Toronto in the not-so-distant future. My only complaint is that Hulder could have easily played for another 20 minutes or so due to the absence of Hypocrisy, which would allow her to melt our faces with another selection of Black Metal lullabies, but it is what it is. I can’t complain about it at all. We finally got Hulder in Toronto, and that was a magnificent debut.

Setlist
A Beacon From Darkened Skies
View From Nemeton
Sylvan Awakening
Hearken the End
Verses in Oath
Veil of Penitence
Drie Raven
…And We Shall Sing

Band members
Hulder – vocals, guitar
Necreon – bass, vocals
Keld – lead guitar
Vapula – drums

DIMMU BORGIR

Finally, eight years after their last visit to Toronto, the indomitable Shagrath and his henchmen Damage (who also plays with Shagrath in Chrome Division), Silenoz, Victor Brandt, Gerlioz and Daray, collectively known as Oslo, Norway’s own Symphonic Black Metal masters DIMMU BORGIR, returned to the city for another devilish performance, this time promoting their brand new offering Grand Serpent Rising, available on both BandCamp and Spotify. Their concert was absolutely venomous, just like a serpent, blending new songs the likes of Ulvgjeld & Blodsodel, As Seen in the Unseen, and Ascent with old school material such as Mourning Palace, Stormblåst, Reptile (one of my favorites of their setlist), and The Serpentine Offering. As you can see, there was a considerable share of blasphemy, blood and venom for each and every person in the crowd, no doubt about that.

The overall sound was EXTREMELY loud to the point it was hurting a bit even for people wearing noise protection earplugs (including myself), but I guess no one really cared about it as long as we could watch the band kicking ass onstage. Shagrath’s vocals continue to impress, as they sound just as harsh and infuriated as in his early days (therefore bringing even more adrenaline to their live shows), Damage was a beast bleeding a lot from his new tattoo on his right arm as he kept shredding his guitar (and there’s nothing more Black Metal than that), but it was Gerlioz on keyboards who stole the show, at least for me. He looks like a demonic hybrid of Rammstein’s Christian “Flake” Lorenz and Depeche Mode’s Andy Fletcher (RIP) in the best way possible, keeping the atmosphere as vibrant, dense and theatrical with his keys. All band members sounded solid and electrifying, but let’s say Gerlioz was the man in Toronto.

As the show was getting closer to its inevitable end, the band unleashed hell upon us all mere mortals with two of their biggest classics, Gateways and the breathtaking Progenies of the Great Apocalypse (definitely the highest moment of the whole night), resulting in a wild reaction by the fans in the mosh pit, increasing the temperature (even more) inside the venue, and leaving the gates of the underworld open wide for Dimmu Borgir to crush Toronto to pieces again in the near future. Hopefully it’s not going to take another eight years for those Norwegian serpents to invade our city with their demolishing concert, be it with a brand new album, a “best of” tour, or playing an entire classic album. As long as we get Dimmu Borgir again in Toronto, we will be very happy metalheads.

Setlist
Ulvgjeld & Blodsodel
Mourning Palace
Kings of the Carnival Creation
Council of Wolves and Snakes
As Seen in the Unseen
Ascent
Stormblåst
Reptile
The Insight and the Catharsis
The Serpentine Offering
Puritania
Gateways
Progenies of the Great Apocalypse
Perfection or Vanity

Band members
Shagrath (Stian Tomt Thoresen) – vocals
Damage (Kjell Karlsen) – lead guitar
Silenoz (Sven Atle Kopperud) – rhythm guitar
Victor Brandt – bass
Gerlioz (Geir Bratland) – keyboards
Daray (Dariusz Brzozowski) – drums

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Album Review – Dymna Lotva / Vyraj (2026)

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Continuing to carry the torch of rebellion, this Post-Black and Doom Metal entity is taking a quantum leap with their fourth studio album, revolving around the concept of “Belarusian ethno-astronomy.”

Continuing to carry the torch of rebellion, which is only natural as the founding members had to flee their native Belarus due to political persecution and continued attempts by the Lukashenka regime to censor and suppress their art, Warsaw, Poland-based Post-Black/Doom Metal act Dymna Lotva (which translates from Belarusian as “swamp in smoke,” referencing the devastating atrocities and burned villages of Polesia, a deeply distinct geographic and cultural region that extends across southern Belarus into Ukraine and Poland) is taking a quantum leap in their rapid musical evolution with their fourth studio album, titled Vyraj. Recorded at Everest Studio (vocals), at Hata Studio (guitars and bass), and at Studio Młyn (drums), the new album by Katsiaryna “Nokt Aeon” Mankevich on vocals and traditional flutes, Jauhien Charkasau on the guitars, bass and keyboards, Mikita Stankevich also on the guitars, and Wojciech “Bocian” Muchowicz on drums revolves around a main concept that could be described as “Belarusian ethno-astronomy.” In Slavonic legends, the starry sky is associated both with the afterlife and with journeys, which becomes closely intertwined with the musicians’ personal experience of forced emigration. This idea is captured in the album title, which is a mythical realm to where birds migrate for the winter, and where the souls of the departed find their final rest.

Zory sounds and feels darkly captivating from the very first second, with Jauhien, Mikita and Wojciech crafting the perfect atmosphere for the she-devil screams by Katsiaryna, evolving into a dark and wild beast of Post-Black Metal; and the band then showcases their ritualistic side in Veha, offering cryptic vocalizations while Wojciech dictates the pace with his thunderous beats and fills, also boosted by the Stygian harp by guest Deanna F. and the child vocals by Miraslava Palynskaya and Jan Palynski. The Boat of Despair brings forward another brilliant fusion of tribal sounds and the electricity of Black and Doom Metal, with the haunting vocals by the one and only Aaron Stainthorpe (High Parasite, My Dying Bride) clashing majestically with Katsiaryna’s desperate roars; whereas Viedmieragina will pierce our minds with its scorching Black and Folk Metal elements, not to mention Jauhien and Mikita are ruthless with their Melodic Death Metal-inspired riffs.

Niama Darohi showcases a more atmospheric side of the band, inviting our souls to wonder through the vast Stygian lands rules by Dymna Lotva while the keys by Jauhien sound absolutely enfolding. Then we have Bu Samoje (featuring Andrii “Deicider” Sovgar, Jan Mačuĺski, Aliaksandr Čarnuha, Jauhien and Mikita as the “Balbuta Choir”), their most Folk Metal song of all, as if the band and their guests were united around the fire for a sacrifice; followed by Usta Za Mianie, the most generic of all songs, lacking the same dynamism and energy of its predecessors. Last but not least we face Return My Coffin Home, featuring guests Ingvarr (Schreigarm) on vocals, Déhà (Wolvennest, Silver Knife, Slow) on fretless bass, and Velzevul on backing vocals and FX, a stunning Melodic Black Metal aria to conclude their ritualistic feast, with all harsh and clean vocals sounding stunning.

Although Vyraj is still based on a solid foundation of Black and Post-Black Metal, the band moves far beyond any easy labelling by also drawing inspiration from Doom, Heavy, and Progressive Metal, while venturing even deeper by incorporating elements from electronic music, goth, and folklore. The album is a cornucopia of great songs that are atmospherically dense and invite the listener onto an emotional roller-coaster ride from the darkest depth of depression and fear, via raw anger and defiance, to heights of ecstatic exhilaration, and if you want to know more about those rebellious Belarusian dissidents and their music, you can find them on Facebook, Instagram, YouTube, and Spotify, and purchase their new album from BandCamp, from Prophecy Productions, or by clicking HERE. In a nutshell, Vyraj is a musical kaleidoscope with ever changing patterns and sonic colours of remarkable beauty that often dissolves into captivating melodies that at times even achieve a pop-like appeal, and once you start listening to the album, get ready to be consumed by its beauty and energy.

Best moments of the album: Zory, The Boat of Despair and Return My Coffin Home.

Worst moments of the album: Usta Za Mianie.

Released in 2026 Prophecy Productions

Track listing
1. Zory 4:48
2. Veha 7:01
3. The Boat of Despair 5:31
4. Viedmieragina 5:36
5. Niama Darohi 4:29
6. Bu Samoje 4:38
7. Usta Za Mianie 4:35
8. Return My Coffin Home 8:10

Band members
Katsiaryna “Nokt Aeon” Mankevich – vocals, traditional flutes
Jauhien Charkasau – guitars, bass, keyboards
Mikita Stankevich – guitars, backing vocals
Wojciech “Bocian” Muchowicz – drums

Guest musicians
Aaron Stainthorpe – vocals on “The Boat of Despair”
Ingvarr – vocals on “Return My Coffin Home”
Déhà – fretless bass on “Return My Coffin Home”
Deanna F. – harp on “Veha”
Andrii “Deicider” Sovgar – backing vocals on “Bu Samoje”
Miraslava Palynskaya & Jan Palynski – child vocals on “Veha”
Velzevul – backing vocals & FX on “Return My Coffin Home”
Andrii “Deicider” Sovgar, Jan Mačuĺski, Aliaksandr Čarnuha, Jauhien & Mikita – Balbuta Choir on “Bu Samoje”

Album Review – Die Entweihung / Worldwide Terror (2026)

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The desecrator of extreme music is back with his twelfth studio album, unleashing terror worldwide by combining a raw, high impact attack with a stark clarity of sound.

The solo project of Belarusian multi-instrumentalist Denis Tereschenko, brought into being in 2007 after his relocation to northern Israel, Die Entweihung has been on a constant evolution, changing as its creator changed both as a man and a musician, from its early days as a Black Metal entity to its current Blackened and Progressive Thrash Metal sound, culminating now in 2026 with the release of Worldwide Terror, the project’s twelfth studio album and the follow-up to the 2021 album Kings & Pawns and the 2022 album Strict Regime Country. Produced and mixed by Denis himself, mastered by Sondre Solberg at Lakeside Studio, featuring Czech vocalist Alena 7 (also known as Alena Krákorová), with saxophone, violin and cello parts performed by different session musicians, and completed by the distinctive imagery of Belarusian artist Olga Kann, Worldwide Terror combines a raw, high impact attack with a stark clarity of sound that allows each element of the music to speak and be heard, becoming a must-listen for fans of Orphaned Land, Détente, Holy Moses, and Confessor.

Denis and Alena already present the band’s updated sound in the title-track Worldwide Terror, sounding a lot more Heavy Metal than the project’s previous more extreme sonority; whereas more of Denis’ razor-edged riffs are offered in Warriors Of The Lie, feeling like the soundtrack to a war movie, or in other words, it’s an excellent battle hymn where his galloping bass and drums bring sheer adrenaline to the music. Generation Of Pawns blends extreme music with progressive sounds from the 70’s, and despite not being a bad song, it lacks the energy of Alena’s vocals. And venturing through the realms of Folk Rock and Metal with a more epic edge we have Newborn, where Alena’s vocals are nicely boosted by Denis’ crying guitars.

It’s pedal to the metal in the Rock N’ Roll extravaganza titled Really Your Life, with the scorching riffs by Denis blending in great fashion with Alena’s soaring vocals and she-demon vociferations; followed by Eight Billion Headed Whore, showcasing a crazy name for a song (but I guess that whore is Mother Earth in the end), once again presenting a wild fusion of Progressive Metal with folk and extreme elements. Denis then delivers a bold sound through his riffs, bass and drums in The Brightest Night, a truly entertaining instrumental piece that sets the stage for The Darkest Morning, featuring guest vocals by Israeli artist N.Khaos, presenting another blast of epic vocals lines and the electrifying energy of the riff.

It’s time to confront the horrors of reality, to stand up and be counted with Die Entweihung to the sound of his newborn spawn Worldwide Terror, and if you want to be part of the project’s army of darkness you can find all information about it on Facebook and on Instagram, enjoy Denis’ wild creations on any platform like YouTube and Spotify, and of course purchase the album from BandCamp, from Morbid and Miserable Records, from Southern Soundclash Records, or from Tikoes Kecemploeng Productions. Worldwide Terror is about to be unleashed, and you better get ready because there will be blood.

Best moments of the album: Warriors Of The Lie, Really Your Life and The Darkest Morning.

Worst moments of the album: Generation Of Pawns.

Released in 2026 Orbid and Miserable Records/Southern Soundclash Records/Tikoes Kecemploeng Productions

Track listing
1. Worldwide Terror 5:02
2. Warriors Of The Lie 6:29
3. Generation Of Pawns 4:41
4. Newborn 8:07
5. Really Your Life 6:31
6. Eight Billion Headed Whore 5:14
7. The Brightest Night 5:04
8. The Darkest Morning 7:15

Band members
Alena 7 – vocals
Denis Tereschenko – all instruments

Guest musicians
N.Khaos – additional vocals on “The Darkest Morning”

Album Review – Hulder / Verbolgen (2026)

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This up-and-coming Black Metal entity is back with its most compelling work, once again deeply rooted in the Northern European Black Metal tradition, always sounding fresh, grim and furious.

Emerging from the Pacific Northwest, Washington, United States-based entity Hulder built a devoted following across a series of releases marked by their commitment to ancient craft, uncompromising production, and a sound rooted in the Northern European Black Metal tradition. Now in 2026 the indomitable vocalist and multi-instrumentalist Hulder, alongside bassist Necreon, returns with Verbolgen, the project’s third full-length opus, and the follow-up to the highly acclaimed albums Godslastering: Hymns of a Forlorn Peasantry (2021), and Verses in Oath (2024).  Mixed by Ahti Kortelainen at Tico Tico Studio, mastered by Mika Jussila at Finnvox Studios, with drums engineered at Elektric City Recording, and displaying a dark and enfolding artwork by Morrigan, Verbolgen sees the project expand its instrumental palette, drawing in session musicians Keld on hurdy gurdy, lead guitars and keyboards, Vapula and Vrolok on drums, and Januaria on the flute, sharpening the dual creative core that has defined its most compelling work.

The ominous folk-infused intro Drie Raven will drag our souls to the dark realm ruled by Hulder until we’re crushed into pieces to the sound of The Crowning, where her she-demon roars match perfectly with the infernal Black Metal beats by Vrolok, also presenting haunting keyboard passages, courtesy of guest musician Keld. Thy Binding Oath offers a stunning fusion of Black, Folk and Doom Metal, and you can feel the atmosphere getting heavier and more suffocating while Hulder and Necreon deliver truly haunting vocals; followed by the title-track Verbolgen, bringing forward a more direct Black Metal attack by Hulder and her horde, with even her vocals sounding harsher and more infernal. And …And We Shall Sing is a true storm of extreme sounds by the band where Vapula takes the lead with his pulverizing beats and fills while the guitars by Hulder breathe fire.

Then a sinister intro morphs into a Melodic Black and Folk Metal extravaganza entitled In Blood and In Earth, where the keys by Keld sound majestic from stat to finish, followed by Den Nacht Zijn Lied, which should translate from Dutch as “the night’s song”, a fitting title for a classic Black Metal tune where Vrolok once again sounds ruthless on drums supported by the hammering bass by Necreon. View From Nemeton is a hurricane of Black Metal insanity by the band, with Hulder darkly vociferating the song’s caustic words (“In inhuman plane where flora nor fauna shall dwell / Everlasting winds rustle golden glades though grace not the mortal flesh / In the embers of olden days and those which have yet to come / Forsaken effigies stand guard for the rites of the sacred blot / I rede thee wanderer / Hear thou my rede”) in a lecture in the style, before the expansive instrumental piece The Glow of Dawn closes the album on an epic mode, leaving us absolutely disoriented after all is said and done.

With the release of the excellent Verbolgen, Hulder cement their place among the greatest names of the current Black Metal scene worldwide, sounding sharper and more obscure than ever, while remaining loyal to their roots. If you want to know more about this up-and-coming Black Metal beast, you can find the project on Facebook and on Instagram, including their live dates (like the incendiary upcoming tour with the mighty Dimmu Borgir), stream their music on any platform like Spotify, and above all that, purchase Verbolgen from BandCamp or by clicking HERE. Verbolgen is a Dutch adjective that translates to “enraged,” “furious,” or “incensed,” describing a state of intense, seething anger, often stemming from a feeling of being wronged, and all those dark feelings are exactly what Hulder offer us all in their new album, a scathing blast of Black Metal that will reach deep inside our blackened hearts.

Best moments of the album: The Crowning, …And We Shall Sing, In Blood and In Earth and View From Nemeton.

Worst moments of the album: None.

Released in 2026 20 Buck Spin

Track listing
1. Drie Raven (Intro) 2:18
2. The Crowning 6:28
3. Thy Binding Oath 5:38
4. Verbolgen 4:01
5. …And We Shall Sing 6:01
6. In Blood and In Earth 7:09
7. Den Nacht Zijn Lied 6:45
8. View From Nemeton 5:23
9. The Glow of Dawn 4:48

Band members
Hulder – vocals, electric & acoustic guitars, keyboards
Necreon – bass, vocals

Guest musicians
Keld – hurdy gurdy, lead guitars, keyboards (session)
Vapula – drums on “Verbolgen”, “…And We Shall Sing”, “View From Nemeton” and “The Glow of Dawn”
Vrolok – drums on “The Crowning”, “Thy Binding Oath”, “In Blood and In Earth” and “Den Nacht Zijn Lied”
Januaria – flute (session)

Album Review – Complexant / Apex (2026)

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This vicious Australian entity is unleashing hell with their debut offering, boasting ten tracks of brilliantly violent riffing fueled by percussive intensity and unearthly vocals.

Bringing together members from across Australia to deliver a vicious blend of Death and Black Metal with Deathcore since 2022, drawing influence from bands such as Behemoth, Suffocation, Emperor and Nile, the unrelenting Blackened Deathcore creature Complexant is poised to unleash their first-ever full-length album, simply titled Apex. Mixed and mastered by the unstoppable Christian Donaldson (Cryptopsy, Suffocation, Shadow of Intent, Ingested), with vocals tracked by Joey Marsh at Beyond the Marsh Studios, and guitars and bass tracked by Shannon Zivkovic, and showcasing a grim artwork by Matt Priso, the debut by vocalist Dan Greigsy, guitarists Shannon Zivkovic and Gavin Bradley, bassist Chris Tuckley, and drummer Seb Su boasts ten tracks of brilliantly violent riffing fueled by percussive intensity and unearthly vocals.

The album kicks off with the pulverizing Apex, a nice and sweet welcome card by the band stating the album is definitely not for the faint at heart, flowing into No Angels Weep, with Seb taking the lead with his infuriated, ruthless beats and fills in the name of chaos and savagery while Dan roars and screams like a rabid beats nonstop. Their demented metal attack goes on in full force in Afterlife, where the intricate yet violent riffs by Shannon and Gavin live up to the legacy of modern-day Death Metal, followed by Swing Myself To Sleep, continuing to pulverize everything and everyone that crosses their path, simply perfect for some vigorous headbanging; whereas Critical Mass is as infuriated as its predecessors, albeit lacking the same level of dynamism and heaviness.

Back to their trademark level of insanity and violence we face Heretical Supremacy, with Dan’s demented screams walking hand in hand with the top-notch guitar work by the band’s axe duo, while Cyclops presents a more progressive and technical side of the band, with the thunderous kitchen crafted by Chris and Seb sounding phenomenal. Then again venturing through the realms of Progressive and Technical Death Metal without forgetting their Deathcore essence we have Eye For An Eye, and the final result is beyond infernal for our total delight. Lastly, after the ethereal and grim interlude No Hope For Humanity, we’re treated to their coup-de-grace titled No Hope For Sanctuary, with Dan roaring nonstop supported by the intricate and visceral instrumental pieces blasted by his bandmates, therefore putting a demolishing ending to the album.

With their debut album Apex, Complexant continue to push a sound defined by weight, darkness and unrelenting intensity, and if you want to know more about such a promising name from Down Under you can find those guys on Facebook and on Instagram, stream their music on any available platform such as Spotify, and of course purchase a copy of the excellent Apex from the band’s own BandCamp. In other words, Complexant are unleashing upon us an overdose of heaviness and savagery not recommended for the lighthearted, proving why they’re becoming the apex predator in the extreme music community in their homeland.

Best moments of the album: No Angels Weep, Swing Myself To Sleep and Eye For An Eye.

Worst moments of the album: Critical Mass.

Released in 2026 Bleeding Art Collective/Blood Blast Distribution

Track listing
1. Apex 1:24
2. No Angels Weep 3:58
3. Afterlife 3:19
4. Swing Myself To Sleep 3:30
5. Critical Mass 3:33
6. Heretical Supremacy 4:08
7. Cyclops 4:27
8. Eye For An Eye 4:23
9. No Hope For Humanity 1:09
10. No Hope For Sanctuary 4:38

Band members
Dan Greigsy – vocals
Shannon Zivkovic – guitar
Gavin Bradley – guitar
Chris Tuckley – bass
Seb Su – drums

Album Review – Viande / Monument aux morts (2026)

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This the unrelenting Blackened and Atmospheric Death Metal entity from France strikes again with their sophomore album, definitely not one for the faint of heart.

Forged in 2013 in the fires of Chambéry, an Alpine town in southeast France, the unrelenting Blackened/Atmospheric Death Metal entity known as Viande (the French word for “meat”) does more than create scarring, wholesome dark and doomy Death Metal – they delve into the more atmospheric side of things that messes with your consciousness and has potential psychological implications. Adorned by a grim artwork by JB Godefroy, the caustic Monument aux morts, which is French for “war memorial,” is the sophomore studio opus by vocalist J, guitarist B, bassist O, and drummer I, following up on their 2022 full-length L’abime dévore les âmes, offering more of the band’s aggressive, militaristic approach aided by a combination of abyssal growls and tormented screams, and ultimately, a haunting, eerie atmosphere touched by dissonance that wouldn’t be out of place in a horror movie.

After an ominous start the band comes ripping our hearts out in Linceul immense (“immense shroud”), with the vile guttural by J sending shivers down our spines in a lecture in Blackened Doom Metal; then O and I make the earth tremble with their ruthless bass and drums in Sacrifice ardent (“burning sacrifice”), as sluggish, grim and vile as it can be. Germes de mort (“seeds of death”) brings forward another round of the band’s trademark fusion of Black, Death and Doom Metal, led by the cryptic riffs and synths blasted by B, while Monolithe de chagrin (“monolith of sorrow”) alternates between the absolute heaviness of Doom Metal and the visceral sounds of Death Metal.

After such a demented display of deadly sounds the band keeps haunting our souls with Cercueil de vase (“coffin of vase”), a bold, intense display of their Atmospheric Death Metal vein spearheaded by the always gruesome vociferations by J, followed by Une cage d’os (“a cage of bones”), not recommended for the faint at heart, with the dissonant riffs by B piercing our flesh mercilessly. I takes the lead with his slab of brutality on drums in L’esprit cachot (“the dungeon spirit”), making the album sound even more obscure and infuriated, whereas Austérité maximum (“maximum austerity”) is an extensive outro that albeit atmospheric doesn’t add much to the album. And lastly, as a bonus track we have L’homme Brasier (“the brazier man”), as demented as the other songs and, therefore, worth the investment in whatever version it’s available.

When the carefully devised Monument aux morts ends, the feeling is akin to stumbling out of a horrific catacomb in an enhanced spiritual state, with the cries of a thousand dead souls still ringing in your head, being therefore perfect for fans of the obscure music crafted by Incantation, Teitanblood, Cruciamentum, Dwelling Below, and Dead Congregation. Furthermore, if you want to know more about such a dark creature from the French extreme music landscape, you can find the band on Facebook and on Instagram, staying up to date with their live concerts, stream their scorching music on any platform such as Spotify, and above all that, grab a copy of the excellent Monument aux morts from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store (or click HERE for all things Viande). Monument aux morts is an exceptional album in the style and definitely not one for the faint of heart, and we can all rest assured Viande are far from done when it comes to spreading darkness through their Black and Death Metal creations.

Best moments of the album: Linceul immense, Cercueil de vase and Une cage d’os.

Worst moments of the album: Austérité maximum.

Released in 2026 Transcending Obscurity Records

Track listing
1. Linceul immense 6:26
2. Sacrifice ardent 7:07
3. Germes de mort 6:17
4. Monolithe de chagrin 3:58
5. Cercueil de vase 7:07
6. Une cage d’os 6:28
7. L’esprit cachot 6:11
8. Austérité maximum 2:30

Bonus track
9. L’homme Brasier 5:58

Band members
J – vocals
B – guitar, synths
O – bass
I – drums

Album Review – Faustian / Parable Of The Sewer (2026)

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The triumvirate of conspirators from Death Metal beast Werewolves returns with the sophomore opus of their even more demonic alter-ego, exploring darker realms in a blaze of blasphemous Black Metal.

A confluence of dire forces, Melbourne, Australia-based ravenous Black Metal horde Faustian brings together perpetrators of horrific sonic assaults, crimes committed under the names of Abramelin, Werewolves, The Berzerker, Psycroptic, The Amenta, The Antichrist Imperium and more. As a matter of fact, they present their music as “unhinged devil-worshipping Black Metal from the members of Death Metal stuporgroup Werewolves,” as the band is formed of the infamous Sam Bean on vocals and bass, Matt Wilcok on the guitars, and David Haley on drums. Having proved time and again their mastery of wildly violent Death Metal as the aforementioned Werewolves, Faustian allow the triumvirate of conspirators to explore darker realms in a blaze of blasphemous Black Metal, culminating now in 2026 with their sophomore beast Parable Of The Sewer, the follow-up to their 2023 debut We Come as Angels, and a must-listen for fans of the demonic savagery blasted by Emperor, Mayhem, Akercocke, and Dark Funeral, just to name a few.

There’s no sign of peace or hope, only absolute chaos and devastation from the very first notes in I Curse You, led by the always demolishing drums by David while Matt fires his most Black Metal riffs of all time. Broken Better, the first single released, brings to our putrid minds and souls a dark, sluggish and sinister sound perfect for Sam’s demonic vociferations, sending shivers down the spines of the faint at heart. Sam continues to roar and bark madly in the poetically titled I Want the Ride to Begin Again, with his primeval bass lines matching perfectly with David’s crushing, unstoppable beats and fills, whereas Immaculate lives up to the legacy of 90’s Black Metal, in special through the scorching riffs by Matt, offering Sam exactly what he needs to deliver his most visceral vocals of the album.

In Cephalophore, the song’s initial cult-like sounds clash with the heaviness blasted by the instrumental parts, evolving into another bestial display of the raw, vile Black Metal insanity; followed by We Do Not Use Names Here, carrying another very poetic and harsh title for a fast and scathing composition by Faustian, hitting us hard in the head while Sam continues to roar manically in the name of violence and darkness. Tenements (Only the Wicked Walk in Circles) is a no shenanigans Black Metal extravaganza spearheaded by Matt’s strident riffs, highly recommended for fans of the mighty Mayhem, while their coup-de-grace comes in the form of The Rot Shall Inherit the Earth, hammering our frail bodies mercilessly, with David sounding like a demented beast behind his drums until the very end.

“If the Werewolves aesthetic is violence, then Faustian’s is fear and horror,” commented Matt Wilcock. Parable Of The Sewer is indeed an album of feral intensity, incendiary violence, unearthly majesty and mystery, fear and temptation. Hence, if you want to join the guys from Faustian is pitch black darkness and show them your total support, you can find them on Facebook and on Instagram, stream their venomous music on Spotify or any other platform, and of course purchase Parable Of The Sewer from their BandCamp or from the Apocalyptic Witchcraft webstore. As Conor Droney, head of Apocalyptic Witchcraft, has neatly offered in succinct summing up, Parable Of The Sewer is a “savage masterpiece from Down Under,” and I bet once you start listening to such a pulverizing album, your mind and soul will be forever doomed.

Best moments of the album: I Curse You, Immaculate and We Do Not Use Names Here.

Worst moments of the album: None.

Released in 2026 Apocalyptic Witchcraft

Track listing
1. I Curse You 4:45
2. Broken Better 5:37
3. I Want the Ride to Begin Again 5:08
4. Immaculate 4:27
5. Cephalophore 5:27
6. We Do Not Use Names Here 6:06
7. Tenements (Only the Wicked Walk in Circles) 4:26
8. The Rot Shall Inherit the Earth 5:46

Band members
Sam Bean – vocals, bass
Matt Wilcock – guitars
David Haley – drums

Album Review – Psicorragia / Nekromanthra (2026)

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This Peruvian Death and Doom Metal entity returns from the underworld with their scorching third offering, exploring the darkest corners of the human species.

Active since 1994, Lima, Peru-based entity Psicorragia (the temporary manifestation of a person’s soul or astral body at a distance from their physical body) has forged a distinctive identity rooted in darkness, combining the weight of Death and Doom Metal with elements and technique from traditional Death Metal, along with Black Metal nuances and influences from other dark genres, establishing themselves as a representative band of the genre in South America. Now in 2026 the band formed of Mario Romanet on vocals and bass, Marco Borra and Alick González on the guitars, Antonio Duncan on keyboards, and Teo Suchero on drums returns from the underworld with their third studio offering, Nekromanthra, ten years after their 2016 sophomore beast Madremuerte. Showcasing a sinister artwork by American artist Thomas G. Anderson (recognized for his Dark Art aesthetic, where cinematic photography and psychological horror converge), the album explores the darkest corners of the human species, immersing itself in landscapes of decay, death, and the deepest horrors of existence.

…Y sus plagas invocaron, or “…and their plagues they invoked” from Spanish, is  already bold, imposing and grandiose, with the haunting background keys by Antonio bringing even more epicness to the dark vociferations by Mario; while Abismales (“abyssal”) continues to spread sheer doom and obscurity upon us, with the lugubrious beats by Teo walking hand in hand with the crying, visceral guitars by Marco and Alick. The atmosphere gets darker and more menacing as the music progresses in Lo inexorable (“the inexorable”), with their guitars once again transpiring pure Funeral Doom Metal magic, followed by Sombras luminosas (“luminous shadows”), where a grim intro morphs into a Death and Doom Metal beast led by Teo’s crushing drums, while Mario keeps growling like a demonic entity. La osamenta (“the skeleton”) offers us all nine minutes of despair, melancholy and doom while Mario darkly declaims the song’s venomous words accompanied by the phantasmagorical keys by Antonio; and lastly,  a ritualistic start evolves into the most funereal song of the album, titled Nekromanthra, el meditar de los fúnebres (“Nekromanthra, the meditation of the funereal”), putting a vile, soul consuming ending to the album.

With Nekromanthra, the band delves even deeper into their darkest vision, expressed through six tracks infused with Death and Doom Metal, being therefore highly recommended for fans of the obscure music blasted by renowned acts the likes of My Dying Bride, Anathema, Katatonia, Paradise Lost, and Moonspell, as well as more extreme bands such as Varathron, Rotting Christ, Acheron, Edge of Sanity, Mystifier, Abysmal Grief, and Unholy. You can find more details about the band on Facebook and on Instagram, stream their music on any platform such as Spotify, and of course purchase Nekromanthra from their own BandCamp or from the Satanath Records’ BandCamp. It’s time to dive deep into the darkest side of humanity, and there’s nothing better than the new album by Psicorragia as the soundtrack to such a disturbing journey.

Best moments of the album: …Y sus plagas invocaron and Sombras luminosas.

Worst moments of the album: None.

Released in 2026 Satanath Records

Track listing
1. …Y sus plagas invocaron 8:49
2. Abismales 7:19
3. Lo inexorable 6:17
4. Sombras luminosas 7:39
5. La osamenta 8:58
6. Nekromanthra, el meditar de los fúnebres 6:01

Band members
Mario Romanet – vocals, bass
Marco Borra – guitars
Alick González – guitars
Antonio Duncan – keyboards
Teo Suchero – drums

Album Review – Niveous / Cult of the Void Star (2026)

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As a vast monolith from deep space crashes into Earth, this uncanny horde offers us all a scathing dose of frozen Black Metal, exploring dark mythologies and cosmic evil entities.

When a vast monolith from deep space crashes into Earth and plunges the planet into a new ice age, a fanatical cult devoted to a timeless entity known as the Void Star rises amid the apocalyptic chaos. That’s the plot behind the excellent Cult of the Void Star, the first full-length opus by Milwaukee, Wisconsin-based Black Metal horde Niveous, following up on their 2025 debut EP Endless Snowfall. Recorded, engineered, and mixed by Shane Hochstetler at Electrical Audio, mastered by Arthur Rizk, and showcasing a cryptic artwork by Nortaath and Will Kramer (with logo by Luciferium War Graphics), the new offering by Vokar on vocals and bass, Nortaath on vocals and drums, and Zygrath on the guitars is a scathing, breathtaking dose of frozen Black Metal, exploring dark mythologies and cosmic evil entities.

The band’s cold and Stygian Black Metal attack begins in full force with Harbinger of the Void Star, where Nortaath hammers his drums in the name of darkness while their evil vociferations are simply stunning, followed by Servants of the Monolith, featuring a guest guitar solo by Joe Michaelson, resulting in another cryptic creation by such an uncanny horde, with the visceral riffs and tones blasted by Zygrath’s axe transpiring Black Metal magic. Then with guest vocals by Jake Rogers of Visigoth, Frostborne Resistance already kicks off with endless savagery, obscurity and rage, with Vokar and Nortaath doing a phenomenal job not only with their demonic roars and gnarls, but their rumbling bass and drums also sound inhumane. Then a horror movie-like intro explodes into total insanity in Baptism of Shadows, with Zygrath taking care of the vocal duties; followed by Northbound, presenting elements of caustic Punk Rock and Rock N’ Roll added to their core Black Metal sound, with the strident guitar lines by Zygrath sending shivers down our spines. And lastly, Boreal Stronghold is one final Black Metal attack by the trio, ending the album on a high note to the crushing drums by Nortaath.

As Earth is consumed by black storms and endless blizzards, and as the world is reduced to a frozen wasteland, Niveous are among us all to spread their bitterly cold Black Metal madness and consume our darkened souls with the scathing music found in Cult of the Void Star. Hence, if you want to explore their frostbitten realm you can find those American black metallers on Facebook and on Instagram, stream their venomous creations on Spotify or any other platform, and above all that, purchase their new album from their own BandCamp or from the Hypnotic Dirge Records’ BandCamp or webstore as a CD or an LP. Black Metal is always better when served cold, exactly like what Niveous have to offer in the intense and thrilling Cult of the Void Star, embracing us in absolute, frostbitten darkness for all eternity.

Best moments of the album: Harbinger of the Void Star and Northbound.

Worst moments of the album: None.

Released in 2026 Hypnotic Dirge Records

Track listing
1. Harbinger of the Void Star 7:25
2. Servants of the Monolith 5:57
3. Frostborne Resistance 6:28
4. Baptism of Shadows 6:53
5. Northbound 6:40
6. Boreal Stronghold 5:33

Band members
Vokar – vocals, bass
Nortaath – vocals, drums
Zygrath – guitars, vocals on “Baptism of Shadows”

Guest musicians
Joe Michaelson – guitars solo on “Servants of the Monolith”
Jake Rogers – clean and choir vocals on “Frostborne Resistance”
Nicholas Elert – synthesizers and orchestrations on “Baptism of Shadows”

Album Review – Carbon Tomb / Passage to a Neutron Star (2026)

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A new band playing Dissonant Death Metal exuding raw, visceral energy and possessing far more expressive range than most bands in this style, this Danish creatures are ready to unleash chaos with their debut studio album.

“Reborn from the bog
Caesarean execution of the womb
In worship returning to the carbon tomb”

A new band playing Dissonant Death Metal exuding raw, visceral energy and possessing far more expressive range than most bands in this style, Denmark’s own Death Metal/Deathcore creature Carbon Tomb is ready to unleash chaos with their debut studio album, titled Passage to a Neutron Star. Showcasing a dystopian, futuristic artwork by world renowned artist Jon Toussas (Graphic No Jutsu), the debut opus by vocalist and guitarist Richardt (of the also amazing band Dysgnostic), vocalist and bassist Jeppe, and drummer Mikael presents songs that are highly structured and coherent, emphasizing the right moments, and are also comparatively more varied than normal. Without contradicting the sound, they even infuse Black Metal elements into some of the songs, rendering it diverse and interesting.

A sinister piano invades our minds before all hell breaks loose in the opening track Chanting Spells I, with their dissonant riffs and gruesome roars sounding utterly haunting, whereas the visceral guitar lines by Richardt permeate the air in the infuriated A Hidden Creature, while the same Richardt  and Jeppe deliver a Mephistophelian dual vocal attack. From the Giant’s Snout sounds even more dissonant and experimental, where their Death Metal and Deathcore sides clash beautifully, offering us all a monstrous sonority; and they continue to crush our damned souls in The Dog Hunter, led by the intricate yet demonic drumming by Mikael. After such an intense song we have Of God’s Neglect, another very experimental and multi-layered tune by the trio, with their harsh vociferations walking hand in hand with the crushing drums by Mikael.

Gogoffmagog is perhaps the most violent and aggressive of all songs, with their Death Metal essence burning brighter than a thousand suns, not to mention the deep roars by Jeppe sound venomous; and Tritons of Ichthyology sounds as detailed as its predecessors, with the scathing guitar work done by Richardt adding a Black Metal touch to their core sound while Mikael keeps hammering his drums nonstop. Reversed Head Renewal is one more good song by the trio, albeit not as exciting as the others (which, if I’m being honest, is a very difficult task). It’s still violent and technical, of course. And lastly, Passage to a Neutron Star is the epitome of their blend of Dissonant, Technical and Progressive Death Metal, demolishing our senses with their ruthless riffs, bass lines and drums, therefore ending the album in a majestic way.

As an interpretation of a style generally considered complex or inscrutable, Passage to a Neutron Star is surprisingly fluid, entertaining, and memorable, therefore appealing to admirers of the insanity blasted by names like Ulcerate, Dysgnostic, Devenial Verdict, Artificial Brain, and Mors Verum, among others torchbearers of Dissonant Death Metal arts. Furthermore, Carbon Tomb might be a new band, but its members are already seasoned musicians of the always exciting Danish scene, and if you want to know more about them you can find the band on Facebook, on Instagram, and on Spotify, and purchase their striking debut from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Having said all that, are you ready to return to the carbon tomb while enjoying the breathtaking Dissonant Death Metal by such an up-and-coming band hailing from stunning Denmark?

Best moments of the album: A Hidden Creature, Gogoffmagog and Passage to a Neutron Star.

Worst moments of the album: Reversed Head Renewal.

Released in 2026 Transcending Obscurity Records

Track listing
1. Chanting Spells I 2:49
2. A Hidden Creature 4:00
3. From the Giant’s Snout 3:21
4. The Dog Hunter 4:21
5. Of God’s Neglect 5:50
6. Gogoffmagog 1:53
7. Tritons of Ichthyology 4:29
8. Reversed Head Renewal 4:31
9. Passage to a Neutron Star 3:10

Band members
Richardt – harsh vocals, guitars
Jeppe – harsh vocals, bass
Mikael – drums