Behold the sophomore opus by this incredible Polish Post-Black Metal duo, centered around a world collapsing into an endless cold, waiting to be reborn under a new sun.
Centered around a world collapsing into an endless cold, waiting to be reborn under a new sun, Twilight of the Golden Star is the second full-length album by Grodzisk Wielkopolski, Poland-based Post-Black Metal duo Zørza (which translates to “northern lights” from Polish), following up on their critically acclaimed 2024 debut Hellven. Recorded by the project’s own guitarist Eryk Lange at Tetra Wave Studio and G. Traschwandtner at Seven String Studio, mixed and mastered by the same Eryk Lange, and displaying a stunning artwork by Igor Datkiewicz of WS Artworks, the new album by the aforementioned Eryk Lange alongside bassist and keyboardist Kacper Bartkowiak, also featuring guest musicians V. Wahntraum (aka Michael “J.J.” Kogler of Harakiri for the Sky and Karg) and Amorth on vocals, and Mateusz Wróbel on drums, positions atmospheric depth and cold, hopeless storytelling at the center of its identity, becoming a must-listen for admirers of the genre.
The album begins with the expansive, massive title-track Twilight of the Golden Star, transporting our souls to an ethereal world ruled by Zørza where Eryk and Kacper craft an enfolding sonority perfect for the infernal vociferations by Amorth and V. Wahntraum; flowing into the introspective My Wounds, which morphs into a beast of Black and Post-Metal spearheaded by the caustic riffs by Eryk, with their guest vocalists once again piercing our minds with their visceral screams. And Mateusz then revs up the band’s ruthless engine in Death III, offering more of their Stygian yet melodic and delicate sounds, not to mention how venomous the guitar lines by Eryk sound from start to finish.
Get ready for a hurricane of absolute Black Metal madness blasted by the band entitled Against Theocracy, where Mateusz proves why he was chosen by Eryk and Kacper to take care of their drum duties, all boosted by another infernal vocal performance by Amorth; and they keep filling out every single space in the air with their blackened sounds in Stormspell, offering our avid ears eight minutes of abyssal vocalizations, grim riffs and a complete sense of despair. Finally, after the atmospheric interlude Zorza III, where Kacper builds a suffocating and melancholic ambience not recommended for the lighthearted, we face the closing aria The Devil Wears Well, bringing forward more of the massive beats by Mateusz while Amorth growls rabidly nonstop for our total delight.
While listening to each and every track from the excellent Twilight of the Golden Star, you’ll certainly feel your soul being consumed by the bitterly cold and dark sounds crafted by such an amazing Polish duo with the support of a crew of just as incredible musicians, proving once again how beautiful, captivating and visceral European Post-Black Metal can be. If you want to know more about Eryk and Kacper, their music, tour dates and other nice-to-know details about the project, and provide them with your utmost support, you can find Zørza on Facebook and on Instagram, enjoy their unique creations on YouTube and on Spotify, and purchase Twilight of the Golden Star from the Godz ov War Productions’ BandCamp or webstore. Our world is falling apart, but that doesn’t mean it’s coming to an end. As Zørza masterfully tells in their new album, it’s just going to be born again.
Best moments of the album:Twilight of the Golden Star, Against Theocracy and Stormspell.
Worst moments of the album: None.
Released in 2026 Godz ov War Productions
Track listing 1. Twilight of the Golden Star 10:30
2. My Wounds 5:59
3. Death III 5:44
4. Against Theocracy 6:39
5. Stormspell 7:58
6. Zorza III 3:13
7. The Devil Wears Well 4:50
Band members Eryk Lange – guitars
Kacper Bartkowiak – bass, keyboards, lyrics, backing vocals
Guest musicians
V. Wahntraum – vocals on “Twilight of the Golden Star” and “My Wounds”
Amorth – vocals on “Twilight of the Golden Star”, “My Wounds”, “Death III”, “Against Theocracy”, “Stormspell” and “The Devil Wears Well”
Mateusz Wróbel – drums (session)
Behold the sophomore album by this uncanny Italian Atmospheric Folk and Black Metal entity, guiding listeners on a cathartic journey where history becomes emotion and memory turns into sound.
An Atmospheric Folk and Black Metal band formed in 2013 by guitarist MK, aiming to blend personal influences with Folk and Black Metal elements, Verona, Italy-based horde Duir, whose moniker comes from the Celtic word for “oak,” a symbol of longevity and wisdom, returns with the follow-up to their 2022 debut T.S.N.R.I. – Impermanenza, entitled Catarsi. Recorded by Alberto Spaziani and the band itself, edited by MK at Void Sounds Studio, mixed and mastered by P.G. of Groza at Ad Nauseam Sounds, and displaying a stylish artwork by Silvia Luppi of The Veil of Arda (with logo by Moonroot), the new opus by Vox in Umbra on vocals, MK and Skryer on the guitars, TZ. on flute, bagpipe and hurdy gurdy, and P. on drums, and featuring guest bassist Andrea Privato, the album represents the band’s most ambitious work yet. Set during the First World War, it follows a young soldier caught between pride, despair, and oblivion, guiding listeners on a cathartic journey where history becomes emotion and memory turns into sound.
The band kicks off the album with the multi-layered, atmospheric and ritualistic Manifesto, where the venomous gnarling by Vox in Umbra walks hand in hand with their caustic riffs by MK and Skryer, not to mention the background sounds blasted by TZ. are a thing of beauty. After such a detailed and captivating aria, the band brings forward their most Black Metal side in Di nessuno (“of no one”), without forgetting to add their share of folk music to the overall result; and Impeto, featuring L.G. of Ellende, is a modern-day Post-Black Metal extravaganza with tons of atmospheric and folk elements where P. steals the spotlight with his demonic drumming. Then we have what feels like a trilogy inspired by the paradox between night and day, starting with Della notte (“of the night”), where MK and Skryer embellish the airwaves with another killer riff attack, flowing into Del giorno (“of the day”), with its ethereal intro being boosted by the devilish vociferations by Vox in Umbra, again presenting an amalgamation of styles such as Post-Metal, Black Metal and folk music. And they conclude such trilogy and the album as a whole on a high and emotional note with Oltre l’alba (“beyond the dawn”), where Vox in Umbra and P. are in absolute sync, as well as the multi-talented TZ. and his stunning folk sounds, before the song’s climatic, whimsical finale.
Through Atmospheric Black Metal intertwined with evocative folk elements, Catarsi showcases the band’s signature blend of haunting melodies and visceral intensity, positioning them as one of the must-see names not only of the current Italian Extreme Metal scene, but also anywhere else in the world where first-class heavy music is truly appreciated. Those uncanny creatures from Italy can be found on Facebook and on Instagram, including their breathtaking live concerts, and don’t forget to also stream their music on Spotify, and above all, to purchase Catarsi from their own BandCamp or from the AOP Records’ BandCamp. Having said all that, do you think you have what it takes to follow Duir on their Stygian, purifying voyage to the sound of their caustic new album?
Best moments of the album:Manifesto, Impeto and Oltre l’alba.
Worst moments of the album: None.
Released in 2026 AOP Records
Track listing 1. Manifesto 10:02
2. Di nessuno 6:54
3. Impeto 7:59
4. Della notte 4:38
5. Del giorno 7:20
6. Oltre l’alba 9:40
Band members Vox in Umbra – vocals
MK – guitar
Skryer – guitar
TZ. – flute, bagpipe, hurdy gurdy
P. – drums
Guest musician
Andrea Privato – bass (session)
L.G. – vocals on “Impeto”
This Florida-based Extreme Metal beasts are ready to attack with their sophomore album, plunging headfirst into the emotional and psychological aftermath of death.
Inspired by the burgeoning local metal scene of Tampa, Florida, Melodic Death/Thrash Metal beasts Blood of Angelsare making their mark on the genre that has guided them through the darkest of times. With local town heroes such as Cannibal Corpse and Nasty Savage inspiring down that path, the band formed of vocalist Randy Reyes, guitarist Aaron Robinson, bassist The Maggot, and drummer Jonathan Rushford blends Death, Black, Thrash and lashings of Power Metal into a high-octane frenzy, combining their musical prowess and instrumental talents to make social commentary on public mistruths and the atrocities committed against humanity. Now in 2026 the quartet is unleashing their sophomore opus, entitled Les Agnst ov Thanatous (which refers to the existential dread, anxiety, and deep-seated fear surrounding the inevitability of death, with “Thanatos” being the Greek mythological personification of death and “Angst,” German for anxiety or dread, representing the psychological weight of this realization), plunging headfirst into the emotional and psychological aftermath of death while presenting a cohesive narrative that traces the human response to grief through violence, ritual, memory, and reflection.
After the cryptic, horror movie-like intro Transitional Portal, the band comes crushing our souls with Beating You, where Jonathan hammers his drums in the best Death Metal style while Randy delivers deep, enraged vociferations for our total delight, supported by the always caustic guitar lines by Aaron. Then investing in a more Melodic Death Metal sonority the band offers our ears the hard hitting The Last Rites, perfect for some wild headbanging to the demolishing drums by Jonathan; and the quartet sounds absolutely on fire in Red River Death, a massive Death and Thrash Metal extravaganza led by the infuriated, grim roaring by Randy while his bandmates don’t stop pounding their sonic weapons.
The Pain Inside starts as a ballad, then morphs into a not-so-inspired metal aria, losing its grip after a while, albeit the crying guitar by Aaron still sounds great in the end; whereas back to the sound the band truly thrives we face Spillage, a Death Metal onrush where The Maggot and Jonathan make the earth tremble with their demented kitchen. Aaron’s riffage then revs up the band’s ruthless engine in Minds of the Broken, inviting us all for some action inside the pit. Nevermore presents elements from Sludge and Stoner Metal added to their core, a seven-minute feast of riff after riff, as heavy and groovy as it can be, with The Maggot once again kicking ass on bass, before all fades into the outro Eulogy, as enigmatic and cryptic as the intro, making the album go full circle.
Through its cohesive narrative and emotional intensity, Les Agnst ov Thanatou stands as the band’s most immersive conceptual work to date, inviting listeners to confront fear, loss, and mortality directly, offering an experience that remains long after the final sound fades. And you can also be part of such a unique experience by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their caustic creations on any platform like Spotify, and of course by grabbing a copy of Les Agnst ov Thanatous by clicking HERE. Death has always walked hand in hand with Extreme Metal, and Blood Of Angels definitely know how to turn all that fear, violence and darkness into ass-kicking heavy music as what they have to show us all in their new album.
Best moments of the album:Red River Death, Spillage and Minds of the Broken.
Worst moments of the album:The Pain Inside.
Released in 2026 Independent
Track listing 1. Transitional Portal 2:37
2. Beating You 4:05
3. The Last Rites 5:19
4. Red River Death 5:54
5. The Pain Inside 7:29
6. Spillage 3:26
7. Minds of the Broken 3:46
8. Nevermore 7:45
9. Eulogy 1:35
Band members Randy Reyes – vocals, acoustic guitars
Aaron Robinson – guitars
The Maggot – bass, backing vocals
Jonathan Rushford – drums, keyboards
This ruthless Black Metal entity from Down Under returns with their sophomore beast, offering a sonic landscape of chilling melodic ferocity and suffocating atmosphere.
Following the release of their debut record, Upon the Edge of Darkness, in 2023, Adelaide, Australia-based Black Metal horde Lumen Ad Mortem (or “light unto death” from Latin) returns with their sophomore beast titled A Grave Ascent, a striking dose of ferocious Black Metal that balances perfectly between an energetic drive fueled by lightning-fast tremolo riffs and a mid-paced dirge drenched in atmosphere. Recorded at Fjordrecord Studio C (vocals), at Forest Trees Studio (guitars, keyboards and orchestration), at M/E Studio (bass and percussion), produced and mixed by Patrick Pages Oliver at Blood Wolf Productions, mastered by Owen Gillett at O.G. Mastering, and displaying a sinister artwork titled “Le Devourer” by Leoncio Harmr, the new offering by Gregor Pikl on vocals, Aaron Tuck on the guitars, keyboards and orchestration, Morris Ewings on bass, and Rory Amoy on drums and percussion shines with a harmonious mix, sounding raw, cold and emotional, yet clear and perfectly balanced, a sonic landscape of chilling melodic ferocity and suffocating atmosphere.
What Was Lost is a haunting and evil intro that will send shivers down our spines before the band crushes our hopes and dreams with The Departed, where the devilish gnarls by Gregor match perfectly with the scathing riffs by Aaron, resulting in a lecture in modern-day Melodic Black Metal while Morris and Rory make the earth tremble with their ruthless bass and drums, respectively. The strident guitar lines by Aaron kick off another blast of absolute Black Metal magic titled I Never Ceded, inspiring us all to succumb to absolute darkness; whereas Rory shows no mercy for his drums in Ghost Gums, blasting our minds with total savagery and violence while also presenting Stygian, atmospheric moments.
Then the cryptic piano by Aaron ignites one more round of the band’s trademark obscurity in A Grave Ascent, before exploding into a massive beast led by Gregor’s demonic vociferations, followed by A Stone Shall Come to Rest, presenting a blend of doom-laden Black Metal and with the fierce riffage by Aaron being nicely complemented by Morris’ thunderous bass without a single second of peace. And What is Yet to Lose is another song with a cinematic intro, as suffocating as it can be, and when the music hits get ready to be pulverized into tiny pieces to the venomous roars by Gregor and the killer beats and fills by Rory, resulting in ten minutes of first-class, consuming and vile Black Metal to conclude their black mass.
Retaining a malleable nature, alongside ominous synth lines and drums that relentlessly drive the energy forward, while lyrically drawing from the Australian wellspring of loss, death, and the undying spirit that refuses defeat, driven by an unrelenting force of cold and undeniable vengeance, all set within an ancient landscape where the vastness of time and darkness renders human existence utterly insignificant, A Grave Ascent is a must-listen for admirers of the darkest side of music. Hence, you can get in touch with those Stygian musicians via Facebook and Instagram, stream their music on Spotify or any other platform, and above all, grab a copy of their striking new album from their own BandCamp, or from the Hypnotic Dirge Records’ BandCamp or webstore (as a CD or an LP). Bitterly cold, haunting and ethereal, A Grave Ascent will embrace you in darkness and choke you until you’re no more, exactly the way Black Metal is supposed to sound.
Best moments of the album:The Departed and And What is Yet to Lose.
Worst moments of the album: None.
Released in 2026 Hypnotic Dirge Records
Track listing 1. What Was Lost 2:06
2. The Departed 7:10
3. I Never Ceded 5:22
4. Ghost Gums 4:51
5. A Grave Ascent 6:04
6. A Stone Shall Come to Rest 5:47
7. And What is Yet to Lose 10:13
Band members Gregor Pikl – vocals
Aaron Tuck – guitars, keyboards, orchestration
Morris Ewings – bass
Rory Amoy – drums, percussion
One of the most uncanny entities in Black Metal is back with their scorching fourth offering, a new chapter in the narrative concept that links together all of their previous releases.
Formed in 2020 in Nashville, Tennessee, the uncanny Eastern horror-themed Black Metal duo known as Saidan, which depending on the kanji context means “altar” or “shrine” (祭壇) or “shredding” (細断) in Japanese, has been delivering a fusion of weird, over-the-top aesthetic of visual kei with fast, melodic riffing since their inception, having released so far the albums Jigoku: Spiraling Chasms of the Blackest Hell (2021), Onryō II: Her Spirit Eternal (2022), and Visual Kill: The Blossoming of Psychotic Depravity (2024). Now in 2026 vocalist, guitarist and bassist Splatterpvnk alongside drummer Hundosai are unleashing hell once again with their fourth installment, entitled Fangdriller: Scars Beneath Memories Wrist, a new chapter in the narrative concept that links together all Saidan releases. Mixed and mastered by Splatterpvnk and once again showcasing a sinister artwork by Japanese visual artist Seiyak17, Fangdriller: Scars Beneath Memories Wrist follows the story of a student named Junko, depressed and miles away from the people she loves. In the depths of her isolation, she finds comfort in a mysterious cult called Ethereal Blood. But unbeknownst to Junko, her anguished seclusion has made her the perfect victim.
The duo wastes no time and embraces us all in absolute horror and darkness in Razorblade Temptation, with the venomous gnarling by Splatterpvnk exhaling Black Metal insanity, whereas Hundosai keeps blasting his drums in the name of extreme music in Rapture (I’ll Wait for You), inviting us all on a one-way journey into the mouth of madness, accompanied by the scathing riffs and solos by Splatterpvnk. It’s impressive how they manage to make raw Black Metal sound insanely Japanese, keeping the album as vibrant as it is chaotic, just like in Immersed by Eternity’s Blade; and Splatterpvnk’s guitar revs up their metallic engine in Kara No Bara, with all background elements sounding grandiose and haunting. Then it’s time to go absolutely mental to the sound of Womb of Hatred, a no shenanigans, frantic and visceral Black Metal attack by the duo.
Stained Glass Sin // Fang Driller brings to our avid ears a high-speed, vile display of extreme music that goes straight to our jugular, with the background keys once again adding an extra dosage of insanity to the already demented vocals by Splatterpvnk. They keep blending their core brutality with the finesse of Symphonic Black Metal in Her Lips Pressed Against a Coffin Nail, again presenting the demolishing beats and fills by Hundosai; whereas Ethereal Blood offers a more direct blend of Black Metal with symphonic and Eastern elements where the screams and riffs by Splatterpvnk sound infernal. Beat to Death is even more imposing and epic than the previous tunes, with Hundosai dictating the song’s demented pace majestically; and I have no idea why they ended the album with the Stone Sour-like outro Mortuary. In the end, that’s fine, nothing to really worry about.
Japanese horror has always been one of the most appreciated movie genres worldwide by all types of movie fanatics, including metalheads who nurture a deep passion for the most extreme side of music, and albums like Fangdriller: Scars Beneath Memories Wrist are exactly what those people need to darken their minds and souls even further just like the most disturbing of the horror flicks made in Japan. If you also want to be part of such a unique cult, you can find Splatterpvnk and Hundosai on Facebook and on Instagram, including their demented live performances, stream all of their excellent albums on Spotify, and of course purchase Fangdriller: Scars Beneath Memories Wrist from their own BandCamp, as well as from the Avantgarde Music’s BandCamp or from Sound Cave, or simply click HERE for all things Saidan. The fate of Junko is in the bloodsoaked hands of Saidan, and based on the harshness and violence of the music found in their new album, her fate is not only sealed, but it’s a dark one.
Best moments of the album:Rapture (I’ll Wait for You), Stained Glass Sin // Fang Driller and Beat to Death.
Worst moments of the album:Mortuary.
Released in 2026 Avantgarde Music
Track listing 1. Razorblade Temptation 5:42
2. Rapture (I’ll Wait for You) 4:02
3. Immersed by Eternity’s Blade 3:42
4. Kara No Bara 4:43
5. Womb of Hatred 5:06
6. Stained Glass Sin // Fang Driller 7:10
7. Her Lips Pressed Against a Coffin Nail 4:43
8. Ethereal Blood 4:45
9. Beat to Death 5:31
10. Mortuary 1:43
Band members Splatterpvnk – vocals, guitars, bass
Hundosai – drums
Conceived as a journey through eight visions, the new offering by this amazing Atmospheric and Melodic Black Metal entity from France is a thrilling concept album about erasure, cosmic implosion, and isolation.
Inspired by the frozen visions of Vinterland, the incantatory fury of Misþyrming, and the melodic intensity of Dawn, the idiosyncratic Clermont-Ferrand, France-based Atmospheric/Melodic Black Metal entity Inherits The Void, the brainchild of vocalist and multi-instrumentalist Antoine Scholtès, has established itself as a singular voice within the modern French Black Metal scene since its inception in 2020, culminating in 2026 with the release of its fourth studio offering, titled The Silent Abscission. Mastered by Simon Da Silva at The Empty Hall Studio, ensuring a sound both dense, dynamic, and abyssal, and featuring session musicians Romain Negro (Apolaustic, Stortregn) on vocals and Nicolas Müller (Akiavel, Artefact, Svart Crown) on drums, the album is a true turning point, a concept album about erasure, cosmic implosion, and isolation. Conceived as a journey through eight visions, it moves between incantatory convulsions and silent abysses, leading to an inevitable and overwhelming resolution, continuing to pave the project’s path from its previous releases Monolith of Light (2021), The Impending Fall of the Stars (2023), and Scars of Yesteryears (2024).
The album begins in full force with The Sepulcher of Time, with the riffs by Antoine walking hand in hand wit the harsh vociferations by Romain in sheer Black Metal madness; and Nicolas crushes his drums like a true beast from the abyss in The Dawn over Ruins, offering Romain exactly what he needs to roar manically in a lecture in Atmospheric and Melodic Black Metal. The Silent Abscission sounds as destructive and harsh as its predecessors, with the guitars by Antoine exhaling fury and obscurity, whereas In the Shadow of the Falling Star brings forward another blast of absolute Black Metal excellence by Inherits The Void, with the riffs by Antoine and the beats and fills by Nicolas sounding incendiary until the very end.
The second half of the album begins in a visceral mode as well, with the venomous riffage by Antoine in Wrath of the Endless Sea transpiring modern-day Black Metal while also presenting introspective, Jazz-like passages. The Last Cry of Cosmos kicks off in a more melodic manner to the classy riffage by Antoine and the rhythmic drumming by Nicolas, again presenting multiple layers and nuances, followed by A World Unmade, a solid composition by Antoine and his henchmen despite lacking the same dynamism of the other songs of the album. Lastly, Inherits the Void, the song that carries the name of the band, couldn’t have sounded more majestic, offering us all almost nine minutes of contemporary Melodic Black Metal where the harsh vocals by Romain bring even more obscurity to their music.
A total Black Metal experience where matter and spirit are consumed within the same incantation, standing at the frontier between despair and eternity, The Silent Abscission might be Inherits The Void’s most ambitious and complete work to date, and you can get more information about the album, as well as about Antoine Scholtès and his Inherits The Void, by following the project on Facebook and on Instagram, and don’t forget to also stream his albums on Spotify, and to grab a copy of the album from BandCamp or from Sound Cave. The cosmic and Stygian path paved by the indomitable Antoine Scholtès until today is a thing of beauty, and I’m sure we’ll hear a lot more form such an amazing musician in the near future as The Silent Abscission is indeed fantastic, and a must-listen for anyone who wants to immerse themselves in pure Black Metal magic.
Best moments of the album:The Dawn over Ruins, In the Shadow of the Falling Star and Inherits the Void.
Worst moments of the album:A World Unmade.
Released in 2026 Avantgarde Music
Track listing 1. The Sepulcher of Time 4:27
2. The Dawn over Ruins 5:15
3. The Silent Abscission 5:56
4. In the Shadow of the Falling Star 6:59
5. Wrath of the Endless Sea 4:41
6. The Last Cry of Cosmos 6:00
7. A World Unmade 5:22
8. Inherits the Void 8:37
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
Centered around a world collapsing into an endless cold, waiting to be reborn under a new sun, Twilight of the Golden Star is the second full-length album by Grodzisk Wielkopolski, Poland-based Post-Black Metal duo Zørza (which translates to “northern lights” from Polish), following up on their critically acclaimed 2024 debut Hellven. Recorded by the project’s own guitarist Eryk Lange at Tetra Wave Studio and G. Traschwandtner at Seven String Studio, mixed and mastered by the same Eryk Lange, and displaying a stunning artwork by Igor Datkiewicz of WS Artworks, the new album by the aforementioned Eryk Lange alongside bassist and keyboardist Kacper Bartkowiak, also featuring guest musicians V. Wahntraum (aka Michael “J.J.” Kogler of Harakiri for the Sky and Karg) and Amorth on vocals, and Mateusz Wróbel on drums, positions atmospheric depth and cold, hopeless storytelling at the center of its identity, becoming a must-listen for admirers of the genre.
While listening to each and every track from the excellent Twilight of the Golden Star, you’ll certainly feel your soul being consumed by the bitterly cold and dark sounds crafted by such an amazing Polish duo with the support of a crew of just as incredible musicians, proving once again how beautiful, captivating and visceral European Post-Black Metal can be. If you want to know more about Eryk and Kacper, their music, tour dates and other nice-to-know details about the project, and provide them with your utmost support, you can find Zørza on Facebook and on Instagram, enjoy their unique creations on YouTube and on Spotify, and purchase Twilight of the Golden Star from the Godz ov War Productions’ BandCamp or webstore. Our world is falling apart, but that doesn’t mean it’s coming to an end. As Zørza masterfully tells in their new album, it’s just going to be born again.
THE HEADBANGING MOOSE 