Tag Archives: black metal

Album Review – Imperialist / Prime (2025)

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Sounding tighter and more intricate than ever before, this American Sci-Fi Black Metal beast will take you on a journey to outer space to the sound of their breathtaking new album.

Having spent the years honing their craft while keeping their Death Metal-touched Sci-Fi Black Metal sound intact, Monrovia, California’s own beast Imperialist returns with their long awaited third studio album Prime, the follow-up to their critically acclaimed 2021 sophomore offering Zenit and their 2023 EP Quantum. Recorded by Charles Elliott at Tastemaker Audio, mixed and mastered by Dan Swanö at Unisound, and displaying a stylish artwork by Eliran Kantor, the new album by vocalist and guitarist Sergio Soto, guitarist Bryant Quinones, bassist Joshua Alvarez, and drummer Rod Quinones sounds tighter and more intricate than ever before, reinforced further with Thrash Metal elements while also showcasing the darkness and menace displayed on the previous EP but also the maturity in songwriting, being highly recommended for fans of Dissection, Emperor, Valdrin, Vektor, Frozen Dawn, Abigor, and Immortal.

The album kicks off in full force with Starstorm, a demonic display of Technical Black Metal where the guitars by Sergio and Bryant sound as heavy and electrified as imaginable, followed by Beneath The Sands Of Titan, and as a poetic song name deserves a true metallic, no shenanigans sound, that’s exactly what the band delivers, with Rod crushing his drums in great fashion. Their flammable riffs, accompanied by the pure Black Metal bass by Joshua, will darken the skies in Depravity Beheld, while Sergio continues to gnarl like an evil creature; and in I A.M. the dauntless Sergio darkly gnarls the song’s devilish words (“They were naive to think / I would be the one / The prevent their world’s decay / I think therefore I am / Artificially intellegant / Disdain for flesh and blood / Now dominates my world”) amidst a furious Melodic Black Metal sonority for our total delight.

Then after such an insane metal attack we’re treated to the ethereal interlude Heavens Sunder, setting the tone for Final Hours, a ruthless and extremely vile Black Metal extravaganza where Sergio and Bryant deliver some of their most melodic riffs of the whole album, while Rod makes sure the humongous level of heaviness in the song remains intact. Union Of The Swarm sounds as strident and piercing as its predecessors thanks to the caustic riffage by the band’s guitar duo once again, while Rod’s drums sound at the same time rhythmic and apocalyptic, whereas the same Rod speeds things up in the sulfurous Nocturnal Eon, a lesson in contemporary Black Metal where Sergio’s vocals live up to the glory of such an important music genre created in Norway in the 90’s. Last but definitely not least, let’s enjoy seven minutes of first-class Melodic Black Metal in A Ghost Abandoned, led by the rhythmic drums by Rod and the always venomous growls by Sergio.

The music found in Prime oozes passion and dedication at every level, and every listen will prove to be a testament to that. This could very well be the best Imperialist album to date and given their faultless discography to date, that is saying something. You can experience all that by purchasing the album from their own BandCamp, as well as from the Transcending Obscurity Records’ main store, Bandcamp, Europe store or US store, and don’t forget to also follow the band on Facebook and on Instagram, stream their music on Spotify, or click HERE for all things Imperialist. In other words, as their sci-fi obsession has been taken to the next level in Prime, Imperialist are inciting us all to a wild and thrilling metal journey to outer space to the sound of their breathtaking new album, a one-way trip that will surely crush your minds and thoughts in the name of heavy music.

Best moments of the album: Beneath The Sands Of Titan, Final Hours and Nocturnal Eon.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Starstorm 5:09
2. Beneath The Sands Of Titan 5:47
3. Depravity Beheld 5:14
4. I A.M. 4:30
5. Heavens Sunder 1:56
6. Final Hours 4:46
7. Union Of The Swarm 5:27
8. Nocturnal Eon 4:39
9. A Ghost Abandoned 7:22

Band members
Sergio Soto – vocals, guitar
Bryant Quinones – guitar
Joshua Alvarez – bass
Rod Quinones – drums

Album Review – +MROME+ / Boneyard Twist (2025)

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Poland’s own uncanny force is back with its fourth studio opus, offering nine raw tracks that represent a return to the project’s dark roots from the mid 90’s.

Reaping the harvest on scorched soil since their inception in the already prehistorical year of 1995, Andrychów, Poland’s own Black/Death Metal entity +MROME+ is back three years after Barbaric Values with their fourth installment, entitled Boneyard Twist. Recorded live in studio during a one-day session on November 18, 2023 at Heaven’s Sound Studio under the ear of Marcin Piekło, who also worked out the final sound of the album, with vocals recorded in February 2024 at Piekłoniebo, and adorned by a painting by Mateusz Gawęda, the new album by Ataman Tolovy on vocals and synths, Key V on the guitars, and P on drums contains nine raw tracks that represent a return to their dark roots from the mid 90’s, inspired by the First Wave Black Metal and complemented by hard-shell lyrics dealing with grave residents, history, disabilities of body and mind, necromancy, and even monks exploding.

The party begins in full force with Figures, with their experimental, idiosyncratic blend of Black and Death Metal being boosted by the venomous roars by Ataman Tolovy. Key V then delivers his trademark scathing riffs in Hypercarnivore, accompanied by the Doom Metal-infused drums by P, and of course the final result is a haunting beast of extreme music; and the harsh vociferations by Ataman Tolovy will send shivers down your spines in Mind upon Matter, another blast of primeval Black and Death Metal by the trio. Aristocrat, the first single of the album, also presents the heavy-as-hell riffage by Key V while P dictates the song’s Stygian pace behind his drums, followed by Pigheart, a hammering tune by such an uncanny trio, with Ataman Tolovy’s vocals sounding even more enraged and sinister.

Then rumbling, metallic sounds are the main ingredients in Of Man and Lamb, offering an avalanche of raw, cryptic Black and Death Metal where Ataman Tolovy roars and screams manically nonstop, flowing into the disruptive (yet a bit lengthy) interlude Bonemass, which sets the tone for the beautifully titled Embarrassment of Whores, leaning towards a fusion of Death and Doom Metal, with the sluggish beats by P matching perfectly with the vile guitar lines by Key V, resulting in a lecture in extreme music by those Polish metallers. And lastly, we’re treated to the also venomous The Opening Bat, which starts in a horror movie-like mode before morphing into a rockin’ feast spearheaded by Key V’s slashing riffage.

+MROME+ continue to entirely be a studio project focused on creative process and concepts behind the music, lyrics and graphics in Boneyard Twist (which is by the way available in full on YouTube), staying away from any type of social media except for their presence on BandCamp and on Spotify (although their new album is not available there yet), and that Stygian approach matches perfectly with the music found in their newborn spawn. Boneyard Twist is raw and unique, devilish and caustic, and while those mysterious musicians from Poland keep breathing, we can rest assured the world will have to face more scathing albums like that in the coming years, and that’s simply awesome.

Best moments of the album: Hypercarnivore, Pigheart and Embarrassment of Whores.

Worst moments of the album: Bonemass.

Released in 2025 NRA

Track listing
1. Figures 4:39
2. Hypercarnivore 4:04
3. Mind upon Matter 2:49
4. Aristocrat 3:39
5. Pigheart 3:57
6. Of Man and Lamb 3:22
7. Bonemass 2:39
8. Embarrassment of Whores 5:24
9. The Opening Bat 4:43

Band members
Ataman Tolovy – vocals, synthesizer
Key V – guitar
P – drums

Album Review – KHNVM / Cosmocrator (2025)

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These unrelenting Blackened Death Metal brainiacs return with their fourth studio album, entering a downward spiral into the abyss of the human experience.

Exploring the crossroads of psychology, philosophy, and spirituality while entering a downward spiral into the abyss of the human experience, Germany/Bangladesh’s own Blackened Death Metal brainiacs KHNVM (pronounced as ‘Khaa-nooom’) are unleashing upon us their fourth studio album, titled Cosmocrator. Recorded by the band’s mastermind, vocalist, guitarist, bassist and keyboardist Obliterator at Obliterator Studio (vocals, guitar, bass) and by drummer M. at Studio Usama Siddiqui (drums), with guitars and bass re-amping, mixing and mastering by Ekaitz Garmendia at BlackStorm Studio, and displaying a Stygian artwork by Khaos Diktator Design (with layout by Ulf Binder), the follow-up to their 2023 album Visions of a Plague Ridden Sky draws powerful inspiration from Christopher Hitchens’ scathing account God Is Not Great: How Religion Poisons Everything and Carl Jung’s Mysterium Coniunctionis to explore themes surrounding the tension between rationality and mysticism, while challenging conventional beliefs.

The howling winds of Black Metal kick off the Stygian tune Purgatorial Pyre, with Obliterator delivering his trademark evil vociferations while also building a darkened wall of sounds with his riffs, bass and synths. Fetid Eden is another onrush of blackened sounds by Obliterator supported by the Death and Doom Metal beats by M., perfect for some sick headbanging while he growls like a demonic entity; whereas investing in a more direct Death Metal sonority we have Mercurial Remnants, with Obliterator roaring like a beast while also firing some scorching riffs, followed by the haunting interlude Fathomless Enigma, transporting us to a dark and evil world ruled by Obliterator entitled Cosmocrator, a very experimental and progressive slab of Death Metal showcasing the project’s classic guitar lines and devilish vocals. Then featuring Ekaitz Garmendia (of Sijjin) on a guest guitar solo, Venom Spawn ventures through even more progressive lands, bringing nuances of sounds from Obliterator’s homeland while also melting our faces with his undisputed Death Metal violence, and last but definitely not least, the duo delivers their most Stygian fusion of Death and Doom Metal in Haunting Blight, and the final result is simply phantasmagorical.

With the album title carrying a dual significance, symbolizing the “Ruler of the World” and also standing for “Satan” within religious vocabulary, this reflects its exploration of common phenomena, expressed through an adrenaline-fueled artistic lens. Obliterator and his KHNVM are waiting for you on Facebook and on Instagram with more of their music, news and tour dates (and yes, they do play live, with Chasmist on bass and J. on drums), and you can also stream their music on Spotify, and purchase a copy of Cosmocrator from BandCamp or by clicking HERE, or you can also click HERE for all things KHNVM. With the thought-provoking lyrics and harsh yet to the point musicality of Cosmocrator, KHNVM promise not to just deliver on musical terms, but also to captivate those who are drawn to complex narratives and philosophical depth, all of course embraced by high quality, harsh and obscure heavy music.

Best moments of the album: Fetid Eden, Venom Spawn and Haunting Blight.

Worst moments of the album: None.

Released in 2025 Testimony Records

Track listing
1. Purgatorial Pyre 6:23
2. Fetid Eden 7:20
3. Mercurial Remnants 4:03
4. Fathomless Enigma 1:29
5. Cosmocrator 4:07
6. Venom Spawn 7:38
7. Haunting Blight 5:41

Band members
Obliterator – vocals, guitars, bass, synths
M. – drums

Guest musicians
Ekaitz Garmendia – guitar solo on “Venom Spawn”
Chasmist – bass (live)
J. – drums (live)

Album Review – Hexrot / Formless Ruin of Oblivion (2025)

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The first full-length opus by this American duo flows continuously across seven tracks, maintaining a constant tension between the harmony and dissonance of its ever-shifting web of musical ideas.

Combining a dense stylistic mélange of Death, Black, and Thrash Metal with inventive electronic experimentation and a keen sense of structure, Formless Ruin of Oblivion is the brand new offering by Massachusetts, United States-based Avantgarde Death/Black/Thrash Metal duo Hexrot, following up on their 2022 debut EP Gloomwrought. Mastered by Colin Marston at Menegroth – The Thousand Caves, and displaying a stunning artwork from The Garden of Earthly Delights by Hieronymous Bosch, with logo by Nat Lacuna, the 35-minute first full-length opus by Arkain on vocals, guitars and bass, and Melmoth on vocals, drums and electronics flows continuously across seven tracks, maintaining a constant tension between the harmony and dissonance of its ever-shifting web of musical ideas. Seamlessly interwoven, a bed of modular synthesizer and other digital flourishes run the gamut from clangorous and industrial to warm and ethereal, being therefore recommended for fans of Felgrave, Construct of Lethe, Deathspell Omega, Blut aus Nord, Death, Ulcerate, and Veilburner.

What Lies Veiled is simply ethereal and enigmatic from the very first second, gradually morphing into an experimental beast led by the intricate drumming by Melmoth while Arkain shreds his axe in the name of insanity, flowing into Heavenward, a lecture in Avantgarde and Progressive Death Metal where their experimentations reach a whole new level, all boosted by the the duo’s demented vociferations; again seamlessly connecting with Consecrating Luminous Conflagration, where they keep blasting their demented sounds led by the wicked riffage by Arkain. Then we have the otherworldly interlude Ghostly Retrograde I, setting the stage for Hexrot to crush our souls and dreams with Clandestine Haunt, with Arkain’s caustic guitars matching perfectly with Melmoth’s frantic beats and fills in another explosion of demented Death Metal, once again changing its shape and form into the interlude Ghostly Retrograde II, another atmospheric and embracing instrumental piece that works perfectly as the warmup for the title-track Formless Ruin of Oblivion, a 15-minute creature from the abyss of extreme music, starting in the most phantasmagorical manner before the duo begins peeling our flesh mercilessly with their chaotic and visceral sounds, exhaling madness to their wicked riffs, bass lines and cryptic drums, as if there were three or four songs clashing in great fashion inside of it, consequently setting fire to the ambience until its climatic yet vile finale.

In addition to all that, the immediacy of a live studio recording gives Formless Ruin of Oblivion a high level of authenticity and power, but careful production ensures you’ll still be discovering new things multiple listens in. Hence, you can get to know more about such a promising duo hailing from the United States through their official Facebook and Instagram, stream their debut EP and soon their newborn opus on Spotify or any other streaming service, and purchase a copy of the album from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. It’s truly impressive how only two musicians were capable of putting together such a detailed, bold and complex album, sounding like a multi-headed beast of extreme music while remaining loyal to their foundations and absolutely humble, working hard to keep crafting high quality music for us avid metalheads. No idea what’s next for those two beyond talented guys, but if their next album is just as half as good as Formless Ruin of Oblivion, we’ll have a very good reason to keep a huge smile on our faces while headbanging manically.

Best moments of the album: Heavenward, Clandestine Haunt and Formless Ruin of Oblivion.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. What Lies Veiled 3:49
2. Heavenward 5:26
3. Consecrating Luminous Conflagration 4:05
4. Ghostly Retrograde I 1:10
5. Clandestine Haunt 3:06
6. Ghostly Retrograde II 1:52
7. Formless Ruin of Oblivion 15:53

Band members
Arkain – vocals, guitars, bass
Melmoth – vocals, drums, electronics

Album Review – Panzerchrist / Maleficium – Part 2 (2025)

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This ruthless Danish beast is completing their ambitious double concept album, centering around the theme of witchcraft with a blistering new chapter of Blackened Death Metal brutality.

Rooted in the legacy of the 90’s Scandinavian Death Metal underground, Aarhus, Denmark-based Blackened Death Metal beast Panzerchrist is completing their ambitious double concept album Maleficium with Maleficium – Part 2, the follow-up to their 2024 demolishing opus Maleficium – Part 1 and a blistering new chapter of Blackened Death Metal brutality. Produced, mixed and mastered by Tue Madsen at Antfarm Studios, the newborn spawn by Sonja Rosenlund Ahl on vocals, Frederik O’Carroll and Danny Bo Pedersen on the guitars, Rune V Wasmer on bass, and Ove Lungskov on drums sees the band expand their sonic palette with explosive tempos, melodic synth textures and apocalyptic doom passages, forging a sound that is both savage and cinematic, while its lyrical concept once again centers around the theme of witchcraft, this time diving deeper into narratives of persecution, grief, moral corruption, and their reflection in today’s world.

The second part of their phenomenal concept double album about witch hunts and trials begins in full force with Witchfinder General, with its haunting intro exploding into modern-day, caustic Blackened Death Metal led by the piercing roars by Sonja, whereas in Harmbidder the band continues to kick us hard in the head to the brutal beats and fills by Ove, while Frederik and Danny deliver pure Death Metal from their axes. Needless to say, it should sound fantastic if played live. Sonja sounds even more infuriated in Catalyst Of Chaos, delivering her trademark she-devil roars supported by the thunderous, vicious music blasted by her bandmates, followed by Hex Maleficium Pex, another song that goes absolutely heavy on the blast beats by Ove while Rune fires metallic, ruthless bass lines for our total delight, sounding perfect for breaking our necks headbanging. Or in other words, as Sonja herself says in the song, “the only good witch is a dead witch.”

Then the most cryptic and vile intro of all songs warns us all for the feast of darkness and brutality that’s about to come in Suffer My Fury, the most demented composition of the entire album, with Ove once again demolishing his drums in the name of violence and hatred. The quintet has simply mastered the art of crafting a sinister, visceral hybrid of Black and Death Metal, which is exactly the case in the menacing On Walpurgis Night, again led by the scorching riffs by the band’s unrelenting guitar duo. It’s time to dance with the witches, no doubt about it. The second to last burst of aggression by Panzerchirst is offered in the form of Black Mirror, with the deep gnarls by Sonja walking hand in hand with the demonic riffage by Frederik and Danny; and last but certainly not least, let’s join the band’s demonic coven one last time to the sound of The Descent, putting a climatic and melodic ending to such a magnificent album.

Delivering one of the most extreme and refined statements of their career, a release that marks a new high point for one of Denmark’s most enduring names in Death Metal, Panzerchrist are at the peak of their form with Maleficium – Part 2 (available in full on YouTube and on Spotify). “The songs on Maleficium reach a new level of depth and rawness, which has given me the opportunity to experiment with both lyrics, wordflow and vocal techniques. I am honestly so proud of the result,” commented the ultra talented growler Sonja. “Maleficium – Part 2 completes the work that was started with part one. Together, perhaps the best collection of songs from the band,” complemented Frederik, and if you want to know more about one of the most unrelenting names in the history of Danish metal you can find the band on Facebook and on Instagram, stream their music on Spotify, and of course purchase the phenomenal Maleficium – Part 2 from BandCamp or by clicking HERE. The time of the witches is upon us, and Panzerchrist are among us to make sure it’s going to be a savage and furious era to the sound of their incendiary new album.

Best moments of the album: Witchfinder General, Harmbidder, Suffer My Fury and On Walpurgis Night.

Worst moments of the album: None.

Released in 2025 Emanzipation Productions

Track listing
1. Witchfinder General 4:53
2. Harmbidder 4:10
3. Catalyst Of Chaos 4:03
4. Hex Maleficium Pex 7:19
5. Suffer My Fury 4:01
6. On Walpurgis Night 6:01
7. Black Mirror 3:45
8. The Descent 6:58

Band members
Sonja Rosenlund Ahl – vocals
Frederik O’Carroll – guitars
Danny Bo Pedersen – guitars
Rune V Wasmer – bass
Ove Lungskov – drums

Album Review – Kratornas / God of the Tribes (2025)

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This Canada-based Black Metal entity returns from the underworld with its highly anticipated fourth studio album, representing a significant shift in its approach by focusing on build-up and atmosphere.

Originally a three-piece band, but only for a short time in early 1995 when the project was still located in Cadiz, Western Visayas, in the Phillipines, the now Saskatchewan, Canada-based Black Metal creature Kratornas is set to unleash hell on earth with God of the Tribes, the fourth studio album in their career, and the follow-up to their 2016 opus Devoured by Damnation. Mastered by Dan Swanö at Unisound, and displaying a striking artwork that perfectly complements the thematic elements of the record (drawing heavily from apocalyptic imagery and ritualistic concepts), the newborn spawn by the iconic Zachariah on vocals, guitars and bass, supported by GB Guzzarin on drums, is unlike any of the previous Kratornas releases known for their superfast brutality, representing a significant shift in their approach by focusing on build-up and atmosphere, therefore showcasing a significant evolution in their sound.

Zachariah’s devilish, Stygian feast begins in a beyond haunting manner in Cursed Sky Serpent, a 15-minute behemoth from the netherworld in the form of primeval Black Metal, sounding very experimental and dissonant until the very end while always supported by the wicked beats and fills by GB Guzzarin. Then after such a multi-layered aria, Zachariah offers us all the three-minute beast titled Evil and Plunder, where his guitar lines and bass sounding utterly demonic while also exploring new sounds and nuances. Ravaged by Hurakaan blends elements from Dissonant Death Metal to the project’s core sonority, with the beats and fills by GB Guzzarin enhancing the song’s insanity to a whole new level; whereas lastly we face another long and detailed song titled Novena para Guerra, and that’s when Zachariah truly thrives, blasting wicked guitar lines, metallic bass jabs and inhumane roars for our total delight.

“This album marks a turning point for Kratornas. Not because it tries to be ‘different’ but because it couldn’t have come out any other way. Every part of this release came together naturally. The sound, the pacing, the tension… it wrote itself, shaped by instinct and intention. This album is unlike the usual Kratornas so to anyone expecting it to sound like ‘early Kratornas’ will be disappointed,” commented the project’s heart and soul Zachariah, and if you have what it takes to face him and his Kratornas, you can find the project on Facebook, stream all of their sulfurous creations on Spotify, and of course grab a copy of God of the Tribes from BandCamp. But be warned that Kratornas is definitely not an easy listen for the average metalhead, it doesn’t matter if it’s the project’s more visceral old material, or if it’s the darkly atmospheric sounds found in the new album. Kratornas will forever bring forth a primeval form of Black Metal, darkening our thoughts and minds while at the same time preparing us all for our inevitable end.

Best moments of the album: Cursed Sky Serpent and Novena para Guerra.

Worst moments of the album: None.

Released in 2025 Grathila Records

Track listing
1. Cursed Sky Serpent 15:00
2. Evil and Plunder 3:00
3. Ravaged by Hurakaan 7:00
4. Novena para Guerra 11:00

Band members
Zachariah – vocals, guitars, bass
GB Guzzarin – drums

Album Review – Visitant / Rubidium (2025)

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A newborn Blackened Death Metal beast from Florida is ready to kill to the sound of their debut offering, embodying the bleakest parts of being human.

Formed in February 2022 in Pensacola, Florida, in the United States by guitarist Taylor Tidwell (Unaligned, Withered Throne) and vocalist Chelsea Marrow (Voraath, The Monster Factory), Visitant are a Blackened Death Metal band that weaves ethereal elements into a soundscape that is as haunting as it is aggressive. Lyrically and musically, the band crafts immersive dreamscapes, ritualistic and unrelenting, that channel the essence of restless, vengeful spirits. Recorded by Taylor Tidwell and Anthony Lusk-Simone, produced and mixed by Anthony Lusk-Simone, mastered by Jason Fisher at Exitus Stratagem Records, and displaying a stylish artwork by Chelsea Marrow (with layout and logo by Maxwell Aston), Rubidium is the debut album by the aforementioned Taylor Tidwell and Chelsea Marrow alongside bassist Kilian Duarte (Abiotic, Lattermath, Felix Martin, Scale the Summit), and drummer Anthony Lusk-Simone (Abiotic, Lattermath, Pathogenic), embodying the bleakest parts of being human while dealing with the darkest emotions such as grief, loss, betrayal, vengeance, time lost, and regret.

Chelsea already showcases all her vocal depth and rage in the opening tune Unworldly, an imposing Black Metal aria where Anthony’s pounding drums and background orchestrations sound absurdly heavy, followed by Briars, offering another whimsical, atmospheric start to the band’s minimalist sounds before Taylor and Killian fire piercing, monumental sounds from their axes supported by the Black and Death Metal drumming by Anthony. Visitant then bring to our avid years another avalanche of cinematic and obscure sounds in Starless, where Chelsea’s gnarls walk hand in hand with Anthony’s drums, followed by the demolishing Rubidium, keeping the atmosphere as heavy and dense as possible. In Fodder, Chelsea keeps screaming the song’s devilish words (“A cold eclipse / An opening amidst flame / Your being, engulfed / I never thought I’d see your face beyond the light”) while her bandmates generate the most sulfurous and evil Blackened Death Metal sound imaginable. Then blasting a gripping fusion of Symphonic Black Metal with Post-Black Metal elements we have Envies Lament, with the riffage by Taylor sounding acid and vile; and last but not least, we face one final Black Metal attack by the quartet entitled Moon Bathe, with Taylor stealing the spotlight with his infernal, caustic riffage.

In a nutshell, fans of Gojira, Opeth, Naglfar, and Between the Buried and Me will certainly have a blast with the visceral experience that transcends genre boundaries offered by Visitant in Rubidium, placing the band under the radar of most metalheads across the world who enjoy a solid and professional fusion of aggressiveness, violence, harmony, obscurity and rage. You can get more details about this up-and-coming horde hailing from Florida by following them on Facebook and on Instagram, keep an eye on their official videos on their YouTube channel, stream their music on Spotify, and of course purchase a copy of their flammable debut by clicking HERE. Chelsea, Taylor & Co. are summoning a beast from the abyss in their first ever full-length offering, darkening the skies and haunting our souls mercilessly and, therefore, already getting us all hyped for whatever comes next in their exciting career in the upcoming years.

Best moments of the album: Unworldly, Fodder and Envies Lament.

Worst moments of the album: None.

Released in 2025 Exitus Stratagem Records

Track listing
1. Unworldly 4:48
2. Briars 5:20
3. Starless 5:07
4. Rubidium 5:24
5. Fodder 4:37
6. Envies Lament 4:56
7. Moon Bathe 2:38

Band members
Chelsea Marrow – vocals
Taylor Tidwell – guitars
Kilian Duarte – bass
Anthony Lusk-Simone – drums, orchestration

Album Review – Old Machines / The Cycles of Extinction (2025)

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This Symphonic Black Metal entity from Portland will attack with their concept debut album, a monolithic fusion of bombastic brutality and cosmic dread.

Astral warlords and celestial leviathans, Portland, Oregon-based  Symphonic Black Metal entity Old Machines emerge from the void with their cataclysmic concept debut album, titled The Cycles of Extinction, a monolithic fusion of bombastic brutality and cosmic dread. Recorded and mixed by the band’s own guitarist Brian Rush, mastered by Stephen Hoffman at Acid Dump Studios, and displaying a futuristic, dystopian cover art by Alexander Preuss, the debut offering by Gary Reavis on vocals, Brian Rush on the guitar and bass (the band was joined by Joel Henigson on bass shortly after the album was recorded), Devon Miller also on the guitar, Jason Stares on keyboards, and Chris Craven on drums heralds a new chapter in Extreme Metal where ancient engines of annihilation awaken once more.

You know a band is always aiming at pushing their boundaries when they kick off an album with an 11-minute song like Twilight of the Old Gods, and the Dawning of the First, sounding utterly atmospheric and whimsical, evolving into a Progressive Death Metal beast led by Gary’s striking vocals; and their symphonic wall of sounds goes on in full force in Cycles of Extinction, with the keys by Jason elevating the song’s epicness to a whole new level. Those guys definitely know how to name their songs, like in Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory), where Brian and Devon deliver an imposing riff attack accompanied by the massive beats and fills by Chris in a complex and vibrant blend of Symphonic and Progressive Black Metal; whereas Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle is a beyond ethereal, enfolding composition, almost venturing through the lands of Shoegaze.

Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) takes the band back to a more metallic and piercing mode, where Chris hammers his drums supported by the always electrifying keys by Jason, offering Gary exactly what he needs to shine on vocals. And it’s pedal to the metal in the infuriated The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague, with the guitars by Brian and Devon penetrating deep inside our rotten minds. Then a cinematic intro explodes into sheer madness, rage and first-class Symphonic Black Metal in They are Legion – The Tragic Exodus of the Veiled Creators, where their guitar lines are absolutely insane and demented. And finally, we face their last metal attack entitled Glory to the Terrans of the First Contact War, even more symphonic than its predecessors while Chris sounds ruthless behind his drums.

In a nutshell, the tales of horror, war, and genocide found in The Cycles of Extinction, spanning eight tracks for one hour of music which can be described as Extreme Cosmic Metal, combining elements of Thrash, Death, Black, and Power Metal, will certainly appeal to fans of heavy music with a strong background storyline, and you can get to know more about Old Machines, their music, tour dates and other details on Facebook and on Instagram, and grab a copy of the album from their own BandCamp, from the Pale Magus Productions webstore, or by clicking HERE. From the darkest depths of the oceans of time and space comes a legend over two billion years old, which has spawned a multitude of harrowing galactic sagas, with The Cycles of Extinction being just the first in a series of concept albums by the band. There will be more of such epics in this fashion because, as you know, extinction is only the beginning.

Best moments of the album: Twilight of the Old Gods, and the Dawning of the First, Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) and The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague.

Worst moments of the album: Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle.

Released in 2025 Pale Magus Productions

Track listing
1. Twilight of the Old Gods, and the Dawning of the First 11:14
2. Cycles of Extinction 6:41
3. Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory) 6:18
4. Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle 8:39
5. Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) 6:51
6. The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague 7:15
7. They are Legion – The Tragic Exodus of the Veiled Creators 6:03
8. Glory to the Terrans of the First Contact War 7:25

Band members
Gary Reavis – vocals
Brian Rush – guitar, bass
Devon Miller – guitar
Jason Stares – keyboards
Chris Craven – drums

Album Review – Blackbraid / Blackbraid III (2025)

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Behold the stunning next chapter in the musical and spiritual journey of the witch hawk of Black Metal hailing from the Adirondack Mountains.

A solo indigenous Black Metal project from the depths of the Adirondack wilderness, creating music as raw and powerful as the mountains from whence it came, New York’s own Atmospheric Black Metal entity Blackbraid, the brainchild of the beyond talented vocalist and multi-instrumentalist Sgah’gahsowáh, is finally back with the highly anticipated follow-up to his critically acclaimed 2023 album Blackbraid II. Fully composed and performed by Sgah’gahsowáh, with drums, recording, mixing and mastering done by Neil Schneider (of the excellent bands Calling of Phasmic Presence, Diplegia, Telepathic Ceremony and Vintertodt), and displaying a stunning artwork with painting by Adam Burke of Nightjar Illustration and ilustration by Adrian Baxter, with visual development and graphic design by Wolf Mountain Productions, the breathtaking Blackbraid III is another beast of an album by our witch hawk Jon Krieger, showcasing a huge step forward in his already beautiful career and, therefore, resulting in a must-listen for fans of contemporary Atmospheric and Melodic Black Metal.

The acoustic, atmospheric intro Dusk (Eulogy) warms up our souls for the blackened feast titled Wardrums At Dawn On The Day Of My Death, with Sgah’gahsowáh powerfully declaiming the song’s dark and poetic words (“Awakened by a western wind / The blood of chaos seeps into dawn / A call to war in honor and death / The warrior’s fate to ride the storm / Ride”), always supported by Neil’s insane beats and fills. The Dying Death Of A Sacred Stag is another massive chant with pensive, introspective lyrics (“Upon a great throne of black mountains / Born in the heart of the storm / A keeper of shadow and twilight / A sentinel of lands long forlorn / Born within the eyes of the storm”) while our dauntless witch hawk keeps slashing his axe nonstop; and we’re then treated to the ethereal interlude The Earth Is Weeping before all hell breaks loose in God Of Black Blood, featuring a guest guitar solo by Randy Moore, a tribal, ruthless aria by Sgah’gahsowáh perfect for dancing and prancing around the fire like a true Native American.

It’s impressive how Sgah’gahsowáh can craft delicate yet obscure instrumental pieces like Traversing The Forest Of Eternal Dusk, setting the tone for the absolute demolishing Tears Of The Dawn, a lecture in Atmospheric Black Metal with the pounding drums by Neil walking hand in hand with the visceral roars and scorching riffage by Sgah’gahsowáh. Like Wind Through The Reeds Making Waves Like Water, the last interlude of the album, once again sounds enfolding, melancholic and whimsical, soothing our heats and souls before we face the flawless And He Became The Burning Stars…, one of the best Blackbraid songs of all time, with all harsh vociferations, scathing riffs and blast beats flowing perfectly until the very last second, taking us on a way one journey into the heart of the Adirondack Mountains. And finally, we have Fleshbound, an amazing cover version for a classic by Lord Belial, from their 2005 album Nocturnal Beast (check out the original HERE), and Sgah’gahsowáh’s rendition is just as visceral, aggressive and detailed.

Ready to embark on a North American headlining tour this year with support from Lamp of Murmuur, Dödsrit, and Gudsforlad, Sgah’gahsowáh and his Blackbraid are poised to conquer the entire world of heavy music with the third chapter in his musical and spiritual journey, and not only you can find the album in full on YouTube and on Spotify, but you should definitely purchase it from BandCamp or from the project’s official merch store in the United States or in the European Union. Don’t forget to also give Sgah’gahsowáh a shout on Instagram, and to stream all of his songs and albums on YouTube, Spotify or any other streaming service. Because the witch hawk of Black Metal is back, sounding heavier and more epic than ever, with the first-class music found in his new album majestically echoing through the misty mountains.

Best moments of the album: Wardrums At Dawn On The Day Of My Death, God Of Black Blood, Tears Of The Dawn and And He Became The Burning Stars…

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Dusk (Eulogy) 1:02
2. Wardrums At Dawn On The Day Of My Death 4:54
3. The Dying Death Of A Sacred Stag 7:44
4. The Earth Is Weeping 3:39
5. God Of Black Blood 5:52
6. Traversing The Forest Of Eternal Dusk 3:39
7. Tears Of The Dawn 9:18
8. Like Wind Through The Reeds Making Waves Like Water 2:49
9. And He Became The Burning Stars… 9:50
10. Fleshbound (Lord Belial cover) 4:03

Band members
Sgah’gahsowáh – vocals, guitars, bass

Guest musicians
Neil Schneider – drums (session)
Randy Moore – lead guitars on “God of Black Blood”

Album Review – Eight Lives Down / Fates (2025)

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This multinational Progressive/Groove Metal four-headed creature is back with its sophomore opus, looking at forces beyond human control and how we respond in the face of helplessness.

Looking at forces beyond human control and how we respond in the face of helplessness, building and exploring tensions created from a sense of unease, Fates, the sophomore album by the multinational Progressive/Groove Metal four-headed creature Eight Lives Down, is a journey into the shadows of mortality. Recorded and mixed by Dan Baune at Tectonic Tone, mastered by Rasmus Andersen at Raw Sound Studio, and with a classy artwork by Diana Sawicka of What the Moon Brings, the follow-up to their 2020 debut Humans turns inward and downward, fixating on death, decay, and forces beyond human control. It’s a gaze into the abyss, and a study in how we respond when all sense of agency is stripped away, all masterfully brought into being by Aliki Katriou on vocals, Paul Allain on the guitar, Marcin Orczyk on bass, and Rodrigo Moraes Cruz on drums.

Dark and sluggish sounds kick off the opening tune Void before exploding into a modern-day blend of Groove and Progressive Metal, all embraced by Aliki’s vicious, raspy vociferations, who also declaims the words to the next song, titled Dog’s Breakfast, with tons of passion (“Everything changed seemingly overnight / Everything messed up and suddenly felt so right / Everyone covered eyes and ears / And climbed inside the anthill / Of despair and death / To practice learned helplessness”) amidst an overdose of heaviness. Fishbones sounds less violent while also leaning towards more melodic and experimental sounds, with Paul’s guitar transpiring electricity; and Aliki’s dark and pensive vocals are perfect for Phobia, again exploding into a feast of heavy and groovy sounds with Rodrigo dictating the song’s frantic pace with his classic beats and fills. Deicide brings forward more of the band’s caustic riffs supported by Marcin’s heavy-as-hell bass and Rodrigo’s killer beats; and Aliki sometimes sounds like a Death Metal version of the iconic Mike Patton, which is obviously awesome, like in the visceral tune The Point.

Then the band switches gears to a more melancholic, darker sonority in Green Light in the Distance without forgetting to blast our faces with their harsh sounds and tones; and the quartet still has a lot of fuel to burn, with Left Behind being a very good example of how they can mix harsher metal sounds with nuances from several non-metal styles. Marcin then blasts his bass, extracting pure metallic sounds in Storm, while Aliki keeps declaiming the song’s Stygian words nonstop (“It starts like liquid, water / One and the same / And I find comfort in the shelter / Hiding from the blame / I feed off you every day / And you infect my mind / In this race of coming out ahead / I’ve already fallen behind”). Constantinople is a bit disappointing compared to the rest of the album, sounding generic at times, but the band gets back on track in The Process of Dying, one of the most diverse, dynamic and vibrant of all songs, with Aliki kicking some serious ass on vocals. Furthermore, the bonus track (available on Spotify) featuring the iconic metal choir Hellscore, directed by Noa Gruman, sounds even more powerful.

Musically, Eight Lives Down maintained their progressive spin, with raw thrash foundations audibly peaking through in Fates (available in full on  Spotify), while the album weaves Greek Zeibekiko, snotty Punk, Black Metal, NWOBHM, and even Brazilian Forró rhythms into a dynamic sonic landscape, being therefore highly recommended for fans of System of a Down, Rage Against the Machine, Sepultura, Carcass, Pantera, Prong, Faith No More, Lamb of God, and Jinjer. you can find those unstoppable metallers on Facebook and on Instagram, subscribe to their YouTube channel, and purchase Fates from their own BandCamp page, from their webstore, or by clicking HERE. In other words, simply sit down, relax, and descend into the abyss of heavy music crafted by Eight Lives Down. You won’t regret the experience at all.

Best moments of the album: Void, Phobia, Storm and The Process of Dying.

Worst moments of the album: Constantinople.

Released in 2020 Independent

Track listing
1. Void 4:51
2. Dog’s Breakfast 5:39
3. Fishbones 4:35
4. Phobia 4:28
5. Deicide 4:20
6. The Point 3:17
7. Green Light in the Distance 7:16
8. Left Behind 4:48
9. Storm 7:33
10. Constantinople 4:56
11. The Process of Dying 7:17

Spotify bonus track
12. The Process of Dying (Hellscore version) 7:14

Band members
Aliki Katriou – vocals
Paul Allain – guitar
Marcin Orczyk – bass
Rodrigo Moraes Cruz – drums

Guest musicians
Hellscore – metal choir on “The Process of Dying”