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Album Review – Orbit Culture / Death Above Life (2025)

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Sweden’s own Melodic Death and Groove Metal titans return from the frozen north with their incendiary fifth full-length album.

Beware of the antlers, as Eksjö, Sweden’s own Melodic Death/Groove Metal titans Orbit Culture return from the frozen north with their fifth full-length album aptly titled Death Above Life, following up on their critically acclaimed 2023 opus Descent. Produced, mixed and mastered by Buster Odeholm at Odeholm Audio, and adorned by a Stygian artwork by Miroslav Pecho, the new offering by vocalist and guitarist Niklas Karlsson, guitarist Richard Hansson, bassist Fredrik Lennartsson, and drummer Christopher Wallerstedt offers more of their trademark fusion of Thrash, Death, Groove and Industrial Metal with arresting hooks and a layered atmosphere that invites comparison to Gojira, Metallica and Static-X, while carving out something that is uniquely their own.

The band wastes no time and kick off the album on a violent mode with Inferna, where Niklas and Richard steal the show with their utterly metallic riffage in its almost seven minutes of first-class Swedish melodeath. Christopher then sounds like an out-of-control stone crusher in Bloodhound, adding endless aggressiveness to their sound while also matching perfectly with Niklas demented roars; whereas Inside the Waves offers a more modernized version of American Metalcore, an excellent option for setting fire to their live performances. In The Tales of War we face poetic lyrics declaimed by Niklas (“Chasing a dark storm, no reason to be here / Escaping the temple of fear / I forfeit, the summoning time, the chasing of healing shrines / Through darkness I was led through the lanes”) amidst a pure headbanging extravaganza, and again venturing through contemporary Groove Metal we’re treated to Hydra, while of course staying true to their roots. Furthermore, the bass by Fredrik will hammer your skull mercilessly.

It’s pedal to the metal in the high-octane melodeath feast entitled Nerve, led by the striking vocals by Niklas and the band’s spot-on backing vocals, all spiced up by the killer guitar solos by Richard. Death Above Life brings forward another round of their pensive yet acid words (“Alternation / Stuck in a war / No path to follow / Through chaos made up / My mind is done / In this cave of black dust, kill / It aims for the heart”), a neck-breaking tune that flirts with modern Death Metal at times; and get ready to be caught in a mosh pit storm to the sound of The Storm, where their riffs sound brutally awesome supported by the pounding drums by Christopher. More of their ass-kicking guitar lines will penetrate your mind in Neural Collapse, all boosted by Niklas’ vicious guttural, whereas lastly we have The Path I Walk, and I have no idea what their goal was with this tune. They sound like the more modern version of Metallica, which is never a good choice to be fair.

“The album represents change, a new beginning,” says guitarist, vocalist and songwriter Niklas Karlsson. “It brings up a lot of good and bad emotions but it’s a big change for the better. It feels like a rebirth.” Hence, if just like the guys from Orbit Culture you also want to experience such a metallic rebirth you can follow the band on Facebook and on Instagram, staying up to date with their news and tour dates, stream their already dense discography on Spotify, and of course grab your copy of the excellent Death Above Life from their own BandCamp, as well as from the album’s special website, or by clicking HERE or HERE. There’s a thin line between life and death, but in the end death always prevail, in special when the soundtrack to it is as exciting and heavy as the new album by one of the torchbearers of the new Swedish melodeath scene.

Best moments of the album: Bloodhound, The Tales of War and The Storm.

Worst moments of the album: The Path I Walk.

Released in 2025 Century Media Records

Track listing
1. Inferna 6:45
2. Bloodhound 5:04
3. Inside the Waves 4:39
4. The Tales of War 5:10
5. Hydra 4:49
6. Nerve 5:54
7. Death Above Life 5:31
8. The Storm 4:16
9. Neural Collapse 6:21
10. The Path I Walk 4:55

Band members
Niklas Karlsson – vocals, guitars
Richard Hansson – lead guitars
Fredrik Lennartsson – bass
Christopher Wallerstedt – drums

Album Review – Sanguisugabogg / Hideous Aftermath (2025)

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The ‘Bogg is back in action with an ass-kicking record as gore-obsessed and violence-inclined as their prior works, but with a career-defining command over their ugly art.

Known for being THAT band with the unpronounceable name and unreadable logos, Columbus, Ohio-based Brutal Death Metal/Deathcore entity Sanguisugabogg returns to action with Hideous Aftermath, a record as gore-obsessed and violence-inclined as their prior works Tortured Whole (2021) and Homicidal Ecstasy (2023), but with a career-defining command over their ugly art. Recorded by Zach Weeks, produced by Kurt Ballou at Godcity Recording Studio, and mastered by Mike Kalajian at Rogue Planet Mastering, the newborn beast by frontman Devin Swank, guitarist Drew Arnold, bassist Ced Davis, and drummer Cody Davidson is the work of a band who has already cut a bloody swath into the underground and beyond, leaving any “Caveman Death Metal” tags in the dust while also flexing every muscle they have.

It’s pedal to the metal right from the beginning in Rotted Entanglement, led by the vicious drumming by Cody, almost sounding like old school, primeval Death Metal. In Felony Abuse of a Corpse we face guest vocals by the one and only Damonteal Harris (of Brutal Death Metal beast PeelingFlesh), and of course such an awesome partnership with Devin would result in pure sonic madness, with the riffs by Drew exhaling hatred; followed by Ritual Autophagia, featuring guest vocals by Todd Jones (of Nails), another slamming extravaganza by the quartet with the bass and drums by Ced and Cody, respectively, transpiring heaviness. They show no mercy for our souls in Heinous Testimony, offering an avalanche of unyielding Death Metal, with Devin’s Neanderthal vocals bringing pure hatred to their music; whereas the roars by guest Josh Welshman (of Defeated Sanity) add even more insanity to Abhorrent Contraception, with its lyrics reeking of evil (“Don’t run away, let’s play house, just stay / I’ll send them to their room, just ignore them for one day / And while they’re there, it’s just you and me right here / I’ll do what it takes for us forever”).

The second half of the album kicks off in an ominous manner, with a cryptic tune titled Repulsive Demise, led by the rumbling bass by Ced and setting the stage for the band to  kill us all in Erotic Beheading, with Drew setting fire to the atmosphere with his scathing riffage. In other words, its putrid, vile sound will please all fans of the most demented form of Brutal Death Metal, and needless to say, it will work brilliantly live. The quartet keeps hammering their sonic weapons in great fashion in Sanctified Defilement, with the deep, gargantuan vociferations by Devin sending shivers down our spines; and in Semi Automatic Facial Reconstruction we’re treated to the more-than-special guest vocals by Travis Ryan (of the unparalleled metal commando Cattle Decapitation), obviously turning it into one of the top moments of the album, with the instrumental chaos blasted by Drew, Ced and Cody providing such a phenomenal vocal duet with exactly what they need to crack the skies with their visceral roars. Lastly, featuring guest vocals by Dylan Walker (of Full of Hell), Paid in Flesh offers almost eight minutes of the most demonic form of the band’s blend of Death Metal, showcasing lots of break, variations, and of course, endless violence flowing from their riffs, beats, and the gruesome gnarls by Devin.

With Hideous Aftermath, Sanguisugabogg have proven themselves more than just an eccentric death crew on an acid-addled hateroll. They’re both champions of the underground and a musical force unto themselves. “It’s definitely our most death metal record, our most personal record, our most focused and brutal record to date,” commented Devin Swank, who’s waiting for you alongside his bandmates on Facebook and on Instagram with news, tour dates and so on. Don’t forget to also stream their undisputed brutality on Spotify, and of course to grab a copy of their excellent new album from their own BandCamp or webstore, from Century Media Records, or by clicking HERE or HERE. Hideous Aftermath showcases a band that’s not just out for blood, but out for YOUR blood, and once you find yourself in the hands of the ‘Bogg, there’s no escape.

Best moments of the album: Felony Abuse of a Corpse, Semi Automatic Facial Reconstruction and Paid in Flesh.

Worst moments of the album: Repulsive Demise.

Released in 2025 Century Media Records

Track listing
1. Rotted Entanglement 5:37
2. Felony Abuse of a Corpse 5:23
3. Ritual Autophagia 4:48
4. Heinous Testimony 3:20
5. Abhorrent Contraception 5:30
6. Repulsive Demise 4:02
7. Erotic Beheading 2:52
8. Sanctified Defilement 3:32
9. Semi Automatic Facial Reconstruction 4:33
10. Paid in Flesh 7:50

Band members
Devin Swank – vocals
Drew Arnold – guitars
Ced Davis – bass
Cody Davidson – drums

Guest musicians
Josh Welshman – vocals on “Abhorrent Contraception”
Travis Ryan – vocals on “Semi Automatic Facial Reconstruction”
Dylan Walker – vocals on “Paid in Flesh”
Todd Jones – vocals on “Ritual Autophagia”
Damonteal Harris – vocals on “Felony Abuse of a Corpse”

Album Review – Lorna Shore / I Feel the Everblack Festering Within Me (2025)

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Call them heroes or hell-bringers, the torchbearers of modern-day Deathcore are inviting us all to be part of their own movie to the sound of their the declarative and breathtaking fifth album.

Call them heroes or hell-bringers, it doesn’t matter to the  men of New Jersey, United States-based Symphonic Deathcore beast Lorna Shore. Produced and engineered by Josh Schroeder, and displaying a sinister artwork by Zac Shiffer, I Feel The Everblack Festering Within Me, the declarative fifth album in their career, and the follow-up to their 2022 masterpiece Pain Remains, sees the band currently formed of Will Ramos on vocals, Adam De Micco and Andrew O’Connor on the guitars, Michael Yager on bass, and Austin Archey on drums putting all of metal’s subgenres on notice. Because after one listen, you’ll wonder what motivates them and what took metal so long to evolve. You also might wonder whose truck may have hit you while you were listening to the album.

Like the soundtrack to a horror movie, the opening track Prison of Flesh grows in intensity until all hell breaks loose to the visceral beats and fills by Austin in a demented display of brutal and vile Deathcore, while Oblivion follows a similar pattern, with Will’s deep, inhumane growls and screeches sounding like a creature form the abyss, being therefore perfect for some insane action inside the circle pit to the wicked riffs by Adam and Andrew. In the infuriated In Darkness, the background orchestrations and choir elevate the song’s epicness to a whole new level, with once again Will growling manically while the sound of their guitars exhales harmony and electricity; and they continue to fill every single space in the air with their striking fusion of Deathcore and symphonic elements in Unbreakable, leaning towards the sound from Pain Remains. Then a serene start ignites Glenwood, another epic and atmospheric creation by the band overflowing melancholy and darkness, albeit a bit generic in the end.

Will keeps roaring like a true lion in Lionheart, where Austin makes sure his beats and fills are not only heavy-as-hell, but also complex enough to keep the music as vibrant and fresh as possible, followed by Death Can Take Me, another pulverizing display of Symphonic Deathcore where the crushing drums by Austin walk hand in hand with Will’s desperate screams. Then presenting elements from traditional metal styles like Heavy and Thrash Metal we have War Machine, with its background keys elevating its punch, not to mention the excellent job done by Adam and Andrew armed with their axes. Their second to last metallic attack is offered in the form of A Nameless Hymn, with Michael and Austin sounding ruthless with their heavy-as-hell kitchen; and last but definitely not least, Lorna Shore bring forth a masterpiece of darkness entitled Forevermore, starting in an almost Atmospheric Black Metal manner before morphing into a grandiose feast of symphonic elements intertwined with the sheer heaviness of Deathcore, or in other words, it’s definitely a beautiful conclusion to such an epic album.

Lorna Shore are neither dire misery goats, nor flower-picking pollyannas and definitely not lapdogs currying favor from those who would exalt the ordinary, inviting us all to embrace I Feel The Everblack Festering Inside Of Me and, therefore, become part of the band’s own movie. “I think a lot of bands – especially in deathcore – they write stuff that they think is cool, but they’re not necessarily writing stuff that’s true to them,” commented Will Ramos. “I think between everything that we’ve been through over the last couple years, those things have helped push the band to think bigger. We’re putting our heart and soul into it. I think it’s those little experiences that we’ve been through that help shape that. It doesn’t necessarily work for everybody, but it works for us.” Furthermore, you can get in touch with one of the torchbearers of modern-day Deathcore via Facebook and Instagram, stream their vicious, down-tempo creations on Spotify, and of course grab your copy of the poetically titled I Feel the Everblack Festering Within Me by clicking HERE or HERE. When heroes are hard to find, try looking inside yourself first. and when good heavy music is hard to find, simply enjoy the phenomenal new album by Lorna Shore.

Best moments of the album: Prison of Flesh, Unbreakable, Lionheart and Forevermore.

Worst moments of the album: Glenwood.

Released in 2025 Century Media Records

Track listing
1. Prison of Flesh 7:00
2. Oblivion 8:19
3. In Darkness 6:43
4. Unbreakable 4:49
5. Glenwood 6:43
6. Lionheart 5:44
7. Death Can Take Me 7:16
8. War Machine 4:53
9. A Nameless Hymn 5:14
10. Forevermore 9:47

Band members
Will Ramos – vocals
Adam De Micco – guitar
Andrew O’Connor – guitar
Michael Yager – bass
Austin Archey – drums

Album Review – Signs of the Swarm / To Rid Myself of Truth (2025)

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Continuing to molt their slamming Deathcore exoskeleton, Pittsburgh, Pennsylvania’s own beast is unleashing upon us their strongest and most violent album to date.

Continuing to molt their slamming Deathcore exoskeleton, with their metal metamorphosis revealing a band now as indebted to Meshuggah, Gojira and Fear Factory as any of the Deathcore bands they grew up on, Pittsburgh, Pennsylvania’s own beast Signs of the Swarm is unleashing upon humanity their new offering, titled To Rid Myself of Truth, following up on their 2023 slab of brutality Amongst the Low & Empty. Produced by Josh Schroeder at Random Awesome! Recording Studio, and featuring guest appearances by Will Ramos (Lorna Shore), Phil Bozeman (Whitechapel), Jack Murray (156/Silence) and Johnny Crowder (Prison), the new album by David Simonich on vocals, Carl Schulz on the guitars, Michael Cassese on bass, and Bobby Crow on drums carries a title that exudes confidence while the band’s pursuit of substance over style of the month is as refreshing as it could be surprising.

The title-track To Rid Myself of Truth already showcases the band’s ruthless welcome card, with the bludgeoning riffs and bass lines by Carl and Michael, respectively, bringing absolute heaviness and violence to the atmosphere; followed by Hell Must Fear Me, also stylized as HELLMUSTFEARME, a lesson in modern-day Deathcore with the inhumane, deep growling by David haunting our souls for all eternity, not to mention how demented Bobby sounds on drums. Natural Selection reminds me of some of the darkest creations by Thy Art Is Murder, with David once again stealing the show with his creature from the abyss-like roars; and the way they managed to match David’s growls with the pulverizing drums by Bobby is outstanding in Scars Upon Scars, as if they were a two-headed beast of violence and Deathcore, sounding very progressive and multi-layered as well. Chariot keeps the album as demented and aggressive as possible, with Carl’s visceral riffs cutting our skin deep mercilessly; and David is joined by the one and only Will Ramos for a demented display of Deathcore in Clouded Retinas, showcasing the most Stygian form of vociferations imaginable, and the final result is insanely good.

Iron Sacrament is another song that reeks of violence and dementia just the way we like it in Deathcore, featuring guest vocals by Phil Bozeman, and of course the sick riffs by Carl will inspire you to bang your head nonstop when those guys take your city by storm; whereas Forcing to Forget is a bit too modern or alternative for my personal taste, lacking the same level of aggressiveness from all previous songs. Then back to a more visceral, headbanging sound we have Sarkazein, with Bobby once again providing David with exactly what he needs to scream like a bestial entity nonstop. Needless to day, it should also work really well if played live. Then guest vocalists Jack Murray and Johnny Crowder bring an endless amount of stamina and rage to their already infernal music in Fear & Judgment, turning it into a must-listen for fans of the genre, whereas closing such an incandescent album of Deathcore we’re treated to Creator, where their core essence is infused with the Djent sounds blasted by their idols Meshuggah, and the final result couldn’t have been heavier.

To Rid Myself of Truth is clearly the band’s strongest, darkest and most diverse album to date, showcasing a healthy evolution in their undisputed sound while remaining loyal to their foundations, becoming therefore a must-listen for both old school, diehard fans of the band, and newcomers to their reign of violence and heaviness. You can keep in touch with the boys from Signs of the Swarm by following them on Facebook and on Instagram, including their demented live performances, stream their full discography on most platforms like Spotify, and of course add the caustic, harsh To Rid Myself of Truth to your devilish collection by purchasing it from BandCamp or by clicking HERE. In our chaotic world where truth and lies walk hand in hand, there’s nothing better than the savage Deathcore by Signs of the Swarm to give us strength to keep on moving forward no matter what, with their newborn beast definitely representing the most important step in their already solid and thrilling career.

Best moments of the album: Hell Must Fear Me, Scars Upon Scars, Clouded Retinas and Fear & Judgment.

Worst moments of the album: Forcing to Forget.

Released in 2025 Century Media Records

Track listing
1. To Rid Myself of Truth 3:38
2. Hell Must Fear Me 3:07
3. Natural Selection 3:56
4. Scars Upon Scars 3:00
5. Chariot 3:31
6. Clouded Retinas 3:12
7. Iron Sacrament 3:24
8. Forcing to Forget 3:36
9. Sarkazein 4:26
10. Fear & Judgment 4:19
11. Creator 3:47

Band members
David Simonich – vocals
Carl Schulz – guitars
Michael Cassese – bass
Bobby Crow – drums

Guest musicians
Johnny Crowder – vocals on “Fear & Judgment”
Jack Murray – vocals on “Fear & Judgment”
Will Ramos – vocals on “Clouded Retinas”
Phil Bozeman – vocals on “Iron Sacrament”

Album Review – Baest / Colossal (2025)

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Back from the fires of Denmark with a fresh sound and a badass attitude, this unstoppable creature will crush you with their fourth studio album, a thrilling celebration of Heavy Metal played with Extreme Metal intensity.

Back once again from the fires of Aarhus, Denmark with a fresh sound and a badass attitude, the ruthless Death Metal creature known as Baest will crush our damned minds and souls with their fourth full-length opus, entitled Colossal, following up on their fantastic albums Danse Macabre (2018), Venenum (2019) and Necro Sapiens (2021) while also cementing their reputation as Extreme Metal mavericks with an ear for lethal hooks. Produced, recorded, mixed and mastered by Tue Madsen at Antfarm Studio, and featuring a demonic artwork by Solo Macello, the new offering by frontman Simon Olsen, axemen Lasse Revsbech and Svend Karlsson, bassist Mattias “Muddi” Melchiorsen, and drummer Sebastian Abildsten is an absolute monster, bursting at the seams with catchy riffs and classy melodies, with stylistic salutes to everyone from Ozzy Osbourne and Dokken, through to Iron Maiden and Whitesnake, while still rooted in the belligerent Death Metal that informed previous records, resulting in a magnificent Rock N’ Roll rebirth of such a prominent beast from the Danish metal scene.

The AC/DC-infused riffs by Lasse and Svend ignite the opening tune Stormbringer before the music turns into a wild fusion of Death Metal with Progressive Rock and Metal elements, followed by the indomitable Colossus, showcasing heavy-as-hell, Doom Metal-infused lyrics growled by Simon (“Colossus / Breath the air of the deceit / Colossus / Feel the weight of your defeat / Colossus / Never stray from the common line / Colossus / Crushed under the weight of the colossus”) while the sounds blasted by his bandmates are absolutely dark and menacing. The band keeps delivering sheer adrenaline spearheaded by the venomous vocals by Simon in In Loathe and Love, a lesson in modern-day Death Metal, whereas in King of the Sun, featuring Jesper Binzer of Danish rock band D-A-D on guest vocals, we’re treated to a rockin’ sonority led by the classic beats and fills by Sebastian.

Then blending the fury of Death Metal with the heaviness of Doom and Sludge Metal we have Imp of the Perverse, with Mattias and Sebastian hammering their thunderous weapons mercilessly; and featuring additional vocals by Danish black metal band ORM, the band offers another blast of insanity, heaviness and classy Death Metal in Misfortunate Son, with the riffage by Lasse and Svend exhaling pure adrenaline. Then get ready to be crushed into tiny pieces to the sound of Mouth of the River, where Simon’s deranged growls walk hand in hand with Sebastian’s pounding drums; and a guitar-driven instrumental tune titled Light the Beacons, which feels like an ode to all of their idols and influences, sets the stage for Depraved World, a multi-layered, groovy and vibrant composition where the deep roars by Simon match perfectly with all riffs, bass lines and beats, putting a climatic ending to the album.

Colossal never bends to current trends; instead, it is a thrilling celebration of Heavy Metal played with Extreme Metal intensity, representing a wholesale transformation. Inspired by and infused with old school, classic metal riffs, Colossal is an album that delights in the glory of Heavy Metal and the fine art of rocking out, inviting us all to bang our heads and raise our horns together with those beyond talented Danes, and they’re waiting for you on Facebook, Instagram, YouTube and Spotify with more of their ass-kicking music, undisputed attitude, and deep passion for all types of rock and metal music. Hence, you can purchase a copy of Colossal by clicking HERE, or you can also click HERE for all things Baest, getting to know more about one of the best bands of the current scene worldwide. As you might have noticed, something colossal is coming, and you better brace for impact as those boys are armed to the teeth with the pulverizing sounds of their incendiary newborn beast.

Best moments of the album: Colossus, In Loathe and Love, Mouth of the River and Depraved World.

Worst moments of the album: None.

Released in 2025 Century Media Records

Track listing
1. Stormbringer 4:32
2. Colossus 4:23
3. In Loathe and Love 5:09
4. King of the Sun 4:09
5. Imp of the Perverse 5:56
6. Misfortunate Son 4:02
7. Mouth of the River 4:24
8. Light the Beacons 3:42
9. Depraved World 6:03

Band members
Simon Olsen – vocals
Lasse Revsbech – guitars
Svend Karlsson – guitars
Mattias “Muddi” Melchiorsen – bass
Sebastian Abildsten – drums, percussion

Guest musicians
Jesper Binzer – vocals on “King of the Sun”
ORM – vocals on “Misfortunate Son”

Album Review – Heaven Shall Burn / Heimat (2025)

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One of the biggest names in the history of Melodic Death Metal and Metalcore strikes again with their tenth opus, displaying a deep connection to their homeland and their German roots.

Heimat, which is German for “home”, “homeland, or “native land”, is a term that merely refers to a relationship between people and spaces but has nevertheless always been highly emotionally charged. That’s the title of the new offering by German Melodic Death Metal/Metalcore outfit Heaven Shall Burn, following up on their critically acclaimed 2020 album Of Truth And Sacrifice. Produced at The Dude Ranch, mixed and mastered by Tue Madsen at Antfarm Studio, and showcasing a stunning artwork by world renowned artist Eliran Kantor, the new album by Marcus Bischoff on vocals, Maik Weichert and Alexander Dietz on the guitars, Eric Bischoff on bass, and Christian Bass on drums will certainly please both old and new fans of the band, presenting their signature sound without sounding repetitive or outdated, always looking forward regarding their creativity, heaviness and energy.

The intro Ad Arma couldn’t have been more atmospheric and sinister, setting the stage for the band to crush us all with War Is the Father of All, with Marcus roaring rabidly amidst an imposing, symphonic-infused Metalcore sound boosted by Christian’s pounding drums, or in other words, it’s an impressive and multi-layered start to the album. My Revocation of Compliance is another hammering tune showcasing dark lyrics growled by Marcus (“Welcome to an age of disregard / So abhorrent, all this torture, all this suffering / Yes, you all are the inciters / Willful and deliberately, without the slightest qualm”), whereas Maik and Alexander sound venomous with their sharp riffs in Confounder, resulting in a great option for some sick slamming inside the pit. Empowerment offers another round of their caustic and piercing words (“This is a clarion call, this is my call! / Betrayed and forsaken. A generation in rebellion. They all abide the storm. / Left with no option but revolt, up in arms and never resting, now tearing down your web of lies”), followed by A Whisper from Above, an upbeat tune presenting their trademark aggression, with Christian stealing the show with his beats and fills.

Then after the short and sweet interlude Imminence, the band comes ripping once again with Those Left Behind, speeding up their pace while also firing those very melodious riffs we enjoy so much in first-class Melodic Death Metal and Metalcore. Their destructive mode goes on in full force in Ten Days in May, where Maik and Alexander, supported by the rumbling bass by Eric, will pierce your minds and souls with their scorching riffs and solos; followed by their rendition of Numbered Days, by Killswitch Engage (check out the original version from their 2002 album Alive or Just Breathing), featuring guest vocals by Jesse Leach, the current vocalist of Killswitch Engage themselves, and Heaven Shall Burn deliver a just as violent version of the song for our total delight. Marcus doesn’t get tired of screaming like a beast in Dora, while his bandmates provide him with their classic fusion of violence and harmony; and A Silent Guard is another bludgeoning version of their hybrid of Melodic Death Metal and Metalcore where Christian showcases a visceral performance on drums, before the album ends with the outro Inter Arma, the aftermath of the album albeit too long as already mentioned.

“Heimat is not meant as the narrow-minded end point in the sense it has been used by agitators and populists, but the starting point for observations and perspectives. The album is about a much wider sense of the term ‘Heimat’: the homelands for many different people and also about the spiritual home, something that shapes and determines our thoughts and actions,” commented guitarist Maik Weichert, and you can get in touch with the band to dive even deeper into the world of Heimat via Facebook and Instagram. Don’t forget to also subscribe to their YouTube channel and visit them on Spotify for more of their music, and of course to grab a copy of their incendiary new album via BandCamp or their own webstore, or simply by clicking HERE. Some of the physical versions of the album include more of the amazing art by Eliran Kantor, by the way, and are definitely worth every penny. With Heimat, Heaven Shall Burn prove once again why they remain relevant in the already saturated Melodic Death Metal and Metalcore scene worldwide, always displaying their connection to their homeland and their German roots, while also speaking the universal language of heavy music that will forever reverberate across the four corners of the earth.

Best moments of the album: War Is the Father of All, A Whisper from Above and Ten Days in May.

Worst moments of the album: Inter Arma.

Released in 2025 Century Media Records

Track listing
1. Ad Arma 1:54
2. War Is the Father of All 6:42
3. My Revocation of Compliance 3:32
4. Confounder 4:19
5. Empowerment 4:45
6. A Whisper from Above 4:27
7. Imminence 1:04
8. Those Left Behind 3:24
9. Ten Days in May 4:36
10. Numbered Days (Killswitch Engage cover) 3:38
11. Dora 4:10
12. A Silent Guard 5:01
13. Inter Arma 3:24

Band members
Marcus Bischoff – vocals
Maik Weichert – guitars
Alexander Dietz – guitars
Eric Bischoff – bass
Christian Bass – drums

Guest musician
Jesse Leach – vocals on “Numbered Days”
Wilhelm Keitel, Mondëna Quartet & Ukrainian Sophia Chamber Choir – choir & orchestrations

Album Review – Cryptosis / Celestial Death (2025)

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Netherland’s own Progressive Thrash Metal beast is back with their sophomore opus, expanding their reign of cerebral terror while drawing a red line between the horrors of the present day and the limitless chaos of the future.

Playing what they like to label as “futuristic multi-metal eruption”, Enschede, Netherlands-based Progressive Thrash Metal beast Cryptosis is back after their critically acclaimed debut Bionic Swarm and their 2023 EP The Silent Call with their sophomore offering, titled Celestial Death, expanding their reign of cerebral terror while maintaining their core policy of making epic music that refuses to be pigeonholed. Once again recorded by Olaf Skoreng at The Moon, mixed by Fredrik Folkare, mastered by Tony Lindgren at Fascination Street Studios, and showcasing a classy artwork by the always amazing Eliran Kantor, the new opus by vocalist and guitarist Laurens Houvast, bassist Frank te Riet, and drummer Marco Prij is a more nuanced and complex affair than their debut album, with lyrics that draw a red line between the horrors of the present day and the limitless chaos of the future.

The futuristic intro Prologue – Awakening will transport us to the metallic realm ruled by Cryptosis in Faceless Matter, with Marco already stealing the spotlight with his unparalleled drumming, offering Laurens all he needs to vociferate rabidly for our total delight in a killer display of Progressive and Technical Thrash Metal. Then the mellotron and synths by Frank will destroy your senses in Static Horizon, another blast of futuristic violence by the trio, followed by their 2024 version for The Silent Call, from their 2023 EP, sounding sharper and more dynamic, with Frank and Marco crafting a thunderous atmosphere perfect for Laurens’ riffs and roars. And in Ascending we face a fast, heavy, in-your-face blend of Thrash Metal and modern, otherworldly elements, sounding utterly vibrant form start to finish.

After the ethereal interlude Motionless Balance, the trio comes ripping once again with Reign Of Infinite, starting in an epic mode thanks to the visceral riffs by Laurens, striking us hard with their cryptic Thrash Metal attack; whereas slowing things down considerably we have Absent Presence, a more pensive, atmospheric tune albeit not as thrilling as the rest of the album. Then back to a more vicious sonority we have In Between Realities, with Laurens screaming manically supported by the metallic bass by Frank and the always demolishing beats by Marco; and Laurens continues to shred his axe mercilessly in Cryptosphere, offering more of the band’s extremely technical blend of Thrash Metal, resulting in by far one of the strongest songs of the album. Finally, we face Coda – Wander Into The Light, a captivating, eerie outro that puts a climatic conclusion to the band’s journey through an unknown dimension.

“We wrote a lot of different material. We had so many ideas, which eventually ended up on a slightly different path – a more cinematic path, I would say. This new record has a much darker atmosphere,” commented Frank, while Laurens also had some remarks about the album compared to their debut. “We learned a lot from our debut album. The biggest lesson we learned was how to create songs that really come together as complete pieces, rather than just combining riffs.” In other words, get ready for the second chapter of Cryptosis by following them on Facebook and on Instagram, by streaming their music on Spotify, and of course by purchasing Celestial Death from their own webstore, from BandCamp, or by clicking HERE or HERE. The hour is upon us, or maybe I should say the future of extreme music is upon us, led by those Dutch metallers armed with their technical yet always visceral music.

Best moments of the album: Ascending, Reign Of Infinite and Cryptosphere.

Worst moments of the album: Absent Presence.

Released in 2025 Century Media Records

Track listing
1. Prologue – Awakening 1:16
2. Faceless Matter 3:52
3. Static Horizon 5:10
4. The Silent Call 5:02
5. Ascending 3:38
6. Motionless Balance 1:48
7. Reign Of Infinite 5:44
8. Absent Presence 4:15
9. In Between Realities 3:47
10. Cryptosphere 4:22
11. Coda – Wander Into The Light 3:11

Limited Edition bonus track
12. Geometry Of A Digital Thought 6:36

Band members
Laurens Houvast – vocals, guitars
Frank te Riet – bass, mellotron, synths, backing vocals
Marco Prij – drums

Album Review – Lacuna Coil / Sleepless Empire (2025)

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Behold this dark and cinematic portrait of our crumbling society by one of the most important bands in the history of Alternative Rock and Metal.

If you know Italian Alternative/Gothic Rock/Metal band Lacuna Coil, then you’re already aware that every album entry in their storied career is more than just a sound. Each one is a richly textured soundtrack to a specific time and a place. With Sleepless Empire, that place is dark, cinematic, and unmistakably true to the unique characteristics that have given Lacuna Coil such a celebrated entry in the annals of heavy music. Recorded at SPVN Studio, produced by the band’s own Marco Coti Zelati, mixed by Stefano Santi, mastered by Marco D’Agostino, and displaying a dark, sinister artwork by Roberto Toderico, the new opus by vocalists Cristina Scabbia and Andrea Ferro, guitarist, bassist and keyboardist Marco Coti Zelati, and drummer Richard Meiz will take you on an obscure, thrilling and vibrant musical journey, proving once again why the band has become a staple in the Alternative Rock and Metal scene worldwide.

The album starts in an atmospheric way with The Siege, quickly exploding into the band’s trademark fusion of Alternative Metal with gothic and dark sounds, and with Cristina and Andrea already kicking some ass as the band’s unparalleled vocal duo. Oxygen then offers an onrush of their wicked lyrics (“Stop wasting my time / Fight / When I look for confrontation / You hesitate, run away / Isolation like prison / Inner self to escape / Inhale / Ready to dive”) amidst metallic and very exciting sounds, and the guitars and bass by Marco sound absolutely groovy and sharp in Scarecrow, sounding beyond perfect for their live performances. Gravity feels even more modern than its predecessors, with Richard pounding his drums while the music remains eerie and electrifying, followed by I Wish You Were Dead, a good song but maybe too pop if compared to what the band is capable of. And featuring the iconic vocalist Randy Blythe of Lamb of God, who brings his share of heaviness and hatred to the band’s striking Alternative Metal, we have Hosting The Shadow, which will most probably be played live during their upcoming tour due to its endless energy.

In Nomine Patris follows the same pattern as some of the most recent Lacuna Coil albums, with a strong ambience working as the background for Cristina and Andrea to stun us all with their fiery vocals; whereas in the title-track Sleepless Empire we’re hit hard in our faces by the thunderous, metallic bass by Marco, providing his bandmates with exactly what they need to blast another ode to darkness in the form of Alternative and Gothic Metal. The guitar lines by Marco are then quickly joined by the fierce yet melodic beats by Richard in the reverberating Sleep Paralysis, perfect for Cristina to shine with her stylish vocals; and featuring guest vocals by Ash Costello of New Years Day and The Haxans we’re treated to In The Mean Time, perhaps the heaviest of all songs thanks to the hammering drums by Richard, with Cristina’s soaring vocals also bringing tons of stamina to the music. Finally, the band brings to our avid ears Never Dawn, one last blast of alternative and modern sounds, feeling heavy and vibrant until the very end.

“Our sound is dark because it reflects the society we’re living in – it’s a portrait of our times,” commented Andrea. “We’re from a unique generation that remembers the analog world but lives in the digital one, we’re the first generation that’s lived through both so we’ve been witnesses the change to our society and that’s the Sleepless Empire. Everyone is always on their phone, always scrolling, always doing something – morning to night, it just never stops.” Ironically, all that digital darkness described by Andrea can be better discussed with the band on their Facebook and Instagram, where you can also stay updated with their tour dates, and you can also find more of their amazing music on YouTube and on Spotify and, above all that, put your dirty hands on their new album by clicking HERE. Lacuna Coil will always be one of those bands with an endless source of creativity due to exactly what Andrea explained, as they always draw inspiration from the darkest side of human nature, which means they’ll fortunately keep offering us high quality albums like Sleepless Empire in the foreseeable future because, as you know, we humans are definitely dark beings.

Best moments of the album: Oxygen, Scarecrow and In The Mean Time.

Worst moments of the album: I Wish You Were Dead.

Released in 2025 Century Media Records

Track listing
1.The Siege 4:25
2. Oxygen 3:46
3. Scarecrow 4:49
4. Gravity 4:04
5. I Wish You Were Dead 2:52
6. Hosting The Shadow 4:19
7. In Nomine Patris 4:54
8. Sleepless Empire 4:02
9. Sleep Paralysis 5:20
10. In The Mean Time 3:33
11. Never Dawn 4:50

Band members
Cristina Scabbia – vocals
Andrea Ferro – vocals
Marco Coti Zelati – guitars, bass, keyboards
Richard Meiz – drums

Guest musicians
Randy Blythe – vocals on “Hosting The Shadow”
Ash Costello – vocals on “In The Mean Time”

Album Review – Blood Incantation / Absolute Elsewhere (2024)

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At roughly 45 minutes, the new beast by Blood Incantation offers us all two sensational compositions that are as confounding as they are engaging in their scope.

At roughly 45 minutes, Absolute Elsewhere, the breathtaking, diverse new opus by Denver, Colorado-based Progressive Death Metal outfit Blood Incantation, is unlike anything you’ve ever heard before. Recorded at Hansa Studios, produced, engineered, mixed and mastered by Arthur Rizk at Redwood Studios, displaying a cryptic artwork by Steve R Dodd, and featuring guest musicians Thorsten Quaeschning (Tangerine Dream), Nicklas Malmqvist (Hällas) and Malte Gericke (Sijjin), the new album by Paul Riedl, Morris Kolontyrsky, Jeff Barrett and Isaac Faulk offers us all two compositions that are as confounding as they are engaging in their scope, melding the 70’s prog leanings of Tangerine Dream with the deathly intent of Morbid Angel.

In “The Stargate”, a violent storm invokes the familiar before a grand cosmic key turns for a hint of sweeping scope to come with spiritual acknowledgement and accompaniment, as their wicked experimentations mixed with the harshness of Death Metal begin in full force in The Stargate [Tablet I], showcasing mystic lyrics roared by Paul (“Chamber echoing with dust / Drifting through beams of Light / Shadows cast upon the stones / Temple doors reveal the Night”) while his bandmates craft a beyond imposing ambience. Not only that, the balance between their undisputed aggression and the ethereal, soothing moments of the song is a thing of beauty, connecting flawlessly with The Stargate [Tablet II], starting in a futuristic, whimsical manner to the sound of their keyboards and synths, and flowing smoothly until an explosion of experimentations in its final part. And that aura of madness continues in The Stargate [Tablet III], with the cryptic vocals by Paul walking hand in hand with the superb guitar work dome by the same Paul alongside Morris and Isaac, not to mention the eerie narrations by guest Malte Gerick.

“The Message” is a step through doorways of unearthly beauty, playfulness, quirk and horror, and it’s indeed a visceral Progressive Death Metal attack that we get in The Message [Tablet I], with its enigmatic, pensive lyrics (“What does it mean to be human? / And the nature of Consciousness? / The mystery has been revealed… / By the dance of Nature’s quiet songs of the birds…”) also complementing their complex, thrilling and enfolding sounds. Then just like what happened in The Stargate, the second act of The Message, entitled The Message [Tablet II], also kicks off in a more experimental way but quickly evolves into a Progressive Metal hurricane, alternating between more primeval, savage moments and soothing, atmospheric passages. Lastly, the band offers the multi-layered, detailed and otherworldly The Message [Tablet III] as the icing on the cake in their new album, with Isaac sounding sensational on drums while his bandmates continue to deliver intricacy and energy through their vocals, riffs and bass lines, ending in a climatic yet mysterious way just the way we like it in the music by Blood Incantation.

Blood Incantation’s new album Absolute Elsewhere is the sound of a star born, and you should definitely listen to that beautiful sound in its entirety on YouTube and on Spotify, as it will undoubtedly feature among the best albums of 2024 in pretty much all lists out there. Hence, don’t forget to also check what the band is up to on Facebook and on Instagram, especially because there’s an upcoming North American tour that’s just about to start, to subscribe to their YouTube channel, and to purchase the mesmerizing Absolute Elsewhere by clicking HERE or HERE, as you witness the defining of a new musical epoch for one of the most important bands of the current extreme music scene worldwide.

Best moments of the album: The Stargate [Tablet I], The Message [Tablet I] and The Message [Tablet III].

Worst moments of the album: None.

Released in 2024 Century Media Records

Track listing
1. The Stargate [Tablet I] 8:20
2. The Stargate [Tablet II] 5:08
3. The Stargate [Tablet III] 6:50
4. The Message [Tablet I] 5:56
5. The Message [Tablet II] 5:58
6. The Message [Tablet III] 11:27

Band members
Paul Riedl – vocals, guitars, mellotron, additional synthesizers
Morris Kolontyrsky – guitars, additional synthesizers
Jeff Barrett – bass, additional synthesizers
Isaac Faulk – drums, gong, additional guitars, mellotron, percussion

Guest musicians
Thorsten Quaeschning – synthesizers and organs on “The Stargate [Tablet II]”
Nicklas Malmqvist – piano, synthesizers, mellotron, organ
Malte Gericke – vocals and narration on “The Stargate [Tablet III]”, “The Message [Tablet I]” and “The Message [Tablet II]”

Album Review – Enforced / A Leap Into The Dark EP (2024)

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Building on the momentum of their previous albums, this Crossover Thrash brigade returns with a blistering six-song EP journeying into new levels of ferocity.

Building on the momentum of their previous full-length albums War Remains (2023) and Kill-Grid (2021), Richmond, Virginia’s own Thrash Metal/Crossover brigade Enforced returns with A Leap Into The Dark, a blistering six-song EP journeying into new levels of ferocity that showcases the band’s relentless evolution through the years. Produced and mixed by the iconic Arthur Rizk (Blood Incantation, Power Trip, Kreator, Code Orange), A Leap Into The Dark delivers three brand new tracks alongside three B-sides, including a newly remastered version of “Casket” and powerful cover versions of “The Chase Is On” by English Dogs, and “Deadly Intentions” by Obituary, all masterfully crafted by Knox Colby on vocals, Will Wagstaff and Zach Monahan on the guitars, Ethan Gensurowsky on bass and Alex Bishop on drums.

Razor-edged riffs in the vein of Obituary and Slayer will pierce your damn ears in Betting on the End, a pure Crossover Thrash extravaganza where Knox barks rabidly supported by the classic beats and fills by Alex, whereas the title-track A Leap into the Dark sees Will and Zach delivering sheer electricity and heaviness through their riffs, translating into another excellent option for some sick headbanging. Deafening Heartbeats is undoubtedly a demented slab of brutality by those thrashers, offering nonstop action blasted by the quintet with Alex stealing the spotlight with his massive beats and fills; followed by Casket, bringing forward two minutes of pure American Thrash Metal where Knox vociferates nonstop, demanding us all to crush our skulls into the circle pit. In their cover for Deadly Intentions, by Obituary (check the original version HERE, from their 1989 cult album Slowly We Rot), they kept the visceral essence of the original song intact while also adding their personal touch to it, and the final result is simply insane, and the same is valid for their cover for The Chase Is On, by English Dogs (check the original version HERE, from their 1984 EP To the Ends of the Earth), showcasing their passion for classic Punk Rock and Hardcore.

In a nutshell, the fast and furious A Leap Into The Dark captures the band at the peak of their powers, delivering a sonic assault that pushes the boundaries of their genre, and you can let those talented thrashers know how much you love their music by following them on Facebook and on Instagram, by streaming their music on Spotify, an of course by purchasing a copy of their hammering new EP from BandCamp, or by clicking HERE or HERE. While Enforced are taking a leap into the dark in their new EP, all of us metalheads should join them and simply slam into the circle pit, because if there’s one thing those guys certainly know how to do, that’s to craft a beautiful and fulminating fusion of Thrash Metal and Hardcore perfect for some intense moshing.

Best moments of the album: A Leap into the Dark and Deafening Heartbeats.

Worst moments of the album: None.

Released in 2024 Century Media Records

Track listing
1. Betting on the End 3:42
2. A Leap into the Dark 4:16
3. Deafening Heartbeats 3:11
4. Casket 1:53
5. Deadly Intentions (Obituary cover) 2:09
6. The Chase Is On (English Dogs cover) 3:49

Band members
Knox Colby – vocals
Will Wagstaff – guitars
Zach Monahan – guitars
Ethan Gensurowsky – bass
Alex Bishop – drums