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Album Review – Hellripper / Coronach (2026)

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Let the carnage commence to the incendiary new offering by the chief standard bearer for Blackened Thrash and Speed Metal worldwide.

From the moment that Aberdeen, Scotland-based Hellripper burst into the metal world’s simmering consciousness back in 2014, the Blackened Speed and Thrash Metal throne was destined to be conquered. Recorded and mixed by the band’s own mastermind, vocalist and multi-instrumentalist James McBain at Coronach Studios, mastered by Damian Herring at Subterranean Watchtower Studios, and showcasing a stunning artwork by the always phenomenal Adam Burke of Nightjar Illustration, the breathtaking Coronach, the fourth studio album by James and his Hellripper, named after the improvised communal singing that is a tradition at funerals and wakes in Scotland and Ireland, is the band’s visceral but vital sound rendered in eye-frying, widescreen thrash-o-vision, a dazzling display of nefarious militancy with huge, skull-slicing, unforgettable tunes (digging deep into the hazy past while also drawing ghostly parallels between ancient rites and the challenges and conflicts of the present day), and a worthy follow-up to the project’s 2023 masterpiece Warlocks Grim & Withered Hags.

The opening tune Hunderprest, featuring the James’ partners in crime Joseph Quinlan on lead and additional guitars and Marianne on additional vocals, continues the feast of blackened sounds from their 2023 album, with James delivering his trademark harsh roars nonstop. Marianne is also featured in Kinchyle (Goatkraft and Granite), with its poetic lyrics being nicely vociferated by James (“Salt water fills the wounds of time / Grey Palisades fade into endless fucking, pure soul-sucking night / Born of thunder, wind and rain / Vultures on jagged wings usurp the kings, and call upon my name”) while the music is as rebellious and vibrant as it can be; and the serene sounds of a piano kick off The Art of Resurrection before morphing into a frantic feast of Thrash and Speed Metal, with James’ riffs and pounding drums walking hand in hand with his visceral growls. Then we face Baobhan Sith (Waltz of the Damned), featuring guest Jess Townsend on the violin, and the music is just as demolishing and captivating as the rest of the album, again showcasing a phenomenal guitar work by James, flawlessly clashing with Jess’ crying violin.

Joseph and Marianne are back in Blakk Satanik Fvkkstorm, portraying the perfect name for a Hellripper song, and of course it’s highly recommended for some action inside a wild circle pit, offering the high-octane vibe of Speed Metal and James’ devilish Black Metal gnarls. James keeps delivering sheer violence and speed mixed with the culture and folklore of his beautiful homeland in Sculptor’s Cave, firing some of his fastest riffs and blast beats; followed by Mortercheyn, featuring Max Southall on additional percussion, one of those songs that will put you to dance, or in other words, a chaotic hurricane of Blackened Thrash Metal led by James’ trademark caustic vocals and riffage. Last but certainly not least, we have the title-track Coronach, with guest Antonio Rodriguez bringing even more epicness to the music with his bagpipes. With the title and some of the lyrics coming from Coronach, a poem by Sir Walter Scott (“He is gone on the mountain, / He is lost to the forest, / Like a summer-dried fountain, / When our need was the sorest. / The font reappearing / From the raindrops shall borrow, / But to us comes no cheering, / To Duncan no morrow!”), while the music is simply majestic, the album ends on a beyond climatic and epic mode.

“I think this album sounds ‘colder’ than the previous one,” notes James. “With each album I create, I feel the overall sound is more diverse than before, but also more cohesive in tone and atmosphere. You’ll find influence from anything and everything from Venom and Mercyful Fate, to Watain, Opeth and Manic Street Preachers, all wrapped up in a nice speed metal package! I wanted each track to include something that I had never done previously, whether that be the inclusion of a different instrument, or the way a song starts, for example. I think each track will offer some sort of surprise.” Hellripper is already considered a chief standard bearer for Blackened Thrash and Speed Metal worldwide, and Coronach will undoubtedly inspire James to keep howling into the future with more of his sensational music. You can start following Scotland’s best metal band ever on Facebook and on Instagram, subscribe to their YouTube channel, stream all of their scathing creations on Spotify, and of course purchase a copy of the incendiary Coronach from BandCamp or by clicking HERE or HERE. In other words, simply hit play, feel the music found in Coronach embrace your rebellious soul, and let the carnage commence.

Best moments of the album: Kinchyle (Goatkraft and Granite), Baobhan Sith (Waltz of the Damned), Blakk Satanik Fvkkstorm and Mortercheyn.

Worst moments of the album: None.

Released in 2026 Century Media Records

Track listing
1. Hunderprest 5:49
2. Kinchyle (Goatkraft and Granite) 4:33
3. The Art of Resurrection 5:44
4. Baobhan Sith (Waltz of the Damned) 6:24
5. Blakk Satanik Fvkkstorm 3:53
6. Sculptor’s Cave 4:35
7. Mortercheyn 4:18
8. Coronach 8:48

Band members
James McBain – vocals, all instruments

Guest musicians
Joseph Quinlan – lead & additional guitars on “Hunderprest” and “Blakk Satanik Fvkkstorm”
Marianne – additional vocals on “Hunderprest”, “Kinchyle (Goatkraft and Granite)” and “Blakk Satanik Fvkkstorm”
Jess Townsend – violin on “Baobhan Sith (Waltz of the Damned)”
Max Southall – additional percussion on “Mortercheyn”
Antonio Rodriguez – bagpipes on “Coronach”

Album Review – Lamb of God / Into Oblivion (2026)

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Beholden to no one, and with nothing left to prove, these Groove Metal titans are unleashing upon us all their tenth studio album, as we all head into oblivion.

Beholden to no one, and with nothing left to prove, Richmond, Virginia’s own Groove Metal titans Lamb of God are back with album number ten in their undisputed career, the hard hitting Into Oblivion, following up on their critically acclaimed VII: Sturm und Drang (2015), Lamb of God (2020), and Omens (2022). Produced and mixed by longtime studio collaborator Josh Wilbur, and recorded across multiple locations tied closely to the band’s identity, the new opus by the iconic frontman D. Randall “Randy” Blythe, guitarists Mark Morton and Willie Adler, bassist John Campbell, and drummer Art Cruz finds the band embracing their position as modern metal veterans. The ten-song collection references the band’s roots, doubles down on their signature groove, and expands their approach, resulting in an album that feels both deliberate and untethered.

In the opening track Into Oblivion we already see Randy deliver his trademark acid lyrics (“I – I am the chaos / I am the voice you can’t unhear / Strife and betrayal / I am the war re-engineered / In a life far worse than death / I am the thief that steals your breath”) while the music is heavy, atmospheric and enfolding thanks to the hammering drums by Art and the always sharp riffs by Mark and Will; and it’s then pedal to the metal in the best Thrash and Death Metal style in Parasocial Christ, with Randy vociferating rabidly as usual accompanied by the metallic riffs and solos by the band’s unstoppable guitar duo. The rumbling bass by John sets the stage for another vicious attack by Lamb of God entitled Sepsis, a neck breaking aria of first-class Groove Metal, followed by The Killing Floor, a demented song perfect for igniting a maniacal circle pit, with Art crushing his drums like there’s no tomorrow. And after such a thunderous tune it’s time for the dark ballad El Vacío, where Randy delivers deep, passionate clean and harsh vocals.

St. Catherine’s Wheel offers more of their trademark (and utterly headbanging) sonority led by the visceral riffs by Mark and Will, supported by John’s menacing bass, whereas Blunt Force Blues brings to our avid ears another round of their acid words growled by Randy (“Here comes another enemy / A goddess standing on the wall / For all the men doomed to die / An alabaster beauty sweats / Paints the currents black, they must ride / Last breath decays / Do you hear?”) while Art’s drums dictate the song’s bludgeoning pace and vibe. The band continues to hammer their sonic weapons of mass destruction in Bully, also presenting elements from Southern Metal added to their core groove madness, followed by A Thousand Years, a mid-tempo aria as grim and obscure as it can be, with Randy declaiming the song’s devilish lyrics rabidly from start to finish. Lastly, they invite us for one final slam into the pit to the sound of Devise / Destroy, a venomous beast of Groove Metal where their scathing riffs and pounding drums match perfectly with Randy’s enraged roars.

“For me, the album is about having the space to breathe creatively and not feeling like we have to keep up with any trend or expectation,” said Mark Morton. “It feels nice to be untethered from any agenda beyond rallying around the notion of, ‘Let’s just make music that we think is cool,’ which is really where it all started.” Randy Blythe also explained why the band decided to name the album Into Oblivion. “Because that’s where we’re heading. In general, the album is about the ongoing and rapid breakdown of the social contract, particularly here in America. Things are acceptable now that would’ve horrified people just 20 years ago.” We’re living dark times indeed, and you can join Lamb of God in their daily fight against all that’s wrong in our rotten society by following them on Facebook and on Instagram, by checking their acid videos on YouTube, by streaming their incendiary discography on Spotify, and of course by purchasing their first-class new album from their own webstore or from the special Into Oblivion website. In the end, as we’re all heading into oblivion like Randy said, at least let’s go down in style, raising our horns to one of the best metal albums of the year.

Best moments of the album: Parasocial Christ, The Killing Floor, Blunt Force Blues and Devise / Destroy.

Worst moments of the album: None.

Released in 2026 Century Media Records/Epic Records

Track listing
1. Into Oblivion 3:34
2. Parasocial Christ 3:20
3. Sepsis 3:38
4. The Killing Floor 4:16
5. El Vacío 4:17
6. St. Catherine’s Wheel 4:05
7. Blunt Force Blues 4:11
8. Bully 4:13
9. A Thousand Years 3:53
10. Devise / Destroy 3:49

Band members
D. Randall “Randy” Blythe – vocals
Mark Morton – guitar
Willie Adler – guitar
John Campbell – bass
Art Cruz – drums

Album Review – Mayhem / Liturgy of Death (2026)

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With four decades of darkness behind them, these Black Metal groundbreakers return with their seventh offering, as obscure and ominous as a Norwegian forest.

With four decades of darkness behind them, Oslo, Norway’s own Black Metal groundbreakers Mayhem are celebrating an illustrious and undeniable career with their seventh studio offering, entitled Liturgy of Death. Displaying a sinister artwork by Daniel Valeriani, the follow-up to their 2019 opus Daemon sees the band formed of Attila Csihar on vocals, Teloch and Ghul on the guitars, Necrobutcher on bass, and Hellhammer on drums sounding as dark and ominous as a Norwegian forest. They’ve never been deadlier, offering their trademark hair-raising caterwauling and spectral snarls, twin guitar terrors, seventh-hell low end tunes, and ruthless drums, resulting in the band’s final and musically strongest form.

The gates to the underworld will open once again, allowing Mayhem to arise from the dead to the sound of Ephemeral Eternity, with the strident guitars by Teloch and Ghul transpiring Black Metal magic, whereas one of the singles released, titled Despair, continues the band’s Stygian path to absolute doom, with Attila’s grim vociferations matching perfectly with the band’s visceral sounds. Weep for Nothing is a lecture in classic Norwegian Black Metal, offering our putrid ears seven minutes of sonic blasphemy and hatred where Hellhammer’s massive beats are boosted by another blast of piercing riffs by Teloch and Ghul, followed by Aeon’s End, another in-your-face display of Black Metal savagery by the quintet where the demonic kitchen by Necrobutcher and Hellhammer sounds utterly thunderous.

And they keep delivering sheer hatred, despair and obscurity through their instruments in Funeral of Existence, a more cadenced but just as heavy and sulfurous tune where Hellhammer  dictates the pace with his classic drumming. Realm of Endless Misery carries a poetic name for an overdose of Black Metal fury, with Attila barking and growling rabidly for our absolute delight, sounding very detailed, multi-layered, and doomed; and Mayhem show no mercy for our souls in the second to last black mass of the album, named Propitious Death, with their razor-edged riffage once again cutting our skin and making us bleed. Last but not least, get ready for one final ride to apocalypse entitled The Sentence of Absolution, starting in an obscure manner before becoming their trademark sonority, ending in a darkly tribal celebration.

Mayhem are a band dedicated to pushing the bounds of extremity itself, and Liturgy of Death is living (or maybe I should say dead) proof of that. “There’s been absolutely zero compromise,” sums up Ghul. “We really have never compromised and I never see that happening simply to try and sell records. The music is extreme. The people are extreme. Pleasing others has never been on the agenda and that’s quite apparent when you listen to our stuff or see us live. There is something there for people to grab onto and experience, but it’s not supposed to be a pleasant experience or an easy experience. It’s Mayhem.” If you also consider yourself a servant of the dark arts, you can find Mayhem and their undisputed Black Metal magic on Facebook and on Instagram, stream their music on Spotify, and of course grab a copy of their sulfurous new album from the Century Media Records’ BandCamp or webstore, or by clicking HERE or HERE. Mayhem are Black Metal, Black Metal is Mayhem, and Liturgy of Death is among us to keep that combined fire burning for centuries to come.

Best moments of the album: Despair, Weep for Nothing, Realm of Endless Misery and Propitious Death.

Worst moments of the album: None.

Released in 2026 Century Media Records

Track listing
1. Ephemeral Eternity 6:47
2. Despair 6:41
3. Weep for Nothing 7:04
4. Aeon’s End 4:56
5. Funeral of Existence 5:56
6. Realm of Endless Misery 4:57
7. Propitious Death 5:05
8. The Sentence of Absolution 7:28

Deluxe Box Limited Edition bonus tracks
9. Life Is a Corpse You Drag 5:22
10. Sancta Mendacia

Band members
Attila Csihar – vocals
Teloch – guitars
Ghul – guitars
Necrobutcher – bass
Hellhammer – drums

Guest musician
Garm – vocals on “Ephemeral Eternity”

Album Review – Stabbing / Eon of Obscenity (2026)

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Houston, Texas-based masters of absolute brutality are back with their sophomore beast, out-slamming, out-blasting and utterly eviscerating anyone who crosses their path of gore and destruction.

When Houston, Texas-based Brutal Death Metal brigade Stabbing came together in 2021, the goals were simple. “We were really just having fun and wanted to emulate the style of the bands we really liked,” said frontwoman Bridget Lynch. “Old school 90’s and early 2000’s Brutal Death Metal bands like Disgorge, Deeds of Flesh, stuff like that.” Fast forward to 2026 and the indomitable Bridget alongside Marvin Ruiz on the guitars, Matt Day on  bass, and Aron Hetsko on drums are ready to pulverize everything and everyone who dares to cross their path with their sophomore beast, entitled Eon of Obscenity, the follow-up to their 2022 crushing debut Extirpated Mortal Process. Recorded by Ben Gott and mixed and mastered by Chris Kritikos at Southwing Audio, and displaying a brutally classic artwork by Rudi Yanto of Gorging Suicide, the visceral Eon of Obscenity out-slams, out-blasts and utterly eviscerates their debut album and basically their competition, with Bridget taking her spot as one of the genre’s most powerful and distinct voices.

Get ready to be absolutely pulverized by Stabbing right from the very first second in Rotting Eternal, with Bridget proving why she has become a reference in deep guttural. In other words, it’s Brutal Death Metal at its finest (and goriest), which also applies to Inhuman Torture Chamber, where she keeps barking the song’s Stygian lyrics rabidly (“Mercilessly beaten to a wet pulp / Violently reduced into a lesser form / Vehemently smashing and degrading / Deeper fall into a state of catatonia”) while her bandmates crush our spinal cords with their undisputed heaviness. Aron sounds like a machine gun out of control in Masticate the Subdued, adding an extra dosage of total carnage and chaos to the band’s already putrid sounds, whereas the title-track Eon of Obscenity perfectly depicts what Stabbing are all about, a ruthless, demented overdose of sheer brutality where the riffage by Marvin sounds heavy, caustic and demonic. And in Reborn to Kill Once More, as expected, Bridget vomits the song’s infernal words on our damned faces mercilessly in another blast of Brutal Death Metal.

There’s still a lot more fuel to be burned by Stabbing in the name of extreme music, starting with the short and sweet instrumental interlude Ruminations, setting the stage for the band to kill us all with Nauseating Composition, featuring Ricky Myers of Suffocation. Moreover, Aron sounds even more demented on drums, offering Bridget and Ricky exactly what they need to bark like two monstrous entities. If you think Bridget can’t sound even more inhumane, think again, as she reaches a whole new level of dementia with her guttural in Their Melted Remains, accompanied by the venomous axes by Marvin and Matt. Then we have Sonoluminescent Hemoglobinopathy, and if you don’t know, “sonoluminescent” is the emission of light from imploding bubbles in a liquid when excited by sound, while “hemoglobinopathy” is an inherited blood disorder where the body makes abnormal hemoglobin or doesn’t make enough of it. Put these two words together, and there you have the epitome of Brutal Death Metal. When you reach the last part of the album with Symphony of Absurdity, you know you’re in front of something special (aka the revamping of Brutal Death Metal), with Bridget once again stealing the show with her cadaverous guttural madness, flowing into Sinking Into Catatonic Reality, where inspired by all giants of the genre the quartet concludes the album on the most violent note imaginable.

Exceeding the term “Brutal Death Metal” with their undisputed violence and gore, Stabbing have plundered the crypts of claustrophobia and darkness, only to surface with Eon of
Obscenity, a benchmark for modern Death Metal. “It’s just more extreme,” commented Bridget. “It’s everything that’s extreme about death metal, just taken a little bit further. The vocals. The drums. The riffs. It’s just faster and more boundary-pushing.” Having said that, I bet you’re dying to put your hands on Eon of Obscenity, and in order to do that simply go to the band’s own BandCamp, or grab a copy of the album from the Century Media Records webstore as  a CD or as a stunning neon-violet LP, and don’t forget to also follow those masters of absolute violence and gore on Facebook and on Instagram, keeping an eye on their breathtaking live concerts, and to stream their putrid creations on Spotify. Bridget and the boys are ready to join the new army of brutality formed of bands like Frozen Soul and PeelingFlesh with their newborn spawn, aiming at global domination and, of course, being more than eager to destroy your frail bodies with their undisputed, first-class Brutal Death Metal magic.

Best moments of the album: Inhuman Torture Chamber, Eon of Obscenity, Their Melted Remains and Symphony of Absurdity.

Worst moments of the album: None.

Released in 2026 Century Media Records

Track listing
1. Rotting Eternal 1:24
2. Inhuman Torture Chamber 2:58
3. Masticate the Subdued 2:41
4. Eon of Obscenity 2:10
5. Reborn to Kill Once More 3:16
6. Ruminations 1:34
7. Nauseating Composition 3:09
8. Their Melted Remains 4:04
9. Sonoluminescent Hemoglobinopathy 1:52
10. Symphony of Absurdity 4:12
11. Sinking Into Catatonic Reality 3:33

Band members
Bridget Lynch – vocals
Marvin Ruiz – guitars
Matt Day – bass
Aron Hetsko – drums

Guest musicians
Ricky Myers – vocals on “Nauseating Composition”

Album Review – Crystal Lake / The Weight of Sound (2026)

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One of the most important Metalcore bands to ever arise from Japan is back with album number seven, representing a new page in their electrifying history.

Formed in Tokyo, Japan in 2002, and having already released six full-length albums in their solid career, captivating audiences across the globe with their undisputed energy and passion for heavy music, the incendiary Metalcore act Crystal Lake is set to unleash their album number seven, titled The Weight of Sound, following up on their 2020 opus The Voyages. Mixed and mastered by Jeff Dune, and featuring an array of very special guest musicians the likes of David Simonich of Signs of the Swarm and Jesse Leach of Killswitch Engage, The Weight of Sound represents a new page in the band’s history, being their first ever album with new vocalist John Robert C., while their core sound keeps burning brighter than a thousand suns with Yudai Miyamoto and T.J. on the guitars, Mitsuru on bass, and Gaku Taura on drums.

The band wastes no time and kicks off their feast of melodic brutality with Everblack, featuring David Simonich of Signs of the Swarm, where the vocal duet formed of John and David sounds beyond inhumane. BlüdGod, featuring Taylor Barber of Left to Suffer, feels more melodic and modern than the opening tune, with Yudai and T.J. sounding amazing with their intricate yet piercing guitar lines; and it’s then time for Gaku to smash his drums without a single drop of mercy in Neversleep, with Myke Terry of Volumes as the third guest vocalist in the album, perfect for igniting a wild mosh pit during their live shows. Then the rumbling bass by Mitsuru will punch you hard in the head in King Down, offering more of the band’s blend of Metalcore with Hardcore influences; whereas The Undertow, featuring Karl Schubach of Solace also on guest vocals, showcases a less violent side of the band, with their riffs once again permeating the air in great fashion.

What looks like it’s going to be some sort of Deathcore ballad in the vein of Lorna Shore explodes into pure Metalcore in the title-track The Weight Of Sound, led by the always visceral vocals by John; followed by Crossing Nails, one of the heaviest of all songs, with elements of Djent flourishing from Mitsuru’s bass while Gaku pounds his drums nonstop. Dystopia, featuring guest vocalist Jesse Leach of Killswitch Engage, is a bit too modern for my taste, although their Djent-infused sounds still bring the heaviness to their music, whereas Sinner follows a similar pattern but slightly more entertaining, with the guitars by Yudai and T.J. clashing perfectly with the song’s background electronics. Don’t Breathe brings to our avid ears another onrush of violent Metalcore for the masses, spearheaded by John’s demented roars and screams, and they conclude the album with the dark ballad Coma Wave, with its piano bringing peace to our blackened hearts.

Drawing from Hardcore and Metalcore influences, seamlessly blending infectious melodies with a powerful heaviness, Crystal Lake are on absolute fire throughout the entire The Weight of Sound, offering fans of modern-day Metalcore a very good excuse to go slamming into the circle pit like there’s no tomorrow. Hence, you can get in touch with such an amazing band from the land of the rising sun via Facebook and Instagram, stream their entire discography on places like Spotify, and of course add The Weight of Sound to your most excellent private collection by purchasing it from BandCamp or from Century Media as  a CD or a special forest green LP (or click HERE for all digital platforms). In other words, in case you have no idea how much the sound weighs, simply listen to the new album by Crystal Lake and you’ll see it’s heavy. Very, very heavy.

Best moments of the album: Everblack, Neversleep and Crossing Nails.

Worst moments of the album: Dystopia.

Released in 2026 Century Media Records

Track listing
1. Everblack 3:17
2. BlüdGod 3:13
3. Neversleep 2:50
4. King Down 2:29
5. The Undertow 3:20
6. The Weight Of Sound 4:33
7. Crossing Nails 3:42
8. Dystopia 4:14
9. Sinner 4:19
10. Don’t Breathe 3:59
11. Coma Wave 4:46

Band members
John Robert C. – vocals
Yudai Miyamoto – lead guitars
T.J. – rhythm guitars
Mitsuru – bass
Gaku Taura – drums

Guest musicians
David Simonich – vocals on “Everblack”
Taylor Barber – vocals on “BlüdGod”
Myke Terry – vocals on “Neversleep”
Karl Schubach – vocals on “The Undertow”
Jesse Leach – vocals on “Dystopia”

Album Review – Ov Sulfur / Endless (2026)

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What kind of god would test a child? You’ll get the answer to such a delicate question and more in the incendiary sophomore opus by one of the most demented monsters of the current Blackened Deathcore scene worldwide.

Time is a strange thing. Just ask Las Vegas, Nevada’s own Blackened Deathcore monster Ov Sulfur. Almost three years after the release of their bestial debut The Burden ov Faith, the band formed of Ricky Hoover on vocals, Christian Becker and Chase Wilson on the guitars, Josh Bearden on bass, and Leviathvn on drums returns in full force with their sophomore opus, entitled Endless. Produced by Josh Schroeder (Lorna Shore, Signs Of The Swarm, King 810, Varials) at Random Awesome! Recording Studio, Endless may just be the magnum opus for those anti-God metallers, here aiming for something timeless. The album’s overarching theme calls back to a line from “Earthen,” a song about Hoover’s nephew’s tragic losing battle with cancer that questions, “What kind of god would test a child?” Extend that to everyone – does religion not claim us all as children of God? – and you have to wonder what kind of benevolent maker would put their very own through trials and tribulations.

The menacing intro Endless//Godless will drag us all to Ov Sulfur’s Stygian lair, crushing our spinal cords with Seed, where Ricky vociferates the song’s acid lyrics manically (“The realization of completely losing everything / Feeling all the pressure, knowing things forever changed / The weight of guilt and agony has become too much to bare”) amidst an absolute sonic devastation. Leviathvn keeps the adrenaline flowing in Forlorn, accompanied by the crisp, no shenanigans riffage by Christian and Chase; and it seems to be a trend among Deathcore bands to release longer, more elaborate songs, like Lorna Shore did in their latest album, and Ov Sulfur’s contribution comes with Vast Eternal, with those breakdowns plus the deep screeches by Ricky turning it into a must-listen for fans of the style. Wither sounds maybe too Metalcore for my taste, and not the good type of Metalcore, but that extremely mellow one, although I understand the message of the song.

Evermore feels a lot heavier and more dynamic, with Ricky sounding demonic screaming the song’s austere words (“Why is it that death is always around me? / It’s taken everything and everyone I love / I’m forever stuck and always left behind / Trapped in an endless cycle / It’s never my time”); whereas Josh Davies (of Ingested) lends his demented vocals to the band’s Deathcore sonority in Dread, while Christian, Chase and Josh hammer their axes like true metalmaniacs. Then Johnny Ciardullo (of Carcosa) joins the band in the somber, visceral Bleak, again showcasing a pulverizing performance by Leviathvn  on drums, sounding like a Symphonic Black Metal beast at times. The last guest of the album is vocalist Alan Grnja (of Distant), with the band offering a more direct Deathcore hymn entitled A World Away, where the riffs and solos by the band’s guitar duo sound as acid as possible, before we have the pensive Endless//Loveless closing the album, a dark ballad full of emotions like rage, despair, hope and anger.

“If experiences or the resulting feelings went on forever, the subject would go insane,” commented Rick. “Even positive ones would eventually be blasé, which could lead to a lot of questioning yourself. Of course, we focused on the negative ones; because we’re a metal band after all. What if this doubt never ceases? What if I never stop grieving over the loss of a loved one? How would this all make us feel? How would it affect our sanity?” That eternal paradox between good and evil, positive and negative, light and darkness, and so on, can be fully appreciated throughout the ten songs in Endless, and you can purchase it from their own BandCamp, or by clicking HERE, and don’t forget to also check their merch HERE,  to give them a shout on Facebook and on Instagram, to subscribe to their YouTube channel, and to stream their Stygian hymns on Spotify. Because time might be a strange thing, but the music blasted by Ov Sulfur in Endless is not. It’s first-class, dark and visceral Deathcore, and I’m sure we’ll hear a lot more from those talented guys in a not-so-distant future.

Best moments of the album: Seed, Vast Eternal, Evermore and Bleak.

Worst moments of the album: Wither.

Released in 2026 Century Media Records

Track listing
1. Endless//Godless 1:50
2. Seed 4:49
3. Forlorn 4:23
4. Vast Eternal 6:03
5. Wither 5:01
6. Evermore 4:24
7. Dread 5:14
8. Bleak 5:13
9. A World Away 4:31
10. Endless//Loveless 4:30

Band members
Ricky Hoover – vocals
Christian Becker – guitars
Chase Wilson – guitars
Josh Bearden – bass
Leviathvn – drums

Guest musicians
Josh Davies – vocals on “Dread”
Johnny Ciardullo – vocals on “Bleak”
Alan Grnja – vocals on “A World Away”

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”