Tag Archives: death metal

Album Review – Horrifier / Revelations of Gore (2026)

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These Norwegian death dealers are back with another slab of pure violence and gore, a concept record steeped in death, desperation, and ritual slaughter.

Hailing from Oslo, Norway, the ruthless Death Metal creature known as Horrifier has been vomiting pure, old school brutality straight from the underground since 2022, drawing inspiration from the legendary bands of the late 80’s and early 90’s by channeling the rotting sounds of Autopsy, the gnarly filth of Entombed, and the feral aggression of Repulsion. Now, those Norwegians return with their second full-length opus, Revelations of Gore, a concept record steeped in death, desperation, and ritual slaughter, following up on their critically acclaimed 2023 debut Horrid Resurrection. Following a dying man who, standing at the edge of his final breath, encounters a monstrous entity offering him eternal life (but immortality demands a price), the new opus by Adrian Risøy on vocals and guitars, Sander Halvorsen also on the guitars, Erik Krokan on bass, and Andreas Langås on drums sees that same man feed the creature with human sacrifices in exchange for more time among the living. What starts as desperation slowly turns into obsession, as the line between survival and damnation fades beneath a growing pile of corpses.

The disturbing intro Voices sets the stage for the band to annihilate our senses in Compelled to Slaughter, starting in a Doom Metal-inspired rhythm before all hell breaks loose to the demented vociferations by Adrian; and Andreas takes the lead with his demonic beats and fills in Human Butchery, supported by the scorching riffage by Adrian and Sander in a lecture in primeval Death Metal. The Ingestion again ventures through the realms of doom-laden Death Metal, as dark and evil as it can be, with the kitchen crafted by Erik and Andreas sounding utterly vile, and get ready for a solid riff attack in the form of Rejoice, Children of the Flesh, a ceremonial tune that could have been a little more violent and dynamic in the end.

Body Hoarder puts the band back on track with an avalanche of aggression and hatred flowing form all instruments, in special from the nonstop beats and fills by Andreas in another onrush of pure Death Metal insanity, whereas Morbid Lust continues to pave the band’s demonic path by offering more of their cadaverous vocals and old school riffs and beats, inviting us all for some action inside the pit. Their second to last blast of Death Metal violence comes in the form of The Final Oblation, with the guitars by Adrian and Sander transpiring malignancy accompanied by the rumbling bass by Erik; and last but certainly not least, we’re treated to the band’s signature blend of crude and vile Death Metal in Blood for Ascension, with Adrian’s bestial vocals penetrating deep inside our putrid minds.

Musically illustrating the desperation and dementia of the album’s main character with deft moves between relentless violence and suffocating darkness, Horrifier are absolutely savage throughout the entirety of their newborn spawn, and if you want to know more about such a violent band and show them your support you can find those guys on Facebook and on Instagram, stream their sick creations on Spotify, and grab a copy of the infernal Revelations of Gore from their own BandCamp or from the Personal Records’ BandCamp or webstore. Mirroring the protagonist’s descent into madness, Revelations of Gore stays true to the original ethos of the Metal of Death. No gimmicks. No mercy. Only death.

Best moments of the album: Human Butchery, Body Hoarder and Blood for Ascension.

Worst moments of the album: Rejoice, Children of the Flesh.

Released in 2026 Personal Records

Track listing
1. Voices 0:27
2. Compelled to Slaughter 3:44
3. Human Butchery 4:45
4. The Ingestion 4:29
5. Rejoice, Children of the Flesh 5:13
6. Body Hoarder 3:32
7. Morbid Lust 4:24
8. The Final Oblation 5:34
9. Blood for Ascension 5:59

Band members
Adrian Risøy – vocals, guitars
Sander Halvorsen – guitars
Erik Krokan – bass
Andreas Langås – drums

Album Review – Vertiginous / Incessant Affliction (2026)

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This up-and-coming Indonesian Brutal Death Metal duo returns from the pits of the underworld with a sickening second serving of mind warping malice.

Having left the Brutal Death Metal scene battered and broken with their 2024 debut album Reek Of Putrefaction On Excruciating Lust, the ruthless East Java, Indonesia-based duo Vertiginous has returned from the pits of the underworld with a sickening second serving of mind warping malice, entitled Incessant Affliction. Mixed and mastered at Endless Gruesome Studio, where the likes of Vile Desolation and Analtopsy have spawned their cruel creations, the new opus by Jossi Bima on vocals and Hendika Dwi Prasetyo on the guitars, bass and drums has a sound that conjures visions of bodies raked by methodical bursts of machine gun fire, the vicious disassembling of the human form, with its entrails and organs adorned in the unnerving artwork of the renowned Timbul Cahyono of Bvllmetalart (Avulsed, Defeated Sanity, Massacre), being therefore perfect for fans of the carnage blasted by Indecent Excision, Embodied Torment, Disgorge and Gorgasm.

The duo wastes no time and kick off their decimating metal feast with the bludgeoning Suffering, Misery and Slaughtering, led by Jossi’s infernal guttural, while Hendika’s demolishing beats will crush your cranial skull in Tortured with Endless Despair, another demonic blast of Indonesian brutality. Mutilated with Anguishes carries a charming name for a Brutal Death Metal attack by the duo, with Hendika slashing his axe nonstop in the name of violence; while Jossi’s guttural gets even deeper in Chaotic in the Weakened Reason, sounding absolutely inhumane and evil. And the decimating Engraved Loathing continues to spread the duo’s passion for the extreme, in special through Hendika’s massive blast beats.

Hendika keeps hammering his drums like a wild beats in Uncertainty in Abstract Destiny, while Jossi vociferates rabidly in the best Death Metal style; and those Indonesian bastards show no mercy for our souls in Crucified in Fate Hesitation, crushing their instruments and growling nonstop in the name of Brutal Death Metal. There’s no time to breathe as we’re smashed like insects once again in Incubated Inquietude, offering an overdose of Cannibal Corpse-inspired riffs for our total delight, with its slower but heavy-as-hell moments adding an extra kick to it. Restrained in Obscurity is not as dynamic as the rest of the album, albeit still gory and violent, and their coup-de-grace comes in the form of Unclear Misery, with Jossi roaring and barking in our faces until the very end.

Featuring ten new tracks delivered with a breathless intensity, each one a fresh wave of dread and terror meticulously crafted and steeped in the very essence of rot, decay and carnage, another injection of adrenaline straight into the chambers of the heart, Incessant Affliction represents a huge step forward in the career of such a talented duo, and if you want to join them in their quest for brutality you can find them on Facebook and on Instagram, and purchase their new opus from Comatose Music’s BandCamp or webstore. With Incessant Affliction, there is no end in sight, no hope for respite from the ravages of horror. Vertiginous are coming, and there is no place you can hide.

Best moments of the album: Mutilated with Anguishes, Uncertainty in Abstract Destiny and Incubated Inquietude.

Worst moments of the album: Restrained in Obscurity.

Released in 2026 Comatose Music

Track listing
1. Suffering, Misery and Slaughtering 3:30
2. Tortured with Endless Despair 2:46
3. Mutilated with Anguishes 2:58
4. Chaotic in the Weakened Reason 2:19
5. Engraved Loathing 3:56
6. Uncertainty in Abstract Destiny 3:33
7. Crucified in Fate Hesitation 2:31
8. Incubated Inquietude 3:03
9. Restrained in Obscurity 3:02
10. Unclear Misery 2:44

Band members
Jossi Bima – vocals
Hendika Dwi Prasetyo – guitars, bass, drums

Album Review – God Unknown / Last Glimpse of Daylight (2026)

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This collaborative Atmospheric Death and Funeral Doom Metal project is ready to embrace you with their debut opus until you see your last glimpse of daylight.

A collaborative Atmospheric Death and Funeral Doom Metal project formed in Cardiff, Wales in 2022 by guitarist John Courage, featuring musicians from the UK and Sweden, God Unknown are finally unleashing upon humanity their debut offering, beautifully titled Last Glimpse of Daylight. Produced by the band itself, engineered by John Courage and Daniel Tjernberg, mastered by Dan Swanö at Unisound, and showcasing a darkly serene artwork by Manino Linic, the debut album by Daniel Tjernberg on vocals (with additional vocals by Camilla Tjernberg on the song “Stay with Me”), John Courage on the guitars, Adam West on bass and additional guitars, Michael Lang also on bass, Kostas Panagiotou on keyboards, and Tats McGee on drums will embrace you in absolute grief and melancholy, darkening the skies with the sheer power of funereal and grim Doom Metal.

The thunderous, low-tuned bass lines by Adam set the tone in the Stygian intro MMMMDXIV, before all hell breaks loose in Embraced by the Moonlight, with the deep, devilish vocals by Daniel walking hand in hand with the sluggish Doom Metal riffs by John and Adam. Then we face the massive, embracing title-track Last Glimpse of Daylight, as slow and hammering as its predecessor, where Tats pounds his drums with tons of hatred and darkness in his heart; and it’s Kostas who takes the lead with his church-like keys in the phantasmagorical interlude Passage, darkening the skies for the band to attack us with Fallow Land, led by another crushing performance by Tats on drums, offering Daniel exactly what he needs to vociferate like a demonic entity. It’s then time for Camilla to embellish the airwaves with her melodic vocals in Stay with Me, a lecture in passionate and somber Funeral Doom Metal by God Unknown, flowing into the obscure outro Frost on the Windowpane, again led by Adam and his doomed bass lines.

Inspired by the love of somber, funeral doom and atmospheric themes, God Unknown are ready to crush our minds and souls with the absolute heaviness and obscurity flowing from their excellent debut Last Glimpse of Daylight, and if you want to join such a promising band in gloom and darkness you can find them on Instagram, stream their music on any platform such as Spotify, and of course, above all that, purchase a copy of their striking debut from their own BandCamp or by clicking HERE. In other words, let the lugubrious and grim Doom Metal by God Unknown embrace you, until you see your last glimpse of daylight.

Best moments of the album: Embraced by the Moonlight and Stay with Me.

Worst moments of the album: None.

Released in 2026 TM Productions

Track listing
1. MMMMDXIV 1:11
2. Embraced by the Moonlight 2:46
3. Last Glimpse of Daylight 6:09
4. Passage (Interlude) 2:16
5. Fallow Land 6:36
6. Stay with Me 5:11
7. Frost on the Windowpane 2:51

Band members
Daniel Tjernberg – vocals
Camilla Tjernberg – vocals on “Stay with Me”
John Courage – guitars
Adam West – bass, additional guitars
Michael Lang – bass
Kostas Panagiotou – keyboards
Tats McGee – drums

Album Review – Complexant / Apex (2026)

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

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

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

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

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

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

Worst moments of the album: Critical Mass.

Released in 2026 Bleeding Art Collective/Blood Blast Distribution

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

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

Album Review – Viande / Monument aux morts (2026)

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

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

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

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

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

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

Worst moments of the album: Austérité maximum.

Released in 2026 Transcending Obscurity Records

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

Bonus track
9. L’homme Brasier 5:58

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

Album Review – Horrid Mass / Nauseating Ecstatic Degeneration (2026)

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Channeling Death Metal’s most barbaric traits and pushing the extremities of its sound forward through experimentation, atmosphere and dissonance, this venomous entity is ready to unleash hell armed with their debut album.

Formed in Milwaukee, Wisconsin back in 2022 by former members of Pig’s Blood and Carnal Ruin with the intent to channel Death Metal’s most barbaric traits and push the extremities of its sound forward through experimentation, atmosphere and dissonance, the venomous entity known as Horrid Mass is ready to unleash hell armed with their debut album, titled Nauseating Ecstatic Degeneration. Recorded, mixed and engineered by Nicholas Elert at Howl Street Recordings, mastered by Dan Swanö at Unisound, and with cover collage and logo by Tony Capodilupo and layout by Terror Matt of Night Terrors Records, the debut by Nick Lewis on vocals and bass, Tony Capodilupo on the guitars, and Spencer Powers on drums is a total descent into filth, chaos and sonic ruin, presenting the band at their most punishing and immersive, being therefore highly recommended for fans of Incantation, Rottrevore, early Carcass, Undergang, Impetuous Ritual, Rippikoulu, Portal, Cianide, Archgoat, and Teitanblood, among others.

Like the intro to a sinister horror flick, the band arises from pitch black darkness in Worthless Mote, with the deep guttural by Nick matching perfectly with the primeval riffs by Tony, followed by Writhe, bringing to our avid ears another blast of their doom-laden Death Metal sonority where the massive beats by Spencer will make your head tremble, dragging your putrid soul to their Stygian lair for all eternity. And if that’s not dark enough for you, the band then offers almost seven minutes of sheer violence, horror and heaviness in the form of the demonic Execration, where Nick’s vociferations reach a new level of evil, resulting in a lecture in cadaverous Death Metal not recommended for the lighthearted.

Then guest Nicholas Elert makes a lot of noise in the cryptic interlude S.H.E.D., warming us up for Cruelty, a straightforward Death Metal onrush by the trio led by the demolishing drums by Spencer. Tony’s Sludge Metal-inspired riff ignite the band’s ruthless engine in Loathsome, inspiring us to break our necks headbanging like true metal maniacs; and the trio then invites us all to slam into their gory and visceral pit in Violent Ascent, with Nick’s bass and Tony’s riffs penetrating deep inside our corrupted minds. Lastly, it’s time for the skies to get dark and heavy as there’s a storm coming with Congregate, starting in a sinister Doom Metal manner before all hell breaks loose to the infernal beats and fills by Spencer.

Rooted in tradition yet striving to experiment, Horrid Mass exist in a furious state where structure and collapse are simultaneously at odds, drawing from the genre’s progenitors while at the same time crafting something wholly their own, presenting something both primitive and hostile. You can get to know more about those talented death metallers via Instagram, stream their demented creations on Spotify or any other platform, and show them your utmost support and your passion for the extreme by purchasing the excellent Nauseating Ecstatic Degeneration from their own BandCamp or from the Night Terror Records’ BandCamp or webstore. Nauseating Ecstatic Degeneration is harsh, brutal and visceral, or in other words, the perfect depiction of our decaying society, inspiring Horrid Mass to keep turning our violent reality into first-class Death Metal for many years to come.

Best moments of the album: Execration, Cruelty and Violent Ascent.

Worst moments of the album: None.

Released in 2026 Memento Mori/Night Terror Records

Track listing
1. Worthless Mote 4:18
2. Writhe 3:17
3. Execration 6:58
4. S.H.E.D. 2:05
5. Cruelty 2:34
6. Loathsome 5:26
7. Violent Ascent 4:38
8. Congregate 6:25

Band members
Nick Lewis – vocals, bass
Tony Capodilupo – guitars
Spencer Powers – drums

Guest musician
Nicholas Elert – additional overdubs and noise on “S.H.E.D.”

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

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2026 Apocalyptic Witchcraft

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

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

Concert Review – Raider, Napoleon & Abysmal Whore (Monarch Tavern, Toronto, ON, 07/10/2026)

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Several metalheads in Toronto raised their golden horns to three of the must-see names of the local scene on a warm and fun Friday night in the city.

INTRODUCTION: Golden Horns Fest 3 & Belgian Jasper’s Birthday Bash!

I’m not going to write another massive complaint about the hideous Toronto traffic any day of the week. I’m just going to say it took me over one hour and thirty minutes to drive for around 30km last Friday. Yes, it was insane. Anyway, let’s talk about music, as one of Toronto’s coolest metalheads, our buddy Jasper De Man, also known as Belgian Jasper, the host of Loud & Clear, not only celebrated his birthday on Friday July 10 at the cozy Monarch Tavern, with performances by three of the must-see metal bands or the current Canadian rock and metal scene, those being RAIDER, NAPOLEON, and ABYSMAL WHORE, but he also announced the winners of the third edition of the Golden Horns Awards. This year’s winners were Abysmal Whore for Best Toronto Band, Russell Allen for Metal Warrior Award, Alissa White-Gluz for Best Interview, Helloween for Best Live Show, Afra Catharina for Best Photo International, and Afrida Nawar and Isabelle for Best Photo Canada. By the way, Afrida was once again uber nice and helped us with some photos as Keith Ibbitson of Metal Paparazzi was not feeling well and couldn’t attend the event. Thanks again, Afrida!

ABYSMAL WHORE

After a short delay due to some technical difficulties at the venue, it was time for total devastation with Toronto-based Death Metal brigade ABYSMAL WHORE, and if you don’t know these girls and guys, go check their music on BandCamp and on Spotify as they’re awesome. Formed of the indomitable Marta Chilina on vocals and guitar, Nava Amin also on the guitar, Andrew Phillips on bass, and Korrosive’s own Kaveh Afshar on drums, the band played basically songs from their 2024 demo Sadistic Urge, and I must say they sounded a lot better live than in the studio, delivering a dirtier and more aggressive rendition of their songs. I really want to see a full album by such a promising band of the Canadian scene, because they definitely know how to craft high quality music, and they surely show their passion for the extreme through their music and when they’re kicking ass onstage.

Band members
Marta Chilina – vocals, guitar
Nava Amin – guitar
Andrew Phillips – bass
Kaveh Afshar – drums

NAPOLEON

After a short break it was time for Alternative Punk/Post-Hardcore four-piece NAPOLEON to set the house on fire with their beyond electrifying performance, igniting some fun mosh pits and putting a smile on everyone’s faces with their energy and charisma. Playing a very vibrant set including songs like Buried In The Garden Of Eden, Haunting Me, Lord and Savior, and I Better Run (all available on BandCamp and on Spotify, by the way), frontman Jon Elmaleh and his henchmen Tommy Whyte on the guitar, Camilo Martinez on bass (who kept playing like a true badass even after one of the chords simply decided it didn’t want to be part of his bass anymore), and Eitan Garazi on drums didn’t stop kicking ass not even for a single second, and if you’re in Toronto looking for some action inside the pit, keep an eye on their tour dates. Those guys are fantastic live.

Band members
Jon Elmaleh – vocals
Tommy Whyte – guitar
Camilo Martinez – bass
Eitan Garazi – drums

RAIDER

The last attraction of the night was Kitchener/Waterloo’s own Thrash/Death Metal machine RAIDER, and those guys never fool around when it comes to delivering pure, unfiltered sonic devastation to their avid fans. Having released the album Trial by Chaos in 2023 (available on both BandCamp and Spotify), the band formed of Gabe Rosa on vocals and  lead guitars, Bennett Smith on vocals and guitars, Aaron Tanner on bass, and Angus Pike on drums showed no mercy for our souls with an incendiary performance, blasting the heaviest and fastest sounds you can think of. They kept shredding their guitars, screaming and pounding their drums nonstop, almost setting fire to the venue, and there wasn’t a single song in their setlist that didn’t transpire extreme aggression. I think it’s about time those guys release a new album, and of course, they should book more shows in the city. They were the icing on the cake on a night of first-class Canadian metal, and if they ever take your city by storm, you know what to do. Thank you, Jasper, for bringing those three bands together for us! It was a great celebration, even with Belgium losing such a tough match against Spain that same day. Well, bring it on, World Cup 2030!

Band members
Gabe Rosa – vocals, lead guitars
Bennett Smith – vocals, guitars
Aaron Tanner – bass
Angus Pike – drums

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Album Review – Psicorragia / Nekromanthra (2026)

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

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

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

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

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

Worst moments of the album: None.

Released in 2026 Satanath Records

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

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

Album Review – Psycroptic / The Pulse of Annihilation (2026)

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These Tasmanian devils reaffirm their status not merely as Technical Death Metal stalwarts in their new album, but as architects actively shaping its future, proving that mastery, sharpened by time, only grows more lethal.

For over two decades, Psycroptic have operated at the vanguard of Technical Death Metal, defined by instrumental precision, structural intelligence and an uncompromising creative ethic. From their Tasmanian origins to commanding stages worldwide, the band have built a reputation on rhythmic complexity, exacting musicianship, and a refusal to plateau. Now in 2026 the band formed of Jason Peppiatt and Jason Keyser on vocals, Joe Haley on the guitars, Todd Stern on bass, and David Haley on drums returns with their ninth studio opus, The Pulse of Annihilation, following up on their critically acclaimed 2022 album Divine Council. Produced once again by Joe Haley at Crawlspace Productions, and showcasing a haunting artwork by Belial NecroArts, the album features once again a formidable dual-vocal assault just like in their previous offering, heightening the record’s impact and presenting layered, confrontational elements that remain tightly synced with the band’s intricate foundation.

Joe’s lugubrious, evil riffs will darken the skies in the opening track Ashes of a New Dawn, quickly accompanied by David with his massive, intricate and ruthless beats and fills, followed by Gathering a Venomous Herd, with both vocalists exhaling hatred through the song’s demonic words (“Venomous tongues in this world now defiled / Fractured souls drown / In our self-proclaimed wisdom / Divided we fall to this new faceless god”) in a lecture in Technical Death Metal. Then a sinister intro evolves into a Stygian display of Progressive Death Metal titled A Sword of Me, with Joe and Todd hammering their strings with tons of anger and dexterity; and No Time for the Weak carries an excellent title for another hard hitting tune by those Australian veterans, with the deep and sharp vociferations by Jason Peppiatt and Jason Keyser reeking of Death Metal, while after an atmospheric intro the venomous Our Pillars Fall turns into a feast of progressiveness and violence, with David once again sounding inhumane behind his drums.

David kicks off the also groovy and technical Annihilation Pulse, with the slashing riffage by Joe cutting our flesh mercilessly; whereas No Blade of Grass brings forward another round of their acid words that will certainly pierce our brains (“Unseat the throne of hypocrisy / Who mourns when chaos dies / Relentless strife and delusion / Feeding fevered dreams of poisoned tribes / Who rise together a rancorous afterthought / Orate the funeral call”) amidst sheer Death Metal devastation. They keep the ambience as dense and brutal as possible to the sound of To Embrace This Curse, with their scorching vocals crushing our souls mercilessly, and lastly we face Forging the Crown, perhaps the most technical of all songs, where Joe and Todd are phenomenal armed with their respective guitar and bass while David dictates the pace with his beyond complex and thrilling beats and fills.

“The Pulse of Annihilation is pretty much the culmination of everything that has come before,” remarked Joe Haley. “As with past releases, we never force anything stylistically and just let the songs manifest of their own accord – maintaining progression while remaining very much Psycroptic. Because of this, I feel this is our most epic, thrashing, technical while grooviest release yet.” Across the excellent The Pulse of Annihilation, Psycroptic sound focused, disciplined, and fully aware of their trajectory. Complexity remains foundational, but it is now guided by compositional restraint and veteran confidence. Hence, you can get in touch with those Australian metallers via Facebook and Instagram, stream their sonic violence on Spotify, and of course purchase their new album from BandCamp, from Metal Blade Records, or from Direct Merch. With The Pulse of Annihilation, the band reaffirm their status not merely as Technical Death Metal stalwarts, but as architects actively shaping its future – proving that mastery, sharpened by time, only grows more lethal.

Best moments of the album: Gathering a Venomous Herd, Our Pillars Fall and Forging the Crown.

Worst moments of the album: None.

Released in 2026 Metal Blade Records

Track listing
1. Ashes of a New Dawn 4:08
2. Gathering a Venomous Herd 3:19
3. A Sword of Me 4:29
4. No Time for the Weak 3:43
5. Our Pillars Fall 6:45
6. Annihilation Pulse 4:03
7. No Blade of Grass 3:24
8. To Embrace This Curse 4:10
9. Forging the Crown 4:43

Band members
Jason Peppiatt – vocals
Jason Keyser – vocals
Joe Haley – guitars
Todd Stern – bass
David Haley – drums