Tag Archives: death metal

Album Review – Cryptorium / Through the Bowels of Ceaseless Dissonance (2026)

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This demented four-piece army returns with their sophomore and most ambitious release yet, an ugly, nasty and raw display of the best kind of Swedish Death Metal.

Having splashed onto the scene with their 2024 rambunctious debut titled Descent into Lunacy, the ruthless Swedish Death Metal creature known as Cryptorium returns with their sophomore and most ambitious release yet, the incendiary Through the Bowels of Ceaseless Dissonance. Recorded at Studio Catacombs, with lead guitars on a few songs recorded at Eremin Studios, and with all band members sharing the vocal duties throughout the entire album, the new offering by Fabian Larsen on vocals and guitars, Ludvig Carman on lead guitars, Karl “Knalle” Arvidsson (RIP) on vocals, bass and synthesizers, and Albin Holgersson on vocals and drums takes their music to the next level, churning out the best kind of Swedish Death Metal and paying homage to the elder ones the likes of Dismember, Entombed, Carnage, Grave, Crawl, Feral and Vomitheist, while adding their own layer of grime and filth to it. In other words, it is ugly, nasty and raw, just how it was meant to be.

After the album’s darkly delicate Intro we’re crushed into pieces by Cryptorium with the title-track Through the Bowels of Ceaseless Dissonance, where the vocals by Knalle sound insanely obscure and heavy, and therefore deserve our full appreciation, while he also slams his bass manically. Malodor offers a more direct blast of Death Metal with a doomed vibe, this time with Fabian taking the vocal duties, sounding perfect for some action inside the pit; and Albin hammers his drums like a demented beast in Rivers of Celestial Blood, offering an overdose of Death Metal insanity boosted by another cadaverous vocal performance by Fabian. After such a demolishing tune, Knalle’s bass and Albin’s drums will demolish your senses in the obscure, visceral In Bitter Remorse, another no shenanigans display of savagery by those talented metallers.

In Revolting Obsession we see the band add elements of Crust and Doom Metal to their core Death Metal feast, giving the song an even heavier and more rebellious vibe led by Albin’s pulverizing beats and fills, whereas the guitars by Fabian and Ludvig exhale fire and electricity in Corpus Effigy, not to mention Albin’s Cannibal Corpse-inspired vocals sound inhumane. Knalle’s metallic bass set the atmosphere on fire in the groovy yet venomous Concrete Interment, one of the heaviest of all songs, if not the heaviest, a lecture in brutality, violence, gore and insanity. The band then shows no mercy for our putrid souls in the frantic and demented Malignant Crucifixion, living up to the legacy of old school Death Metal; whereas their coup-de-grace comes in the form of Consumed by the Eternal Rot, an avalanche of Death Metal aggression by the quartet where Albin’s vocals once again transpire gore and evil.

Cryptorium go all the way in Through the Bowels of Ceaseless Dissonance, convincingly delivering the classic kind of Death Metal without dampening it with too many melodies or making it sound too clean, and always with the right spirit and intent. This is gnarly, in-your-face, competently executed Swedish Death Metal with substance and rot, not to be missed by any fan of the genre, and you can get more details about the band and their bludgeoning music on Facebook and on Instagram, stream their depraved music on Spotify, and grab a copy of their new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store (or click HERE for all things Cryptorium). Furthermore, Through the Bowels of Ceaseless Dissonance is dedicated to the late Karl “Knalle” Arvidsson, who sadly passed away earlier this year, on February 1, 2026. He was just 18 years old, had a brilliant future ahead of him, and will surely be missed by his bandmates, fans, friends and family. This means the music by Cryptorium is meant to be played louder than hell, and we should all raise our horns and enjoy the wild bass playing by Knalle in Through the Bowels of Ceaseless Dissonance. I’m sure this is exactly what he wants us all to do right now.

Best moments of the album: Through the Bowels of Ceaseless Dissonance, Concrete Interment and Consumed by the Eternal Rot.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Intro 1:05
2. Through the Bowels of Ceaseless Dissonance 5:10
3. Malodor 4:22
4. Rivers of Celestial Blood 3:27
5. In Bitter Remorse 5:04
6. Revolting Obsession 5:17
7. Corpus Effigy 4:01
8. Concrete Interment 3:50
9. Malignant Crucifixion 4:27
10. Consumed by the Eternal Rot 6:32

Band members
Fabian Larsen – guitars, vocals on  “Malodor”, “Rivers of Celestial Blood”, “In Bitter Remorse”, “Revolting Obsession” and “Consumed by the Eternal Rot”
Ludvig Carman – lead guitars on “Revolting Obsession” and “Malignant Crucifixion”
Karl “Knalle” Arvidsson (R.I.P. 2026) – bass, synthesizers, vocals on “Through the Bowels of Ceaseless Dissonance”, “Concrete Interment” and “Malignant Crucifixion”, additional vocals on “Revolting Obsession”
Albin Holgersson – drums, vocals on “Corpus Effigy”, additional vocals on “Concrete Interment”, “Malignant Crucifixion” and “Consumed by the Eternal Rot”

Album Review – Ereboros / From Oblivion to the Grave (2026)

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Behold the debut full-length by this Brazilian Death Metal squad, transforming personal pain into something honest, confrontational, and deeply expressive.

Formed in Rio de Janeiro, Brazil in 2023, the ruthless four-piece squad known as Ereboros combines aggressive Death Metal with dark atmospheres, culminating now in 2026 with the release of their debut offering, titled From Oblivion to the Grave. Recorded, mixed and mastered throughout 2025 in Brazil, and self-produced by Ereboros under the direction of Victor Mendonça, the debut by Thiago Barbosa on vocals and guitar, Juan Carlos also on the guitar, Paulo Doc on bass, and Victor Mendonça on drums was born from real-life experiences, diving into suffering, anxiety, disillusionment, and the struggle to find meaning in the middle of chaos. Many of the lyrics were shaped by difficult moments faced by Thiago Barbosa and Victor Mendonça, transforming personal pain into something honest, confrontational, and deeply expressive.

The cinematic intro From Oblivion to the Grave opens the gates of the underworld for the band to kill in Distorted Man-made Concept, with Thiago roaring and barking in great Death Metal fashion, supported by the pulverizing drums by Victor. Thiago and Juan deliver killer riffs and solos in the Melodic Death Metal-infused tune The Agony of Existence, followed by Salute to Disorder, blending the heaviness of Amon Amarth with the visceral sounds from Cannibal Corpse, with Victor once again sounding inhumane behind his drums. And they keep slashing their axes in the name of Death Metal in Dissonant Soul, with Thiago once again roaring the song’s devilish words nonstop.

Their modern take on old school Death Metal again works majestically in Nocturnal Paranoia, flirting with Technical and Progressive Death Metal at times thanks to the phenomenal job done by Victor on drums. We then face the epic interlude One Last Pulse, warming up our souls for another venomous attack titled In the Depths of Misery, alternating between sheer savagery and more technical and melodic moments where Paulo and Victor make the earth tremble as usual. Progenies of the Unseen is by far one of the most detailed songs of the entire album, with their guitars breathing fire from start to finish in an ode to Death Metal; and they close the album with the doom-laden Death Metal tune At the Gallows of Doom, sounding heavy-as-hell but not as detailed as the other songs. It’s still infernal as expected, of course.

Bringing together crushing riffs, relentless aggression, and suffocating atmospheres, balanced by melodic passages that give the songs greater emotional weight without taking away from their intensity, From Oblivion to the Grave is highly recommended for fans of Hypocrisy, Septicflesh, Morbid Angel, Carcass, and Dissection, among many others, and if you want to give the band a shout and enjoy more of their music you can find them on Facebook, on Instagram, on YouTube, on Spotify, and on Apple Music, and of course purchase their killer new album from BandCamp. In summary, finding any type of meaning in absolute chaos is never easy. Quite the contrary, it’s an excruciating task, and the guys from Ereboros more than succeeded in turning all that frustration into high quality Death Metal in their awesome debut album.

Best moments of the album: Distorted Man-made Concept, Nocturnal Paranoia and Progenies of the Unseen.

Worst moments of the album: At the Gallows of Doom.

Released in 2026 Independent

Track listing
1. From Oblivion to the Grave 1:16
2. Distorted Man-made Concept 4:05
3. The Agony of Existence 4:47
4. Salute to Disorder 3:15
5. Dissonant Soul 3:53
6. Nocturnal Paranoia 4:51
7. One Last Pulse 1:05
8. In the Depths of Misery 4:22
9. Progenies of the Unseen 3:55
10. At the Gallows of Doom 5:31

Band members
Thiago Barbosa – vocals, guitar
Juan Carlos – guitar
Paulo Doc – bass
Victor Mendonça – drums

Concert Review – Arch Enemy & The Black Dahlia Murder (The Danforth Music Hall, Toronto, ON, 11/01/2026)

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It was absolute wrath over Toronto on a stunning night of Melodic Death Metal magic, courtesy of five of the must-see names of the current scene worldwide.

OPENING ACTS: Thrown Into Exile, Crypta and Septicflesh

We definitely cannot complain about the stunning weather that’s been over Toronto for weeks already, with no rain nor any major cold events at all. Quite the contrary, we’ve been experiencing a lot of sunshine, warm temperatures sometimes above +20oC, and no strong winds. That perfect combo made this Sunday night even more enjoyable when THROWN INTO EXILE, CRYPTA, SEPTICFLESH, THE BLACK DAHLIA MURDER and ARCH ENEMY destroyed us all with their undisputed Wrath Across North America 2026 Tour at The Danforth Music Hall, another first-class event brought to the city by Noel Peters of Inertia Entertainment. My buddy Blair Burch and I once again had a lot of fun covering the entire night, and in my case it was even more memorable since I’m a huge fan of both Crypta and Arch Enemy (to be fair, I’m a fan of all bands from such an incredible lineup), with all bands kicking our asses mercilessly and putting a huge smile on the faces of everyone who could not only enjoy a night of killer heavy music, but also do that without having to carry their heavy fall or winter coats.

After doors opened at 5pm, everyone who was already at the venue had basically one hour to chat with their friends, have a few beers, and grab some merch (and all bands had some top-of-the-line items, by the way) before Los Angeles, California’s own Metalcore act THROWN INTO EXILE kicked off the night with another electrifying performance, coincidentally again opening for Arch Enemy. And just like Arch Enemy, the band has a new vocalist, Joshua Santos (as well as new drummer, Hank Lin), not to mention their bassist couldn’t join them on this tour and was replaced by two of the tech guys from the other bands if I’m not mistaken. The band has been releasing a few interesting single in the past year (all available on Spotify), and two of those are part of their setlist, Nihilist and Behind the Veil, both igniting some serious mosh pits in Toronto, and if that’s an indication of what to expect from their next album, it’s going to be a banger.

Setlist
Send Me Below
Nihilist
Behind The Veil
Remorse
You’ve Fallen so Far

Band members
Joshua Santos – vocals
Mario Rubio – guitars
Austin Monzon – guitars
Javier Quinto – bass
Hank Lin – drums

The next band to hit the stage at The Danforth Music Hall were the unrelenting girls from Brazilian Death Metal brigade CRYPTA, and as expected they simply dpulverized us all and melted our faces with another demonic (yet short) performance in Toronto. Fernanda Lira, Tainá Bergamaschi, Victoria Villarreal and Luana Dametto showed no mercy for our putrid souls with a lecture in Death Metal, playing songs from their two albums Echoes of the Soul and Shades of Sorrow, plus their insanely dark, Black Metal-infused single A Portrait of Decay, all available on BandCamp and on Spotify, leaving us all completely disoriented and eager for more of their music in a not-so-distant future. Fernanda’s vocals were beyond devilish from start to finish, proving why she’s one of the best growlers of the new generation, and the next time Crypta pay a visit to Toronto I’m sure it will be a sold out show. And of course, the mosh pits will be brutal.

Setlist
The Other Side of Anger
Lord of Ruins
The Outsider
A Portrait of Decay
From the Ashes

Band members
Fernanda Lira – vocals, bass
Tainá Bergamaschi – guitars
Victoria Villarreal – guitars
Luana Dametto – drums

The lineup for this Wrath Across North America 2026 Tour is so fantastic to the point one of the special guests is already a headliner. I’m talking about the mighty Greek Atmospheric/Symphonic Death Metal institution SEPTICFLESH, one of those bands that you must see live (and listen to their discography anywhere like Spotify) if you consider yourself a true metalhead. Songs like Martyr, Anubis and Dark Art are always a treat, played to perfection by Spiros Antoniou, Psychon and Kerim “Krimh” Lechner. As you might have noticed, I left Christos Antoniou out of the list because, as explained by Spiros, he injured his ribs a couple of days before the tour started, but the band decided to still do the tour as a trio. Their sound was still massive, bold and hypnotizing, and the fans inside the pit were having a great time enjoying the band’s crushing heavy music. We all wish a speedy recovery for Christos Antoniou, and of course, as soon as he’s ready to rock again, we demand another Septicflesh concert in Toronto.

Setlist
Communion
The Vampire From Nazareth
Martyr
Coming Storm
Anubis
Dark Art

Band members
Spiros Antoniou – harsh vocals, bass
Psychon – guitars
Kerim “Krimh” Lechner – drums

THE BLACK DAHLIA MURDER

It was around 8:20pm when the first co-headliner of the night, Detroit, Michigan’s own Melodic Death Metal beast THE BLACK DAHLIA MURDER, brought another round of absolute violence, groove and hatred to the city of Toronto. Their setlist was once again a well-balanced mix of old school songs with newer material from their 2024 album Servitude, all available on BandCamp and on Spotify, and Brian Eschbach, Ryan Knight, Wes Hauch, Max Lavelle and Alan Cassidy made sure the intensity and fury of each song was multiplied by a thousand live. Those guys were on fire from the very beginning, absolutely happy to see their Torontonian fans kicking ass inside the mosh pit the entire show, and that connection between band and crowd was one of those things I love to witness at metal shows.

Not only the mosh pits were wild, but there was endless crowd surfing happening too, and some of those crowd surfers were the Toronto banana guys, a staple in the local music scene. And do you know who loves bananas? The band’s own Statutory Ape, who got into the stage jumping like a maniac during such an incendiary song, and was so excited he even went down to the mosh pit and then back to the stage crowd surfing. It was excellent, and proof that only metal concerts can provide you with pure, organic and no shenanigans fun. If you don’t like The Black Dahlia Murder, I’m sorry, but you’re bananas. Pun intended. And before I forget, happy birthday to their bassist Max Lavelle! It must have been really cool celebrating his birthday on tour in a city like Toronto, who sang a nice and loud Happy Birthday to the guy, and I’m sure he’ll want to come back to the city with his band sooner than his next birthday for another demolishing concert.

Setlist
Necropolis
Contagion
Mammoth’s Hand
Moonlight Equilibrium
Panic Hysteric
Nightbringers
Everything Went Black
Cursed Creator
A Vulgar Picture
Miscarriage
Statutory Ape
Christ Deformed
Utopia Black
What a Horrible Night to Have a Curse

Band members
Brian Eschbach – vocals
Ryan Knight – guitars
Wes Hauch – guitars
Max Lavelle – bass
Alan Cassidy – drums

ARCH ENEMY

Finally, after waiting years and years to see American-born-but-raised-in-Australia vocalist Lauren Hart live (as I’m already a fan of her vocals since her work with Once Human), I had the pleasure of witnessing such a beautiful lady simply pulverizing our souls with a breathtaking performance as the new voice of Swedish Melodic Death Metal institution ARCH ENEMY. After Sunday night I must say Lauren is not just a good fit for the band after the departure of Alissa White-Gluz, but a more-than-perfect choice for the job, injecting a humongous amount of adrenaline to the band’s already venomous music. She was unstoppable onstage, always smiling, always headbanging, always raising her horns, and the crowd was simply loving all that energy and passion, with the intense circle pit and crowd surfing turning up the heat considerably inside the venue. It was one of the wildest Arch Enemy concerts of the past few years in the city hands down.

So far, there’s only one song recorded with Lauren on vocals, the excellent To the Last Breath (available on both Bandcamp and Spotify), but that doesn’t mean she didn’t nail it while singing all other songs form their setlist. Quite the contrary, her screams were insane, supported by the classy riffs and solos blasted by the iconic Michael Amott, as well as Joey Concepcion, Sharlee D’Angelo, and the beast Daniel Erlandsson. Also, although Lauren mentioned Ravenous was the song that inspired her to scream while introducing herself to Toronto, she was simply phenomenal in Taking Back My Soul, in Dead Bury Their Dead, and in special in Bury Me an Angel, where she did an almost perfect impersonation of Johan Liiva singing. Don’t get fooled, my friends. Lauren might be all smiles, but when she’s screaming she’s absolute evil (in the best way possible, of course). After the all-time classic Nemesis, followed by Fields of Desolation (and a bunch of black and red balloons), the band said their farewells to the crowd, and I bet we’ll see them back sooner than you can scream “ravenous.” Hopefully already with a new album with Lauren on vocals, because with her fronting the band now, Arch Enemy sound deadlier than ever.

Setlist
Ace of Spades (Motörhead song)
Khaos Overture
The World Is Yours
Ravenous
War Eternal
Blood Dynasty
My Apocalypse
To the Last Breath
Taking Back My Soul
The Eagle Flies Alone
Bury Me an Angel
Dead Bury Their Dead
No Gods, No Masters
Nemesis
Fields of Desolation (Outro)
Enter the Machine

Band members
Lauren Hart – vocals
Michael Amott – lead guitars, backing vocals
Joey Concepcion – lead guitars, backing vocals
Sharlee D’Angelo – bass
Daniel Erlandsson – drums

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Album Review – Annihilus Mundi / The Dead Sea Scrolls (2026)

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The annihilation of the world continues with the sophomore opus by this amazing Progressive Death Metal entity, a 77-minute concept album criticizing theocracy, oligarchy, and religious fundamentalism.

Formed in 2018, by vocalist and multi-instrumentalist Daniel Saillant, blending elements of Death Metal, Shoegaze, and Progressive Rock, Boston, Massachusetts-based Progressive Death Metal entity Annihilus Mundi (a dark, destructive twist on the classical Latin philosophical phrase anima mundi, or “soul of the world,” effectively translating to “the annihilation of the world”) continues to push musical boundaries, combining harsh and clean vocals, complex guitar arrangements, and introspective lyrics in the project’s sophomore album, titled The Dead Sea Scrolls, following up on their critically acclaimed 2019 debut Grief. Produced, mixed, mastered and engineered by Daniel Saillant himself at Wailing Pines Productions, the new album by the aforementioned Daniel Saillant on vocals and all instruments, alongside Noah Magnelli on harsh and clean vocals, is a 77-minute long concept album exploring his personal life experiences. In a fusion of genres and artforms, Annihilus Mundi reconceptualize the album’s central ideas through Hideaki Anno’s notorious 1995 anime series Neon Genesis Evangelion and its subsequent 1997 film The End of Evangelion.

Second Impact (Overture) is a massive creation by Daniel and his henchmen, offering a wild fusion of Progressive Metal with more extreme and grandiose sounds where his guitars transpire fire and aggression, followed by Absolute Terror, featuring a guest guitar solo by Chris Jones (Æther Realm), absolutely captivating from start to finish, with the clean and harsh vocals by Noah working majestically. A Hedgehog’s Dilemma sounds as complex and multi-layered as the previous tunes, with both keys and drums sounding epic; whereas The Dead Sea Scrolls, Mvt. I – “Reminiscence” is a semi-acoustic ballad that sets the stage for The Dead Sea Scrolls, Mvt. II – “Incursion”, with Andrew Matarazzo (Perennial Quest) on a guest guitar solo, offering us all an overdose of infernal growls and crushing riffs, resulting in ten minutes of undisputed, no shenanigans extreme music with a strong progressive vein. Black Moon, also showcasing a guest guitar solo by Chris Ramusciwicz (Graveborn), and Olive Gallop (Ice Giant) on vocals, is as epic as it is venomous and dark; while King of Thorns, boosted by a guitar solo by Sam Mooradian (Sam Mooradian, Fallujah), lacks the same energy of the rest of the album, sounding a bit tiresome in the end.

Then the four-part beast named “Terminal Dogma” kicks off with Terminal Dogma, Mvt. I – “Do you love me?”, a serene and grim tune where Daniel is ruthless armed with his axe, flowing into Terminal Dogma, Mvt. II – “Take care of yourself.”, featuring Alex Haddad (Dessiderium, Atheist) on a guitar solo and Sarah Hartman (Aversed) on vocals. Needless to say, Noah makes a phenomenal duet with Sarah in a lecture in Progressive Metal. In Terminal Dogma, Mvt. III – “Love is destructive.” we have a break from Daniel’s usual heaviness, warming our hearts before we face Terminal Dogma, Mvt. IV – “I need you.”, again featuring Sarah Hartman on vocals, presenting the power of the riff, massive beats, and deep, evil vocal lines. Silent Planet, featuring Anthony Harter (d r 0 n 3) on noise and atmospheres, is noisy and perturbing, working as a wicked bridge to Human Instrumentality, featuring a guest guitar solo by Michael Laurendeau Jr., bringing forward 13 minutes of complex, intricate passages, acoustic and cinematic moments, and the always visceral guitars by Daniel.

Criticizing theocracy, oligarchy, and religious fundamentalism, exploring how unquestioned ancient dogmas lead to destruction, The Dead Sea Scrolls is definitely a must-listen for metalheads searching for a high quality blend of extreme music infused with a rich and deep storyline. You can get in touch with Daniel and his Annihilus Mundi via Facebook and Instagram, subscribe to their YouTube channel, stream their music on Spotify, and of course, purchase The Dead Sea Scrolls from BandCamp or by clicking HERE. Put differently, the annihilation of the world continues with the new album by Annihilus Mundi, a dense and detailed journey that will surely hypnotize you and consume your soul just the way we like it in extreme music.

Best moments of the album: Absolute Terror, The Dead Sea Scrolls, Mvt. II – “Incursion”, Terminal Dogma, Mvt. II – “Take care of yourself.” and Human Instrumentality.

Worst moments of the album: King of Thorns.

Released in 2026 Independent

Track listing
1. Second Impact (Overture) 5:25
2. Absolute Terror 6:39
3. A Hedgehog’s Dilemma 5:50
4. The Dead Sea Scrolls, Mvt. I – “Reminiscence” 2:10
5. The Dead Sea Scrolls, Mvt. II – “Incursion” 10:32
6. Black Moon 4:35
7. King of Thorns 7:27
8. Terminal Dogma, Mvt. I – “Do you love me?” 3:09
9. Terminal Dogma, Mvt. II – “Take care of yourself.” 5:19
10. Terminal Dogma, Mvt. III – “Love is destructive.” 3:29
11. Terminal Dogma, Mvt. IV – “I need you.” 5:31
12. Silent Planet 2:52
13. Human Instrumentality 13:55

Band members
Daniel Saillant – vocals, all instruments

Guest musicians
Noah Magnelli – harsh & clean vocals
Chris Jones – guitar solo on “Absolute Terror”
Andrew Matarazzo – guitar solo on “The Dead Sea Scrolls, Mvt. II – Incursion”
Chris Ramusciwicz – guitar solo on “Black Moon”
Sam Mooradian – guitar solo on “King of Thorns”
Alex Haddad – guitar solo on “Terminal Dogma, Mvt. II”
Michael Laurendeau Jr. – guitar solo on “Human Instrumentality”
Olive Gallop – vocals on “Black Moon”
Sarah Hartman – vocals on “Terminal Dogma, Mvts. II & IV”
Anthony Harter – noise & atmospheres on “Silent Planet”

Album Review – Dread Witch / Cult (2026)

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The vile witch of doom from Denmark is back with its venomous sophomore offering, a 36-minute descent into an occult nightmare.

Built from colossal low-tuned riffs, crushing drums, ritualistic vocals, psychedelic textures and an absolutely massive wall of sound, Cult, the new opus by Aarhus, Denmark-based Sludge/Doom Metal entity Dread Witch, and the follow-up to their 2023 debut Tower of the Severed Serpent, is a 36-minute descent into an occult nightmare. Recorded, produced, mixed and mastered by Tue Madsen at Antfarm Studio, and showcasing a sinister artwork by Deliriavision, the new album by Mikael Rise on lead vocals and rhythm guitars, Jesper Kragh on lead and rhythm guitars, Andreas Cadaver on rhythm guitars and backing vocals, Leifur Sørensen on bass and backing vocals, and Dennis Larsen on drums once again creates an immersive sonic experience in an occult universe of serpents, witches, human sacrifices and unspeakable horrors, unfolding like a horror movie translated into sound. Think Conan, Triptykon and Devin Townsend, but dragged through a Boschian hellscape.

Gloomy and pensive, the intro Born Again will darken the skies before the witch from Denmark consumes our souls in the title-track Cult, with the thunderous, heavy-as-hell riffs by Mikael, Jesper and Andreas melting our faces mercilessly while Dennis deliver those slow, steady and massive beats we all love so much in Doom Metal. The Summoning continues with their reverberating, inhumane heaviness, with Leifur’s demonic bass walking hand in hand with the phantasmagorical drums by Dennis, offering Mikael exactly what he needs to vociferate in absolute darkness. And then they switch gears to a faster, more infernal tune titled Cyclops, adding Death and even Post-Metal elements to their core sound.

Altar offers more of their trademark fusion of somber Doom Metal with sluggish and visceral Sludge Metal, again showcasing hammering drums and the always vile gnarls by Mikael, while Sofia Schmidt of Ethereal Kingdoms makes a guest appearance as the Dread Witch herself, delivering haunting vocals for our total delight. Marrow feels utterly dissonant and experimental, with their guitars breathing fire, therefore sending shivers down our spines with their disturbing sounds. And then after the imposing interlude Vesexuff we face their coup-de-grace in the form of Omen of Oblivion, offering us all eight minutes of no hope, no happiness nor any positive feelings, only the crushing venom of Doom Metal. Moreover, Mikael is once again bestial on vocals, while Jesper and Andreas extract sheer insanity from their stringed axes.

Fans of such bands as Conan, With the Dead and Triptykon will feel right at home in Dread Witch’s murky universe, where light itself is sought extinguished by dark incantations of cultic evil and apocalyptic worship. Their new album, Cult, certainly feels like a descent into the darkness of a foreboding, mad abyss that is meant to be enjoyed in its entirety from beginning to end, and you can do so by purchasing the album from BandCamp. Don’t forget to also give the guys from Dread Witch a shout on Facebook and on Instagram, to stream their music on Spotify, or simply click HERE for all things Dread Witch. Because, in the end, the vile witch from Denmark is back more venomous than ever with Cult, and there’s nowhere to run, nowhere to hide.

Best moments of the album: Cult, Cyclops and Omen of Oblivion.

Worst moments of the album: Vesexuff.

Released in 2026 Independent

Track listing
1. Born Again 1:53
2. Cult 4:56
3. The Summoning 5:39
4. Cyclops 2:21
5. Altar 6:44
6. Marrow 4:21
7. Vesexuff 2:18
8. Omen of Oblivion 8:18

Band members
Mikael Rise – lead vocals, rhythm guitars
Jesper Kragh – lead and rhythm guitars
Andreas Cadaver – rhythm guitars, backing vocals
Leifur Sørensen – bass, backing vocals
Dennis Larsen – drums

Guest musician
Sofia Schmidt – vocals on “Altar”

Album Review – Litost / Logos (2026)

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This emerging force in the Spanish extreme music underground returns with the last part of their trilogy dedicated to the three core modes of persuasion defined by Aristotle.

An emerging force in the extreme music underground built around a strong conceptual foundation inspired by Milan Kundera’s notion of “Litost” and Aristotle’s rhetoric, Valencia, Spain’s own Blackened Death Metal creature Litost crafts a sonic narrative driven by introspection, emotional conflict and the inevitable decay of the self, always exploring the darkest corners of human consciousness through an intense, atmospheric and boundary-pushing blend of Black and Death Metal. After the successful releases of their 2019 debut Ethos and their 2023 sophomore Pathos, the band formed of Manri Vidal on vocals and guitars, Joaquín García also on the guitars, Luis Bru on bass and vocals, and Dani Molina on drums is back with a new offering entitled Logos, the third installment in their trilogy dedicated to the three core modes of persuasion defined by Aristotle. While Ethos appeals to a speaker’s credibility and character, and Pathos targets the audience’s emotions, Logos relies on logic, reasoning, facts, and evidence to convince the listener.

The band wastes no time and drag us to darkness from the very first second in Tifón, with Dani sounding inhumane with his demolishing beats and fills accompanied by the visceral growls by Manri; while Ábrego on the other hand starts in an acoustic way before morphing into sheer Black Metal madness, with their guitars once again transpiring rage and obscurity. Then after the instrumental interlude Alabeo, where they showcase their passion for traditional Spanish sounds, we face Tràngol, featuring guest vocalist Eloi Boucherie (frontman of Vidres a la Sang), as disruptive, infernal and technical as it can be, not to mention what Luis and Dani do with their respective bass and drums is simply out of this world, resulting in a lecture in modern-day Black Metal.

Ponzoña offers a more introspective and demonic side of the band, with the guitars by Manri and Joaquín sounding as progressive as they’re vile, a downward spiral into chaos and madness; followed by Ocaso, bringing forward a more direct blend of Black Metal with progressive elements, albeit lacking the same punch as its predecessors. The rumbling bass by Luis will hammer your minds and souls in Nimbo, featuring guest vocals by Albert Batlle (from Perennial Isolation), presenting multiple layers, nuances and the always desperate roars by Manri, whereas they conclude the album with an overdose of progressive and grim sounds titled Cerrote, the perfect depiction of present-day Spanish Black Metal showcasing striking riffs, groovy bass lines and intense and captivating beats and fills.

In a nutshell, with a clear artistic vision and a growing presence on the live circuit, Litost continue to establish themselves as a compelling name within the  contemporary Extreme Metal landscape with the release of the excellent Logos, which can be purchased by clicking HERE. Don’t forget to also start following those amazing Spanish musicians on Facebook and on Instagram, including their breathtaking live concerts, and to stream more of their music on any platform such as YouTube and Spotify. In other words, after an overdose of character and emotion in their first two albums, Litost will melt our faces with the logic found in Logos, beautifully concluding their dark trilogy and, therefore, pointing to an even brighter future ahead of them.

Best moments of the album: Tifón, Tràngol and Cerrote.

Worst moments of the album: Ocaso.

Released in 2026

Track listing
1. Tifón 3:18
2. Ábrego 3:42
3. Alabeo 1:40
4. Tràngol 5:52
5. Ponzoña 4:41
6. Ocaso 4:27
7. Nimbo 4:59
8. Cerrote 4:50

Band members
Manri Vidal – guitars, vocals
Joaquín García – guitars
Luis Bru – bass, vocals
Dani Molina – drums

Guest musicians
Eloi Boucherie – vocals on “Tràngol”
Albert Batlle – vocals on “Nimbo”

Album Review – Fate Unburied / Neraspeme (2026)

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Blending Death Metal with progressive influences, this Italian band is back with their sophomore album, exploring the full emotional cycle that unfolds as a relationship nears its end.

Blending Death Metal with progressive influences, creating a rich and inspiring sound always influenced by new experiences, Vicenza, Italy-based four-piece Progressive Groove/Death Metal band Fate Unburied is unleashing upon us their sophomore album, titled Neraspeme, following up on their 2017 debut Logos and their EPs A Pale Color Perception: Hostility (2020) and A Pale Color Perception: Observant (2021). Produced and mixed by Francesco Garatti at Death Lab Studios, mastered by Fabrizio Gesuato at Fiery Water Recording Studio, and showcasing a suffocating artwork by Erwin (aka Toxin Figure), the new album by Riccardo Babbolin on vocals and guitar, Francesco Garatti also on the guitar, Davide Piccolo on bass, and Giorgio Piva on drums explores the full emotional cycle that unfolds as a relationship nears its end. The tracks move like chapters in an internal collapse, from blinding anger, to confused madness, to that distorted, dark sense of hope hinted at in the album’s title, a hope that offers no salvation and dissolves like a mirage.

Hope., featuring a voiceover work by Clara Wright, reciting the poem “Hope” by Alice Dunbar-Nelson, offers a Stygian intro to Expecting Nothing, where their progressiveness clashes beautifully with the sheer violence flowing from Riccardo’s vocals. Their Groove Metal vein explodes in absolute chaos and fury in Drain, led by the crushing riffs by Riccardo and Francesco; and Davide’s metallic bass sets the tone in Not Allowed, accompanied by the massive beats by Giorgio. The Descent invites us all to slam into the circle pit to the killer vocals by Riccardo while his bandmates pound their instruments nonstop, followed by Deep Rest, one of the most intricate and progressive of all songs, sounding like some of the heaviest tunes by Mastodon.

Davide keeps hammering his bass in Seed, Feed, Keep, transpiring heaviness while sounding very melodic and groovy at the same time, whereas Seeking Perfect Harmony presents an excellent hybrid of Progressive and Groove Metal, also showcasing elements from Djent to give it an extra kick. Garden is another song that will blow your mind with its complex passages being boosted by Riccardo’s primeval screams, while A Pragmatic Way Out showcases a galloping rhythm thanks to another ass-kicking performance by Giorgio on drums. Nowhere, After All also carries the band’s trademark progressiveness, despite lacking more punch in the end; while the band ends the album with the also multi-layered and climatic The Gift, with its last part bring peace and serenity to our hearts.

A Death Metal concept album made of 12 tracks, each crafted to shake, surprise, and pull the listener in without ever giving them a moment of rest, Neraspeme is a sonic journey into the heart of a dying relationship. Always following their vision inspired by the human being, Fate Unburied are on fire throughout their new album, and you can get to know more about the band and their music on Facebook and on Instagram, including their live concerts, stream their creations on Spotify, and purchase Neraspeme from the Time To Kill Records’ BandCamp or webstore. Relationships come and go, but heavy music is forever, and Fate Unburied are among us to prove that once and for all.

Best moments of the album: Drain, Deep Rest and Garden.

Worst moments of the album: Nowhere, After All.

Released in 2026 Time To Kill Records

Track listing
1. Hope. 0:54
2. Expecting Nothing 2:52
3. Drain 3:12
4. Not Allowed 3:09
5. The Descent 3:57
6. Deep Rest 4:23
7. Seed, Feed, Keep 3:33
8. Seeking Perfect Harmony 4:15
9. Garden 2:22
10. A Pragmatic Way Out 4:13
11. Nowhere, After All 3:45
12. The Gift 4:27

Band members
Riccardo Babbolin – vocals, guitar
Francesco Garatti – guitar
Davide Piccolo – bass
Giorgio Piva – drums

Guest musician
Clara Wright – narration on “Hope.”

Album Review – Mental Cruelty / Echoes of a Forlorn Land (2026)

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Inspired by Northern mythology and ancient folklore, this relentless German Symphonic and Blackened Deathcore horde returns with their most ambitious work to date, exploring the darker, mystical aspects of forgotten legends.

For Karlsruhe, Germany-based Symphonic/Blackened Deathcore band Mental Cruelty, it all changed with a trip to the library after a visit to Hel(l). After purchasing books on Norse Mythology, those Teutonic warriors took the inspiration from the standalone single “Helheim” (based on the ruler of the titular realm of the dead) to a full-album affair on Echoes of a Forlorn Land, following up on their critically acclaimed 2023 opus Zwielicht. Produced, mixed and mastered by the legendary Jens Bogren at Fascination Street Studios, the new opus by frontman Lukas Nicolai, guitarists Nahuel Lozano and Marvin Kessler, and drummer Danny Straßer captures the band at the height of their creative powers inspired by Northern mythology and ancient folklore, deliberately moving away from familiar clichés, instead exploring the darker, mystical aspects of forgotten legends, hence fans hoisting upon the band the banner of “Viking Deathcore.” Authentic traditional instruments from across Europe and Asia add depth and atmosphere to the album, while crushing riffs, relentless blast beats, haunting orchestrations, soaring melodies and ferocious vocals create an intense yet emotionally rich journey.

The epic, dark and enfolding intro Weltennacht transports us to Hel together with Mental Cruelty before the sonic storm titled Fenrir hits us majestically, with the bestial drumming by Danny offering Lukas exactly what he needs to roar like a demonic entity, kicking off the album on a beyond electrifying mode. Then we have Blood for Blood, blending their Deathcore essence with the epicness of Folk Metal, with the guitars by Nahuel and Marvin breathing fire like dragons; followed by The Serpent of Midgard, where Lukas roars the song’s venomous lyrics rabidly (“A colossus born from chaos / Guarding the realm of the deep / A bite that murders immortals / No soul will ever escape / Escape / No soul will ever escape / No cure for his venom / Guarding the realm of the deep”) while the music is a powerhouse of Symphonic Deathcore insanity. And Helheim is as heavy as it is epic and imposing, with the wall of sounds crafted by the entire band crushing our bodies and souls mercilessly.

Draugar alternates between absolute metallic madness, ethereal passages, and thunderous breakdowns, while also presenting elements from an array of styles from Death to Atmospheric Black Metal; whereas in Raise the Raven Banner all traditional instruments make it feel like we’re in the middle of a Viking battle. Moreover, Lukas keeps screaming nonstop supported by Dany, who pounds his drums like the hammer of Thor. Cry of Batariel keeps the atmosphere dense, ritualistic and visceral, once again presenting the scorching melodeath riffs by Nahuel and Marvin, while Frost invests in a more Atmospheric Doom and Folk Metal vibe, with its Stygian lyrics (“Every night, I hope for redemption / And for this darkness may come to an end / Every god remains in silence / No sunlight dares to descend”) adding even more epicness to the music. And finally, after the piano interlude Dämmerbruch, we face Ride of the Valkyries, a masterpiece of Viking Deathcore with all band members giving all they got, turning it into a stunning musical voyage led by the cryptic vocals by Lukas and their always scorching riffs.

With Echoes of a Forlorn Land, Mental Cruelty have crafted a sound vast enough to stand alongside all of them and more, while remaining unmistakably their own, entering a bold new chapter and delivering their most ambitious album to date. Expanding far beyond the boundaries of modern Deathcore, the band forges a distinctive sound that masterfully blends Blackened Death Metal with elements of Black, Folk and Power Metal, creating an immersive and cinematic listening experience unlike anything in their catalogue. “We already wrote about Satan on ‘Obsessis a Daemonio,’ I already wrote about Hades in a previous band, and I was curious about more rulers of the Underworld,” explained vocalist Lukas Nicolai. “Hel just made sense as our sound has increasingly become more influenced by Scandinavian music. The books we bought expanded our knowledge of Nordic folklore, and the stories kept ringing in our ears until they became the Echoes of a Forlorn Land.” Needless to say, you can find more details about those German metallers, including their tour dates, on Facebook, on Instagram and on YouTube, stream their music on Spotify, and of course purchase their new album by clicking HERE or HERE. Because Echoes of a Forlorn Land is not just the next Mental Cruelty album. It is the sound of a band redefining its own genre.

Best moments of the album: Fenrir, The Serpent of Midgard, Raise the Raven Banner and Ride of the Valkyries.

Worst moments of the album: None.

Released in 2026 Century Media

Track listing
1. Weltennacht 2:06
2. Fenrir 4:21
3. Blood for Blood 3:14
4. The Serpent of Midgard 4:50
5. Helheim 3:53
6. Draugar 2:49
7. Raise the Raven Banner 6:19
8. Cry of Batariel 4:02
9. Frost 4:13
10. Dämmerbruch 1:26
11. Ride of the Valkyries 6:45

Band members
Lukas Nicolai – vocals
Nahuel Lozano – guitars
Marvin Kessler – guitars
Danny Straßer – drums

Album Review – Hekatoxen / Obsidian Majesty (2026)

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Rooted in the classic language of Finnish Death Metal, this unrelenting quartet is ready to strike armed with their first full-length album.

After introducing their vision with their 2022 debut EP Utter Darkness, Tampere, Finland-based Death Metal horde Hekatoxen is ready to strike with their first full-length album, titled Obsidian Majesty. Rooted in the classic language of Finnish Death Metal, the new album by Jussi Rinta-Kiikka on vocals, guitars and synthesizers, Niko Talpio also on the guitars, Risto Räkköläinen on bass, and Vesa Nikkinen on drums does not rely on mere repetition of familiar formulas, moving through a landscape of razor-edged riffs, where heaviness never comes at the expense of movement. The songs hit hard, but they also breathe, shift direction and reveal a band with a clear understanding of dynamics.

The band wastes no time and kicks off their deadly festivities with Lost Souls Epitome, where Vesa already crushes his drums mercilessly in the best and most primeval Death Metal style, and Jussi and Niko keep delivering sheer animosity through their dirty, scathing riffs in I Am Them, while the same Jussi roars deeply like a creature from the abyss. Spawns of Darkness carries a poetic name for another bestial devastation of absolute Death Metal madness, inviting us all to slam into the pit to the gory, rumbling bass and drums by Risto and Vesa; whereas their strident, visceral guitars will penetrate deep inside your mind in Haunting Ceremony, perfect for some vigorous headbanging.

Domus Vilomaxus, which translates as “House of the Order,” combining a Latin word for home with a fictional term from the cultist language featured in the classic video game Blood, again presents the demonic vociferations by Jussi, followed by Grave Reveries, a solid Death Metal tune albeit a bit generic compared to the other sick creations by the quartet. Then after the obscure interlude At Hellsrivers Pathway we face another blast of sheer destruction by the band titled Vanguard the Dark, where the guitars by Jussi and Niko reek of putrefaction, not to mention the band’s demonic kitchen formed of Risto and Vesa is once again thunderous, putting a venomous ending to such a heavy and evil album.

Avoiding unnecessary complexity, Hekatoxen embrace the power of well-crafted songwriting, and Obsidian Majesty certainly captures a band refining its identity, balancing old school instincts with a contemporary edge and proving that tradition can still cut deep when handled with conviction, being therefore highly recommended for fans of Demigod, Adramelech, Sentenced, and Funebrarum. You can find those Finnish bastards on Facebook and Instagram, stream their sick creations on Spotify, and of course, put your putrid hands on Obsidian Majesty via their own BandCamp, as well as from the Nuclear Winter Records’ BandCamp or webstore. If their first strike in 2022 was deadly, their new onrush now with Obsidian Majesty is even deadlier. There’s nowhere to run, nowhere to hide.

Best moments of the album: Lost Souls Epitome, Spawns of Darkness and Vanguard the Dark.

Worst moments of the album: Grave Reveries.

Released in 2026 Nuclear Winter Records

Track listing
1. Lost Souls Epitome 6:02
2. I Am Them 3:38
3. Spawns of Darkness 4:04
4. Haunting Ceremony 5:44
5. Domus Vilomaxus 4:45
6. Grave Reveries 3:26
7. At Hellsrivers Pathway 1:48
8. Vanguard the Dark 5:43

Band members
Jussi Rinta-Kiikka – vocals, lead & acoustic guitars, synthesizers
Niko Talpio – rhythm guitars
Risto Räkköläinen – bass
Vesa Nikkinen – drums

Album Review – Morbid Stench / Doom Metástasis (2026)

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Deeply rooted in Death and Doom Metal, this Central American three-headed beast returns with their third album, following a process of transformation that moves from inner decay to complete propagation.

Deeply rooted in Death and Doom Metal, the Central American three-headed beast Morbid Stench returns from the grave with the follow-up to their 2022 sophomore album The Rotting Ways of Doom, the scorching Doom Metástasis. Conceived as a conceptual work, the new offering by The Master Butcher on “esophagus” (vocals), Morbid on “cosmic chords of doom” (guitars and bass), and Purulent on “barrels full of putrid waste” (drums) follows a process of transformation that moves from inner decay to complete propagation, blending biological imagery with reflections on identity, inevitability and the cyclical nature of existence. This narrative framework gives the album a strong sense of continuity, shaping a journey rather than a simple collection of individual tracks.

Necrotic From Within starts in a sinister, obscure way with the sound of the guitars by Morbid growing in intensity until all hell breaks loose to the visceral roars by The Master Butcher, sounding as sluggish, grim and dark as it can be. Then it’s impossible not to enjoy a song titled The Morbid Waltz, where the slow and steady beats by Purulent will hammer our cranial skulls without a single drop of mercy, all boosted by another razor-edged riff attack by Morbid; and the trio continues to spread total darkness through their Death and Doom Metal onrush in Hyperbolic, with The Master Butcher sending shivers down our spines with his inhumane growls. Bizarre and Beyond offers us all seven devilish minutes with no hope or joy in sight, only the cadaverous sounds blasted by the band, with Morbid being once again ruthless armed with his guitar and bass. The same Morbid extracts haunting riffs form his axe in Narcissistic God, while The Master Butcher darkly vomits the song’s harsh words nonstop; and a utterly visceral narration by The Master Butcher kicks off the closing aria Crawling Out of the Swamps, their most demonic, bold and infernal creation where Purulent is simply demolishing behind his drums, ending the album on a beyond hellish note.

Despite the members now living in different countries, the creative chemistry within them remains intact as seen in their newborn spawn, resulting in a work that continues the band’s exploration of decay, darkness and the oppressive atmosphere of their signature blend of Death and Doom Metal. In case you want to join those talented metallers in absolute darkness, you can find them on Facebook, stream their caustic music on Spotify or any other platform, and purchase their new album from their own BandCamp, from the Nuclear Winter Records’ BandCamp or webstore, or from Putrid Cult’s BandCamp. Having said all that, do you have what it takes to follow the band on a one-way descent into the abyss to the sound of their venomous new album?

Best moments of the album: The Morbid Waltz and Crawling Out of the Swamps.

Worst moments of the album: None.

Released in 2026 Nuclear Winter Records/Putrid Cult/Morbid Skull Records

Track listing
1. Necrotic From Within 7:49
2. The Morbid Waltz 5:04
3. Hyperbolic 6:21
4. Bizarre and Beyond 7:16
5. Narcissistic God 6:08
6. Crawling Out of the Swamps 6:03

Band members
The Master Butcher – vocals
Morbid – guitars, bass
Purulent – drums