Tag Archives: death metal

Album Review – Ater Era / Sinistria (2026)

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Prepare for a descent into blackened decay through the down-tuned, crushing Black Metal offered by this ruthless Slovenian horde in their incendiary new opus.

Bastard-born in a land of fractured identities, the venomous Slovenian Black Metal horde Ater Era channels the red soil of their homeland Istria as it rots, darkens, and transforms into something else entirely in their newborn spawn, titled Sinistria, the combination of the words “sinister” and “Istria.” Showcasing a blackened, oppressive, mid-tempo, riff-driven sound with weight and atmosphere, with lyrics in English, Istrian dialect and Slovenian, the follow-up to their 2017 album Clades represents a descent into blackened decay through down-tuned, crushing Black Metal with elements of Doom and Death Metal, embodying a sound that is oppressive and uncompromising, all masterfully brought into being by S.S. (aka Samuel Simonovič) on vocals and guitars, Eva Hreščak on bass, and J.G. (aka Jure Svarog Gams) on drums.

Grim, minimalist guitar and bass sounds permeate the air in Gorging On Devilries, being gradually joined by the pounding drums by J.G. and, therefore, crafting a dense and heavy atmosphere not recommended for the lighthearted; and the band ventures through the lands of Avantgarde and Experimental Black Metal in Terra Rossa, featuring guest musician Igor Pavletič on the trombone, with the riffs by S.S. and the rumbling bass by Eva making the earth tremble. The trio goes full Black Metal in Tema Trma, with the harsh vociferations by S.S. matching perfectly with the nonstop beats and fills by J.G., inviting us to join them in absolute chaos and darkness; while S.S.’s strident riffs ignite the band’s blackened engine in Bastard Born, filling every single space in the air with their Stygian sounds, not to mention his vociferations are also truly demonic, also presenting haunting, atmospheric passages to give it an extra taste. Lastly, we face the ten-minute aria of darkness titled Um Na Dnu, a phrase that translates directly to “mind at the bottom,” often used metaphorically in psychological or meditative contexts referring to exploring the deepest, subconscious, or foundational levels of one’s mind. Musically speaking, it’s a multi-layered display of contemporary Black Metal, ending the album on a vile and pensive mode.

Much like the land that inspired it, Sinistria exists in a state of tension between multiplicity and negation, origin and dissolution without seeking to reconcile these oppositions, but to inhabit them. Furthermore, while the core of Ater Era remains rooted in a primal Black Metal approach, their sound continues to expand into slower, more oppressive territories, adding multiple layers to their already dark and deep sonority. If you want to let their darkness embrace you, you can find Ater Era on Facebook and on Instagram, stream their Stygian music on YouTube and on Spotify, and of course grab a copy of their killer new opus from BandCamp or from On Parole Records. But you better be prepared as once you start your descent into total darkness together with Ater Era, there’s no turning back.

Best moments of the album: Gorging On Devilries and Um Na Dnu.

Worst moments of the album: None.

Released in 2026 On Parole Productions

Track listing
1. Gorging On Devilries 8:15
2. Terra Rossa 7:01
3. Tema Trma 7:41
4. Bastard Born 9:25
5. Um Na Dnu 10:08

Band members
S.S. – vocals, guitars, production
Eva Hreščak – bass
J.G. – drums

Guest musicians
Igor Pavletič  – trombone on “Terra Rossa”
Eva Brajkovič – backing vocals on “Gorging on Devilries,” “Bastard Born,” and “Um Na Dnu”
Steve Broy – backing vocals on “Bastard Born”
Mitja Rupel – backing vocals on “Bastard Born”
Kariti – backing vocals on “Terra Rossa”

Album Review – Funebrarum / Beckoning The Void of Eternal Silence (2026)

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Renowned worldwide for blending traditional American Death Metal with European and Scandinavian Death Metal, this deadly ensemble will attack armed with their ruthless third album.

Formed in 1999 in Clifton, New Jersey, the unrelenting Death Metal horde Funebrarum is renowned worldwide for a dark and heavy sound that blends traditional American Death Metal with influences from the European and Scandinavian Death Metal scenes of late 80’s and early 90’s such as Bolt Thrower, Demigod, and Abhorrence. After a long (but temporary) five-year hiatus due to the pandemic, career and familial responsibilities, the band formed of vocalist Daryl Kahan, guitarists Sam Osborne and Phil Tougas, bassist Kyle Winslow, and drummer Charlie Koryn is finally back into the battlefield with their third studio album, titled Beckoning The Void of Eternal Silence, following up on their 2001 debut Beneath the Columns of Abandoned Gods, their 2009 sophomore The Sleep of Morbid Dreams, and their 2016 EP Exhumation of the Ancient. Recorded by Charles Koryn at Elektric City Recording, and mixed by Steven Di Acutis at Sound Spa Productions, the album is perfect for fans of Incantation, Tomb Mold, and Autopsy, among others, keeping the fires of classic Death Metal burning majestically.

As if it was taken from a Sci-Fi horror movie, the intro The Arrival opens the gates of the underworld for Funebrarum  to kill us all in Beckoning the Void of Eternal Silence, a lecture in Black, Death and Doom Metal showcasing an overdose of sluggish beats by Charlie while Daryl delivers deep, inhumane roars nonstop. Ša Nagba Amāru, the opening line of the standard Babylonian version of the Epic of Gilgamesh, translating from Akkadian to “he who witnessed the abyss”, is an absolute Death and Doom Metal feast blasted by the guys, whereas Through the Barren Halls of Grieving Emptiness continues their path of devastation and chaos, with Sam and Phil breathing fire through their riffs and solos. And Into Dark Domains is one of the heaviest and most doomed songs of the album, with the vocals by Andreas sounding utterly demonic.

It looks like their plan was to split the album in two acts, as we face the atmospheric interlude Ancestral Manor before all hell breaks loose in the incredibly heavy Anhela Odor Mortoruom (The Adepts), led by the massive bass and drums by Kyle and Charlie. Put differently, it can’t get any heavier than this. Then presenting a wild fusion of Death and Doom Metal we have From Rotting Burial Shrouds, with their vocals and riffs sounding primeval and intoxicating; and Kyle keeps blasting his bass without a single drop of mercy in Turning the Stones of Torment, keeping the album as incandescent as it is obscure. Last but certainly not least, they bring forward their most detailed, multi-layered and demonic composition to date, entitled The Whispering Cathedral – Epilogue, with the riffage by Sam and Phil darkening the skies in the name of extreme music until all fades into a climatic, vile finale.

After all is said and done, you’ll feel absolutely disoriented when the last notes in Beckoning The Void of Eternal Silence penetrate deep inside your rotten soul, proving how demolishing yet intricate and detailed the music by Funebrarum can be. If you want to know more about those guys, their tour dates, plans for the future and so on, you can find them on Facebook and on Instagram, and don’t forget to also stream their ruthless music on Spotify and on Apple Music. Beckoning The Void of Eternal Silence can be purchased directly from their own Bandcamp, or you can also get it from the Pulverised Records’ BandCamp or webstore. But be warned Funebrarum do not fool around when it comes to crafting Death Metal. Their music is deadly, and once it hits you, get ready to be crushed into tiny pieces.

Best moments of the album: Beckoning the Void of Eternal Silence, Anhela Odor Mortoruom (The Adepts) and The Whispering Cathedral – Epilogue.

Worst moments of the album: Ancestral Manor.

Released in 2026 Pulverised Records

Track listing
1. The Arrival 1:53
2. Beckoning the Void of Eternal Silence 5:30
3. Ša Nagba Amāru 6:56
4. Through the Barren Halls of Grieving Emptiness 4:26
5. Into Dark Domains 5:48
6. Ancestral Manor 1:32
7. Anhela Odor Mortoruom (The Adepts) 5:03
8. From Rotting Burial Shrouds 3:50
9. Turning the Stones of Torment 5:28
10. The Whispering Cathedral – Epilogue 8:44

Band members
Daryl Kahan – vocals
Sam Osborne – guitars
Phil Tougas – guitars
Kyle Winslow – bass
Charlie Koryn – drums

Guest musician
Patrik Fernlund – lead guitars

Album Review – Chronic Hate / Defeating the Oblivion of Life (2026)

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Let’s use the new album by this ruthless Italian Death Metal entity as our weapon to defeat the concept of death as a total cessation of consciousness and existence.

Formed in 2001 in Northeast Italy, the unrelenting Death Metal outfit known as Chronic Hate has been building a strong presence in the European metal scene, performing alongside bands such as Obituary, Suffocation, Fleshgod Apocalypse, Pungent Stench, and many more, always combining many influences in the Extreme Metal genres, from the old school vibes of the early 90’s sound to the more contemporary blasting acts. Now in 2026 the band formed of Andrea on vocals, Daniele and Massimo on the guitars, Marco on bass, and Nicolas on drums strikes again with their third full-length opus, entitled Defeating the Oblivion of Life. Recorded by Daniele Tollon at Black Swamp Studio (vocals, guitars an bass) and by Ivan Moni Bidin at Artesonika Studio (drums), reamped, mixed and mastered by Greg Chandler at Priory Recording Studios, and adorned by a sinister artwork by Colin Marks of Rain Song Design, the album inaugurates a new, significant chapter for Chronic Hate, railing against a generational void through crude and direct lyrics, alternated with more intimate, lacerating and personal passages, resulting in undeniable emotional power and authenticity.

It’s pedal to the metal in the inhumane, demonic The Wrong, led by the ferocious beats and fills by Nicolas in a lesson in Black and Death Metal. With such a cool name it was obvious we were going to be pulverized by the band in Blastphemy, where Daniele and Massimo deliver pure Death Metal madness from their Immolation-inspired riffs, whereas a sinister intro quickly explodes into absolute chaos in Mass Distraction Program, with Andrea roaring and barking nonstop in the name of putrid, vile and grim extreme music. Let’s all feel the power of the riff in Regurgitated Brains before we have our faces melted by the band’s ruthless sounds led by Nicolas’ demonic beats and fills; and there’s no sign of the quintet slowing down at all in Despair… in Sorrow, with the bludgeoning kitchen by Marco and Nicolas bringing thunder to their sound.

Subjugated Minds sounds as metallic and heavy as it can be, with the guitars by Daniele and Massimo exhaling absolute aggression and fury, therefore living up to the legacy of 90’s Death Metal, while Born to Appear kicks off in an ominous manner before the boys pulverize us all with their multi-layered wall of Death Metal, spearheaded by another slab of the monstrous vocals by Andrea. The breathtaking Handcuffed invites us all to dive deep into a ferocious mosh pit, with their dark and deep vocals and riffs embracing us all in pitch black obscurity, and finally, we’re treated to the song that carries the name of the band, the crushing Chronic Hate, where Andrea’s guttural is boosted by another demented performance by Nicolas on drums.

The guys from Chronic Hate are definitely not fooling around when it comes to crafting deadly and visceral heavy music, and as you listen to each and every track from Defeating the Oblivion of Life you’ll feel all their rage, violence and passion for the extreme flowing through your veins. Those talented Italians are waiting for you with news, tour dates and more of their music on Facebook and on Instagram, and don’t forget to also stream their wicked music on Spotify, and to purchase their pulverizing new album from their own BandCamp or from Time To Kill Records. Defeating the concept of death as a total cessation of consciousness and existence, a “deep, dreamless sleep” without a post-mortem afterlife, can only be achieved with a lot of noise, and only first-class Death Metal like what Chronic Hate have to offer us in their new album can help us with such a difficult task.

Best moments of the album: The Wrong, Regurgitated Brains and Handcuffed.

Worst moments of the album: None.

Released in 2026 Time To Kill Records

Track listing
1. The Wrong 3:35
2. Blastphemy 3:20
3. Mass Distraction Program 3:05
4. Regurgitated Brains 2:45
5. Despair… in Sorrow 9:45
6. Subjugated Minds 4:31
7. Born to Appear 4:02
8. Handcuffed 3:31
9. Chronic Hate 5:04

Band members
Andrea – vocals
Daniele – guitars, backing vocals
Massimo – guitars
Marco – bass
Nicolas – drums

Album Review – Hecate Enthroned / The Corpse of a Titan, a Lament Long Buried (2026)

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UK’s own leaders and titans of Symphonic and Melodic Black Metal are back from the underworld stronger than ever with their vicious, breathtaking seventh studio offering.

Leaders and titans of Symphonic and Melodic Black Metal, England’s own Hecate Enthroned are finally back from the underworld with their vicious seventh studio album, beautifully entitled The Corpse of a Titan, a Lament Long Buried, following up on their 2019 beast Embrace of the Godless Aeon. Once again produced by the band itself alongside Dan Abela (Akercocke, Bleed From Within, Annal Nathrakh), who also mixed and mastered the album, and showcasing a stunning cover art created by Erskine Designs (Inanimate Existence, Bleed The Sky), the new offering by Joe Stamps on vocals, Nige Dennan and Andy Milnes on the guitars, Dylan Hughes on bass, Pete White  on the piano and keyboards, and Matt Holmes on drums will pulverize us all with their signature fusion of Death Metal aggression with orchestral Black Metal atmosphere, once again cementing the band as one of the most important names in the history of extreme music.

The Stygian intro Adar Rhiannon (or “Birds of Rhiannon,” three magical, otherworldly birds from Welsh mythology associated with the horse goddess Rhiannon) sets the stage for the band’s undisputed Black Metal attack in Spirits Stir Within Our Ancestors Tombs, with Matt sounding simply demolishing behind his drums, adding endless rage and fury to their sound while the keys by Pete are utterly haunting. The devilish guitars by Nige and Andy will pierce your soul in The Arcane Golem, another lesson in Symphonic Black Metal by such a talented UK horde, whereas a beyond cryptic start gradually evolves into a massive Black Metal beast titled Steed of the Still Water, led by another pulverizing performance by Matt on drums. After that we have Pwca, a shape-shifting, mischievous, and often chaotic spirit or fairy from Celtic and Welsh folklore, with the music sounding maybe a bit too atmospheric and lengthy, but still very emotional.

The band gets back on track with the infuriated Black Metal beast titled Deathless in the Dryad Glade, also presenting elements from Death and Doom Metal to spice things up even more. A Gallery of Rotting Portraits, the first single released of the album, is utterly bestial, with the harsh vociferations by Joe walking hand in hand with the slashing riffs by Nige and Andy, and the always majestic keys by Pete. The Boreal Monastery sounds and feels massive, multi-layered and grim form start to finish, with the hammering drums by Matt sounding flawless, offering Joe everything he needs to scream like a demon, whereas lastly we face Into a Vale of Endless Snow, keeping their Symphonic Black Metal vein pulsing harder than ever, consequently ending the album on a demolishing note to the thunderous sounds blasted by Dylan, Pete and Matt.

“Our first release since 2019, these are huge, epic, hard-hitting songs carved in the traditional Hecate Enthroned way with a menacing veil delivered with a crisp punch. Lyrically based around ancient British myths and legends,” commented the band’s bassist Dylan Hughes, inviting us all to join the band in absolute darkness in the best British Extreme Metal style. Having said that, don’t forget to check what the band is up to on Facebook and on Instagram, to stream their undisputed discography on Spotify, and above all that, to purchase their venomous new opus from BandCamp or from M-Theory Audio. The corpse of a titan lies upon the shores of England, and Hecate Enthroned will make sure his demise reverberates to the four corners of the earth to the sound of their insane new album.

Best moments of the album: Spirits Stir Within Our Ancestors Tombs, Steed of the Still Water, A Gallery of Rotting Portraits and The Boreal Monastery.

Worst moments of the album: Pwca.

Released in 2026 M-Theory Audio

Track listing
1. Adar Rhiannon 0:43
2. Spirits Stir Within Our Ancestors Tombs 8:10
3. The Arcane Golem 6:14
4. Steed of the Still Water 7:09
5. Pwca 6:07
6. Deathless in the Dryad Glade 6:37
7. A Gallery of Rotting Portraits 4:40
8. The Boreal Monastery 7:03
9. Into a Vale of Endless Snow 7:10

Band members
Joe Stamps – vocals
Nige Dennan – guitar
Andy Milnes – guitar
Dylan Hughes – bass
Pete White – piano, keyboards
Matt Holmes – drums

Album Review – Torchia / They Are Born Under Rules of the Darkness (2026)

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Behold the new opus by this unrelenting Finnish melodeath entity, bringing the band’s storytelling to life through vivid tales of horror, superstition, and doom.

Formed back in 2010 in Tampere, Finland, Torchia have steadily carved out a distinctive identity within the Extreme Metal scene by blending thrash-infused Melodic Death Metal with dark fantasy, gothic horror, and cinematic atmospheres. Produced by Janne Saksa and Villemorte, mixed by Janne Saksa, and mastered by Dan Swanö at Unisound, with killer artwork, illustrations and layout by Caelan Stokkermans Arts, the incendiary They Are Born Under Rules, the fourth full-length opus in their career, represents a defining chapter in the artistic journey by frontman Nox, guitarists Villemorte and Henri von Hardy, bassist Vulkan, and drummer Vincent Oscar Mill. Set against a bleak, 19th century-inspired gothic backdrop, the album brings Torchia’s storytelling to life through vivid tales of horror, superstition, and doom, uniting narrative depth with relentless musical force.​

The opening song Nekromanteion is simply cinematic and grim from the very first second, with Nox’s deep, dark vocals walking hand in hand with their striking guitar lines by Villemorte and Henri, kicking off the album with tons of sulfur, insanity and Black and Death Metal energy. The band continues their infernal path with Hellmouth, blending the demented sounds of modern heavy music with old school symphonic and dark elements, resulting in a truly headbanging feast; and Vincent ignites the band’s ruthless engine in Into Hell, pounding his drums while the guitars by Villemorte and Henri exhale rage and fury in another strong contender for their live performances. Guess what? They remain in hell for the also hard hitting melodeath tune Hellstorm, again presenting the demonic vociferations by Nox for our total delight while also displaying some wicked guitar solos.

After such a high level of fire and sulfur, the band will crush our damned skulls with the infuriated Die Amour, perfect for breaking our necks headbanging to the massive beats by Vincent, followed by The Tiamat Machine, carrying a beautiful name for an epic, thrilling creation by those uncanny metallers, offering a clash of distinct sounds that will bring excitement and fear to our hearts, all boosted by the insane roars by Nox and all background cinematic sounds. The band then lets their Thrash Metal vein arise in Black Cat, adding speed and rebelliousness to their core Melodic Death Metal sounds while the guitar work by the band’s axe duo is once again fantastic; and Vulkan and Vincent will shake the foundations of the earth with their thunderous kitchen in Stygian Waters, keeping the album as powerful and aggressive as possible. Lastly, they slow things down a bit while keeping the atmosphere as dense and epic in Sanguine Masquerade, sounding like a dark and devilish waltz led by the grim vociferations by Nox.

“With this record, we wanted to push our sound further into darker and more cinematic territory without losing the immediacy and energy that defined our earlier work,” commented the band, expanding on the album’s direction, and if you’re a fan of the music by renowned acts the likes of Behemoth, Cradle of Filth, and Children of Bodom, you should definitely check what Torchia are up to on Facebook and on Instagram, bang your head to their caustic creations on Spotify, and of course purchase They Are Born Under Rules of the Darkness from BandCamp or from Rockshots Records as a CD or an LP. We’re living truly dark times, and although the music from Torchia’s new album is inspired by the 19th century, it’s beyond perfect for the chaotic state of our world.

Best moments of the album: Into Hell, The Tiamat Machine and Stygian Waters.

Worst moments of the album: None.

Released in 2026 Rockshots Records

Track listing
1. Nekromanteion 4:23
2. Hellmouth 4:08
3. Into Hell 3:38
4. Hellstorm 3:55
5. Die Amour 4:12
6. The Tiamat Machine 5:39
7. Black Cat 3:19
8. Stygian Waters 4:05
9. Sanguine Masquerade 4:46

Band members
Nox – vocals
Villemorte – lead guitars, vocals
Henri von Hardy – guitars
Vulkan – bass, backing vocals
Vincent Oscar Mill – drums

Album Review – Horrific Visions / Remnants Of Atrophy (2026)

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Indiscriminate bloodshed and mass destruction await to the sound of the blistering debut by this demented Brutal Death Metal beast from Texas.

Twelve years on from their initial spawning in the ever-fertile breeding grounds of brutality of their homeland Texas, the demonic Brutal Death Metal beast Horrific Visions is finally unleashing their full-length debut album of shocking violence and colossal carnage, titled Remnants of Atrophy, following up on their 2022 EP Enlightenment Through Excruciating Torture and their 2024 EP Monopoly on Violence. Mixed and mastered by the band’s own guitarist Mason Vickers at Rocker House Studios, and displaying another venomous artwork by Jon Zig (Aborted Fetus, Deeds Of Flesh, Defeated Sanity), the debut opus by Conrad Heinemeyer on vocals, Chris Rossmeier and Mason Vickers on the guitars, Cody Hancock on bass, and Rene Martinez on drums is a gift to the demented and the black of heart – one that has been well worth the wait.

Like a demonic creature arising from the underworld, the band will crush your damned skulls into pieces in Malnutrition, with the cadaverous roars by Conrad matching perfectly with Rene’s bestial drumming, and after such a killer tune we face the ominous Horrific Visions, a vile interlude that sets the tone for Deranged Perversion, a fulminating lesson in brutality where their scorching riffs and blast beats sound like we’re being bombarded by a full-bodied army. Then venturing through the lands of classic Death Metal the likes of Cannibal Corpse and Incantation they bring forward Crippled Under the Weight of a Hollow World, with Conrad once again sounding ruthless on vocals, overflowing aggression and hatred for our total delight.

We then face another cryptic interlude named Synaptic Decay before the band comes ripping in Primal Regression, where Rene’s beats and fills are a thing of beauty, or maybe I should say of morbid beauty, sounding utterly devastating until the very last second. They offer a more cadenced yet still demented tune titled Disgusted Warped Mentality, with the grim guttural by Conrad being supported by the thunderous kitchen by Cody and Rene, followed by Enlightenment Through Excruciating Torture, presenting two minutes of no shenanigans Brutal Death Metal with Chris and Mason hammering their axes nonstop. Lastly, the title-track Remnants of Atrophy will embrace us in total darkness, violence and blood, with Chris and Mason once again firing sheer insanity from their guitars.

In the end, Remnants Of Atrophy possesses a blistering intensity and a raw, serrated edge, sounding like a deadly weapon, wielded with vicious intent and, therefore, being a must-listen for admirers of the extreme violence blasted by renowned acts the likes of Bludgeoned, Stabbing, Brodequin and Disgorge, just to name a few. Horrific Visions are on absolute fire from start to finish in their caustic debut, and you can feel their scorching sounds by following them on Facebook and on Instagram, by streaming their depraved creations on any platform like Spotify, and of course, by purchasing Remnants Of Atrophy from Comatose Music’s BandCamp or webstore. The time has come to stare into the dead eyes of Remnants Of Atrophy. Indiscriminate bloodshed and mass destruction await, and you better get ready because there will be no mercy for your putrid soul.

Best moments of the album: Deranged Perversion, Crippled Under the Weight of a Hollow World and Primal Regression.

Worst moments of the album: Synaptic Decay.

Released in 2026 Comatose Music

Track listing
1. Malnutrition 3:54
2. Horrific Visions 1:30
3. Deranged Perversion 3:41
4. Crippled Under the Weight of a Hollow World 2:14
5. Synaptic Decay 1:43
6. Primal Regression 2:40
7. Disgusted Warped Mentality 3:10
8. Enlightenment Through Excruciating Torture 2:22
9. Remnants of Atrophy 3:59

Band members
Conrad Heinemeyer – vocals
Chris Rossmeier – guitar
Mason Vickers – guitar
Cody Hancock – bass
Rene Martinez – drums

Album Review – Defect Designer / Depressants (2026)

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Continuing to break the barriers of Progressive Death Metal, this unstoppable trio returns with their fourth studio album, sounding wildly diverse and refreshing while retaining their core sound.

Continuing to break the barriers of Progressive Death Metal since their 2009 debut Wax, Oslo, Norway-based Russian entity Defect Designer is back with their fourth studio album, titled Depressants, following up on their 2024 opus Chitin. Displaying a uniquely colorful artwork by Ian Miller, the demented new opus by Dmitry Sukhinin (Diskord) on vocals and guitars, Martin Storm-Olsen on bass and vocals, and Eugene Ryabchenko (Fleshgod Apocalypse) on drums is wildly diverse and refreshing while retaining their core sound, remaining loyal to their Death Metal foundations while at the same time reverting back to it after unabashedly exploring various sounds and imbibe influences from so many unrelated and unexpected styles, turning it into a must-listen for fans of Diskord, Februus, Demilich, Contrastic, Swelling Repulsion, and Disharmonic Orchestra.

Daily Dose of Gloom is absolutely demolishing and intricate from start to finish, with the ultra-talented Eugene delivering ruthless beats and fills for our absolute delight; followed by the curiously titled Butterfly Juice Straws. What a weird name for a song, but that doesn’t mean it’s bad; quite the contrary, the Dissonant Death Metal vocals by Dmitry sound insanely good. Repeated Aversive Stimuli Inducer is as complex as it is demolishing, with the striking riffs by Dmitry and the reverberating bass by Martin punching us hard in the head; while Carte Blanche is just as insane as its predecessors, offering a Progressive Death Metal attack not recommended for the lighthearted. In Expiration Deferral Request Denied they tried to be more Stoner Rock than Death Metal, and it gets confusing at times; whereas in Scorching The Rival Pogonomyrmex Burrows they get back to a more pulverizing sonority, with Eugene once again destroying everything and everyone that crosses his path, followed by Body Count Of My Cow Tail, another extremely experimental tune, but this time their sonic madness works really well.

Then venturing through Doom Metal lands without forgetting their enraged essence we face I Heard Robespierre Screamed Like A Bitch, and whatever they mean with that song title, it’s really cool. Dmitry sounds utterly furious with his demonic vociferations in Peons Before My Drabbing Wings, absolutely heavy, dark and demented until the end; and the trio continues to hammer their instruments with tons of precision and rage in As The Terracotta Dust Settles, with the drumming by Eugene making the earth crack in half. Awaiting The Return Of The Golden Age is perhaps the most direct Death Metal tune of all, led by Dmitry’s venomous guttural and visceral riffs; and the band then goes full experimental (with emphasis in “mental”) in The Inevitable Mad Composite, where Dmitry is simply on fire armed with his axe. After such a demolishing tune we face Wrong Future Forecast, an ominous outro to the album, with its background heaviness embracing our souls mercilessly.

Depressants is decidedly their most ambitious album to date, and they’ve outdone themselves on this one to offer a singular, exhilarating experience for the true prog-minded fans of the style. With the music on Depressants being as colourful as its artwork, it is anything but what the album title suggests – that’s just the classic tongue-in-cheek Defect Designer for you. Having said that, if you want to know more about such a hardworking and creative ensemble, you can find those guys on Facebook and on Instagram, listen to their idiosyncratic creations on Spotify, and of course purchase Depressants from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Put differently, more than just a Progressive Death Metal album, this is an anti-depressant for metalheads looking for something fresh and unique in the world of heavy music.

Best moments of the album: Repeated Aversive Stimuli Inducer, Carte Blanche, I Heard Robespierre Screamed Like A Bitch and Awaiting The Return Of The Golden Age.

Worst moments of the album: Expiration Deferral Request Denied.

Released in 2026 Transcending Obscurity Records

Track listing
1. Daily Dose of Gloom 3:26
2. Butterfly Juice Straws 5:03
3. Repeated Aversive Stimuli Inducer 5:07
4. Carte Blanche 4:39
5. Expiration Deferral Request Denied 4:10
6. Scorching The Rival Pogonomyrmex Burrows 3:40
7. Body Count Of My Cow Tail 4:50
8. I Heard Robespierre Screamed Like A Bitch 4:07
9. Peons Before My Drabbing Wings 4:45
10. As The Terracotta Dust Settles 4:57
11. Awaiting The Return Of The Golden Age 3:48
12. The Inevitable Mad Composite 3:40
13. Wrong Future Forecast 4:10

Band members
Dmitry Sukhinin – vocals, guitars
Martin Storm-Olsen – bass, vocals
Eugene Ryabchenko – drums

Album Review – Riket / 2026 (2026)

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Standing at the intersection of ferocity and history, this Swedish Death and Thrash Metal brigade is unleashing hell with their debut opus, with each song portraying small historic tales of catastrophe, blunder, and human downfall.

Standing at the intersection of ferocity and history, channeling the raw aggression of Death Metal while weaving in the relentless drive of Thrash Metal and the defiance of Punk Rock, Stockholm, Sweden-based brigade Riket is unleashing hell armed with their debut opus, simply titled 2026. Recorded and produced by Sverker Widgren at Wing Studios, and displaying a haunting artwork by Axel Torvenius, mirroring the album’s thematic depths, the debut offering by vocalist Johan “Flid” Fridell, guitarists Tobias Jakobsson and Jussi Niiranen, bassist Micke André, and drummer Felix Wahlund balances crushing heaviness with an eerie sense of narrative, with every song being performed in Swedish and rooted in the darker corners of a shared past, portraying small historic tales of catastrophe, blunder, and human downfall.

Tobias and Jussi take the lead from the very first second with their acid riffage in 1868: Sommar Vid Vinterviken (or “1868: Summer at Winter Bay” from Swedish), while Johan barks and roars in the best Swedish style. 1867: Storsvagaret (“1867: The Great Weakness”) is even more infuriated and groovy than the opening tune, presenting elements of Death and Thrash Metal spiced up by an overdose of brutality and sick guitar solos; and it’s time to head into the circle pit and keep moving relentlessly in 1965: Hoghus Och Kultur (“1965: The Court and Culture”), with Felix sounding like a machine gun on drums. Then leaning towards the Melodic Death Metal by their countrymen such as In Flames and Soilwork we have 1948: Att Doda Ett Barn (“1948: Killing a Child”),showcasing a truly edgy vibe; and what starts in a calm way in 1885: Dodsdansen (I Manskensnatten) (“1885: The Dance of Death (In the Night of Man)”) suddenly morphs into another bestial melodeath attack.

1897: Mot Polen (“1897: Towards Poland”) is absolutely heavy but not as dynamic nor as exciting as the rest of the album, albeit the Amon Amarth-like riffs by Tobias and Jussi are still a thing of beauty. Micke keeps hammering his bass in 1991: 2000 Ar (Saliga Aro De Talmodiga) (“1991: 2000 Years (Blessed Are the Wise Men)”), adding a groovier vibe to the song while Johan’s deep guttural bring endless fury to the overall result; whereas 1937: Lagor Vid Portarna (“1937: Laws at the Gates”) is more rhythmic and vibrant thanks to another ass-kicking performance by Felix on drums, while the trio formed of Tobias, Jussi and Micke delivers a first-class stringed onrush. Lastly, we’re treated to a cover version for Stefan Sundström’s 2009: Alla Ska I Jorden (“2009: All Shall Be in the World”) (and you can enjoy the original version HERE), an interesting rendition presenting a darker, more introspective approach compared to the original.

A vessel of memory, a grim messenger bridging today’s world with the chilling truths of yesteryears, 2026 does not simply revisit history. Riket force you to confront it, challenging their audience to face uncomfortable truths, both personal and societal. If you want to know more about Riket and their dark relationship with history, you can start following the band on Facebook and on Instagram, stream their wicked creations on Spotify, and purchase their excellent debut from BandCamp or from several online retailers such as Doomed Records and Record Store Day. 2026 is an album that lingers long after the final note fades, a stark, resonant journey through memory, identity and the lingering shadows of time, leaving us eager for more from those Swedish metallers as our society progresses to its inevitable doom.

Best moments of the album: 1867: Storsvagaret, 1965: Hoghus Och Kultur and 1937: Lagor Vid Portarna.

Worst moments of the album: 1897: Mot Polen.

Released in 2026 Black Lion Records

Track listing
1. 1868: Sommar Vid Vinterviken 4:27
2. 1867: Storsvagaret 3:04
3. 1965: Hoghus Och Kultur 5:15
4. 1948: Att Doda Ett Barn 3:42
5. 1885: Dodsdansen (I Manskensnatten) 4:48
6. 1897: Mot Polen 3:56
7. 1991: 2000 Ar (Saliga Aro De Talmodiga) 4:11
8. 1937: Lagor Vid Portarna 4:18
9. 2009: Alla Ska I Jorden (Stefan Sundström cover) 5:06

Band members
Johan “Flid” Fridell – vocals
Tobias Jakobsson – guitars
Jussi Niiranen – guitars
Micke André – bass, backing vocals
Felix Wahlund – drums

Album Review – Vile Desolation / Annihilating The Consciousness (2026)

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This ruthless Indonesian trio is unleashing upon humanity their debut album of titanic, shocking power, offering us all Brutal Death Metal at its absolute, horrifying best.

From the ever-fertile spawning grounds of East Java, Indonesia comes another monstrous entry into the annals of Brutal Death Metal. Drawing on the extensive experience from its members in an array of bands from the Indonesian scene, Vile Desolation are unleashing upon humanity their debut album of titanic, shocking power, entitled Annihilating The Consciousness. Mixed and mastered at Endless Gruesome Studio, and bedecked in the bleak artwork of Timbul Cahyono of Bvllmetalart, the debut offering by Yudha Dwi Setyawan on vocals, Hendika Dwi Prasetyo on the guitar and bass, and Rama Maulana on drums is Brutal Death Metal at its absolute, horrifying best, positioning the band as apex predators of this most extreme musical landscape.

Rama wastes no time and kicks off the band’s demented feast of violence and gore in Veiled in Obscurity, while Yudha delivers those deep gnarls we all love so much in Brutal Death Metal. Whispers Through the Shadowed Gates carries a very poetic name for an absolutely devastating tune, with Hendika hammering his guitar and bass manically, supported by another bestial performance by Rama on drums, while Labyrinth of Torment starts with one of those dark, cinematic intros before all hell breaks loose to Yudha’s trademark “breeeeeeeeeeeeeees;” and Rama again dictates the pace in the infuriated Shattered Reverie while his bandmates make sure there’s plenty of blood and viscera in their music. And in The Sinister Symphony there’s not a single space left in the air. It’s pedal to the metal in a lecture in brutality by those Indonesian death dealers.

The second half of the album begins with another somber intro, with the bells tolling until we face more of the carnivorous roars by Yudha in Dementia’s Embrace, inviting us all to slam into the pit manically; and in Eyes of Madness we see the trio venture through old school Death Metal lands, sounding heavier and heavier as the music progresses, in special Yudha’s deep guttural. Then another phantasmagorical intro morphs into sheer bestiality in Eternal Lunacy, with Rama sounding like a demonic entity on drums; whereas in Chaos Unleashed the name of the song says it all, as it’s a lecture in Indonesian Brutal Death Metal led by the scorching riffs by Hendika. Their coup-de-grace comes in the form of Sanctified in Ashes, offering more of the trio’s venomous gnarls, visceral riffage and blast beats, ending the album on a demolishing mode.

Kiss goodbye to your sanity, as Vile Desolation are coming armed with their unrelenting debut album, and madness follows in their wake. If you think you have what it takes to face the gore, depravity and horror emanating from Annihilating The Consciousness, you should definitely follow the trio on Facebook and on Instagram, stream their bludgeoning music on any platform like Spotify, and grab a copy of the album from Comatose Music’s BandCamp or webstore. Fans of bands the likes of Suffocation, Anthropophagus Depravity, Beheaded and Molested Divinity will feel at home while listening to Annihilating The Consciousness, but in case you think those bands are way too heavy for you, I feel sorry for your frail soul.

Best moments of the album: Whispers Through the Shadowed Gates, The Sinister Symphony and Chaos Unleashed.

Worst moments of the album: None.

Released in 2026 Comatose Music

Track listing
1. Veiled in Obscurity 3:17
2. Whispers Through the Shadowed Gates 3:03
3. Labyrinth of Torment 2:27
4. Shattered Reverie 3:12
5. The Sinister Symphony 3:01
6. Dementia’s Embrace 3:10
7. Eyes of Madness 3:37
8. Eternal Lunacy 2:42
9. Chaos Unleashed 3:15
10. Sanctified in Ashes 3:01

Band members
Yudha Dwi Setyawan – vocals
Hendika Dwi Prasetyo – guitar, bass
Rama Maulana – drums

Concert Review – Sepultura (London Music Hall, London, ON, 05/02/2026)

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The Canadian city of London witnessed for the very first (and last) time ever the undisputed power of “Sepultura do Brasil” on an unforgettable night of first-class heavy music.

OPENING ACTS: Tribal Gaze, Biohazard and Exodus

After back to back nights of pure heavy music with bands like Archspire, Amon Amarth and Dethklok kicking my ass in Toronto on Thursday and Friday, it was time for a nice drive to the city of London for night number 3 of absolute metal magic to enjoy TRIBAL GAZE, BIOHAZARD, EXODUS and SEPULTURA take the cozy London Music Hall by storm this Saturday night as part of their Celebrating Life Through Death Final North American Tour 2026, another killer event organized by our local hero Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi was there with me to register such a great celebration of Thrash, Death and Groove Metal, as well as some first-class Hardcore, and I guess because the show was on a Saturday, and due to the size of the bands playing, it was scheduled for an early start, with doors opening at 5:30pm and the first band hitting the stage at 6:30pm. Fortunately, as mentioned, it was on a Saturday, so it was just a matter of planning the drive beforehand to get there in time to enjoy all attractions (and brave the long merch line if you were up to that), and believe me, they were all absolutely worth the ticket.

The opening slot of this tour was given to Texan Death Metal outfit TRIBAL GAZE, and just like when I saw them opening for Cattle Decapitation they were ruthless onstage. Once again playing songs exclusively from their 2025 sophomore Inveighing Brilliance, available on both BandCamp and Spotify, including the venomous Twitching on the Cross, Guarding the Illusion, and Beyond Recognition, the band formed of McKenna Holland on vocals, Quintin Stauts and Ian Kilmer on the guitars, Zachary Denton on bass, and Cesar De Los Santos on drums inspired everyone already at the venue to start a sick circle pit, properly warming up the crowd for the other attractions of the night. Those guys are very young and looked extremely excited for opening for some of their metal heroes, as I’m sure they grew up listening to Sepultura, Exodus and Biohazard, so their level of energy onstage was insanely high. As I always say, new bands like Tribal Gaze need our support to keep metal alive, which means if they ever play in your city, you know what to do.

Setlist
Emptying the Nest
Smiling From Their Chariots
To the Spoils of Faith
The Irreversible Sequence
Twitching on the Cross
Guarding the Illusion
Beyond Recognition

Band members
McKenna Holland – vocals
Quintin Stauts – guitars
Ian Kilmer – guitars
Zachary Denton – bass
Cesar De Los Santos – drums

After Tribal Gaze finished their unrelenting performance, we were treated to the incendiary Hardcore by Brooklyn, New York’s most famous squad, the indomitable BIOHAZARD. It was only my second time in life seeing those guys live, the first back in the late 90’s when they were one of the must-see bands on MTV, and I must say they looked a lot sharper and more infuriated this Saturday night. Evan Seinfeld is in fantastic shape, way better than his early days or when he was one of the prisoners in the revolutionary TV series Oz, and if I ever have a chance to talk to him in person I’ll certainly ask him for some health tips as he looks awesome. Billy Graziadei, Bobby Hambel and Danny Schuler were also on fire, and their short but sweet setlist, blending classics with new songs from their 2025 album Divided We Fall (all available on Spotify), was heavy, flammable, violent and fun from start to finish, igniting a demonic circle pit that turned up the heat considerably at the venue. Biohazard still got it, no doubt about it, and I’m happy I was able to see those legends live again after almost 30 years.

Setlist
Urban Discipline
Shades of Grey
Fuck the System
Wrong Side of the Tracks
Tales From the Hard Side
Forsaken
Punishment

Band members
Evan Seinfeld – vocals, bass
Billy Graziadei – vocals, rhythm guitar
Bobby Hambel – lead guitar
Danny Schuler – drums

Then it was time for another blast of absolute thrashing madness onstage with the mighty Thrash Metal titans EXODUS, who after the return of the furious Rob Dukes are sounding even heavier than before. I saw them opening for Megadeth also in London in February, when they kicked off their tour to promote their new album Goliath (also available on Spotify), but this time opening for Sepultura sounded a lot heavier (and louder, as the sound at the London Concert Hall was turned up to 11). The setlist wasn’t too different from last time, but the fact they added the magnificent Deathamphetamine to it made their show more violent and vibrant. It’s always a pleasure seeing Gary Holt, Lee Altus, Jack Gibson and Tom Hunting onstage, as well as the aforementioned Rob Dukes, of course, but the show was so intense we all had to share our attention with the hurricane happening inside the circle pit. Well, when the last three songs of a setlist are A Lesson in Violence, The Toxic Waltz, and Strike of the Beast, you know you can’t simply stand and watch the show. You need to get into the action, and the fans in London understood the message maybe even more than what anyone could have predicted. Yes, it was a true lesson in violence, and we must thank the one and only Exodus for such a fun time.

Setlist
We Will Rock You (Queen song)
3111
Bonded by Blood
Deathamphetamine
Blacklist
Goliath
A Lesson in Violence
The Toxic Waltz
Strike of the Beast

Band members
Rob Dukes – vocals
Gary Holt – guitar
Lee Altus – guitar
Jack Gibson – bass
Tom Hunting – drums

SEPULTURA

It was already past 9pm when the main band of the night, Brazilian Thrash/Groove Metal institution SEPULTURA, kicked off their very first, and most probably their very last (as this is supposed to be their farewell tour), concert in the city of London, and the fans made sure it was an unforgettable night for Derrick Green, Andreas Kisser, Paulo Jr., and Greyson Nekrutman, as the crowd was rowdy and wild during their entire setlist, even when they played slower or newer songs like The Place (from their brand new EP The Cloud of Unknowing, already available in any platform such as Spotify) and Agony of Defeat. The crowd got louder of course during their classics from the 90’s, but the synchronicity between Sepultura and the fans in London was a thing of beauty during the entire concert.

Speaking of classics, I simply loved the fact they kicked off the show with Beneath the Remains and Inner Self, two of my all-time favorite Sepultura songs, and the quartet sounded utterly heavy during those masterpieces. The action inside the pit got out of control, the fans began smashing each other on the front rows to the point some people had to move to the back to be able to breathe and enjoy the rest of the show, and the fact they kept playing heavy and visceral tunes the likes of Attitude, Choke and Escape to the Void turned the venue into a cauldron of violence. The excellent tribal hymn Kaiowas brought some moments of peace to London, but of course all hell broke loose again once they played in a row the majestic Orgasmatron, Territory, Refuse/Resist and Arise. It was way crazier than their show in Toronto in 2024, I must admit.

Then after a quick drum solo by the ultra talented Greyson Nekrutman, who fells absolutely at home with Sepultura, the band put everyone to jump up and down, dance, slam into the pit, and therefore have the time of their lives with Ratamahatta, and of course with one of the best metal songs of all time, the incendiary Roots Bloody Roots. If that was indeed the first and last time Sepultura played in London, let’s say they did a phenomenal job, carving their place in the hearts of a lot of newcomers to their Sepulnation as countless fans were seeing them live for the very first time ever. I’ve seen them live already way too many times to remember, but I’ll never forget the energy in London. I had a long drive back home by myself in the middle of the night, but the adrenaline from the show was still flowing through my veins, making the drive a lot easier. Thank you for your music, Sepultura do Brasil, and if you want to somehow “cancel” your retirement and go back to London for another killer show, we will all be there for you.

Setlist
War Pigs (Black Sabbath song)
Polícia (Titãs song)
Beneath the Remains
Inner Self
Desperate Cry
Kairos
Means to an End
Attitude
Choke
The Place
Escape to the Void
Kaiowas
Dead Embryonic Cells
Agony of Defeat
Orgasmatron
Territory
Refuse/Resist
Arise
Drum Solo
Ratamahatta
Roots Bloody Roots

Band members
Derrick Green – lead vocals
Andreas Kisser – guitars, backing vocals
Paulo Jr. – bass
Greyson Nekrutman – drums

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