Tag Archives: death metal

Album Review – Leper Colony / Those of the Morbid (2025)

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The unstoppable Marc Grewe and Rogga Johansson are back with their infuriated sophomore album, once again bringing forth a ruthless, violent fusion of German and Swedish Death Metal styles with classic American influences.

The ruthless, violent result of wedding German and Swedish Death Metal styles with classic American influences, Death/Thrash Metal entity Leper Colony is back with  Those of the Morbid, the follow-up to their 2023 self-titled album, blasting our faces once again with their harsh, no shenanigans blend of extreme music. Recorded by Rogga Johansson at The Rotpit, with vocals and moth harp recorded by Marc Wüstenhagen at Daily Hero Recording Studios, mixed and mastered by Håkan Stuvemark at Necrotic Audio Productions, and featuring a classic Death Metal artwork by Felipe Mora, the new album by the infernal duo formed of Marc Grewe (Morgoth, Insidious Disease, Asinhell) on vocals and Rogga Johansson (Paganizer, Ribspreader, Revolting) on guitars and bass, supported by Håkan Stuvemark (Wombbath) on lead guitars, and Jon Rudin (Monstrous, Dead Sun) on drums is perfect for fans of Obituary, Death, Pestilence and Insidious Disease, delivering a pure, unfiltered fusion of Death and Thrash Metal with no fillers, just killers.

Håkan  and Rogga waste no time and kick off their shredding attack in Facing the Faceless, with Marc quickly joining his bandmates with his demented screams, followed by Masters Voice, a pulverizing fusion of Death and Thrash Metal led by the crushing beats by Jon, being perfect for some demented action inside the pit. Their hammering sounds continue to pound our cranial skulls in The Age of Insanity, with the band’s guitar duo extracting sheer aggression from their axes, and it’s time for a brutal, demented metal attack by Leper Colony titled Flesh to Rot to Ashes, with Jon demolishing his drums manically. and it looks like their thrashing Death Metal party has no time to end, as Realm of Madness once again presents the trademark scorching riffs by Rogga burning our skin mercilessly.

Then the metallic riffs and bass lines by Rogga set the tone in the also infuriated Those of the Morbid Inclination, offering more of the band’s blend of Death and Thrash Metal while Marc vociferates like a devilish creature; whereas it’s pedal to the metal in the frantic Apocalypse Whore, with Håkan kicking off the song with a wicked guitar solo before everything converges into a hurricane of thrashing and deadly sounds. Then featuring guest Oliver Recker armed with his mouth harp, Leper Colony crafts an overdose of heaviness in the gruesome, evil Creature from the Deep, an excellent depiction of their core sound. Lastly, after endless devastation the band offers the horror movie-inspired track A Story in Red, sounding dark and heavy albeit lacking the same punch as the rest of the album.

Rogga Johansson is undoubtedly one of the most hardworking musicians to ever arise from the Swedish metal scene, making it impossible to keep track of all of his bands and projects, but if there’s one band that deserves a listen from all of his endeavors, that’s Leper Colony. His partnership with Marc Grewe is amazing, and that synergy translates into an overdose of aggression and rage in the music by Leper Colony. Those unstoppable metallers are waiting for you on Facebook and on Instagram, they’re ready to kick your ass with their putrid sounds on Spotify, and you can obviously purchase Those of the Morbid from the band’s own BandCamp, from the Testimony Records’ webstore, or by clicking HERE, showing your support and admiration to the underground as a whole. Because it doesn’t matter if it’s with Leper Colony, Paganizer, Ribspreader or any other of his projects, Rogga Johansson is going to get you, no matter how far, nor how morbid.

Best moments of the album: Flesh to Rot to Ashes, Those of the Morbid Inclination and Apocalypse Whore.

Worst moments of the album: A Story in Red.

Released in 2025 Testimony Records

Track listing
1. Facing the Faceless 3:21
2. Masters Voice 3:40
3. The Age of Insanity 3:35
4. Flesh to Rot to Ashes 3:10
5. Realm of Madness 3:23
6. Those of the Morbid Inclination 3:49
7. Apocalypse Whore 3:31
8. Creature from the Deep 3:40
9. A Story in Red 4:14

Band members
Marc Grewe – vocals
Håkan Stuvemark – lead guitars
Rogga Johansson – guitars, bass
Jon Rudin – drums

Guest musician
Oliver Recker – mouth harp on “Creature from the Deep”

Album Review – Encelado / Pillars of Creation EP (2025)

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A debut EP of classic Death Metal made in Italy, paying tribute to the elephant trunks of interstellar gas and dust in the Eagle Nebula photographed by the Hubble Telescope from NASA on April 1, 1995.

Created by two old time friends sharing a passion for Extreme Metal, with its name taken from “Enceladus”, the sixth largest moon of Saturn, Italian Death Metal duo Encelado is set to unleash upon us their debut EP, entitled Pillars of Creation. Recorded and mixed at Umbra Studio, with band logo and album artwork designed by the band’s own Damien, and featuring guest drummers Max and Devin, the new EP by the aforementioned Damien on the guitars, bass, synths and backing vocals alongside Simone on vocals pays tribute to the elephant trunks of interstellar gas and dust in the Eagle Nebula photographed by the Hubble Telescope from NASA on April 1, 1995, with lyrics dealing with topics including space exploration, artificial intelligence, human consciousness, and death, while the music displays a solid mix of Aborted, All Shall Perish, Dying Fetus, Cannibal Corpse, and Suffocation.

Simone’s deep, otherworldly guttural will send shivers down your spine in Dark Nebulas, while Damien fires some sick Death Metal riffs and metallic bass lines and guest Max demolishes his drums mercilessly. Gravety, the second song of the EP, keeps the atmosphere dense and grim, with the bass lines by Damien sounding truly menacing, all boosted by the devilish guest drums by Devin. Then an overdose of hammering drums, visceral growls and classic Death Metal riffs will smash you like an insect in Fragments Of Fear, perfect for some wild headbanging, and the EP ends on a high note with the title-track Pillars Of Creation, where Simone’s deep, vile gnarls match perfectly with the brutal yet technical sounds crafted by Damien and Max, beautifully depicting their passion for Death Metal and, therefore, leaving us eager for more of their music in a not-so-distant future.

Pillars of Creation, which is available for purchase from the band’s own Big Cartel, might be short in duration, with only four songs in total, but it’s indeed an amazing debut by the duo formed of Simone and Damien, and a very good indication of where they’re headed to with Encelado. Who knows, maybe they’ll reach an unknown constellation in the near future with new music, right? And if you want to get in touch with the boys, you can find them on Instagram, as I’m sure they would love to hear what you have to say about their cosmic Death Metal music. I don’t think it will take long for them to release their first full-length album, and if it’s just half as good as Pillars of Creation, we’ll surely be very happy Death Metal fans.

Best moments of the album: Dark Nebulas and Pillars Of Creation.

Worst moments of the album: None.

Released in 2025 Regenerate Records

Track listing
1. Dark Nebulas 4:11
2. Gravety 3:25
3. Fragments Of Fear 3:34
4. Pillars Of Creation 2:58

Band members
Simone – vocals
Damien – guitar, bass, synths, backing vocals

Guest musicians
Max – drums on “Dark Nebulas”, “Fragments Of Fear” and “Pillars Of Creation”
Devin – drums on “Gravety”

Album Review – Disfuneral / In Horror, Reborn (2025)

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This Archaic Death Metal entity from France will crush your souls armed with their sophomore album, delving deeper into themes of death, gore, and horror.

Formed in 2015 in Nancy, France, Disfuneral emerged from the remnants of the band Herpes, embracing a raw and unfiltered approach to Death Metal. Crafting a sound that pays homage to the early days of Death Metal while infusing their unique sense of humor and personality, calling their style as “Archaic Death Metal”, the band formed of Renaud Mann on vocals, Florian Brabant on the guitar, Clément Favre on bass and Nicolas Bauer on drums is set to unleash hell with their sophomore opus, entitled In Horror, Reborn. Recorded by the band itself (vocals, guitars, bass) and by Fabien Cruzille (drums), mixed and mastered by Robert Pehrsson at Studio Humbucker, and displaying a monstrous artwork by Jon Whiplash, the follow-up to their 2022 album Blood Red Tentacle delves deeper into themes of death, gore, and horror, encapsulating the band’s signature sound by blending ferocious riffs, guttural vocals and pounding rhythms, reflecting their strict dedication to the genre’s roots.

Simply hit play and a massive wall of sounds will crush you like an insect in Catacomb Dwellers, with Florian and Clément slashing their stringed axes in the name of classic Death Metal, and it’s pedal to the metal in the infuriated Tombs Vomiting the Dead, led by the hammering drums by Nicolas while Renaud barks and roars manically nonstop. The lancinating, visceral riffs by Florian will pierce your soul in Ripped from Within, a Death Metal beast that sounds and feels as dark and heavy as it can be, whereas Crypt of Demented lives up to its “charming” name, offering an overdose of heaviness and guttural vociferations, with the metallic bass by Clément walking hand in hand with Nicolas’ pounding drums.

Then adding a bit of Crust to their core Death Metal we have Extremity in Morbidity, a fast and furious tune spearheaded by Renaud’s demented roars, and investing in a much more somber, cadenced sound presenting hints of Doom Metal the band brings forward Dark Ages Ritual, with Clément’s bass sounding beyond heavy. Blessed by Decay is another slab of brutality and savagery by those French bastards, with Nicolas dictating the song’s frantic pace with his unstoppable beats, followed by the title-track In Horror, Reborn, presenting everything we love in Death Metal and more, sounding ruthless from start to finish and inviting us all for some wild mosh pit action. The band then closes the album on a high and demolishing note with Call from the Void, again showcasing Florian’s caustic riffage and Renaud’s deranged vocals.

In a nutshell, fans of bands the likes of Autopsy, Entombed, Necrot and Death Breath will certainly have an excellent time listening to In Horror, Reborn, and you can join those ruthless death metallers by following them on Facebook and on Instagram, by streaming their music on Spotify, and above all that, by purchasing their demented new album from Bandcamp or from the Redefining Darkness’ webstore (in the United States or in the EU and rest of the world). Disfuneral are definitely among us to spread gore, violence and death armed with their unrelenting music, with In Horror, Reborn representing a solid step further in their career and, consequently, a very good reason for us all to dive into the pit to the sound of our beloved Death Metal.

Best moments of the album: Tombs Vomiting the Dead, Extremity in Morbidity and In Horror, Reborn.

Worst moments of the album: Dark Ages Ritual.

Released in 2025 Redefining Darkness Records

Track listing
1. Catacomb Dwellers 4:19
2. Tombs Vomiting the Dead 3:59
3. Ripped from Within 3:34
4. Crypt of Demented 4:52
5. Extremity in Morbidity 2:37
6. Dark Ages Ritual 3:50
7. Blessed by Decay 4:16
8. In Horror, Reborn 3:22
9. Call from the Void 4:30

Band members
Renaud Mann – vocals
Florian Brabant – guitar
Clément Favre – bass
Nicolas Bauer – drums

Album Review – Felgrave / Otherlike Darknesses (2025)

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This one-man project from Norway breaks the mould and offers three lengthy tracks that flow in an intuitive, undulating, almost whimsical manner, touching upon several styles and effortlessly shape shifting through them all.

After dropping its well-received debut album A Waning Light back in 2020, Viken, Norway-based entity Felgrave has crafted an ingenious album melding influences of Avantgarde Black, Death and Doom Metal in a way rarely done before, entitled Otherlike Darknesses, breaking the mould and offering three lengthy tracks that flow in an intuitive, undulating, almost whimsical manner, touching upon several styles and effortlessly shape shifting through them all. Mixed by the project’s mastermind, vocalist, guitarist, bassist and keyboardist M. L. Jupe, mastered by Brendan Sloan, featuring session drummer Robin Stone (Evilyn, Norse), and displaying another beautiful artwork by Adam Burke of Nightjar Illustration, Otherlike Darknesses is a multi-faceted opus and yet has a fairly cohesive sound with exceptional song writing, always engaging while also being unpredictable.

M. L. Jupe ignites his blackened machine armed with his scorching riffs and a menacing atmosphere in Winds Batter My Keep, sounding disturbing, avantgarde and addictive all at once, with the puissant drums by Robin adding an extra dosage of heaviness to the music, resulting in a sonic creature arising from the underworld ready to consume us all. After such a bludgeoning beast we face Pale Flowers Under an Empty Sky, the “shortest” song of the album (which still surpasses the 12-minute mark), beginning in a sinister manner until all morphs into an experimental, dissonant display of Black and Death Metal led by M. L. Jupe’s visceral growls and infernal riffage, also showcasing ethereal, soothing passages; building an instant bridge with the colossal title-track Otherlike Darknesses, offering us all mere mortals 18 minutes of grandiose Avantgarde Black and Death Metal. Futhermore, M. L. Jupe and Robin are on fire during the entire song, demolishing our senses and piercing our minds with their wicked vociferations, incendiary riffs and pulverizing drums, while also bringing forward so many breaks, variations and cryptic moments it feels like countless songs in one in the end.

“I’m super glad to have found a label so excited to release Otherlike Darknesses, an album of experimental, avantgarde extreme metal with many diverse influences, namely 20th century classical music, 70s symphonic prog rock, and the weirder side of 90s black and death metal. The music herein is a meticulously crafted dark yet colourful tapestry that goes far beyond anything I’ve done before, and will reward diligent and attentive enjoyers of unique extreme metal for countless repeats,” commented M. L. Jupe about his newborn spawn and his partnership with the always amazing Transcending Obscurity Records, and you can put your damned hands on such a unique album of extreme music by purchasing it from the label’s Bandcamp, main store, Europe store, or US store, keeping in mind it comes as a hand-numbered eight-panel digipak with full color printing and a metallic effect throughout, in addition to gloss raised UV lamination done on parts of the artwork, a download code and transparent logo stickers. Don’t forget to also see what M. L. Jupe and his Felgrave are up to on Facebook while listening to his new album, embarking on a multi-layered, classy and embracing journey across an array of music styles, all masterfully brought into being by a Norwegian lone wolf that definitely knowns how to turn music into a work of art.

Best moments of the album: Otherlike Darknesses.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Winds Batter My Keep 18:09
2. Pale Flowers Under an Empty Sky 12:29
3. Otherlike Darknesses 18:00

Band members
M. L. Jupe – vocals, guitar, bass, keyboards, programming

Guest musicians
Robin Stone – drums (session)

Album Review – Wurmian / Immemorial Shrine (2025)

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Enter the shrine of first-class Melodic Death and Doom Metal crafted by this one-man project from France, and let the echoes from his debut album guide you on a brooding and immersive journey through sorrow, introspection, and existential desolation.

Founded in 2024 by Antoine Scholtès, the mastermind behind Atmospheric Black Metal project Inherits The Void, Clermont-Ferrand, Auvergne-Rhône-Alpes, France-based act Wurmian emerges with a mission to resurrect the essence of classic Melodic Death and Doom Metal. Drawing inspiration from the melancholic and introspective tones of bands like October Tide, Horrified, and Edge of Sanity, the project’s debut offering, titled Immemorial Shrine, embraces the duality of soaring melodies and crushing heaviness. Mastered by Simon Da Silva at The Empty Hall Studio, and displaying a classic logo by Dipayandas Art and a stunning, doomed artwork by Silvana Massa, Immemorial Shrine is a somber odyssey into solitude and decay, a brooding and immersive journey through sorrow, introspection, and existential desolation, turning it into a compelling listen for fans of both classic and modern death and doom.

Antoine begins embellishing the airwaves with his melodious guitar lines in Aeon Afterglows, reminding me of both old school and contemporary Paradise Lost with a harsher twist; whereas in the title-track Immemorial Shrine he showcases all his passion for Black and Death Metal without forgetting to add a good share of Doom and Gothic Metal to his sound, and the final result is simply beautiful. His Melodic Doom Metal attack goes on in Haven, with his guttural vocals and pounding drums being perfect for some sick headbanging, and our lone wolf speeds things up in Spires of Sorrow, offering a rawer, more direct Death Metal attack led by his classic beats and fills. Then back to a more pensive, melancholic sonority, Antoine roars with tons of anguish in Yearning Unseen, also delivering piercing, sharp riffs, followed by Sleeping Giants, another stunning composition by this multi-talented French musician that overflows Atmospheric Black and Death Metal for our total delight. And the closing song of the album, The Everflowing Stream, is another lecture in Doom Metal, with Antoine enhancing the acidity of his riffs and the depth of his Stygian roars for our vulgar delectation.

In the end, prepare to embark on a melancholic odyssey that echoes the spirit of the 90’s Death and Doom Metal while forging a path into the present in Immemorial Shrine, already available in full on YouTube and on Spotify. Hence, don’t forget to follow the project on Facebook and on Instagram for news, and maybe some live performances in the future in case Antoine assembles a live band for his shows, and above all, to purchase  Immemorial Shrine from  Wurmian’s own BandCamp or from the Pest Records’ BandCamp, or simply by clicking HERE. After all is said and done, simply enter the shrine of first-class Melodic Death and Doom Metal crafted by Wurmian. Let the echoes guide you.

Best moments of the album: Immemorial Shrine, Haven and Sleeping Giants.

Worst moments of the album: None.

Released in 2025 Pest Records

Track listing
1. Aeon Afterglows 4:55
2. Immemorial Shrine 4:54
3. Haven 6:33
4. Spires of Sorrow 4:36
5. Yearning Unseen 5:27
6. Sleeping Giants 5:21
7. The Everflowing Stream 7:19

Band members
Antoine Scholtès – vocals, all instruments

Album Review – Morbific / Bloom of the Abnormal Flesh (2025)

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This rotten-to-the-core Death Metal trio from Finland is back with their ruthless third studio album, their best, darkest and most disgusting melding of form and content to date.

A rotten-to-the-core, festering, mouldering and disgusting Death Metal trio (de)formed in the filthy and profaned boneyard of Kitee, Finland in early 2020, featuring Jusa Janhonen on vocals and bass, Olli Väkeväinen  on the guitars, and Onni Väkeväinen on drums, Morbific are ready to demolish our putrid souls with their third full-length album, titled Bloom of the Abnormal Flesh, a ruthless display of classic Death Metal that follows up on the horror and insanity of their 2021 debut Ominous Seep of Putridity and their 2022 sophomore album Squirm Beyond the Mortal Realm. Recorded by Jesse Räsänen at Vaskela Metal Forgery, produced by Morbific, mixed by the band’s own Jusa Janhonen, mastered by Mikko Saastamoinen, and displaying a sick cover art by Chase Slaker (with additional art by Martyrdoom Illustrations), Bloom of the Abnormal Flesh is undoubtedly Morbific’s best melding of form and content, conveying its dark, disgusting, and unconventional aura across every element.

A sinister intro quickly explodes into a filthy, raw Death Metal attack titled Smut Club (For the Chosen Scum), with Jusa roaring deeply supported by the bestial drums by Onni, and the trio goes full Death Metal in Panspermic Blight, pounding our putrid souls with their scorching riffs and demented beats and vociferations. Menagerie of Grotesque Trophies carries a beautiful title for a display of pure savagery, with the gore infested guttural by Jusa sending shivers down our spines; followed by Promethean Mutilation, living up to the legacy of 90’s Death Metal, sounding ruthless and vile with Olli extracting sheer aggression from his riffs and solos. And Womb of Deathless Deterioration (Trapped in the Essence of Putrescence) is another slab of brutality by Morbific, exhaling heaviness thanks to the grim roars by Jusa, despite sounding a bit generic if compared to the previous songs.

Then the Stygian, horror movie-like interlude Stifling Stagnant Reek will darken your minds and thoughts before Crusading Necrotization brings forward the trio at their most inhumane shape and form, blending their core Death Metal with the obscurity of Blackened Doom. Hydraulic Slaughter also showcases a “charming” name for a beyond heavy and demonic tune led by the razor-edged riffage by Olli; whereas From Inanimate Dormancy offers our damned ears almost six minutes of violence and gore blasted by the band, or in other words, it’s a headbanging tune led by the infernal growling by Jusa. Bloom of the Abnormal Flesh (A Travesty of Human Anatomy) is yet another six-minute descent into a world of violence and obscurity, with the crushing drums by Onni hammering our cranial skulls nonstop in great fashion, and last but not least, they still have energy left for one final attack titled Slithering Decay, offering two minutes of classic Death Metal spearheaded by Olli’s savage riffs.

The unrelenting, filthy Finnish bastards of Morbific are waiting for you on Facebook and on Instagram with more of their gore infested music, their tour dates and so on, and don’t forget to also stream all of their demented creations on Spotify or on any other platform available out there. Furthermore, in order to show them your utmost support and your deep passion for Death Metal, you can purchase a copy of the infernal Bloom of the Abnormal Flesh from their own BandCamp or from the Me Saco Un Ojo Records’ BandCamp, proving you’re a loyal servant of all things Death Metal. I guess it won’t take long for us to hear from Morbific again in the near future, blasting our faces with another slab of violence and gore like what’s found in their new album, and I bet you’re all eager for more of the depraved music crafted by such an amazing trio from Finland.

Best moments of the album: Panspermic Blight, Promethean Mutilation and Bloom of the Abnormal Flesh (A Travesty of Human Anatomy).

Worst moments of the album: Womb of Deathless Deterioration (Trapped in the Essence of Putrescence).

Released in 2025 Memento Mori/Me Saco Un Ojo

Track listing
1. Smut Club (For the Chosen Scum) 3:48
2. Panspermic Blight 3:51
3. Menagerie of Grotesque Trophies 4:35
4. Promethean Mutilation 3:29
5. Womb of Deathless Deterioration (Trapped in the Essence of Putrescence) 5:04
6. Stifling Stagnant Reek 1:25
7. Crusading Necrotization 4:16
8. Hydraulic Slaughter 3:53
9. From Inanimate Dormancy 5:58
10. Bloom of the Abnormal Flesh (A Travesty of Human Anatomy) 6:01
11. Slithering Decay 2:04

Band members
Jusa Janhonen – vocals, bass
Olli Väkeväinen  – guitars, backing vocals
Onni Väkeväinen – drums

Album Review – Grey Mountain / Grey Mountain (2025)

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A transatlantic metal project featuring members of several renowned acts strikes with their debut offering, a crushing fusion of Heavy, Death and Doom Metal with Post-Metal and other discordant influences.

A transatlantic metal project featuring members of Monsterworks, Bull Elephant, Construct of Lethe, and Black Harvest, Grey Mountain are unleashing upon us their self-titled debut opus, offering our avid ears a crushing fusion of styles from Heavy, Death and Doom Metal to Post-Metal and other discordant influences. Recorded by the band itself, mixed by vocalist and guitarist Jon Higgs (Thūn, Moose Cult), mastered by Dan Swanö at Unisound, and displaying a stylish artwork by guitarist and bassist Kishor Haulenbeek (Black Harvest, Construct of Lethe, In Human Form), the debut album by the aforementioned Jon and Kishor, alongside drummer James Garnett (Monsterworks), will hit you right in the jugular without a single drop of mercy, proving those three talented musicians are not fooling around with their new partnership.

The minimalist guitar lines by Jon and Kishor and the sluggish beats by James set the tone in Grey Mountain, offering a sharp fusion of Doom and Post-Black Metal, or in other words, the music couldn’t have represented better the name of the song (and also of the band). Perpetual Imbalance might be shorter in duration, but it’s as harsh and visceral as the opening track, with James hammering his drums in the name of modern-day Sludge Metal; followed by A Universal Evil, another melodic yet grim creation by the trio, offering a dynamic guitar duel between Jon and Kishor, being therefore perfect for breaking your neck headbanging. Then presenting a pure Post-Metal sonority we have Hermitage, with Jon’s anguished roars sounding beautifully haunting; whereas Many Shades, A Storm starts in a more introspective, serene manner before evolving into a not-so-exciting Post-Metal feast led by James’ classic beats. It’s time for the trio to crush their instruments in Decline and Fall, with Jon roaring like a beast amidst a modern-day fusion of Post-Metal with Doom and Sludge Metal, and the band fires one last breath of heavy and melodic sounds in the form of Living Mythology, with their riffs and solos sounding caustic and piercing until the very end.

Having already a second album planned in a not-so-distant future, Grey Mountain deliver an overdose of heaviness in their self-titled debut offering, which you can purchase from Ampwall or from BandCamp. Also ,although the band itself doesn’t have any official social media yet, you can get more details about the whole project as well as other projects from Jon’s Instagram, and who knows, maybe sooner than we can say “metal” we’ll see those guys hitting the stage together as Grey Mountain. Based on the quality of the music found in their debut, I think we all agree we need that to happen.

Best moments of the album: Grey Mountain, Hermitage and Living Mythology.

Worst moments of the album: Many Shades, A Storm.

Released in 2025 Eat Lead and Die Music

Track listing
1. Grey Mountain 6:39
2. Perpetual Imbalance 3:39
3. A Universal Evil 7:27
4. Hermitage 6:35
5. Many Shades, A Storm 4:30
6. Decline and Fall 3:52
7. Living Mythology 5:48

Band members
Jon Higgs – guitars, vocals
Kishor Haulenbeek – guitar, bass, vocals
James Garnett – drums

Album Review – Usquam / Ex Nihilo (2025)

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One of the most promising hordes hailing from France attacks with a beyond stunning fusion of Black, Death, Doom and Post-Metal, exploring the depths of the human soul.

Since their inception back in 2018, Paris, France-based horde Usquam (also stylized in capital letters as USQUAM, a Latin adverb that means “anywhere” or “in any place”) has been shaping their own version of “blackened metal music” by combining Black, Death, Doom and Post-Metal, always with endless violence and melancholy. Now in 2025 the band formed of newcomer Jessy “Christ” Vignolle on vocals alongside guitarists Etienne “Eithenn” Gonin and Jonathan “Draugr”, and bassist Alain “Alwan” Nicolle has just unleashed upon us their first full-length opus, entitled Ex Nihilo, following up on their 2021 EP Reborn. Produced, mixed and mastered by Fred Gervais at Studio Henosis, the album showcases a central concept related to the ”Primordial Tradition”, a fundamental human experience that some believe contains all truths of all religions. Add to that the fact their lyrics explore the depths of the human soul in French, English and Latin, and there you have a bold, dense, detailed and captivating album of extreme music that’s at the same time meaningful and haunting.

Altar Ego sounds utterly atmospheric and enfolding from the very first second, with the band’s Post-Black Metal vein pulsing majestically, led by the deep, anguished roars by Jessy; whereas Etienne and Jonathan sound inhumane armed with their caustic riffs in Axis Mundi, offering us all a crushing, scorching fusion of Black and Death Metal. Then we’re treated to Athanor with its over six minutes of absolute darkness, sending shivers down our spines in the best Blackened Death Metal way possible while Alain pounds his bass with endless fury and dexterity; and a sinister, ritualistic intro explodes into an overdose of violence and obscurity led by the demented harsh screams by Jessy in Ego Sum (Qui Sum), while Alain once again destroys his bass, all spiced up by a striking solo by Etienne. And investing in a more lugubrious Doom Metal sonority we have Arcana Nox, with the cryptic sounds of Post-Black Metal adding a welcome extra dosage of heaviness to the overall result.

Their venomous sounds keep permeating the air in Egocide, with its more symphonic background enhancing its epicness, all while Jessy continue to growl like a true she-demon, followed by the thunderous The Mast, the most complex, intricate and multi-layered of all songs, a lecture in Blackened Death, Doom and Post-Metal with a melancholic, atmospheric start morphing into a pulverizing attack by the band. Moreover, whoever played drums in this album is indeed a headbanging beast. There’s still time for another melodic yet vile creation by Usquam titled Symbol, with the metallic, in-your-face bass lines by Alain hitting our cranial skulls mercilessly, and closing the album it’s time for a full Post-Black Metal aria entitled Persévérance, a majestic composition where Jessy sounds so anguished and desperate on vocals it’s beautiful and disturbing at the same time.

A melodic, symphonic and modern feast of Black Metal embraced by careful arrangements in which spirituality and philosophy are expressed, Ex Nihilo will certainly appeal to fans of bands the likes of Naglfar, Dimmu Borgir, Dark Funeral, and Gaerea, among many others, positioning Usquam as a force to be reckoned with in the underworld of extreme music. You can enjoy Ex Nihilo in all of its glory on YouTube and on Spotify, as well as on other streaming platforms, get to know more about such a unique band of the French scene by following them on Facebook and on Instagram, subscribe to their YouTube channel, and of course purchase a copy of this precious gem of heavy music from the Source Atone Records’ webstore as a digipak CD + booklet or as a very special digipak CD + booklet + shirt combo (or simply click HERE for all things Usquam). “Ex nihilo” is a Latin phrase meaning “out of nothing”, referring to “creatio ex nihilo”, the belief that matter is not eternal, but had to be divinely created; having said that, what are you waiting for to join one of the most promising names of the metal scene worldwide in their metallic studies of the human soul?

Best moments of the album: Axis Mundi, Ego Sum (Qui Sum), The Mast and Persévérance.

Worst moments of the album: None.

Released in 2025 Source Atone Records

Track listing
1. Altar Ego 5:07
2. Axis Mundi 4:32
3. Athanor 6:06
4. Ego Sum (Qui Sum) 3:28
5. Arcana Nox 4:19
6. Egocide 3:04
7. The Mast 5:31
8. Symbol 4:20
9. Persévérance 5:38

Band members
Jessy “Christ” Vignolle – vocals
Etienne “Eithenn” Gonin – lead guitars
Jonathan “Draugr” – guitars
Alain “Alwan” Nicolle – bass

Album Review – Reanimated / Vomit The Plague EP (2025)

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A horde of old school German metalheads will crush us all with their debut EP, celebrating carnage and domination just the way we like it in classic Death Metal.

A horde of old school Death Metal heads who worship the brutal god of the rotten, Kassel, Hesse, Germany-based entity Reanimated was formed in the beginning of 2022 from the ruins of different old Death Metal cults to spread mischief and showcase their passion and devotion for extreme music. Currently formed of vocalist Mike (from Melodic Death/Black Metal horde Dark Horizon, who released in 2024 the excellent album Darkness Falls Upon Mankind), guitarists Alex and Jörg, bassist Benni, and drummer Andre, Reanimated are ready to attack armed with their debut offering, a five-track EP entitled Vomit The Plague, celebrating carnage and domination just the way we like it in classic Death Metal.

Just hit play and you’ll face a cinematic intro titled Rebirth, with the desperate screams by an unknown woman setting a horrific tone in Infant Decapitation, a brutal, no shenanigans Death Metal avalanche blasted by the band where Mike sounds ruthless as usual on vocals supported by the classic beats by Andre. The title-track Vomit The Plague is even more infuriated thanks to the harsh riffage by Alex and Jörg, while Benni and Andre craft a beyond heavy kitchen for our total delight; whereas The Extinction is the perfect follow-up to the title-track, with the sirens in its intro warning the listener of the absolute chaos and despair that’s about to come, evolving into a demonic feast of old school Death Metal led by the harsh guitar lines by Alex and Jörg. Finally, let’s slam into the pit to the pulverizing two and a half minutes found in Flesh Collector, where Andre shows no mercy for his drums nor for our necks.

The ruthless horde known as Reanimator is waiting for you on Facebook, on Instagram and on YouTube with news, tour dates, and more of their music, and of course in order to show them your total support and admiration you can grab a copy of  Vomit The Plague from BandCamp, as well as stream it in full as many times as you want on Spotify. Now that Reanimated have finally left their obscure lair to spread evil across the world, I don’t think it will take too long for the band to unleash upon us their first ever full-length album, and if there’s one thing that can be said about that is that if they follow a similar pattern as the destructive music found in Vomit The Plague, it will be total chaos, violence and blood, always in the name of our beloved Death Metal.

Best moments of the album: Vomit The Plague and The Extinction.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Rebirth 1:07
2. Infant Decapitation 5:06
3. Vomit The Plague 5:31
4. The Extinction 5:38
5. Flesh Collector 2:38

Band members
Mike – vocals
Alex – guitar
Jörg – guitar
Benni – bass
Andre – drums

Album Review – Serenity in Murder / Timeless Reverie (2025)

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Japan’s own Melodic Death Metal beast returns with their stunning fifth opus, exploring the fragility of life, the complexities of human emotions and the eternal struggle between light and darkness.

Having carved their place in the Melodic Death Metal scene worldwide for almost 15 years, Tokyo, Japan-based Symphonic/Melodic Black/Death Metal outfit Serenity In Murder continues to push boundaries in 2025 with their latest masterpiece, entitled Timeless Reverie, their fifth studio album and the follow-up to their critically acclaimed 2021 opus Reborn, further refining their signature blend of raw aggression and symphonic beauty. Navigating a dark and emotional landscape, taking listeners on a journey through themes of time, destiny, inner turmoil and personal revolution, the new album by frontwoman Ayumu, guitarists Freddy and Ryuji, bassist Yu-ri and drummer Allen seamlessly weaves complex melodies, atmospheric symphonic elements, and crushing heaviness, exploring the fragility of life, the complexities of human emotions and the eternal struggle between light and darkness.

The band needs less than two seconds to already crush our souls in God Forsaken, as imposing, complex and heavy as it can be, led by the masterful drumming by Allen while all symphonic elements take its epicness to a whole new level; flowing into the also melodic yet visceral Matrix, reminding me of the sounds blasted by Soilwork, Children of Bodom and In Flames but with the band’s own technical Japanese twist. Freddy and Ryuji are on fire in Blue Roses Gracefully Fall, blasting sheer electricity through their lancinating riffs while once again the background orchestrations sound majestic, and it’s pedal to the metal in the melodeath feast entitled And the World Awake, where their guitars transpire heaviness supported by the rumbling kitchen by Yu-ri and Allen. Allen keeps hammering his drums nonstop in Never Defiled, while Ayumu roars and gnarls like a true she-demon for our total delight.

A Dance of Sorrow lives up to the legacy of Scandinavian Melodic Death Metal, with Ayumu once again stealing the spotlight with her piercing screams, whereas the band sets fire to the atmosphere in The Flames Ablaze, where the riffs and solos by Freddy and Ryuji will electrify your mind in great fashion. Revolt definitely sounds more modern than its predecessors, yet still raw and violent, with its vocal lines alternating between Melodic Death Metal and Metalcore, followed by the serene interlude Past: Timeless Reverie, bringing peace to our hearts before their new version of the song Noticed This Is the Betrayal, originally released in the 2015 album The Highest of Dystopia, sounding sharp and infuriated just the way we like it in melodeath, with Ayumu bursting her lungs by barking rabidly until the very end. Lastly, we have Hope: Timeless Reverie, a lengthy outro that despite sounding detailed and cinematic, takes away a tiny bit of the album’s punch due to its duration. It might have worked better if shorter or if it had vocals, but nothing to worry about as it’s still a good song.

After all is said and done, Timeless Reverie, which is by the way available in full on YouTube and on Spotify, showcases a band at the peak of their creativity and form, hopefully expanding their reach beyond their homeland and letting them spread their wings over other parts of the world like North America and Europe. Timeless Reverie is undoubtedly one of the precious gems of heavy music in 2025, and if you want to know more about the band and their music, you can find them on Facebook, Instagram and YouTube, and of course purchase a copy from BandCamp or by clicking HERE. The paradox between light and darkness (and no, I’m not talking about “Olbers’ paradox” in astronomy) seems to be a constant in heavy music, but few bands are capable of translating it into first-class, captivating music like what Serenity In Murder has to offer in their new album, turning it into a must-listen for anyone, and I mean anyone, who enjoys good music anywhere in the world.

Best moments of the album: God Forsaken, And the World Awake, Never Defiled and The Flames Ablaze.

Worst moments of the album: Hope: Timeless Reverie.

Released in 2025 Apostasy Records

Track listing
1. God Forsaken 4:13
2. Matrix 3:46
3. Blue Roses Gracefully Fall 4:08
4. And the World Awake 3:34
5. Never Defiled 4:40
6. A Dance of Sorrow 3:48
7. The Flames Ablaze 3:06
8. Revolt 3:18
9. Past: Timeless Reverie 1:25
10. Noticed This Is the Betrayal 3:28
11. Hope: Timeless Reverie 6:04

Band members
Ayumu – vocals
Freddy – guitars, clean vocals
Ryuji – guitars
Yu-ri – bass
Allen – drums