Tag Archives: doom metal

Album Review – Sepulchre by the Sea / Goldseeker EP (2026)

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This one-man Atmospheric Black Metal from the UK is back with a stunning three-track EP, inspired by three Edgar Allen Poe stories which reference ancient Egypt.

Having grown and evolved since its inception in 2019 from one man’s will to create Atmospheric Black Metal inspired by the works of Edgar Allen Poe into an increasingly ambitious studio project, Bristol, UK’s own entity Sepulchre by the Sea, the brainchild of vocalist and multi-instrumentalist Ashley Shannon, returns to its tried and tested mix of Atmospheric Black Metal, Shoegaze and Doom Metal, which has amassed a loyal following during its tenure, with a new three-track EP titled Goldseeker, following on the project’s previous efforts .​.​.​and So it Crumbles (2019), Conqueror Worm (2020), Ratiocinations (2021), and Seven Chambers (2024). Spanning over 27 minutes of dark and intense music, Goldseeker is inspired by the Edgar Allen Poe stories “Some Words with a Mummy,” “The Gold Bug” and ‘Ligeia,” all stories which reference ancient Egypt, beautifully translating the mysteries of the original stories into the extreme music played by Ashley and his Sepulchre by the Sea.

Ashley begins his trademark Atmospheric Black Metal attack with Blood of the Scarabeus, where his scorching riffs and blast beats give the song a stronger old school Black Metal vibe, not to mention his demonic gnarls and the song’s ethereal passages sound epic; while the title-track Goldseeker offers a striking fusion of Melodic and Atmospheric Black Metal, with Ashley extracting sheer agony, melancholy and pain from his harmonious guitar lines for our absolute delectation. And finally, Visions of Ligeia starts in a more introspective way to the doom-laden bass lines by Ashley, evolving into another modern-day beast of Atmospheric Black Metal where Ashly bursts his lungs screaming until the song’s dark finale to the sound of the bass and saxophone, putting a solid and climatic ending to the album.

With Goldseeker, Ashely once again managed to remain fresh, interesting and captivating even in a beyond saturated sea of Atmospheric Black Metal bands from all over the world, proving he still has a lot of fuel to burn in the coming years with his unique fusion of heavy music with the intoxicating stories crafted by the one and only Edgar Allen Poe. You can find more details about Sepulchre by the Sea on Facebook and on Instagram, stream his growing discography on any platform such as Spotify, and above all that, show Ashley your support and admiration for the darkest side of music by purchasing the EP from BandCamp. Ashley and his Sepulchre by the Sea never disappoint, and after such a thrilling EP I can’t wait to see what’s next for the “Edgar Allan Poe” of extreme music.

Best moments of the album: Blood of the Scarabeus.

Worst moments of the album: None.

Released in 2026 Anthrazit Records

Track listing
1. Blood of the Scarabeus 9:43
2.Goldseeker 6:48
3. Visions of Ligeia 11:34

Band members
Ashley Shannon – vocals, all instruments

Album Review – Konvent / Firesky (2026)

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Denmark’s own Death and Doom Metal witches return from the grave with their third opus, serving as both the atmospheric journey into the darkest depths of the soul and the guide out of the abyss.

Fiercely sinister and heavy as ever, Copenhagen, Denmark’s own Death/Doom Metal witches Konvent return from the grave with their third album, titled Firesky, following up on their critically acclaimed 2020 debut Puritan Masochism, and their scorching 2022 sophomore beast Call Down the Sun. Produced and recorded by Jacob Bredahl at Antfarm Studios, mixed by Jacob Bredahl at Dead Rat Studio, mastered by Brad Boatright at Audiosiege, and displaying a devilish artwork by the witch Nona Limmen, the new offering by Rikke Emilie List on vocals, Amira Liv Hernan on the guitars, Heidi Withington Brink on bass, and Julie Simonsen on drums is their bravest album yet. Constructed carefully, the record serves as both the atmospheric journey into the darkest depths of the soul and the guide out of the abyss. The Danish band goes to great lengths – literally and figuratively – to reshape the strong footprint they have already left in the scene. Five songs is all it takes the four-piece this time around to prove how incomparably weighty their sonic soundscapes can be, expanding on their influences and experiments significantly with Black Metal.

Exorcise is utterly heavy, dark and gloomy form the very first second, with Julie dictating the song’s lugubrious pace while Rikke delivers her deep, visceral roars nonstop for our absolute delight, with Amira’s Black Metal riffs also sounding haunting. Then we face Scorning, offering us all over nine minutes of sheer Doom Metal, also presenting delicate moments amidst the trademark heaviness blasted by the quartet, not to mention Amira and Heidi sound scorching armed with their axes. There’s nothing better than 11 minutes of undisputed, visceral doom like what they have to offer in In the Unknown, again presenting Rikke’s venomous gnarls supported by another overdose of scathing riffs by Amira while the amazing Julie keeps hammering her drums mercilessly, growing in intensity and darkness until its climatic, crushing and suffocating finale. Firesky, featuring guest vocals by Mai Soon Young Øvlisen (a Danish-Korean musician, composer, and vocalist for Experimental Post-Rock band Meejah), is absolutely melancholic and delicate yet still obscure and cryptic, with their vocals, guitars, bass and drums representing the epitome of modern-day Atmospheric Doom Metal, flowing into the touching, grim outro Postludium, putting a beyond embracing and emotional ending to the album.

“After four years, we are finally ready to release our third album, Firesky, as our most ambitious album yet. On this album we have experimented more with black metal, as it is a genre we are all very inspired by. Lyrically it has been impossible for us to ignore the political state of the world, and we have found it imperative to comment on the active decisions to withdraw basic human rights for women and LGBTQ people. Firesky is a screaming desire to burn everything down and to create a more solidary and empathic world,” commented the band, and you can start following those witches of doom on Facebook and Instagram, stream their music on Spotify, and put your blood-soaked hands on Firesky via BandCamp, via Napalm Records, or by clicking HERE. As aforementioned, get ready for an atmospheric journey into the darkest depths of the soul to the sound of the incendiary new opus by Konvent, and then arising from the abyss to the sheer power of their Doom Metal magic.

Best moments of the album: Exorcise, In the Unknown and Firesky.

Worst moments of the album: None.

Released in 2026 Napalm Records

Track listing
1. Exorcise 8:59
2. Scorning 9:20
3. In the Unknown 11:57
4. Firesky 7:53
5. Postludium 2:56

Band members
Rikke Emilie List – vocals
Amira Liv Hernan – guitars, backing vocals
Heidi Withington Brink – bass
Julie Simonsen – drums

Guest musician
Mai Soon Young Øvlisen – vocals on “Firesky”

Album Review – Besotten / Eye of the Monolithicrypt (2026)

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The Eye of the Monolithicrypt is watching us all, ready to drag us to the Stygian realm ruled by this talented American Death and Doom Metal band.

After releasing a well-received demo and a split, Portland, Oregon-based Death/Doom Metal outfit Besotten (an alternative or older form of the adjective “besotted,” meaning completely infatuated, foolishly in love, or intoxicated), who labels their music as a hybrid of “psyxhix death” and “existential doom,” is unleashing hell armed with their debut full-length album, entitled Eye of the Monolithicrypt, which they have meticulously worked on for the past few years. Mixed and mastered by Leon Del Muerte (who also took care of the vocal and guitar engineering), with drums engineered by Charlie Koryn, and displaying a demented artwork by Lord Serus, the new offering by Garth Purkett on vocals and bass, Patrick Sinn-Movilla on the guitars and synthesizers, and Andy Osborn on drums presents five songs which are a mix of short ones as well as those exceeding 10 minutes, and are rather diverse with each song having its own identity while maintaining an overall cohesive sound.

Mist of Decay already offers our putrid ears a striking fusion of Death and Doom Metal, as evil and harsh as it can be, with Garth stealing the spotlight with his demonic, deep gnarls, setting the stage for the bludgeoning Bathed in Insufferable Light, a ten-minute beast from the abyss showcasing the scathing riffs by Patrick and the slow and doomed beats by Andy, also presenting cryptic passages and a strong sense of hopelessness and despair. Their demented Death Metal side arises again in Cruentation, with the bass by Garth reverberating like the scream of a demonic entity, accompanied by another ruthless performance by Andy on drums; and the same Andy shows no mercy for his drums in Storming the Cerebral Citadel, sounding deadly and vile from start to finish, with the band’s Doom Metal soul burning majestically. Their longest songs are obviously their best, which is the case in Bloodcairn, where the striking riffs and solos by Patrick add layers of insanity to their already devilish sounds before all fades into the unknown.

In comparison to the other bands out there, the music by Besotten is more structured and fleshed out, amplifying all the best elements of this style, and remaining delectably crushing and foul, exactly like what they have to offer in Eye of the Monolithicrypt. Highly recommended for admirers of the music by Worm, Disembowelment, Hooded Menace, Abyssal Rift, and Undergang, just to name a few, Eye of the Monolithicrypt can be purchased from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Don’t forget to also follow the band on Instagram, stream their music on Spotify, or you can click HERE for all things Besotten. In other words, the Eye of the Monolithicrypt is watching us all, ready to drag us to the Stygian realm ruled by Besotten, and to trap us forever in eternal doom.

Best moments of the album: Bathed in Insufferable Light and Bloodcairn.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Mist of Decay 5:52
2. Bathed in Insufferable Light 10:00
3. Cruentation 4:39
4. Storming the Cerebral Citadel 4:07
5. Bloodcairn 11:37

Band members
Garth Purkett – vocals, bass
Patrick Sinn-Movilla – guitars, synthesizers
Andy Osborn – drums

Album Review – Moorah / The Beast Called Ego (2026)

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Succumb to the new opus by this ritualistic Black Metal entity hailing from Czechia, a testament to the darkness that dwells within.

A ritualistic Black Metal entity hailing from Prague, Czechia, originally established in 2019 as a one-man project by Count Hroozah, Moorah are entering a new era with their sophomore opus, titled The Beast Called Ego, moving towards a more massive and organic sound from their 2021 debut Marnost nad marnost. Recorded at Riversound Productions and Seabeast Production Studios, mastered by the iconic Jaime Gómez Arellano at Orgone Studios, and showcasing a sinister artwork by Aaron Bonogofsky of October Midnight, the new opus by Count Hroozah on vocals and guitars alongside Severan on bass, Silenthell on timpani, and FX Grond on drums, with Ashok (former guitarist of Cradle Of Filth) joining the ritual as a special guest, offers more of the band’s unique vision of apocalyptic Black Metal, blending the traditional elements of classic Czech and Norwegian acts with modern Post-Metal, Post-Punk, and Blackgaze techniques. A distinctive part of their identity lies in the lyrical depth provided by Count Hroozah, whose poetry, previously published in literary magazines, explores themes of faith and individual destiny within an apocalyptic world.

You can feel the darkness permeating the air from the very first second in Left Hand Of Darkness, with the cryptic vociferations by Count Hroozah walking hand in hand with the thunderous drums by FX Grond, whereas Breitspurbahn Egotrip begins in full force to the striking riffs by Count Hroozah, blending classic Black Metal with contemporary Melodic Black Metal in over eight minutes of absolute obscurity. Eternal Ahasver starts in a melodic, almost melancholic way, again presenting a heavy and dense sound thanks to the rumbling kitchen crafted by Severan and FX Grond, followed by Baptism Of Scum, the most ritualistic and atmospheric of all songs, with Severan, Silenthell and FX Grond once again making the earth tremble. Then scorching riffs and solos, not to mention an overdose of Doom Metal beats, set the tone in Vasa Ship, a solid black mass by the quartet; whereas Démon za krkem (a Czech phrase that translates to “a demon behind your neck,” used metaphorically and psychosomatically to describe a heavy, persistent psychological burden or stress that weighs a person down) also ventures through the lands of Blackened Doom Metal, sounding very sinister and detailed, with its multiple layers and passages taking us on a visceral journey though the dark spearheaded by Count Hroozah’s caustic vocal lines.

“The motif, together with the album title The Beast Called Ego, represents a whispering entity that at first appears as a supportive friend. Yet the moment you surrender to its temptations, it watches your downfall with a grin and quiet satisfaction. Almost everyone has, at some point, succumbed to its false call through the influence of our own egos,” commented the band about the artwork, the title, and the music found in their newborn spawn, inviting us all to join them in darkness via Facebook and Instagram, to stream their music on Spotify, and to grab a copy of The Beast Called Ego by clicking HERE. The Beast Called Ego is a testament to the darkness that dwells within, further cementing Moorah’s place as a vital force in the contemporary extreme underground.

Best moments of the album: Breitspurbahn Egotrip and Démon za krkem.

Worst moments of the album: None.

Released in 2026 Art Gates Records

Track listing
1. Left Hand Of Darkness 6:07
2. Breitspurbahn Egotrip 8:27
3. Eternal Ahasver 5:26
4. Baptism Of Scum 5:33
5. Vasa Ship 5:54
6. Démon za krkem 7:43

Band members
Count Hroozah – vocals, guitars
Severan – bass
Silenthell – timpani
FX Grond – drums

Guest musician
Ashok – guitars

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 – 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 – JANVS / Fatum Est EP (2026)

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After over a decade of silence, one of the best-kept secrets in the Italian underground scene is rising from the ashes with a new EP where each song draws on a myth, a figure, or an episode from the Hellenic tradition.

After over a decade of silence, one of the best-kept secrets in the Italian underground scene is rising from the ashes. JANVS, the Roman god of beginnings, passages and endings, is a Progressive Black Metal entity formed in Genoa over two decades ago, which may have fallen through the tides of time for many, but never really forgotten. Now in 2026 the band formed of Matteo “Vinctor” Barelli on vocals, guitars, keyboards and programming, Claudio “Malphas” Fogliato on bass, and Massimo “m:A Fog” Altomare on drums returns from the waves of the Mediterranean sea with a new EP titled Fatum Est, which translates from Latin as “it is fate” or “it is destiny,” following up on their 2014 full-length offering Nigredo. Produced and mastered by the legendary Dan Swanö at Unisound, and displaying as its artwork the piece Studio per la Gorgone e gli Eroi (1890-1899) by Italian artist Giulio Aristide Sartorio, the EP is comprised of five songs where each song draws on a myth, a figure, or an episode from the Hellenic tradition, reshaping and deconstructing its narrative into an existential vision that is both intimate and universal.

The trio kicks off their feast of progressiveness and fury with Bucefalo, with the scathing riffs by Matteo walking hand in hand with his own roars and the massive beats and fills by Massimo. Then a serene intro evolves into another dark and visceral sound in Filo d’Arianna, slower and more introspective, bringing elements of Doom Metal to their core sonority while also exploding in absolute Black Metal magic; followed by Argonauti, a more straightforward blend of Progressive Black and Death Metal where Claudio and Massimo will crack the sky with their thunderous bass and drums. Quis tantus furor is perhaps the most experimental and diverse of all songs, flirting with Dissonant Death Metal at times, with Matteo once again vociferating like a demonic entity, before we face Gaugamela, which reeks of 90’s Swedish Black Metal. Moreover, all gnarling vocals, blast beats and obscure passages turn it into a must-listen for fans of the genre.

Dedicated to those who defy the gaze of the gods, burning without oxygen in infinitesimal and eternal moments of beauty and death, drowned in the void of a cosmos eternally identical to itself, devoid of any purpose, Fatum Est moves forward from the softer atmospheres of their 2008 album Vega, overflowing intensity and desperate cosmic ferocity. You can get to know more about JAVS via Facebook and Instagram, stream their unique music on Spotify, and of course put your hands on Fatum Est from the Avantgarde Music’s BandCamp or Sound Cave. Your destiny is sealed, and JANVS will make sure the soundtrack to your journey is heavy and electrifying armed with their newborn spawn.

Best moments of the album: Filo d’Arianna and Gaugamela.

Worst moments of the album: None.

Released in 2026 Avantgarde Music

Track listing
1. Bucefalo 3:44
2. Filo d’Arianna 4:19
3. Argonauti 4:41
4. Quis tantus furor 6:17
5. Gaugamela 3:48

Band members
Matteo “Vinctor” Barelli – vocals, guitars, keyboards, programming
Claudio “Malphas” Fogliato – bass
Massimo “m:A Fog” Altomare – drums

Album Review – Enslaved / Mið (2026)

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Immune to the familiar rock narratives, these unstoppable Norwegian Progressive Black and Viking Metal masters are back with their stunning seventeenth studio offering.

Immune to the familiar rock narratives, and celebrating 35 years of existence, Norwegian Progressive Black/Viking Metal masters Enslaved are back with their seventeenth studio offering, titled Mið, an Old Norse word for “centre,” or “middle,” marking another departure, and another new beginning. Recorded at Duper Studio, Solslottet Studio, Personal Sound, Conclave & Earshot Studios, and Scandinavia House, mixed and mastered at Fascination Street Studios, and displaying a cryptic artwork inspired by a Bronze Age stone monument found in the township of Skjeberg, Østfold Norway, near the Swedish border, but removed by a museum in the 1960’s, the follow-up to their 2020 album Utgard and their 2023 opus Heimdal sees the band formed of vocalist and bassist Grutle Kjellson, guitarists Arve Isdal and Ivar Bjørnson, keyboardist and pianist Håkon Vinje, and drummer Iver Sandøy build their unique, expansive cosmology from a vital new starting point. With the swerving prog flourishes and krautrock wormholes dialed back, these eight tracks fizz with a newfound clarity and purpose while casting yet more illumination on the band’s kaleidoscopic palette. “I’ve come to realize that this is a really positive album. It’s about growth, it’s about digging yourself out of a pit, and it’s about leaving yourself open to the element of surprise. It’s about all the possibilities of being a human being,” commented Grutle Kjellson.

The cold and enfolding intro Non-Being sets the tone for the band’s darkened feast of melancholy in the form of I Am Ice, featuring guest Johan Sara Jr, a Sami musician and a central Sami composer, producer, teacher, arranger, actor and performer of contemporary music with roots in the Sami tradition. Needless to say, the song is an explosion of Enslaved’s core prog madness, and the same can be said about Solar Will, showcasing poetic lyrics vociferated by Grutle (“Son of cosmic wisdom / Son of Mother Earth / The starlight at the center / The illuminated I / Drowned in dreams of blood / Pierced by merciless vanity / The starlight at the center / The illuminated I”) accompanied by the hammering drums by Iver. And Mountain is by far the most experimental of all songs, and although the heaviness is there (in special through the devilish kitchen by Grutle and Iver), it’s not as exciting as the other songs.

Spirit Helper, featuring vocals by Kevin Kicking Woman, an esteemed Native American educator from the Blackfeet Nation who made history as Montana’s first-ever Native American Teacher of the Year, is a tribalistic tune that unites Kevin’s vocals with the heaviness of the guitars by Arve and Ivar; whereas they go full Progressive Black Metal in the eight-minute aria titled Parting, with their riffs once again clashing in a beautiful way with the keys by Håkon, alternating between stormy moments and delicate passages. Tales of Trees brings forward the perfect balance between Black and Progressive Metal, with Iver  sounding insane on drums from start to finish, followed by I Miðju, a more atmospheric and pensive aria by the band including elements of Doom Metal to make things heavier and darker, with Grutle  once again sounding bestial on vocals until the song’s Stygian finale.

A album that sheds light on harmonies and dialogues embedded all around us, between the ways of the past, and how they can bring enlightenment to the present, between small kernels of truth and their ability to project onto the most universal on canvases, and between band members relying on instinct and each other to create a record that galvanizes on every possible level, Mið is another solid stone in the unbreakable castle built by Enslaved through the years. “I started with the songwriting very shortly after Heimdal, but I had a feeling that the old ways didn’t work anymore. I’d always been chipping away, playing on the guitar and then on keyboards, something would happen then I’d work on that. But once I had a bunch of demos, none of it felt like it was good enough to follow up on Heimdal. It felt like we had to go somewhere else,” said Ivar Bjørnson. Needless to say, you can get in touch with Enslaved via Facebook and Instagram, subscribe to their Youtube channel, stream their music on Spotify or Apple Music, and of course purchase Mið from Bandcamp or several other locations. Because the excellent Mið represents the past, the present, and a new beginning for a band that’s never tired of stunning us all with their first-class heavy music.

Best moments of the album: I Am Ice, Parting and Tales of Trees.

Worst moments of the album: Mountain.

Released in 2026 Nuclear Blast Records

Track listing
1. Non-Being 1:19
2. I Am Ice 5:02
3. Solar Will 4:39
4. Mountain 5:46
5. Spirit Helper 4:52
6. Parting 8:16
7. Tales of Trees 4:43
8. I Miðju 7:16

Band members
Grutle Kjellson – vocals, bass, keyboards
Arve Isdal – lead guitars, acoustic guitars, backing vocals
Ivar Bjørnson – guitars, acoustic guitars, keyboards, effects, backing vocals
Håkon Vinje – keyboards, piano, clean vocals
Iver Sandøy – drums, percussion, keyboards, effects, clean vocals

Guest musicians
Johan Sara Jr – vocals on “I Am Ice”
Kevin Kicking Woman – vocals on “Spirit Helper”

Album Review – Urna / The Great Jihad (2026)

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Italy’s own Black and Funeral Doom Metal architects return after a long hiatus with their fifth full-length opus, approaching the notion of duality from an esoteric perspective and exploring its many manifestations.

Active in the Extreme Metal underground for more than two decades, Cagliari, Italy’s own esoteric Black and Funeral Doom Metal architects Urna return after a long hiatus with their fifth full-length opus, titled The Great Jihad, the follow-up to their 2013 effort Mors Principium Est. Recorded through multiple sessions between 2014 and 2025 across Italy and the United Kingdom, before being mixed and mastered by the band’s own guitarist MZ at 322 Studio in early 2026, and displaying a colossal artwork by Francesco Gemelli, the new opus by RM on vocals, MZ on the guitars and synthesizers, T (Sangue Nero) on bass, and Sibilans (Anamnesi, Simulacro) on drums is more poisonous and tense than its predecessors, retains the crushing atmosphere and funeral doom connection that have long defined Urna, while pushing their faster passages towards a harsher, more abrasive form of Black Metal. The conceptual framework once again expands RM’s personal spiritual journey through Hermetism, approaching the notion of duality from an esoteric perspective and exploring its many manifestations.

The first half of the album, named Creator, kicks off with First of Three, sounding cadaverous and grim from the very first second, with the harsh vociferations by RM sending shivers down our spines while Sibilans brings absolute heaviness with his blast beats, flowing into Second of Three, just as caustic and visceral as the first song, with MZ slashing his axe in the name of evil, sounding imposing and heavy as hell just the way we like it in Black Metal. And Third of Three starts in a serene, ethereal way before exploding into absolute chaos and heaviness, blending Black and Doom Metal in great fashion to the pounding drums by Sibilans, therefore concluding the album’s first act majestically.

Then we face the second act titled Created, starting with the title-track The Great Jihad, a more epic take on the band’s trademark Funeral Doom Metal essence led by the demonic roars by RM while his bandmates keep delivering absolute darkness and heaviness from their sonic weapons. Dream Death, Towards Rebirth is also dense, visceral and infernal, with the kitchen crafted by T and Sibilans exhaling Doom Metal insanity; and Four Levels of Infinite Splendour ends the album with an epic vibe while also bringing anguish and despair to our rotten souls, with the riffs by MZ once again cutting our flesh deep before the song’s climatic ending.

After all is said and done, you’ll realize that The Great Jihad is a work that feels both familiar and renewed, balancing oppressive density with moments of stark, otherworldly beauty, bringing a journey that began in 2005, when the album was originally crafted, to its intended conclusion. The guys form Urna might not be found on any social media (which in the end is never a bad thing, to be honest), but you can add their striking new album to your collection by purchasing it from the ATMF’s BandCamp or from Metal Odissey, showing your support and admiration for the band and their music. The Great Jihad is dark, intense, bold, multi-layered and, above all that, loyal to the foundations of a band that will never abandon their core Black and Funeral Doom Metal essence no matter what. Because although much has changed since the already distant year of 2003, Urna have not.

Best moments of the album: Second of Three and The Great Jihad.

Worst moments of the album: None.

Released in 2026 ATMF

Track listing
Creator
1. First of Three 5:55
2. Second of Three 4:43
3. Third of Three 7:02

Created
4. The Great Jihad 4:11
5. Dream Death, Towards Rebirth 6:42
6. Four Levels of Infinite Splendour 8:09

Band members
RM – vocals
MZ – guitars, synthesizers
T – bass
Sibilans – drums

Album Review – Shores of Null / Homesick (2026)

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This Italian Melodic Death and Doom Metal outfit is back with their striking fifth full-length offering, combining their trademark melancholy with a renewed sense of identity and purpose.

Following their acclaimed 2023 album The Loss Of Beauty, Italian Melodic Death/Doom Metal act Shores of Null continues to expand their emotional and sonic universe with their fifth full-length opus, titled Homesick, a record that combines their trademark melancholy with a renewed sense of identity and purpose. Recorded at Bloom Recording Studios, the new opus by vocalist Davide Straccione, guitarists Gabriele Giaccari and Raffaele Colace, bassist Matteo Capozucca, and drummer Emiliano Cantiano sees the band continue to broaden the expressive range of their sound, moving beyond genre boundaries while preserving the melancholic intensity and refined songwriting that have become the hallmark of one of the most distinctive voices in today’s melodic death and doom landscape. Conceived as a complete listening experience rather than a simple collection of individual songs, Homesick moves through a wide range of emotional states – longing, loss, anger, vulnerability and the search for a place to belong. Each track offers its own identity and emotional weight, but the full picture only emerges when the album is experienced from beginning to end.

Allies Before Defeat already kicks off with an overdose of Doom Metal riffs by Gabriele and Raffaele while the vocals by Davide sound deep, intense and dark; whereas Two Mountains sounds even more captivating, as if Insomnium decided to go full Doom and Gothic Metal, and when Davide fires his deep guttural things get even more exciting and incendiary. Matteo and Emiliano make the earth tremble in the Doom Metal aria Bleed to Life, accompanied by the crying guitars by the band’s axe duo, whereas the title-track Homesick leans towards the melancholic, obscure sounds blasted by the mighty Paradise Lost, dragging our souls to oblivion. And Son of the Tide is another stunning creation by those Italians, with Emiliano delivering a solid fusion of darkness and intricacy through his beats and fills.

Then featuring Shaun MacGowan of My Dying Bride on the violin, Dreaming of a Scar offers a killer fusion of the heaviness of extreme music with the finesse of the violin, while Davide continues to alternate between his devilish gnarls and anguished clean vocals, followed by Society Is the Murderer, perfect for headbanging in pitch black darkness, sounding very emotional and dark with Davide delivering passionate clean vocals. The Numbing Void, showcasing Natalie Koskinen of Shape Of Despair on vocals and Shaun MacGowan again on the violin, is perhaps the most Doom Metal of all songs, where Gabriele and Raffaele are once again on fire armed with their axes, while Another Breath is an excellent song musically speaking, despite lacking the darker vein of the other songs in the album. And lastly, Disappear brings the band back to their core doom-laden sounds, presenting a striking ending to the album to the hammering drums by Emiliano.

“I’m fascinated by themes such as nostalgia, loss, belonging, and the ways in which the past continues to shape who we are. Sometimes inspiration simply comes from observing the world around me. Other times it starts with a question I can’t answer, and writing becomes a way to explore it. With Homesick, I found myself reflecting on the idea of ‘home’ as something much deeper than a place. Many of the lyrics revolve around that tension between longing and pain, between the desire to return and the fear of what might still be waiting for us there,” commented Davide, inviting us on a sonic journey for fans of Paradise Lost, Amorphis, Swallow The Sun, Katatonia, and Borknagar. Don’t forget to follow the band on Facebook and on Instagram, to stream their music on Spotify, and of course to purchase Homesick from Dusktone’s BandCamp (please note the vinyl edition will include a short intro created specifically for the format, designed to enhance the Side A / Side B listening experience without altering the essence of the album). Homesick is undoubtedly one of the strongest statements of their career, a deeply emotional, carefully crafted and immersive record that confirms their place among the leading forces of Melodic Death and Doom Metal, transpiring an array of emotions that only the heaviest and darkest of the subgenres of heavy music can provide to our suffering souls.

Best moments of the album: Two Mountains, Son of the Tide and The Numbing Void.

Worst moments of the album: Another Breath.

Released in 2026 Dusktone

Track listing
1. Allies Before Defeat 4:35
2. Two Mountains 4:34
3. Bleed to Life 4:09
4. Homesick 5:31
5. Son of the Tide 4:18
6. Dreaming of a Scar 5:08
7. Society Is the Murderer 4:30
8. The Numbing Void 6:18
9. Another Breath 3:52
10. Disappear 4:33

Band members
Davide Straccione – vocals
Gabriele Giaccari – guitars
Raffaele Colace – guitars
Matteo Capozucca – bass
Emiliano Cantiano – drums

Guest musicians
Natalie Koskinen – vocals on “The Numbing Void”
Shaun MacGowan – violin on “Dreaming Of A Scar” and “The Numbing Void”