Tag Archives: doom metal

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”

Album Review – Cultus Sanguine / Tears Painted Sky (2026)

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These Italian veterans are back with their fourth opus, immersing us all in dark, powerful sounds that take us on a slow, relentless journey into the depths of the soul, a place where pain and darkness take shape.

Formed in 1993 in Milan, Italy, Cultus Sanguine are one of the most influential and genre defining bands in the history of dark, devilish Blackened Gothic and Doom Metal, having already release the cult albums Shadows’ Blood (1997), The Sum of All Fears (1999), and Dust Once Alive (2023). Written and composed by the band itself, recorded, mixed and mastered by Danilo Dilorenzo at MoonHouse Studio,  and displaying a sinister artwork and layout by Federico Rebusso, Tears Painted Sky is the fourth studio album by Joe Ferrero on vocals, Federico Rebusso on the guitars, Luca Difato on bass, Daniele Bovo on keyboards, and Fabrizio Cislaghi on drums, immersing us all in dark, powerful sounds that take us on a slow, relentless journey into the depths of the soul, a place where pain and darkness take shape.

The quintet wastes no time and fills up every single space in the air with their dark and atmospheric sounds in Tears Painted Sky, led by the striking keys by Daniele and the massive beats by Fabrizio; and the deep vociferations by Joe set the tone in the also obscure Inner Solitude, with their Gothic Metal vein pulsing harder than ever. In When Silence Devours we see the band blend the heaviness of Doom Metal with the delicate sounds of Gothic Rock and Metal, with Daniele being once again on fire behind his drums, followed by My Wounds Are Eternal, a pensive tune that carries a beautiful title, with Federico bringing sheer heaviness through his axe. And then we face Le tue ossa sono fredde, or “your bones are cold” from Italian, featuring guest Luca Difato on the violin, evolving into a visceral display of Doom Metal with atmospheric elements.

Pale Presence offers a more generic version of their own blend of Atmospheric Gothic and Doom Metal. It’s still a solid effort by the boys, but it lacks the same intensity of the previous tunes, whereas Grey, Cold and Unforgiving showcases a more theatrical side of the band, with the reverberating bass by Lucas adding even more obscurity to Daniele’s phantasmagorical keys. Rise to Nowhere continues with their theatre of doom, with Joe again delivering absolute anguish and heaviness through his vocals lines, supported by the minimalist, caustic guitars by Federico, flowing into the closing tune Funeral Farewells, as heavy as it is dynamic, multi-layered and grim, where Joe’s vocals are effectively boosted by the song’s background vocals (not to mention the scathing riffs by Federico), therefore putting a climatic ending to the album.

With the release of Tears Painted Sky, Cultus Sanguine are pushing beyond the already fragile boundaries of their poetic vision, exploring painful territories and surrendering completely to the aesthetics of the end. There is no consolation, no hope, no catharsis; just an elegant and decadent representation of the inner twilight. In case you want to follow the band into such harsh territories, you can find them on Facebook and on Instagram, stream their music on any platform like Spotify, and of course purchase their new album from their own BandCamp or from My Kingdom Music’s BandCamp or webstore (or click HERE for all things Cultus Sanguine). The cult is alive, the sky is painted with tears, and the new album by these Italian veterans is the perfect soundtrack for such darkness and melancholy.

Best moments of the album: Tears Painted Sky, My Wounds Are Eternal and Funeral Farewells.

Worst moments of the album: Pale Presence.

Released in 2026 My Kingdom Music

Track listing
1. Tears Painted Sky 6:06
2. Inner Solitude 5:32
3. When Silence Devours 4:30
4. My Wounds Are Eternal5:20
5. Le tue ossa sono fredde 4:39
6. Pale Presence 5:31
7. Grey, Cold and Unforgiving 5:06
8. Rise to Nowhere 5:38
9. Funeral Farewells 6:55

Band members
Joe Ferrero – vocals
Federico Rebusso – guitars
Luca Difato – bass
Daniele Bovo – keyboards
Fabrizio Cislaghi – drums

Guest musician
Luca Difato – violin on “Le tue ossa sono fredde”

Album Review – Smoulder / Witch Wife in an Alien World (2026)

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This fearless, confrontational, and adventurous Epic Heavy and Doom Metal horde returns with their their opus, a bold, daring collection of eight songs that continue to push boundaries and shatter conventions.

Fearless, confrontational, and adventurous Epic Heavy  and Doom Metal. That’s exactly what you’ll get in Witch Wife in an Alien World, the brand new offering by the unstoppable multi-national beast known as Smoulder, following up on their critically acclaimed 2023 sophomore Violent Creed of Vengeance. Recorded between Soundwell Studio by Valtteri Kallio, and Swift Road Studios by Vincent Ippolito, with mixing and mastering duties courtesy of Roland Rodas, and artwork by British fantasy and horror illustrator Ian Miller (reflecting the ugliness and hard truths of the album’s themes), the new offering by Sarah Ann on vocals, Shon Vincent and Collin Wolf on the guitars, Adam Blake on bass, and Kevin Hester on drums is a bold, daring collection of eight songs that continue to push boundaries and shatter conventions. Inspired by Sarah Ann’s current Finnish residence, citing the country’s “monumentally positive impact” on her life, including a high-functioning, affordable healthcare system to go along with a reliable 24/7 transit and robust outdoor space, complete with safe air and clean water, Sarah Ann wants the rest of the world to have what she has, tying into the album’s broader context of tackling more real-life themes that are purposely adversarial and coupled with a growing sense of disconnection in a world that, conversely, is more connected than ever through technology.

Kevin kicks off the band’s adventurous metal journey in Water Wars, before Sarah comes ripping with her epic, soaring vocals while Shon and Collin deliver their trademark Judas Priest-inspired riffs nonstop; and investing in a more Hard Rock-oriented sound we have Shadow Of The Vulture, with Adam and Kevin generating a reverberating atmosphere with their heavy, doomed kitchen. They keep blasting their hypnotizing fusion of Heavy and Doom Metal in Noitien Loitsu, boosted by another killer guitar attack by Shon and Collin while the song also features a guest solo from the band’s live guitarist, Bootleg Henkka (also of Finnish epic black metallers Havukruunu). And it’s time for another blast of Epic Doom Metal in the form of Crush The Neophytes, where Sarah once again steals the show with her striking, powerful vocals.

Back to a more ferocious, razor-edged sound we’re treated to the excellent Empathy’s Wrath, again showcasing the band’s characteristic epic vocals, crushing riffs and hammering drums, whereas they enhance their Doom Metal vibe in Their Name Lives On, melting our faces with the scorching riffs by the band’s unstoppable axed duo. Cathedral Of The Trees is another solid composition by the band, albeit a bit generic compared to the rest of the album, while they return to a more incendiary, killer sonority in Smouldering Remains, ending the album on a truly epic and visceral mode with Sarah’s vocals walking hand in hand with the rumbling sounds blasted by her henchmen.

After all is said and done, you’ll quickly realize Smoulder remain committed to exploration and adventure in their new album Witch Wife in an Alien World, always bringing something fresh and unique to their avid fanbase. If you want to explore the epic world ruled by Smoulder, you can find those amazing musicians on Facebook and on Instagram, stream their striking creations on Spotify, and of course grab a copy of the album from BandCamp, as well as from Cruz Del Sur Music as a CD, a black vinyl LP, or a limited edition spectral purple LP, or click HERE for all things Smoulder. Smoulder are on fire throughout their entire new opus, opening our eyes to some of the issues that are leading our society to damnation, while keeping our souls warm and protected by their killer, epic heavy music. All hail Smoulder, and may we all be able to one day experience the alien world inhabited by the mighty witch Sarah Ann.

Best moments of the album: Water Wars, Empathy’s Wrath and Smouldering Remains.

Worst moments of the album: Cathedral Of The Trees.

Released in 2026 Cruz Del Sur Music

Track listing
1. Water Wars 4:36
2. Shadow Of The Vulture 4:16
3. Noitien Loitsu 4:52
4. Crush The Neophytes 6:57
5. Empathy’s Wrath 5:02
6. Their Name Lives On 4:48
7. Cathedral Of The Trees 5:24
8. Smouldering Remains 7:00

Band members
Sarah Ann – vocals
Shon Vincent – guitar
Collin Wolf – guitar
Adam Blake – bass
Kevin Hester – drums

Guest musician
Bootleg Henkka – guitar solo on “Noitien Loitsu”

Album Review – Morbid Stench / Doom Metástasis (2026)

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

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

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

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

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

Worst moments of the album: None.

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

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

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

Album Review – Eshtadur / In Darkness All Shadows Gone (2026)

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A crow is calling to the sound of the new offering by Colombia’s own Melodic Black and Death Metal entity, a conceptual journey through mysticism, transformation and inner transmutation.

Combining Gothenburg-influenced Death Metal, Black Metal and classical composition with an interest in poetry, mysticism, existence and cosmogony, Pereira, Colombia-based Melodic Black/Death Metal outfit Eshtadur is back with their fifth studio album, titled In Darkness All Shadows Gone, following on their critically acclaimed 2017 album Mother Gray and their 2020 opus From the Abyss. Recorded at RockStar Studios, produced by the band’s mastermind Jorg August, who also wrote the music, lyrics, compositions, and orchestral arrangements, mixed and mastered by Tomasz “Zed” Zalewski, and displaying a Stygian artwork by Vallesia Obscura, the new offering by Jorg August on vocals and guitars, Camilo Barbosa also on the guitars, Andres Gonzalez on bass, and David Lopez on drums follows a conceptual journey through mysticism, transformation and inner transmutation.

The phantasmagorical intro Age of Antumbra will darken the skies and drag us into a deep dark forest to the sound of Into The Woods, kicking off in full force to the ruthless growling by Jorg while Camilo, Andres and David hammer their instruments nonstop. Umbra offers six minutes of first-class Melodic Death Metal where the guitars by Jorg and Camilo transpire obscurity; and David keeps pounding his drums in the name of dark and heavy Melodic Death Metal in August’s Burdens, where all backing vocals boost Jorg’s already killer guttural. Fire Above Mountain Below is one of the most experimental and symphonic of all songs, where the quartet fires a massive wall of sounds that fills every single space in the air majestically, followed by Old Shaman Blind, which starts in a cryptic manner before evolving into a Death and Doom Metal creature, once again led by David’s crushing beats and fills.

Thunderground offers a blend of Scandinavian Melodic Death Metal with the band’s own South American twist, with the riffs and solos by Jorg and Camilo feeling fantastic, and they keep shredding their axes in Ruler of the Lake, sounding heavy and venomous from start to finish. Then a beyond atmospheric start gradually morphs into a bestial display of Death and Doom Metal titled A Black Winged Waltz, again presenting the striking guitar solos by Camilo; and there’s still fuel for another hard hitting tune titled Nebulae (Virgo), led by the classic beats and fills by David. Omen of Millennia lives up to the legacy of traditional Melodic Death Metal, with Jorg sounding infuriated again on vocals for our absolute delight, flowing into Soy Real, a climatic conclusion to the album where Jorg’s deep growls are spiced up by clean vocals in the background amidst a beautiful sonic devastation.

“We worked on this material for four years. It is a long album with twelve tracks, symphonic arrangements, a real orchestra, many vocal layers and Tuvan voices. At times, it felt like a giant puzzle, but everything finally came together. We are proud of the result and grateful to everyone who helped us build it. A crow is calling,” commented Jorg August, who’s waiting for you on Facebook and on Instagram with news, tour dates and so on, and you can also stream their music on Spotify and put your hands on In Darkness All Shadows Gone via BandCamp or Rockshots Records, or by clicking HERE. Fans of Septicflesh, Dissection and At The Gates will surely have a great time listening to the new album by Eshtadur. Or, in other words, can you hear the crow calling?

Best moments of the album: Into The Woods, Fire Above Mountain Below and Omen of Millennia.

Worst moments of the album: None.

Released in 2026 Rockshots Records

Track listing
1. Age of Antumbra 2:00
2. Into The Woods 4:41
3. Umbra 6:22
4. August’s Burdens 4:59
5. Fire Above Mountain Below 5:08
6. Old Shaman Blind 5:08
7. Thunderground 3:40
8. Ruler of the Lake 5:14
9. A Black Winged Waltz 9:23
10. Nebulae (Virgo) 5:09
11. Omen of Millennia 3:56
12. Soy Real 5:11

Band members
Jorg August – vocals, guitars
Camilo Barbosa – lead guitars
Andres Gonzalez – bass
David Lopez – drums

Album Review – Iskald / Curse of the Mind (2026)

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These Melodic Black Metal veterans are back with their sixth studio opus, a conceptual journey exploring themes of psychological torment, inner conflict, fragile hope and ultimate sacrifice.

Formed in 2005 in Sortland, Northern Norway by vocalist Aage Krekling and guitarist Simon Larsen, but currently located in Bodø, Norway, with the ambition of creating a distinctive form of Melodic Black Metal deeply connected to the atmosphere of the Arctic north, the mighty horde known as Iskald (which translates to “ice cold” in English) is finally back with their sixth studio album (and first concept work), titled Curse of the Mind, following up on their 2018 opus Innhøstinga. Built as a conceptual journey, the new album by the aforementioned Aage Krekling and Simon Larsen alongside guitarist Ben Hansen, basisst Tobias Aubert, and drummer Isak Larsen unfolds through four interconnected chapters linked by ritualistic invocations, exploring themes of psychological torment, inner conflict, fragile hope and ultimate sacrifice. Framed within a stark, Norse-inspired vision of Helheim, the story is mythological in setting but deeply psychological at its core. Helheim is not merely a place, it is the shape taken by inner darkness. The true battlefield is the mind itself.

After the melancholic, dark intro Curse of the Mind – Invocation I, we face the band’s first slab of ferocity titled The Other Realm, or “The Descent,” a representation of vast emptiness, fog and isolation, with Aage vociferating like a demonic entity while Tobias and Isak generate an intricate, reverberating background that reeks of Black Metal. Then we have another invocation titled Curse of the Mind – Invocation II, where the guitars by Simon and Ben transpire malignancy, followed by Manifestation of Madness, or “The Prison,” showcasing doubt, fragmentation and psychological collapse, offering almost seven minutes of scorching Melodic Black Metal led by Isak’s bludgeoning drums

The second act of the album kicks off with the minimalist yet penetrating Curse of the Mind – Invocation III,  where the sound of the piano will hypnotize us all before the band comes ripping with one of the most complex songs of the album, titled A Burden of Hope, or “The Fragile Light,” a display of strength found through accepting the darkness within, where their Doom Metal vein arises, darkening the skies to the devilish gnarls by Aage. And lastly, the short and ethereal invocation titled Curse of the Mind – Final Invocation sets the stage for the album’s climatic conclusion with The Sacrifice, or “The Ritual,” where before the throne of Hela suffering becomes meaningful, a multi-layered aria of Black Metal magic spearheaded by the scathing riffs by Simon and Ben, sounding infernal yet delicate until the very end.

Marking the beginning of a new chapter for the band, Curse of the Mind” was recorded at Strand Studio, mixed and mastered by Hallstein Sandvin, and features a stylish artwork by SG7 Graphics. For over two decades, Iskald have stood among the leading names in Norwegian Melodic Black Metal, expanding their trademark northern sound with its most ambitious and immersive work to date in Curse of the Mind, and if you want to know more about the band you can find them on Facebook and on Instagram, stream their music on Spotify, and purchase a copy of the album from Dusktone’s BandCamp or webstore. In other words, the new Melodic Black Metal journey by Iskald is about to begin, and you’re more than invited to join those amazing musicians in their ritualistic and mythological adventure.

Best moments of the album: The Other Realm, Manifestation of Madness and The Sacrifice.

Worst moments of the album: None.

Released in 2026 Dusktone

Track listing
1. Curse of the Mind – Invocation I 4:37
2. The Other Realm 6:53
3. Curse of the Mind – Invocation II 3:01
4. Manifestation of Madness 6:56
5. Curse of the Mind – Invocation III 2:06
6. A Burden of Hope 8:11
7. Curse of the Mind – Final Invocation 0:54
8. The Sacrifice 10:20

Band members
Aage Krekling – vocals
Simon Larsen – guitars
Ben Hansen – guitars
Tobias Aubert – bass
Isak Larsen – drums

Album Review – Wharflurch / Mycodeath and Rebirth in the Outer Clusters (2026)

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Florida’s own Death and Doom Metal entity returns with the sequel to the epic psychedelic saga that started in their debut album, an odyssey for the adventurous listener, and a deathly riff journey into the outer cosmos.

Hailing from Gainesville, Florida, the ruthless Death/Doom Metal entity Wharflurch left the Death Metal world hanging at the end of their 2021 debut Psychedelic Realms ov Hell, with the protagonist of the first album being lost in a fungal haze of disillusionment at the album’s conclusion. They return with the sequel to the epic psychedelic saga, Mycodeath and Rebirth in the Outer Clusters, another concept album continuing the story, placing our “hero” at the precipice of an incredible journey to the furthest regions of our universe. A true Sci-Fi epic of world-building and conceptualization, the new offering by vocalist and guitarist Myk Colby, and vocalist and drummer John Mamo (with guest appearances by Garrett Alvarado, frontman for Maul, on vocals as the voice of the “Sporelords,” and Jamie Stewart, throat shredder for The Abscence, Party Time, and Hot Graves, doing narratives and guest vocals on quite a few songs) places the listener at a vantage point to interpret interplanetary life as ventures of this secret race of mycelial beings who control the life force of galaxies with a hidden hand.

A cosmic intro quickly evolves into a prog death feast led by the scathing riffs by Myk titled Death Toll Horror while John pounds his drums nonstop, resulting in a ruthless start to the sonic voyage crafted by the duo; followed by Forgotten Temple, as intricate as it is demonic, with the duo hammering our heads mercilessly with their gruesome vocals and striking guitar lines, all boosted by an ethereal background. Their old school Death Metal vein pulses harder than ever in Non Zero Expanse, with John dictating the pace with his cadaverous beats and fills, and they continue their otherworldly journey with the Progressive Death Metal attack titled Headless God, again showcasing those Cannibal Corpse-infused riffs we all love so much.

It takes a while for Dimensional Parasite to really take off, but when it does it offers more of the band’s trademark blend of Death Metal. It could have been a little faster, though. Then again presenting a wild blend of progressiveness with harsh, visceral sounds we have The Leaving Orbs, where John is once again flawless behind his drums accompanied by the whimsical guitars by Myk, followed by Revelations ov the Spore Lords, heavy and obscure from the very first second, alternating between doom-laden Death Metal moments and bursts of sheer savagery. And lastly, we’re treated to Mycodeath and Rebirth / Awakening the Emissary, an expansive instrumental outro that feels like the ending scene and credits of a Sci-Fi movie.

Embraced by the sinister, otherworldly artwork by American artist Claw//Eight, Mycodeath and Rebirth in the Outer Clusters is definitely a must-listen for fans of the craziest form of Death and Doom Metal, and you can find more details about such a demented duo on Facebook and on Instagram, stream their music on Spotify, and purchase the album from the Personal Records’ BandCamp or webstore (or click HERE for all things Wharflurch). In the end, Mycodeath and Rebirth in the Outer Clusters is more than just an album of heavy music. It’s an odyssey for the adventurous listener, a deathly riff journey into the outer cosmos, where our destiny has been foretold by beings who treat our planet as a failed.

Best moments of the album: Forgotten Temple, Non Zero Expanse and Revelations ov the Spore Lords.

Worst moments of the album: Dimensional Parasite.

Released in 2026 Personal Records/Gurgling Gore/Dawnbreed

Track listing
1. Death Toll Horror 4:10
2. Forgotten Temple 6:18
3. Non Zero Expanse 4:32
4. Headless God 5:08
5. Dimensional Parasite 5:21
6. The Leaving Orbs 5:42
7. Revelations ov the Spore Lords 6:15
8. Mycodeath and Rebirth / Awakening the Emissary 8:28

Band members
Myk Colby – vocals, guitars, synthesizers
John Mamo – vocals, drums

Guest musicians
Garrett Alvarado – vocals
Jamie Stewart – vocals, narration

Album Review – Equisetum / Cor Ex Putredine (2026)

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Behold the heart from rottenness offered by this up-and-coming Italian Apocalyptic Doom Metal duo in their debut album.

Equisetum (commonly known as horsetail) is a genus of primitive plants historically used to scour and polish metal surfaces because its stems contain high levels of abrasive silica. In heavy music, Equisetum are an up-and-coming Apocalyptic Doom Metal hailing from Italy who are unleashing upon humanity their debut offering, titled Cor Ex Putredine, or “heart from rottenness” from Latin. Recorded at Camera Ardente III-MS (vocals) and Camera Ardente IV-BS (guitars, bass and drums), the striking debut by vocalist Noctuaria, who was also responsible for all lyrics (sung in a ritualistic and visionary way, exploring themes of decay and loss), and multi-instrumentalist Mortifero, who took care of the mixing, mastering, music, artwork and layout, is rooted in the traditional Italian dark sound with a reference to Alkaest by Paul Chain, while expanding into multiple Doom Metal trajectories, from the heavier and alienating reminiscences of Celtic Frost, to the more irregular and dissonant approach of Unholy, up to the slow, gothic atmospheres of Type O Negative. Not only that, subtle Black Metal influences emerge, particularly in the construction of rhythmic textures, drawing from the essence of Thorns.

The album begins with the six-minute caustic aria Aghram, where Noctuaria already delivers her phantasmagorical vocals supported by the Doom Metal beats by Mortifero, not to mention his low-tuned, scorching bass will hammer your cranial skull. And Mortifero keeps firing dirty riffs and bass lines in Il Canto Degli Impiccati, once again utterly heavy and ritualistic. Mente Sepolta lives up to the legacy of classic Doom Metal infused with darker and tribal vibes, perfect for some ruthless headbanging, whereas Noctuaria’s vocals will send shivers down our spines in Mortuaria while Mortifero keeps pounding his drums in the name of sheer doom. Presenze Oniriche brings forward another seven minutes not recommended for the faint at heart where Noctuaria sounds hypnotizing with her deep vocalizations; and the Triptykon-like scathing bass by Mortifero will embrace us in darkness in Prevenar. It is as apocalyptic as it is evil, exhaling despair and melancholy. Finally, they still have one last breath of visceral Doom Metal in the form of Rymohr, where the wall of sounds crafted by Mortifero is beyond demonic.

In a nutshell, Cor Ex Putredine presents itself as a focused debut by this promising duo from the always beautiful Italian Extreme Metal scene, built on controlled contrasts and a balance between heaviness and timbral exploration. Hence, if you want to know more about Noctuaria and Mortifero, their music, plans for the future and so on, you can find them on Facebook and on Instagram, stream their doomed creations on Spotify, and above all that, put your hands on Cor Ex Putredine by purchasing it from BandCamp. Death is not an event, Death is a process, and the debut opus by this Italian duo is among us to remind us of such a harsh reality.

Best moments of the album: Aghram and Prevenar.

Worst moments of the album: None.

Released in 2026 My Kingdom Music

Track listing
1. Aghram 6:06
2. Il Canto Degli Impiccati 5:57
3. Mente Sepolta 5:12
4. Mortuaria 6:07
5. Presenze Oniriche 7:04
6. Prevenar 6:38
7. Rymohr 6:42

Band members
Noctuaria – vocals
Mortifero – guitars, bass, drums

Album Review – Necrocene / Scumocracy (2026)

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The new album by this Italian Death Metal horde transforms concepts of social decay and technological obsolescence into a perfect, clear-sighted manifestation of a world careening toward its final, self-inflicted epoch.

There is a crushing weight bearing down on the globe presently, an unbridled destruction that breeds indifference. It is from this bleak reality that Italian horde Necrocene draws their breath, delivering a style of Death Metal that is deliberately pedantic, abrasive, and deeply rooted in the genre’s foundational essence. Following their well-received 2024 debut EP Detrimental Paratomy, the band formed of Iacopo “Apo” Macchia on vocals, Alessandro “Alex” Rossi and Gioia “Joy” Capelli Ghioldi on the guitars, Daniel “Dan” Martini on bass, and Stefano “Ste” Giannotti on drums is ready to attack again with their first full-length offering, titled Scumocracy, capturing the defiant, provocative spirit of early Obituary, Death, and Cancer while translating the band’s shared counter-cultural roots into severe musical weight.

The obscure intro (Threshold) will darken the skies before your mind is consumed by the band’s doom-laden Death Metal in Ordinary Enemy, where Alex and Joy show no mercy for our souls with their sharp, caustic riffs, inspiring us all to bang our heads together with the quintet. Then we face Tempestarii, a true storm of raw and putrid Death Metal where Apo vociferates like an evil entity, sending shivers down our spines, followed by Scale of Grey, another frantic, no shenanigans display of Death Metal made in Italy led by the crushing drums by Ste. And their first “act” in the album ends with the title-track Scumocracy, where their scorching riffs and blast beats match perfectly with Apo’s demonic roars.

After another Stygian, eerie instrumental piece titled (Stillpoint), all hell breaks loose with Human Lithification, a slab of brutality, violence and gore by Necrocene where Alex and Joy once again deliver an avalanche of melodic yet visceral riffs. The band then puts the pedal to the metal in Concrete Petrichor, spearheaded by another ruthless vocal performance by Apo and accompanied by the nonstop, demented drums by Ste. Weapons of the Damned blends vile Doom Metal with their core Death Metal insanity, resulting in a venomous tune not recommended for the lighthearted, whereas The Lust of Us closes the album with more of the scathing riffage by Alex and Roy in a true headbanging extravaganza.

Balancing sudden shifts in tempo with agonizingly heavy, cadenced downtempos, Scumocracy transforms concepts of social decay and technological obsolescence into a perfect, clear-sighted manifestation of a world careening toward its final, self-inflicted epoch, and you can get more details about Necrocene and their apocalyptic music via Facebook and Instagram, stream their ruthless music on Spotify, and of course join them in total chaos and disorder by purchasing a copy of Scumocracy from the Personal Records’ BandCamp or webstore. We’re indeed a rotten democracy of scumbags, and the Death Metal blasted by Necrocene in their new album is here to remind us all of such a harsh reality.

Best moments of the album: Tempestarii, Scale of Grey and Weapons of the Damned.

Worst moments of the album: None.

Released in 2026 Personal Records

Track listing
1. (Threshold) 1:06
2. Ordinary Enemy 3:14
3. Tempestarii 4:05
4. Scale of Grey 2:08
5. Scumocracy 4:46
6. (Stillpoint) 1:43
7. Human Lithification 3:09
8. Concrete Petrichor 2:58
9. Weapons of the Damned 4:23
10. The Lust of Us 3:49

Band members
Iacopo “Apo” Macchia – vocals
Alessandro “Alex” Rossi – guitar
Gioia “Joy” Capelli Ghioldi – guitar
Daniel “Dan” Martini – bass
Stefano “Ste” Giannotti – drums

Album Review – Old Ruins / Mount Arreat (2026)

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This German horde continues their darkened path by offering their own blend of Heavy, Black, Doom and Melodic Metal in their sophomore studio album.

Having created their own highly distinctive style by drawing on numerous influences from Heavy, Black, Doom and Melodic Metal, Gelsenkirchen, Germany’s own Post-Black Metal outfit Old Ruins is back with their sophomore full-length offering, entitled Mount Arreat (a major fictional location in the Diablo video game franchise), following up on their 2023 debut full-length album Always Heading East. Displaying a dystopian artwork by Timon Kokott, the new album by Christian Krajewski on vocals and guitars, Ersin Kara also on the guitars, Oliver Krajewski on bass, and Mike Gelnar on drums sees the band continue the darkened path which stated with their self-titled debut EP from 2020, sounding tighter, heavier and more dynamic than ever.

The strident guitars by Christian and Ersin ignite the band’s dark and heavy feast in Once There Was Light, with Christian’s deep vociferations sounding haunting yet captivating, followed by Gates Of Harrogath, even heavier and more dynamic, offering a wild fusion of Melodic Death and Doom Metal led by Mike’s thunderous beats and fills, always supported by Oliver’s rumbling bass. Call To Arms is a more cadenced and sluggish tune, with its Sludge Metal elements adding a visceral vibe to their core sound before their classic Heavy Metal vein pulses through their dual guitar attack; and a serene intro morphs into another massive metal onrush by the quartet titled Uileloscadh Mor, with the guitars by Christian and Ersin once again cutting our flesh mercilessly.

Nihlathak flirts with old school Black Metal, hence its dirtier, rawer and more aggressive sound, while Mike dictates the song’s pace with his spot-on beats and fills, whereas Mount Arreat, the song that carries the name of the album, is just as grandiose as the location that inspired it, offering a solid fusion of Death and Doom Metal with the epicness of Heavy Metal. Then we’re treated to Lord Of Destruction, the heaviest and darkest of all songs, where Mike’s drums sound immense while Christian roars like a demonic creature until the song’s very last second; and they conclude the album with an overdose of epicness and rage in the form of Tyrael’s Despair, with their guitars once again breathing fire.

In a nutshell, Old Ruins offer in the excellent Mount Arreat their unique blend of melodic, catchy and gripping Black and Death Metal for fans of In Flames, Children Of Bodom, Arch Enemy, and Tribulation, inspiring us all to join them in their darkened quest, while also fueling the band to continue fighting for extreme music in their upcoming releases. Those talented German metallers are waiting for you on Facebook and on Instagram, and don’t forget to also stream their music on Spotify and to purchase Mount Arreat from their own BandCamp or from Sick Taste Music. In other words, it’s time to climb the mount of extreme music together with Old Ruins while listening to their new album, keeping your blood running wild through your veins as you face such a demanding and exciting challenge.

Best moments of the album: Gates Of Harrogath, Uileloscadh Mor and Lord Of Destruction.

Worst moments of the album: Call To Arms.

Released in 2026 Sick Taste Music

Track listing
1. Once There Was Light 5:48
2. Gates Of Harrogath 4:52
3. Call To Arms 5:02
4. Uileloscadh Mor 7:27
5. Nihlathak 5:15
6. Mount Arreat 6:25
7. Lord Of Destruction 5:37
8. Tyrael’s Despair 6:16

Band members
Christian Krajewski – vocals, lead guitars
Ersin Kara – guitars
Oliver Krajewski – bass
Mike Gelnar – drums