Tag Archives: doom metal

Album Review – Sigh / Goh-ka (2026)

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These Avantgarde Black Metal masters from Japan are back with a breathtaking new album, openly showing the harsh reality that no matter how beautiful you are, you’ll be dead and rot sooner or later.

A new highlight of atmosphere, technical mastery, and meticulously arranged epics of metallic grandeur, Goh-ka, a title with a triple meaning (業火 infernal fire scorching sinners, 劫火 a huge fire that burns down the world at the end of time, and 業果 karma), is the new opus by the mighty Tokyo, Japan-based Avantgarde/Experimental Black Metal institution Sigh, the follow-up to their 2022 album Shiki. Recorded across multiple studios, once again mixed and mastered by Lasse Lammert at LSD Studios, and displaying a stunning artwork by Maciej Kamuda, the new offering by Mirai Kawashima on vocals, Dr. Mikannibal on vocals and saxophone, Nozomu Wakai on the guitars, and with the support of session musicians Frédéric Leclercq (Kreator) on bass and Mike Heller (Raven, Malignancy) on drums, has as its primary theme the Kuso-zu, a series of Buddhist paintings or illustrations depicting the nine stages of a human body’s decomposition after death, created to encourage meditation on the impermanence of life, the inevitability of death, and the detachment from physical beauty and worldly attachment. It openly shows the harsh reality that no matter how beautiful you are, you’ll be dead and rot sooner or later.

Kuso-shi 1, 2, and 3 is utterly ethereal and cinematic from the very first second, evolving into an experimental beast led by the dual vocal attack by Mirai and Dr. Mikannibal; while the guitar lines by Nozomu will pierce our minds in Jigoku-Zoshi 1: Unkamusho, with the thunderous kitchen crafted by Frédéric and Mike making the earth tremble. Then we face the ritualistic Anzenshokon, morphing into a sluggish beast infused with Doom and Sludge Metal elements, followed by Kuso-shi 4, 5, and 6, another song that sounds like three distinct tunes in one, with its epic last part being boosted by the demonic gnarls by Mirai. And after the cryptic interlude Shoso we’re treated to the infernal and captivating Unputenpu, featuring a guest guitar solo by the one and only Mikael Åkerfeldt of Opeth. The riffs by Nozomu transpire Progressive Rock and Metal, supported by the always solid beats and fills by Mike, not to mention its background keys are beautifully haunting.

Jinmenjushin brings to our avid ears another blast of their trademark blend of Avantgarde and Experimental Black Metal, alternating between more progressive moments and ethereal vocalization passages; and Mike then hammers his drums in the best Black, Thrash and Death Metal style in Jigoku-Zoshi 2: Tokatsujigoku, offering Mirai and Dr. Mikannibal exactly what they need to growl like rabid creatures. Kushukankyo is by far one of the most Japanese culture-infused tracks in the history of heavy music, flowing into the (unnecessary) atmospheric track Kuso-shi 7, setting the stage for the band to kill again with Kuso-shi 8 and 9 / Mettaijakujo, bringing forward 11 minutes of insanity, darkness, fury and progressiveness, feeling almost like the score for a Japanese horror flick, therefore putting a wild ending to the album.

From a musical perspective, if you were to place the main ingredients of Celtic Frost, Voivod, Black Sabbath, horror movies and Japan into a cauldron and stir it, you will get Goh-ka. Numerous additional spices such as Psychedelic and Progressive Rock, as well as classical music, are also evident over the album’s close to one-hour duration, resulting in a must-listen for admirers of the insanity blasted by renowned acts the likes of Arcturus, Dødheimsgard, Imperial Triumphant, Enslaved, Ved Buens Ende, Dir En Grey, and Ningen Isu. Moreover, Sigh are waiting for you on Facebook and on Instagram with news, tour dates and more of their unique music, and you can stream their vast discography on Spotify or Apple Music. Don’t forget to also grab a copy of Goh-ka from the Peaceville Records’ Bandcamp, letting their weird and captivating sounds penetrate deep inside your rotten soul. We’ll all be dead sooner or later anyway.

Best moments of the album: Jigoku-Zoshi 1: Unkamusho, Unputenpu and Kuso-shi 8 and 9 / Mettaijakujo.

Worst moments of the album: Kuso-shi 7.

Released in 2026 Peaceville Records

Track listing
1. Kuso-shi 1, 2, and 3 9:11
2. Jigoku-Zoshi 1: Unkamusho 3:55
3. Anzenshokon 6:24
4. Kuso-shi 4, 5, and 6 7:21
5. Shoso 0:56
6. Unputenpu 5:41
7. Jinmenjushin 6:14
8. Jigoku-Zoshi 2: Tokatsujigoku 3:06
9. Kushukankyo 1:47
10. Kuso-shi 7 1:56
11. Kuso-shi 8 and 9 / Mettaijakujo 11:23

Band members
Mirai Kawashima – vocals
Dr. Mikannibal – vocals, saxophone
Nozomu Wakai – guitars

Guest musicians
Frédéric Leclercq – bass (session)
Mike Heller – drums (session)
Mikael Åkerfeldt – guitar solo on “Unputenpu”

Album Review – Lifeswallower / Lifeswallower EP (2026)

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These four UK Progressive Death Metal veterans are unleashing upon us their self-titled debut EP, combining technical precision with a strong focus on songwriting and dynamics.

Featuring four experienced musicians brought together by a shared desire to create new music, UK’s own Progressive Death Metal outfit Lifeswallower is unleashing upon us their self-titled debut EP, drawing from Progressive, Death, Thrash Metal and other corners of heavy music, combining technical precision with a strong focus on songwriting and dynamics. Recorded by each band member at their home studios (vocals, guitars, bass) and by Joe Clayton at No Studio (drums), mixed by Ben Ottridge and Benedict Harris-Hayes, and mastered by Benedict Harris-Hayes at Ethereal Tantrum Studios, the EP sees vocalist James Moffatt, guitarist Tom Humphrey, bassist Ben Ottridge and drummer Benedict Harris-Hayes move between blast-driven intensity, complex arrangements and heavier groove-based sections, allowing each song to develop its own identity while remaining part of a coherent whole.

James’ inhumane guttural is the main ingredient in the ruthless opening track Defy My World, with the Sludge and Doom Metal-infused riffs by Tom bringing even more insanity to their music. The Trees Hide Their Bodies is another hard hitting tune by those UK metallers, with the song’s haunting background sounds sending shivers down our spines while Benedict hammers his drums nonstop, followed by Abandon The Body Of Rot, presenting elements of Thrash and Groove Metal in their core Death Metal sounds, in special through Tom’s killer riffage, being therefore perfect for some action inside the pit (not to mention their clean vocals are also electrifying). And lastly, we face Compound Fears, with the band again blasting our faces with an overdose of progressiveness without forgetting to sound heavy and devilish. Furthermore, Tom and Ben make an amazing stringed duo with their cutting riffs and rumbling bass, respectively, adding even more adrenaline to their music.

Reflecting the chemistry of four musicians pushing each other creatively and exploring new musical territory together, the EP is highly recommended for admirers of the music blasted by renowned acts the likes of Burnt By The Sun, Gojira, Morbid Angel, The Black Dahlia Murder, Sikth, Tool, and Katatonia, among several others, and you can get to know more about those veterans via Facebook and Instagram, and of course, purchase a copy of their striking debut from their own BandCamp. Lifeswallower are setting the bar high with their debut EP, leaving us eager for their first ever full-length opus in a not-so-distant future, and I bet it will be even heavier and more dynamic for our absolute delight.

Best moments of the album: Abandon The Body Of Rot and Compound Fears.

Worst moments of the album: None.

Released in 2026 Prog On! Recordings

Track listing
1. Defy My World 6:30
2. The Trees Hide Their Bodies 5:59
3. Abandon The Body Of Rot 4:47
4. Compound Fears 6:09

Band members
James Moffatt – lead vocals
Tom Humphrey – guitar, vocals
Ben Ottridge – bass, vocals
Benedict Harris-Hayes – drums, vocals

Album Review – Argul / Soledad & Orgullo (2026)

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Behold the debut by this up-and-coming Peruvian Doom Metal outfit, bringing the past into the present, presenting a blend of the band’s early days with what they are today.

A Doom Metal band formed by guitarist Mauricio Guerrero and drummer Jose María Venturi in Lima, Peru in 2014, originally leaning towards the roots of Heavy Metal and Stoner Rock by drawing inspiration from contemporary bands such as Orange Goblin, Witchcraft, and Reverend Bizarre, but evolving into the more distinct style it is today, sounding slower, heavier, and more introspective, Argul are unleashing upon us their highly anticipated debut, titled Soledad & Orgullo, which is Spanish for “solitude and pride.” Recorded, mixed and mastered by Eddie Plenge at Dragonverde Studios (with the song “Kamog” being recorded and mixed by Alonso and Mauricio Guerrero at Ogro Space), and showcasing a grim cover photo by Jose María Venturi, the debut by the aforementioned Mauricio Guerrero on vocals and lead guitars, Jose María Venturi on vocals and rhythm guitars, Jian Holmes on bass, and Alonso Guerrero on drums (also featuring guest drummer Emilio Carranza on a few songs) brings the past into the present, presenting a blend of the band’s early days with the Argul of today, where heavier atmospheres are moving between crushing weight and quieter, thoughtful moments without losing intensity.

They kick off their doom-laden feast with the dark, sluggish and groovy Ritual, where the dual vocal attack by Mauricio and Jose works beautifully while their ritualistic guitars transpire darkness and sulfur. Then the thunderous bass lines by Jian dictate the pace in the rhythmic, pounding Engendro, with Emilio making sure his beats and fills bring absolute heaviness to their music. Hor Hodin continues from where the previous song left off, showcasing the power of the mighty riff by both Mauricio and Jose; however, it’s when they deliver those sluggish, no shenanigans Doom Metal arias that surpass the ten-minute mark like what happens in Animal Dog that they truly thrive, with their guitars breathing fire accompanied by the massive bass lines by Jian. And last but certainly not least, get ready to be dragged to absolute darkness with the introspective and grim Kamog, where their vocals walk hand in hand with the fierce drumming by Alonso, putting a beyond heavy and climatic ending to the album.

Mostly utilizing their native tongue throughout the entire album, imparting a particularly unique aspect to it, highlighting those contrasts whilst never losing a focused consistency, Ardul are on absolute fire in Soledad & Orgullo, and if you want to put your hands on the album you can find it on their own BandCamp, as well as on the Personal Records’ BandCamp or webstore, and don’t forget to also give those talented Peruvian rockers a shout on Instagram, staying up to date with all things Ardul, including their heavy and doomed live performances. In the end, the primordial is wrapped in a gloomy heaviness. The essence is the obscure and the inevitable. This is Argul’s Soledad & Orgullo.

Best moments of the album: Ritual and Animal Dog.

Worst moments of the album: None.

Released in 2026 Personal Records

Track listing
1. Ritual 10:08
2. Engendro 5:04
3. Hor Hodin 5:47
4. Animal Dog 10:15
5. Kamog 14:20

Band members
Mauricio Guerrero – vocals, lead guitars
Jose María Venturi – vocals, rhythm guitars
Jian Holmes – bass
Alonso Guerrero – drums on “Ritual” and “Kamog”

Guest musician
Emilio Carranza – drums on “Engendro”, “Hor Hodin” and “Animal Dog”

Album Review – Abyssal Rift / Relics of Great Ash (2026)

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Creating gut-wrenching, pulverizing Death and Doom Metal that embodies the best aspects of those two styles, this American beast is back armed with their scorching sophomore album.

Creating gut-wrenching, pulverizing Death and Doom Metal that embodies the best aspects of those two styles, Columbus, Ohio’s own creature Abyssal Rift is back with the follow-up to their critically acclaimed 2023 debut Extirpation Dirge, their sophomore beast titled Relics of Great Ash. Formed of Matt Auxier on lead vocals, guitars, synths and programming, Mike Sliclen on bass and backing vocals, and Brandon Smith on drums, percussion and backing vocals, not to mention Brandon Smith and Mike Sliclen were also responsible for the drawings and cover photo, respectively, Abyssal Rift managed to mix Death and Doom Metal all up without losing coherency or their asphyxiating grip on the listener, resulting in an engrossing, diligent album rife with downright wicked riffs, an ominous atmosphere, and some insane structuring, more so than most others in the vein, being therefore highly recommended for fans of Incantation, Disembowelment, Saevus Finis, and Cruciamentum.

There’s no hope in sight as the trio kicks off the album in full force with Consummate Design, where the evil vociferations by Matt walk hand in hand with the stunning drums by Brandon, while the title-track Relics of Great Ash brings forward an amalgamation of dark sounds from Death and Doom Metal intertwined with cryptic, atmospheric passages, resulting in a wild beast of sheer obscurity. Then venturing through the realms of Progressive and Dissonant Death Metal we have The Enlightenment (There Was Never Will), with Mike’s bass and Brandon’s drums offering Matt all he needs to roar like a demonic entity. The Death of God showcases a more direct fusion of Death and Doom Metal, with all vocals and instruments breathing fire into our putrid souls, whereas Surrealistic Visions sounds and feels utterly chaotic and visceral from the very first second until the end, with Brandon stealing the show with his demented beats and fills. Finally, Sphere of Perpetuity is a pure Doom Metal onrush by the trio, dragging us all to pitch black darkness to the sound of their sluggish, devilish guitars, bass and drums.

For a band like Abyssal Rift, the music is far more intricate and involved than it seems, with moments of it being fleshed out or slowed down if only to emphasize the unfathomable heaviness. At other times, the music builds in intensity until it reaches a crescendo, to be followed by a filthy, chugging part, a ripping solo, or a transcendental or industrial-tinged atmospheric passage. This is exactly what you’ll get in Relics of Great Ash, which you can purchase from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, and don’t forget to also check what the band is up to on Facebook and on Instagram, and to stream their dark creations on Spotify. The second Death and Doom Metal attack by Abyssal Rift will certainly help them spread their obscurity and violence to even further lands, and if that’s an indication of where those guys are headed to with their future releases, the world will certainly be a much darker place.

Best moments of the album: Consummate Design and Surrealistic Visions.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Consummate Design 5:28
2. Relics of Great Ash 8:03
3. The Enlightenment (There Was Never Will) 4:31
4. The Death of God 6:22
5. Surrealistic Visions 4:50
6. Sphere of Perpetuity 6:58

Band members
Matt Auxier – lead vocals, guitars, synths, programming
Mike Sliclen – bass, backing vocals
Brandon Smith – drums, percussion, backing vocals

Album Review – Dymna Lotva / Vyraj (2026)

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Continuing to carry the torch of rebellion, this Post-Black and Doom Metal entity is taking a quantum leap with their fourth studio album, revolving around the concept of “Belarusian ethno-astronomy.”

Continuing to carry the torch of rebellion, which is only natural as the founding members had to flee their native Belarus due to political persecution and continued attempts by the Lukashenka regime to censor and suppress their art, Warsaw, Poland-based Post-Black/Doom Metal act Dymna Lotva (which translates from Belarusian as “swamp in smoke,” referencing the devastating atrocities and burned villages of Polesia, a deeply distinct geographic and cultural region that extends across southern Belarus into Ukraine and Poland) is taking a quantum leap in their rapid musical evolution with their fourth studio album, titled Vyraj. Recorded at Everest Studio (vocals), at Hata Studio (guitars and bass), and at Studio Młyn (drums), the new album by Katsiaryna “Nokt Aeon” Mankevich on vocals and traditional flutes, Jauhien Charkasau on the guitars, bass and keyboards, Mikita Stankevich also on the guitars, and Wojciech “Bocian” Muchowicz on drums revolves around a main concept that could be described as “Belarusian ethno-astronomy.” In Slavonic legends, the starry sky is associated both with the afterlife and with journeys, which becomes closely intertwined with the musicians’ personal experience of forced emigration. This idea is captured in the album title, which is a mythical realm to where birds migrate for the winter, and where the souls of the departed find their final rest.

Zory sounds and feels darkly captivating from the very first second, with Jauhien, Mikita and Wojciech crafting the perfect atmosphere for the she-devil screams by Katsiaryna, evolving into a dark and wild beast of Post-Black Metal; and the band then showcases their ritualistic side in Veha, offering cryptic vocalizations while Wojciech dictates the pace with his thunderous beats and fills, also boosted by the Stygian harp by guest Deanna F. and the child vocals by Miraslava Palynskaya and Jan Palynski. The Boat of Despair brings forward another brilliant fusion of tribal sounds and the electricity of Black and Doom Metal, with the haunting vocals by the one and only Aaron Stainthorpe (High Parasite, My Dying Bride) clashing majestically with Katsiaryna’s desperate roars; whereas Viedmieragina will pierce our minds with its scorching Black and Folk Metal elements, not to mention Jauhien and Mikita are ruthless with their Melodic Death Metal-inspired riffs.

Niama Darohi showcases a more atmospheric side of the band, inviting our souls to wonder through the vast Stygian lands rules by Dymna Lotva while the keys by Jauhien sound absolutely enfolding. Then we have Bu Samoje (featuring Andrii “Deicider” Sovgar, Jan Mačuĺski, Aliaksandr Čarnuha, Jauhien and Mikita as the “Balbuta Choir”), their most Folk Metal song of all, as if the band and their guests were united around the fire for a sacrifice; followed by Usta Za Mianie, the most generic of all songs, lacking the same dynamism and energy of its predecessors. Last but not least we face Return My Coffin Home, featuring guests Ingvarr (Schreigarm) on vocals, Déhà (Wolvennest, Silver Knife, Slow) on fretless bass, and Velzevul on backing vocals and FX, a stunning Melodic Black Metal aria to conclude their ritualistic feast, with all harsh and clean vocals sounding stunning.

Although Vyraj is still based on a solid foundation of Black and Post-Black Metal, the band moves far beyond any easy labelling by also drawing inspiration from Doom, Heavy, and Progressive Metal, while venturing even deeper by incorporating elements from electronic music, goth, and folklore. The album is a cornucopia of great songs that are atmospherically dense and invite the listener onto an emotional roller-coaster ride from the darkest depth of depression and fear, via raw anger and defiance, to heights of ecstatic exhilaration, and if you want to know more about those rebellious Belarusian dissidents and their music, you can find them on Facebook, Instagram, YouTube, and Spotify, and purchase their new album from BandCamp, from Prophecy Productions, or by clicking HERE. In a nutshell, Vyraj is a musical kaleidoscope with ever changing patterns and sonic colours of remarkable beauty that often dissolves into captivating melodies that at times even achieve a pop-like appeal, and once you start listening to the album, get ready to be consumed by its beauty and energy.

Best moments of the album: Zory, The Boat of Despair and Return My Coffin Home.

Worst moments of the album: Usta Za Mianie.

Released in 2026 Prophecy Productions

Track listing
1. Zory 4:48
2. Veha 7:01
3. The Boat of Despair 5:31
4. Viedmieragina 5:36
5. Niama Darohi 4:29
6. Bu Samoje 4:38
7. Usta Za Mianie 4:35
8. Return My Coffin Home 8:10

Band members
Katsiaryna “Nokt Aeon” Mankevich – vocals, traditional flutes
Jauhien Charkasau – guitars, bass, keyboards
Mikita Stankevich – guitars, backing vocals
Wojciech “Bocian” Muchowicz – drums

Guest musicians
Aaron Stainthorpe – vocals on “The Boat of Despair”
Ingvarr – vocals on “Return My Coffin Home”
Déhà – fretless bass on “Return My Coffin Home”
Deanna F. – harp on “Veha”
Andrii “Deicider” Sovgar – backing vocals on “Bu Samoje”
Miraslava Palynskaya & Jan Palynski – child vocals on “Veha”
Velzevul – backing vocals & FX on “Return My Coffin Home”
Andrii “Deicider” Sovgar, Jan Mačuĺski, Aliaksandr Čarnuha, Jauhien & Mikita – Balbuta Choir on “Bu Samoje”

Album Review – 10,000 Years / Esox Lucifer (2026)

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Sweden’s own Doom and Stoner Metal brigade is back with a (light-bearing) monster of an album, drifting through deep space with the same Sci-Fi, horror, and fantasy obsessions that have always fueled the band.

Once again pummeling the world into oblivion, delving deep into existential dread and dark lore, Västerås, Sweden’s own Doom/Stoner Metal brigade 10,000 Years returns with their eagerly awaited fourth studio album, titled Esox Lucifer (a metaphorical representation of a fierce, dark “light-bearing monster,” chosen by the band to represent their heavy, riff-centric music, which often delves into Sci-Fi and horror-inspired lore), the follow-up to their 2024 opus All Quiet on the Final Frontier. Recorded at Pine Hill Studios (with drums recorded at Studio Fluff), engineered by Erik Palm, mixed by Robert Lamu at Doomhead Productions, mastered by Magnus “Devo” Andersson at Endarker Studio, and displaying a Stygian artwork by Ryan T. Hancock, the new album by Alex Risberg on vocals and bass, Erik Palm on the guitars, and Alvin Risberg on drums drifts through deep space with the same Sci-Fi, horror, and fantasy obsessions that have always fueled the band, resulting result is their most ambitious work to date, one that will easily win over fans of Torche, High On Fire, The Sword and Kylesa.

Alvis kicks off the band’s melodic yet heavy and visceral journey in Beasts of the Northern Wild, a groovy intro that sets the stage for Pursuit Special, where Erik keeps slashing his axe nonstop, offering Alex exactly what he needs to deliver his high-pitched rockin’ vocals. The trio once again brings forward a wild fusion of Doom, Stoner and Sludge Metal in Fleur de Sledgehammer, flowing smoothly yet exhaling electricity until the very end; and Alex’s rumbling bass walks hand in hand with the mighty riffs by Erik in Church of the Red Museum, a hard hitting rock and metal feast perfect for their live concerts, with Alvin hammering his drums nonstop for our absolute delectation.

The same Alvin kicks off the also groovy and melodic Alien Tactics, alternating between heavier moments and faster Rock N’ Roll passages led by the striking riffs and solos by Erik. After such a wild metallic ride, the band slows things down a bit and invests in a more cadenced riff-oriented sound in Two Million Stones, followed by Paranoidium, where they get back to a more visceral sonority showcasing another blast of the killer riffs and thrilling solos by Erik. Finally, the massive bass lines by Alex ignite the title-track Esox Lucifer, a seven-minute beast where their heaviness goes through the roof, not to mention his vocals also exhale despair and insanity, darkening the skies and leaving us eager for more of their music in a not-so-distant future.

In a nutshell, 10,000 Years nailed it once again with Esox Lucifer, smashing our cranial skulls riff after riff without forgetting to add a high dosage of horror and fantasy as the background of each and every song from the album. If you’re curious to know more about such an amazing trio hailing from Sweden, you can find those guys on Facebook and on Instagram, including their awesome live performances, stream their bold, reverberating creations on YouTube and on Spotify, and above all that, purchase Esox Lucifer from their own BandCamp, as well as from Ripple Music’s BandCamp or official site (or simply click HERE for all things 10,000 Years). Put differently, simply sit down, relax, and let your soul be consumed by the band’s brand new (light-bearing) monster of an album.

Best moments of the album: Pursuit Special, Church of the Red Museum and Esox Lucifer.

Worst moments of the album: Two Million Stones.

Released in 2026 Ripple Music

Track listing
1. Beasts of the Northern Wild 2:03
2. Pursuit Special 3:53
3. Fleur de Sledgehammer 5:50
4. Church of the Red Museum 4:59
5. Alien Tactics 4:14
6. Two Million Stones 3:23
7. Paranoidium 3:38
8. Esox Lucifer 7:12

Band members
Alex Risberg – vocals, bass
Erik Palm – guitars
Alvin Risberg – drums

Album Review – Horrifier / Revelations of Gore (2026)

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These Norwegian death dealers are back with another slab of pure violence and gore, a concept record steeped in death, desperation, and ritual slaughter.

Hailing from Oslo, Norway, the ruthless Death Metal creature known as Horrifier has been vomiting pure, old school brutality straight from the underground since 2022, drawing inspiration from the legendary bands of the late 80’s and early 90’s by channeling the rotting sounds of Autopsy, the gnarly filth of Entombed, and the feral aggression of Repulsion. Now, those Norwegians return with their second full-length opus, Revelations of Gore, a concept record steeped in death, desperation, and ritual slaughter, following up on their critically acclaimed 2023 debut Horrid Resurrection. Following a dying man who, standing at the edge of his final breath, encounters a monstrous entity offering him eternal life (but immortality demands a price), the new opus by Adrian Risøy on vocals and guitars, Sander Halvorsen also on the guitars, Erik Krokan on bass, and Andreas Langås on drums sees that same man feed the creature with human sacrifices in exchange for more time among the living. What starts as desperation slowly turns into obsession, as the line between survival and damnation fades beneath a growing pile of corpses.

The disturbing intro Voices sets the stage for the band to annihilate our senses in Compelled to Slaughter, starting in a Doom Metal-inspired rhythm before all hell breaks loose to the demented vociferations by Adrian; and Andreas takes the lead with his demonic beats and fills in Human Butchery, supported by the scorching riffage by Adrian and Sander in a lecture in primeval Death Metal. The Ingestion again ventures through the realms of doom-laden Death Metal, as dark and evil as it can be, with the kitchen crafted by Erik and Andreas sounding utterly vile, and get ready for a solid riff attack in the form of Rejoice, Children of the Flesh, a ceremonial tune that could have been a little more violent and dynamic in the end.

Body Hoarder puts the band back on track with an avalanche of aggression and hatred flowing form all instruments, in special from the nonstop beats and fills by Andreas in another onrush of pure Death Metal insanity, whereas Morbid Lust continues to pave the band’s demonic path by offering more of their cadaverous vocals and old school riffs and beats, inviting us all for some action inside the pit. Their second to last blast of Death Metal violence comes in the form of The Final Oblation, with the guitars by Adrian and Sander transpiring malignancy accompanied by the rumbling bass by Erik; and last but certainly not least, we’re treated to the band’s signature blend of crude and vile Death Metal in Blood for Ascension, with Adrian’s bestial vocals penetrating deep inside our putrid minds.

Musically illustrating the desperation and dementia of the album’s main character with deft moves between relentless violence and suffocating darkness, Horrifier are absolutely savage throughout the entirety of their newborn spawn, and if you want to know more about such a violent band and show them your support you can find those guys on Facebook and on Instagram, stream their sick creations on Spotify, and grab a copy of the infernal Revelations of Gore from their own BandCamp or from the Personal Records’ BandCamp or webstore. Mirroring the protagonist’s descent into madness, Revelations of Gore stays true to the original ethos of the Metal of Death. No gimmicks. No mercy. Only death.

Best moments of the album: Human Butchery, Body Hoarder and Blood for Ascension.

Worst moments of the album: Rejoice, Children of the Flesh.

Released in 2026 Personal Records

Track listing
1. Voices 0:27
2. Compelled to Slaughter 3:44
3. Human Butchery 4:45
4. The Ingestion 4:29
5. Rejoice, Children of the Flesh 5:13
6. Body Hoarder 3:32
7. Morbid Lust 4:24
8. The Final Oblation 5:34
9. Blood for Ascension 5:59

Band members
Adrian Risøy – vocals, guitars
Sander Halvorsen – guitars
Erik Krokan – bass
Andreas Langås – drums

Album Review – Hulder / Verbolgen (2026)

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This up-and-coming Black Metal entity is back with its most compelling work, once again deeply rooted in the Northern European Black Metal tradition, always sounding fresh, grim and furious.

Emerging from the Pacific Northwest, Washington, United States-based entity Hulder built a devoted following across a series of releases marked by their commitment to ancient craft, uncompromising production, and a sound rooted in the Northern European Black Metal tradition. Now in 2026 the indomitable vocalist and multi-instrumentalist Hulder, alongside bassist Necreon, returns with Verbolgen, the project’s third full-length opus, and the follow-up to the highly acclaimed albums Godslastering: Hymns of a Forlorn Peasantry (2021), and Verses in Oath (2024).  Mixed by Ahti Kortelainen at Tico Tico Studio, mastered by Mika Jussila at Finnvox Studios, with drums engineered at Elektric City Recording, and displaying a dark and enfolding artwork by Morrigan, Verbolgen sees the project expand its instrumental palette, drawing in session musicians Keld on hurdy gurdy, lead guitars and keyboards, Vapula and Vrolok on drums, and Januaria on the flute, sharpening the dual creative core that has defined its most compelling work.

The ominous folk-infused intro Drie Raven will drag our souls to the dark realm ruled by Hulder until we’re crushed into pieces to the sound of The Crowning, where her she-demon roars match perfectly with the infernal Black Metal beats by Vrolok, also presenting haunting keyboard passages, courtesy of guest musician Keld. Thy Binding Oath offers a stunning fusion of Black, Folk and Doom Metal, and you can feel the atmosphere getting heavier and more suffocating while Hulder and Necreon deliver truly haunting vocals; followed by the title-track Verbolgen, bringing forward a more direct Black Metal attack by Hulder and her horde, with even her vocals sounding harsher and more infernal. And …And We Shall Sing is a true storm of extreme sounds by the band where Vapula takes the lead with his pulverizing beats and fills while the guitars by Hulder breathe fire.

Then a sinister intro morphs into a Melodic Black and Folk Metal extravaganza entitled In Blood and In Earth, where the keys by Keld sound majestic from stat to finish, followed by Den Nacht Zijn Lied, which should translate from Dutch as “the night’s song”, a fitting title for a classic Black Metal tune where Vrolok once again sounds ruthless on drums supported by the hammering bass by Necreon. View From Nemeton is a hurricane of Black Metal insanity by the band, with Hulder darkly vociferating the song’s caustic words (“In inhuman plane where flora nor fauna shall dwell / Everlasting winds rustle golden glades though grace not the mortal flesh / In the embers of olden days and those which have yet to come / Forsaken effigies stand guard for the rites of the sacred blot / I rede thee wanderer / Hear thou my rede”) in a lecture in the style, before the expansive instrumental piece The Glow of Dawn closes the album on an epic mode, leaving us absolutely disoriented after all is said and done.

With the release of the excellent Verbolgen, Hulder cement their place among the greatest names of the current Black Metal scene worldwide, sounding sharper and more obscure than ever, while remaining loyal to their roots. If you want to know more about this up-and-coming Black Metal beast, you can find the project on Facebook and on Instagram, including their live dates (like the incendiary upcoming tour with the mighty Dimmu Borgir), stream their music on any platform like Spotify, and above all that, purchase Verbolgen from BandCamp or by clicking HERE. Verbolgen is a Dutch adjective that translates to “enraged,” “furious,” or “incensed,” describing a state of intense, seething anger, often stemming from a feeling of being wronged, and all those dark feelings are exactly what Hulder offer us all in their new album, a scathing blast of Black Metal that will reach deep inside our blackened hearts.

Best moments of the album: The Crowning, …And We Shall Sing, In Blood and In Earth and View From Nemeton.

Worst moments of the album: None.

Released in 2026 20 Buck Spin

Track listing
1. Drie Raven (Intro) 2:18
2. The Crowning 6:28
3. Thy Binding Oath 5:38
4. Verbolgen 4:01
5. …And We Shall Sing 6:01
6. In Blood and In Earth 7:09
7. Den Nacht Zijn Lied 6:45
8. View From Nemeton 5:23
9. The Glow of Dawn 4:48

Band members
Hulder – vocals, electric & acoustic guitars, keyboards
Necreon – bass, vocals

Guest musicians
Keld – hurdy gurdy, lead guitars, keyboards (session)
Vapula – drums on “Verbolgen”, “…And We Shall Sing”, “View From Nemeton” and “The Glow of Dawn”
Vrolok – drums on “The Crowning”, “Thy Binding Oath”, “In Blood and In Earth” and “Den Nacht Zijn Lied”
Januaria – flute (session)

Album Review – God Unknown / Last Glimpse of Daylight (2026)

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This collaborative Atmospheric Death and Funeral Doom Metal project is ready to embrace you with their debut opus until you see your last glimpse of daylight.

A collaborative Atmospheric Death and Funeral Doom Metal project formed in Cardiff, Wales in 2022 by guitarist John Courage, featuring musicians from the UK and Sweden, God Unknown are finally unleashing upon humanity their debut offering, beautifully titled Last Glimpse of Daylight. Produced by the band itself, engineered by John Courage and Daniel Tjernberg, mastered by Dan Swanö at Unisound, and showcasing a darkly serene artwork by Manino Linic, the debut album by Daniel Tjernberg on vocals (with additional vocals by Camilla Tjernberg on the song “Stay with Me”), John Courage on the guitars, Adam West on bass and additional guitars, Michael Lang also on bass, Kostas Panagiotou on keyboards, and Tats McGee on drums will embrace you in absolute grief and melancholy, darkening the skies with the sheer power of funereal and grim Doom Metal.

The thunderous, low-tuned bass lines by Adam set the tone in the Stygian intro MMMMDXIV, before all hell breaks loose in Embraced by the Moonlight, with the deep, devilish vocals by Daniel walking hand in hand with the sluggish Doom Metal riffs by John and Adam. Then we face the massive, embracing title-track Last Glimpse of Daylight, as slow and hammering as its predecessor, where Tats pounds his drums with tons of hatred and darkness in his heart; and it’s Kostas who takes the lead with his church-like keys in the phantasmagorical interlude Passage, darkening the skies for the band to attack us with Fallow Land, led by another crushing performance by Tats on drums, offering Daniel exactly what he needs to vociferate like a demonic entity. It’s then time for Camilla to embellish the airwaves with her melodic vocals in Stay with Me, a lecture in passionate and somber Funeral Doom Metal by God Unknown, flowing into the obscure outro Frost on the Windowpane, again led by Adam and his doomed bass lines.

Inspired by the love of somber, funeral doom and atmospheric themes, God Unknown are ready to crush our minds and souls with the absolute heaviness and obscurity flowing from their excellent debut Last Glimpse of Daylight, and if you want to join such a promising band in gloom and darkness you can find them on Instagram, stream their music on any platform such as Spotify, and of course, above all that, purchase a copy of their striking debut from their own BandCamp or by clicking HERE. In other words, let the lugubrious and grim Doom Metal by God Unknown embrace you, until you see your last glimpse of daylight.

Best moments of the album: Embraced by the Moonlight and Stay with Me.

Worst moments of the album: None.

Released in 2026 TM Productions

Track listing
1. MMMMDXIV 1:11
2. Embraced by the Moonlight 2:46
3. Last Glimpse of Daylight 6:09
4. Passage (Interlude) 2:16
5. Fallow Land 6:36
6. Stay with Me 5:11
7. Frost on the Windowpane 2:51

Band members
Daniel Tjernberg – vocals
Camilla Tjernberg – vocals on “Stay with Me”
John Courage – guitars
Adam West – bass, additional guitars
Michael Lang – bass
Kostas Panagiotou – keyboards
Tats McGee – drums

Album Review – Viande / Monument aux morts (2026)

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This the unrelenting Blackened and Atmospheric Death Metal entity from France strikes again with their sophomore album, definitely not one for the faint of heart.

Forged in 2013 in the fires of Chambéry, an Alpine town in southeast France, the unrelenting Blackened/Atmospheric Death Metal entity known as Viande (the French word for “meat”) does more than create scarring, wholesome dark and doomy Death Metal – they delve into the more atmospheric side of things that messes with your consciousness and has potential psychological implications. Adorned by a grim artwork by JB Godefroy, the caustic Monument aux morts, which is French for “war memorial,” is the sophomore studio opus by vocalist J, guitarist B, bassist O, and drummer I, following up on their 2022 full-length L’abime dévore les âmes, offering more of the band’s aggressive, militaristic approach aided by a combination of abyssal growls and tormented screams, and ultimately, a haunting, eerie atmosphere touched by dissonance that wouldn’t be out of place in a horror movie.

After an ominous start the band comes ripping our hearts out in Linceul immense (“immense shroud”), with the vile guttural by J sending shivers down our spines in a lecture in Blackened Doom Metal; then O and I make the earth tremble with their ruthless bass and drums in Sacrifice ardent (“burning sacrifice”), as sluggish, grim and vile as it can be. Germes de mort (“seeds of death”) brings forward another round of the band’s trademark fusion of Black, Death and Doom Metal, led by the cryptic riffs and synths blasted by B, while Monolithe de chagrin (“monolith of sorrow”) alternates between the absolute heaviness of Doom Metal and the visceral sounds of Death Metal.

After such a demented display of deadly sounds the band keeps haunting our souls with Cercueil de vase (“coffin of vase”), a bold, intense display of their Atmospheric Death Metal vein spearheaded by the always gruesome vociferations by J, followed by Une cage d’os (“a cage of bones”), not recommended for the faint at heart, with the dissonant riffs by B piercing our flesh mercilessly. I takes the lead with his slab of brutality on drums in L’esprit cachot (“the dungeon spirit”), making the album sound even more obscure and infuriated, whereas Austérité maximum (“maximum austerity”) is an extensive outro that albeit atmospheric doesn’t add much to the album. And lastly, as a bonus track we have L’homme Brasier (“the brazier man”), as demented as the other songs and, therefore, worth the investment in whatever version it’s available.

When the carefully devised Monument aux morts ends, the feeling is akin to stumbling out of a horrific catacomb in an enhanced spiritual state, with the cries of a thousand dead souls still ringing in your head, being therefore perfect for fans of the obscure music crafted by Incantation, Teitanblood, Cruciamentum, Dwelling Below, and Dead Congregation. Furthermore, if you want to know more about such a dark creature from the French extreme music landscape, you can find the band on Facebook and on Instagram, staying up to date with their live concerts, stream their scorching music on any platform such as Spotify, and above all that, grab a copy of the excellent Monument aux morts from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store (or click HERE for all things Viande). Monument aux morts is an exceptional album in the style and definitely not one for the faint of heart, and we can all rest assured Viande are far from done when it comes to spreading darkness through their Black and Death Metal creations.

Best moments of the album: Linceul immense, Cercueil de vase and Une cage d’os.

Worst moments of the album: Austérité maximum.

Released in 2026 Transcending Obscurity Records

Track listing
1. Linceul immense 6:26
2. Sacrifice ardent 7:07
3. Germes de mort 6:17
4. Monolithe de chagrin 3:58
5. Cercueil de vase 7:07
6. Une cage d’os 6:28
7. L’esprit cachot 6:11
8. Austérité maximum 2:30

Bonus track
9. L’homme Brasier 5:58

Band members
J – vocals
B – guitar, synths
O – bass
I – drums