Tag Archives: doom metal

Album Review – Ildaruni / Divinum Sanguinem (2025)

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This Armenian Black Metal beast is back with its sophomore opus, a conceptual work centered on Mithraism, guiding the listener through nine ominous rites meant to transform one into the storm of nomos and burning gnosis.

Blending Epic Black Metal and ancient folk melodies forgotten from times immemorial, Beyond Unseen Gateways, the 2021 debut by Yerevan, Armenia-based Pagan/Atmospheric Black Metal horde Ildaruni explored the Urartian domain’s height and the esoteric knowledge of pagan mysticism. Now on their sophomore opus, titled Divinum Sanguinem, or “divine blood” from Latin, the band enclasps Black Metal’s aggressive and arcane form, steeped in the immersive, murky atmosphere of a desolate, ancient shrine. Recorded by Avet Ghlijyan at Massive Studios (vocals), by Mark Erskine (guitars and bass), by Armen Shaverdian at Guitar Clinic Studio (drums), and by Maria Harutyunyan at Alpha Sound (acoustic instruments and choirs), mixed and mastered by Christoph Brandes at Iguana Studios, showcasing a grim artwork by Khaos Diktator Design, and featuring an array of very special guest musicians, the new album by Narek Avedyan on vocals, Robert Meliksetyan and Mark Erskine on the guitars, Artak Karapetyan on bass, and Arthur Poghosyan on drums and dap is a conceptual work centered on Mithraism, its occult initiations and lesser-known mysteries, guiding the listener through nine ominous rites meant to transform one into the storm of nomos and burning gnosis. A work of mystical upheaval and a sermon to the bestower of creed, it leads through ghastly pathways toward the ladders of Apothanaitismos.

The album begins with the cinematic, ethereal intro Mithras Alone Is My Wreath, featuring the cello by guest Andranik Aghajanyan, setting the stage for Ildaruni to consume our blackened hearts to the sound of The Ascension of Kosmokrator, a no shenanigans, ruthless Black Metal attack spearheaded by the venomous gnarls by Narek and the blast beats by Arthur. Then arising from the pits of the underworld we face Of Nomos and Flaming Flint Stone, featuring the Khazer Choir from Armenia to give it a truly haunting vibe, while Robert and Mark’s riffs transpiring pure darkness; and the bagpipes by Arthur Atayan and the narration by Artak Karapetyan bring sheer epicness to Forged With Glaive and Blood, while the band’s riffs and beats keep the atmosphere as caustic as it can be. And the clean vocals by guest Armen Shahbegian clash with the devilish vociferations by Narek in Zurvan Akrane, another explosion of Melodic Black Metal by Ildaruni.

The Khazer Choir returns in Arcane Sermon, also presenting a heavy-as-hell kitchen by Artak and Arthur, overflowing classic Black Metal while at the same time presenting the band’s epic approach; whereas it’s time for six minutes of Doom Metal-infused obscurity in Immersion Into Empyrean, with Narek roaring nonstop accompanied by the sluggish yet hammering drums by Arthur. The qanun by Mar Margaryan, alongside another phenomenal contribution by the Khazer Choir, make the band’s infernal sounds feel even more imposing in Scorching Pathways to Samachi, the most detailed song of the album, presenting multiple layers that in the end converge into absolute darkness, while closing the album we’re treated to the title-track Divinum Sanguinem, with guest Tamara Mkhitaryan making a “Beauty and the Beast” vocal duet with Narek, a lesson in Melodic Black Metal where the riffage by Robert and Mark will darken the skies for all eternity.

While the Armenian horde has left their earlier folk-driven melodies and riffs behind, grandiose and wickedly melodic passages still lurk amid the oppressive, grim elements found in Divinum Sanguinem, sporadically erupting with blazing fury. Real choir arrangements summon and channel the album’s lyrical mysteries, uniting its thematically entwined tracks into a single, esoteric rite, and you can explore and feel all those details and elements by purchasing a copy of the album from BandCamp or by clicking HERE. Don’t forget to also follow the band on Facebook and on Instagram, and to stream their harsh, embracing Black Metal creations on Spotify. In a nutshell, Divinum Sanguinem marks a new era in the career of Ildaruni, solidifying their name in the current Extreme Metal scene worldwide, and pointing to an even brighter future ahead of one of the best (if not the best) metal bands to ever arise from the beautiful Hayastan.

Best moments of the album: Forged With Glaive and Blood,Scorching Pathways to Samachi and Divinum Sanguinem.

Worst moments of the album: Immersion Into Empyrean.

Released in 2025 Black Lion Records

Track listing
1. Mithras Alone Is My Wreath 2:27
2. The Ascension of Kosmokrator 5:42
3. Of Nomos and Flaming Flint Stone 5:30
4. Forged With Glaive and Blood 5:46
5. Zurvan Akrane 6:33
6. Arcane Sermon 5:50
7. Immersion Into Empyrean 6:00
8. Scorching Pathways to Samachi 6:49
9. Divinum Sanguinem 8:04

Band members
Narek Avedyan – vocals
Robert Meliksetyan – guitars, acoustic guitars, ambience, samples
Mark Erskine – guitars
Artak Karapetyan – bass
Arthur Poghosyan – drums, dap

Guest musicians
Khazer Choir – choirs on “Of Nomos and Flaming Flint Stone”, “Arcane Sermon” and “Scorching Pathways to Samachi”
Arthur Atayan – bagpipes on “Forged with Glaive and Blood”
Mar Margaryan – qanun on “Scorching Pathways to Samachi”
Andranik Aghajanyan – cello on “Mithras Alone is My Wreath”
Tamara Mkhitaryan – female vocals on “Divinum Sanguinem”
Armen Shahbegian – clean vocals on “Arcane Sermon”, “Scorching Pathways to Samachi” and “Zurvan Akrane”
Artak Karapetyan – narrations on “Forged with Glaive and Blood”

Album Review – Novembre / Words of Indigo (2025)

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The newly reinvigorated Italian pioneers of Atmospheric and Progressive Gothic, Doom and Death Metal return with their most elaborately adorned and sonically refined opus to date.

Coinciding with 35 years since the band’s original inception under the Catacomb moniker, and after an extended period of inactivity following the release of their 2016 acclaimed album Ursa, the newly reinvigorated Italian pioneers of Atmospheric and Progressive Gothic/Doom/Death Metal known as Novembre return with their most elaborately adorned and sonically refined opus to date in the shape of their ninth studio album, titled Words of Indigo. Mixed and mastered by Dan Swanö (Opeth, Katatonia, Bloodbath) at Unisound, and displaying a classy artwork by Travis Smith (Opeth, Katatonia) of Seempieces Design Studio, the new album by vocalist Carmelo Orlando, guitarists Alessio Erriu and Federico Albanese, and drummer Yuri Croscenko, with the support of session bassist Fabio Fraschini, will embrace you in a melancholic yet warm darkness, being therefore highly recommended for fans of Sacturnus, Novembers Doom, Shores of Null, Les Discrets, Woods of Ypres, My Dying Bride, and Draconian.

After a whimsical intro the band comes crushing our souls with their share of melancholy and doom in Sun Magenta, spearheaded by the crisp, piercing guitars by Alession and Federico, whereas Statua showcases an even more pensive, darker side of the band, with the clean and harsh vocals by Carmelo sounding amazing from start to finish. The band continues to distill their fusion of Progressive and Doom Metal in Neptunian Hearts, sounding heavy while also bringing tons of melody to our avid ears; whereas Ann-Mari Edvardsen (of The 3rd and the Mortal) makes a stylish vocal duet with Carmelo with her stunning voice in House of Rain, adding even more darkness to their core sound and, therefore, resulting in a beautiful ballad of extreme music, followed by Brontide, keeping the ambience dense, grim and hypnotic thanks to another classy performance by all band members, with Yuri dictating the pace with his doomed beats and fills.

Then after the theatrical interlude simply titled Intervallo we face another blast of their Progressive Doom Metal in the form of Your Holocene, an enfolding, thrilling tune where Carmelo’s deep, nocturnal vocals sound even more powerful, supported by the always incendiary riffs by both Alessio and Federico. Chiesa dell’alba brings forward more of their mix of Paradise Lost-infused doom and the progressiveness of bands like Dream Theater and Allegaeon, again presenting the intricate and fierce drumming by Yuri, followed by Ipernotte, one of the most detailed, multi-layered and vibrant of all songs, where the guitar job by Alessio and Federico is beautifully complemented by the thunderous bass by Fabio Fraschini. And last but not least, the band will darken the skies and consume our minds with Post Poetic, where Carmelo yet again melts our faces alternating between clean, ethereal vocals and the madness of his harsh gnarls, flowing into the climatic outro Onde, putting a pensive, somber ending to the album.

An exquisite and finely-textured display of creative prowess exploring themes of danger and innocence, fear and nostalgia, the latest journey by Novembre takes the listener through the torrents of raging Death Metal and sweeping, uplifting passages of serene poignancy, all woven together as finely crafted and layered melodic epics. You can put your hands on Words of Indigo via BandCamp or by clicking HERE, and don’t forget to also start following the band on Facebook and on Instagram for news, tours dates and more of their music, and to stream the embracing sounds from all of their albums on Spotify. November is undoubtedly a month that transpires doom, and the music offered by Novembre in Words of Indigo will surely work as the perfect soundtrack for your gloomiest, darkest days of such a Stygian month.

Best moments of the album: Statua, Your Holocene and Post Poetic.

Worst moments of the album: Brontide.

Released in 2025 Peaceville Records

Track listing
1. Sun Magenta 7:23
2. Statua 6:05
3. Neptunian Hearts 6:11
4. House of Rain 7:33
5. Brontide 6:21
6. Intervallo 1:14
7. Your Holocene 5:29
8. Chiesa dell’alba 7:26
9. Ipernotte 6:52
10. Post Poetic 6:27
11. Onde 2:29

Band members
Carmelo Orlando – vocals
Alessio Erriu – guitars
Federico Albanese – guitars
Yuri Croscenko – drums

Guest musician
Fabio Fraschini – bass (session)
Ann-Mari Edvardsen – vocals on “House of Rain”

Album Review – Drofnosura / Ritual of Split Tongues (2025)

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A strange beast that’s absolutely comfortable in its own iridescent, translucent skin, this Canadian entity will stun us all with their expansive, stirring, and dissonant new album.

A strange beast that’s absolutely comfortable in its own iridescent, translucent skin, Toronto, Canada-based Blackened/Atmospheric Sludge/Post-Metal entity Drofnosura has been taking elements from multiple styles since their inception back in 2010, finely grounding them, and using the material to sculpt a new body entirely, just like what they have to offer in their sophomore opus Ritual of Split Tongues, following up on their scathing 2019 debut Voidfever. Showcasing a beyond menacing, disturbing artwork by Dusty Ray Art, the new album by W.L.F. on guitars, vocals, and synthesizers, M.A.D. on bass, vocals and synthesizers, and D.A.S. on drums, percussion, vocals and synthesizers sees the band traversing various realms, with a few songs surpassing the 15-minute mark, putting the emphasis on creating a meditative, transcendent atmosphere more than anything else.

Like a vile creature arising from the pits of the netherworld, the trio comes crushing our cranial skulls mercilessly in Selection of a Corpse, with the hammering drums by D.A.S. and the visceral guitars by W.L.F. complementing each other in great fashion. Then in the context of Hindu cremation, Kapala Kriya is a ritual where the skull of the deceased is pierced with a stick during the cremation process, while in heavy music it’s a ten-minute demented creation by Drofnosura where their venomous, minimalist vocal lines will haunt your damned souls for all eternity, sounding almost like the actual Hindu ritual. Then the title-track The Ritual of Split Tongues brings to our putrid ears over 15 minutes of primeval, sinister Doom Metal with Post-Black Metal elements led by the once again slow but fierce beats by D.A.S., followed by ἐγείρω (egeirō), a Greek verb that primarily means to raise, awaken, or stir up. It can also mean to wake up from sleep or to be awakened, as well as it can refer to the act of resurrecting or raising someone from the dead, resulting in a ritualistic interlude that sets the tone for The Well of Seven Heads, where the band shows absolutely no mercy for our damned minds and bodies while their Atmospheric Sludge Metal vein pulses harder than ever during its venomous 12 minutes, flowing into the also atmospheric, gloomy and dissonant Desounen, putting a Stygian ending to an album not recommended for the lighthearted.

Highly recommended for admirers of the music by Blut aus Nord, Devenial Verdict, Eibon, Amenra, Lurk, Isis, Pillar of Light, and The Angelic Process, among others, Ritual of Split Tongues is an astounding album where multiple influences converge to create music that’s at once expansive, stirring, and dissonant, and lingers on in the mind for longer than one would think, with the music naturally evolving within each of the songs as they progress, and it isn’t fatiguing just because it’s done in such an intuitive manner. You can get more details about Drofnosura, their music, live concerts and so on by checking what they’re up to on Facebook and on Instagram (or by clicking HERE), stream their cryptic creations on Spotify, and of course show your support to those talented Canadians by purchasing their bestial new album from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In the end, Ritual of Split Tongues is certainly not an album for the lighthearted as mentioned, but let’s face it, that’s exactly what Drofnosura wanted to achieve with their multi-layered, grim and absolutely stunning new album.

Best moments of the album: The Ritual of Split Tongues and The Well of Seven Heads.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Selection of a Corpse 6:23
2. Kapala Kriya 10:22
3. The Ritual of Split Tongues 15:27
4. ἐγείρω 3:48
5. The Well of Seven Heads 12:28
6. Desounen 15:01

Band members
W.L.F. – guitars, vocals, synthesizers
M.A.D. – bass, vocals, synthesizers
D.A.S. – drums, percussion, vocals, synthesizers

Album Review – Thaumaturgy / Pestilential Hymns (2025)

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This cryptic American beast returns from the underworld with its sophomore opus, offering more of its vicious blend of dark, doom-laden, chasmic, and cavernous Death Metal.

Spawned in the American Midwest by an enigmatic musician that goes under the alias KT, driven by the urge to play a vicious blend of dark, doom-laden, chasmic, and cavernous Death Metal, taking influence from a wide range of outsider music, Kansas, United States-based Blackened Death/Doom Metal outfit Thaumaturgy continues to push the boundaries beyond the genre’s forerunners in order to invoke contemplation upon the super-mundane realms that their name implies in their new offering titled Pestilential Hymns, following up on his 2023 vile debut  Tenebrous Oblations. Now a power-trio after the addition of TG and DS to their ranks, the band has morphed into an entity whose new musical offering is crammed with furious, ripping riffs, contrasted by crushing, echoing doom passages, as well as a surprising element of dark melody, all embraced by the suitably ancient cover artwork by Daniel Hermosilla of Nox Fragor Art.

Devilish, visceral riffs ignite the band’s black mass in Neuroticism Triumphant, with KT’s harsh vociferations adding sheer insanity to their already demented sound, blasting our minds and faces mercilessly. The Oncologist’s Hymn carries a weird name for a song, but as the music is what really matters we face an avalanche of primeval Death Metal by the trio, followed by The Shadow Approaches, bringing forward elements from the most hellish form of Doom Metal while still being deeply rooted in Death Metal. Needless to say, KT yet again sounds inhumane on vocals. And Plague Ritual sounds absolutely dissonant, evil and unrelenting from start to finish, with its cryptic, vile vocals, riffs and drums penetrating deep inside our minds while also showcasing haunting background keys and melodies.

Then the guttural by KT gets even deeper and more bestial in Awaken Ares, supported by an overdose of harsh riffage, rumbling bass lines and nonstop beats and fills, or in other words, it’s an ode to the vilest form of Death Metal. It’s pedal to the metal in the sonic attack entitled Entropic Hegemony, with its riffs reeking of Black Metal, therefore adding even more obscurity to the band’s core sound; whereas a melodic yet evil guitar kicks off the Doom Metal-infused interlude An Ignominious End, a bit too long for my taste, warming us up for Forced March, ending the album majestically, a destructive force of Death Metal spearheaded by KT’s grim vocal lines while the music remain as heavy and obscure as possible before all fades into oblivion.

To qualify Thaumaturgy as “blackened” would not be unfair, but Pestilential Hymns as a (w)hole wholly feels like a Death Metal record, just one on the fringes of unorthodoxy and angularity, unbound but never belabored. Still, despite this forward-thinking approach, the band retains a sense of the ancient, of elder days in the underground when diabolism truly began to bloom in Death Metal, and you can join such an uncanny creature form the abyss in its quest for extreme music on Instagram, stream the band’s scorching, visceral creations on Spotify, and of course put your putrid hands on Pestilential Hymns from the band’s own BandCamp, as well as from Memento Mori. Pestilential Hymns brings to our avid ears first-class music to mangle our minds, and you better be warned that once you begin your descent into the underworld together with those evil creatures, there’s no turning back.

Best moments of the album: Neuroticism Triumphant, Plague Ritual and Forced March.

Worst moments of the album: An Ignominious End.

Released in 2025 Memento Mori

Track listing
1. Neuroticism Triumphant 5:20
2. The Oncologist’s Hymn 5:52
3. The Shadow Approaches 5:32
4. Plague Ritual 6:34
5. Awaken Ares 6:26
6. Entropic Hegemony 6:05
7. An Ignominious End 2:28
8. Forced March 7:23

Band members
KT – vocals, guitars, bass
TG – guitars
DS – drums

Album Review – Perishing / Malicious Acropolis Unveiled (2025)

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This Costa Rican entity will attack with their debut opus, an extension of their style of playing slow, torturous, dread-filled Death and Doom Metal where every note carries weight, and with it, deathly implications.

Formed in 2023 in San José, Costa Rica, boasting members of Astriferous, Mortual, Candarian, Bloodsoaked Necrovoid, and Necroferum, and following a sensational demo titled Lutum in 2024, Death/Doom Metal creature Perishing is back with their much awaited debut full-length offering, beautifully titled Malicious Acropolis Unveiled. Mixed by Andrew Oswald, mastered by Dan Lowndes at Resonance Sound Studio, and showcasing a vile, grim artwork by the phenomenal Belial NecroArts (Undersave, Hierarchies), the debut opus by J. Antonio Salas on vocals, Justin Sánchez on the guitars, José Pablo Phillips on bass, and JM Arrea on drums is a must-have for admirers of Disembowelment, Rippikoulu, Mortiferum, Winter, Thergothon, and Inverloch, offering us all an extension of their style of playing slow, torturous, dread-filled Death and Doom Metal where every note carries weight, and with it, deathly implications.

The pounding drums of apocalyptic doom by JM ignite the devilish Autolysis (I. Imago Fluidus Macula), accompanied by the otherworldly bass by José Pablo, whereas Autolysis (II. Fatum Cursed by Nature) sounds even more sluggish and grim than the opening tune, evolving into a demonic beast led by the deep gnarls by J. Antonio. The Stygian riffs by Justin walk hand in hand with the low-tuned, venomous bass by José Pablo in Castle of the Leached Body, a lecture in Blackened Doom made in Costa Rica, and another cryptic start will haunt our damned souls in Las Ruinas del Palacio, before all explodes into a doomed wall of sounds guided by JM’s visceral drums. Osedax (Devoured by the Cavernous Worm) is a lecture in Death and Doom Metal by the quarter, with J. Antonio’s hideous roars being boosted by the demonic guitars by Justin; whereas their coup-de-grace comes in the form of Acropolis of Malignancy, sounding and feeling as infernal, heavy and disturbing as it can be, with the whole band delivering pure, unfiltered doom until the end.

Maintaining a suitably organic sound and being selective with their tunes to create the best impression, Perishing have created an album that fans of this kind of punishing, slow blend of death and doom music will find impossible to resist. You can get in touch with those ruthless Costa Rican metallers via Instagram, and I’m sure if you’re planning a visit to their homeland you might be able to see them live, stream their heavy-as-hell chants on Spotify, and add a copy of their newborn beast to your devilish collection by purchasing it from BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. The Costa Rican extreme scene has never been stronger and more prolific, and it’s with albums like Malicious Acropolis Unveiled that we can rest assured those blackened, evil sounds will keep reverberating across the entire world for man years to come.

Best moments of the album: Castle of the Leached Body and Osedax (Devoured by the Cavernous Worm).

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Autolysis (I. Imago Fluidus Macula) 5:24
2. Autolysis (II. Fatum Cursed by Nature) 6:18
3. Castle of the Leached Body 8:58
4. Las Ruinas del Palacio 7:27
5. Osedax (Devoured by the Cavernous Worm) 9:21
6. Acropolis of Malignancy 7:35

Band members
J. Antonio Salas – vocals
Justin Sánchez – guitars
José Pablo Phillips – bass
JM Arrea – drums

Album Review – Litania / Litania (2025)

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This Italian and Serbian entity is unleashing upon us their debut opus, offering eight tracks of evocative, hypnotic doom, where the raw power of guitars merges with the spiritual depth of Indian classical music.

Formed in 2024 by the talented and seasoned musicians Elisa De Munari (Elli De Mon) on vocals, harmonium, sitar and dilruba, Marco Degli Esposti (The Great Northern X) on the guitar and drones, Enrico Baraldi (Collars, Ornaments) on bass, and Vladimir Marikoski (The Black Heart Procession, NBG) on drums and percussions, Italy/Serbia-based Hindustan/Psych Doom Metal/Rock entity Litania is unleashing upon us their debut self-titled opus, offering eight tracks of evocative, hypnotic doom, where the raw power of guitars merges with the spiritual depth of Indian classical music. Recorded, mixed and mastered by Marco Degli Esposti and Enrico Baraldi at Happenstance Recording Studio and at Vacuum Studio, the album presents dark and intense songs interspersed with instrumental passages featuring sitar, dilruba, harmonium, and tanpura. The vocals, deep and ritualistic, draw inspiration from ancient Indian Ragas, evoking a sonic journey suspended between abyss and transcendence.

Their fusion of Hindustan sounds and the absolute heaviness of doom will smash you like an insect in Manasi Devi, the “Goddesses of Snakes” or “Serpentine Goddess”, with the vocals by Elisa bringing a welcome (and hypnotizing) touch of finesse to their music. Then investing in a more Psych Rock-oriented sonority we have Ghunghru (a musical anklet made of small metallic bells strung together, tied around the ankles of classical Indian dancers), with Enrico simply hammering his bass in great fashion, followed by Veil of Illusion, which according to the band is a chant of devotion and fire, honoring Shankara, the sage who dissolved illusion, a powerful prayer to the Lord of the Mountain’s Daughter, where silence and sound merge into oneness. Musically speaking, it offers us a perfect fusion of Doom Metal and ritualistic passages; whereas Marco and Enrico are on absolute fire with their axes in Vighnaharta (a Sanskrit term meaning “remover of obstacles” or “destroyer of impediments”), a song tailored for some good old headbanging.

Jamuniya, the Hindi name for the Amethyst gemstone, continues to pave their path of adoration for heavy, doomed sounds and the mesmerizing sounds of Hinduism, where Elisa is once again amazing on vocals while Vladimir delivers those sluggish beats we love in Doom Metal. After that, Marco’s riffage will pierce your skull in Bound, supported by the rumbling bass by Enrico and the pounding drums by Vladimir in another slab of mysterious and uncanny doom. In Shankara, a Sanskrit word meaning “beneficent,” “giver of bliss,” or “one who does good,” and also a name for the Hindu god Lord Shiva, the intro will already embrace you and drag you to the whimsical realm ruled by Litania, all of course boosted yet again by Elisa’s delicate yet visceral vocalizations, before we face Fading Light, which takes a bit too long to properly kick off, but when it does, it’s as heavy and vibrant as its predecessors.

After all is said and done, it’s impossible not to feel absolutely hypnotized by the unique and enfolding music crafted by Elisa, Marco, Enrico and Vladimir in their debut offering, showcasing Litania’s power and paving a very promising path ahead of them. Furthermore, if you want to know more about such an amazing up-and-coming band hailing from Europe, but with strong ties to the Indian culture, you can find them on Facebook and on Instagram, including their tour dates (and I would simply love to see them live one day), and of course purchase a copy of their breathtaking debut from the Heavy Psych Sounds Records’ BandCamp or webstore, where you can find some beautiful versions of the album for your private collection, or simply click HERE for all things Litania. This is one of those bands that are not just making good heavy music, but infusing it with other sounds form out of the rock and metal specter, and I’m sure once you get a first taste of their unique music, you’ll get addicted to it and your soul will be transported to their ethereal realm for all eternity.

Best moments of the album: Manasi Devi, Veil of Illusion and Shankara.

Worst moments of the album: Fading Light.

Released in 2025 Heavy Psych Sounds Records

Track listing
1. Manasi Devi 5:46
2. Ghunghru 3:01
3. Veil of Illusion 6:17
4. Vighnaharta 4:06
5. Jamuniya 4:09
6. Bound 4:45
7. Shankara 4:48
8. Fading Light 4:56

Band members
Elisa De Munari – vocals, harmonium, sitar, dilruba
Marco Degli Esposti – guitar, drones
Enrico Baraldi – bass
Vladimir Marikoski – drums, percussions

Concert Review – Crypta (The Garrison, Toronto, ON, 10/08/2025)

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On a cooler night in Toronto, metalheads from all over the city had an absolute blast with one of the must-see Death Metal beasts from the worldwide extreme music scene.

OPENING ACTS: Pretty Face and Death Club

This Wednesday was by far the coolest day from the past three or four months in Toronto, but that didn’t stop the metalheads from different parts of the city to head to The Garrison for a sold out show with PRETTY FACE, DEATH CLUB and CRYPTA during their In the Other Side Tour 2025, another killer event organized by the unstoppable Noel Peters of Inertia Entertainment. As the first band was only going to hit the stage at 8pm, I decided to take my time at home, had proper dinner, relaxed a little, and therefore avoided the chaotic madness of QEW during rush hour. Keith Ibbitson of Metal Paparazzi got to the venue a little earlier to get ready to take some amazing shots of all bands, which by the way are all led by super talented ladies who make heavy music way better, heavier, and more fun. The merch selection was also great for all bands, including some kick-ass guitar picks from Crypta, and everything with good quality and for a reasonable price. Not only that, the variety of beer and other drinks at The Garrison is way bigger and cheaper than at bigger venues like Budweiser Stage. Supporting the underground definitely has its advantages, with the main one being the much lighter impact on your pocket for an even higher amount of adrenaline and energy onstage.

On a side note, before and after the bands kicked some serious ass onstage, I had the pleasure of chatting with the organizers of the Icelandic festival named Satán, who were on vacation in the city, enjoying a few concerts like Judas Priest/Alice Cooper last week, and Crypta this Wednesday. Gísli Sigmundsson, an Icelandic metal legend who fronts the old school Death Metal band Sororicide, and Kristján Guðmundsson, drummer for the ruthless Blackened Death Metal horde Nexion, were having an amazing time at The Garrison, and of course I enjoyed a lot talking to them about heavy music and both the Canadian and the Icelandic underground scenes. I told Kristján that Nexion must come to Toronto for a show, to which he replied “do people enjoy that type of blasphemic music here?” Well, I guess I don’t even need to say what I answered to him, right? And if you have the time and money available for a trip next summer, the Satán festival is happening between June 4 and 6, 2026. Who knows, maybe I can visit Iceland for a share of their own blasphemy then.

Labeled as a queer-fem metal band hailing from Brampton, Ontario, expressing experiences and struggles growing up as teenage fem-presenting people through their music, PRETTY FACE kicked off the party with their fusion of Hardcore with elements of Death and Doom Metal, and the reaction of the fans at The Garrison was excellent. Although they only have one song officially released, the 2024 single The Gore Road, available on Spotify, those girls sounded excellent onstage and showed endless energy during their short but effective set. I have zero idea of which songs they played, or who the band members are as there’s nothing online about that (and I’m sorry, but I forgot to ask them in person after their show), but those girls have a bright future ahead of them. As long as they release an EP or a full-length album in the coming months to keep their momentum going, of course.

The second opening band of the night was another local band, Hamilton, Ontario-based modern Sludge Metal/Deathcore act DEATH CLUB, who released their debut Betrayal back in 2024, available on both BandCamp and Spotify. Formed of Dana Bowman on vocals and guitar, Adam Baldwin on bass and backing vocals, and Chelsea Todd on drums, plus another unknown musician who’s probably just their tour guitarist (and again, sorry for not asking him his name), the band kept the heaviness flowing inside The Garrison, which was already packed by the time they hit the stage. You can get more details about the band by clicking HERE, and if they ever play a concert at your city or town, I highly recommend you go watch them live because their music is great, and their stage presence is just as awesome.

CRYPTA

There was some uncertainty in the air if the indomitable Brazilian Death Metal beast CRYPTA was actually going to play this Wednesday night in Toronto as the iconic Fernanda Lima and another one of her bandmates got stuck at the Canadian border when trying to cross it from the United States, forcing them to fly from a city near Buffalo into YYZ and going straight to the venue for the show. Fortunately, those girls are absolute badass, and nothing would stop them from delivering their slab of Death Metal to one of their most loyal fanbase worldwide. The band was on absolute fire from the very first seconds of one of my favorite Crypta songs, The Other Side of Anger, and their setlist blending their two album Echoes of the Soul (2021) and Shades of Sorrow (2023), both available on BandCamp and on Spotify, brought sheer chaos and anarchy to The Garrison to the point Keith didn’t even dare to try to get a spot in front of the stage for his photos. Yes, it was wild.

Fernanda was insane on stage as usual, the mesmerizing Tainá Bergamaschi kept shredding her axe in great fashion, headbanging like a maniac, and making what was supposed to be an “angry” face during the heaviest parts of their songs (although she looks way to nice and cool to really look angry), Luana Dametto showed no mercy for our necks and bodies, crushing her drums nonstop for our total delight (therefore igniting some demented mosh pits), and their new touring guitarist Victoria Villarreal, from bands like Chaos Rising and Syrebris, proved why she was chosen by the band to support them on this tour, also kicking some serious ass with her flammable riffs and solos. I just think the overall sound volume was a bit low, but nothing that could make their performance less demolishing.

Some of the songs were phenomenal live, including Kali, The Outsider, Stronghold, Starvation, and of course From the Ashes, and when you have that high quality material in your hands like the girls from Crypta do, you can rest assured you’re in for a treat when they take the stage of your city by storm like this Wednesday night in Toronto. Not only that, Fernanda might be one of the sweetest musicians from the current scene worldwide, as even after going through all that hassle to make it to Toronto for the show she didn’t leave the stage after their concert was done, taking photos, signing albums and shirts, and chatting with each and every fan that stayed at The Garrison way past 11pm to meet one of the most talented women in heavy music. Toronto loves you, girls! And we’re ready for another round of your ruthless Death Metal anytime you decide to return to our metallic city.

Setlist
The Aftermath
The Other Side of Anger
Kali
Lift the Blindfold
The Outsider
Possessed
Lullaby for the Forsaken
Stronghold
The Limbo
Trial of Traitors
Under the Black Wings
Starvation
Dark Clouds
Lord of Ruins
From the Ashes
The Closure

Band members
Fernanda Lira – vocals, bass
Tainá Bergamaschi – guitars
Victoria Villarreal – guitars
Luana Dametto – drums

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Album Review – Unsouling / Outward Streams of Devotional Woe (2025)

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This Minneapolis, Minnesota-based one-man project returns with his excellent sophomore opus based on loss, grief, and a longing to bring back connection via spiritual or even metaphysical reach.

After the dissolution of Feral Light, Minneapolis, Minnesota-based frontman and songwriter A.S. (aka Andy Schoengrund) wasted no time in channeling his artistic flair into a new project, the Experimental Black/Death Metal creature known as Unsouling. The project’s 2024 debut, Vampiric Spiritual Drain, laid the foundation for a new stylistic approach that is now fully realized on Outward Streams of Devotional Woe, its sophomore release. Conceived and recorded by A.S. at The Crypt, mixed by Sanford Parker at Hypercube Studios, mastered by Adam Tucker at Signaturetone Recording, and displaying an eerie artwork by Luciana Nedelea (with layout by Francesco Gemelli, known as Unexpected Specter), Outward Streams Of Devotional Woe is based on loss, grief, and a longing to bring back connection via spiritual or even metaphysical reach, and how this can bring great comfort.

The album starts with the cryptic, obscure Immaterial Entrance, where A.S. delivers minimalist riffs, bass lines and beats before morphing into an Atmospheric Black Metal beast, with its second half turning into sheer chaos and violence. Then investing in a more Doom Metal-inspired sonority it’s time for Your Momentary Passing, showcasing his harsh, anguished roars and sluggish drums, as well as a wall of experimentations. And presenting nuances of the Melodic Death Metal played by bands like Insomnium we have To Come Unbound, sounding utterly chilling and obscure until the end; whereas Grief Reconfigured is a lecture in Black Metal where A.S. puts the pedal to the metal and delivers his heaviest and most demonic side while also bringing forward pensive and visceral Blackened Doom moments. His metallic bass sets the tone in Towering Black Wave, another hybrid of Doom Metal with atmospheric and melodic passages, and it’s then time for the two-minute introspective interlude Passages, where his stylish sounds permeate the air until all comes to an end with Dissolved in Spiritus, crushing our minds and souls to A.S.’s vile gnarls and Post-Black Metal riffs, with its countless layers and tempo changes giving the whole song a hypnotizing vibe.

“The album differs from its predecessor in that the meandering exploration of Vampiric Spiritual Drain has been replaced with a more sure-footed and focused journey,” explained A.S. “The anchor of black metal with its bleed into gothic, dark wave, and death metal influences is still very much present, but it is more reigned in and pointed.” In terms of the themes covered, Unsouling remain faithful to the poetics of its debut, but, if possible, accentuate its existentialist vein, being therefore highly recommended for admirers of Sacramentum, Grave, Morgion, and Feral Light, just to name a few. You can also connect with A.S. and his Unsouling via Instagram, stream his unique music on Spotify, and above all that, grab a copy of Outward Streams of Devotional Woe from the project’s own BandCamp, from the I, Voidhanger Records’ BandCamp, or from Metal Odissey (in the US or in the EU/UK), or simply click HERE for all thing Unsouling. In the end, loss and grief are always extremely difficult to process inside our minds and hearts, and the music blasted by Unsouling in Outward Streams of Devotional Woe perfectly depicts that excruciating challenge, always supported by the dark beauty of extreme music.

Best moments of the album: Immaterial Entrance and Dissolved in Spiritus.

Worst moments of the album: None.

Released in 2025 I, Voidhanger Records

Track listing
1. Immaterial Entrance 6:02
2. Your Momentary Passing 4:58
3. To Come Unbound 5:22
4. Grief Reconfigured 5:18
5. Towering Black Wave 6:23
6. Passages 2:04
7. Dissolved in Spiritus 5:35

Band members
A.S. – vocals, all instruments

Album Review – Enragement / Extinguish All Existence (2025)

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Playing their own blend of Technical and Brutal Death Metal, this Finnish entity will extinguish all existence to the sound of their invigorating and powerful new album.

Playing their own blend of Technical and Brutal Death Metal that’s insanely heavy and yet incredibly varied, Helsinki, Finland-based entity Enragement returns with their fourth full-length beast, an invigorating, powerful expression that ticks all the boxes entitled Extinguish All Existence. Following up on their 2022 album Atrocities, and showcasing a sinister artwork by Daemorph Art, the new album by Atte Ojanne and Tuomas Iivanainen on vocals and guitars, Juhana Korkka Heinonen on vocals and bass, and Lasse Sannikka on drums is a striking depiction of the band’s raw power, aggression and versatility, cementing their name not only in the local Finnish scene, but also everywhere else in the world where the fusion of violence and dexterity is truly appreciated.

Lasse shows no mercy for our souls and begins blasting his drums in Vorarephilia, a demented onrush of Technical Death Metal boosted by the band’s deranged growls and screeches, and things get even more serious and intricate in Abyssal Hellscapes, with the strident guitar lines by Atte and Tuomas bringing an extra dosage of violence to the band’s already demonic sounds. Then a Doom Metal-infused intro morphs into another killer attack by Enragement titled Pathogenesis, where their sulfurous vociferations match perfectly with the finesse and rage flowing from their riffs and solos; whereas the quartet keeps smashing our frail bodies with their blend of Death Metal in Parasitic Ingress, with Lasse once again sounding inhumane behind his drums, followed by Harbingers of Degradation, one of the heaviest, most infuriated songs of the album while also presenting extremely detailed and complex lines, with Lasse stealing the spotlight with his ruthless drumming.

Vesuvius is perhaps the “weakest” of all songs, although it’s still a pulverizing display of the band’s core Technical Death Metal, and it’s pedal to the metal in the technical yet venomous Hypercarnivorous, with the guitar duel by Atte and Tuomas exhaling heaviness and intricacy in an overdose of sonic madness by those talented Finnish metallers. After that, an infuriated attack of harsh growls, blast beats and razor-edged riffs will penetrate deep inside your soul in Insectiferous Abomination, living up to the legacy of complex and violent extreme music, and it’s time to break our necks headbanging to the utterly heavy Natural Mass Asphyxiation, with Juhana and Lasse making sure the earth trembles to the sound of their vicious kitchen. Then we have the title-track Extinguish All Existence closing the album on the most demented note you can think of, where the entire band sounds infernally awesome and with Atte, Tuomas and Juhana bursting their lungs screaming in the name of Death Metal.

In a nutshell, Enragement have struck the right balance with Extinguish All Existence, making their album satisfying, interesting, and also hugely enjoyable, in special for admirers of the bestial music crafted by Cutterred Flesh, Devourment, Abominable Putridity, Blood Red Throne, Katalepsy, Benighted, and Aborted, just to name a few. You can find more details about such an amazing Finnish band on Facebook and on Instagram, stream their awesome music on Spotify, and above all that, show them your utmost support by purchasing their new album from their BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. It’s time to extinguish all existence, and the music found in the new album by Enragement will most definitely work as a great soundtrack for the cleansing of our putrid and decaying world.

Best moments of the album: Abyssal Hellscapes, Harbingers of Degradation and Extinguish All Existence.

Worst moments of the album: Vesuvius.

Released in 2025 Transcending Obscurity Records

Track listing
1. Vorarephilia 3:49
2. Abyssal Hellscapes 3:58
3. Pathogenesis 4:15
4. Parasitic Ingress 3:42
5. Harbingers of Degradation 3:37
6. Vesuvius 4:06
7. Hypercarnivorous 3:46
8. Insectiferous Abomination 3:49
9. Natural Mass Asphyxiation 3:34
10. Extinguish All Existence 5:22

Band members
Atte Ojanne – vocals, guitar
Tuomas Iivanainen – vocals, guitar
Juhana Korkka Heinonen – vocals, bass
Lasse Sannikka – drums

Album Review – De Profundis / The Gospel Of Rot EP (2025)

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The rot is everywhere, and it’s time to tear it down to the sound of the pulverizing new EP by one of the must-see names of the current UK Death Metal scene.

“The Gospel Of Rot is both a warning and a weapon – a sonic rebellion against the forces that seek to silence and subjugate. De Profundis offers not salvation but a wake-up call…” – De Profundis

Celebrating 20 years of death dealing and devastation, London, England-based Death Metal horde De Profundis has returned with a rejuvenated lineup and a brand new EP of stunning power and intensity, entitled The Gospel Of Rot. Recorded at Barking Dog Studio, mixed and mastered by Matt Jones at CapsaArx Studios, and embraced by a darkly beautiful artwork by Pierre-Alain D. of 3mmi Design, the new EP by frontman Stefano Bassi, guitarists Shoi Sen and Paul Nazarkardeh, bassist Simon McAuliffe, and drummer Tom Atherton will most definitely please fans of bands the likes of Death, Morbid Angel, Immolation, and Nocturnus, bringing together four tracks of furious Death Metal and masterful musicianship into a manifesto of resistance against the empty vessels that rule us, dragging our civilization into a mire of degradation.

The band wastes no time and kicks off the EP with the Death Metal extravaganza I: Corruption, where newcomer Stefano already showcases his ruthless deep guttural for our total delight, and Tom crushes his drums with rage and dexterity in II: Deception accompanied by the visceral Death Metal riff attack by Shoi and Paul. Then the quintet shows no mercy for our putrid souls in III: Indoctrination, offering an overdose of harsh riffs and demonic vociferations, with once again Simon and Tom making the earth tremble with their evil kitchen. And lastly, we have their cover version for Sepultura’s IV: Subtraction, from their 1991 masterpiece Arise (you can enjoy the original one HERE). De Profundis take the vibe from those Brazilian thrash and death heroes and add their own twist to it, resulting in a lecture in modern-day Death Metal where Stefano sounds brutally violent on vocals until the very end.

From their early days of primeval Doom and Death Metal, then venturing through the Progressive Death and Black Metal realms of their latest albums The Blinding Light of Faith (2018) and The Corruption of Virtue (2022), to the full-on Death Metal attack in The Gospel Of Rot, the band keeps crushing our putrid souls with their undisputed aggressiveness, precise musicianship, and a deep passion for the extreme, and you can get to know more about one of the precious gems of the British Death Metal scene by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by listening to all of their demented tunes on Spotify, and by purchasing the excellent The Gospel of Rot from BandCamp or by clicking HERE. In a nutshell, De Profundis are back at the very top of their game with The Gospel of Rot. Because the rot is everywhere, and it’s time to tear it down.

Best moments of the album: I: Corruption and IV: Subtraction.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. I: Corruption 4:11
2. II: Deception 3:45
3. III: Indoctrination 4:27
4. IV: Subtraction (Sepultura cover) 4:34

Band members
Stefano Bassi – vocals
Shoi Sen – guitars
Paul Nazarkardeh – guitars
Simon McAuliffe – bass
Tom Atherton – drums