Tag Archives: doom metal

Album Review – Paradise Lost / Ascension (2025)

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More than three decades into their career, UK’s own torchbearers of death and doom return with their seventeenth opus, traversing the multitude of sounds in their arsenal while keeping a minor-key melancholy that remains irresistible.

More than three decades into their career, and with over two million albums sold, Halifax, UK’s own  Doom/Death/Gothic Metal/Rock behemoths Paradise Lost remain the undisputed kings of metal’s darkest side, always putting us on a Stygian embrace of heaviness intertwined with shadowy melody and atmosphere. Now in 2025 the Yorkshire quintet formed of the iconic frontman Nick Holmes, guitarists Greg Mackintosh and Aaron Aedy, bassist Steve Edmondson, and drummer Guido Zima (who left the band after the album recordings were done, being replaced by Jeff Singer) returns with their staggering seventeenth album, entitled Ascension, a record that sees their crown continue to gleam as it underlines just how they attained their position. Produced by Greg Mackintosh at Black Planet Studios, with drums and vocals captured at NBS and Wasteland Studios, and adorned by the stunning painting “The Court of Death” (1902), by George Frederic Watts (1817 – 1904), the album’s ten tracks traverse the multitude of sounds in the band’s arsenal, from full-bore Heavy Metal to sky-high melody, all the while keeping a minor-key melancholy that remains irresistible.

Serpent on the Cross is absolutely gloomy and embracing from the very first second, with the sluggish beats by Guido exhaling Doom Metal magic, not to mention how crisp and piercing the guitars by Greg and Aaron sound, followed by Tyrants Serenade, one of the singles previously released, beautifully depicting the essence of the album with Nick stealing the show with his unique deep vocals while also presenting a strong Type O Negative vibe. Then we have Salvation, another lengthy and captivating aria of doom by those veterans with the keys by Greg sounding utterly haunting and somber; and their obscure sounds will penetrate deep inside your skull in Silence like the Grave, getting heavier and heavier while Nick vociferates the song’s devilish lyrics with endless anger in his blackened heart. And Lay a Wreath upon the World is one of their trademark dark ballads, albeit below the rest of the album regarding its punch and vibe.

The next track Diluvium sounds like it was taken from Icon or Draconian Times with a strong progressive twist thanks to the fantastic job done by Greg and Aaron armed with their stringed axes, whereas again delivering a beyond melancholic, slow and visceral Doom Metal sonority we have Savage Days, with Guido’s beats hitting us hard inside our heads. They keep blasting our minds with their idiosyncratic blend of Gothic and Doom Metal in Sirens, where their slashing riffs match perfectly with Nick’s vocals once again, even sounding a little like Metallica; and Steve and Guido will make your entire body tremble in Deceivers, accompanied by the thrilling sounds crafted by their bandmates, resulting in a lecture in modern-day Doom Metal with Gothic Rock and Metal nuances. And lastly, cryptic piano notes set the tone in The Precipice, closing the album on a pensive, sinister mode to the pounding drums by Guido and the menacing bass by Steve.

“The album title is taken from the belief in rising to the better place, in fiction from Earth to heaven, and all the requirements that go with that,” elaborates Nick Holmes. “In real life, people are often striving to get to a better place from birth, trying to be a better person, regardless of the fact that the only reward is death. The lyrics deal with everything that life throws at us. It’s never predictable, and within that it can also be terrifying. How people deal with death, the crutches they turn to, and how the mental state is affected by life changing situations is always intriguing.” Hence, you can join those trailblazers of doom in their quest for absolute darkness on Facebook and on Instagram, stream their unparalleled discography in full on Spotify, and of course click HERE to put your hands on such a beautiful album of obscure music. Because in the end,  Ascension stands proud in Paradise Lost’s canon. The misery never stops but, as the band itself likes to say, that’s how they like it.

Best moments of the album: Serpent on the Cross, Silence like the Grave and Deceivers.

Worst moments of the album: Lay a Wreath upon the World.

Released in 2025 Nuclear Blast Records

Track listing
1. Serpent on the Cross 6:12
2. Tyrants Serenade 4:20
3. Salvation 7:07
4. Silence like the Grave 4:46
5. Lay a Wreath upon the World 4:51
6. Diluvium 5:47
7. Savage Days 3:54
8. Sirens 4:46
9. Deceivers 3:37
10. The Precipice 5:42

Band members
Nick Holmes – vocals
Greg Mackintosh – lead guitars, keyboards
Aaron Aedy – rhythm guitars
Steve Edmondson – bass
Guido Zima – drums

Album Review – Esoctrilihum / Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm (2025)

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One of the most innovative names of the Avantgarde Black Metal scene worldwide returns with his tenth opus, a concept album telling the ritual stages in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm.

Often accused of having no sense of measure, French artist Asthâghul churns out a new double album that is grandiose, symphonic, psychedelic, liturgical, and delirious under his Avantgarde Black Metal alter-ego Esoctrilihum. Beautifully titled Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm, his tenth studio album is a prism that reflects every single nuance of the project’s sound, from bombastic Black and Death Metal, to Death and Doom Metal deviations, up to his recent Psych-Folk Metal explorations. Conceptually divided into four chapters, each of which telling a ritual stage in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm, who will finally deliver them to eternal nothingness, the new album by Asthâghul on vocals, guitar, bass, drums, synth, organ, theremin, harp, kantele, hammered dulcimer, and nyckelharpa, with “ultra-dimensional high vocals” by guest Esthurïelh, is a must-listen for fans of Leviathan, The Ruins Of Beverast, Inquisition, Xasthur, all adorned by a wicked artwork named “Youth Of The Beast” by Alan Brown (aka Medusawolf), with photography by Aylowenn Aëla, and visual design by Francesco Gemelli.

In the opening track Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather, there’s no intro nor any build up. It goes straight to your jugular with Asthâghul’s demented beats and creepy keyboards sounding fantastic from start to finish; and his fusion of Avantgarde Black Metal with the church-like sounds from his organ result in an imposing wall of sounds in Kneeling Before the Keeper of the Golden Key to the Absolute Void, followed by At the Mercy of the Flaming Spear of the Bestial Hierophant, also presenting Asthâghul’s demented vision in the form of his own blend of Black Metal. His sonic onrush continues in full force in Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, The Giant Fly, leaning towards Atmospheric Black Metal at times thanks to the dark and dense vibe boosted by his deep, desperate roars, and the way he blends the sounds of all instruments in such a cohesive manner in Hypnotic Danse Macabre of the Blind Noctivagants is outstanding, resulting in a ritualistic Black Metal celebration.

Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme presents even elements from Industrial Black Metal, giving the whole song an even harsher vibe, with his demonic vocals and blast beats living up to the legacy of the genre. Then it’s absolute chaos, madness and despair in Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe, bringing forward another blast of scorching riffs and phantasmagorical keys by our multi-talented Asthâghul, who then goes full Experimental Death Metal in The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite, with his deep guttural and screeching riffage hitting us hard in the head. In Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp we see our lone wolf pounding his drums with tons of anger while his vocals lines sound absolutely ritualistic. It’s a weird song, though, maybe a bit too much, but still enjoyable, flowing into the atmospheric and creepy outro Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites where we face one final Black Metal attack to conclude the album on a visceral mode.

A post-mortem ritual that is told in the secret grimoire of the Ghostigmatah, a sort of modern Necronomicon that constitutes another piece in Esoctrilihum’s phantasmagorical visionary world, Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm is a nightmarish, mystical dimension of death beyond time and space, inhabited by an artist who, through his music, fearlessly lets its dark light filter into our reality. And even if nothing of this massive explanation makes any sense to you, you should definitely go check all albums by the multi-talented and unstoppable Asthâghul and his Esoctrilihum on Spotify, and grab a copy of his new nightmare-fueled album from the I, Voidhanger Records’ BandCamp or from Metal Odissey as a CD (EU or US) or as an LP (EU or US). Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm might not be an album recommended for the average listener or for the lighthearted, but once you dive deep into the experimental realm ruled by Asthâghul like what he has to offer in his new album, you’ll realize you’re in front of one of the leading beasts of the Avantgarde Black Metal movement worldwide.

Best moments of the album: Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather, Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme and Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe.

Worst moments of the album: Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp.

Released in 2025 I, Voidhanger Records

Track listing
1. Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather 9:47
2. Kneeling Before the Keeper of the Golden Key to the Absolute Void 9:06
3. At the Mercy of the Flaming Spear of the Bestial Hierophant 7:46
4. Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, The Giant Fly 8:39
5. Hypnotic Danse Macabre of the Blind Noctivagants 7:28
6. Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme 8:34
7. Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe 9:36
8. The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite 8:36
9. Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp 9:16
10. Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites 5:04

Band members
Asthâghul – vocals, guitar, bass, drums, synth, organ, theremin, harp, kantele, hammered dulcimer, nyckelharpa

Guest musician
Esthurïelh – additional vocals

Album Review – +MROME+ / Boneyard Twist (2025)

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Poland’s own uncanny force is back with its fourth studio opus, offering nine raw tracks that represent a return to the project’s dark roots from the mid 90’s.

Reaping the harvest on scorched soil since their inception in the already prehistorical year of 1995, Andrychów, Poland’s own Black/Death Metal entity +MROME+ is back three years after Barbaric Values with their fourth installment, entitled Boneyard Twist. Recorded live in studio during a one-day session on November 18, 2023 at Heaven’s Sound Studio under the ear of Marcin Piekło, who also worked out the final sound of the album, with vocals recorded in February 2024 at Piekłoniebo, and adorned by a painting by Mateusz Gawęda, the new album by Ataman Tolovy on vocals and synths, Key V on the guitars, and P on drums contains nine raw tracks that represent a return to their dark roots from the mid 90’s, inspired by the First Wave Black Metal and complemented by hard-shell lyrics dealing with grave residents, history, disabilities of body and mind, necromancy, and even monks exploding.

The party begins in full force with Figures, with their experimental, idiosyncratic blend of Black and Death Metal being boosted by the venomous roars by Ataman Tolovy. Key V then delivers his trademark scathing riffs in Hypercarnivore, accompanied by the Doom Metal-infused drums by P, and of course the final result is a haunting beast of extreme music; and the harsh vociferations by Ataman Tolovy will send shivers down your spines in Mind upon Matter, another blast of primeval Black and Death Metal by the trio. Aristocrat, the first single of the album, also presents the heavy-as-hell riffage by Key V while P dictates the song’s Stygian pace behind his drums, followed by Pigheart, a hammering tune by such an uncanny trio, with Ataman Tolovy’s vocals sounding even more enraged and sinister.

Then rumbling, metallic sounds are the main ingredients in Of Man and Lamb, offering an avalanche of raw, cryptic Black and Death Metal where Ataman Tolovy roars and screams manically nonstop, flowing into the disruptive (yet a bit lengthy) interlude Bonemass, which sets the tone for the beautifully titled Embarrassment of Whores, leaning towards a fusion of Death and Doom Metal, with the sluggish beats by P matching perfectly with the vile guitar lines by Key V, resulting in a lecture in extreme music by those Polish metallers. And lastly, we’re treated to the also venomous The Opening Bat, which starts in a horror movie-like mode before morphing into a rockin’ feast spearheaded by Key V’s slashing riffage.

+MROME+ continue to entirely be a studio project focused on creative process and concepts behind the music, lyrics and graphics in Boneyard Twist (which is by the way available in full on YouTube), staying away from any type of social media except for their presence on BandCamp and on Spotify (although their new album is not available there yet), and that Stygian approach matches perfectly with the music found in their newborn spawn. Boneyard Twist is raw and unique, devilish and caustic, and while those mysterious musicians from Poland keep breathing, we can rest assured the world will have to face more scathing albums like that in the coming years, and that’s simply awesome.

Best moments of the album: Hypercarnivore, Pigheart and Embarrassment of Whores.

Worst moments of the album: Bonemass.

Released in 2025 NRA

Track listing
1. Figures 4:39
2. Hypercarnivore 4:04
3. Mind upon Matter 2:49
4. Aristocrat 3:39
5. Pigheart 3:57
6. Of Man and Lamb 3:22
7. Bonemass 2:39
8. Embarrassment of Whores 5:24
9. The Opening Bat 4:43

Band members
Ataman Tolovy – vocals, synthesizer
Key V – guitar
P – drums

Album Review – KHNVM / Cosmocrator (2025)

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These unrelenting Blackened Death Metal brainiacs return with their fourth studio album, entering a downward spiral into the abyss of the human experience.

Exploring the crossroads of psychology, philosophy, and spirituality while entering a downward spiral into the abyss of the human experience, Germany/Bangladesh’s own Blackened Death Metal brainiacs KHNVM (pronounced as ‘Khaa-nooom’) are unleashing upon us their fourth studio album, titled Cosmocrator. Recorded by the band’s mastermind, vocalist, guitarist, bassist and keyboardist Obliterator at Obliterator Studio (vocals, guitar, bass) and by drummer M. at Studio Usama Siddiqui (drums), with guitars and bass re-amping, mixing and mastering by Ekaitz Garmendia at BlackStorm Studio, and displaying a Stygian artwork by Khaos Diktator Design (with layout by Ulf Binder), the follow-up to their 2023 album Visions of a Plague Ridden Sky draws powerful inspiration from Christopher Hitchens’ scathing account God Is Not Great: How Religion Poisons Everything and Carl Jung’s Mysterium Coniunctionis to explore themes surrounding the tension between rationality and mysticism, while challenging conventional beliefs.

The howling winds of Black Metal kick off the Stygian tune Purgatorial Pyre, with Obliterator delivering his trademark evil vociferations while also building a darkened wall of sounds with his riffs, bass and synths. Fetid Eden is another onrush of blackened sounds by Obliterator supported by the Death and Doom Metal beats by M., perfect for some sick headbanging while he growls like a demonic entity; whereas investing in a more direct Death Metal sonority we have Mercurial Remnants, with Obliterator roaring like a beast while also firing some scorching riffs, followed by the haunting interlude Fathomless Enigma, transporting us to a dark and evil world ruled by Obliterator entitled Cosmocrator, a very experimental and progressive slab of Death Metal showcasing the project’s classic guitar lines and devilish vocals. Then featuring Ekaitz Garmendia (of Sijjin) on a guest guitar solo, Venom Spawn ventures through even more progressive lands, bringing nuances of sounds from Obliterator’s homeland while also melting our faces with his undisputed Death Metal violence, and last but definitely not least, the duo delivers their most Stygian fusion of Death and Doom Metal in Haunting Blight, and the final result is simply phantasmagorical.

With the album title carrying a dual significance, symbolizing the “Ruler of the World” and also standing for “Satan” within religious vocabulary, this reflects its exploration of common phenomena, expressed through an adrenaline-fueled artistic lens. Obliterator and his KHNVM are waiting for you on Facebook and on Instagram with more of their music, news and tour dates (and yes, they do play live, with Chasmist on bass and J. on drums), and you can also stream their music on Spotify, and purchase a copy of Cosmocrator from BandCamp or by clicking HERE, or you can also click HERE for all things KHNVM. With the thought-provoking lyrics and harsh yet to the point musicality of Cosmocrator, KHNVM promise not to just deliver on musical terms, but also to captivate those who are drawn to complex narratives and philosophical depth, all of course embraced by high quality, harsh and obscure heavy music.

Best moments of the album: Fetid Eden, Venom Spawn and Haunting Blight.

Worst moments of the album: None.

Released in 2025 Testimony Records

Track listing
1. Purgatorial Pyre 6:23
2. Fetid Eden 7:20
3. Mercurial Remnants 4:03
4. Fathomless Enigma 1:29
5. Cosmocrator 4:07
6. Venom Spawn 7:38
7. Haunting Blight 5:41

Band members
Obliterator – vocals, guitars, bass, synths
M. – drums

Guest musicians
Ekaitz Garmendia – guitar solo on “Venom Spawn”
Chasmist – bass (live)
J. – drums (live)

Album Review – Cancerbero / Sempiternal Decay (2025)

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One of the most ruthless entities hailing from Chile is back with a lesson in devilish and archaic Death Metal, exactly the way it was meant to be in the 80’s.

Originally formed in Concepción, Chile in 1987 by vocalist Peter and split up in 1994 with two demos recorded before that, the unrelenting Death Metal beast known as Cancerbero is ready to kill once again armed with their third full-length opus, entitled Sempiternal Decay, following up on their 2019 sophomore Reconquering the Throne of Death. Recorded by V. Wraith, and displaying an ass-kicking, classic cover art by Mörtuus Art, the new album by Peter on vocals and bass, Evil Killer and Silencio on the guitars, and L. Grave on drums is an album that’s most definitely a lesson in devilish and archaic Death Metal the way it was meant to be in the 80’s, not just musically, but also in essence, spirit and attitude.

The intro The Arrival feels like the sounds of evil entities arising from the pits of the underworld, warning us all about the demented feast that’s about to begin in Primal Deities, with L. Grave already pounding his drums in the best Doom Metal style while Evil Killer and Silencio melt our faces with an overdose of harsh riffs and solos. The quartet continues to darken the skies with their undisputed blend of Death Metal in Infernal Fire, with Peter not only roaring like a beast, but his bass lines also sound demonic; and delivering a more straightforward, no shenanigans Death Metal onrush we face Obscure Rites, led by the classic beats and fills by L. Grave, sounding perfect for slamming into the pit like there’s no tomorrow.

Bollocide (Deathrashing Chaos) is another song with a charming name that will inspire you to dive deep into the circle pit while Evil Killer and Silencio fire classic (and absolutely demented) Death Metal riffs, and the band will then drag you six feet deep in Burial, offering that traditional Death Metal sound perfect for some wild headbanging. They continue to crush our damned souls in Serpent’s Domain, spearheaded by another demonic vocal performance by Peter and the always pulverizing beats by L. Grave; whereas lastly, they offer our putrid ears almost seven minutes of Death Metal insanity in Burning Angels, starting with another riff-attack by the band’s guitar duo, with their gore, violence and obscurity flowing manically until the very last second.

Extremely recommended to fans of Morbid Angel, Possessed, Mortem, Sadistic Intent, Asphyx, Celtic Frost, Death, Messiah, and Pentacle, among countless other giants of old school Death Metal, Sempiternal Decay (available in full on YouTube) will crush you like a putrid insect, proving why the band has become a synonym to the genre in their homeland. Hence, you can get in touch with the guys from Cancerbero on Facebook, staying up to date with all of their news, tour dates and so on, and of course grab a copy of their new album from Memento Mori. Cancerbero are the epitome of primeval, no shenanigans Death Metal, and once you listen to their bestial new offering, your putrid bodies and minds will never be the same again.

Best moments of the album: Primal Deities, Obscure Rites and Serpent’s Domain.

Worst moments of the album: None.

Released in 2025 Memento Mori

Track listing
1. The Arrival (intro) 1:04
2. Primal Deities 3:53
3. Infernal Fire 4:59
4. Obscure Rites 4:48
5. Bollocide (Deathrashing Chaos) 3:54
6. Burial 5:56
7. Serpent’s Domain 4:29
8. Burning Angels 6:40

Band members
Peter – vocals, bass
Evil Killer – guitars
Silencio – guitars
L. Grave – drums

Album Review – Baest / Colossal (2025)

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Back from the fires of Denmark with a fresh sound and a badass attitude, this unstoppable creature will crush you with their fourth studio album, a thrilling celebration of Heavy Metal played with Extreme Metal intensity.

Back once again from the fires of Aarhus, Denmark with a fresh sound and a badass attitude, the ruthless Death Metal creature known as Baest will crush our damned minds and souls with their fourth full-length opus, entitled Colossal, following up on their fantastic albums Danse Macabre (2018), Venenum (2019) and Necro Sapiens (2021) while also cementing their reputation as Extreme Metal mavericks with an ear for lethal hooks. Produced, recorded, mixed and mastered by Tue Madsen at Antfarm Studio, and featuring a demonic artwork by Solo Macello, the new offering by frontman Simon Olsen, axemen Lasse Revsbech and Svend Karlsson, bassist Mattias “Muddi” Melchiorsen, and drummer Sebastian Abildsten is an absolute monster, bursting at the seams with catchy riffs and classy melodies, with stylistic salutes to everyone from Ozzy Osbourne and Dokken, through to Iron Maiden and Whitesnake, while still rooted in the belligerent Death Metal that informed previous records, resulting in a magnificent Rock N’ Roll rebirth of such a prominent beast from the Danish metal scene.

The AC/DC-infused riffs by Lasse and Svend ignite the opening tune Stormbringer before the music turns into a wild fusion of Death Metal with Progressive Rock and Metal elements, followed by the indomitable Colossus, showcasing heavy-as-hell, Doom Metal-infused lyrics growled by Simon (“Colossus / Breath the air of the deceit / Colossus / Feel the weight of your defeat / Colossus / Never stray from the common line / Colossus / Crushed under the weight of the colossus”) while the sounds blasted by his bandmates are absolutely dark and menacing. The band keeps delivering sheer adrenaline spearheaded by the venomous vocals by Simon in In Loathe and Love, a lesson in modern-day Death Metal, whereas in King of the Sun, featuring Jesper Binzer of Danish rock band D-A-D on guest vocals, we’re treated to a rockin’ sonority led by the classic beats and fills by Sebastian.

Then blending the fury of Death Metal with the heaviness of Doom and Sludge Metal we have Imp of the Perverse, with Mattias and Sebastian hammering their thunderous weapons mercilessly; and featuring additional vocals by Danish black metal band ORM, the band offers another blast of insanity, heaviness and classy Death Metal in Misfortunate Son, with the riffage by Lasse and Svend exhaling pure adrenaline. Then get ready to be crushed into tiny pieces to the sound of Mouth of the River, where Simon’s deranged growls walk hand in hand with Sebastian’s pounding drums; and a guitar-driven instrumental tune titled Light the Beacons, which feels like an ode to all of their idols and influences, sets the stage for Depraved World, a multi-layered, groovy and vibrant composition where the deep roars by Simon match perfectly with all riffs, bass lines and beats, putting a climatic ending to the album.

Colossal never bends to current trends; instead, it is a thrilling celebration of Heavy Metal played with Extreme Metal intensity, representing a wholesale transformation. Inspired by and infused with old school, classic metal riffs, Colossal is an album that delights in the glory of Heavy Metal and the fine art of rocking out, inviting us all to bang our heads and raise our horns together with those beyond talented Danes, and they’re waiting for you on Facebook, Instagram, YouTube and Spotify with more of their ass-kicking music, undisputed attitude, and deep passion for all types of rock and metal music. Hence, you can purchase a copy of Colossal by clicking HERE, or you can also click HERE for all things Baest, getting to know more about one of the best bands of the current scene worldwide. As you might have noticed, something colossal is coming, and you better brace for impact as those boys are armed to the teeth with the pulverizing sounds of their incendiary newborn beast.

Best moments of the album: Colossus, In Loathe and Love, Mouth of the River and Depraved World.

Worst moments of the album: None.

Released in 2025 Century Media Records

Track listing
1. Stormbringer 4:32
2. Colossus 4:23
3. In Loathe and Love 5:09
4. King of the Sun 4:09
5. Imp of the Perverse 5:56
6. Misfortunate Son 4:02
7. Mouth of the River 4:24
8. Light the Beacons 3:42
9. Depraved World 6:03

Band members
Simon Olsen – vocals
Lasse Revsbech – guitars
Svend Karlsson – guitars
Mattias “Muddi” Melchiorsen – bass
Sebastian Abildsten – drums, percussion

Guest musicians
Jesper Binzer – vocals on “King of the Sun”
ORM – vocals on “Misfortunate Son”

Album Review – Thorn / Nebulous Womb of Eternity (2025)

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Phoenix, Arizona’s own Death/Doom Metal creature arises from its Stygian lair with its fourth studio offering, bringing forward more of its asphyxiating grasp like a pin-pricked voodoo ragdoll.

Having a knack of churning out punchy, rotten Death Metal hymns rife with some nasty, lurching grooves, Phoenix, Arizona’s own Death/Doom Metal creature Thorn arises from its Stygian lair with its fourth studio offering, entitled Nebulous Womb of Eternity, following up on its critically acclaimed 2023 opus Evergloom. Mixed and mastered  by Daniel Bonofiglio (Fumes, Gutvoid, Intestinal Hex, Grotesque Mass, Internal Infestation), and displaying a visceral artwork by Arifullah Ali of KanvasKarat, the new album by vocalist and multi-instrumentalist Brennen Westermeyer brings forward more of the project’s asphyxiating grasp like a pin-pricked voodoo ragdoll, being therefore perfect for fans of bands the likes of Mortician, Fumes, Wharflurch, Fluids, Intestine Baalism, and Retching.

Brennen showcases all his passion for the extreme from the very first second in Ooze Maelstrom, crushing his drums nonstop in great Death Metal style while also adding an extra dosage of groove to the music, and our cryptic lone rider goes full Doom Metal in the utterly heavy and disturbing Entombed in Chrysalis, hammering his drums like there’s no tomorrow while also extracting pure malignancy from his riffs, ending in a beyond cadaverous way. Then back to a more in-your-face, straightforward Death Metal mode we have Quartersawn Remains, where Brennen sounds inhumane on vocals while also firing flammable, acid riffs. Zombifying Mold, featuring a guest solo by Daniel Bonofiglio, also sounds utterly inhumane for our total delight; and it’s pedal to the metal in the infuriated Haunting Gale, with its Death Metal core being nicely blackened by a good dosage of Doom Metal. Before all is said and done, we face the obscure, grim interlude Gloaming Corporeal Form, which could have been slightly shorter, setting the stage for the title-track Nebulous Womb of Eternity, featuring guest vocals by Ryan Fairfield (Hallowed Butchery, Toxic Cross), bringing to our putrid ears Brennen’s deep passion for heavy and visceral sounds, resulting in a scathing fusion of primeval death and doom where his vocals sound as cadaverous as possible.

In a nutshell, if you like the idea of Death Metal sounding massive, ponderous, and packed with heaving, earth-rumbling parts, then Nebulous Womb of Eternity is most certainly meant for you, and you can grab a copy of the album from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, adding it to your devilish collection of doom. Don’t forget to also check what Brennen and his Thorn are up to on Instagram, to stream all of his albums on Spotify, or simply click HERE for all things Thorn. This is definitely the type of music not recommended for the lighthearted. This is primeval, dirty and vile Death Metal, and you better be prepared if you think you have what it takes to face Nebulous Womb of Eternity.

Best moments of the album: Entombed in Chrysalis, Quartersawn Remains and Nebulous Womb of Eternity.

Worst moments of the album: Gloaming Corporeal Form.

Released in 2025 Transcending Obscurity Records

Track listing
1. Ooze Maelstrom 5:14
2. Entombed in Chrysalis 8:27
3. Quartersawn Remains 4:35
4. Zombifying Mold 4:19
5. Haunting Gale 3:54
6. Gloaming Corporeal Form 2:56
7. Nebulous Womb of Eternity 7:33

Band members
Brennen Westermeyer – vocals, all instruments

Guest musicians
Daniel Bonofiglio – guitar solo on “Zombifying Mold”
Ryan Fairfield – vocals on “Nebulous Womb of Eternity”

Album Review – Disembodiment / Spiral Crypts (2025)

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This Canadian Death Metal quartet is finally storming back into the scene with their debut full album, digging you deep into the most gruesome slasher experience your deviated mind has ever experienced.

Sherbrooke, Quebec’s own Death Metal quartet Disembodiment is finally storming back into the most rancid and filthiest Death Metal scene with their debut full album Spiral Crypts, four years after their acclaimed EP Mutated Chaos, and it was definitely worth the wait. Recorded at the band’s own rehearsal space (vocals and guitars) and at Studio C (bass, drums and additional guitar tracks), mixed by the band’s own guitarist Christian, mastered by Carlo Altobelli at Toxic Basement, with a gory, sinister cover art by Slimeweaver (with additional artworks by draught__, and logo by the band’s drummer Eric), Spiral Crypts digs you deep into the worst and most gruesome slasher experience your deviated mind has ever experienced, all carefully brought into being by all four members of Canadian Death Metal band Oath Div. 666, those being Mathieu on vocals, Christian on the guitars, Carl on bass, and Eric on drums.

Like the soundtrack to a gory horror movie, the band will spread their metallic virus in Morbid Infestation, with Mathieu vomiting the song’s demented words accompanied by the caustic Death Metal riffs by Christian, followed by Stygian Overture, offering us all classic and gruesome Death Metal spearheaded by Eric’s unrelenting beats and fills, also presenting hints of Doom Metal to make things even more obscure. The title-track Spiral Crypts brings to our avid ears another round of heavy and visceral sounds by the band, with Christian’s riffage sounding truly vile; and Disembodiment then blasts a shorter Death Metal tune titled Putrification, with its three minutes bringing forward absolutely intense, unstoppable and thrilling violence.

Then a beyond cryptic, disturbing start gradually evolves into a massive wall of Death Metal thunder in Larval, slower than its predecessors yet just as pulverizing and grim, with Eric smashing his drums supported by Carl’s Stygian bass. Mathieu takes the lead once again with his deranged guttural in Infected To Rot, again delivering sheer insanity, with the low-tuned bass by Carl sending shivers down our spines; followed by Unknown Origins, two minutes of obscure, demonic sounds brought into being by those Canadian death metallers, before Sentient Inorganic Mess ends the album on a high note with the vile growls by Mathieu matching perfectly with Christian’s ruthless riffage.

In a nutshell, fans of the putrid, violent music blasted by some of the biggest names of the global Death Metal scene the likes of Incantation, Corpus Offal, Undergang, and Rottrevore will certainly enjoy what Disembodiment have to offer in Spiral Crypts, which is by the way available for purchase on BandCamp or via mailorder. You can also check what the band is up to on Facebook and on Instagram, including their ruthless live concerts, and stream their wicked creations on Spotify or any other streaming service. Because life is most definitely not made of rainbows, unicorns and butterflies; quite the contrary, it’s a downward spiral filled with gore, violence and hatred, and the music by Disembodiment is perfect for opening your eyes to that harsh reality.

Best moments of the album: Stygian Overture, Putrification and Infected To Rot.

Worst moments of the album: None.

Released in 2025 Everlasting Spew Records

Track listing
1. Morbid Infestation 6:04
2. Stygian Overture 5:04
3. Spiral Crypts 4:26
4. Putrification 3:02
5. Larval 4:44
6. Infected To Rot 3:45
7. Unknown Origins 1:52
8. Sentient Inorganic Mess 3:57

Band members
Mathieu – vocals
Christian – guitars, backing  vocals
Carl – bass, backing  vocals
Eric – drums

Guest musician
Frank Z. – intro on “Morbid Infestation”

Album Review – Ba’al / The Fine Line Between Heaven And Here (2025)

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This amazing Blackened Post-Metal act from the UK strikes back with a dark new album, drawing on the band’s personal experiences, exploring themes of grief, depression, suicide, substance abuse and existential dread.

Forged in the fires of Sheffield, in South Yorkshire, England, Blackened Post-Metal creature Ba’al (a title and honorific meaning “lord” in the Northwest Semitic languages spoken in the Levant during antiquity, which came to be applied to gods from its use among people) is unleashing upon us their new album, titled The Fine Line Between Heaven And Here, a caustic fusion of Black, Sludge and Post-Metal recommended for fans of Crippled Black Phoenix, Harakiri For The Sky, Inter Arma, and Sgaile, among others. Recorded and mixed by Joe Clayton at No Studio and mastered by Brad Boatright at Audiosiege, the same team that brought such a richly textured darkness to the last Ba’al release, and adorned in the stunning artwork of True Spilt Milk Designs, the new album by Joe Stamps on vocals, Nick Gosling and Chris Mole on the guitars, Richard Spencer on bass, and Luke Rutter on drums draws on the band’s personal experiences, exploring themes of grief, depression, suicide, substance abuse and existential dread, invoking the intensely human struggles that are played out against this backdrop of disparate elements and in every other place our troubled species has carved out a home.

Mother’s Concrete Womb is simply dark and sinister from the very beginning, gradually morphing into a massive hybrid of the harshness of Melodic Black Metal with the finesse of Post-Black Metal, with the nonstop screams by Joe sounding truly devilish, smoothly flowing into Waxwork Gorgon, where the minimalist yet caustic guitars by Nick and Chris exhale darkness, not to mention all Doom Metal elements present in the music make it even heavier and more compelling. Floral Cairn brings forward more of their neck breaking, melodic and piercing sounds, with Luke showcasing tons of dexterity and power behind his drums, dictating the song’s pace flawlessly; and the band then captures our senses in a dark embrace with the 11-minute aria Well of Sorrows, with the riffage by Nick and Chris guiding the listener through the band’s unruly Post-Black Metal waters, sounding all very detailed, vibrant and doomed. The Ocean That Fills a Wound is even more introspective and enfolding, another lecture in Post-Black Metal where Joe declaims the song’s pensive words with tons of passion, alternating between atmospheric moments and crushing, anguished passages, whereas lastly it’s time for Legasov, bringing to our avid ears one final onrush of melodic yet harsh sounds, with their haunting vocals, sharp riffs and Doom Metal drums putting a phantasmagorical ending to the album.

The journey through the musical landscapes in The Fine Line Between Heaven And Here is a dark and exciting one, and I’m sure you’ll have an amazing time listening to it from start to finish. Ba’al are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and you can not only stream their music on Spotify, but also purchase their excellent new album from BandCamp, from Road to Masochist, or by clicking HERE, letting their blackened sounds penetrate deep inside your mind and soul while at the same time connecting their music with your own personal experiences and struggles, proving why modern-day Post-Metal is one of the most humane styles in heavy music and, therefore, allowing the musicians involved to open up their hearts to us fans with each of their amazing songs, just like what’s offered to us all in The Fine Line Between Heaven And Here.

Best moments of the album: Well of Sorrows and The Ocean That Fills a Wound.

Worst moments of the album: None.

Released in 2025 Road to Masochist

Track listing
1. Mother’s Concrete Womb 12:56
2. Waxwork Gorgon 8:41
3. Floral Cairn 7:46
4. Well of Sorrows 11:03
5. The Ocean That Fills a Wound 13:25
6. Legasov 8:18

Band members
Joe Stamps – vocals
Nick Gosling – guitar
Chris Mole – guitar
Richard Spencer – bass
Luke Rutter – drums

Album Review – Akouphenom / Connections To The Erebus EP (2025)

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Coming from the same recording sessions of their 2023 album, the new EP by this uncanny Spanish horde continues the exploration of dark themes and complex compositions.

Known for their fusion of Blackened Death Metal with elements of Doom Metal and Noise, aiming to reflect absolute evil in their creations, A Coruña, Galicia, Spain-based entity Akouphenom returns from the netherworld with a brand new EP titled Connections To The Erebus, following up on their critically acclaimed 2023 full-length offering Death·Chaos·Void. Coming from the same composition and recording sessions of Death·Chaos·Void, their new four-track EP continues the exploration of dark themes and complex compositions by DraGon on vocals and guitars, Pandemia also on the guitars, Korgüll on bass, and Prgich on drums, further establishing their presence in the extreme metal scene.

Absurd of the Arkhe already brings to our putrid ears 11 minutes of ruthless Blackened Death Metal, with the crushing drums by Prgich setting the tone for DraGon to roar like an evil creature. Not only that, the guitars by Pandemia transpire malignancy while Korgüll hammers his bass nonstop, resulting in a true aria of absolute darkness. Then switching to their native language Spanish, the songs Extrema Uncion and Abismo, as described by Akouphenom themselves, are “a denial to Christianity and the idea of a paradise after death in exchange of an entire living as sheep and following the rules,” while musically speaking Extrema Uncion sounds as demented as it can be, with the infernal vociferations by DraGon penetrating deep inside your putrid soul, while Abismo showcases an even harsher vibe with the vocals by DraGon sounding truly inhumane, supported by the crushing drums by Prgich. And lastly, we’re treated to a whimsical instrumental track titled Limbo, where the haunting sound of the piano will bring some peaceful obscurity and melancholy to our hearts.

“We are atheists, we do not believe in nothing, and we accept that Death is the main end,” commented the band, and if you also want to follow Akouphenom in their dark path you can find more information about the band on Facebook and on Instagram, including their demonic live concerts, stream their music on any available platform like Spotify, and of course purchase a copy of the excellent Connections To The Erebus from the Avantgarde Music’s BandCamp, or from Sound Cave, and you can always click HERE for all things Akouphenom. Those Spanish servants of the black arts are on an absolute roll after the releases of Death·Chaos·Void in 2023 and now Connections To The Erebus, proving why the extreme music scene in their homeland cannot be ignored at all; quite the contrary, Spain hosts an ever-growing manifestation of first-class Black and Death Metal, with Akouphenom being one of the torchbearers of such an exciting movement.

Best moments of the album: Absurd of the Arkhe and Abismo.

Worst moments of the album: None.

Released in 2025 Avantgarde Music/Unorthodox Emanations

Track listing
1. Absurd of the Arkhe 11:50
2. Extrema Uncion 6:42
3. Abismo 3:55
4. Limbo 3:03

Band members
DraGon – vocals, guitars
Pandemia – guitars, backing vocals
Korgüll – bass, backing vocals
Prgich – drums