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Album Review – Enthroned / Ashspawn (2025)

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One of the most ruthless beasts of Occult Black Metal returns with their twelfth opus, emerging as both an autopsy and a resurrection, a descent into spiritual death followed by the sublimation of rebirth.

With the release of their twelfth full-length album, entitled Ashspawn, the iconic beast Enthroned marks a new chapter in their three-decade reign of ritualistic and occult Black Metal. Conceived across six years of deliberate creation, the album emerges as both an autopsy and a resurrection, a descent into spiritual death followed by the sublimation of rebirth. Recorded at Ophiussa Studio, produced by the band’s own drummer Menthor, mixed by Stefano Santi at SPVN Studio, mastered by Phil Bashford at The Hive Rooms, displaying a beyond devilish artwork by Jose Gabriel Alegria Sambogal, and written in close collaboration with Gilles de Laval (an occult author known for his works on ceremonial magic and grimoires, such as Sacerdotium Umbrae Mortis and Black Magic Evocation of the Shem ha Mephorash), the new opus by Nornagest on vocals and samplers, T. Kaos on the guitars and bass, and Menthor on drums and percussion channels arcane praxis, metaphysical calculus, and esoteric mapping into a work that is as much ritual invocation as it is music. In other words, it is the culmination of Enthroned’s uncompromising vision, a weapon of transformation forged in fire and darkness.

The gates of the underworld are wide open, and Enthroned are ready to arise from the burning fires of hell and consume our souls in Crawling Temples, with the demented vociferations by Nornagest exhaling pure Black Metal magic. Menthor continues to hammer his drums with endless fury and hatred in Basilisk Triumphant, offering an overdose of the band’s trademark fusion of violence and darkness; whereas T. Kaos fires sheer aggressiveness and sulfur from his axe in Stillborn Litany, another ruthless, old school Black Metal extravaganza that lives up to the band’s own legacy, followed by the title-track Ashspawn, a lecture in classic Black Metal with the inhumane roars by Nornagest walking hand in hand with the infernal drums by Menthor.

T. Kaos will cut our skin deep with his scathing riffage in Raviasamin, while the song’s ritualistic, occult background elements give it an even more Stygian vibe and feel in the name of absolute obscurity. Then the scathing guitar lines by T. Kaos continue to reverberate in the netherworld in Sightless, as evil and visceral as Black Metal can be; and a vile, gruesome scream by Nornagest sets the tone in the just as malignant Chysalid, flowing like a devilish entity running in the dark until its somber ending. That grim atmosphere continues in Ashen Advocacy, presenting almost eight minutes of the blackest of Black Metal by bringing forward the most bludgeoning elements from Doom Metal to spice things up considerably. And last but not least, get ready to be dragged to pitch-black darkness to the sound of Assertion, with the despair and wrath flowing from Nornagest’s roaring sending shivers down our spines.

A true giant of European Occult Black Metal alongside Marduk, Dark Funeral, Gorgoroth and 1349, among others, Enthroned offer their most ambitious and personal statement to date with Ashspawn, embodying a total unity of vision where ferocious blast beats, oppressive mid-tempos, and progressive structures collapse into one another. You can feel the fire blasted by such an infernal horde by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their caustic black masses on Spotify, and of course, by purchasing Ashspawn from BandCamp or by clicking HERE.  In the end, Ashspawn is the testimony of the band’s obscure alignment, a ritual weapon that rejects nostalgia and compromise. It is a resurrection of spirit through suffering, and a reaffirmation of Enthroned’s place among Black Metal’s most visionary entities.

Best moments of the album: Basilisk Triumphant, Ashspawn, Raviasamin and Ashen Advocacy.

Worst moments of the album: None.

Released in 2025 Season of Mist

Track listing
1. Crawling Temples 5:35
2. Basilisk Triumphant 5:53
3. Stillborn Litany 6:48
4. Ashspawn 4:40
5. Raviasamin 4:26
6. Sightless 3:39
7. Chysalid 4:32
8. Ashen Advocacy 7:58
9. Assertion 6:44

Band members
Nornagest – vocals, samplers
T. Kaos – guitars, bass
Menthor – drums, percussion

Album Review – Wound Collector / Begging For Chicxulub EP (2024)

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Professional saxophonist and composer Peter Verdonck and his henchmen are back with a striking new EP, offering us all four songs of first-class Progressive Death Metal made in Belgium.

The brainchild of Peter Verdonck, a renowned professional saxophonist and composer who has earned his stripes in performances across the globe with Thelema Trio, Manngold de Cobre, The Rhythm Junks, De Pandoering, Ambrassband and many more, although his heart truly beats for Death Metal, Melsele, East Flanders, Belgium-based Progressive Death Metal outfit Wound Collector is set to unleash upon us a brand new four-track EP titled Begging For Chicxulub, the follow-up to their 2020 sophomore album Depravity. Currently formed of Peter Verdonck on vocals, saxophone and arrangements alongside Poncho Gavall (Pestifer) and Guy Van Campenhout (Hangman’s Hymn, Splendidula) on the guitars, Stijn Deldaele (Beat Love Oracle, Vesper) on bass and Nico Veroeven (Serial Butcher, Carrion) on drums, Wound Collector play an amalgamation of styles perfect for fans of Nile, Imperial Triumphant, Sarpanitum, Immolation and so on, with their new short and sweet EP beautifully showing a good sample of what they’re capable of.

The band puts the pedal to the metal in the opener River Of Scalded Corpses, with Nico delivering violent but intricate beats while Poncho and Guy sound insane armed with their riffs and solos in a multi-layered Progressive Death Metal feats tailored for admirers of the style; and  they continue their feast of brutal yet detailed Death Metal in Progress Through Dishonor, with the saxophone by Peter adding an extra touch of insanity to their music, not to mention how deep and enraged Peter’s vocals sound and feel. Then the striking fusion of the delicacy of the saxophone with the bestial roars by Peter and the caustic riffage by Poncho and Guy set the tone in Dehumanized By The Auburn System, flowing smoothly until the very last second, while Chicxulub is a ruthless explosion of Progressive and Technical Death Metal by the band where Nico once again dictates the pace with his demented drumming, not to mention Peter’s saxophone adds even more electricity to it, resulting in the best song of the EP hands down.

The multi-talented Peter and his henchmen are waiting for you on Facebook and on Instagram with news, tour dates and so on, and of course don’t forget to stream more of their music on YouTube and on Spotify, and grab a copy of their excellent EP from their Big Cartel, BandCamp, or by clicking HERE. If you’ve never experienced Death Metal infused with the smooth and powerful sound of a saxophone, you’ll have an absolute blast listening to Wound Collector, with their new EP being exactly what you need to “relax inside a mosh pit”, if you know what I mean.

Best moments of the album: River Of Scalded Corpses and Chicxulub.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. River Of Scalded Corpses 3:30
2. Progress Through Dishonor 3:40
3. Dehumanized By The Auburn System 3:41
4. Chicxulub 3:20

Band members
Peter Verdonck – vocals, saxophone, arrangements
Poncho Gavall – lead guitars
Guy Van Campenhout – guitars
Stijn Deldaele – bass guitar
Nico Veroeven – drums

Album Review – Aborted / Vault of Horrors (2024)

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One of the must-see bands of the current Death Metal and Deathcore scene worldwide opens their demonic vault of horrors to bring brutality, gore and evil to our damned souls.

Since their unholy inception in 1995, Belgian Death Metal/Grindcore miscreants Aborted have been one of the pioneers of the genre and have annihilated friend and foe with relentless intensity and an uncompromising mix of flawless technicality and raw emotion. Now in 2024 the band currently formed of frontman Sven De Caluwé, guitarists Daníel Máni Konráðsson and Ian Jekelis, and drummer Ken Bedene, plus bassist Stefano Franceschini (who left the band in 2023) and guest musician Spencer Creaghan on synthesizers, returns with a worthy follow-up to their 2021 album ManiaCult, a sonic beast entitled Vault of Horrors. Produced, mixed and mastered by Dave Otero at Flatline Audio Studio, and displaying a sick artwork by Dan Goldsworthy (who has already worked with titans the likes of Corpsegrinder, Accept, Alestorm, Cradle of Filth, Gloryhammer, and many more), Aborted’s twelfth studio album dives deep into the vaults of VHS cassettes and stories that have been haunting us all for decades, with each song paying tribute to a horror cult classic ranging from obligatory cuts such as The Texas Chainsaw Massacre (to be found on Death Cult) or Halloween (The Shape Of Hate) to the more recent The Mist (to be discovered on Malevolent Haze), and with each one of its ten ferocious, gut-wrenching Death Metal slashers featuring a very special guest vocalist to add an extra touch of brutality and gore to Aborted’s trademark sound.

Featuring guest vocalist Ben Duerr (of Shadow Of Intent), the opener Dreadbringer offers our putrid ears sick lyrics (“Awake, bringing forth this disease / Multiply to dominate, your soul I’ll penetrate / Corrupt, contaminate, and imitate, eradicate / Your path leads right through us with no way to circumvent it”) and endless savagery in a beautiful fusion of Death Metal and Deathcore, followed by Condemned to Rot, with guest vocalist Francesco Paoli (of Fleshgod Apocalypse) barking like a beast, another lesson in brutality by Aborted with the insane drums by Ken bringing sheer aggression to the music; and featuring guest vocalist Johnny Ciardullo (of AngelMaker), Brotherhood of Sleep leans towards modern-day Deathcore, where Sven and Johnny make a demented vocal duet while Daníel and Ian keep slashing their axes in the name of violence. Then get ready to break your neck headbanging like a maniac to Death Cult, where Sven and guest vocalist Alex Erian (of Despised Icon) roar manically while the rest of the band doesn’t leave a single space left in the air with their first-class, inhumane instrumental parts; whereas Hellbound is another explosion of violence where the band’s Technical Death Metal side is boosted by the sick vocals by guest Matt McGachy (of Cryptopsy).

The pulverizing Insect Politics, featuring guest vocalist Jason Evans (of Ingested), might have less than two minutes in duration, but the music is as infernal and intense as its predecessors, resulting in a fantastic tune for hammering our skulls into the circle pit; and Aborted show no mercy for our putrid souls in The Golgothan, offering more of their trademark violence and dexterity, with Sven once again leading his horde with his deep, visceral growls supported this time by guest vocalist Hal Microutsicos (of Blasphemous and Engulf). There’s no time to breathe as The Shape of Hate is another blast of dementia and Death Metal by the band, where guest vocalist Oliver Rae Aleron (of Archspire) offers his trademark rap-like guttural, making the whole song even more insane and vibrant; and there’s still time for another thunderous, inhumane tune titled Naturom Demonto, featuring guest vocalist David Simonich (of Signs of the Swarm), with the rumbling bass by Stefano and the blast beats by Ken making the earth tremble. Of course the album wasn’t going to be complete without a massive dosage of sulfur, courtesy of guest vocalist Ricky Hoover (of Ov Sulfur) in Malevolent Haze, another feast of slashing riffs, crazy drums and demonic vociferations to end the album on a beyond violent and Stygian note.

In a nutshell, with this deadly alliance, Vault of Horrors is an epic journey where listeners are thrust into a world of intense brutality, characterized by lightning-fast guitar riffs, intricate, pummeling drum patterns and monstrous vocals that leave no room for respite. “As usual, the guest vocalists were all chosen out of friends, people we’ve known for years or got to know in the last years, toured with, or have a connection with. Hal from Engulf was also picked since I did a guest spot on their record and loved his vocals. The guys from Ingested, Carcosa, Ov Sulfur were people that we toured with last year. We also go way back with Archspire, Despised Icon, Fleshgod Apocalypse and Cryptopsy. Being able to collaborate with all these great artists is such a privilege and made the process all the more exhilarating since each of them bring their own flavour to the mix. The enthusiasm of everyone involved definitely shines through to the final product and adds yet another layer of depth to the listening experience of the album,” commented Sven, and if you want to show Aborted your utmost support and admiration you can check out what the band is up to on Facebook and on Instagram, subscribe to their YouTube channel, stream more of their music on Spotify, and of course purchase the imposing Vault of Horrors by clicking HERE or HERE. In other words, let’s see if you have what it takes to face the brutality, gore and evil found inside the vault of horrors by one of the leaders of the current extreme music scene worldwide.

Best moments of the album: Brotherhood of Sleep, Death Cult, Insect Politics and The Shape of Hate.

Worst moments of the album: None.

Released in 2024 Nuclear Blast

Track listing
1. Dreadbringer 5:30
2. Condemned to Rot 2:56
3. Brotherhood of Sleep 3:55
4. Death Cult 3:40
5. Hellbound 4:47
6. Insect Politics 1:44
7. The Golgothan 4:19
8. The Shape of Hate 4:17
9. Naturom Demonto 4:03
10. Malevolent Haze 4:53

Band members
Sven De Caluwé – vocals
Daníel Máni Konráðsson – guitar
Ian Jekelis – guitar
Stefano Franceschini – bass
Ken Bedene – drums

Guest musicians
Ben Duerr – vocals on “Dreadbringer”
Francesco Paoli – vocals on “Condemned to Rot”
Johnny Ciardullo – vocals on “Brotherhood of Sleep”
Matt McGachy – vocals on “Hellbound”
Jason Evans – vocals on “Insect Politics”
Hal Microutsicos – vocals on “The Golgothan”
Oliver Rae Aleron – vocals on “The Shape of Hate”
David Simonich – vocals on “Naturom Demonto”
Ricky Hoover – vocals on “Malevolent Haze”
Alex Erian – vocals on “Death Cult”
Spencer Creaghan – synthesizers

Album Review – Aborted / La Grande Mascarade EP (2020)

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Belgium’s own Death Metal trailblazers return with a three-track EP that will take you on a frantic journey through the realms of brutality and violence.

Forged in the fires of Waereghem, a municipality in the Belgian province of East Flanders, in the distant year of 1995, but currently featuring members from Belgium, the Netherlands and the United States, the unrelenting Brutal Death Metal trailblazers Aborted have just released a pummeling new three-track EP entitled La Grande Mascarade, containing two brand new tracks plus one previously unreleased song from the recording sessions of their 2018 album TerrorVision. Produced, mixed and mastered by Kristian ‘Kohle’ Kohlmannslehner at Kohlekeller Studio and featuring  a cadaverous artwork by Mitchell Nolte, La Grande Mascarade will take you on an 11-minute infernal journey through the realms of Death Metal and Grindcore ruled by Aborted, showcasing all the talent and fury exhaled by frontman Sven De Caluwe and his henchmen Harrison Patuto and Ian Jekelis on the guitars, Stefano Franceschini on bass and Ken Bedene on drums, leaving us all eager for more of their extreme sounds in a not-so-distant future.

And otherworldly voices kick off the brutal and visceral opening tune Gloom and the Art of Tribulation, exploding into a feast of modern-day Death Metal infused with Deathcore and Grindcore elements where Sven roars and barks like a true beast while Harrison and Ian are venomous with their riffs. Needless to say, this will undoubtedly be a fantastic addition to their live performances, not to mention the impact of its psychological lyrics on our minds (“Trauma sets in / Mesmerized by the hell I created / Swallowed whole by the darkness that lives within me / Architect of my spiritual undoing / Lover to misery”). Following such beautiful start they offer more of their trademark progressiveness and rage in another grim and cryptic song titled Serpent of Depravity, with Ken’s intricate and fulminating beats being perfectly complemented by the scorching riffs fired by the band’s guitar duo in a hybrid of Groove and Progressive Death Metal. And lastly, we’re treated to Funereal Malediction, a pure, hellish Death Metal and Grindcore devastation where Stefano and Ken make the foundations of the earth tremble with their respective weapons while Sven sounds absolutely berserk and demented on vocals. This amazing composition couldn’t have sounds more infernal than what it already does, with the complexity of their riffage and drums being beyond amazing and, therefore, resulting in a vile conclusion to the album.

This short but very entertaining (and obviously demolishing) display of Brutal Death Metal can be appreciated in its entirety on YouTube and on Spotify, but of course, as we’re all living through such difficult times, we metalheads must stay together and provide the bands we love our true support by purchasing their music and merch, which in the case of Aborted can be done by clicking HERE or HERE. Also, don’t forget to follow the band on Facebook and on Instagram (in case you don’t do that already), letting them know how much you enjoy their sonic devastation and inspiring them to provide us more and more albums and EP’s like La Grande Mascarade, keeping the fires of extreme music burning and, consequently, keeping us all with a huge smile on our faces (and a lot of pain in our necks due to some brutal headbanging).

Best moments of the album: Funereal Malediction.

Worst moments of the album: None.

Released in 2020 Century Media Records

Track listing
1. Gloom and the Art of Tribulation 4:38
2. Serpent of Depravity 3:21
3. Funereal Malediction 3:50

Band members
Sven De Caluwe – vocals
Harrison Patuto – guitar
Ian Jekelis – guitar
Stefano Franceschini – bass
Ken Bedene – drums