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Album Review – Moonspell / Far from God (2026)

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Born out of five years of creative searching, doubt and ultimate rediscovery, the brilliant new opus by these Portuguese Dark Metal masters shines like a black diamond, luminous yet shadowed in texture and color.

Born out of five years of creative searching, doubt and ultimate rediscovery, the embracing Far from God, the new opus by Portuguese Dark Metal masters Moonspell is a work that feels like a rebirth, darker, sharper and emotionally unfiltered, following on the band’s more recent releases Extinct (2015), 1755 (2017), and Hermitage (2021). Produced, mixed and mastered by Jaime Gómez Arellano at Orgone Studios, and displaying another darkly beautiful artwork by Eliran Kantor, the new album by frontman Fernando Ribeiro, guitarist Ricardo Amorim, bassist Aires Pereira, keyboardist Pedro Paixão, and drummer Hugo Ribeiro shines like a black diamond, luminous yet shadowed in texture and color, both musically and sonically.

The enfolding guitar lines by Ricardo kick off the beautiful Cross Your Heart, with its poetic lyrics being declaimed by Fernando in great fashion (“Crosses and flowers by the side of the road / Someone died here, they were so fucking young / Skulls and bones, buried in the dirt / Morning has broken, it’s the wake of the ghost”); and in Far from God we face more of their vampiric lyrics (“I am not of this earth and I am not of this time / I don’t even exist, I could never belong / I am far from God”) while Aires blasts his bass in the name of absolute darkness in a lecture in Gothic Metal. Aires’ bass also ignites the band’s dark engine in Biblical, with the keys by Pedro bringing an extra touch of finesse to their music; and the stunning The Great Wolf in the Sky features Spanish musician Alicia Nurho on violin, which clashes majestically with the thunderous kitchen crafted by Pedro and Hugo, not to mention Fernando’s deep vocals sound hypnotizing.

Then they blast one of the most atmospheric yet also one of the heaviest songs of the album, titled Your Promise of Light, alternating between truly phantasmagorical moments and bursts of violence, all reflected on Fernando’s dynamic vociferations; whereas For the Love of Mortals reminds me of some of the songs from Extinct, where the band blends Gothic Metal with atmospheric and melancholic nuances, resulting in stunning ballad by Moonspell. Our Freedom to Fall is a hard hitting tune which will inspire us to bang our heads in pitch black darkness, presenting elements of Doom Metal to give it an extra kick, in special through Hugo’s pounding drums; and the scorching riffs by Ricardo bring an overdose of heaviness to Reconquista, offering six minutes of Fernando’s anguished, Stygian vocals, therefore concluding the album on a truly obscure and venomous mode.

Rather than bending to modern trends, Moonspell double down on identity and substance in Far From God, a bold and beautiful statement of Gothic Metal in its purest form, sounding dark, romantic, dramatic and unapologetically heavy. If you want to follow the band in their path to the dark side, you can find those Portuguese veterans on Facebook, Instagram and YouTube, stream their unique music on any platform like Spotify, and of course purchase the darkly enfolding Far from God from BandCamp or from Napalm Records. In the end, Far from God is not only a powerful reminder that Moonspell remain a defining force in the genre they helped shape, but an album that will certainly help save Gothic Metal from boredom and predictability.

Best moments of the album: Far from God, The Great Wolf in the Sky, For the Love of Mortals and Reconquista.

Worst moments of the album: None.

Released in 2026 Napalm Records

Track listing
1. Cross Your Heart 4:48
2. Far from God 5:06
3. Biblical 5:00
4. The Great Wolf in the Sky 5:50
5. Your Promise of Light 5:01
6. For the Love of Mortals 5:45
7. Our Freedom to Fall 4:41
8. Reconquista 6:11

Band members
Fernando Ribeiro – vocals
Ricardo Amorim – guitars
Aires Pereira – bass
Pedro Paixão – keyboards
Hugo Ribeiro – drums

Guest musician
Alicia Nurho – violin on “The Great Wolf in the Sky”

Album Review – Immolation / Descent (2026)

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One of the original vanguards of Death Metal returns with their incendiary twelfth studio album, continuing their journey away from the rejection of Catholicism and further into Gnostic foreboding.

One of the original vanguards of Death Metal, and 37 years into their storied career, New York’s own institution Immolation is back in action with their twelfth studio album, entitled Descent, following up on their critically acclaimed 2022 opus Acts of God. Produced, mixed and mastered by Zack Ohren at Castle Ultimate Productions, with vocals, guitars and bass recorded by Justin Passamonte at Jpass Music, and drums recorded by Noah Buchanan at Mercinary Studios, and displaying a stylish artwork by the iconic Eliran Kantor (with booklet illustrations by Santiago Jaramillo of Triple 6 Design), the new beast by vocalist and bassist Ross Dolan, guitarists Robert Vigna and Alex Bouks, and drummer Steve Shalaty continues the band’s journey away from the rejection of Catholicism and further into Gnostic foreboding. Is Earth actually Hell? Is there any path to salvation? Not only that, the album’s title is self-evident as it chronicles the descent of failed empires, endless wars, and the corruption of the human soul. You will not be disappointed, but you may come away disillusioned.

The Stygian, minimalist guitar lines by Robert and Alex quickly explode into Immolation’s classic Death Metal fury in These Vengeful Winds, kicking off the album on a high and demented mode. And it’s then time to slam into the pit like a true maniac to the sound of The Ephemeral Curse, with Ross barking deeply while Steve crushes our souls with his infernal drums, followed by God’s Last Breath, another song that starts in a doom-ish way before exploding into the band’s undisputed Death Metal, as evil, dark and sinister as it can be, led by the hammering drums by Steve. One more wild adventure inside the circle pit awaits in Adversary, with Ross growling manically while his bandmates deliver a fast and furious blend of Death Metal magic perfect for fans of the style; and Ross’ bass will crush your damned skull in Attrition, while Robert and Alex deliver a striking riff attack that will inspire you to break your neck headbanging.

Let’s all succumb to total darkness to the sound of the deadly hymn Bend Towards the Dark. Needless to say, it should sound incredible live, in special the always phenomenal riffs and solos by Robert and Alex. Steve’s tribal beats kick off another bestial display of violence and savagery entitled Host, where their guitars will once again skin you alive so caustic and sharp they sound. After such a high level of violence, get ready for another vicious riff attack by the band’s ultra talented guitar duo in False Ascent, offering an avalanche of demonic growls by Ross while Steve adds sheer Death Metal madness to the music with his unstoppable beats and fills. Then we face the sinister (yet a bit lengthy) instrumental interlude Banished, setting the stage for the quartet to strike us all one last time with the demented title-track Descent, putting an obscure and demolishing ending to the album to the cadaverous roars by Ross and the always pulverizing drums by Steve, leaving us completely disoriented and eager for more Immolation in the near future.

Once again, longtime fans and unsuspecting newcomers will be confronted with hymns of darkness and fury, invoked by one of the most respected names in the genre. You can get in touch with those torchbearers of classic Death Metal via Facebook and Instagram, check more of their music and videos on YouTube and on Spotify, and of course add Descent to your dark and blasphemous collection by clicking HERE. Often imitated, but never surpassed, Immolation prove again why they remain one of the most enduring names in metal. If you’re already a fan, you know why. If Descent is your first introduction, you will be a convert soon enough, as you descend into the pits of the underworld ruled by those talented and hardworking death dealers.

Best moments of the album: The Ephemeral Curse, Bend Towards the Dark and False Ascent.

Worst moments of the album: Banished.

Released in 2026 Nuclear Blast Records

Track listing
1. These Vengeful Winds 4:04
2. The Ephemeral Curse 3:57
3. God’s Last Breath 4:22
4. Adversary 3:17
5. Attrition 4:44
6. Bend Towards the Dark 3:56
7. Host 4:12
8. False Ascent 3:49
9. Banished 3:17
10. Descent 5:57

Band members
Ross Dolan – vocals, bass
Robert Vigna – guitars
Alex Bouks – guitars
Steve Shalaty – drums

Album Review – Testament / Para Bellum (2025)

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Let’s prepare for war to the sound of the breathtaking fourteenth studio album by Oakland, California’s own masters of old school, crushing Thrash Metal.

“Parabellum” is the second half of the Latin phrase “si vis pacem, para bellum”, which translates to “if you want peace, prepare for war”. That’s exactly what Oakland, California’s own Thrash Metal masters Testament are offering us all now in 2025 with their infernal fourteenth studio album, titled Para Bellum, a worthy follow-up to their 2020 beast Titans of Creation. Produced by Chuck Billy and Eric Peterson alongside Juan Urteaga at Trident Studios, who also recorded vocals, bass, drums, and acoustic guitars, with guitars recorded at Dragon Lair Studio and Skol Productions Studio, mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, and showcasing an apocalyptic artwork by the majestic Eliran Kantor, the new opus by the iconic  frontman Chuck Billy, the unparalleled guitarists Eric Peterson and Alex Skolnick, the ruthless bassist Steve Di Giorgio, and the beyond talented newcomer Chris Dovas (Evulsion, Unflesh, Aversed) on drums is a lecture in both old school and modern-day Thrash Metal, sounding as heavy, infuriated, intricate and explosive as a real war, leaving us absolutely disoriented after all is said and done.

Chris already showcases his welcome card in the opening beast titled For the Love of Pain while Eric and Alex hypnotized us all as expected with their undisputed riff attack, with Chuck’s ruthless roars being the icing on their thrashing cake. Their sonic devastation goes on in full force in Infanticide A.I., where Chuck’s deep, enraged gnarls walk hand in hand with the striking riffs and solos by the band’s guitar duo in a lesson in Thrash Metal, followed by Shadow People, utterly tribal, dark and heavy, a more melodic display of the band’s core sonority led once again by Eric’s and Alex’s flawless guitar work. Meant to Be follows a similar pattern as their own song “Dark Roots of Earth”, a somber, pensive ballad including some acoustic moments; whereas back to a much more ferocious, progressive and ruthless sonority we have High Noon, perfect for breaking our necks headbanging to Chris’ intricate beats and fills.

It’s time to go hunt some witches in the name of old school Thrash Metal with Witch Hunt, another avalanche of metallic riffs and blast beats for our total delight where Chuck sounds inhumane as usual on vocals; and I also love when he sounds less demented like in Nature of the Beast, delivering those raspy, deep and almost “clean” vocal lines that give the whole song an even edgier vibe, as melodic as it is groovy. Room 117 offers the band’s more contemporary sonority from their latest decade, with Steve hammering his bass mercilessly accompanied by the pounding drums by Chris; whereas Eric and Alex will crush your damned minds and souls with their electrifying axes in Havana Syndrome, an explosion of first-class Testament for the masses. Finally, ending the album we face the Stygian, imposing title-track Para Bellum, one of their most detailed, multi-layered songs of the past few years, with Chuck’s demonic growls sounding phenomenal from start to finish in an ode to war before all fades into the void.

Readiness to fight is necessary to maintain peace and defend oneself or one’s country, and the undisputed Thrash Metal blasted by Testament in Para Bellum is also necessary in the life of any decent human being. You can follow the band on Facebook and on Instagram for news, tour dates and other nice-to-know details about one of the torchbearers of classic thrash, stream their demonic creations on Spotify, and above all that, grab a copy of their incendiary newborn spawn from Nuclear Blast or by clicking HERE. In other words, it’s time to prepare for war, and there’s nothing better than Testament’s new album to inspire us all to head into the battlefield alongside one of the most important bands in the history of heavy music.

Best moments of the album: For the Love of Pain, Infanticide A.I., Witch Hunt, Nature of the Beast and Para Bellum.

Worst moments of the album: Meant to Be.

Released in 2020 Nuclear Blast

Track listing
1. For the Love of Pain 5:35
2. Infanticide A.I. 3:27
3. Shadow People 5:45
4. Meant to Be 7:33
5. High Noon 3:52
6. Witch Hunt 4:16
7. Nature of the Beast 4:28
8. Room 117 4:18
9. Havana Syndrome 4:40
10. Para Bellum 6:30

Band members
Chuck Billy – vocals
Eric Peterson – guitar
Alex Skolnick – guitar
Steve Di Giorgio – bass
Chris Dovas – drums

Guest musicians
Dave Eggar – cello, violin, viola, orchestrations, strings arrangements
Chuck Palmer – orchestrations, strings arrangements
Xavi Morató – violin

Album Review – Imperialist / Prime (2025)

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Sounding tighter and more intricate than ever before, this American Sci-Fi Black Metal beast will take you on a journey to outer space to the sound of their breathtaking new album.

Having spent the years honing their craft while keeping their Death Metal-touched Sci-Fi Black Metal sound intact, Monrovia, California’s own beast Imperialist returns with their long awaited third studio album Prime, the follow-up to their critically acclaimed 2021 sophomore offering Zenit and their 2023 EP Quantum. Recorded by Charles Elliott at Tastemaker Audio, mixed and mastered by Dan Swanö at Unisound, and displaying a stylish artwork by Eliran Kantor, the new album by vocalist and guitarist Sergio Soto, guitarist Bryant Quinones, bassist Joshua Alvarez, and drummer Rod Quinones sounds tighter and more intricate than ever before, reinforced further with Thrash Metal elements while also showcasing the darkness and menace displayed on the previous EP but also the maturity in songwriting, being highly recommended for fans of Dissection, Emperor, Valdrin, Vektor, Frozen Dawn, Abigor, and Immortal.

The album kicks off in full force with Starstorm, a demonic display of Technical Black Metal where the guitars by Sergio and Bryant sound as heavy and electrified as imaginable, followed by Beneath The Sands Of Titan, and as a poetic song name deserves a true metallic, no shenanigans sound, that’s exactly what the band delivers, with Rod crushing his drums in great fashion. Their flammable riffs, accompanied by the pure Black Metal bass by Joshua, will darken the skies in Depravity Beheld, while Sergio continues to gnarl like an evil creature; and in I A.M. the dauntless Sergio darkly gnarls the song’s devilish words (“They were naive to think / I would be the one / The prevent their world’s decay / I think therefore I am / Artificially intellegant / Disdain for flesh and blood / Now dominates my world”) amidst a furious Melodic Black Metal sonority for our total delight.

Then after such an insane metal attack we’re treated to the ethereal interlude Heavens Sunder, setting the tone for Final Hours, a ruthless and extremely vile Black Metal extravaganza where Sergio and Bryant deliver some of their most melodic riffs of the whole album, while Rod makes sure the humongous level of heaviness in the song remains intact. Union Of The Swarm sounds as strident and piercing as its predecessors thanks to the caustic riffage by the band’s guitar duo once again, while Rod’s drums sound at the same time rhythmic and apocalyptic, whereas the same Rod speeds things up in the sulfurous Nocturnal Eon, a lesson in contemporary Black Metal where Sergio’s vocals live up to the glory of such an important music genre created in Norway in the 90’s. Last but definitely not least, let’s enjoy seven minutes of first-class Melodic Black Metal in A Ghost Abandoned, led by the rhythmic drums by Rod and the always venomous growls by Sergio.

The music found in Prime oozes passion and dedication at every level, and every listen will prove to be a testament to that. This could very well be the best Imperialist album to date and given their faultless discography to date, that is saying something. You can experience all that by purchasing the album from their own BandCamp, as well as from the Transcending Obscurity Records’ main store, Bandcamp, Europe store or US store, and don’t forget to also follow the band on Facebook and on Instagram, stream their music on Spotify, or click HERE for all things Imperialist. In other words, as their sci-fi obsession has been taken to the next level in Prime, Imperialist are inciting us all to a wild and thrilling metal journey to outer space to the sound of their breathtaking new album, a one-way trip that will surely crush your minds and thoughts in the name of heavy music.

Best moments of the album: Beneath The Sands Of Titan, Final Hours and Nocturnal Eon.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Starstorm 5:09
2. Beneath The Sands Of Titan 5:47
3. Depravity Beheld 5:14
4. I A.M. 4:30
5. Heavens Sunder 1:56
6. Final Hours 4:46
7. Union Of The Swarm 5:27
8. Nocturnal Eon 4:39
9. A Ghost Abandoned 7:22

Band members
Sergio Soto – vocals, guitar
Bryant Quinones – guitar
Joshua Alvarez – bass
Rod Quinones – drums

Album Review – Helloween / Giants & Monsters (2025)

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Confident and bursting with vigor, these German giants of Heavy Metal and monsters of Rock N’ Roll are back with their breathtaking seventeenth studio album.

With 15 gold awards, six platinum awards and over ten million records sold, German Heavy Metal masters Helloween are celebrating the band’s 40th anniversary with the successor to their critically acclaimed 2021 self-titled masterpiece. Confident and bursting with vigor, the septet formed of frontmen Michael Kiske and Andi Deris, guitarists Kai Hansen, Michael Weikath and Sascha Gerstner, bassist Markus Grosskopf, and drummer Dani Löble presents one of their most versatile albums to date, titled Giants & Monsters, the seventeenth studio album in their undisputed career. Recorded and mixed by Charlie Bauerfeind and Dennis Ward at Mi Sueno Studio, mastered by Sascha “Busy” Bühren and Emil Pohjalainen at Wisseloord Studios, and once again displaying a stunning artwork by Eliran Kantor, Giants & Monsters showcases a band that keeps reinventing themselves while staying true to the foundations of Heavy Metal, continuing to challenge seven brimming careers even after four decades.

Mr. Andi Deris begins embellishing the airwaves with his striking vocals in Giants on the Run, a classic Helloween tune sounding fast, electrifying and epic from start to finish, and I must say I love the fact Kai also delivers some vocal lines during the song. Then it’s time for Mr. Michael Kiske to take us back to the glory of the 80’s in Savior of the World, a flawless Power Metal song striking us hard like fire and thunder, with Dani kicking some ass behind his drums; whereas venturing through the realms of Progressive Rock but always rooted in their classic Heavy Metal sonority we have A Little Is a Little Too Much, one of those songs perfect for dancing with your loved ones. The visceral riffs by Kai, Michael Weikath and Sascha set the tone in the Primal Fear-like attack titled We Can Be Gods, flowing majestically until the very end. And Into the Sun, which was originally recorded for their 2021 self-titled album, but scrapped after being altered during production (as the final result wasn’t to their liking), is a charming ballad led by the hypnotizing vocals by Kiske and Andi.

This Is Tokyo, the first single released a couple of months ago, was a very good sign of the classic, old school approach by Helloween with a Melodic Rock/AOR twist, boosting their vocal lines even more while the chorus couldn’t have sounded catchier; and it’s pedal to the metal in the Heavy and Power Metal attack entitled Universe (Gravity for Hearts), with Dani’s fast and furious beats providing Kiske with exactly what he needs to make his vocals soar high like an eagle, resulting in eight minutes of pure metal magic by our beloved German pumpkins. The septet then offers two three-minute songs, the first being Hand of God, showcasing a more experimental sounds mixed with their core essence. Not their best effort, to be honest, while back to a more electrifying sound we have Under the Moonlight, with the guitars by Kai, Weikath and Sascha adding an overdose of Rock N’ Roll to their core sound. There’s still time for one more epic tune by Helloween, the phenomenal Majestic, and the music perfectly reflects the song title, with Kiske taking the lead with his unparalleled vocals while the band’s guitar triumvirate penetrates deep inside our souls with their superb, classic riffs and solos, or in other words, it’s an epic conclusion to such a metallic celebration by Helloween.

After all is said and done, Giants & Monsters presents the experience and musical enthusiasm of a band that can do anything and everything blazes its way, with all creative limits being set aside once and for all. “What keeps motivating us is the fact that we’re extremely different. That generates suspense and creative energy,” explained Michael Weikath, “and if problems do occur, we connect through our passion and our sense of humor. We try not to take ourselves and everything around us too seriously,” added Kai Hansen, before Andi Deris concluded with a bang. “In the end, we’re just seven guys who want to make music and enjoy the incomparable force that arises when we’re together. Helloween is way more powerful than the sum of its parts.” Hence, if you also want to be part of the Pumpkins United army, you can follow the band on Facebook and on Instagram, stream their classy music on YouTube and on Spotify, and of course add their superb new album to your private collection by clicking HERE. Because Helloween are giants of Heavy Metal, they’re monsters of Rock N’ Roll, and while they’re among us we can all rest assured heavy music will remain alive and kicking.

Best moments of the album: Savior of the World, A Little Is a Little Too Much, This Is Tokyo, Universe (Gravity for Hearts) and Majestic.

Worst moments of the album: Hand of God.

Released in 2025 Reigning Phoenix Music

Track listing
1. Giants on the Run 6:20
2. Savior of the World 4:15
3. A Little Is a Little Too Much 3:30
4. We Can Be Gods 5:24
5. Into the Sun 3:39
6. This Is Tokyo 4:16
7. Universe (Gravity for Hearts) 8:22
8. Hand of God 3:44
9. Under the Moonlight 3:07
10. Majestic 8:10

Band members
Michael Kiske – vocals
Andi Deris – vocals
Kai Hansen – guitars, vocals
Michael Weikath – guitars
Sascha Gerstner – guitars
Markus Grosskopf – bass
Dani Löble – drums

Album Review – Heaven Shall Burn / Heimat (2025)

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One of the biggest names in the history of Melodic Death Metal and Metalcore strikes again with their tenth opus, displaying a deep connection to their homeland and their German roots.

Heimat, which is German for “home”, “homeland, or “native land”, is a term that merely refers to a relationship between people and spaces but has nevertheless always been highly emotionally charged. That’s the title of the new offering by German Melodic Death Metal/Metalcore outfit Heaven Shall Burn, following up on their critically acclaimed 2020 album Of Truth And Sacrifice. Produced at The Dude Ranch, mixed and mastered by Tue Madsen at Antfarm Studio, and showcasing a stunning artwork by world renowned artist Eliran Kantor, the new album by Marcus Bischoff on vocals, Maik Weichert and Alexander Dietz on the guitars, Eric Bischoff on bass, and Christian Bass on drums will certainly please both old and new fans of the band, presenting their signature sound without sounding repetitive or outdated, always looking forward regarding their creativity, heaviness and energy.

The intro Ad Arma couldn’t have been more atmospheric and sinister, setting the stage for the band to crush us all with War Is the Father of All, with Marcus roaring rabidly amidst an imposing, symphonic-infused Metalcore sound boosted by Christian’s pounding drums, or in other words, it’s an impressive and multi-layered start to the album. My Revocation of Compliance is another hammering tune showcasing dark lyrics growled by Marcus (“Welcome to an age of disregard / So abhorrent, all this torture, all this suffering / Yes, you all are the inciters / Willful and deliberately, without the slightest qualm”), whereas Maik and Alexander sound venomous with their sharp riffs in Confounder, resulting in a great option for some sick slamming inside the pit. Empowerment offers another round of their caustic and piercing words (“This is a clarion call, this is my call! / Betrayed and forsaken. A generation in rebellion. They all abide the storm. / Left with no option but revolt, up in arms and never resting, now tearing down your web of lies”), followed by A Whisper from Above, an upbeat tune presenting their trademark aggression, with Christian stealing the show with his beats and fills.

Then after the short and sweet interlude Imminence, the band comes ripping once again with Those Left Behind, speeding up their pace while also firing those very melodious riffs we enjoy so much in first-class Melodic Death Metal and Metalcore. Their destructive mode goes on in full force in Ten Days in May, where Maik and Alexander, supported by the rumbling bass by Eric, will pierce your minds and souls with their scorching riffs and solos; followed by their rendition of Numbered Days, by Killswitch Engage (check out the original version from their 2002 album Alive or Just Breathing), featuring guest vocals by Jesse Leach, the current vocalist of Killswitch Engage themselves, and Heaven Shall Burn deliver a just as violent version of the song for our total delight. Marcus doesn’t get tired of screaming like a beast in Dora, while his bandmates provide him with their classic fusion of violence and harmony; and A Silent Guard is another bludgeoning version of their hybrid of Melodic Death Metal and Metalcore where Christian showcases a visceral performance on drums, before the album ends with the outro Inter Arma, the aftermath of the album albeit too long as already mentioned.

“Heimat is not meant as the narrow-minded end point in the sense it has been used by agitators and populists, but the starting point for observations and perspectives. The album is about a much wider sense of the term ‘Heimat’: the homelands for many different people and also about the spiritual home, something that shapes and determines our thoughts and actions,” commented guitarist Maik Weichert, and you can get in touch with the band to dive even deeper into the world of Heimat via Facebook and Instagram. Don’t forget to also subscribe to their YouTube channel and visit them on Spotify for more of their music, and of course to grab a copy of their incendiary new album via BandCamp or their own webstore, or simply by clicking HERE. Some of the physical versions of the album include more of the amazing art by Eliran Kantor, by the way, and are definitely worth every penny. With Heimat, Heaven Shall Burn prove once again why they remain relevant in the already saturated Melodic Death Metal and Metalcore scene worldwide, always displaying their connection to their homeland and their German roots, while also speaking the universal language of heavy music that will forever reverberate across the four corners of the earth.

Best moments of the album: War Is the Father of All, A Whisper from Above and Ten Days in May.

Worst moments of the album: Inter Arma.

Released in 2025 Century Media Records

Track listing
1. Ad Arma 1:54
2. War Is the Father of All 6:42
3. My Revocation of Compliance 3:32
4. Confounder 4:19
5. Empowerment 4:45
6. A Whisper from Above 4:27
7. Imminence 1:04
8. Those Left Behind 3:24
9. Ten Days in May 4:36
10. Numbered Days (Killswitch Engage cover) 3:38
11. Dora 4:10
12. A Silent Guard 5:01
13. Inter Arma 3:24

Band members
Marcus Bischoff – vocals
Maik Weichert – guitars
Alexander Dietz – guitars
Eric Bischoff – bass
Christian Bass – drums

Guest musician
Jesse Leach – vocals on “Numbered Days”
Wilhelm Keitel, Mondëna Quartet & Ukrainian Sophia Chamber Choir – choir & orchestrations

Album Review – Cryptosis / Celestial Death (2025)

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Netherland’s own Progressive Thrash Metal beast is back with their sophomore opus, expanding their reign of cerebral terror while drawing a red line between the horrors of the present day and the limitless chaos of the future.

Playing what they like to label as “futuristic multi-metal eruption”, Enschede, Netherlands-based Progressive Thrash Metal beast Cryptosis is back after their critically acclaimed debut Bionic Swarm and their 2023 EP The Silent Call with their sophomore offering, titled Celestial Death, expanding their reign of cerebral terror while maintaining their core policy of making epic music that refuses to be pigeonholed. Once again recorded by Olaf Skoreng at The Moon, mixed by Fredrik Folkare, mastered by Tony Lindgren at Fascination Street Studios, and showcasing a classy artwork by the always amazing Eliran Kantor, the new opus by vocalist and guitarist Laurens Houvast, bassist Frank te Riet, and drummer Marco Prij is a more nuanced and complex affair than their debut album, with lyrics that draw a red line between the horrors of the present day and the limitless chaos of the future.

The futuristic intro Prologue – Awakening will transport us to the metallic realm ruled by Cryptosis in Faceless Matter, with Marco already stealing the spotlight with his unparalleled drumming, offering Laurens all he needs to vociferate rabidly for our total delight in a killer display of Progressive and Technical Thrash Metal. Then the mellotron and synths by Frank will destroy your senses in Static Horizon, another blast of futuristic violence by the trio, followed by their 2024 version for The Silent Call, from their 2023 EP, sounding sharper and more dynamic, with Frank and Marco crafting a thunderous atmosphere perfect for Laurens’ riffs and roars. And in Ascending we face a fast, heavy, in-your-face blend of Thrash Metal and modern, otherworldly elements, sounding utterly vibrant form start to finish.

After the ethereal interlude Motionless Balance, the trio comes ripping once again with Reign Of Infinite, starting in an epic mode thanks to the visceral riffs by Laurens, striking us hard with their cryptic Thrash Metal attack; whereas slowing things down considerably we have Absent Presence, a more pensive, atmospheric tune albeit not as thrilling as the rest of the album. Then back to a more vicious sonority we have In Between Realities, with Laurens screaming manically supported by the metallic bass by Frank and the always demolishing beats by Marco; and Laurens continues to shred his axe mercilessly in Cryptosphere, offering more of the band’s extremely technical blend of Thrash Metal, resulting in by far one of the strongest songs of the album. Finally, we face Coda – Wander Into The Light, a captivating, eerie outro that puts a climatic conclusion to the band’s journey through an unknown dimension.

“We wrote a lot of different material. We had so many ideas, which eventually ended up on a slightly different path – a more cinematic path, I would say. This new record has a much darker atmosphere,” commented Frank, while Laurens also had some remarks about the album compared to their debut. “We learned a lot from our debut album. The biggest lesson we learned was how to create songs that really come together as complete pieces, rather than just combining riffs.” In other words, get ready for the second chapter of Cryptosis by following them on Facebook and on Instagram, by streaming their music on Spotify, and of course by purchasing Celestial Death from their own webstore, from BandCamp, or by clicking HERE or HERE. The hour is upon us, or maybe I should say the future of extreme music is upon us, led by those Dutch metallers armed with their technical yet always visceral music.

Best moments of the album: Ascending, Reign Of Infinite and Cryptosphere.

Worst moments of the album: Absent Presence.

Released in 2025 Century Media Records

Track listing
1. Prologue – Awakening 1:16
2. Faceless Matter 3:52
3. Static Horizon 5:10
4. The Silent Call 5:02
5. Ascending 3:38
6. Motionless Balance 1:48
7. Reign Of Infinite 5:44
8. Absent Presence 4:15
9. In Between Realities 3:47
10. Cryptosphere 4:22
11. Coda – Wander Into The Light 3:11

Limited Edition bonus track
12. Geometry Of A Digital Thought 6:36

Band members
Laurens Houvast – vocals, guitars
Frank te Riet – bass, mellotron, synths, backing vocals
Marco Prij – drums

Album Review – Scalpture / Landkrieg (2025)

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Here comes the German Death Metal tank again armed with their fourth album, revolving around the 30 Year War that devastated the German lands from 1618 until 1648. 

Here comes the German Death Metal tank Scalpture again, crushing and smashing, bulldozing all resistance into oblivion and breaking through the lines. Founded in 2009 in Bielefeld, a German city in the Ostwestfalen-Lippe Region in the north-east of North Rhine-Westphalia, the band currently formed of Thorsten Pieper on vocals, Tobias Aselmann and Felix Marbach on the guitars, Niklas Neuwöhner on bass and Moritz Nixdorf on drums delivers their fourth album, titled Landkrieg, which means “land warfare” in German, with deadly precision and an ambitious mission statement to conquer the world. Recorded, produced and mixed by Marco Brinkmann at Hellforge Studio, mastered by Lawrence Mackrory at Rorysound Studios, and displaying a stylish artwork by world renowned artist Eliran Kantor (with layout by Irrwisch Artdesign), Landkrieg brings forward ten songs of pure old school Death Metal, with each song revolving around the 30 Year War that devastated the German lands from 1618 until 1648, being therefore perfect for fans of Hail of Bullets, Bolt Thrower, Obituary, Gatecreeper, Dismember and Jungle Rot.

The serene intro The Fall works as the calm before the storm, as the band heads into the battlefield in Into Catastrophe, with Moritz bringing the heavy artillery by hammering his drums nonstop while Thorsten roars deeply and with tons of anger. Then we have Til Jeret Undergang, or “until the end”, another blast of classic 90’s Death Metal where the bass by Niklas sounds utterly heavy and metallic, turning the song into the perfect choice for some action inside the pit. Landsknecht, an expression that represents a mercenary foot soldier in late 15th-, 16th-, and 17th-century Europe, is a tormented display of Death Metal led by the crushing riffs by Tobias and Felix; followed by Wallenstein, a military leader and statesman who fought on the Catholic side during the 30 Year War, sounding considerably darker thanks to all of its elements of Doom Metal.

Den Mörka Nattens Lejon, or “lion of the dark night” from Swedish, indeed sounds like a devilish lion thanks to another bestial performance by Thorsten on vocals while Moritz speeds things up with his demolishing beats, and the hammering bass and drums by Niklas and Moritz set the tone in Of Siege and Besieged, a neck-breaking, infernal aria by the band. After that we face Schwedentrunk, a method of torture and execution in which the victim is forced to swallow large amounts of a foul liquid, such as excrement, leaning towards modern-day Melodic Death Metal while still sounding raw and evil; and it’s pedal to the metal with the infuriated Hells Choirs Chant, where their caustic riffs and blast beats match perfectly with Thorsten’s guttural roars. Finally, Bellum Se Ipsum Alet, or “war feeds itself” from Latin, puts a dark and sinister conclusion to the album, with the band’s Death and Doom vein pulsing harder than ever.

After all is said and done, it’s clear that Scalpture stayed true to their deadly roots in Landkrieg, building their music and lyrics on detailed historical research and portraying the horrors that the abyss of war has caused in some of the darkest hours of humankind. Hence, don’t forget to follow the band on Facebook and on Instagram to keep updated with all things Scalpture, to stream more of their warlike compositions on Spotify, and of course to purchase Landkrieg from BandCamp or by clicking HERE. As the band unleashes their new album upon us, that leaves us with only two choices, to run for cover or to bang our Death Metal heads hard, and based on the high quality of the music found in the album I’m sure we’ll all go for the second option.

Best moments of the album: Til Jeret Undergang, Den Mörka Nattens Lejon and Hells Choirs Chant.

Worst moments of the album: Wallenstein.

Released in 2025 Testimony Records

Track listing
1. The Fall 1:23
2. Into Catastrophe 3:46
3. Til Jeret Undergang 5:09
4. Landsknecht 4:21
5. Wallenstein 5:32
6. Den Mörka Nattens Lejon 3:22
7. Of Siege and Besieged 6:07
8. Schwedentrunk 3:28
9. Hells Choirs Chant 3:46
10. Bellum Se Ipsum Alet 5:49

Band members
Thorsten Pieper – vocals
Tobias Aselmann – guitar
Felix Marbach – guitar
Niklas Neuwöhner – bass
Moritz Nixdorf – drums

Album Review – The Spirit / Songs Against Humanity (2024)

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This ruthless German duo brings forth a compilation of songs against humanity in their newborn Blackened Death Metal beast.

Formed in Saarbrücken in 2015, The Spirit have emerged from the depths of the German Extreme Metal void to breathe new life into the Black and Death Metal genre. Now in 2024 the duo formed of Matthias Trautes on vocals and stringed weapons, and Manuel Steitz on drums attacks again with their fourth full-length installment, titled Songs Against Humanity. Mixed by V. Santura (Triptykon) at Woodshed Studio, and displaying a grim artwork by Eliran Kantor, Songs Against Humanity is a Blackened Death Metal beast highly recommended for fans of Harakiri For The Sky, Dissection, Satyricon, UADA, Hypocrisy and Kataklysm, among others, circling around an astronomic leitmotif in its lyrics and concepts while mixing a misanthropic view on the world with cosmic metaphors and the call to see our often narrow-minded and egocentric existence in the larger context of our whole universe.

It’s absolute chaos and hatred from the very first notes in Against Humanity, with Manuel taking the lead with his Thrash Metal-inspired drumming while Matthias roars like a beast in the name of extreme music, followed by Room 101, presenting psychological lyrics barked by Matthias (“Suppressing the words of sanity / As we lost our way towards utopia / Instead evolved into a dystopian nightmare / When technological progress / Gave rise to the indoctrination of the human mind”) amidst a melodic yet visceral sound. And the duo continues to venture through the realms of Melodic Death, Thrash and Black Metal in Cosmic Rain and Human Dust, sounding ruthless until the very end, with Matthias’ riffs feeling absolutely caustic.

Spectres of Terror is another explosion of austere, infernal words barked by Matthias (“A grotesque embrace / Of an impending misery / When the past and sense / Are displaced by ideology / Madness and insanity / A grim bane you invoked”), whereas Death is my Salvation offers a more introspective, progressive side of the band, with Matthias slashing his axe manically accompanied by the always venomous beats and fills by Manuel. Then we’re treated to Nothingness Forever, which begins in a serene, grim manner before evolving into a straightforward Black Metal aria led by the crushing drums by Manuel. Finally, we have the extended outro Orbiting Sol IV, which despite being a solid tune, it ends up taking away some of the electricity from the album due to its length.

You can take a very nice and detailed listen at the scorching Songs Against Humanity in full on YouTube and on Spotify, and of course show your support to one of the heaviest duos of the current German scene by purchasing a copy of their new album by clicking HERE or HERE. Don’t forget to also start following them on Facebook and on Instagram for news and tour dates, as they do play live (with the support of guitarist Stanley Robertson and bassist Linus Klausenitzer), having an absolute blast to the sound of their sharp and vile fusion of Black and Death Metal. Matthias and Manuel are bringing forth a compilation of songs against humanity in their newborn beast, and there’s nothing better than their first-class Blackened Death Metal to show how putrid, corrupt and evil the entire humanity can be.

Best moments of the album: Against Humanity, Cosmic Rain and Human Dust and Nothingness Forever.

Worst moments of the album: Orbiting Sol IV.

Released in 2024 AOP Records

Track listing
1. Against Humanity 8:06
2. Room 101 4:15
3. Cosmic Rain and Human Dust 4:55
4. Spectres of Terror 5:39
5. Death is my Salvation 8:33
6. Nothingness Forever 5:46
7. Orbiting Sol IV 3:34

Band members
Matthias Trautes – vocals, guitars, bass
Manuel Steitz – drums

Guest musicians
Stanley Robertson – guitars (live)
Linus Klausenitzer – bass (live)

Album Review – Kreator / Hate Über Alles (2022)

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Let the hate flow through you to the sound of the magnificent new opus by one of the trailblazers of the German Thrash Metal scene.

Recorded at Hansa Studios and Studio Wong, both located in Berlin, Germany, produced by Arthur Rizk, and displaying a classy, demonic artwork by renowned Israeli artist Eliran Kantor, Hate Über Alles is not just the fifteenth studio album by German Thrash Metal masters Kreator, but the band’s first studio album since their 2017 opus Gods of Violence, marking the longest gap between studio albums in their career, and the first to feature former DragonForce bassist Frédéric Leclercq, who replaced longtime band member Christian “Speesy” Giesler in 2019. And what do I think about the album? Well, let’s say Kreator more than nailed it once again, with the iconic Miland “Mille” Petrozza on vocals and guitar, Sami Yli-Sirniö also on the guitar, the aforementioned Frédéric Leclercq on bass, and Jürgen “Ventor” Reil on drums delivering sheer violence, blasphemy and hatred with a welcome dosage of progressiveness and experimentations throughout the entire album, therefore keeping the fires of German thrash burning bright for our total delight.

Sergio Corbucci was an Italian film director, screenwriter and producer who directed both very violent Spaghetti Westerns and bloodless Bud Spencer and Terence Hill action comedies, and there’s nothing better than the Spaghetti Western intro Sergio Corbucci Is Dead to set the stage for Kreator to kill in Hate Über Alles, with both Mille and Sami kicking some fuckin’ ass with their undisputed thrashing riffage. Put differently, a new metal anthem is born overflowing fury and hatred, and of course without a single second of boredom. Then in Killer Of Jesus we face an endless amount of brutality spiced up by absolutely austere lyrics (“Tell the hordes / I’ve come to save them all / Could their souls be dead / Or why can’t I hear their words? / Goddess of time / Always by my side / Faithless redemption / Is this what they have been praying for?”), with Ventor sounding demented behind his drums in another must-listen to any fan of our good old Thrash Metal, whereas the tribal beats by Ventor ignite the neck-breaking Crush The Tyrants, with Mille flawlessly vociferating the song’s visceral words. Strongest Of The Strong is very exciting from start to finish, with Mille and Sami delivering first-class riffs and solos throughout the entire song, resulting in another serious candidate to be part of their live performances, followed by Become Immortal, where I must say I love how Kreator are honoring all metal legends (including themselves) in their past few albums, with the song’s  galloping pace inviting us all to raise our horns together with one of the most important Thrash Metal bands of all time.

Conquer And Destroy brings forward old school Kreator for diehard fans of the band, and it will surely ignite some amazing circle pits if played live while Mille leads his horde with both his piercing vocals and melodic but razor-edged riffs and solos; and featuring guest vocalist Sofia Portanet, the hypnotizing Midnight Sun is by far the most experimental of all songs, with the final result being utterly captivating as if we were part of an uncanny, bloodthirsty Scandinavian midsummer festival. Demonic Future offers us all another round of wicked lyrics roared by Mille (“In terror, in riots in war / Just when you thought that you’ve seen it all / Awareness turns to repulsion / From everywhere, echoing chants / A requiem for their bitter lands / Just when you thought a sick society / Died in their final convulsions / Fantasies of omnipotence / Erased they’ll become aware”) while the music is that beautiful Thrash Metal we love so much, with Frédéric and Ventor making the earth tremble with their respective bass and drums, and when the entire album is awesome a song like Pride Comes Before The Fall that’s “just” very good becomes the “worst” one, albeit still showcasing of course Kreator’s unique thrashing sounds. And last but not least, Kreator darken the skies and send an apocalyptic message to everyone in Dying Planet, presenting hints of Doom Metal in their core sonority and, consequently, inspiring us to break our necks headbanging in the name of darkness together with Mille and his crew.

Kreator Hate Über Alles Deluxe Box

It’s time to let the hate blasted by Kreator in their outstanding new album flow through you, and you can do that by streaming it in full on YouTube and on Spotify, and obviously by purchasing it from the band’s own webstore or by clicking HERE or HERE, where you can by the way find the limited deluxe box including the red and black splatter double vinyl with etching on side D in trifold cover, a digibook CD, a digipack live CD, a photobook, the artprint and a pin. Furthermore, Kreator are waiting for you on Facebook, on Instagram and on YouTube for news, tour dates and more of their flammable music. Because in the end as you might already know it’s hate above all, as long as it’s blasted by an undisputed thrashing institution like Kreator.

Best moments of the album: Hate Über Alles, Killer Of Jesus, Strongest Of The Strong, Conquer And Destroy and Demonic Future.

Worst moments of the album: Pride Comes Before The Fall.

Released in 2022 Nuclear Blast

Track listing
1. Sergio Corbucci Is Dead 0:58
2. Hate Über Alles 3:48
3. Killer Of Jesus 4:05
4. Crush The Tyrants 4:10
5. Strongest Of The Strong 4:01
6. Become Immortal 4:23
7. Conquer And Destroy 4:45
8. Midnight Sun (feat. Sofia Portanet) 3:38
9. Demonic Future 4:43
10. Pride Comes Before The Fall 4:48
11. Dying Planet 6:52

Band members
Miland “Mille” Petrozza – vocals, guitar
Sami Yli-Sirniö – guitar
Frédéric Leclercq – bass
Jürgen “Ventor” Reil – drums

Guest musician
Sofia Portanet – female vocals on “Midnight Sun”