The rot is everywhere, and it’s time to tear it down to the sound of the pulverizing new EP by one of the must-see names of the current UK Death Metal scene.
“The Gospel Of Rot is both a warning and a weapon – a sonic rebellion against the forces that seek to silence and subjugate. De Profundis offers not salvation but a wake-up call…” – De Profundis
Celebrating 20 years of death dealing and devastation, London, England-based Death Metal horde De Profundis has returned with a rejuvenated lineup and a brand new EP of stunning power and intensity, entitled The Gospel Of Rot. Recorded at Barking Dog Studio, mixed and mastered by Matt Jones at CapsaArx Studios, and embraced by a darkly beautiful artwork by Pierre-Alain D. of 3mmi Design, the new EP by frontman Stefano Bassi, guitarists Shoi Sen and Paul Nazarkardeh, bassist Simon McAuliffe, and drummer Tom Atherton will most definitely please fans of bands the likes of Death, Morbid Angel, Immolation, and Nocturnus, bringing together four tracks of furious Death Metal and masterful musicianship into a manifesto of resistance against the empty vessels that rule us, dragging our civilization into a mire of degradation.
The band wastes no time and kicks off the EP with the Death Metal extravaganza I: Corruption, where newcomer Stefano already showcases his ruthless deep guttural for our total delight, and Tom crushes his drums with rage and dexterity in II: Deception accompanied by the visceral Death Metal riff attack by Shoi and Paul. Then the quintet shows no mercy for our putrid souls in III: Indoctrination, offering an overdose of harsh riffs and demonic vociferations, with once again Simon and Tom making the earth tremble with their evil kitchen. And lastly, we have their cover version for Sepultura’s IV: Subtraction, from their 1991 masterpiece Arise (you can enjoy the original one HERE). De Profundis take the vibe from those Brazilian thrash and death heroes and add their own twist to it, resulting in a lecture in modern-day Death Metal where Stefano sounds brutally violent on vocals until the very end.
From their early days of primeval Doom and Death Metal, then venturing through the Progressive Death and Black Metal realms of their latest albums The Blinding Light of Faith (2018) and The Corruption of Virtue (2022), to the full-on Death Metal attack in The Gospel Of Rot, the band keeps crushing our putrid souls with their undisputed aggressiveness, precise musicianship, and a deep passion for the extreme, and you can get to know more about one of the precious gems of the British Death Metal scene by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by listening to all of their demented tunes on Spotify, and by purchasing the excellent The Gospel of Rot from BandCamp or by clicking HERE. In a nutshell, De Profundis are back at the very top of their game with The Gospel of Rot. Because the rot is everywhere, and it’s time to tear it down.
Best moments of the album:I: Corruption and IV: Subtraction.
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
Behold the debut offering by this promising Black and Gothic Metal horde, a concept album that chronicles the tragic and immortal love of two vampire women, bound by blood, betrayal, and devotion.
Channeling the essence of 90’s Black and Gothic Metal into a modern yet uncompromising sound, Yorkshire, England-based cult Abscence is unleashing upon humanity their debut offering, entitled Enigma. A concept album that chronicles the tragic and immortal love of two vampire women, bound by blood, betrayal, and devotion, Enigma is a gothic love story steeped in myth and moonlight, told across nine long-form tracks that unfold like chapters in a dark epic, drawing deeply from old school Theatre of Tragedy and Cradle of Filth while forging a captivating soundscape that’s both brutal and melancholic, all masterfully crafted by the dramatic and aggressive vocalist Mordred, the grief, rage, and spectral beauty by bassist and vocalist Morrigan, the raw blackened power of guitarist Balor, and the poetic vision and symphonic depth of keyboardist Gawain.
Ethereal, angelic sounds permeate the air in the opening track We Abandon Worldly Pearls, before the band begins distilling their Cradle of Filth-inspired attack led by the visceral gnarls by Mordred. Then the stylish, grim keys by Gawain set fire to the band’s Black Metal engine in Under Moon’s Glance, offering a high-octane feast of extreme sounds enfolded by a whimsical aura, whereas the title-track Enigma is another beast of blackened and symphonic sounds, with the guitars by Balor clashing with Morrigan’s thunderous bass in great fashion. After that, we face the atmospheric (and a bit lengthy) Secrets Confide, a slow, sinister tune by Abscence that sets the tone for the six-minute aria Silk & Shadows, a Black Metal extravaganza where Mordred’s devilish roars will send shivers down your spine while the atmosphere trembles to their wicked riffs and beats, all boosted by Morrigan’s hypnotizing clean vocals.
Eternal Vows of Midnight is another sinister, spine-chilling composition by Abscence, with the haunting keys by Gawain walking hand in hand with Morrigan’s delicate yet penetrating vocals. Mordred then takes the lead once again with his Dani Filth-like screeches in Cloak of Mind, a fast and infuriated composition where Gawain’s keys give the song a striking phantasmagorical vibe; and the second to last song of the album, titled Whispers of Eternity, presents a more Melodic Black Metal vibe thanks to the harmonious guitar lines by Balor. Not only that, it’s perhaps the song where Morrigan’s vocals thrive the most. Finally, the epic conclusion to the story of the vampire lovers comes in the form of Our Love Ignites, a beautiful aria of Symphonic Black Metal magic where the vocals by Mordred and Morrigan build a cinematic paradox.
At its heart, Abscence is a band devoted to emotional authenticity and artistic freedom, with their symphonic arrangements, melodic guitars, dual vocal dynamics, and narrative-driven lyricism helping them creates a sonic world where brutality meets elegance, just like what they have to offer in Enigma. Hence, don’t forget to check what this up-and-coming beast of extreme music is up to on Facebook and on Instagram, to stream their unique, enfolding creations on Spotify, and of course to grab your copy of the hypnotizing Enigma from the band’s own BandCamp. This talented and hardworking horde has all it takes to conquer the world of heavy music with the detailed and visceral music found in Enigma, and just like the immortal love of the two protagonists of their new album, it will capture your blackened heart for all eternity.
Best moments of the album:Under Moon’s Glance, Silk & Shadows and Cloak of Mind.
Worst moments of the album:Secrets Confide.
Released in 2025 WormHoleDeath
Track listing 1. We Abandon Worldly Pearls 5:26
2. Under Moon’s Glance 7:04
3. Enigma 7:18
4. Secrets Confide 3:48
5. Silk & Shadows 6:18
6. Eternal Vows of Midnight 3:47
7. Cloak of Mind 8:09
8. Whispers of Eternity 5:25
9. Our Love Ignites 8:42
Band members
Mordred – vocals
Balor – guitars
Morrigan – bass, female vocals
Gawain – keyboards
Let’s embark on a cinematic metal journey to the sophomore opus by this UK blackened entity, set centuries into a dystopian future on a dying earth.
Forging Symphonic and Melodic Death and Black metal with a strong cinematic scope, Berkshire, UK-based entity Hades Descent is back from the underworld with its sophomore opus, entitled The Monolith, a dystopian concept album offering a dark fusion of symphonic atmosphere, blackened aggression, and melodic precision, marking the project’s most ambitious work to date. Fully composed, orchestrated, recorded, mixed, and mastered by the band’s mastermind Hades at Titan Studios, underscoring the project’s uncompromising DIY spirit and singular vision, anchored by the beyond versatile vocals by D.M., and featuring the more-than-special guests Karl Sanders (Nile), Brian Kingsland (Nile, Imperishable), Björn “Speed” Strid (Soilwork, The Night Flight Orchestra), and Tim Goodson, The Monolith is set centuries into a dystopian future, on a dying earth, where mankind has embraced cybernetics in pursuit of perpetual enhancement, until humans no longer know where they end and the machine begins. “This is a concept album, based on an idea I had about 5 years ago,” explains Hades. “It’s taken that long to come to fruition! I hired an author, Tony Martucci, to turn the concept into a proper short story, which helped me flesh out the idea fully and turn it into the beautiful album you see here.”
The album kicks off with six minutes of Symphonic Black Metal madness in the form of Tomorrow Is Dead!, featuring guests Brian Kingsland, Karl Sanders and Tim Goodson, all on the guitars, with Hades’ and his henchmen’s striking, melodic riffs and solos walking hand in hand with the demented roars by D.M., whereas in Through Savage Seas they bring forward elements of Progressive Black and Death Metal, with all beats and fills adding endless heaviness to the song. Then the poetically titled Forged In Darkness (And Fire) starts in a cinematic manner before evolving into a symphonic and headbanging feast of vicious riffs and whimsical keys; and we face another round of phantasmagorical keys in Path of The Seeker, providing D.M. with all he needs to deliver his trademark harsh gnarls. Hades continues to bring forth sheer adrenaline in The Oncoming Storm, where his riffs and keys will yet again pierce your mind like an arrow in flames.
Veiled Ambitions is not as exciting as the rest of the album, although it still presents the characteristic fusion of symphonic and extreme sounds blasted by Hades. Then back on track, Hades and his Hades Descent continue their descent (and sorry for all repetition in this case) to the underworld in Sentinels of Time (Illium’s Demise), with the song’s hammering drums complementing D.M.’s desperate screams flawlessly. The Sea of Silent Warriors sounds very intricate and complex throughout its almost five minutes, in special its Dream Theater-like keys and drums, all embraced by the devilish growls by D.M., and finally, we face the seven-minute beast of darkness titled The Monolith, where guest Björn “Speed” Strid proves why he’s one of the best vocalists to ever arise from Sweden, clashing majestically with the Black Metal gnarls by D.M. in an explosion of first-class extreme music.
A cinematic concept album bringing to us all a dystopian cybernetic future, time travel, destiny, and downfall, The Monolith represents the band’s most complete artistic statement yet, set to establish Hades Descent as one of UK’s most ambitious forces in modern extreme music, being therefore highly recommended for fans of Septicflesh, Fleshgod Apocalypse, Dimmu Borgir, Ex Deo, and Nile, just to name a few. Hence, you can get to know more about this excellent project and its mysterious master, and obviously show him your total support, by checking what Hades is up to on Instagram, by streaming his music on Spotify, and by purchasing The Monolith from BandCamp. It’s time to embark on a metal journey to the dystopian future from The Monolith, and I’m sure you’ll have a great time with the multi-talented Hades as your devilish guide.
Best moments of the album:Tomorrow Is Dead!, Path of The Seeker and The Monolith.
Worst moments of the album:Veiled Ambitions.
Released in 2025 Independent
Track listing 1. Tomorrow Is Dead! 6:52
2. Through Savage Seas 5:46
3. Forged In Darkness (And Fire) 5:56
4. Path of The Seeker 4:30
5. The Oncoming Storm 4:57
6. Veiled Ambitions 5:38
7. Sentinels of Time (Illium’s Demise) 5:02
8. The Sea of Silent Warriors 4:48
9. The Monolith 7:41
Band members D.M. – vocals
Hades – guitars, bass, drums
Guest musicians
Brian Kingsland – chorus vocals and guitar solo on “Tomorrow Is Dead!”
Karl Sanders – guitar solo on “Tomorrow Is Dead!”
Björn Strid – vocals on “The Monolith”
Tim Goodson – rhythm guitar on “Tomorrow Is Dead!”
This multinational Progressive/Groove Metal four-headed creature is back with its sophomore opus, looking at forces beyond human control and how we respond in the face of helplessness.
Looking at forces beyond human control and how we respond in the face of helplessness, building and exploring tensions created from a sense of unease, Fates, the sophomore album by the multinational Progressive/Groove Metal four-headed creature Eight Lives Down, is a journey into the shadows of mortality. Recorded and mixed by Dan Baune at Tectonic Tone, mastered by Rasmus Andersen at Raw Sound Studio, and with a classy artwork by Diana Sawicka of What the Moon Brings, the follow-up to their 2020 debut Humans turns inward and downward, fixating on death, decay, and forces beyond human control. It’s a gaze into the abyss, and a study in how we respond when all sense of agency is stripped away, all masterfully brought into being by Aliki Katriou on vocals, Paul Allain on the guitar, Marcin Orczyk on bass, and Rodrigo Moraes Cruz on drums.
Dark and sluggish sounds kick off the opening tune Void before exploding into a modern-day blend of Groove and Progressive Metal, all embraced by Aliki’s vicious, raspy vociferations, who also declaims the words to the next song, titled Dog’s Breakfast, with tons of passion (“Everything changed seemingly overnight / Everything messed up and suddenly felt so right / Everyone covered eyes and ears / And climbed inside the anthill / Of despair and death / To practice learned helplessness”) amidst an overdose of heaviness. Fishbones sounds less violent while also leaning towards more melodic and experimental sounds, with Paul’s guitar transpiring electricity; and Aliki’s dark and pensive vocals are perfect for Phobia, again exploding into a feast of heavy and groovy sounds with Rodrigo dictating the song’s frantic pace with his classic beats and fills. Deicide brings forward more of the band’s caustic riffs supported by Marcin’s heavy-as-hell bass and Rodrigo’s killer beats; and Aliki sometimes sounds like a Death Metal version of the iconic Mike Patton, which is obviously awesome, like in the visceral tune The Point.
Then the band switches gears to a more melancholic, darker sonority in Green Light in the Distance without forgetting to blast our faces with their harsh sounds and tones; and the quartet still has a lot of fuel to burn, with Left Behind being a very good example of how they can mix harsher metal sounds with nuances from several non-metal styles. Marcin then blasts his bass, extracting pure metallic sounds in Storm, while Aliki keeps declaiming the song’s Stygian words nonstop (“It starts like liquid, water / One and the same / And I find comfort in the shelter / Hiding from the blame / I feed off you every day / And you infect my mind / In this race of coming out ahead / I’ve already fallen behind”). Constantinople is a bit disappointing compared to the rest of the album, sounding generic at times, but the band gets back on track in The Process of Dying, one of the most diverse, dynamic and vibrant of all songs, with Aliki kicking some serious ass on vocals. Furthermore, the bonus track (available on Spotify) featuring the iconic metal choir Hellscore, directed by Noa Gruman, sounds even more powerful.
Musically, Eight Lives Down maintained their progressive spin, with raw thrash foundations audibly peaking through in Fates (available in full on Spotify), while the album weaves Greek Zeibekiko, snotty Punk, Black Metal, NWOBHM, and even Brazilian Forró rhythms into a dynamic sonic landscape, being therefore highly recommended for fans of System of a Down, Rage Against the Machine, Sepultura, Carcass, Pantera, Prong, Faith No More, Lamb of God, and Jinjer. you can find those unstoppable metallers on Facebook and on Instagram, subscribe to their YouTube channel, and purchase Fates from their own BandCamp page, from their webstore, or by clicking HERE. In other words, simply sit down, relax, and descend into the abyss of heavy music crafted by Eight Lives Down. You won’t regret the experience at all.
Best moments of the album: Void, Phobia, Storm and The Process of Dying.
Worst moments of the album:Constantinople.
Released in 2020 Independent
Track listing 1. Void 4:51
2. Dog’s Breakfast 5:39
3. Fishbones 4:35
4. Phobia 4:28
5. Deicide 4:20
6. The Point 3:17
7. Green Light in the Distance 7:16
8. Left Behind 4:48
9. Storm 7:33
10. Constantinople 4:56
11. The Process of Dying 7:17
Spotify bonus track
12. The Process of Dying (Hellscore version) 7:14
Band members
Aliki Katriou – vocals
Paul Allain – guitar
Marcin Orczyk – bass
Rodrigo Moraes Cruz – drums
Guest musicians
Hellscore – metal choir on “The Process of Dying”
UK’s own acolytes of the very darkest Blackened Death Metal are back after four years with a brand new EP, a work of rare mystery and malevolence.
In Ovid’s Metamorphoses, Phobetor (‘Frightener’), so called by men, or Icelos (‘Like’), so called by the gods, is one of the thousand sons of Somnus (‘Sleep’). He appeared in dreams “in the form of beast or bird or the long serpent”. In heavy music, Phobetor are a London, UK-based Blackened Death Metal band who has been around since 2018, having already released the 2019 EP Burning Memories and their full-length albums When Life Falls Silent (2020) and Through Deepest Fears and Darkest Minds (2021). Now in 2025, the band formed of vocalist Debora Conserva, guitarists Ross White and Ben Ash, bassist Dredgewood, and drummer Marc Dyos is unleashing a new EP, titled A Solitary Vigil, a work of rare mystery and malevolence. Mixed by Ollie Roberts at Kettle Brew Studios, mastered by Lawrence Mackrory at Rory Sound Studios, and displaying a haunting artwork by Ghost Kid and photography by Scott Chalmers, the EP simply leads us deeper into the darkness than ever before.
The piercing riffs by Ross and Ben ignite the band’s detailed, visceral and grim feast of Black and Death Metal titled A Solitary Vigil, while Debora offers our putrid ears an overdose of sulfur and rage through her harsh vociferations, followed by Absence of Light, another bestial blast of Black Metal magic, with Marc smashing his drums in the name of pitch black darkness accompanied by the always thunderous bass by Dredgewood. Debora sounds like a demonic entity, roaring as a true she-demon in Black Fading Winter, while her bandmates fire the most caustic and evil form of Blackened Death Metal; whereas in The Vacant World Within Us we can say that such a poetic name deserved a no shenanigans sound, and that’s exactly what Phobetor bring forward with their infernal roars and demented blast beats. Last but not least, the razor-edged guitar riffs by Ross and Ben will penetrate deep inside your soul in Where Mournful Shadows Dwell, while Debora continues to hypnotize us with her devilish vocals until the very last second.
After all is said and done, you’ll quickly realize A Solitary Vigil is more than just the new EP by these acolytes of the very darkest Blackened Death Metal; as you peer into its impenetrable blackness, an obsidian mirror, it disgorges all the terrors you had forgotten were real, the dream monsters that hide in the deepest recesses of your mind, resulting in an onslaught of blackened death and mind-rending fear highly recommended for fans of Behemoth, Immolation, Belphegor, and Dark Funeral. Hence, don’t forget to join Phobetor in absolute darkness by following them on Facebook and on Instagram, by streaming their sulfurous creations on Spotify, and of course by purchasing A Solitary Vigil from BandCamp or Big Cartel. Phobetor are back from the netherworld sounding darker and more sinister than ever, and I bet you’ll succumb to their obscure powers once you begin your descent into madness to the sound of their Stygian new offering.
Best moments of the album:A Solitary Vigil and Black Fading Winter.
Worst moments of the album: None.
Released in 2025 Independent
Track listing 1. A Solitary Vigil 3:54
2. Absence of Light 5:02
3. Black Fading Winter 2:58
4. The Vacant World Within Us 4:08
5. Where Mournful Shadows Dwell 4:41
Band members Debora Conserva – vocals
Ross White – guitar
Ben Ash – guitar
Dredgewood – bass
Marc Dyos – drums
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
I plan to polymerise your flesh and bone… With fire and void to best serve me!
Our metal lady of this month of May will definitely burn your hearts. She is an English singer, keyboardist, actress, and model, combining her stunning looks, undeniable charisma and a powerful voice to provide us with a unique sensorial experience. Better known as the vocalist and keyboardist for London, England-based Symphonic Deathcore outfit She Must Burn, she might be one of the most talented classically trained vocalists and performing artists of the current metal scene worldwide, always showcasing her deep passion for heavy music and for all things dark. Her name is Portia Valis Volkova (born Portia Victoria Graham-Jones), or simply Valis Volkova, and once you get to know more about her and her music, you’ll certainly get addicted to her Stygian and hypnotizing universe.
Born on September 22, 1993 in Liverpool, the hometown of The Beatles and a port city and metropolitan borough in Merseyside, England, Valis trained as an opera singer at The Royal Northern College of Music from the age of 12, later joining the Liverpool Philharmonic Youth Company, where she appeared on BBC Songs of Praise and Aled Jones MBE’s New Horizons album, released in 2005. After finishing her studies at the RNCM, she trained in musical theatre at The Elliott-Clarke Performing Arts, where she developed her acting and dance skills. She diversified her knowledge by studying popular music performance and music business at BIMM University in 2021. Valis excels in creating her own backing vocals and layered choral harmonies, blending classical and popular vocal techniques to shape her distinctive sound. She thrives on collaboration, offering guest vocals and songwriting services for artists spanning rock, metal, synth wave, and goth genres.
Known for her solo performances worldwide, Valis then joined Symphonic Deathcore sensation She Must Burn back in 2017. She Must Burn had been formed a few years before that, back in 2014, having released the EPs Under the Shadows (2014) and She Must Burn (2015), plus the full-length album Grimoire (2017), before the addition of Valis to their lineup. Delivering a lethal blast of Deathcore, Symphonic, Gothic, and Black Metal that invokes names like Cradle of Filth, Bleeding Through and Make Them Suffer, the band currently formed of Valis on vocals and keyboards alongside vocalist Kyle Lamb, guitarists James Threadwell and Jack Higgs, bassist Frankie Keating, and drummer Steve Padley released back in 2022 their sophomore opus Umbra Mortis, available on BandCamp and on Spotify, earning a nomination for “album of the year” and securing a spot in the Top 50 metal albums of 2022 by Metal Hammer UK readers.
The paradox between Kyle’s harsh growls and Valis’ clean vocals really stands out in the music by She Must Burn, bringing a more than welcome balance to their music and, therefore, adding extra layers to their core sound, turning the band into a must-listen for fans of the violence of Deathcore with the finesse of classical and symphonic music, as you can enjoy in the stunning videos for the songs Incantation, Misery Eternal, Eulogy, and Of Blood & Bone, plus you can also watch an Interview with She Must Burn for Rockflesh at Tech Fest 2023 to know more about Valis and the band backstage. A band that Valis was part of is called Dead Dolls, also known as Glamorous Ghouls, UK’s original rock and metal-goes-vintage vocal duo formed of Valis and Katja Macabre until 2024. “This project is in addition to She Must Burn and is a completely separate project. I’m a firm believer that we all need multiple channels to stream our creativity in different ways,” commented Valis, who joined the project back in 2022. Unfortunately we won’t see Valis singing together with Katja anymore, but back in 2022 they released two excellent videos for the songs I’m Not Okay, by My Chemical Romance, and Misery Business by Paramore, which will certainly warm up your darkened hearts and souls.
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Valis is also an accomplished actress, working regularly in theatre, TV and film, performing on stages all over the world including Edinburgh Fringe Festival, Adelaide Cabaret Festival and The Hippodrome in London’s West End, and having already made cameo appearances in television and film, including seasons 5 and 6 of HBO’s Game of Thrones, season 2 of Hulu’s The Great, and the 2022 indie thriller film Graphic Desires. Furthermore, she was only 17 years old when she played the role of Ariel in a touring production of Shakespeare’s The Tempest back in 2011, saying that Ariel has always been a “dream role” of hers since she was a little girl, and she’s also featured in the music videos for the songs The Hand is Quicker Than The Eye, by Inferno; Loops, by Amber States; So Automatic, by Jupiter In Velvet; Fun Gun, by Chemia; and Dirty Little Secret, by Massive Wagons.
Not only that, she was also featured in the stage play of The Swell Mob, playing Madame Vestris, at the Adelaide Cabaret Festival in in 2019 in South Australia; and in Magic Mike Live, playing ‘closer performer’ at The Hippodrome in Leicester Square, in London, UK, from October 2018 to October 2019. She also won the public vote and the title “Miss Popularity – London” after competing in Miss England 2019, fundraising for Beauty With A Purpose, and placed 3rd runner up in Miss Cheshire 2019 (a regional heat for Miss Great Britain), despite living in London at the time, and can be found in several magazines including the cover of Olympus Magazine (UK) in May and in December 2015, Liverpool Echo (UK) in April 2015, Scratch (UK) in November 2013, and Casting Magazine Paris (France) in September 2013.
Lastly, Valis was also crowdsourcing a few years ago to fund an alien horror movie called The Spawning, to be filmed in Liverpool (and later released in 2017), teaming up with her partner, Simon Riley. Simon, who’s from St Helens, wrote and directed the movie, while Valis produced and had a small role in it. “We want to create a genuinely frightening and original full-length horror feature film,” commented Valis during the crowdfunding campaign. “Everyone on the team is a huge horror fan, but few of us can remember a recent horror film that actually left us wanting to hide under our bed covers at night with the lights on! We want to change that and make a film that really gets under your skin and leaves you terrified and shaken to the core.” I still have to find a way to watch the movie, but one thing is certain even before doing that, and that’s the undeniable talent of a woman who’s not only an amazing musician, but also a great performer and artist, always sharing her passion for heavy music and the dark arts with us fans and, therefore, making the world a much better and more exciting place to live.
It’s time to live deliciously to the sound of the screaming Valkyries found in the fourteenth studio album by one of the most revolutionary bands in the history of extreme music.
Reigning supreme as one of the most revered, formative and notorious names in music, from the depths of the Extreme Metal underground to the peaks of mainstream pop culture itself, Suffolk, England’s ultimate blasphemers Cradle of Filth are back from the netherworld armed with their arrestingly catchy fourteenth studio album, The Screaming of the Valkyries, the follow-up to their 2021 beast Existence Is Futile. Produced, recorded, mixed, and mastered by Scott Atkins at Grindstone Studio, and displaying a beyond sinister artwork by Roberto Diaz (aka Arte del Caos), the new album by the iconic frontman Dani Filth, guitarists Marek ‘Ashok’ Smerda and Donny Burbage, bassist Daniel Firth, keyboardist Zoe Marie Federoff and drummer Martin ‘Marthus’ Skaroupka is a succinct summation of the ghosts of the band’s past and a bold step into the future, offering Dani’s unparalleled screams and equally identifiable growls alongside twin guitar attacks, symphonic flourishes, and an explosive rhythm section for the delight of all diehard fans of the band or newcomers to their sinister lair.
The opening aria To Live Deliciously is cryptic and atmospheric from the very first second, erupting into an overdose of Extreme Metal magic led by Mathus’ hammering drums, with Dani gnarling like a true servant of darkness. Then we have Demagoguery, bringing to our putrid ears over six minutes of absolute madness where the Stygian keys by Zoe match perfectly with the riffage by Ashok and Donny, also presenting the band’s characteristic haunting passages; and an avalanche of guitar shredding and epic keys permeates the air in The Trinity Of Shadows, offering us the past, present and future of Cradle of Filth in an exciting and compelling manner. Non Omnis Moriar, a Latin phrase that means “not everyone will die”, is a more cadenced yet heavy and caustic creation by the band, with Zoe’s operatic vocals bringing an extra touch of finesse to the music, whereas White Hellebore presents an overdose of Dani’s damned words (“Plucked from the grave on a moonless midnight / Sucking on staves, she was noted for fight / Intoxicated, I fell in love / With this curse and a cure for my rabid dementia”) amidst a sharp, devilish and classic display of Symphonic Black Metal.
The band’s guitar duo continues to fire their phantasmagorical riffs in You Are My Nautilus, offering more of Cradle of Filth’s undisputed, wicked sounds, with Marthus once again showcasing endless dexterity and heaviness behind his drums, followed by Malignant Perfection, showcasing a beautiful fusion of Gothic music with heavier styles, plus of course another dosage of their darkly poetic lyrics (“Kindred may I introduce / Upon the mortal fools / The evil that has shaken loose / From bondage to now rule / She walks at dusk to tragic serenades / As the river shivers at her passing darkness”). Ex Sanguine Draculae, which is Latin for “from the blood of Dracula”, carries a name that perfectly suits the band’s music and history, starting in an imposing, sinister way to Dani’s demonic roar while the guitars by Ashok and Donny transpire Black Metal magic; and last but not least, we have another long, multi-layered, detailed and vicious tune entitled When Misery Was A Stranger, with its cinematic intro reeking of Cradle of Filth before exploding into a frantic onrush of Symphonic Black and Gothic Metal led by Dani’s vicious gnarls, putting a beyond infernal and climatic ending to the album.
In a nutshell, The Screaming of the Valkyries beckons the brave into a new era of Cradle of Filth misadventure, celebrating massive melancholic melody, blackened thrash, and apocalyptic existential dread with a grinning smattering of unbridled revelry. Hence, don’t forget to follow the band on Facebook and on Instagram for news and tour dates (like their upcoming Chaos & Carnage tour in North America alongside Dying Fetus, Fleshgod Apocalypse, and other demented bands), to stream their music on Spotify, and of course to grab a copy of their impious new album from BandCamp or from Napalm Records by clicking HERE or HERE. It’s time to live deliciously to the sound of the screaming Valkyries that live inside the new album by the one and only Cradle of Filth, keeping the fires of extreme music burning bright until our decaying world comes to its inevitable end.
Best moments of the album:The Trinity Of Shadows, White Hellebore,Ex Sanguine Draculae and When Misery Was A Stranger.
Worst moments of the album: None.
Released in 2025 Napalm Records
Track listing 1. To Live Deliciously 5:32
2. Demagoguery 6:17
3. The Trinity Of Shadows 6:23
4. Non Omnis Moriar 5:06
5. White Hellebore 5:04
6. You Are My Nautilus 7:39
7. Malignant Perfection 6:46
8. Ex Sanguine Draculae 7:10
9. When Misery Was A Stranger 6:21
Band members Dani Filth – vocals
Marek ‘Ashok’ Smerda – guitars
Donny Burbage – guitars
Daniel Firth – bass
Zoe Marie Federoff – keyboards, vocals
Martin ‘Marthus’ Skaroupka – drums
An up-and-coming UK Death Metal duo is ready to unleash hell with their first full-length album, taking the listener to the darkest corners of the human soul.
A blastbeat-driven Death Metal band originating from Birmingham, England, the infernal duo known as Infested Angel has honed their sound even further in their new album Threnodies to Eternal Despair, embracing intense, brutal riffs that pulse with a powerful, sorrowful melody, working as the perfect follow-up to their 2021 EP Nourish Me, Satan and their 2022 EP Submit to Death. Recorded, mixed and mastered by Greg Chandler at Priory Recording Studios, and crafted with raw rage and sorrow by vocalist and guitarist Andrew “Mick” Bryan and drummer Patryk “Pat” Kaczmarek, the album promises to take you to the darkest corners of the human soul during its intense 11 songs.
The opener No Time for Despair portrays a story of the imminent and absolute loss of all humankind in an extinction event, reflected in its devilish lyrics (“Finally, the day has come, / Incinerate, she burns the sun, / All we had plundered, / All we had framed, / No Time for Despair, / No time to revere, / Submit to Death, / Our ending is here”), while the duo offers us all six (six six) minutes of absolute darkness and hatred in the form of ass-kicking Death Metal in To Never Return. Then we have Euphony of Dismay, with its lyrics roared by Andrew dealing with a chaotic personal self-reflection on experiencing suicidal depression (“On taking my life, / Of aching and strife, / Oh how could I wish it to be, / Forced into pain, / With cowing and shame, / A ruinous ending foreseen”) in an incendiary fusion of Black and Death Metal; and it’s impressive how two guys only can make so much noise like in Dread Incorporeal, with the blast beats by Patryk sounding truly chaotic and vile.
The acoustic, introspective interlude Fields of Ashes sets the stage for the duo to kill again in Control of Fear, sounding demolishing form start to finish, with Andrew slashing his axe while he also growls rabidly until the very end. Then we have The Lost Battle, featuring composer, sound design and pianist Nathaniel Coxon, with his gentle piano notes beautifully permeating the air until all hell breaks loose to the venomous roars by Andrew and the crushing beats by Patryk; and after such a dense tune, they keep firing sulfur and darkness in Misanthropic Elegy, with Patryk once again delivering bestial yet intricate beats. Darkness Envelops is not as exciting as the previous tunes, despite its heaviness and fury, while Suffering and Retribution is another hammering slab of Death and Black Metal where Andrew delivers his most inhumane guttural of all. Nathaniel Coxon returns in Into the Night’s Embrace, a serene outro that brings some peace to our hearts to conclude the album; however, there’s still time for two bonus tracks titled The Bastard Will Materialise and Unholy Decay, both utterly vile and heavy-as-hell.
Charging depictions of tragedy, loss and existential suffering straight to the heart of the listeners that have been subject to their inimitable style, Infested Angel sound merciless throughout their newborn beast Threnodies to Eternal Despair, which you can purchase from the Art Gates Records webstore as a CD + shirt bundle, a CD + hoodie bundle, or a CD + shirt + hoodie bundle, and don’t forget to also give the duo a shout on Facebook and on Instagram, to stream their music on Spotify, or simply click HERE for all things Infested Angel. Put differently, subsume yourself now into the Infested Angel cult and submit to death, letting the music found in their new album be the ultimate soundtrack to your eulogy.
Best moments of the album:To Never Return, Euphony of Dismay and The Lost Battle.
Worst moments of the album:Darkness Envelops.
Released in 2025 Art Gates Records
Track listing 1. No Time for Despair 3:59
2. To Never Return 6:06
3. Euphony of Dismay 5:11
4. Dread Incorporeal 6:46
5. Fields of Ashes 1:32
6. Control of Fear 4:58
7. The Lost Battle 6:44
8. Misanthropic Elegy 3:52
9. Darkness Envelops 5:14
10. Suffering and Retribution 3:58
11. Into the Night’s Embrace 2:33
Bonus tracks
12. The Bastard Will Materialise 3:47
13. Unholy Decay 5:21
Band members Andrew “Mick” Bryan – vocals, guitars
Patryk “Pat” Kaczmarek – drums
Guest musician
Nathaniel Coxon – piano on “The Lost Battle” and “Into the Night’s Embrace”
“The Gospel Of Rot is both a warning and a weapon – a sonic rebellion against the forces that seek to silence and subjugate. De Profundis offers not salvation but a wake-up call…” – De Profundis
From their early days of primeval Doom and Death Metal, then venturing through the Progressive Death and Black Metal realms of their latest albums The Blinding Light of Faith (2018) and The Corruption of Virtue (2022), to the full-on Death Metal attack in The Gospel Of Rot, the band keeps crushing our putrid souls with their undisputed aggressiveness, precise musicianship, and a deep passion for the extreme, and you can get to know more about one of the precious gems of the British Death Metal scene by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by listening to all of their demented tunes on Spotify, and by purchasing the excellent The Gospel of Rot from BandCamp or by clicking HERE. In a nutshell, De Profundis are back at the very top of their game with The Gospel of Rot. Because the rot is everywhere, and it’s time to tear it down.
THE HEADBANGING MOOSE 