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Album Review – Chronic Hate / Defeating the Oblivion of Life (2026)

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Let’s use the new album by this ruthless Italian Death Metal entity as our weapon to defeat the concept of death as a total cessation of consciousness and existence.

Formed in 2001 in Northeast Italy, the unrelenting Death Metal outfit known as Chronic Hate has been building a strong presence in the European metal scene, performing alongside bands such as Obituary, Suffocation, Fleshgod Apocalypse, Pungent Stench, and many more, always combining many influences in the Extreme Metal genres, from the old school vibes of the early 90’s sound to the more contemporary blasting acts. Now in 2026 the band formed of Andrea on vocals, Daniele and Massimo on the guitars, Marco on bass, and Nicolas on drums strikes again with their third full-length opus, entitled Defeating the Oblivion of Life. Recorded by Daniele Tollon at Black Swamp Studio (vocals, guitars an bass) and by Ivan Moni Bidin at Artesonika Studio (drums), reamped, mixed and mastered by Greg Chandler at Priory Recording Studios, and adorned by a sinister artwork by Colin Marks of Rain Song Design, the album inaugurates a new, significant chapter for Chronic Hate, railing against a generational void through crude and direct lyrics, alternated with more intimate, lacerating and personal passages, resulting in undeniable emotional power and authenticity.

It’s pedal to the metal in the inhumane, demonic The Wrong, led by the ferocious beats and fills by Nicolas in a lesson in Black and Death Metal. With such a cool name it was obvious we were going to be pulverized by the band in Blastphemy, where Daniele and Massimo deliver pure Death Metal madness from their Immolation-inspired riffs, whereas a sinister intro quickly explodes into absolute chaos in Mass Distraction Program, with Andrea roaring and barking nonstop in the name of putrid, vile and grim extreme music. Let’s all feel the power of the riff in Regurgitated Brains before we have our faces melted by the band’s ruthless sounds led by Nicolas’ demonic beats and fills; and there’s no sign of the quintet slowing down at all in Despair… in Sorrow, with the bludgeoning kitchen by Marco and Nicolas bringing thunder to their sound.

Subjugated Minds sounds as metallic and heavy as it can be, with the guitars by Daniele and Massimo exhaling absolute aggression and fury, therefore living up to the legacy of 90’s Death Metal, while Born to Appear kicks off in an ominous manner before the boys pulverize us all with their multi-layered wall of Death Metal, spearheaded by another slab of the monstrous vocals by Andrea. The breathtaking Handcuffed invites us all to dive deep into a ferocious mosh pit, with their dark and deep vocals and riffs embracing us all in pitch black obscurity, and finally, we’re treated to the song that carries the name of the band, the crushing Chronic Hate, where Andrea’s guttural is boosted by another demented performance by Nicolas on drums.

The guys from Chronic Hate are definitely not fooling around when it comes to crafting deadly and visceral heavy music, and as you listen to each and every track from Defeating the Oblivion of Life you’ll feel all their rage, violence and passion for the extreme flowing through your veins. Those talented Italians are waiting for you with news, tour dates and more of their music on Facebook and on Instagram, and don’t forget to also stream their wicked music on Spotify, and to purchase their pulverizing new album from their own BandCamp or from Time To Kill Records. Defeating the concept of death as a total cessation of consciousness and existence, a “deep, dreamless sleep” without a post-mortem afterlife, can only be achieved with a lot of noise, and only first-class Death Metal like what Chronic Hate have to offer us in their new album can help us with such a difficult task.

Best moments of the album: The Wrong, Regurgitated Brains and Handcuffed.

Worst moments of the album: None.

Released in 2026 Time To Kill Records

Track listing
1. The Wrong 3:35
2. Blastphemy 3:20
3. Mass Distraction Program 3:05
4. Regurgitated Brains 2:45
5. Despair… in Sorrow 9:45
6. Subjugated Minds 4:31
7. Born to Appear 4:02
8. Handcuffed 3:31
9. Chronic Hate 5:04

Band members
Andrea – vocals
Daniele – guitars, backing vocals
Massimo – guitars
Marco – bass
Nicolas – drums

Album Review – Unviâr / Disglaç (2025)

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This unique Atmospheric Black Metal band from the beautiful region of Friûl will hypnotize you with their first full-length album, revolving around the complex yet unavoidable relationship between man and nature.

An Atmospheric Black Metal project hailing from a small land in Mitteleurope called Friûl, where the Celtic, Germanic, Slavic, Latin worlds coalesce in a unique mosaic of nature, people, magic, culture, languages and traditions, Unviâr, which means “winter” in Friulian, is an ode to the band’s homeland and to its people that pits the constant research and reworking of territorial identity against rampant hyperglobalization. Recorded, mixed and mastered by Davide Zago, and showcasing a stunning artwork by Paolo Girardi, Disglaç, or “defrost” in English, is the band’s follow-up to their 2023 debut EP Faliscjis, revolves around the complex yet unavoidable relationship between man and nature, a work that will delight fans of early Ulver, Drudkh, and Agalloch carefully brought into being by Daniele Tollon on vocals and guitars, Manuel Scapinello also on the guitars, Luca Franzin on bass, and Giulia Zuliani on drums.

The cello by guest Massimo Silverio already adds endless darkness to the band’s core sound in Nevere, or “never” in English, exploding into pure, unfiltered Atmospheric Black Metal led by Guilia’s venomous blast beats, not to mention the ferocity flowing from Daniele’s roars. Corints (“currents”) is another dark and visceral tune blending Black Metal with Post-Metal nuances, with the guitars by Daniele and Manuel exhaling fire; and Guilia takes the lead once again and kicks off the headbanging title-track Disglaç, supported by the massive bass lines by Luca, venturing through more melodic and even acoustic lands while also showcasing the band’s trademark heaviness as if it was three or four songs in one. Ritîr, which means “withdrawal” or “retire,” is a more straightforward Atmospheric Black Metal extravaganza, again presenting the striking riffage by Manuel; whereas last but not least, Massimo Silverio returns with his cello in Sul Ôr, which should translate as something like “on the gold,” closing the album on a pensive, grim mode, with even Daniele’s vocals getting deeper and more introspective.

Featuring dark music and a heavy epicness born from a dark naturalistic romanticism, a music that, with penetrating force, will firmly root itself in the listener’s heart, Disglaç brings forward the ancient voice of the land, the innate call of natural theophany, emerging as an intimate and reserved work, but precisely for this reason pure and uncontaminated. You can get to know more details about such an amazing band, including their live performances, on Facebook and on Instagram, stream their undisputed music on any platform like Spotify, and of course purchase their new album from their own BandCamp, from ATMF’s BandCamp, or from Metal Odissey as a CD or as an LP. Unviâr have simply  mastered the art of Black Metal with their debut album, crafting music that’s rooted in the early days of the genre while also looking forward, never sounding dull or repetitive. They’re one of the must-see names of the current scene worldwide, and I bet you’ll have an absolute blast once you dive deep into the irresistible world of Disglaç.

Best moments of the album: Nevere and Disglaç.

Worst moments of the album: None.

Released in 2025 ATMF

Track listing
1. Nevere 11:31
2. Corints 7:52
3. Disglaç 9:44
4. Ritîr 7:30
5. Sul Ôr 8:19

Band members
Daniele Tollon – vocals, guitars
Manuel Scapinello – guitars
Luca Franzin – bass
Giulia Zuliani – drums

Guest musician
Massimo Silverio – cello on “Nevere” and “Sul Ôr”

Album Review – Affliction Vector / Contra Hominem (2025)

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This up-and-coming Italian duo will destroy your senses with their blend of Death and Black Metal, offering an inter-spiritual bridge between the heavens and hell itself in their new album.

Formed back in 2018 in the fires of Trieste, the capital city of the Friuli Venezia Giulia region in northeast Italy, Black/Death Metal entity Affliction Vector is ready to crush our putrid souls to the sound of their first-ever full-length album, titled Contra Hominem, the follow-up to their 2020 debut EP Death Comes Supreme. Contra Hominem, a Latin phrase that translates to “against the person” or “argument against the man”, displays the full power of Affliction Vector’s potential, being highly recommended for maniacs of more-recent Teitanblood or esteemed labelmates Possession and Venefixion. In addition, despite being “just” a duo, vocalist, guitarist and bassist Ans and new drummer Stefano (Claustrum, Fuoco Fatuo) create a swirling mass of miasmic physicality, patiently doling out dizzying speed and stomping doom alike, where every single second, every single strike of string or drum, every howl from the abyss, is actually felt, so authentic is their execution.

Cryptic, Stygian piano notes drag us to Affliction Vector’s lair in Antiuomo, evolving into a fusion of Death and Doom Metal led by the gnarls from the abyss by Ans, whereas in Lethal we face extremely lethal sounds blasted by Ans and Stefano, with Ans’ Black Metal riffs scathing our minds mercilessly; followed by the cadaverous interlude Cavern’s Murmur, setting the stage for the duo to consume our damned souls once again in Ephemeral Lifeless, another onrush of blackened sounds where the strident guitars by Ans match perfectly with Stefano’s devilish beats. Then after another (not-so-exciting) sinister interlude titled Abyss Rises we have Nero Gorgo, a lecture in chaos and insanity by the duo, with Ans bursting his lungs screaming like a demonic beast nonstop. In Animalis Irae they blast our evil minds with another round of their Black and Death Metal magic, with Ans shredding his guitar in great fashion; whereas lastly it’s time to descend into the abyss with the duo in To Lucifer, bringing forward 6(66) minutes of savage growls, demonic riffs and hammering drums, closing the album on a pure sulfuric note.

After all is said and done, Affliction Vector are offering an inter-spiritual bridge between the heavens and hell itself. And then, after nearly a half-hour, Contra Hominem concludes and that listener is either invigorated or drained, or both. Hence, if you want to experience the spiritual voyage offered by the duo in their brand new album, you can find the band on Facebook and on Instagram with news and more of their music, stream their devilish, caustic creations on Spotify, and grab a copy of the ruthless Contra Hominem from Iron Bonehead’s BandCamp or webstore. The Italian Death and Black Metal scene is always a very interesting and fun one, and of course Affliction Vector live up to the legacy of the genre, sounding as dark, heavy, evil and grim as we learned to love in the underground, all perfectly depicted in their bestial new offering.

Best moments of the album: Lethal, Nero Gorgo and To Lucifer.

Worst moments of the album: Abyss Rises.

Released in 2025 Iron Bonehead

Track listing
1. Antiuomo 5:12
2. Lethal 3:34
3. Cavern’s Murmur 1:53
4. Ephemeral Lifeless 4:18
5. Abyss Rises 0:45
6. Nero Gorgo 3:15
7. Animalis Irae 3:07
8. To Lucifer 6:29

Band members
Ans – vocals, guitars, bass
Stefano – drums

Album Review – Celtic Hills / Mystai Keltoy (2021)

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A massive metal attack made in Italy offering us all 11 tracks that speak of ancient alien civilizations, European pyramids, legends and historical facts of Friuli.

3.5rating

celtic-hills-mystai-keltoy-2021Mystai Keltoy, an enigmatic name that alludes to the Elusian Mysteries, is also the name of the brand new album by an Italian Melodic Power/Thrash Metal entity formed in 2010 that goes by the epic name of Celtic Hills, offering us fans of heavy music 11 tracks that speak of ancient alien civilizations, European pyramids, legends and historical facts of Friuli. Recorded and produced at The Groove Factory in Udine, Italy by Michele Guaitoli, and displaying a classy artwork representing the myth of the ancient visitors hand painted by artist Sheila Franco, Mystai Keltoy is a journey through several metal styles from early Thrash Metal to modern-day Power Metal, showcasing all the talent of the band comprised of Jonathan Vanderbilt on vocals and guitar, Jacopo Novello on bass, and Simone Cescutti on drums.

The Iron Maiden-like riffs by Jonathan and the crushing drums by Simone kick off the band’s metal extravaganza in The Light, blending the magic of traditional Heavy Metal with the acidity of the Speed Metal played by Megadeth. And let’s keep banging our heads to the smashing drums by Simone in Blood is not Water, accompanied by the thunderous bass by Jacopo, reminding me of some classic compositions by Overkill, Exodus and Metal Church, whereas powerful backing vocals add an extra touch of epicness to the imposing The Tomorrow of Our Sons, supporting Jonathan and his old school vocal lines. Putting the pedal to the metal, the trio fires the absolutely pulverizing battle hymn The 7-Headed Dragon of Osoppo, where all three musicians are in total sync with their incendiary riffs, bass punches and pounding drums, resulting in a lesson in Italian Heavy and Thrash Metal. There’s no time to breathe as those Italian metallers deliver another kick-ass tune entitled The Landing of the Gods, with Jonathan slashing his stringed axe nonstop.

Already Lost is epic and bold form the very first second, with the trio being on fire throughout the entire song which “forgets” their previous Speed Metal and invests into a pure Melodic Metal sonority. Then a futuristic atmosphere walks hand in hand with the metal demolition spearheaded by Simone’s drums in Falling Star, where it’s impressive how only three musicians can generate such dense sound; followed by Battle Of Frigidium, once again drinking from the same fountain as renowned acts the likes of Manowar, Iron Maiden and Iced Earth, with Jonathan’s vocals getting darker and more enraged as the music progresses. Featuring guest vocals by Italian singer Germana Noage (Aetherna, ƝOΔGE), Celtic Hills offer us fans a more melodic side of their music à la Nightwish, After Forever and Lacuna Coil in Eden, while Temple of Love never really takes off albeit sounding similar to the previous song, and never showing the same amount of adrenaline form the rest of the album. Finally, closing the album it’s time for a Melodic Power Metal tune entirely sung in Italian entitled Allitteratio, with Jacopo and Simone kicking some ass with their groovy and heavy kitchen.

celtic-hills-2021If you’re curious to see how the fusion of heavy music and legends of ancient civilizations sounds, you can enjoy Mystai Keltoy in its entirety on Spotify, but if I were you I would certainly purchase a copy of the album by clicking HERE. And, of course, you can start following Celtic Hills on Facebook and on Instagram for news, tour dates and other nice-to-know information about the band. Inspired by the history of the populations that inhabited the area of present-day Carnia and Friuli, as aforementioned, but seen with a different perspective, Mystai Keltoy will blow your mind so heavy and detailed it sounds, leaving you eager for more as soon as it’s over and, therefore, keeping the fires of Italian metal burning bright thanks to the amazing job done by the unstoppable Celtic Hills.

Best moments of the album: The 7-Headed Dragon of Osoppo, The Landing of the Gods and Eden.

Worst moments of the album: Temple of Love.

Released in 2021 Elevate Records

Track listing  
1. The Light 3:16
2. Blood is not Water 4:05
3. The Tomorrow of Our Sons 3:29
4. The 7-Headed Dragon of Osoppo 4:02
5. The Landing of the Gods 3:27
6. Already Lost 3:51
7. Falling Star 3:58
8. Battle Of Frigidium 4:59
9. Eden 3:54
10. Temple of Love 3:10
11. Allitteratio 3:20

Band members
Jonathan Vanderbilt – vocals, guitar
Jacopo Novello – bass
Simone Cescutti – drums

Guest musician
Germana Noage – vocals on “Eden”