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Album Review – At the Gates / The Ghost of a Future Dead (2026)

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These Melodic Death Metal masters and Gothenburg Sound pioneers are unleashing upon us their striking seventh album, a magnificent, emotionally turbocharged epitaph to frontman Tomas Lindberg.

Recorded and mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, and displaying a dark, minimalist artwork by Robert Samsonowitz, the breathtaking The Ghost of a Future Dead is more than just the seventh studio album by Melodic Death Metal masters and Gothenburg Sound pioneers At the Gates. The follow-up to their 2021 opus The Nightmare of Being has now become a magnificent, emotionally turbocharged epitaph to frontman Tomas Lindberg, an absolute titan of underground music,  who tragically passed away in September 2025. In the midst of processing such a devastating loss, the remaining members of At the Gates, guitarists Anders Björler and Martin Larsson, bassist Jonas Björler, and drummer Adrian Erlandsson, vowed to complete the musical journey they had been on for the previous 12 months, with Tomas’ blessings and inspirational contributions still ringing in their ears, resulting in another essential part of his brave, fascinating, and inspirational story, and arguably one of the most powerful and emotional albums the band has ever recorded. “If I remember rightly, we had all the lyrics before it was recorded, but we played with the title after he was diagnosed,” said Anders. “So the title reflects his situation, that he might not survive the illness. The working title was The Dissonant Void, but in the spring of 2024, we changed it to The Ghost of a Future Dead. I don’t know if it was like a premonition of what was about to come or anything. But now it’s an eerie title, because he has passed. It makes the title even more real somehow.”

At the Gates waste no time and kick off their rabid feast with The Fever Mask, featuring guest Charlie Storm (Dimmu Borgir, Dragonlord, In Flames) on keyboards, where Tomas screams the song’s words majestically (“Irrevocable howling rapture / Ravenous and foul / All-devouring hallucinations / A purgatorial shroud / Emptiness unbound / Annihilation masked / The labyrinth inside / The fever mask”). Moreover, I love the fact Tomas basically “cheated” death with the release of this album, proving his soul is immortal, and his visceral vocals in The Dissonant Void are simply phenomenal. Det Oerhörda, a Swedish phrase that translates to “the incredible” or “the monstrous” in English, featuring guest Fredrik Wallenberg (Embalmed, Sarcasm, The Lurking Fear) on vocals, starts in a sinister way like a horror movie, boosted by Anders and Martin’s relentless riffs; followed by A Ritual of Waste, a journey back to their early days where Adrian is bestial behind his drums supported by the massive bass lines by Jonas. In Dark Distortion keeps the energy flowing with its fast-paced rhythm in a lesson in Melodic Death Metal made in Sweden; and they definitely want us all to keep the circle pit moving in Of Interstellar Death, with Anders and Martin sounding yet again venomous with their riffage.

Get ready for another majestic melodeath voyage together with Tomas and the boys in Tomb of Heaven, with Adrian showing absolutely no mercy for our souls, hammering his drums like there’s no tomorrow, followed by Parasitical Hive, perhaps the most generic of all songs in the album, not because it’s a weak song but because The Ghost of a Future Dead is truly insane from start to finish. And when a band like At the Gates kicks off a song with an eerie intro you know they’ll smash you like an insect quickly after, which is exactly the case in the high-octane The Unfathomable, spearheaded by another venomous performance by our beloved Tomas on vocals. The Phantom Gospel keeps the level of adrenaline in the album through the roof, with the entire band being on fire armed with their sonic weapons, but of course Tomas steals the spotlight with his infernal growling, whereas Förgängligheten, a Swedish noun that translates to “the impermanence” or “the ephemerality” in English, is a soothing, melancholic interlude that will bring tears to your Heavy Metal eyes before we face Black Hole Emission, a hard hitting tune perfect for concluding Tomas’ undisputed legacy on a high and pulverizing mode. Furthermore, I have no idea if the band has any additional material with his vocals to be released, but if this is his swan song he’s definitely going down in style.

“There’s a legacy surrounding Tomas, especially in Sweden,” commented Anders. “He’s a forefather. He was one of the first people in Gothenburg involved in this scene, and he was an important figure in the tape-trading scene. He was really warm and welcoming to new people. You felt welcome in his presence, somehow. He was super social. He had a lot of friends in a lot of bands around the world. The new album feels like a good, emotional release. To get our last creative moment together out on CD and vinyl, it’s more of an existential thing. The music will speak for itself!” Needless to say, you can pay your tribute to the great Tomas Lindberg by letting the band know how much you love their new album on Facebook and on Instagram, by streaming their music on Spotify, and by purchasing a copy of their amazing new album from the Century Media Records’ BandCamp or webstore, or by clicking HERE. Thank you, Mr. Tomas Lindberg, for making heavy music a much better place, and for leaving us with such a killer album. You’ll never be forgotten. Rest in Power.

Best moments of the album: The Dissonant Void, A Ritual of Waste, Tomb of Heaven and Black Hole Emission.

Worst moments of the album: Parasitical Hive.

Released in 2026 Century Media Records

Track listing
1. The Fever Mask 3:12
2. The Dissonant Void 2:47
3. Det Oerhörda 3:35
4. A Ritual of Waste 3:35
5. In Dark Distortion 3:50
6. Of Interstellar Death 3:45
7. Tomb of Heaven 3:53
8. Parasitical Hive 4:34
9. The Unfathomable 4:07
10. The Phantom Gospel 2:44
11. Förgängligheten 2:41
12. Black Hole Emission 3:39

Band members
Tomas Lindberg – vocals
Anders Björler – guitars
Martin Larsson – guitars
Jonas Björler – bass
Adrian Erlandsson – drums

Guest musicians
Charlie Storm – keyboards on “The Fever Mask”
Fredrik Wallenberg – vocals on “Det Oerhörda”

Album Review – Evoked Eclipse / The Cries Of Evil (2026)

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A seasoned duo hailing from Italy will darken your soul armed with their debut offering of arcane, devilish and dramatic Atmospheric Black Metal.

Led by vocalist, guitarist and bassist Max Havler (Ophidian, Shrivel), with Davide Billia (Antropofagus, Beheaded, Vomit the Soul) taking care of additional vocals, drums and keyboards, Milan, Italy-based Atmospheric Black Metal entity Evoked Eclipse has its sound closely tied to the Scandinavian Black and Death Metal scene, primarily Swedish, with references to Dissection and Naglfar, but also the Melodic Death Metal of Dark Tranquillity and Opeth and the melancholic Doom and Gothic Metal elements of early Katatonia. Recorded and mixed by Davide Billia at MK2 Recording Studio, mastered by Jens Bogren at Fascination Street Studios, showcasing a cryptic artwork by the beyond talented Gogo Melone (presenting the album’s visual representation in its most arcane, dark and dramatic essence), and with layout by Francesco Palumbo of MKM Graphix, their debut effort The Cries Of Evil represents a new vision of extreme music, positioning the project as one of the must-see names of the new scene worldwide.

The ethereal intro Enchantment will transport us all to the Stygian realm ruled by Evoked Eclipe, flowing into the title-track The Cries Of Evil, where Max roars with tons of anger in his blackened heart while Davide delivers a mix of Black Metal blast beats and sluggish Doom Metal sounds. After that we have Land Of The White Spirit Lady, featuring guest vocals by Kyrah Aylin (of Aresea and Elegy of Madness), a beautiful, dark ballad of Blackened Doom, with their riffs and drums matching perfectly with Kyrah’s stunning vocal lines; and then we face the melancholic, grim interlude Mournishments, setting the stage for The Watch Of Spirits, with Max delivering sharp, crisp riffs and bass lines while Davide continues to hammer his drums mercilessly. In Drops Of Blood we see the band adding hints of Progressive Metal to their core Atmospheric Black Metal sonority, showcasing more of their fiery riffage, followed by Illusions Of The Life, another classic blast of atmospheric madness, sounding as dark and visceral as it can be, morphing into the outro Ascension, feeling utterly epic and leaving us eager for more of their stylish music in the near future.

Max and Davide are waiting for you with their Evoked Eclipse on Facebook and on Instagram, including news, more of their music, and who knows, maybe some live performances in a not-so-distant future, stream the album in full on Spotify, and of course you can put your hands on the excellent The Cries Of Evil from Club Inferno’s BandCamp, from My Kingdom Music, by clicking HERE, as well as from several other online retailers such as MDV Shop, Waterloo Records, and Groovespin.com. The fusion of Atmospheric and Melodic Black Metal with Death, Doom and Gothic Metal nuances found in The Cries Of Evil will certainly darken your already blackened heart even more, fueling the duo to keep blasting their undisputed extreme music for many years to come under their sinister, grim Black Metal eclipse.

Best moments of the album: The Cries Of Evil, The Watch Of Spirits and Illusions Of The Life.

Worst moments of the album: None.

Released in 2026 Club Inferno Ent./My Kingdom Music

Track listing
1. Enchantment 1:11
2. The Cries Of Evil 4:17
3. Land Of The White Spirit Lady 5:58
4. Mournishments 1:25
5. The Watch Of Spirits 7:01
6. Drops Of Blood 5:48
7. Illusions Of The Life 5:17
8. Ascension 2:15

Band members
Max Havler – vocals, guitars, bass
Davide Billia – vocals, drums, keyboards

Guest musician
Kyrah Aylin – female vocals on “Land Of The White Spirit Lady”

Album Review – Kreator / Krushers Of The World (2026)

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Germany’s own Thrash Metal titans continue their tale of humble beginnings, ambitious visions and unbreakable will with their krushing new album, an expression of pride and self-awareness knowing how long and hard the band’s path has been.

Having celebrated in 2025 two outstanding achievements by releasing vocalist and guitarist Miland “Mille” Petrozza’s book Your Heaven, My Hell with co-writer Torsten Gross, and hitting German cinemas with Hate & Hope, Essen, North Rhine-Westphalia, Germany’s own Thrash Metal titans Kreator continue in 2026 their tale of humble beginnings, ambitious visions and unbreakable will with their much-anticipated sixteenth chapter, the ruthless Krushers Of The World, following up on their critically acclaimed 2022 album Hate Über Alles. Produced and mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, and showcasing a classy, thrashing-as-hell artwork by Zbigniew M. Bielak, the new opus by the aforementioned iconic frontman Miland “Mille” Petrozza alongside guitarist Sami Yli-Sirniö, bassist Frédéric Leclercq, and drummer Jürgen “Ventor” Reil shows a band that has lost none of its bite, with the album title working as a statement, an expression of pride and self-awareness knowing how long and hard the band’s path has been and knowing what they still have to say and share with their ever growing following.

The album kicks off on a flammable mode with the first single released, the phenomenal Seven Serpents, with the guitars by Mille and Sami exhaling a melodious blend of undisputed aggression, whereas Satanic Anarchy is a thrashing beast showcasing rebellious lyrics rabidly vociferated by Mille (“Are you among the chosen? / The ones who’ll always reign / They’ve killed the singers / But not the songs they sang / And in this dying Endzeit / Not all that melts is gold / Keep your bread and circuses / And learn this is divine revolt!”). Then we face the ominous title-track Krushers of the World, where Ventor hammers his drums mercilessly for our absolute delight; and featuring the indomitable Britta Görtz of German melodeath beasts Hiraes on vocals (making an incendiary duet with Mille) we have Tränenpalast, while the music is a beautiful fusion of Kreator’s trademark anarchy and the more modern approach by Hiraes. And let’s open up the circle pit and enjoy a venomous wall of death to the sound of Barbarian, where their riffs, bass and drums are the epitome of Thrash Metal.

The second half of the album kicks off with the also fast-paced, violent Blood of Our Blood, a classic Kreator extravaganza with Mille and Sami firing their trademark solos nonstop, followed by Combatants, perfect for some wild headbanging, with the ruthless bass by Frédéric supporting Ventor’s pounding drums from start to finish. Then an eerie intro morphs into another battle hymn by those Teutonic thrashing masters titled Psychotic Imperator, offering us all a straightforward, no shenanigans sonic attack, and their undisputed energy keeps flowing in Death Scream, where its desperate backing vocals walk hand in hand with Mille’s raspy roars. Lastly, their coup-de-grace comes in the form of the rhythmic, hard hitting Loyal to the Grave, one of those songs perfect for raising our fists in the air together with the band.

Kreator Krushers of the World Deluxe Boxset

In a nutshell, although Krushers Of The World is not a throwback to Kreator’s past, it is still furious, massive sounding and creative in its own right, gifted with a songwriting quality honed over years, and of course displaying a hardworking and ultra talented band which earned their spot among the giants of the genre. You can stay up to date with all things Kreator on Facebook, Instagram and YouTube, including their must-see live concerts, stream their breathtaking thrashing madness on any platform such as Spotify, and of course put your blood-soaked hands on Krushers Of The World by purchasing it from BandCamp, or by clicking HERE or HERE. Kreator return to the battlefield in perfect shape armed with their thrilling new album, appearing more mindful of their early days while simultaneously progressing uncompromisingly, unstoppable in their search for new realms to conquer and new worlds to krush. And hell yeah, they will definitely keep krushing us all with their unique blend of visceral and electrifying Thrash Metal.

Best moments of the album: Seven Serpents, Tränenpalast, Barbarian, Psychotic Imperator and Death Scream.

Worst moments of the album: None.

Released in 2026 Nuclear Blast Records

Track listing
1. Seven Serpents 4:40
2. Satanic Anarchy 3:33
3. Krushers of the World 4:20
4. Tränenpalast 4:43
5. Barbarian 4:40
6. Blood of Our Blood 4:31
7. Combatants 4:01
8. Psychotic Imperator 5:05
9. Death Scream 3:52
10. Loyal to the Grave 4:58

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

Guest musician
Britta Görtz – vocals on “Tränenpalast”

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 – Mors Principium Est / Darkness Invisible (2025)

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One of the torchbearers of Finnish melodeath is back with their excellent ninth opus, expanding their horizons while retaining the sonic quality that has seen the band gain such a steadfast appeal.

Once again delivering their beloved melodic death embrace instilled with razor-sharp riffing, sweeping orchestration, melancholic harmonies, and relentless rhythmic precision, Pori, Finland’s own Melodic Death Metal entity Mors Principium Est is among us to remind us all that death is only the beginning to the sound of their ninth studio offering, entitled Darkness Invisible. Recorded at Ansa Studio, mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, and displaying a Stygian artwork by Alvaro Valverde Fernandez, the follow-up to their 2022 album Liberate the Unborn Inhumanity sees the band formed of vocalist Ville Viljanen, guitarists Jori Haukio and Jarkko Kokko, bassist Teemu Heinola, and drummer Marko Tommila expanding their horizons while retaining the sonic quality that has seen the band gain such a steadfast appeal.

Arising from the pits of the underworld, the band delivers a Stygian, ruthless wall of sounds in Of Death, led by the hammering drums by Marko in a stunning fusion of melodeath with symphonic elements. Then investing in a faster and heavier sonority we have Venator, where Ville roars manically accompanied by the striking riffs by Jori and Jarkko, and after that it’s time for six minutes of Symphonic and Melodic Death Metal magic entitled Monuments, reminding me of some of the best creations by Dark Tranquillity. The introspective, haunting interlude Tenebrae Latebra sets the stage for the menacing Summoning the Dark, the epitome of the music by Mors Principium Est, with its metallic riffs and crushing beats matching perfectly with all background orchestrations, whereas a cryptic intro quickly explodes into another feast of Finnish melodeath entitled Beyond the Horizon, with Ville’s vocals getting even more demonic than before.

The Rivers of Avernus is by far one of the most technical and intricate of all songs, uniting the stylish riffs and keys by Children of Bodom with the heaviness of the famous Gothenburg sound, followed by In Sleep There Is Peace, another fast and vibrant tune spearheaded by the unstoppable drums by Marko. The beautifully titled interlude An Aria of the Damned will hypnotize you and drag you to the band’s cryptic lair in All Life Is Evil, a first-class, delicate yet devilish creation with a mysterious female vocalist making a classic paradox with Ville’s deep guttural, putting us on a dark embrace in the name of Melodic Death Metal. And finally, there’s time for a cover version for Makso Mitä Makso, or “No Matter the Cost” in English, originally released by Finnish-Swedish singer Isac Elliot and Finnish rapper Sexmane (check out the original version HERE); needless to say, the band’s version is way heavier and more melodic.

Offering compelling arrangements which convey greater cinematic soundscapes, ambient passages bringing dynamic intrigue and textural layers providing, be it often subtle, enhancements of power, Darkness Invisible will certainly appeal to both diehard fans of the band and newcomers to their refined melodeath world, and you can get in touch with Mors Principium Est via Facebook and Instagram to stay updated with all news and surrounding the band, including their live shows, go through their discography on Spotify or on any other streaming service, and purchase their new album from Reigning Phoenix Music, from Season of Mist, or from Sonic Age Records. Darkness Invisible beautifully represents another step forward in the career of Mors Principium Est, one of the current torchbearers of Finnish melodeath, and I’m sure we’ll hear more from those guys sooner than later as their new album will indeed keep reverberating through all four corners of the earth until they return with the next chapter in their exciting history.

Best moments of the album: Venator, Summoning the Dark and All Life Is Evil.

Worst moments of the album: None.

Released in 2025 Perception

Track listing
1. Of Death 5:34
2. Venator 3:45
3. Monuments 5:59
4. Tenebrae Latebra 1:49
5. Summoning the Dark 5:56
6. Beyond the Horizon 5:45
7. The Rivers of Avernus 4:57
8. In Sleep There Is Peace 4:21
9. An Aria of the Damned 2:29
10. All Life Is Evil 6:22

CD/Digital Edition bonus track
11. Makso Mitä Makso (Isac Elliot cover) 2:49

Band members
Ville Viljanen – vocals
Jori Haukio – guitars, programming
Jarkko Kokko – guitars
Teemu Heinola – bass
Marko Tommila – drums

Album Review – Arch Enemy / Blood Dynasty (2025)

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The global legends of pure fucking metal return with their twelfth studio album, capturing the essence of the band in its collection of vicious, high-energy rippers.

Legends of pure fucking metal for nearly 30 years, Melodic Death Metal outfit Arch Enemy returns to the battlefield with their twelfth studio album, entitled Blood Dynasty, the follow-up to their 2022 beast Deceivers. Recorded and mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, produced by the band’s own Michael Amott and Daniel Erlandsson, and featuring a creepy artwork by Alex Reisfar, Blood Dynasty captures the essence of Arch Enemy in its collection of vicious, high-energy rippers without sounding outdated, always looking forward, therefore showcasing all the talent and passion for heavy music by frontwoman Alissa White-Gluz, guitarists Michael Amott and Joey Concepcion, bassist Sharlee D’Angelo, and drummer Daniel Erlandsson.

An imposing, epic intro suddenly explodes into Dream Stealer, with Michael and Joey sounding venomous armed with their axes while Alissa fires some of her deepest guttural roars ever. Needless to say, I would love to see and hear more of this more violent side of Arch Enemy. Then Daniel keeps pounding his drums in Illuminate the Path, sounding modern yet loyal to the band’s Melodic Death Metal roots; followed by March of the Miscreants, another violent and visceral display of heavy music by the band led by the blistering riffs by Michael and Joey, and A Million Suns, a solid composition by the band showcasing the trademark riffs and solos by Mr. Michael Amott. And it looks like the band wanted to get back to their most aggressive vibe in the album, with Don’t Look Down being the perfect example of that.

The second part of the album starts with the sinister interlude Presage, getting us pumped for Blood Dynasty, with Alissa barking the song’s  lyrics (“Cracks in the ice below our feet / Our own worst enemy on all fronts / A strategy of self-deceit? / A hornets nest, about to be released”) amidst an overdose of classic Arch Enemy. Paper Tiger also sounds ruthless, from its in-your-face intro declaimed by Alissa (“See no, hear no / Speak no evil / We are each our own devil / And we make this world our hell”) to its galloping pace led by Sharlee and Daniel, reeking of old school Melodic Death Metal for our total delight. I personally think there was no need for a ballad like Vivre Libre in the album, and although Alissa does a decent job with her potent clean vocals, the song sounds generic and out of place; whereas The Pendulum alternates between more cadenced moments and a fast-paced rhythm with elements of the Heavy Metal by Iron Maiden (and even some nuances of Power Metal). And lastly, there’s nothing better than a true banger to end the album like Liars & Thieves, with Daniel hammering his drums frantically while we all slam into the pit like true metalheads.

“This is our 12th studio album, and the rule of metal is that you’ve got to keep trying to say the same thing, but in slightly different ways!” says Michael Amott. “There’s a degree of familiarity in our sound, which I don’t see as a problem because we’re playing the music we love. But obviously we’ve got to throw a couple of curveballs in there each time, a few new interesting things to spice it up a little bit. How do you get people talking about your record when it’s the 12th one, you know?” Well, Mr. Amott is absolutely right, as all bands need to reinvent themselves once in a while to avoid getting repetitive or dull, and let’s say Arch Enemy have more than succeeded in doing that so far, with Blood Dynasty sounding strong from start to finish. You can find more information about the band and their tour dates on Facebook, Instagram and YouTube, get ready to rock to their new album on Spotify, and of course purchase it by clicking HERE, helping Arch Enemy stay atop of the world as the leaders of the Melodic Death Metal movement since their inception.

Best moments of the album: Dream Stealer, March of the Miscreants, Paper Tiger and Liars & Thieves.

Worst moments of the album: Vivre Libre.

Released in 2025 Century Media

Track listing
1. Dream Stealer 4:29
2. Illuminate the Path 4:48
3. March of the Miscreants 4:49
4. A Million Suns 3:45
5. Don’t Look Down 4:07
6. Presage 0:47
7. Blood Dynasty 3:51
8. Paper Tiger 3:56
9. Vivre Libre 4:07
10. The Pendulum 3:42
11. Liars & Thieves 4:20

Band members
Alissa White-Gluz – vocals
Michael Amott – lead guitars, backing vocals
Joey Concepcion – lead guitars, backing vocals
Sharlee D’Angelo – bass
Daniel Erlandsson – drums

Album Review – Exhorder / Defectum Omnium (2024)

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Putting a foot back into the roots of the band’s inception, these American veterans return to the battlefield with their striking fourth full-length opus, turning the failure of all into first-class Thrash and Groove Metal.

Putting a foot back into the roots of the band’s inception, New Orleans, Louisiana’s own Thrash Metal veterans Exhorder return to the battlefield with their striking fourth full-length opus, titled Defectum Omnium, the Latin phrase for “the failure of all”. Produced by the band itself, mixed by Jens Bogren at Fascination Street Studios, and displaying a sinister artwork by Travis Smith of Seempieces Design Studio, the album is highly recommended for fans of Dark Angel, Nuclear Assault, Exodus, Death Angel, Testament, Machine Head, and Pantera, among others, with the band currently formed of Kyle Thomas on vocals and guitars, Jason Viebrooks on bass, and Sasha Horn on drums now being joined by former Cannibal Corpse heavyweight guitarist Pat O’Brien, just to give their sound an even edgier and more austere taste.

Let’s slam into the pit like true metalmaniacs to the sound of Wrath of Prophecies, a Pantera-infused onrush of thrashing sounds led by the piercing riffs by Kyle and Pat, kicking things off in an amazing way, followed by Under the Gaslight, a more cadenced, Groove Metal-ish tune by Exhorder recommend for some vigorous headbanging to the massive beats by Sasha and the always visceral roars by Kyle. Forever and Beyond Despair offers us then absolutely acid lyrics (“Designs of murder ending all  / Last call, then curfew comes / Take your meds and go / The gods bring on the wars / Send the troops, let ’em burn / The girls will work butter churns, all pregnant with babes”) amidst a fusion of Thrash Metal, Hardcore and Punk Rock, whereas letting their Southern Metal vein pulse harder than ever we face The Tale of Unsound Minds, with Jason and Sasha delivering sheer heaviness and groove through their devilish kitchen. After that we have Divide and Conquer, another Thrash and Groove Metal feast by the quartet where their riffs and solos sound striking, meaning it should work really well if played live; and an eerie intro quickly explodes into the venomous Year of the Goat, a slamming tune that will invite us all into the circle pit to the rumbling bass by Jason.

After a slower yet still heavy-as-hell start, the band will will hammer your heads mercilessly in Taken by Flames, offering modern-day Thrash Metal overflowing rage and insanity, all led by the boisterous beats by Sasha; and get ready for over seven minutes of darkness in the form of Defectum Omnium / Stolen Hope, starting in a hypnotic way before the band comes ripping with a venomous mid-tempo attack, with the riffage by Kyle and Pat penetrating deep inside our damned souls. It’s then time for some pure American hatred flowing from all instruments in Three Stages of Truth / Lacing the Well, with their riffs, bass jabs and blast beats generating the perfect ambience for some wild circle pits and crowd surfing; followed by Sedition, bringing forward three minutes of savagery and brutality blasted by the quartet, once again offering our avid ears an overdose of dirty riffs, raspy vocals and demolishing drums, and they keep destroying our cranial skulls with their visceral Thrash Metal in Desensitized, where the enraged growls by Kyle walk hand I hand with the unstoppable beats by Sasha. Last but not least, they present another shot of their hybrid of Southern Rock with Thrash and Groove Metal in Your Six, feeling sluggish, dirty and inebriate until the very last second.

Exhorder are not in a good mood throughout the entire Defectum Omnium, and of course that’s an amazing thing when it comes to violent and frantic Thrash Metal. Hence, don’t forget to start following those American thrashers on Facebook and on Instagram for news, tour dates and so on, to stream more of their wicked music on YouTube and on Spotify, and above all that, to purchase a copy of the incendiary Defectum Omnium by clinking HERE or HERE. The entire world as we know it has failed miserably, and that’s exactly what Exhorder needed as fuel for their fulminating new album, keeping the fires of heavy music burning bright while our rotten society comes to its inevitable end.

Best moments of the album: Wrath of Prophecies, Year of the Goat and Three Stages of Truth / Lacing the Well.

Worst moments of the album: Under the Gaslight.

Released in 2024 Nuclear Blast

Track listing
1. Wrath of Prophecies 4:14
2. Under the Gaslight 4:21
3. Forever and Beyond Despair 3:03
4. The Tale of Unsound Minds 5:01
5. Divide and Conquer 2:38
6. Year of the Goat 3:27
7. Taken by Flames 5:19
8. Defectum Omnium / Stolen Hope 7:13
9. Three Stages of Truth / Lacing the Well 6:46
10. Sedition 2:56
11. Desensitized 4:59
12. Your Six 4:28

Band members
Kyle Thomas – vocals, guitars
Pat O’Brien – guitars
Jason Viebrooks – bass
Sasha Horn – drums

Guest musicians
Rick Wartell – guitars
Bruce Franklin – guitars

Album Review – Hiraes / Dormant (2024)

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Germany’s own rising metal force strikes back with their sophomore beast, a stirring, intense and dynamic Death Metal affair that is both heavily brutal and dark, yet full of melodic melancholy.

Formed in 2020 in the city of Hanover, the capital and largest city of the German state of Lower Saxony, the unstoppable Melodic Death Metal beast Hiraes strikes back with their highly anticipated sophomore effort, titled Dormant. Produced by the band itself, recorded at LCHQ Studio (vocals), Warehouse Studio (drums) and K-Sound Studio (guitars and bass), mixed and mastered by Jens Bogren and Ricardo Borges at Fascination Street Studios, and displaying a stylish artwork by the band’s own frontwoman Britta Görtz, Dormant is a stirring, intense and dynamic Death Metal affair that is both heavily brutal and dark, yet full of melodic melancholy, masterfully brought into being by the aforementioned she-wolf Britta Görtz alongside guitarists Lukas Kerk and Oliver Kirchner, bassist Christian Wösten, and drummer Mathias Blässe.

Futuristic sounds are quickly joined by the slashing riffs by Lukas and Oliver in Through The Storm, exploding into a feast of modern-day Melodic Death Metal led by the hypnotizing roars by Britta; followed by We Owe No One, one of the coolest songs of the current Melodic Death Metal scene where Britta and the boys are on absolute fire throughout its entirety, presenting amazing riffs supported by the rumbling bass and hammering drums by Christian and Mathias, respectively, being therefore perfect for their live performances. Then slowing things down a bit we have the ballad Undercurrent, while at the same time sounding epic, introspective and delicate, with Britta alternating between her trademark screams and gentle clean vocals; and back to a more visceral sonority it’s time for sheer heaviness spiced up by the striking riffs and solos by the band’s guitar duo in Chance To Fail, not to mention how bestial yet intricate the drumming by Mathias sounds. And the proof of the band’s musical evolution is offered to us all in About Lies, bringing forward almost seven minutes of top-of-the-line contemporary Melodic Death Metal, starting in an enfolding manner and growing in intensity until all spaces are filled with the band’s sharp sounds, resulting in a lecture in the style.

After such insane avalanche of heavy and melodic music, the band offers the cryptic, Stygian interlude Come Alive, a cinematic creation by Hiraes that will hold you in a dark embrace before they come crushing once again in Ocean Child, a hammering, multi-layered tune overflowing passion and hatred, with Britta vociferating rabidly nonstop supported by the headbanging beats by Mathias and the always caustic riffs by Lukas and Oliver, flowing into the breathtaking, menacing Nightflight, a violent onrush of metal music by the quintet that will smash your cranial skull mercilessly, with Britta’s soaring vocals matching perfectly with the electrifying riffage and solos by the band’s axe duo, and with Mathias once again pounding his drums in great fashion. They still have a lot of fuel to burn in Red Soil, a neck-breaking extravaganza bringing forward a massive wall of sounds, including hints of Melodic Black Metal, while also sounding mysterious and utterly obscure; whereas the title-track Dormant closes the album on a whimsical mode, not as striking as the rest of the album, but it’s still a solid composition full of love, rage and darkness.

Due to the use of varying keys and sonic elements, Dormant is undoubtedly fresh without sacrificing the nuances that caused their first album to connect so successfully with fans, and if you want to put your hands on such awesome release you can purchase it from their own webstore, from Napalm Records in the US or in Europe, and by clicking HERE, or you can also stream it in full on Spotify. Don’t forget to also give Britta and the boys a shout on Facebook and on Instagram, staying up to date with all things Hiraes including their incendiary live dates. Dormant will certainly feature among the top metal albums of the year of 2024 due to its endless energy, superb musicianship, and first-class quality of its overall production, and I can’t wait to see what’s next for one of the most electrifying names of the current metal scene worldwide.

Best moments of the album: We Owe No One, Chance To Fail, About Lies and Nightflight.

Worst moments of the album: Dormant.

Released in 2024 Napalm Records

Track listing
1. Through The Storm 4:04
2. We Owe No One 4:11
3. Undercurrent 5:23
4. Chance To Fail 4:13
5. About Lies 6:50
6. Come Alive 1:54
7. Ocean Child 4:21
8. Nightflight 3:48
9. Red Soil 5:44
10. Dormant 5:11

Band members
Britta Görtz – vocals
Lukas Kerk – guitars
Oliver Kirchner – guitars
Christian Wösten – bass
Mathias Blässe – drums

Album Review – Aortha / Monolit (2023)

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Behold the dynamic, diversified and thrilling debut effort of Heavy and Thrash Metal by an Oslo, Norway-based veteran, supported by an array of multi-talented musicians from all over the world.

A new metal project founded by multi-instrumentalist Predrag Glogovac, known for his years with Yougoslavian Heavy/Thrash Metal band Monolit from 1988 until 1992, when the war broke in the country and the band seized to exist, Oslo, Norway-based Heavy/Thrash Metal act Aortha is unleashing upon humanity their debut effort, titled Monolit. Recorded in 2021 in Oslo, New Orleans, Helsinki, Mostar, Trieste, Banja Luka, New York, Nurnberg, Pančevo, Montreal, Alicante, Kraljevo, Hamilton, Kragujevac and Sundsvall, mixed by Fredrik Nordström at Studio Fredman, and mastered by Jens Bogren at Fascination Street, the album presents an array of sensational musicians alongside Predrag including vocalists Diego Valdez (Dream Child), Kyle Thomas (Exhorder), Denis “Snake” Belanger (Voivod), Alessia Scolletti (Temperance, Era), Netta Laurenne (Smackbound) and Christian Älvestam (Scar Symmetry), guitarists Igor Paspalj, Branko Stiković Stika, Saša Kapor and Slobodan Ernjaković, bassist Jacob Umansky (Intervals), pianist Ivan Aleksijević Pančevac, and drummer Hannes Grossmann  (Triptykon, Alkaloid), resulting in a dynamic, diversified and thrilling album of classic metal music.

The sinister piano by Ivan sets the tone in the intro Symposium, sounding cinematic, epic and grim until all explodes into ass-kicking Heavy Metal in Those That Should Not Exist, with the vocal duo Diego and Kyle vociferating rabidly while guitar solos by Predrag and Stika will pierce your soul mercilessly, not to mention how demolishing the drums by Hanners sound. Then it’s time for Diego to team up with Netta in another incendiary tune titled Last Of Our Kind, while the riffs by Predrag sound absolutely scorching in a first-class modern-day Thrash Metal feast; whereas Forging The Locus is another sinister, heavy-as-hell composition by Aortha, with the infernal beats by Hannes offering Diego and Kyle exactly what they need to roar nonstop à la Ripper Owens. And Predrag will kick you in the head with his spot-on riffs and solos in Keep The Dream, where Jacob’s rumbling bass together with Hannes’ drums add tons of groove to the music.

Diego and Kyle will crush our senses one more time in Maximus Metallus, a mid-tempo, extremely heavy tune where the sound of the guitars and drums will make your head tremble; while the vocal trio formed of Snake, Diego and Alessia bring their share of obscurity and melancholy to Divine Future, although not as exciting as the rest of the album. In When All Around You Is Madness we’re treated to nothing more, nothing less than five talented singers alternating between sheer heaviness and ethereal clean vocals while Predrag and his henchmen build a massive wall of heavy and thrashing sounds armed with their sonic weapons; and Diego and Alessia team up for the last two songs of the album, starting with Timeless Soul Cure, where once again Predrag and Igor are ruthless with their riffs and solos supported by the thunderous kitchen by Jacob and Hannes. Lastly, the album concludes with the outro She, with the guitar solos by Igor bringing a touch of finesse to the overall result while Alessia sounds fantastic on vocals.

Predrag and his sonic beast Aortha are waiting for you on Facebook, on Instagram and on YouTube with news and more of their music, and you can also stream their creations on Spotify and, above all that, purchase a copy of Monolit from the band’s own BandCamp page or from Apple Music really soon. It’s a real pleasure to witness the rebirth of Monolit in the form of Aortha, and Predrag and his henchmen and henchwomen all sound amazing throughout the entire album, offering us all another very good reason to keep banging our heads in the name of top-notch heavy music.

Best moments of the album: Those That Should Not Exist, Last Of Our Kind and When All Around You Is Madness.

Worst moments of the album: Divine Future.

Released in 2023 Independent

Track listing
1. Symposium 1:13
2. Those That Should Not Exist 5:01
3. Last Of Our Kind 6:29
4. Forging The Locus 5:06
5. Keep The Dream 4:38
6. Maximus Metallus 5:36
7. Divine Future 4:47
8. When All Around You Is Madness 7:56
9. Timeless Soul Cure 5:05
10. She 1:25

Band members
Diego Valdez – vocals
Kyle Thomas – vocals on “Those That Should Not Exist”, “Forging The Locus”, “Maximus Metallus” and “When All Around You Is Madness”
Denis “Snake” Belanger – vocals on “Divine Future” and “When All Around You Is Madness”
Alessia Scolletti – vocals on “Divine Future”, “When All Around You Is Madness”, “Timeless Soul Cure” and “She”
Netta Laurenne – vocals on “Last Of Our Kind”
Christian Älvestam – vocals on “When All Around You Is Madness”
Predrag Glogovac – lead & rhythm guitars
Igor Paspalj – lead guitars
Branko Stiković Stika – lead guitars on “Those That Should Not Exist”
Saša Kapor – lead guitars on “Forging The Locus”
Slobodan Ernjaković – lead guitars on “Divine Future”
Jacob Umansky – bass
Ivan Aleksijević Pančevac – piano
Hannes Grossmann – drums

Album Review – Ibaraki / Rashumon (2022)

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Trivium’s own Matt Heafy turns his inner demon into first-class Black Metal in his new solo project, the end-result of a journey to find his own voice.

Originally formed in 2012 under the name Mrityu by Trivium’s own vocalist and guitarist Matt Heafy with the goal of generating Norwegian-style Black Metal (while also presenting elements from Extreme Progressive Metal and Metalcore in its sound), United States-based Black Metal project Ibaraki (which is by the way the name for a terrifying Japanese demon taken from feudal legend) has finally unleashed upon humanity its debut effort, entitled Rashomon, which according to Matt himself is the end-result of a journey to find his voice. Mixed and mastered by Jens Bogren at Fascination Street Recording Studios, and produced and engineered by Emperor’s one and only Ihsahn, Rashomon is more than just an expression of Matt and Ihsahn’s deep creative resonance, with his bandmates from Trivium, those being guitarist Corey Beaulieu, bassist Paolo Gregoletto and drummer Alex Bent, contributing to the album as session musicians. “The violence in America towards Asians, the murders of Asians because of people’s small-mindedness – we can see what’s happening. It’s like I never quite felt like I was Asian enough because I’m half and I never felt white enough because I’m half, but I feel like it’s important for me to talk about this now. Everything has a rich, amazing, beautiful culture behind it – every single civilization, every culture, every walk of life. So I hope that it can make Asian metalheads or Asian fans of music feel a little bit more represented. It’s great to be able to say, ‘this is where I’m from,’ and, ‘this is who I am.’,” commented Matt about the album.

Hakanaki Hitsuzen (which translates as something like “inevitably ephemeral”) is a whimsical intro that will transport you to the world of Ibaraki before Matt and his crew come ripping in Kagutsuchi, where Matt is on fire with both his enraged screams and unstoppable riffs accompanied by the always pulverizing drums by Alex. Furthermore, everything from the breaks and variations to its ethereal passages, clean vocals and the ass-kicking bass solo by Paolo is stunning, resulting in a lesson in Experimental Black Metal. Then continuing his path of experimentations and progressiveness, we’re treated to another explosion of majestic Black Metal entitled Ibaraki-Dōji, with Matt and Corey slashing their stringed axes while Alex sounds infernal on drums, all enhanced by the song’s background orchestrations. In Jigoku Dayu, an acoustic start evolves into a gentle sonority to the calm, clean vocals by Matt, sounding enfolding until the very end, whereas in Tamashii no Houkai (or “collapse of the soul”), featuring Ihsahn on lead guitars, the band blasts a vicious fusion of classic Black Metal with progressiveness, rage and groove, also showcasing another great vocal performance by Matt.

The skies get darker and darker as the music progresses in Akumu (which means “nightmare”), where you can sense all the anguish and despair in Matt’s roars supported by Alex’s massive beats and the beastly gnarls by guest vocalist Nergal of Behemoth; followed by Komorebi (or “sunbeams”), a very melodic tune presenting different layers plus lead guitars by Corey, despite lacking the same energy of its predecessors. Then alternating between smooth passages and the hellish heaviness of Black Metal we have one of the most detailed of all songs, Rōnin, featuring backing vocals by Norwegian vocalist Heidi Solberg Tveitan of Starofash, who’s by the way married to Ihsahn and has a son, Angell Solberg Tveitan, and a daughter, Ariadne Solberg Tveitan, with him, both also doing backing vocals on the song, plus additional screams by Gerard Way of My Chemical Romance and lead guitars by Ihsahn. Susanoo no Mikoto is as experimental and groovy as it can be, with Paolo and Alex generating a rumbling atmosphere perfect for Matt’s screams while the song’s second half is a wicked sonic experiment conducted by Matt and featuring additional vocals by Ihsahn. And lastly, it’s time for a little less than three minutes of pure eccentricity entitled Kaizoku (or “pirate”), with Matt declaiming the song’s lyrics like a true bard.

The breathtaking, multi-layered Rashomon can be better  appreciated in its full glory on YouTube and on Spotify, but of course you can add it to your private collection of Extreme Metal albums by grabbing your favorite version of it from Ibaraki’s official homepage or by clicking HERE, and don’t forget to also follow the project on Facebook and on Instagram for news and, who knows, some tour dates in the upcoming months, and to subscribe to its YouTube channel for more wicked videos. It might have taken almost 10 years for Matt and his inner demon Ibaraki to finally see the light of day, but the wait was definitely worth it as the music found in Rashomon is outstanding to say the least, and hopefully Matt will continue his path of self-discovery with Ibaraki in the coming years, bringing to us fans more of his experimental fusion of extreme music with progressive elements and Japanese legends.

Best moments of the album: Kagutsuchi, Ibaraki-Dōji, Akumu and Rōnin.

Worst moments of the album: Komorebi.

Released in 2022 Nuclear Blast

Track listing
1. Hakanaki Hitsuzen (儚き必然) 1:28
2. Kagutsuchi (迦具土) 7:34
3. Ibaraki-Dōji (茨木童子) 7:51
4. Jigoku Dayu (地獄太夫) 7:40
5. Tamashii no Houkai (魂の崩壊) 5:58
6. Akumu (悪夢) 5:53
7. Komorebi (木漏れ日) 6:06
8. Rōnin (浪人) 9:13
9. Susanoo no Mikoto (須佐之男命) 7:12
10. Kaizoku (海賊) 2:53

Band members
Matt Heafy – vocals, guitars

Guest musicians
Corey Beaulieu – guitars, lead guitars on “Komorebi”
Paolo Gregoletto – bass, bass solo on “Kagutsuchi”
Alex Bent – drums
Ihsahn – lead guitars on “Tamashii no Houkai” and “Rōnin”, additional vocals on “Susanoo no Mikoto”
Nergal – additional vocals on “Akumu”
Heidi Solberg Tveitan – backing vocals on “Rōnin”, samples on “Susanoo no Mikoto”
Gerard Way – additional vocals on “Rōnin”
Angell Solberg Tveitan – backing vocals on “Rōnin”
Ariadne Solberg Tveitan – backing vocals on “Rōnin”