Tag Archives: melodic black metal

Album Review – Vesseles / Home (2026)

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This uncanny Symphonic Black Metal entity returns with their first full-length opus, a devastating and majestic release that delves deep into identity, belonging, and the mythos of a demon cast into the human world.

A Demon Symphonic Black Metal project about dysphoria and coping with living in a world that you’re not from, Santa Clara, California-based creature Vesseles, the brainchild of the uncanny vocalist and multi-instrumentalist Valira Pietrangelo, returns with Home, a devastating and majestic release that delves deep into identity, belonging, and the mythos of a demon cast into the human world. Pulled from the scorched marrow of The Beneath, the demon dominion she once forgot and now remembers with terrifying clarity, Valira and her henchmen Joel Ferry on vocals, Ron Graves on bass, and Nick Brown on drums fuse Symphonic Black Metal with cinematic grandeur and emotional weight in their newborn spawn, a worthy follow-up to their 2024 debut EP I Am A Demon, beautifully depicting the sound of returning to a place you’ve never truly known.

In the opening aria Flesh Throne, Valira reclaims her sovereignty over humanity, with her keys and orchestrations sounding absolutely hypnotizing and perfect for the visceral roars by Joel, starting the album on a truly haunting mode. Eternally Within Us is a ceremonial track complete with Latin mantras and sweeping symphonics that ground the demon realm’s ancient roots in flesh and blood, again presenting Valira’s cryptic, grim piano while Nick hammers his drums in the name of Doom Metal; followed by The Beneath, a brutal, bombastic ode to Valira’s home world, as obscure as some of the best creations by the mighty Cradle of Filth, with our demon firing razor-edged riffs in paradox with her phantasmagorical keys. She then takes on lead vocals in the title-track Home, questioning whether the place she fought so hard to return to was ever meant to comfort her, captivating our senses with her sinister piano before all suddenly morphs into a Black Metal beast tailored for admirers of the genre.

They Wither… is an instrumental piano piece that counters the despair of previous releases, flowing into Until They Are Dust, which details the grotesque birth of The Beneath, a cursed sludge consuming humanity to give rise to the next generation of demons, offering three minutes of absolute madness where Joel once again barks rabidly until the very end. Scriptures Etched Into the Mind’s Pillars marks the album’s lyrical turning point, from external reclamation to internal unraveling, while flirting with Melodic Black Metal, in special in its riffs and keys. Needless to say, it should sound brilliant if played live. Then we have Perpetual Chasm of Black Mirrors, a harrowing journey through isolation, suffocation, and the horror of being self-aware in a world that rejects you, and it’s when the music gets less violent that you’ll feel its fury and darkness deep inside your heart. Lastly, This Is Not Home brings the album full circle, also presenting Gothic Metal elements in its vocals, with Valira’s riffage again sounding and feeling fantastic, ending the album on a true epic and climatic vibe.

Home is the natural maturation of the unique sound crafted by Vesseles, sounding and feeling more dynamic, more orchestral, and more unflinchingly personal, charting Valira’s journey from confident origin to tortured self-doubt and finally to righteous authority. During recording, a late inclusion of Valira’s own vocals unlocked new potential, revealing the expressive power of her voice in leading the story and, therefore, pointing to a bolder, deeper, more human, and more demonic future. Unfortunately, due to Valira taking on all vocal duties, Home is also the band’s last album with vocalist Joel Ferry, but of course their friendship will remain forever. Anyway, you can get in touch with Valira and her Vesseles via Facebook and Instagram, subscribe to the project’s YouTube channel, stream their eerie music on Spotify, and of course grab a copy of the caustic, incendiary Home from BandCamp or by clicking HERE. In the end, Vesseles is not just music. It’s a reckoning, and Home is the sound of a demon returning, not to find peace, but to claim it by force.

Best moments of the album: Eternally Within Us, Home and Scriptures Etched Into the Mind’s Pillars.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Flesh Throne 5:18
2. Eternally Within Us 5:02
3. The Beneath 5:16
4. Home 6:11
5. They Wither… 1:32
6. Until They Are Dust 3:07
7. Scriptures Etched Into the Mind’s Pillars 3:41
8. Perpetual Chasm of Black Mirrors 5:03
9. This Is Not Home 7:14

Band members
Joel Ferry – vocals
Valira Pietrangelo – guitars, piano, orchestrations, backing vocals, vocals on “Home”
Ron Graves – bass
Nick Brown – drums

Album Review – Viserion / Fire and Blood EP (2026)

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Behold the fires of Black Metal and the blood of the Targaryen dynasty united in the form of the new opus by this ruthless American horde.

Hailing from New York City, the ruthless Black Metal horde known as Viserion unites the Second Wave Black Metal tradition with Atmospheric and Death Metal, balancing melodic soundscapes with raw aggression while also exploring a wealth of fantastical literature, highly influenced by the writings of George R.R. Martin and the World of Westeros, through the bloodthirsty shroud of extreme music. Produced, recorded and engineered by Billy Pfister at Westfall Recording, mastered by Jacob Buczarski, mixed by Chris Grigg, and displaying as its stunning cover art the painting Fire in Rome (1785) by Hubert Robert, Fire and Blood, the new EP by Benedetto Marvilli on vocals and guitars, Cris Valentine also on the guitars, Tasso Diakov on bass, and Matthew Marvilli on drums, is a worthy follow-up to their 2021 full-length Natural Selection, offering more of the band’s trademark blend of epic and scorching Black Metal magic. “Our concept for this album was inspired by George R.R. Martin’s Game of Thrones world. It particularly focuses on the Targaryen dynasty hence the title being their house words: Fire and Blood,” commented the band.

It’s pedal to the metal in the infuriated, incandescent title-track Fire and Blood, focusing on the black magic rituals that the Targaryen family was rumored to use in order to control dragons, with Matthew blasting his drums in great Black Metal fashion; whereas Mad King explores the delusions and cruelty of King Aerys II as well as his demise, continuing the band’s path of annihilation with the guitars by Benedetto and Cris exhaling sulfur and hatred. Aegon The Conqueror and his dragon Balerion are the focus on Reign of Fire, a lecture in modern-day Melodic Black Metal without a single second of peace, with Benedetto’s dragon-like vile gnarling sounding absolutely haunting. Then we have Blackfyre, telling of The Blackfyre Rebellions through a dark and rhythmic offering, with Tasso and Matthew bringing the rhythm and groove to the song in another display of the band’s trademark Black Metal magic; and lastly, we face Harrenhal, a composition of despair that sees the lyrics portray the horrifying destruction of Lord Harren’s fortress at the hands of Aegon the Conqueror and his dragon. Furthermore, the EP couldn’t have ended in a stronger way, sounding infernal from start to finish thanks to another killer performance by Matthew on drums.

Renowned bands the likes of Ultar, 1349, Satyricon, and Gates of Ishtar are significantly influential in the construction of Viserion’s creativity, as they delve heavily into the melodic across their discography, with Fire and Blood perfectly depicting those influences, therefore becoming a must-listen for fans of bands such as Ultar, Wormwitch, and the early-era of Enslaved. Viserion are waiting for you on Facebook, Instagram, YouTube and Spotify, and you can grab a copy of their flammable new EP from their own BandCamp. Because, in the end, when you have an album that unites the power of the Targaryen dynasty with our beloved Black Metal, you know you’re in for a treat, one of pure fire and blood.

Best moments of the album: Reign of Fire and Harrenhal.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Fire and Blood 3:09
2. Mad King 3:33
3. Reign of Fire 4:51
4. Blackfyre 5:31
5. Harrenhal 6:33

Band members
Benedetto Marvilli – vocals, guitar
Cris Valentine – guitar
Tasso Diakov – bass
Matthew Marvilli – drums

Album Review – Ellende / Zerfall (2026)

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Austria’s own one-man Atmospheric/Post-Black Metal project is back with its sixth opus, portraying the state of being shattered into fragments and the slow, painful process of rebuilding oneself.

Originally conceived as an introverted, misanthropic, and anonymous project by vocalist and multi-instrumentalist L.G. (aka Lukas Gosch) in Graz, Austria back in 2011, the unrelenting Atmospheric/Post-Black Metal entity Ellende, a Middle High German adjective which means “miserable” or “exiled” (as well as “misery” in Dutch), is unleashing upon humanity its sixth full-length offering, titled Zerfall, which translates as “disintegration” or “decay,” portraying the state of being shattered into fragments and the slow, painful process of rebuilding oneself, a confrontation with the void and ultimately a triumph over it. Recorded, mixed and mastered by L.G. and Markus “Schwadorf“ Stock at Klangschmiede Studio E, featuring session drummer P.F., with oil painting by L.G. himself (under the moniker Farbbringer), and shaped also by a tragic event in the life of its mastermind, the follow-up to the project’s critically acclaimed 2024 album Todbringerin continues to fuse raw intensity with profound emotional depth, turning it into a must-listen for fans of Harakiri For The Sky, Wolves In The Throne Room, Alcest, Drudkh, Blut aus Nord, Negura Bunget, Paysage d’Hiver, and Woods of Desolation.

Stygian, introspective sounds set the tone in the intro Nur (or “only” from German), growing in intensity until we face Wahrheit Teil I (“truth part I”), starting with the caustic riffs by L.G. in the most visceral Black Metal style, offering seven minutes of first-class extreme music with L.G.’s venomous gnarls bringing even more anguish to the music, flowing into Wahrheit Teil II (“truth part II”), a darker tune exhaling Depressive Black and Doom Metal, with P.F.’s pounding drums hammering our souls mercilessly. Then the title-track Zerfall starts in a serene, melancholic manner before exploding into majestic Atmospheric Black Metal led by our lone wolf’s devilish riffs and vociferations, alternating between absolute darkness and whimsical, enfolding passages; followed by Übertritt (“transition”), another song that reeks of contemporary Melodic and Atmospheric Black Metal where the strident sound of L.G.’s guitar will pierce our blackened minds in great fashion.

Ode ans Licht (“ode to the light”) brings forward an imposing start to L.G.’s scathing riffage, sounding very melodic albeit not as exciting as the rest of the album while still presenting the project’s trademark melancholy. Zeitenwende Teil I (“turning point part I”), featuring Klara Bachmair from German Black Metal horde Firtan on the violin, is a lecture in extreme music, taking the listener on a one-way journey to absolute darkness together with L.G., with his riffs transpiring epicness; whereas in Zeitenwende Teil II (“turning point part II”), the second piece of such a thrilling Black Metal aria, L.G. keeps gnarling in the most obscure way imaginable supported by the classic beats by P.F., ending with a killer guest guitar solo by Peter Mairhofer from Austrian Melodic Death/Thrash Metal band Norikum. And lastly, we’re treated to the atmospheric, gloomy Reise (“journey”), where its acoustic moments bring peace to our gloomy hearts while its climatic ending sounds as captivating as it is devilish and grim.

Ellende has grown into an internationally recognized live act with session musicians firmly rooted in the Atmospheric Black Metal genre, while also incorporating classical instrumentation such as strings and grand piano, often pushing beyond the boundaries of what is considered traditional within the style, and that’s exactly what makes an album like Zerfall so interesting, detailed and hypnotizing. Hence, you can get in touch with L.G. and his Ellende via Facebook and Instagram, stream his vast and innovative discography on Spotify or any other streaming service, and grab a copy of Zerfall from BandCamp, from AOP Records, from Nuclear Blast or from Napalm Records allowing the music by Ellende to penetrate deep inside your blackened heart and, therefore, letting your deepest emotions arise. Because that’s what high quality Atmospheric Black Metal is all about, and we should always thank L.G. and his Ellende for providing us with such an amazing form of extreme music.

Best moments of the album: Zerfall, Zeitenwende Teil I and Zeitenwende Teil II.

Worst moments of the album: Ode ans Licht.

Released in 2026 AOP Records

Track listing
1. Nur 2:35
2. Wahrheit Teil I 7:03
3. Wahrheit Teil II 5:50
4. Zerfall 7:19
5. Übertritt 6:03
6. Ode ans Licht 4:23
7. Zeitenwende Teil I 6:36
8. Zeitenwende Teil II 5:01
9. Reise 7:14

Double LP bonus tracks
10. Secunda (Jeremy Soule cover) 2:03
11. Verborgenes inneres Leiden 2:28

Band members
L.G. – vocals, choirs, whispers, electric & acoustic guitars, bass, piano, synths, samples, ambience

Guest musicians
P.F. – drums (session)
Klara Bachmair – violin on “Zeitenwende Teil I”
Peter Mairhofer – guitar solo on “Zeitenwende Teil II”
S.R. – guitars (live)
G.T. – guitars (live)
S.L. – bass (live)
T.H.Z. – drums (live)

Album Review – Olde Throne / Megalith (2025)

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Behold the new opus by this New Zealand-based Melodic and Atmospheric Black Metal entity, a primal journey into the depths of prehistory, delving into the primordial darkness of the Neolithic age.

A Melodic and Atmospheric Black Metal band born in a time when main composer and frontman Harrison McKenzie was living in Glencoe, Scotland, the amazing Christchurch, New Zealand-based project Old Throne returns with another bold and multi-layered opus, entitled Megalith, following up on their 2022 debut An Gorta Mór and their 2023 sophomore In the Land of Ghosts. Even after moving back to his native New Zealand, Harrison felt deeply inspired by his experience in the highlands, translating such inspiration into the music found in all of his albums. Mixed and mastered by Tim Yatras (Austere, Germ), and displaying a stunning artwork by German illustrator Misanthropic Art, the newborn spawn by Harrison on vocals, guitars and bass, alongside Zannibal on lead guitars and synthesizers and the aforementioned Tim Yatras as their session drummer, is a primal journey into the depths of prehistory, delving into the primordial darkness of the Neolithic age. Drawing inspiration from stories of Celtic mythology, the album’s narrative is rooted in tales dating back as far as 10,000 BC, with the use of flutes, throat singing and tribal drums forging an immersive brand of Neolithic Black Metal.

The soothing sounds of Mother Nature permeate the air in the intro Primordial Realm, inviting us all to join Old Throne in an distant era long forgotten in The Most Elder Days, a lecture in Atmospheric Black Metal spearheaded by Harrison’s striking riffs and devilish roars, with all background elements giving it an even more epic and visceral vibe just the way we like it in extreme music. It’s then pedal to the metal in the Black Metal attack entitled My Throne, offering more of the band’s killer riffage, boosted by the blast beats by Tim; whereas An Drochshúil, an Irish-Gaelic term meaning “the evil eye” which refers to a supernatural curse or affliction caused by a malevolent glare or look, believed to bring harm to a person or animal, perfectly depicts that type of evil, with Zannibal’s synths bringing an extra dosage of darkness to the song.

Ail Na Mireann, which means the “Stone of the Divisions” and refers to a significant ancient stone on the Hill of Uisneach in County Westmeath, Ireland, sees the band shift to an even more obscure, melancholic sonority, with Harrison’s strident riffs and rumbling bass matching perfectly with his desperate growls. Then we face a stunning Atmospheric Black Metal storm titled Temple of the Sky, where Tim shows no mercy for his drums while Harrison and Zannibal extract pure adrenaline from their axes, not to mention the song’s captivating, mysterious female vocal lines. The second to last song in Megalith, titled Sceach Geal, a sacred tree in Irish folklore strongly associated with fairies and mystical beings, slows things down a bit while maintaining the album’s epic vibe, losing a bit of its energy close to the end, though; and lastly, get ready for the darkest of all songs, the ruthless Tuan’s Bane, alternating between Doom Metal moments and the sheer aggression of Black Metal, also offering some enfolding passages until its climatic and furious finale.

Conceived as a single, unbroken auditory ritual, Megalith is a continuous concept piece, with each track flowing seamlessly into the next, demanding to be experienced in its entirety from beginning to end, therefore resulting in the perfect meeting spot for SAOR and Naglfar alike, just to name a couple. Harrison and his henchmen are waiting for you with their breathtaking Neolithic Black Metal experience on Facebook and on Instagram, and don’t forget to also stream their undisputed creations on Spotify, and to purchase a copy of the excellent Megalith from the project’s own BandCamp, as well as from the Avantgarde Music’s BandCamp or from Sound Cave (in both CD and LP formats), or simply click HERE for all things Old Throne. This is by far one of the most interesting and unique Melodic and Atmospheric Black Metal projects of the current scene worldwide, and I’m sure you’ll have an absolute blast going back ten thousand years together with Old Throne to the sound of their imposing new album.

Best moments of the album: The Most Elder Days, Temple of the Sky and Tuan’s Bane.

Worst moments of the album: Sceach Geal.

Released in 2025 Avantgarde Music

Track listing
1. Primordial Realm 1:15
2. The Most Elder Days 5:14
3. My Throne 3:17
4. An Drochshúil 5:18
5. Ail Na Mireann 6:39
6. Temple of the Sky 6:18
7. Sceach Geal 6:50
8. Tuan’s Bane 7:58

Band members
Harrison McKenzie – vocals, guitars, bass
Zannibal – lead guitars, synthesizers

Guest musician
Tim Yatras – drums (session)

Album Review – Lamp of Murmuur / The Dreaming Prince in Ecstasy (2025)

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This uncanny Los Angeles, California-based Black Metal entity once again raises the chalice of victory for the masses with a new beckoning of devotion and elegance.

“And you’ll come back to me
Bathed in the tears of countless full moons
My heart will beat
Like a wardrum of rebellion
On this black night, oh! So evil, so pure
Once again
In the heat of your spasms
And the light of my passion
My heart will beat…”

Two years since the release of Saturnian Bloodstorm, Los Angeles, California-based Black Metal entity Lamp of Murmuur has once again raised the chalice of victory for the masses with a new beckoning of devotion and elegance, titled The Dreaming Prince in Ecstasy. Recorded while engulfed in the caustic summer winds of 2023 with the guidance of the Seven Spears, the Circle of Gold Feathers and the always recurrent Crimson Agony, and showcasing a stunning artwork by Batdog (with layout by Eduardo Mora), the fourth studio album by vocalist and multi-instrumentalist M., or the Mythical Archduke of all Rebellion, of bands like Silent Thunder, Magus Lord and Fuinäehot, stands as the synergy of both sides of a bloodstained coin – triumph and grief, transcendence and torment.

The album starts with the cryptic, eerie intro The Fires of Seduction, dragging us all to Lamp of Murmuur’s Stygian lair in Forest of Hallucinations, exploding into an imposing wall of Symphonic Black Metal where M.’s striking keys and visceral roars clash majestically during the song’s over nine minutes of absolute darkness. Then investing in a more traditional Black Metal sonority, he hammers his drums and extracts sheer sulfur from his axes in Hategate (The Dream-Master’s Realm), followed by the also infuriated Reincarnation of a Witch, showcasing an amazing job done by M. with his demented riffs and beats, therefore living up to the legacy of Melodic Black Metal in an overdose of darkness by our lone wolf that sounds captivating from start to finish.

After the instrumental (and lengthy) interlude Angelic Vortex, we’re treated to the three-part title-track, starting with The Dreaming Prince in Ecstasy Part I – Moondance, evolving into an epic onrush of darkened sounds by M. with his thrilling riffage exhaling of fury and rage, while its last moments venture through more symphonic lands before The Dreaming Prince in Ecstasy Part II – Twilight Orgasm brings forward a sinister fusion of Doom and Black Metal, flowing into The Dreaming Prince in Ecstasy Part III – The Fall, a nine-minute aria of obscurity where M.’s cadaverous vocals will haunt your soul for all eternity, ending in a truly climatic manner. Lastly, featuring guest vocals by Crying Orc (Këkht Aräkh) and Xofrnk, we have A Brute Angel’s Sorrow, where instead of fast and furious Black Metal we face a delicate, grim display of melancholy.

Inspired by the primordial majesty of Black Metal yet unbound by its limitations, Lamp of Murmuur has gradually ascended these past years as one of the furthermost esteemed and sought luminaries within the new wave of Black Metal, with The Dreaming Prince in Ecstasy standing as another testament to the project’s unwavering pursuit of vision and freedom. Such an uncanny creature from the netherworld can be found on Instagram with news, tour dates and so on, and you can also stream all of its wicked creations on Spotify and, above all that, purchase the venomous The Dreaming Prince in Ecstasy from the project’s BandCamp or from Wolves of Hades, or simply click HERE for all things Lamp of Murmuur. Because The Dreaming Prince in Ecstasy is an offering of intoxicating grandeur, a hymn to the eternal dream of a soul yearning to be unchained, and I can’t wait to see what’s next in the career of one of the must-see names of the current Black Metal scene worldwide.

Best moments of the album: Forest of Hallucinations, Reincarnation of a Witch and The Dreaming Prince in Ecstasy Part III – The Fall.

Worst moments of the album: Angelic Vortex.

Released in 2025 Wolves of Hades

Track listing
1. The Fires of Seduction 1:48
2. Forest of Hallucinations 9:13
3. Hategate (The Dream-Master’s Realm) 7:38
4. Reincarnation of a Witch 5:25
5. Angelic Vortex 2:15
6. The Dreaming Prince in Ecstasy Part I – Moondance 7:08
7. The Dreaming Prince in Ecstasy Part II – Twilight Orgasm 6:18
8. The Dreaming Prince in Ecstasy Part III – The Fall 9:10
9. A Brute Angel’s Sorrow 4:21

Band members
M. – vocals, all instruments

Guest musicians
Crying Orc – vocals on “A Brute Angel’s Sorrow”
Xofrnk – vocals on “A Brute Angel’s Sorrow”

Album Review – Ildaruni / Divinum Sanguinem (2025)

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This Armenian Black Metal beast is back with its sophomore opus, a conceptual work centered on Mithraism, guiding the listener through nine ominous rites meant to transform one into the storm of nomos and burning gnosis.

Blending Epic Black Metal and ancient folk melodies forgotten from times immemorial, Beyond Unseen Gateways, the 2021 debut by Yerevan, Armenia-based Pagan/Atmospheric Black Metal horde Ildaruni explored the Urartian domain’s height and the esoteric knowledge of pagan mysticism. Now on their sophomore opus, titled Divinum Sanguinem, or “divine blood” from Latin, the band enclasps Black Metal’s aggressive and arcane form, steeped in the immersive, murky atmosphere of a desolate, ancient shrine. Recorded by Avet Ghlijyan at Massive Studios (vocals), by Mark Erskine (guitars and bass), by Armen Shaverdian at Guitar Clinic Studio (drums), and by Maria Harutyunyan at Alpha Sound (acoustic instruments and choirs), mixed and mastered by Christoph Brandes at Iguana Studios, showcasing a grim artwork by Khaos Diktator Design, and featuring an array of very special guest musicians, the new album by Narek Avedyan on vocals, Robert Meliksetyan and Mark Erskine on the guitars, Artak Karapetyan on bass, and Arthur Poghosyan on drums and dap is a conceptual work centered on Mithraism, its occult initiations and lesser-known mysteries, guiding the listener through nine ominous rites meant to transform one into the storm of nomos and burning gnosis. A work of mystical upheaval and a sermon to the bestower of creed, it leads through ghastly pathways toward the ladders of Apothanaitismos.

The album begins with the cinematic, ethereal intro Mithras Alone Is My Wreath, featuring the cello by guest Andranik Aghajanyan, setting the stage for Ildaruni to consume our blackened hearts to the sound of The Ascension of Kosmokrator, a no shenanigans, ruthless Black Metal attack spearheaded by the venomous gnarls by Narek and the blast beats by Arthur. Then arising from the pits of the underworld we face Of Nomos and Flaming Flint Stone, featuring the Khazer Choir from Armenia to give it a truly haunting vibe, while Robert and Mark’s riffs transpiring pure darkness; and the bagpipes by Arthur Atayan and the narration by Artak Karapetyan bring sheer epicness to Forged With Glaive and Blood, while the band’s riffs and beats keep the atmosphere as caustic as it can be. And the clean vocals by guest Armen Shahbegian clash with the devilish vociferations by Narek in Zurvan Akrane, another explosion of Melodic Black Metal by Ildaruni.

The Khazer Choir returns in Arcane Sermon, also presenting a heavy-as-hell kitchen by Artak and Arthur, overflowing classic Black Metal while at the same time presenting the band’s epic approach; whereas it’s time for six minutes of Doom Metal-infused obscurity in Immersion Into Empyrean, with Narek roaring nonstop accompanied by the sluggish yet hammering drums by Arthur. The qanun by Mar Margaryan, alongside another phenomenal contribution by the Khazer Choir, make the band’s infernal sounds feel even more imposing in Scorching Pathways to Samachi, the most detailed song of the album, presenting multiple layers that in the end converge into absolute darkness, while closing the album we’re treated to the title-track Divinum Sanguinem, with guest Tamara Mkhitaryan making a “Beauty and the Beast” vocal duet with Narek, a lesson in Melodic Black Metal where the riffage by Robert and Mark will darken the skies for all eternity.

While the Armenian horde has left their earlier folk-driven melodies and riffs behind, grandiose and wickedly melodic passages still lurk amid the oppressive, grim elements found in Divinum Sanguinem, sporadically erupting with blazing fury. Real choir arrangements summon and channel the album’s lyrical mysteries, uniting its thematically entwined tracks into a single, esoteric rite, and you can explore and feel all those details and elements by purchasing a copy of the album from BandCamp or by clicking HERE. Don’t forget to also follow the band on Facebook and on Instagram, and to stream their harsh, embracing Black Metal creations on Spotify. In a nutshell, Divinum Sanguinem marks a new era in the career of Ildaruni, solidifying their name in the current Extreme Metal scene worldwide, and pointing to an even brighter future ahead of one of the best (if not the best) metal bands to ever arise from the beautiful Hayastan.

Best moments of the album: Forged With Glaive and Blood,Scorching Pathways to Samachi and Divinum Sanguinem.

Worst moments of the album: Immersion Into Empyrean.

Released in 2025 Black Lion Records

Track listing
1. Mithras Alone Is My Wreath 2:27
2. The Ascension of Kosmokrator 5:42
3. Of Nomos and Flaming Flint Stone 5:30
4. Forged With Glaive and Blood 5:46
5. Zurvan Akrane 6:33
6. Arcane Sermon 5:50
7. Immersion Into Empyrean 6:00
8. Scorching Pathways to Samachi 6:49
9. Divinum Sanguinem 8:04

Band members
Narek Avedyan – vocals
Robert Meliksetyan – guitars, acoustic guitars, ambience, samples
Mark Erskine – guitars
Artak Karapetyan – bass
Arthur Poghosyan – drums, dap

Guest musicians
Khazer Choir – choirs on “Of Nomos and Flaming Flint Stone”, “Arcane Sermon” and “Scorching Pathways to Samachi”
Arthur Atayan – bagpipes on “Forged with Glaive and Blood”
Mar Margaryan – qanun on “Scorching Pathways to Samachi”
Andranik Aghajanyan – cello on “Mithras Alone is My Wreath”
Tamara Mkhitaryan – female vocals on “Divinum Sanguinem”
Armen Shahbegian – clean vocals on “Arcane Sermon”, “Scorching Pathways to Samachi” and “Zurvan Akrane”
Artak Karapetyan – narrations on “Forged with Glaive and Blood”

Album Review – Cemican / U k’u’uk’ankil Mayakaaj (2025)

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These unrelenting Mexican metal warriors are back with their breathtaking fourth studio album based on Mayan ideology, worldview, mysticism, and the universe.

Incorporating elements of the legends, mysticism and ideologies of ancient Mexican culture, being compared by Revolver to “Slipknot scoring Mel Gibson’s Apocalypto” by combining the modern instrumentation of a metal band with traditional pre-Hispanic instruments, Guadalajara, Mexico’s own Progressive Power/Thrash/Folk Metal tribe Cemican (or “The Duality of Life and Death” in the Mexican language Nahuatl) brings forth more of their unique music in their fourth studio opus entitled U k’u’uk’ankil Mayakaaj, translated as “the Mayan Resistance”, following up on their 2019 critically acclaimed album In Ohtli Teoyohtica In Miquiztli. Showcasing a stunning artwork by the band’s own Tlipoca (aka Alejandro Guzmán), depicting the great creation of the Mayan universe and the elements of life – water, fire, wind, and earth – by the great supreme Itzamnaaj, raising the great Temple of Kukulkan for the worship of the Mayan people, the new album by vocalist and guitarist Tecuhtli, bassist Ocelotl, drummer Tlipoca, and the tribalistic ensemble of Xaman Ek, Yei Tochtli, Mazatecpatl, and Itzcoatl is based on Mayan ideology, worldview, mysticism, and the universe. It contains various legends and stories of ancestral gods, the duality of life and death, as well as stories based on the band members, transformed with that touch that identifies us.

Kukulkán Wakah Chan (likely combining the Maya deity name Kukulkán, meaning “Plumed Serpent”, with the Nahuatl phrase Wakah Chan, meaning “Sacred Tree” or “Milky Way”) sounds utterly ritualistic and folk from its very first moments, with their wind instruments echoing through the air before exploding into an amalgamation of Thrash, Death and Groove Metal led by Tlipoca’s crushing beats and fills; whereas Tán tí le Xibalba, the second single of the album, speaks of the god of dead in the Mayan culture while keeping their heaviness clashing with the culture of their ancestors in a majestic way, being therefore an excellent choice for their live concerts. In El Niño Que Contemplaba A Las Estrellas (“the boy who gazed at the stars” from Spanish), the guitars by Tecuhtli lean towards classic Heavy Metal, as well as his vocals, followed by Viaje Astral Del Quetzal De Fuego (“astral journey of the fire quetzal”), sounding atmospheric and embracing from start to finish, with the bass by Ocelotl and the drums by Tlipoca being absolutely thunderous. Xaman Ek, Yei Tochtli and Mazatecpatl bring the glory of the past through their wind instruments in the tribal dance Horizonte De Almas (“horizon of souls”), exploding into an epic song that will inspire you to raise your horns for those beyond talented Mexicans, while El Castigo De Los Dioses (“the punishment of the gods”) is another song where the modern, electrified vibe of metal music makes a killer paradox with their cultural and folk sounds.

The howling wind invites us to another journey through Mayan lands in Tak Ti Ulaák Íin, one of the most ritualistic of all songs, where the band delivers their most primeval sounds of the album. Then the massive riffs by Tecuhtli ignite the imposing, multi-layered Los Guardianes De La Tierra (“guardians of the earth”), a lecture in Symphonic and Melodic Death and Black Metal that feels like it was taken from the most climatic moment of a period drama; and the band offers another blast of harsh and pounding sounds in Hun-Came, meaning “One Death”, the name of the senior of the two principal death gods in the Maya underworld Xibalba, with all vocals and backing vocals giving it an extra kick while Tlipoca hammers his drums mercilessly. ¿Donde Estas? (“where are you?) is some sort of power ballad entirely sung in Spanish by a mysterious guest female musician, a bit too generic compared to the other songs; while back to their trademark tribal sonority infused with the power of Heavy Metal we have Yóok’ ol Kaáb Maya, sounding and feeling epic and vibrant until the very end. Lastly, closing the album we’re invited to one final ritual by Cemican entitled Bolom Octé, a stunning sonic voyage back to the glory yet somber days of their ancestors.

Offering a sound that embodies that language of music with ancestral instruments that Cemican have achieved as its own unique and hallucinatory sound, fused with lyrics that blend Spanish with Yucatecan Mayan, U k’u’uk’ankil Mayakaaj is a tribute to their ancestral people, their stories and their customs, giving a valuable message of their language and their ancestral glory. Hence, you can enjoy the dark and aggressive atmosphere found in U k’u’uk’ankil Mayakaaj by purchasing the album from their own BandCamp, from the M-Theory Audio webstore, or by clicking HERE, and don’t forget to also follow the band on Facebook and on Instagram, subscribe to their YouTube channel, and stream their amazing albums on Spotify. Because U k’u’uk’ankil Mayakaaj is a way to revive what their warriors and their Mayan people were, honoring the great Mayan culture and representing the worldview and mysticism of their great ancestral empire.

Best moments of the album: Tán tí le Xibalba, Horizonte De Almas, Los Guardianes De La Tierra and Hun-Came.

Worst moments of the album: ¿Donde Estas?.

Released in 2025 M-Theory Audio

Track listing
1. Kukulkán Wakah Chan 5:45
2. Tán tí le Xibalba 4:01
3. El Niño Que Contemplaba A Las Estrellas 6:44
4. Viaje Astral Del Quetzal De Fuego 8:31
5. Horizonte De Almas 6:31
6. El Castigo De Los Dioses 5:26
7. Tak Ti Ulaák Íin 4:39
8. Los Guardianes De La Tierra 5:13
9. Hun-Came 5:29
10. ¿Donde Estas? 4:23
11. Yóok_ ol Kaáb Maya 5:45
12. Bolom Octé 4:30

Band members
Tecuhtli – vocals, guitars, wind instruments
Ocelotl – bass
Tlipoca – drums, percussion, wind instruments, backing vocals
Xaman Ek – wind instruments, backing vocals
Yei Tochtli – wind instruments, backing vocals
Mazatecpatl – wind instruments
Itzcoatl – choir vocals

Album Review – Aduanten / Apocryphal Verse EP (2025)

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This up-and-coming Melodic Death Metal outfit is unleashing a striking new EP, weaving a narrative of decay and despair driven by a maelstrom of intricate guitar work and a pummeling rhythm section.

An up-and-coming Melodic Death Metal entity based in Austin, Texas, featuring members of Obsequiae, Vex, Panopticon, and Horrendous, Aduanten are unleashing their full power on their new EP, entitled Apocryphal Verse. Recorded in the cities of Austin, Arlington, Boston, Chicago, and Dublin, mixed by Damian Herring at Subterranean Watchtower Studios, and mastered by Adrian Benavides, the follow-up to their 2021 debut EP Sullen Cadence sees the band formed of Ciaran McCloskey and Mike Day on the guitars and synths, and Eoghan McCloskey on drums and synths, with the support of guest musicians Tanner Anderson (Obsequiae, Panopticon) and Damian Herring (Horrendous) on vocals, Joel Miller on bass, and Adrian Benavides on percussion and synths, masterfully blend the searing aggression of classic Death Metal with the atmospheric introspection of Melodic Black Metal, weaving a narrative of decay and despair driven by a maelstrom of intricate guitar work and a pummeling rhythm section.

Cerulean Dream sounds experimental, avantgarde and grim from the very first second, with the devilish vocals by Tanner and Damian matching perfectly with the guitar lines by Ciaran and Mike, whereas they invest in a more progressive blend of Melodic Death Metal in Decameron, with the stylish riffs by the band’s guitar duo walking hand in hand with Eoghan’s melodic yet fierce beats and fills. Then bringing forward elements from the Melodic Death Metal played by giants the likes of Insomnium we have Grace of Departure, while also sounding a bit Melodic Black Metal thanks to all of its Stygian vociferations; and the crushing bass by Joel adds even more energy to The Weakening Sovereign, a galloping, intricate and scorching creation by the band, with their guitars once again breathing fire.

Fans of Dissection, Sacramentum, and Obsequiae will find the new offering by Aduanten to be an phenomenal addition to their collection, as the album is not only extremely heavy just the way we like it, but its lyrical themes of destruction, sorrow, and hopelessness are also perfectly mirrored in its dynamic and emotionally charged soundscapes. Those beyond talented musicians are waiting for you on Facebook, on Instagram, on YouTube, and on Spotify with news, tour dates, and more of their striking music, and of course you can show them your utmost support and purchase their new EP from BandCamp. The Melodic Death Metal presented by Aduanten in Apocryphal Verse is as aggressive and vibrant as it is intricate and detailed, and I’m sure we’ll hear a lot more from those guys in the near future based on the high quality of their music.

Best moments of the album: Grace of Departure and The Weakening Sovereign.

Worst moments of the album: None.

Released in 2025 Nameless Grave Records

Track listing
1. Cerulean Dream 5:16
2. Decameron 4:34
3. Grace of Departure 4:36
4. The Weakening Sovereign 5:00

Band members
Ciaran McCloskey – guitars, synths
Mike Day – guitars, synths
Eoghan McCloskey – drums, synths

Guest musicians
Tanner Anderson – vocals (session)
Damian Herring – vocals (session)
Joel Miller – bass (session)
Adrian Benavides – percussion, synths (session)

Album Review – Impermanence / Anicca (2025)

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This five-headed Technical Death and Black Metal beast from Poland will attack armed with their debut offering, portraying the fragility and transience of human life.

Forged in the fires of Kraków, Poland by the end of 2023, the Technical Death and Black Metal beast known as Impermanence is unleashing hell with the release of their debut offering, entitled Anicca. Recorded at Studio Poziom -1, mixed and mastered at Dahaka Productions, and displaying a beyond Stygian yet captivating artwork by Alicja Michalec, the debut opus by Mateusz Bednarz on vocals, Wojciech Wróbel and Paweł Hernik on the guitars, Bartłomiej Fitas on bass, and Konrad Pieczara on drums portrays the fragility and transience of human life, all embraced by the band’s unrelenting blend of extreme music, being therefore highly recommended for fans of renowned acts from the Extreme Metal scene the likes of Behemoth, Belphegor, Nile, and God Dethroned, just to name a few.

The album’s phantasmagorical, eerie Intro will embrace us in pitch black darkness before the band rips our hearts out with Sorrodise, with both Wojciech and Paweł delivering a wild fusion of Black and Death Metal through their flammable riffs accompanied by the rumbling bass by Bartłomiej. In other words, the album couldn’t have started in a more compelling way. From Mirage to Lust brings elements from the current Scandinavian Melodic Death and Black Metal scene, with Mateusz taking the lead with his devilish screams, and the band then goes absolutely mental in the Melodic Black Metal beast entitled Apocalypse, with Konrad bringing forward sheer heaviness with his classic beats and fills, inviting us all to slam into the pits of the netherworld.

There’s no sign of the band slowing down at all; quite the contrary, this five-headed creature of extreme music will pulverize us all with Spiritual War, where the guitars by Wojciech and Paweł exhale madness and sulfur; whereas their metallic sounds continue to darken the skies in Fugitive, with tons of intricacy flowing from their riffs, bass and drums, all enfolded by Mateusz’s venomous roars. As expected, there’s no such thing as “sounding mellow” or “happy music” to those guys, and they invest in their most Behemoth-inspired sonority in Ascension Through Defiance, with their riffage cutting our skin deep while Konrad pounds his drums nonstop in the name of Polish Blackened Death Metal for our absolute delight. And lastly, we face the hard-hitting Crumbling, deviating a bit form their core Black and Death Metal, but still sounding tight and heavy as usual.

“Anicca is a hymn to the fragility that marks our existence. The album’s name is derived from Buddhist terminology and signifies impermanence. The lyrical layer explores themes of transience and the search for purpose in the world around us. Songs begins and ends with the ticking of a clock, clearly marking both the start and the conclusion of the story being told. Each track presents a different narrative, offering a unique perspective on the somber aspects of human nature. This concept extends beyond the lyrics, shaping the band’s overall artistic identity,” commented the band about their amazing newborn baby, and you can get in touch with them and know more about their music, tour dates and plans for the future on Facebook and on Instagram, stream their caustic music on YouTube and on Spotify, and grab a copy of the excellent Anicca from their own BandCamp, from the Satanath Records’ BandCamp or webstore, or simply by clicking HERE. In the end, we are all fragile beings, we are not permanent, and the music found in Anicca perfectly reminds us of how hard it is to face such a harsh truth.

Best moments of the album: Sorrodise, Apocalypse and Ascension Through Defiance.

Worst moments of the album: Crumbling.

Released in 2025 Satanath Records

Track listing
1. Intro 1:24
2. Sorrodise 4:20
3. From Mirage to Lust 5:16
4. Apocalypse 3:23
5. Spiritual War 4:12
6. Fugitive 6:06
7. Ascension Through Defiance 5:03
8. Crumbling 5:56

Band members
Mateusz Bednarz – vocals
Wojciech Wróbel – guitars
Paweł Hernik – guitars
Bartłomiej Fitas – bass
Konrad Pieczara – drums

Album Review – An Abstract Illusion / The Sleeping City (2025)

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This incredible Swedish Progressive Death and Black Metal entity returns with their heaviest and most atmospheric work to date, exploring the depths of the human psyche and suffering.

Once again utilizing the band’s unique blend of Progressive Death and Black Metal with arpeggiating synths, wistful drones and vast soundscapes, harkening back to the era of 80’s sci-fi soundtracks, the magnificent The Sleeping City is the third full-length opus by Swedish Progressive/Atmospheric Death/Black Metal beast An Abstract Illusion, the follow-up to their critically acclaimed 2022 sophomore album Woe. Produced by Karl Westerlund alongside An Abstract Illusion themselves, recorded at Blackharbour Studios, with drums produced and recorded by Jakob Herrmann at Top Floor Studios and pre-production and additional recording by Emil P. Lundh at Urberg Studios, mixed and mastered by Robin Leijon, and displaying a classy artwork by Alex Eckman-Lawn, the new album by Christian Berglönn on lead vocals, Karl Westerlund on the guitars and bass, Robert Stenvall on keyboards and vocals, and Isak Nilsson on drums and backing vocals, not to mention an array of very special guest musicians, is undoubtedly their most atmospheric and heavy work to date, exploring the depths of the human psyche and suffering.

Featuring vocals by Lukas Backeström, Blackmurmur is absolutely atmospheric, enfolding, futuristic and luxurious from the very first second, uniting the complexity of Progressive Death Metal with the mystery of Melodic Black Metal, and with the guitars by Karl and the keys by Robert sounding absolutely fantastic. They keep delivering sheer awesomeness in No Dreams Beyond Empty Horizons, with the complex yet visceral drumming by Isak adding an extra touch of heaviness to their music, followed by Like a Geyser Ever Erupting, featuring the cello by Jonathan Miranda-Figueroa and the violin by Dawn Ye, carrying a stunning song title for a lecture in modern-day extreme music where once again Isak sounds inhumane behind his drums.

Frost Flower once again features vocals by Lukas Backeström, cello by Jonathan Miranda-Figueroa, and violin by Flavia Fontana, all clashing with the visceral riffs by Karl and the whimsical keys by Robert; whereas Emmett is another long, complex and extremely detailed song, starting in a serene, enfolding manner, almost melancholic, before we face an avalanche of Progressive Death Metal led by Christian’s enraged roars, also showcasing ethereal passages intertwined with absolute violence. Then we face Silverfields, with narration by Elsa Svensson, working almost like an atmospheric interlude, therefore soothing our souls for the monumental title-track The Sleeping City, bringing forward endless breaks and variations without forgetting their core heaviness, as if Dream Theater went Death Metal, with Karl once again doing a superb job with both his guitar and bass boosted by the cello by Jonathan Miranda-Figueroa and the violin by Dawn Ye, before all fades into a climatic, Stygian finale.

“When we compose an album we don’t want it to just be a collection of random songs, we want a holistic theme coursing through the album’s veins. When writing The Sleeping City we wanted to explore what the soundtrack to a dystopian sci-fi film, such as Blade Runner or Terminator, would sound like if it were written by a death metal band. For The Sleeping City, we took inspiration from acts such as Depeche Mode, My Bloody Valentine, Kite, Ólafur Arnalds and Boards of Canada, pushing us to expand and refine our sound palette. Going from the long-song format of Woe, it was a fun challenge to once again write self-contained songs with a clear beginning and end,” commented the band about their newborn masterpiece. You can find those extremely talented guys on Facebook and on Instagram, stream their breathtaking creations on Spotify, and of course purchase their new album from BandCamp or from the Willowtip Records webstore (as a CD or an LP), or simply click HERE for all things An Abstract Illusion. A decrepit yet monumental landmark, the sleeping city awaits ahead. Will you enter?

Best moments of the album: Blackmurmur, Like a Geyser Ever Erupting, Emmett and The Sleeping City.

Worst moments of the album: None.

Released in 2025 Willowtip Records

Track listing
1. Blackmurmur 11:00
2. No Dreams Beyond Empty Horizons 6:56
3. Like a Geyser Ever Erupting 7:58
4. Frost Flower 8:14
5. Emmett 11:19
6. Silverfields 3:46
7. The Sleeping City 10:07

Band members
Christian Berglönn – lead vocals
Karl Westerlund – guitars, bass
Robert Stenvall – keyboards, vocals
Isak Nilsson – drums, backing vocals

Guest musicians
Lukas Backeström – lead vocals on “Blackmurmur” and “Frost Flower”, choir vocals on “No Dreams Beyond Empty Horizons” and “Like a Geyser Ever Erupting”
Jonathan Miranda-Figueroa – cello on “Like a Geyser Ever Erupting”, “Frost Flower” and “The Sleeping City”
Dawn Ye – violin on “Like a Geyser Ever Erupting” and “The Sleeping City”
Flavia Fontana – violin on “Frost Flower”
Elsa Svensson – narration on “Silverfields”