Tag Archives: melodic black metal

Album Review – Eshtadur / In Darkness All Shadows Gone (2026)

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A crow is calling to the sound of the new offering by Colombia’s own Melodic Black and Death Metal entity, a conceptual journey through mysticism, transformation and inner transmutation.

Combining Gothenburg-influenced Death Metal, Black Metal and classical composition with an interest in poetry, mysticism, existence and cosmogony, Pereira, Colombia-based Melodic Black/Death Metal outfit Eshtadur is back with their fifth studio album, titled In Darkness All Shadows Gone, following on their critically acclaimed 2017 album Mother Gray and their 2020 opus From the Abyss. Recorded at RockStar Studios, produced by the band’s mastermind Jorg August, who also wrote the music, lyrics, compositions, and orchestral arrangements, mixed and mastered by Tomasz “Zed” Zalewski, and displaying a Stygian artwork by Vallesia Obscura, the new offering by Jorg August on vocals and guitars, Camilo Barbosa also on the guitars, Andres Gonzalez on bass, and David Lopez on drums follows a conceptual journey through mysticism, transformation and inner transmutation.

The phantasmagorical intro Age of Antumbra will darken the skies and drag us into a deep dark forest to the sound of Into The Woods, kicking off in full force to the ruthless growling by Jorg while Camilo, Andres and David hammer their instruments nonstop. Umbra offers six minutes of first-class Melodic Death Metal where the guitars by Jorg and Camilo transpire obscurity; and David keeps pounding his drums in the name of dark and heavy Melodic Death Metal in August’s Burdens, where all backing vocals boost Jorg’s already killer guttural. Fire Above Mountain Below is one of the most experimental and symphonic of all songs, where the quartet fires a massive wall of sounds that fills every single space in the air majestically, followed by Old Shaman Blind, which starts in a cryptic manner before evolving into a Death and Doom Metal creature, once again led by David’s crushing beats and fills.

Thunderground offers a blend of Scandinavian Melodic Death Metal with the band’s own South American twist, with the riffs and solos by Jorg and Camilo feeling fantastic, and they keep shredding their axes in Ruler of the Lake, sounding heavy and venomous from start to finish. Then a beyond atmospheric start gradually morphs into a bestial display of Death and Doom Metal titled A Black Winged Waltz, again presenting the striking guitar solos by Camilo; and there’s still fuel for another hard hitting tune titled Nebulae (Virgo), led by the classic beats and fills by David. Omen of Millennia lives up to the legacy of traditional Melodic Death Metal, with Jorg sounding infuriated again on vocals for our absolute delight, flowing into Soy Real, a climatic conclusion to the album where Jorg’s deep growls are spiced up by clean vocals in the background amidst a beautiful sonic devastation.

“We worked on this material for four years. It is a long album with twelve tracks, symphonic arrangements, a real orchestra, many vocal layers and Tuvan voices. At times, it felt like a giant puzzle, but everything finally came together. We are proud of the result and grateful to everyone who helped us build it. A crow is calling,” commented Jorg August, who’s waiting for you on Facebook and on Instagram with news, tour dates and so on, and you can also stream their music on Spotify and put your hands on In Darkness All Shadows Gone via BandCamp or Rockshots Records, or by clicking HERE. Fans of Septicflesh, Dissection and At The Gates will surely have a great time listening to the new album by Eshtadur. Or, in other words, can you hear the crow calling?

Best moments of the album: Into The Woods, Fire Above Mountain Below and Omen of Millennia.

Worst moments of the album: None.

Released in 2026 Rockshots Records

Track listing
1. Age of Antumbra 2:00
2. Into The Woods 4:41
3. Umbra 6:22
4. August’s Burdens 4:59
5. Fire Above Mountain Below 5:08
6. Old Shaman Blind 5:08
7. Thunderground 3:40
8. Ruler of the Lake 5:14
9. A Black Winged Waltz 9:23
10. Nebulae (Virgo) 5:09
11. Omen of Millennia 3:56
12. Soy Real 5:11

Band members
Jorg August – vocals, guitars
Camilo Barbosa – lead guitars
Andres Gonzalez – bass
David Lopez – drums

Album Review – Servant / Lux Ex Inferis (2026)

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Balancing tradition and progression, this German Black Metal horde returns with their fourth studio offering, bringing the light from hell into our blackened hearts.

Balancing tradition and progression, German Black Metal horde Servant delivers a sound that feels both familiar and forward-thinking, uncompromising, powerful, and darkly captivating. Two years after their critically acclaimed third album Death Devil Magick, the band formed of vocalist and guitarist Farago, guitarist Samael, bassist Thanatos, and drummer Apophis returns with Lux Ex Inferis (a Latin phrase that means “light from the netherworld” or “light from hell”) offering more of their authentic-yet-modern approach to Melodic Black Metal. Recorded at Katzbach Studio, produced and Mixed by Farago, mastered by Dennis Poschwatta at Katzbach Studio, and showcasing a stunning artwork by Misanthropic-Art, Lux Ex Inferis sees the band once again combine intensity, atmosphere, and passion into a distinctive sound, turning it into a must-listen for admirers of the darkest side of music.

The whimsical, ethereal intro In Noctem will captivate our souls before we’re crushed into pieces to the sound of Tabula Rasa, a beautiful Melodic Black Metal aria by the quartet with the anguish and pain flowing from Farago’s scorching vocals sounding stunning, also featuring guest vocals by the one and only P.G. of Groza, followed by Glorification, spearheaded by the demonic drums by Apophis while Thanatos keeps hammering his bass in the name of absolute darkness. Thanatos, Embrace of the Night again presents the band’s trademark fusion of aggression, obscurity and harmony, leaning towards the Blackened Death Metal played by Behemoth, whereas De Profundis, or “from the depths” from Latin (a letter written by Oscar Wilde during his imprisonment in Reading Gaol, to his friend and lover Lord Alfred “Bosie” Douglas) showcases a phenomenal guitar work by Farago and Samael from start to finish, featuring guest vocals by Lethian.

Lux Fulget, which translates from Latin to English as “the light shines,” already starts in full force to the pounding drums by Apophis while Farago continues to vociferate like a creature from the abyss; and the strident guitars by Farago and Samael ignite another bestial Black Metal feast titled Of Stones, Sleep and Death, sounding enfolding, grim and vile, all at the same time. Then we face The Accuser, blending the obscurity of classic Black Metal with the depth and ferocity of modern-day Melodic Black Metal, with Thanatos and Apophis once again sounding thunderous armed with their respective bass and drums; while their last breathe of Black Metal magic comes in the form of Hypnos I See You, carrying a poetic name for an overdose of Stygian, sharp riffs and devilish roars, putting a beyond climatic and devilish ending to their black mass.

Expanding on the band’s established style, Lux Ex Inferis merges epic structures and haunting melodies, creating a multi-layered sonic landscape where passion meets grandeur, pointing to an even brighter (or maybe I should say darker) future ahead of those servants of the dark arts. You can get in touch with the band and stay up to date with their news and tour dates via Facebook and Instagram, stream their caustic music on any platform like Spotify, and of course, put your damned, dirty hands on their scorching new opus by purchasing it from the AOP Records’ BandCamp or webstore (or click HERE for all things Servant). After all is said and done, these German black metallers are among us to spread absolute darkness armed with Lux Ex Inferis, bringing the light from hell into our blackened hearts.

Best moments of the album: Tabula Rasa, De Profundis, Lux Fulget and Hypnos I See You.

Worst moments of the album: None.

Released in 2026 AOP Records

Track listing
1. In Noctem 2:14
2. Tabula Rasa 5:30
3. Glorification 4:38
4. Thanatos, Embrace of the Night 5:06
5. De Profundis 4:35
6. Lux Fulget 4:51
7. Of Stones, Sleep and Death 4:52
8. The Accuser 4:06
9. Hypnos I See You 5:47

Band members
Farago – vocals, guitars
Samael – guitars
Thanatos – bass
Apophis – drums

Guest musicians
Lethian – vocals on “De Profundis”
P.G. – vocals on “Tabula Rasa”

Album Review – Nokturnal Mortum / Біль | Hurt EP (2026)

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Behold the new EP by this iconic Ukrainian Symphonic Black Metal horde, offering more than forty minutes of first-class heavy music, and a very good indication of what to expect from their upcoming full-length strike.

Initially a pure Death Metal project under the name of Suppuration formed in 1992 in Kharkiv, Ukraine, Symphonic Black/Folk Metal Nokturnal Mortum started to gain real attention from fans under their new name  in 1994, with the album Twilightfall (1995), Lunar Poetry (1996) and Goat Horns (1997) presented a unique blend of Melodic and Symphonic Black Metal with the heritage of Ukrainian folk music. Now in 2026 the band currently formed of vocalist and multi-instrumentalist Knjaz Varggoth, guitarist Wortherax, keyboardist Surm, bassist Karpath, and drummer Kubrakh returns with a very special EP titled Біль | Hurt, following up on their 2022 opus До лунарної поезії, offering more than forty minutes of first-class heavy music, and a very good indication of what to expect from their upcoming full-length strike.

To Those Who Went Down the Tysyna River is an absolutely atmospheric and cinematic track, working as an extended intro to Eight Days to Spring, one of the most emotionally charged songs the band has ever made, born after protesting people getting shot down by criminal government forces at Maidan in the last days of February 2014, where the band blasts their trademark fusion of Black and Folk Metal spiced up by symphonic and epic elements. Then after the also experimental interlude First Steps of Freedom… The Flavor of Doom in Eight Years, we face Weltanschauung, with the scorching riffs by Knjaz Varggoth and Wortherax, and the massive beats by Kubrakh, exhaling Blackened Folk Metal magic. The Forgotten Ages of Victories offers a more epic vibe, with Knjaz Varggoth declaiming the song’s dark words like a beast from the underworld, followed by Ukraine, a vibrant live take on one of the band’s classics, where the keys by Surm sound striking from start to finish.

The year of 2026 is going to witness two new metal storms by  Nokturnal Mortum, starting with the excellent EP Біль | Hurt, and culminating with their still untitled upcoming full-length album, which doesn’t have a release date confirmed yet. If their new album is just half as good as what they have to offer in this awesome EP, we can rest assured the gods of Black Metal will be extremely happy, just like us mere mortals, fans of extreme music, and you can get in touch with those talented Ukrainians via Facebook and Instagram, and of course, grab a copy of their new EP from Oriana Music. Біль | Hurt is the perfect representation of the past, present and future of such a resilient Ukrainian band, keeping the fires of Black Metal burning bright, and pointing to an even more exciting future ahead of them in the coming years.

Best moments of the album: Eight Days to Spring and The Forgotten Ages of Victories.

Worst moments of the album: None.

Released in 2026 Oriana Music

Track listing
1. To Those Who Went Down the Tysyna River 7:34
2. Eight Days to Spring 4:51
3. First Steps of Freedom… The Flavor of Doom in Eight Years 9:06
4. Weltanschauung 8:42
5. The Forgotten Ages of Victories 6:45
6. Ukraine (live) 7:28

Band members
Knjaz Varggoth – vocals, guitars, keyboards, weellyre, drymba, telynka, kobza, percussion
Wortherax – guitars
Surm – keyboards, dulcimer, pipes
Karpath – bass
Kubrakh – drums

Album Review – Iskald / Curse of the Mind (2026)

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These Melodic Black Metal veterans are back with their sixth studio opus, a conceptual journey exploring themes of psychological torment, inner conflict, fragile hope and ultimate sacrifice.

Formed in 2005 in Sortland, Northern Norway by vocalist Aage Krekling and guitarist Simon Larsen, but currently located in Bodø, Norway, with the ambition of creating a distinctive form of Melodic Black Metal deeply connected to the atmosphere of the Arctic north, the mighty horde known as Iskald (which translates to “ice cold” in English) is finally back with their sixth studio album (and first concept work), titled Curse of the Mind, following up on their 2018 opus Innhøstinga. Built as a conceptual journey, the new album by the aforementioned Aage Krekling and Simon Larsen alongside guitarist Ben Hansen, basisst Tobias Aubert, and drummer Isak Larsen unfolds through four interconnected chapters linked by ritualistic invocations, exploring themes of psychological torment, inner conflict, fragile hope and ultimate sacrifice. Framed within a stark, Norse-inspired vision of Helheim, the story is mythological in setting but deeply psychological at its core. Helheim is not merely a place, it is the shape taken by inner darkness. The true battlefield is the mind itself.

After the melancholic, dark intro Curse of the Mind – Invocation I, we face the band’s first slab of ferocity titled The Other Realm, or “The Descent,” a representation of vast emptiness, fog and isolation, with Aage vociferating like a demonic entity while Tobias and Isak generate an intricate, reverberating background that reeks of Black Metal. Then we have another invocation titled Curse of the Mind – Invocation II, where the guitars by Simon and Ben transpire malignancy, followed by Manifestation of Madness, or “The Prison,” showcasing doubt, fragmentation and psychological collapse, offering almost seven minutes of scorching Melodic Black Metal led by Isak’s bludgeoning drums

The second act of the album kicks off with the minimalist yet penetrating Curse of the Mind – Invocation III,  where the sound of the piano will hypnotize us all before the band comes ripping with one of the most complex songs of the album, titled A Burden of Hope, or “The Fragile Light,” a display of strength found through accepting the darkness within, where their Doom Metal vein arises, darkening the skies to the devilish gnarls by Aage. And lastly, the short and ethereal invocation titled Curse of the Mind – Final Invocation sets the stage for the album’s climatic conclusion with The Sacrifice, or “The Ritual,” where before the throne of Hela suffering becomes meaningful, a multi-layered aria of Black Metal magic spearheaded by the scathing riffs by Simon and Ben, sounding infernal yet delicate until the very end.

Marking the beginning of a new chapter for the band, Curse of the Mind” was recorded at Strand Studio, mixed and mastered by Hallstein Sandvin, and features a stylish artwork by SG7 Graphics. For over two decades, Iskald have stood among the leading names in Norwegian Melodic Black Metal, expanding their trademark northern sound with its most ambitious and immersive work to date in Curse of the Mind, and if you want to know more about the band you can find them on Facebook and on Instagram, stream their music on Spotify, and purchase a copy of the album from Dusktone’s BandCamp or webstore. In other words, the new Melodic Black Metal journey by Iskald is about to begin, and you’re more than invited to join those amazing musicians in their ritualistic and mythological adventure.

Best moments of the album: The Other Realm, Manifestation of Madness and The Sacrifice.

Worst moments of the album: None.

Released in 2026 Dusktone

Track listing
1. Curse of the Mind – Invocation I 4:37
2. The Other Realm 6:53
3. Curse of the Mind – Invocation II 3:01
4. Manifestation of Madness 6:56
5. Curse of the Mind – Invocation III 2:06
6. A Burden of Hope 8:11
7. Curse of the Mind – Final Invocation 0:54
8. The Sacrifice 10:20

Band members
Aage Krekling – vocals
Simon Larsen – guitars
Ben Hansen – guitars
Tobias Aubert – bass
Isak Larsen – drums

Album Review – Terrestrial Hospice / Omnicide – Chapter I (2026)

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Behold the caustic new opus by this uncanny Polish duo, inviting us all to join them in their impure ceremony of absolute Black Metal devastation, causing total havoc and destruction in their wake.

There are nihilists, there are elitists, and there are people threading on others to move forward. Gdańsk, Poland-based Black Metal duo Terrestrial Hospice  doesn’t need any of these labels or methods to move ahead. Formed back in 2018 when Inferno, the unstoppable drummer for blackened masters Behemoth, pitched the idea to the mighty vocalist and multi-instrumentalist Skyggen (from bands like Dead to This World, Tortorum, and Thunderbolt, among others), the duo is unleashing upon humanity their third full-length opus, titled Omnicide – Chapter I, following up on their 2023 album Caviary to the General and their 2024 EP Rübezahl. Recorded at Sound of Records, mixed and mastered at Wielolsad Studio, engineered, mixed and mastered by Haldor Grunberg at Satanic Audio, and displaying a sinister cover art and photo by Bartek Rogalewicz of Lodge Black, the album invites us all to join Skyggen and Inferno in their impure ceremony of absolute Black Metal devastation, with the duo causing total havoc and destruction in their wake.

Phosphoric Salvation starts in an ethereal, pensive way before the duo comes crushing our hopes and dreams with their visceral riffs and blast beats, with Skyggen’s vocals sounding phantasmagorical. And Inferno keeps pounding his drums manically in The Couloir of Despair, offering us all more of the duo’s evil Black Metal magic; while Call of the Void is even more infernal and vile, with Inferno’s blast beats providing Skyggen with exactly what he needs to haunt our damned souls with his demented vociferations, followed by Serpents in the Grass, another solid, otherworldly composition by the duo where Inferno takes the lead with his classy beats and fills as usual.

There’s no time to breathe as their Black Metal machine moves forward in full force to the sound of Menace, presenting an overdose of strident riffs by Skyggen not recommended for the lighthearted; whereas Depraver (Black Invocation) is by far the most incendiary and demented of all songs, if that’s humanly possible, with Inferno crushing our frail bodies with his undisputed Black and Death Metal attack. Drowning Spirit sounds a bit generic compared to the rest of the album, despite the fact that Skyggen’s evil gnarls are still a thing of beauty; and last but certainly not least, they bring forward their blend of Melodic Black Metal in the form of The Gospel of Obedience, as rhythmic as it is obscure, putting a chaotic and vile ending to the album.

Joined live by Norwegian bassist Thurzur, known from Gaahlskagg, Dead to This World, Taake and Deathcult, among others, and by guitarist Namas, Terrestrial Hospice represent heart, emotion, will, power and consistency, and their new album perfectly depicts their hard work and commitment to Black Metal. Hence, you can enter the left-hand path alongside Skyggen and Inferno by following the duo on Facebook and on Instagram, by streaming their caustic music on Spotify, and of course by putting your damned hands on Omnicide – Chapter I from the Edge Circle Productions’ BandCamp or webstore. The “now” of the world needs more individual thinking like what Skyggen and Inferno have to offer in their new album to move forward. We need more Terrestrial Hospice. We need more Black Metal.

Best moments of the album: Phosphoric Salvation, Call of the Void and Depraver (Black Invocation).

Worst moments of the album: Drowning Spirit.

Released in 2026 Edge Circle Productions

Track listing
1. Phosphoric Salvation 6:47
2. The Couloir of Despair 2:34
3. Call of the Void 4:11
4. Serpents in the Grass 4:50
5. Menace 6:45
6. Depraver (Black Invocation) 2:19
7. Drowning Spirit 4:48
8. The Gospel of Obedience 4:25

Band members
Skyggen – vocals, guitars, bass
Inferno – drums

Guest musicians
Magdalena Sienkiel – grand piano interlude on “The Gospel of Obedience”
Soror NMHN – spoken words on “Call of the Void”, “Serpents in the Grass” and “The Gospel of Obedience”
Namas – guitars (live), keyboards on “Phosphoric Salvation”
Thurzur – bass (live)

Album Review – Dymna Lotva / Vyraj (2026)

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Continuing to carry the torch of rebellion, this Post-Black and Doom Metal entity is taking a quantum leap with their fourth studio album, revolving around the concept of “Belarusian ethno-astronomy.”

Continuing to carry the torch of rebellion, which is only natural as the founding members had to flee their native Belarus due to political persecution and continued attempts by the Lukashenka regime to censor and suppress their art, Warsaw, Poland-based Post-Black/Doom Metal act Dymna Lotva (which translates from Belarusian as “swamp in smoke,” referencing the devastating atrocities and burned villages of Polesia, a deeply distinct geographic and cultural region that extends across southern Belarus into Ukraine and Poland) is taking a quantum leap in their rapid musical evolution with their fourth studio album, titled Vyraj. Recorded at Everest Studio (vocals), at Hata Studio (guitars and bass), and at Studio Młyn (drums), the new album by Katsiaryna “Nokt Aeon” Mankevich on vocals and traditional flutes, Jauhien Charkasau on the guitars, bass and keyboards, Mikita Stankevich also on the guitars, and Wojciech “Bocian” Muchowicz on drums revolves around a main concept that could be described as “Belarusian ethno-astronomy.” In Slavonic legends, the starry sky is associated both with the afterlife and with journeys, which becomes closely intertwined with the musicians’ personal experience of forced emigration. This idea is captured in the album title, which is a mythical realm to where birds migrate for the winter, and where the souls of the departed find their final rest.

Zory sounds and feels darkly captivating from the very first second, with Jauhien, Mikita and Wojciech crafting the perfect atmosphere for the she-devil screams by Katsiaryna, evolving into a dark and wild beast of Post-Black Metal; and the band then showcases their ritualistic side in Veha, offering cryptic vocalizations while Wojciech dictates the pace with his thunderous beats and fills, also boosted by the Stygian harp by guest Deanna F. and the child vocals by Miraslava Palynskaya and Jan Palynski. The Boat of Despair brings forward another brilliant fusion of tribal sounds and the electricity of Black and Doom Metal, with the haunting vocals by the one and only Aaron Stainthorpe (High Parasite, My Dying Bride) clashing majestically with Katsiaryna’s desperate roars; whereas Viedmieragina will pierce our minds with its scorching Black and Folk Metal elements, not to mention Jauhien and Mikita are ruthless with their Melodic Death Metal-inspired riffs.

Niama Darohi showcases a more atmospheric side of the band, inviting our souls to wonder through the vast Stygian lands rules by Dymna Lotva while the keys by Jauhien sound absolutely enfolding. Then we have Bu Samoje (featuring Andrii “Deicider” Sovgar, Jan Mačuĺski, Aliaksandr Čarnuha, Jauhien and Mikita as the “Balbuta Choir”), their most Folk Metal song of all, as if the band and their guests were united around the fire for a sacrifice; followed by Usta Za Mianie, the most generic of all songs, lacking the same dynamism and energy of its predecessors. Last but not least we face Return My Coffin Home, featuring guests Ingvarr (Schreigarm) on vocals, Déhà (Wolvennest, Silver Knife, Slow) on fretless bass, and Velzevul on backing vocals and FX, a stunning Melodic Black Metal aria to conclude their ritualistic feast, with all harsh and clean vocals sounding stunning.

Although Vyraj is still based on a solid foundation of Black and Post-Black Metal, the band moves far beyond any easy labelling by also drawing inspiration from Doom, Heavy, and Progressive Metal, while venturing even deeper by incorporating elements from electronic music, goth, and folklore. The album is a cornucopia of great songs that are atmospherically dense and invite the listener onto an emotional roller-coaster ride from the darkest depth of depression and fear, via raw anger and defiance, to heights of ecstatic exhilaration, and if you want to know more about those rebellious Belarusian dissidents and their music, you can find them on Facebook, Instagram, YouTube, and Spotify, and purchase their new album from BandCamp, from Prophecy Productions, or by clicking HERE. In a nutshell, Vyraj is a musical kaleidoscope with ever changing patterns and sonic colours of remarkable beauty that often dissolves into captivating melodies that at times even achieve a pop-like appeal, and once you start listening to the album, get ready to be consumed by its beauty and energy.

Best moments of the album: Zory, The Boat of Despair and Return My Coffin Home.

Worst moments of the album: Usta Za Mianie.

Released in 2026 Prophecy Productions

Track listing
1. Zory 4:48
2. Veha 7:01
3. The Boat of Despair 5:31
4. Viedmieragina 5:36
5. Niama Darohi 4:29
6. Bu Samoje 4:38
7. Usta Za Mianie 4:35
8. Return My Coffin Home 8:10

Band members
Katsiaryna “Nokt Aeon” Mankevich – vocals, traditional flutes
Jauhien Charkasau – guitars, bass, keyboards
Mikita Stankevich – guitars, backing vocals
Wojciech “Bocian” Muchowicz – drums

Guest musicians
Aaron Stainthorpe – vocals on “The Boat of Despair”
Ingvarr – vocals on “Return My Coffin Home”
Déhà – fretless bass on “Return My Coffin Home”
Deanna F. – harp on “Veha”
Andrii “Deicider” Sovgar – backing vocals on “Bu Samoje”
Miraslava Palynskaya & Jan Palynski – child vocals on “Veha”
Velzevul – backing vocals & FX on “Return My Coffin Home”
Andrii “Deicider” Sovgar, Jan Mačuĺski, Aliaksandr Čarnuha, Jauhien & Mikita – Balbuta Choir on “Bu Samoje”

Album Review – Hulder / Verbolgen (2026)

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This up-and-coming Black Metal entity is back with its most compelling work, once again deeply rooted in the Northern European Black Metal tradition, always sounding fresh, grim and furious.

Emerging from the Pacific Northwest, Washington, United States-based entity Hulder built a devoted following across a series of releases marked by their commitment to ancient craft, uncompromising production, and a sound rooted in the Northern European Black Metal tradition. Now in 2026 the indomitable vocalist and multi-instrumentalist Hulder, alongside bassist Necreon, returns with Verbolgen, the project’s third full-length opus, and the follow-up to the highly acclaimed albums Godslastering: Hymns of a Forlorn Peasantry (2021), and Verses in Oath (2024).  Mixed by Ahti Kortelainen at Tico Tico Studio, mastered by Mika Jussila at Finnvox Studios, with drums engineered at Elektric City Recording, and displaying a dark and enfolding artwork by Morrigan, Verbolgen sees the project expand its instrumental palette, drawing in session musicians Keld on hurdy gurdy, lead guitars and keyboards, Vapula and Vrolok on drums, and Januaria on the flute, sharpening the dual creative core that has defined its most compelling work.

The ominous folk-infused intro Drie Raven will drag our souls to the dark realm ruled by Hulder until we’re crushed into pieces to the sound of The Crowning, where her she-demon roars match perfectly with the infernal Black Metal beats by Vrolok, also presenting haunting keyboard passages, courtesy of guest musician Keld. Thy Binding Oath offers a stunning fusion of Black, Folk and Doom Metal, and you can feel the atmosphere getting heavier and more suffocating while Hulder and Necreon deliver truly haunting vocals; followed by the title-track Verbolgen, bringing forward a more direct Black Metal attack by Hulder and her horde, with even her vocals sounding harsher and more infernal. And …And We Shall Sing is a true storm of extreme sounds by the band where Vapula takes the lead with his pulverizing beats and fills while the guitars by Hulder breathe fire.

Then a sinister intro morphs into a Melodic Black and Folk Metal extravaganza entitled In Blood and In Earth, where the keys by Keld sound majestic from stat to finish, followed by Den Nacht Zijn Lied, which should translate from Dutch as “the night’s song”, a fitting title for a classic Black Metal tune where Vrolok once again sounds ruthless on drums supported by the hammering bass by Necreon. View From Nemeton is a hurricane of Black Metal insanity by the band, with Hulder darkly vociferating the song’s caustic words (“In inhuman plane where flora nor fauna shall dwell / Everlasting winds rustle golden glades though grace not the mortal flesh / In the embers of olden days and those which have yet to come / Forsaken effigies stand guard for the rites of the sacred blot / I rede thee wanderer / Hear thou my rede”) in a lecture in the style, before the expansive instrumental piece The Glow of Dawn closes the album on an epic mode, leaving us absolutely disoriented after all is said and done.

With the release of the excellent Verbolgen, Hulder cement their place among the greatest names of the current Black Metal scene worldwide, sounding sharper and more obscure than ever, while remaining loyal to their roots. If you want to know more about this up-and-coming Black Metal beast, you can find the project on Facebook and on Instagram, including their live dates (like the incendiary upcoming tour with the mighty Dimmu Borgir), stream their music on any platform like Spotify, and above all that, purchase Verbolgen from BandCamp or by clicking HERE. Verbolgen is a Dutch adjective that translates to “enraged,” “furious,” or “incensed,” describing a state of intense, seething anger, often stemming from a feeling of being wronged, and all those dark feelings are exactly what Hulder offer us all in their new album, a scathing blast of Black Metal that will reach deep inside our blackened hearts.

Best moments of the album: The Crowning, …And We Shall Sing, In Blood and In Earth and View From Nemeton.

Worst moments of the album: None.

Released in 2026 20 Buck Spin

Track listing
1. Drie Raven (Intro) 2:18
2. The Crowning 6:28
3. Thy Binding Oath 5:38
4. Verbolgen 4:01
5. …And We Shall Sing 6:01
6. In Blood and In Earth 7:09
7. Den Nacht Zijn Lied 6:45
8. View From Nemeton 5:23
9. The Glow of Dawn 4:48

Band members
Hulder – vocals, electric & acoustic guitars, keyboards
Necreon – bass, vocals

Guest musicians
Keld – hurdy gurdy, lead guitars, keyboards (session)
Vapula – drums on “Verbolgen”, “…And We Shall Sing”, “View From Nemeton” and “The Glow of Dawn”
Vrolok – drums on “The Crowning”, “Thy Binding Oath”, “In Blood and In Earth” and “Den Nacht Zijn Lied”
Januaria – flute (session)

Album Review – Temple ov Ahriman / Heretics of Consensual Reality (2026)

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Welcome to the Temple ov Ahriman, and enjoy the debut studio offering of raw, visceral Black Metal by this grim American entity.

Born in 2021 from the creative mind of vocalist and multi-instrumentalist Thornicator (of Triacanthos and Vesperian Sorrow) as the culmination of several years of intense songwriting activity, Austin, Texas-based Black Metal outfit Temple ov Ahriman is unleashing upon us mere mortals a caustic blend of raw, visceral Black Metal in the form of its debut opus, entitled Heretics of Consensual Reality. Mixed by Kfir Gov at Evil Snail Studios (who also played drums on the album), mastered by Jack Control at Enormous Door Mastering, and showcasing a grim artwork by Mitchell Nolte, the album combines elements of Second-Wave Black Metal, contemporary Finnish Black Metal, and D-Beat, resulting in a tour de force that is guaranteed to take the listener on a demonic journey. “It was a little Hell seeing this project through to completion,” Thornicator stated. “Several years, thousands of dollars, and three studios later, I finally have a master recording that I feel does the material justice. It was my unwavering belief in the material that pushed me to continue despite innumerable setbacks.”

As Stygian as it is melodic, War In Heaven, featuring guest vocals by Sekt of Brüka, showcases the rumbling drums by Kfir Gov while Thornicator delivers visceral riffs nonstop, followed by Wrath of Iblis, another fast and grim composition by Thornicator where his striking gnarls sound absolutely demonic. Then investing in a more cadenced sonority we face Infernal Imperium, with the classic drumming by Kfir Gov adding a touch of Black N’ Roll to their music; whereas in SPQB, featuring additional vocals by Misery, Val Rozar and Von Hammerblast of Brüka, we face a demolishing Black Metal attack where Thornicator sounds inhumane on vocals while also armed with his bloodthirsty axe.

The second half of the album begins with the mid-tempo Melodic Black Metal tune White Death, keeping the album at a high level of malignancy; and back to a more infuriated, darker sonority we have the title-track Heretics of Consensual Reality, with the demented screams by Thornicator transpiring Black Metal. Then get ready to be kissed by the Black Metal sounds exhaling from all instruments in Baphomet’s Kiss, a multi-layered, vile composition offering fans of the genre a very good reason to succumb to absolute darkness, before we’re treated to Beyond the Veils of Maya, another detailed song presenting several layers, nuances, cryptic passages and the always infernal vociferations by Thornicator to conclude the album majestically.

Clocking in at a little over 42 minutes, Heretics of Consensual Reality proves Temple ov Ahriman is poised to take the underground by storm. “Years ago, my other band was to record an album, but our studio time was delayed due to the Coronavirus outbreak. Never one to sit idle for too long, I took the opportunity to write music for a follow-up release. What followed was a prolific period unlike anything I’d experienced before or since, and it quickly became apparent that I perhaps had too much material for just one band to learn and record. With the encouragement of a few good friends, I eventually decided to start my own spin-off project and thus Temple ov Ahriman was born.” If you want to experience all the obscurity, heaviness and fury blasted by Thornicator and his Temple ov Ahriman, you can find the project on Facebook, Instagram and Spotify, and don’t forget to purchase Heretics of Consensual Reality from BandCamp or by clicking HERE. In other words, as the great Dark Funeral say, welcome to the Temple of Ahriman. The infernal torture chamber no one survives.

Best moments of the album: War In Heaven, SPQB and Baphomet’s Kiss.

Worst moments of the album: White Death.

Released in 2026 Independent

Track listing
1. War In Heaven 4:25
2. Wrath of Iblis 4:53
3. Infernal Imperium 3:50
4. SPQB 5:00
5. White Death 5:45
6. Heretics of Consensual Reality 5:51
7. Baphomet’s Kiss 6:10
8. Beyond the Veils of Maya 6:42

Band members
Thornicator – vocals, guitars, bass, keyboards

Guest musicians
Kfir Gov – drums (session)
Sekt – female vocals on “War In Heaven”
Misery, Val Rozar & Von Hammerblast – additional vocals on “SPQB”

Album Review – Forsmán / Brenndar Rústir & Fuðrandi Fjörur (2026)

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One of the most promising new names to emerge from the Icelandic Black Metal underground is unleashing their pulverizing debut opus, showcasing  intricate riffing, shifting dynamics, and a dense atmosphere.

One of the most promising new names to emerge from the Icelandic Black Metal underground, Kópavogur-based horde Forsmán (pronounced “fors-mown”) is ready to attack armed with their debut offering, entitled Brenndar Rústir & Fuðrandi Fjörur, which translates from Icelandic as “burnt ruins & flowing shores,” following up on their 2021 debut EP Dönsum í logans ljóma. Produced by D.G., mastered by Viktor Árni Veigarsson, and showcasing another hypnotizing artwork by the great Paolo Girardi, the debut full-length by V. on bass and vocals, O. on the guitar and vocals, H. also on the guitar, and M. on drums brings forward the band’s trademark intricate riffing, shifting dynamics, and a dense atmosphere, therefore give their own Black Metal sound a demanding, fully formed character.

Drottinn fyrirgefur allt, or “the lord forgives all,” showcases dissonant and grim sounds from the very beginning, with O. and H. attacking us all with their scorching axes, flowing like an arrow in pitch black darkness before we face Svartir svanir, or “black swans,” with the pure Black Metal blast beats by M. giving the song an even heavier vibe, boosted by the visceral screams by V. and O. Andvana, or “death,” one of the first singles released, offers us all mere mortals an avalanche of blackened sounds led by the enfolding yet harsh guitars by O. and H., a no shenanigans, in-your-face explosion of Icelandic Melodic Black Metal spearheaded by the always thunderous beats and fills by M., and the band then delivers four minutes of chaos and fire entitled Valdníðsla, or “power abuse,” where the demonic roars by V. and O. will drag us down to their infernal lair for all eternity.

Kynjamyndir, or “gender images,” is a more introspective, devilish Blackened Death Metal aria by the quartet where their guitars exhale sulfur and hatred, reminding me of some of the more recent songs by the mighty Behemoth, whereas Lof mér líf þitt að taka, or “promise me your life to take,” follows a similar pattern as its predecessor, also sounding ruthless and vile from start to finish, with O. and H. once again consuming our souls with their obscure riffage. Hræ hins almáttuga, or “the corpse of the almighty,” is also blasphemous and sulfurous, showcasing hints of Progressive and even Dissonant Black Metal added to their core sonority; while lastly, get ready for a descent into the underworld to the sound of Barmafylltar fjöldagrafir, or “busty mass graves,” with their demonic vocal lines being effectively complemented by the thunderous drums by M. until all fades into oblivion.

Standing in the line of modern Icelandic Black Metal associated with Svartidauði, Sinmara, and Misþyrming, combining a dense atmosphere with focused, forward-driving songwriting, Forsmán already appear less like followers than a new voice within it with the release of the breathtaking Brenndar Rústir & Fuðrandi Fjörur, paving a very exciting path ahead of those young black metallers. If you want to join them in their quest for extreme music, you can find the boys on Facebook, stream their caustic creations on Spotify, and put your bloodsoaked hands on Brenndar Rústir & Fuðrandi Fjörur via BandCamp, via Metal Blade Records, or by clicking HERE. Iceland is a haunting masterpiece of contrast, a beautiful, primordial purgatory where the earth is violently born and slowly frozen to death, and there’s nothing better than the scathing Black Metal forged by Forsmán in their debut album to turn that violent nature into beautifully scorching sounds.

Best moments of the album: Andvana, Valdníðsla and Barmafylltar fjöldagrafir.

Worst moments of the album: None.

Released in 2026 Metal Blade Records / Vesperian GmbH

Track listing
1. Drottinn fyrirgefur allt 5:20
2. Svartir svanir 6:53
3. Andvana 6:03
4. Valdníðsla 4:23
5. Kynjamyndir 3:31
6. Lof mér líf þitt að taka 3:53
7. Hræ hins almáttuga 6:44
8. Barmafylltar fjöldagrafir 7:34

Band members
V. – bass, vocals
O. – guitar, vocals
H. – guitar
M. – drums

Album Review – Lumen Ad Mortem / A Grave Ascent (2026)

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This ruthless Black Metal entity from Down Under returns with their sophomore beast, offering a sonic landscape of chilling melodic ferocity and suffocating atmosphere.

Following the release of their debut record, Upon the Edge of Darkness, in 2023, Adelaide, Australia-based Black Metal horde Lumen Ad Mortem (or “light unto death” from Latin) returns with their sophomore beast titled A Grave Ascent, a striking dose of ferocious Black Metal that balances perfectly between an energetic drive fueled by lightning-fast tremolo riffs and a mid-paced dirge drenched in atmosphere. Recorded at Fjordrecord Studio C (vocals), at Forest Trees Studio (guitars, keyboards and orchestration), at M/E Studio (bass and percussion), produced and mixed by Patrick Pages Oliver at Blood Wolf Productions, mastered by Owen Gillett at O.G. Mastering, and displaying a sinister artwork titled “Le Devourer” by Leoncio Harmr, the new offering by Gregor Pikl on vocals, Aaron Tuck on the guitars, keyboards and orchestration, Morris Ewings on bass, and Rory Amoy on drums and percussion shines with a harmonious mix, sounding raw, cold and emotional, yet clear and perfectly balanced, a sonic landscape of chilling melodic ferocity and suffocating atmosphere.

What Was Lost is a haunting and evil intro that will send shivers down our spines before the band crushes our hopes and dreams with The Departed, where the devilish gnarls by Gregor match perfectly with the scathing riffs by Aaron, resulting in a lecture in modern-day Melodic Black Metal while Morris and Rory make the earth tremble with their ruthless bass and drums, respectively. The strident guitar lines by Aaron kick off another blast of absolute Black Metal magic titled I Never Ceded, inspiring us all to succumb to absolute darkness; whereas Rory shows no mercy for his drums in Ghost Gums, blasting our minds with total savagery and violence while also presenting Stygian, atmospheric moments.

Then the cryptic piano by Aaron ignites one more round of the band’s trademark obscurity in A Grave Ascent, before exploding into a massive beast led by Gregor’s demonic vociferations, followed by A Stone Shall Come to Rest, presenting a blend of doom-laden Black Metal and with the fierce riffage by Aaron being nicely complemented by Morris’ thunderous bass without a single second of peace. And What is Yet to Lose is another song with a cinematic intro, as suffocating as it can be, and when the music hits get ready to be pulverized into tiny pieces to the venomous roars by Gregor and the killer beats and fills by Rory, resulting in ten minutes of first-class, consuming and vile Black Metal to conclude their black mass.

Retaining a malleable nature, alongside ominous synth lines and drums that relentlessly drive the energy forward, while lyrically drawing from the Australian wellspring of loss, death, and the undying spirit that refuses defeat, driven by an unrelenting force of cold and undeniable vengeance, all set within an ancient landscape where the vastness of time and darkness renders human existence utterly insignificant, A Grave Ascent is a must-listen for admirers of the darkest side of music. Hence, you can get in touch with those Stygian musicians via Facebook and Instagram, stream their music on Spotify or any other platform, and above all, grab a copy of their striking new album from their own BandCamp, or from the Hypnotic Dirge Records’ BandCamp or webstore (as a CD or an LP). Bitterly cold, haunting and ethereal, A Grave Ascent will embrace you in darkness and choke you until you’re no more, exactly the way Black Metal is supposed to sound.

Best moments of the album: The Departed and And What is Yet to Lose.

Worst moments of the album: None.

Released in 2026 Hypnotic Dirge Records

Track listing
1. What Was Lost 2:06
2. The Departed 7:10
3. I Never Ceded 5:22
4. Ghost Gums 4:51
5. A Grave Ascent 6:04
6. A Stone Shall Come to Rest 5:47
7. And What is Yet to Lose 10:13

Band members
Gregor Pikl – vocals
Aaron Tuck – guitars, keyboards, orchestration
Morris Ewings – bass
Rory Amoy – drums, percussion

Guest musicians
Lachlan Odell – keyboards (live)
Lachlan Stopa – guitars (live)