Tag Archives: melodic black metal

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)

Album Review – Inherits The Void / The Silent Abscission (2026)

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Conceived as a journey through eight visions, the new offering by this amazing Atmospheric and Melodic Black Metal entity from France is a thrilling concept album about erasure, cosmic implosion, and isolation.

Inspired by the frozen visions of Vinterland, the incantatory fury of Misþyrming, and the melodic intensity of Dawn, the idiosyncratic Clermont-Ferrand, France-based Atmospheric/Melodic Black Metal entity Inherits The Void, the brainchild of vocalist and multi-instrumentalist Antoine Scholtès, has established itself as a singular voice within the modern French Black Metal scene since its inception in 2020, culminating in 2026 with the release of its fourth studio offering, titled The Silent Abscission. Mastered by Simon Da Silva at The Empty Hall Studio, ensuring a sound both dense, dynamic, and abyssal, and featuring session musicians Romain Negro (Apolaustic, Stortregn) on vocals and Nicolas Müller (Akiavel, Artefact, Svart Crown) on drums, the album is a true turning point, a concept album about erasure, cosmic implosion, and isolation. Conceived as a journey through eight visions, it moves between incantatory convulsions and silent abysses, leading to an inevitable and overwhelming resolution, continuing to pave the project’s path from its previous releases Monolith of Light (2021), The Impending Fall of the Stars (2023), and Scars of Yesteryears (2024).

The album begins in full force with The Sepulcher of Time, with the riffs by Antoine walking hand in hand wit the harsh vociferations by Romain in sheer Black Metal madness; and Nicolas crushes his drums like a true beast from the abyss in The Dawn over Ruins, offering Romain exactly what he needs to roar manically in a lecture in Atmospheric and Melodic Black Metal. The Silent Abscission sounds as destructive and harsh as its predecessors, with the guitars by Antoine exhaling fury and obscurity, whereas In the Shadow of the Falling Star brings forward another blast of absolute Black Metal excellence by Inherits The Void, with the riffs by Antoine and the beats and fills by Nicolas sounding incendiary until the very end.

The second half of the album begins in a visceral mode as well, with the venomous riffage by Antoine in Wrath of the Endless Sea transpiring modern-day Black Metal while also presenting introspective, Jazz-like passages. The Last Cry of Cosmos kicks off in a more melodic manner to the classy riffage by Antoine and the rhythmic drumming by Nicolas, again presenting multiple layers and nuances, followed by A World Unmade, a solid composition by Antoine and his henchmen despite lacking the same dynamism of the other songs of the album. Lastly, Inherits the Void, the song that carries the name of the band, couldn’t have sounded more majestic, offering us all almost nine minutes of contemporary Melodic Black Metal where the harsh vocals by Romain bring even more obscurity to their music.

A total Black Metal experience where matter and spirit are consumed within the same incantation, standing at the frontier between despair and eternity, The Silent Abscission might be Inherits The Void’s most ambitious and complete work to date, and you can get more information about the album, as well as about Antoine Scholtès and his Inherits The Void, by following the project on Facebook and on Instagram, and don’t forget to also stream his albums on Spotify, and to grab a copy of the album from BandCamp or from Sound Cave. The cosmic and Stygian path paved by the indomitable Antoine Scholtès until today is a thing of beauty, and I’m sure we’ll hear a lot more form such an amazing musician in the near future as The Silent Abscission is indeed fantastic, and a must-listen for anyone who wants to immerse themselves in pure Black Metal magic.

Best moments of the album: The Dawn over Ruins, In the Shadow of the Falling Star and Inherits the Void.

Worst moments of the album: A World Unmade.

Released in 2026 Avantgarde Music

Track listing
1. The Sepulcher of Time 4:27
2. The Dawn over Ruins 5:15
3. The Silent Abscission 5:56
4. In the Shadow of the Falling Star 6:59
5. Wrath of the Endless Sea 4:41
6. The Last Cry of Cosmos 6:00
7. A World Unmade 5:22
8. Inherits the Void 8:37

Band members
Antoine Scholtès – guitars, bass

Guest musicians
Romain Negro – vocals (session)
Nicolas Müller – drums (session)

Album Review – Deus Sabaoth / Distortion of Lies (2026)

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This Ukrainian Black Metal horde returns in full force with their sophomore offering, tracing the quiet seduction of belief and exposing how easily comfort becomes deception.

“In this cold-lit sermon where redemption and obedience blur, and devotion feels less demanded than desired, the thrill lies not in force, but in the willing surrender to something feared, and thus revered.” – Deus Sabaoth

After the successful release of their 2025 debut Cycle of Death, the unrelenting Ukrainian Melodic Black Metal horde Deus Sabaoth wasted no time and continues to spread their dark music across the four corners of the earth with their sophomore opus, entitled Distortion of Lies. Exploring controversial themes such as religious criticism, existentialism, nihilism, and solitude, the new album by N-Exul on vocals, Alyona Neith on bass, piano, music composition and lyrics, and Ercld  on drums, with the support of session musicians Anton Vorozhtsov on the guitars and Sofia Konstantynova on the violin, plus drum recording and partial composition by Dmytro Kim, drifts through the fragile architectures we build to protect ourselves from reality. It traces the quiet seduction of belief – whether wrapped in sacred language or stitched together from desperate hope – and exposes how easily comfort becomes deception.

The pulverizing opening track Worship starts in an epic manner before exploding into absolute Black Metal chaos where Ercld’s drums boost N-Exul’s vocals to a whole new level, kicking off the album on a sulfurous and demented note for the delight of all admirers of the darkest of arts. Then Alyona’s melancholic piano kicks off the title-track Distortion of Lies, a grim composition where the guitar by Anton exhales obscurity, proving why he was chosen by the band to be responsible for the album’s riffs and solos. After that, Alyona and guest Sofia Konstantynova embellish the airwaves with their respective piano and violin in Last Gleam, where Black Metal clashes in absolute darkness with the Stygian sounds of Doom Metal.

The scorching Imperishable Script is another song where Alyone steals the spotlight with her devilish piano, with all caustic Black Metal riffs and bass blasted by the band crushing our damned souls mercilessly. And in Tree of Knowledge the vile N-Exul declaims the song’s scathing words like a demonic entity, accompanied by the demented drumming by Ercld. For There Will Be Dawn offers us all a good display of Epic Black Metal, albeit not as dynamic nor detailed as the rest of the album, whereas their black mass comes to an end with Anton, Alyona and Ercld crafting a visceral and piercing sonority in Wooden Box, while N-Exul growls nonstop with tons of anguish and hatred in his heart.

“And beyond the longest night, there will be a dawn, when every distortion fades, leaving nothing but what was real all along,” cryptically commented the band about their newborn beast, and if you want to follow those Ukranian black metallers into oblivion you can find them on Facebook and Instagram, stream their previous album and very soon their new one on Spotify or any other platform, and above all that, grab a copy of Distortion of Lies from their own BandCamp, or from Paragon Records. Cold, blasphemous and grim, Distortion of Lies will keep the fires of Ukranian metal burning bright, inspiring Deus Sabaoth to keep delivering their blend of blasphemy and darkness for the delight of us all, mere mortals, for many years to come.

Best moments of the album: Worship, Imperishable Script and Tree of Knowledge.

Worst moments of the album: For There Will Be Dawn.

Released in 2026 Paragon Records

Track listing
1. Worship 5:13
2. Distortion of Lies 4:24
3. Last Gleam 4:33
4. Imperishable Script 6:12
5. Tree of Knowledge 5:25
6. For There Will Be Dawn 4:34
7. Wooden Box 4:40

Band members
N-Exul – vocals
Alyona Neith – bass, piano
Ercld  – drums

Guest musicians
Anton Vorozhtsov – guitars (session)
Sofia Konstantynova – violin (session)

Album Review – Hecate Enthroned / The Corpse of a Titan, a Lament Long Buried (2026)

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UK’s own leaders and titans of Symphonic and Melodic Black Metal are back from the underworld stronger than ever with their vicious, breathtaking seventh studio offering.

Leaders and titans of Symphonic and Melodic Black Metal, England’s own Hecate Enthroned are finally back from the underworld with their vicious seventh studio album, beautifully entitled The Corpse of a Titan, a Lament Long Buried, following up on their 2019 beast Embrace of the Godless Aeon. Once again produced by the band itself alongside Dan Abela (Akercocke, Bleed From Within, Annal Nathrakh), who also mixed and mastered the album, and showcasing a stunning cover art created by Erskine Designs (Inanimate Existence, Bleed The Sky), the new offering by Joe Stamps on vocals, Nige Dennan and Andy Milnes on the guitars, Dylan Hughes on bass, Pete White  on the piano and keyboards, and Matt Holmes on drums will pulverize us all with their signature fusion of Death Metal aggression with orchestral Black Metal atmosphere, once again cementing the band as one of the most important names in the history of extreme music.

The Stygian intro Adar Rhiannon (or “Birds of Rhiannon,” three magical, otherworldly birds from Welsh mythology associated with the horse goddess Rhiannon) sets the stage for the band’s undisputed Black Metal attack in Spirits Stir Within Our Ancestors Tombs, with Matt sounding simply demolishing behind his drums, adding endless rage and fury to their sound while the keys by Pete are utterly haunting. The devilish guitars by Nige and Andy will pierce your soul in The Arcane Golem, another lesson in Symphonic Black Metal by such a talented UK horde, whereas a beyond cryptic start gradually evolves into a massive Black Metal beast titled Steed of the Still Water, led by another pulverizing performance by Matt on drums. After that we have Pwca, a shape-shifting, mischievous, and often chaotic spirit or fairy from Celtic and Welsh folklore, with the music sounding maybe a bit too atmospheric and lengthy, but still very emotional.

The band gets back on track with the infuriated Black Metal beast titled Deathless in the Dryad Glade, also presenting elements from Death and Doom Metal to spice things up even more. A Gallery of Rotting Portraits, the first single released of the album, is utterly bestial, with the harsh vociferations by Joe walking hand in hand with the slashing riffs by Nige and Andy, and the always majestic keys by Pete. The Boreal Monastery sounds and feels massive, multi-layered and grim form start to finish, with the hammering drums by Matt sounding flawless, offering Joe everything he needs to scream like a demon, whereas lastly we face Into a Vale of Endless Snow, keeping their Symphonic Black Metal vein pulsing harder than ever, consequently ending the album on a demolishing note to the thunderous sounds blasted by Dylan, Pete and Matt.

“Our first release since 2019, these are huge, epic, hard-hitting songs carved in the traditional Hecate Enthroned way with a menacing veil delivered with a crisp punch. Lyrically based around ancient British myths and legends,” commented the band’s bassist Dylan Hughes, inviting us all to join the band in absolute darkness in the best British Extreme Metal style. Having said that, don’t forget to check what the band is up to on Facebook and on Instagram, to stream their undisputed discography on Spotify, and above all that, to purchase their venomous new opus from BandCamp or from M-Theory Audio. The corpse of a titan lies upon the shores of England, and Hecate Enthroned will make sure his demise reverberates to the four corners of the earth to the sound of their insane new album.

Best moments of the album: Spirits Stir Within Our Ancestors Tombs, Steed of the Still Water, A Gallery of Rotting Portraits and The Boreal Monastery.

Worst moments of the album: Pwca.

Released in 2026 M-Theory Audio

Track listing
1. Adar Rhiannon 0:43
2. Spirits Stir Within Our Ancestors Tombs 8:10
3. The Arcane Golem 6:14
4. Steed of the Still Water 7:09
5. Pwca 6:07
6. Deathless in the Dryad Glade 6:37
7. A Gallery of Rotting Portraits 4:40
8. The Boreal Monastery 7:03
9. Into a Vale of Endless Snow 7:10

Band members
Joe Stamps – vocals
Nige Dennan – guitar
Andy Milnes – guitar
Dylan Hughes – bass
Pete White – piano, keyboards
Matt Holmes – drums

Album Review – Serpent Lord / The Once Forgotten Ways of Old (2026)

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The Year of the Snake is upon us, and the mighty Serpent Lord will teach us the once forgotten ways of the old through the music found in his majestic debut album.

Originally written in 2005, shelved, rebirthed and reimagined in the Year of the Snake, the excellent The Once Forgotten Ways of Old, the debut offering by Battle Ground, Washington-based solitary Pagan Black Metal vessel Serpent Lord, forged in 2003 by vocalist and multi-instrumentalist Jake Superchi (UADA, Ceremonial Castings), but laid dormant for 20 years, stands as a triumphant and immersive work – melodic, fierce, and steeped in ritualistic energy. Recorded at Obsidian Spells, mixed and engineered by Jake Superchi himself, mastered by Arthur Rizk, and displaying a mythical and arcane artwork by Kris Verwimp, the album offers expansive riffing, evocative passages, and a dynamic interplay between harsh and atmospheric elements, both timeless and fully awakened, while at the same time preserving every note of its primordial conception.

Jake kicks off his Stygian ceremony with the massive, multi-layered hymn Aries Ram, where his trademark enraged roars walk hand in hand with his scorching riffs and blast beats in a lecture in Melodic Black Metal, followed by Constrictor, a more direct Black Metal tune in the vein of the old ones like Venom and Mayhem, with Jake once again crafting a beyond cryptic atmosphere with his flammable riffs and serpent-like vocals. And his raging guitar transpires obscurity in the intense title-track The Once Forgotten Ways of Old, offering moments of pure heaviness and ritualistic doom intertwined with his classic Black Metal madness. Then we face Enter Serpentagram, presenting elements from the mighty UADA (for obvious reasons) but still sounding unique, as well as another killer job done by Jake on vocals, guitars and drums, flowing majestically until its venomous finale; whereas A Pagan’s Spell is as tribal and grim as it can be, inviting us all for another black mass led by the indomitable Serpent Lord, with Jake once again extracting those scathing riffs we all love so much. Lastly, he offers us all Forever on the Grounds of Battle, the perfect fusion of Black, Folk and Pagan Metal, with its main riff inspiring us all to raise our horns and worship the mighty Serpent Lord. Needless to say, the album couldn’t have ended in a more epic, climatic and somber way.

Channeling the spirit of 90’s Pagan Black Metal, Serpent Lord emerges from decades of silence with a work that fulfills the promise of its early recordings. It’s an album shaped by time, and driven by an uncompromising vision of Black Metal. If you want to put your hands on such a unique and evocative album, you can purchase it from the project’s own BandCamp (worldwide), as well as from Eisenwald Records (Europe and UK) or from Obsidian Spells (North America). In other words, the Year of the Snake is upon us, and the imposing Serpent Lord will teach us the once forgotten ways of the old through the music found in his majestic debut album.

Best moments of the album: Aries Ram, Enter Serpentagram and Forever on the Grounds of Battle.

Worst moments of the album: None.

Released in 2026 Eisenwald Records

Track listing
1. Aries Ram 8:35
2. Constrictor 3:09
3. The Once Forgotten Ways of Old 8:36
4. Enter Serpentagram 4:58
5. A Pagan’s Spell 5:27
6. Forever on the Grounds of Battle 8:09

Band members
Jake Superchi – vocals, all instruments

Album Review – IATT / Etheric Realms of the Night (2026)

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This American blackened band returns with their most immersive and conceptually daring work to date, unveiling a descent into dream consciousness.

Hailing from the pits of Philadelphia, Pennsylvania, Progressive/Melodic Black/Death Metal entity IATT (which stands for “I Am The Trireme,” an ancient maritime vessel, representing a shift in their musical style from their early Metalcore days) returns with their most immersive and conceptually daring work to date, entitled Etheric Realms of the Night. Mixed and mastered by Marcos Cerutti (co-founder of Black Lion Productions), the newborn spawn by Jay Briscoe on vocals and bass, Joe Cantamessa on lead guitars, Alec Pezzano on rhythm guitars and orchestral arrangements, and Paul Cole on drums and percussion is a worthy follow-up to their 2022 album Magnum Opus, unfolding as a continuous narrative that explores the fragile boundary between sleep and oblivion, consciousness and illusion, life and whatever waits beyond it, unveiling a descent into dream consciousness.

In the opening tune Drift Away the music gradually builds into a wall of Progressive Death Metal sounds led by Jay’s visceral screams, while Paul delivers an overdose of crushing beats and fills that transpire Black Metal; followed by To Lie Beneath, a nine-minute aria of darkness where the guitars by Joe and Alec breathe fire, supported by the always thunderous drums by Paul. Put differently, it’s like Opeth on steroids. Somniphobia already begins in full force, with all of its progressiveness clashing beautifully with its fury, not to mention its melodeath and dissonant riffs sounds amazing, whereas Pavor Nocturnus is one of the most Black Metal songs of the entire album, where its haunting atmosphere and intricate riffage and drums bring sheer joy to our blackened hearts. In the cryptic Quietus, the symphonic elements bring an avalanche of epicness to the overall result, with Jay once again barking and roaring nonstop, and their metallic dreams go on in Walk Amongst, another very detailed and multi-layered aria of Symphonic and Melodic Death Metal where Joe and Alec are again flawless on the guitars, before all fades into nothingness in the ethereal outro Hypnos.

With Etheric Realms of the Night, IATT venture deeper into psychological and conceptual territory, shaping a work that feels immersive, unsettling, and profoundly human, tracing the path from surrender to transformation, where dreams deepen into realms that no longer fade with morning light. Across its 48 minute runtime, the album unfolds with cinematic scope, guided by atmosphere, symbolism, and emotional momentum, and if you want to join IATT on such a unique voyage you can find those guys on Facebook, Instagram, YouTube, and Spotify, and of course purchase Etheric Realms of the Night from BandCamp, from their merch store, or by clicking HERE. Orchestral elements, unusual instrumentation, constantly shifting sonic landscapes, and the sense of a single story told in seven movements. That’s what IATT offer in their new album, inviting you to dream together with them while fully awake.

Best moments of the album: To Lie Beneath, Pavor Nocturnus and Walk Amongst.

Worst moments of the album: None.

Released in 2026 Black Lion Records

Track listing
1. Drift Away 6:39
2. To Lie Beneath 9:12
3. Somniphobia 6:04
4. Pavor Nocturnus 7:23
5. Quietus 7:18
6. Walk Amongst 8:06
7. Hypnos 3:38

Band members
Jay Briscoe – vocals, bass
Joe Cantamessa – lead guitars
Alec Pezzano – rhythm guitars, orchestral arrangements
Paul Cole – drums, percussion

Guest musicians
Didier Malherbe – flute
Valček – violin

Concert Review – UADA & Mortiis (Lee’s Palace, Toronto, ON, 04/24/2026)

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The city of Toronto was taken by storm by the Witches of Dystopia this Friday night in a celebration of darkness, spirituality and witchcraft.

OPENING ACTS: Wraith Knight and Jerome Reuter’s Rome

After a Heavy Metal night on Thursday with the Burning Witches, it was time to join the Witches of Dystopia on Friday night as WRAITH NIGHT, JEROME REUTER’S ROME, MORTIIS and UADA took the city of Toronto by storm with their The Witches of Dystopia Tour MMXXVI, another massive event brought to the city by Noel Peters of Inertia Entertainment. The venue chosen for such a unique experience was Lee’s Palace (and it looks like it’s the only place UADA play in the city, by the way, as it was their third time there out of three shows), and of course Keith Ibbitson of Metal Paparazzi and I were there to enjoy such a dark celebration encompassing countless music styles, from Black Metal and Dungeon Synth to Darkwave and Melodic Black Metal. It was a night of ups and downs as expected when you have so many different styles billed together, but that’s fine. You only need to open your mind and let the music flow through your soul, it doesn’t matter if it’s heavy as hell, or smooth and atmospheric.

It was 7:30pm, only 30 minutes after the doors were open, when Camas, Washington-based Black Metal/Ambient/Dungeon Synth entity WRAITH KNIGHT ignited the festivities with its fusion of dark music and fantasy. The project is basically Nick Superchi (the brother of UADA’s own frontman Jake Superchi, with whom he has also co-founded Dark Forest Productions) on synthesizers, and you can enjoy its two album Deep in the Dungeons of the Dragonlord, from 2022, and Of Arcane Magic & Forbidden Knowledge: The Necromantical Passage, from 2026, on BandCamp and on Spotify. It was a bit weird seeing just one guy on the corner of the stage playing synths for 30 minutes, but it is what it is. Nick hasn’t joined this tour in vain, and all would make sense after UADA hit the stage later that night.

Band members
Nick Superchi – synthesizers

Then after a short break it was time for another one-man project to entertain everyone who beats traffic and was already at Lee’s Palace, Luxembourg’s own Neofolk act JEROME REUTER’S ROME. And again, it was only one guy onstage, this time playing an acoustic set on the guitar. Known for his time with Street Punk band The Skinflicks, and for his collaborations with Nergal in his Dark Folk/Blues project Me And That Man, Jerome is now putting a lot of focus and effort on Rome, and if you enjoy Neofolk you can go check his music on Spotify. I would have preferred a regular Black Metal band instead, fully electrified and loud, but again, nothing that could make the night less enjoyable.

Band members
Jerome Reuter – vocals, guitar

MORTIIS

The first main attraction of the night was Oslo, Norway-based Darkwave/Dungeon Synth/Electronic/Industrial Rock entity MORTIIS, and yes, all of those music genres and subgenres can be applied to the most famous troll in the music industry. I don’t know if he was the best option to tour alongside such a heavy band like UADA, but the crowd seemed to be enjoying his electronic music more than what I expected. Basing his setlist on his 2001 cult album The Smell of Rain, plus the new song Ghosts of Europa, from his upcoming album of the same name (to be released on June 21), all available on BandCamp and on Spotify, Mortiis and his henchmen Ashes on the guitar, and Jon Siren on drums put a lot of people to dance at Lee’s Palace, including Mortiis himself onstage, of course.

The only thing that REALLY bothered me during his entire concert was the excessive use of backing tracks, in special all keyboards and synths. I read somewhere that the reason for such was to maintain the atmospheric complexity of his studio recordings that cannot be fully replicated by a standard live band (and it also gave Mortiis more freedom to move around the stage, I must admit that), but when over 90% of the instrumental is based on keyboards and synths, that gets truly annoying. No idea what was going on inside the minds of the fans at the venue, as the ones dancing didn’t seem to care about it, while others were simply not moving at all. When Smell the Witch was over, I noticed some people leaving the floor section. Maybe they were there just for Mortiis, maybe they were afraid of being caught in a mosh during UADA, which proves again the lineup for this tour was very weird. It worked, but it was still weird.

Setlist
Ghosts of Europa
Marshland
You Put a Hex on Me
Mental Maelstrom
Spirit in a Vacuum
Monolith
Parasite God
Tundra
Demons Are Back
Doppelganger
Smell the Witch

Band members
Mortiis – vocals
Ashes – guitars
Jon Siren – drums

UADA

Finally when the clock was about to hit 11pm it was time for one of the best, if not THE best, Melodic Black Metal band of the current scene, Portland, Oregon’s own UADA, to crush our damned souls with another spiritual, hypnotizing and absolutely dark performance, almost three years after their demolishing 2023 concert at the same venue, but this time their concert was absolutely unique, playing in full their 2016 debut Devoid of Light (available on any platform like BandCamp and Spotify), in celebration of the album’s 10th anniversary, plus songs from Symphonic Black/Death Metal band Ceremonial Castings, formed by brothers Jake “Lord Serpent” Superchi and Nick “OldNick” Superchi, celebrating 30 years of the band. It was a very bold move as I’m not sure if everyone at the venue knew Ceremonial Castings, but the final result was majestic to say the least.

When Jake Superchi, Rob Shaffer, Nate Verschoor and Pierce Williams hit the stage and kicked off their venomous feast of Black Metal with the excellent Natus Eclipsim, followed by the massive title-track Devoid of Light, the heaviness and loudness at Lee’s Palace were turned up to 11, inspiring everyone to raise their horns, bang their heads nonstop, and slam into the circle pit, all while joining the band on their spiritual journey. As a huge fan of all UADA albums, it was a pleasure seeing Devoid of Light in full (and I think this was the 10th album played in full by different bands in the city in the past year or so, a very cool trend if you ask me), with Black Autumn, White Spring being the icing on the cake as usual. Superb performance by this must-see band from the metal underworld.

Then after the instrumental interlude comprised of The Wanderer, from their 2018 masterpiece Cult of a Dying Sun, Nick Superchi of Wraith Knight joined the band onstage for a special set based on the “Bewitching Black Metal” crafted by Ceremonial Castings. With its lyrics based on the art of black magic, witchcraft and rituals, the band seems to have been resurrected by Jake and Nick in 2020, and I must say I’m really happy they decided to bring such an amazing project back from the dead. The songs chosen for their special ceremony were Immortal Black Art, Into the Black Forest of Witchery, Barbaric Is The Beast, Come Forth Damnation, Damned Be Those of the Craft, and Midnight Deathcult Phenomena, all available on BandCamp and on Spotify, and I highly recommend you go after the music by Ceremonial Castings as it’s simply phenomenal. All fans loved every single second of the show, and I bet whoever was not familiar with Ceremonial Castings was certainly impressed with their killer music. In addition, they ended their set with an incendiary version of Emperor’s all-time classic I Am the Black Wizards. Do I need to say more?

There was only one issue with UADA’s classy performance involving one of the girls at the concert, but I guess both the girl and Jake regret their actions this Friday night. The same girl who went onstage to do splits at the Incantation concert (opening for Belphegor) earlier this year thought it was a good idea to do the same at UADA, but she clearly didn’t have a clue of what a UADA concert means. It’s not Thrash Metal, it’s not Death Metal, sometimes not even Black Metal. It’s a spiritual event, and the stage is sacred ground for the band. After doing her splits, Jake simply booted her out of the stage, and although her fall wasn’t that harsh, it was still a considerable fall. Jake apologized to her after the show, of course. I guess he was in his usual trance onstage and didn’t think properly before kicking her in the ass, but that also shows you cannot simply go to a concert and do whatever you want, like invading the stage, because depending on the band that’s not cool at all. In the end, it didn’t really matter, because UADA were beauifully insane, and I can’t wait to see them live again sooner than later. Without anyone going onstage to do splits, please.

Setlist
Devoid of Light (10-Year Anniversary)
Natus Eclipsim
Devoid of Light
S.N.M.
Our Pale Departure
Black Autumn, White Spring

Interlude:
The Wanderer

Ceremonial Castings (30-Year Anniversary)
Immortal Black Art
Into the Black Forest of Witchery
Barbaric Is The Beast
Come Forth Damnation
Damned Be Those of the Craft
Midnight Deathcult Phenomena

Encore:
I Am the Black Wizards (Emperor cover)

Band members
Jake Superchi – vocals, rhythm guitars
Rob Shaffer – lead guitars
Nate Verschoor – bass
Pierce Williams – drums

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Album Review – Apolaustic / No Plenitude Without Suffering (2026)

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Behold the heartfelt, meticulously put together, pristine-sounding debut from a veteran musician that is bound to stand the test of time if only on the basis of the sheer quality of melodies contained within.

Brought into being by former Stortregn vocalist and guitarist Romain Negro as an outlet for him to express his personal vision, Switzerland-based Melodic Black/Death Metal entity Apolaustic (an adjective describing someone or something entirely devoted to enjoyment, pleasure-seeking, or self-indulgence) is ready to unleash hell with their debut offering, titled No Plenitude Without Suffering. Displaying a grim, caustic artwork by Romain Negro himself, and featuring session musicians Merlin Bogado (Dyssebeia) on the guitars and bass, and Nicolas Muller (Akiavel) on drums, No Plenitude Without Suffering is a heartfelt, meticulously put together, pristine-sounding debut from a veteran musician that is bound to stand the test of time if only on the basis of the sheer quality of melodies contained within.

Devouring the Past is absolutely infuriated, grim and vile from the very first second, with Nicolas sounding inhumane on drums, therefore offering Romain exactly what he needs to vociferate like a demonic entity. They keep the atmosphere as dense and devilish as possible in Fragments from a Misty Journey, a lecture in Melodic Black Metal by Romain and his henchmen, followed by Testimony of an Obsolescent World, which starts in a serene, melancholic manner before the trio destroys our souls mercilessly, with Merlin’s riffs and solos exhaling sulfur and hatred. And Romain and his horde go full Black Metal in Shining Amidst the Lights, offering a demonic wall of sounds led by the massive beats and fills by Nicolas, perfect for some wild headbanging in pitch black darkness.

After such a demolishing sonority, the trio offers the nocturnal, doom-ish interlude Smells Like Dead Autumn Fire, setting the tone for Black Flame Reviver, a seven-minute journey through the realms of Melodic Black and Death Metal presenting multiple layers and nuances, spearheaded by Romain’s devilish vociferations. De Feu et de Cendre, which translates to “of fire and ash” (a French phrase describing destruction, rebirth, or remnants left behind by fire) is another bold and detailed aria of extreme music by Apolaustic, with Merlin stealing the spotlight with a flawless guitar performance; before we face Peregrination Towards Childhood Memories, showcasing one final breath of demonic sounds by the band, closing the album on a venomous and climatic mode.

Described as a mix of profound, emotional melodies and “blackened extremity,” Apolaustic’s aesthetic and music aim for a balance of intensity and depth, often featuring intricate, melodic, and atmospheric passages alongside faster, more aggressive Black Metal sections, being therefore perfect for admirers of the classy music blasted by renowned acts the likes of Dissection, Naglfar, Sacramentum, Unanimated, Thulcandra, Stortregn, and Dyssebeia. You can get in touch with Romain and his fantastic new project via Facebook and Instagram, staying up to date with their news, plans for the future and so on, stream their phenomenal creations on Spotify, and put your putrid hands on No Plenitude Without Suffering from their own BandCamp, from Big Cartel (including some superb merch items), or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In the end, it’s safe to say that No Plenitude Without Suffering will feature among the best underground albums of 2026, and I can’t wait for more of the blackened magic crafted by Romain in a not-so-distant future.

Best moments of the album: Fragments from a Misty Journey, Shining Amidst the Lights, Black Flame Reviver and De Feu et de Cendre.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Devouring the Past 5:42
2. Fragments from a Misty Journey 5:14
3. Testimony of an Obsolescent World 5:03
4. Shining Amidst the Lights 5:50
5. Smells Like Dead Autumn Fire 0:57
6. Black Flame Reviver 7:02
7. De Feu et de Cendre 6:29
8. Peregrination Towards Childhood Memories 4:35

Band members
Romain Negro – vocals

Guest musicians
Merlin Bogado – guitars, bass (session)
Nicolas Muller – drums (session)