Tag Archives: melodic black metal

Album Review – Hades Descent / The Monolith (2025)

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Let’s embark on a cinematic metal journey to the sophomore opus by this UK blackened entity, set centuries into a dystopian future on a dying earth.

Forging Symphonic and Melodic Death and Black metal with a strong cinematic scope, Berkshire, UK-based entity Hades Descent is back from the underworld with its sophomore opus, entitled The Monolith, a dystopian concept album offering a dark fusion of symphonic atmosphere, blackened aggression, and melodic precision, marking the project’s most ambitious work to date. Fully composed, orchestrated, recorded, mixed, and mastered by the band’s mastermind Hades at Titan Studios, underscoring the project’s uncompromising DIY spirit and singular vision, anchored by the beyond versatile vocals by D.M., and featuring the more-than-special guests Karl Sanders (Nile), Brian Kingsland (Nile, Imperishable), Björn “Speed” Strid (Soilwork, The Night Flight Orchestra), and Tim Goodson, The Monolith is set centuries into a dystopian future, on a dying earth, where mankind has embraced cybernetics in pursuit of perpetual enhancement, until humans no longer know where they end and the machine begins. “This is a concept album, based on an idea I had about 5 years ago,” explains Hades. “It’s taken that long to come to fruition! I hired an author, Tony Martucci, to turn the concept into a proper short story, which helped me flesh out the idea fully and turn it into the beautiful album you see here.”

The album kicks off with six minutes of Symphonic Black Metal madness in the form of Tomorrow Is Dead!, featuring guests Brian Kingsland, Karl Sanders and Tim Goodson, all on the guitars, with Hades’ and his henchmen’s striking, melodic riffs and solos walking hand in hand with the demented roars by D.M., whereas in Through Savage Seas they bring forward elements of Progressive Black and Death Metal, with all beats and fills adding endless heaviness to the song. Then the poetically titled Forged In Darkness (And Fire) starts in a cinematic manner before evolving into a symphonic and headbanging feast of vicious riffs and whimsical keys; and we face another round of phantasmagorical keys in Path of The Seeker, providing D.M. with all he needs to deliver his trademark harsh gnarls. Hades continues to bring forth sheer adrenaline in The Oncoming Storm, where his riffs and keys will yet again pierce your mind like an arrow in flames.

Veiled Ambitions is not as exciting as the rest of the album, although it still presents the characteristic fusion of symphonic and extreme sounds blasted by Hades. Then back on track, Hades and his Hades Descent continue their descent (and sorry for all repetition in this case) to the underworld in Sentinels of Time (Illium’s Demise), with the song’s hammering drums complementing D.M.’s desperate screams flawlessly. The Sea of Silent Warriors sounds very intricate and complex throughout its almost five minutes, in special its Dream Theater-like keys and drums, all embraced by the devilish growls by D.M., and finally,  we face the seven-minute beast of darkness titled The Monolith, where guest Björn “Speed” Strid proves why he’s one of the best vocalists to ever arise from Sweden, clashing majestically with the Black Metal gnarls by D.M. in an explosion of first-class extreme music.

A cinematic concept album bringing to us all a dystopian cybernetic future, time travel, destiny, and downfall, The Monolith represents the band’s most complete artistic statement yet, set to establish Hades Descent as one of UK’s most ambitious forces in modern extreme music, being therefore highly recommended for fans of Septicflesh, Fleshgod Apocalypse, Dimmu Borgir, Ex Deo, and Nile, just to name a few. Hence, you can get to know more about this excellent project and its mysterious master, and obviously show him your total support, by checking what Hades is up to on Instagram, by streaming his music on Spotify, and by purchasing The Monolith from BandCamp. It’s time to embark on a metal journey to the dystopian future from The Monolith, and I’m sure you’ll have a great time with the multi-talented Hades as your devilish guide.

Best moments of the album: Tomorrow Is Dead!, Path of The Seeker and The Monolith.

Worst moments of the album: Veiled Ambitions.

Released in 2025 Independent

Track listing
1. Tomorrow Is Dead! 6:52
2. Through Savage Seas 5:46
3. Forged In Darkness (And Fire) 5:56
4. Path of The Seeker 4:30
5. The Oncoming Storm 4:57
6. Veiled Ambitions 5:38
7. Sentinels of Time (Illium’s Demise) 5:02
8. The Sea of Silent Warriors 4:48
9. The Monolith 7:41

Band members
D.M. – vocals
Hades – guitars, bass, drums

Guest musicians
Brian Kingsland – chorus vocals and guitar solo on “Tomorrow Is Dead!”
Karl Sanders – guitar solo on “Tomorrow Is Dead!”
Björn Strid – vocals on “The Monolith”
Tim Goodson – rhythm guitar on “Tomorrow Is Dead!”

Album Review – Imperialist / Prime (2025)

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Sounding tighter and more intricate than ever before, this American Sci-Fi Black Metal beast will take you on a journey to outer space to the sound of their breathtaking new album.

Having spent the years honing their craft while keeping their Death Metal-touched Sci-Fi Black Metal sound intact, Monrovia, California’s own beast Imperialist returns with their long awaited third studio album Prime, the follow-up to their critically acclaimed 2021 sophomore offering Zenit and their 2023 EP Quantum. Recorded by Charles Elliott at Tastemaker Audio, mixed and mastered by Dan Swanö at Unisound, and displaying a stylish artwork by Eliran Kantor, the new album by vocalist and guitarist Sergio Soto, guitarist Bryant Quinones, bassist Joshua Alvarez, and drummer Rod Quinones sounds tighter and more intricate than ever before, reinforced further with Thrash Metal elements while also showcasing the darkness and menace displayed on the previous EP but also the maturity in songwriting, being highly recommended for fans of Dissection, Emperor, Valdrin, Vektor, Frozen Dawn, Abigor, and Immortal.

The album kicks off in full force with Starstorm, a demonic display of Technical Black Metal where the guitars by Sergio and Bryant sound as heavy and electrified as imaginable, followed by Beneath The Sands Of Titan, and as a poetic song name deserves a true metallic, no shenanigans sound, that’s exactly what the band delivers, with Rod crushing his drums in great fashion. Their flammable riffs, accompanied by the pure Black Metal bass by Joshua, will darken the skies in Depravity Beheld, while Sergio continues to gnarl like an evil creature; and in I A.M. the dauntless Sergio darkly gnarls the song’s devilish words (“They were naive to think / I would be the one / The prevent their world’s decay / I think therefore I am / Artificially intellegant / Disdain for flesh and blood / Now dominates my world”) amidst a furious Melodic Black Metal sonority for our total delight.

Then after such an insane metal attack we’re treated to the ethereal interlude Heavens Sunder, setting the tone for Final Hours, a ruthless and extremely vile Black Metal extravaganza where Sergio and Bryant deliver some of their most melodic riffs of the whole album, while Rod makes sure the humongous level of heaviness in the song remains intact. Union Of The Swarm sounds as strident and piercing as its predecessors thanks to the caustic riffage by the band’s guitar duo once again, while Rod’s drums sound at the same time rhythmic and apocalyptic, whereas the same Rod speeds things up in the sulfurous Nocturnal Eon, a lesson in contemporary Black Metal where Sergio’s vocals live up to the glory of such an important music genre created in Norway in the 90’s. Last but definitely not least, let’s enjoy seven minutes of first-class Melodic Black Metal in A Ghost Abandoned, led by the rhythmic drums by Rod and the always venomous growls by Sergio.

The music found in Prime oozes passion and dedication at every level, and every listen will prove to be a testament to that. This could very well be the best Imperialist album to date and given their faultless discography to date, that is saying something. You can experience all that by purchasing the album from their own BandCamp, as well as from the Transcending Obscurity Records’ main store, Bandcamp, Europe store or US store, and don’t forget to also follow the band on Facebook and on Instagram, stream their music on Spotify, or click HERE for all things Imperialist. In other words, as their sci-fi obsession has been taken to the next level in Prime, Imperialist are inciting us all to a wild and thrilling metal journey to outer space to the sound of their breathtaking new album, a one-way trip that will surely crush your minds and thoughts in the name of heavy music.

Best moments of the album: Beneath The Sands Of Titan, Final Hours and Nocturnal Eon.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Starstorm 5:09
2. Beneath The Sands Of Titan 5:47
3. Depravity Beheld 5:14
4. I A.M. 4:30
5. Heavens Sunder 1:56
6. Final Hours 4:46
7. Union Of The Swarm 5:27
8. Nocturnal Eon 4:39
9. A Ghost Abandoned 7:22

Band members
Sergio Soto – vocals, guitar
Bryant Quinones – guitar
Joshua Alvarez – bass
Rod Quinones – drums

Album Review – Blackbraid / Blackbraid III (2025)

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Behold the stunning next chapter in the musical and spiritual journey of the witch hawk of Black Metal hailing from the Adirondack Mountains.

A solo indigenous Black Metal project from the depths of the Adirondack wilderness, creating music as raw and powerful as the mountains from whence it came, New York’s own Atmospheric Black Metal entity Blackbraid, the brainchild of the beyond talented vocalist and multi-instrumentalist Sgah’gahsowáh, is finally back with the highly anticipated follow-up to his critically acclaimed 2023 album Blackbraid II. Fully composed and performed by Sgah’gahsowáh, with drums, recording, mixing and mastering done by Neil Schneider (of the excellent bands Calling of Phasmic Presence, Diplegia, Telepathic Ceremony and Vintertodt), and displaying a stunning artwork with painting by Adam Burke of Nightjar Illustration and ilustration by Adrian Baxter, with visual development and graphic design by Wolf Mountain Productions, the breathtaking Blackbraid III is another beast of an album by our witch hawk Jon Krieger, showcasing a huge step forward in his already beautiful career and, therefore, resulting in a must-listen for fans of contemporary Atmospheric and Melodic Black Metal.

The acoustic, atmospheric intro Dusk (Eulogy) warms up our souls for the blackened feast titled Wardrums At Dawn On The Day Of My Death, with Sgah’gahsowáh powerfully declaiming the song’s dark and poetic words (“Awakened by a western wind / The blood of chaos seeps into dawn / A call to war in honor and death / The warrior’s fate to ride the storm / Ride”), always supported by Neil’s insane beats and fills. The Dying Death Of A Sacred Stag is another massive chant with pensive, introspective lyrics (“Upon a great throne of black mountains / Born in the heart of the storm / A keeper of shadow and twilight / A sentinel of lands long forlorn / Born within the eyes of the storm”) while our dauntless witch hawk keeps slashing his axe nonstop; and we’re then treated to the ethereal interlude The Earth Is Weeping before all hell breaks loose in God Of Black Blood, featuring a guest guitar solo by Randy Moore, a tribal, ruthless aria by Sgah’gahsowáh perfect for dancing and prancing around the fire like a true Native American.

It’s impressive how Sgah’gahsowáh can craft delicate yet obscure instrumental pieces like Traversing The Forest Of Eternal Dusk, setting the tone for the absolute demolishing Tears Of The Dawn, a lecture in Atmospheric Black Metal with the pounding drums by Neil walking hand in hand with the visceral roars and scorching riffage by Sgah’gahsowáh. Like Wind Through The Reeds Making Waves Like Water, the last interlude of the album, once again sounds enfolding, melancholic and whimsical, soothing our heats and souls before we face the flawless And He Became The Burning Stars…, one of the best Blackbraid songs of all time, with all harsh vociferations, scathing riffs and blast beats flowing perfectly until the very last second, taking us on a way one journey into the heart of the Adirondack Mountains. And finally, we have Fleshbound, an amazing cover version for a classic by Lord Belial, from their 2005 album Nocturnal Beast (check out the original HERE), and Sgah’gahsowáh’s rendition is just as visceral, aggressive and detailed.

Ready to embark on a North American headlining tour this year with support from Lamp of Murmuur, Dödsrit, and Gudsforlad, Sgah’gahsowáh and his Blackbraid are poised to conquer the entire world of heavy music with the third chapter in his musical and spiritual journey, and not only you can find the album in full on YouTube and on Spotify, but you should definitely purchase it from BandCamp or from the project’s official merch store in the United States or in the European Union. Don’t forget to also give Sgah’gahsowáh a shout on Instagram, and to stream all of his songs and albums on YouTube, Spotify or any other streaming service. Because the witch hawk of Black Metal is back, sounding heavier and more epic than ever, with the first-class music found in his new album majestically echoing through the misty mountains.

Best moments of the album: Wardrums At Dawn On The Day Of My Death, God Of Black Blood, Tears Of The Dawn and And He Became The Burning Stars…

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Dusk (Eulogy) 1:02
2. Wardrums At Dawn On The Day Of My Death 4:54
3. The Dying Death Of A Sacred Stag 7:44
4. The Earth Is Weeping 3:39
5. God Of Black Blood 5:52
6. Traversing The Forest Of Eternal Dusk 3:39
7. Tears Of The Dawn 9:18
8. Like Wind Through The Reeds Making Waves Like Water 2:49
9. And He Became The Burning Stars… 9:50
10. Fleshbound (Lord Belial cover) 4:03

Band members
Sgah’gahsowáh – vocals, guitars, bass

Guest musicians
Neil Schneider – drums (session)
Randy Moore – lead guitars on “God of Black Blood”

Album Review – Necht / The Inevitable Suffering EP (2025)

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This mysterious Symphonic Black/Death Metal cult returns with a scorching new EP presenting five “sermons” conjuring both the epic power of a cosmic battle and the grim reality of its earthly implications.

Following on quickly from their 2024 debut album The Prophecy of Karnifor, the mysterious Calgary, Alberta-based Symphonic Black/Death Metal cult Necht returns with a brand new EP, entitled The Inevitable Suffering. Operating jointly from the frozen wastelands of Canada and the damp gloom of Northern Ireland, the cult formed of Zenith Maharg on vocals, Ascendant Zhargor on the guitars, Ascendant демон on bass, and Ascendant Vlasfimos on drums presents in The Inevitable Suffering five “sermons” of Atmospheric Black Metal conjuring both the epic power of a cosmic battle and the grim reality of its earthly implications, each based on the myths and history of the Enkari – the early civilization from which the cult arose – as told in the controversial Enkari-B’ahn Scolls.

Like a creature arising from the underworld, the imposing, epic intro Over Ten Thousand Spears, B’ahn Rises Red kicks off Necht’s black mass before we face The Night That Knows No Dawn, starting in a cinematic manner and quickly exploding into the band’s trademark darkness led by the demented drumming by Ascendant Vlasfimos and the haunting gnarls by Zenith Maharg. Dread Is the Consort of the Dark is another harsh and infuriated display of Symphonic and Melodic Black Metal spearheaded by the Stygian riffage by Ascendant Zhargor, sounding perfect for a ceremonial black mass; and the visceral guitar lines by Ascendant Zhargor are boosted by the rumbling bass and drums by Ascendant демон and Ascendant Vlasfimos in As Oars Through Blood, offering Zenith Maharg exactly what he needs to darkly declaims the song’s impious words, morphing into the phantasmagorical outro …and so Across the Bloody Lake We Did Sail in Silence, putting a beyond obscure ending to one more successful gathering of the cult of the sun.

Such an amazing cult from the underground nailed it once again with The Inevitable Suffering, which is available for purchase from BandCamp or by clicking HERE, and for streaming on Spotify, and you can always join Necht and worship the sun together with them by following the cult on Facebook and on Instagram. “The Cult believed themselves to be spiritually bound to their sun-god, B’ahn, who was locked in a ceaseless battle for survival against His all-powerful mother, the Dragon Karnifor, as She sought to swallow Him and the world. The souls of dead Cultists could rise to join B’ahn in His struggle on the cosmic plains – and thus hold the Dragon back for just a little longer – but only if those Cultists died in battle. Thus, to the Cult, the only means to prevent the Apocalypse of the Dragon was, ironically, to prosecute an endless war on earth, which of course resulted in great misery for their people,” explained Zenith Maharg, leader of the Temple. “Thus, The Inevitable Suffering – for the Cult believed the suffering of war was fundamentally to be embraced as the only means of saving humanity.”

Best moments of the album: The Night That Knows No Dawn and Dread Is the Consort of the Dark.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Over Ten Thousand Spears, B’ahn Rises Red 2:04
2. The Night That Knows No Dawn 6:08
3. Dread Is the Consort of the Dark 6:12
4. As Oars Through Blood 4:18
5. …and so Across the Bloody Lake We Did Sail in Silence 1:18

Band members
Zenith Maharg – vocals
Ascendant Zhargor – guitars, choir
Ascendant демон – bass, choir
Ascendant Vlasfimos – drums

Album Review – Ba’al / The Fine Line Between Heaven And Here (2025)

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This amazing Blackened Post-Metal act from the UK strikes back with a dark new album, drawing on the band’s personal experiences, exploring themes of grief, depression, suicide, substance abuse and existential dread.

Forged in the fires of Sheffield, in South Yorkshire, England, Blackened Post-Metal creature Ba’al (a title and honorific meaning “lord” in the Northwest Semitic languages spoken in the Levant during antiquity, which came to be applied to gods from its use among people) is unleashing upon us their new album, titled The Fine Line Between Heaven And Here, a caustic fusion of Black, Sludge and Post-Metal recommended for fans of Crippled Black Phoenix, Harakiri For The Sky, Inter Arma, and Sgaile, among others. Recorded and mixed by Joe Clayton at No Studio and mastered by Brad Boatright at Audiosiege, the same team that brought such a richly textured darkness to the last Ba’al release, and adorned in the stunning artwork of True Spilt Milk Designs, the new album by Joe Stamps on vocals, Nick Gosling and Chris Mole on the guitars, Richard Spencer on bass, and Luke Rutter on drums draws on the band’s personal experiences, exploring themes of grief, depression, suicide, substance abuse and existential dread, invoking the intensely human struggles that are played out against this backdrop of disparate elements and in every other place our troubled species has carved out a home.

Mother’s Concrete Womb is simply dark and sinister from the very beginning, gradually morphing into a massive hybrid of the harshness of Melodic Black Metal with the finesse of Post-Black Metal, with the nonstop screams by Joe sounding truly devilish, smoothly flowing into Waxwork Gorgon, where the minimalist yet caustic guitars by Nick and Chris exhale darkness, not to mention all Doom Metal elements present in the music make it even heavier and more compelling. Floral Cairn brings forward more of their neck breaking, melodic and piercing sounds, with Luke showcasing tons of dexterity and power behind his drums, dictating the song’s pace flawlessly; and the band then captures our senses in a dark embrace with the 11-minute aria Well of Sorrows, with the riffage by Nick and Chris guiding the listener through the band’s unruly Post-Black Metal waters, sounding all very detailed, vibrant and doomed. The Ocean That Fills a Wound is even more introspective and enfolding, another lecture in Post-Black Metal where Joe declaims the song’s pensive words with tons of passion, alternating between atmospheric moments and crushing, anguished passages, whereas lastly it’s time for Legasov, bringing to our avid ears one final onrush of melodic yet harsh sounds, with their haunting vocals, sharp riffs and Doom Metal drums putting a phantasmagorical ending to the album.

The journey through the musical landscapes in The Fine Line Between Heaven And Here is a dark and exciting one, and I’m sure you’ll have an amazing time listening to it from start to finish. Ba’al are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and you can not only stream their music on Spotify, but also purchase their excellent new album from BandCamp, from Road to Masochist, or by clicking HERE, letting their blackened sounds penetrate deep inside your mind and soul while at the same time connecting their music with your own personal experiences and struggles, proving why modern-day Post-Metal is one of the most humane styles in heavy music and, therefore, allowing the musicians involved to open up their hearts to us fans with each of their amazing songs, just like what’s offered to us all in The Fine Line Between Heaven And Here.

Best moments of the album: Well of Sorrows and The Ocean That Fills a Wound.

Worst moments of the album: None.

Released in 2025 Road to Masochist

Track listing
1. Mother’s Concrete Womb 12:56
2. Waxwork Gorgon 8:41
3. Floral Cairn 7:46
4. Well of Sorrows 11:03
5. The Ocean That Fills a Wound 13:25
6. Legasov 8:18

Band members
Joe Stamps – vocals
Nick Gosling – guitar
Chris Mole – guitar
Richard Spencer – bass
Luke Rutter – drums

Album Review – Eminentia Tenebris / Whispers of the Undying (2025)

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This French Black Metal entity returns with its fourth studio album, formed of eight epic and melodic pieces centered around the exaltation of heroism and bravery within an ancient and mythical war-torn universe.

Founded in Le Mans, Pays de la Loire, France in 2020 as a one-man band by Cryo, Atmospheric/Melodic Black Metal entity Eminentia Tenebris is unleashing its highly anticipated fourth album, Whispers of the Undying, following up on its 2023 album Rise of a New Kingdom. Whispers of the Undying, which marks the arrival of Erroiak on vocals and Daeris as the lyricist, as well as Septev handling all mixing, mastering, and layout, and displaying a classy artwork by Rein Van Oyen, is formed of epic and melodic pieces centered around the exaltation of heroism and bravery within an ancient and mythical war-torn universe. The album title should be interpreted as a metaphor for a timeless force that endures through eternity (via “whispers”), representing the survival of heroic deeds in collective memory over time (and thus never dying, or “undying”).

The duo’s cryptic Black Metal attack begins in full force in Forever Etched, an extended intro that works majestically, warming us all up for Echoes of Triumph, where Cryo delivers striking riffs, bass lines and blast beats nonstop, therefore boosting Erroiak’s visceral roars to a whole new level, sounding vile while at the same time absolutely epic. The galloping pace crafted by Cryo sounds and feels truly inspiring in The Great Betrayal, with all background elements adding an extra touch of obscurity to the music, and after such a demonic metal attack the duo offers a delicate start in Beneath the Moon, gradually morphing into another Black Metal extravaganza led by Cryo’s venomous riffage.

Through Chaos and Shadow is a first-class explosion of Melodic and Atmospheric Black Metal by Eminentia Tenebris, with Erroiak proving why he was chosen by Cryo to be the new voice of the band; followed by Embers of Glory, presenting another gentle, serene intro that will embrace our blackened souls, an ode to heroism and glory, with Erroiak roaring amidst a fusion of Epic and Black Metal. Then we have Marching as One, bringing forward another round of their darkened, epic sounds, with Cryo’s riffs and blast beats walking hand in hand with Erroiak’s desperate gnarls; and lastly, the duo will head into the battlefield one final time to the sound of Time’s Cruel Reign, with Cryo’s Black Metal beats enhancing the song’s heaviness to a whole new level.

Ultimately, Whispers of the Undying questions the legacy one wishes to leave behind and pays tribute both to heroic figures and to the power of nature, before which humankind must remember to remain humble. Hence, if you want to experience such a harsh, detailed and multi-layered album of extreme music in all of its glory, you can purchase a copy of it from the project’s own BandCamp or from the Antiq Records webstore, and don’t forget to also check what Cryo and his Eminentia Tenebris are up to on Facebook and on Instagram, and to stream more of the project’s idiosyncratic creations on YouTube and on Spotify, or simply click HERE for all things Eminentia Tenebris. As the album progresses, the narrator transforms from a triumphant protector to a tormented soul, whose powerlessness in the face of time’s ravages leads him to self-reflection at the moment of death, and there’s nothing better than the first-class fusion of Atmospheric and Melodic Black Metal by Eminentia Tenebris to support his dark and infernal path.

Best moments of the album: Echoes of Triumph, Through Chaos and Shadow and Marching as One.

Worst moments of the album: None.

Released in 2025 Antiq Records

Track listing
1. Forever Etched 1:43
2. Echoes of Triumph 4:26
3. The Great Betrayal 4:20
4. Beneath the Moon 5:21
5. Through Chaos and Shadow 4:35
6. Embers of Glory 5:05
7. Marching as One 4:44
8. Time’s Cruel Reign 5:04

Band members
Erroiak – vocals
Cryo – guitars, bass, drums

Album Review – Lenax / Infection (2025)

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With lyrical themes based around esotericism, individuality, and cosmic horror, the debut album by this American Black Metal horde paints either a picture of destruction and horror, or one of death and rebirth.

With lyrical themes based around esotericism, individuality, and cosmic horror, Infection, the debut full-length opus by Nashville, Tennessee-based Black Metal horde Lenax, paints either a picture of destruction and horror, or one of death and rebirth, depending on the stance of the listener. Produced and mixed by Ilarion Ivanenko, mastered by Øystein Brun at Crosound Studios, and displaying a Stygian cover art by David DeFigueredo, such a sulfurous offering by vocalist and guitarist Venomous, guitarist Mordred, and drummer Bones, with the support of guest musicians Hephaestus on bass, and Maikon on drums, pays homage to the band’s influences while establishing them as pioneers of something new altogether dubbed by Venomous as “cosmic horror fueled nightmares,” an immersive sonic rumination on rebellion against religion, revenge, and self-realization through occult technology, with a distinct nod to Lovecraftian lore and the impending doom of the Outer Gods.

The band darken the skies from the very first second in Worship Hymn, with Venomous living up to his own moniker, delivering harsh, serpent-like vocals for our vulgar delectation. Leeches sounds even more devastating and grim, led by the scorching riffage by Venomous and Mordred, resulting in a lesson in modern-day Black Metal, and Bones keeps hammering his drums in the name of darkness in Chains, another ruthless composition not recommended for the lighthearted. Crossroad Black begins in an atmospheric, cinematic manner to minimalist sounds, gradually evolving into a mid-tempo feast of pitch black darkness led by the visceral gnarls by Venomous and the crushing beats by Bones, whereas the band sounds utterly demonic in Hive Mind Apocalypse, with their riffs, blast beats and harsh vocals piercing our damned souls mercilessly.

We Are Legion carries a name that reeks of Black Metal, sounding as sulfurous and rebellious as it can be thanks to another blast of sick riffs by Venomous and Mordred; whereas Plague Bringer offers our putrid ears a slab of stylish first-class Black Metal, sounding and feeling absolutely and beautifully heavy-as-hell, with Venomous taking his growling to a whole new level of insanity. Then we have Overdrive, which is more like a dissonant instrumental interlude that doesn’t actually bring any extra power to the album, before they pulverize us all with Throne of the Forsaken, presenting epic lyrics growled by Venomous (“He’s the Pharaoh without a name / All the past has fallen / King of nothing, no stories told / Lost legends, Aeons gone”) while the music feels as imposing as it’s grim until the very end.

In summary, Infection is undoubtedly a must-listen for fans of Watain, Immortal, and Enslaved, among others, with Lenax presenting a style of Melodic Black Metal infused with just the right amount of Black N’ Roll to land themselves in a rather unique position in the genre with their new album. Hence, you can join those talented bastards from Nashville in their quest for total darkness via Facebook and Instagram, stream their sick creations on Spotify, and grab your copy of their sulfurous new album from BandCamp or by clicking HERE. The Lovecraftian cosmic horror brought into being by Lenax in their new album is truly outstanding, and if you dare to not listen to it, may the band haunt you in your deepest nightmares for all eternity.

Best moments of the album: Leeches, Crossroad Black and Plague Bringer.

Worst moments of the album: Overdrive.

Released in 2025 Independent

Track listing
1. Worship Hymn 4:55
2. Leeches 4:06
3. Chains 4:46
4. Crossroad Black 6:06
5. Hive Mind Apocalypse 3:36
6. We Are Legion 6:11
7. Plague Bringer 3:57
8. Overdrive 2:32
9. Throne of the Forsaken 3:56

Band members
Venomous – vocals, guitar
Mordred – guitar, backing vocals
Bones – drums

Guest musicians
Hephaestus – bass
Maikon – drums

Album Review – Imha Tarikat / Confessing Darkness (2025)

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The extermination sect from Germany is back with its fourth studio album, once again pushing hard against all the boundaries that define Black Metal.

Everything about German Black Metal entity Imha Tarikat has always been real, the anger, the despair, the hatred, the bursts of energy, the eternal longing, and also the boundless passion both on record and live on stage that borders on physical self-destruction. On their fourth album, titled Confessing Darkness, such an innovative creature is once again pushing hard against all the boundaries that define the Black Metal genre without ever losing the essential connection to the harsh style. Recorded and mixed by Michael Zech at The Church of Sound Studio, mastered by Victor Santura at Woodshed Studio, and with a sinister artwork by Sofia Buratti of Silvatica Illustration and layout by Łukasz Jaszak, the follow-up to their 2022 opus Hearts Unchained – At War with a Passionless World delivers even more of the band’s raw energy than before, with a relentless pushing and unstoppable drive forward characterizing their sound, as well as a deep emotional intelligence that fully utilizes the ability of Black Metal to express every feeling ranging from purest love to darkest hatred, from severe depression to outbursts of joy, all masterfully crafted by vocalist and multi-instrumentalist Kerem Yilmaz (aka Ruhsuz Cellât), while also featuring guest drummer Jerome Reil (of bands like Destroy Them, Exumer, and The Very End).

The absolutely atmospheric intro Aufbruch, which means “departure” in English, will open the gates of the netherworld for Kerem to strike us all with Wicked Shrine, where he barks rabidly while also firing wicked riffs and bass lines, supported by the Stygian beats and fills by Jerome. Then leaning towards the more recent creations by the mighty Behemoth we have Another Failed Ritual, with the project’s Blackened Death Metal side lurking in the shadows ready to prey on us, whereas Kerem extracts strident, mesmerizing sounds from his guitar in Voices of Bitter Epiphany, exploding into a feast of Black Metal led by Jerome’s pounding drums. In Excellent Grief the dauntless Kerem continues to distill his venomous vocalizations and riffage, keeping the album as harsh and sinister as it can be; and the title-track Confessing Darkness brings forward Imha Tarikat’s most unrelenting version, with Kerem bursting his lungs screaming in anguish and despair.

Chamber of Sin is another song where Jerome shows no mercy for his drums, blasting sheer heaviness while Kerem continues to drag us to pitch black darkness with his riffs and vociferations. Then we face Horns in the Smoke, which carries a beautiful name for an onrush of Melodic Black Metal where Jerome’s beats and fills walk hand in hand with Kerem’s harsh roars. Memoria Dei (Profanity and Devil) also presents a classy name, albeit not as exciting as the rest of the album (despite its pleasant pace), while Pitch Black Reflection, the second to last song of the album, is a brutal, austere explosion of Black Metal tailored for lovers of the style, with Kerem sounding infernal with both his riffs and cryptic vocal lines. Finally, The Day I Died (Reborn into Flames) closes Kerem’s Black Metal mass in great fashion, with all violence, darkness and hatred flowing from all instruments living up to the legacy of the genre.

Taking the aforementioned personal confessions several steps further as it is all true, Imha Tarikat have matured as Confessing Darkness clearly demonstrates, overflowing conviction and strength while also marking a milestone in the rise of the band. Fans of the music by Empyriam, Anaal Nathrakh, Agrypnie, Groza, Vemod, and Wolves In The Throne Room, among others, will surely appreciate the Stygian sounds found in Confessing Darkness, and you can also get in touch with Kerem Yilmaz and his Imha Tarikat by following the project on Facebook and on Instagram, and support it by streaming all of their creations on Spotify and obviously by purchasing Confessing Darkness by clicking HERE. Love, hate, happiness, sadness, light, darkness, and of course an endless dosage of first-class modern-day Black Metal are the main ingredients in Confessing Darkness, an album that will drag you to the project’s somber lair and keep feeding on your soul for all eternity, proving once again why Imha Tarikat have become a synonym to contemporary Black Metal all across our decaying world.

Best moments of the album: Wicked Shrine, Confessing Darkness and Pitch Black Reflection.

Worst moments of the album: Memoria Dei (Profanity and Devil).

Released in 2025 Prophecy Productions

Track listing
1. Intro – Aufbruch 1:10
2. Wicked Shrine 3:17
3. Another Failed Ritual 4:48
4. Voices of Bitter Epiphany 4:13
5. Excellent Grief 4:46
6. Confessing Darkness 7:45
7. Chamber of Sin 6:56
8. Horns in the Smoke 4:10
9. Memoria Dei (Profanity and Devil) 4:57
10. Pitch Black Reflection 4:20
11. The Day I Died (Reborn into Flames) 4:26

Bonus track
12. The Sun Goes Down (Thin Lizzy cover) 6:19

Band members
Kerem Yilmaz – vocals, guitars, bass

Guest musicians
Jerome Reil – drums (session)
Marvin Giehr – vocals on “Pitch Black Reflection”, rhythm guitar on “Wicked Shrine” and “The Day I Died”
Barth Resch – vocals on “The Sun Goes Down”

Album Review – Anzv / Kur (2025)

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The world of the dead is calling us all to the sound of the newborn spawn by this mysterious Portuguese horde, opening our ears and hearts to the underworld of nihilism and despair.

Taking their name from the Mesopotamian monster figure Anzû, described as a divine storm bird who could breathe fire and water or in some descriptions as a lion-headed eagle, while also considered as the personification of the southern wind and the thunder clouds, Porto, Portugal-based Death/Black Metal beast Anzv is challenging the spiritual possibilities of seeing beyond the void and into the nothingness of nothing in their sophomore opus, entitled Kur, opening your ears and hearts to the underworld of nihilism and despair. Written, produced, and conceptualized by the band’s own guitarist M., mastered by M. and Bruno Silva, and displaying an ominous artwork by vocalist A. (of Dantas Inferno), the follow-up to their 2022 album Gallas continues to blend Portugal’s dark musical side with the Sumerian underworld, resulting in extra creepy, hostile and mysterious soundscapes masterfully crafted by the aforementioned A. and M. alongside guitarist N., bassist T., and drummer E.

In Sumerian, Ekur means “mountain house” and refers to the sacred temple of the god Enlil in the city of Nippur, while musically speaking it’s a devilish and harsh display of Black Metal, with the guitars by M. and N. exhaling sulfur. Then we have Imdugud, which in ancient Mesopotamian religion refers to a monstrous bird, often depicted as a lion-headed eagle or griffin, with A. continuing to vociferate like a demonic entity supported by the rumbling kitchen by T. and E.; followed by Alû, a vengeful, nocturnal spirit in Akkadian and Sumerian mythology, often described as a shadow demon or evil spirit that terrifies people in their sleep and can cause nightmares, with the band showcasing their trademark fusion of Black and Death Metal with Sumerian mythology. Sahar, of Arabic origin, meaning “dawn” or “the time before dawn”, is a two-minute aria of darkness with their riffage penetrating deep inside our skin; and Shamash, a  Hebrew word (שמש) that means “servant” or “helper”, is a lecture in Melodic Black Metal where the vocals by A. will send shivers down your putrid spine.

An Edimmu in Mesopotamian mythology refers to a type of spirit often associated with the ghosts of those who died and did not receive a proper burial, with the music sounding devilish and grim from the very first second while M. and N. fire pure darkness form their axes, followed by Etemenanki, meaning “House of the Foundation of Heaven and Earth” in Sumerian, the name of a ziggurat (stepped temple) dedicated to the god Marduk in ancient Babylon, sounding as venomous as its predecessors, all boosted by another visceral vocal performance by A. Then in Ancient Mesopotamian religion, Namtaru is a deity who personifies death and destiny, and that’s exactly the feeling in this vile aria, offering an overdose of caustic Black Metal to our avid ears. Lamashtu is the most terrible of all female demons in Mesopotamian religion, the daughter of the sky god Anu, and the band needs less than two minutes to pulverize our souls with their hellish sounds, before all comes to an end with Anzû, a monster in several Mesopotamian religions, where A. keeps roaring darkly while E. hammers his drums nonstop.

In the context of Sumerian mythology, “kur” refers to the underworld or the world of the dead, and each song in Kur is deeply rooted in that thematic, either representing a lion-headed, winged eagle monster, a class of spirits, or a demonic deity depicted as a hybrid creature with lion, bird, and human features, among others, and it’s that additional touch of obscurity and mystery that truly elevates the album’s power and energy to a whole new level. You can find more information about such a brilliant Portuguese horde on Facebook and on Instagram, stream their Stygian creations on Spotify, and put your damned hands on Kur by clicking HERE or HERE. In the end, the world of the dead is calling us all to the sound of Anzv’s newborn spawn, dragging us all into eternal darkness in the name of our beloved Black Metal.

Best moments of the album: Imdugud, Shamash and Namtaru.

Worst moments of the album: None.

Released in 2025 Edged Circle Productions

Track listing
1. Ekur 5:21
2. Imdugud 5:03
3. Alû 4:05
4. Sahar 3:55
5. Shamash 4:56
6. Edimmu 6:25
7. Etemenanki 5:09
8. Namtaru 4:02
9. Lamashtu 3:15
10. Anzû 2:57

Band members
A. – vocals
M. – guitars
N. – guitars
T. – bass
E. – drums

Album Review – …And Oceans / The Regeneration Itinerary (2025)

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These iconic Finnish extremists are back with their seventh studio opus, a flamboyant distillation of the group’s grand nocturnal art assimilating all their hopes, dreams and influences into an uncompromising document of ravenous intent.

Chaos chameleons. Nocturnal shapeshifters. The skyward trajectory of idiosyncratic Finnish extremists …And Oceans has been serpentine and sublime, appealing to diehard fans of bands the likes of Dimmu Borgir, Behemoth and Samael with their unique blend of Experimental, Industrial, Electronic and Symphonic Black Metal. Recorded at Inka Studio and at SoundSpiral Audio, produced and engineered by Juho Räihä at SoundSpiral Audio, mixed and mastered by Tore Stjerna at Necromorbus Studio, and displaying a visually stunning artwork by Adrien Bousson, The Regeneration Itinerary is the seventh studio album by this unstoppable band currently formed of Mathias Lillmåns on vocals, Teemu Saari and Timo Kontio on the guitars, Pyry Hanski on bass, Antti Simonen on keyboards, and Kauko Kuusisalo on drums, a flamboyant distillation of the group’s grand nocturnal art assimilating all their hopes, dreams and influences into an uncompromising document of ravenous intent.

Otherworldly, cryptic sounds suddenly explode into a hybrid of Experimental and Symphonic Black Metal entitled Inertiae, with Mathias’ deep roars matching perfectly with the striking keys by Antti, followed by Förnyelse i Tre Akter, or “renewal in three acts” from Swedish, even darker than the previous song thanks to the visceral riffage by Teemu and Timo while Kauko shows no mercy for his drums, delivering his own blend of Black and Death Metal violence. Chromium Lungs, Bronze Optics carries a poetic name for a hard hitting creation by …And Oceans, where their caustic riffs will pierce your mind in great fashion, while their experimental and symphonic sides clash beautifully in The Form and the Formless, once again led by the massive beats and fills by Kauko. Prophetical Mercury Implement showcases massive Stygian lyrics (“Injecting the mirrorlike waters / Feeling it flowing within / Floating on its waves / Observing how it unfolds / Now, / I am the medium / I am the stream”) amidst a beyond enfolding and atmospheric sonority, whereas in The Fire in Which We Burn we face an overdose of heaviness, sulfur and darkness blasted by the band in the best Behemoth style, spearheaded by the inhumane roars by Mathias.

The Ways of Sulphur lives up to the legacy of Industrial Black Metal, with Antti stealing the show with his phantasmagorical keys; and I Am Coin, I Am Two offers a more introspective sound inspired by Melodic Black, Death and Doom Metal, while still presenting their trademark ferocity. Then back to a more visceral mode we have Towards the Absence of Light, with their riffs and the bass lines by Pyry being boosted by Antti’s whimsical keys. The last song of the regular edition, The Terminal Filter, brings to us all another humongous dosage of Black Metal infused with experimental and industrial nuances, resulting in an epic ending to the album, and if you go for the deluxe edition of the album (a digipak with extended 20-page booklet + exclusive gold coloured metal coin symbolizing an adviser through opposites + 2 exclusive bronze coloured acrylic coaters symbolizing the coming together of opposites in clamshell box with alternative cover, hand-numbered and limited to 500 copies worldwide) you’ll get two bonus tracks, Copper Blood, Titanium Scars and The Discord Static, both sounding absolutely insane and worth every single penny invested in it.

…And Oceans The Regeneration Itinerary Digibox + Digital Deluxe Edition

Exploring the interplay between darkness and light, chaos and order, spiritual and material realms, with each song embodying an experience for the mind and body, finally navigating a passage to the present moment, The Regeneration Itinerary is definitely the band’s most experimental album to date. “The new album can be seen as a synthesis of our entire back catalogue,” suggests frontman Mathias Lillmåns. “But there are new levels of extremity, too, ones that we’ve never reached before. These songs simply demanded harsher vocals. The riffs commanded it, and who am I to disobey?” Hence, you can get to know more about …And Oceans, their new album, tour dates, plans for the future, and support them by following them on Facebook and on Instagram, by streaming their music on Spotify, and by purchasing their awesome new album from BandCamp or by clicking HERE. In the end, those Finnish metallers will keep pushing their own boundaries, experimenting with new sounds and nuances and, therefore, delivering more striking albums like The Regeneration Itinerary in the coming years, proving why they’ve become a reference and a force to be reckoned with in the extreme music scene worldwide.

Best moments of the album: Förnyelse i Tre Akter, The Fire in Which We Burn and Towards the Absence of Light.

Worst moments of the album: I Am Coin, I Am Two.

Released in 2025 Season of Mist

Track listing
1. Inertiae 4:30
2. Förnyelse i Tre Akter 5:07
3. Chromium Lungs, Bronze Optics 4:29
4. The Form and the Formless 3:32
5. Prophetical Mercury Implement 6:57
6. The Fire in Which We Burn 3:04
7. The Ways of Sulphur 4:17
8. I Am Coin, I Am Two 4:25
9. Towards the Absence of Light 4:49
10. The Terminal Filter 5:22

Digibox + Digital Deluxe Edition bonus tracks
11. Copper Blood, Titanium Scars 4:14
12. The Discord Static 3:35

Band members
Mathias Lillmåns – vocals
Teemu Saari – guitar
Timo Kontio – guitar
Pyry Hanski – bass
Antti Simonen – keyboards
Kauko Kuusisalo – drums