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Album Review – Amon Amarth / The Allfather Awakens (2026)

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These relentless Swedish Vikings return with their thirteenth studio album, showcasing ten songs of absolute power and might historically inspired by epic tales of conflict and sacrifice for a greater good.

A ten-song masterwork that further cements the legacy of the band’s spectacularly memorable riffs and unflinching aural power, The Allfather Awakens is the thirteenth studio opus by Swedish Melodic Death Metal warriors Amon Amarth, following on their 2022 beast The Great Heathen Army. Recorded across two recording sessions, months apart, at Hansen Studios, and displaying a dark artwork by German artist Tom Thiel, who created seven of the quintet’s album covers, portraying the mighty Oden, the Norse “all father” who is a deity of war, wisdom, death, magic, and poetry, the new album by frontman Johan Hegg, guitarists Olavi Mikkonen and Johan Söderberg, bassist Ted Lundström, and drummer Jocke Wallgren once again presents Oden as the through-line in their lyrics and music. However, despite Oden being their inspiration as usual, The Allfather Awakens is not a concept album, rather historically inspired epic tales of conflict and sacrifice for a greater good.

Get ready for a wild battle alongside Amon Amarth in Gjallarhorn, with its epic lyrics (“Through Nifelheim’s eternal night / A trek of fear and dread / The keeper of the well to find / The wanderer walks ahead”) walking hand in hand with the band’s heavy and vibrant instrumental, followed by Eight Legs of Thunder, another song perfect for some wild headbanging to the hammering drums by Jocke. Kvasir’s Blood is a horns raising metallic tune by those Swedish Vikings where the guitars by Olavi and Johan breathe melody and fire; whereas We Rule the Waves is a song from the band to their diehard fans, with Johan roars the song’s catchy chorus majestically (“We are / We are Vikings / From cradle until the grave / As long as the sun sets in the west / We rule the waves”), inviting us all to row with them. And the acoustic tune Upphaf, despite its decent Folk Metal vibe, is a weird addition to the album in the end.

Then back to a hammering, no shenanigans melodeath sonority we have Die with a War Cry, where the thunderous bass by Ted matches perfectly with the pounding drums by Jocke from start to finish, followed by Raven God, another song perfect to be played live (or on one of those countless Viking TV shows), with the guitar work by Olavi and Johan sounding very melodic and bringing even more epicness to their music. The Allfather Awakens reeks of classic Amon Amarth, with all instruments supporting Johan and his Viking roars, and I’m sure we’ll hear this song played live on their upcoming tours; and it’s then time to grab our swords and shields and head into the battlefield alongside Amon Amarth in Oden’s Hunt, a fast and furious display of their trademark sound, with Jocke punishing his drums in the best way imaginable. Lastly, after an imposing intro, the music explodes into Swedish melodeath fire in Ascending like an Eagle, a song about overcoming obstacles with persistence and power, and the continuation of “Serpent’s Trail” from The Great Heathen Army, with their guitars and bass creating a dense atmosphere perfect for Johan’s warrior-like guttural.

Introducing previously untried efforts, an impressive and conscious musical and lyrical feat after 30 years of band-dom, The Allfather Awakens is yet another strong album by those Norsemen. For Amon Amarth, a new album has always meant more than a collection of songs, it marks the beginning of a new world, and you can join the band in such an exciting quest by following them on Facebook and on Instagram, by streaming their music on Spotify, and of course, by purchasing The Allfather Awakens from BandCamp or from Metal Blade Records. In other words, as Oden hears our call, it’s time to go to war to the sound of the incendiary new opus by the most beloved Vikings in the history of heavy music.

Best moments of the album: Gjallarhorn, We Rule the Waves and Oden’s Hunt.

Worst moments of the album: Upphaf.

Released in 2026 Metal Blade Records

Track listing
1. Gjallarhorn 5:14
2. Eight Legs of Thunder 4:20
3. Kvasir’s Blood 4:26
4. We Rule the Waves 3:50
5. Upphaf 4:32
6. Die with a War Cry 3:29
7. Raven God 4:30
8. The Allfather Awakens 4:36
9. Oden’s Hunt 4:23
10. Ascending like an Eagle 6:44

Band members
Johan Hegg – vocals
Olavi Mikkonen – guitars
Johan Söderberg – guitars
Ted Lundström – bass
Jocke Wallgren – drums

Album Review – Psycroptic / The Pulse of Annihilation (2026)

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These Tasmanian devils reaffirm their status not merely as Technical Death Metal stalwarts in their new album, but as architects actively shaping its future, proving that mastery, sharpened by time, only grows more lethal.

For over two decades, Psycroptic have operated at the vanguard of Technical Death Metal, defined by instrumental precision, structural intelligence and an uncompromising creative ethic. From their Tasmanian origins to commanding stages worldwide, the band have built a reputation on rhythmic complexity, exacting musicianship, and a refusal to plateau. Now in 2026 the band formed of Jason Peppiatt and Jason Keyser on vocals, Joe Haley on the guitars, Todd Stern on bass, and David Haley on drums returns with their ninth studio opus, The Pulse of Annihilation, following up on their critically acclaimed 2022 album Divine Council. Produced once again by Joe Haley at Crawlspace Productions, and showcasing a haunting artwork by Belial NecroArts, the album features once again a formidable dual-vocal assault just like in their previous offering, heightening the record’s impact and presenting layered, confrontational elements that remain tightly synced with the band’s intricate foundation.

Joe’s lugubrious, evil riffs will darken the skies in the opening track Ashes of a New Dawn, quickly accompanied by David with his massive, intricate and ruthless beats and fills, followed by Gathering a Venomous Herd, with both vocalists exhaling hatred through the song’s demonic words (“Venomous tongues in this world now defiled / Fractured souls drown / In our self-proclaimed wisdom / Divided we fall to this new faceless god”) in a lecture in Technical Death Metal. Then a sinister intro evolves into a Stygian display of Progressive Death Metal titled A Sword of Me, with Joe and Todd hammering their strings with tons of anger and dexterity; and No Time for the Weak carries an excellent title for another hard hitting tune by those Australian veterans, with the deep and sharp vociferations by Jason Peppiatt and Jason Keyser reeking of Death Metal, while after an atmospheric intro the venomous Our Pillars Fall turns into a feast of progressiveness and violence, with David once again sounding inhumane behind his drums.

David kicks off the also groovy and technical Annihilation Pulse, with the slashing riffage by Joe cutting our flesh mercilessly; whereas No Blade of Grass brings forward another round of their acid words that will certainly pierce our brains (“Unseat the throne of hypocrisy / Who mourns when chaos dies / Relentless strife and delusion / Feeding fevered dreams of poisoned tribes / Who rise together a rancorous afterthought / Orate the funeral call”) amidst sheer Death Metal devastation. They keep the ambience as dense and brutal as possible to the sound of To Embrace This Curse, with their scorching vocals crushing our souls mercilessly, and lastly we face Forging the Crown, perhaps the most technical of all songs, where Joe and Todd are phenomenal armed with their respective guitar and bass while David dictates the pace with his beyond complex and thrilling beats and fills.

“The Pulse of Annihilation is pretty much the culmination of everything that has come before,” remarked Joe Haley. “As with past releases, we never force anything stylistically and just let the songs manifest of their own accord – maintaining progression while remaining very much Psycroptic. Because of this, I feel this is our most epic, thrashing, technical while grooviest release yet.” Across the excellent The Pulse of Annihilation, Psycroptic sound focused, disciplined, and fully aware of their trajectory. Complexity remains foundational, but it is now guided by compositional restraint and veteran confidence. Hence, you can get in touch with those Australian metallers via Facebook and Instagram, stream their sonic violence on Spotify, and of course purchase their new album from BandCamp, from Metal Blade Records, or from Direct Merch. With The Pulse of Annihilation, the band reaffirm their status not merely as Technical Death Metal stalwarts, but as architects actively shaping its future – proving that mastery, sharpened by time, only grows more lethal.

Best moments of the album: Gathering a Venomous Herd, Our Pillars Fall and Forging the Crown.

Worst moments of the album: None.

Released in 2026 Metal Blade Records

Track listing
1. Ashes of a New Dawn 4:08
2. Gathering a Venomous Herd 3:19
3. A Sword of Me 4:29
4. No Time for the Weak 3:43
5. Our Pillars Fall 6:45
6. Annihilation Pulse 4:03
7. No Blade of Grass 3:24
8. To Embrace This Curse 4:10
9. Forging the Crown 4:43

Band members
Jason Peppiatt – vocals
Jason Keyser – vocals
Joe Haley – guitars
Todd Stern – bass
David Haley – drums

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 – Vomitory / In Death Throes (2026)

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Three years after the release of the bludgeoning All Heads Are Gonna Roll, this Swedish Death Metal institution returns with another round of their ruthless, undisputed savagery in the form of their stunning tenth studio album.

Three years after the release of the bludgeoning All Heads Are Gonna Roll, Swedish Death Metal institution Vomitory returns with another round of their ruthless, undisputed savagery in the form of In Death Throes, their tenth studio album and a beyond solid stone in the path of absolute destruction the band started paving back in the distant year of 1989. Recorded by Rikard Löfgren at Leon Music Studio (vocals and drums), with guitars and bass tracked by the band’s own Christian Fredriksson at Goff Studios, mixed and mastered by Lawrence Mackrory at Rorysound Studios, and again displaying a killer artwork by the talented Giannis Nakos of Rem3dy Art Design, the newborn beast by Erik Rundqvist on vocals and bass, Christian Fredriksson (replacing longtime band member Peter Östlund) and Urban Gustafsson on the guitars, and Tobias Gustafsson on drums is a lecture in both old school and contemporary Death Metal, showcasing a band that refuses to die while continuing to spread their pulverizing and vicious music to all four corners of the earth.

It’s total chaos, anarchy and violence from the very first notes in the unrelenting Rapture in Rupture, with Christian and Urban igniting the band’s trademark riff attack for our total delight. In For Gore and Country, Erik vociferates the song’s acid yet absolutely real lyrics (“Blood-soaked banners wave in the ash / The treads of boots grind skulls to dust / Horrifying screams through ruptured throats / A nation baptized in rot”) while his bandmates simply demolish everything and everyone with their ruthless Death Metal madness; followed by Forever Scorned, another fast and furious onrush by the quartet, with Tobias taking the lead with his demolishing Death Metal beats and fills. Wrath Unbound sounds more melodic and headbanging thanks to the combination of Tobias’ massive beats and the striking guitar lines by Christian and Urban, before we face the ominous title-track In Death Throes, reeking of gore and hatred and exploding into another lesson in Death Metal made in Sweden.

The second half of the album begins in full force with the inhumane destructive force of Cataclysmic Fleshfront, spearheaded by another bestial performance by Tobias on drums while Erik not only roars like a rabid creature, but he also slams his bass mercilessly. I have no idea why they named the song Two and a Half Men like the TV show from the 2000’s, but the music is absurdly frantic and fun for admirers of Death Metal, with Tobias once again sounding like a stone crusher from hell; whereas investing in a more cadenced sound the likes of the classic “Evisceration Plague” by Cannibal Corpse we have Erased in Red, and if they play it live I’m sure all necks are gonna break. Then we face The Zombie War General, and one cannot simply NOT enjoy a Death Metal song with such a great title. The boys make sure their sonic weapons transpire violence, gore and the putrid stench of rotting corpses until the very last second of the song, turning it into a must-listen for fans of the genre. And last but definitely not least, let’s head into the battlefield and drink the blood of our enemies to the sound of Oblivion Protocol, a venomous, nonstop onrush of Death Metal insanity where Erik’s barks walk hand in hand with the crushing riffs and solos by the band’s demented guitar duo.

According to Tobias Gustafsson, while the unmistakable Vomitory sound remains, the new album cranks up the intensity. “In Death Throes picks up where All Heads Are Gonna Roll left off, but we’ve turned the intensity up a notch. Christian quickly found his place and even contributed music to four killer tracks. These additions bring a bit of diversity to our sound without straying too far from the formula.” As you listen to In Death Throes you’ll quickly realize the band shows no signs of slowing down at all. Quite the contrary, they sound just as heavy, fast and demented as in their previous album, and you can check what those Sweds are up to on Facebook and on Instagram, stream their wild creations on Spotify, and of course grab a copy of their new album from BandCamp or by clicking HERE. In the end, “in death throes” might refer to the final, intense, and often violent struggles or convulsions of a person or animal in the process of dying, but in Death Metal it means a lot more. It’s a statement by Vomitory proving they are stronger, heavier and more aggressive than ever, and you better be prepared as they will definitely show no mercy for your putrid soul armed with their insane new album.

Best moments of the album: Rapture in Rupture, Forever Scorned, Cataclysmic Fleshfront and The Zombie War General.

Worst moments of the album: None.

Released in 2023 Metal Blade Records

Track listing
1. Rapture in Rupture 2:55
2. For Gore and Country 3:24
3. Forever Scorned 4:11
4. Wrath Unbound 3:42
5. In Death Throes 4:33
6. Cataclysmic Fleshfront 3:39
7. Two and a Half Men 3:27
8. Erased in Red 3:27
9. The Zombie War General 3:56
10. Oblivion Protocol 3:56

Band members
Erik Rundqvist – vocals, bass
Christian Fredriksson – lead guitars
Urban Gustafsson – guitars
Tobias Gustafsson – drums

Album Review – Lik / Necro (2025)

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The modern-day purveyors of classic Swedish Death Metal strike again with their fourth studio album, the musical equivalent of a classic shock-horror movie drenched in blood and gore.

Considered by many as the modern-day purveyors of classic Swedish Death Metal, Stockholm’s own unrelenting beast Lik (which means “corpse” or “corpses” in Swedish) gloriously returns to action with their fourth studio album, simply titled Necro. Recorded at NBS Studio (aka Necromorbus Studio), produced by Lawrence Mackrory at Rorysound Studios, and displaying a zombified cover art by Stockholm-based tattooist and artist Jens Olsson of Ink Fanatics, Necro is the musical equivalent of a classic shock-horror movie that’s drenched in blood and gore and packed with over-the-top extremities masterfully crafted by Tomas Åkvik on vocals and guitar, Niklas “Nille” Sandin also on the guitar, Joakim Antman on bass, and Chris Barkensjö on drums, standing loud and proud over so many imitators.

The dirty riffs by Tomas and Niklas will kick you in the nuts in the opener Deceased, with the band distilling their undisputed Death Metal with tons of rage and insanity, followed by War Praise, a ruthless sonic attack where the visceral growls by Tomas walk hand in hand with the pulverizing beats by Chris in a lecture in Swedish Death Metal. They is another beast of a song showcasing a dual guitar attack boosted by the rumbling bass by Joakim, and it’s pedal to the metal with the unrelenting extravaganza Worms Inside, with Chris taking the lead with his demented beats and fills for our total delight. Then the bass lines by Joakim will smash your cranial skull in Morgue Rat, offering more of the band’s trademark violence, gore and obscurity.

In Shred into Pieces the name of the song says it all, as you’ll be pulverized into micro pieces to their venomous slab of Death Metal bringing forward the fuming riffs by Tomas and Niklas, and Tomas keeps vociferating rabidly in In Ruins, a horror movie-like tune where the entire band shows no mercy for our putrid souls. Inspired by a trial that led to a series of executions in Stockholm between November 7 and 9, 1520, after the coronation of Christian II as the new king of Sweden, The Stockholm Massacre beautifully depicts that savagery in the name of old school Death Metal; and there’s still time for more heaviness and aggression in Fields of Death, where their core Death Metal is boosted by Chris’ demented drumming. Last but not least, the guitars by Tomas and Niklas transpire savagery in Rotten Inferno, putting a gruesome, evil conclusion to such an incendiary album.

Continuing to fly the Swedish Death Metal flag across the global stage, Necro was born out of pure love and respect for the genre and its creators’ artistic visions to keep pushing their own musical boundaries. “The ambition with Necro was to make an even better record than the previous albums,” says Tomas. “I think this one is really tied together. As it started growing and the songs got put together we were 100% focused on making that Lik album. I really think we made a really good death metal album, we found the right ingredients to make this one work.” Hence, you can experience all of their gore, violence and metallic sounds by following the band on Facebook and on Instagram, by streaming their sick creations on Spotify, and of course by purchasing the fulminating Necro from BandCamp or from Metal Blade Records as a CD or as a violet with purple splatter vinyl 12″, or simply click HERE for all available options. The new blood-soaked opus by Lik will certainly inspire all Death Metal fans around the world to slam into the pit like true metalmaniacs, solidifying the band’s army of zombies on all four corners of the earth, and consequently, prepping our rotten and decaying world for more Lik in the coming years, even if we face its inevitable end sooner than later.

Best moments of the album: War Praise, Worms Inside and The Stockholm Massacre.

Worst moments of the album: None.

Released in 2025 Metal Blade Records

Track listing
1. Deceased 4:21
2. War Praise 3:40
3. They 4:02
4. Worms Inside 3:08
5. Morgue Rat 4:58
6. Shred into Pieces 2:18
7. In Ruins 4:40
8. The Stockholm Massacre 2:42
9. Fields of Death 4:02
10. Rotten Inferno 5:41

Band members
Tomas Åkvik – vocals, guitar
Niklas “Nille” Sandin – guitar
Joakim Antman – bass
Chris Barkensjö – drums, backing vocals

Album Review – Allegaeon / The Ossuary Lens (2025)

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World domination awaits to the sound of the striking new beast by one of the must-see bands of the current Technical and Melodic Death Metal scene worldwide.

Never allowing themselves to stagnate, preferring to thrive on chaos, change and evolution, Fort Collins, Colorado-based Technical/Melodic Death Metal beast Allegaeon is back with their seventh studio opus, entitled The Ossuary Lens, the follow-up to their 2022 album Damnum, and their first with original vocalist Ezra Haynes since his 2015 departure following the Elements of the Infinite album. Produced, recorded, mixed and mastered once again by Dave Otero at Flatline Audio, the new album by the aforementioned Ezra Haynes on vocals, Greg Burgess and Michael Stancel on the guitars, Brandon Michael on bass, and Jeff Saltzman on drums might not be a concept album in the traditional sense, but there is an overarching theme to it, a representation of several different viewpoints of death, with its science-based lyrics sounding as challenging as the progressive musicianship, resulting in a set of songs that simply slay.

A serene, melancholic intro titled Refraction sets the tone for the reinvigorated Allegaeon to attack like a demented beast in Chaos Theory, where Ezra returns in full force to the band armed with his demonic roars while Jeff also showcases all his technique and rage behind his drums. In Driftwood the band blasts dark, violent words (“Blindsided, in a shell of silence, alone / Decided, motive breach the eyelids, then sewn / Reminded, death walks beside us, inside us / In hindsight it was the path of a nihilist and pawn”) amidst a beyond Progressive Death Metal sound; followed by the epic and imposing Dies Irae, with all background elements matching perfectly with the visceral riffage by Greg and Michael in an overdose of Melodic Death Metal. And The Swarm is a beautiful and violent depiction of the band’s core essence, with the inhumane screams by Ezra being boosted by the thunderous bass and drums by Brandon and Jeff.

If the first five songs of the album were an overdose of aggression, their technical and rabid feast continues majestically with Carried by Delusion, with Jeff once again stealing the spotlight with his unstoppable beats and fills. Then featuring guest acoustic guitars by world renowned musician Adrian Bellue, who brings an extra touch of finesse to the band’s demented sounds, we have Dark Matter Dynamics, where Greg and Michael’s shredding riffs and solos are a thing of beauty; and the band speeds things up considerably while letting their Technical Death Metal vein arise in Imperial, led by the melodic yet piercing guitars by Greg and Michael. Wake Circling Above is a seven-minute song that starts in a more introspective manner with a Stygian background atmosphere before evolving into a complex display of Technical and Melodic Death Metal, where Ezra screams manically to the caustic riffs, bass lines and beats by his bandmates; and lastly, the closing tune, entitled Scythe, is another sonic beast, an epic, climatic composition where Jeff’s thunderous beats are nicely complemented by the song’s Stygian ambience.

“I think in the beginning we were a little more stripped down,” commented guitarist Greg Burgess. “Very guitar-forward, focused melodeath. Over time, I think more technical, symphonic and progressive elements creeped in. Finally, where we are today is all of that combined, added with more ambient elements.” In summary, The Ossuary Lens is an accomplished album that sees a rejuvenated band at the peak of its powers, and you can enjoy their undisputed dexterity and passion for heavy music by following them on Facebook and on Instagram, by streaming their solid discography on Spotify, and by purchasing their excellent new opus from BandCamp or from Metal Blade Records by clicking HERE or HERE. In the end, world domination awaits to the sound of the newborn spawn by Allegaeon, one of the must-see bands of the current scene, always ready to kick our asses and melt our faces with their first-class, undisputed “melotech”.

Best moments of the album: Dies Irae, The Swarm, Dark Matter Dynamics and Wake Circling Above.

Worst moments of the album: None.

Released in 2025 Metal Blade Records

Track listing
1. Refraction 0:59
2. Chaos Theory 4:32
3. Driftwood 4:28
4. Dies Irae 3:48
5. The Swarm 3:28
6. Carried by Delusion 4:49
7. Dark Matter Dynamics 6:03
8. Imperial 4:08
9. Wake Circling Above 6:55
10. Scythe 5:40

Band members
Ezra Haynes – vocals
Greg Burgess – guitars
Michael Stancel – guitars, backing vocals
Brandon Michael – bass, backing vocals
Jeff Saltzman – drums

Guest musician
Adrian Bellue – acoustic guitar on “Dark Matter Dynamics”

Album Review – Demiser / Slave to the Scythe (2024)

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Like a lumbering, ferocious beast, this South Carolina-based Blackened Thrash Metal behemoth will destroy everything in their path armed with their sophomore opus.

Like a lumbering, ferocious beast awoken from a centuries-long slumber, the Blackened Thrash Metal behemoth known as Demiser emerged from the primordial ooze of the South Carolina metal scene in 2017, unleashing their debut effort Through the Gate Eternal back in 2021. Now in 2024 the band formed of Demiser the Demiser on occult liturgic blasphemy (vocals), Gravepisser on six-stringed satanic fukklord (guitars), Phallomancer on abysmal rhythm of death (guitars), Defiler on dismal baritone curator (bass), and Infestor on purveyor of percussive bile (drums) brings forward their sophomore opus, titled Slave to the Scythe, a devastatingly intense slab of work, an aural harbinger of hellish intent that sees the band blend 80’s Thrash Metal, first-wave Black Metal, Death Metal and a healthy dose of NWOBHM. Recorded by Chase McGuckin at Seaboard Recording Studio, and displaying a demonic artwork by Lucas Ruggieri, Slave to the Scythe is the work of a band of men determined to destroy everything in their path. Musically, of course.

Infestor kicks off the band’s depraved party in Feast, a devastating Death and Thrash Metal tune where Demiser the Demiser gnarls nonstop in the name of evil; whereas Gravepisser and Phallomancer deliver sheer rage through their caustic riffs in the title-track Slave to the Scythe, another fast-paced, circle pit catalyst by the quintet. Then inspired by other amazing underground bands like Midnight, it’s time for Defiler and Infestor to make the earth shake in Carbureted Speed, offering Demiser the Demiser exactly what he needs to roar manically in this Punk Rock-infused thrashing extravaganza, and it’s pedal to the metal with the band’s guitar duo showing no mercy for our souls in Phallomancer the Phallomancer, slashing their axes like there’s no tomorrow.

After that we have a serene, acoustic Interlude, working as the calm before the storm titled Total Demise, where Infestor speeds things up with his demented beats and fills, inviting us all to slam into the mosh pit like true metal maniacs. Their thrashing feast with hints of Death Metal goes on in full force in Hell Is Full of Fire, with Demiser the Demiser and Infestor sounding ruthless armed with their respective roars and beats, and those demonic beasts will carve their teeth deep inside your flesh in Infernal Bust, offering more of their rumbling bass and drums courtesy of Defiler and Infestor, while Demiser the Demiser continues to vociferate like a demented creature of darkness. Finally, we face In Nomine Baphomet, the most epic and detailed of all songs, showcasing layers of sulfur, wrath and aggression by such an amazing name of the underground where all band members are on fire during the whole song, with Infestor once again stealing the show with his fusion of Black, Thrash and Death Metal beats and fills, putting a darkly and insanely epic finale to the album.

The band’s influences include the likes of Venom, Bathory, Slayer, Motörhead, and Deströyer 666, plus movies like Terminator 2, Commando, and Predator (or pretty much anything Arnold Schwarzenegger, to be fair), with the overarching themes on Slave to the Scythe being essentially “hell, fire and hellfire.” There are no ballads, no love songs, just plain devilish music for devilish people that was largely written on the road, and if you want to feel that fire burning your putrid body for all eternity you can start following the band on Facebook and on Instagram, stream their music on Spotify, and obviously purchase a copy of the excellent Slave to the Scythe from their own BandCamp page or from the Blacklight Media Records’ webstore. In other words, if your impure soul is going to burn in hell, may that happen to the sound of one of the most bestial thrashing albums of the year.

Best moments of the album: Carbureted Speed, Hell Is Full of Fire and In Nomine Baphomet.

Worst moments of the album: None.

Released in 2024 Metal Blade Records/Blacklight Media Records

Track listing
1. Feast 4:10
2. Slave to the Scythe 4:37
3. Carbureted Speed 3:39
4. Phallomancer the Phallomancer 4:39
5. Interlude 2:45
6. Total Demise 4:54
7. Hell Is Full of Fire 3:48
8. Infernal Bust 3:49
9. In Nomine Baphomet 8:03

Band members
Demiser the Demiser – vocals
Gravepisser – guitars
Phallomancer – guitars
Defiler – bass
Infestor – drums

Album Review – 200 Stab Wounds / Manual Manic Procedures (2024)

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Cleveland’s own legends-in-waiting will crush your damned souls with their sophomore album, a brutal slab of old school Death Metal with a contemporary edge not for the faint-hearted.

Following up on their very successful 2021 debut album Slave to the Scalpel, Cleveland, Ohio, United States-based Death Metal legends-in-waiting 200 Stab Wounds are back into the battlefield with their sophomore opus Manual Manic Procedures, a brutal slab of old school Death Metal with a contemporary edge. Produced and mixed by Andy Nelson at Bricktop Recording, and mastered by Brad Boatright at Audiosiege Mastering, the new album by vocalist and guitarist Steve Buhl, guitarist Raymond MacDonald, bassist Ezra Cook and drummer Owen Pooley is certainly not for the faint-hearted, putting classic gore-themed ferocity back into the metal community’s collective consciousness.

In the opener Hands of Eternity, a grim and sinister start gradually evolves into a demented Death Metal beast where Owen dictates the pace with his furious beats supported by the always metallic bass by Ezra, sounding bestial and damned from start to finish. After such a demonic start, the band needs less than two minutes to smash our cranial skulls in Gross Abuse, with the demented harsh vocals by Steve redefining the meaning of “deep”, whereas their undisputed Death Metal sounds continue to split our spinal cords in half in Manual Manic Procedures, again showcasing Steve’s venomous roars boosted by his own and Raymond’s infernal riffs and solos. Release the Stench is another short and sweet display of savagery by the quartet, offering endless groove and electricity thanks to the amazing job done by their stringed trio, followed by Led to the Chamber / Liquified, an instrumental piece where the first part is just an intro that morphs into a more melodic second half, bringing more of their classic Death Metal (albeit never really taking off).

Back to their more ferocious mode we’re treated to Flesh from Within, with Owen and Ezra hammering their thunderous instruments while Steve vociferates rabidly nonstop; and the bass by Ezra sounds even more metallic and heavier in Defiled Gestation, with Owen accelerating the band’s already killer sonority in great fashion. Then featuring guest vocals by Jami Morgan of Code Orange we have Ride the Flatline, offering our avid ears an explosion of caustic lyrics (“Back against the rail, stones beneath my feet / Fantasies of speeding steel dominate my dreams / Colder than a knife, faster than a gun / Exhilaration, annihilation / Pressure of a ton”) while the music remains violent and heavy until the very end. Finally, closing one of the heaviest albums of the year we have Parricide, where their riffs, bass lines and crushing drums are exactly what Steve needs to bark like a demonic creature.

200 Stab Wounds keep going strong in their demolishing path of old school Death Metal, and Manual Manic Procedures is exactly what they needed to reach new heights with their undisputed violence and musicianship. Having said that, let those Cleveland metallers stab your heart 200 times with their refined extreme music by following them on Facebook and on Instagram, by streaming their sick creations on Spotify, and by grabbing a copy of the ruthless Manual Manic Procedures from the Metal Blade Records webstore or by clicking HERE. Because they’re violent, gory, brutal, and above all that, they’re pure Death Metal.

Best moments of the album: Hands of Eternity, Manual Manic Procedures and Flesh from Within.

Worst moments of the album: Led to the Chamber / Liquified.

Released in 2024 Metal Blade Records

Track listing
1. Hands of Eternity 4:44
2. Gross Abuse 1:50
3. Manual Manic Procedures 2:43
4. Release the Stench 2:31
5. Led to the Chamber / Liquified 3:10
6. Flesh from Within 3:11
7. Defiled Gestation 4:24
8. Ride the Flatline 2:50
9. Parricide 4:06

Band members
Steve Buhl – vocals, guitars
Raymond MacDonald – guitars
Ezra Cook – bass
Owen Pooley – drums

Guest musician
Jami Morgan – vocals on “Ride the Flatline”

Album Review – Primordial / How It Ends (2023)

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The excellent new album by these Irish veterans sees the band delivering more of their seminal blend of Celtic and Black Metal.

Dublin, Ireland-based Black/Folk Metal veterans Primordial really do have nothing to prove. Having lasted 32 years and now returning with their tenth full-length opus, titled How It Ends, the Irish band have made it clear they are a primal force who consistently lay it all on the line. Recorded at Hellfire Studios, produced by Chris Fielding at Skyhammer Studio, mastered by James Plotkin, and displaying a classy artwork by Paul McCarroll, the follow-up to their 2018 album Exile Amongst the Ruins sees the band delivering more of their seminal blend of Celtic and Black Metal, all carefully brought into being by vocalist A.A. Nemtheanga, guitarist Ciarán MacUilliam, bassist Pól MacAmlaigh and drummer Simon O’Laoghaire, being therefore highly recommended for admirers of the genre.

The guitar by Ciarán kicks off the band’s grim feast by exhaling a melancholic sound in the title-track How It Ends, being then joined by his bandmates and exploding into a Folk Metal extravaganza led by the passionate vocals by A.A.; whereas the tribal beats by Simon set the tone in Ploughs to Rust, Swords to Dust, a powerful tune with tons of Epic Metal elements with A.A. having an amazing vocal performance while his bandmates keep the music vibrant and imposing until the very end. Then the rumbling guitar lines by Ciarán ignite the also dense and multi-layered We Shall Not Serve, another fantastic creation by the band with Simon and Pól dictate the song’s galloping pace, blending the most energetic elements from Black and Folk Metal. Traidisiúnta, which is Irish for “traditional”, is an instrumental interlude that showcases a more Folk Metal-inspired side of Primordial and flows into Pilgrimage to the World’s End, with the progressive, experimental guitars by Ciarán walking hand in hand with the poetic vocals by A.A. until the very end.

In Nothing New Under the Sun, more of their poetry in the form of lyrics are offered to us all (“So let me show you that there is nothing new under the sun / So gather your days and to the ends of the world together we run / Are we not the penitent, the willing and the righteous, beasts without nation / We are born of plague and marked by your heresy at the myth of creation”) amidst a cryptic, grim sonority, followed by an epic intro that gradually evolves into the battle hymn Call to Cernunnos, with its tribal beats and imposing riffs making it truly compelling. After that, A.A. and his henchmen will darken the skies even more in All Against All, one of the most cryptic and atmospheric of all songs thanks to the strident riffs by Ciarán; however, it goes on for too long and loses its punch after a while. A.A. continues to darkly declaim their wicked lyrics in the somber, Sludge Metal-infused aria Death Holy Death (“I heard Hallelujah, just one last time / Your tired faces, they are worn by sorrow / Out sadness is worn like a gift from God / O Death Holy Death! You cast us in grace”); and lastly, their Irish riffage sets fire to the music in Victory Has 1000 Fathers, Defeat Is an Orphan, where A.A. kicks some ass with his deep, anguished vocals supported by the thunderous kitchen by Pól and Simon in a lecture in Folk Metal.

“How It Ends is a very angry, defiant, visceral, and rebellious album, and as we worked it all began to take more shape and form itself. It may be the note we go out on but it will be a note of resistance, in musical terms. I think it’s also more metal! And more epic!” And the band complemented by saying that “it certainly sounds like Primordial, there is no doubt about that, we have our own style and this is a new chapter of the same book. If we have done anything new it’s really to work with more conviction than ever, and trust more than ever our instincts.” Hence, you can enjoy such multi-layered album in its entirety on YouTube and on Spotify, grab a copy of it from the band’s own BandCamp page or from Metal Blade Records (by clicking HERE, HERE, or HERE), and don’t forget to also check what the band is up to on Facebook and on Instagram. Primordial have been blasting our ears with their Celtic sounds for decades, and based on what they have to offer in How It Ends we can rest assured the band will keep on embellishing the airwaves with their undisputed music for a few more.

Best moments of the album: Ploughs to Rust, Swords to Dust, We Shall Not Serve and Victory Has 1000 Fathers, Defeat Is an Orphan.

Worst moments of the album: All Against All.

Released in 2023 Metal Blade Records

Track listing
1. How It Ends 7:50
2. Ploughs to Rust, Swords to Dust 7:35
3. We Shall Not Serve 7:18
4. Traidisiúnta 2:12
5. Pilgrimage to the World’s End 7:07
6. Nothing New Under the Sun 7:11
7. Call to Cernunnos 5:59
8. All Against All 8:48
9. Death Holy Death 5:40
10. Victory Has 1000 Fathers, Defeat Is an Orphan 6:14

Band members
A.A. Nemtheanga – vocals
Ciarán MacUilliam – guitar
Pól MacAmlaigh – bass
Simon O’Laoghaire – drums

Album Review – Cannibal Corpse / Chaos Horrific (2023)

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The mighty Corpse is back with another pulverizing album of old school, undisputed Death Metal, blasting gore, blood and violence throughout 39 minutes of pure and intense chaos.

Two years after the incendiary Violence Unimagined, American Death Metal legends Cannibal Corpse are back with their equally monstrous sixteenth studio album, titled Chaos Horrific, continuing to build their legacy in the history of heavy music. Produced by the band’s own Erik Rutan at Mana Recording Studios, and displaying another sick and gory artwork by longtime collaborator Vince Locke, the new album by frontman George “Corpsegrinder” Fisher, guitarists Rob Barrett and Erik Rutan, bassist Alex Webster and drummer Paul Mazurkiewicz was written shortly after the conclusion of the Violence Unimagined sessions (due to the pandemic keeping them off tour), and although echoes of that album exist in Chaos Horrific, it is a whole new beast of its own. “To me this album feels sort of like a continuation of Violence Unimagined. The style is quite similar, but individually none of the songs on Chaos Horrific sound like songs on Violence Unimagined,” said Alex. “It’s a full-on death metal album, Cannibal Corpse style.”

And Alex begins his undisputed bass attack in the visceral opening tune Overlords of Violence, where the band already crushes us mercilessly with their old school Death Metal, offering pure, unfiltered Cannibal Corpse for the masses, followed by Frenzied Feeding, another massive assault by the quintet with the guitars by Rob and Erik sounding extremely dirty, vile and evil, while our buddy Corpsegrinder proves why he’s the ultimate Death Metal growler. “One person is randomly selected to die. Thirteen people are randomly selected to kill this person by violently removing pieces of his body until he breathes no more,” commented Paul about Summoned for Sacrifice, a neck-breaking, demonic tune that will work amazingly if played live; whereas Blood Blind “is about mass mutilations to reset the human race in a genocide that was embraced by the masses,” also according to Paul, showcasing classic, evil lyrics roared by Corpsegrinder (“Seas of gore as far as the eye can see / Saturating the vision / Eternal hate this is not a fallacy / Contaminate all that lives / Subjugate the mind / Blood blind”).

The wicked guitar lines by the band’s unstoppable axe duo ignite the circle pit feast Vengeful Invasion, another great tune for headbanging nonstop together with Corpsegrinder, sounding extremely technical yet still bringing forward the band’s trademark gore and heaviness, whereas the title-track Chaos Horrific couldn’t have sounded more Cannibal Corpse than that, presenting their past, present and future sonority, with Paul kicking some serious ass behind his drums supported by the always demented bass by Alex. They show no sign of slowing down in the brutal, thunderous Fracture and Refracture, bringing forward more of their Death Metal riffage, rumbling bass lines and crushing beats in a beyond thrilling manner, followed by Pitchfork Impalement, offering us all three minutes of insanity and violence led by the inhumane growls by Corpsegrinder while Paul hammers his drums with endless fury. After that, get ready to be pulverized inside the mosh pit to the sound of Pestilential Rictus, a groovy, ruthless display of Death Metal where Rob and Erik are superb with their metallic riffs and solos. And lastly, if you’re still alive there’s time for one final sonic carnage titled Drain You Empty, where the band invests in a deep, obscure sound not recommended for the lighthearted, overflowing their brutality until the very last second.

Cannibal Corpse Chaos Horrific Boxset

If there’s one thing that we all love about Cannibal Corpse is their ability to reinvent themselves with every new album without forgetting about their old school Death Metal roots, which is exactly what we see in the excellent Chaos Horrific. Hence, don’t forget to give the guys from the band a shout on Facebook and on Instagram, to stream their vast and amazing catalogue on Spotify, to catch the kings of Death Metal live on tour now promoting their sick new album, and above all that, to purchase a copy of it from their own webstore, from the Metal Blade Records webstore, from Kingsroadmerch.com (especially the fantastic Chaos Horrific Box Set, limited to 1500 copies and including a dried blood vinyl, a 24-page 12” booklet, a puzzle, a poster, an enamel pin and an art print), or simply click HERE for all things Cannibal Corpse. Let’s support this undisputed Death Metal institution to keep blasting chaos through their music for many decades to come, spreading blood, gore, filth, violence, and all other horrific things that makes us metalheads always proud of the mighty Corpse!

Best moments of the album: Overlords of Violence, Chaos Horrific, Fracture and Refracture and Pestilential Rictus.

Worst moments of the album: None.

Released in 2023 Metal Blade Records

Track listing
1. Overlords of Violence 3:08
2. Frenzied Feeding 3:33
3. Summoned for Sacrifice 4:05
4. Blood Blind 4:34
5. Vengeful Invasion 4:44
6. Chaos Horrific 3:33
7. Fracture and Refracture 3:37
8. Pitchfork Impalement 3:17
9. Pestilential Rictus 4:13
10. Drain You Empty 4:36

Band members
George “Corpsegrinder” Fisher – vocals
Rob Barrett – lead and rhythm guitar
Erik Rutan – lead guitar
Alex Webster – bass guitar
Paul Mazurkiewicz – drums