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Album Review – Odious Spirit / The Sourceless Scourge (2026)

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This unique Experimental Death and Thrash Metal creature returns with its sophomore opus, offering more of its hypnotic wall of sound that leaves the listeners stunned by its heaviness and complexity of forms.

The raw beauty of The Treason of Consciousness, the 2024 debut album by Poughkeepsie, New York-based Experimental Death/Thrash Metal creature Odious Spirit (the brainchild of vocalist and guitarist James Oskarbski), was a significant hint of the wonders to come, which duly arrive now in 2026 with the project’s sophomore effort, titled The Sourceless Scourge. Written and recorded by James Oskarbski, mixed by Kevin Bernsten at Developing Nations, mastered by James Plotkin, displaying an enigmatic artwork by Jari Anttonen of fantastinen (with visual design by Francesco Gemelli), and with session musicians Cullen Gallagher on bass and Jason Bursese (Thanatotherion, Black Fucking Cancer) on drums, The Sourceless Scourge offers more of the project’s hypnotic wall of sound that leaves the listeners stunned by its heaviness and complexity of forms, but equally eager to uncover its secret mechanisms with each new listen.

The crushing drums by Jason ignite the band’s inhumane feast in True Non-Existence, with James already delivering his insane, deep guttural vociferations for our total delight; followed by Close to the Sun, which sounds even more demented and dissonant, with the heaviness flowing from James’ riffs living up to the legacy of Experimental Death Metal while also flirting with Technical Death Metal for our total delight. The Betrayer’s Will keeps the momentum going with another multi-layered, experimental blast flowing from all instruments, with Cullen’s bass and Jason’s drums sounding thunderous; whereas Void Without End is even more technical and dissonant than its predecessors, not to mention James is once again demented on the guitars while also blasting his scathing roars nonstop. And lastly, we’re treated to Temporal Euthanasia, another complex and detailed creation by James where his visceral guttural matches perfectly with the demolishing drums by Jason.

Builders of grandiose sonic architecture that exist in perfect balance between Technical Thrash and Death Metal and minimalist Avantgarde Metal, Odious Spirit is on fire in The Sourceless Scourge, an album highly recommended for admirers of the music by renowned acts the likes of Voivod, Immolation, Krallice, Mick Barr, and Ocrilim, just to name a few. You can find more information about Odious Spirit on Instagram, stream the project’s eccentric music on most platforms like Spotify, and of course purchase The Sourceless Scourge from the I, Voidhanger Records’ BandCamp or from Metal Odyssey in the EU or in the US. No one knows what James Oskarbski and his Odious Spirit will offer us all after The Sourceless Scourge, and that’s the beauty of his music. It’s unique, heavy, visceral, and never the same.

Best moments of the album: Close to the Sun and Temporal Euthanasia.

Worst moments of the album: None.

Released in 2026 I, Voidhanger Records

Track listing
1. True Non-Existence 6:27
2. Close to the Sun 8:53
3. The Betrayer’s Will 7:48
4. Void Without End 6:47
5. Temporal Euthanasia 8:37

Band members
James Oskarbski – vocals, guitars

Guest musicians
Cullen Gallagher – bass (session)
Jason Bursese – drums (session)

Album Review – Iapetus / The Mother Void (2026)

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These Melodic and Progressive Death Metal innovators are back with the third part of their cosmic trilogy, a story of a mother and a son, of mankind and the cosmos, of feeling destined to failure in a world designed to destroy.

Following on their critically acclaimed full-length albums The Long Road Home, released in 2017, and The Body Cosmic, released in 2019, Long Island, New York- based Melodic/Progressive Death Metal innovators Iapetus (which means “the piercer” or “the one who pierces” in ancient Greek, describing a mythological Titan, a moon of Saturn, and a prehistoric ocean) return with the third part of their phenomenal trilogy, The Mother Void. Recorded by Alexander Backlund, mixed by Jens Bogren, and mastered Tony Lindgren at Fascination Street Studios, and displaying a cosmic artwork by Vanessa Lemen, the stunning new offering by Matthew Cerami on vocals, guitars, bass and arrangements, and Jordan Navarro on the guitars, keyboards and drum arrangements sees the duo be joined by Fabienne Erni (Eluveitie, Illumishade) on vocals, along with several notable guest musicians including drummer Brody Taylor Smith (Invent Animate), guitarist Benjamin Baret (Ne Obliviscaris), and vocalist Frank Harper (Caelestra), resulting in a bold, multi-layered nd flawless metal voyage highly recommended for admirers of bands the likes of Ne Obliviscaris, An Abstract Illusion, Persefone, and Insomnium.

After the atmospheric, ethereal intro Parturition we’re dragged into the world of prog death madness ruled by Iapetus in The Mother Void, an embracing title-track that sets the tone for the rest of the album, with the guitars by Matthew and Jordan exhaling heaviness and cosmic energy. After such a killer tune, we face Aniara, presenting 17 minutes of first-class, no shenanigans Progressive Death Metal where the all harsh vocals clash beautifully with the penetrating, hypnotizing clean vocals by Fabienne, sounding like multiple songs in one; whereas Red Giant keeps the momentum going, with Brody crushing his drums with endless rage and intricacy while the song’s background keys give it a truly whimsical vibe. Needless to say, Fabienne’s vocals take the song, which is already majestic, to a whole new level of awesomeness.

Then after the enfolding interlude Énouement we face the most detailed and soul consuming song of the entire album, TON, featuring guests Benjamin Baret of Ne Obliviscaris on a guitar solo and Frank Harper of Caelestra on vocals. It’s an 18-minute Progressive Death Metal beast where Matthew and Jordan slash their guitars nonstop, accompanied by the thunderous beats and fills by Brody, not to mention Matthew delivers sheer awesomeness through his bass. Furthermore, its ethereal passages will bring some peace to our hearts while at the same time they demolish our hopes and dreams once again with their massive wall of extreme sounds, before all comes to an end with The World Be Undone, where its delicate keys and Fabienne’s minimalist vocals bring hope to our darkened hearts.

“The Mother Void is the story of a mother and a son; of mankind and the cosmos; of feeling destined to failure in a world designed to destroy. It is a conceptual record, meant to be digested in whole; the conclusion to a trilogy of albums dedicated to the tension between mortal existence and immortal space. It is our most personal record to date, and its scope is mirrored in size only by the passion that accompanied its creation. We claw from The Mother Void,” commented the duo, who are waiting for you on Facebook and on Instagram with news and more of their amazing music. Don’t forget to also stream their unique creations on Spotify, and to put your hands on such a masterpiece by purchasing it from BandCamp or by clicking HERE. The Mother Void is more than just a metal album; it’s a cosmic journey, and you’re invited to join Matthew and Jordan on this breathtaking mission.

Best moments of the album: Aniara, Red Giant and TON.

Worst moments of the album: None.

Released in 2026 Willowtip Records

Track listing
1. Parturition 1:40
2. The Mother Void 12:54
3. Aniara 17:12
4. Red Giant 11:58
5. Énouement 1:51
6. TON 18:43
7. The World Be Undone 4:54

Band members
Matthew Cerami – vocals, guitars, bass, arrangements
Jordan Navarro – guitars, keyboards, drum arrangements

Guest musicians
Brody Taylor Smith – drums (session)
Fabienne Erni – vocals (session)
Ethan Navarro – vocals (session)
Mark Lazeski – additional synths & SFX (session)
Benjamin Baret – guitar solo on “TON”
Frank Harper – vocals on “TON”

Album Review – Hanging Garden / Dream Death (2026)

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Blending multiple sounds to create something highly intricate, varied, and dynamic, this one-man Progressive Death Metal entity returns with its thrilling sophomore album.

The brainchild of vocalist and multi-instrumentalist Dylan Cruz, of bands like Noxis, Scumbag, and Dissonance, Yonkers, New York-based Progressive Death Metal beast Hanging Garden blends multiple sounds to create something highly intricate, varied, and dynamic, just like what it has to offer in its sophomore album, titled Dream Death, following up on its 2024 debut The God That Made Them Bow. Recorded, mixed and mastered by Dylan himself, with a stunning artwork by Hafiz, the album presents Dylan’s trenchant prog and tech death approach expertly tempered by transcendental melodic passages, and all of it bears a blackened touch on top of it.

Dylan wastes no time and begins his prog attack with Arete, delivering an avalanche of intricate riffs and blast beats while he vociferates rabidly until the very end. He then brings forward an even more chaotic yet harmonious sonority in Ondine, sounding absolutely heavy from start to finish while led by his demonic vociferations; whereas Dreamwoven presents an amalgamation of styles from Progressive Metal to Experimental and Dissonant Death Metal, with his riffs and solos sounding utterly electrifying. Carambola carries a very peculiar name for a song, musically while speaking it’s another explosion of Progressive Death Metal where he hammers his drums manically; and shifting his focus from hard hitting drums to classy, melodious guitar lines we have Endymion, whhile still maintaining his core essence intact. It’s impressive how he manages to sound so dynamic and fresh with each song like in Tears of Lustful, Secret Desire, as if Dream Theater had a bastard son addicted to the violence of Death Metal, before we face one last breath of progressiveness and insanity by Dylan titled Suffering Radiant Memories, firing piercing guitar solos for our total delight.

In the world of Death Metal, the unrelenting Hanging Garden has concocted an undeniably refreshing sound that is highly nuanced, textured, and worth delving into, exactly like what’s offered in the excellent Dream Death. Highly recommended for fans of the fusion of intricacy and violence by renowned acts the likes of Death, Sentenced, Goreworm, Xenosis, Opeth, and Krallice, among several others, Dream Death can be purchased from Hanging Garden’s own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, and don’t forget to also follow the project on Facebook, and to stream its music on Spotify. Progressive Death Metal is indeed a subgenre of heavy music with basically no boundaries, and Dylan and his Hanging Garden are among us to keep exploring those new lands with each and every album release, with Dream Death paving a fantastic path ahead of the project.

Best moments of the album: Ondine, Dreamwoven and Tears of Lustful, Secret Desire.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Arete 6:46
2. Ondine 6:51
3. Dreamwoven 6:32
4. Carambola 6:04
5. Endymion 4:16
6. Tears of Lustful, Secret Desire 6:04
7. Suffering Radiant Memories 4:22

Band members
Dylan Cruz – vocals, all instruments

Album Review – Immolation / Descent (2026)

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One of the original vanguards of Death Metal returns with their incendiary twelfth studio album, continuing their journey away from the rejection of Catholicism and further into Gnostic foreboding.

One of the original vanguards of Death Metal, and 37 years into their storied career, New York’s own institution Immolation is back in action with their twelfth studio album, entitled Descent, following up on their critically acclaimed 2022 opus Acts of God. Produced, mixed and mastered by Zack Ohren at Castle Ultimate Productions, with vocals, guitars and bass recorded by Justin Passamonte at Jpass Music, and drums recorded by Noah Buchanan at Mercinary Studios, and displaying a stylish artwork by the iconic Eliran Kantor (with booklet illustrations by Santiago Jaramillo of Triple 6 Design), the new beast by vocalist and bassist Ross Dolan, guitarists Robert Vigna and Alex Bouks, and drummer Steve Shalaty continues the band’s journey away from the rejection of Catholicism and further into Gnostic foreboding. Is Earth actually Hell? Is there any path to salvation? Not only that, the album’s title is self-evident as it chronicles the descent of failed empires, endless wars, and the corruption of the human soul. You will not be disappointed, but you may come away disillusioned.

The Stygian, minimalist guitar lines by Robert and Alex quickly explode into Immolation’s classic Death Metal fury in These Vengeful Winds, kicking off the album on a high and demented mode. And it’s then time to slam into the pit like a true maniac to the sound of The Ephemeral Curse, with Ross barking deeply while Steve crushes our souls with his infernal drums, followed by God’s Last Breath, another song that starts in a doom-ish way before exploding into the band’s undisputed Death Metal, as evil, dark and sinister as it can be, led by the hammering drums by Steve. One more wild adventure inside the circle pit awaits in Adversary, with Ross growling manically while his bandmates deliver a fast and furious blend of Death Metal magic perfect for fans of the style; and Ross’ bass will crush your damned skull in Attrition, while Robert and Alex deliver a striking riff attack that will inspire you to break your neck headbanging.

Let’s all succumb to total darkness to the sound of the deadly hymn Bend Towards the Dark. Needless to say, it should sound incredible live, in special the always phenomenal riffs and solos by Robert and Alex. Steve’s tribal beats kick off another bestial display of violence and savagery entitled Host, where their guitars will once again skin you alive so caustic and sharp they sound. After such a high level of violence, get ready for another vicious riff attack by the band’s ultra talented guitar duo in False Ascent, offering an avalanche of demonic growls by Ross while Steve adds sheer Death Metal madness to the music with his unstoppable beats and fills. Then we face the sinister (yet a bit lengthy) instrumental interlude Banished, setting the stage for the quartet to strike us all one last time with the demented title-track Descent, putting an obscure and demolishing ending to the album to the cadaverous roars by Ross and the always pulverizing drums by Steve, leaving us completely disoriented and eager for more Immolation in the near future.

Once again, longtime fans and unsuspecting newcomers will be confronted with hymns of darkness and fury, invoked by one of the most respected names in the genre. You can get in touch with those torchbearers of classic Death Metal via Facebook and Instagram, check more of their music and videos on YouTube and on Spotify, and of course add Descent to your dark and blasphemous collection by clicking HERE. Often imitated, but never surpassed, Immolation prove again why they remain one of the most enduring names in metal. If you’re already a fan, you know why. If Descent is your first introduction, you will be a convert soon enough, as you descend into the pits of the underworld ruled by those talented and hardworking death dealers.

Best moments of the album: The Ephemeral Curse, Bend Towards the Dark and False Ascent.

Worst moments of the album: Banished.

Released in 2026 Nuclear Blast Records

Track listing
1. These Vengeful Winds 4:04
2. The Ephemeral Curse 3:57
3. God’s Last Breath 4:22
4. Adversary 3:17
5. Attrition 4:44
6. Bend Towards the Dark 3:56
7. Host 4:12
8. False Ascent 3:49
9. Banished 3:17
10. Descent 5:57

Band members
Ross Dolan – vocals, bass
Robert Vigna – guitars
Alex Bouks – guitars
Steve Shalaty – drums

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2026 Independent

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

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

Album Review – 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 – Castrator / Coronation of the Grotesque (2025)

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New York-based Death Metal maidens are back with their relentless sophomore album, firmly cementing the band among the extreme music elite.

Three years after their crushing debut Defiled in Oblivion, New York-based Death Metal maidens Castrator return with Coronation of the Grotesque, an album that not only exceeds all expectations, but leaves them shattered in its wake, firmly cementing the band among the North American Death Metal elite. Recorded across multiple studios with key figures in the United States Death Metal scene, mixed and mastered by Noah Buchanan at Mercinary Studios, produced by Carolina Perez and Taylor Nordberg (Deicide, Inhuman Condition, Ribspreader), and displaying a gruesome, dystopian artwork by Jon Zig, the new album by the badass Clarissa Badini on vocals, Sara Loerlein on the guitars, Robin Mazen on bass, and Carolina Perez on drums explores a range of historical and societal themes that reflect on injustice, victimization, and human suffering. Among the topics confronted are the tragic killing of Mahsa Amini, the ancient Sumerian practice of eunuchization, and seething condemnation of predator Naasón Joaquín García.

The opening tune Fragments of Defiance will already melt your damned faces to the demented beats and fills by Carolina and the she-demon gnarls by Clarissa, resulting in an insane way to kick off the album, and Sara showcases all her dexterity and rage armed with her stringed axe in I Am Eunuch, delivering pure Death Metal riffs for our total delight. Covenant of Deceit is another song that reeks of Death Metal, starting with a cryptic intro before Sara and Robin hammer their sonic weapons mercilessly until the very last second; whereas Clarissa’s vocals get even deeper and more demonic in Mortem Opeterie, which is Latin for “to meet a violent death”, always supported by the visceral, no shenanigans sounds blasted by her bandmates. And Carolina keeps showing no mercy at all for our necks and bodies in Remnants of Chaos, inviting us all for some wild action inside the pit.

Those girls are definitely not fooling around when it comes to playing old school Death Metal, with Deviant Miscreant sounding as infernal as it is technical and vibrant, led by the stone crushing drums by Carolina, followed by Psalm of the Beguiled, less frantic but heavy-as-hell, with Sara delivering some Cannibal Corpse-inspired riffs that will burn you alive accompanied by the low-tuned, menacing bass lines by Robin. After such an imposing tune, Sara continues to strike us all with her riffs and solos in Blood Bind’s Curse, adding an extra touch of insanity to the band’s onrush of brutality while Clarissa barks and roars nonstop, and those girls are on absolute fire in the also demented Discordant Rumination, keeping the album at an insane level of violence. Last but definitely not least, their cover version for the all-time classic Metal Command by Exodus, from their 1985 masterpiece Bonded By Blood (check the original version HERE), is a stunning Death Metal rendition of such a thrashing beast, with Clarissa and Sara stealing the spotlight with their respective roars and riffs.

“We see it as a leap forward,” exclaims drummer Carolina Perez. “It’s by far the strongest work we’ve done to date. Writing Coronation of the Grotesque was an incredibly enjoyable experience, and everything seemed to come together much more naturally this time. While the album still retains elements of who we were as a band, it’s much more refined, cohesive, and brutal.” And if you want to join those absolutely talented and ferocious ladies in their quest for Death Metal you can start following them on Facebook and on Instagram, stream their ass-kicking music on Spotify, and of course grab a copy of the incendiary Coronation of the Grotesque from the Dark Descent Records’ BandCamp or  webstore (as a CD, LP, or tape), or simply click HERE for all things Castrator. Those girls are not fooling around when it comes to crafting brutal, in-your-face Death Metal, and you better be ready as once you have the pleasure of listening to their scathing new opus, you’ll be pulverized by their undisputed heavy music.

Best moments of the album: Fragments of Defiance, Mortem Opeterie, Blood Bind’s Curse and Metal Command.

Worst moments of the album: None.

Released in 2025 Dark Descent Records

Track listing
1. Fragments of Defiance 3:33
2. I Am Eunuch 3:42
3. Covenant of Deceit 4:08
4. Mortem Opeterie 3:18
5. Remnants of Chaos 3:17
6. Deviant Miscreant 3:15
7. Psalm of the Beguiled 3:41
8. Blood Bind’s Curse 3:46
9. Discordant Rumination 4:20
10. Metal Command (Exodus cover) 4:13

Band members
Clarissa Badini – vocals
Sara Loerlein – guitars
Robin Mazen – bass
Carolina Perez – drums

Album Review – Fleshspoil / The Beginning of the End (2025)

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A new force in Blackened Death Metal emerges from New York, blasting our faces with the 37 minutes of music found in their pulverizing debut offering.

A new force in Blackened Death Metal has emerged to lay waste to 2025. Featuring veterans Jeff Andrews (The Final Sleep, Armor Column, Hush, Ironweed) on vocals and guitars, Dan Saltzman (Illucinus, The Hunt) on bass, and Mike Van Dyne (Arsis, The Final Sleep) on drums, Troy, New York-based Fleshspoil are set to release their debut album, poetically titled The Beginning of the End. Produced, mixed and mastered by Brett Portzer at White Lake Music & Post, and displaying a darkly beautiful cover art titled “L’Umana Fragilità”, by Salvator Rosa (1656), The Beginning of the End consists of six pulverizing tracks clocking in at 37 minutes, offering us all the creative vision of Jeff Andrews and Mike Van Dyne in the most violent and grim form.

Featuring a guest guitar solo by Kyle Chapman (Aethereus, Blighted Eye) and John Judkins of Rwake on lap steel guitar, the band offers us all seven minutes of intricate sounds in Bleed Through This Life while also sounding haunting and devilish, flirting with Dissonant Death Metal at times. John Judkins also features in Skies Turn To Graves, which starts in a more melodic manner while offering even hints of Post-Metal before all explodes into another slab of brutality, with Mike kicking some serious ass on drums. Then a visceral roar by Jeff ignites the demented Fleshspoil, where their progressive vein clashes with an overdose of heaviness in the best way imaginable, not to mention how infernal the drums by Mike sound. After that, guest guitarist Petr Oplatka of Illucinus fires a sick guitar solo in Walking Dead, a more straightforward, in-your-face tune where Mike once again sounds ruthless on drums. Then a dark and sinister intro evolves into a grim fusion of Death and Doom Metal in A Frail Demise, with Jeff sounding inhumane on vocals while also firing some hellish riffs; whereas lastly, the trio offers our avid ears Born Into Despair, beginning in a gentle, melodic way and evolving into a more introspective tune that could have been a bit heavier in the end.

Highly recommended for fans of classic Death, Black, and Doom Metal, Fleshspoil deliver a haunting and aggressive soundscape during the entire The Beginning of the End, resulting in a very exciting start to the band and, therefore, pointing to a bright future ahead of them. I’m sure we’ll soon hear more from the band, which means you can start following them and stay up to date with their news and tour dates on Instagram, and show them your absolute support by grabbing a copy of the caustic The Beginning of the End from their own BandCamp, letting such an amazing trio from New York crush your spinal cord with their undisputed fusion of savagery and melody.

Best moments of the album: Bleed Through This Life, Fleshspoil and Walking Dead.

Worst moments of the album: Born Into Despair.

Released in 2025 Independent

Track listing
1. Bleed Through This Life 7:17
2. Skies Turn To Graves 6:36
3. Fleshspoil 7:12
4. Walking Dead 3:19
5. A Frail Demise 7:40
6. Born Into Despair 4:18

Band members
Jeff Andrews – vocals, guitars
Dan Saltzman – bass
Mike Van Dyne – drums

Guest musicians
Kyle Chapman – guitar solo and additional chaos on “Bleed Through This Life”
Petr Oplatka – guitar solo on “Walking Dead”
John Judkins – lap steel guitar on “Bleed Through This Life” and “Skies Turn To Graves”

Album Review – Dream Theater / Parasomnia (2025)

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American Progressive Metal masters are back to their roots with their breathtaking sixteenth studio effort, a thematic concept album about parasomnia and all disruptive sleep disorders.

The band’s first studio album to feature original drummer Mike Portnoy since their 2009 opus Black  Clouds & Silver Linings, the excellent Parasomnia is more than just the sixteenth studio album by American Progressive Metal masters Dream Theater, but a return to their roots, representing both where they came from and where they’re going as not only bandmates, but as brothers. Mixed and mastered by Andy Sneap at Backstage Studios, produced by John Petrucci, engineered by James “Jimmy T” Meslin, and displaying a classy artwork by Hugh Syme, the new offering by vocalist James LaBrie, guitarist John Petrucci, bassist John Myung, keyboardist Jordan Rudess, and drummer Mike Portnoy is a thematic concept album about parasomnia, encompassing a wide range of unusual and undesirable experiences and behaviors people experience in their sleep, also known as disruptive sleep disorders, all embraced by the band’s undisputed, unparalleled sound that catapulted them to stardom over 40 years ago.

It all begins with the poetically titled intro In the Arms of Morpheus, with all background sounds in its first few moments making it feel like the soundtrack to a psychological thriller, setting the stage for Night Terror, with it’s nine breathtaking minutes offering us all a darkly catchy chorus (“Night terror / Hysteria / Nocturnal trial by fire / Eyes open wide but I can’t see”) and the always phenomenal drumming by the returning Mr. Portnoy, as well as the scorching riffs by John Petrucci. Their technical, progressive sounds keep stunning us all in A Broken Man, with John Myung’s bass overflowing heaviness supported by the classic keys by Jordan, sounding like old school Dream Theater for our total delight, morphing into the ten-minute aria Dead Asleep, another explosion of Progressive Metal led by the powerful vocals by James, with all of its breaks, variations and intricate passages inviting us all to a wild, enfolding musical journey to a world of dreams and nightmares.

A cryptic, atmospheric start gradually evolves into the most dynamic, fastest and heaviest of all songs, entitled Midnight Messiah, with James’ vocals being flawlessly boosted by John Petrucci’s riff attack while Mike hammers his drums in great fashion until the very last second. Then we’re treated to the whimsical, ethereal interlude Are We Dreaming?, heightening our senses for Bend the Clock, a beautiful, enfolding ballad where James declaims the song’s dark lyrics with tons of passion (“Worn down wearing thin / Hellish dreams / Tormenting scenes / Shadows looming / I’m paralyzed, can’t move / Scared and confused”) while his bandmates embellish the airwaves with their superb sounds. Finally, get ready for a 20-minute feast of first-class Progressive Metal in The Shadow Man Incident, with the hard-hitting drums by Mike and the rumbling bass by John Myung dictating the song’s thrilling pace while Jordan’s keys sound phantasmagorical, offering so many layers, striking moments and tempo changes it’s hard to put all that into words. Let’s say that if the album only contained this specific song, it would have already been fantastic.

“When you listen to this, I hope you’re able to hear, the excitement, the camaraderie, and feeling of being reunited as brothers,” affirms John Petrucci. “All of that is reflected in the music. It’s very driven and purposeful. I hope it sounds like the Dream Theater you remember and recall when Mike was in the band, but maybe even a little more elevated.” In the end, Parasomnia, available in full on most streaming platforms like Spotify, is dynamic, dramatic, and definitive Dream Theater, and you can show the band how much you love their new album by giving them a shout on Facebook and on Instagram, and obviously by purchasing a copy of the album from Century Media/InsideOut Music or by clicking HERE. In their 1999 masterpiece Metropolis Pt. 2: Scenes from a Memory, the album ends with the sentence “Open your eyes, Nicholas!”, while in their new album the last songs ends with “Wake up!” Would that be a sign of where the band is headed to in the future, by looking into their own past? Well, as long as their upcoming albums are as stunning as Parasomnia, we can rest assure Dream Theater will surely keep “waking us up” with more of their absolutely captivating music.

Best moments of the album: Night Terror, Midnight Messiah, Bend the Clock and The Shadow Man Incident.

Worst moments of the album: None.

Released in 2025 Century Media/InsideOut Music

Track listing
1. In the Arms of Morpheus 5:22
2. Night Terror 9:55
3. A Broken Man 8:29
4. Dead Asleep 11:06
5. Midnight Messiah 7:58
6. Are We Dreaming? 1:28
7. Bend the Clock 7:24
8. The Shadow Man Incident 19:32

Band members
James LaBrie – vocals
John Petrucci – guitars
John Myung – bass
Jordan Rudess – keyboards
Mike Portnoy – drums

Album Review – Odious Spirit / The Treason Of Consciousness (2024)

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Terrifying and exhilarating at the same time, the debut opus by this Avantgarde Black and Death Metal entity describes an infinite cycle of creation, transformation and destruction of which we are unaware prisoners.

The brainchild of James Oskarbski, a musician from Poughkeepsie, New York, in the United States, already active in Execrable and 8 Hour Animal, the ruthless Avantgarde Black/Death Metal entity Odious Spirit plays dark, experimental heavy music with hypnotic and minimal guitars, succeeding in the miraculous aim of fusing together Voivod, Immolation and Mick Barr’s Ocrilim in long and trance-inducing songs, exactly like what can be found in the project’s debut effort The Treason of Consciousness. Written, recorded and mixed by James himself, mastered by Alan Douches at West West Side Music, wrapped in a majestic cover painting by Martín Riveros Baxter (with visual design by Francesco Gemelli), and featuring guest musicians Cullen Gallagher on bass and Daniel Torgal on drums, the album is characterized by James’ dense intertwining of guitars, capable of creating cosmic psychedelic vortices that engulf everything and which are often pushed towards heights of paroxysmal violence, terrifying and exhilarating at the same time, while the philosophical themes of the lyrics are refracted in its fractal folds, centered on concepts of space and time, repetition and decadence, thus describing an infinite cycle of creation, transformation and destruction of which we are unaware prisoners.

Like a creature oozing sheer doom and darkness, the trio begins their infernal feast of Black and Death Metal in Long Stretch of Bleeding Light, with James’ cadaverous roars walking hand in hand with the experimental, intricate kitchen by Cullen and Daniel; whereas 11 minutes of wicked experimentations, caustic riffs and venomous beats and fills are offered by such an amazing entity hailing form the United States in The Hissing Pyre, presenting a sick guitar work by James who delivers nonstop scorching riffs that will burn your soul mercilessly. In other words, it can’t get any more intricate and demented than this, flowing into the one hundred percent experimental tune Illuminations, a phantasmagorical creation by Odious Spirit that will drag you to the netherworld before Gnawing the Fabric of Time offers an overdose of cryptic, poetic lyrics gnarled by James (“Placed him there / To fight the strand / Bleeding man / Bleeding man / To fight the strand / Denied”) while the music is a hurricane of unrelenting, visceral Black and Death Metal.  Lastly, we’re treated to over eight minutes of the hammering drums by Daniel and the rumbling bass lines by Cullen in Unbending Follicle, Unending Blight, while James continues to extract darkness and rage from his axe, therefore piercing our damned minds ruthlessly.

James and his untamed beast named Odious Spirit are waiting for you on Instagram with more details about such an interesting project of the underworld, and if you’re brave enough to put your hands on one of the most caustic albums of the current scene (available in full on YouTube and on Spotify), you can grab your copy of it from the I, Voidhanger Records’ BandCamp page, as well as from Metal Odissey in both the United States and Europe in CD format. The violence and heaviness found in The Treason Of Consciousness, plus of course its unique psychedelic and experimental vibe, make it a must-listen for anyone looking for a breathe of fresh air in heavy music, and I can’t wait to see what’s next for Odious Spirit as the years go by and the project continues to explore new lands and sounds exactly like what was done in its debut effort.

Best moments of the album: The Hissing Pyre and Gnawing the Fabric of Time.

Worst moments of the album: None.

Released in 2024 I, Voidhanger Records

Track listing
1. Long Stretch of Bleeding Light 6:46
2. The Hissing Pyre 11:02
3. Illuminations 5:18
4. Gnawing the Fabric of Time 4:02
5. Unbending Follicle, Unending Blight 8:31

Band members
James Oskarbski – vocals, guitars

Guest musicians
Cullen Gallagher – bass
Daniel Torgal – drums