Tag Archives: poland

Album Review – Büddah / Amyotrophy (2026)

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Behold the first full-length opus by this ruthless Polish entity, offering nine anthemic hymns of destruction for admirers of the darkest side of Death and Thrash Metal.

After the releases of their debut EP The Curse of Ferrius, in 2022, and the live album Resurrection Clarity (Live at 2 Koła ’24), in 2024, Gdańsk, Poland-based Blackened Death/Thrash Metal duo Büddah are ready to crush our frail bodies and souls with their first ever full-length installment, entitled Amyotrophy (a progressive wasting of muscle tissues). Recorded by Damian Bednarski (of Unborn Suffer), produced by the same Damian Bednarski alongside Marcin Skowroński (of Fatigue), who was also responsible for the mixing and mastering of the album, and displaying a killer artwork and layout by vocalist Julian Schutta, the new album by Julian Suchtta on vocals and Marek Gross on vocals, guitars and bass, with the support of session drummer Igor Jażdżewski, takes no prisoners in their quest for extreme, ruthless music, offering nine anthemic hymns of destruction for admirers of the darkest side of Death and Thrash Metal.

The duo wastes no time and kick off their demented festivities with Amyotrophy I, with their devilish gnarls and the ruthless blast beats by Igor sounding absolutely explosive; whereas Bowel Fane presents cryptic, vile words vociferated by the duo (“Awakened in the cryptic maze / Helpless cries shove off the walls / My blind soul tries to find the exit”) amidst a devastating Blackened Thrash Metal sonority. Then they invest in a pure Death Metal sound in Waste of Flesh, with the dirty, slashing riffage by Marek walking hand in hand with their raspy guttural; and a song title like Disfigured Ones reeks of Death Metal, and Julian and Marek make sure the music also lives up to the genre with their demolishing roars and riffs, supported by Igor’s demented drumming. After that, Fiend then presents hints of Thrash Metal, Hardcore and Crust, perfect for slamming into the pit like there’s no tomorrow.

The rumbling bass by Marek ignites another display of undisputed Death Metal in Mouth Full of Bones MMXXV, with the old school beats and fills by Igor adding an even more primeval touch to the song. Then we face the dark, sinister interlude Law of the Snake, setting the stage for Büddah to destroy our senses with Serpent’s Scourge, by far the heaviest of all songs, featuring guest vocalists Damian Bednarski and Łukasz Pieszczyński, and with its cryptic lyrics (“I faced the mask of thousand tongues / with eyes surrounding its mouth / It’s lurking voice crawling under my nails / oviposited on my bearing / On my bearing…”) matching perfectly the sonic savagery blasted by Julian and Igor. Finally, they go full circle with the second “part” of the album title, Amyotrophy II, where Marek does an amazing job with both his riffs and solos, going experimental halfway through it before ending on a melodic, introspective manner.

Julian and Marek need a little less than 40 minutes in Amyotrophy to show the entire world of heavy music that the name Büddah is already a reality, blasting our speakers and melting our faces with their undisputed fusion of extreme music genres and subgenres in the best Polish style imaginable. Furthermore, if you want to show such a hardworking duo your admiration and support, you can start following them on Facebook and on Instagram, stream their caustic compositions on any available platform such as Spotify, and above all that, purchase their incendiary debut offering from their own BandCamp, as well as from the Godz ov War Productions’ BandCamp or webstore. Amyotrophy is the strongest effort to date by such an up-and-coming duo hailing from the fires of Poland, and based on the quality of the music found throughout the album, we can rest assured we’ll hear a lot more from them in the foreseeable future.

Best moments of the album: Amyotrophy I, Disfigured Ones and Serpent’s Scourge.

Worst moments of the album: None.

Released in 2026 Godz ov War Productions

Track listing
1. Amyotrophy I 5:33
2. Bowel Fane 2:41
3. Waste of Flesh 3:27
4. Disfigured Ones 4:41
5. Fiend 5:11
6. Mouth Full of Bones MMXXV 4:33
7. Law of the Snake 1:34
8. Serpent’s Scourge 4:26
9. Amyotrophy II 6:58

Band members
Julian Suchtta – vocals, djembe on “Serpent’s Scourge”
Marek Gross – vocals, guitars, bass, shakers on “Serpent’s Scourge”

Guest musicians
Igor Jażdżewski – drums (session)
Damian Bednarski – vocals on “Serpent’s Scourge”
Łukasz Pieszczyński – vocals on “Serpent’s Scourge”

Album Review – Scrüda / Extreme Speed Violence EP (2026)

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This unrelenting three-headed beast from Poland is back with their trademark avalanche of speed and violence in the form of their new and explosive eight-minute EP.

“We are a sword, you are a head…”

Formed in 2021 in the beautiful city of Gdańsk, a port city on the Baltic coast of Poland, the unrelenting three-headed beast known as Scrüda is back wwith more of their barbarian hybrid of Black, Thrash and Speed Metal in their new EP poetically titled Extreme Speed Violence, less than one year after their fulminating debut full-length opus Fury Among Ruins. Recorded by Michał Daschke at Black Peak Records, mixed and mastered by Will Killingsworth at Dead Air Studios, and with a killer, primeval artwork by Fda and layout by WS Artworks, the brand new offering by vocalist and bassist The Conqueror, guitarist Firecracker and drummer Wall of Flesh picks up where Fury Among Ruins left off, bringing forward the band’s trademark avalanche of speed and violence in the form of first-class Extreme Metal.

The title-track Extreme Speed Violence is definitely a bestial way to kick off the EP, with Wall of Flesh demolishing his drums while The Conqueror vomits the song’s demented words rabidly (“I’m totally insane / My heart pumping rage / Completely possessed / Under the demon of revenge / Extreme speed violence”). Their infernal feast of Blackened Thrash Metal goes on in Like a Dog, where Firecracker sets fire to the atmosphere with his unstoppable riffage, and they put the pedal to the metal in the chaotic extravaganza titled Chaos, with Wall of Flesh once again hammering his drums supported by The Conqueror’s menacing bass lines. Get ready to slam into the pit like a true metalmaniac with It’s About You, with their razor-edged, no shenanigans blend of Thrash and Speed Metal sounding demonic. Then Firecracker ignites a Motörhead-infused Speed Metal attack entitled Shameless, reminding me of the early days of Megadeth (which is obviously awesome); followed by Pain, one minute of sheer savagery showcasing another round of demented words roared by The Conqueror (“I feel the pain, my body’s worn and broken / I wear my crown of suffering and pride / All is lost, not a hopeful word is spoken / I see the emptiness, in a grief I drown inside”).

The Conqueror, Firecracker and Wall of Flesh need less than nine minutes to simply destroy everything and everyone that crosses their path in Extreme Speed Violence, and I’m sure it won’t take long for those relentless metallers to return with another slab of sheer aggression in the vein of their new EP. If you want to know more about the band, their music, their live performances (which should be simply phenomenal) and so on, you can find them on Facebook and on Instagram, and don’t forget to also stream their depraved thrashing tunes on any platform like Spotify, and of course to grab a copy of their explosive eight-minute EP from their own BandCamp or from the Godz ov War Productions’ BandCamp or webstore. Scrüda are gearing up for their next hunt armed with Extreme Speed Violence, and if you decide to not join their demonic brigade, I feel sorry for you body and soul.

Best moments of the album: Extreme Speed Violence and Shameless.

Worst moments of the album: None.

Released in 2026 Godz ov War Productions

Track listing
1. Extreme Speed Violence 1:33
2. Like a Dog 1:24
3. Chaos 1:35
4. It’s About You 1:03
5. Shameless 1:54
6. Pain 1:12

Band members
The Conqueror – vocals, bass
Firecracker – guitars, backing vocals
Wall of Flesh – drums

Album Review – Morbonoct / No One Knows We’re Dying (2025)

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Let the ambience take you over in the fifth studio album by this up-and-coming Cosmic Black Metal entity from outer space.

Having started back in 2021 as a studio project by vocalist and multi-instrumentalist Aleksandr Medvediev in his hometown of Kherson, Ukraine, but currently located in Szczecin, Poland, the otherworldly Symphonic Black Metal entity known as Morbonoct evolved into a more serious and powerful beast in 2023 when vocalist and lyricist David Welnicki joined the band. Now in 2025, after the releases of Anmet (2021), Chorna bezodnya (2022), Galactic Gloom (2023), and The Highest Purpose (2024), the duo returns in full force with their fifth opus, entitled No One Knows We’re Dying. Recorded, mixed and mastered by Aleksandr himself, who also took care of the album’s cryptic artwork, the album offers more of the project’s blend of Cosmic Black Metal, continuing with their exploration of the captivating space theme while presenting dense atmospheric canvases in the background.

It doesn’t take too long for Aleksandr to go full Black Metal in The Creation, offering us all 11 minutes of visceral passages, breaks and variations, with his beats and fills sounding truly insane while Dawid barks and growls nonstop. Lost also surpasses the ten minute mark, warning the listener the album is not for the lighthearted, blending Atmospheric Black Metal moments with the undisputed, raw aggression of Black Metal; followed by Cold Wind, one of the heaviest songs of the album, if not the heaviest, showcasing an amazing job done by Aleksandr on both the guitars and drums, providing Dawid with exactly what he needs to vociferate sheer Black Metal fury. Drifting Away is more contemporary and melodic, also starting in an ethereal way led by the whimsical keys by Aleksandr, offering elements of Doom Metal to spice things up a bit while Dawid’s vocals exhale anguish, and lastly, an extraterrestrial intro slowly morphs into the Atmospheric Black Metal title-track No One Knows, We’re Dying, with Aleksandr crushing his drums majestically in a lecture in progressiveness, heaviness, intricacy and darkness.

“No One Knows We’re Dying traces the inevitable cycles of life – from the beauty of creation to the weight of existence, and finally, to a cold, inevitable silence. The project embraces raw authenticity, with the mix and master intentionally restrained to preserve the natural texture of the vocals. Minimal post-processing allows every imperfection to speak truthfully, amplifying the emotional resonance of the performance. The instrumental foundation forms a cohesive narrative that evokes deep melancholy and a quiet sense of hopelessness, guiding the listener through a hauntingly introspective experience,” commented Aleksandr, and you can be part of Morbonoct’s cosmic journey by following the project on Instagram, by streaming their unique albums on Spotify, and of course by purchasing No One Knows We’re Dying from BandCamp. Or in other words, relax, take a deep breath, and simply let the ambience take you over in the excellent new album by this up-and-coming Cosmic Black Metal entity from outer space.

Best moments of the album: Cold Wind and No One Knows, We’re Dying.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. The Creation 10:55
2. Lost 10:43
3. Cold Wind 11:45
4. Drifting Away 11:16
5. No One Knows, We’re Dying 12:07

Band members
Dawid Wełnicki – vocals
Aleksandr Medvediev – guitars, bass, keyboards, drums

Album Review – Impermanence / Anicca (2025)

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This five-headed Technical Death and Black Metal beast from Poland will attack armed with their debut offering, portraying the fragility and transience of human life.

Forged in the fires of Kraków, Poland by the end of 2023, the Technical Death and Black Metal beast known as Impermanence is unleashing hell with the release of their debut offering, entitled Anicca. Recorded at Studio Poziom -1, mixed and mastered at Dahaka Productions, and displaying a beyond Stygian yet captivating artwork by Alicja Michalec, the debut opus by Mateusz Bednarz on vocals, Wojciech Wróbel and Paweł Hernik on the guitars, Bartłomiej Fitas on bass, and Konrad Pieczara on drums portrays the fragility and transience of human life, all embraced by the band’s unrelenting blend of extreme music, being therefore highly recommended for fans of renowned acts from the Extreme Metal scene the likes of Behemoth, Belphegor, Nile, and God Dethroned, just to name a few.

The album’s phantasmagorical, eerie Intro will embrace us in pitch black darkness before the band rips our hearts out with Sorrodise, with both Wojciech and Paweł delivering a wild fusion of Black and Death Metal through their flammable riffs accompanied by the rumbling bass by Bartłomiej. In other words, the album couldn’t have started in a more compelling way. From Mirage to Lust brings elements from the current Scandinavian Melodic Death and Black Metal scene, with Mateusz taking the lead with his devilish screams, and the band then goes absolutely mental in the Melodic Black Metal beast entitled Apocalypse, with Konrad bringing forward sheer heaviness with his classic beats and fills, inviting us all to slam into the pits of the netherworld.

There’s no sign of the band slowing down at all; quite the contrary, this five-headed creature of extreme music will pulverize us all with Spiritual War, where the guitars by Wojciech and Paweł exhale madness and sulfur; whereas their metallic sounds continue to darken the skies in Fugitive, with tons of intricacy flowing from their riffs, bass and drums, all enfolded by Mateusz’s venomous roars. As expected, there’s no such thing as “sounding mellow” or “happy music” to those guys, and they invest in their most Behemoth-inspired sonority in Ascension Through Defiance, with their riffage cutting our skin deep while Konrad pounds his drums nonstop in the name of Polish Blackened Death Metal for our absolute delight. And lastly, we face the hard-hitting Crumbling, deviating a bit form their core Black and Death Metal, but still sounding tight and heavy as usual.

“Anicca is a hymn to the fragility that marks our existence. The album’s name is derived from Buddhist terminology and signifies impermanence. The lyrical layer explores themes of transience and the search for purpose in the world around us. Songs begins and ends with the ticking of a clock, clearly marking both the start and the conclusion of the story being told. Each track presents a different narrative, offering a unique perspective on the somber aspects of human nature. This concept extends beyond the lyrics, shaping the band’s overall artistic identity,” commented the band about their amazing newborn baby, and you can get in touch with them and know more about their music, tour dates and plans for the future on Facebook and on Instagram, stream their caustic music on YouTube and on Spotify, and grab a copy of the excellent Anicca from their own BandCamp, from the Satanath Records’ BandCamp or webstore, or simply by clicking HERE. In the end, we are all fragile beings, we are not permanent, and the music found in Anicca perfectly reminds us of how hard it is to face such a harsh truth.

Best moments of the album: Sorrodise, Apocalypse and Ascension Through Defiance.

Worst moments of the album: Crumbling.

Released in 2025 Satanath Records

Track listing
1. Intro 1:24
2. Sorrodise 4:20
3. From Mirage to Lust 5:16
4. Apocalypse 3:23
5. Spiritual War 4:12
6. Fugitive 6:06
7. Ascension Through Defiance 5:03
8. Crumbling 5:56

Band members
Mateusz Bednarz – vocals
Wojciech Wróbel – guitars
Paweł Hernik – guitars
Bartłomiej Fitas – bass
Konrad Pieczara – drums

Album Review – Sothoris / Domus Omnium Mortuorum (2025)

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Enter the house of all the dead to the sound of the scorching newborn spawn by this ruthless Blackened Death Metal horde from Poland.

Forged in the fires of Miłosław, Poland in 2016, the ruthless Blakened Death Metal horde Sothoris arises from their Stygian lair once again to darken the skies to the sound of their newborn spawn, entitled Domus Omnium Mortuorum, or “house of all the dead” in English, following up on their 2022 sophomore album Wpiekłowstąpienie. Recorded, mixed and mastered by Krzysztof Kostencki at Tetra Wave Studio, with artwork by Bartosz Szczepaniak and Maksymilian Krasoń, and band photo session by Maciej “Wuja” Chomik, the new album by vocalist Raven, guitarists Hex and Setrial, bassist Lord Ghash, and drummer Hrist sees the band offer their trademark mixture of Black Metal ferocity and Death Metal power while its lyrical layer showcases a study of human wickedness, being therefore a must-listen for fans of extreme music with a deep and dark meaning.

A wicked intro gradually morphs into a scathing beast named Wieczornica (“evening party”), spearheaded by the hellish riffs by Hex and Setrial, whereas Szkarłat (“scarlet”) offers a more visceral display of Blackened Death Metal, with Raven gnarling rabidly like a demonic entity while the rumbling bass and blast beats by Lord Ghash and Hrist sound utterly demolishing. Then with an incandescent name like Lawa (“lava”) the music had to be absolutely scorching, which is exactly what we get, with the venomous roars by Raven crushing our putrid souls mercilessly, whereas Hrist then hammers his drums in the Behemoth-fueled Byłem Faustem (“I was Faust”), which will surely make their world renowned countrymen proud.

Dzieci Diabła (“the devil’s children”) is another thunderous display of extreme music by Sothoris, with the band’s guitar duo firing pure malignancy through their unstoppable, vile axes, and the band takes no prisoners in their quest for Black and Death Metal in Pro Memoria, or “for the sake of memory” from Latin, led by the inhumane drumming by Hrist. Needless to say, it should sound brilliant if played live. Then presenting elements of progressive music added to their core essence we have Dym (“smoke”), where Hex and Setrial once again steal the show with their heavy-as-hell riffage, and last but not least, we’re treated to one final metallic cult by Sothoris titled Piętno (“stigma”), where the bass lines by Lord Ghash will hammer your cranial skull mercilessly.

“This album uses a certain artistic game. We go back in time to the 19th century. The starting point for this idea, the inspiration is the monument of Karl Robert Lachmann, the only son of a German, aristocratic family, who died in the Franco-Prussian War (1870-1871), vandalized by cemetery robbers, located in the mausoleum in Jałowiec,” commented frontman Raven, and if you have what it takes to enter the band’s house of the all dead, you can find those Stygian beings on Facebook and on Instagram, stream their sulfurous music on Spotify, and purchase Domus Omnium Mortuorum from BandCamp or from the Fetzner Death Records webstore as a CD or a cassette. But you better be warned, once you enter such a vile and cryptic house, your life (and death) will never be the same.

Best moments of the album: Szkarłat, Byłem Faustem and Pro Memoria.

Worst moments of the album: Dym.

Released in 2025 Fetzner Death Records/ADG Records

Track listing
1. Wieczornica 5:31
2. Szkarłat 5:43
3. Lawa 6:39
4. Byłem Faustem 6:03
5. Dzieci Diabła 4:53
6. Pro Memoria 4:52
7. Dym 4:57
8. Piętno 5:25

Band members
Raven – vocals
Hex – lead guitars
Setrial – rhythm guitars
Lord Ghash – bass
Hrist – drums

Album Review – Syllogomania / Syllogomania (2025)

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An uncanny Post-Black Metal entity from Poland will attack your senses with its debut opus, a record of the past while also representing the chaos we constantly stumble over in our present and future.

The term “syllogomania” refers to the compulsive hoarding of items, leading to a cluttered living space and significant disruption to social and professional life, often stemming from loneliness, social isolation, and a lack of motivation to maintain order. In the underground of heavy music, Syllogomania is the brand new Post-Black Metal project by the uncanny vocalist and multi-instrumentalist A.I.G., formed in Kraków, Poland between 2021 and 2022 from the ashes of his previous band. Recorded at A.I.G.’s own home studio, mixed and mastered by Przemysław Nowak at Impressive-Art Studio, and displaying a sinister artwork by A.I.G. himself, his debut self-titled album is a record of the past, while also representing the chaos we constantly stumble over in our present and future, the moments we see the lives of our oldest relatives come to an end, and finally our own life that we have already lost from the start, which we lived in vain.

The title-track Syllogomania is very experimental, cryptic and demented, with A.I.G. delivering some circus-inspired sounds that will captivate your senses and drag you to total darkness before he starts distilling his devilish gnarls, followed by Drink The Fire, Fan The Flames, a more straightforward Blackened Death Metal beast by our lone wolf, with all beats and guitar lines reeking of absolute madness. A.I.G. then speeds things up and crushes our damned souls with his harsh and caustic Post-Black Metal in Of Emptiness, alternating between sheer savagery and epic neck-breaking moments; and continuing his path of total devastation and hatred he offers us all Slumber, where his anguished roars will penetrate deep inside your putrid mind like a vile parasite. Lastly, we face Modlitwa, or “prayer” from Polish, featuring guest vocals by Stawrogin (Gruzja, Odraza, Totenmesse), the most apocalyptic ending possible to the album, sounding very dynamic, diverse and full of nuances and layers.

A solitary, heavy, aggressive and rotten Black Metal creature from the dust-choked streets of Krákow, Syllogomania‘s debut record is an unforgiving assault on the senses, an intense dive into the chaos of a mind consumed by its own existence, highly recommended for fans of Shining, MGLA, Forgotten Tomb, Gaerea, Odraza, Aenaon, and Psychonau. You can find more information (but not too much) about the mysterious, grim Syllogomania on Facebook and on Instagram, and purchase the album from the project’s own BandCamp or from the Loudriver Records’ BandCamp or webstore. In a nutshell, Syllogomania is a brutal snapshot of a childhood choked by mould, insects, and an unrelenting pile of dust covered boxes, untouchable, suffocating and the still-coming madness we keep falling into. Dust. Emptiness. Anger. Nothing more, nothing less.

Best moments of the album: Of Emptiness and Slumber.

Worst moments of the album: None.

Released in 2025 Loudriver Records

Track listing
1. Syllogomania 6:04
2. Drink The Fire, Fan The Flames 4:14
3. Of Emptiness 6:27
4. Slumber 7:28
5. Modlitwa 8:22

Band members
A.I.G. – vocals, guitars, bass, drum programming

Guest musician
Stawrogin – vocals on “Modlitwa”

Album Review – +MROME+ / Boneyard Twist (2025)

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Poland’s own uncanny force is back with its fourth studio opus, offering nine raw tracks that represent a return to the project’s dark roots from the mid 90’s.

Reaping the harvest on scorched soil since their inception in the already prehistorical year of 1995, Andrychów, Poland’s own Black/Death Metal entity +MROME+ is back three years after Barbaric Values with their fourth installment, entitled Boneyard Twist. Recorded live in studio during a one-day session on November 18, 2023 at Heaven’s Sound Studio under the ear of Marcin Piekło, who also worked out the final sound of the album, with vocals recorded in February 2024 at Piekłoniebo, and adorned by a painting by Mateusz Gawęda, the new album by Ataman Tolovy on vocals and synths, Key V on the guitars, and P on drums contains nine raw tracks that represent a return to their dark roots from the mid 90’s, inspired by the First Wave Black Metal and complemented by hard-shell lyrics dealing with grave residents, history, disabilities of body and mind, necromancy, and even monks exploding.

The party begins in full force with Figures, with their experimental, idiosyncratic blend of Black and Death Metal being boosted by the venomous roars by Ataman Tolovy. Key V then delivers his trademark scathing riffs in Hypercarnivore, accompanied by the Doom Metal-infused drums by P, and of course the final result is a haunting beast of extreme music; and the harsh vociferations by Ataman Tolovy will send shivers down your spines in Mind upon Matter, another blast of primeval Black and Death Metal by the trio. Aristocrat, the first single of the album, also presents the heavy-as-hell riffage by Key V while P dictates the song’s Stygian pace behind his drums, followed by Pigheart, a hammering tune by such an uncanny trio, with Ataman Tolovy’s vocals sounding even more enraged and sinister.

Then rumbling, metallic sounds are the main ingredients in Of Man and Lamb, offering an avalanche of raw, cryptic Black and Death Metal where Ataman Tolovy roars and screams manically nonstop, flowing into the disruptive (yet a bit lengthy) interlude Bonemass, which sets the tone for the beautifully titled Embarrassment of Whores, leaning towards a fusion of Death and Doom Metal, with the sluggish beats by P matching perfectly with the vile guitar lines by Key V, resulting in a lecture in extreme music by those Polish metallers. And lastly, we’re treated to the also venomous The Opening Bat, which starts in a horror movie-like mode before morphing into a rockin’ feast spearheaded by Key V’s slashing riffage.

+MROME+ continue to entirely be a studio project focused on creative process and concepts behind the music, lyrics and graphics in Boneyard Twist (which is by the way available in full on YouTube), staying away from any type of social media except for their presence on BandCamp and on Spotify (although their new album is not available there yet), and that Stygian approach matches perfectly with the music found in their newborn spawn. Boneyard Twist is raw and unique, devilish and caustic, and while those mysterious musicians from Poland keep breathing, we can rest assured the world will have to face more scathing albums like that in the coming years, and that’s simply awesome.

Best moments of the album: Hypercarnivore, Pigheart and Embarrassment of Whores.

Worst moments of the album: Bonemass.

Released in 2025 NRA

Track listing
1. Figures 4:39
2. Hypercarnivore 4:04
3. Mind upon Matter 2:49
4. Aristocrat 3:39
5. Pigheart 3:57
6. Of Man and Lamb 3:22
7. Bonemass 2:39
8. Embarrassment of Whores 5:24
9. The Opening Bat 4:43

Band members
Ataman Tolovy – vocals, synthesizer
Key V – guitar
P – drums

Album Review – Eight Lives Down / Fates (2025)

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This multinational Progressive/Groove Metal four-headed creature is back with its sophomore opus, looking at forces beyond human control and how we respond in the face of helplessness.

Looking at forces beyond human control and how we respond in the face of helplessness, building and exploring tensions created from a sense of unease, Fates, the sophomore album by the multinational Progressive/Groove Metal four-headed creature Eight Lives Down, is a journey into the shadows of mortality. Recorded and mixed by Dan Baune at Tectonic Tone, mastered by Rasmus Andersen at Raw Sound Studio, and with a classy artwork by Diana Sawicka of What the Moon Brings, the follow-up to their 2020 debut Humans turns inward and downward, fixating on death, decay, and forces beyond human control. It’s a gaze into the abyss, and a study in how we respond when all sense of agency is stripped away, all masterfully brought into being by Aliki Katriou on vocals, Paul Allain on the guitar, Marcin Orczyk on bass, and Rodrigo Moraes Cruz on drums.

Dark and sluggish sounds kick off the opening tune Void before exploding into a modern-day blend of Groove and Progressive Metal, all embraced by Aliki’s vicious, raspy vociferations, who also declaims the words to the next song, titled Dog’s Breakfast, with tons of passion (“Everything changed seemingly overnight / Everything messed up and suddenly felt so right / Everyone covered eyes and ears / And climbed inside the anthill / Of despair and death / To practice learned helplessness”) amidst an overdose of heaviness. Fishbones sounds less violent while also leaning towards more melodic and experimental sounds, with Paul’s guitar transpiring electricity; and Aliki’s dark and pensive vocals are perfect for Phobia, again exploding into a feast of heavy and groovy sounds with Rodrigo dictating the song’s frantic pace with his classic beats and fills. Deicide brings forward more of the band’s caustic riffs supported by Marcin’s heavy-as-hell bass and Rodrigo’s killer beats; and Aliki sometimes sounds like a Death Metal version of the iconic Mike Patton, which is obviously awesome, like in the visceral tune The Point.

Then the band switches gears to a more melancholic, darker sonority in Green Light in the Distance without forgetting to blast our faces with their harsh sounds and tones; and the quartet still has a lot of fuel to burn, with Left Behind being a very good example of how they can mix harsher metal sounds with nuances from several non-metal styles. Marcin then blasts his bass, extracting pure metallic sounds in Storm, while Aliki keeps declaiming the song’s Stygian words nonstop (“It starts like liquid, water / One and the same / And I find comfort in the shelter / Hiding from the blame / I feed off you every day / And you infect my mind / In this race of coming out ahead / I’ve already fallen behind”). Constantinople is a bit disappointing compared to the rest of the album, sounding generic at times, but the band gets back on track in The Process of Dying, one of the most diverse, dynamic and vibrant of all songs, with Aliki kicking some serious ass on vocals. Furthermore, the bonus track (available on Spotify) featuring the iconic metal choir Hellscore, directed by Noa Gruman, sounds even more powerful.

Musically, Eight Lives Down maintained their progressive spin, with raw thrash foundations audibly peaking through in Fates (available in full on  Spotify), while the album weaves Greek Zeibekiko, snotty Punk, Black Metal, NWOBHM, and even Brazilian Forró rhythms into a dynamic sonic landscape, being therefore highly recommended for fans of System of a Down, Rage Against the Machine, Sepultura, Carcass, Pantera, Prong, Faith No More, Lamb of God, and Jinjer. you can find those unstoppable metallers on Facebook and on Instagram, subscribe to their YouTube channel, and purchase Fates from their own BandCamp page, from their webstore, or by clicking HERE. In other words, simply sit down, relax, and descend into the abyss of heavy music crafted by Eight Lives Down. You won’t regret the experience at all.

Best moments of the album: Void, Phobia, Storm and The Process of Dying.

Worst moments of the album: Constantinople.

Released in 2020 Independent

Track listing
1. Void 4:51
2. Dog’s Breakfast 5:39
3. Fishbones 4:35
4. Phobia 4:28
5. Deicide 4:20
6. The Point 3:17
7. Green Light in the Distance 7:16
8. Left Behind 4:48
9. Storm 7:33
10. Constantinople 4:56
11. The Process of Dying 7:17

Spotify bonus track
12. The Process of Dying (Hellscore version) 7:14

Band members
Aliki Katriou – vocals
Paul Allain – guitar
Marcin Orczyk – bass
Rodrigo Moraes Cruz – drums

Guest musicians
Hellscore – metal choir on “The Process of Dying”

Album Review – Eteritus / Odium et Irae dei Super Vos (2025)

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This Polish Black and Death Metal horde returns with their fourth studio opus, overflowing a dark and heavy atmosphere while still presenting their share of brutality and melody.

Musically directed towards Black Metal, but still showcasing the band’s trademark Death Metal core, Odium et Irae dei Super Vos, or “the hatred and wrath of God be upon you” from Latin, marks a new era for Toruń, Kujawy-Pomerania, Poland-based Black/Death Metal entity Eteritus. Recorded at Slav Sound Studios (guitars) and at Sala Prób Toruń (vocals, bass, drums), mixed and mastered by Mariusz Konieczny at Heavy Gear Studio, and displaying a sinister artwork by Moon Ring Design, the new album by vocalist Oz, guitarist Slav, bassist Kinio, and drummer Nitro overflows a dark and heavy atmosphere while still presenting their share of brutality and melody, being therefore tailored for admirers of the music by Entombed, Dismember, Gorefest, and Vader, among several other servants of total darkness.

The piercing, devilish guitars by Slav are suddenly joined by Nitro’s blast beats in the opening tune Mystic Trifixion, a solid, no shenanigans fusion of Black and Death Metal, whereas an atmospheric and melancholic start to the acoustic guitars by Slav morphs into a Doom Metal-infused aria entitled Semper Fidelis, with Oz darkly vociferating the song’s caustic words. Call of the Rising Darkness carries a poetic name for an overdose of Blackened Death Metal led by Nitro’s intricate yet violent beats and fills; and Slav and Kinio keep blasting their stringed weapons in Ashes over the Fire, offering more of the band’s sulfurous blend of Death Metal. Then the menacing bass by Kinio kicks off the infernal Celebration ov Wolves, bringing forward a demented hybrid of Black, Death and Doom Metal where Oz gnarls like a demonic entity; while Dark Crusader, the second to last song of the album, keeps darkening the ambience with Nitro once again taking the lead with his classic drumming. And last but not least, the quartet will crush our damned souls one final time with In the Arms of Endless Night, a multi-layered aria from the underworld showcasing an overdose of vile riffs and roaring vocals for our total delight.

Following up on the releases of their 2014 debut EP Tales of Death, their 2016 first full-length Following the Ancient Path, their 2018 sophomore opus Order of Death, and their third installment Rotten Transition, released in 2021, Odium et Irae dei Super Vos represents another solid step in the career of Eteritus, who are by the way waiting for you on Facebook with news, tour dates, and more of their demented music. You can also stream all of their excellent albums on Spotify, and of course grab a copy of their sulfurous new album from their own BandCamp or from Via Nocturna’s BandCamp, keeping the fires of Polish extreme music burning as bright as possible, once again proving that if Black and Death Metal are your true passion, you must move to Poland.

Best moments of the album: Semper Fidelis, Celebration ov Wolves and In the Arms of Endless Night.

Worst moments of the album: Ashes over the Fire.

Released in 2025 Via Nocturna

Track listing
1. Mystic Trifixion 5:04
2. Semper Fidelis 5:03
3. Call of the Rising Darkness 5:29
4. Ashes over the Fire 3:07
5. Celebration ov Wolves 6:16
6. Dark Crusader 4:24
7. In the Arms of Endless Night 7:58

Band members
Oz – vocals
Slav – guitars
Kinio – bass, backing vocals
Nitro – drums

Album Review – Amalekim / Shir Hashirim (2025)

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This obscure horde from Italy and Poland returns with their caustic third studio offering, encasing more dissonant sounds while embracing once again the occult, the profane, and the hermetic.

Formed in 2020 by vocalist and guitarist Mróz, Italian/Polish Black Metal horde Amalekim (by the way, Amalek was a nation that harassed the rear caravan of Israelites during the Exodus, seen as the absolute nemesis of the Jews) continues to trace their obscure path in 2025 with their third full-length offering, titled Shir Hashirim, or “שִׁיר הַשִּׁירִים‎”, a Hebrew phrase that translates to “Song of Songs”, the follow-up to their 2023 opus Avodah Zarah. Mixed and mastered by the band’s own bassist Azghâl, with a stunning cover illustration once again painted by Igor Datkiewicz, the new album by the aforementioned Mróz and Azghâl alongside guitarist Atanor and drummer Ktulak walks a more innovative path, encasing more dissonant sounds while embracing once again the occult, the profane, the hermetic, not only in the music, but also in the concept and lyrics. The parable of the two mothers and Solomon, as shown on the cover, lends itself to a complex interpretation, such as the role of power and the choice to submit to it, dogmatic authority, divine law, and how these references, crystallized and widespread in everyday existence, are in reality fragile and not so unshakeable.

Their devilish Black Metal mass begins with the beyond phantasmagorical Chant I: Ra’al Zorem, offering an overdose of blast beats, venomous gnarls and an endless sense of hatred and despair; whereas as imposing as the opening tune, the title-track Chant II: Shir Hashirim will demolish your senses to the slashing riffs by Mróz and Atanor while also presenting haunting background sounds and vocalizations, flowing into Chant III: Mesharet HaShilton, which after a serene, eerie start explodes into an overdose of Black Metal led by Ktulak’s hammering drums. And their fourth offering, entitled Chant IV: Sodot HaYekum, exhales a humongous amount of darkness and sulfur, with Mróz roaring with tons of anger and anguish in his blackened heart.

Mróz and his henchmen continue to crush our putrid bodies in Chant V: Tanur Nitzchi, with Azghâl and Ktulak bringing forward their caustic Marduk-inspired kitchen; and there’s no sign of peace or hope in Chant VI: Tisha Daltot, with the visceral riffage by Mróz and Atanor walking hand in hand with Ktulak’s unstoppable blast beats in the name of Black Metal. Then such an amazing horde presents their most demonic side in Chant VII: Haka’as HaNachash, a lecture in old school and modern-day Black Metal where Mróz sounds deeply infuriated on vocals. Lastly, the album ends on a high and Mephistophelian note with Chant VIII: Mishteh Malkhuti, a slab of devilish Black Metal magic spearheaded by the always demented drums by Ktulak.

As in their previous work, the biblical metaphor is at the heart of Shir Hashirim, while the music remains as caustic, venomous, occult and devilish as it has been a constant in the music by Amalekim. There are so many layers and different ways to interpret their music it’s hard to put all that into words; however, you can always check what the band’s up to on Facebook and on Instagram to get to know more about them, their music, beliefs and ideas, as well as their tour dates, and not only stream their unique creations on Spotify, but also show them your utmost support by purchasing their newborn spawn from their own BandCamp, from the Avantgarde Music’s BandCamp, or from Sound Cave. The music found in Shir Hashirim might not be an easy listen for the average rock and metal fan, but once you dive deep into their world of harsh and occult Black Metal, you won’t ever want to come back.

Best moments of the album: Chant II: Shir Hashirim, Chant IV: Sodot HaYekum and Chant VII: Haka’as HaNachash.

Worst moments of the album: None.

Released in 2025 Avantgarde Music

Track listing
1. Chant I: Ra’al Zorem 5:14
2. Chant II: Shir Hashirim 4:33
3. Chant III: Mesharet HaShilton 4:03
4. Chant IV: Sodot HaYekum 4:56
5. Chant V: Tanur Nitzchi 4:55
6. Chant VI: Tisha Daltot 4:23
7. Chant VII: Haka’as HaNachash 4:17
8. Chant VIII: Mishteh Malkhuti 5:50

Band members
Mróz – vocals, guitars
Atanor – guitars, backing vocals
Azghâl – bass, backing vocals
Ktulak – drums