Tag Archives: portugal

Album Review – Moonspell / Far from God (2026)

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Born out of five years of creative searching, doubt and ultimate rediscovery, the brilliant new opus by these Portuguese Dark Metal masters shines like a black diamond, luminous yet shadowed in texture and color.

Born out of five years of creative searching, doubt and ultimate rediscovery, the embracing Far from God, the new opus by Portuguese Dark Metal masters Moonspell is a work that feels like a rebirth, darker, sharper and emotionally unfiltered, following on the band’s more recent releases Extinct (2015), 1755 (2017), and Hermitage (2021). Produced, mixed and mastered by Jaime Gómez Arellano at Orgone Studios, and displaying another darkly beautiful artwork by Eliran Kantor, the new album by frontman Fernando Ribeiro, guitarist Ricardo Amorim, bassist Aires Pereira, keyboardist Pedro Paixão, and drummer Hugo Ribeiro shines like a black diamond, luminous yet shadowed in texture and color, both musically and sonically.

The enfolding guitar lines by Ricardo kick off the beautiful Cross Your Heart, with its poetic lyrics being declaimed by Fernando in great fashion (“Crosses and flowers by the side of the road / Someone died here, they were so fucking young / Skulls and bones, buried in the dirt / Morning has broken, it’s the wake of the ghost”); and in Far from God we face more of their vampiric lyrics (“I am not of this earth and I am not of this time / I don’t even exist, I could never belong / I am far from God”) while Aires blasts his bass in the name of absolute darkness in a lecture in Gothic Metal. Aires’ bass also ignites the band’s dark engine in Biblical, with the keys by Pedro bringing an extra touch of finesse to their music; and the stunning The Great Wolf in the Sky features Spanish musician Alicia Nurho on violin, which clashes majestically with the thunderous kitchen crafted by Pedro and Hugo, not to mention Fernando’s deep vocals sound hypnotizing.

Then they blast one of the most atmospheric yet also one of the heaviest songs of the album, titled Your Promise of Light, alternating between truly phantasmagorical moments and bursts of violence, all reflected on Fernando’s dynamic vociferations; whereas For the Love of Mortals reminds me of some of the songs from Extinct, where the band blends Gothic Metal with atmospheric and melancholic nuances, resulting in stunning ballad by Moonspell. Our Freedom to Fall is a hard hitting tune which will inspire us to bang our heads in pitch black darkness, presenting elements of Doom Metal to give it an extra kick, in special through Hugo’s pounding drums; and the scorching riffs by Ricardo bring an overdose of heaviness to Reconquista, offering six minutes of Fernando’s anguished, Stygian vocals, therefore concluding the album on a truly obscure and venomous mode.

Rather than bending to modern trends, Moonspell double down on identity and substance in Far From God, a bold and beautiful statement of Gothic Metal in its purest form, sounding dark, romantic, dramatic and unapologetically heavy. If you want to follow the band in their path to the dark side, you can find those Portuguese veterans on Facebook, Instagram and YouTube, stream their unique music on any platform like Spotify, and of course purchase the darkly enfolding Far from God from BandCamp or from Napalm Records. In the end, Far from God is not only a powerful reminder that Moonspell remain a defining force in the genre they helped shape, but an album that will certainly help save Gothic Metal from boredom and predictability.

Best moments of the album: Far from God, The Great Wolf in the Sky, For the Love of Mortals and Reconquista.

Worst moments of the album: None.

Released in 2026 Napalm Records

Track listing
1. Cross Your Heart 4:48
2. Far from God 5:06
3. Biblical 5:00
4. The Great Wolf in the Sky 5:50
5. Your Promise of Light 5:01
6. For the Love of Mortals 5:45
7. Our Freedom to Fall 4:41
8. Reconquista 6:11

Band members
Fernando Ribeiro – vocals
Ricardo Amorim – guitars
Aires Pereira – bass
Pedro Paixão – keyboards
Hugo Ribeiro – drums

Guest musician
Alicia Nurho – violin on “The Great Wolf in the Sky”

Album Review – Gaerea / Loss (2026)

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Portugal’s own Post-Black Metal masked collective is back again from the underworld, navigated countless darkened shades of metal to arrive at their stunning fifth album.

The uncanny Gaerea is nothing short of a beautiful enigma rooted in musical extremity and utter passion. In under a decade, the masked Post-Black Metal collective, born in the Portuguese town of Porto, has navigated countless darkened shades of metal to arrive at their fifth album, simply titled Loss, the follow-up to their 2024 critically acclaimed opus Coma. Recorded in early 2025 in Portugal with long-running collaborator Miguel Teroso at Demigod Recordings, Loss finds Gaerea emerging from creative chrysalis and bursting into something as engaging as it is unexpected, offering us all the sound of the masked specters of the band laying their souls bare. Musically and emotionally, they’re opening themselves up and bringing a decade’s worth of musical and personal soul-rending into sharper focus and becoming a genre-of-one in the process, continuing to define and redefine themselves album after album.

The band offers their trademark cryptic, ominous atmosphere right from the start in Luminary before they begin hammering their drums and firing strident riffs for our absolute delectation, whereas Submerged follows a similar style as the music from Coma, with its lyrics exhaling insanity and introspection (“We’re submerged, and can’t break free, / The tide of our story’s got a hold on me, / We’re submerged, and sinking slow, / We’re lost in the deep where the waters flow / The lies I hide… ”). Hellbound is another bestial song with a serene intro that explodes into sheer Post-Black Metal madness, with their scathing vocals and visceral riffs sounding fantastic; and their strident guitars will pierce deep inside your psyche in Uncontrolled, inviting us all to dive manically into a darkened mosh pit. After such a thunderous tune, Phoenix feels like the soundtrack to a psychological thriller, not to mention it’s impressive how they always blend classic Black Metal with more melodic and experimental sounds flawlessly, also presenting a truly epic vibe.

The intro to Cyclone is like a calm before the storm, evolving into a massive creature of Black and Post-Metal led by the grim vociferations by the band’s mysterious frontman. Then after the avantgarde interlude LBRNTH we’re treated to the infuriated yet also delicate Post-Black Metal extravaganza Nomad, showcasing perhaps the most passionate lyrics of the entire album (“I’m a drifter in life, / Forever chasing the fading light. / Every step is out of place, / Can’t seem to find my saving grace. / And I don’t know why I keep running, / Like I’m afraid of what’s becoming. / Every town’s a blur of blame, / No roots, just endless shame.”), followed by Stardust, offering an enfolding mix of clean and harsh vocals which combined sound stunning. It’s one of their most detailed compositions to date, where its blast beats walk hand in hand with the venomous sounds of their guitars until the song’s ethereal, melancholic grand finale.

“We’ve done what we’ve always done, which is follow our instincts,” says Gaerea’s anonymous vocalist. “Yet, something tells me that on this new record, there’s elements that both our new and old fans will love, but it’s not exactly what they’ll expect us to do.” If you want to explore more of Gaerea’s enigmatic world, you can find those masked metallers on Facebook, Instagram and YouTube, stream more of their unique creations on any platform like Spotify, and of course put your darkened hands on Loss by purchasing it from BandCamp or from Century Media Records (or simply by clicking HERE). And if you still think Gaerea can be labeled as anything known to us after Loss (just like what I did in the beginning of this review by calling them Post-Black Metal, by the way), sorry but you’ll have to review your concepts. “We’re not a Black Metal band anymore, if we ever were,” states the vocalist. “We always have been compared to Hardcore bands and Post-Hardcore and Shoegaze and post-this and post-that. We’re slowly finding our way as a band but just as importantly, as people, but the DNA is always there. This is Gaerea!”

Best moments of the album: Submerged, Hellbound, Nomad and Stardust.

Worst moments of the album: LBRNTH.

Released in 2026 Century Media Records

Track listing
1. Luminary 5:10
2. Submerged 5:08
3. Hellbound 5:23
4. Uncontrolled 4:09
5. Phoenix 4:41
6. Cyclone 5:33
7. LBRNTH 2:24
8. Nomad 5:30
9. Stardust 7:58

Band members
*Information not available*

Album Review – Soul of Anubis / Ritual (2026)

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This Portuguese duo returns with their fourth full-length opus, capturing the full scope of their signature sound, a visceral blend of aggression and dynamic shifts that refuses to be confined to a single genre.

Formed in 2010 in Northern Portugal, Sludge/Doom Metal creature Soul of Anubis has carved out a distinct place within the European underground thanks to their explosive fusion of Thrash, Sludge, Doom and Post-Metal, channeling the raw urgency of Mantar, the primal energy of early Mastodon, and the relentless drive of High On Fire and Black Cobra. Now in 2026 the duo formed of Hugo Ferrão on vocals and guitars, and Rui Silva on drums returns with their fourth full-length opus, titled Ritual, following up on their 2019 album The Last Journey. Recorded, mixed and mastered at Studio Lote 71 in Portugal, Ritual captures the full scope of the band’s signature sound, a visceral blend of aggression and dynamic shifts that refuses to be confined to a single genre.

The duo wastes no time and kicks off their groovy and visceral attack with the title-track Ritual, where Hugo screams with tons of anguish while Rui crushes his drums in the name of sludge and doom. Then featuring guest vocalist Keijo Niinimaa from Rotten Sound, it’s pedal to the metal in the demented Mind Crusher, bringing elements of Hardcore, Punk Rock and Crust to their trademark insanity, followed by Incarnation, the first single of the album, keeping the fires of Doom Metal burning, with Hugo not only roaring manically but his riffs also exhale aggression. And Vermin is by far the least dynamic and exciting of all songs, although it still presents the band’s core essence (but not as strong as the other songs).

Death Cult carries the perfect name for a song by any band in the heavy music spectrum, and Soul of Anubis crush our spinal cords with their undisputed blend of absolute doom, as heavy as a thousand riffs in their “version” of it. Let’s keep headbanging like true maniacs to the sound of God’s Burial, where the duo builds a rumbling atmosphere with their caustic riffs and beats; and it’s then time to put the pedal to the metal and speed things up in Human Torch, with Hugo once again bursting his lungs screaming. Last but not least, we face the longest and most obscure of all songs, Unholy Tomb, with Hugo’s riffage and Rui’s drums making the earth tremble until the very last second of such a groovy-as-hell aria.

Pushing the sonic boundaries by Soul of Anubis even further, expanding upon their trademark blend of massive riffs, dark groove, and emotional gravity, while highlighting a newfound sense of urgency and compositional versatility, Ritual is undoubtedly their strongest effort to date, and you can put your damned hands on such an incendiary album by purchasing it from BandCamp, from the Time To Kill Records’ webstore, or simply by clicking HERE. Don’t forget to also follow the duo on Facebook and on Instagram, and to stream their austere creations on Spotify. With their new album, Hugo and Rui have crafted a true metallic ritual, pointing to an even brighter future ahead of them and, consequently, keeping us metalheads as happy as we can be with another demolishing underground band.

Best moments of the album: Mind Crusher, Dead Cult and Human Torch.

Worst moments of the album: Vermin.

Released in 2026 Time To Kill Records

Track listing
1. Ritual 6:17
2. Mind Crusher 4:46
3. Incarnation 4:49
4. Vermin 3:29
5. Death Cult 5:20
6. God’s Burial 4:32
7. Human Torch 3:41
8. Unholy Tomb 8:30

Band members
Hugo Ferrão – vocals, guitars
Rui Silva – drums

Guest musician
Keijo Niinimaa – vocals on “Mind Crusher”

Album Review – Undersave / Merged In Abstract Perdition (2025)

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These unheralded Death Metal heroes from Portugal return with their third opus, displaying a marked progression from their previous efforts without abandoning their core sound.

Unheralded Death Metal heroes from Portugal, Undersave have been carving their own path, and every half a decade or so we get an album that is a huge step ahead from the previous one. Mixed and mastered by Diogo Santana at Noise Portrait Recordings, and displaying a sinister artwork by Belial NecroArts (Hierarchies, Perishing, and many more), the band’s third full-length opus Merged In Abstract Perdition displays a marked progression from their 2018 sophomore Sadistic Iterations… Tales of Mental Rearrangement without completely abandoning their core sound, offering an infernal yet intricate slab of Dissonant Death Metal carefully crafted by Nuno Braz on vocals and guitars, André Carvalho also on the guitars, Renato Laia on bass, and Pedro Pereira on drums, being therefore tailored for fans of Immolation, Ulcerate, Replicant, Maere, Gorguts, Dysgnostic, and Saevus Finis, among others.

The band begins distilling their fusion of Progressive and Death Metal with experimental and uncanny sounds in Unshakable And Unlimited Levels Of Obsession, with the bass by Renato sounding utterly metallic and vibrant; and their feast of idiosyncratic sounds goes on in full force in Unconscious Assimilation…Path To Tangible Reality, with the vile guttural by Nuno being boosted by his own riffage alongside André’s also menacing guitar lines. Effervescent Futile Thoughts Of A Phobic Being is another excellent song with a creative and wicked title, with Pedro hammering his drums nonstop in a Progressive and Avantgarde Death Metal extravaganza, and Nuno and André simply shred their axes in Forced Retraumatization…Unlocking Spiritual Illumination, offering our avid ears an overdose of madness and intricacy. The band shows no mercy for our souls in Fictitious And Impermanent Self-Refinement, with Pedro taking the lead with his fulminating beats and fills, and there’s still time for more of their disruptive Death Metal in the form of Fathomless Contempt Nourished By Unrealistic Predictions, with Nuno roaring nonstop accompanied by the eerie sounds crafted by his bandmates. Last but not least, we’re treated to six minutes of pure insanity titled Narcissistic Supreme Alienation, where their experimental sounds and tones walk hand in hand with Pedro’s crushing drums.

In summary, Undersave may have just come up with a must-listen album for any fan of extreme music, rivalling if not surpassing not only their own albums but also those by the other luminaries in the style. Hence, you can find those talented Portuguese metallers on Facebook and on Instagram, including their pulverizing live shows, stream their unique creations on Spotify, and of course put your damned hands on Merged in Abstract Perdition from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, or simply click HERE for all things Undersave. Merged in Abstract Perdition is indeed a masterful album that is at once dark, dissonant, and atmospheric, and once you dive deep into its vicious sounds, get ready for a one-way descent into madness.

Best moments of the album: Unconscious Assimilation…Path To Tangible Reality, Forced Retraumatization…Unlocking Spiritual Illumination and Narcissistic Supreme Alienation.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Unshakable And Unlimited Levels Of Obsession 5:39
2. Unconscious Assimilation…Path To Tangible Reality 5:20
3. Effervescent Futile Thoughts Of A Phobic Being 5:06
4. Forced Retraumatization…Unlocking Spiritual Illumination 5:43
5. Fictitious And Impermanent Self-Refinement 4:29
6. Fathomless Contempt Nourished By Unrealistic Predictions 5:34
7. Narcissistic Supreme Alienation 6:12

Band members
Nuno Braz – vocals, guitars
André Carvalho – guitars
Renato Laia – bass
Pedro Pereira – drums

Album Review – Grog / Sphere Of Atrocities (2025)

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After 34 years pushing their creation forward with the precision of a scalpel, this cult Portuguese Death Metal and Grindcore beast is back once again with another chapter of extremeness and gore in their undisputed career.

After 34 years doing what they’ve always done to perfection, pushing their creation forward with the precision of a scalpel, in the most raw, brutal and sharp form imaginable, Oeiras, Lisbon, Portugal-based Death Metal/Grindcore cult entity Grog is back once again with another chapter of extremeness and gore in their undisputed career, titled Sphere of Atrocities, a deadly album that will make you bleed for speed, push you to the corner, and beat you relentlessly. Recorded, produced and mastered by the band’s drummer Rolando Barros at Undergrind Studios, with cover concept by the band’s vocalist Pedro Pedra, and illustration and final art by Victor Costa, the new bestial opus by the aforementioned Pedro Pedra and Rolando Barros alongside guitarist Ivo Martins and bassist Alexandre Ribeiro offers bass lines that will melt your face, a wall of exorcizing guitar riffs and a voice directly coming from down under, turning it into a must-listen for worldwide Death Metal and Grindcore fanatics.

The band needs less than two seconds to kick off their metallic extravaganza in E.xit G.lobal O.bliteration, pulverizing everything and everyone that dares to cross their path led by Pedro’s inhumane growling, whereas Rolando crushes his drums with endless fury in Vegetative Techuman, a visceral display of Death Metal infused with Grindcore madness. Ivo and Alexandre sound utterly rabid in Inborn Sickness, with their riffs and bass transpiring Death Metal while Pedro keeps vomiting unfriendly words nonstop; and Alexandre pounds his bass in absolute darkness in Heart Of Darkness, a lecture in violence by Grog that will leave you completely disoriented after all is said and done. After that, Ivo continues to fire his scathing riffs in Cosmic Placenta, while his bandmates showcase an avalanche of gore and insanity.

Pineal Turmoil brings to our avid ears two and a half minutes of pure, unfiltered Grindcore led by the demolishing beats and fills by Rolando; and there’s no sign of peace or hope in their music, as it’s a blast of annihilating sounds in Reproductive Extinction, with Ivo once again sounding ruthless on the guitar, which is also the case in Phantom Anihilation, bringing forward their trademark riffs, rumbling bass and pounding drums. NecroEarth nicely depicts the band’s strength, essence and passion for extreme music, with Pedro barking viciously until the very end, and I have no idea how they managed to sound even heavier in Lucidity, most probably due to another demented performance by Rolando behind his drums. Finally, we’re treated to Grog’s last three minutes of absurdly heavy and evil sounds in the form of Terrorithm, with the strings by Ivo and Alexandre reverberating in great fashion.

After listening to the unrelenting Sphere Of Atrocities, you’ll quickly acknowledge Grog are still one of the greatest names in the underground, putting their musical effort at the top of the highest mountain and continuing to be a fearless and ruthless monster avalanche for your senses, elevating their legacy to a new level of severe musical brilliance. Having said that, it’s time to “pulverize yourself” to the sound of Sphere Of Atrocities by purchasing a copy of the album from the Hellprod Records’ BandCamp or webstore, as well as by following the band on Facebook and on Instagram. Because Grog are out for blood armed with Sphere Of Atrocities, and you will most definitely want to be their next victim.

Best moments of the album: E.xit G.lobal O.bliteration, Heart Of Darkness and NecroEarth.

Worst moments of the album: Phantom Anihilation.

Released in 2025 Helldprod Records/Murder Records

Track listing
1. E.xit G.lobal O.bliteration 3:01
2. Vegetative Techuman 3:08
3. Inborn Sickness 2:49
4. Heart Of Darkness 3:39
5. Cosmic Placenta 2:14
6. Pineal Turmoil 2:41
7. Reproductive Extinction 2:42
8. Phantom Anihilation 2:28
9. NecroEarth 3:09
10. Lucidity 3:22
11. Terrorithm 3:09

Band members
Pedro Pedra – vocals
Ivo Martins – guitars, backing vocals
Alexandre Ribeiro – bass, backing vocals
Rolando Barros – drums, backing vocals

Album Review – Anzv / Kur (2025)

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2025 Edged Circle Productions

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

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

Album Review – Irae / Promiscuous Fire EP (2025)

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Get ready for 23 minutes of timeless, medieval darkness masterfully crafted by one of the most sulfurous names of the Portuguese Black Metal scene.

A member of the infamous “Black Circle” together with Decrepitude, Mons Veneris, Rainha Cólera and Vetala, Lisbon, Portugal-based Black Metal entity Irae is unleashing upon humanity a sulfurous new EP titled Promiscuous Fire, following up on its critically acclaimed 2022 opus Assim na Terra como no Inferno. In Promiscuous Fire, the lone wolf Vulturius on “fires of tradition and demonic vengeance” (aka vocals, guitars and bass) is joined by guest J Goat on “apocalyptic beats, necromantic creations and doom” (aka bass, additional vocals and drum programming), plus guest vocals by Obskuritatem on two of the four songs, spreading pitch black darkness that only gets even more obscure to the venomous mastering by D.S. at Noise Portrait Recordings and the Stygian artwork by Ainul Iblis.

It’s pure old school Black Metal from the very first second in The Curse of Lael, led by the demonic gnarling by Vulturius, who’s also ruthless armed with his sulfurous axe, delivering caustic, visceral riffs nonstop; followed by Vinho de Gólgota, another fulminating explosion of Black Metal madness by Vulturius supported by J Goat and his thunderous bass. Furthermore, Vulturius vocals couldn’t have sounded more demonic, sending shivers down our spines throughout the entire song. Porco de Satanás continues to showcase Vulturius’ deep passion for extreme music and the dark arts, with the additional vocals by guest Obskuritatem bringing a welcome touch of dementia and evil to the overall result, whereas Endless Circle sounds and feels as disturbing, evil and thunderous as the other songs of the EP, with Vulturius being a beast incarnate on vocals once again to properly end the album on a high and demonic note.

For those who think Irae is “just” a raw Black Metal band, Promiscuous Fire will prove to be quite a reckoning. While by no means “polished” per se, there’s a decidedly refined amalgamation of cleaner tones and classic Black Metal songwriting in a Second Wave style, or in other words, it’s simply 23 minutes of timeless, medieval darkness, and you can savor all that by streaming the EP and all of the band’s previous releases on Spotify, and of course by purchasing a copy of the EP from BandCamp or from Signal Rex. Vulturius shows no mercy for our putrid, useless souls in his newborn opus, forged in the fires of the beautiful Lisbon, ready to spread his dark wings upon humanity and to keep carrying the torch of old school Black Metal for many years to come under his diabolical beast Irae, and I bet all fans of the darkest side of music will love to hear more from him sooner than later as his new EP is indeed amazing.

Best moments of the album: Vinho de Gólgota and Porco de Satanás.

Worst moments of the album: None.

Released in 2025 Signal Rex

Track listing
1. The Curse of Lael 6:06
2. Vinho de Gólgota 5:10
3. Porco de Satanás 6:30
4. Endless Circle 4:56

Band members
Vulturius – vocals, all instruments

Guest musicians
J Goat – bass, additional vocals, drum programming
Obskuritatem – additional vocals on “Porco de Satanás” and “Endless Circle”

Album Review – Ethereal / Downfall (2024)

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After a long hiatus, this Progressive Gothic/Doom Metal outfit from Portugal is back in action with their striking third full-length opus.

Formed in 1997 by vocalist Hugo Soares in Setúbal, a city and a municipality in Portugal, Progressive Gothic/Doom Metal outfit Ethereal returned to action in 2021 after a long hiatus with their original lineup comprised of the aforementioned Hugo Soares alongside Cristina Lopes on vocals, Marco Agostinho and Carlos Monteiro on the guitars (plus newcomer Pedro Arsenio also on the guitars), Mário Serrano on keyboards, Jorge Bentes on bass, and Miguel Ledo on drums, culminating now in 2024 with the release of their third full-length opus, titled Downfall. Recorded, engineered, mixed and mastered by Wilson Silva at WRecords Studio, produced by Ethereal and co-produced by Wilson Silva, and displaying a classic artwork by Augusto Peixoto of IrondoomDesign, Downfall represents the rebirth of one of the most important metal bands of the Portuguese scene, an album that is as detailed and heavy as it is dark and melancholic.

The striking opener Betrayal is very symphonic and melodic from the start, with the pounding drums by Miguel dictating the song’s pace before Hugo and Cristina make an amazing vocal duet, followed by The Allure of Dariah, another epic creation by Ethereal, this time investing in a more Symphonic Metal sonority with the guitars by Marco and Carlos matching perfectly with the whimsical keys by Mário. The band puts the pedal to the metal in the thrilling The Last Peaceful Journey, presenting elements from Gothic Rock from the 80’s in its core essence, once again showcasing a solid kitchen crafted by Jorge on bass and Miguel on drums; and it’s time for more of their classy blend of Symphonic and Gothic Metal in the form of Turmoil, with Hugo and Cristina stealing the spotlight with their striking vocals.

 Ethereal then venture through more melodic, charming lands in the soothing power ballad Our Dying Hope, gradually growing in epicness and heaviness to the harsh but passionate roars by Hugo, whereas the stylish, melodious riffs by Marco and Carlos set the tone in the also enfolding The Hour of Infinity, the epitome of Progressive Gothic and Doom Metal led by the mesmerizing vocals by Cristina. And lastly, the melancholic keys by Mário ignite the title-track. Downfall, being joined by Cristina’s gentle vocals and with all of the song’s guitar solos, background keys and classic beats adding extra layers to the overall result, putting a climatic ending to the album.

Eighteen years after their previous album, Ethereal are finally back to the world of heavy music with Downfall, and their new album sounds so strong it doesn’t feel they’ve been silent for so many years. Hence, don’t forget to give the band a shout on Facebook and on Instagram, to stream their music on Spotify, to subscribe to their YouTube channel, or to click HERE for all things Ethereal. I believe Ethereal are back in action for good after listening to Downfall, as it’s easy to feel how much passion, energy and focus they put on the making of this album, which means we won’t have to wait another two decades to get more original music from one of the torchbearers of gothic and doom in Portugal.

Best moments of the album: The Allure of Dariah, Turmoil and The Hour of Infinity.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. Betrayal 4:36
2. The Allure of Dariah 6:37
3. The Last Peaceful Journey 5:53
4. Turmoil 7:09
5. Our Dying Hope 5:58
6. The Hour of Infinity 6:41
7. Downfall 8:58

Band members
Hugo Soares – vocals
Cristina Lopes – vocals
Marco Agostinho – guitars
Carlos Monteiro – guitars
Pedro Arsenio – guitars
Mário Serrano – keyboards
Jorge Bentes – bass
Miguel Ledo – drums

Album Review – Gaerea / Coma (2024)

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One of the torchbearers of present-day Black Metal arises yet again from the underworld, erupting with intensity, casting forth black ashes over the world with their superb new album.

Behind black shrouds of obscurity and desolation, the performers of Porto, Portugal-based Black Metal entity Gaerea deliver their odes in cascading maelstroms of aggression and beauty, having rapidly distinguished themselves from the thousands of bands toiling away in the underground. Now in 2024, just two years since Mirage was released, Gaerea are back in action, erupting with intensity, casting forth black ashes over the world yet again with their new album, titled Coma. Recorded by Miguel Tereso at Redbox Studios, mixed and mastered by Miguel Tereso at Demigod Studios, and displaying a cryptic artwork by Nathan Lorenzana, the stunning new album by those faceless and nameless ghouls beautifully helps the band emerge from the underground scene, ascending towards a permanently lasting position at the head of the table.

The opening track The Poet’s Ballet already presents Gaerea’s undisputed ability to blend the smoothest, most serene sounds with the harsh and devilish essence of Black Metal, with the song’s Atmospheric Black Metal start suddenly exploding into sheer madness and agony; then investing in a more contemporary Melodic Black Metal sonority we’re treated to Hope Shatters, sending shivers down our spines to its darkly vociferations of the song’s poetic lyrics (“In the heart of the jungle / Where shadows dance and bleed / A beautiful chaotic melody / Where depravity finds its seed”), and they continue to slash their axes in Suspended, supported by classic drums in another feast of Portuguese Black Metal magic. World Ablaze brings to the table more of their cryptic, eerie lyrics (“To be set free, at the end of his days / Into a world ablaze / With wonder in his eyes, he takes a deep breath / For a fleeting moment, a dance with life’s depth”) while the music exhales pure Gaerea, followed by the title-track Coma, a song that will pierce your rotten soul to the sound of infernal roars, bass and drums in a lecture in Black Metal.

In Wilted Flower the band once again delivers a multi-layered, gripping overdose of Atmospheric and Melodic Black Metal, with those mysterious entities extracting piercing riffs from their guitars for our total delight, keeping the album enfolding and mesmerizing, whereas those Portuguese creatures bring forward another burst of melancholy and darkness entitled Reborn, with the band’s strident riffs matching perfectly with their rhythmic beats, also offering moments of violence and insanity in paradox with its more ethereal passages. And one of the torchbearers of present-day Black Metal keeps delivering their unique blend of classic extreme music with tons of experimentations in the six-minute aria Shapeshifter, with its Doom Metal elements enhancing its obscure vibe; while the second to last blast of Stygian sounds by Gaerea comes in the form of Unknown, starting in a serene yet heavy manner to classic bass lines, resulting in one of the songs that should sound amazing if played live. Finally, closing such captivating album of Black Metal we’re treated to Kingdom of Thorns, with their intricate drums and stylish riffage turning it into a must-listen aria for admirers of the genre.

Within Coma’s ten tracks lies an individual narrative, each with its own tale to unveil. Collectively, they blend nuances of aggression, tranquility, solitude, and fervor, and you can experience all that by following Gaerea on Facebook, Instagram and YouTube, by streaming their unparalleled discography on Spotify, and obviously by clicking HERE and purchasing your favorite version of their amazing new album. Because Coma is indeed an emotional gateway to a dark Black Metal scene, a guide to salvation, pain, despair and letting go, moving up, into the blackness that is above, as Gaerea are the answer, the only answer.

Best moments of the album: Hope Shatters, Coma, Reborn and Kingdom of Thorns.

Worst moments of the album: None.

Released in 2024 Season of Mist

Track listing
1. The Poet’s Ballet 7:39
2. Hope Shatters 4:05
3. Suspended 5:02
4. World Ablaze 3:29
5. Coma 5:19
6. Wilted Flower 5:50
7. Reborn 3:51
8. Shapeshifter 6:24
9. Unknown 4:24
10. Kingdom of Thorns 4:45

Band members
*Information not available*

Album Review – Phenocryst / Cremation Pyre (2024)

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A ruthless Death Metal entity from Portugal will attack us all with their debut opus, illustrating soundscapes of disastrous, catastrophic, and annihilating volcanic and natural events.

Based on the outskirts of Lisbon, Portugal, the infuriated Death Metal beast Phenocryst is releasing their highly anticipated debut album, titled Cremation Pyre, a worthy follow-up to their 2021 debut EP Explosions. Produced, mixed and mastered by Fernando Matias at The Pentagon Audio Manufacturers, and displaying a front cover oil painting by English artist James Campbell (with artwork concept by the band’s own vocalist and guitarist D.S., inspired by Polish painter and photographer Zdzisław Beksiński), the new opus by D.S. on vocals and guitars, Santana also on the guitars, V.M. on bass, and Artur on drums showcases the foundation of a Death Metal act crossing other influences like Doom Metal and some psychedelic vibes, beautifully illustrating soundscapes of disastrous, catastrophic, and annihilating volcanic and natural events.

Absolute darkness and despair flows from all instruments in the opening tune Pinnacle Of Death, with Artur crushing his drums while D.S. vociferates like a creature arising from the abyss, resulting in a demolishing Death Metal feast to kick off the album, whereas sinister notes explode into a putrid Death Metal onrush titled Astonishing Devastation, where the guitars by D.S. and Santana sound evil and grim until the very end. Then featuring guest vocals by Jorge Santos, Belathauzer and Fernando Matias, their evil invocations continue to burn our damned souls in Pyres Of The Altar, offering almost five minutes of caustic riffs and blast beats not recommended for the lighthearted; while Incandescent Debris is a devilish instrumental aria by Phenocryst that has all elements form classic Death Metal, except of course for the guttural vocal lines.

The second half of the album begins in full force with Embers Of An Ancient Fire, a song that couldn’t have sounded more infernal nor heavier, presenting another great job done by D.S. and Santana on the guitars supported by the Doom Metal-inspired drums by Artur, followed by Volcanic Winter, a song perfect for headbanging like an evil entity to the massive beats by Artur while D.S., Santana and V.M. show no mercy for their stringed axes, exhaling endless sulfur and hatred. Fogo Nas Entranhas, or “fire in the entrails”, is one of the most pulverizing songs of the album where D.S.’s infernal roars walk hand in hand with the crushing drums by Artur in a lecture in Death Metal made in Portugal, not to mention the cryptic riffs blasted by D.S. and Santana, flowing into the atmospheric outro Burial Swamps, darkening the skies and dragging us to burn in scorching lava together with the band for all eternity.

Forward-thinking traditionalism? Perhaps, but the real beauty of Cremation Pyre is that it’s open to myriad interpretations; with just one single step needed into its lava. After all is said and done, Phenocryst prove, once again, that “Only Death is Realer!”, and if you agree with the band and want to feel their Death Metal fires burning your soul until the end of times you can find them on Facebook and on Instagram, where you can stay updated with all things Phenocryst including their tour dates, and grab your copy of their incendiary new album from their own BandCamp page, or from Blood Harvest’s BandCamp page or webstore as a CD, LP, or cassette. Phenocryst are among us to spread fire and evil, and may their flammable Death Metal sounds continue to incinerate our avid ears with all of their upcoming releases, hopefully all just as great as Cremation Pyre.

Best moments of the album: Astonishing Devastation, Pyres Of The Altar and Fogo Nas Entranhas.

Worst moments of the album: Incandescent Debris.

Released in 2024 Blood Harvest

Track listing
1. Pinnacle Of Death 4:58
2. Astonishing Devastation 6:05
3. Pyres Of The Altar 4:48
4. Incandescent Debris 3:51
5. Embers Of An Ancient Fire 6:31
6. Volcanic Winter 6:05
7. Fogo Nas Entranhas 4:41
8. Burial Swamps 2:05

Band members
D.S. – vocals, guitars
Santana – guitars
V.M. – bass
Artur – drums

Guest musicians
Belathauzer – additional vocals on “Pyres Of The Altar”
Fernando Matias – additional vocals on “Pyres Of The Altar”, fx and synthesizers on “Fogo Nas Entranhas”
Jorge Santos – additional vocals on “Pyres Of The Altar” and “Fogo Nas Entranhas”