Tag Archives: progressive black metal

Album Review – JANVS / Fatum Est EP (2026)

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After over a decade of silence, one of the best-kept secrets in the Italian underground scene is rising from the ashes with a new EP where each song draws on a myth, a figure, or an episode from the Hellenic tradition.

After over a decade of silence, one of the best-kept secrets in the Italian underground scene is rising from the ashes. JANVS, the Roman god of beginnings, passages and endings, is a Progressive Black Metal entity formed in Genoa over two decades ago, which may have fallen through the tides of time for many, but never really forgotten. Now in 2026 the band formed of Matteo “Vinctor” Barelli on vocals, guitars, keyboards and programming, Claudio “Malphas” Fogliato on bass, and Massimo “m:A Fog” Altomare on drums returns from the waves of the Mediterranean sea with a new EP titled Fatum Est, which translates from Latin as “it is fate” or “it is destiny,” following up on their 2014 full-length offering Nigredo. Produced and mastered by the legendary Dan Swanö at Unisound, and displaying as its artwork the piece Studio per la Gorgone e gli Eroi (1890-1899) by Italian artist Giulio Aristide Sartorio, the EP is comprised of five songs where each song draws on a myth, a figure, or an episode from the Hellenic tradition, reshaping and deconstructing its narrative into an existential vision that is both intimate and universal.

The trio kicks off their feast of progressiveness and fury with Bucefalo, with the scathing riffs by Matteo walking hand in hand with his own roars and the massive beats and fills by Massimo. Then a serene intro evolves into another dark and visceral sound in Filo d’Arianna, slower and more introspective, bringing elements of Doom Metal to their core sonority while also exploding in absolute Black Metal magic; followed by Argonauti, a more straightforward blend of Progressive Black and Death Metal where Claudio and Massimo will crack the sky with their thunderous bass and drums. Quis tantus furor is perhaps the most experimental and diverse of all songs, flirting with Dissonant Death Metal at times, with Matteo once again vociferating like a demonic entity, before we face Gaugamela, which reeks of 90’s Swedish Black Metal. Moreover, all gnarling vocals, blast beats and obscure passages turn it into a must-listen for fans of the genre.

Dedicated to those who defy the gaze of the gods, burning without oxygen in infinitesimal and eternal moments of beauty and death, drowned in the void of a cosmos eternally identical to itself, devoid of any purpose, Fatum Est moves forward from the softer atmospheres of their 2008 album Vega, overflowing intensity and desperate cosmic ferocity. You can get to know more about JAVS via Facebook and Instagram, stream their unique music on Spotify, and of course put your hands on Fatum Est from the Avantgarde Music’s BandCamp or Sound Cave. Your destiny is sealed, and JANVS will make sure the soundtrack to your journey is heavy and electrifying armed with their newborn spawn.

Best moments of the album: Filo d’Arianna and Gaugamela.

Worst moments of the album: None.

Released in 2026 Avantgarde Music

Track listing
1. Bucefalo 3:44
2. Filo d’Arianna 4:19
3. Argonauti 4:41
4. Quis tantus furor 6:17
5. Gaugamela 3:48

Band members
Matteo “Vinctor” Barelli – vocals, guitars, keyboards, programming
Claudio “Malphas” Fogliato – bass
Massimo “m:A Fog” Altomare – drums

Album Review – Enslaved / Mið (2026)

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Immune to the familiar rock narratives, these unstoppable Norwegian Progressive Black and Viking Metal masters are back with their stunning seventeenth studio offering.

Immune to the familiar rock narratives, and celebrating 35 years of existence, Norwegian Progressive Black/Viking Metal masters Enslaved are back with their seventeenth studio offering, titled Mið, an Old Norse word for “centre,” or “middle,” marking another departure, and another new beginning. Recorded at Duper Studio, Solslottet Studio, Personal Sound, Conclave & Earshot Studios, and Scandinavia House, mixed and mastered at Fascination Street Studios, and displaying a cryptic artwork inspired by a Bronze Age stone monument found in the township of Skjeberg, Østfold Norway, near the Swedish border, but removed by a museum in the 1960’s, the follow-up to their 2020 album Utgard and their 2023 opus Heimdal sees the band formed of vocalist and bassist Grutle Kjellson, guitarists Arve Isdal and Ivar Bjørnson, keyboardist and pianist Håkon Vinje, and drummer Iver Sandøy build their unique, expansive cosmology from a vital new starting point. With the swerving prog flourishes and krautrock wormholes dialed back, these eight tracks fizz with a newfound clarity and purpose while casting yet more illumination on the band’s kaleidoscopic palette. “I’ve come to realize that this is a really positive album. It’s about growth, it’s about digging yourself out of a pit, and it’s about leaving yourself open to the element of surprise. It’s about all the possibilities of being a human being,” commented Grutle Kjellson.

The cold and enfolding intro Non-Being sets the tone for the band’s darkened feast of melancholy in the form of I Am Ice, featuring guest Johan Sara Jr, a Sami musician and a central Sami composer, producer, teacher, arranger, actor and performer of contemporary music with roots in the Sami tradition. Needless to say, the song is an explosion of Enslaved’s core prog madness, and the same can be said about Solar Will, showcasing poetic lyrics vociferated by Grutle (“Son of cosmic wisdom / Son of Mother Earth / The starlight at the center / The illuminated I / Drowned in dreams of blood / Pierced by merciless vanity / The starlight at the center / The illuminated I”) accompanied by the hammering drums by Iver. And Mountain is by far the most experimental of all songs, and although the heaviness is there (in special through the devilish kitchen by Grutle and Iver), it’s not as exciting as the other songs.

Spirit Helper, featuring vocals by Kevin Kicking Woman, an esteemed Native American educator from the Blackfeet Nation who made history as Montana’s first-ever Native American Teacher of the Year, is a tribalistic tune that unites Kevin’s vocals with the heaviness of the guitars by Arve and Ivar; whereas they go full Progressive Black Metal in the eight-minute aria titled Parting, with their riffs once again clashing in a beautiful way with the keys by Håkon, alternating between stormy moments and delicate passages. Tales of Trees brings forward the perfect balance between Black and Progressive Metal, with Iver  sounding insane on drums from start to finish, followed by I Miðju, a more atmospheric and pensive aria by the band including elements of Doom Metal to make things heavier and darker, with Grutle  once again sounding bestial on vocals until the song’s Stygian finale.

A album that sheds light on harmonies and dialogues embedded all around us, between the ways of the past, and how they can bring enlightenment to the present, between small kernels of truth and their ability to project onto the most universal on canvases, and between band members relying on instinct and each other to create a record that galvanizes on every possible level, Mið is another solid stone in the unbreakable castle built by Enslaved through the years. “I started with the songwriting very shortly after Heimdal, but I had a feeling that the old ways didn’t work anymore. I’d always been chipping away, playing on the guitar and then on keyboards, something would happen then I’d work on that. But once I had a bunch of demos, none of it felt like it was good enough to follow up on Heimdal. It felt like we had to go somewhere else,” said Ivar Bjørnson. Needless to say, you can get in touch with Enslaved via Facebook and Instagram, subscribe to their Youtube channel, stream their music on Spotify or Apple Music, and of course purchase Mið from Bandcamp or several other locations. Because the excellent Mið represents the past, the present, and a new beginning for a band that’s never tired of stunning us all with their first-class heavy music.

Best moments of the album: I Am Ice, Parting and Tales of Trees.

Worst moments of the album: Mountain.

Released in 2026 Nuclear Blast Records

Track listing
1. Non-Being 1:19
2. I Am Ice 5:02
3. Solar Will 4:39
4. Mountain 5:46
5. Spirit Helper 4:52
6. Parting 8:16
7. Tales of Trees 4:43
8. I Miðju 7:16

Band members
Grutle Kjellson – vocals, bass, keyboards
Arve Isdal – lead guitars, acoustic guitars, backing vocals
Ivar Bjørnson – guitars, acoustic guitars, keyboards, effects, backing vocals
Håkon Vinje – keyboards, piano, clean vocals
Iver Sandøy – drums, percussion, keyboards, effects, clean vocals

Guest musicians
Johan Sara Jr – vocals on “I Am Ice”
Kevin Kicking Woman – vocals on “Spirit Helper”

Album Review – Forsmán / Brenndar Rústir & Fuðrandi Fjörur (2026)

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One of the most promising new names to emerge from the Icelandic Black Metal underground is unleashing their pulverizing debut opus, showcasing  intricate riffing, shifting dynamics, and a dense atmosphere.

One of the most promising new names to emerge from the Icelandic Black Metal underground, Kópavogur-based horde Forsmán (pronounced “fors-mown”) is ready to attack armed with their debut offering, entitled Brenndar Rústir & Fuðrandi Fjörur, which translates from Icelandic as “burnt ruins & flowing shores,” following up on their 2021 debut EP Dönsum í logans ljóma. Produced by D.G., mastered by Viktor Árni Veigarsson, and showcasing another hypnotizing artwork by the great Paolo Girardi, the debut full-length by V. on bass and vocals, O. on the guitar and vocals, H. also on the guitar, and M. on drums brings forward the band’s trademark intricate riffing, shifting dynamics, and a dense atmosphere, therefore give their own Black Metal sound a demanding, fully formed character.

Drottinn fyrirgefur allt, or “the lord forgives all,” showcases dissonant and grim sounds from the very beginning, with O. and H. attacking us all with their scorching axes, flowing like an arrow in pitch black darkness before we face Svartir svanir, or “black swans,” with the pure Black Metal blast beats by M. giving the song an even heavier vibe, boosted by the visceral screams by V. and O. Andvana, or “death,” one of the first singles released, offers us all mere mortals an avalanche of blackened sounds led by the enfolding yet harsh guitars by O. and H., a no shenanigans, in-your-face explosion of Icelandic Melodic Black Metal spearheaded by the always thunderous beats and fills by M., and the band then delivers four minutes of chaos and fire entitled Valdníðsla, or “power abuse,” where the demonic roars by V. and O. will drag us down to their infernal lair for all eternity.

Kynjamyndir, or “gender images,” is a more introspective, devilish Blackened Death Metal aria by the quartet where their guitars exhale sulfur and hatred, reminding me of some of the more recent songs by the mighty Behemoth, whereas Lof mér líf þitt að taka, or “promise me your life to take,” follows a similar pattern as its predecessor, also sounding ruthless and vile from start to finish, with O. and H. once again consuming our souls with their obscure riffage. Hræ hins almáttuga, or “the corpse of the almighty,” is also blasphemous and sulfurous, showcasing hints of Progressive and even Dissonant Black Metal added to their core sonority; while lastly, get ready for a descent into the underworld to the sound of Barmafylltar fjöldagrafir, or “busty mass graves,” with their demonic vocal lines being effectively complemented by the thunderous drums by M. until all fades into oblivion.

Standing in the line of modern Icelandic Black Metal associated with Svartidauði, Sinmara, and Misþyrming, combining a dense atmosphere with focused, forward-driving songwriting, Forsmán already appear less like followers than a new voice within it with the release of the breathtaking Brenndar Rústir & Fuðrandi Fjörur, paving a very exciting path ahead of those young black metallers. If you want to join them in their quest for extreme music, you can find the boys on Facebook, stream their caustic creations on Spotify, and put your bloodsoaked hands on Brenndar Rústir & Fuðrandi Fjörur via BandCamp, via Metal Blade Records, or by clicking HERE. Iceland is a haunting masterpiece of contrast, a beautiful, primordial purgatory where the earth is violently born and slowly frozen to death, and there’s nothing better than the scathing Black Metal forged by Forsmán in their debut album to turn that violent nature into beautifully scorching sounds.

Best moments of the album: Andvana, Valdníðsla and Barmafylltar fjöldagrafir.

Worst moments of the album: None.

Released in 2026 Metal Blade Records / Vesperian GmbH

Track listing
1. Drottinn fyrirgefur allt 5:20
2. Svartir svanir 6:53
3. Andvana 6:03
4. Valdníðsla 4:23
5. Kynjamyndir 3:31
6. Lof mér líf þitt að taka 3:53
7. Hræ hins almáttuga 6:44
8. Barmafylltar fjöldagrafir 7:34

Band members
V. – bass, vocals
O. – guitar, vocals
H. – guitar
M. – drums

Album Review – IATT / Etheric Realms of the Night (2026)

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This American blackened band returns with their most immersive and conceptually daring work to date, unveiling a descent into dream consciousness.

Hailing from the pits of Philadelphia, Pennsylvania, Progressive/Melodic Black/Death Metal entity IATT (which stands for “I Am The Trireme,” an ancient maritime vessel, representing a shift in their musical style from their early Metalcore days) returns with their most immersive and conceptually daring work to date, entitled Etheric Realms of the Night. Mixed and mastered by Marcos Cerutti (co-founder of Black Lion Productions), the newborn spawn by Jay Briscoe on vocals and bass, Joe Cantamessa on lead guitars, Alec Pezzano on rhythm guitars and orchestral arrangements, and Paul Cole on drums and percussion is a worthy follow-up to their 2022 album Magnum Opus, unfolding as a continuous narrative that explores the fragile boundary between sleep and oblivion, consciousness and illusion, life and whatever waits beyond it, unveiling a descent into dream consciousness.

In the opening tune Drift Away the music gradually builds into a wall of Progressive Death Metal sounds led by Jay’s visceral screams, while Paul delivers an overdose of crushing beats and fills that transpire Black Metal; followed by To Lie Beneath, a nine-minute aria of darkness where the guitars by Joe and Alec breathe fire, supported by the always thunderous drums by Paul. Put differently, it’s like Opeth on steroids. Somniphobia already begins in full force, with all of its progressiveness clashing beautifully with its fury, not to mention its melodeath and dissonant riffs sounds amazing, whereas Pavor Nocturnus is one of the most Black Metal songs of the entire album, where its haunting atmosphere and intricate riffage and drums bring sheer joy to our blackened hearts. In the cryptic Quietus, the symphonic elements bring an avalanche of epicness to the overall result, with Jay once again barking and roaring nonstop, and their metallic dreams go on in Walk Amongst, another very detailed and multi-layered aria of Symphonic and Melodic Death Metal where Joe and Alec are again flawless on the guitars, before all fades into nothingness in the ethereal outro Hypnos.

With Etheric Realms of the Night, IATT venture deeper into psychological and conceptual territory, shaping a work that feels immersive, unsettling, and profoundly human, tracing the path from surrender to transformation, where dreams deepen into realms that no longer fade with morning light. Across its 48 minute runtime, the album unfolds with cinematic scope, guided by atmosphere, symbolism, and emotional momentum, and if you want to join IATT on such a unique voyage you can find those guys on Facebook, Instagram, YouTube, and Spotify, and of course purchase Etheric Realms of the Night from BandCamp, from their merch store, or by clicking HERE. Orchestral elements, unusual instrumentation, constantly shifting sonic landscapes, and the sense of a single story told in seven movements. That’s what IATT offer in their new album, inviting you to dream together with them while fully awake.

Best moments of the album: To Lie Beneath, Pavor Nocturnus and Walk Amongst.

Worst moments of the album: None.

Released in 2026 Black Lion Records

Track listing
1. Drift Away 6:39
2. To Lie Beneath 9:12
3. Somniphobia 6:04
4. Pavor Nocturnus 7:23
5. Quietus 7:18
6. Walk Amongst 8:06
7. Hypnos 3:38

Band members
Jay Briscoe – vocals, bass
Joe Cantamessa – lead guitars
Alec Pezzano – rhythm guitars, orchestral arrangements
Paul Cole – drums, percussion

Guest musicians
Didier Malherbe – flute
Valček – violin

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2025

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“Who the fuck is Justin Bieber?” – Ozzy Osbourne

There’s not much to celebrate in rock and metal music in the same year when we lost the one and only John Michael “Ozzy” Osbourne. Nothing will ever be the same without the Prince of Darkness, the Madman, The Wizard of Ozz. There isn’t a single artist or band reviewed in the history of The Headbanging Moose that wasn’t influenced in several ways by Ozzy and, of course, by Black Sabbath. It is a very sad year indeed. However, Ozzy was always in a great mood, always happy, and I’m sure that, wherever he is now, he wants to see us all smiling and laughing, because that’s what life is all about. He also wants us to keep attending rock and metal concerts to have a good time with our loved ones, with our closest friends, just like Keith Ibbitson of Metal Paparazzi and I did so many times this year, covering incredible bands the likes of Blackbraid, Ne Obliviscaris, Cattle Decapitation, Blind Guardian, and so on. I’ve also had the utmost pleasure of seeing the mighty Judas Priest in Dalhalla, Sweden, a dream come true for this fanboy here, and I can’t wait to “run for my life” in 2026. Having said all that, let’s honor the life of Ozzy with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2025, excluding EP’s, best of’s and live albums, and keep on rockin’ like the Madman until our very last breath!

1. Blackbraid – Blackbraid III (REVIEW)
Behold the stunning next chapter in the musical and spiritual journey of the witch hawk of Black Metal hailing from the Adirondack Mountains.
Best song of the album: Wardrums At Dawn On The Day Of My Death

2. Werewolves – The Ugliest of All (REVIEW)
The torchbearers of “Caveman Death Metal” continuing to annihilate intellects with an unlistenable barrage of truly hideous music.
Best song of the album: The Ugliest of All

3. Testament – Para Bellum (REVIEW)
Let’s prepare for war to the sound of the breathtaking fourteenth studio album by California’s own masters of old school Thrash Metal.
Best song of the album: Para Bellum

4. Helloween – Giants & Monsters (REVIEW)
These German giants of Heavy Metal and monsters of Rock N’ Roll are back with their ass-kicking seventeenth studio album.
Best song of the album: Majestic

5. An Abstract Illusion – The Sleeping City (REVIEW)
This incredible Swedish Progressive Death and Black Metal entity returns with their heaviest and most atmospheric work to date.
Best song of the album: Like a Geyser Ever Erupting

6. Allegaeon – The Ossuary Lens (REVIEW)
World domination awaits to the sound of the striking new beast by one of the must-see bands of the current tech death scene worldwide.
Best song of the album: The Swarm

7. 1914 – Viribus Unitis (REVIEW)
Trench warfare meets blackened death and doom in 1914’s fourth onslaught of war-torn fury.
Best song of the album: 1918 Pt 3: ADE (A Duty to Escape)

8. Cryptopsy – An Insatiable Violence (REVIEW)
Canada’s own Death Metal machine returns with their ruthless ninth studio album.
Best song of the album: Until There’s Nothing Left

9. Baest – Colossal (REVIEW)
Back from the fires of Denmark, this unstoppable creature will crush you with their fourth studio album.
Best song of the album: Colossus

10. Diabolizer – Murderous Revelations (REVIEW)
The torchbearers of diabolical abomination unite once again to drag us down into the fiery abysses of Turkish Death Metal without warning.
Best song of the album: Deathmarch of the Murderous Tyrant

And here we have the runner-ups, completing the top 20 for the year:

11. Lorna Shore – I Feel The Everblack Festering Within Me (REVIEW)
12. Impureza – Alcázares (REVIEW)
13. Crimson Shadows – Whispers of War (REVIEW)
14. Primal Fear – Domination (REVIEW)
15. Serenity In Murder – Timeless Reverie (REVIEW)
16. Khôra – Ananke (REVIEW)
17. Panzerchrist – Maleficium – Part 2 (REVIEW)
18. Ominous Ruin – Requiem (REVIEW)
19. Wrath of Belial – Embers of Dead Empires (REVIEW)
20. Grima – Nightside (REVIEW)

Not only that, here’s once again our Top 10 EP’s of 2025, proving once and for all that the duration of an album is not that important in the end. As long as the music is great, the whole thing can be only one second long, like the classic “You Suffer” by Napalm Death!

1. When Plagues Collide – Kingmaker (REVIEW)
2. De Profundis – The Gospel Of Rot (REVIEW)
3. Fimbul Winter – What Once Was (REVIEW)
4. NecroticGoreBeast – Brute (REVIEW)
5. Serpent Corpse – Retaliate (REVIEW)
6. Akouphenom – Connections To The Erebus (REVIEW)
7. Necht – The Inevitable Suffering (REVIEW)
8. Discovery Through Torment – Telesynthetic Rebirth (REVIEW)
9. Der Rote Milan – Verlust (REVIEW)
10. Eleine – We Stand United (REVIEW)

Do you agree with our list? What are your top 10 albums of 2025? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show!

Metal Xmas and a Headbanging New Year! See you in 2026!

And of course, as we really don’t like those boring Christmas songs here on The Headbanging Moose, we’ll leave you with what’s perhaps the most emotional and strongest metal hymn of the year, the charity version of “War Pigs”, by Black Sabbath, recorded by Judas Priest and with Ozzy himself sharing the vocal duties with the Metal God Rob Halford! This is the epitome of rock and metal music!

Generals gathered in their masses
Just like witches at black masses…

Album Review – An Abstract Illusion / The Sleeping City (2025)

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This incredible Swedish Progressive Death and Black Metal entity returns with their heaviest and most atmospheric work to date, exploring the depths of the human psyche and suffering.

Once again utilizing the band’s unique blend of Progressive Death and Black Metal with arpeggiating synths, wistful drones and vast soundscapes, harkening back to the era of 80’s sci-fi soundtracks, the magnificent The Sleeping City is the third full-length opus by Swedish Progressive/Atmospheric Death/Black Metal beast An Abstract Illusion, the follow-up to their critically acclaimed 2022 sophomore album Woe. Produced by Karl Westerlund alongside An Abstract Illusion themselves, recorded at Blackharbour Studios, with drums produced and recorded by Jakob Herrmann at Top Floor Studios and pre-production and additional recording by Emil P. Lundh at Urberg Studios, mixed and mastered by Robin Leijon, and displaying a classy artwork by Alex Eckman-Lawn, the new album by Christian Berglönn on lead vocals, Karl Westerlund on the guitars and bass, Robert Stenvall on keyboards and vocals, and Isak Nilsson on drums and backing vocals, not to mention an array of very special guest musicians, is undoubtedly their most atmospheric and heavy work to date, exploring the depths of the human psyche and suffering.

Featuring vocals by Lukas Backeström, Blackmurmur is absolutely atmospheric, enfolding, futuristic and luxurious from the very first second, uniting the complexity of Progressive Death Metal with the mystery of Melodic Black Metal, and with the guitars by Karl and the keys by Robert sounding absolutely fantastic. They keep delivering sheer awesomeness in No Dreams Beyond Empty Horizons, with the complex yet visceral drumming by Isak adding an extra touch of heaviness to their music, followed by Like a Geyser Ever Erupting, featuring the cello by Jonathan Miranda-Figueroa and the violin by Dawn Ye, carrying a stunning song title for a lecture in modern-day extreme music where once again Isak sounds inhumane behind his drums.

Frost Flower once again features vocals by Lukas Backeström, cello by Jonathan Miranda-Figueroa, and violin by Flavia Fontana, all clashing with the visceral riffs by Karl and the whimsical keys by Robert; whereas Emmett is another long, complex and extremely detailed song, starting in a serene, enfolding manner, almost melancholic, before we face an avalanche of Progressive Death Metal led by Christian’s enraged roars, also showcasing ethereal passages intertwined with absolute violence. Then we face Silverfields, with narration by Elsa Svensson, working almost like an atmospheric interlude, therefore soothing our souls for the monumental title-track The Sleeping City, bringing forward endless breaks and variations without forgetting their core heaviness, as if Dream Theater went Death Metal, with Karl once again doing a superb job with both his guitar and bass boosted by the cello by Jonathan Miranda-Figueroa and the violin by Dawn Ye, before all fades into a climatic, Stygian finale.

“When we compose an album we don’t want it to just be a collection of random songs, we want a holistic theme coursing through the album’s veins. When writing The Sleeping City we wanted to explore what the soundtrack to a dystopian sci-fi film, such as Blade Runner or Terminator, would sound like if it were written by a death metal band. For The Sleeping City, we took inspiration from acts such as Depeche Mode, My Bloody Valentine, Kite, Ólafur Arnalds and Boards of Canada, pushing us to expand and refine our sound palette. Going from the long-song format of Woe, it was a fun challenge to once again write self-contained songs with a clear beginning and end,” commented the band about their newborn masterpiece. You can find those extremely talented guys on Facebook and on Instagram, stream their breathtaking creations on Spotify, and of course purchase their new album from BandCamp or from the Willowtip Records webstore (as a CD or an LP), or simply click HERE for all things An Abstract Illusion. A decrepit yet monumental landmark, the sleeping city awaits ahead. Will you enter?

Best moments of the album: Blackmurmur, Like a Geyser Ever Erupting, Emmett and The Sleeping City.

Worst moments of the album: None.

Released in 2025 Willowtip Records

Track listing
1. Blackmurmur 11:00
2. No Dreams Beyond Empty Horizons 6:56
3. Like a Geyser Ever Erupting 7:58
4. Frost Flower 8:14
5. Emmett 11:19
6. Silverfields 3:46
7. The Sleeping City 10:07

Band members
Christian Berglönn – lead vocals
Karl Westerlund – guitars, bass
Robert Stenvall – keyboards, vocals
Isak Nilsson – drums, backing vocals

Guest musicians
Lukas Backeström – lead vocals on “Blackmurmur” and “Frost Flower”, choir vocals on “No Dreams Beyond Empty Horizons” and “Like a Geyser Ever Erupting”
Jonathan Miranda-Figueroa – cello on “Like a Geyser Ever Erupting”, “Frost Flower” and “The Sleeping City”
Dawn Ye – violin on “Like a Geyser Ever Erupting” and “The Sleeping City”
Flavia Fontana – violin on “Frost Flower”
Elsa Svensson – narration on “Silverfields”

Album Review – De Profundis / The Gospel Of Rot EP (2025)

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The rot is everywhere, and it’s time to tear it down to the sound of the pulverizing new EP by one of the must-see names of the current UK Death Metal scene.

“The Gospel Of Rot is both a warning and a weapon – a sonic rebellion against the forces that seek to silence and subjugate. De Profundis offers not salvation but a wake-up call…” – De Profundis

Celebrating 20 years of death dealing and devastation, London, England-based Death Metal horde De Profundis has returned with a rejuvenated lineup and a brand new EP of stunning power and intensity, entitled The Gospel Of Rot. Recorded at Barking Dog Studio, mixed and mastered by Matt Jones at CapsaArx Studios, and embraced by a darkly beautiful artwork by Pierre-Alain D. of 3mmi Design, the new EP by frontman Stefano Bassi, guitarists Shoi Sen and Paul Nazarkardeh, bassist Simon McAuliffe, and drummer Tom Atherton will most definitely please fans of bands the likes of Death, Morbid Angel, Immolation, and Nocturnus, bringing together four tracks of furious Death Metal and masterful musicianship into a manifesto of resistance against the empty vessels that rule us, dragging our civilization into a mire of degradation.

The band wastes no time and kicks off the EP with the Death Metal extravaganza I: Corruption, where newcomer Stefano already showcases his ruthless deep guttural for our total delight, and Tom crushes his drums with rage and dexterity in II: Deception accompanied by the visceral Death Metal riff attack by Shoi and Paul. Then the quintet shows no mercy for our putrid souls in III: Indoctrination, offering an overdose of harsh riffs and demonic vociferations, with once again Simon and Tom making the earth tremble with their evil kitchen. And lastly, we have their cover version for Sepultura’s IV: Subtraction, from their 1991 masterpiece Arise (you can enjoy the original one HERE). De Profundis take the vibe from those Brazilian thrash and death heroes and add their own twist to it, resulting in a lecture in modern-day Death Metal where Stefano sounds brutally violent on vocals until the very end.

From their early days of primeval Doom and Death Metal, then venturing through the Progressive Death and Black Metal realms of their latest albums The Blinding Light of Faith (2018) and The Corruption of Virtue (2022), to the full-on Death Metal attack in The Gospel Of Rot, the band keeps crushing our putrid souls with their undisputed aggressiveness, precise musicianship, and a deep passion for the extreme, and you can get to know more about one of the precious gems of the British Death Metal scene by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by listening to all of their demented tunes on Spotify, and by purchasing the excellent The Gospel of Rot from BandCamp or by clicking HERE. In a nutshell, De Profundis are back at the very top of their game with The Gospel of Rot. Because the rot is everywhere, and it’s time to tear it down.

Best moments of the album: I: Corruption and IV: Subtraction.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. I: Corruption 4:11
2. II: Deception 3:45
3. III: Indoctrination 4:27
4. IV: Subtraction (Sepultura cover) 4:34

Band members
Stefano Bassi – vocals
Shoi Sen – guitars
Paul Nazarkardeh – guitars
Simon McAuliffe – bass
Tom Atherton – drums

Album Review – Unaligned / A Form Beyond (2025)

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Boasting of a celebrated lineup, this Florida, United States-based beast is ready to kill armed with their first full-length album, an exemplary display of Progressive and Technical Death and Black Metal.

Boasting of a celebrated lineup featuring members of Withered Throne, Demon King, Fleshbore and others, Florida, United States-based beast Unaligned offers a blackened and comparatively more atmospheric take on the Technical Death Metal style. Mixed and mastered by Mike Low, edited and mixed by Erik Johnson at Dark Prophet Audio, and displaying another sick artwork by the amazing Adam Burke of Nightjar Illustration, the band’s first full-length opus, titled A Form Beyond, is an exemplary Progressive and Technical Death and Black Metal album that only gets better with more listens, showcasing all the talent and dexterity by Andrew Guia (Withered Throne) on vocals, Taylor Tidwell (Withered Throne) and Shane Dreher (Nightspake) on the guitars, Cole Daniels (Demon King, Fleshbore) on bass, and Jack Blackburn (Killitorous, Inferi) on drums.

Eerie, atmospheric sounds permeate the air in the opening track Entities of Ash, until all hell breaks loose to the venomous gnarling by Andrew, supported by the demented beats and fills by Jack; and the visceral riffage by Taylor and Shane exhale Technical Death Metal in Unbecoming of I, accompanied by the intricate and heavy-as-hell bass by Cole. Then the harsh vociferations by Andrew reek of venomous and infuriated Deathcore in Ruins of Lunacy, while the music is as bestial, savage and technical as possible, followed by the title-track A Form Beyond, a lesson in Technical Death Metal with a blackened approach, with Jack stealing the spotlight with his demonic beats and fills.

Then after a streak of hard hitting songs, the band offers the more cadenced and not so dynamic Essence Erased, which is still very technical, though, showcasing their trademark heavy sounds. Again presenting a more obscure, pensive atmosphere we have Spirit Dysmorphia; however, in this case the band gets back on track with a slab of dexterity and aggression led by the pulverizing drums by Jack. Death Entwines Us All presents a phantasmagorical, melancholic start to the minimalist guitars by Taylor and Shane, warming us up for another metallic attack of Death and Black Metal by the band, resulting in a must-listen for fans of the genre. Finally, the album ends with the also infernal Dreaming in Decay, where the ruthless bass lines by Cole add tons of thunder to the extremely intricate riffage by Taylor and Shane.

Meticulously written and impeccably executed, A Form Beyond undoubtedly positions Unaligned as a force to be reckoned with in the extreme music scene worldwide, being therefore highly recommended for fans of Demon King, Withered Throne, Inferi, Enfold Darkness, Warforged, and Vale of Pnath, among others. As usual, you can find more details about the band on Facebook and on Instagram, stream their demented creations on Spotify, and of course purchase A Form Beyond from their BandCamp or from the Transcending Obscurity Records’ main store, Bandcamp, Europe store or US store. A Form Beyond is not only technical, but visceral and dark, and once you get a taste of what Unaligned are capable of by listening to the album, you’ll certainly get addicted to their infuriated sounds.

Best moments of the album: Entities of Ash, A Form Beyond and Death Entwines Us All.

Worst moments of the album: Essence Erased.

Released in 2025 Transcending Obscurity Records

Track listing
1. Entities of Ash 5:11
2. Unbecoming of I 4:35
3. Ruins of Lunacy 4:33
4. A Form Beyond 4:30
5. Essence Erased 4:32
6. Spirit Dysmorphia 4:47
7. Death Entwines Us All 5:01
8. Dreaming in Decay 5:04

Band members
Andrew Guia – vocals
Taylor Tidwell – guitars
Shane Dreher – guitars
Cole Daniels – bass
Jack Blackburn – drums

Album Review – Hades Descent / The Monolith (2025)

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

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

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

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

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

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

Worst moments of the album: Veiled Ambitions.

Released in 2025 Independent

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

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

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

Album Review – Old Machines / The Cycles of Extinction (2025)

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This Symphonic Black Metal entity from Portland will attack with their concept debut album, a monolithic fusion of bombastic brutality and cosmic dread.

Astral warlords and celestial leviathans, Portland, Oregon-based  Symphonic Black Metal entity Old Machines emerge from the void with their cataclysmic concept debut album, titled The Cycles of Extinction, a monolithic fusion of bombastic brutality and cosmic dread. Recorded and mixed by the band’s own guitarist Brian Rush, mastered by Stephen Hoffman at Acid Dump Studios, and displaying a futuristic, dystopian cover art by Alexander Preuss, the debut offering by Gary Reavis on vocals, Brian Rush on the guitar and bass (the band was joined by Joel Henigson on bass shortly after the album was recorded), Devon Miller also on the guitar, Jason Stares on keyboards, and Chris Craven on drums heralds a new chapter in Extreme Metal where ancient engines of annihilation awaken once more.

You know a band is always aiming at pushing their boundaries when they kick off an album with an 11-minute song like Twilight of the Old Gods, and the Dawning of the First, sounding utterly atmospheric and whimsical, evolving into a Progressive Death Metal beast led by Gary’s striking vocals; and their symphonic wall of sounds goes on in full force in Cycles of Extinction, with the keys by Jason elevating the song’s epicness to a whole new level. Those guys definitely know how to name their songs, like in Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory), where Brian and Devon deliver an imposing riff attack accompanied by the massive beats and fills by Chris in a complex and vibrant blend of Symphonic and Progressive Black Metal; whereas Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle is a beyond ethereal, enfolding composition, almost venturing through the lands of Shoegaze.

Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) takes the band back to a more metallic and piercing mode, where Chris hammers his drums supported by the always electrifying keys by Jason, offering Gary exactly what he needs to shine on vocals. And it’s pedal to the metal in the infuriated The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague, with the guitars by Brian and Devon penetrating deep inside our rotten minds. Then a cinematic intro explodes into sheer madness, rage and first-class Symphonic Black Metal in They are Legion – The Tragic Exodus of the Veiled Creators, where their guitar lines are absolutely insane and demented. And finally, we face their last metal attack entitled Glory to the Terrans of the First Contact War, even more symphonic than its predecessors while Chris sounds ruthless behind his drums.

In a nutshell, the tales of horror, war, and genocide found in The Cycles of Extinction, spanning eight tracks for one hour of music which can be described as Extreme Cosmic Metal, combining elements of Thrash, Death, Black, and Power Metal, will certainly appeal to fans of heavy music with a strong background storyline, and you can get to know more about Old Machines, their music, tour dates and other details on Facebook and on Instagram, and grab a copy of the album from their own BandCamp, from the Pale Magus Productions webstore, or by clicking HERE. From the darkest depths of the oceans of time and space comes a legend over two billion years old, which has spawned a multitude of harrowing galactic sagas, with The Cycles of Extinction being just the first in a series of concept albums by the band. There will be more of such epics in this fashion because, as you know, extinction is only the beginning.

Best moments of the album: Twilight of the Old Gods, and the Dawning of the First, Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) and The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague.

Worst moments of the album: Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle.

Released in 2025 Pale Magus Productions

Track listing
1. Twilight of the Old Gods, and the Dawning of the First 11:14
2. Cycles of Extinction 6:41
3. Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory) 6:18
4. Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle 8:39
5. Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) 6:51
6. The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague 7:15
7. They are Legion – The Tragic Exodus of the Veiled Creators 6:03
8. Glory to the Terrans of the First Contact War 7:25

Band members
Gary Reavis – vocals
Brian Rush – guitar, bass
Devon Miller – guitar
Jason Stares – keyboards
Chris Craven – drums