Tag Archives: progressive death metal

Album Review – Mystical Death / Across (2026)

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Let these Dutch Progressive and Technical Death Metal purveyors lead you to places unknown to the sound of their scorching new album.

Formed in early 2024 in the always stunning Amsterdam, Dutch Progressive and Technical Death Metal purveyors Mystical Death are ready to unveil their second release, their first full-length album, the staggering Across, following up on their 2024 debut EP Carnation. With all the music being written, performed, mixed and mastered by the band’s central figure, multi-instrumentalist Mystic, who also created the album’s cover artwork and wrote the lyrics to every song, and featuring vocalists David Diefenderfer and Vixi Fox, Across is an album that never releases its hold on its Death Metal roots and yet manages to push the boundaries of the genre, sculpting its essence into quite beautifully bewildering new forms.

Apophenia already kicks off in full force to the infernal riffs and beats by Mystic while David growls and screams in the name of Technical Death Metal, followed by Laniakea, another feast of technical yet scorching sounds by the trio where Mystic is once again ruthless armed with his guitars and bass, not to mention the saxophone brings sheer adrenaline to the overall result. The wall of sounds crafted by Mystic in Inundant is perfect for the harsh vociferations by David, flowing into the breathtaking Lacerate, where Mystic goes berserk with his visceral riffage and crushing beats, resulting in one of the strongest songs of the album hands down. And a jazz-infused intro morphs into another metallic attack titled Empathy, where the guitars by Mystic breathe fire and insanity.

Kurtosi continues to spread the project’s blend of intricacy and progressiveness, with its haunting passages adding an extra kick to the music; whereas Across presents a perfect fusion of heaviness and melodious sounds, with the clean vocals by Vixi Fox clashing beautifully with the screams by David. Then Thalassa brings to our avid ears a darker, more menacing side of the project, with Vixi Fox again stealing the spotlight with her mesmerizing vocals, followed by Voyagers, a good display of Technical Death Metal that sounds interesting even without the vocal parts. And lastly, Sanctus feels more like a movie score than part of the album, working as an outro to the technical savagery blasted in all other songs.

In summary, fans of bands the likes of Pestilence, Cynic, Atheist and Gorguts will certainly have a very good time listening to all tracks from Across, and if you want to put your dirty hands on such an electrifying album you can purchase it from their own BandCamp, as well as from Rottweiler Records’ BandCamp or webstore. Don’t forget to also check what the band is up to on Facebook and on Instagram, and stream their music on Spotify and Apple Music. As Across is unleashed upon humanity, step inside this riot of creativity and let Mystical Death lead you to places unknown.

Best moments of the album: Laniakea, Lacerate and Across.

Worst moments of the album: Sanctus.

Released in 2026 Rottweiler Records

Track listing
1. Apophenia 3:38
2. Laniakea 4:13
3. Inundant 3:21
4. Lacerate 2:38
5. Empathy 5:40
6. Kurtosi 3:52
7. Across 4:00
8. Thalassa 3:40
9. Voyagers 4:12
10. Sanctus 2:12

Band members
David Diefenderfer – harsh vocals
Vixi Fox – clean female vocals
Mystic – all instruments and programming

Album Review – Ereboros / From Oblivion to the Grave (2026)

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Behold the debut full-length by this Brazilian Death Metal squad, transforming personal pain into something honest, confrontational, and deeply expressive.

Formed in Rio de Janeiro, Brazil in 2023, the ruthless four-piece squad known as Ereboros combines aggressive Death Metal with dark atmospheres, culminating now in 2026 with the release of their debut offering, titled From Oblivion to the Grave. Recorded, mixed and mastered throughout 2025 in Brazil, and self-produced by Ereboros under the direction of Victor Mendonça, the debut by Thiago Barbosa on vocals and guitar, Juan Carlos also on the guitar, Paulo Doc on bass, and Victor Mendonça on drums was born from real-life experiences, diving into suffering, anxiety, disillusionment, and the struggle to find meaning in the middle of chaos. Many of the lyrics were shaped by difficult moments faced by Thiago Barbosa and Victor Mendonça, transforming personal pain into something honest, confrontational, and deeply expressive.

The cinematic intro From Oblivion to the Grave opens the gates of the underworld for the band to kill in Distorted Man-made Concept, with Thiago roaring and barking in great Death Metal fashion, supported by the pulverizing drums by Victor. Thiago and Juan deliver killer riffs and solos in the Melodic Death Metal-infused tune The Agony of Existence, followed by Salute to Disorder, blending the heaviness of Amon Amarth with the visceral sounds from Cannibal Corpse, with Victor once again sounding inhumane behind his drums. And they keep slashing their axes in the name of Death Metal in Dissonant Soul, with Thiago once again roaring the song’s devilish words nonstop.

Their modern take on old school Death Metal again works majestically in Nocturnal Paranoia, flirting with Technical and Progressive Death Metal at times thanks to the phenomenal job done by Victor on drums. We then face the epic interlude One Last Pulse, warming up our souls for another venomous attack titled In the Depths of Misery, alternating between sheer savagery and more technical and melodic moments where Paulo and Victor make the earth tremble as usual. Progenies of the Unseen is by far one of the most detailed songs of the entire album, with their guitars breathing fire from start to finish in an ode to Death Metal; and they close the album with the doom-laden Death Metal tune At the Gallows of Doom, sounding heavy-as-hell but not as detailed as the other songs. It’s still infernal as expected, of course.

Bringing together crushing riffs, relentless aggression, and suffocating atmospheres, balanced by melodic passages that give the songs greater emotional weight without taking away from their intensity, From Oblivion to the Grave is highly recommended for fans of Hypocrisy, Septicflesh, Morbid Angel, Carcass, and Dissection, among many others, and if you want to give the band a shout and enjoy more of their music you can find them on Facebook, on Instagram, on YouTube, on Spotify, and on Apple Music, and of course purchase their killer new album from BandCamp. In summary, finding any type of meaning in absolute chaos is never easy. Quite the contrary, it’s an excruciating task, and the guys from Ereboros more than succeeded in turning all that frustration into high quality Death Metal in their awesome debut album.

Best moments of the album: Distorted Man-made Concept, Nocturnal Paranoia and Progenies of the Unseen.

Worst moments of the album: At the Gallows of Doom.

Released in 2026 Independent

Track listing
1. From Oblivion to the Grave 1:16
2. Distorted Man-made Concept 4:05
3. The Agony of Existence 4:47
4. Salute to Disorder 3:15
5. Dissonant Soul 3:53
6. Nocturnal Paranoia 4:51
7. One Last Pulse 1:05
8. In the Depths of Misery 4:22
9. Progenies of the Unseen 3:55
10. At the Gallows of Doom 5:31

Band members
Thiago Barbosa – vocals, guitar
Juan Carlos – guitar
Paulo Doc – bass
Victor Mendonça – drums

Album Review – Annihilus Mundi / The Dead Sea Scrolls (2026)

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The annihilation of the world continues with the sophomore opus by this amazing Progressive Death Metal entity, a 77-minute concept album criticizing theocracy, oligarchy, and religious fundamentalism.

Formed in 2018, by vocalist and multi-instrumentalist Daniel Saillant, blending elements of Death Metal, Shoegaze, and Progressive Rock, Boston, Massachusetts-based Progressive Death Metal entity Annihilus Mundi (a dark, destructive twist on the classical Latin philosophical phrase anima mundi, or “soul of the world,” effectively translating to “the annihilation of the world”) continues to push musical boundaries, combining harsh and clean vocals, complex guitar arrangements, and introspective lyrics in the project’s sophomore album, titled The Dead Sea Scrolls, following up on their critically acclaimed 2019 debut Grief. Produced, mixed, mastered and engineered by Daniel Saillant himself at Wailing Pines Productions, the new album by the aforementioned Daniel Saillant on vocals and all instruments, alongside Noah Magnelli on harsh and clean vocals, is a 77-minute long concept album exploring his personal life experiences. In a fusion of genres and artforms, Annihilus Mundi reconceptualize the album’s central ideas through Hideaki Anno’s notorious 1995 anime series Neon Genesis Evangelion and its subsequent 1997 film The End of Evangelion.

Second Impact (Overture) is a massive creation by Daniel and his henchmen, offering a wild fusion of Progressive Metal with more extreme and grandiose sounds where his guitars transpire fire and aggression, followed by Absolute Terror, featuring a guest guitar solo by Chris Jones (Æther Realm), absolutely captivating from start to finish, with the clean and harsh vocals by Noah working majestically. A Hedgehog’s Dilemma sounds as complex and multi-layered as the previous tunes, with both keys and drums sounding epic; whereas The Dead Sea Scrolls, Mvt. I – “Reminiscence” is a semi-acoustic ballad that sets the stage for The Dead Sea Scrolls, Mvt. II – “Incursion”, with Andrew Matarazzo (Perennial Quest) on a guest guitar solo, offering us all an overdose of infernal growls and crushing riffs, resulting in ten minutes of undisputed, no shenanigans extreme music with a strong progressive vein. Black Moon, also showcasing a guest guitar solo by Chris Ramusciwicz (Graveborn), and Olive Gallop (Ice Giant) on vocals, is as epic as it is venomous and dark; while King of Thorns, boosted by a guitar solo by Sam Mooradian (Sam Mooradian, Fallujah), lacks the same energy of the rest of the album, sounding a bit tiresome in the end.

Then the four-part beast named “Terminal Dogma” kicks off with Terminal Dogma, Mvt. I – “Do you love me?”, a serene and grim tune where Daniel is ruthless armed with his axe, flowing into Terminal Dogma, Mvt. II – “Take care of yourself.”, featuring Alex Haddad (Dessiderium, Atheist) on a guitar solo and Sarah Hartman (Aversed) on vocals. Needless to say, Noah makes a phenomenal duet with Sarah in a lecture in Progressive Metal. In Terminal Dogma, Mvt. III – “Love is destructive.” we have a break from Daniel’s usual heaviness, warming our hearts before we face Terminal Dogma, Mvt. IV – “I need you.”, again featuring Sarah Hartman on vocals, presenting the power of the riff, massive beats, and deep, evil vocal lines. Silent Planet, featuring Anthony Harter (d r 0 n 3) on noise and atmospheres, is noisy and perturbing, working as a wicked bridge to Human Instrumentality, featuring a guest guitar solo by Michael Laurendeau Jr., bringing forward 13 minutes of complex, intricate passages, acoustic and cinematic moments, and the always visceral guitars by Daniel.

Criticizing theocracy, oligarchy, and religious fundamentalism, exploring how unquestioned ancient dogmas lead to destruction, The Dead Sea Scrolls is definitely a must-listen for metalheads searching for a high quality blend of extreme music infused with a rich and deep storyline. You can get in touch with Daniel and his Annihilus Mundi via Facebook and Instagram, subscribe to their YouTube channel, stream their music on Spotify, and of course, purchase The Dead Sea Scrolls from BandCamp or by clicking HERE. Put differently, the annihilation of the world continues with the new album by Annihilus Mundi, a dense and detailed journey that will surely hypnotize you and consume your soul just the way we like it in extreme music.

Best moments of the album: Absolute Terror, The Dead Sea Scrolls, Mvt. II – “Incursion”, Terminal Dogma, Mvt. II – “Take care of yourself.” and Human Instrumentality.

Worst moments of the album: King of Thorns.

Released in 2026 Independent

Track listing
1. Second Impact (Overture) 5:25
2. Absolute Terror 6:39
3. A Hedgehog’s Dilemma 5:50
4. The Dead Sea Scrolls, Mvt. I – “Reminiscence” 2:10
5. The Dead Sea Scrolls, Mvt. II – “Incursion” 10:32
6. Black Moon 4:35
7. King of Thorns 7:27
8. Terminal Dogma, Mvt. I – “Do you love me?” 3:09
9. Terminal Dogma, Mvt. II – “Take care of yourself.” 5:19
10. Terminal Dogma, Mvt. III – “Love is destructive.” 3:29
11. Terminal Dogma, Mvt. IV – “I need you.” 5:31
12. Silent Planet 2:52
13. Human Instrumentality 13:55

Band members
Daniel Saillant – vocals, all instruments

Guest musicians
Noah Magnelli – harsh & clean vocals
Chris Jones – guitar solo on “Absolute Terror”
Andrew Matarazzo – guitar solo on “The Dead Sea Scrolls, Mvt. II – Incursion”
Chris Ramusciwicz – guitar solo on “Black Moon”
Sam Mooradian – guitar solo on “King of Thorns”
Alex Haddad – guitar solo on “Terminal Dogma, Mvt. II”
Michael Laurendeau Jr. – guitar solo on “Human Instrumentality”
Olive Gallop – vocals on “Black Moon”
Sarah Hartman – vocals on “Terminal Dogma, Mvts. II & IV”
Anthony Harter – noise & atmospheres on “Silent Planet”

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 – Fate Unburied / Neraspeme (2026)

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Blending Death Metal with progressive influences, this Italian band is back with their sophomore album, exploring the full emotional cycle that unfolds as a relationship nears its end.

Blending Death Metal with progressive influences, creating a rich and inspiring sound always influenced by new experiences, Vicenza, Italy-based four-piece Progressive Groove/Death Metal band Fate Unburied is unleashing upon us their sophomore album, titled Neraspeme, following up on their 2017 debut Logos and their EPs A Pale Color Perception: Hostility (2020) and A Pale Color Perception: Observant (2021). Produced and mixed by Francesco Garatti at Death Lab Studios, mastered by Fabrizio Gesuato at Fiery Water Recording Studio, and showcasing a suffocating artwork by Erwin (aka Toxin Figure), the new album by Riccardo Babbolin on vocals and guitar, Francesco Garatti also on the guitar, Davide Piccolo on bass, and Giorgio Piva on drums explores the full emotional cycle that unfolds as a relationship nears its end. The tracks move like chapters in an internal collapse, from blinding anger, to confused madness, to that distorted, dark sense of hope hinted at in the album’s title, a hope that offers no salvation and dissolves like a mirage.

Hope., featuring a voiceover work by Clara Wright, reciting the poem “Hope” by Alice Dunbar-Nelson, offers a Stygian intro to Expecting Nothing, where their progressiveness clashes beautifully with the sheer violence flowing from Riccardo’s vocals. Their Groove Metal vein explodes in absolute chaos and fury in Drain, led by the crushing riffs by Riccardo and Francesco; and Davide’s metallic bass sets the tone in Not Allowed, accompanied by the massive beats by Giorgio. The Descent invites us all to slam into the circle pit to the killer vocals by Riccardo while his bandmates pound their instruments nonstop, followed by Deep Rest, one of the most intricate and progressive of all songs, sounding like some of the heaviest tunes by Mastodon.

Davide keeps hammering his bass in Seed, Feed, Keep, transpiring heaviness while sounding very melodic and groovy at the same time, whereas Seeking Perfect Harmony presents an excellent hybrid of Progressive and Groove Metal, also showcasing elements from Djent to give it an extra kick. Garden is another song that will blow your mind with its complex passages being boosted by Riccardo’s primeval screams, while A Pragmatic Way Out showcases a galloping rhythm thanks to another ass-kicking performance by Giorgio on drums. Nowhere, After All also carries the band’s trademark progressiveness, despite lacking more punch in the end; while the band ends the album with the also multi-layered and climatic The Gift, with its last part bring peace and serenity to our hearts.

A Death Metal concept album made of 12 tracks, each crafted to shake, surprise, and pull the listener in without ever giving them a moment of rest, Neraspeme is a sonic journey into the heart of a dying relationship. Always following their vision inspired by the human being, Fate Unburied are on fire throughout their new album, and you can get to know more about the band and their music on Facebook and on Instagram, including their live concerts, stream their creations on Spotify, and purchase Neraspeme from the Time To Kill Records’ BandCamp or webstore. Relationships come and go, but heavy music is forever, and Fate Unburied are among us to prove that once and for all.

Best moments of the album: Drain, Deep Rest and Garden.

Worst moments of the album: Nowhere, After All.

Released in 2026 Time To Kill Records

Track listing
1. Hope. 0:54
2. Expecting Nothing 2:52
3. Drain 3:12
4. Not Allowed 3:09
5. The Descent 3:57
6. Deep Rest 4:23
7. Seed, Feed, Keep 3:33
8. Seeking Perfect Harmony 4:15
9. Garden 2:22
10. A Pragmatic Way Out 4:13
11. Nowhere, After All 3:45
12. The Gift 4:27

Band members
Riccardo Babbolin – vocals, guitar
Francesco Garatti – guitar
Davide Piccolo – bass
Giorgio Piva – drums

Guest musician
Clara Wright – narration on “Hope.”

Album Review – Iapetus / The Mother Void (2026)

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2026 Willowtip Records

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

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

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

Album Review – Wharflurch / Mycodeath and Rebirth in the Outer Clusters (2026)

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Florida’s own Death and Doom Metal entity returns with the sequel to the epic psychedelic saga that started in their debut album, an odyssey for the adventurous listener, and a deathly riff journey into the outer cosmos.

Hailing from Gainesville, Florida, the ruthless Death/Doom Metal entity Wharflurch left the Death Metal world hanging at the end of their 2021 debut Psychedelic Realms ov Hell, with the protagonist of the first album being lost in a fungal haze of disillusionment at the album’s conclusion. They return with the sequel to the epic psychedelic saga, Mycodeath and Rebirth in the Outer Clusters, another concept album continuing the story, placing our “hero” at the precipice of an incredible journey to the furthest regions of our universe. A true Sci-Fi epic of world-building and conceptualization, the new offering by vocalist and guitarist Myk Colby, and vocalist and drummer John Mamo (with guest appearances by Garrett Alvarado, frontman for Maul, on vocals as the voice of the “Sporelords,” and Jamie Stewart, throat shredder for The Abscence, Party Time, and Hot Graves, doing narratives and guest vocals on quite a few songs) places the listener at a vantage point to interpret interplanetary life as ventures of this secret race of mycelial beings who control the life force of galaxies with a hidden hand.

A cosmic intro quickly evolves into a prog death feast led by the scathing riffs by Myk titled Death Toll Horror while John pounds his drums nonstop, resulting in a ruthless start to the sonic voyage crafted by the duo; followed by Forgotten Temple, as intricate as it is demonic, with the duo hammering our heads mercilessly with their gruesome vocals and striking guitar lines, all boosted by an ethereal background. Their old school Death Metal vein pulses harder than ever in Non Zero Expanse, with John dictating the pace with his cadaverous beats and fills, and they continue their otherworldly journey with the Progressive Death Metal attack titled Headless God, again showcasing those Cannibal Corpse-infused riffs we all love so much.

It takes a while for Dimensional Parasite to really take off, but when it does it offers more of the band’s trademark blend of Death Metal. It could have been a little faster, though. Then again presenting a wild blend of progressiveness with harsh, visceral sounds we have The Leaving Orbs, where John is once again flawless behind his drums accompanied by the whimsical guitars by Myk, followed by Revelations ov the Spore Lords, heavy and obscure from the very first second, alternating between doom-laden Death Metal moments and bursts of sheer savagery. And lastly, we’re treated to Mycodeath and Rebirth / Awakening the Emissary, an expansive instrumental outro that feels like the ending scene and credits of a Sci-Fi movie.

Embraced by the sinister, otherworldly artwork by American artist Claw//Eight, Mycodeath and Rebirth in the Outer Clusters is definitely a must-listen for fans of the craziest form of Death and Doom Metal, and you can find more details about such a demented duo on Facebook and on Instagram, stream their music on Spotify, and purchase the album from the Personal Records’ BandCamp or webstore (or click HERE for all things Wharflurch). In the end, Mycodeath and Rebirth in the Outer Clusters is more than just an album of heavy music. It’s an odyssey for the adventurous listener, a deathly riff journey into the outer cosmos, where our destiny has been foretold by beings who treat our planet as a failed.

Best moments of the album: Forgotten Temple, Non Zero Expanse and Revelations ov the Spore Lords.

Worst moments of the album: Dimensional Parasite.

Released in 2026 Personal Records/Gurgling Gore/Dawnbreed

Track listing
1. Death Toll Horror 4:10
2. Forgotten Temple 6:18
3. Non Zero Expanse 4:32
4. Headless God 5:08
5. Dimensional Parasite 5:21
6. The Leaving Orbs 5:42
7. Revelations ov the Spore Lords 6:15
8. Mycodeath and Rebirth / Awakening the Emissary 8:28

Band members
Myk Colby – vocals, guitars, synthesizers
John Mamo – vocals, drums

Guest musicians
Garrett Alvarado – vocals
Jamie Stewart – vocals, narration

Album Review – Hanging Garden / Dream Death (2026)

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

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

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

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

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

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

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

Band members
Dylan Cruz – vocals, all instruments

Album Review – Sea Sleeper / Burden of Antlers (2026)

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With a sound that embraces the weird and obscure, this American Post-Metal outfit is back with their sophomore opus, sounding heavier and more eclectic then ever.

With a sound that embraces the weird and obscure, Portland, Oregon-based Progressive Deathcore/Death Metal/Post-Metal ensemble Sea Sleeper is unveiling their second full-length opus, titled Burden of Antlers, following up on their 2021 debut Nostophobia. Recorded by Jesse Cooley and Shane Cooley at Sleeping Studio, produced, mixed and mastered by Jesse Cooley, and with a stylish artwork by Johnny P., the new album by Jesse Cooley on vocals and guitars, Tony Spradlin also on the guitars, Nick Kessler on bass, and Shane Cooley on drums sees the band hone further the cohesion across their composition process to produce an offering that is thoroughly eclectic and heavy.

The inspiration for the opening song Machines of the Bombing Runs was drawn from the band’s fascination with history and delves into the incomprehensible enormity of war, while the music sounds absolutely dissonant and harsh thanks to the devilish vociferations by Jesse and the Stygian guitars by the same Jesse alongside Tony. And they let their most visceral Post-Black Metal vein arise in Manifestor, with Shane demolishing his drums until the very last second; followed by Lunar Degenerates, bringing forward the metallic bass lines by Nick and the deep, introspective clean vocals by Jesse. After that, Abysmal Trench explores narcissism and mortality, with the music sounding just as visceral as the topic discussed while the lead guitars by Tony feel hypnotizing.

Then we face the hard hitting title-track Burden of Antlers, where Shane dictates the pace with his pounding drums while their guitars again transpire madness and fury, not to mention how thunderous the bass by Nick sounds and feels. In They’ll Miss You we see the band let their Dissonant and Experimental Death Metal side burn our damned souls, with Jesse’s roars sounding like an angry version of Mastodon, whereas Coma is also very experimental, dynamic and multi-layered, with the devilish sounds extracted from their stringed axes penetrating deep inside your psyche. Finally, Husk concludes the album on a high and demented mode, with the progressiveness and intricacy flowing from all instruments dragging us to the band’s grim lair for all eternity.

You can find the guys from Sea Sleeper on Facebook and Instagram, staying up to date with their news, music, live concerts and other nice to know details about the band, stream their unique, detailed and vibrant music on any platform like YouTube, Spotify and Apple Music, and of course, above all that, grab those talented metallers by the antlers by purchasing their excellent new album from their own BandCamp. Jesse, Tony, Nick and Shane are on fire throughout the entire Burden of Antlers, presenting an amalgamation of styles from Progressive Metal to modern-day Post-Metal that will surely please any fan of good music, inspiring them to keep on rockin’ armed with their extremely heavy yet melodic and enfolding music for many years to come.

Best moments of the album: Machines of the Bombing Runs, Burden of Antlers and Husk.

Worst moments of the album: Lunar Degenerates.

Released in 2026 Metal Assault Records

Track listing
1. Machines of the Bombing Runs 5:15
2. Manifestor 8:14
3. Lunar Degenerates 4:44
4. Abysmal Trench 5:53
5. Burden of Antlers 6:04
6. They’ll Miss You 5:08
7. Coma 5:59
8. Husk 6:46

Band members
Jesse Cooley – lead vocals, guitars
Tony Spradlin – lead guitars, backing vocals
Nick Kessler – bass, backing vocals
Shane Cooley – drums, backing vocals

Album Review – Februus / Construction of Conflict (2026)

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The ancient Roman and Etruscan god of purification, cleansing, and the underworld is back with its sophomore album, sounding just as fascinating and eccentric as one would expect it to be.

After releasing an astounding debut in Surveillance Orgy in 2023, Höör, Sweden-based Progressive Death Metal entity Februus (the ancient Roman and Etruscan god of purification, cleansing, and the underworld) returns with a sophomore album that is more mature and consistent, yet just as fascinating and eccentric as one would expect it to be, entitled Construction of Conflict. Mixed by the band’s sole member, vocalist and multi-instrumentalist Andreas Karlsson, mastered by Mattias Persson, and showcasing a wicked, striking artwork by Daniel Karlsson, the album is more compact and effective without losing its expressive power. There are no 15-minute songs on this one. Most of them in fact happen to last for just around five minutes, and Andreas and his Februus make sure that they’re nonetheless packed with plenty of deviations and surprises that are of more varied textures and moods than before.

Andreas kicks off his demented extravaganza with sheer force and insanity in Genocide by Default, offering wicked riffs and blast beats with tons of progressiveness and heaviness, followed by Measures of Escalation, keeping the momentum going with the striking Progressive Death Metal riffs and vociferations by Andreas sounding piercing, demented and vibrant from start to finish. Then an ethereal, enfolding start morphs into sheer madness and experimentations in Suicide by Proxy, with Andreas delivering his trademark scorching riffs nonstop for our total delight; while The First Limb Is Cut carries a poetically harsh title for another blast of Progressive Death Metal by Andreas, with his killer riffs and blast beats punching us hard in the head.

The Misery That Awaits the World is another song with a caustic, powerful title that offers a more introspective side of Andreas, warming us up for Fueled by Narcissism, exploding into absolute chaos, insanity and violence to his demonic guttural and crushing drums, presenting an amalgamation of sounds, tones, breaks and passages not recommended for the lighthearted. Andreas then showcases his own blend of Dissonant and Progressive Death Metal in Scavengers of the Forgotten Poor, firing nonstop scathing riffs while his roars sound absolutely evil; and ending the album we face the multi-layered Suppressing the Future, which kicks off in total violence before morphing into a whimsical sonority, and finally morphing again, this time into sheer doom.

With the release of the dynamic and multi-layered Construction of Conflict, Februus remains as one of the most interesting Swedish Death Metal bands today, always having a trick or three up its sleeves, while maintaining a deceptively rough, clamorous demeanour. In other words, if you’re a fan of the fusion of heavy music and sheer insanity blasted by bands the likes of Edge of Sanity, Pan.Thy.Monium, Demilich, Disharmonic Orchestra, and Defect Designer, just to name a few, you should definitely give Februus a try by streaming its idiosyncratic music on any platform like Spotify, and by purchasing Construction of Conflict from the project’s own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Don’t forget to also follow Februus on Facebook and on Instagram, and who knows, maybe after such an amazing album the project will morph from a studio project into a live beast, taking your city by storm sooner than you can say “Februus.” Construction of Conflict is certainly not an album for the average listener, but a venomous creature ready to penetrate deep inside your skin, consuming your mind and soul, and leaving you in a cathartic state just the way we like it in Progressive Death Metal.

Best moments of the album: Genocide by Default, The First Limb Is Cut and Fueled by Narcissism.

Worst moments of the album: The Misery That Awaits the World.

Released in 2026 Transcending Obscurity Records

Track listing
1. Genocide by Default 5:25
2. Measures of Escalation 5:11
3. Suicide by Proxy 5:45
4. The First Limb Is Cut 5:02
5. The Misery That Awaits the World 2:07
6. Fueled by Narcissism 5:50
7. Scavengers of the Forgotten Poor 5:47
8. Suppressing the Future 5:27

Band members
Andreas Karlsson – vocals, guitars, bass, drum programming, synthesizers