Tag Archives: progressive metal

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 – Insolitus / The Monumental Fall (2026)

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An up-and-coming Belgian Melodic Death Metal collective is ready to strike armed with their incendiary debut offering.

A Belgian Melodic Death Metal collective utterly determined to forge something epic and memorable without following fleeting trends, Insolitus are ready to unleash hell armed with their debut offering, titled The Monumental Fall. With a sound built on a foundation of crushing riffage and articulate, driving percussion, layered with catchy and intricately intertwining melodies, the debut opus by Leslie Stroobant on vocals, Floren Van Stichel, Fré Clement and Kaatje Desmet on the guitars, and Dries Claeys on drums presents 11 original tracks inspired by the classic melodeath sound blasted by bands the likes of Amorphis, Nevermore, The Halo Effect and Soilwork, while at the same time offering a fresh twist added to their core sound by each band member.

The opening track Crossing Voyage sounds modern while remaining loyal to the foundations of Melodic Death Metal, with Floren, Fré and Kaatje already offering a triple riff attack tailored for fans of the genre; and their guitars kick off the electrifying A Dream Resonance, also presenting a Progressive Metal vibe while Leslie roars in great fashion, followed by Reclaim the Flame, as incendiary as its title, with Dries stealing the spotlight with his hammering drums. In Search For reminds me of some of the more modern creations by In Flames, with Leslie once again delivering sheer adrenaline through his harsh vocals, while Leap of Life presents another traditional take on Scandinavian Melodic Death Metal with a Belgian twist, and of course, their guitars re again breathing fire. And after such a solid tune we have Beneath a Thousand Eyes, showcasing the hammering drums by Dries accompanied by the slashing riffs by Floren, Fré and Kaatje.

Whisperbox is not as vibrant as the other songs despite bringing forward another striking, intricate guitar attack by the band’s trio. It could have been more ferocious and a little less melodic. Then back to a more aggressive sonority we face The Dying Light of Day, with Leslie’s vocals transpiring rage and fury until the very end; whereas Soar has a very cool and epic vibe, inviting us all to raise our fists together with the band in the name of melodeath. Of Time and Change sounds and feels just as epic as the previous song, with Leslie’s harsh vocals being nicely boosted by all clean and backing vocals. Lastly, the title-track The Monumental Fall puts an end to the album with its imposing wall of sounds, feeling like a climatic conclusion to an adventure movie.

Bringing melody-driven heavy music with both clean vocals and harsh vocals, and lyrics rooted in themes of authenticity, empowerment and emotional honesty, Insolitus are on fire throughout their debut offering, and you can give those talented Belgians a shout on Facebook and on Instagram, keeping an eye on their tour dates, stream their music on Spotify, and of course purchase a copy of The Monumental Fall from BandCamp or by clicking HERE. The Monumental Fall is just the first step for Insolitus, and based on the quality of the music found in the entire album we can rest assured we’ll hear a lot more form those Belgians in a not-so-distant future.

Best moments of the album: A Dream Resonance, In Search For and Of Time and Change.

Worst moments of the album: Whisperbox.

Released in 2026 Independent

Track listing
1. Crossing Voyage 6:36
2. A Dream Resonance 4:17
3. Reclaim the Flame 4:55
4. In Search For 3:41
5. Leap of Life 6:12
6. Beneath a Thousand Eyes 5:10
7. Whisperbox 6:16
8. The Dying Light of Day 5:48
9. Soar 4:48
10. Of Time and Change 5:28
11. The Monumental Fall 4:40

Band members
Leslie Stroobant – vocals
Floren Van Stichel – guitars, backing vocals
Fré Clement – guitars
Kaatje Desmet – guitars
Dries Claeys – 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 – Spheres / Dyson (2026)

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This striking French Progressive Metal collective concludes their visual and thematic trilogy with a challenging yet deeply emotional journey through the massive structures of both human nature and the infinite universe.

Formed in 2018 in Paris, Spheres are a French modern Progressive Metal band blending the intensity of Melodic Death Metal with the depth and complexity of progressive music, combining crushing riffs, atmospheric textures, and a dynamic interplay of clean and harsh vocals, therefore creating a powerful and immersive listening experience. Produced by the band’s own mastermind Jonathan Lino, recorded at JL Studio, mixed by Chris Edrich, mastered by Pierrick Noel, and showcasing a striking artwork by French artist Julien Grelet, the multi-layered Dyson is the new album by the aforementioned Jonathan Lino on vocals, guitars and keyboards together with Marc-Antoine Walczak also on the guitars and keyboards, Clemence Santé on bass, and Jesses Haddad on drums, successfully closing the visual and thematic trilogy that started with the albums Iono and Helios, offering a challenging yet deeply emotional journey through the massive structures of both human nature and the infinite universe.

The band’s cinematic and metallic party kicks off with the groovy Underworld, where the bass lines by Clemence bring sheer heaviness to their music while Jonathan alternates between savage growls and emotional clean vocals. Clemence and Jesses make the earth tremble in Kemper, offering an overdose of progressiveness mixed with heavier and darker sounds, followed by We Are Not Alone, inspired by the melodic sounds by renowned acts the likes of Dream Theater and Symphony X, with the guitars and keys by Jonathan and Marc-Antoine sounding ethereal. Drive Me To The Dawn offers more of their striking blend of Progressive Rock and Metal, with Jesses’ beats walking hand in hand with all background keys and sounds in a lesson in the genre; and I Like To Comment keeps the atmosphere as groovy as it can be, with all breaks and variations adding an extra punch to the music. Then we face Shadows Of Despair, alternating between heavy and progressive moments, and whimsical, soothing passages, with Jonathan taking the lead with his passionate vocals, before they conclude their journey with Virtual Prison, absolutely multi-layered, vibrant and captivating, not to mention their riffs and solos sound electrifying, flowing majestically until its climatic finale.

Driven by themes of introspection, human evolution, technology, and dystopian futures, Spheres craft music that is as thought-provoking as it is impactful, inviting listeners into richly layered sonic landscapes, exactly like what they have to offer in their newborn spawn Dyson. If you want to know more about such an interesting name of the current rock and metal scene in France and show them your total support, you can find the band on Facebook and on Instagram, stream their music on any platform like Spotify, and purchase Dyson from their own BandCamp or by clicking HERE or HERE. In the end, Dyson is more than just an album of heavy music, but an invitation to explore the universe alongside one of the most creative bands of the current French scene.

Best moments of the album: Drive Me To The Dawn and Virtual Prison.

Worst moments of the album: None.

Released in 2026 Art Gates Records

Track listing
1. Underworld 4:45
2. Kemper 6:44
3. We Are Not Alone 5:32
4. Drive Me To The Dawn 4:36
5. I Like To Comment 4:29
6. Shadows Of Despair 7:48
7. Virtual Prison 8:02

Band members
Jonathan Lino – vocals, guitars, keyboards
Marc-Antoine Walczak – guitars, keyboards
Clemence Santé – bass
Jesses Haddad – drums

Album Review – Kinetic / Liminal (2026)

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Witness the rise, fall and infinite loop of human civilization throughout the cosmos in the form of the striking debut album by this up-and-coming Danish Progressive Metal ensemble.

Emerging with a sound that bridges technical precision, atmospheric depth, and cinematic storytelling, Kolding, Denmark-based Progressive Metal ensemble Kinetic was built on a shared ambition to create music that moves beyond convention, both musically and conceptually, drawing inspiration from progressive heavyweights while carving out a distinct sonic identity. Following the release of their well received debut EP Sentience in 2025, which offered a first glimpse into the band’s evolving sound, the band formed of vocalist René Hougaard, guitarist David Thing, bassist Christian F. Heitmann, keyboardinst Marcus Levin, and drummer Rune Görlitz returns with their first full-length opus, titled Liminal, a concept album produced by Frederik Uglebjerg (Galge, MØL, Trold, Isbjörg) and shaped by contrast – tension and release, chaos and control, the vastness of space and the intimacy of human thought – while the band refines their musical identity by pushing into both heavier and more ambient territories.

Beginnings is as atmospheric and eerie as it can be, slowly growing into an enfolding sound led by René’s deep vocal lines while Rune dictates the pace with his heavy-as-hell beats and fills, while in Evolution initial acoustic, ethereal moments evolve into another Progressive Rock and Metal extravaganza, feeling like five or six songs in one. New Frontiers sounds like Dream Theater on steroids, with the guitars by David breathing fire while Marcus makes sure the atmosphere remains cryptic with his spot-on keys; followed by Type 0.75, showcasing a more cadenced side of the band as if Meshuggah decided to go full progressive, with Marcus again delivering sheer electricity from his keys. Half of the following tune, Fermi, is almost like a dark ballad, with everything switching to a heavier and groovier sound led by the intricate riffs by David and the low-tuned bass by Christian, repeating everything all over again, and the same Christian kicks off the obscure Progress to One, inviting us to bang our heads nonstop in absolute darkness, with Rune crushing his drums with endless power.

Dyson is not a bad song, but not as electrifying as the rest of the album, although the riffs and solos by David sound majestic; whereas they bring elements from 80’s Gothic Rock and Metal to their core Progressive Metal essence in Journey to the Stars, and the final result is truly entertaining, spearheaded by the groovy bass by Christian. Digital Mind offers more of their futuristic take on Progressive Metal, with René’s vocals sounding again flawless, adding passion and darkness to the overall result, all boosted by another classy solo by David; while 2 to Five also alternates between absolute heaviness and delicate, passionate moments, not to mention the electricity flowing from their axes is insane. Lastly, composing a 20-minute song is always a bold move, but a band like Kinetic definitely knows how to do that to perfection like in Omega, kicking it off with serene and atmospheric elements before blasting their trademark Progressive Metal sounds, resulting in a wild metallic journey where David is on fire armed with his axe while René keeps telling the story majestically until the song’s climatic ending.

A massive Progressive Metal concept album bound together by a coherent, overarching storyline that connects the first note of the opening track to the final fading echoes of the grand finale, drawing inspiration from the Kardashev Scale (a theoretical framework proposed by astrophysicist Nikolai Kardashev that measures the technological advancement of a civilization based on the amount of energy it can harness), Liminal will surely help the band establish themselves as a notable force within the modern Progressive Metal landscape, and you can get to know more about them on Facebook and on Instagram, stream their music on Spotify, and of course, grab a copy of the album by clicking HERE. Spanning more than 115 minutes in length, the album uses dynamic songwriting and deep narrative storytelling to track the rise, fall and infinite loop of human civilization throughout the cosmos, and I’m sure you’ll have an amazing time traversing the universe together with Kinetic to the sound of their striking new album.

Best moments of the album: New Frontiers, Progress to One and Omega.

Worst moments of the album: Dyson.

Released in 2026 Eclipse Records

Track listing
1. Beginnings 8:40
2. Evolution 11:13
3. New Frontiers 12:58
4. Type 0.75 8:26
5. Fermi 8:11
6. Progress to One 5:35
7. Dyson 6:15
8. Journey to the Stars 8:27
9. Digital Mind 7:18
10. 2 to Five 9:13
11. Omega 20:09

Band members
René Hougaard – vocals
David Thing – guitars
Christian F. Heitmann – bass
Marcus Levin – synthesizers
Rune Görlitz – 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 – 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 – The Eternal / Obscured Horizons (2026)

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Delving further into darkness, this Gothic Metal quartet returns with an exploration of disillusionment, fractured identity and the struggle to reclaim clarity in a world saturated with distortion.

Delving further into darkness with a sound situated in Progressive Gothic Metal, the veteran Australian and Finnish quartet known as The Eternal is set to unveil their eighth studio album upon humanity, titled Obscured Horizons, following up on their 2024 opus Skinwalker. Produced by Jan Rechberger and Mark Kelson, and displaying a darkly stunning artwork by Kate Roney, the new album by Mark Kelson on vocals and guitar, Richie Poate on lead guitar, Niclas Etelävuori on bass, and Jan Rechberger on drums and percussion is the band’s most immersive and definitive work to date, an exploration of disillusionment, fractured identity and the struggle to reclaim clarity in a world saturated with distortion, moving through states of emotional collapse, liminal transition and existential unrest, confronting deception – both external and internal – before emerging into renewal and self-awareness.

Mark and Richie start the band’s metallic engine with their melodeath-infused guitars in Lament For The Hollow, already presenting their trademark fusion of Progressive and Gothic Metal. Then bringing elements from Gothic Rock from the 80’s we have Existing To Expire, with Niclas kicking some serious ass with his heavy bass lines, followed by Colours Fade, again showcasing an endless dosage of progressiveness added to their core sound, as if Dream Theater went absolutely goth. And striking background keys bring even more adrenaline to Harmony Breaks, with the melodious vocals by Mark embracing us in a comforting darkness in the name of Gothic Rock and Metal.

I’ve Seen The Dream is a stunning ballad in the vein of Dream Theater from their masterpiece Metropolis Pt. 2: Scenes from a Memory, with Richie stealing the spotlight with his enfolding guitars lines and solos; followed by Liminality, presenting seven minutes of a lecture in Progressive Metal, with Mark’s vocals being flawlessly complemented by the groovy, multi-layered and intricate kitchen crafted by Niclas and Jan. The title-track Obscured Horizons keeps their fires burning bright led by another killer performance by Jan behind his drums; while the incendiary guitars by Mark and Richie keep piercing our minds mercilessly in Yesterday’s Gone, another stylish display of the band’s first-class Heavy Metal. Finally, we face Awaken, again presenting several layers and nuances, with Richie sounding on fire with his axe, breathing piercing riffs and solos nonstop and, therefore, ending the album in great fashion.

A work concerned with the erosion of truth, the masks we inherit, the weight of memory and the courage required to awaken from imposed realities, Obscured Horizons represents both culmination and evolution, a bold statement from a band entering a new creative chapter with their gaze fixed firmly on the unseen. You can get to know more about The Eternal, their new album, their tour dates and other nice to know details via Facebook and Instagram, stream their unique creations on Spotify, and above all that, purchase a copy of the album by clicking HERE. Rather than surrendering to decay, Obscured Horizons charts a defiant ascent, refusing numbness, rejecting illusion, and ultimately reclaiming light from the shadows that threaten to eclipse it.

Best moments of the album: Lament For The Hollow, Liminality and Yesterday’s Gone.

Worst moments of the album: None.

Released in 2026 Reigning Phoenix Music

Track listing
1. Lament For The Hollow 5:04
2. Existing To Expire 4:10
3. Colours Fade 4:58
4. Harmony Breaks 5:05
5. I’ve Seen The Dream 4:14
6. Liminality 6:59
7. Obscured Horizons 5:11
8. Yesterday’s Gone 5:13
9. Awaken 6:07

Band members
Mark Kelson – vocals, guitar
Richie Poate – lead guitar
Niclas Etelävuori – bass
Jan Rechberger – drums, percussion

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 – Sigh / Goh-ka (2026)

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These Avantgarde Black Metal masters from Japan are back with a breathtaking new album, openly showing the harsh reality that no matter how beautiful you are, you’ll be dead and rot sooner or later.

A new highlight of atmosphere, technical mastery, and meticulously arranged epics of metallic grandeur, Goh-ka, a title with a triple meaning (業火 infernal fire scorching sinners, 劫火 a huge fire that burns down the world at the end of time, and 業果 karma), is the new opus by the mighty Tokyo, Japan-based Avantgarde/Experimental Black Metal institution Sigh, the follow-up to their 2022 album Shiki. Recorded across multiple studios, once again mixed and mastered by Lasse Lammert at LSD Studios, and displaying a stunning artwork by Maciej Kamuda, the new offering by Mirai Kawashima on vocals, Dr. Mikannibal on vocals and saxophone, Nozomu Wakai on the guitars, and with the support of session musicians Frédéric Leclercq (Kreator) on bass and Mike Heller (Raven, Malignancy) on drums, has as its primary theme the Kuso-zu, a series of Buddhist paintings or illustrations depicting the nine stages of a human body’s decomposition after death, created to encourage meditation on the impermanence of life, the inevitability of death, and the detachment from physical beauty and worldly attachment. It openly shows the harsh reality that no matter how beautiful you are, you’ll be dead and rot sooner or later.

Kuso-shi 1, 2, and 3 is utterly ethereal and cinematic from the very first second, evolving into an experimental beast led by the dual vocal attack by Mirai and Dr. Mikannibal; while the guitar lines by Nozomu will pierce our minds in Jigoku-Zoshi 1: Unkamusho, with the thunderous kitchen crafted by Frédéric and Mike making the earth tremble. Then we face the ritualistic Anzenshokon, morphing into a sluggish beast infused with Doom and Sludge Metal elements, followed by Kuso-shi 4, 5, and 6, another song that sounds like three distinct tunes in one, with its epic last part being boosted by the demonic gnarls by Mirai. And after the cryptic interlude Shoso we’re treated to the infernal and captivating Unputenpu, featuring a guest guitar solo by the one and only Mikael Åkerfeldt of Opeth. The riffs by Nozomu transpire Progressive Rock and Metal, supported by the always solid beats and fills by Mike, not to mention its background keys are beautifully haunting.

Jinmenjushin brings to our avid ears another blast of their trademark blend of Avantgarde and Experimental Black Metal, alternating between more progressive moments and ethereal vocalization passages; and Mike then hammers his drums in the best Black, Thrash and Death Metal style in Jigoku-Zoshi 2: Tokatsujigoku, offering Mirai and Dr. Mikannibal exactly what they need to growl like rabid creatures. Kushukankyo is by far one of the most Japanese culture-infused tracks in the history of heavy music, flowing into the (unnecessary) atmospheric track Kuso-shi 7, setting the stage for the band to kill again with Kuso-shi 8 and 9 / Mettaijakujo, bringing forward 11 minutes of insanity, darkness, fury and progressiveness, feeling almost like the score for a Japanese horror flick, therefore putting a wild ending to the album.

From a musical perspective, if you were to place the main ingredients of Celtic Frost, Voivod, Black Sabbath, horror movies and Japan into a cauldron and stir it, you will get Goh-ka. Numerous additional spices such as Psychedelic and Progressive Rock, as well as classical music, are also evident over the album’s close to one-hour duration, resulting in a must-listen for admirers of the insanity blasted by renowned acts the likes of Arcturus, Dødheimsgard, Imperial Triumphant, Enslaved, Ved Buens Ende, Dir En Grey, and Ningen Isu. Moreover, Sigh are waiting for you on Facebook and on Instagram with news, tour dates and more of their unique music, and you can stream their vast discography on Spotify or Apple Music. Don’t forget to also grab a copy of Goh-ka from the Peaceville Records’ Bandcamp, letting their weird and captivating sounds penetrate deep inside your rotten soul. We’ll all be dead sooner or later anyway.

Best moments of the album: Jigoku-Zoshi 1: Unkamusho, Unputenpu and Kuso-shi 8 and 9 / Mettaijakujo.

Worst moments of the album: Kuso-shi 7.

Released in 2026 Peaceville Records

Track listing
1. Kuso-shi 1, 2, and 3 9:11
2. Jigoku-Zoshi 1: Unkamusho 3:55
3. Anzenshokon 6:24
4. Kuso-shi 4, 5, and 6 7:21
5. Shoso 0:56
6. Unputenpu 5:41
7. Jinmenjushin 6:14
8. Jigoku-Zoshi 2: Tokatsujigoku 3:06
9. Kushukankyo 1:47
10. Kuso-shi 7 1:56
11. Kuso-shi 8 and 9 / Mettaijakujo 11:23

Band members
Mirai Kawashima – vocals
Dr. Mikannibal – vocals, saxophone
Nozomu Wakai – guitars

Guest musicians
Frédéric Leclercq – bass (session)
Mike Heller – drums (session)
Mikael Åkerfeldt – guitar solo on “Unputenpu”