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Album Review – Riket / 2026 (2026)

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Standing at the intersection of ferocity and history, this Swedish Death and Thrash Metal brigade is unleashing hell with their debut opus, with each song portraying small historic tales of catastrophe, blunder, and human downfall.

Standing at the intersection of ferocity and history, channeling the raw aggression of Death Metal while weaving in the relentless drive of Thrash Metal and the defiance of Punk Rock, Stockholm, Sweden-based brigade Riket is unleashing hell armed with their debut opus, simply titled 2026. Recorded and produced by Sverker Widgren at Wing Studios, and displaying a haunting artwork by Axel Torvenius, mirroring the album’s thematic depths, the debut offering by vocalist Johan “Flid” Fridell, guitarists Tobias Jakobsson and Jussi Niiranen, bassist Micke André, and drummer Felix Wahlund balances crushing heaviness with an eerie sense of narrative, with every song being performed in Swedish and rooted in the darker corners of a shared past, portraying small historic tales of catastrophe, blunder, and human downfall.

Tobias and Jussi take the lead from the very first second with their acid riffage in 1868: Sommar Vid Vinterviken (or “1868: Summer at Winter Bay” from Swedish), while Johan barks and roars in the best Swedish style. 1867: Storsvagaret (“1867: The Great Weakness”) is even more infuriated and groovy than the opening tune, presenting elements of Death and Thrash Metal spiced up by an overdose of brutality and sick guitar solos; and it’s time to head into the circle pit and keep moving relentlessly in 1965: Hoghus Och Kultur (“1965: The Court and Culture”), with Felix sounding like a machine gun on drums. Then leaning towards the Melodic Death Metal by their countrymen such as In Flames and Soilwork we have 1948: Att Doda Ett Barn (“1948: Killing a Child”),showcasing a truly edgy vibe; and what starts in a calm way in 1885: Dodsdansen (I Manskensnatten) (“1885: The Dance of Death (In the Night of Man)”) suddenly morphs into another bestial melodeath attack.

1897: Mot Polen (“1897: Towards Poland”) is absolutely heavy but not as dynamic nor as exciting as the rest of the album, albeit the Amon Amarth-like riffs by Tobias and Jussi are still a thing of beauty. Micke keeps hammering his bass in 1991: 2000 Ar (Saliga Aro De Talmodiga) (“1991: 2000 Years (Blessed Are the Wise Men)”), adding a groovier vibe to the song while Johan’s deep guttural bring endless fury to the overall result; whereas 1937: Lagor Vid Portarna (“1937: Laws at the Gates”) is more rhythmic and vibrant thanks to another ass-kicking performance by Felix on drums, while the trio formed of Tobias, Jussi and Micke delivers a first-class stringed onrush. Lastly, we’re treated to a cover version for Stefan Sundström’s 2009: Alla Ska I Jorden (“2009: All Shall Be in the World”) (and you can enjoy the original version HERE), an interesting rendition presenting a darker, more introspective approach compared to the original.

A vessel of memory, a grim messenger bridging today’s world with the chilling truths of yesteryears, 2026 does not simply revisit history. Riket force you to confront it, challenging their audience to face uncomfortable truths, both personal and societal. If you want to know more about Riket and their dark relationship with history, you can start following the band on Facebook and on Instagram, stream their wicked creations on Spotify, and purchase their excellent debut from BandCamp or from several online retailers such as Doomed Records and Record Store Day. 2026 is an album that lingers long after the final note fades, a stark, resonant journey through memory, identity and the lingering shadows of time, leaving us eager for more from those Swedish metallers as our society progresses to its inevitable doom.

Best moments of the album: 1867: Storsvagaret, 1965: Hoghus Och Kultur and 1937: Lagor Vid Portarna.

Worst moments of the album: 1897: Mot Polen.

Released in 2026 Black Lion Records

Track listing
1. 1868: Sommar Vid Vinterviken 4:27
2. 1867: Storsvagaret 3:04
3. 1965: Hoghus Och Kultur 5:15
4. 1948: Att Doda Ett Barn 3:42
5. 1885: Dodsdansen (I Manskensnatten) 4:48
6. 1897: Mot Polen 3:56
7. 1991: 2000 Ar (Saliga Aro De Talmodiga) 4:11
8. 1937: Lagor Vid Portarna 4:18
9. 2009: Alla Ska I Jorden (Stefan Sundström cover) 5:06

Band members
Johan “Flid” Fridell – vocals
Tobias Jakobsson – guitars
Jussi Niiranen – guitars
Micke André – bass, backing vocals
Felix Wahlund – drums

Album Review – Unearthly Rites / Tortural Symphony of the Flesh (2026)

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Delivering filthy, mold-ridden Death Metal, this Finnish brigade explicitly calls for action in defense of nature and the rights of ethnic, gender and sexual minorities in their breathtaking new album.

Delivering filthy, mold-ridden Death Metal deeply rooted in the muddy sewers of the Finnish DIY Punk Rock and Hardcore scene, Finland’s own horde Unearthly Rites is unleashing another slab of raw old school Death Metal, Grindcore, and Crust in their sophomore album, titled Tortural Symphony of the Flesh. Presenting a total meltdown of nature, humanity, and machine, and of transgression, lust and power, the follow-up to their 2024 album Ecdysis advances the band’s crushing riffs and characteristically moldy grimness toward a more malicious and brutal soundscape, documenting the atrocities of capitalist society while also explicitly calling for action in defense of nature and the rights of ethnic, gender and sexual minorities, all masterfully crafted by Sisli (they/them) on vocals, Simo (he/him) and Santtu (he/him) on the guitars, Jennika (she/her) on bass, and Tapio (he/him) on drums.

The opening track Tuonen tulijat, manan menijät, or “those who come here, those who go there” from Finnish, already presents the trademark low-tuned, evil sounds blasted by the band, blending their core sonority with sheer Doom Metal, followed by Sokli Fields Forever / A Radiative Picnic, a primeval form of Death Metal where Sisli’s guttural is not recommended for the lighthearted so demonic it sounds. Simo and Santtu, supported by the rumbling bass by the she-demon Jennika, offer an overdose of wrath and darkness in Solstice, as doomed and vile as it can be; whereas A Stygian Winterscape is an atmospheric interlude that could have been slightly shorter to keep the vibe of the album more incendiary, setting the stage for the band to kill in Tortural Symphony of the Flesh, with Simo and Santtu giving a lecture in insanity with their caustic riffs and sick solos while Sisli keeps barking in the name of darkness.

Ignis fatuus, the elusive blue flames also known as a “Will-o’-the-Wisp” or “corpse-candle,” a glowing atmospheric phenomenon which has a reputation for causing mischief and even death, is the perfect title for a song by Unearhtly Rites, with the music transpiring the mystery and obscurity of that light, and with Tapio crushing his drums like a true beast in a Finnish Grindcore avalanche. Metalli, liha, kone, or “metal, meat, machine,” showcases another killer blend of Death Metal, Grindcore and other demented sounds, with Jennika and Tapio showing no mercy for our damned souls, followed by Absurd Transgression, as chaotic and dissonant as its predecessors, where their piercing guitars exhale hatred supported by Sisli’s deep roars. Then the quick and eerie interlude Not for the Weak warms us up for their coup-de-grace in The Notion of Emerging Totalitarianism, led by Jennika’s thunderous bass, leaving us completely disoriented after all is said and done while Sisli sounds inhumane, demented and furious on vocals once again.

“Tortural Symphony of the Flesh deepens our critique of capitalist oppression as a force that devastates nature through ecocide, erodes minority rights, and promotes conservationist ideology that ultimately reinforces colonialist power. Nature and humanity are inseparably fused in imagery of metal, roots, mud, flesh, and ice, forming a visceral rejection of fossil-industrial society. Queer BDSM lust and the words of William Blake are offered as an antidote to the christofascist trajectory,” commented the band, and you can join them in such an important mission by following the band on Facebook and on Instagram, by streaming their acid music on Spotify, and by purchasing their excellent new album from BandCamp or from Svart Records. Because the unstoppable Unearthly Rites are not just a Death Metal band. Their music has a deep and important message for all of us, metalheads or non-metalheads, and their new album definitely deserves our total attention in our rotten and decaying society.

Best moments of the album: Sokli Fields Forever / A Radiative Picnic, Tortural Symphony of the Flesh and The Notion of Emerging Totalitarianism.

Worst moments of the album: A Stygian Winterscape.

Released in 2026 Svart Records

Track listing
1. Tuonen tulijat, manan menijät 3:33
2. Sokli Fields Forever / A Radiative Picnic 3:33
3. Solstice 4:04
4. A Stygian Winterscape 2:53
5. Tortural Symphony of the Flesh 3:31
6. Ignis fatuus 7:21
7. Metalli, liha, kone 3:32
8. Absurd Transgression 3:48
9. Not for the Weak 0:35
10. The Notion of Emerging Totalitarianism 7:12

Band members
Sisli – vocals
Simo – guitar
Santtu – guitar
Jennika – bass
Tapio – drums

Album Review – Ravenspell / Obsidian King (2026)

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Get ready to be catapulted into the world of Heavy and Speed Metal ruled by this Canadian band armed with their incendiary debut album.

With a searing riff and a lung-bursting scream, get ready to be catapulted into the world of Obsidian King, the debut full-length album by Quebec City, Canada-based Heavy/Speed Metal force Ravenspell. Mixed and mastered by David Lizotte (Ültra Raptör, Saccage), and completed by the haunting artwork of renowned Canadian artist Carl Lavoie, the debut by Alisander The Seer on vocals, Ravok Blackwing on the guitars, Corvax Crowhammer on bass, and Volpale The Ravenous on drums (and yes, those are their stage monikers) benefits from a textured, organic sound that captures the blood, sweat, passion and belief of the musicians who have crafted it, being therefore highly recommended for fans of Iron Maiden, Cloven Hoof, Greyhawk, and Visigoth, among countless others metal brigades.

The razor-edged axe by Ravok provides Alisander with exactly what he needs to deliver pure soaring vocals in God the Watcher, an epic tune to properly kick off their feast of old school Heavy Metal, whereas again blending the harshness and violence of Speed Metal with their core metallic sound we have Onwards We March, even sounding Punk Rock-ish at times, with Volpale hammering his drums nonstop. The band then slows things down without letting their energy fade away in Book of the Dead, offering a neck breaking sonority led by Ravok’s killer riffage, followed by Warriors 9 to 5, carrying a very peculiar name for a straightforward Heavy Metal tune by the quartet, with Corvax and Volpale making the earth tremble with their classic kitchen. And leaning towards the Progressive Heavy and Power Metal blasted by bands like Greyhawk, the title-track Obsidian Wing sees Volpale dictate the pace while Alisander declaims the song’s epic lyrics in great fashion.

It’s time to put the pedal to the metal in the Speed Metal onrush entitled Hellstorm. Needless to say, this is where the band thrives the most, inviting us all to slam into the pit to the fast and furious riffs by Ravok. In the also excellent Raise Hell the initial drums by Volpale transpire Motörhead, which matches perfectly with the song’s title, bringing to our avid ears three and a half minutes of pure metallic nostalgia; and the band doesn’t let the ambience cool down not even a tiny bit in Relentless, another old school Heavy Metal extravaganza perfect for some wild headbanging. Battleaxe Apocalypse is perhaps the song with the coolest name of all, and the music is just as electrifying, with the solos and backing vocals by Ravok adding even more insanity to their music. Lastly, the closing song Attila begins in a serene manner before evolving into an Epic Heavy Metal attack where Ravok and Corvax blast their axes with tons of power, putting an Iron Maiden-inspired ending to the album.

In this age of fakery, imitation and flexible truths, Obsidian King stands tall as something real and vital, a work of substance, making sure the speed, melody, character and fire of Ravenspell be felt around the metal world. Hence, you can get in touch with those talented and hardworking Canadians via Facebook and Instagram, stream their music on Spotify or any other online platform, and of course purchase their incendiary debut offering from their own BandCamp, from Xtreem Music, or simply by clicking HERE. The Canadian ravens of Heavy and Speed Metal will put a metallic spell on you with Obsidian King, and be warned as once that spell consumes your soul, there will be a lot of headbanging. I said a lot.

Best moments of the album: Hellstorm, Raise Hell and Battleaxe Apocalypse.

Worst moments of the album: Warriors 9 to 5.

Released in 2026 Fighter Records

Track listing
1. God the Watcher 3:40
2. Onwards We March 3:51
3. Book of the Dead 4:23
4. Warriors 9 to 5 4:04
5. Obsidian Wing 4:03
6. Hellstorm 2:33
7. Raise Hell 3:29
8. Relentless 4:34
9. Battleaxe Apocalypse 1:50
10. Attila 7:50

Band members
Alisander The Seer – vocals
Ravok Blackwing – guitars, backing vocals
Corvax Crowhammer – bass
Volpale The Ravenous – drums

Album Review – Rob Zombie / The Great Satan (2026)

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The Great Rob Zombie is back in action with his incendiary eighth studio album, featuring 15 tracks with a sound described as a return to his “Hellbilly” roots.

As a rock icon and filmmaker with a unique vision, the indomitable Rob Zombie has continuously challenged audiences as he stretches the boundaries of both music and film. Four years after his excellent 2021 album The Lunar Injection Kool Aid Eclipse Conspiracy, Rob Zombie and his henchmen Mike Riggs on the guitars, Rob “Blasko” Nicholson on bass, and Ginger Fish on drums are back with another blast of Punk Rock, Heavy Metal, rebelliousness, blood and horror in The Great Satan, the eighth studio album in his undisputed career, featuring 15 tracks with a sound described as a return to his “Hellbilly” roots, overflowing his trademark sound and his always interesting way of interpreting love, life, death, blasphemy, and of course, Satan.

F.T.W. 84 feels like a journey back in time, more specifically to the glory of the late 90’s and early 2000’s, and it’s fantastic how after all these years Rob can still deliver crushing heavy music, with his vocals sounding truly demonic. Moreover, is it “Fuck the World” or “For the Win”? Well, it’s up to you to decide. Anyway, Mike delivers his old school trademark riffs nonstop in Tarantula while Ginger proves why he’s been hammering the drums with the band since 2011 in another hard hitting feast of heavy music. (I’m a) Rock ‘N’ Roller has a similar energy and vibe as his ultimate classic “Dragula”, blending Alternative and Industrial Metal with his passion for horror movies; followed by Heathen Days, another song inspired by his early days where Mike once again fires sheer adrenaline from his axe for our absolute delectation. Then, after the weird interlude Who Am I, it’s time for the Rock N’ Roll party titled Black Rat Coffin, offering an amalgamation of all phases and albums released by the band, with Rob’s vocals sounding haunting as usual. And how not to enjoy a song with such a stylish title like Sir Lord Acid Wolfman? It’s absolutely experimental, cryptic and phantasmagorical.

It’s pedal to the metal in the industrialized and mechanized attack entitled Punks and Demons, reminding me of the classic sound by the mighty Ministry, with Blasko and Ginger making sure the earth cracks in half to their demented kitchen; and everyone will get wet with Rob’s venomous vociferations in The Devilman, while the music once again presents a strong Industrial Rock and Metal vibe. Out of Sight is a bit generic compared to the rest of the album, albeit Mike’s riffs still exhale electricity nonstop; whereas Revolution Motherfuckers is perfect for raising our horns and breaking our necks, a true metallic anthem dedicated to our rotten and decaying world. Then after another horror movie-like interlude, titled Welcome to the Electric Age, it’s time for total anarchy with The Black Scorpion, offering an incendiary hybrid of Punk Rock and Thrash Metal led by Ginger’s killer drums boosted by the song’s wicked background sounds. Rob and his crew slow things down and deliver a strip tease tune titled Unclean Animals, as cryptic and dark as it can be, before all fades into absolute fear and obscurity in the outro Grave Discontent, ending the album on a vile, grim mode.

It’s always amazing to witness how talented, hardworking and passionate Rob Zombie is about his music, movies, and every other artistic expression in his undisputed career, and all those decades of experience didn’t make him sound mellower or softer; quite the contrary, it feels like he’s getting heavier, darker and more violent album after album, with The Great Satan representing another display of pure excellence by such a unique, multi-talented artist. You can find more information about him and all of his projects on Facebook and on Instagram (or simply click HERE for all things Rob Zombie), stream his pulverizing rockin’ anthems on any platform like YouTube and Spotify, and of course, put your dirty hands on The Great Satan by clicking HERE. A lot of people might consider the title of his new album blasphemous, satanic, impure, or controversial, but let’s he couldn’t care less about that. He’s the Great Rob Zombie, he lives and breathes our Great Rock N’ Roll, and that’s what really matters in the end.

Best moments of the album: F.T.W. 84, Heathen Days, Punks and Demons and The Black Scorpion.

Worst moments of the album: Out of Sight.

Released in 2026 Nuclear Blast Records

Track listing
1. F.T.W. 84 3:55
2. Tarantula 3:02
3. (I’m a) Rock ‘N’ Roller 3:32
4. Heathen Days 2:17
5. Who Am I 0:34
6. Black Rat Coffin 3:04
7. Sir Lord Acid Wolfman 3:45
8. Punks and Demons 2:38
9. The Devilman 3:26
10. Out of Sight 2:47
11. Revolution Motherfuckers 2:33
12. Welcome to the Electric Age 0:54
13. The Black Scorpion 1:33
14. Unclean Animals 3:33
15. Grave Discontent 1:00

Band members
Rob Zombie – vocals
Mike Riggs – guitars
Rob “Blasko” Nicholson – bass
Ginger Fish – drums

Album Review – Soul of Anubis / Ritual (2026)

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

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

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

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

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

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

Worst moments of the album: Vermin.

Released in 2026 Time To Kill Records

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

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

Guest musician
Keijo Niinimaa – vocals on “Mind Crusher”

Album Review – Paganizer / As Mankind Rots (2026)

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The Scandinavian war machine rolls on, as these Swedish Death Metal beasts still sound adrenalized, bloodstained and glorious in their demolishing album number fourteen.

The Scandinavian war machine rolls on. After twenty seven years, thirteen full-length studio albums and an ever growing brood of EP’s, split releases, live albums and compilations, Swedish Death Metal beasts Paganizer still sound adrenalized, bloodstained and glorious in their album number fourteen, beautifully titled As Mankind Rots. Mixed and mastered by long term collaborator Ronnie Björnström, with the package completed by the haunting artwork of Ivan Bragin (The Gathering, October Tide, Woods Of Ypres), the new opus by the unstoppable Rogga Johansson on vocals and guitars, Dennis Blomberg on lead guitars, Martin Klasén on bass, and Matthias Fiebig on drums is an unmissable Death Metal treat for fans of Entombed, Ribspreader, Grave, and Vomitory.

Rogga and Dennis present their violent business card right from the beginning in As Mankind Rots, offering an overdose of Death and Thrash Metal riffs with a Punk Rock attitude, therefore inviting us all to slam into the pit like true bastards. Then it’s Matthias  who shows no mercy for our putrid bodies in Devoured, hammering his drums and, consequently, our cranial skulls in the name of extreme music; followed by Aftermath Bleeder, leaning towards the more cadenced but absurdly heavy Death Metal blasted by giants like Unleashed, sounding as visceral as it can be. It’s pedal to the metal in the infuriated Only Maggots, offering our avid ears an avalanche of Death Metal riffs and blast beats perfect for some wild headbanging; and I simply love how they add hints of Crust to their core sound like in Put on Your Gasmask, making it even more demented, with Rogga’s roars sounding deep and evil. And there’s just no sign of slowing down or selling off in Hollow, as it’s pure, unfiltered Death Metal where Martin and Matthias’ kitchen sounds like an earthquake of heavy music.

The band then brings forward a mid-tempo, haunting tune titled A Testament to Madness, with Rogga again vomiting the song’s vile words mercilessly; whereas like a rabid creature from the abyss, the quartet comes ripping with Afterworld, where the guitars by Rogga and Dennis exhale hatred and obscurity. The Rotting End is another song where a melodic start morphs into absolute chaos and madness spearheaded by the ruthless beats and fills by Matthias, followed by One Way to the Grave, perhaps the most destructive of all songs (from an already destructive album), with Matthias crushing his drums mercilessly while Rogga barks and roars like a demented beast of Death Metal. Lastly, we’re treated to a new recording of Vanans Makt (a Swedish phrase that translates to “the power of habit”), which appeared on the Compiled Ammunition compilation back in 2020, with guest vocals from Bulten of Swedish Punk Rock band Lastkaj 14, and this new rendition is the perfect example of Death Metal meets Punk Rock.

There’s no intro, no samples, nor anything like that in As Mankind Rots. The album is simply headfirst into riffs and mayhem, offering us all avid metalheads pure Swedish Death Metal magnificence, and you can add such an incendiary album to your private collection by purchasing it from the Xtreem Music’s BandCamp or webstore. You can also start following the band on Facebook and on Instagram, and of course stream their ruthless discography on any platform like Spotify. As mankind rots, Paganizer keep blasting our ears with their undisputed blend of old school Death Metal, with their new album perfectly depicting the current state of our rotten and decaying society.

Best moments of the album: As Mankind Rots, Only Maggots and One Way to the Grave.

Worst moments of the album: A Testament to Madness.

Released in 2026 Xtreem Music

Track listing
1. As Mankind Rots 3:15
2. Devoured 3:51
3. Aftermath Bleeder 3:14
4. Only Maggots 3:48
5. Put on Your Gasmask 2:46
6. Hollow 3:23
7. A Testament to Madness 4:32
8. Afterworld 3:53
9. The Rotting End 3:16
10. One Way to the Grave 3:39
11. Vanans Makt 3:38

Band members
Rogga Johansson – vocals, guitars
Dennis Blomberg – lead guitars
Martin Klasén – bass
Matthias Fiebig – drums

Guest musician
Bulten – vocals on Vanans Makt

Album Review – Karloff / Revered by Death (2026)

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The sophomore opus by this German Black Metal and Punk Rock beast sounds moodier and murkier than their debut offering, while also portending a deeper doom and gloom.

Hailing from Germany, Black Metal/Punk Rock brigade Karloff was formed in 2018 initially as a means for erstwhile Graveyard Ghoul member Tom Horrified to blow off some punk-oriented steam with a couple close comrades. Three years after the release of their 2022 debut The Appearing, the band currently formed of Tom Horrified on vocals and guitar, 733 on bass, and H. T. Steinbrecher on drums and percussion returns in full force with their sophomore installment, the incendiary Revered by Death. Following logically from The Appearing, Revered by Death sounds moodier and murkier, living up to its lofty title while its songwriting definitely feels punchier, portending a deeper doom and gloom.

The scorching, visceral riffage by Tom kicks off the trio’s beyond devilish festivities in Pessimistic Soaring, presenting a deep Punk Rock rebelliousness intertwined with the raw, obscure sounds of Black Metal, whereas the relentless bass by 733 and the pounding drums by H. T. will smash your skull in Die Wiederkehr der Dunkelei, or “the return of the dark egg” (if that makes any sense). The band then blends elements from Doom and Post-Metal to their core sound in When the Flames Devour You All, with Tom once again delivering absolutely caustic vocals and riffs.

Then the atmospheric (yet a bit too lengthy) interlude On Weathered Altar sets the tone for Prince of Parasites, where we’re treated to a caustic, electrifying fusion of Black Metal and Punk Rock, in special through the rebellious riffs by Tom and the classic beats by H. T. The band then ventures through the vast realms of Death Metal in Regicide, with the song’s vicious, deep riffage matching perfectly with its bass lines and crushing beats; and it’s pedal to the metal in the slamming tune Crown Cvlt Fate, perfect for some wild action inside a hot and humid circle pit at one of those infernal metal pubs, while Elisabetha’s Revenge, their last blast of insanity and rage, will simply demolish your soul, again presenting the raspy, harsh vociferations by Tom.

Ghouls and ghosts, thugs and thieves, Karloff are back and calling upon you to be Revered by Death, and if you believe you have what it takes to face such a harsh and visceral album of Black Metal and Punk Rock you can find those talented guys on Facebook and on Instagram, stream their acid creations on Spotify, and above all that, grab a copy of Revered by Death from the Dying Victims Productions’ BandCamp or webstore as a CD, an LP or a special edition LP on oxblood vinyl including an insert, a poster, a sticker, a post card, a woven patch, and a download code. Because Revered by Death is not just Black Metal, nor only Punk Rock; it’s everything at once, offering an amalgamation of violent and obscure sounds that will certainly haunt your souls for all eternity.

Best moments of the album: A Pessimistic Soaring, Prince of Parasites and Crown Cvlt Fate.

Worst moments of the album: On Weathered Altar.

Released in 2026 Dying Victims Productions

Track listing
1. A Pessimistic Soaring 2:52
2. Die Wiederkehr der Dunkelei 3:05
3. When the Flames Devour You All 5:53
4. On Weathered Altar 4:08
5. Prince of Parasites 2:47
6. Regicide 3:52
7. Crown Cvlt Fate 2:30
8. Elisabetha’s Revenge 4:52

Band members
Tom Horrified – vocals, electric rhythm & lead guitar
733 – electric bass guitar
H. T. Steinbrecher – drums & percussion

Album Review – Megadeth / Megadeth (2026)

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Let there be shred. Let there be Thrash Metal. And let there be Megadeth.

From their electrifying 1985 debut Killing Is My Business… and Business Is Good! to their 2022 metal attack The Sick, the Dying… and the Dead!, Los Angeles, California’s own Thrash/Speed Metal beast Megadeth has delivered an overdose of breathtaking heavy music for the absolute delight of anyone who considers Mr. Dave Mustaine one of the best (if not THE best) shredder in the history of Heavy Metal, culminating with their incendiary self-titled seventeenth (and final) studio album now in 2026. Produced by Dave Mustaine himself alongside Chris Rakestraw, and depicting a burning Vic Rattlehead as its artwork, the new album by Dave Mustaine on vocals and guitars, Teemu Mäntysaari also on the guitars, James LoMenzo on bass, and Dirk Verbeuren on drums is not just a farewell by one of the most important bands in the history of music, but a statement of how much Mustaine has always loved what he does, and a serious contender for album of the year.

The initial riff in Tipping Point already warns us all it’s gonna be a thrashing extravaganza, with MegaDave roaring its rebellious lyrics manically (“Today I may bleed, but tonight you will die / Snatched in your sleep, in the blackest night / You buried the truth under layers of lies / There’s no return, now you’ve crossed the line”), followed by I Don’t Care, the second single released, offering a fusion of Thrash and Speed Metal with Mustaine’s Punk Rock influences, resulting in an excellent option for some slamming into the pit. Hey, God?! reminds me of some of his creations from the mid to late 90’s, with Dirk hammering his drums just the way we like it in mid-tempo Thrash Metal; whereas in Let There Be Shred the name of the song says it all, with Dave and Teemu kicking some ass with their incendiary riffage, not to mention its lyrics are an ode to Megadeth’s history (“On the day I was born, a guitar in my hands / The earth started rumbling a thunderous command / To bash and to thrash, to bang my head / To smash my guitar and let there be shred!”). Puppet Parade is another solid tune with James and Dirk bringing the groove to the band’s striking sonority, while Another Bad Day might be perhaps the weakest of all songs, a bit generic compared to the album’s thrashing party, although their riffs and bass lines are good as usual.

Made to Kill brings forward a massive wall of sounds of old school, uncompromised Thrash Metal where Mustaine’s raspy vocals match perfectly with the classic drumming by Dirk, speeding things up halfway through it for our total delight, and the quartet keeps blasting their instruments mercilessly in Obey the Call, offering an avalanche of heaviness while keeping their melodic vein intact, presenting another classy guitar work by Dave and Teemu. I Am War is just perfect for a nice road trip with your family and friends, where Dave is once again spot-on on vocals while also armed with his trademark riffs, supported by the heavy and groovy kitchen by James and Dirk. The Last Note is a very emotional song that will inspire you to keep headbanging even after it’s over, where Dave and Teemu keep distilling their flammable riffs nonstop while James hammers his bass like there’s no tomorrow; and lastly, we have their cover version for Metallica’s Ride the Lightning (you can check the original version from 1984 by clicking HERE). As I’m a MegaDave fanboy, I must say I prefer this new (or maybe I should say the “actual original”?) version, in special its riffs and, of course, its drums.

After the announcement of the album back in August 2025, it was confirmed its release will be accompanied by the band’s farewell tour. I have no idea how long that tour will last, hopefully a few years, and although I’m beyond excited for the band’s upcoming shows in Canada I must admit my heart doesn’t want those shows to happen, simply because that means those might be the very last times I see MegaDave and his thrashing machine live. Well, it is what it is, and if you’re a huge fan of the band like myself you can keep an eye on all things Megadeth via Facebook and Instagram, stream their entire discography on Spotify, and of course purchase their breathtaking, stylish self-titled album from their own webstore or by clicking HERE. Because in the end our mission is clear. Let there be shred. Let there be Thrash Metal. And let there be Megadeth.

Best moments of the album: Tipping Point, Let There Be Shred, Made to Kill, I Am War and The Last Note.

Worst moments of the album: Another Bad Day.

Released in 2026 Tradecraft/BLKIIBLK Records

Track listing
1. Tipping Point 4:29
2. I Don’t Care 3:10
3. Hey, God?! 3:29
4. Let There Be Shred 3:58
5. Puppet Parade 4:41
6. Another Bad Day 3:37
7. Made to Kill 4:01
8. Obey the Call 4:20
9. I Am War 3:46
10. The Last Note 5:31
11. Ride the Lightning (Metallica cover) 6:11

Band members
Dave Mustaine – lead vocals, guitars
Teemu Mäntysaari – guitars, backing vocals
James LoMenzo – bass, backing vocals
Dirk Verbeuren – drums

Album Review – Backengrillen / Backengrillen (2026)

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Behold the scathing debut by this Swedish ensemble, filled to the brim with the self-hatred endemic to the province of Västerbotten from whence they hail.

The grill will fucking rule things. A new ensemble born from the ashes of Refused, with their roots in Hardcore, Punk Rock, Noise and free Jazz, Umeå, Sweden-based Experimental Death/Doom Metal/Punk Rock/Jazz entity Backengrillen is ready to attack your senses with their self-titled debut offering, filled to the brim with the self-hatred endemic to the province of Västerbotten from whence the member’s hail. Blasting an antifascist and antiracist free form of death-jazz in the memory of Swedish musician Lars Lystedt (RIP), the band formed of Dennis Lyxzén on vocals and effects, Mats Gustafsson on saxophone, flute and live electronics, Magnus Flagge on bass, and David Sandström on drums and electronics brings forward a paean to chaos and destruction in their debut opus, inspired by the most distinct acts the likes of The Cramps, Little Richard, Albert Ayler, Polly Bradfield, Entombed, John Zorn, Misfits, Stooges, Lars Gullin, Can and much more.

The album kicks off with ten minutes of absolute sonic insanity entitled A Hate Inferior, starting in the most serene, grim manner before evolving into a deadly Sludge and Doom Metal feast led by the demented sax by Mats; and such a high level of craziness goes on in full force in Dör för långsamt, or “dying too slowly” in English, where Mats’ flute walks hand in hand with the tribal beats by David, all boosted by the bursts of sheer dementia by Dennis on vocals. Then their wicked fusion of metal music with the unique sound of the saxophone sets the tone in Repeater II, where Dennis once again sounds killer on vocals supported by the thunderous kitchen crafted by Magnus and David. Backengrillen, the song that carries the name of the band and of the album, brings to our avid ears a fully Experimental Doom Metal sonority with hints of Noise, sounding utterly sluggish, caustic, and visceral, followed by Socialism or Barbarism, the most dissonant yet melodic of all songs, perfect for dancing inside the mosh pit, with Mats once again stealing the show armed with his infuriated sax.

Backengrillen was written on a Thursday during their first ever rehearsal, performed live on a Friday and recorded on a Saturday, so what you’re hearing is raw, stupid, gut instinct music played by seasoned purveyors of Hardcore Punk, countless forms of metal music, free Jazz, Noise, and so on, positioning the band as one of the most innovative names of the current Swedish rock and metal scene. Backengrillen are such a weird band to the point they don’t have any profiles in any type of social media, giving them an even rawer and unique vibe, but of course you can put your damned hands on their destructive debut by purchasing it from BandCamp or from Svart Records. Backengrillen is Swedish for “back grill,” which makes me wonder if the band is inviting us to enjoy some quality barbeque with them while listening to their album, or if they simply want to throw us in the grill to feel the fire of their demented music. Either way, I’m in.

Best moments of the album: Repeater II and Socialism or Barbarism.

Worst moments of the album: None.

Released in 2026 Svart Records

Track listing
1. A Hate Inferior 10:09
2. Dör för långsamt 12:12
3. Repeater II 6:11
4. Backengrillen 10:18
5. Socialism or Barbarism 9:37

Band members
Dennis Lyxzén – vocals, effects
Mats Gustafsson – saxophone, flute, live electronics
Magnus Flagge – bass
David Sandström – drums, electronics

Album Review – Moon Wisdom / Let Water Flow (2026)

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The debut opus by this Italian Black Metal entity will embrace us all in darkness, portraying humanity lost in nature, seeking itself amid hatred, solitude, and the eternal return of its own demons.

Born from the depths of lunar silence from the vision of vocalist Faith and guitarist Kaelos, kindred spirits united by the desire to give voice to inner silence, with drummer Hexis completing the lineup, Moon Wisdom is the reflection of a soul that contemplates darkness as part of its own essence. In their Black Metal, mist, forests, and inner abysses intertwine, every note echoing an ancient feeling suspended between pain and beauty, exactly like what they have to offer in their debut opus, entitled Let Water Flow. Recorded by the band itself, mixed and mastered by Faith and Kaelos, with photography by Debrinka and Faith, and a stunning artwork and logo combo by Faith and Kaelos, this lean, 29-minute ritual introduces the band with unrelenting vigor, channeling the raw spirit of Black Metal’s second wave while weaving a current of Punk Rock energy and depressive Blackgaze.

The atmospheric album Intro will darken the skies and bring a touch of anguish to our hearts before the band destroys our souls with As Rain, with Faith delivering those harsh, devilish vocals we all love so much in primeval Black Metal; and Kaelos keeps firing scorching riffs for our absolute delight in Ashen Winds, supported by the demented blast beats by Hexis in a lesson in Black Metal magic. Then presenting a contemporary fusion of Black Metal with Atmospheric and Blackened Doom Metal we have Frozen Soul, slower and more obscure than its predecessors, whereas they get back to a more ferocious vibe in Solitude, with Faith again vociferating rabidly for our total delight. The longest of all songs, titled Dark Shades, is also the most infernal and visceral, with the trio hammering their sonic weapons in the name of extreme music. Furthermore, Faith’s vocals get even more demonic thanks to the ruthless sonority blasted by Kaelos and Hexis, flowing into the sinister and melancholic outro Lullaby of Woods, concluding the album on a high note to the sound of a crying violin.

A forest of shadows, a lunar call that watches and consumes, Moon Shadow offer cold, melancholic melodies drift like nocturnal winds through the mind in their debut opus, while lyrics steeped in symbolism and mysticism portray humanity lost in nature, seeking itself amid hatred, solitude, and the eternal return of its own demons. You can get to know more about such an up-and-coming entity of the current Black Metal scene via Facebook and Instagram, stream their full album on Spotify, and of course purchase it from the Hypnotic Dirge Records’ Bandcamp or webstore. As the moon rises, the night will enfold us all, and the music found in the debut album by Moon Wisdom is simply perfect for succumbing to such a dark embrace.

Best moments of the album: Ashen Winds and Dark Shades.

Worst moments of the album: None.

Released in 2026 Hypnotic Dirge Records

Track listing
1. Intro 1:42
2. As Rain 3:44
3. Ashen Winds 3:33
4. Frozen Soul 5:47
5. Solitude 4:48
6. Dark Shades 6:31
7. Lullaby of Woods 2:22

Band members
Faith – vocals
Kaelos – guitars
Hexis – drums