Tag Archives: rock n’ roll

Album Review – Osukaru / Tall Tales (2026)

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This renowned Heavy Metal and Hard Rock outfit from Sweden is back in action and ready to rock with their first major release in eight years.

Formed in early 2010 in Gothenburg, Sweden by guitarist Oscar “Oz” Hawe Petersson, the unrelenting Melodic Heavy Metal/Hard Rock outfit Osukaru (the Japanese phonetic transliteration of the name of the band’s founder Oscar) returns with their first major release in years, the hard rockin’ Tall Tales, following up on their 2021 album Starbound. Produced by Oz himself together with longtime singer and band partner Fredrik Werner (Daytona, Air Raid), mixed by Svein Jensen (Alicate, Sister Sin), mastered by Mats Eriksson (Degreed), and displaying a classy artwork by Oz and actress and model Eliza Sica, carrying a subtle sense of both unease and wonder that mirrors the album’s mysterious lyrical themes, the new offering by the aforementioned Fredrik on vocals and guitars, Oz also on the guitars, Marcus Zerath on bass, and C.D on drums and percussion is a clear statement of how far the project’s original vision has come, offering us fans that melodic yet visceral Swedish sound we all love so much.

The band’s striking riffs rev up their rockin’ engine in the opening tune Exceeder, with the classic Hard Rock vocals by Fredrik adding even more electricity to their music, while the sound of the harmonica brings an eccentric touch to Wendigo before the music evolves into another solid hybrid of Heavy Metal and AOR. Blood On the Rocks is a hard hitting tune by the band offering the classic riffs by Fredrik and Oz boosted by the heavy kitchen by Marcus and C.D; and it’s then time for the smooth power ballad The Outer Side Within, with Fredrik showcasing passionate vocals while his bandmates spread love and harmony in the air, before they speed things up and kick some ass with their heaviest song of the album, titled Ronin, led by the classic beats and fills by C.D.

Who Do You Love takes us back to the glory of the 90’s with their Sunset Strip inspired Hard Rock and Glam Metal, adding even more adrenaline to the album, while Split is as groovy as it can be thanks to the amazing job done by Marcus and C.D on bass and drums, respectively. Only Moments Left is one of those strip tease-like Hard Rock and Rock N’ Roll tunes by Osukaru which could be played on any radio station worldwide, followed by When It’s Over, a decent ballad with a cool solo by Oz, albeit a bit too mellow after all is said and done. Lastly, we face C’est Dans Ta Tête, or “it’s in your head” from French, a solid Hard Rock and AOR song that concludes the album with Fredrik once again kicking ass on vocals.

Oz and his Osukaru have been on a roll since their inception over 15 years ago, and the striking Tall Tales will certainly inspire the quartet to keep moving forward and delivering high quality heavy music no matter what for many years to come. Having said that, what are you waiting for to give the guys from Osukaru a shout on Facebook and on Instagram, stream their rockin’ tunes on any platform like Spotify, and of course, purchase Tall Tales from several locations such as Monuments in Ruin, Streetlight Records, and Park Ave CDs? This is what our good old heavy music is all about, bringing to us exciting music with a beautiful and deep background story, and hopefully it won’t take a long time again for Osukaru to unleash another blast of their music upon us.

Best moments of the album: Blood On the Rocks, Ronin and Split.

Worst moments of the album: When It’s Over.

Released in 2026 Pride & Joy Music

Track listing
1. Exceeder 3:24
2. Wendigo 4:36
3. Blood On the Rocks 3:17
4. The Outer Side Within 3:59
5. Ronin 3:09
6. Who Do You Love 3:43
7. Split 3:36
8. Only Moments Left 3:52
9. When It’s Over 4:02
10. C’est Dans Ta Tête 6:00

Band members
Fredrik Werner – lead vocals, guitar
Oz Hawe Petersson – guitar, backing vocals
Marcus Zerath – bass, backing vocals
C.D – drums, percussion

Album Review – 10,000 Years / Esox Lucifer (2026)

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Sweden’s own Doom and Stoner Metal brigade is back with a (light-bearing) monster of an album, drifting through deep space with the same Sci-Fi, horror, and fantasy obsessions that have always fueled the band.

Once again pummeling the world into oblivion, delving deep into existential dread and dark lore, Västerås, Sweden’s own Doom/Stoner Metal brigade 10,000 Years returns with their eagerly awaited fourth studio album, titled Esox Lucifer (a metaphorical representation of a fierce, dark “light-bearing monster,” chosen by the band to represent their heavy, riff-centric music, which often delves into Sci-Fi and horror-inspired lore), the follow-up to their 2024 opus All Quiet on the Final Frontier. Recorded at Pine Hill Studios (with drums recorded at Studio Fluff), engineered by Erik Palm, mixed by Robert Lamu at Doomhead Productions, mastered by Magnus “Devo” Andersson at Endarker Studio, and displaying a Stygian artwork by Ryan T. Hancock, the new album by Alex Risberg on vocals and bass, Erik Palm on the guitars, and Alvin Risberg on drums drifts through deep space with the same Sci-Fi, horror, and fantasy obsessions that have always fueled the band, resulting result is their most ambitious work to date, one that will easily win over fans of Torche, High On Fire, The Sword and Kylesa.

Alvis kicks off the band’s melodic yet heavy and visceral journey in Beasts of the Northern Wild, a groovy intro that sets the stage for Pursuit Special, where Erik keeps slashing his axe nonstop, offering Alex exactly what he needs to deliver his high-pitched rockin’ vocals. The trio once again brings forward a wild fusion of Doom, Stoner and Sludge Metal in Fleur de Sledgehammer, flowing smoothly yet exhaling electricity until the very end; and Alex’s rumbling bass walks hand in hand with the mighty riffs by Erik in Church of the Red Museum, a hard hitting rock and metal feast perfect for their live concerts, with Alvin hammering his drums nonstop for our absolute delectation.

The same Alvin kicks off the also groovy and melodic Alien Tactics, alternating between heavier moments and faster Rock N’ Roll passages led by the striking riffs and solos by Erik. After such a wild metallic ride, the band slows things down a bit and invests in a more cadenced riff-oriented sound in Two Million Stones, followed by Paranoidium, where they get back to a more visceral sonority showcasing another blast of the killer riffs and thrilling solos by Erik. Finally, the massive bass lines by Alex ignite the title-track Esox Lucifer, a seven-minute beast where their heaviness goes through the roof, not to mention his vocals also exhale despair and insanity, darkening the skies and leaving us eager for more of their music in a not-so-distant future.

In a nutshell, 10,000 Years nailed it once again with Esox Lucifer, smashing our cranial skulls riff after riff without forgetting to add a high dosage of horror and fantasy as the background of each and every song from the album. If you’re curious to know more about such an amazing trio hailing from Sweden, you can find those guys on Facebook and on Instagram, including their awesome live performances, stream their bold, reverberating creations on YouTube and on Spotify, and above all that, purchase Esox Lucifer from their own BandCamp, as well as from Ripple Music’s BandCamp or official site (or simply click HERE for all things 10,000 Years). Put differently, simply sit down, relax, and let your soul be consumed by the band’s brand new (light-bearing) monster of an album.

Best moments of the album: Pursuit Special, Church of the Red Museum and Esox Lucifer.

Worst moments of the album: Two Million Stones.

Released in 2026 Ripple Music

Track listing
1. Beasts of the Northern Wild 2:03
2. Pursuit Special 3:53
3. Fleur de Sledgehammer 5:50
4. Church of the Red Museum 4:59
5. Alien Tactics 4:14
6. Two Million Stones 3:23
7. Paranoidium 3:38
8. Esox Lucifer 7:12

Band members
Alex Risberg – vocals, bass
Erik Palm – guitars
Alvin Risberg – drums

Album Review – Die Entweihung / Worldwide Terror (2026)

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The desecrator of extreme music is back with his twelfth studio album, unleashing terror worldwide by combining a raw, high impact attack with a stark clarity of sound.

The solo project of Belarusian multi-instrumentalist Denis Tereschenko, brought into being in 2007 after his relocation to northern Israel, Die Entweihung has been on a constant evolution, changing as its creator changed both as a man and a musician, from its early days as a Black Metal entity to its current Blackened and Progressive Thrash Metal sound, culminating now in 2026 with the release of Worldwide Terror, the project’s twelfth studio album and the follow-up to the 2021 album Kings & Pawns and the 2022 album Strict Regime Country. Produced and mixed by Denis himself, mastered by Sondre Solberg at Lakeside Studio, featuring Czech vocalist Alena 7 (also known as Alena Krákorová), with saxophone, violin and cello parts performed by different session musicians, and completed by the distinctive imagery of Belarusian artist Olga Kann, Worldwide Terror combines a raw, high impact attack with a stark clarity of sound that allows each element of the music to speak and be heard, becoming a must-listen for fans of Orphaned Land, Détente, Holy Moses, and Confessor.

Denis and Alena already present the band’s updated sound in the title-track Worldwide Terror, sounding a lot more Heavy Metal than the project’s previous more extreme sonority; whereas more of Denis’ razor-edged riffs are offered in Warriors Of The Lie, feeling like the soundtrack to a war movie, or in other words, it’s an excellent battle hymn where his galloping bass and drums bring sheer adrenaline to the music. Generation Of Pawns blends extreme music with progressive sounds from the 70’s, and despite not being a bad song, it lacks the energy of Alena’s vocals. And venturing through the realms of Folk Rock and Metal with a more epic edge we have Newborn, where Alena’s vocals are nicely boosted by Denis’ crying guitars.

It’s pedal to the metal in the Rock N’ Roll extravaganza titled Really Your Life, with the scorching riffs by Denis blending in great fashion with Alena’s soaring vocals and she-demon vociferations; followed by Eight Billion Headed Whore, showcasing a crazy name for a song (but I guess that whore is Mother Earth in the end), once again presenting a wild fusion of Progressive Metal with folk and extreme elements. Denis then delivers a bold sound through his riffs, bass and drums in The Brightest Night, a truly entertaining instrumental piece that sets the stage for The Darkest Morning, featuring guest vocals by Israeli artist N.Khaos, presenting another blast of epic vocals lines and the electrifying energy of the riff.

It’s time to confront the horrors of reality, to stand up and be counted with Die Entweihung to the sound of his newborn spawn Worldwide Terror, and if you want to be part of the project’s army of darkness you can find all information about it on Facebook and on Instagram, enjoy Denis’ wild creations on any platform like YouTube and Spotify, and of course purchase the album from BandCamp, from Morbid and Miserable Records, from Southern Soundclash Records, or from Tikoes Kecemploeng Productions. Worldwide Terror is about to be unleashed, and you better get ready because there will be blood.

Best moments of the album: Warriors Of The Lie, Really Your Life and The Darkest Morning.

Worst moments of the album: Generation Of Pawns.

Released in 2026 Orbid and Miserable Records/Southern Soundclash Records/Tikoes Kecemploeng Productions

Track listing
1. Worldwide Terror 5:02
2. Warriors Of The Lie 6:29
3. Generation Of Pawns 4:41
4. Newborn 8:07
5. Really Your Life 6:31
6. Eight Billion Headed Whore 5:14
7. The Brightest Night 5:04
8. The Darkest Morning 7:15

Band members
Alena 7 – vocals
Denis Tereschenko – all instruments

Guest musicians
N.Khaos – additional vocals on “The Darkest Morning”

Album Review – Niveous / Cult of the Void Star (2026)

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As a vast monolith from deep space crashes into Earth, this uncanny horde offers us all a scathing dose of frozen Black Metal, exploring dark mythologies and cosmic evil entities.

When a vast monolith from deep space crashes into Earth and plunges the planet into a new ice age, a fanatical cult devoted to a timeless entity known as the Void Star rises amid the apocalyptic chaos. That’s the plot behind the excellent Cult of the Void Star, the first full-length opus by Milwaukee, Wisconsin-based Black Metal horde Niveous, following up on their 2025 debut EP Endless Snowfall. Recorded, engineered, and mixed by Shane Hochstetler at Electrical Audio, mastered by Arthur Rizk, and showcasing a cryptic artwork by Nortaath and Will Kramer (with logo by Luciferium War Graphics), the new offering by Vokar on vocals and bass, Nortaath on vocals and drums, and Zygrath on the guitars is a scathing, breathtaking dose of frozen Black Metal, exploring dark mythologies and cosmic evil entities.

The band’s cold and Stygian Black Metal attack begins in full force with Harbinger of the Void Star, where Nortaath hammers his drums in the name of darkness while their evil vociferations are simply stunning, followed by Servants of the Monolith, featuring a guest guitar solo by Joe Michaelson, resulting in another cryptic creation by such an uncanny horde, with the visceral riffs and tones blasted by Zygrath’s axe transpiring Black Metal magic. Then with guest vocals by Jake Rogers of Visigoth, Frostborne Resistance already kicks off with endless savagery, obscurity and rage, with Vokar and Nortaath doing a phenomenal job not only with their demonic roars and gnarls, but their rumbling bass and drums also sound inhumane. Then a horror movie-like intro explodes into total insanity in Baptism of Shadows, with Zygrath taking care of the vocal duties; followed by Northbound, presenting elements of caustic Punk Rock and Rock N’ Roll added to their core Black Metal sound, with the strident guitar lines by Zygrath sending shivers down our spines. And lastly, Boreal Stronghold is one final Black Metal attack by the trio, ending the album on a high note to the crushing drums by Nortaath.

As Earth is consumed by black storms and endless blizzards, and as the world is reduced to a frozen wasteland, Niveous are among us all to spread their bitterly cold Black Metal madness and consume our darkened souls with the scathing music found in Cult of the Void Star. Hence, if you want to explore their frostbitten realm you can find those American black metallers on Facebook and on Instagram, stream their venomous creations on Spotify or any other platform, and above all that, purchase their new album from their own BandCamp or from the Hypnotic Dirge Records’ BandCamp or webstore as a CD or an LP. Black Metal is always better when served cold, exactly like what Niveous have to offer in the intense and thrilling Cult of the Void Star, embracing us in absolute, frostbitten darkness for all eternity.

Best moments of the album: Harbinger of the Void Star and Northbound.

Worst moments of the album: None.

Released in 2026 Hypnotic Dirge Records

Track listing
1. Harbinger of the Void Star 7:25
2. Servants of the Monolith 5:57
3. Frostborne Resistance 6:28
4. Baptism of Shadows 6:53
5. Northbound 6:40
6. Boreal Stronghold 5:33

Band members
Vokar – vocals, bass
Nortaath – vocals, drums
Zygrath – guitars, vocals on “Baptism of Shadows”

Guest musicians
Joe Michaelson – guitars solo on “Servants of the Monolith”
Jake Rogers – clean and choir vocals on “Frostborne Resistance”
Nicholas Elert – synthesizers and orchestrations on “Baptism of Shadows”

Album Review – Illwind / The Unfolding at the End of Light (2026)

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Born under the gray skies and sea mist of Lima, Peru, this Heavy, Doom and Post-Black Metal brigade will attack your senses with the lumbering heaviness of their debut album.

Born under the gray skies and sea mist of Lima, capital of Peru, with influences ranging from Black Metal to Stoner Rock to Post-Punk, and a clear aim to march towards the darker side of existence, the four-piece Heavy/Doom/Post-Black Metal brigade Illwind is unleashing upon humanity their debut opus, titled The Unfolding at the End of Light, providing five original tracks which paint a somber underworld to dive into, and a closing cover to climb back out of. Recorded at Dragonverde Studios, the first-ever offering by Marcos Coifman (Reino Ermitaño) on vocals and bass, Mauricio Guerrero (Argul) and Andres Rhor (Cobra) on the guitars, and Hokama (Arcada) on drums and guitar sounds at first stridently like a traditional doom record – lumbering heaviness, slow-yet-insistent rhythms, emotively clean vocals – but patience, like much orbiting the wider doom world, yields maximum immersion.

The massive Crimson Skies kicks off the album on a purely Doom Metal mode, with the sluggish beats by Hokama darkening the skies while also presenting Sludge Metal riffs and solos to give it an extra kick. Wanderer takes us back to the glory of 70’s Rock N’ Roll through Marcos’ passionate vocals, supported by a killer solo by Mauricio; while Portal keeps the atmosphere as dark and enfolding as it can be, with Marcos once again declaiming the song’s poetic lyrics accompanied by the striking guitars by Mauricio and Andres. Their Sludge Metal riffs bring forward sheer heaviness in God of Sleep, inspiring us all to bang our heads in pitch black darkness; followed by Lucifer’s Mule, offering our ears thirteen minutes of absolute obscurity crafted by the quartet, with their 70’s Heavy Rock vein pulsing stronger than ever boosted by the Stoner Rock drums by Hokama. And finally, let’s bang our heads to their cover for The Stooges’ masterpiece I Wanna be your Dog, an excellent rendition of one of the coolest songs by such an iconic band (and you can check the original version HERE, from their 1969 self-titled album).

With influences ranging from Neurosis and Swans to Black Sabbath and 70’s Hard Rock to Yob, Windhand, Monolord, Bellwitch, and Warning to Sonic Youth, Depeche Mode, or the aforementioned The Stooges, the band reached a mélange of musical mapwork which has truly given The Unfolding at the End of Light a relatively singular sound – equally ambient and extremely heavy, ominously moving yet dreamlike, and all of it with a surprisingly kaleidoscopic tint of melancholy. The album’s richly analog production heightens this sensation and penetrates the listener to his core, and if you also want to be part of such a unique sonic experience you can purchase the album from the Personal Records’ BandCamp or webstore. In other words, it’s time to begin the trip of The Unfolding at the End of Light, embracing you in darkness, and leaving you eager for more of the music by Illwind in the near future.

Best moments of the album: Portal and Lucifer’s Mule.

Worst moments of the album: None.

Released in 2026 Personal Records

Track listing
1. Crimson Skies 10:43
2. Wanderer 5:29
3. Portal 4:47
4. God of Sleep 8:55
5. Lucifer’s Mule 13:13
6. I Wanna be your Dog (The Stooges cover) 4:25

Band members
Marcos Coifman – vocals, bass
Mauricio Guerrero – lead guitar
Andres Rhor – guitar
Hokama – drums, guitar

Album Review – Gales of Avalon / Terror Vision (2026)

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After twenty years, these veterans of the Calgary metal scene are going out with a bang with their third and final album, featuring ten songs about ten of the band’s favorite horror movies.

Veterans of the Calgary metal scene, Blackened Death Metal horde Gales of Avalon is unleashing their third and final full-length release, titled Terror Vision, following up on their 2017 album Hope and their 2022 EP Oblivion. You read it correctly. Unfortunately, after twenty years, countless shows, three EPs, and three full-length albums, the band has decided to bring their adventure to an end. Mixed by James Neill, with help from Mark Dillon and Gavin Szentner, and mastered by Roland Rodas at Cavern of Echoes, the new album by vocalist and bassist James Neill, vocalist and guitarist Mark Dillon, guitarist Collin Wo, and drummer Jamie Gallo features ten songs about ten of the band’s favorite horror movies, offering their trademark mix of catchy heavy songs and soaring guitar harmonies, and their brand of genre bending metal songs.

Your body and soul are doomed if you don’t enjoy the opening track Camp Crystal Lake, from its eerie intro until the very end, with their Death Metal riffs matching perfectly with James’ deep guttural. Mark and Collin then bring the badass Rock N’ Roll vibe from the mighty Motörhead through their sharp riffs in Return of the Living Dead, perfect for some wild headbanging; followed by Lifeforce, another blast of Death N’ Roll led by the classic beats by Jamie, supported by the rumbling bass by James. The Town that Dreaded Sundown invites us all to bang our heads together with the quartet, with James once again barking and roaring nonstop, whereas 100 Pieces of Gold explodes into a wild mix of 70’s Rock N’ Roll, Stoner Metal and their core Death Metal after its cryptic intro.

The deep vociferations by James are nicely complemented by the always heavy-as-hell riffs by Mark and Collin in Always You, offering more of the band’s trademark blend of savagery and melodious sounds, and the dual vocal attack by James and Mark works really well in C.H.U.D., while Jamie keeps blasting his drums in great fashion. After such a bold tune, Dead by Dawn presents another round of the band’s scathing riffage, albeit a bit repetitive in the end; while in My Bloody Valentine they get back to a more electrifying sonority, with the riffs and solos by Mark and Collin living up to the legacy of Melodic Death Metal. Finally, we face a unique take on one of the biggest slasher films of all time, Texas Chainsaw Massacre, featuring Amanda Marie Bourdon of the bands Caveat and Greybeard, mixing rap music with their core deadly sounds.

“We had a lot of time to write and record this album. We played the songs live for a few years, working them out, and we are very proud and happy with the final product. We knew, going into the recording, that this was gonna be the last one. So, we wanted to put in an effort that was heavy and fun for the fans,” said James Neill, and if you want to know more about Gales of Avalon, their very last album, as well as their previous ones, you can find those guys on Facebook, stream their music on Spotify, and of course purchase the album from BandCamp. Not only that, the band will be playing an album release party on June 13 at Vern’s Tavern in Calgary, with support from The Bodies of Everest, Armifera, Oklahoma, and BlackSpirit, which means if you’re around that area you know what to do. Gales of Avalon are going out with a bang with Terror Vision, and hopefully we’ll hear from the guys with other bands and projects. Gales of Avalon will surely be missed, but not before leaving us with a banger of an album.

Best moments of the album: Return of the Living Dead, Always You and My Bloody Valentine.

Worst moments of the album: Dead by Dawn.

Released in 2026 Independent

Track listing
1. Camp Crystal Lake 4:56
2. Return of the Living Dead 4:33
3. Lifeforce 5:27
4. The Town that Dreaded Sundown 4:15
5. 100 Pieces of Gold 4:18
6. Always You 5:25
7. C.H.U.D. 3:45
8. Dead by Dawn 4:52
9. My Bloody Valentine 3:45
10.Texas Chainsaw Massacre 4:12

Band members
James Neill – vocals, bass
Mark Dillon – vocals, guitars
Collin Wo – guitars
Jamie Gallo – drums

Guest musician
Amanda Marie Bourdon – vocals on “Texas Chainsaw Massacre”

Album Review – Elder / Through Zero (2026)

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The leaders of Heavy Psychedelic Rock take their years of experience and form their most engaging record to date, allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework.

Consisting of frontman and lead guitarist Nick DiSalvo, bassist Jack Donovan, guitarist and keyboardist Michael Risberg, and drummer Georg Edert, formed in Massachusetts, in the United States, but currently located in Berlin, Germany, Heavy Psychedelic Rock band Elder is back with their seventh studio album, titled Through Zero, the follow-up to their 2022 opus Innate Passage. Two decades into their existence, Elder remain an anomaly in the underground rock scene, a rare band with the ability to absorb and shed influences from a myriad of genres without falling into pastiche or losing their own identity, and their new record is a strong reaffirmation of a commitment to pushing boundaries in the world of Heavy Rock and cements the group’s status as leaders of the pack in Heavy Psychedelic Rock. Recorded in Berlin across several months between tours in 2025, and the first album which the band not only produced but also co-mixed together with longtime collaborator Richard Behrens, Through Zero sounds more like a full extension of the band’s creative intentions than ever before.

It’s always a bold move to kick off an album with a ten-minute song like Sigil To Ruin, I mean, will the listener stay hooked? Well, in this case I can guarantee you won’t get bored at all, with the bass by Jack hammering your heads mercilessly while Nick delivers delicate yet piercing vocals nonstop. Capture & Release is another very detailed and enfolding aria by those guys, with its whimsical start morphing into a feast of Progressive Rock and Metal led by the intricate beats and fills by Georg; while the title-track Through Zero brings to our avid ears an overdose of psychedelia flowing from the riffs by Nick and Mike, alternating between atmospheric passages and sheer progressive madness. Strata, the longest song of the album, kicks off to the classy bass by Jack while also presenting multiple layers and nuances, with Nick’s vocals overflowing energy and passion; and it’s time for the most psychedelic of all songs, titled Sight Unseen, while still presenting their Heavy Metal vein. Furthermore, Jack and Georg are relentless with their respective bass and drums. And lastly, we’re treated to the introspective outro Blighted Age, turning the ambience into fields of serenity thanks to the song’s soothing guitars and minimalist beats.

In their new album, Elder takes their years of experience and forms possibly their most immediate and engaging record to date, while allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework, being therefore highly recommended for fans of Earthless, Truckfighters, Electric Wizard, The Sword, Sleep, Kylesa, Pallbearer, Monolord, and YOB, among several others. If you want to join them in their unique journey through the lands of psychedelia and progressiveness, you can find them on Facebook and on Instagram, stream their music on Spotify, and put your hands on their new album via BandCamp or by clicking HERE. Rock N’ Roll has never been heavier and crazier, and we must thank bands like Elder for releasing albums like Through Zero and, therefore, for making our world a much more pleasant place.

Best moments of the album: Sigil To Ruin and Strata.

Worst moments of the album: None.

Released in 2026 Blues Funeral Recordings

Track listing
1. Sigil To Ruin 10:34
2. Capture & Release 8:48
3. Through Zero 9:06
4. Strata 10:48
5. Sight Unseen 8:51
6. Blighted Age 5:49

Band members
Nick DiSalvo – vocals, guitars
Mike Risberg – guitars, keyboards
Jack Donovan – bass
Georg Edert – drums

Album Review – Who On Earth / It Takes The Village (2026)

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Crafting a heavy, story-driven sound rooted in some of the biggest names of the genre, this Heavy Metal ensemble attacks again with their electrifying sophomore album.

Crafting a heavy, story-driven sound rooted in influences like Black Sabbath, Iron Maiden, Metallica, Alice in Chains, and Tool, New Jersey’s own Heavy Metal/Hard Rock ensemble Who On Earth are ready to rock our world once again with their sophomore opus It Takes The Village, following up on their 2022 debut Blame. Currently formed of vocalist Coosh, guitarists Johnny James Barone and Jimmy Kocha, bassist Pete Rizzi, and drummer Howie Fallon, such an electrifying American rock and metal band is on fire throughout the entire It Takes The Village, honoring the legacy of former guitarist Bruce Gatewood (RIP), and re-energizing those five talented musicians to keep moving forward in the name of our good old Rock N’ Roll.

Their Southern Metal vein arises in the opening tune Vigilance, where the massive riffs by Johnny and Jimmy provide Coosh with exactly what he needs to shine on vocals, and their Rock N’ Roll groove keeps flowing in Any Other Way, reminding me of old school Soundgarden, with Howie kicking some ass behind his drums. Shadows is a solid rockin’ tune where the backing vocals by Coosh’s bandmates add a lot of power to his classic vocal lines, while the massive bass by Pete dictates the pace in the mid-tempo Hard Rock feast Good Man Down, excellent for enjoying a beer at a rock pub anywhere in the world. Closer is a weird interlude that doesn’t add much to the album, followed by Too Close, starting with the 70’s-inspired bass by Pete and accompanied by the always striking riffs by Johnny and Jimmy, flirting with Alternative and Groove Metal and Rock.

There’s no time to breathe as Who On Earth continue to fight the unfaithful in Double Or Nothing, a song that should be added to the playlists of all rock stations around the globe, not to mention how electrifying their guitar solos sound. Then we have Monster!, a journey back in time without sounding outdated where Coosh once again leads his crew with a killer vocal performance, highly recommended for hitting the highway with your loved ones, followed by Oh, Set Me Free, another very melodic display of Hard Rock that reminds me of some creations by the mighty Armored Saint. It’s time to open up the pit and slam together with your buddies to the sound of We Don’t Belong Here, led by the pounding drums by Howie; and Ascension is a cinematic interlude that feels like it was taken from a Power Metal album, warming us up for The Unbeaten, a delicate ballad by the boys to put an enfolding ending to the album. Well, there are still the bonus tracks left, all offering the band’s trademark fusion of Hard Rock with Southern and Groove Metal, just like in the thrilling extended version of Vigilance, with Mike Orlando and Jason Bittner as guest vocalists.

Heavy riffs, classic bass, galloping drums, and an endless amount of sheer energy. That’s exactly what will hit you as you listen to the excellent It Takes The Village, proving that despite some bumps on the way, the guys from Who On Earth are inspired and focused to keep moving forward no matter what. Having said that, don’t waste your time and go show your support to those guys by following them on Facebook and on Instagram, by subscribing to their Youtube channel, by streaming their rockin’ creations on Spotify and on Apple Music, and of course by purchasing their new album from Bandcamp. Because Who On Earth live and breathe Heavy Metal and Rock N’ Roll, and in the end, who on earth doesn’t enjoy some high-quality heavy music, right?

Best moments of the album: Vigilance, Too Close, Monster! and We Don’t Belong Here.

Worst moments of the album: Closer.

Released in 2026 Independent

Track listing
1. Vigilance 4:15
2. Any Other Way 3:07
3. Shadows 4:00
4. Good Man Down 3:13
5. Closer 1:00
6. Too Close 3:39
7. Double Or Nothing 4:09
8. Monster! 4:08
9. Oh, Set Me Free 4:28
10. We Don’t Belong Here 3:51
11. Ascension 1:47
12. The Unbeaten 4:15

Bonus tracks
13. Jane 4:17
14. Down And Out – Dvrko Remix 3:41
15. Vigilance [Extended] 5:08

Band members
Coosh – vocals
Johnny James Barone – guitar
Jimmy Kocha – guitar
Pete Rizzi – bass
Howie Fallon – drums

Guest musicians
Mike Orlando – vocals on “Vigilance [Extended]”
Jason Bittner – vocals on “Vigilance [Extended]”

Album Review – Kaasin / The Underworld (2026)

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The underworld is calling us all to the sound of the striking sophomore album by this unstoppable Hard Rock machine from Norway.

Widely respected for his collaborations with internationally renowned artists such as Glenn Hughes (Deep Purple) and Joe Lynn Turner (Rainbow), Norway-based guitarist Jo Henning Kaasin returns with his Hard Rock project Kaasin, alongside vocalist Jan Thore Grefstad (Saint Deamon, TNT), bassist Ståle Kaasin (Humbucker, 2020Vision), keyboardist Erling Henanger (Magic Pie, Holter) and drummer Per-Morten Bergseth (Jorn, Wig Wam, Course of Fate, Holter), offering us all a new studio album titled The Underworld, the follow-up to their 2021 debut Fired Up. Produced and recorded by Halvor Halvorsen, Jo Henning Kaasin and Ståle Kaasin, mixed by Halvor Halvorsen, and with artwork by Stan W. Decker, the album marks a new chapter for these Norwegian Hard Rock warriors, presenting a darker and more atmospheric sound while remaining firmly rooted in classic Hard Rock traditions built on strong melodies and solid musicianship.

It’s pedal to the metal in the striking Hard Rock feast entitled The Real World, with the melodic vocals by Jan bringing even more electricity to their music, also boosted by Erling’s stylish keys; and the rockin’ guitars by Jo and the rumbling bass by Ståle set the tone in Two Hearts, a mid-tempo Hard Rock song where Jan once again steals the show with his passionate vocals. We Speed at Night reminds me of some old school creations by the mighty Running Wild mixed with classic Hard Rock from the Sunset Strip, and the final result is obviously awesome; followed by Iron Horse, another solid rockin’ tune by those talented Norwegians, with its more delicate moments clashing in great fashion with the powerful vocals by Jan.

There’s still a lot more fuel to burn in The Underworld, starting with Invisible, offering pure Hard Rock and AOR magic blasted by the band, led by Per-Morten’s classic drums, while in Over the Mountain they add hints of Blues Rock to their core sonority. Moreover, Jo and Ståle are in total sync from start to finish, with Jo’s guitar solo sounding fantastic. Arabian Night is definitely inspired by the music by Deep Purple while keeping Kaasin’s own essence intact, with their guitars and keys exhaling epicness, and after the atmospheric interlude The Descent of Souls we face the title-track The Underworld, a Rock N’ Roll steamroller led by Jo’s sharp riffage and Per-Morten’s nonstop beats and fills while Jan keeps delivering his striking vocals until the very end.

The foundation of Kaasin was laid with a clear ambition to create contemporary Hard Rock with a classic spirit and a strong sense of identity, and both Fired Up and The Underworld bring forward exactly that sound and feeling for our absolute delight. The Underworld will certainly help the band go places and reach new heights, and if you want to join their Rock N’ Roll rocket ship you can follow the band on Facebook, staying up to date with their news and live performances, stream their rockin’ tunes on any platform like Spotify, and grab a copy of their incendiary new album from Pride & Joy Music. Having said all that, can you hear the underworld calling us all to the sound of the new album by the mighty Kaasin?

Best moments of the album: The Real World, We Speed at Night and The Underworld.

Worst moments of the album: The Descent of Souls.

Released in 2026 Pride & Joy Music

Track listing
1. The Real World 4:20
2. Two Hearts 3:43
3. We Speed at Night 4:20
4. Iron Horse 5:34
5. Invisible 5:17
6. Over the Mountain 4:57
7. Arabian Night 4:54
8. The Descent of Souls 1:36
9. The Underworld 3:52

Band members
Jan Thore Grefstad – vocals
Jo Henning Kaasin – guitar
Ståle Kaasin – bass
Erling Henanger – keyboards
Per-Morten Bergseth – drums

Album Review – Thunderor / Bleed For It (2026)

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Toronto’s own arena-rock Heavy Metal trio returns with their ambitious sophomore album, igniting the next chapter of their high‑flying saga.

Hailing from Toronto, Canada, Heavy Meta/Hard Rock power trio Thunderor ignites the next chapter of their high‑flying saga with the release of their sophomore opus, entitled Bleed For It, following up on their critically acclaimed 2022 debut Fire It Up. Produced by the band’s own JJ Tartaglia, mixed by Chris Snow, mastered by Kristian Montano, and featuring guest musicians Oscar Anesetti on bass, Anthony Pannozzo on keyboards, and Colin Grant on the fiddler, the new album by the aforementioned JJ Tartaglia on vocals, drums and keyboards alongside Jonny Nesta on the guitars, and Brycen Gunn on bass serves as the official soundtrack to “Thunderor The Musical”, the band’s ambitious rock opera production that debuted at the Toronto Fringe Festival in 2025. Its artwork captures scenes from the stage show, setting the mood for a sweeping tale of adventure, danger, and heart. Set in an alternate 1992, the story follows Bowen, a washed‑up musician and biker, who finds renewed purpose through romance and one last grasp at glory.

The trio wastes no time and kicks off their rockin’ adventure with Pump Up the Volume, bringing forward JJ’s trademark soaring vocals and classic beats and fills, followed by the title-track Bleed For It, another round of their striking fusion of 70’s and 80’s Hard Rock, with Jonny stealing the spotlight with his electrifying riffs and solos. As a huge fan of live concerts I simply love the title of the song Take Me to the Show, offering us all more of their killer Rock N’ Roll sounds. The band then fires a Thrash and Speed Metal-infused tune titled Get ‘Em Counted, inspiring us to start a nice mosh pit to the nonstop beats by JJ, and get ready to prance around the fire pit together with Thunderor in Cape Breton Home, featuring guest Colin Grant on the fiddler, also presenting pure Hard Rock flowing from Jonny’s axe.

In Streets of Fire we see Thunderor again deliver a high-octane amalgamation of rock and metal, setting fire to the atmosphere to the crushing drums by JJ and Oscar’s rumbling bass, sounding as upbeat as it is heavy. One Chance is another song that sounds as if was taken from a classic album from the 80’s, showcasing those awesome soulful riffs we all love so much; and we then face the cinematic interlude DreamQuest, which also feels it’s from a movie or TV show from the 80’s, before their quest comes to an end with In the Fire O’ the Heat, where they also bring to our avid ears elements from Progressive Rock and Metal (exactly what a Rock Opera needs to become truly fun). Not only that, JJ’s vocals and Jonny’s guitars are in total sync, keeping the energy flowing majestically until the song’s horns raising finale.

With improved vocals, bigger choruses, and a cinematic concept, Bleed For It promises to be the band’s most ambitious and emotionally charged release yet, recommended for fans of The Darkness, Skull Fist, Ghost, and Night Flight Orchestra. If you crave escape, adventure, romance, and danger, the band invites you to ride with them into the storm, and you can do so by following them on Facebook and on Instagram, sby streaming their music on Spotify, and of course by purchasing the album from BandCamp, from Boonsdale Records (Canada and worldwide), from Cruz del Sur Music (Europe), or simply by clicking HERE. Having said all that, what are you waiting for to bleed together with Thunderor to the sound of their newborn electrifying album?

Best moments of the album: Bleed For It, Get ‘Em Counted and Streets of Fire.

Worst moments of the album: None.

Released in 2026 Boonsdale Records

Track listing
1. Pump Up the Volume 3:42
2. Bleed For It 4:04
3. Take Me to the Show 4:09
4. Get ‘Em Counted 3:19
5. Cape Breton Home 3:33
6. Streets of Fire 4:16
7. One Chance 3:40
8. DreamQuest 1:29
9. In the Fire O’ the Heat 4:19

Band members
JJ Tartaglia – vocals, drums, keyboards
Jonny Nesta – guitars
Brycen Gunn – bass

Guest musicians
Oscar Anesetti – bass on “Take Me to the Show”, “Get ‘Em Counted”, “Cape Breton Home”, “Streets of Fire” and “One Chance”
Anthony Pannozzo – additional keyboards on “Take Me to the Show”, “Get ‘Em Counted” and “One Chance”
Colin Grant – fiddler on “Cape Breton Home”