Tag Archives: sweden

Album Review – Havamal / Age Of The Gods (2025)

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Transcending their previous sound and rising with the full might of Asgard at their back, these Swedish Melodic Death Metal warriors are unleashing upon humanity their most ambitious work to date.

Transcending their previous sound and rising with the full might of Asgard at their back, Stockholm, Sweden-based Melodic Death Metal warriors Hamaval are set to unleash their most ambitious work to date, entitled Age of the Gods, following up on their 2021 sophomore opus The Shadow Chapter. More aggressive, forceful, and diverse than ever, Age of the Gods is a pinnacle in the band’s evolution, where symphonic grandeur collides with ferocious riffs, thunderous drums and growls echoing with the wrath of the Nine Worlds, all masterfully crafted by vocalist Björn Larsson, guitarists Lennie Spetze and Kjell Gilliusson, bassist Tino Vesanen, and drummer Stefan Peltonen.

The war of the gods is about to begin to the sound of The Pagan Path, with its imposing tribal sounds inviting us all to join the band in the battlefield before Stefan begins smashing his drums in the name of Melodic Death and Viking Metal, whereas Wolfraiders carries an excellent title for an even more excellent sound, with the guitars and keys by Lennie and Kjell transpiring of Amon Amarth while their guitar solos also sound utterly captivating. Stefan then dictates the pace in the ruthless The Day Of Reckoning, with all background elements giving it an extra touch of epicness led by Björn’s deep warrior roars, followed by Sigmund Fafnirsbane, a song about a legendary dragon slayer, with the band inviting us all to slam into the pit to their visceral riffs and harsh screams.

Then investing in an almost Symphonic Black Metal sound we’re treated to The Shaman, where once again Lennie’s keys bring sheer electricity to their music, being therefore perfect for prancing around the firepit while enjoying a pint of mead. The skies will get dark and the atmosphere pensive and somber in Hymns Of The Fallen, an inspiring chant dedicated to the ones who lost their lives in battle, sounding absolutely epic from start to finish; and the band blasts one of the fastest and heaviest of all songs, the thrilling Lokis Damnation, also presenting some welcome melodic passages and the always vibrant guttural by Björn. Finally, ending the album it’s time for absolute fury and violence in the form of Ashwalker, spearheaded by the crushing beats and fills by Stefan in a lesson in contemporary Melodic Death Metal.

Offering a distinctive musical identity characterized by powerful orchestration, elegant yet captivating riffs, and an eclectic fusion of Viking, Black, Power, and Death Metal influences, Age Of The Gods will undoubtedly carve Havamal’s place in Valhalla, and you can grab a copy of such an excellent album from the Art Gates Records’ webstore in three amazing bundles (pack I, pack II, and superpack). Don’t forget to also follow the band on Facebook and on Instagram, and to stream their music on Spotify, proving you’re also worthy of joining Havamal and the metal gods at the magnificent hall of the slain are you prepare for Ragnarök.

Best moments of the album: Wolfraiders, The Shaman and Ashwalker.

Worst moments of the album: None.

Released in 2025 Art Gates Records

Track listing
1. The Pagan Path 6:01
2. Wolfraiders 4:59
3. The Day Of Reckoning 5:53
4. Sigmund Fafnirsbane 5:14
5. The Shaman 5:36
6. Hymns Of The Fallen 5:44
7. Lokis Damnation 5:33
8. Ashwalker 4:56

Band members
Björn Larsson – vocals
Lennie Spetze – guitars, keyboards
Kjell Gilliusson – guitars
Tino Vesanen – bass
Stefan Peltonen – drums

Album Review – Fimbul Winter / What Once Was EP (2025)

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Brace yourselves for the Great Winter to the debut EP by this ruthless horde, a bold statement from a band built on unfinished business and a shared passion for the roots of Swedish Death Metal.

Forged in the fires of Tumba, Sweden by three former members of Amon Amarth who decided to go berserk together after a spontaneous reunion performing the band’s 1994 demo The Arrival Of The Fimbul Winter, the ruthless Death Metal horde named Fimbul Winter (or the “Great Winter,” the three-year-long, brutal winter that serves as the immediate prelude to Ragnarök in Norse mythology) is making their debut with a crushing EP titled What Once Was. Recorded at Witching Hour Audio (vocals) and at Wing Studios (guitars and drums), produced by the band itself, mixed and mastered by Marko Tervonen at Studio-MT, and displaying a grim artwork by Björn Gooßes of Killustrations, the debut by Clint Williams (Munitions) on vocals, Fredrik Andersson (Amon Amarth) and Anders Biazzi (Amon Amarth) on the guitars, and Niko Kaukinen (Amon Amarth) on drums, with the support of session bassist Tobias Cristiansson (Necrophobic, Grave, Dismember), delivers a sound that is cold, intense, and fiercely authentic, a bold statement from a band built on unfinished business and a shared passion for the roots of Swedish Death Metal.

The ass-kicking opening tune Storms Rage obviously sounds like the early days of Amon Amarth, and that’s excellent as the band continues a different path in the best “what if…?” style, led by the imposing, unrelenting riffs by Fredrik and Anders. Then the title-track What Once Was proves why Clint was chosen to be the voice of the band, as his enraged, deep gnarls match perfectly with their Swedish Death Metal sounds. Niko pounds his drums in the best Viking way in Mounds Of Stones, supported by the rumbling bass by Tobias, therefore resulting in a massive wall of Death Metal sounds, and you can feel absolute anguish flowing from Clint’s deep vocalizations in A Soul That Soared, supported by another infernal avalanche of beats and fills by Niko. Finally, closing the EP we’re treated to the headbanging In Solitude’s Embrace, offering us the trademark scorching riffs by Fredrik and Anders while leaving us absolutely eager for more of their music in the near future.

As torchbearers of the Swedish Melodic Death Metal tradition, the band channels decades of experience while staying true to the sound that defined them in their debut EP, from rediscovered riffs originally written for Amon Amarth to entirely new compositions, being therefore highly recommended for fans of early Amon Amarth, Unleashed, Hypocrisy, and Bolt Thrower, among others. “What Once Was reflects both where we come from and what we still believe in; honest, melodic death metal. No trends, no gloss, just the kind of elements we feel is missing in a lot of metal today,” commented the band. Hence, you can get in touch with those Swedish metallers via Facebook and Instagram, check their music on YouTube and on Spotify, and of course purchase their incendiary EP from BandCamp or by clicking HERE. The Great Winter is upon us all in the form of old school, no shenanigans Death Metal, and you better brace for impact as those Norsemen are not fooling around when it comes to crafting ruthless heavy music.

Best moments of the album: Storms Rage and In Solitude’s Embrace.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Storms Rage 3:52
2. What Once Was 5:14
3. Mounds Of Stones 5:31
4. A Soul That Soared 4:32
5. In Solitude’s Embrace 4:42

Band members
Clint Williams – vocals
Fredrik Andersson – lead guitars, orchestral arrangements
Anders Biazzi – guitars
Niko Kaukinen – drums

Guest musicians
Tobias Cristiansson – bass (session)

Album Review – Putrevore / Unending Rotting Cycle (2025)

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This unrelenting Spanish and Swedish two-headed beast returns from the grave with an album of impossible horrors, the most relentless, ravenous and remorseless example of their Death Metal war machine.

Blasting dark, putrid old school Death Metal for fans of Incantation, Immolation, Avulsed, and Grisly, among others, since their inception back in 2004 under the moniker Deadbreath, the unrelenting Spanish-Swedish Death Metal creature Putrevore returns from the grave with their fifth full-length offering, entitled Unending Rotting Cycle, the follow-up to their 2021 album Miasmal Monstrosity. Mixed and mastered by Avulsed’s guitarist Alejandro Lobo at Acordica Studios, and displaying a cadaverous artwork by Lucretia Morti, the newborn spawn by the iconic duo formed of Dave Rotten (Avulsed, Christ Denied, Decrapted, Holycide, Rotten, Weaponry, Yskelgroth) on vocals, and Rogga Johansson (Paganizer, Ribspreader, Furnace, Leper Colony, Revolting) on the guitars and bass, and featuring the cataclysmic drumming of regular Rogga Johansson co-conspirator Thomas Ohlsson (Blackscape, War Magic), continues to pay tribute to the hardest, heaviest and most brutal of the Death Metal pioneers of the late 80’s and early 90’s. In other words, Unending Rotting Cycle is an album of impossible horrors, the most relentless, ravenous and remorseless example of the duo’s Death Metal war machine.

They waste absolutely no time and kick off their onrush of sheer brutality with No Mourning the Grace, a ruthless Death Metal attack led by Dave’s demented deep guttural, whereas Thomas kicks off the just as demonic Morbid Procession, supported by Rogga’s relentless riffs and bass lines. In other words, it can’t get any more Death Metal than this. Rogga’s visceral axe keeps spreading violence and hatred in Subterranean Paths to the Temples, a mid-tempo, headbanging feast of pure death tailored for fans of the most primeval form of the genre; and get ready to be pulverized like a putrid insect to the sound of Beneath These Graves, where Thomas once again shows no mercy for any living creature behind his drums.

The trio continues to infest the air with their putrid Death Metal stench in Mortal Ways of the Flesh, another display of sheer savagery where Dave sounds like a creature form the underworld on vocals. Then we face the demonic title-track Unending Rotting Cycle, blasting our ears with their blend of undisputed Death Metal aggression led by Rogga’s metallic riffage, and there’s no sign of the band slowing down at all, as we’re treated to more of their inhumane sounds in They Worship Disarray, excellent for some wild headbanging. Rogga’s bass will hammer your cranial skulls in Cult of the Tentacle, offering the perfect opportunity for having lots of fun inside the circle pit, whereas lastly the trio will darken the skies one final time with The Cradle Replaced by the Grave, a crushing Death Metal beast for admirers of the music by old school legends of the style.

Bleak, black and bestial, Putrevore remain the undead embodiment of an old phrase from the age that inspired them – some music was meant to stay underground, and that’s exactly the feeling when you listen to the ruthless, savage Unending Rotting Cycle. Hence, if the underground is your business, and business is good, you can get in touch with the indomitable Dave Rotten and Rogga Johansson via Facebook, stream their demented music on any online platform such as Spotify, and of course grab a copy of their new album from Xtreem Music’s BandCamp or webstore. Because their rotting cycle of undisputed Death Metal will never end as they keep delivering excellent albums like Unending Rotting Cycle, just the way we like it in raw, visceral and demented Death Metal.

Best moments of the album: Morbid Procession, Unending Rotting Cycle and Cult of the Tentacle.

Worst moments of the album: They Worship Disarray.

Released in 2025 Xtreem Music

Track listing
1. No Mourning the Grace 3:59
2. Morbid Procession 3:06
3. Subterranean Paths to the Temples 3:33
4. Beneath These Graves 3:05
5. Mortal Ways of the Flesh 3:38
6. Unending Rotting Cycle 3:30
7. They Worship Disarray 3:30
8. Cult of the Tentacle 3:29
9. The Cradle Replaced by the Grave 3:33

Band members
Dave Rotten – vocals
Rogga Johansson – guitars, bass

Guest musician
Thomas Ohlsson – drums (session)

Album Review – Malakhim / And In Our Hearts the Devil Sings (2025)

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Let the devil sing inside your dark and evil heart to the sound of the sophomore album by this up-and-coming Swedish Black Metal horde.

“You may claim to not know or believe in the Devil, but rest assured that the Devil knows you…”

From their formation in 2016 onward, the ascent of Umeå, Sweden’s own Black Metal horde Malakhim has been both steady and swift, from their first demo Demo I, to their first EP II, to their first full-length album Theion, culminating now in 2025 with the release of their sophomore opus, beautifully and poetically entitled And in Our Hearts the Devil Sings. Once again engineered by the band’s longtime friend and co-conspirator Marcus E. Norman (aka Vargher of Naglfar, Bewitched, Ancient Wisdom), with an ominous artwork by Kristina Pavleska of Mors Ultima Ratio Art (and additional booklet artwork by longtime friend Karmazid), the new offering by vocalist E, guitarists AK and AN, bassist TK and drummer VT isn’t strictly a concept album per se, as its lyrical themes are nevertheless deep, loosely based on the ideas of Yetzer Hara (Hebrew for “evil inclination”), a concept in Jewish thought that represents the innate human tendency to do evil, commit sins, or act against moral principles.

The album kicks off with the seven-minute black mass entitled And In Our Hearts the Devil Sings, exploding into sheer madness to the crushing drums by VT and the demonic vociferations by E, while Solar Crucifixion also starts in a Stygian, cryptic manner before all hell breaks loose to the scathing riffage by AK and AN, not to mention how piercing E’s vocals sound. Then investing in a more straightforward Black Metal sonority we face A New Temple, simply reeking of all elements that make the genre so compelling; and E’s demonic roar sets the tone in the electrifying, venomous Into Darkness We Depart, with TK and VT shaking the foundations of our rotten planet with their infernal kitchen. The pounding drums by VT will smash your cranial skull in Angel of the Bottomless Pit, again presenting the band’s trademark devilish riffs and otherworldly vocals, while Hearts Ablaze presents a classic Black Metal vibe, albeit it sounds a bit convoluted or too chaotic at times. Lastly, they get back on track with eight minutes of total darkness in the form of The Firmament Submits, where AK and AN sound ruthless with their striking riffs and solos before the song reaches its climatic, atmospheric ending.

Showcasing a concertedly more melodic and majestic Malakhim, offering the band’s trademark orthodox Black Metal with a death and doom vein, And In Our Hearts the Devil Sings is undoubtedly the band’s strongest effort to date, and you can join their sinister cult by purchasing a copy of the album from their own BandCamp, or from the Iron Bonehead Productions’ BandCamp or webstore. You can also find more information about such a talented horde on Facebook and on Instagram, stream their discography on any available platform like Spotify, or simply click HERE for all things Malakhim. Because if the devil truly sings deep inside our blackened hearts, we can all rest assured he’s singing the songs found in the new album by Malakhim.

Best moments of the album: And In Our Hearts the Devil Sings, Into Darkness We Depart and Angel of the Bottomless Pit.

Worst moments of the album: Hearts Ablaze.

Released in 2025 Iron Bonehead

Track listing
1. And In Our Hearts the Devil Sings 7:44
2. Solar Crucifixion 6:12
3. A New Temple 5:27
4. Into Darkness We Depart 5:50
5. Angel of the Bottomless Pit 5:32
6. Hearts Ablaze 4:30
7. The Firmament Submits 8:20

Band members
E – vocals
AK – guitars
AN – guitars
TK – bass
VT – drums

Album Review – Centinex / With Guts and Glory (2025)

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These Swedish legends return to their roots with a sound that combines the ferocity of early Death Metal with the urgency of Punk Rock in their new album.

Stripping away atmospheric frills and polished production, Swedish Death Metal legends Centinex return to their roots with a sound that combines the ferocity of early Death Metal with the urgency of Punk Rock and elements from Death N’ Roll in the form of their new album, titled With Guts and Glory, their most ferocious and uncompromising offering yet. Following up on their 2020 album Death in Pieces, the new album by Henrik Andersson on vocals, Jörgen Kristensen on the guitars, Martin Schulman on bass, and Florian Rehn on drums is a raw, high-energy album that ditches the excess and focuses on what matters, blasting our faces with unrelenting riffs, d-beats, and thrash-infused aggression.

The album kicks off in full force with the Death and Thrash Metal extravaganza titled Becoming, with Jörgen slashing his axe while Henrik vomits the song’s words like a true beast, and you gotta love the dirty riffs by Jörgen in the excellent fusion of Death and Thrash Metal with Hardcore and Punk Rock elements titled Your Religion Dies Tonight, always supported by the classic beats and fills by Florian. Then the bass by Martin will crush your skull mercilessly in the hard hitting tune Gods Of Guilt, proving extreme music doesn’t need to be played at the speed of light all the time. And back to a more demolishing sonority we face I Am The Way, inspired by old school Death Metal while also presenting hints of the thrash attack by Slayer and Exodus.

A Masterpiece In Flesh is a Motörhead-infused metal onrush by the quartet where once again Florian dictates the pace armed with his unstoppable beats and fills for our absolute delight, whereas they offer a more direct Death Metal sound in In My Dreams, with Jörgen extracting sheer hatred and violence from his guitar while Henrik screams and roars like a demented creature. Symphony Of Screams carries a charming title for a heavy-as-hell, rumbling tune by Centinex, with Martin pounding his bass like there’s no tomorrow; and in order to properly conclude the album the quartet fires another round of aggressiveness and speed titled Sorrowtears, perfect for slamming inside the pit with your good friends.

Forget atmospheric trends, as Centinex keep it raw, fast, and filthy in their newborn spawn, inviting us all to slam into the pit like there’s no tomorrow to the sound of their frantic and caustic creations. You can find more details about the band, their tour dates and their music on Facebook and on Instagram, or simply by clicking HERE, bang your goddamn heads to their wicked discography on Spotify, and obviously support those hardworking guys by purchasing their excellent new album by clicking HERE. With Guts and Glory is not pretty. It’s not supposed to be. It is pure, raw aggression made in Sweden, and it’s exactly what the underground has been craving.

Best moments of the album: I Am The Way, A Masterpiece In Flesh and Sorrowtears.

Worst moments of the album: None.

Released in 2025 Black Lion Records

Track listing
1. Becoming 3:55
2. Your Religion Dies Tonight 3:27
3. Gods Of Guilt 3:44
4. I Am The Way 3:08
5. A Masterpiece In Flesh 3:14
6. In My Dreams 3:47
7. Symphony Of Screams 4:10
8. Sorrowtears 3:32

Band members
Henrik Andersson – vocals
Jörgen Kristensen – guitar
Martin Schulman – bass
Florian Rehn – drums

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

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2025 Willowtip Records

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

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

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

Album Review – Ofermod / Drakosophia (2025)

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This uncanny Swedish Blackened Death Metal creature returns with its fifth studio offering, a vessel for Theistic Satanism and left-hand-path esotericism in sonic form.

Lepaca Nox Draconis! Ho Drakon Ho Megas!

Steered by guitarist Belfagor (aka Mika Hakola) since 1996, having sewn influence and infamy in equal measure, the uncanny Swedish Blackened Death Metal creature Ofermod, whose name was taken from a 1953 Tolkien essay, used to describe a state of mind characterized by excessive pride, is unleashing upon humanity its highly anticipated new opus, titled Drakosophia. Recorded and produced by Swedish bassist Devo Andersson (Overflash, Marduk) at Endarker Studio, and displaying a sinister artwork by John Albin Hampus Ekberg of Mark of Cain Tattoo, the follow-up to their 2021 album Mysterium Iniquitatis offers an overdose of “Qliphotic Black Metal Magick”, a genuine Orthodox Black Metal album representing a vessel for Theistic Satanism and left-hand-path esotericism in sonic form, all carefully brought into being by Belfagor on the guitars alongside North American vocalist Adeptus, Austrian session drummer Florian Musil (Agrypnie, The Negative Bias, Theotoxin), and the aforementioned Devo Andersson on bass.

It’s a pulverizing feast of scathing Black Metal in the opening tune Aicha Kandisha, with the gnarling vocals by Adeptus transpiring evil accompanied by the ruthless drumming by Florian, whereas Devo and Florian deliver a beyond demonic kitchen in Vineyards of Gomorrah while the Stygian riffage by Belfagor summons all creatures of darkness. Then the title-track Drakosophia brings to our devilish ears a cryptic atmosphere boosted by the song’s background choirs while Adeptus continues to gnarl like a true demon, and Florian hammers his drums mercilessly while Belfagor delivers pure Black Metal from his axe in Malat Atat. After that we face the unique Zazas Zazas Nasatanada Zazas, where the music is as insane and complex as its name, and that’s simply majestic, resulting in one of their best creations to date led by the venomous gnarls by Adeptus.

Belialistic Gra’al Codex is another song with a very distinct name, where once again we see Belfagor and his horde crushing our damned souls with their infernal wall of sounds, with Florian kicking some serious ass behind his drums, followed by Nox Draconis, the most straightforward, in-your-face Black Metal song of all, with Belfagor extracting sheer malignancy from his guitar and, therefore, living up to the legacy of the style while also sounding fresh. Sinister Acolyte is just an average Black Metal tune by Ofermod, still very enjoyable but not as much as the other songs, while the last song of the album, titled The Painful Movers, is a demolishing beast blasted by the band, with the riffs and bass by Belfagor and Devo complementing each other in great fashion.

Invoked right from the beginning, Drakosophia is both classic Ofermod and a continual unfolding of their unique characteristic sound, dynamically sinister and vigorously menacing. You can find more information about Ofermod and their new opus on Facebook and on Instagram, stream their sulfurous creations on Spotify, and of course grab a copy of the album from the Regain Records’ BandCamp or from the Shadow Records’ webstore. Open your third eye and let Lucifer crush all cosmic illusions of time and space, and become born anew in the LVX of Phosphorus to the sound of Drakosophia; embrace this sonic Left Hand Path sorcery and mysticism, or stay far away from the sinister audial art of Ofermod.

Best moments of the album: Vineyards of Gomorrah, Zazas Zazas Nasatanada Zazas and Nox Draconis.

Worst moments of the album: Sinister Acolyte.

Released in 2025 Shadow Records/Regain Records

Track listing
1. Aicha Kandisha 4:03
2. Vineyards of Gomorrah 6:53
3. Drakosophia 3:56
4. Malat Atat 5:54
5. Zazas Zazas Nasatanada Zazas 4:30
6. Belialistic Gra’al Codex 5:14
7. Nox Draconis 5:04
8. Sinister Acolyte 4:51
9. The Painful Movers 4:26

Band members
Adeptus – lead vocals
Belfagor – guitars

Guest musicians
Devo Andersson – bass (session)
Florian Musil – drums (session)
Thomas Eriksson & Lars Broddesson – choir vocals

Album Review – Orbit Culture / Death Above Life (2025)

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Sweden’s own Melodic Death and Groove Metal titans return from the frozen north with their incendiary fifth full-length album.

Beware of the antlers, as Eksjö, Sweden’s own Melodic Death/Groove Metal titans Orbit Culture return from the frozen north with their fifth full-length album aptly titled Death Above Life, following up on their critically acclaimed 2023 opus Descent. Produced, mixed and mastered by Buster Odeholm at Odeholm Audio, and adorned by a Stygian artwork by Miroslav Pecho, the new offering by vocalist and guitarist Niklas Karlsson, guitarist Richard Hansson, bassist Fredrik Lennartsson, and drummer Christopher Wallerstedt offers more of their trademark fusion of Thrash, Death, Groove and Industrial Metal with arresting hooks and a layered atmosphere that invites comparison to Gojira, Metallica and Static-X, while carving out something that is uniquely their own.

The band wastes no time and kick off the album on a violent mode with Inferna, where Niklas and Richard steal the show with their utterly metallic riffage in its almost seven minutes of first-class Swedish melodeath. Christopher then sounds like an out-of-control stone crusher in Bloodhound, adding endless aggressiveness to their sound while also matching perfectly with Niklas demented roars; whereas Inside the Waves offers a more modernized version of American Metalcore, an excellent option for setting fire to their live performances. In The Tales of War we face poetic lyrics declaimed by Niklas (“Chasing a dark storm, no reason to be here / Escaping the temple of fear / I forfeit, the summoning time, the chasing of healing shrines / Through darkness I was led through the lanes”) amidst a pure headbanging extravaganza, and again venturing through contemporary Groove Metal we’re treated to Hydra, while of course staying true to their roots. Furthermore, the bass by Fredrik will hammer your skull mercilessly.

It’s pedal to the metal in the high-octane melodeath feast entitled Nerve, led by the striking vocals by Niklas and the band’s spot-on backing vocals, all spiced up by the killer guitar solos by Richard. Death Above Life brings forward another round of their pensive yet acid words (“Alternation / Stuck in a war / No path to follow / Through chaos made up / My mind is done / In this cave of black dust, kill / It aims for the heart”), a neck-breaking tune that flirts with modern Death Metal at times; and get ready to be caught in a mosh pit storm to the sound of The Storm, where their riffs sound brutally awesome supported by the pounding drums by Christopher. More of their ass-kicking guitar lines will penetrate your mind in Neural Collapse, all boosted by Niklas’ vicious guttural, whereas lastly we have The Path I Walk, and I have no idea what their goal was with this tune. They sound like the more modern version of Metallica, which is never a good choice to be fair.

“The album represents change, a new beginning,” says guitarist, vocalist and songwriter Niklas Karlsson. “It brings up a lot of good and bad emotions but it’s a big change for the better. It feels like a rebirth.” Hence, if just like the guys from Orbit Culture you also want to experience such a metallic rebirth you can follow the band on Facebook and on Instagram, staying up to date with their news and tour dates, stream their already dense discography on Spotify, and of course grab your copy of the excellent Death Above Life from their own BandCamp, as well as from the album’s special website, or by clicking HERE or HERE. There’s a thin line between life and death, but in the end death always prevail, in special when the soundtrack to it is as exciting and heavy as the new album by one of the torchbearers of the new Swedish melodeath scene.

Best moments of the album: Bloodhound, The Tales of War and The Storm.

Worst moments of the album: The Path I Walk.

Released in 2025 Century Media Records

Track listing
1. Inferna 6:45
2. Bloodhound 5:04
3. Inside the Waves 4:39
4. The Tales of War 5:10
5. Hydra 4:49
6. Nerve 5:54
7. Death Above Life 5:31
8. The Storm 4:16
9. Neural Collapse 6:21
10. The Path I Walk 4:55

Band members
Niklas Karlsson – vocals, guitars
Richard Hansson – lead guitars
Fredrik Lennartsson – bass
Christopher Wallerstedt – drums

Album Review – Eleine / We Stand United EP (2025)

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Sweden’s own Symphonic Metal masters return with a compelling offering that draws together a connection between the band’s studio recordings and live performances.

Featuring two unheard pieces, two live tracks recorded at Masters of Rock 2024, and a symphonic version of a fantastic song, We Stand United, the brand new EP by Landskrona, Sweden’s own Symphonic Metal outfit Eleine, is a compelling offering that draws together a connection between the band’s studio recordings and live performances, following up on their critically acclaimed albums Dancing in Hell (2020) and We Shall Remain (2023). Recorded at Studio Bohus, the new EP by frontwoman Madeleine “Eleine” Liljestam, vocalist and guitarist Rikard Ekberg, and guitarist Victor Jonasson (alongside bassist Filip Stålberg and drummer Jesper Sunnhagen, who have recently left the band) might be short in duration, but it will definitely keep their loyal fanbase fully satisfied while studio album number five is in the works.

The cinematic intro Towards the Fields invites us all to join Eleine in their quest for heavy music in We Stand United, a killer new tune by those Swedish metallers where Eleine’s vocals sound hypnotizing as usual, boosted by the deep roars by Rikard, resulting in a massive Symphonic Metal aria bursting with epicness and adrenaline. Never Forget (Live at Masters of Rock 2024) is an excellent live version of one of their heaviest tunes, with its pounding drums and striking riffs adding an extra touch of darkness to it, and the same can be said about We are Legion (Live at Masters of Rock 2024). We can’t see it, but we can imagine the entire crowd jumping up and down with the band in this incendiary and thrilling live version. And closing such a special EP we have the symphonic version of Promise of Apocalypse (Symphonic version), with Eleine stealing the spotlight as expected with her captivating, delicate yet powerful vocals.

“We wanted to give you something in between album cycles. A feel of what’s to come, where we stand right now and a closer look at the past. This is We Stand United – an EP dedicated towards our strong and loyal fans across the world including live tracks and something brand new,” commented Madeleine and Rikard, who are waiting for you to join their army on Facebook and on Instagram (or simply click HERE for all things Eleine), including their unmatched live performances (like their incendiary upcoming tour with the mighty Primal Fear), and don’t forget to also subscribe to their official YouTube channel, to stream their already solid discography on Spotify, and to purchase their excellent new EP from their official webstore or by clicking HERE. We Stand United is unique, it’s alive, it’s symphonic, and more important than all that, it’s a beautiful gift from those Swedish metallers to their fans, warming them up for a bright future ahead of them.

Best moments of the album: We Stand United and We are Legion (Live at Masters of Rock 2024).

Worst moments of the album: None.

Released in 2025 Reigning Phoenix Music

Track listing
1. Towards the Fields (Intro) 1:05
2. We Stand United 4:42
3. Never Forget (Live at Masters of Rock 2024) 4:47
4. We are Legion (Live at Masters of Rock 2024) 3:55
5. Promise of Apocalypse (Symphonic version) 3:43

Band members
Madeleine “Eleine” Liljestam – vocals
Rikard Ekberg – guitars, growls, vocals
Victor Jonasson – guitars

Guest musicians
Filip Stålberg – bass
Jesper Sunnhagen – drums

Album Review – Ambush / Evil In All Dimensions (2025)

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One of Sweden’s most electrifying bands returns with a striking new album, bursting with relentless energy while capturing the classic essence of Heavy Metal.

We all know that Heavy Metal is the law, and Växjö, Sweden-based brigade Ambush is more than ready to reinforce that armed with their breathtaking new album, titled Evil In All Dimensions, the follow-up to their critically acclaimed 2020 offering Infidel. Recorded, mixed, mastered and produced by Mankan Sedenberg, and displaying a killer artwork by Péter Sallai of Mortpaintgraphics, the new album by Oskar Jakobsson on vocals, Olof Engqvist and Karl Dotzek on the guitars, Oskar Andersson on bass, and Linus Fritzson on drums draws inspiration from the likes of Judas Priest, Accept, and Iron Maiden, bursting with relentless energy while capturing the classic essence of Heavy Metal, an undeniable proof of the band’s unwavering passion and talent for the genre.

Olof and Karl embellish the airwaves with their striking riffs from the very first second in the title-track Evil In All Dimensions, kicking off the album on a high and incendiary mode, followed by Maskirovka, a metal hymn that exhales of 80’s Hard Rock, with Oskar Jakobsson delivering a passionate, powerful vocal performance that matches perfectly with the song’s headbanging mid-tempo pace. It’s then pedal to the Heavy Metal to the hammering drums by Linus and the rumbling bass by Oskar Andersson in Iron Sign, again sending us back to the glory days of heavy music, and it’s impressive how the band flawlessly blends Heavy Metal with Hard Rock like in The Night I Took Your Life, with their riffs and beats transpiring epicness.

As like in countless other Heavy Metal albums, there’s a power ballad for us to enjoy with our loved ones titled I Fear The Blood, although I prefer a billion times their fast and heavy creations; whereas Oskar Jakobsson’s vocals live up to the legacy of legends like Bruce Dickinson and Rob Halford in Come Angel Of Night, accompanied by the striking, electrifying sounds blasted by his bandmates. The Reaper then showcases the band back to a more cadenced yet still headbanging sound, feeling like it was taken from one of those afternoon movies from the 80’s, while Bending The Steel is another metal hymn with a powerful name, reminding me of some old school tunes by the mighty Judas Priest and Grave Digger, not to mention their dual guitar attack will pierce your brain mercilessly. And lastly, Heavy Metal Breathren brings forward one final onrush of pure metal magic by Ambush, led by the flammable, classy riffs and solos by Olof and Karl.

Get your denim and leather jackets ready, as Evil in All Dimensions marks the beginning of an exciting new chapter in Ambush’s relentless quest for speed. Hence, as the band is ready to rise to even greater heights with their new opus, you can get to know more about their music, tour dates and everything else surrounding such an amazing crew on Facebook and Instagram, stream all of their incendiary discography on Spotify, and grab a copy of Evil in All Dimensions from Big Cartel or from Napalm Records (or simply click HERE for all things Ambush). Because Heavy Metal is their business, and business is good. Or maybe I should say that business is metal.

Best moments of the album: Iron Sign, Come Angel Of Night and Bending The Steel.

Worst moments of the album: I Fear The Blood.

Released in 2025 Napalm Records

Track listing
1. Evil In All Dimensions 4:38
2. Maskirovka 4:33
3. Iron Sign 4:08
4. The Night I Took Your Life 4:57
5. I Fear The Blood 4:44
6. Come Angel Of Night 4:18
7. The Reaper 4:01
8. Bending The Steel 4:19
9. Heavy Metal Breathren 5:12

Band members
Oskar Jakobsson – vocals
Olof Engqvist – guitars, backing vocals
Karl Dotzek – guitars, backing vocals
Oskar Andersson – bass, vocals, backing vocals
Linus Fritzson – drums, backing vocals

Guest musicians
Elias Jakobsson – harmony vocals on “Maskirovka” and “I Fear The Blood”,  piano on “The Reaper”
Jakob Janson – shout vocals on “Bending The Steel” and “Heavy Metal Breathren”
Johan Janson – shout vocals on “Heavy Metal Breathren”
Adam Hagelin – backing vocals on “Heavy Metal Breathren”
Mankan Sedenberg – guitar solo on “The Reaper”