Tag Archives: symphonic black metal

Album Review – Naraka / Born In Darkness (2025)

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One of the most promising modern acts emerging from France returns with their hellish, incendiary sophomore offering.

Founded in 2019 by guitarist Jean-Philippe Porteux, French Melodic Death Metal outfit Naraka (a term that generally refers to the realm of hell or a place of torment in Indian religions) is back with their mix of Modern Metal and Death Metal with symphonic and sometimes even electro touches in their sophomore album, titled Born in Darkness. Recorded at Hybreed Studio, Serial Drummer Studio, and At The Gates Ov Hell Studio, mixed and mastered at Darth Vader Studio, produced by Logan Mader, and adorned by a devilish artwork by Andreas Bathory, the follow-up to their 2021 debut In Tenebris continues to pave the path started by the band in their inception, creating a dramatic and atmospheric experience without losing focus on their core instrumentation and, therefore, positioning the band currently formed of vocalist Théodore Rondeau, guitarist Jean-Philippe Porteux, bassist Pierre-André Krauzer, and drummer Franky Costanza as one of the most promising modern acts emerging from France’s always exciting metal scene.

The album kicks off with the cinematic intro Apocalypsis Diem, where the band invites us all to their dark and sinister world before all hell breaks loose in Born In Darkness, offering our avid ears a solid and thrilling fusion of Black, Death and Groove Metal led by the Lamb of God and Machine Head-inspired screams by Théodore. Franky then pounds his drums in great fashion in the heavy-as-hell Something Woke Up, supported by the slashing riffs by Jean-Philippe and all of the song’s wicked background sounds, whereas Jean-Philippe revs up the band’s Blackened Death Metal engine in Blazing Sun, also showing elements from Gothic Rock and Metal. With a title like Hellhound the only thing we could expect was pure doom, and we get it straight from Pierre-André’s bass and the song’s haunting background choir, followed by Tyrants, another hard hitting tune of melodeath with groove and blackened nuances, with Franky taking the lead with his fierce beats.

Then leaning towards Symphonic Black and Death Metal those French metallers fire an adrenaline-fueled beast named Sorcerer, where the harsh vocals by Théodore walk hand in hand with all keys and orchestrations; and like the soundtrack to a horror movie, the climatic interlude Deus Belli sees the band arise from the netherworld in Lost, again venturing through the realms of Gothic Metal, in special in the song’s dark, deep vocals and sluggish beats. The Reign In Red is one more devilish creation by Naraka, evolving into a Symphonic Black Metal aria spearheaded by Franky’s crushing drums, also featuring Sotiris Anunnaki V of SepticFlesh on guest vocals. Parasite is a modern and visceral display of Dark Metal that goes straight into your mind, with Jean-Philippe’s riffs crawling under your skin like a creepy centipede, followed by The Last Day On Earth, a phantasmagorical composition where all background keys add an extra dosage of heaviness to the already vile riffage by Jean-Philippe. Lastly, we face an acoustic version of Lost, not as good as the electrified version, and a bit unnecessary as the album is already grandiose without it.

Although the name Naraka has only been around for less than a decade, the band members are seasoned veterans of the French scene, bringing a powerful and sophisticated sound to the table in their new album Born In Darkness, which is by the way available from the Art Gates Records webstore as a digipak + shirt bundle, a digipak + shirt + hoodie bundle, or a digipak + shirt + hoodie + mug bundle. Don’t forget to also follow such a promising band on Facebook and on Instagram, as I’m sure their live performances are incendiary to say the least, and stream their music on any platform out there like Spotify. If you’re looking for modernity in heavy music while also deeply rooted in classic extreme sounds, Naraka will certainly fulfill your needs with Born In Darkness, keeping the fires of French music burning bright and inspiring those talented musicians to keep melting our faces with album number three in a not-so-distant future.

Best moments of the album: Something Woke Up, Hellhound and Parasite.

Worst moments of the album: Lost (Acoustic Version).

Released in 2025 Art Gates Records

Track listing
1. Apocalypsis Diem 1:41
2. Born In Darkness 5:29
3. Something Woke Up 4:38
4. Blazing Sun 5:08
5. Hellhound 3:57
6. Tyrants 4:12
7. Sorcerer 4:01
8. Deus Belli 3:32
9. Lost 4:25
10. The Reign In Red 5:18
11. Parasite 3:31
12. The Last Day On Earth 5:51
13. Lost (Acoustic Version) 3:55

Band members
Théodore Rondeau – vocals
Jean-Philippe Porteux – guitar
Pierre-André Krauzer – bass
Franky Costanza – drums

Guest musician
Sotiris Anunnaki V – vocals on “The Reign In Red”

Album Review – Nexion / Sundrung (2025)

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Behold this act of rebirth through the cycle of destruction by one of the must-see names of the current Icelandic Black Metal scene.

An Old Icelandic for “discord, disharmony and the sundering of the social and cosmic fabric,” Sundrung, the sophomore effort by Reykjavík, Iceland’s own Black Metal horde Nexion, is an act of rebirth through the cycle of destruction. Mixed and mastered at Studio Emissary, and enriched by a cryptic illustration by José Gabriel Alegría Saboga, the follow-up to their 2020 debut Seven Oracles sounds vastly more dynamic and far-reaching, showcasing a stunning evolution in the music by vocalist Joshua Hróðgeir Rood, guitarists Jóhannes Smári Smárason and Óskar Rúnarsson, bassist Atli Jarl Martin, and drummer Kristján Guðmundsson.

It’s total annihilation to the sound of Uþarpaspa, where the fulminating drums by Kristján bring sheer Black Metal magic to their music, wherras Gandr sounds even more infuriated, devilish and somber, led by the scorching guitars by Jóhannes  and Óskar, all spiced up by the demonic gnarls by Joshua. Not only that, the entire song is also a curse, ritually breaking an ancient runic ward against destroyer spirits by inverting it to call them forth against mankind’s perpetrators of discord. Norðr ok niðr sounds more epic and imposing than all previous songs, even presenting hints of Symphonic Black Metal, with Kristján stealing the show with his crushing beats supported by the rumbling bass by Atli; and the beautifully titled When Raven Steals the Sun offers an overdose of first-class, in-your-face grim sounds, with Joshua taking the lead with his desperate gnarls from the underworld.

After such a demented Black Metal attack we have the cryptic interlude :Þþþ:, sounding like the soundtrack to a horror movie before we face the ruthless Hymn of the Valkyrjur, a beyond infernal creation by this talented Icelandic horde showcasing everything we love in contemporary Black Metal, in special the intricate yet primeval beats and fills by Kristján. Rending the Black Earth brings forward another six minutes of dark and melodic passages embraced by the scathing riffage by Jóhannes and Óskar, and the album couldn’t have ended in a more Stygian way than with Visions of the Seventh Fire, blending the harshness of Black Metal with the finesse and haunting melodies of Atmospheric Black Metal.

In summary, Sundrung is riven with an apocalyptic fervour that’s ramped up to the most galvanizing, consciousness-searing of degrees as it becomes an incendiary act of deliverance, and you can join Nexion in their blackened quest by following the band on Facebook and on Instagram, by streaming their unique creations on Spotify, and above all that, by purchasing Sundrung from the Avantgarde Music’s BandCamp page or from Sound Cave. Because as only in death we can find our way back to life, we shall follow such a tormenting and harsh path of rebirth to the sound of the caustic Black Metal by Nexion.

Best moments of the album: Gandr, When Raven Steals the Sun and Hymn of the Valkyrjur.

Worst moments of the album: None.

Released in 2025 Avantgarde Music

Track listing
1. Uþarpaspa 4:56
2. Gandr 6:36
3. Norðr ok niðr 5:35
4. When Raven Steals the Sun 7:46
5. :Þþþ: 2:22
6. Hymn of the Valkyrjur 6:41
7. Rending the Black Earth 6:37
8. Visions of the Seventh Fire 8:06

Band members
Joshua Hróðgeir Rood – vocals
Jóhannes Smári Smárason – guitar
Óskar Rúnarsson – guitar
Atli Jarl Martin – bass
Kristján Guðmundsson – drums

Album Review – Abscence / Enigma (2025)

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Behold the debut offering by this promising Black and Gothic Metal horde, a concept album that chronicles the tragic and immortal love of two vampire women, bound by blood, betrayal, and devotion.

Channeling the essence of 90’s Black and Gothic Metal into a modern yet uncompromising sound, Yorkshire, England-based cult Abscence is unleashing upon humanity their debut offering, entitled Enigma. A concept album that chronicles the tragic and immortal love of two vampire women, bound by blood, betrayal, and devotion, Enigma is a gothic love story steeped in myth and moonlight, told across nine long-form tracks that unfold like chapters in a dark epic, drawing deeply from old school Theatre of Tragedy and Cradle of Filth while forging a captivating soundscape that’s both brutal and melancholic, all masterfully crafted by the dramatic and aggressive vocalist Mordred, the grief, rage, and spectral beauty by bassist and vocalist Morrigan, the raw blackened power of guitarist Balor, and the poetic vision and symphonic depth of keyboardist Gawain.

Ethereal, angelic sounds permeate the air in the opening track We Abandon Worldly Pearls, before the band begins distilling their Cradle of Filth-inspired attack led by the visceral gnarls by Mordred. Then the stylish, grim keys by Gawain set fire to the band’s Black Metal engine in Under Moon’s Glance, offering a high-octane feast of extreme sounds enfolded by a whimsical aura, whereas the title-track Enigma is another beast of blackened and symphonic sounds, with the guitars by Balor clashing with Morrigan’s thunderous bass in great fashion. After that, we face the atmospheric (and a bit lengthy) Secrets Confide, a slow, sinister tune by Abscence that sets the tone for the six-minute aria Silk & Shadows, a Black Metal extravaganza where Mordred’s devilish roars will send shivers down your spine while the atmosphere trembles to their wicked riffs and beats, all boosted by Morrigan’s hypnotizing clean vocals.

Eternal Vows of Midnight is another sinister, spine-chilling composition by Abscence, with the haunting keys by Gawain walking hand in hand with Morrigan’s delicate yet penetrating vocals. Mordred then takes the lead once again with his Dani Filth-like screeches in Cloak of Mind, a fast and infuriated composition where Gawain’s keys give the song a striking phantasmagorical vibe; and the second to last song of the album, titled Whispers of Eternity, presents a more Melodic Black Metal vibe thanks to the harmonious guitar lines by Balor. Not only that, it’s perhaps the song where Morrigan’s vocals thrive the most. Finally, the epic conclusion to the story of the vampire lovers comes in the form of Our Love Ignites, a beautiful aria of Symphonic Black Metal magic where the vocals by Mordred and Morrigan build a cinematic paradox.

At its heart, Abscence is a band devoted to emotional authenticity and artistic freedom, with their symphonic arrangements, melodic guitars, dual vocal dynamics, and narrative-driven lyricism helping them creates a sonic world where brutality meets elegance, just like what they have to offer in Enigma. Hence, don’t forget to check what this up-and-coming beast of extreme music is up to on Facebook and on Instagram, to stream their unique, enfolding creations on Spotify, and of course to grab your copy of the hypnotizing Enigma from the band’s own BandCamp. This talented and hardworking horde has all it takes to conquer the world of heavy music with the detailed and visceral music found in Enigma, and just like the immortal love of the two protagonists of their new album, it will capture your blackened heart for all eternity.

Best moments of the album: Under Moon’s Glance, Silk & Shadows and Cloak of Mind.

Worst moments of the album: Secrets Confide.

Released in 2025 WormHoleDeath

Track listing
1. We Abandon Worldly Pearls 5:26
2. Under Moon’s Glance 7:04
3. Enigma 7:18
4. Secrets Confide 3:48
5. Silk & Shadows 6:18
6. Eternal Vows of Midnight 3:47
7. Cloak of Mind 8:09
8. Whispers of Eternity 5:25
9. Our Love Ignites 8:42

Band members
Mordred – vocals
Balor – guitars
Morrigan – bass, female vocals
Gawain – keyboards

Album Review – Hades Descent / The Monolith (2025)

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Let’s embark on a cinematic metal journey to the sophomore opus by this UK blackened entity, set centuries into a dystopian future on a dying earth.

Forging Symphonic and Melodic Death and Black metal with a strong cinematic scope, Berkshire, UK-based entity Hades Descent is back from the underworld with its sophomore opus, entitled The Monolith, a dystopian concept album offering a dark fusion of symphonic atmosphere, blackened aggression, and melodic precision, marking the project’s most ambitious work to date. Fully composed, orchestrated, recorded, mixed, and mastered by the band’s mastermind Hades at Titan Studios, underscoring the project’s uncompromising DIY spirit and singular vision, anchored by the beyond versatile vocals by D.M., and featuring the more-than-special guests Karl Sanders (Nile), Brian Kingsland (Nile, Imperishable), Björn “Speed” Strid (Soilwork, The Night Flight Orchestra), and Tim Goodson, The Monolith is set centuries into a dystopian future, on a dying earth, where mankind has embraced cybernetics in pursuit of perpetual enhancement, until humans no longer know where they end and the machine begins. “This is a concept album, based on an idea I had about 5 years ago,” explains Hades. “It’s taken that long to come to fruition! I hired an author, Tony Martucci, to turn the concept into a proper short story, which helped me flesh out the idea fully and turn it into the beautiful album you see here.”

The album kicks off with six minutes of Symphonic Black Metal madness in the form of Tomorrow Is Dead!, featuring guests Brian Kingsland, Karl Sanders and Tim Goodson, all on the guitars, with Hades’ and his henchmen’s striking, melodic riffs and solos walking hand in hand with the demented roars by D.M., whereas in Through Savage Seas they bring forward elements of Progressive Black and Death Metal, with all beats and fills adding endless heaviness to the song. Then the poetically titled Forged In Darkness (And Fire) starts in a cinematic manner before evolving into a symphonic and headbanging feast of vicious riffs and whimsical keys; and we face another round of phantasmagorical keys in Path of The Seeker, providing D.M. with all he needs to deliver his trademark harsh gnarls. Hades continues to bring forth sheer adrenaline in The Oncoming Storm, where his riffs and keys will yet again pierce your mind like an arrow in flames.

Veiled Ambitions is not as exciting as the rest of the album, although it still presents the characteristic fusion of symphonic and extreme sounds blasted by Hades. Then back on track, Hades and his Hades Descent continue their descent (and sorry for all repetition in this case) to the underworld in Sentinels of Time (Illium’s Demise), with the song’s hammering drums complementing D.M.’s desperate screams flawlessly. The Sea of Silent Warriors sounds very intricate and complex throughout its almost five minutes, in special its Dream Theater-like keys and drums, all embraced by the devilish growls by D.M., and finally,  we face the seven-minute beast of darkness titled The Monolith, where guest Björn “Speed” Strid proves why he’s one of the best vocalists to ever arise from Sweden, clashing majestically with the Black Metal gnarls by D.M. in an explosion of first-class extreme music.

A cinematic concept album bringing to us all a dystopian cybernetic future, time travel, destiny, and downfall, The Monolith represents the band’s most complete artistic statement yet, set to establish Hades Descent as one of UK’s most ambitious forces in modern extreme music, being therefore highly recommended for fans of Septicflesh, Fleshgod Apocalypse, Dimmu Borgir, Ex Deo, and Nile, just to name a few. Hence, you can get to know more about this excellent project and its mysterious master, and obviously show him your total support, by checking what Hades is up to on Instagram, by streaming his music on Spotify, and by purchasing The Monolith from BandCamp. It’s time to embark on a metal journey to the dystopian future from The Monolith, and I’m sure you’ll have a great time with the multi-talented Hades as your devilish guide.

Best moments of the album: Tomorrow Is Dead!, Path of The Seeker and The Monolith.

Worst moments of the album: Veiled Ambitions.

Released in 2025 Independent

Track listing
1. Tomorrow Is Dead! 6:52
2. Through Savage Seas 5:46
3. Forged In Darkness (And Fire) 5:56
4. Path of The Seeker 4:30
5. The Oncoming Storm 4:57
6. Veiled Ambitions 5:38
7. Sentinels of Time (Illium’s Demise) 5:02
8. The Sea of Silent Warriors 4:48
9. The Monolith 7:41

Band members
D.M. – vocals
Hades – guitars, bass, drums

Guest musicians
Brian Kingsland – chorus vocals and guitar solo on “Tomorrow Is Dead!”
Karl Sanders – guitar solo on “Tomorrow Is Dead!”
Björn Strid – vocals on “The Monolith”
Tim Goodson – rhythm guitar on “Tomorrow Is Dead!”

Album Review – Tine / A Winter Horrorscape (2025)

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This unrelenting entity returns from the bowels of Appalachia with its third studio album, featuring eight crushing songs of pure Symphonic Black and Death Metal.

Forged of cold, wrought iron from the bowels of Appalachia back in 2011 by vocalist, multi-instrumentalist, songwriter and composer Count Murmur, combining the sinister aggression of Black Metal, the power and ferocity of Death Metal, and the sweeping passion of orchestra and symphony to create a truly unique sound, one-man Symphonic Black/Death Metal entity Tine is unleashing upon humanity its third full-length opus, titled A Winter Horrorscape, following up on its 2022 sophomore Mergae Maris Profundi. Produced, mixed and mastered by session drummer Nikola Dušmanić alongside Count Murmur at Ezoterik Studio, with guitar Tones and re-amping by Rodoljub Raičković at Vortex Studio, showcasing a chilly, despondent artwork by James Hutton, and featuring guests Samantha Bounkeua on piano, strings and choir vocals, Peter Ferguson on guitar solos on a few of the songs, and Mark DiAngelo with wind sounds on the title-track, A Winter Horrorscape features eight crushing songs of pure Symphonic Black and Death Metal, proving why the uncanny Count Murmur has already become a reference in the genre.

Guest musician Samantha Bounkeua creates an enfolding, whimsical ambience in Winter Comes, captivating our senses before Count Murmur crushes our souls with A Feather from Lucifer’s Wing, melting our faces and burning our hearts with his visceral gnarls, offering a beautiful and austere explosion of classic Black Metal for lovers of the genre; followed by A Path Through Frozen Woods, which also presents Count Murmur’s trademark roars and Stygian riffage, always supported by the crushing drums by Nikola. And featuring a guest guitar solo by Peter Ferguson, Count Murmur ignites another darkened mass with his devilish vocals entitled Ex Cathedra, bring forward eight minutes of bitterly acid Black Metal madness.

Return to the Black Forest in Winter is a beyond cinematic composition, with all background elements and choir adding an extra touch of obscurity to its vibe. It’s not the most exciting of all songs, though, but still very enjoyable; and continuing with the album’s phantasmagorical energy we have The Scathing Blizzard, this time with Count murmur vociferating rabidly nonstop while also firing scathing riffs, supported by another guest solo by Peter Ferguson. Then our lone wolf keeps blackening the atmosphere with another eight-minute aria titled Triumph at Nineveh, where both his clean and harsh vocals add even more depth to his already multi-layered music; and lastly, the title-track Winter Horrorscape, featuring Peter Ferguson on a guitar solo and Mark DiAngelo on wind sounds, will embrace you in pitch black darkness, putting a stunning and climatic ending to the album like the soundtrack to a horror movie.

As the songs began to take on a wintry and cold feel in A Winter Horrorscape, Count Murmur decided this would be the theme of the album, with the enlisting of the skills of all aforementioned session musicians broadening the breadth and scope of the music considerably. In the end, Count Murmur and his Tine were capable of crafting a piercing, frostbitten piece of extreme music that deserves to be listened to on all four corner of the earth, and you can show your support to such a talented and hardworking metaller by following Tine on Facebook and on Instagram, by subscribing to the project’s YouTube channel, by streaming its music on any streaming platform such as Spotify, and above all that, by purchasing a copy of A Winter Horrorscape from BandCamp. The blend of Symphonic Black and Death Metal by Tine is undoubtedly a thing of beauty, with A Winter Horrorscape representing another fantastic step in the career of the unstoppable Count Murmur, a loyal servant of the darkest of arts.

Best moments of the album: A Feather from Lucifer’s Wing, Ex Cathedra and Triumph at Nineveh.

Worst moments of the album: Return to the Black Forest in Winter.

Released in 2025 Independent

Track listing
1. Winter Comes 2:20
2. A Feather from Lucifer’s Wing 5:11
3. A Path Through Frozen Woods 4:23
4. Ex Cathedra 8:05
5. Return to the Black Forest in Winter 3:41
6. The Scathing Blizzard 3:44
7. Triumph at Nineveh 7:58
8. Winter Horrorscape 6:42

Band members
Count Murmur – vocals, guitars, bass

Guest musicians
Nikola Dušmanić – drums (session)
Samantha Bounkeua – piano, strings, choir vocals, everything on “Winter Comes”
Peter Ferguson – guitar solos on “Ex Cathedra”, “The Scathing Blizzard” and “Winter Horrorscape”
Mark DiAngelo – wind sounds on “Winter Horrorscape”

Album Review – Visitant / Rubidium (2025)

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A newborn Blackened Death Metal beast from Florida is ready to kill to the sound of their debut offering, embodying the bleakest parts of being human.

Formed in February 2022 in Pensacola, Florida, in the United States by guitarist Taylor Tidwell (Unaligned, Withered Throne) and vocalist Chelsea Marrow (Voraath, The Monster Factory), Visitant are a Blackened Death Metal band that weaves ethereal elements into a soundscape that is as haunting as it is aggressive. Lyrically and musically, the band crafts immersive dreamscapes, ritualistic and unrelenting, that channel the essence of restless, vengeful spirits. Recorded by Taylor Tidwell and Anthony Lusk-Simone, produced and mixed by Anthony Lusk-Simone, mastered by Jason Fisher at Exitus Stratagem Records, and displaying a stylish artwork by Chelsea Marrow (with layout and logo by Maxwell Aston), Rubidium is the debut album by the aforementioned Taylor Tidwell and Chelsea Marrow alongside bassist Kilian Duarte (Abiotic, Lattermath, Felix Martin, Scale the Summit), and drummer Anthony Lusk-Simone (Abiotic, Lattermath, Pathogenic), embodying the bleakest parts of being human while dealing with the darkest emotions such as grief, loss, betrayal, vengeance, time lost, and regret.

Chelsea already showcases all her vocal depth and rage in the opening tune Unworldly, an imposing Black Metal aria where Anthony’s pounding drums and background orchestrations sound absurdly heavy, followed by Briars, offering another whimsical, atmospheric start to the band’s minimalist sounds before Taylor and Killian fire piercing, monumental sounds from their axes supported by the Black and Death Metal drumming by Anthony. Visitant then bring to our avid years another avalanche of cinematic and obscure sounds in Starless, where Chelsea’s gnarls walk hand in hand with Anthony’s drums, followed by the demolishing Rubidium, keeping the atmosphere as heavy and dense as possible. In Fodder, Chelsea keeps screaming the song’s devilish words (“A cold eclipse / An opening amidst flame / Your being, engulfed / I never thought I’d see your face beyond the light”) while her bandmates generate the most sulfurous and evil Blackened Death Metal sound imaginable. Then blasting a gripping fusion of Symphonic Black Metal with Post-Black Metal elements we have Envies Lament, with the riffage by Taylor sounding acid and vile; and last but not least, we face one final Black Metal attack by the quartet entitled Moon Bathe, with Taylor stealing the spotlight with his infernal, caustic riffage.

In a nutshell, fans of Gojira, Opeth, Naglfar, and Between the Buried and Me will certainly have a blast with the visceral experience that transcends genre boundaries offered by Visitant in Rubidium, placing the band under the radar of most metalheads across the world who enjoy a solid and professional fusion of aggressiveness, violence, harmony, obscurity and rage. You can get more details about this up-and-coming horde hailing from Florida by following them on Facebook and on Instagram, keep an eye on their official videos on their YouTube channel, stream their music on Spotify, and of course purchase a copy of their flammable debut by clicking HERE. Chelsea, Taylor & Co. are summoning a beast from the abyss in their first ever full-length offering, darkening the skies and haunting our souls mercilessly and, therefore, already getting us all hyped for whatever comes next in their exciting career in the upcoming years.

Best moments of the album: Unworldly, Fodder and Envies Lament.

Worst moments of the album: None.

Released in 2025 Exitus Stratagem Records

Track listing
1. Unworldly 4:48
2. Briars 5:20
3. Starless 5:07
4. Rubidium 5:24
5. Fodder 4:37
6. Envies Lament 4:56
7. Moon Bathe 2:38

Band members
Chelsea Marrow – vocals
Taylor Tidwell – guitars
Kilian Duarte – bass
Anthony Lusk-Simone – drums, orchestration

Album Review – Old Machines / The Cycles of Extinction (2025)

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This Symphonic Black Metal entity from Portland will attack with their concept debut album, a monolithic fusion of bombastic brutality and cosmic dread.

Astral warlords and celestial leviathans, Portland, Oregon-based  Symphonic Black Metal entity Old Machines emerge from the void with their cataclysmic concept debut album, titled The Cycles of Extinction, a monolithic fusion of bombastic brutality and cosmic dread. Recorded and mixed by the band’s own guitarist Brian Rush, mastered by Stephen Hoffman at Acid Dump Studios, and displaying a futuristic, dystopian cover art by Alexander Preuss, the debut offering by Gary Reavis on vocals, Brian Rush on the guitar and bass (the band was joined by Joel Henigson on bass shortly after the album was recorded), Devon Miller also on the guitar, Jason Stares on keyboards, and Chris Craven on drums heralds a new chapter in Extreme Metal where ancient engines of annihilation awaken once more.

You know a band is always aiming at pushing their boundaries when they kick off an album with an 11-minute song like Twilight of the Old Gods, and the Dawning of the First, sounding utterly atmospheric and whimsical, evolving into a Progressive Death Metal beast led by Gary’s striking vocals; and their symphonic wall of sounds goes on in full force in Cycles of Extinction, with the keys by Jason elevating the song’s epicness to a whole new level. Those guys definitely know how to name their songs, like in Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory), where Brian and Devon deliver an imposing riff attack accompanied by the massive beats and fills by Chris in a complex and vibrant blend of Symphonic and Progressive Black Metal; whereas Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle is a beyond ethereal, enfolding composition, almost venturing through the lands of Shoegaze.

Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) takes the band back to a more metallic and piercing mode, where Chris hammers his drums supported by the always electrifying keys by Jason, offering Gary exactly what he needs to shine on vocals. And it’s pedal to the metal in the infuriated The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague, with the guitars by Brian and Devon penetrating deep inside our rotten minds. Then a cinematic intro explodes into sheer madness, rage and first-class Symphonic Black Metal in They are Legion – The Tragic Exodus of the Veiled Creators, where their guitar lines are absolutely insane and demented. And finally, we face their last metal attack entitled Glory to the Terrans of the First Contact War, even more symphonic than its predecessors while Chris sounds ruthless behind his drums.

In a nutshell, the tales of horror, war, and genocide found in The Cycles of Extinction, spanning eight tracks for one hour of music which can be described as Extreme Cosmic Metal, combining elements of Thrash, Death, Black, and Power Metal, will certainly appeal to fans of heavy music with a strong background storyline, and you can get to know more about Old Machines, their music, tour dates and other details on Facebook and on Instagram, and grab a copy of the album from their own BandCamp, from the Pale Magus Productions webstore, or by clicking HERE. From the darkest depths of the oceans of time and space comes a legend over two billion years old, which has spawned a multitude of harrowing galactic sagas, with The Cycles of Extinction being just the first in a series of concept albums by the band. There will be more of such epics in this fashion because, as you know, extinction is only the beginning.

Best moments of the album: Twilight of the Old Gods, and the Dawning of the First, Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) and The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague.

Worst moments of the album: Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle.

Released in 2025 Pale Magus Productions

Track listing
1. Twilight of the Old Gods, and the Dawning of the First 11:14
2. Cycles of Extinction 6:41
3. Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory) 6:18
4. Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle 8:39
5. Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) 6:51
6. The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague 7:15
7. They are Legion – The Tragic Exodus of the Veiled Creators 6:03
8. Glory to the Terrans of the First Contact War 7:25

Band members
Gary Reavis – vocals
Brian Rush – guitar, bass
Devon Miller – guitar
Jason Stares – keyboards
Chris Craven – drums

Album Review – Necht / The Inevitable Suffering EP (2025)

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This mysterious Symphonic Black/Death Metal cult returns with a scorching new EP presenting five “sermons” conjuring both the epic power of a cosmic battle and the grim reality of its earthly implications.

Following on quickly from their 2024 debut album The Prophecy of Karnifor, the mysterious Calgary, Alberta-based Symphonic Black/Death Metal cult Necht returns with a brand new EP, entitled The Inevitable Suffering. Operating jointly from the frozen wastelands of Canada and the damp gloom of Northern Ireland, the cult formed of Zenith Maharg on vocals, Ascendant Zhargor on the guitars, Ascendant демон on bass, and Ascendant Vlasfimos on drums presents in The Inevitable Suffering five “sermons” of Atmospheric Black Metal conjuring both the epic power of a cosmic battle and the grim reality of its earthly implications, each based on the myths and history of the Enkari – the early civilization from which the cult arose – as told in the controversial Enkari-B’ahn Scolls.

Like a creature arising from the underworld, the imposing, epic intro Over Ten Thousand Spears, B’ahn Rises Red kicks off Necht’s black mass before we face The Night That Knows No Dawn, starting in a cinematic manner and quickly exploding into the band’s trademark darkness led by the demented drumming by Ascendant Vlasfimos and the haunting gnarls by Zenith Maharg. Dread Is the Consort of the Dark is another harsh and infuriated display of Symphonic and Melodic Black Metal spearheaded by the Stygian riffage by Ascendant Zhargor, sounding perfect for a ceremonial black mass; and the visceral guitar lines by Ascendant Zhargor are boosted by the rumbling bass and drums by Ascendant демон and Ascendant Vlasfimos in As Oars Through Blood, offering Zenith Maharg exactly what he needs to darkly declaims the song’s impious words, morphing into the phantasmagorical outro …and so Across the Bloody Lake We Did Sail in Silence, putting a beyond obscure ending to one more successful gathering of the cult of the sun.

Such an amazing cult from the underground nailed it once again with The Inevitable Suffering, which is available for purchase from BandCamp or by clicking HERE, and for streaming on Spotify, and you can always join Necht and worship the sun together with them by following the cult on Facebook and on Instagram. “The Cult believed themselves to be spiritually bound to their sun-god, B’ahn, who was locked in a ceaseless battle for survival against His all-powerful mother, the Dragon Karnifor, as She sought to swallow Him and the world. The souls of dead Cultists could rise to join B’ahn in His struggle on the cosmic plains – and thus hold the Dragon back for just a little longer – but only if those Cultists died in battle. Thus, to the Cult, the only means to prevent the Apocalypse of the Dragon was, ironically, to prosecute an endless war on earth, which of course resulted in great misery for their people,” explained Zenith Maharg, leader of the Temple. “Thus, The Inevitable Suffering – for the Cult believed the suffering of war was fundamentally to be embraced as the only means of saving humanity.”

Best moments of the album: The Night That Knows No Dawn and Dread Is the Consort of the Dark.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Over Ten Thousand Spears, B’ahn Rises Red 2:04
2. The Night That Knows No Dawn 6:08
3. Dread Is the Consort of the Dark 6:12
4. As Oars Through Blood 4:18
5. …and so Across the Bloody Lake We Did Sail in Silence 1:18

Band members
Zenith Maharg – vocals
Ascendant Zhargor – guitars, choir
Ascendant демон – bass, choir
Ascendant Vlasfimos – drums

Album Review – Cromlech / Of Owls and Eels (2025)

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A Teutonic entity arises from the underworld once again with its sophomore offering, transcending the limitations often associated with solo Black Metal projects.

Forged in the fires of Berlin, Germany back in the already distant year of 1994 by vocalist and multi-instrumentalist Impurus (aka Eugen Herbst), of bands like Albez Duz, Dies Ater and Cryogenic, but remaining dormant for nearly 30 years until the release of its 2023 debut Cold and Stiff, the venomous Black Metal entity known as Cromlech (which means a megalithic construction made of large stone blocks) arises from the underworld once again with its sophomore offering, entitled Of Owls and Eels. While musically and atmospherically definitely being a Black Metal album, Of Owls and Eels is also a daring effort of a seasoned musician expressing himself in an authentic way without paying attention to genre conventions, bringing forth seven songs that completely transcend the limitations often associated with solo Black Metal projects.

The beyond cryptic and Stygian intro Old Incineration Hymn will embrace your soul in darkness before Impurus distills his venomous sounds in Past Forever, starting in a more than atmospheric way and surgically evolving into a Black Metal monster exhaling sheer darkness, with the eerie sounds and noises crafted by Impurus sounding truly unsettling. The title-track Owls in the Fog also brings forward Impurus’ trademark fusion of classic Black Metal with Atmospheric and Symphonic Black Metal, with his scathing riffage living up to the legacy of the genre. Impurus continues to growl in the name of extreme music in Ice Curse, also showcasing a potent amount of epicness and obscurity in his music; and then it’s time for an eerie interlude titled Eels (Part I), a bit too lengthy despite its introspective, cinematic vibe, flowing into The Quiet Witness, where Impurus goes full Blackened Doom, sending shivers down our spines while he extracts pure malignancy from his guitars, bass and drums, all boosted by his otherworldly keyboards, prepping us all for his final strike entitled Mordlust, a lecture in Black Metal where his vocals and keys once again clash in a beautiful way, sounding absolutely devastating until the very last second.

Dynamic, unpredictable, and unmistakably quirky, Of Owls and Eels proves that Germany is still fertile soil for Black Metal excellence, an album where cold blackened riffs and high-level drumming merge seamlessly with eerie keyboards and surreal, almost hallucinatory soundscapes, resulting in a journey through shadow, memory and dream. Just listen for yourself by purchasing the album from the Darkness Shall Rise Productions’ BandCamp or webstore, and don’t forget to also follow Impurus and his caustic Cromlech on Facebook and on Instagram, and to stream his creations on Spotify, keeping the fires of Teutonic Black Metal burning through the ages, as Impurus continues to pave the darkened path he started with this new album by Cromlech almost three decades after the project was born.

Best moments of the album: Owls in the Fog, Ice Curse and Mordlust.

Worst moments of the album: Eels (Part I).

Released in 2025 Darkness Shall Rise Productions

Track listing
1. Old Incineration Hymn 2:00
2. Past Forever 7:09
3. Owls in the Fog 6:35
4. Ice Curse 5:44
5. Eels (Part I) 3:51
6. The Quiet Witness 7:19
7. Mordlust 6:36

Band members
Impurus – vocals, all instruments

Album Review – …And Oceans / The Regeneration Itinerary (2025)

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These iconic Finnish extremists are back with their seventh studio opus, a flamboyant distillation of the group’s grand nocturnal art assimilating all their hopes, dreams and influences into an uncompromising document of ravenous intent.

Chaos chameleons. Nocturnal shapeshifters. The skyward trajectory of idiosyncratic Finnish extremists …And Oceans has been serpentine and sublime, appealing to diehard fans of bands the likes of Dimmu Borgir, Behemoth and Samael with their unique blend of Experimental, Industrial, Electronic and Symphonic Black Metal. Recorded at Inka Studio and at SoundSpiral Audio, produced and engineered by Juho Räihä at SoundSpiral Audio, mixed and mastered by Tore Stjerna at Necromorbus Studio, and displaying a visually stunning artwork by Adrien Bousson, The Regeneration Itinerary is the seventh studio album by this unstoppable band currently formed of Mathias Lillmåns on vocals, Teemu Saari and Timo Kontio on the guitars, Pyry Hanski on bass, Antti Simonen on keyboards, and Kauko Kuusisalo on drums, a flamboyant distillation of the group’s grand nocturnal art assimilating all their hopes, dreams and influences into an uncompromising document of ravenous intent.

Otherworldly, cryptic sounds suddenly explode into a hybrid of Experimental and Symphonic Black Metal entitled Inertiae, with Mathias’ deep roars matching perfectly with the striking keys by Antti, followed by Förnyelse i Tre Akter, or “renewal in three acts” from Swedish, even darker than the previous song thanks to the visceral riffage by Teemu and Timo while Kauko shows no mercy for his drums, delivering his own blend of Black and Death Metal violence. Chromium Lungs, Bronze Optics carries a poetic name for a hard hitting creation by …And Oceans, where their caustic riffs will pierce your mind in great fashion, while their experimental and symphonic sides clash beautifully in The Form and the Formless, once again led by the massive beats and fills by Kauko. Prophetical Mercury Implement showcases massive Stygian lyrics (“Injecting the mirrorlike waters / Feeling it flowing within / Floating on its waves / Observing how it unfolds / Now, / I am the medium / I am the stream”) amidst a beyond enfolding and atmospheric sonority, whereas in The Fire in Which We Burn we face an overdose of heaviness, sulfur and darkness blasted by the band in the best Behemoth style, spearheaded by the inhumane roars by Mathias.

The Ways of Sulphur lives up to the legacy of Industrial Black Metal, with Antti stealing the show with his phantasmagorical keys; and I Am Coin, I Am Two offers a more introspective sound inspired by Melodic Black, Death and Doom Metal, while still presenting their trademark ferocity. Then back to a more visceral mode we have Towards the Absence of Light, with their riffs and the bass lines by Pyry being boosted by Antti’s whimsical keys. The last song of the regular edition, The Terminal Filter, brings to us all another humongous dosage of Black Metal infused with experimental and industrial nuances, resulting in an epic ending to the album, and if you go for the deluxe edition of the album (a digipak with extended 20-page booklet + exclusive gold coloured metal coin symbolizing an adviser through opposites + 2 exclusive bronze coloured acrylic coaters symbolizing the coming together of opposites in clamshell box with alternative cover, hand-numbered and limited to 500 copies worldwide) you’ll get two bonus tracks, Copper Blood, Titanium Scars and The Discord Static, both sounding absolutely insane and worth every single penny invested in it.

…And Oceans The Regeneration Itinerary Digibox + Digital Deluxe Edition

Exploring the interplay between darkness and light, chaos and order, spiritual and material realms, with each song embodying an experience for the mind and body, finally navigating a passage to the present moment, The Regeneration Itinerary is definitely the band’s most experimental album to date. “The new album can be seen as a synthesis of our entire back catalogue,” suggests frontman Mathias Lillmåns. “But there are new levels of extremity, too, ones that we’ve never reached before. These songs simply demanded harsher vocals. The riffs commanded it, and who am I to disobey?” Hence, you can get to know more about …And Oceans, their new album, tour dates, plans for the future, and support them by following them on Facebook and on Instagram, by streaming their music on Spotify, and by purchasing their awesome new album from BandCamp or by clicking HERE. In the end, those Finnish metallers will keep pushing their own boundaries, experimenting with new sounds and nuances and, therefore, delivering more striking albums like The Regeneration Itinerary in the coming years, proving why they’ve become a reference and a force to be reckoned with in the extreme music scene worldwide.

Best moments of the album: Förnyelse i Tre Akter, The Fire in Which We Burn and Towards the Absence of Light.

Worst moments of the album: I Am Coin, I Am Two.

Released in 2025 Season of Mist

Track listing
1. Inertiae 4:30
2. Förnyelse i Tre Akter 5:07
3. Chromium Lungs, Bronze Optics 4:29
4. The Form and the Formless 3:32
5. Prophetical Mercury Implement 6:57
6. The Fire in Which We Burn 3:04
7. The Ways of Sulphur 4:17
8. I Am Coin, I Am Two 4:25
9. Towards the Absence of Light 4:49
10. The Terminal Filter 5:22

Digibox + Digital Deluxe Edition bonus tracks
11. Copper Blood, Titanium Scars 4:14
12. The Discord Static 3:35

Band members
Mathias Lillmåns – vocals
Teemu Saari – guitar
Timo Kontio – guitar
Pyry Hanski – bass
Antti Simonen – keyboards
Kauko Kuusisalo – drums