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Album Review – Toys That Bïte / You Have Been Warned (2026)

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Get ready to rock together with this UK brigade and their debut album, leaning into life’s recognizable moments with tongues firmly in cheeks.

Playing the kind of Heavy Rock that grew up on Judas Priest, Iron Maiden, Aerosmith and Dio, with a focus on big hooks rather than nostalgia, UK’s Hard Rock brigade Toys That Bïte is unleashing upon humanity their debut album, titled You Have Been Warned. Recorded by the band itself and engineered and mixed by Ben Turner at Axe & Trap Studios, and mastered by Romesh Dodangoda at Long Wave Studios, the debut by Adam “AJ” Stanley on vocals, Karl Bauers and Dave Rivett on the guitars, Jason “Shep” Sheppard on bass, and Terry “Tezza” Anderson on drums leans into life’s recognizable moments with tongues firmly in cheeks, offering an overdose of twin guitars, punchy tempos and choruses built to be shouted back.

Those old school rockers rev up their engines in style and hit the road with Toys That Bïte, with AJ taking the lead with his alcohol-infused rockin’ vocals; and presenting the galloping rhythm made famous by bands like Iron Maiden and Judas Priest, with of course Shep and Tezza stealing the spotlight, we have Genius Level Stupid, followed by The Devil Took My Heart, sounding like a song taken from the classic album Turbo, by Judas Priest, mixed with influences from the 70’s while Karl and Dave slash their axes mercilessly. Tezza then hammers his drums in the Rock N’ Roll party Last Train To Hell, making it impossible to stand still to such a thrilling tune, a wild ride where their riffs and solos exhale the essence of the genre. Ladies Of The Night offers another travel back in time to the glory of the 80’s, a song clearly inspired by the Sunset Strip sound, whereas Tits (Makes Him An Animal) showcases a weird name for a song, a bit too sexist, but if you don’t worry too much about it the song is quite entertaining.

Then presenting elements from Sludge and Southern Rock and Metal, the band invests in a more cadenced, yet extremely heavy tune titled Little Black Book, showcasing the power of the riff by Karl and Dave. Shep and Tezza once again craft a rumbling kitchen perfect for an avalanche of riffs in Hit That Like, while AJ delivers those classic, in-your-face Hard Rock vocals tailored for singling along with the band; and they keep firing their blend of classic Hard Rock with a strong Rock N’ Roll vein in Gentleman’s Club, with its backing vocals offering a nice support to AJ throughout the entire song, not to mention their incendiary guitar solos. Let’s keep on dancing the night away together with Toys That Bïte to the sound of Psychopath, also highly recommended for hitting the road (just be careful with the speed, of course), whereas the album closes with their ode to the art of drinking, Pour Me A Whiskey, of course presenting a powerful Southern Metal core, with its background keys elevating the song’s epicness considerably.

The rockin’ crew of Toys That Bïte can be found on Facebook and on Instagram, and I’m sure they’ll love to hear what you have to say about their music, and don’t forget to also subscribe to their YouTube channel, stream their music on Spotify, and put your hard rockin’ hands on You Have Been Warned by clicking HERE and selecting your favorite version of the album. AJ, Karl, Dave, Shep and Tezza are ready to kick some asses armed with their debut album of sheer Rock N’ Roll, and you better get ready for their sonic attack because those toys definitely bite.

Best moments of the album: Toys That Bïte, Last Train To Hell and Hit That Like.

Worst moments of the album: Tits (Makes Him An Animal).

Released in 2026 Dr. Johns Surgery Records

Track listing
1. Toys That Bïte 3:52
2. Genius Level Stupid 3:27
3. The Devil Took My Heart 4:02
4. Last Train To Hell 3:45
5. Ladies Of The Night 5:10
6. Tits (Makes Him An Animal) 3:06
7. Little Black Book 4:41
8. Hit That Like 3:42
9. Gentleman’s Club 3:47
10. Psychopath 3:32
11. Pour Me A Whiskey 4:57

Band members
Adam “AJ” Stanley – vocals
Karl Bauers – guitars, backing vocals
Dave Rivett – guitars, backing vocals
Jason “Shep” Sheppard – bass
Terry “Tezza” Anderson – drums

Album Review – Unburier / As Time Awaits EP (2026)

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Expanding their sonic scope while honing the intensity that defined their previous releases, this UK-based Technical Death/Thrash Metal brigade returns to action with a pulverizing new EP.

Expanding their sonic scope while honing the intensity that defined their previous releases, UK’s own Technical Death/Thrash Metal brigade Unburier is back in action with As Time Awaits, a short, sweet and extremely venomous three-track EP that sees vocalist and guitarist Ben Champion, guitarist Blake Hibberd, bassist Stan Mitchell, and drummer Kim Hughes blend old and new school Death Metal styles with technicality, hooks, and razor-sharp songwriting. Carrying the torch of the classic Death Metal sound into a new age, As Time Awaits is certain to enthrall longtime fans of the genre, appealing to fans of giants the likes of Death, Necrophagist, and Revocation, among several others.

The metallic, rumbling bass by Stan will punch you right in the head in Continuum while his bandmates offer an overdose of brutality and technical sounds, all boosted by Ben’s desperate harsh vocals, followed by Abyssal Uncertainty, the most lyrically-ambitious track of the EP, with nods to Camus, Lovecraft and other literary influences, where the listener is invited to witness a trapped laborer’s descent into madness, reflecting on and acknowledging the absurdity of his life and death. Ben and Blake continue to slash their axes mercilessly, offering endless adrenaline flowing from their riffs and solos in the best Technical Death and Thrash Metal style. The third and last song of such an incendiary EP, titled Survive the Vermin, leaves us eager for a lot more from this new phase of Unburier, with Ben’s demented roars matching perfectly with the song’s riffage, bass lines and infernal beats and fills.

Newcomers to Unburier’s realm of fury and technicality will find As Time Awaits to be a compelling introduction to the band’s evolving sound, and longtime listeners will be proud to follow the band’s growth across their earlier releases Thrasher’s Gold (2019), Twisted Existence (2022), and Nebulous (2024), and if you want to know more about such an up-and-coming band from the UK scene you can find those guys on Facebook and on Instagram, listen to their ass-kicking music on YouTube and on Spotify, and purchase their pulverizing new EP from BandCamp or by clicking HERE. After EP number three I guess we’re ready for the band’s first full-length album in the near future, and based on the heaviness found in As Time Awaits, we can rest assured it will be total annihilation.

Best moments of the album: Abyssal Uncertainty and Survive the Vermin.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Continuum 4:00
2. Abyssal Uncertainty 5:29
3. Survive the Vermin 4:59

Band members
Ben Champion – vocals, guitar
Blake Hibberd – guitar, vocals
Stan Mitchell – bass
Kim Hughes – drums

Album Review – Domhain / In Perfect Stillness (2026)

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This up-and-coming Irish entity is poised for world domination with their first full-length opus, blending an emotional mix of Post-Black Metal, Blackgaze, and Atmospheric Black Metal.

Formed in 2021 in Northern Ireland and consisting of four experienced musicians from the Irish metal scene, those being Andy Ennis (Celtachor, Imperial Demonic, Overoth) on vocals and bass, Nathan Irvine (So Much for the Sun) on the guitars, Ashley Irwin (So Much for the Sun) on the guitars and backing vocals, and Anaïs Chareyre-Méjan (Ironborne) on drums, vocals and cello, Belfast-based outfit  Domhain (an Irish word meaning “world,” “the deep,” or “depth”) blends an emotional mix of Post-Black Metal, Blackgaze, and Atmospheric Black Metal, featuring distinctive vocal harmonies and cello. Following the release of their debut EP Nimue, in 2023, and the split Of Pine and Oak (with the band Ephemeral), in 2025, the band returns in full force now in 2026 with their first full-length opus, entitled In Perfect Stillness. Produced by the band itself alongside Chris Fielding, who was also responsible for the engineering and mixing at Foel Studio, mastered by Mike Lamb at Ghost Bird Studios, and displaying a grim yet delicate artwork by the band’s own Anaïs Chareyre-Méjan, In Perfect Stillness consists of five darkly embracing songs highly recommended for admirers of the darkest yet delicate side of music, positioning Domhain as a force to be reckoned with in the current Post-Metal landscape.

An overdose of melancholy flows from the dark cello by Anaïs in the cinematic intro Una Tarra Ci Hé (which translates roughly to “A Land Is There” from Corsican, often referring to the beauty or essence of Corsica), warming up our senses for the band’s undisputed Post-Black Metal attack in Talamh Lom, a Gaelic phrase, primarily Irish, that translates to “bare land,” “empty land,” or “uncultivated ground,” with Andy’s both clean and deep guttural adding an extra touch of obscurity to their sound while the guitars by Nathan and Ashley exhale heaviness. Things get even more introspective in Footsteps II, featuring guests John Wilson on the piano and Raul Andueza on the cello, with the band going almost full Post-Metal while also presenting atmospheric and progressive nuances in their core sonority. The last part of the album is by far the heaviest one, starting with the stormy title-track In Perfect Stillness, where Andy’s visceral roars and Anaïs’ thunderous drumming turn it into a must-listen for fans of the genre; and guest vocalist Sarah Fielding (of Darkest Era) lends her stunning voice to My Tomb Beneath The Tide, starting in a serene, melodic manner and presenting a beautiful clash of vocal styles while Nathan and Ashley fire their trademark scathing riffs and solos, ending the album on a high and embracing mode.

If you want to know more about the stylish, enfolding music crafted by Domhain, as well as more details about the band and their live performances, you can get in touch with those Northern Irish metallers via Facebook and Instagram, and don’t forget to also stream their unique music on any platform such as Spotify, and of course to grab a copy of the awesome In Perfect Stillness from their own Bandcamp or from These Hands Melt, or simply click HERE for all things Domhain. Domhain are poised for world domination armed with their striking full-length opus, shaking the foundations of Post-Black Metal in a beautiful and compelling way, and I can’t wait to see what’s next in the career of one of the must-see names of the underground scene worldwide.

Best moments of the album: In Perfect Stillness and My Tomb Beneath The Tide.

Worst moments of the album: None.

Released in 2026 These Hands Melt

Track listing
1. Una Tarra Ci Hé 1:57
2. Talamh Lom 7:10
3. Footsteps II 9:29
4. In Perfect Stillness 7:22
5. My Tomb Beneath The Tide 9:22

Band members
Andy Ennis – vocals, bass
Nathan Irvine – guitars
Ashley Irwin – guitars, backing vocals
Anaïs Chareyre-Méjan – drums, vocals, cello

Guest musicians
Sarah Fielding – vocals on “My Tomb Beneath The Tide”
John Wilson – piano on “Footsteps II”
Raul Andueza – cello on “Footsteps II”

Album Review – Urne / Setting Fire to the Sky (2026)

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Whipping up a firestorm of grit, swagger and grandiosity, the new opus by this UK entity snarls hardcore, extreme inflections, and a strong sense of Heavy Metal’s inherent classicism.

Whipping up a firestorm of grit, swagger and grandiosity, Setting Fire to the Sky, the brand new album by UK’s own Stoner/Sludge Metal/Metalcore cult act Urne, snarls hardcore, extreme inflections, and a strong sense of Heavy Metal’s inherent classicism, all burn together within their own burial chamber, propelling the band forward. Recorded and produced by SikTh co-vocalist Justin Hill, mixed by Johann Meyer at Silvercord Studios, and mastered by Tony Lindgren at Fascination Street Studio, the follow-up to their 2023 album A Feast on Sorrow sees vocalist and bassist Joe Nally, guitarist Angus Neyra, and drummer James Cook expand their sound to even further lands, sounding and feeling heavier, tighter and more captivating than ever.

The acoustic guitars by Angus ignite the band’s festivities in Be Not Dismayed, suddenly exploding into a Progressive Sludge Metal aria where Joe’s vocals sound dark and visceral just the way we like it in extreme music; and James hammers his drums mercilessly in Weeping to the World, with their Mastodon-inspired riffs and bass punching us hard in the head while the music alternates between more introspective moments and sheer heaviness. Joe’s rumbling bass walks hand in hand with the pounding beats by James in the headbanging The Spirit, Alive, a serious candidate for becoming a permanent part of their live concerts, whereas the title-track Setting Fire to the Sky brings to our ears a sinister, grim intro that gradually morphs into a Doom and Sludge Metal creature, with James taking the lead armed with his undisputed, intricate and pulverizing beats and fills, followed by The Ancient Horizon, a more cadenced (yet still heavy-as-hell) creation by the trio, offering an overdose of caustic riffs by Angus.

We’re then treated to the also obscure Towards the Harmony Hall, carrying a poetic name for a hard hitting Progressive Metal beast where Angus’ carnivorous riffs clash in great fashion with the brutality blasted by James on drums. Then featuring the indomitable Troy Sanders of Mastodon as a guest vocalist, Urne will melt our faces with nine minutes of absolute metal magic in Harken the Waves, presenting several distinct layers that together form the most detailed of all songs, where melody and violence unite in the name of heavy music. Cellist Jo Quail adds pure melancholy to the band’s already deep and dark sonority in Breathe, providing Joe with exactly what he needs to shine with his introspective vocals, and as a CD and digital only bonus track we have Nocturnal Forms, certainly worth the investment in those formats as it’s another excellent song of no shenanigans Progressive Death and Sludge Metal.

“I feel like I’m in Metallica in 1988 with what we do,” commented Joe about the current state of Urne, and of course about the music found in Setting Fire to the Sky. You can also set fire to your music collection by purchasing such an amazing album from their own Big Cartel, from Rough Trade, or simply by clicking HERE, and don’t forget to also follow Urne on Facebook and on Instagram, staying up to date with their news and tour dates, and to stream their massive creations on any platform like Spotify. As aforementioned, Urne are moving forward with their newborn opus, leaving us eager for more in the near future by one of the most captivating band’s of the current British scene.

Best moments of the album: The Spirit, Alive, Setting Fire to the Sky and Harken the Waves.

Worst moments of the album: None.

Released in 2026 Spinefarm Records

Track listing
1. Be Not Dismayed  5:54
2. Weeping to the World 3:42
3. The Spirit, Alive 3:52
4. Setting Fire to the Sky 6:38
5. The Ancient Horizon 4:41
6. Towards the Harmony Hall 7:14
7. Harken the Waves 9:23
8. Breathe 4:19

CD and Digital bonus track
9. Nocturnal Forms 3:54

Band members
Joe Nally – vocals, bass
Angus Neyra – guitars
James Cook – drums

Guest musicians
Troy Sanders – vocals on “Harken the Waves”
Jo Quail – cello on “Breathe”

Album Review – Enthroned / Ashspawn (2025)

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One of the most ruthless beasts of Occult Black Metal returns with their twelfth opus, emerging as both an autopsy and a resurrection, a descent into spiritual death followed by the sublimation of rebirth.

With the release of their twelfth full-length album, entitled Ashspawn, the iconic beast Enthroned marks a new chapter in their three-decade reign of ritualistic and occult Black Metal. Conceived across six years of deliberate creation, the album emerges as both an autopsy and a resurrection, a descent into spiritual death followed by the sublimation of rebirth. Recorded at Ophiussa Studio, produced by the band’s own drummer Menthor, mixed by Stefano Santi at SPVN Studio, mastered by Phil Bashford at The Hive Rooms, displaying a beyond devilish artwork by Jose Gabriel Alegria Sambogal, and written in close collaboration with Gilles de Laval (an occult author known for his works on ceremonial magic and grimoires, such as Sacerdotium Umbrae Mortis and Black Magic Evocation of the Shem ha Mephorash), the new opus by Nornagest on vocals and samplers, T. Kaos on the guitars and bass, and Menthor on drums and percussion channels arcane praxis, metaphysical calculus, and esoteric mapping into a work that is as much ritual invocation as it is music. In other words, it is the culmination of Enthroned’s uncompromising vision, a weapon of transformation forged in fire and darkness.

The gates of the underworld are wide open, and Enthroned are ready to arise from the burning fires of hell and consume our souls in Crawling Temples, with the demented vociferations by Nornagest exhaling pure Black Metal magic. Menthor continues to hammer his drums with endless fury and hatred in Basilisk Triumphant, offering an overdose of the band’s trademark fusion of violence and darkness; whereas T. Kaos fires sheer aggressiveness and sulfur from his axe in Stillborn Litany, another ruthless, old school Black Metal extravaganza that lives up to the band’s own legacy, followed by the title-track Ashspawn, a lecture in classic Black Metal with the inhumane roars by Nornagest walking hand in hand with the infernal drums by Menthor.

T. Kaos will cut our skin deep with his scathing riffage in Raviasamin, while the song’s ritualistic, occult background elements give it an even more Stygian vibe and feel in the name of absolute obscurity. Then the scathing guitar lines by T. Kaos continue to reverberate in the netherworld in Sightless, as evil and visceral as Black Metal can be; and a vile, gruesome scream by Nornagest sets the tone in the just as malignant Chysalid, flowing like a devilish entity running in the dark until its somber ending. That grim atmosphere continues in Ashen Advocacy, presenting almost eight minutes of the blackest of Black Metal by bringing forward the most bludgeoning elements from Doom Metal to spice things up considerably. And last but not least, get ready to be dragged to pitch-black darkness to the sound of Assertion, with the despair and wrath flowing from Nornagest’s roaring sending shivers down our spines.

A true giant of European Occult Black Metal alongside Marduk, Dark Funeral, Gorgoroth and 1349, among others, Enthroned offer their most ambitious and personal statement to date with Ashspawn, embodying a total unity of vision where ferocious blast beats, oppressive mid-tempos, and progressive structures collapse into one another. You can feel the fire blasted by such an infernal horde by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their caustic black masses on Spotify, and of course, by purchasing Ashspawn from BandCamp or by clicking HERE.  In the end, Ashspawn is the testimony of the band’s obscure alignment, a ritual weapon that rejects nostalgia and compromise. It is a resurrection of spirit through suffering, and a reaffirmation of Enthroned’s place among Black Metal’s most visionary entities.

Best moments of the album: Basilisk Triumphant, Ashspawn, Raviasamin and Ashen Advocacy.

Worst moments of the album: None.

Released in 2025 Season of Mist

Track listing
1. Crawling Temples 5:35
2. Basilisk Triumphant 5:53
3. Stillborn Litany 6:48
4. Ashspawn 4:40
5. Raviasamin 4:26
6. Sightless 3:39
7. Chysalid 4:32
8. Ashen Advocacy 7:58
9. Assertion 6:44

Band members
Nornagest – vocals, samplers
T. Kaos – guitars, bass
Menthor – drums, percussion

Album Review – Suffering / Things Seen But Always Hidden (2025)

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Drawing upon the oppressive weight of soul crushing Death and Doom Metal and the violent fervor of Black Metal, this UK beast returns with their most enthralling and disturbing work to date.

Formed in 2012 in the West Midlands in the UK, Suffering are exponents of Occult Black Metal, conjurers of fevered nightmares, and invokers of darkness and madness. Drawing upon the oppressive weight of soul crushing Death and Doom Metal and the violent fervor of the blackest metal music, bringing them together in an elixir of spirit staining, mind warping venom, the band formed of Sturmgeist Fornicator Insultus on vocals, Aýdlig on the guitars, Inquinatus on bass, and Malleus on drums returns with their second full-length album, their most enthralling and disturbing work to date, Things Seen But Always Hidden, following up on their 2024 EP Symphonies: Diabolis, and a must-listen for fans of bands the likes of Akercocke, Shining, Acherontas, and Forgotten Tomb, among other servants of the darkest arts.

Such a ruthless UK horde begins their black mass in style with the Doom Metal-infused aria The House with the Red Door, starting in a lugubrious way before exploding into an overdose of Black Metal spearheaded by the inhumane drums by Malleus; whereas Enthralled follows the same darkened path as the opening track, with Aýdlig’s riffs reeking of malignancy while Sturmgeist vociferates the song’s austere words like a creature from the abyss. Then another cryptic intro will drag our souls into the unknown in The Chamber of Breathtaking Delights, offering a blasphemous blend of Blackened Doom and Black Metal as sluggish and cadaverous as it can be; and again adding an endless dosage of heaviness and fury to their core sound we face Consorting with the Devil, where Aýdlig and Inquinatus sound absolutely phantasmagorical armed with their axes.

The poetically titled What Once Was Shall Be Again and What Is Shall Be No More demanded a truly haunting sound and vibe to match with its name, which is exactly what the band offers to our putrid ears, followed by Apocrypha Through the Keyhole, another lesson in carnivorous Blackened Doom, with Sturmgeist taking the lead with his devilish gnarls. In addition, it couldn’t have sounded heavier nor more obscure. Then back to a more straightforward Black Metal sonority the band presents Hell on Earth New Eden, with Malleus crushing his drums manically while his bandmates blast an overdose of hatred through their vocals, riffs and bass lines. Lastly, the conclusion to Things Seen But Always Hidden comes in the form of the hellish Behind the Green Door, with the band dragging our impious souls to their venomous lair in the name of sheer doom.

“The darkness and truth that lies within is far beyond what we had imagined possible. But remember, things are not always what they seem and some things are right in front of your face,” commented the band about their new beast, and you can join them in total darkness by following the quartet on Facebook and on Instagram, including their unrelenting live performances, stream their Stygian, spine-chilling Black Metal hymns on any platform such as Spotify, and above all that, put your damned hands on Things Seen But Always Hidden from their own BandCamp or from Apocalyptic Witchcraft Recordings, or click HERE for all things Suffering. However, you must always remember that once you have set foot on this path, there is no way back.

Best moments of the album: Enthralled, Apocrypha Through the Keyhole and Hell on Earth New Eden.

Worst moments of the album: None.

Released in 2025 Apocalyptic Witchcraft Recordings

Track listing
1. The House with the Red Door 7:17
2. Enthralled 4:30
3. The Chamber of Breathtaking Delights 7:00
4. Consorting with the Devil 4:38
5. What Once Was Shall Be Again and What Is Shall Be No More 3:12
6. Apocrypha Through the Keyhole 3:27
7. Hell on Earth New Eden 4:55
8. Behind the Green Door 9:42

Band members
Sturmgeist Fornicator Insultus – vocals
Aýdlig – guitars
Inquinatus – bass
Malleus – drums

Album Review – Midnite City / Bite The Bullet (2025)

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The party is just getting started with the new album by these torchbearers of classic Hair Metal and Hard Rock, and everyone is invited.

Since exploding out onto the scene like a tornado back in 2017, UK’s own Hard Rock/Hair Metal heroes Midnite City have taken on the world, grabbed the tired music scene by the scruff of its neck, injected passion, fun, melody, and colour back into it, and climbed to the top of the tree to be crowned the true kings of Hair Metal. Now in 2025 the band formed of Rob Wylde on vocals and guitar, Miles Meakin on lead guitar, Josh Williams on bass, Shawn Charvette on keyboards, and Ryan Biggs on drums returns with their strongest album to date, Bite The Bullet, ticking every single box fans expect from a Midnite City album. Mixed by Chris Laney (Europe, Crash Diet, Crazy Lixx, Pretty Maids), the album offers a bit of everything, from super poppy, catchy, and hook laden party Rock N’ Roll, to Melodic Rock monsters, to arena sized power ballads, to Glam Metal anthems laced with attitude and a side order of Hard Rock, and so on.

Let’s get this Hair Metal party started with Live Like Ya Mean It, where the classic vocal lines by Rob are boosted by the song’s even more classic backing vocals, followed by Worth Fighting For, another old school tune presenting hints of AOR with the guitars by Miles and Rob exhaling the glory of the 80’s, sounding absolutely inspired by the music from all bands who made those years so amazing. It’s Going To Be Alright is a bit too cheesy for my taste, despite Miles still kicking ass with his soulful solo, but in the end it’s a generic song. Then an overdose of Hard Rock and Hair Metal will crush your senses in Heaven In This Hell, led by the striking keys by Shawn, and their  rock and metal celebration goes on in full force in Running Back To Your Heart, with Rob stealing the show with his stylish vocals. Ryan then puts the pedal to the metal, hammering his drums in the best Hard Rock style, in Lethal Dose Of Love, again presenting those catchy backing vocals we all love so much.

After that, it’s time for a whimsical interlude entitled Archer’s Song, as if it was crafted to be featured in a romantic scene of an afternoon movie from the 80’s or 90’s, warming us up for Seeing Is Believing, one of those power ballads that make the hearts of diehard fans of Hair Metal beat even faster and warmer. The guitars by Rob and Miles are boosted by the rumbling bass by Josh and the upbeat keys by Shawn in No One Wins, keeping the adrenaline flowing through the album and making it impossible to stand still to its catchy vibe; whereas their Melodic Rock and AOR vein pulses harder than ever in Hang On Til Tomorrow, led by the crisp vocals by Rob and the classic drums by Ryan. Their rockin’ party ends with When The Summer Ends, a Van Halen-infused Rock N’ Roll extravaganza with Ryan once again kicking ass behind his drums, also presenting a killer keyboard solo by Shawn as the icing on the cake.

In a nutshell, Bite The Bullet delivers a sound that is made for the biggest stadiums around the globe, bringing back everything that was so thrilling, energetic, and flamboyant about late 80’s Hair Metal in one fell swoop, being highly recommended for fans of Tigertailz, Mötley Crüe, Crash Diet, and Crazy Lixx, just to name a few. You can get in touch with those torchbearers of old school Hair Metal by following them on Facebook and on Instagram, get your party going to the sound of their full discography available on Spotify, and of course purchase a copy of the electrifying Bite The Bullet from countless retailers such as HHV, Decks Records, and Bengans.
Because the party is just getting started with the new album by Midnite City, and everyone is invited.

Best moments of the album: Heaven In This Hell, Lethal Dose Of Love and When The Summer Ends.

Worst moments of the album: It’s Going To Be Alright.

Released in 2025 Pride & Joy Music

Track listing
1. Live Like Ya Mean It 4:44
2. Worth Fighting For 4:25
3. It’s Going To Be Alright 4:33
4. Heaven In This Hell 3:47
5. Running Back To Your Heart 4:47
6. Lethal Dose Of Love 3:59
7. Archer’s Song 1:08
8. Seeing Is Believing 5:06
9. No One Wins 4:33
10. Hang On Til Tomorrow 4:24
11. When The Summer Ends 4:41

Band members
Rob Wylde – vocals, guitar
Miles Meakin – lead guitar
Josh Williams – bass
Shawn Charvette – keyboards
Ryan Biggs – drums

Album Review – De Profundis / The Gospel Of Rot EP (2025)

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The rot is everywhere, and it’s time to tear it down to the sound of the pulverizing new EP by one of the must-see names of the current UK Death Metal scene.

“The Gospel Of Rot is both a warning and a weapon – a sonic rebellion against the forces that seek to silence and subjugate. De Profundis offers not salvation but a wake-up call…” – De Profundis

Celebrating 20 years of death dealing and devastation, London, England-based Death Metal horde De Profundis has returned with a rejuvenated lineup and a brand new EP of stunning power and intensity, entitled The Gospel Of Rot. Recorded at Barking Dog Studio, mixed and mastered by Matt Jones at CapsaArx Studios, and embraced by a darkly beautiful artwork by Pierre-Alain D. of 3mmi Design, the new EP by frontman Stefano Bassi, guitarists Shoi Sen and Paul Nazarkardeh, bassist Simon McAuliffe, and drummer Tom Atherton will most definitely please fans of bands the likes of Death, Morbid Angel, Immolation, and Nocturnus, bringing together four tracks of furious Death Metal and masterful musicianship into a manifesto of resistance against the empty vessels that rule us, dragging our civilization into a mire of degradation.

The band wastes no time and kicks off the EP with the Death Metal extravaganza I: Corruption, where newcomer Stefano already showcases his ruthless deep guttural for our total delight, and Tom crushes his drums with rage and dexterity in II: Deception accompanied by the visceral Death Metal riff attack by Shoi and Paul. Then the quintet shows no mercy for our putrid souls in III: Indoctrination, offering an overdose of harsh riffs and demonic vociferations, with once again Simon and Tom making the earth tremble with their evil kitchen. And lastly, we have their cover version for Sepultura’s IV: Subtraction, from their 1991 masterpiece Arise (you can enjoy the original one HERE). De Profundis take the vibe from those Brazilian thrash and death heroes and add their own twist to it, resulting in a lecture in modern-day Death Metal where Stefano sounds brutally violent on vocals until the very end.

From their early days of primeval Doom and Death Metal, then venturing through the Progressive Death and Black Metal realms of their latest albums The Blinding Light of Faith (2018) and The Corruption of Virtue (2022), to the full-on Death Metal attack in The Gospel Of Rot, the band keeps crushing our putrid souls with their undisputed aggressiveness, precise musicianship, and a deep passion for the extreme, and you can get to know more about one of the precious gems of the British Death Metal scene by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by listening to all of their demented tunes on Spotify, and by purchasing the excellent The Gospel of Rot from BandCamp or by clicking HERE. In a nutshell, De Profundis are back at the very top of their game with The Gospel of Rot. Because the rot is everywhere, and it’s time to tear it down.

Best moments of the album: I: Corruption and IV: Subtraction.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. I: Corruption 4:11
2. II: Deception 3:45
3. III: Indoctrination 4:27
4. IV: Subtraction (Sepultura cover) 4:34

Band members
Stefano Bassi – vocals
Shoi Sen – guitars
Paul Nazarkardeh – guitars
Simon McAuliffe – bass
Tom Atherton – drums

Album Review – Paradise Lost / Ascension (2025)

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More than three decades into their career, UK’s own torchbearers of death and doom return with their seventeenth opus, traversing the multitude of sounds in their arsenal while keeping a minor-key melancholy that remains irresistible.

More than three decades into their career, and with over two million albums sold, Halifax, UK’s own  Doom/Death/Gothic Metal/Rock behemoths Paradise Lost remain the undisputed kings of metal’s darkest side, always putting us on a Stygian embrace of heaviness intertwined with shadowy melody and atmosphere. Now in 2025 the Yorkshire quintet formed of the iconic frontman Nick Holmes, guitarists Greg Mackintosh and Aaron Aedy, bassist Steve Edmondson, and drummer Guido Zima (who left the band after the album recordings were done, being replaced by Jeff Singer) returns with their staggering seventeenth album, entitled Ascension, a record that sees their crown continue to gleam as it underlines just how they attained their position. Produced by Greg Mackintosh at Black Planet Studios, with drums and vocals captured at NBS and Wasteland Studios, and adorned by the stunning painting “The Court of Death” (1902), by George Frederic Watts (1817 – 1904), the album’s ten tracks traverse the multitude of sounds in the band’s arsenal, from full-bore Heavy Metal to sky-high melody, all the while keeping a minor-key melancholy that remains irresistible.

Serpent on the Cross is absolutely gloomy and embracing from the very first second, with the sluggish beats by Guido exhaling Doom Metal magic, not to mention how crisp and piercing the guitars by Greg and Aaron sound, followed by Tyrants Serenade, one of the singles previously released, beautifully depicting the essence of the album with Nick stealing the show with his unique deep vocals while also presenting a strong Type O Negative vibe. Then we have Salvation, another lengthy and captivating aria of doom by those veterans with the keys by Greg sounding utterly haunting and somber; and their obscure sounds will penetrate deep inside your skull in Silence like the Grave, getting heavier and heavier while Nick vociferates the song’s devilish lyrics with endless anger in his blackened heart. And Lay a Wreath upon the World is one of their trademark dark ballads, albeit below the rest of the album regarding its punch and vibe.

The next track Diluvium sounds like it was taken from Icon or Draconian Times with a strong progressive twist thanks to the fantastic job done by Greg and Aaron armed with their stringed axes, whereas again delivering a beyond melancholic, slow and visceral Doom Metal sonority we have Savage Days, with Guido’s beats hitting us hard inside our heads. They keep blasting our minds with their idiosyncratic blend of Gothic and Doom Metal in Sirens, where their slashing riffs match perfectly with Nick’s vocals once again, even sounding a little like Metallica; and Steve and Guido will make your entire body tremble in Deceivers, accompanied by the thrilling sounds crafted by their bandmates, resulting in a lecture in modern-day Doom Metal with Gothic Rock and Metal nuances. And lastly, cryptic piano notes set the tone in The Precipice, closing the album on a pensive, sinister mode to the pounding drums by Guido and the menacing bass by Steve.

“The album title is taken from the belief in rising to the better place, in fiction from Earth to heaven, and all the requirements that go with that,” elaborates Nick Holmes. “In real life, people are often striving to get to a better place from birth, trying to be a better person, regardless of the fact that the only reward is death. The lyrics deal with everything that life throws at us. It’s never predictable, and within that it can also be terrifying. How people deal with death, the crutches they turn to, and how the mental state is affected by life changing situations is always intriguing.” Hence, you can join those trailblazers of doom in their quest for absolute darkness on Facebook and on Instagram, stream their unparalleled discography in full on Spotify, and of course click HERE to put your hands on such a beautiful album of obscure music. Because in the end,  Ascension stands proud in Paradise Lost’s canon. The misery never stops but, as the band itself likes to say, that’s how they like it.

Best moments of the album: Serpent on the Cross, Silence like the Grave and Deceivers.

Worst moments of the album: Lay a Wreath upon the World.

Released in 2025 Nuclear Blast Records

Track listing
1. Serpent on the Cross 6:12
2. Tyrants Serenade 4:20
3. Salvation 7:07
4. Silence like the Grave 4:46
5. Lay a Wreath upon the World 4:51
6. Diluvium 5:47
7. Savage Days 3:54
8. Sirens 4:46
9. Deceivers 3:37
10. The Precipice 5:42

Band members
Nick Holmes – vocals
Greg Mackintosh – lead guitars, keyboards
Aaron Aedy – rhythm guitars
Steve Edmondson – bass
Guido Zima – 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