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Album Review – Lifeswallower / Lifeswallower EP (2026)

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These four UK Progressive Death Metal veterans are unleashing upon us their self-titled debut EP, combining technical precision with a strong focus on songwriting and dynamics.

Featuring four experienced musicians brought together by a shared desire to create new music, UK’s own Progressive Death Metal outfit Lifeswallower is unleashing upon us their self-titled debut EP, drawing from Progressive, Death, Thrash Metal and other corners of heavy music, combining technical precision with a strong focus on songwriting and dynamics. Recorded by each band member at their home studios (vocals, guitars, bass) and by Joe Clayton at No Studio (drums), mixed by Ben Ottridge and Benedict Harris-Hayes, and mastered by Benedict Harris-Hayes at Ethereal Tantrum Studios, the EP sees vocalist James Moffatt, guitarist Tom Humphrey, bassist Ben Ottridge and drummer Benedict Harris-Hayes move between blast-driven intensity, complex arrangements and heavier groove-based sections, allowing each song to develop its own identity while remaining part of a coherent whole.

James’ inhumane guttural is the main ingredient in the ruthless opening track Defy My World, with the Sludge and Doom Metal-infused riffs by Tom bringing even more insanity to their music. The Trees Hide Their Bodies is another hard hitting tune by those UK metallers, with the song’s haunting background sounds sending shivers down our spines while Benedict hammers his drums nonstop, followed by Abandon The Body Of Rot, presenting elements of Thrash and Groove Metal in their core Death Metal sounds, in special through Tom’s killer riffage, being therefore perfect for some action inside the pit (not to mention their clean vocals are also electrifying). And lastly, we face Compound Fears, with the band again blasting our faces with an overdose of progressiveness without forgetting to sound heavy and devilish. Furthermore, Tom and Ben make an amazing stringed duo with their cutting riffs and rumbling bass, respectively, adding even more adrenaline to their music.

Reflecting the chemistry of four musicians pushing each other creatively and exploring new musical territory together, the EP is highly recommended for admirers of the music blasted by renowned acts the likes of Burnt By The Sun, Gojira, Morbid Angel, The Black Dahlia Murder, Sikth, Tool, and Katatonia, among several others, and you can get to know more about those veterans via Facebook and Instagram, and of course, purchase a copy of their striking debut from their own BandCamp. Lifeswallower are setting the bar high with their debut EP, leaving us eager for their first ever full-length opus in a not-so-distant future, and I bet it will be even heavier and more dynamic for our absolute delight.

Best moments of the album: Abandon The Body Of Rot and Compound Fears.

Worst moments of the album: None.

Released in 2026 Prog On! Recordings

Track listing
1. Defy My World 6:30
2. The Trees Hide Their Bodies 5:59
3. Abandon The Body Of Rot 4:47
4. Compound Fears 6:09

Band members
James Moffatt – lead vocals
Tom Humphrey – guitar, vocals
Ben Ottridge – bass, vocals
Benedict Harris-Hayes – drums, vocals

Album Review – Metasoma / Core EP (2026)

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This UK-based lethal, technical Heavy and Groove Metal machine is back in action with a new EP, a pure demonstration of resilience and the start of a much heavier, more honest era for the band.

Having shed their Hard Rock veneer to emerge as a lethal, technical Heavy and Groove Metal machine, London, UK-based quintet Metasoma is back in action with a brand new offering titled Core, a sharper, heavier new EP that pairs Pantera-sized groove with Architects/Parkway Drive-style modern precision. Recorded between BaRock Entertainment Studio in Poland and Es Studio in London, the new EP by vocalist Vlad Iancu, guitarists Michal Sedzielewski and Artur Wojcik, bassist Bolo, and drummer Joe Patterson is a pure demonstration of resilience and the start of a much heavier, more honest era for the band, marking the first statement from a solidified international unit where they pit British rhythmic weight against the uncompromising metal heritage of the Polish and Romanian underground.

The striking guitar lines by Michal and Artur will transport us all to the band’s Groove Metal and Metalcore world in Downfall, offering a great option for having some fun inside the pit, followed by the also electrifying Attic, where Vlad focuses on his piercing clean vocals, giving the song a more modern vibe accompanied by the classic beats by Joe. Omen kicks off in a dark, ominous manner, with Vlad delivering enraged and demented vocals in another well-balanced hybrid of Metalcore with classic and modern heavy elements. The crushing riffs by Michal and Artur are boosted by Bolo’s thunderous bass in Shock, crafting a metallic atmosphere that will inspire you to headbang like there’s no tomorrow; and they close the EP with their most direct Metalcore tune, titled Horizon, where their Djent-infused guitars and bass are perfect for the demented vocals by Vlad.

Conceptually, Core is a pessimistic hellscape, a sonic mirror held up to war, propaganda, and the false righteousness of modern reality where high-velocity energy is tempered by a discordant, playful homage to System of a Down, proving Metasoma can be cerebral without sacrificing their low-end groove. “There is a specific kind of numbness that comes when unfortunate events happen in quick succession; these songs are our way of fighting that anaesthesia. Whether we are digging through the attic of mixed childhood memories or scattering the ashes of a toxic relationship, the goal is the same: to learn from the mistakes of our forefathers and do better. We’ve turned these struggles into sonic paintings, but we leave the final interpretation to the listener’s own sensitivity,” commented the band, and you can get in touch with them via Facebook and Instagram, subscribe to their YouTube channel, stream their music on Spotify, and of course purchase their new EP from Bandcamp. Core is a very good indication of what the future holds for Metasoma, and you better get ready as that future will be absolutely heavy.

Best moments of the album: Downfall and Shock.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Downfall 3:14
2. Attic 2:57
3. Omen 4:23
4. Shock 3:38
5. Horizon 3:12

Band members
Vlad Iancu – vocals
Michal Sedzielewski – guitars
Artur Wojcik – guitars
Bolo – bass
Joe Patterson – drums

Album Review – God Unknown / Last Glimpse of Daylight (2026)

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This collaborative Atmospheric Death and Funeral Doom Metal project is ready to embrace you with their debut opus until you see your last glimpse of daylight.

A collaborative Atmospheric Death and Funeral Doom Metal project formed in Cardiff, Wales in 2022 by guitarist John Courage, featuring musicians from the UK and Sweden, God Unknown are finally unleashing upon humanity their debut offering, beautifully titled Last Glimpse of Daylight. Produced by the band itself, engineered by John Courage and Daniel Tjernberg, mastered by Dan Swanö at Unisound, and showcasing a darkly serene artwork by Manino Linic, the debut album by Daniel Tjernberg on vocals (with additional vocals by Camilla Tjernberg on the song “Stay with Me”), John Courage on the guitars, Adam West on bass and additional guitars, Michael Lang also on bass, Kostas Panagiotou on keyboards, and Tats McGee on drums will embrace you in absolute grief and melancholy, darkening the skies with the sheer power of funereal and grim Doom Metal.

The thunderous, low-tuned bass lines by Adam set the tone in the Stygian intro MMMMDXIV, before all hell breaks loose in Embraced by the Moonlight, with the deep, devilish vocals by Daniel walking hand in hand with the sluggish Doom Metal riffs by John and Adam. Then we face the massive, embracing title-track Last Glimpse of Daylight, as slow and hammering as its predecessor, where Tats pounds his drums with tons of hatred and darkness in his heart; and it’s Kostas who takes the lead with his church-like keys in the phantasmagorical interlude Passage, darkening the skies for the band to attack us with Fallow Land, led by another crushing performance by Tats on drums, offering Daniel exactly what he needs to vociferate like a demonic entity. It’s then time for Camilla to embellish the airwaves with her melodic vocals in Stay with Me, a lecture in passionate and somber Funeral Doom Metal by God Unknown, flowing into the obscure outro Frost on the Windowpane, again led by Adam and his doomed bass lines.

Inspired by the love of somber, funeral doom and atmospheric themes, God Unknown are ready to crush our minds and souls with the absolute heaviness and obscurity flowing from their excellent debut Last Glimpse of Daylight, and if you want to join such a promising band in gloom and darkness you can find them on Instagram, stream their music on any platform such as Spotify, and of course, above all that, purchase a copy of their striking debut from their own BandCamp or by clicking HERE. In other words, let the lugubrious and grim Doom Metal by God Unknown embrace you, until you see your last glimpse of daylight.

Best moments of the album: Embraced by the Moonlight and Stay with Me.

Worst moments of the album: None.

Released in 2026 TM Productions

Track listing
1. MMMMDXIV 1:11
2. Embraced by the Moonlight 2:46
3. Last Glimpse of Daylight 6:09
4. Passage (Interlude) 2:16
5. Fallow Land 6:36
6. Stay with Me 5:11
7. Frost on the Windowpane 2:51

Band members
Daniel Tjernberg – vocals
Camilla Tjernberg – vocals on “Stay with Me”
John Courage – guitars
Adam West – bass, additional guitars
Michael Lang – bass
Kostas Panagiotou – keyboards
Tats McGee – drums

Album Review – Scordatura / Led Into Oblivion (2026)

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Backed by nearly two decades of experience, this Scottish Death Metal brigade explores the idea of humanity slowly marching to its own doom in their scorching new album.

Backed by nearly two decades of experience, Glasgow, Scotland’s Death Metal brigade Scordatura (the technique of altering the normal tuning of a stringed instrument to produce particular effects) refined their brutality now in 2026 into a precise, sense‑shattering assault entitled Led Into Oblivion, the follow-up to their 2020 opus Mass Failure, sounding more focused and direct than ever before with a single minded intensity. Recorded and mixed by Malcolm Abbou of Heads On Pikes, mastered by Korentin Mens, and displaying a sinister artwork by the unparalleled Paolo Girardi, the newborn beast by Daryl Boyce on vocals, Owen Mckendrick on the guitar, Liam Mccafferty on bass, and Tam Moran on drums offers nine tracks of pure Death Metal madness, delivering their most ambitious and punishing work yet, exploring the idea of humanity slowly marching to its own doom with increasing reliance on technology and artificial intelligence.

The ominous intro Doomed To Fate sets the stage for the band to kill us all in the title-track Led Into Oblivion, a venomous Death Metal assault where Daryl sounds inhumane on vocals supported by the demolishing drums by Tam; and if you enjoy the mighty Cryptopsy you’ll have a blast listening to Existential Termination, where Owen’s riffs will cut your flesh mercilessly. After such a demolishing tune, Echoes Of A Fractured Mind presents another lesson in old school Death Metal the likes of Immolation and Cannibal Corpse, led by Tam’s unrelenting beats and fills, followed by Oppressed Repressed, one of the most demented, fast and infuriated of all songs, with Daryl’s vocals reminding me of the great Oliver Rae Aleron of Archspire.

Then slowing things down a bit and investing in mid-tempo Death Metal heaviness we’re treated to A Manic Indoctrination, with the riffage by Owen sounding demonic, whereas back to a more demolishing sound we have Retali(H)ate, inviting us all to slam into the pit to the thunderous bass and drums by Liam and Tam. In When The Red Moon Hangs Low the band brings forward more of their bestial, ruthless Death Metal sounds, attacking our senses and our putrid bodies with an overdose of blast beats and gruesome vociferations; while  their second to last slab of insanity comes in the form of Maw Of The Void, with Daryl once again barking deeply and rabidly until the very end. Finally, get ready for an avalanche of 90’s Death Metal for our absolute delight in Begging To Die, spearheaded by the infernal drums by Tam.

Scordatura know the music they want to play and will keep blasting towards that goal with unwavering belief and absolutely no compromise. Led Into Oblivion is undoubtedly a fierce statement of technically edged, uncompromising Death Metal, sounding razor‑sharp, relentless, and fully committed to extremity, being therefore highly recommended for fans of Cryptopsy, Suffocation, Origin, and Cannibal Corpse, among others. You can get in touch with those American death dealers on Facebook and on Instagram, stream their sick music on Spotify, and above all that, put your hands on their excellent new album via BandCamp or mailorder (or click HERE for all things Scordatura). We’re certainly moving to our inevitable doom, but while we have bands like Scordatura to treat us with their first-class Death Metal, our demise will be at least a fun one.

Best moments of the album: Led Into Oblivion, Oppressed Repressed and When The Red Moon Hangs Low.

Worst moments of the album: A Manic Indoctrination.

Released in 2026 Everlasting Spew Records

Track listing
1. Doomed To Fate 0:40
2. Led Into Oblivion 2:57
3. Existential Termination 2:45
4. Echoes Of A Fractured Mind 3:30
5. Oppressed Repressed 3:07
6. A Manic Indoctrination 3:41
7. Retali(H)ate 2:54
8. When The Red Moon Hangs Low 2:33
9. Maw Of The Void 2:51
10. Begging To Die 3:16

Band members
Daryl Boyce – vocals
Owen Mckendrick – guitar
Liam Mccafferty – bass
Tam Moran – drums

Album Review – Hecate Enthroned / The Corpse of a Titan, a Lament Long Buried (2026)

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UK’s own leaders and titans of Symphonic and Melodic Black Metal are back from the underworld stronger than ever with their vicious, breathtaking seventh studio offering.

Leaders and titans of Symphonic and Melodic Black Metal, England’s own Hecate Enthroned are finally back from the underworld with their vicious seventh studio album, beautifully entitled The Corpse of a Titan, a Lament Long Buried, following up on their 2019 beast Embrace of the Godless Aeon. Once again produced by the band itself alongside Dan Abela (Akercocke, Bleed From Within, Annal Nathrakh), who also mixed and mastered the album, and showcasing a stunning cover art created by Erskine Designs (Inanimate Existence, Bleed The Sky), the new offering by Joe Stamps on vocals, Nige Dennan and Andy Milnes on the guitars, Dylan Hughes on bass, Pete White  on the piano and keyboards, and Matt Holmes on drums will pulverize us all with their signature fusion of Death Metal aggression with orchestral Black Metal atmosphere, once again cementing the band as one of the most important names in the history of extreme music.

The Stygian intro Adar Rhiannon (or “Birds of Rhiannon,” three magical, otherworldly birds from Welsh mythology associated with the horse goddess Rhiannon) sets the stage for the band’s undisputed Black Metal attack in Spirits Stir Within Our Ancestors Tombs, with Matt sounding simply demolishing behind his drums, adding endless rage and fury to their sound while the keys by Pete are utterly haunting. The devilish guitars by Nige and Andy will pierce your soul in The Arcane Golem, another lesson in Symphonic Black Metal by such a talented UK horde, whereas a beyond cryptic start gradually evolves into a massive Black Metal beast titled Steed of the Still Water, led by another pulverizing performance by Matt on drums. After that we have Pwca, a shape-shifting, mischievous, and often chaotic spirit or fairy from Celtic and Welsh folklore, with the music sounding maybe a bit too atmospheric and lengthy, but still very emotional.

The band gets back on track with the infuriated Black Metal beast titled Deathless in the Dryad Glade, also presenting elements from Death and Doom Metal to spice things up even more. A Gallery of Rotting Portraits, the first single released of the album, is utterly bestial, with the harsh vociferations by Joe walking hand in hand with the slashing riffs by Nige and Andy, and the always majestic keys by Pete. The Boreal Monastery sounds and feels massive, multi-layered and grim form start to finish, with the hammering drums by Matt sounding flawless, offering Joe everything he needs to scream like a demon, whereas lastly we face Into a Vale of Endless Snow, keeping their Symphonic Black Metal vein pulsing harder than ever, consequently ending the album on a demolishing note to the thunderous sounds blasted by Dylan, Pete and Matt.

“Our first release since 2019, these are huge, epic, hard-hitting songs carved in the traditional Hecate Enthroned way with a menacing veil delivered with a crisp punch. Lyrically based around ancient British myths and legends,” commented the band’s bassist Dylan Hughes, inviting us all to join the band in absolute darkness in the best British Extreme Metal style. Having said that, don’t forget to check what the band is up to on Facebook and on Instagram, to stream their undisputed discography on Spotify, and above all that, to purchase their venomous new opus from BandCamp or from M-Theory Audio. The corpse of a titan lies upon the shores of England, and Hecate Enthroned will make sure his demise reverberates to the four corners of the earth to the sound of their insane new album.

Best moments of the album: Spirits Stir Within Our Ancestors Tombs, Steed of the Still Water, A Gallery of Rotting Portraits and The Boreal Monastery.

Worst moments of the album: Pwca.

Released in 2026 M-Theory Audio

Track listing
1. Adar Rhiannon 0:43
2. Spirits Stir Within Our Ancestors Tombs 8:10
3. The Arcane Golem 6:14
4. Steed of the Still Water 7:09
5. Pwca 6:07
6. Deathless in the Dryad Glade 6:37
7. A Gallery of Rotting Portraits 4:40
8. The Boreal Monastery 7:03
9. Into a Vale of Endless Snow 7:10

Band members
Joe Stamps – vocals
Nige Dennan – guitar
Andy Milnes – guitar
Dylan Hughes – bass
Pete White – piano, keyboards
Matt Holmes – drums

Album Review – Cage Fight / Exuvia (2026)

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Representing a new stage in their career, the sophomore beast by this UK metal entity retains the band’s raw, old school Hardcore heart while also exploring more multi-layered terrains, atmospheres and melodies.

The word Exuvia refers to the outer skin that’s shed by creatures like arachnids, crustaceans and insects, giving way for a new stage of life. It’s the perfect title for the sophomore opus by London, England-based Crossover/Hardcore outfit Cage Fight. Recorded by Sam Bloor at Lower Lane Studios, mixed by Jim Pinder (Sleep Token, Malevolence), and displaying a grim artwork shot by photographer Manuel Acquualeni (depicting a radiation mask, connecting both to fronwoman Rachel Aspe’s experience with her grandmother, and to the album’s title, while also also representing healing), the blistering, 11-track Exuvia finds the band formed of Rachel Aspe on vocals, James Monteith on the guitar, Will Chain on bass, and Nicholas Plews on drums in a time of change after their 2022 self-titled debut, retaining the raw, old school Hardcore heart of Cage Fight while also exploring more multi-layered terrains, atmospheres and melodies, making their sound bigger, tighter and more epic than ever before.

After the dark industrial intro Confined, featuring Rob Parton of electronic music project Arconic, get ready for total madness and chaos together with Cage Fight in Oxygen, where Nicholas simply hammers his drums like a demented creature, offering Rachel exactly what she needs to vociferate deeply and rabidly; while in Pig the indomitable Rachel calls out the creepy men who send women unsolicited messages online, and she makes sure she scares the shit out of those bastards with her she-devil roars in a true headbanging Hardcore feast. Pick Your Fighter, featuring Julien Truchan of Benighted, brings forward excellent lyrics (“Pick your fighter / The battle begins / Only one will win / Pick your fighter / The choice is yours / He looks up toward his dream / Recalling and rising / His thoughts elevate him / His fists are fiery waves / Here to smash the enclave / Refuse to be enslaved”) inspired by a French pop song named “Et c’est parti…” by Nâdiya; whereas James takes the lead with melodic yet visceral riffs in the hard hitting Un Bon Souvenir, blending Hardcore and modern metal music. And his guitar keeps exhaling aggression and fire in Deathstalker, with Rachel sounding possessed by a demonic entity on vocals.

The second part of the album begins with the atmospheric, creepy interlude Le Déni, or “the denial” from French, penetrating deep inside our souls before the band comes ripping with the title-track Exuvia, inspired by Rachel’s grandmother who is currently battling cancer, and who also helped her write the lyrics. The music is absolutely heavy, fierce and caustic, with Nicholas once again dictating the pace supported by the thunderous bass by Will. James then offers another round of his striking riffage in The Hammer Crush, inspiring us all to bang our heads together with the band until the very last second, with Rachel’s Death Metal-like vocals adding endless rage to the music. In IHYG (I Hate Your Guts) they invest in a more direct Crossover Thrash sonority, with the heavy kitchen by Will and Nicholas reverberating through the air in great fashion, followed by the expansive final track Élégie, which is about Rachel losing her grandfather, and the regret that can come from things left unsaid, offering a darker, more introspective side of the band. Moreover, Rachel lets all her anger and fear flow from her desperate vocals. There’s also an alternative version for one of the songs titled Un Bon Souvenir (Single Version), which is more like a bonus track as it’s a less detailed version of it. Not bad for some radio exposure, but the full version is way more compelling.

“With Exuvia, we took a step back and reflected on where we wanted to take things next. Our first record happened quickly: it came out of Covid, we had this crazy momentum with writing, and we just rolled with it. On this new record, we explored deeper in terms of songwriting and melody, and also got to know each other better as musicians,” said guitarist James Monteith. “One thing that has stayed the same is that we want to have fun. But now with the knowledge of who we all are, we’ve managed to hone in on a sound that we really want – it feels like a rebirth of the band.” You can get to know more details about the band’s sonic metamorphosis on Facebook and on Instagram, keeping an eye on their incendiary live shows, stream their music on YouTube and on Spotify, and of course put your blook-soaked hands on their new album by clicking HERE. Exuvia might represent an evolution in the sound by Cage Fight, and they might be shedding their skin in the process, but in the end when you look deep inside their soul, they’re still a metal band. Heavy, hungry, and ready to kill, armed with their stunning new offering.

Best moments of the album: Oxygen, Pick Your Fighter, Deathstalker and The Hammer Crush.

Worst moments of the album: Un Bon Souvenir (Single Version).

Released in 2026 Spinefarm Records

Track listing
1. Confined 1:28
2. Oxygen 3:06
3. Pig 3:18
4. Pick Your Fighter 2:44
5. Un Bon Souvenir 6:03
6. Deathstalker 3:24
7. Le Déni 1:46
8. Exuvia 5:56
9. The Hammer Crush 2:50
10. IHYG (I Hate Your Guts) 3:44
11. Élégie 5:57
12. Un Bon Souvenir (Single Version) 4:01

Band members
Rachel Aspe – vocals
James Monteith – guitar
Will Chain – bass
Nicholas Plews – drums

Guest musicians
Rob Parton – everything on “Confined”
Julien Truchan – vocals on “Pick Your Fighter”

Album Review – Cnoc An Tursa / A Cry For The Slain (2026)

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One of the most interesting acts of the Scottish metal scene returns with an evocative tribute to the history, the folklore, and the unique magic of their homeland in the form of their third album.

“Let warlocks grim an’ wither’d hags
Tell how wi’ you on ragweed nags
They skim the muirs an’ dizzy crags
Wi’ wicked speed;
And in kirk-yards renew their leagues,
Owre howket dead.” – Robert Burns – Address To The Devil

Eight years on from their last album, titled The Forty Five, Falkirk, Scotland’s own Blackened Folk Metal warriors Cnoc An Tursa (or “Hill of the Standing Stone” in Scottish Gaelic) returns with an evocative tribute to the history, the folklore, and the unique magic of their homeland in the form of their third album, entitled A Cry For The Slain. With the intuitive mastering of Jaime Gomez Arellano at Orgone Studios bringing depth and vigor to every note, and with all the emotion and secrets of its narrative captured in the evocative artwork of the unstoppable Olga Kann, the newborn opus by Alan Buchan on vocals, Rene McDonald Hill on the guitars and keyboards, and Bryan Hamilton on drums is a breathtaking album for fans of Primordial, Winterfylleth, Saor and Forefather, a beacon burning in the night of mundane modernity, calling to those of us who want more than we’ve been sold.

Na Fir Ghorma, which translates from Scottish Gaelic as “the blue men,” referring to mythical, human-sized, blue-skinned creatures in Scottish folklore, is a mysterious, atmospheric intro that warms us up for The Caoineag, a female spirit in Scottish Highland folklore, acting as a “weeper” or specialized banshee that foretells violent death, with Bryan hammering his drums mercilessly in a lecture in Scottish extreme music. Cailleach And The Guardians Of The Seven Stones refers to a deeply rooted Scottish and Irish mythological tradition centered on the Cailleach (the “Veiled One” or “Queen of Winter”) and a ritualistic, seasonal relationship with sacred stones that represent her family, while the music showcases Rene’s striking, primeval riffage matching perfectly with Alan’s soaring vocals; followed by Baobhan Sith, a malevolent, vampiric fairy from Scottish Highlands folklore, often described as a “fairy witch” or “fairy woman,” while the music leans towards classic Folk Metal, with its mysterious female backing vocals sounding simply stunning.

Rene and Bryan build a dancing atmosphere in Am Fear Liath Mòr, translated from Scottish Gaelic as “big grey man”, referring to a legendary, cryptid creature said to haunt the summit and passes of Ben Macdui in the Cairngorms, Scotland’s second-highest peak. Musically speaking, it reminds me of some of the thrilling songs by the mighty UADA; whereas in Alba In My Heart (where “Alba” is the Scottish Gaelic name for Scotland) the band makes sure they add all their admiration and love for their country to the music, with their riffs, drums and roars exhaling pride and power. Address To The Devil – 1786, a satirical poem that mocks the Calvinistic, fear-based religious teachings of 18th-century Scotland by treating the Devil (“Auld Hornie”) as a familiar, almost comedic figure rather than a terrifying entity, presents a more straightforward fusion of Black and Folk Metal led by Alan’s demonic growling, also displaying an ethereal passage with the same mysterious woman back on vocals; flowing into the piano-driven outro The Nine Maidens Of Dundee, a Scottish legend about a farmer’s nine daughters killed by a dragon near Pitempton, subsequently avenged by a hero named Martin.

“With this new album we feel like we are going back to our roots with a more guitar driven style and bringing back some of the folk elements musically and lyrically which was the original inspiration for the band,” commented the guys from Cnoc An Tursa, and by looking back they have found their way forward, reigniting their fire and forging an album that will resonate through the years to come. Alan, Rene and Bryan are waiting for you with their striking fusion of Scottish folklore and heavy music on Facebook and on Instagram, and don’t forget to also stream their unique creations on Spotify and, above all that, to purchase the excellent A Cry For The Slain from the Apocalyptic Witchcraft’s BandCamp or webstore. Cnoc An Tursa undoubtedly have Alba in their hearts, translating that passion for their homeland into first-class extreme music in their new album and, therefore, keeping the fires of their unparalleled culture burning bright for many decades to come.

Best moments of the album: The Caoineag, Baobhan Sith and Alba In My Heart.

Worst moments of the album: None.

Released in 2026 Apocalyptic Witchcraft

Track listing
1. Na Fir Ghorma 2:28
2. The Caoineag 7:40
3. Cailleach And The Guardians Of The Seven Stones 4:58
4. Baobhan Sith 6:39
5. Am Fear Liath Mòr 4:42
6. Alba In My Heart 7:20
7. Address To The Devil 7:32
8. The Nine Maidens Of Dundee 3:00

Band members
Alan Buchan – vocals
Rene McDonald Hill – guitars, keyboards
Bryan Hamilton – drums

Album Review – Blood Countess / Imperatrix Sanguinis (2026)

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It’s time to summon the dark legend of the Blood Countess, and drown quickly in the blood red waters of their scorching sophomore opus.

For nearly a decade now, UK’s own Black Metal beast Blood Countess has waged a war on weakness and mediocrity with a blackened sound strikingly authentic, nothing but the coldest, most merciless of the mid-to-late 90’s the likes of classic Enthroned, Lord Belial, and Thy Primordial. Four years after their critically acclaimed debut Occulta Tenebris, the ruthless frontwoman Nina “The Cuntess” Blackwood and her henchmen István and Átok on the guitars, Darianth on bass, and Michael Robinson on drums return from the underworld with their sophomore spawn, entitled Imperatrix Sanguinis, a Latin phrase that translates directly to “Empress of Blood,” surging forth with a savagery that’s merciless, punishing, and perversely addicting, perfect for those with a staunch, depraved constitution.

Get ready to have all your blood fully drained by The Cuntess in Chains of Misdeed, growling and screaming like a true vampiric entity while Darianth and Michael deliver infernal Black Metal sounds for our total delight, whereas Sadistic Marchioness is even more infuriated and demonic thanks to the ruthless riffage blasted by István and Átok, while Michael continues to hammer his drums without mercy. A Humiliating Plea for the Glorification of Erotic Suffering carries the most poetic name of all songs, and the music is just as infernal and obscure, with The Cuntess continuing to gnarl rabidly for our vulgar delectation; and the band then speed things up and melt our faces with their vile Black Metal magic in The Scavenger’s Daughter, led by Michael’s pulverizing beats and fills.

After the Cradle of Filth-like interlude Shakals of Sin, such a violent UK horde is out for blood again in Purge of Trencin, as demented and grim as its predecessors, with The Cuntess roaring flawlessly supported by the striking riffs by István and Átok, being therefore perfect for enjoying a blood-soaked circle pit during their live shows. Schadenfreude, or the pleasure derived by someone from another person’s misfortune, sees Blood Countess turn that distinguished concept into another feast of raw Black Metal, with Darianth and Michael once again presenting their devilish kitchen from hell; whereas lastly we face Anna Nádasdy, the daughter of the infamous Countess Elizabeth Báthory of Ecsed, with The Cuntess impersonating Anna in great fashion with her desperate, anguished screams, sounding utterly visceral, hypnotizing and disturbing from start to finish.

In a nutshell, Nina “The Cuntess” Blackwood and her Blood Countess remain true to their moniker in Imperatrix Sanguinis, spilling tales of Elizabeth Bathory’s reign of blood-soaked tyranny – obsession, sex, and perversion entwined with madness and hatred for humankind – all led by her invective throat. It’s indeed one of the strongest Black Metal albums of the year, and if you want to join The Cuntess in her quest for blood you can start following the band on Facebook and on Instagram, stream their caustic, impious creations on Spotify, and of course put your blood-soaked hands on the breathtaking Imperatrix Sanguinis by purchasing it from Dominance of Darkness Records’ BandCamp or webstore. In other words, it’s time to summon the dark legend of the Blood Countess, and drown quickly in the blood red waters of the mighty Imperatrix Sanguinis.

Best moments of the album: Chains of Misdeed, The Scavenger’s Daughter and Anna Nádasdy.

Worst moments of the album: None.

Released in 2026 Dominance of Darkness Records

Track listing
1. Chains of Misdeed 5:28
2. Sadistic Marchioness 5:03
3. A Humiliating Plea for the Glorification of Erotic Suffering 5:14
4. The Scavenger’s Daughter 3:57
5. Shakals of Sin 2:05
6. Purge of Trencin 6:30
7. Schadenfreude 4:32
8. Anna Nádasdy 5:53

Band members
Nina “The Cuntess” Blackwood – vocals
István – guitars
Átok – guitars
Darianth – bass
Michael Robinson – drums

Album Review – Cryptworm / Infectious Pathological Waste (2026)

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A prolific entity hailing from the always visceral and grim UK Death Metal scene returns with their third studio album, pulling the listener into a sea of absolute disgust and violence.

A prolific entity hailing from the always visceral and grim UK Death Metal scene, Bristol, England-based horde Cryptworm is sinking their teeth into us all with their third studio album Infectious Pathological Waste, following up on their 2023 sophomore Oozing Radioactive Vomition while refining their sound to an unstoppable force of blunt-force trauma. Displaying a beyond gory and vile artwork by Skaðvaldur, the new offering by Tibor Hanyi on vocals and guitars, Joss Farrington on bass, and Jamie Wintle on drums pulls the listener into a sea of absolute disgust and violence, as the convulsing spew of guitars and regurgitating vocals flow like molten rot atop a crushing drum performance, being therefore a must-listen for fans of the sickest form of Death Metal.

It’s a morbid feast of gore and violence from the very first second in Gallons of Molten Hominal Goo, with Tibor’s inhumane guttural adding an extra dosage of insanity to their already vile music, whereas Maimed and Gutted lives up to the legacy of Death Metal giants the likes of Cannibal Corpse, with Jamie delivering sheer heaviness and fury through his pounding drums, being therefore perfect for headbanging and slamming nonstop. Their Death Metal machine keeps demolishing everything in their path in Drowning in Purulent Excrementia, with Joss delivering those primeval bass lines we all love in old school extreme music; and it’s time to slow things down an invest in absolute heaviness and groove in Infectious Pathological Waste, a worthy sound to carry the name of the album.

Embedded with Parasitic Larvae brings to our avid ears five minutes of nonstop savagery by the trio, with the scathing riffage by Tibor matching perfectly with the hammering drums by Jamie in a lecture in Death Metal; followed by Emanations of Corporeal Pyosis, flirting with Brutal Death Metal albeit there’s something missing in the final result, like heavier drums or crazier riffs. The trio gets back on track with the infuriated Gastrointestinal Seepage, inviting us all to dive deep into the circle pit like headbanging bastards, all led by another gruesome vocal performance by Tibor, and lastly, we see the band delivering a striking fusion of Death and Doom Metal in Encephalic Feast, ending the album on a gory, disturbing mode not recommended for the lighthearted.

Powerful drum-fills and autopsy-invoking riffs are something this band has seemingly mastered creating, because there is no shortage of this magnificent mutilating music flowing forth from the speakers to maim you in their ruthless new album, and if you want to be smashed by their music you can find the band on Facebook and on Instagram, where you can stay up to date with everything surrounding the band (including their killer live concerts), stream their putrefying creations on any platform such as Spotify, and of course purchase the venomous Infectious Pathological Waste from the Me Saco Un Ojo Records’ BandCamp or webstore (CD or LP). Because this is how primeval Death Metal should be done. Gory, violent, evil, and above all, relentless.

Best moments of the album: Maimed and Gutted, Embedded with Parasitic Larvae and Gastrointestinal Seepage.

Worst moments of the album: Emanations of Corporeal Pyosis.

Released in 2026 Me Saco Un Ojo Records/Extremely Rotten Productions

Track listing
1. Gallons of Molten Hominal Goo 3:06
2. Maimed and Gutted 4:40
3. Drowning in Purulent Excrementia 5:58
4. Infectious Pathological Waste 4:41
5. Embedded with Parasitic Larvae 5:16
6. Emanations of Corporeal Pyosis 2:57
7. Gastrointestinal Seepage 4:09
8. Encephalic Feast 4:36

Band members
Tibor Hanyi – vocals, guitars
Joss Farrington – bass
Jamie Wintle – drums

Album Review – Dark Heart / Evolution (2026)

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Formed during the early eighties, this UK Heavy Metal and Hard Rock outfit is back with their electrifying third album.

Formed during the early eighties, releasing the debut album Shadows of the Night back in 1984, and remaining dormant until 2017 (which culminated with the release of their 2021 sophomore self-titled album), Durham, England-based Heavy Metal outfit Dark Heart is ready to rock once again armed with their third installment, entitled Evolution. Produced by Pete Newdeck and mastered by Harry Hess of Harem Scarem, the new album by vocalist Alan Clark and guitarist Nick Catterick, alongside the more-than-special session musicians Josh ‘Tabbie’ Williams on bass and Pete Newdeck on drums, is a journey back to the glory of the 80’s without sounding repetitive or outdated, always moving forward while staying loyal to the foundations of the NWOBHM.

Crisp, minimalist guitar lines ignite the band’s rockin’ party in Light The Flame, with Alan already showcasing his vocal power supported by the classy guitar work by Nick, sounding perfect for admirers of Melodic Hard Rock. And the guitar riffs and solos by Nick keep embellishing the airwaves in Cold Winter while Josh and Pete bring the groove of the 80’s with their killer kitchen sounds, followed by End Of Tomorrow, a power ballad by the quartet where Alan delivers another solid, emotional vocal performance. Hands Of Fate blends the harmonious sounds of Melodic Rock and AOR, with Pete’s drums dictating the song’s classic pace, whereas Spread Your Wings offers us all another round of melodious riffs and soaring vocals, with its background keys adding a touch of finesse to the overall result.

Then investing in a more old school fusion of Heavy Metal and Rock N’ Roll we’re treated to Ride The Highway, and the final result is obviously electrifying, led by Nick’s razor-edged riffs. Put differently, the name of the song ends up being an invitation. After such a powerful tune we have You And I, presenting an AC/DC-inspired riff and evolving into an AOR feast where all backing vocals support Alan’s vocals in great fashion. Life To Crucify and its 80’s keys will pierce your mind, while the guitar lines by Nick exhale Melodic Hard Rock magic, followed by Eyes Of Light, a more generic version of their own rock music, still enjoyable but not as exciting. Mortality brings forward six minutes of a strong, deep ballad by Dark Heart led by the passionate vocals by Alan; and closing the album we face the dancing tune Burned, again reminding us of the glory of the 80’s while also showcasing a modern, dynamic sound by the band.

As already mentioned, although still rooted in classic NWOBHM, Heavy Metal and Hard Rock, Evolution also reflects the maturity in the band’s songwriting, positioning it as a must-listen for fans of both old school and modern-day rock and heavy music, and if you want to join Alan and Nick in their quest for metal you can start following Dark Heart on Facebook, stream their captivating music on any platform such as Spotify, and of course, put your hands on Evolution by purchasing you favorite version of the album from different locations such as Pride & Joy Music and Rough Trade. This is not just Heavy Metal; it’s an evolution in the style of a band formed in the distant year of 1984, but who’s now “back to the future” and ready to go places to the sound of their exciting new music.

Best moments of the album: Light The Flame, Ride The Highway and Life To Crucify.

Worst moments of the album: Eyes Of Light.

Released in 2026 Pride & Joy Music

Track listing
1. Light The Flame 5:25
2. Cold Winter 4:58
3. End Of Tomorrow 6:20
4. Hands Of Fate 4:31
5. Spread Your Wings 5:10
6. Ride The Highway 5:49
7. You And I 5:25
8. Life To Crucify 4:46
9. Eyes Of Light 4:36
10. Mortality 6:20
11. Burned 4:41

Band members
Alan Clark – vocals, keyboards, backing vocals
Nick Catterick – guitars, keyboards, backing vocals

Guest musicians
Josh ‘Tabbie’ Williams – bass (session)
Pete Newdeck – drums, backing vocals (session)