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Album Review – Violence Only / Violence Only EP (2026)

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Behold the crushing debut EP by this American horde, showcasing a band that’s intimately familiar with the essential essence of absolute brutality.

There was no reason beyond the satisfaction derived from the impact of steel on flesh and bone. That’s the feeling of what United States-based Brutal Death Metal newcomers Violence Only have to offer in their debut self-titled EP, a beast of a release that delivers exactly what the band have always promised it would. No gimmicks, no trends, no compromises, just pure Brutal Death Metal. Mixed and mastered by Jeremiah Tuck, and displaying a gory artwork by Rudi Yanto, the debut by frontman Braxton Keyser, guitarist Andrew Mathews, bassist Mark Chandler, and drummer Rene Martinez showcases a band that’s intimately familiar with the essential essence of absolute brutality, being therefore highly recommended for fans of Stabbing, Between The Killings, Devangelic, and Brodequin, among several other torchbearers of pure violence.

There isn’t a single second of peace or hope in Strong Arm Beatdown, already smashing our cranial skulls with the demented growls by Braxton while Rene simply hammers his drums nonstop, followed by Facial Deconstruction, a charming and friendly title for a Brutal Death Metal song, with the riffage by Andrew transpiring evil and fury while Braxton fires his trademark BREEEEEEEs. Warm Dissection continues with the band’s sonic assault, with Andrew and Mark once again pounding their axes in the name of brutality, whereas Victimized And Laughing is perhaps the most infernal of all five tracks, with the screeches and roars by Braxton sounding inhumane supported by the demented instrumental by his bandmates. And finally, Hatred For Humanity closes the EP on a high and violent mode, with Rene once again stealing the show with hi cadaverous beats and fills.

Featuring members of Between The Killings, Stabbing, Flesh Hoarder, Horrific Visions, Embodied Torment and Enfrenzied, taking elements from all the band members’ previous experiences and binding them in barbed wire creativity, Violence Only have captured something new, something wild yet tightly controlled, a pulverizing paradox with skull shattering impact in their debut EP, waging war on our so-called civilized society. You can find more information about the band on Facebook and on Instagram, stream their music on any platform like Spotify, and of course, put your blood soaked hands on their debut EP from Comatose Music’s BandCamp or webstore. But remember, no artificial elements nor any sign of peace or hope are accepted in this case. It’s violence, and violence only.

Best moments of the album: Facial Deconstruction and Victimized And Laughing.

Worst moments of the album: None.

Released in 2026 Comatose Music

Track listing
1. Strong Arm Beatdown 3:13
2. Facial Deconstruction 3:31
3. Warm Dissection 3:15
4. Victimized And Laughing 2:51
5. Hatred For Humanity 3:14

Band members
Braxton Keyser – vocals
Andrew Mathews – guitars
Mark Chandler – bass
Rene Martinez – drums

Album Review – Besotten / Eye of the Monolithicrypt (2026)

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The Eye of the Monolithicrypt is watching us all, ready to drag us to the Stygian realm ruled by this talented American Death and Doom Metal band.

After releasing a well-received demo and a split, Portland, Oregon-based Death/Doom Metal outfit Besotten (an alternative or older form of the adjective “besotted,” meaning completely infatuated, foolishly in love, or intoxicated), who labels their music as a hybrid of “psyxhix death” and “existential doom,” is unleashing hell armed with their debut full-length album, entitled Eye of the Monolithicrypt, which they have meticulously worked on for the past few years. Mixed and mastered by Leon Del Muerte (who also took care of the vocal and guitar engineering), with drums engineered by Charlie Koryn, and displaying a demented artwork by Lord Serus, the new offering by Garth Purkett on vocals and bass, Patrick Sinn-Movilla on the guitars and synthesizers, and Andy Osborn on drums presents five songs which are a mix of short ones as well as those exceeding 10 minutes, and are rather diverse with each song having its own identity while maintaining an overall cohesive sound.

Mist of Decay already offers our putrid ears a striking fusion of Death and Doom Metal, as evil and harsh as it can be, with Garth stealing the spotlight with his demonic, deep gnarls, setting the stage for the bludgeoning Bathed in Insufferable Light, a ten-minute beast from the abyss showcasing the scathing riffs by Patrick and the slow and doomed beats by Andy, also presenting cryptic passages and a strong sense of hopelessness and despair. Their demented Death Metal side arises again in Cruentation, with the bass by Garth reverberating like the scream of a demonic entity, accompanied by another ruthless performance by Andy on drums; and the same Andy shows no mercy for his drums in Storming the Cerebral Citadel, sounding deadly and vile from start to finish, with the band’s Doom Metal soul burning majestically. Their longest songs are obviously their best, which is the case in Bloodcairn, where the striking riffs and solos by Patrick add layers of insanity to their already devilish sounds before all fades into the unknown.

In comparison to the other bands out there, the music by Besotten is more structured and fleshed out, amplifying all the best elements of this style, and remaining delectably crushing and foul, exactly like what they have to offer in Eye of the Monolithicrypt. Highly recommended for admirers of the music by Worm, Disembowelment, Hooded Menace, Abyssal Rift, and Undergang, just to name a few, Eye of the Monolithicrypt can be purchased from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Don’t forget to also follow the band on Instagram, stream their music on Spotify, or you can click HERE for all things Besotten. In other words, the Eye of the Monolithicrypt is watching us all, ready to drag us to the Stygian realm ruled by Besotten, and to trap us forever in eternal doom.

Best moments of the album: Bathed in Insufferable Light and Bloodcairn.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Mist of Decay 5:52
2. Bathed in Insufferable Light 10:00
3. Cruentation 4:39
4. Storming the Cerebral Citadel 4:07
5. Bloodcairn 11:37

Band members
Garth Purkett – vocals, bass
Patrick Sinn-Movilla – guitars, synthesizers
Andy Osborn – drums

Album Review – Annihilus Mundi / The Dead Sea Scrolls (2026)

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The annihilation of the world continues with the sophomore opus by this amazing Progressive Death Metal entity, a 77-minute concept album criticizing theocracy, oligarchy, and religious fundamentalism.

Formed in 2018, by vocalist and multi-instrumentalist Daniel Saillant, blending elements of Death Metal, Shoegaze, and Progressive Rock, Boston, Massachusetts-based Progressive Death Metal entity Annihilus Mundi (a dark, destructive twist on the classical Latin philosophical phrase anima mundi, or “soul of the world,” effectively translating to “the annihilation of the world”) continues to push musical boundaries, combining harsh and clean vocals, complex guitar arrangements, and introspective lyrics in the project’s sophomore album, titled The Dead Sea Scrolls, following up on their critically acclaimed 2019 debut Grief. Produced, mixed, mastered and engineered by Daniel Saillant himself at Wailing Pines Productions, the new album by the aforementioned Daniel Saillant on vocals and all instruments, alongside Noah Magnelli on harsh and clean vocals, is a 77-minute long concept album exploring his personal life experiences. In a fusion of genres and artforms, Annihilus Mundi reconceptualize the album’s central ideas through Hideaki Anno’s notorious 1995 anime series Neon Genesis Evangelion and its subsequent 1997 film The End of Evangelion.

Second Impact (Overture) is a massive creation by Daniel and his henchmen, offering a wild fusion of Progressive Metal with more extreme and grandiose sounds where his guitars transpire fire and aggression, followed by Absolute Terror, featuring a guest guitar solo by Chris Jones (Æther Realm), absolutely captivating from start to finish, with the clean and harsh vocals by Noah working majestically. A Hedgehog’s Dilemma sounds as complex and multi-layered as the previous tunes, with both keys and drums sounding epic; whereas The Dead Sea Scrolls, Mvt. I – “Reminiscence” is a semi-acoustic ballad that sets the stage for The Dead Sea Scrolls, Mvt. II – “Incursion”, with Andrew Matarazzo (Perennial Quest) on a guest guitar solo, offering us all an overdose of infernal growls and crushing riffs, resulting in ten minutes of undisputed, no shenanigans extreme music with a strong progressive vein. Black Moon, also showcasing a guest guitar solo by Chris Ramusciwicz (Graveborn), and Olive Gallop (Ice Giant) on vocals, is as epic as it is venomous and dark; while King of Thorns, boosted by a guitar solo by Sam Mooradian (Sam Mooradian, Fallujah), lacks the same energy of the rest of the album, sounding a bit tiresome in the end.

Then the four-part beast named “Terminal Dogma” kicks off with Terminal Dogma, Mvt. I – “Do you love me?”, a serene and grim tune where Daniel is ruthless armed with his axe, flowing into Terminal Dogma, Mvt. II – “Take care of yourself.”, featuring Alex Haddad (Dessiderium, Atheist) on a guitar solo and Sarah Hartman (Aversed) on vocals. Needless to say, Noah makes a phenomenal duet with Sarah in a lecture in Progressive Metal. In Terminal Dogma, Mvt. III – “Love is destructive.” we have a break from Daniel’s usual heaviness, warming our hearts before we face Terminal Dogma, Mvt. IV – “I need you.”, again featuring Sarah Hartman on vocals, presenting the power of the riff, massive beats, and deep, evil vocal lines. Silent Planet, featuring Anthony Harter (d r 0 n 3) on noise and atmospheres, is noisy and perturbing, working as a wicked bridge to Human Instrumentality, featuring a guest guitar solo by Michael Laurendeau Jr., bringing forward 13 minutes of complex, intricate passages, acoustic and cinematic moments, and the always visceral guitars by Daniel.

Criticizing theocracy, oligarchy, and religious fundamentalism, exploring how unquestioned ancient dogmas lead to destruction, The Dead Sea Scrolls is definitely a must-listen for metalheads searching for a high quality blend of extreme music infused with a rich and deep storyline. You can get in touch with Daniel and his Annihilus Mundi via Facebook and Instagram, subscribe to their YouTube channel, stream their music on Spotify, and of course, purchase The Dead Sea Scrolls from BandCamp or by clicking HERE. Put differently, the annihilation of the world continues with the new album by Annihilus Mundi, a dense and detailed journey that will surely hypnotize you and consume your soul just the way we like it in extreme music.

Best moments of the album: Absolute Terror, The Dead Sea Scrolls, Mvt. II – “Incursion”, Terminal Dogma, Mvt. II – “Take care of yourself.” and Human Instrumentality.

Worst moments of the album: King of Thorns.

Released in 2026 Independent

Track listing
1. Second Impact (Overture) 5:25
2. Absolute Terror 6:39
3. A Hedgehog’s Dilemma 5:50
4. The Dead Sea Scrolls, Mvt. I – “Reminiscence” 2:10
5. The Dead Sea Scrolls, Mvt. II – “Incursion” 10:32
6. Black Moon 4:35
7. King of Thorns 7:27
8. Terminal Dogma, Mvt. I – “Do you love me?” 3:09
9. Terminal Dogma, Mvt. II – “Take care of yourself.” 5:19
10. Terminal Dogma, Mvt. III – “Love is destructive.” 3:29
11. Terminal Dogma, Mvt. IV – “I need you.” 5:31
12. Silent Planet 2:52
13. Human Instrumentality 13:55

Band members
Daniel Saillant – vocals, all instruments

Guest musicians
Noah Magnelli – harsh & clean vocals
Chris Jones – guitar solo on “Absolute Terror”
Andrew Matarazzo – guitar solo on “The Dead Sea Scrolls, Mvt. II – Incursion”
Chris Ramusciwicz – guitar solo on “Black Moon”
Sam Mooradian – guitar solo on “King of Thorns”
Alex Haddad – guitar solo on “Terminal Dogma, Mvt. II”
Michael Laurendeau Jr. – guitar solo on “Human Instrumentality”
Olive Gallop – vocals on “Black Moon”
Sarah Hartman – vocals on “Terminal Dogma, Mvts. II & IV”
Anthony Harter – noise & atmospheres on “Silent Planet”

Album Review – Veilburner / All That Glimmers is Gloam (2026)

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This uncanny American Avantgarde Death and Black Metal duo is back from the netherworld with their caustic ninth studio album, pitting the listener as judge and jury, bearing witness to a deposition of spiraling madness.

Less than a year of releasing the massive Longing for Triumph, Reeking of Tragedy, Pennsylvania, United States-based Avantgarde Death/Black Metal duo Veilburner is back from the netherworld with their ninth studio album, poetically titled All that Glimmers is Gloam. Featuring a wicked, captivating artwork by Luciana Nedelea, the new offering by the uncanny Chrisom Infernium on vocals (who also took care of lyrics and album design) and Mephisto Deleterio on all instruments and vocals (as well as being responsible for the music and production) pits the listener as judge and jury, bearing witness to a deposition of spiraling madness – a testimony mired in the bog of counterfeit gnosis, orchestrated amid Mephisto’s instrumental haunts of melodic dissonance and Chrisom’s séanced howls, each reverberating through a theatre of fracturing sanity.

The duo kicks off another demented feast of Avantgarde Death and Black Metal with Here is Thine Sabbath, So Mote it Chasm, where Mephisto crafts a piercing, demonic ambience with his riffs, bass and drums; followed by Oblivion is Yours to Labyrinth, which carries a cryptic name for a lesson in Experimental Black Metal, with their devilish vociferations sounding as captivating as they’re haunting. Vitriolic Hiss, one of the first singles released, will darken your minds and consume your souls, led by the caustic, inhumane vociferations by Chrisom, while Phænomena Obscura is another song with a beyond venomous title, and the music is just as harsh, with the guitars by Mephisto transpiring aggression.

No idea if Dis’ Obedient Woe is a song or an interlude. It’s one hundred percent atmospheric and a bit too lengthy for my taste, though, whereas in Of Godslave and Blood Mortar the duo gets back to a much more ferocious and insane vibe, with all background elements sounding like the soundtrack to a cryptic horror movie. Then in A Séance to Spectre we’re treated to a wild fusion of Avantgarde Black Metal with Industrial and Experimental Metal elements, not to mention Mephisto doesn’t stop pounding his drums not even for a single second; followed by Golgothic Holocaust, another song with a killer guitar work by Mephisto while Chrisom continues to darkly declaim the song’s demented words. And they close the album with the infernal title-track All That Glimmers is Gloam, where all vocals, riffs, bass and drums walk hand in hand in an ode to absolute chaos and darkness.

As mentioned in the review of their preivous album, you can find such a unique duo on Facebook and on Instagram, stream their fantastic discography on Spotify, and put your dirty hands on their new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. If you’re a fan of the infernal music blasted by renowned acts the likes of Blut aus Nord, Imperial Triumphant, Deathspell Omega, Hexrot, Oranssi Pazuzu, Akhyls, and Akercocke, you’ll surely have an amazing time listening to All That Glimmers is Gloam. However, you better be prepared as once you enter Veilburner’s realm of madness and obscurity, there’s no way out.

Best moments of the album: Oblivion is Yours to Labyrinth, Phænomena Obscura and All That Glimmers is Gloam.

Worst moments of the album: Dis’ Obedient Woe.

Released in 2026 Transcending Obscurity Records

Track listing
1. Here is Thine Sabbath, So Mote it Chasm 5:03
2. Oblivion is Yours to Labyrinth 5:05
3. Vitriolic Hiss 5:52
4. Phænomena Obscura 5:32
5. Dis’ Obedient Woe 5:33
6. Of Godslave and Blood Mortar 5:48
7. A Séance to Spectre 6:49
8. Golgothic Holocaust 4:03
9. All That Glimmers is Gloam 6:42

Band members
Chrisom Infernium – vocals
Mephisto Deleterio – all instruments

Album Review – Odious Spirit / The Sourceless Scourge (2026)

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This unique Experimental Death and Thrash Metal creature returns with its sophomore opus, offering more of its hypnotic wall of sound that leaves the listeners stunned by its heaviness and complexity of forms.

The raw beauty of The Treason of Consciousness, the 2024 debut album by Poughkeepsie, New York-based Experimental Death/Thrash Metal creature Odious Spirit (the brainchild of vocalist and guitarist James Oskarbski), was a significant hint of the wonders to come, which duly arrive now in 2026 with the project’s sophomore effort, titled The Sourceless Scourge. Written and recorded by James Oskarbski, mixed by Kevin Bernsten at Developing Nations, mastered by James Plotkin, displaying an enigmatic artwork by Jari Anttonen of fantastinen (with visual design by Francesco Gemelli), and with session musicians Cullen Gallagher on bass and Jason Bursese (Thanatotherion, Black Fucking Cancer) on drums, The Sourceless Scourge offers more of the project’s hypnotic wall of sound that leaves the listeners stunned by its heaviness and complexity of forms, but equally eager to uncover its secret mechanisms with each new listen.

The crushing drums by Jason ignite the band’s inhumane feast in True Non-Existence, with James already delivering his insane, deep guttural vociferations for our total delight; followed by Close to the Sun, which sounds even more demented and dissonant, with the heaviness flowing from James’ riffs living up to the legacy of Experimental Death Metal while also flirting with Technical Death Metal for our total delight. The Betrayer’s Will keeps the momentum going with another multi-layered, experimental blast flowing from all instruments, with Cullen’s bass and Jason’s drums sounding thunderous; whereas Void Without End is even more technical and dissonant than its predecessors, not to mention James is once again demented on the guitars while also blasting his scathing roars nonstop. And lastly, we’re treated to Temporal Euthanasia, another complex and detailed creation by James where his visceral guttural matches perfectly with the demolishing drums by Jason.

Builders of grandiose sonic architecture that exist in perfect balance between Technical Thrash and Death Metal and minimalist Avantgarde Metal, Odious Spirit is on fire in The Sourceless Scourge, an album highly recommended for admirers of the music by renowned acts the likes of Voivod, Immolation, Krallice, Mick Barr, and Ocrilim, just to name a few. You can find more information about Odious Spirit on Instagram, stream the project’s eccentric music on most platforms like Spotify, and of course purchase The Sourceless Scourge from the I, Voidhanger Records’ BandCamp or from Metal Odyssey in the EU or in the US. No one knows what James Oskarbski and his Odious Spirit will offer us all after The Sourceless Scourge, and that’s the beauty of his music. It’s unique, heavy, visceral, and never the same.

Best moments of the album: Close to the Sun and Temporal Euthanasia.

Worst moments of the album: None.

Released in 2026 I, Voidhanger Records

Track listing
1. True Non-Existence 6:27
2. Close to the Sun 8:53
3. The Betrayer’s Will 7:48
4. Void Without End 6:47
5. Temporal Euthanasia 8:37

Band members
James Oskarbski – vocals, guitars

Guest musicians
Cullen Gallagher – bass (session)
Jason Bursese – drums (session)

Album Review – Iapetus / The Mother Void (2026)

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These Melodic and Progressive Death Metal innovators are back with the third part of their cosmic trilogy, a story of a mother and a son, of mankind and the cosmos, of feeling destined to failure in a world designed to destroy.

Following on their critically acclaimed full-length albums The Long Road Home, released in 2017, and The Body Cosmic, released in 2019, Long Island, New York- based Melodic/Progressive Death Metal innovators Iapetus (which means “the piercer” or “the one who pierces” in ancient Greek, describing a mythological Titan, a moon of Saturn, and a prehistoric ocean) return with the third part of their phenomenal trilogy, The Mother Void. Recorded by Alexander Backlund, mixed by Jens Bogren, and mastered Tony Lindgren at Fascination Street Studios, and displaying a cosmic artwork by Vanessa Lemen, the stunning new offering by Matthew Cerami on vocals, guitars, bass and arrangements, and Jordan Navarro on the guitars, keyboards and drum arrangements sees the duo be joined by Fabienne Erni (Eluveitie, Illumishade) on vocals, along with several notable guest musicians including drummer Brody Taylor Smith (Invent Animate), guitarist Benjamin Baret (Ne Obliviscaris), and vocalist Frank Harper (Caelestra), resulting in a bold, multi-layered nd flawless metal voyage highly recommended for admirers of bands the likes of Ne Obliviscaris, An Abstract Illusion, Persefone, and Insomnium.

After the atmospheric, ethereal intro Parturition we’re dragged into the world of prog death madness ruled by Iapetus in The Mother Void, an embracing title-track that sets the tone for the rest of the album, with the guitars by Matthew and Jordan exhaling heaviness and cosmic energy. After such a killer tune, we face Aniara, presenting 17 minutes of first-class, no shenanigans Progressive Death Metal where the all harsh vocals clash beautifully with the penetrating, hypnotizing clean vocals by Fabienne, sounding like multiple songs in one; whereas Red Giant keeps the momentum going, with Brody crushing his drums with endless rage and intricacy while the song’s background keys give it a truly whimsical vibe. Needless to say, Fabienne’s vocals take the song, which is already majestic, to a whole new level of awesomeness.

Then after the enfolding interlude Énouement we face the most detailed and soul consuming song of the entire album, TON, featuring guests Benjamin Baret of Ne Obliviscaris on a guitar solo and Frank Harper of Caelestra on vocals. It’s an 18-minute Progressive Death Metal beast where Matthew and Jordan slash their guitars nonstop, accompanied by the thunderous beats and fills by Brody, not to mention Matthew delivers sheer awesomeness through his bass. Furthermore, its ethereal passages will bring some peace to our hearts while at the same time they demolish our hopes and dreams once again with their massive wall of extreme sounds, before all comes to an end with The World Be Undone, where its delicate keys and Fabienne’s minimalist vocals bring hope to our darkened hearts.

“The Mother Void is the story of a mother and a son; of mankind and the cosmos; of feeling destined to failure in a world designed to destroy. It is a conceptual record, meant to be digested in whole; the conclusion to a trilogy of albums dedicated to the tension between mortal existence and immortal space. It is our most personal record to date, and its scope is mirrored in size only by the passion that accompanied its creation. We claw from The Mother Void,” commented the duo, who are waiting for you on Facebook and on Instagram with news and more of their amazing music. Don’t forget to also stream their unique creations on Spotify, and to put your hands on such a masterpiece by purchasing it from BandCamp or by clicking HERE. The Mother Void is more than just a metal album; it’s a cosmic journey, and you’re invited to join Matthew and Jordan on this breathtaking mission.

Best moments of the album: Aniara, Red Giant and TON.

Worst moments of the album: None.

Released in 2026 Willowtip Records

Track listing
1. Parturition 1:40
2. The Mother Void 12:54
3. Aniara 17:12
4. Red Giant 11:58
5. Énouement 1:51
6. TON 18:43
7. The World Be Undone 4:54

Band members
Matthew Cerami – vocals, guitars, bass, arrangements
Jordan Navarro – guitars, keyboards, drum arrangements

Guest musicians
Brody Taylor Smith – drums (session)
Fabienne Erni – vocals (session)
Ethan Navarro – vocals (session)
Mark Lazeski – additional synths & SFX (session)
Benjamin Baret – guitar solo on “TON”
Frank Harper – vocals on “TON”

Album Review – Smoulder / Witch Wife in an Alien World (2026)

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This fearless, confrontational, and adventurous Epic Heavy and Doom Metal horde returns with their their opus, a bold, daring collection of eight songs that continue to push boundaries and shatter conventions.

Fearless, confrontational, and adventurous Epic Heavy  and Doom Metal. That’s exactly what you’ll get in Witch Wife in an Alien World, the brand new offering by the unstoppable multi-national beast known as Smoulder, following up on their critically acclaimed 2023 sophomore Violent Creed of Vengeance. Recorded between Soundwell Studio by Valtteri Kallio, and Swift Road Studios by Vincent Ippolito, with mixing and mastering duties courtesy of Roland Rodas, and artwork by British fantasy and horror illustrator Ian Miller (reflecting the ugliness and hard truths of the album’s themes), the new offering by Sarah Ann on vocals, Shon Vincent and Collin Wolf on the guitars, Adam Blake on bass, and Kevin Hester on drums is a bold, daring collection of eight songs that continue to push boundaries and shatter conventions. Inspired by Sarah Ann’s current Finnish residence, citing the country’s “monumentally positive impact” on her life, including a high-functioning, affordable healthcare system to go along with a reliable 24/7 transit and robust outdoor space, complete with safe air and clean water, Sarah Ann wants the rest of the world to have what she has, tying into the album’s broader context of tackling more real-life themes that are purposely adversarial and coupled with a growing sense of disconnection in a world that, conversely, is more connected than ever through technology.

Kevin kicks off the band’s adventurous metal journey in Water Wars, before Sarah comes ripping with her epic, soaring vocals while Shon and Collin deliver their trademark Judas Priest-inspired riffs nonstop; and investing in a more Hard Rock-oriented sound we have Shadow Of The Vulture, with Adam and Kevin generating a reverberating atmosphere with their heavy, doomed kitchen. They keep blasting their hypnotizing fusion of Heavy and Doom Metal in Noitien Loitsu, boosted by another killer guitar attack by Shon and Collin while the song also features a guest solo from the band’s live guitarist, Bootleg Henkka (also of Finnish epic black metallers Havukruunu). And it’s time for another blast of Epic Doom Metal in the form of Crush The Neophytes, where Sarah once again steals the show with her striking, powerful vocals.

Back to a more ferocious, razor-edged sound we’re treated to the excellent Empathy’s Wrath, again showcasing the band’s characteristic epic vocals, crushing riffs and hammering drums, whereas they enhance their Doom Metal vibe in Their Name Lives On, melting our faces with the scorching riffs by the band’s unstoppable axed duo. Cathedral Of The Trees is another solid composition by the band, albeit a bit generic compared to the rest of the album, while they return to a more incendiary, killer sonority in Smouldering Remains, ending the album on a truly epic and visceral mode with Sarah’s vocals walking hand in hand with the rumbling sounds blasted by her henchmen.

After all is said and done, you’ll quickly realize Smoulder remain committed to exploration and adventure in their new album Witch Wife in an Alien World, always bringing something fresh and unique to their avid fanbase. If you want to explore the epic world ruled by Smoulder, you can find those amazing musicians on Facebook and on Instagram, stream their striking creations on Spotify, and of course grab a copy of the album from BandCamp, as well as from Cruz Del Sur Music as a CD, a black vinyl LP, or a limited edition spectral purple LP, or click HERE for all things Smoulder. Smoulder are on fire throughout their entire new opus, opening our eyes to some of the issues that are leading our society to damnation, while keeping our souls warm and protected by their killer, epic heavy music. All hail Smoulder, and may we all be able to one day experience the alien world inhabited by the mighty witch Sarah Ann.

Best moments of the album: Water Wars, Empathy’s Wrath and Smouldering Remains.

Worst moments of the album: Cathedral Of The Trees.

Released in 2026 Cruz Del Sur Music

Track listing
1. Water Wars 4:36
2. Shadow Of The Vulture 4:16
3. Noitien Loitsu 4:52
4. Crush The Neophytes 6:57
5. Empathy’s Wrath 5:02
6. Their Name Lives On 4:48
7. Cathedral Of The Trees 5:24
8. Smouldering Remains 7:00

Band members
Sarah Ann – vocals
Shon Vincent – guitar
Collin Wolf – guitar
Adam Blake – bass
Kevin Hester – drums

Guest musician
Bootleg Henkka – guitar solo on “Noitien Loitsu”

Album Review – Crimson Steel / Show No Fear (2026)

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Drawing from the lineage of metal gods, Raleigh, North Carolina’s own Heavy Metal brigade returns with a cinematic full-length album built on power, prophecy, transformation, and defiance.

Drawing from the lineage of Judas Priest, Black Sabbath, Iron Maiden, Savatage, Crimson Glory, and Queensrÿche, Raleigh, North Carolina’s own Heavy Metal/Hard Rock brigade Crimson Steel returns with their sophomore offering Show No Fear, the follow-up to their 2022 debut Night Creatures, and a cinematic full-length album built on power, prophecy, transformation, and defiance. Produced, engineered and mixed by Wendy Brancaccio and Bill Spears at Vintage Noise Studio, mastered by Anthony Focx at A. Focx Productions, and showcasing an old school artwork by an artist named Jonathan, the new album by Tina Langevin on vocals, David Ryan on the guitars, Joel McGee on bass, and Will Adkins on drums captures a band fully embracing the grandeur of classic Heavy Metal while sharpening its own identity through dramatic storytelling, progressive arrangement, and commanding performances.

The cinematic intro As Above, So Below warns us all a metal storm is about to come in the breathtaking Dark Rider, with Tina already delivering her trademark soaring vocals supported by the pure metal riffs by David while Will and Joel make sure the atmosphere remains as thunderous as it can be. No Absolution is a classic display of Heavy Metal with Hard Rock elements where Joel once again hammers his bass mercilessly, making the earth tremble for our total delight; and David and Joel are on total fire armed with their axes in Purifier, inspiring us to bang our heads nonstop while Tina keeps delivering her classy high-pitched vocals in the name of rock and heavy music, supported by Joel’s vocals.

It’s time for a shredding feast by David in the thunderous Final Phase, supported by Joel’s massive bass lines, sounding darker than its predecessors yet deeply rooted in classic Hard Rock. David then takes care of the sinister acoustic interlude Prelude to the Blade, before we face Century Sword, starting with another solid riff attack and morphing into an Epic Heavy Metal feast led by Tina’s storytelling vocals. Then we face Bleed into One, featuring guest vocals by James Rivera of Helstar, a dark ballad by Crimson Steel that feels a bit disconnected from the rest of the album (not to mention Tina should have had a bigger role in it). Fortunately, there’s the title-track Show No Fear to put a striking, electrifying ending to the album, with their guitars and bass breathing fire while Will pounds his drums in sheer Heavy Metal insanity.

On Show No Fear, all of the band’s influences become the foundation for a mythic, dark, emotionally charged album driven by melody, muscle, and conviction, and if you want to put your metallic hands on it you can find the album on BandCamp, and of course give a shout to Crimson Steel on Facebook and Instagram, and stream their music on YouTube, Spotify and Apple Music. Across its 39-minute runtime, Show No Fear presents Crimson Steel as a band rooted firmly in traditional Heavy Metal and intent on building something vivid and immersive. It is an album of dark myth, human struggle, and hard-won defiance. It is Heavy Metal as story, spectacle, and statement.

Best moments of the album: Dark Rider, Final Phase and Show No Fear.

Worst moments of the album: Bleed into One.

Released in 2026 Heaven And Hell Records

Track listing
1. As Above, So Below 1:11
2. Dark Rider 4:39
3. No Absolution 5:53
4. Purifier 4:18
5. Final Phase 5:44
6. Prelude to the Blade 0:45
7. Century Sword 5:18
8. Bleed into One 6:30
9. Show No Fear 4:52

Band members
Tina Langevin – lead vocals
David Ryan – guitar, backing vocals
Joel McGee – bass, backing vocals
Will Adkins – drums, backing vocals

Guest musician
James Rivera – vocals on “Bleed into One”

Album Review – Wharflurch / Mycodeath and Rebirth in the Outer Clusters (2026)

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Florida’s own Death and Doom Metal entity returns with the sequel to the epic psychedelic saga that started in their debut album, an odyssey for the adventurous listener, and a deathly riff journey into the outer cosmos.

Hailing from Gainesville, Florida, the ruthless Death/Doom Metal entity Wharflurch left the Death Metal world hanging at the end of their 2021 debut Psychedelic Realms ov Hell, with the protagonist of the first album being lost in a fungal haze of disillusionment at the album’s conclusion. They return with the sequel to the epic psychedelic saga, Mycodeath and Rebirth in the Outer Clusters, another concept album continuing the story, placing our “hero” at the precipice of an incredible journey to the furthest regions of our universe. A true Sci-Fi epic of world-building and conceptualization, the new offering by vocalist and guitarist Myk Colby, and vocalist and drummer John Mamo (with guest appearances by Garrett Alvarado, frontman for Maul, on vocals as the voice of the “Sporelords,” and Jamie Stewart, throat shredder for The Abscence, Party Time, and Hot Graves, doing narratives and guest vocals on quite a few songs) places the listener at a vantage point to interpret interplanetary life as ventures of this secret race of mycelial beings who control the life force of galaxies with a hidden hand.

A cosmic intro quickly evolves into a prog death feast led by the scathing riffs by Myk titled Death Toll Horror while John pounds his drums nonstop, resulting in a ruthless start to the sonic voyage crafted by the duo; followed by Forgotten Temple, as intricate as it is demonic, with the duo hammering our heads mercilessly with their gruesome vocals and striking guitar lines, all boosted by an ethereal background. Their old school Death Metal vein pulses harder than ever in Non Zero Expanse, with John dictating the pace with his cadaverous beats and fills, and they continue their otherworldly journey with the Progressive Death Metal attack titled Headless God, again showcasing those Cannibal Corpse-infused riffs we all love so much.

It takes a while for Dimensional Parasite to really take off, but when it does it offers more of the band’s trademark blend of Death Metal. It could have been a little faster, though. Then again presenting a wild blend of progressiveness with harsh, visceral sounds we have The Leaving Orbs, where John is once again flawless behind his drums accompanied by the whimsical guitars by Myk, followed by Revelations ov the Spore Lords, heavy and obscure from the very first second, alternating between doom-laden Death Metal moments and bursts of sheer savagery. And lastly, we’re treated to Mycodeath and Rebirth / Awakening the Emissary, an expansive instrumental outro that feels like the ending scene and credits of a Sci-Fi movie.

Embraced by the sinister, otherworldly artwork by American artist Claw//Eight, Mycodeath and Rebirth in the Outer Clusters is definitely a must-listen for fans of the craziest form of Death and Doom Metal, and you can find more details about such a demented duo on Facebook and on Instagram, stream their music on Spotify, and purchase the album from the Personal Records’ BandCamp or webstore (or click HERE for all things Wharflurch). In the end, Mycodeath and Rebirth in the Outer Clusters is more than just an album of heavy music. It’s an odyssey for the adventurous listener, a deathly riff journey into the outer cosmos, where our destiny has been foretold by beings who treat our planet as a failed.

Best moments of the album: Forgotten Temple, Non Zero Expanse and Revelations ov the Spore Lords.

Worst moments of the album: Dimensional Parasite.

Released in 2026 Personal Records/Gurgling Gore/Dawnbreed

Track listing
1. Death Toll Horror 4:10
2. Forgotten Temple 6:18
3. Non Zero Expanse 4:32
4. Headless God 5:08
5. Dimensional Parasite 5:21
6. The Leaving Orbs 5:42
7. Revelations ov the Spore Lords 6:15
8. Mycodeath and Rebirth / Awakening the Emissary 8:28

Band members
Myk Colby – vocals, guitars, synthesizers
John Mamo – vocals, drums

Guest musicians
Garrett Alvarado – vocals
Jamie Stewart – vocals, narration

Album Review – Altarheart / Prone To Wander (2026)

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The ride is about to begin to the sound of the new album by this talented American Progressive Metalcore duo.

Hailing from Charleston, in the “Mountain State” of West Virginia, Progressive Metalcore project Altarheart began in early 2023 as a solo endeavour from vocalist and multi-instrumentalist Anthony Conn. After releasing one full-length album, and welcoming his brother Alex Conn on drums, the new, expanded Altarheart released the EP Creatures Here Below in 2024, followed now in 2026 by their second full-length album, titled Prone To Wander. Mixed and mastered by Anthony Conn himself, Prone To Wander affords space and clarity to every element of the band’s complex sound, while it also sees the duo taking giant strides forward and fulfilling all the potential shown by their previous EP in abundance.

All background elements elevate the epicness and add an extra kick to Wayward, with Anthony roaring in great fashion while his brother Alex pounds his drums in the best Metalcore way imaginable. Then in Mortal Man, featuring Scapegoat as a guest vocalist, Anthony delivers an overdose of scathing riffs while also hammering his bass nonstop, followed by Not Well, which sounds and feels introspective yet enraged at the same time, with Alex bringing his share of heaviness through his pounding drums. Rustbelt sees the duo again deliver a solid blend of Progressive Metalcore with Djent elements, with the guitar work by Anthony sounding insane; and the atmospheric Consider The Lillies works like the calm before the storm for Low Souls, another dark and visceral creation by the Conn Brothers, with Alex stealing the spotlight with his killer beats and fills.

Brother, Sister presents what’s perhaps their most Metalcore sound of all, following a more traditional take while Anthony’s harsh and clean vocals exhale despair; whereas Weaken My Flesh, featuring Michael Grice on guest vocals, is an explosion of Technical and Progressive Metalcore where Anthony delivers another round of his piercing roars and guitars lines. Streets Of Mold feels extremely metallic and detailed, with even nuances of Industrial Metal added to its core, resulting in an enfolding aria by the duo, while Island Of One is an excellent option for headbanging together with the boys, with Anthony and Alex being in absolute sync with their scorching riffs and pounding drums. Then a serene intro morphs into another ruthless display of Metalcore entitled Reconcile, keeping the atmosphere dense and pensive, before we face For Those Who Have Wandered Away, closing the album on a high note with its epic background sounds.

An achievement in itself, but also a step in a journey still to unfold, Prone To Wander is highly recommended for fans of Bring Me The Horizon, August Burns Red, Refiner, and The Light Superior, just to name a few, and you can give those talented brothers a shout on Facebook and on Instagram, stream their classy music on Spotify, and purchase Prone To Wander from their own BandCamp (or click HERE for all things Altarheart). The ride is about to begin to the sound of the new opus by Altarheart, and you better get ready because it’s going to be a heavy and melodic one.

Best moments of the album: Wayward, Rustbelt and Island Of One.

Worst moments of the album: Consider The Lillies.

Released in 2026 Rottweiler Records

Track listing
1. Wayward 3:43
2. Mortal Man 3:14
3. Not Well 3:26
4. Rustbelt 3:55
5. Consider The Lillies 3:17
6. Low Souls 4:18
7. Brother, Sister 3:41
8. Weaken My Flesh 4:33
9. Streets Of Mold 3:51
10. Island Of One 3:30
11. Reconcile 4:27
12. For Those Who Have Wandered Away 4:39

Band members
Anthony Conn – vocals, guitars, bass
Alex Conn – drums

Guest musicians
Scapegoat – additional vocals on “Mortal Man”
Michael Grice – additional vocals on “Weaken My Flesh”