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Album Review – Serpent Lord / The Once Forgotten Ways of Old (2026)

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The Year of the Snake is upon us, and the mighty Serpent Lord will teach us the once forgotten ways of the old through the music found in his majestic debut album.

Originally written in 2005, shelved, rebirthed and reimagined in the Year of the Snake, the excellent The Once Forgotten Ways of Old, the debut offering by Battle Ground, Washington-based solitary Pagan Black Metal vessel Serpent Lord, forged in 2003 by vocalist and multi-instrumentalist Jake Superchi (UADA, Ceremonial Castings), but laid dormant for 20 years, stands as a triumphant and immersive work – melodic, fierce, and steeped in ritualistic energy. Recorded at Obsidian Spells, mixed and engineered by Jake Superchi himself, mastered by Arthur Rizk, and displaying a mythical and arcane artwork by Kris Verwimp, the album offers expansive riffing, evocative passages, and a dynamic interplay between harsh and atmospheric elements, both timeless and fully awakened, while at the same time preserving every note of its primordial conception.

Jake kicks off his Stygian ceremony with the massive, multi-layered hymn Aries Ram, where his trademark enraged roars walk hand in hand with his scorching riffs and blast beats in a lecture in Melodic Black Metal, followed by Constrictor, a more direct Black Metal tune in the vein of the old ones like Venom and Mayhem, with Jake once again crafting a beyond cryptic atmosphere with his flammable riffs and serpent-like vocals. And his raging guitar transpires obscurity in the intense title-track The Once Forgotten Ways of Old, offering moments of pure heaviness and ritualistic doom intertwined with his classic Black Metal madness. Then we face Enter Serpentagram, presenting elements from the mighty UADA (for obvious reasons) but still sounding unique, as well as another killer job done by Jake on vocals, guitars and drums, flowing majestically until its venomous finale; whereas A Pagan’s Spell is as tribal and grim as it can be, inviting us all for another black mass led by the indomitable Serpent Lord, with Jake once again extracting those scathing riffs we all love so much. Lastly, he offers us all Forever on the Grounds of Battle, the perfect fusion of Black, Folk and Pagan Metal, with its main riff inspiring us all to raise our horns and worship the mighty Serpent Lord. Needless to say, the album couldn’t have ended in a more epic, climatic and somber way.

Channeling the spirit of 90’s Pagan Black Metal, Serpent Lord emerges from decades of silence with a work that fulfills the promise of its early recordings. It’s an album shaped by time, and driven by an uncompromising vision of Black Metal. If you want to put your hands on such a unique and evocative album, you can purchase it from the project’s own BandCamp (worldwide), as well as from Eisenwald Records (Europe and UK) or from Obsidian Spells (North America). In other words, the Year of the Snake is upon us, and the imposing Serpent Lord will teach us the once forgotten ways of the old through the music found in his majestic debut album.

Best moments of the album: Aries Ram, Enter Serpentagram and Forever on the Grounds of Battle.

Worst moments of the album: None.

Released in 2026 Eisenwald Records

Track listing
1. Aries Ram 8:35
2. Constrictor 3:09
3. The Once Forgotten Ways of Old 8:36
4. Enter Serpentagram 4:58
5. A Pagan’s Spell 5:27
6. Forever on the Grounds of Battle 8:09

Band members
Jake Superchi – vocals, all instruments

Album Review – Horrific Visions / Remnants Of Atrophy (2026)

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Indiscriminate bloodshed and mass destruction await to the sound of the blistering debut by this demented Brutal Death Metal beast from Texas.

Twelve years on from their initial spawning in the ever-fertile breeding grounds of brutality of their homeland Texas, the demonic Brutal Death Metal beast Horrific Visions is finally unleashing their full-length debut album of shocking violence and colossal carnage, titled Remnants of Atrophy, following up on their 2022 EP Enlightenment Through Excruciating Torture and their 2024 EP Monopoly on Violence. Mixed and mastered by the band’s own guitarist Mason Vickers at Rocker House Studios, and displaying another venomous artwork by Jon Zig (Aborted Fetus, Deeds Of Flesh, Defeated Sanity), the debut opus by Conrad Heinemeyer on vocals, Chris Rossmeier and Mason Vickers on the guitars, Cody Hancock on bass, and Rene Martinez on drums is a gift to the demented and the black of heart – one that has been well worth the wait.

Like a demonic creature arising from the underworld, the band will crush your damned skulls into pieces in Malnutrition, with the cadaverous roars by Conrad matching perfectly with Rene’s bestial drumming, and after such a killer tune we face the ominous Horrific Visions, a vile interlude that sets the tone for Deranged Perversion, a fulminating lesson in brutality where their scorching riffs and blast beats sound like we’re being bombarded by a full-bodied army. Then venturing through the lands of classic Death Metal the likes of Cannibal Corpse and Incantation they bring forward Crippled Under the Weight of a Hollow World, with Conrad once again sounding ruthless on vocals, overflowing aggression and hatred for our total delight.

We then face another cryptic interlude named Synaptic Decay before the band comes ripping in Primal Regression, where Rene’s beats and fills are a thing of beauty, or maybe I should say of morbid beauty, sounding utterly devastating until the very last second. They offer a more cadenced yet still demented tune titled Disgusted Warped Mentality, with the grim guttural by Conrad being supported by the thunderous kitchen by Cody and Rene, followed by Enlightenment Through Excruciating Torture, presenting two minutes of no shenanigans Brutal Death Metal with Chris and Mason hammering their axes nonstop. Lastly, the title-track Remnants of Atrophy will embrace us in total darkness, violence and blood, with Chris and Mason once again firing sheer insanity from their guitars.

In the end, Remnants Of Atrophy possesses a blistering intensity and a raw, serrated edge, sounding like a deadly weapon, wielded with vicious intent and, therefore, being a must-listen for admirers of the extreme violence blasted by renowned acts the likes of Bludgeoned, Stabbing, Brodequin and Disgorge, just to name a few. Horrific Visions are on absolute fire from start to finish in their caustic debut, and you can feel their scorching sounds by following them on Facebook and on Instagram, by streaming their depraved creations on any platform like Spotify, and of course, by purchasing Remnants Of Atrophy from Comatose Music’s BandCamp or webstore. The time has come to stare into the dead eyes of Remnants Of Atrophy. Indiscriminate bloodshed and mass destruction await, and you better get ready because there will be no mercy for your putrid soul.

Best moments of the album: Deranged Perversion, Crippled Under the Weight of a Hollow World and Primal Regression.

Worst moments of the album: Synaptic Decay.

Released in 2026 Comatose Music

Track listing
1. Malnutrition 3:54
2. Horrific Visions 1:30
3. Deranged Perversion 3:41
4. Crippled Under the Weight of a Hollow World 2:14
5. Synaptic Decay 1:43
6. Primal Regression 2:40
7. Disgusted Warped Mentality 3:10
8. Enlightenment Through Excruciating Torture 2:22
9. Remnants of Atrophy 3:59

Band members
Conrad Heinemeyer – vocals
Chris Rossmeier – guitar
Mason Vickers – guitar
Cody Hancock – bass
Rene Martinez – drums

Album Review – Chronicler Of Ardul / Sounds of Ardul (2026)

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Let’s embark on a sweeping orchestral journey into the dark fantasy realm of Ardul, embracing cinematic storytelling through rich symphonic textures, intimate folk tunes, and atmospheric worldbuilding.

A sweeping orchestral journey into the dark fantasy realm of Ardul, the breathtaking Sounds of Ardul, the first full-length album by Richland, Washington-based Symphonic and Blackened Death Metal outfit Chronicler of Ardul (the brainchild of composer, vocalist and multi-instrumentalist David Williams) embraces cinematic storytelling through rich symphonic textures, intimate folk tunes, and atmospheric worldbuilding, instead of relying on metal elements. With David himself handling all writing, recording, mixing, and artwork, giving the project a distinct voice anchored in emotional honesty and narrative purpose, the follow-up to the 2023 EP Myrewood and the 2024 EP Sword of Virné showcases 17 tracks which individually feel like a moment from a larger adventure, guiding listeners through taverns, shadowed forests, ancient mists, and violent clashes, inviting audiences to step directly into the world itself, experiencing its wonder, danger, and humanity firsthand.

Featuring the awesome vocalist Sofia Frasz of Exiled Hope, Watch Over Me is a bardic folk song carried by clean guitar, violin, hand percussion, resulting in a charming acoustic intro to the world of Ardul, followed by Watch Over Me (Village Version), a melancholic rendition of the same song with its crying violin sounding stunning. Then we have You’re Gone, featuring vocalist Aaron Johnson III of Syyn, presenting the emotional weight of loss, a somber tavern ballad about love that feels like a classic by Johnny Cash; whereas stomps, claps, and bottle taps set the tone in Oh Me Oh My, providing us with a view inside David’s creative mind. The first version of Woodlands offers the striking sounds of strings, harp, clarinet, piano, and choir, while Woodlands (Alternate Version) displays a cleaner sound with cello, piano, and harp only, and Woodlands (Battle Theme) brings forward the uniqueness of brass, percussion, and rhythmic urgency as hidden threats reveal themselves, like the score to an epic movie. After such an inspiring trio of songs, we have In the Mists of the Myrewood (Remastered), a classic piano aria by David to bring some peace to our hearts.

The sounds of strings, piano, choir, and guitar keep embellishing the airwaves in the sinister tune Veiled Truth, while Unwelcomed Guests continues the rising tension with timpani heartbeats, clacking percussion, unsettling strings, and a divided choir in another serene tune by David. His passion for classical music gets even clearer in To Arms! (String Quintet), where it’s quite easy to visualize a full orchestra playing it; whereas Temporary Respite pulls the listener back into calmness with soft piano and choir, offering a resting place after turmoil. Moments From Disaster offers our avid ears heavy drums, tense strings, rumbling voices, and pounding piano, the most haunting chapter of the album, while Underground again ventures through movie score lands, sounding imposing and whimsical, and Underground (Alternate Version) is a quieter but more claustrophobic passage where you can feel David’s anguish. To Arms! then showcases a bold symphonic battle full on orchestrations in the most imposing version of the song; and lastly, Zarek the Bloody offers us all the sounds of accordion, bass, percussion, and vocals by David, feeling delicate and gloomy while also dark and visceral. Needless to say, David should do more singing on his albums for sure.

Influenced by renowned acts the likes of Shadow of Intent, Mental Cruelty, Nobuo Uematsu, and Yasunori Nishiki, David and his Choricler of Ardul approach concept music with the depth of a novel and the drama of a film score. Not only that, the album also includes extended ten-minute looping versions of twelve tracks, crafted for worldbuilders, tabletop players, writers, and listeners who want to immerse themselves even further. As the third pillar of the project’s overarching project, Sounds of Ardul expands the world’s scope while maintaining musical motifs that connect past works to future stories, and you can join David in such a unique quest by following the project on Facebook and on Instagram, by streaming his music on YouTube, Spotify or Apple Music, and of course by purchasing the album from BandCamp or by clicking HERE. It’s time to embark on a journey to Ardul alongside David Williams, and there’s nothing better than his new album to provide us with the perfect soundtrack for such a thrilling adventure.

Best moments of the album: You’re Gone, Woodlands (Battle Theme) and Zarek the Bloody.

Worst moments of the album: Woodlands (Alternate Version).

Released in 2026 Independent

Track listing
1. Watch Over Me 3:50
2. Watch Over Me (Village Version) 2:04
3. You’re Gone 4:32
4. Oh Me Oh My 1:43
5. Woodlands 2:28
6. Woodlands (Alternate Version) 2:28
7. Woodlands (Battle Theme) 2:28
8. In the Mists of the Myrewood (Remastered) 3:31
9. Veiled Truth 2:45
10. Unwelcomed Guests 3:04
11. To Arms! (String Quintet) 2:28
12. Temporary Respite 2:41
13. Moments From Disaster 2:31
14. Underground 2:24
15. Underground (Alternate Version) 2:24
16. To Arms! 2:28
17. Zarek the Bloody 2:42

Band members
David Williams – vocals, all instruments

Guest musicians
Sofia Frasz – vocals on “Watch Over Me”
Aaron Johnson III – vocals on “You’re Gone”

Album Review – Who On Earth / It Takes The Village (2026)

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Crafting a heavy, story-driven sound rooted in some of the biggest names of the genre, this Heavy Metal ensemble attacks again with their electrifying sophomore album.

Crafting a heavy, story-driven sound rooted in influences like Black Sabbath, Iron Maiden, Metallica, Alice in Chains, and Tool, New Jersey’s own Heavy Metal/Hard Rock ensemble Who On Earth are ready to rock our world once again with their sophomore opus It Takes The Village, following up on their 2022 debut Blame. Currently formed of vocalist Coosh, guitarists Johnny James Barone and Jimmy Kocha, bassist Pete Rizzi, and drummer Howie Fallon, such an electrifying American rock and metal band is on fire throughout the entire It Takes The Village, honoring the legacy of former guitarist Bruce Gatewood (RIP), and re-energizing those five talented musicians to keep moving forward in the name of our good old Rock N’ Roll.

Their Southern Metal vein arises in the opening tune Vigilance, where the massive riffs by Johnny and Jimmy provide Coosh with exactly what he needs to shine on vocals, and their Rock N’ Roll groove keeps flowing in Any Other Way, reminding me of old school Soundgarden, with Howie kicking some ass behind his drums. Shadows is a solid rockin’ tune where the backing vocals by Coosh’s bandmates add a lot of power to his classic vocal lines, while the massive bass by Pete dictates the pace in the mid-tempo Hard Rock feast Good Man Down, excellent for enjoying a beer at a rock pub anywhere in the world. Closer is a weird interlude that doesn’t add much to the album, followed by Too Close, starting with the 70’s-inspired bass by Pete and accompanied by the always striking riffs by Johnny and Jimmy, flirting with Alternative and Groove Metal and Rock.

There’s no time to breathe as Who On Earth continue to fight the unfaithful in Double Or Nothing, a song that should be added to the playlists of all rock stations around the globe, not to mention how electrifying their guitar solos sound. Then we have Monster!, a journey back in time without sounding outdated where Coosh once again leads his crew with a killer vocal performance, highly recommended for hitting the highway with your loved ones, followed by Oh, Set Me Free, another very melodic display of Hard Rock that reminds me of some creations by the mighty Armored Saint. It’s time to open up the pit and slam together with your buddies to the sound of We Don’t Belong Here, led by the pounding drums by Howie; and Ascension is a cinematic interlude that feels like it was taken from a Power Metal album, warming us up for The Unbeaten, a delicate ballad by the boys to put an enfolding ending to the album. Well, there are still the bonus tracks left, all offering the band’s trademark fusion of Hard Rock with Southern and Groove Metal, just like in the thrilling extended version of Vigilance, with Mike Orlando and Jason Bittner as guest vocalists.

Heavy riffs, classic bass, galloping drums, and an endless amount of sheer energy. That’s exactly what will hit you as you listen to the excellent It Takes The Village, proving that despite some bumps on the way, the guys from Who On Earth are inspired and focused to keep moving forward no matter what. Having said that, don’t waste your time and go show your support to those guys by following them on Facebook and on Instagram, by subscribing to their Youtube channel, by streaming their rockin’ creations on Spotify and on Apple Music, and of course by purchasing their new album from Bandcamp. Because Who On Earth live and breathe Heavy Metal and Rock N’ Roll, and in the end, who on earth doesn’t enjoy some high-quality heavy music, right?

Best moments of the album: Vigilance, Too Close, Monster! and We Don’t Belong Here.

Worst moments of the album: Closer.

Released in 2026 Independent

Track listing
1. Vigilance 4:15
2. Any Other Way 3:07
3. Shadows 4:00
4. Good Man Down 3:13
5. Closer 1:00
6. Too Close 3:39
7. Double Or Nothing 4:09
8. Monster! 4:08
9. Oh, Set Me Free 4:28
10. We Don’t Belong Here 3:51
11. Ascension 1:47
12. The Unbeaten 4:15

Bonus tracks
13. Jane 4:17
14. Down And Out – Dvrko Remix 3:41
15. Vigilance [Extended] 5:08

Band members
Coosh – vocals
Johnny James Barone – guitar
Jimmy Kocha – guitar
Pete Rizzi – bass
Howie Fallon – drums

Guest musicians
Mike Orlando – vocals on “Vigilance [Extended]”
Jason Bittner – vocals on “Vigilance [Extended]”

Album Review – IATT / Etheric Realms of the Night (2026)

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This American blackened band returns with their most immersive and conceptually daring work to date, unveiling a descent into dream consciousness.

Hailing from the pits of Philadelphia, Pennsylvania, Progressive/Melodic Black/Death Metal entity IATT (which stands for “I Am The Trireme,” an ancient maritime vessel, representing a shift in their musical style from their early Metalcore days) returns with their most immersive and conceptually daring work to date, entitled Etheric Realms of the Night. Mixed and mastered by Marcos Cerutti (co-founder of Black Lion Productions), the newborn spawn by Jay Briscoe on vocals and bass, Joe Cantamessa on lead guitars, Alec Pezzano on rhythm guitars and orchestral arrangements, and Paul Cole on drums and percussion is a worthy follow-up to their 2022 album Magnum Opus, unfolding as a continuous narrative that explores the fragile boundary between sleep and oblivion, consciousness and illusion, life and whatever waits beyond it, unveiling a descent into dream consciousness.

In the opening tune Drift Away the music gradually builds into a wall of Progressive Death Metal sounds led by Jay’s visceral screams, while Paul delivers an overdose of crushing beats and fills that transpire Black Metal; followed by To Lie Beneath, a nine-minute aria of darkness where the guitars by Joe and Alec breathe fire, supported by the always thunderous drums by Paul. Put differently, it’s like Opeth on steroids. Somniphobia already begins in full force, with all of its progressiveness clashing beautifully with its fury, not to mention its melodeath and dissonant riffs sounds amazing, whereas Pavor Nocturnus is one of the most Black Metal songs of the entire album, where its haunting atmosphere and intricate riffage and drums bring sheer joy to our blackened hearts. In the cryptic Quietus, the symphonic elements bring an avalanche of epicness to the overall result, with Jay once again barking and roaring nonstop, and their metallic dreams go on in Walk Amongst, another very detailed and multi-layered aria of Symphonic and Melodic Death Metal where Joe and Alec are again flawless on the guitars, before all fades into nothingness in the ethereal outro Hypnos.

With Etheric Realms of the Night, IATT venture deeper into psychological and conceptual territory, shaping a work that feels immersive, unsettling, and profoundly human, tracing the path from surrender to transformation, where dreams deepen into realms that no longer fade with morning light. Across its 48 minute runtime, the album unfolds with cinematic scope, guided by atmosphere, symbolism, and emotional momentum, and if you want to join IATT on such a unique voyage you can find those guys on Facebook, Instagram, YouTube, and Spotify, and of course purchase Etheric Realms of the Night from BandCamp, from their merch store, or by clicking HERE. Orchestral elements, unusual instrumentation, constantly shifting sonic landscapes, and the sense of a single story told in seven movements. That’s what IATT offer in their new album, inviting you to dream together with them while fully awake.

Best moments of the album: To Lie Beneath, Pavor Nocturnus and Walk Amongst.

Worst moments of the album: None.

Released in 2026 Black Lion Records

Track listing
1. Drift Away 6:39
2. To Lie Beneath 9:12
3. Somniphobia 6:04
4. Pavor Nocturnus 7:23
5. Quietus 7:18
6. Walk Amongst 8:06
7. Hypnos 3:38

Band members
Jay Briscoe – vocals, bass
Joe Cantamessa – lead guitars
Alec Pezzano – rhythm guitars, orchestral arrangements
Paul Cole – drums, percussion

Guest musicians
Didier Malherbe – flute
Valček – violin

Album Review – Frozen Soul / No Place of Warmth (2026)

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Like an air-raid siren warning of death from above, this Texan Death Metal brigade returns with their most definitive and rancorous statement to date.

Like an air-raid siren warning of death from above, Fort Worth, Texas-based Death Metal brigade Frozen Soul returns from their bitterly cold lair to unleash chaos upon humanity with their third studio album, the ruthless No Place of Warmth, following up on their critically acclaimed 2023 sophomore Glacial Domination. Produced by Josh Schroeder at Random Awesome! Recording Studio, and displaying a deadly artwork by James Bousema, the newborn beast by vocalist Chad Green, guitarists Chris Bonner and Michael Munday, bassist Samantha Mobley, and drummer Matt Dennard is a monolithic, majestic and exigent collection of anthems built on the perfect blend of ferocity and subtle melody, allowing soaring guitar leads to guide a lantern through the dark chasm of merciless riffs.

Just like the soundtrack to a spine chilling horror flick in an isolated and bitterly cold cabin, No Place of Warmth kicks off the album on a bestial mode, featuring vocalist Gerard Way (of My Chemical Romance), with Chad already delivering his trademark Death Metal roars. Then it’s time to head into the battlefield in cold and despondent lands in Invoke War, featuring guest vocals by the iconic Robb Flynn (of Machine Head), while Chris and Michael fire deadly, sharp riffs nonstop; followed by Absolute Zero, which despite its cool, demonic lyrics (“Ground to nothing / Concealed in snow / Reduced to / Absolute zero / Absolute / Zero / Zero”), it could have been a bit longer and more detailed. In Dreadnought we see guest vocalist Devin Swank (of Sanguisugabogg) make an infernal duet with Chad in another heavy-as-hell tune by Frozen Soul, with Samantha pounding her bass with endless rage, whereas Chaos Will Reign keeps their Death Metal fire burning thanks to another crushing performance by Matt behind his drums, who’s also ruthless in Eyes of Despair, offering Chad exactly what he needs to vociferate like a demonic entity.

The band then offers our putrid ears one of the heaviest and most violent of all songs in the album, titled Ethereal Dreams, with their caustic riffs walking hand in hand with the obscure, massive kitchen crafted by Samantha and Matt. And after another short tune titled Skinned by the Wind, offering more of the Death Metal riffs by Chris and Michael, it’s absolute chaos in Deathweaver, bringing the heavy hammer of winter directly to our heads with another gruesome performance by Chad on vocals, sounding as dark as evil as it can be. Their second to last breath of frozen Death Metal magic comes in the form of Frost Forged, where their scorching guitars will melt our faces before we fall into their deep freeze again; and although you might have survived crossing their frozen lands, you’ll be decimated inside the pit by Killin’ Time (Until It’s Time to Kill), where the demonic bass by Samantha brings absolute thunder to their sonority, ending the album on a beyond killer and bludgeoning mode.

Frozen Soul’s time is now, and No Place of Warmth is their most definitive and rancorous statement. Without a single moment of boredom, the album sees the band distilled to its primordial essence. No frilly edges, no indulgent ambient passages, just pure steamrolling Death Metal destruction at its most clinical. Having said that, if you think you have what it takes to enter their frozen realm of violence and destruction, you can find those Texans on Facebook and on Instagram, stream all of their creations of sheer Death Metal brutality on Spotify, and of course grab a copy of No Place of Warmth from their own BandCamp or from Century Media Records. Because when Frozen Soul attack, there’s definitely no place of warmth. Only old school, scathing and frostbitten Death Metal.

Best moments of the album: No Place of Warmth, Dreadnought, Ethereal Dreams and Killin’ Time (Until It’s Time to Kill).

Worst moments of the album: Absolute Zero.

Released in 2026 Century Media Records

Track listing
1. No Place of Warmth 4:50
2. Invoke War 3:16
3. Absolute Zero 0:53
4. Dreadnought 2:37
5. Chaos Will Reign 3:19
6. Eyes of Despair 3:03
7. Ethereal Dreams 4:55
8. Skinned by the Wind 1:28
9. Deathweaver 3:54
10. Frost Forged 3:55
11. Killin’ Time (Until It’s Time to Kill) 3:24

Band members
Chad Green – vocals
Chris Bonner – guitars
Michael Munday – guitars
Samantha Mobley – bass
Matt Dennard – drums

Guest musicians
Gerard Way – vocals on “No Place of Warmth”
Robb Flynn – vocals on “Invoke War”
Devin Swank – vocals on “Dreadnought”

Album Review – Lago / Vigil (2026)

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Resurfacing from the dark pits of Phoenix after eight years of silence, this unrelenting Death Metal beast returns with their third studio album, a dense and suffocating descent into lacerating and surgically cold darkness.

Resurfacing from the dark pits of Phoenix, Arizona after eight years of silence, the unrelenting Death Metal beast known as Lago attacks again with their third full-length opus, entitled Vigil, following up on their 2018 sophomore offering Sea of Duress. Recorded, mixed, and mastered by the band’s own Brian Miller, and showcasing a sinister artwork by the always amazing Adam Burke of Nightjar Illustration, the new opus by vocalist and guitarist Cole Jacobsen, guitarist Gus Barr, bassist Garrett Thomas, and drummer Brian Miller is a dense and suffocating descent into lacerating and surgically cold darkness, channeling the weight of dissonant and modern Death Metal while carving deeper into their own bleak and atmospheric sound.

The vicious guitars by Cole and Gus will penetrate deep inside your skin in the opening tune Behold, Ruin, offering an overdose of melodic yet feral Death Metal while Brian brings tons of groove to the music with his intricate beats and fills. Fodder presents another avalanche of heaviness and fury by Lago where Cole’s cadaverous guttural matches perfectly with the primeval kitchen blasted by Garrett and Brian, not to mention Gus’ guitar solos are utterly electrifying; and Lago are a band who loves to add elements of Progressive and Technical Death Metal into their music, which is exactly what we get in Procession Into Slaughter, with Brian once again taking the lead with his unrelenting drums. Initiation Rite is a song tailored for admirers of some good old headbanging thanks to the massive riffs by Cole and Gus, and it should become a fan-favorite if played live, whereas their raging riffs continue to crush our bodies and souls in In A House Of Ill Repute, also presenting hints of Doom Metal to give it an even darker vibe. After such a demented tune, Garrett and Brian are in total sync and on absolute fire in the hard hitting Kingdom Without Pulse, a lecture in Death Metal by those relentless guys; and finally, we’re invited for one last mosh pit with the detailed and multi-layered The Land Was A Desert, with Cole’s enraged roars elevating the song’s ferocity to a whole new level.

“The writing for Vigil began in 2023 and found the band rebuilt after a few years of relative silence and this also marks the first time we as a band have completely handled all aspects of the production ourselves. Expect the next step as we build upon our previous releases, calling upon influences from legends Morbid Angel, Immolation and Gorguts. Vigil will be out most focused release to date,” commented the band, and those talented metallers from Arizona are waiting for you on Facebook and on Instagram with more of their music, news and tour dates. Don’t forget to also stream their ruthless music on Spotify, and above all that, to purchase their extremely vile and aggressive new album via mailorder or from BandCamp. The guys from Lago are hungry for your blood armed with their visceral new opus, and hopefully it won’t take another eight years for them to strike again with a new album as devastating and sharp as Vigil.

Best moments of the album: Fodder and Kingdom Without Pulse.

Worst moments of the album: None.

Released in 2026 Everlasting Spew Records

Track listing
1. Behold, Ruin 6:12
2. Fodder 5:59
3. Procession Into Slaughter 5:29
4. Initiation Rite 4:46
5. In A House Of Ill Repute 7:46
6. Kingdom Without Pulse 5:44
7. The Land Was A Desert 6:12

Band members
Cole Jacobsen – vocals, guitars
Gus Barr – lead guitars
Garrett Thomas – bass, additional vocals
Brian Miller – drums

Album Review – Since the Fire / Remains Embraced EP (2026)

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Get ready to embrace the storm to the sound of the new electrifying EP by these American Metalcore veterans.

Having spent over fifteen years dominating the tri-state metal scene with relentless live performances and a commitment to raw, emotional music, solidifying their position as a force to be reckoned with in the modern metal landscape, Pennsylvania’s own Metalcore veterans Since the Fire are taking their fierce sound to new heights with blistering riffs and bone-crushing breakdowns that fans of August Burns Red, Black Dahlia Murder and Lamb of God will absolutely love in their new EP, titled Remains Embraced. Produced by the band’s own Jeremy Loveland alongside Bryan Kilcommons, and mixed by Anthony Caranata, the new EP by Janson Stewart on vocals, Jeremy Loveland and Jay Johnson on the guitars, Logan Romanowicz on bass, and Brad Borger on drums promises to be an intense sonic experience that captures the raw energy the band is known for, leaving us eager for more of the music in the near future.

Jeremy and Jay kick off the band’s Metalcore attack with their scorching riffs in Cuntrol, a ruthless tune where Janson delivers no shenanigans, vicious roars for our absolute delectation, followed by Noose, which starts in a dark manner to the cryptic bass by Logan and the doom-ish drums by Brad, evolving into a melodic yet violent feast of metal music while keeping its introspective core intact. Janson then barks and roars manically while his bandmates deliver a fusion of total darkness and grim violence in Brutaful, as infernal and piercing as it can be; and the EP comes to a conclusion with Whispers, starting in a serene manner before morphing into eight minutes of hard hitting Metalcore. Needless to say, it should sound amazing if played live, with Janson’s visceral screams matching flawlessly with the wicked riffs and solos by Jeremy and Jay, ending in a post-apocalyptic way.

Pushing their legacy further by melding classic Metalcore aggression with the depth and atmosphere of modern heavy music, the new EP by Since the Fire will surely please all admirers of the genre, and you can also embrace their Metalcore storm by following the band on Facebook and on Instagram, by streaming their music on Spotify, by subscribing to their YouTube channel, and of course by grabbing a copy of Remains Embraced from Bandcamp or by clicking HERE. There’s a reason why Since the Fire have been leading the Metalcore scene for over a decade, and the stormy Remains Embraced surely helps in cementing their name even further in the worldwide scene.

Best moments of the album: Cuntrol and Whispers.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Cuntrol 4:58
2. Noose 5:30
3. Brutaful 5:22
4. Whispers 8:43

Band members
Janson Stewart – vocals
Jeremy Loveland – guitars
Jay Johnson – guitars
Logan Romanowicz – bass
Brad Borger – drums

Album Review – Anthea / Beyond The Dawn (2026)

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This California-based Symphonic Metal entity returns with their most ambitious release to date, showcasing a broader dynamic range, heavier arrangements, and a more pronounced dramatic identity.

Founded in 2015 by vocalist and keyboardist Diego Valadez, and known for their distinctive theatrical approach and dynamic blend of Symphonic, Melodic, and Progressive Metal elements, Los Angeles, California-based outfit Anthea is back with their third full-length album, titled Beyond The Dawn, the follow-up to their 2022 sophomore opus Tales Untold. Recorded at Dream Vale Studios, produced, mixed and mastered by the band’s own Diego Valadez, displaying a stylish artwork by Dávid Busai of Mordiggian Art, and featuring “The Sirens” Mel Del Real and Astrid Anaya on backing vocals, the new album by Diego Valadez on clean vocals, keyboards and orchestration, Juan Pina on harsh vocals and guitars, Marcos Mejia also on the guitars, Gabby Hawk on bass, and Peter Vasquez on drums is undoubtedly their most ambitious release to date, showcasing a broader dynamic range, heavier arrangements, and a more pronounced dramatic identity highly recommended for fans of Dynazty, Kamelot, and Powerwolf.

The title-track Beyond The Dawn blends the finesse of Symphonic Metal with the darkness of Black Metal thanks to the stunning clash of the clean vocals by Diego with the devilish gnarls by Juan, followed by Phantom in the Masquerade, offering a more direct version of Symphonic and Melodic Metal, with Juan and Marcos extracting pure adrenaline from their stringed axes. The Lost Soul sounds as epic and imposing as its predecessors, with Peter adding endless fuel and heaviness to the music with his classic drumming; whereas Awakening (Song for Spring) leans towards the current music played by bands like Epica and Nightwish, with Diego’s vocals being nicely supported by “The Sirens.” And Bygone Age (Chicxulub) is a multi-layered tune that sounds pure Symphonic Metal at times, also venturing through Symphonic Black Metal lands to give it an extra kick.

From Shadows to Light is a cinematic creation by Anthea, showcasing another ass-kicking performance by Peter on drums, supported by the massive bass lines by Gabby, followed by Crystal Moon, a good instrumental tune that unfortunately gets a bit tiresome after a while. They get back on track with the incendiary Wanderer’s Quell, with the riffs and keys by Marcos and Juan transpiring Melodic Power Metal. And it’s time to slow things down and enjoy the dark power ballad Whispers of the Heart, with Diego’s vocals and Marcos’ solo sounding stunning. Duality of Gaia is a straightforward Melodic Metal tune presenting their trademark fusion of clean and harsh vocals, always supported by the classic kitchen by Gabby and Peter; while lastly, we’re treated to their cover version for Tahnee Caine and Tryanglz’s hit Burnin’ in the Third Degree (check the original version HERE, recorded for the 1984 film The Terminator, and featured prominently in the Tech Noir nightclub scenes). Needless to say, they turn the song’s techno essence into sheer metal madness.

“This record pushed us to explore every corner of our sound – from fast and heavy tracks to more emotional and melodic moments,” commented the band, presenting a mature and confident chapter in their journey, offering a cohesive yet varied listening experience shaped by themes of growth, transition, uncertainty, and renewal. Blending compelling melodies, powerful orchestration, and expressive songwriting, the album surely helps the band to establish themselves as a distinctive voice within modern Symphonic Metal. With that said, you can get to know more about Diego Valadez and his Anthea on Facebook an on Instagram, stream their classy music on any platform like Spotify, and of course grab you copy of Beyond The Dawn from Rockshots Records, letting the melodious and electrifying Symphonic Metal by those American metallers penetrate deep inside your metal heart.

Best moments of the album: Beyond The Dawn, From Shadows to Light and Wanderer’s Quell.

Worst moments of the album: Crystal Moon.

Released in 2026 Rockshots Records

Track listing
1. Beyond The Dawn 4:13
2. Phantom in the Masquerade 3:32
3. The Lost Soul 3:44
4. Awakening (Song for Spring) 4:16
5. Bygone Age (Chicxulub) 4:03
6. From Shadows to Light 4:40
7. Crystal Moon 4:11
8. Wanderer’s Quell 3:53
9. Whispers of the Heart 4:46
10. Duality of Gaia 4:12
11. Burnin’ in the Third Degree (Tahnee Caine and Tryanglz cover) 3:38

Band members
Diego Valadez – lead vocals, keyboards, orchestration
Juan Pina – rhythm guitars, harsh vocals
Marcos Mejia – lead guitars
Gabby Hawk – bass
Peter Vasquez – drums

Guest musicians
Mel Del Real – backing vocals
Astrid Anaya – backing vocals

Album Review – Immolation / Descent (2026)

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One of the original vanguards of Death Metal returns with their incendiary twelfth studio album, continuing their journey away from the rejection of Catholicism and further into Gnostic foreboding.

One of the original vanguards of Death Metal, and 37 years into their storied career, New York’s own institution Immolation is back in action with their twelfth studio album, entitled Descent, following up on their critically acclaimed 2022 opus Acts of God. Produced, mixed and mastered by Zack Ohren at Castle Ultimate Productions, with vocals, guitars and bass recorded by Justin Passamonte at Jpass Music, and drums recorded by Noah Buchanan at Mercinary Studios, and displaying a stylish artwork by the iconic Eliran Kantor (with booklet illustrations by Santiago Jaramillo of Triple 6 Design), the new beast by vocalist and bassist Ross Dolan, guitarists Robert Vigna and Alex Bouks, and drummer Steve Shalaty continues the band’s journey away from the rejection of Catholicism and further into Gnostic foreboding. Is Earth actually Hell? Is there any path to salvation? Not only that, the album’s title is self-evident as it chronicles the descent of failed empires, endless wars, and the corruption of the human soul. You will not be disappointed, but you may come away disillusioned.

The Stygian, minimalist guitar lines by Robert and Alex quickly explode into Immolation’s classic Death Metal fury in These Vengeful Winds, kicking off the album on a high and demented mode. And it’s then time to slam into the pit like a true maniac to the sound of The Ephemeral Curse, with Ross barking deeply while Steve crushes our souls with his infernal drums, followed by God’s Last Breath, another song that starts in a doom-ish way before exploding into the band’s undisputed Death Metal, as evil, dark and sinister as it can be, led by the hammering drums by Steve. One more wild adventure inside the circle pit awaits in Adversary, with Ross growling manically while his bandmates deliver a fast and furious blend of Death Metal magic perfect for fans of the style; and Ross’ bass will crush your damned skull in Attrition, while Robert and Alex deliver a striking riff attack that will inspire you to break your neck headbanging.

Let’s all succumb to total darkness to the sound of the deadly hymn Bend Towards the Dark. Needless to say, it should sound incredible live, in special the always phenomenal riffs and solos by Robert and Alex. Steve’s tribal beats kick off another bestial display of violence and savagery entitled Host, where their guitars will once again skin you alive so caustic and sharp they sound. After such a high level of violence, get ready for another vicious riff attack by the band’s ultra talented guitar duo in False Ascent, offering an avalanche of demonic growls by Ross while Steve adds sheer Death Metal madness to the music with his unstoppable beats and fills. Then we face the sinister (yet a bit lengthy) instrumental interlude Banished, setting the stage for the quartet to strike us all one last time with the demented title-track Descent, putting an obscure and demolishing ending to the album to the cadaverous roars by Ross and the always pulverizing drums by Steve, leaving us completely disoriented and eager for more Immolation in the near future.

Once again, longtime fans and unsuspecting newcomers will be confronted with hymns of darkness and fury, invoked by one of the most respected names in the genre. You can get in touch with those torchbearers of classic Death Metal via Facebook and Instagram, check more of their music and videos on YouTube and on Spotify, and of course add Descent to your dark and blasphemous collection by clicking HERE. Often imitated, but never surpassed, Immolation prove again why they remain one of the most enduring names in metal. If you’re already a fan, you know why. If Descent is your first introduction, you will be a convert soon enough, as you descend into the pits of the underworld ruled by those talented and hardworking death dealers.

Best moments of the album: The Ephemeral Curse, Bend Towards the Dark and False Ascent.

Worst moments of the album: Banished.

Released in 2026 Nuclear Blast Records

Track listing
1. These Vengeful Winds 4:04
2. The Ephemeral Curse 3:57
3. God’s Last Breath 4:22
4. Adversary 3:17
5. Attrition 4:44
6. Bend Towards the Dark 3:56
7. Host 4:12
8. False Ascent 3:49
9. Banished 3:17
10. Descent 5:57

Band members
Ross Dolan – vocals, bass
Robert Vigna – guitars
Alex Bouks – guitars
Steve Shalaty – drums