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Album Review – Eternal Recurrence / Eternal Recurrence EP (2026)

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Behold the debut EP by this striking new Symphonic Metal project, crafted around the belief that the human touch of live performance remains essential, especially in an era increasingly shaped by artificial intelligence.

Led by composer, vocalist and multi-instrumentalist Alex Luke, Chicago, Illinois-based Symphonic Metal project Eternal Recurrence offers an alternative take on the genre with orchestral arrangements that draw from chamber music. This deviation away from grand scale orchestration commonly associated with Symphonic Metal instead produces a more intimate take on the genre. That’s exactly what you’ll get in their forthcoming self-titled debut EP, prioritizing a focus on the sound of real musicians performing real orchestral instruments, preserving nuance, texture, and human imperfection in an increasingly digital landscape. Drawing influence from bands such as Opeth, Kamelot and Dream Theater, among others, and featuring guests Maciek Szczyciński on double bass, Steven Schumann on cello, German Dmitriev on violin, and Mordian and James Dorton on vocals alongside Alex, the music by Eternal Recurrence was crafted  around the belief that the human touch of live performance remains essential, especially in an era increasingly shaped by artificial intelligence.

Mordian of Diamorte and Shield of Wings delivers a powerful alto performance during the chorus and bridge in the opening track Precious Stones, while James Dorton of Ne Obliviscaris contributes with his trademark harsh vocals, resulting in a metal aria that is as inspiring as it is vibrant, with the piano by Alex clashing beautifully with all guitars and drums. Then we face 8 by 8 and its poetic lyrics (“His forces lined up rank and file / My tactics, strategy: futile / My understanding’s like a child / I know not how to play”), written from the perspective of AlphaZero, a neural-network based chess-playing computer program that taught itself to play chess by playing against itself, while the music leans towards Progressive Rock and Metal; followed by Amor Fati, directly based on Friedrich Nietzsche’s concept of “Eternal Recurrence,” the inspiration for the EP’s concept, where the dark yet delicate sounds of the bass, cello and violin bring a touch of finesse to the overall result.

The also breathtaking Relativity explores the perspective of one of the figures that inhabits Escher’s impossible, looping structures, questioning their motives and understanding of their unending path, while musically speaking the violin by German adds even more depth to Alex’s already powerful vocal lines. Then we have the title-track Eternal Recurrence, which features a reference to the credit music from “Star Wars: Ashoka” in the second part of its extended introduction. Moreover, Mordian returns in full force, bringing an ethereal quality as well as contributing to powerful harmonized duets, and an emotive lament in the song’s bridge, while Alex is on fire with his guitar and piano, resulting in a multi-layered, melancholic and touching composition that puts a stunning ending to the album.

Serving as both an introduction and a mission statement, presenting Symphonic Metal that values realism, restraint, and emotional detail without sacrificing heaviness or intensity, the EP looks to chamber music for inspiration rather than emulating 19th and 20th century symphonic traditions. This philosophy defines the sound of Eternal Recurrence, and if you’re curious to know more about such a unique endeavor in the world of heavy music you can find the project on Facebook and on Instagram, subscribe to their YouTube channel or stream their music on any platform like Spotify, and of course grab a copy of their excellent debut EP from BandCamp or by clicking HERE. Artificial intelligence might be useful for some specific things in life, but definitely not for heavy music, and Eternal Recurrence is among us armed with its debut EP to prove once and for all there’s nothing better than human emotions to make music excellent, and to give life to it.

Best moments of the album: Precious Stones and Eternal Recurrence.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Precious Stones 5:00
2. 8 by 8 6:50
3. Amor Fati 7:31
4. Relativity 4:40
5. Eternal Recurrence 8:16

Band members
Alex Luke – vocals, guitars, bass, piano

Guest musicians
Maciek Szczyciński – double bass (session)
Steven Schumann – cello (session)
German Dmitriev – violin (session)
Mordian – vocals on “Precious Atones” and “Eternal Recurrence”
James Dorton – vocals on “Precious Atones”

Album Review – Nuclear Tomb / Epoch Inhumane (2026)

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These Progressive Thrash/Death Metal stalwarts are back with their sophomore full-length album, delivering faster speeds, deeper hooks, and even more dynamic twists than their fans have already come to expect.

Delivering a unique fusion of tight Thrash Metal riffing, noisy Punk Rock aggression, Progressive Rock ambition, and classic Heavy Metal grandeur, Baltimore, Maryland’s own Progressive Thrash/Death Metal stalwarts Nuclear Tomb are back as twisted and vicious as ever with their sophomore full-length album, titled Epoch Inhumane, following up on their 2024 opus Terror Labyrinthian. Engineered and mixed by Matt Michel at Viva Studio, mastered by Brad Boatright at Audiosiege, and showcasing a thrashing, apocalyptic artwork by Brad Moore, the new offering by Michael Brown on vocals and guitar, Matt Ibach also on the guitar, Amelia Morris on bass, and JD Lookabill on drums brings forward faster speeds, deeper hooks, and even more dynamic twists than their fans have already come to expect, being therefore perfect for fans of the music by Voivod, Pestilence, Coroner, and Atheist, just to name a few.

A cryptic warning sets the stage for the band’s maniacal thrashing feast titled Watch The Skies, with the harsh roars by Michael bringing even more adrenaline to their sound, followed by Falling Out The World Of Lies, a lesson in underground Progressive Thrash Metal by those American marauders with the rumbling bass and drums by Amelia and JD sounding absurdly heavy and vibrant. Unbowed / Averse is undoubtedly more experimental than its predecessors, led by the caustic and groovy riffs by Michael and Matt, whereas Faithless Continuum keeps the atmosphere as dark and visceral as possible, with JD once again sounding inhumane behind his drums. And they definitely know how to bring the intricacy of Progressive Metal to their core Thrash Metal insanity without slowing it down not even a bit, which is exactly the case in Broken Promise, Barren Essence.

Get ready to be caught in a nuclear mosh by Nuclear Tomb to the sound of Lifeless Transformation, where they speed things up and offer our avid ears their passion for the 80’s and 90’s infused with their progressive vein; followed by Butcher’s Lament, not their best effort to date, as it sounds a bit dissonant and out of place when compared to all other songs of the album. They get back on track with the razor-edged Terminally Emboldened, where their riffs and solos are effectively supported by the gigantic kitchen sounds crafted by Amelia and JD. The Coward’s Curse is another tune where they experiment with different sounds and tones while keeping blasting their killer thrashing core nonstop, whereas finally we face the multi-layered, rockin’ title-track Epoch Inhumane, showcasing the band’s undisputed dexterity until its eerie, grim finale.

Presenting songs that fearlessly rip and tear through warped tales of real world society’s impending collapse, Epoch Inhumane is a must-listen for fans of the weirdest side of Thrash Metal without forgetting the genre’s core aggression and speed, and if you want to know more about those American thrashers you can find them on Facebook and on Instagram, stream their caustic music on any platform like Spotify, and of course put your hands on such a striking album by purchasing it from the band’s own BandCamp or from Rotted Life Records. In other words, be prepared for the horror of the mind thrashing sonic nightmares blasted by Nuclear Tomb. You’ll never be able to sleep again after such a wild ride.

Best moments of the album: Falling Out The World Of Lies, Lifeless Transformation and Terminally Emboldened.

Worst moments of the album: Butcher’s Lament.

Released in 2026 Rotted Life Records

Track listing
1. Watch The Skies 3:17
2. Falling Out The World Of Lies 3:47
3. Unbowed / Averse 3:35
4. Faithless Continuum 3:56
5. Broken Promise, Barren Essence 3:58
6. Lifeless Transformation 3:02
7. Butcher’s Lament 3:30
8. Terminally Emboldened 2:25
9. The Coward’s Curse 3:53
10. Epoch Inhumane 5:02

Band members
Michael Brown – vocals, guitar
Matt Ibach – guitar
Amelia Morris – bass
JD Lookabill – drums

Guest musician
Demir Soyer – additional lead guitars

Album Review – Xenosis / Hermetic Transmutation (2026)

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New Haven, Connecticut’s own Progressive Death Metal entity strikes again with their incendiary fifth studio album, retaining their core sound as they elaborate on both the progressive and technical aspects.

Honing their craft with each album since their inception back in 2010, and showcasing a flair for experimentation too, New Haven, Connecticut-based Progressive Death Metal entity Xenosis is ready to attack our senses once again with their fifth studio album, entitled Hermetic Transmutation, following up on their amazing albums Haunted Skies (2012), Sowing the Seeds of Destruction (2015),  Devour and Birth (2018), and Paralleled Existence (2021). Showcasing a striking artwork by Graphic Nightmare, the new offering by Sal Bova on vocals, Kenny Bullard and Keith Benway on the guitars, Travers Kenney on bass, and Gary Marotta on drums retains their core sound as the band elaborates on both the progressive and technical aspects, even borrowing elements of Brutal Death Metal and Dissonant Death Metal to achieve that, becoming a must-listen for admirers of Death, Atheist, Gorguts, Obscura, Evilyn, and Mors Verum, just to name a few.

Those ultra talented American metallers don’t waste a single second and begin their Technical Death Metal feast in Sentient Shapes, spearheaded by the menacing guitars by Kenny and Keith, kicking off the album on a high and insane mode for our absolute delight; and their striking riffs continue to cut our skin deep in Prolapsed Twin Entombment, while Gary sounds like a stone crusher of progressiveness on drums. Needless to say, it will surely sound amazing if they decide to add it to their live performances. Spore Whore sounds as ravenous as its predecessors, with the dissonant sound of their guitars being perfect for the bestial vocals by Sal, keeping the album’s flow moving in great fashion with zero moments of boredom.

Then after the Stygian instrumental interlude Engravings for Dyslexic Clairvoyants we’re treated to Rapid Metamorphosis, one of the most detailed and complex songs of the entire album, again presenting Sal’s demonic roars to give it an edgier vibe, feeling as if Dream Theater decided to go full Death Metal, not to mention its experimental passages will quickly consume your rotten mind. After such a bold and multi-layered tune, Sea of Teeth feels a bit generic. Well, I know it’s not, but it gets a bit repetitive after a while. Travers then gives a lecture in insanity armed with his bass in Altar of the Hound, blending the most idiosyncratic elements of Progressive and Dissonant Death Metal; and get ready for one final progressive attack by Xenosis in the form of No Longer Human, with Kenny and Keith again stealing the show with their sharp riffs and solos.

After years of toiling, Xenosis have created a delightfully engrossing album that is bound to confound, tantalize, and ultimately satiate fans of Progressive Death Metal. Hermetic Transmutation is at the same time absolutely aggressive and intricate, old school and experimental, upbeat and obscure. You can put your hands on such a unique album of extreme music by purchasing it from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, and don’t forget to also check what those talented musicians are up to on Facebook and on Instagram, and to stream their unique creations on Spotify or any other platform. After all is said and done, you’ll easily realize that Xenosis are out for blood armed with Hermetic Transmutation, waving the banners of Progressive and Technical Death Metal high in the always electrifying American underground.

Best moments of the album: Prolapsed Twin Entombment, Rapid Metamorphosis and Altar of the Hound.

Worst moments of the album: Sea of Teeth.

Released in 2026 Transcending Obscurity Records

Track listing
1. Sentient Shapes 5:21
2. Prolapsed Twin Entombment 4:35
3. Spore Whore 7:15
4. Engravings for Dyslexic Clairvoyants 1:08
5. Rapid Metamorphosis 7:38
6. Sea of Teeth 4:40
7. Altar of the Hound 6:05
8. No Longer Human 6:02

Band members
Sal Bova – vocals
Kenny Bullard – guitar
Keith Benway – guitar
Travers Kenney – bass
Gary Marotta – drums

Album Review – Funebrarum / Beckoning The Void of Eternal Silence (2026)

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Renowned worldwide for blending traditional American Death Metal with European and Scandinavian Death Metal, this deadly ensemble will attack armed with their ruthless third album.

Formed in 1999 in Clifton, New Jersey, the unrelenting Death Metal horde Funebrarum is renowned worldwide for a dark and heavy sound that blends traditional American Death Metal with influences from the European and Scandinavian Death Metal scenes of late 80’s and early 90’s such as Bolt Thrower, Demigod, and Abhorrence. After a long (but temporary) five-year hiatus due to the pandemic, career and familial responsibilities, the band formed of vocalist Daryl Kahan, guitarists Sam Osborne and Phil Tougas, bassist Kyle Winslow, and drummer Charlie Koryn is finally back into the battlefield with their third studio album, titled Beckoning The Void of Eternal Silence, following up on their 2001 debut Beneath the Columns of Abandoned Gods, their 2009 sophomore The Sleep of Morbid Dreams, and their 2016 EP Exhumation of the Ancient. Recorded by Charles Koryn at Elektric City Recording, and mixed by Steven Di Acutis at Sound Spa Productions, the album is perfect for fans of Incantation, Tomb Mold, and Autopsy, among others, keeping the fires of classic Death Metal burning majestically.

As if it was taken from a Sci-Fi horror movie, the intro The Arrival opens the gates of the underworld for Funebrarum  to kill us all in Beckoning the Void of Eternal Silence, a lecture in Black, Death and Doom Metal showcasing an overdose of sluggish beats by Charlie while Daryl delivers deep, inhumane roars nonstop. Ša Nagba Amāru, the opening line of the standard Babylonian version of the Epic of Gilgamesh, translating from Akkadian to “he who witnessed the abyss”, is an absolute Death and Doom Metal feast blasted by the guys, whereas Through the Barren Halls of Grieving Emptiness continues their path of devastation and chaos, with Sam and Phil breathing fire through their riffs and solos. And Into Dark Domains is one of the heaviest and most doomed songs of the album, with the vocals by Andreas sounding utterly demonic.

It looks like their plan was to split the album in two acts, as we face the atmospheric interlude Ancestral Manor before all hell breaks loose in the incredibly heavy Anhela Odor Mortoruom (The Adepts), led by the massive bass and drums by Kyle and Charlie. Put differently, it can’t get any heavier than this. Then presenting a wild fusion of Death and Doom Metal we have From Rotting Burial Shrouds, with their vocals and riffs sounding primeval and intoxicating; and Kyle keeps blasting his bass without a single drop of mercy in Turning the Stones of Torment, keeping the album as incandescent as it is obscure. Last but certainly not least, they bring forward their most detailed, multi-layered and demonic composition to date, entitled The Whispering Cathedral – Epilogue, with the riffage by Sam and Phil darkening the skies in the name of extreme music until all fades into a climatic, vile finale.

After all is said and done, you’ll feel absolutely disoriented when the last notes in Beckoning The Void of Eternal Silence penetrate deep inside your rotten soul, proving how demolishing yet intricate and detailed the music by Funebrarum can be. If you want to know more about those guys, their tour dates, plans for the future and so on, you can find them on Facebook and on Instagram, and don’t forget to also stream their ruthless music on Spotify and on Apple Music. Beckoning The Void of Eternal Silence can be purchased directly from their own Bandcamp, or you can also get it from the Pulverised Records’ BandCamp or webstore. But be warned Funebrarum do not fool around when it comes to crafting Death Metal. Their music is deadly, and once it hits you, get ready to be crushed into tiny pieces.

Best moments of the album: Beckoning the Void of Eternal Silence, Anhela Odor Mortoruom (The Adepts) and The Whispering Cathedral – Epilogue.

Worst moments of the album: Ancestral Manor.

Released in 2026 Pulverised Records

Track listing
1. The Arrival 1:53
2. Beckoning the Void of Eternal Silence 5:30
3. Ša Nagba Amāru 6:56
4. Through the Barren Halls of Grieving Emptiness 4:26
5. Into Dark Domains 5:48
6. Ancestral Manor 1:32
7. Anhela Odor Mortoruom (The Adepts) 5:03
8. From Rotting Burial Shrouds 3:50
9. Turning the Stones of Torment 5:28
10. The Whispering Cathedral – Epilogue 8:44

Band members
Daryl Kahan – vocals
Sam Osborne – guitars
Phil Tougas – guitars
Kyle Winslow – bass
Charlie Koryn – drums

Guest musician
Patrik Fernlund – lead guitars

Album Review – Elder / Through Zero (2026)

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The leaders of Heavy Psychedelic Rock take their years of experience and form their most engaging record to date, allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework.

Consisting of frontman and lead guitarist Nick DiSalvo, bassist Jack Donovan, guitarist and keyboardist Michael Risberg, and drummer Georg Edert, formed in Massachusetts, in the United States, but currently located in Berlin, Germany, Heavy Psychedelic Rock band Elder is back with their seventh studio album, titled Through Zero, the follow-up to their 2022 opus Innate Passage. Two decades into their existence, Elder remain an anomaly in the underground rock scene, a rare band with the ability to absorb and shed influences from a myriad of genres without falling into pastiche or losing their own identity, and their new record is a strong reaffirmation of a commitment to pushing boundaries in the world of Heavy Rock and cements the group’s status as leaders of the pack in Heavy Psychedelic Rock. Recorded in Berlin across several months between tours in 2025, and the first album which the band not only produced but also co-mixed together with longtime collaborator Richard Behrens, Through Zero sounds more like a full extension of the band’s creative intentions than ever before.

It’s always a bold move to kick off an album with a ten-minute song like Sigil To Ruin, I mean, will the listener stay hooked? Well, in this case I can guarantee you won’t get bored at all, with the bass by Jack hammering your heads mercilessly while Nick delivers delicate yet piercing vocals nonstop. Capture & Release is another very detailed and enfolding aria by those guys, with its whimsical start morphing into a feast of Progressive Rock and Metal led by the intricate beats and fills by Georg; while the title-track Through Zero brings to our avid ears an overdose of psychedelia flowing from the riffs by Nick and Mike, alternating between atmospheric passages and sheer progressive madness. Strata, the longest song of the album, kicks off to the classy bass by Jack while also presenting multiple layers and nuances, with Nick’s vocals overflowing energy and passion; and it’s time for the most psychedelic of all songs, titled Sight Unseen, while still presenting their Heavy Metal vein. Furthermore, Jack and Georg are relentless with their respective bass and drums. And lastly, we’re treated to the introspective outro Blighted Age, turning the ambience into fields of serenity thanks to the song’s soothing guitars and minimalist beats.

In their new album, Elder takes their years of experience and forms possibly their most immediate and engaging record to date, while allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework, being therefore highly recommended for fans of Earthless, Truckfighters, Electric Wizard, The Sword, Sleep, Kylesa, Pallbearer, Monolord, and YOB, among several others. If you want to join them in their unique journey through the lands of psychedelia and progressiveness, you can find them on Facebook and on Instagram, stream their music on Spotify, and put your hands on their new album via BandCamp or by clicking HERE. Rock N’ Roll has never been heavier and crazier, and we must thank bands like Elder for releasing albums like Through Zero and, therefore, for making our world a much more pleasant place.

Best moments of the album: Sigil To Ruin and Strata.

Worst moments of the album: None.

Released in 2026 Blues Funeral Recordings

Track listing
1. Sigil To Ruin 10:34
2. Capture & Release 8:48
3. Through Zero 9:06
4. Strata 10:48
5. Sight Unseen 8:51
6. Blighted Age 5:49

Band members
Nick DiSalvo – vocals, guitars
Mike Risberg – guitars, keyboards
Jack Donovan – bass
Georg Edert – drums

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