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Album Review – Unmerciful / Devouring Darkness (2025)

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This Kansas-based Brutal Death Metal beast strikes again with their fourth studio album, delivering ten tracks of unrelenting speed, crushing riffs, and sheer sonic aggression.

Known for their relentless brutality and technically devastating sound, Topeka, Kansas-based Brutal Death Metal creature Unmerciful returns with their fourth full-length opus, titled Devouring Darkness, the follow-up to their 2020 album Wrath Encompassed. Recorded, produced and mixed by Clinton Appelhanz at Waveworks Studio, mastered by Alan Douches, and displaying a visceral artwork by Santiago Francisco Jarramillo, the new album by newcomer Josh Riley on vocals, guitarists/bassists Clinton Appelhanz and Jeremy Turner, and drummer Trynt Kelly delivers ten tracks of unrelenting speed, crushing riffs, and sheer sonic aggression, solidifying their reputation as one of the most punishing acts in modern Death Metal, being therefore recommended for fans of Hate Eternal, Suffocation, and Origin.

Miracle In Fire is a beyond devastating start to the album, kicking us hard in the head with their no shenanigans, devilish sounds led by the guttural gnarls by Josh, and their Brutal Death Metal infused with Technical Death Metal keeps roaring manically in Unnatural Ferocity, with Trynt sounding like a stone crusher from hell on drums. There’s no time to breathe as Unmerciful simply shows no mercy for our necks and bodies in Malice Unbound, spearheaded by a visceral riff attack by Clinton and Jeremy, whereas the title-track Devouring Darkness offers us all a more obscure, doomed side of the band, with Josh barking deeply like a demonic entity. And Relentless Malevolence blasts our faces with two and a half minutes of sheer insanity and ruthless violence, with the crushing beats by Trynt making the earth tremble.

Their cover version for Origin’s Vomit You Out, which original version was part of their 2000 self-titled debut, is a fulminating rendition of such a tech death classic led by the demented growling by Josh; while Infernal Conquering is one of the heaviest, most infernal of all songs, with their scorching riffs and demented beats and fills providing Josh with exactly what he needs to bark like a beast. The Reaping is another explosion of brutality offered by the band, with the demonic growling by Josh and the inhumane drumming by Trynt being perfect for some action inside the mosh pit; and they keep smashing us like putrid insects in Voracious Lunacy, another killer Brutal and Technical Death Metal composition showcasing their passion for extremely heavy riffs. Finally, the album couldn’t have ended in a more ferocious way than with Vengeance Transcending, where their lancinating guitars and blast beats sound absolutely brutal until the very end.

After all is said and done, it’s clear that Unmerciful are definitely cementing their legacy even further with Devouring Darkness, offering more of their signature precision and brutality for the delight of Death Metal fans worldwide, and you can start following this ruthless band on Facebook and on Instagram, as well as stream their music on Spotify and of course purchase a copy of their sanguinary new album from BandCamp or from Willowtip Records. Unmerciful are among us to blast our ears with Brutal Death Metal at its finest, and instead of succumbing to darkness, let’s simply devour it mercilessly to the sound of their infuriated new album.

Best moments of the album: Miracle In Fire, Infernal Conquering and The Reaping.

Worst moments of the album: None.

Released in 2025 Willowtip Records

Track listing
1. Miracle In Fire 4:06
2. Unnatural Ferocity 3:33
3. Malice Unbound 3:39
4. Devouring Darkness 5:35
5. Relentless Malevolence 2:40
6. Vomit You Out (Origin cover) 2:51
7. Infernal Conquering 4:12
8. The Reaping 4:15
9. Voracious Lunacy 3:39
10. Vengeance Transcending 3:51

Band members
Josh Riley – vocals
Clinton Appelhanz – guitar, bass
Jeremy Turner – guitar, bass
Trynt Kelly – drums

Album Review – Axiom Chaos / Primacy Arrival (2025)

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A new entity has crawled from the boiling swamps that lie in the deepest recesses of the Death Metal underworld, unleashing hell to the sound of their debut offering.

A new entity has crawled from the boiling swamps that lie in the deepest recesses of the Death Metal underworld, a force of terrifying alien power and chilling otherness that is about to bleed insidiously into our reality. I’m talking about Ohio/South Carolina, United States-based Technical/Brutal Death Metal outfit Axiom Chaos, a ruthless creature that’s unleashing upon humanity their debut offering, entitled Primacy Arrival. Bedecked in the visionary artwork of Morket Art (Engulfed, Inverted Ascension), the first full-length opus by the duo formed of Justin Vølus (Vølus, Fall Of Gnosis, Maggot Crown) on vocals and Ben Vanweelden (Venomous Echoes, Ceremonic Buryment) on the guitars, bass and drums will challenge, disturb and dominate, opening new pathways for Death Metal and, therefore, being recommended for fans of Immolation, Vastum, Blood Incantation and Disma, just to name a few.

Justin begins his ruthless vocal attack in The King, I Am, sending shivers down our spines while Ben crafts a caustic fusion of Death and Doom Metal not recommended for the lighthearted; whereas the title-track Primacy Arrival showcases an even more enraged duo, with the riffage by Ben exhaling heaviness and hatred. They keep spreading their sonic violence in The Gift of Recognition, a Brutal Death Metal feast led by Justin’s deep, inhumane roaring, and Justin’s vile shrieks will crawl under your skin in Extraterrestrial Necrotic Urge, while Ben smashes his drums in the name of Death Metal. Let’s then slam into the pit together with Axiom Chaos in Antediluvian Origin Unknown, a frantic, no shenanigans explosion of Death Metal led by the crushing riffs and drums by Ben; and there’s still time for more violence and hatred in the form of Wormhole Pathways of Conquest, with Justin bursting his lungs by roaring like a beast. Finally, Ben sounds once again striking and furious with his riffs and beats in Exodus Into Oblivion, putting a demolishing yet very melodic and vibrant ending to the album.

In Primacy Arrival, Axiom Chaos have fused the devastating impact of Death Metal with the untamable capricious might of pandemonium, invoking strange, compelling visions tailored for admirers of the genre. Hence, if you want to get in touch with such a talented and brutal American duo, you can find those guys on Facebook, stream their music on Spotify, and of course show them your utmost support by purchasing a copy of their incendiary, evil debut from Comatose Music’s BandCamp or webstore. The stairways to the new world are open and the drums of destruction are calling. The fires of war are alight to the sound of Primacy Arrival, a demented display of savagery that will surely please anyone in search for endless violence but with a huge slab of dexterity and melody.

Best moments of the album: The King, I Am, The Gift of Recognition and Exodus Into Oblivion.

Worst moments of the album: None.

Released in 2025 Comatose Music

Track listing
1. The King, I Am 4:24
2. Primacy Arrival 4:30
3. The Gift of Recognition 4:53
4. Extraterrestrial Necrotic Urge 3:54
5. Antediluvian Origin Unknown 4:25
6. Wormhole Pathways of Conquest 4:22
7. Exodus Into Oblivion 5:24

Band members
Justin Vølus – vocals
Ben Vanweelden – guitars, bass, drums

Album Review – Ominous Ruin / Requiem (2025)

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San Francisco, California-based tech death juggernauts are back with their infuriated sophomore opus, representing a powerful exploration of the human psyche, the ravages of time, and the inevitable descent into oblivion.

San Francisco, California-based Ominous Ruin, the ruthless Death Metal juggernaut known for their intricate compositions and unrelenting sonic brutality, has returned to the battlefield with their highly anticipated new album, simply titled Requiem, following up on their critically acclaimed 2021 opus Amidst Voices That Echo in Stone. Written, produced, mixed and mastered by the band’s own guitarist Alex Bacey, recorded by Cody Fuentes at Rapture Recordings and by Petr Oplatka at Petropolys Media, and displaying a striking artwork by world renowned illustrator Pär Olofsson, the new album by newcomer Crystal Rose on vocals, Alex Bacey and Joel Guernsey on the guitars, Mitch Yoesle on bass, and Harley Blandford on drums is a formidable leap forward in both musical complexity and emotional depth, while also representing a powerful exploration of the human psyche, the ravages of time, and the inevitable descent into oblivion.

The album starts with a delicate, atmospheric Intro, setting the stage for Ominous Ruin to demolish our senses in Seeds of Entropy, with the intricate yet visceral guitar lines by Alex and Joey providing Crystal with exactly what she needs to roar like a true she-wolf in a killer display of Technical Death Metal. Crystal continues to vociferate rabidly in Eternal, while Harley delivers a bestial performance behind his drums, resulting in six minutes of first-class extreme music; and after the eerie instrumental interlude Bane of Syzygial Triality the band will smash us like putrid insects with Divergent Anomaly, with Harley once again pounding his drums manically supported by the rumbling bass by Mitch, sounding beautifully insane from start to finish.

In Fractal Abhorrence they continue with their undisputed feast of Technical Death Metal infused with sheer brutality and rage, with their riffs and bass lines sounding utter metallic while Crystal keeps blasting her venomous roars for our total delight. And get ready for eight minutes of demented, intricate and visceral sounds in Architect of Undoing, the most detailed of all songs, starting with a beyond thrilling instrumental piece before crystal arrives growling like a demon, not to mention Harley sounds beyond inhumane on drums. Then the band shows no sign of mellowing down their sound in Staring into the Abysm, again blasting our ears with their ruthless Death Metal, with Mitch simply sounding infernal on bass; whereas lastly, we’re treated to the Archspire-like title-track Requiem, another lecture in dexterity, speed and insanity by the band led by the phenomenal riffage by Alex and Joey.

Requiem is, at its core, a continuation of Amidst Voices that Echo in Stone, having its conception spawned from the raw emotion of personal issues and turmoil, as it was created during a dark time in the band’s lives. All that darkness translates into first-class extreme music as expected, turning the album into a must-listen for fans of the genre. Hence, don’t forget to check what Ominous Ruin are up to on Facebook and on Instagram, to check more of their music on YouTube and on Spotify, and to grab a copy of the incendiary Requiem by clicking HERE. The album might be a new phase in the band’s career, but their core savagery, violence and intricacy is intact, inviting us all to join them in the battlefield while they take another giant step forward in their exciting career.

Best moments of the album: Seeds of Entropy, Divergent Anomaly, Architect of Undoing and Requiem.

Worst moments of the album: Bane of Syzygial Triality.

Released in 2025 Willowtip Records

Track listing
1. Intro 0:56
2. Seeds of Entropy 4:03
3. Eternal 6:05
4. Bane of Syzygial Triality 2:39
5. Divergent Anomaly 5:17
6. Fractal Abhorrence 5:14
7. Architect of Undoing 7:59
8. Staring into the Abysm 3:16
9. Requiem 5:01

Band members
Crystal Rose – vocals
Alex Bacey – guitars
Joel Guernsey – guitars
Mitch Yoesle – bass
Harley Blandford – drums

Album Review – Behölder / In The Temple Of The Tyrant (2025)

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This American horde will attack our senses with their debut opus, a true love letter to Epic Doom Metal inspired by classic Dungeons & Dragons.

Hailing from Philadelphia, Pennsylvania, in the United States, Behölder are an Epic Doom/Dark/Power Metal band inspired by classic Dungeons & Dragons, formed in late 2021 by guitarist Carlos Alvarez. Produced by the same Carlos Alvarez, mixed and mastered by Ronnie Björnström at Björnström Ljud & Produktion, and displaying a stunning artwork by Zsofia Dankova, their debut opus, titled In The Temple Of The Tyrant, features eight tracks of monstrous proportions, a true love letter to Epic Doom Metal weaving cautionary tales from the more grim, foreboding realms of fantasy against a backdrop of colossal riffs with elegant yet powerful melodies, all carefully crafted by vocalist John Yelland, guitarists Carlos Alvarez and Matt Hodsdon, bassist Michael Sanchez, and drummer Andrew Julkowski.

A Pale Blood Sky begins in a strong doomed vibe thanks to the heavy riffs by Carlos and Matt, supported by the always thunderous bass by Michael, and let’s all headbang like beasts to the epic vocals by John because those are awesome. Then their melodious, penetrating guitar lines set the tone in Dungeon Crawl, another feast of Epic and Doom Metal with a thrilling galloping pace; and it’s time for an even heavier tune titled Into the Underdark, with the pounding drums by Andrew walking hand in hand with the deep vocals by John, not to mention how powerful the bass by Michael sounds. After that we face Eyes of the Deep (featuring guest vocalist Tomi Joutsen of Amorphis), which reminds me of some of the darkest creations by Black Sabbath with Dio, in special from when they were called Heaven & Hell, with the entire band sounding tight, epic and fierce until the very last second.

The band then fires a more introspective composition entitled For Those Who Fell, offering seven minutes of dark, sluggish passages rooted in classic Doom Metal, or in other words, it’s a beautiful dark ballad by the band. Then investing in a primeval, tribalistic sound we have Draconian (Slave or Master), as if it was part of a somber, obscure ritual, with the riffage by Carlos and Matt penetrating deep inside our skin in great fashion, followed by Summoned & Bound, which lacks the same energy and punch from the previous songs. John still delivers his share of epicness through his vocals, though. And lastly we’re treated to I Magus, an amazing blast of Epic Doom Metal led by the thunderous vocals by John while his bandmates not only craft a powerful sound, but their backing vocals are also spot-on, putting a phenomenal and obviously epic ending to the album.

As the band itself likes to say, their debut album offers us all avid listeners “magic, mayhem and riffs heavier than a storm giant’s ass,” being therefore highly recommended for fans of Candlemass, Solitude Aeturnus, Sorcerer, and Memento Mori, among others. Hence, you can join the band in their magic metal quest by following them on Facebook and on Instagram, and of course by purchasing a copy of In The Temple Of The Tyrant from the Black Lion Records’ BandCamp or webstore, from Indiemerchstore, from Season of Mist, or simply by clicking HERE or HERE. In the end, Behölder are definitely going to make a lot of noise armed with their first ever album, adding an extra dosage of sheer doom to the already heavy and thunderous world of Dungeons & Dragons.

Best moments of the album: A Pale Blood Sky, Draconian (Slave or Master) and I Magus.

Worst moments of the album: Summoned & Bound.

Released in 2025 Black Lion Records

Track listing
1. A Pale Blood Sky 6:34
2. Dungeon Crawl 5:39
3. Into the Underdark 5:20
4. Eyes of the Deep 6:25
5. For Those Who Fell 6:58
6. Draconian (Slave or Master) 5:52
7. Summoned & Bound 5:34
8. I Magus 6:44

Band members
John Yelland – lead vocals
Carlos Alvarez – guitars, backing vocals
Matt Hodsdon – guitars, backing vocals
Michael Sanchez – bass, backing vocals
Andrew Julkowski – drums, backing vocals

Guest musician
Tomi Joutsen – vocals on “Eyes of the Deep”

Album Review – Grey Mountain / Grey Mountain (2025)

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A transatlantic metal project featuring members of several renowned acts strikes with their debut offering, a crushing fusion of Heavy, Death and Doom Metal with Post-Metal and other discordant influences.

A transatlantic metal project featuring members of Monsterworks, Bull Elephant, Construct of Lethe, and Black Harvest, Grey Mountain are unleashing upon us their self-titled debut opus, offering our avid ears a crushing fusion of styles from Heavy, Death and Doom Metal to Post-Metal and other discordant influences. Recorded by the band itself, mixed by vocalist and guitarist Jon Higgs (Thūn, Moose Cult), mastered by Dan Swanö at Unisound, and displaying a stylish artwork by guitarist and bassist Kishor Haulenbeek (Black Harvest, Construct of Lethe, In Human Form), the debut album by the aforementioned Jon and Kishor, alongside drummer James Garnett (Monsterworks), will hit you right in the jugular without a single drop of mercy, proving those three talented musicians are not fooling around with their new partnership.

The minimalist guitar lines by Jon and Kishor and the sluggish beats by James set the tone in Grey Mountain, offering a sharp fusion of Doom and Post-Black Metal, or in other words, the music couldn’t have represented better the name of the song (and also of the band). Perpetual Imbalance might be shorter in duration, but it’s as harsh and visceral as the opening track, with James hammering his drums in the name of modern-day Sludge Metal; followed by A Universal Evil, another melodic yet grim creation by the trio, offering a dynamic guitar duel between Jon and Kishor, being therefore perfect for breaking your neck headbanging. Then presenting a pure Post-Metal sonority we have Hermitage, with Jon’s anguished roars sounding beautifully haunting; whereas Many Shades, A Storm starts in a more introspective, serene manner before evolving into a not-so-exciting Post-Metal feast led by James’ classic beats. It’s time for the trio to crush their instruments in Decline and Fall, with Jon roaring like a beast amidst a modern-day fusion of Post-Metal with Doom and Sludge Metal, and the band fires one last breath of heavy and melodic sounds in the form of Living Mythology, with their riffs and solos sounding caustic and piercing until the very end.

Having already a second album planned in a not-so-distant future, Grey Mountain deliver an overdose of heaviness in their self-titled debut offering, which you can purchase from Ampwall or from BandCamp. Also ,although the band itself doesn’t have any official social media yet, you can get more details about the whole project as well as other projects from Jon’s Instagram, and who knows, maybe sooner than we can say “metal” we’ll see those guys hitting the stage together as Grey Mountain. Based on the quality of the music found in their debut, I think we all agree we need that to happen.

Best moments of the album: Grey Mountain, Hermitage and Living Mythology.

Worst moments of the album: Many Shades, A Storm.

Released in 2025 Eat Lead and Die Music

Track listing
1. Grey Mountain 6:39
2. Perpetual Imbalance 3:39
3. A Universal Evil 7:27
4. Hermitage 6:35
5. Many Shades, A Storm 4:30
6. Decline and Fall 3:52
7. Living Mythology 5:48

Band members
Jon Higgs – guitars, vocals
Kishor Haulenbeek – guitar, bass, vocals
James Garnett – drums

Album Review – Exiled Hope / Apocrypha (2025)

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A lone she-wolf of Symphonic and Blackened Power Metal returns with the third and exciting installment of her ongoing musical narrative.

Formed in 2019 in Maryland, United States, Symphonic/Blackened Gothic/Power Metal one-woman army Exiled Hope is set to unleash the project’s third installment of its ongoing musical narrative, entitled Apocrypha. Drawing musical inspiration from the likes of Avantasia, Nightwish, Kamelot and Cradle of Fitlh, to name a few, the lone she-wolf Sofia Frasz is back in action with a twelve-track album that follows a new protagonist who seeks guidance from familiar (yet otherworldly) forces as he uncovers the truth about the path to success laid out before him, further expanding the story Sofia and her Exiled Hope have crafted through the years.

Sofia kicks off the album to the soothing sound of the piano in The Summoning, already showcasing her passion for dark and melancholic music, exploding into Blackened Gothic Metal to the sound of her she-demon gnarls; and our diva strikes again in full force with her classic riffs, low-tuned bass and deep vocals in The Day Will Come, offering a darker version of contemporary Symphonic Metal. She then puts the pedal to the metal in the rockin’ tune Blood Of The Ancients, showcasing all her dexterity behind the drums, whereas she makes a passionate vocal duet with guest Metal Matt in Dreamwalker, a soothing ballad that sounds truly powerful from start to finish. Then we face Over For You, leaning towards the early days of Nightwish with a darker twist, with Sofia kicking some ass with her potent vocal reach and classic riffs; and featuring guest vocalist Imperator Mortem we have Altar Of Moloch, with both Sofia and Imperator Mortem sounding like obscure creatures from the underworld in a lecture in Atmospheric Black Metal.

In The Silence Is Deafening she switches gears to a more Doom Metal-inspired sound with Gothic and Symphonic Metal nuances, once again hypnotizing us all with her vocals, followed by Behold My Shattered Skies, the second ballad of the album, sounding as enfolding as the first one and with Sofia’s deep vocals walking hand in hand with the song’s ambience. After that, we’re treated to Deathslayer, bringing forward over eight minutes of first-class heavy yet delicate music, a trademark sound by Sofia and her Exiled Hope, with her striking riffage, blast beats and devilish growls adding an extra touch of insanity to the music, exploding into a melodic attack of Blackened Power Metal led by her classic guitar lines and crushing drums entitled Lightborn. She then offers another Ambient track titled Remnants, maybe a bit too long for an instrumental interlude, while closing the album we have Forbidden Majesties, where once again Sofia showcases both her delicate and demonic sides at the same time.

“The release of Apocrypha represents three years of practice, exploration, trial and error, learning, and a lot of overthinking,” commented Sofia about her newborn baby. “Apocrypha feels detailed and relatable, yet larger-than-life, and I hope you enjoy the journey of listening to it as much as I enjoyed the journey of creating it. Creating music is about the journey as much as it is about the destination, or the final product.” After such beautiful words by our dauntless diva, you should definitely go check what she’s up to on Facebook and on Instagram, listen to her music on YouTube and on Spotify, and grab a copy of Apocrypha from BandCamp or by clicking HERE, allowing Sofia’s music to penetrate deep inside your soul on another exciting journey by one of the most creative names of the current metal scene.

Best moments of the album: The Day Will Come, Dreamwalker, Deathslayer and Lightborn.

Worst moments of the album: Remnants.

Released in 2025 Independent

Track listing
1. The Summoning 3:19
2. The Day Will Come 3:46
3. Blood Of The Ancients 4:08
4. Dreamwalker 3:40
5. Over For You 4:20
6. Altar Of Moloch 4:25
7. The Silence Is Deafening 4:28
8. Behold My Shattered Skies 4:57
9. Deathslayer 8:11
10. Lightborn 5:27
11. Remnants 3:52
12. Forbidden Majesties 4:25

Band members
Sofia Frasz – vocals, all instruments

Guest musicians
Metal Matt – vocals on “Dreamwalker”
Imperator Mortem – vocals on “Altar of Moloch”

Album Review – Allegaeon / The Ossuary Lens (2025)

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World domination awaits to the sound of the striking new beast by one of the must-see bands of the current Technical and Melodic Death Metal scene worldwide.

Never allowing themselves to stagnate, preferring to thrive on chaos, change and evolution, Fort Collins, Colorado-based Technical/Melodic Death Metal beast Allegaeon is back with their seventh studio opus, entitled The Ossuary Lens, the follow-up to their 2022 album Damnum, and their first with original vocalist Ezra Haynes since his 2015 departure following the Elements of the Infinite album. Produced, recorded, mixed and mastered once again by Dave Otero at Flatline Audio, the new album by the aforementioned Ezra Haynes on vocals, Greg Burgess and Michael Stancel on the guitars, Brandon Michael on bass, and Jeff Saltzman on drums might not be a concept album in the traditional sense, but there is an overarching theme to it, a representation of several different viewpoints of death, with its science-based lyrics sounding as challenging as the progressive musicianship, resulting in a set of songs that simply slay.

A serene, melancholic intro titled Refraction sets the tone for the reinvigorated Allegaeon to attack like a demented beast in Chaos Theory, where Ezra returns in full force to the band armed with his demonic roars while Jeff also showcases all his technique and rage behind his drums. In Driftwood the band blasts dark, violent words (“Blindsided, in a shell of silence, alone / Decided, motive breach the eyelids, then sewn / Reminded, death walks beside us, inside us / In hindsight it was the path of a nihilist and pawn”) amidst a beyond Progressive Death Metal sound; followed by the epic and imposing Dies Irae, with all background elements matching perfectly with the visceral riffage by Greg and Michael in an overdose of Melodic Death Metal. And The Swarm is a beautiful and violent depiction of the band’s core essence, with the inhumane screams by Ezra being boosted by the thunderous bass and drums by Brandon and Jeff.

If the first five songs of the album were an overdose of aggression, their technical and rabid feast continues majestically with Carried by Delusion, with Jeff once again stealing the spotlight with his unstoppable beats and fills. Then featuring guest acoustic guitars by world renowned musician Adrian Bellue, who brings an extra touch of finesse to the band’s demented sounds, we have Dark Matter Dynamics, where Greg and Michael’s shredding riffs and solos are a thing of beauty; and the band speeds things up considerably while letting their Technical Death Metal vein arise in Imperial, led by the melodic yet piercing guitars by Greg and Michael. Wake Circling Above is a seven-minute song that starts in a more introspective manner with a Stygian background atmosphere before evolving into a complex display of Technical and Melodic Death Metal, where Ezra screams manically to the caustic riffs, bass lines and beats by his bandmates; and lastly, the closing tune, entitled Scythe, is another sonic beast, an epic, climatic composition where Jeff’s thunderous beats are nicely complemented by the song’s Stygian ambience.

“I think in the beginning we were a little more stripped down,” commented guitarist Greg Burgess. “Very guitar-forward, focused melodeath. Over time, I think more technical, symphonic and progressive elements creeped in. Finally, where we are today is all of that combined, added with more ambient elements.” In summary, The Ossuary Lens is an accomplished album that sees a rejuvenated band at the peak of its powers, and you can enjoy their undisputed dexterity and passion for heavy music by following them on Facebook and on Instagram, by streaming their solid discography on Spotify, and by purchasing their excellent new opus from BandCamp or from Metal Blade Records by clicking HERE or HERE. In the end, world domination awaits to the sound of the newborn spawn by Allegaeon, one of the must-see bands of the current scene, always ready to kick our asses and melt our faces with their first-class, undisputed “melotech”.

Best moments of the album: Dies Irae, The Swarm, Dark Matter Dynamics and Wake Circling Above.

Worst moments of the album: None.

Released in 2025 Metal Blade Records

Track listing
1. Refraction 0:59
2. Chaos Theory 4:32
3. Driftwood 4:28
4. Dies Irae 3:48
5. The Swarm 3:28
6. Carried by Delusion 4:49
7. Dark Matter Dynamics 6:03
8. Imperial 4:08
9. Wake Circling Above 6:55
10. Scythe 5:40

Band members
Ezra Haynes – vocals
Greg Burgess – guitars
Michael Stancel – guitars, backing vocals
Brandon Michael – bass, backing vocals
Jeff Saltzman – drums

Guest musician
Adrian Bellue – acoustic guitar on “Dark Matter Dynamics”

Album Review – Belnejoum / Dark Tales of Zarathustra (2025)

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A newborn Symphonic Black Metal beast will tell the story of Zarathustra’s corruption and insanity in its debut opus, utilizing symphonic elements combined with oriental and traditional classical instruments.

A Symphonic Black Metal project founded by Egyptian vocalist and multi-instrumentalist Mohamed Baligh “Aswad”, who’s currently located in the United States, utilizing symphonic elements combined with oriental instruments like the naey and traditional classical instruments such as the violin and cello, Belnejoum is unleashing upon humanity its debut album, entitled Dark Tales of Zarathustra. Mixed and mastered by Fredrik Nordstrom at Studio Fredman, and featuring an array of more-than-special musicians the likes of Fabio Bartoletti (Fleshgod Apocalypse) and Ehab Sami on the guitars, Rich Gray (Annihilator) on bass, Francesco Ferrini (Fleshgod Apocalypse) on all orchestral arrangements, George Kollias (Nile) on drums, and Tamara Jokic on Melisma vocals, as well as guest musicians Hany El-Badry on the naey, Mohamed Medhat on the violin, tenor Christian Correra on vocals, and Jeremy Garbarg on the cello, Dark Tales of Zarathustra tells the story of Zarathustra’s corruption and insanity, his journey to the underworld on the back of a demon named Aeshma, the witnessing of the horrors of Hell, and his suicide as his final act, as he no longer sees a purpose for living.

The opening track Prophet of Desolation couldn’t have sounded more atmospheric, cryptic, doomed and multi-layered, with George sounding inhumane on drums while Aswad roars deeply in the name of Black Metal. Not only that, all background orchestrations elevate the song’s epicness to a whole new level. The Day Zarathustra Turned Dark is more like an interlude than a song per se, darkening the skies before we face Tower of Silence, where the guitars by Fabio and Ehab match perfectly with the orchestral sounds crafted by Francesco; whereas the crying violin by Mohamed will penetrate deep inside your soul in On Aeshma’s Wings, a ruthless, imposing Black Metal aria where George once again steals the show with his fulminating beats and fills.

Guest Jeremy Garbarg recorded Elegie using a rare cello made by Rugieri in Cremona, Italy in 1695, resulting in a somber tune where Tamara’s minimalist vocals sound absolutely enfolding, flowing into the Symphonic Black Metal beast In Their Darkest Aquarium, with once again their orchestrations, riffs and drums generating a massive wall of sounds tailored for lovers of the genre. Then the melancholic piano by Aswad returns in As She Drowns, warming us up for Upon the Mortal Blight, a ten-minute Black Metal creature where their Cradle of Filth and Fleshgod Apocalypse vein pulses harder than ever, all boosted by another amazing vocal performance by Aswad. The Flames, the Prophet, the Tears is another piano-infused composition by Aswad, soothing our souls and preparing us all for the outro Zarathustra’s Last Requiem, a climatic track overflowing classic sounds, sealing the fate of Zarathustra.

Totaling 52 minutes across ten tracks, Dark Tales of Zarathustra is a stunning musical voyage led by Aswad that will surely take the name of Belnejoum to new heights, and if you want to know more about such an amazing project made in the United States but with pure Egyptian blood you can find all details about it on Facebook and on Instagram, stream its amazing debut on Spotify pretty soon, and above all that, purchase the album from Antiq’s BandCamp or webstore. Zarathustra’s descent into madness couldn’t have been better depicted than through the top-of-the-line Symphonic Black Metal by Belnejoum, offering several layers and nuances that definitely make the whole story even more compelling, and may Aswad and his extreme music beast keep delivering amazing albums like Dark Tales of Zarathustra to us all in the coming years, always sounding unique while remaining loyal to the foundations of Black Metal.

Best moments of the album: Prophet of Desolation, On Aeshma’s Wings and Upon the Mortal Blight.

Worst moments of the album: The Day Zarathustra Turned Dark.

Released in 2025 Antiq

Track listing
1. Prophet of Desolation 10:14
2. The Day Zarathustra Turned Dark 2:49
3. Tower of Silence 5:03
4. On Aeshma’s Wings 5:43
5. Elegie 3:39
6. In Their Darkest Aquarium 6:17
7. As She Drowns 3:17
8. Upon the Mortal Blight 10:28
9. The Flames, the Prophet, the Tears 2:01
10. Zarathustra’s Last Requiem 2:36

Band members
Mohamed Baligh “Aswad” – vocals, piano
Fabio Bartoletti – guitars
Ehab Sami – guitars
Rich Gray – bass
Francesco Ferrini – orchestral arrangements
George Kollias – drums
Tamara Jokic – Melisma vocals

Guest musicians
Hany El-Badry – naey
Mohamed Medhat – violin
Christian Correra – tenor
Jeremy Garbarg – cello

Album Review – Throne / That Who Sat Upon Him, Was Death (2025)

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One of the strongest bands of the current American extreme music scene is back with a demolishing new album, solidifying themselves as a force to be reckoned with.

Having captivated and crushed those they have encountered with a ferocious, relentless and intricate formula of Melodic and Blackened Death Metal all their own since their inception back in 2014, Jackson, Michigan’s own four horsemen Throne are back with their most focused effort to date, poetically titled That Who Sat Upon Him, Was Death, the follow-up to their 2021 opus Pestilent Dawn, solidifying themselves as a force to be reckoned with, emerging as true contenders in the ever growing American Death Metal scene. Recorded at Bricktop Studios, engineered and mixed by Andy Nelson, mastered by Bradley Boatright at Audiosiege, and displaying a sinister artwork by Brian Sheehan, the new album by Nathan Barnes on vocals and guitars, Tim Kenefic on the guitars, Leslie Drake on bass, and Kollin Perpignani on drums is a lesson in brutality whilst continuing their descent with a heavy blackened lean, sure to satisfy the arm-crossed Suffo-crowd, while at the same time tickling those that worship at the altar of Behemoth.

Nathan and Tim’s wicked riffs kick off the band’s infuriated metal feast in Disentombed, supported by the bestial drums by Kollin in a lesson in vicious extreme music, flowing into the just as demonic To Breathe the Unknown, with Nathan’s devilish Brutal Death Metal-like growls matching perfectly with the demented bass and drums by Leslie and Kollin. They need less than three minutes to crush us mercilessly like putrid insects in Blasphemous Perversion, followed by the also infernal tune Realm of Immolation, where all band members sound like creatures from the netherworld, in special Kollin armed with his demonic blast beats.

Once again venturing through the realms of Brutal Death Metal, it’s time for a no shenanigans, ruthless display of aggression and fury by the quartet entitled Human Frailty, led by the inhumane screeches and roars by Nathan; and the same level of insanity is blasted in the utterly demented, bludgeoning composition titled Upon Deathless Winds, with the caustic riffs by Nathan and Tim walking hand in hand with Kollin’s stone crushing drums. The band still has a lot of fuel to burn, as we can clearly notice in Behold Impurity, offering a boisterous fusion of Black and Death Metal overflowing rage and despair, whereas lastly let’s get pounded into dust by Throne to the sound of Where Angels Cower in Fear, with Nathan’s scorching roars and the thunderous beats by Kollin putting a beyond violent ending to the entire album.

After all is said and done, you’ll find yourself suffocated by the blackened sounds crafted by Throne in their newborn spawn, pointing to a bight future ahead of those American metallers without a shadow of a doubt. Hence, if you want to know more about the band, their music, tour dates and so on, don’t forget to follow them on Facebook and on Instagram, to stream their sick creations on Spotify or any other streaming service, and to purchase a copy of their sulfurous new album from BandCamp or from the Redefining Darkness Records’ webstore in the US or in the EU and UK. Because in the end, that who sat upon him was Death, to the sound of the new opus by one of the most promising bands of the current extreme music scene worldwide.

Best moments of the album: Realm of Immolation, Upon Deathless Winds and Where Angels Cower in Fear.

Worst moments of the album: None.

Released in 2025 Redefining Darkness Records

Track listing
1. Disentombed 4:02
2. To Breathe the Unknown 3:37
3. Blasphemous Perversion 2:54
4. Realm of Immolation 3:43
5. Human Frailty 3:19
6. Upon Deathless Winds 4:22
7. Behold Impurity 4:34
8. Where Angels Cower in Fear 3:38

Band members
Nathan Barnes – vocals, rhythm guitars
Tim Kenefic – lead guitars
Leslie Drake – bass
Kollin Perpignani – drums

Album Review – Lady Beast / The Inner Alchemist (2025)

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Let’s ride into the battlefield to the sound of this true locomotive of old school Heavy Metal masterfully crafted by one of the most electrifying names of the current scene.

Flying the flag for refined Heavy Metal since their inception back in 2009, always influenced by metal titans the likes of Motörhead, Dio, Black Sabbath, Iron Maiden, Judas Priest, and Mercyful Fate, Pittsburgh, Pennsylvania’s own unstoppable force Lady Beast returns to action five years after their latest full-length opus The Vulture’s Amulet, and four years after their striking EP Omens, with a brand new album entitled The Inner Alchemist, continuing to melt our faces with their sturdy aesthetic, authentically 80’s-entrenched Heavy Metal that struts and gallops with equal aplomb. Recorded by Jason Jouver, mastered by Yavé “Rust” Rodriguez, and displaying an ass-kicking, evocative artwork by Adam Burke of Nightjar Illustration, The Inner Alchemist is a true locomotive of old school metal music masterfully crafted by frontwoman Deborah Levine, guitarists Andy Ramage and Chris Tritschler, bassist Amy Bianco, and Adam Ramage, offering more of their high-octane music infused with swords and sorcery.

The scorching riffs by Andy and Chris rev up the band’s metallic engine in Oracle’s Omen, a true banger where Deborah already distills her soaring vocals for our total delight; whereas their Power Metal vein pulses stronger than ever in Through the Eyes of War, with Adam dictating the song’s electrifying pace supported by the classic bass lines by Amy, being therefore recommended for some fun inside the mosh pit. The band then delivers an overdose of Heavy Metal magic in the title-track Inner Alchemist, a headbanging hymn where the rumbling kitchen by Amy and Adam is perfect for Deborah’s piercing vocal lines, morphing into Starborn, which offers our avid ears a serene, melancholic start in the best Iron Maiden way possible, then evolving into a more Judas Priest-inspired sound until the end.

Their feast of old school, no shenanigans sounds goes on in full force in Crone’s Crossroads, a frantic, in-your-face display of Heavy Metal where Adam hammers his drums nonstop while the riffage by Andy and Chris exhale fire and power; and their NWOBHM side explodes majestically in Feed Your Fire, where their caustic riffage and solos, as well as their fast-paced beats, match flawlessly with Deborah’s epic roars. Witch Light is an instrumental tune that sounds fairly decent, although I still prefer any song with Deborah’s vocals like what happens in The Wild Hunt, where she declaims the song’s lyrics beautifully supported by the galloping sounds blasted by her bandmates. Last but definitely not least, it’s pedal to the metal in the thrilling Off with Their Heads, sounding thrashy at times thanks to the infuriated riffs by Andy and Chris, therefore putting a wild conclusion to such a breathtaking album.

After all is said and done, you’ll notice that not only The Inner Alchemist is a pure Lady Beast album, but also that the production on the album beautifully highlights their heaviness, turning it into a special milestone in their already solid career. Having said that, Deborah and her henchmen are waiting for you to join them in the battlefield by following them on Facebook, Instagram and YouTube, by streaming their epic creations on Spotify, and of course by grabbing a copy of the breathtaking The Inner Alchemist from the Dying Victims Productions’ BandCamp or by clicking HERE. It’s time to ride through the vast realm of heavy music alongside Lady Beast to the sound of their newborn opus, keeping the flames of classic Heavy Metal burning for all eternity and, therefore, fueling the band to keep blasting our ears with more albums like The Inner Alchemist in the foreseeable future.

Best moments of the album: Through the Eyes of War, Crone’s Crossroads, Feed Your Fire and Off with Their Heads.

Worst moments of the album: Witch Light.

Released in 2025 Dying Victims Productions

Track listing
1. Oracle’s Omen 4:08
2. Through the Eyes of War 3:47
3. Inner Alchemist 3:48
4. Starborn 6:56
5. Crone’s Crossroads 3:27
6. Feed Your Fire 4:37
7. Witch Light 2:19
8. The Wild Hunt 3:28
9. Off with Their Heads 3:09

Band members
Deborah Levine – vocals
Andy Ramage – lead guitar
Chris Tritschler – rhythm guitar
Amy Bianco – bass
Adam Ramage – drums