SIGYN return with “The Crawlers”, a fierce Finnish melodeath strike packed with razor-sharp riffs, epic melodies and cinematic darkness.

Read more:
https://www.audiartist.com/sigyn-the-crawlers-finnish-melodeath/
Follow @sigynofficial

#SIGYN #TheCrawlers #FinnishMetal #Melodeath #MelodicDeathMetal #EpicMetal #NewMusic

The new #Insomnium kicks arse!

#newmusic #heavymetal #finnishmetal #nowplaying

https://www.youtube.com/watch?v=i5tMCCXKkD0

Liberation in the Darkness – Rioghan’s New Live “Element”, Hannah is a Storm in Disguise

https://voiceofnoir.com/2026/06/13/liberation-in-the-darkness-rioghans-new-live-element-hannah-is-a-storm-in-disguise/

Der frisch von #Spotify eingeführte "KI-DJ" will mir die Freude an eigens erstellten Playlists abspenstig machen. Entsprechend skeptisch war ich, als ich das Feature getestet und mich in die Arme von DJ Ben begeben habe.

Während ich hier also in Kisten im Keller nach meinen alten Mix-Tapes krame, könnt ihr derweil lesen, wie ich die neue Funktion finde.... Habt ihr sie auch ausprobiert?

https://t3n.de/news/spotify-ki-dj-test-feature-1744969/

#KI #KIDJ #Metal #Musik #Music #Metalmusic #Finnland #finnishmetal

The philosophical quandary of innovation vs consistency rages on. For every Opeth or Blut Aus Nord, who only know how to move forward, you get the Nile’s and Internal Bleeding’s, who believe in doing their thing again, but hopefully bigger and better than the last time.1 Formerly a two-man project turned solo-project Desecresy has toiled away in the catacombs of Finland since 2009. Spearheaded by founding member Tommi Grönqvist, sole instrumentalist who also took up vocals on The Mortal Horizon onward, this outfit has offered an unflinchingly gloomy, chug-heavy breed of doomy death metal. The Secret of Death is the gentleman’s ninth offering, and if you came here expecting radical innovation, you didn’t read the genre description correctly.

In the spirit of much great Finnish death, the name of the game is atmosphere. Much of the Desecresy blueprint sounds like the long-lost offspring of Rippikoulu, with a heavy emphasis on thunderous chugs and vocals emanating somewhere from below the Earth’s crust. While the drumming has plenty of BPM shifts, the chug-centric focus gives the illusion of The Secret of Death never quite escaping being a mid-tempo offering, which might thrill some and disappoint others. Actual moments of contrast appear for aid, peppering “By Slowing the Vortex of Time” and complimenting the expected belligerence in “Ancient Timbre of Demise.” The occasional spooky synths appear to help divide movements (“Crypthymn”, “Vanishing Existence”) and emphasize a transitional flow of ideas, though much like death itself, all roads lead to the same destination.

Not all those roads come with the same scenic route, however. There are two flourishes to elevate this particular Secret, and I’m sure you noticed at least one as soon as you hit the embed. This album sounds like it was produced by Mortician in the best possible way, with the organic drums mixed with such stone-age glee that the bass kicks boom across every forest cleaving downbeat section. Tommi’s vocals transcend “guttural” into tectonic-plate-altering vibrations reminiscent of Putrevore, but less moist and far more menacing and impenetrable. The second flourish is a real penchant for leads that straddle the line of both spooky and catchy, with a tone crystalline and bright but with melodies of doom and horror. Sprinkled across the album, they give a reprieve from the crypt excavating, grave violating assaults with horrific beauty (“Ancient Timbre of Demise”, “Gorge of the Dead”) without ruining the carefully crafted atmospheric theatrics within.

While The Secret of Death wields its toolkit well enough that one can’t quite call it homogeneous, it should be admitted that not every cut carries the same degree of ferment in the offal discharge. “Ancient Timbre…” and “Summoned With Necrolunar Telepathy” feature intros that are too similar to each other in approach, and “Summoned…” flirts with a Bolt Thrower vision but rides an empty lead far too many times to maintain its impact. Other than the closing power of “Vanishing Existence”, the leads can’t compete with the heights of memorability set by “Gorge of the Dead”. And yet, these quibbles are hardly deal breakers, as the relatively succinct 42-minute runtime allows Desecresy to avoid outstaying their welcome; an important trait, given the sheer bleakness on display. Additionally, alternating the traditional slow, doomed-out prolonged note stylings in some leads with melodic interpositions carrying more speed and virtuosity makes for excellent distinction when they appear, successfully keeping the listener’s attention.

To the surprise of what I hope is no one in particular, Desecresy have landed firmly on the “consistency” side of the deathly spectrum. A lovely hodgepodge of chunky soup with Finnish entrails and an unusual take on the Mortician broth has given The Secret of Death a good identity while lacking anything approaching the realm of surprise. A few more cuts featuring the quality of the bookending tracks could have the caliber to assemble a real worm-infested monstrosity, and I’ll certainly be keeping an eye out for them in the future. For now, we can all use more death in our lives, and if you’re on the prowl, I’ve got a Secret I’d like to share with you…

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Xtreem Music
Website: Album Bandcamp
Releases Worldwide: May 21st, 2026

As The Sun Falls - Songs From The Veil

https://asthesunfalls.bandcamp.com/album/songs-from-the-veil

#deathMetal #melodicMetal #metal #finnishMetal #melodicDeathMetal #finland

Late #ThursDeath this week, it's still Thursday here for a bit. This week is this unreal new DESECRESY record, 'The Secret of Death'. Supposed to be out today, now, should definitely be up by tomorrow, the 22nd, etc. But these 2 singles are great, and I heard the rest, it is too.

https://xtreemmusic.bandcamp.com/album/the-secret-of-death

This one's a big contender this year. Desecresy is yet another Finnish juggernaut, and everything you hear here and the last 8 Desecresy records is done solely by Tommi Grönqvist, who was the guitarist of Slugathor. So you KNOW this shit rips. Dark, chugging, guttural shit.

#metal #DeathMetal #Finland #FinnishMetal #Desecresy #Slugathor #2026Albums #2026Records @HailsandAles @wendigo @pephorror @Kitty @nnenov @c0m4 @guffo @AlfeeDee @flockofnazguls @andymakes @umrk

Seems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!

As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!

Kenstrosity’s Tattered Tome

Overtoun // Death Drive Anthropology [February 13th, 2026 – Time to Kill Records]

Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death and Atheist with the proggier side of Pestilence, then amp the thrash up by a half turn. At a lofty 50 minutes, you’d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun’s creativity and versatility. Opening up the throttle in fine form, the one-two punch of “What Unites All (ft. Max Phelps) and “The Final Beat” manages to encompass many of these Chileans’ songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology’s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (“Dur Khrod,” “Jade, Gold, Obsidian,” “Yurei,” “Weeping”). The three-part “The Waves Suite” suite adds a mystical character to the affair that blends remarkably well with Overtoun’s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It’s a neat record that’s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you’re looking for a creative, thoughtful, and sophisticated entry into the death/thrash progosphere, Death Drive Anthropology makes a strong case.

Andy-War-Hall’s Primordial Pick-Up

The Grand Myth // Of Vultures and Dragons [February 26th, 2026 – Suncrusher Recordings]

I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman’s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus’ novel series Primitive War1 in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (“Symbiotic Death”), shifting and propulsive rhythms (“Through the River Styx”), a wide cast of voice actors for brief narrative bits2 and surprisingly bright tones (“Agony”), The Grand Myth’s approach to progressive death metal isn’t revolutionary, but it’s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn’t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman’s emotive clean/harsh vocals and elaborate soloing (“Pyre,” “Agony”). Nobody asks about your favorite dinosaur anymore,3 so feed your inner kid with The Grand Myth’s Of Vultures and Dragons now!

Saunders’ Sunken Shards

Puscifer// Normal Isn’t [February 6th, 2026 – Alchemy Recordings]

After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020’s Existential Reckoning. Normal Isn’t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round’s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener “Thrust” sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include “Bad Wolf,” “Self Evident,” “A Public Stoning,” and “ImpetuoUs.” Puscifer made a fine return with Normal Isn’t.

Jack Harlon & The Dead Crows // Inexorable Opposites [February 6th, 2026 – Magnetic Eye Records]

You’ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn’t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album’s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener “Moss,” through to the stormy outback balladry of closer “To Die,” Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like “Venomous,” “Seer,” and the trippy, drug-addled “Mt. Macedon.”

Grin Reaper’s Reaped Recluse

Cold Communion // Monuments to Ruin [February 13th, 2026 – Self Released]

Melodic death/doom isn’t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina’s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies) on guitar and Tim Rowland (Alchemy of Flesh, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling’s performance defines Cold Communion’s melancholic character as much as Rowland’s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin’s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It’s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium. Besides Monuments’ superior production, songs like “A Stillness Survival” and “When the Light Breaks” wouldn’t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there’s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn’t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I’m perfectly content with that.

Mossgiver // Renewer [February 6th, 2026 – Sij MusicArt]

Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. ‘Twas a delight, then, to unearth Mossgiver’s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos,4 Mossgiver’s mastermind Tilen Šimon (Ueldes) delivers the band’s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest and Cân Bardd, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer’s five tracks. From rousing string orchestrations (“I Bring the Spring with Me”) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (“Renewer”), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs5 revolve around powerful melodies that evolve over each track’s duration, with assorted instruments coming in and out to push refrains along. Renewer’s brisk thirty-four minutes showcase Mossgiver’s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.

Ossomancer // Banebdjed’s Path [February 28th, 2026 – Esoteric Evocations]

Six-and-a-half years removed from Ossomancer’s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed’s Path. Bursting with references to mythology and mysticism, Banebjed’s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile, Ossomancer instead conceives a realm recalling Aeternam, Iotunn, and Naglfar. Despite the scant thirty-four-minute runtime, Banebjed’s Path sprawls across diverse landscapes and textures. Opener “The Ogdoad Arrangement and the Osirian Creation” oscillates between In Flames melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush’s 80s era. Follow-up track “Sobek – Cosmic Vibrations Devoured” features Kreator-bred riffing, while closing duo “A Sea of Sand, a Silver Star” and “Retraction into Kether” synthesize the ethereal atmospheres of Iotunn with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed’s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer’s sophomore outing is crammed with meloblack goodies, and though it’s not a long trek, the journey down Banebjed’s Path far transcends its distance.

Tyme’s Danish Dalliance

Ædel Fetich // Ædel Fetich [February 20th, 2026 – Deadbanger Productions]

That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit Ædel Fetich’s self-titled debut. Then I clicked play and was taken on one of the more compelling “black” metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, Ædel Fetich is rife with moments of rifferous tremolodic speed (“Ridderlig Lider,” “Madras”) and absolutely berserk guitar chaos (“Sort Magi”). There’s a Trhä-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, Ædel Fetich’s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the Ædel Fetich sound difficult, as there’s a spectrum of other influences at play. There are tracks packed with punky punch (“Et Liv Fuld af Fejl,” “Ildtang”) or imbued with folky reverence (“Mit Billede af Dig”) and even some 80s pop—fans of the movie Flashdance shouldn’t have a problem finding the poppy easter egg hiding near the end of “Sort Magi.”6 Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig Ædel Fetich and think you will too.

Creeping Ivy’s Ashen Afterthought

Belzebong // The End is High [February 20th, 2026 – Heavy Psych Sounds]

In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you’re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves,7 or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as “a new sermon for the final days.” While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) “Bong & Chain,” which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of “420 Horsemen,” “Hempnotized,” and “Reefer Mortis,” which closes things out with some solid Electric Wizard worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It’s not exactly the caricature it advertises itself as.

Baguette’s Bygone Bounty

Sundecay // The Blood Lives Again [February 13th, 2026 – Self Released]

Toronto’s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release—their first signs of life since 2018 in general—and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath to Saint Vitus are obvious (“Here Comes the Wizard”), complemented by other influences from proto-metal, psychedelic, and progressive music (“Silence Spoken”). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like “Will Dusk Defy Dawn” flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you’ve even noticed. Fans of the ’70s should take notes!

Temple Balls // Temple Balls [February 13th, 2026 – Frontiers Music]

One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock/glam rock band, and they’re fun as hell! They’re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023’s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn’t a one-off, continuing their extremely authentic throwback approach. The heavy/power-metal-meets-AOR direction of songwriting (“Flashback Dynamite,” “Soul Survivor”) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it’s just a damn good time front to back. Though it will sadly be the last time we’ll hear Niko Vuorela’s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him—and hopefully, another beginning for his comrades.

ClarkKent’s Enchanting Earworm

Hela // A Reign to Conquer [February 27, 2026 – Ardua Music]

Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain’s Hela. A Reign to Conquer marks their first record since 2019’s Vegvìsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela’s lineup is the other three members—Tano Giménez on bass, Miguel Fernández (The Holeum) on drums, and Julián Velasco (The Holeum) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia, I think it’s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth, though the music Hela plays is decidedly more metal than our Dolphin friend’s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I’ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone’s vinyl collection. Hela yeah!

Spicie Forrest’s Vicious Vittles

A Wilhelm Scream8 // Cheap Heat [February 27th, 2026 – Creator-Destructor Records]

A Wilhelm Scream9 returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira10 is the highlight of Cheap Heat, driving the album with urgency and passion (“Somebody’s Gonna Die,” “Fell Off”), but no one here is a slouch. The rhythm section—bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini—gleefully tosses gas on Pereira’s bonfire (“I Got Tunnel Vision”) and delivers solid grooves (“Poison II”) and searing ragers (“Unsolving the Mystery”) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (“Run,” “Visitor: Unimpressed”). Cheap Heat is a smidge front-loaded with “Midnight Ghost” and “I Got Tunnel Vision” being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you’re even sure what hit you. I didn’t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.

Lead Injector // Witching Attack [February 20th, 2026 – High Roller Records]

Who doesn’t like the combination of thrash’s unchained aggression and black metal’s cold hate? There’s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of “Siege Upon Heaven” to the closing moments of “Nuclear Antichrist,” Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping good time. “Angel Destructor” and “Siege Upon Heaven” barrel pell-mell through searing riffs and blast beats, while groovier tracks like “Evil Executioner” and “Nuclear Antichrist” let black metal’s punk ancestry shine through. Heavy metal influences a la Judas Priest can be found injected into tracks like “Sacrifice This Bitch” and “M.C.C.I.” While nothing about Lead Injector’s sound is particularly new, I’m not sure that’s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur’s army.

For #GrindayFriday, Finland's BLISTEROUS just announced a new demo promo tape, and this is one of the tracks: https://youtu.be/v1QbF4vcuic

#grind #deathgrind #grindcore #goregrind #metal #Finland #FinnishGrind #FinnishMetal #Blisterous @vanessawynn @wendigo @HailsandAles @guffo

Rocking the same lineup since 2016, Helsinki foursome Chalice returns to serve up their sophomore offering, Divine Spear. Debut Trembling Crown dropped at the tail-end of 2020, and just over five years later, its follow-up retains Chalice’s essence while evolving the previous album’s rugged character. Where Trembling Crown rumbles with a raucous vigor, Divine Spear more often exudes a silky, polished sheen, enlivening its tracks with slick guitars, a vibrant production, and Jethro Tullian flourishes. The brew may have matured, but the core ingredients remain the same—so let us quaff from the Chalice and see if the draught is divine enough to raise our spears!

Chalice covers a variegated landscape of inspirations on Divine Spear, drawing from the realms of heavy metal and hard rock. Especially refreshing about Chalice’s ingestion of influences is their ability to seamlessly weave homage into their songs. “Hollow Curtain,” for instance, radiates top-Týr charisma throughout verse and chorus, with vocalist Verneri Benjamin Pouttu sustaining notes that echo Heri Joensen’s longship-ready croon. Later in the song, particularly in the solo, the marrow of Iron Maiden crackles with a guitar tone ripped from Brave New World. This modus operandi holds true throughout the album, whether it’s the Ian Anderson flute toots in “Empyrean Liturgy,” the “Aqualung”-coded solo from “Age Ethereal,” or the Pink Floydian psychedelia of “Alioth,” which is redolent of “Comfortably Numb” and patchouli. Despite the diverse calls to other bands, Chalice’s magic on Divine Spear lies in blending inspirations into a cohesive whole, taking the sounds of influences and knitting them into a unified platter informed by muses rather than mimicking them.1

Divine Spear by Chalice

Aiding the lush instrumentation on Divine Spear, Chalice nails the production and mix. The dynamic range boasts an impressive score, and while that doesn’t guarantee a great soundscape,2 it proves true here. Divine Spear sounds incredible throughout its forty-eight minutes, regardless of whether I’m listening in my car, through my headphones, or on my phone speaker.3 The six-string tandem of Mikael Cristian Haavisto and guitarist/vocalist Pouttu is especially arresting, from the twists and chugs of “Dwell of a Stellar Trance” to the acoustic warbles in “Mare Imbrium” and “Empyrean Liturgy.” Chalice’s rhythm section also avails itself niftily, never quite in the spotlight but handily hammering away in service of the songs. Drummer Olli Törrönen rarely reaches fever pitch, but neither is he content to remain planted in the pocket, loosing a quick fill here and a double-kick roll there. No moment ever feels compressed or too busy, and the overarching aural experience goes down as smooth as Joni Adrian Petander’s bass.4

Offsetting the myriad reasons to love Divine Spear, Chalice’s subtle songwriting occasionally suppresses what could be an even better album. Divine Spear is rife with variety, both in pacing and instrumentation, but while satisfyingly spirited moments dot the experience, too often I feel like Chalice holds back rather than capitalizing on big moments. According to the Bandcamp page, the band delivers ‘poignant shifts into cleaner, quieter territory, truly heightening the drama.’ This rings true, but composing livelier moments, particularly on “Empyrean Liturgy” and “Alioth,” could elevate songs by imbuing atmospheres with a contrast that ratchets up tension rather than maintaining a subdued pace for six minutes. And speaking of runtimes, every now and again, song durations on Divine Spear push past what’s needed. Other than “Age Ethereal,” whose eight minutes could be significantly trimmed, Chalice does well not going far past tracks’ expiration dates. Still, tightening them up would engender greater results.

In total, Chalice proves their interpretation of trad metal works as well through a gentler lens as it does on their rough-and-tumble debut. The choruses catch, the riffs hook, and the music feels familiar and novel all at once, eliciting an engaging encounter that rewards multiple listens. A few small adjustments could make an immediate and outsized impact, though I have to emphasize that, even as is, Divine Spear merits a listen. There’s no doubt Chalice possesses a winning recipe, and I hope we don’t have to wait quite so long for their next effort. Until then, Divine Spear’s formulation is plenty Good enough.

Rating: Good!
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026