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KING DIAMOND Legends MIKKEY DEE, ANDY LA ROCQUE, PETE BLAKK, HAL PATINO Launch LEX LEGION
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Four Former KING DIAMOND Members & PAGAN'S MIND Vocalist Join Forces In LEX LEGION, Debut Album Arrives This June
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ANDY LA ROCQUE Is Still Hopeful KING DIAMOND Can Release Long-Awaited New Studio Album In 2026: 'That's Our Goal'
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KING DIAMOND's ANDY LA ROCQUE On 2026 Tentative Timeline For Long-Awaited New Album: 'That's Our Goal. We Have Most Of The Songs'
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Former And Current KING DIAMOND Members MIKKEY DEE, ANDY LA ROCQUE, PETE BLAKK And HAL PATINO Unite In LEX LEGION
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#MercyfulFate
Don't Break the Oath
Come to the Sabbath
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Lyrics:
https://genius.com/Mercyful-fate-come-to-the-sabbath-lyrics
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https://song.link/s/4lj8NlJ8wF0cXT9o8RGhO1
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Don't Break the Oath
Gypsy
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Angry Metal GuyThe Magus – Daemonosophia Review
By Holdeneye
The Magus is the eponymous band of The Magus himself. At times known also as ‘Morbid,’ ‘Magus Wampyr Daoloth,’ or even ‘George,’ the entity known as ‘The Magus’ is somewhat of a fixture in the history of Greek black metal. He contributed mightily to the scene by performing on the first two Rotting Christ full-lengths, founding both Necromantia and Thou Art Lord, and owning and producing at Storm Studio in Athens, the recording location for many of Hellenic black/death metal’s seminal records. In 2021, it was announced that Necromantia had “now descended into the Abyss” following the death of its co-founder, Baron Blood. Shortly after releasing that band’s swan song, The Magus announced the birth of The Magus as a vessel to express his Luciferian worldview. Performing vocals, bass, and keyboards, the titular tyrant conscripted Necromantia drummer Maelstrom and Soulskinner guitarist El to carry out this vision, releasing…*checks notes*…Βυσσοδομώντας, the band’s ambitiously varied and theatrical debut, on Halloween of 2023. And now, The Magus has returned with follow-up Daemonosophia, promising to conjure “a more aggressive and dynamic sound.”
That promise seems to have been delivered, as Daemonosophia arrives with nary a 9-minute track to be found. The two advance singles land as relatively straightforward black metal tunes but still manage to maintain The Magus’ penchant for horrific theatricality. I was tempted to embed first proper track “Psuedoprophetae,” an absolutely blistering assault that appears on the heels of a version of the Lord’s Prayer that’s a bit different than the one I was taught in Sunday school, but I’ve opted for “Magia Obscura” instead. The latter demonstrates more of the diversity found across Daemonosophia, its snarl augmented by a clean intro and majestic heavy metal guitar leads.
But don’t let those two tracks trick you into thinking that Daemonosophia is just another melodic black metal album. The variety on offer within these compositions and their 47 minutes is astounding. The title track made me realize what Iced Earth in their prime might have sounded like if they were a black metal band, “Amelia” is a hauntingly beautiful tribute to the dramatic devilry of King Diamond, and “The Era of Lucifer Rising” sees The Magus reworking a tremolo-laden black metal church-burner from Thou Art Lord’s 1994 debut record into a melodic monstrosity of esoteric might. But perhaps the greatest surprise is album closer, “La Llorona Negra,” an outstanding cover of a classic Latin American folk song. Organ, harpsichord, and piano introduce the song and its first, female, vocalist, and for a moment, it doesn’t sound all that different than the version you heard on the Coco soundtrack. That is, until your hear La Llorona herself screaming in anguish behind the beautiful singing, and before the song evolves into a metal juggernaut with The Magus on the mic near the halfway point.
There is very little for me to complain about on Daemonosophia. Its runtime feels vastly shorter than it is, and its compositional flow has made it nearly impossible not repeat over and over again. The Magus demonstrates an incredible gift for songwriting, Maelstrom’s drumming is a tympanic tempest that lives up to his name, and while El might play for Soulskinner, he should probably be called ‘Facemelter,’ as his guitar playing has made it look like I touched the Ark of the Covenant. My one critique would be that the production feels a bit heavy on the low-end tones, and this was initially a barrier to me feeling Daemonosophia’s full impact. The album is saturated with hidden touches that demand to be heard, and I had to minorly tweak my EQ settings to fully excavate them. At the end of the day, this is a small price to pay for an album that has delivered me multiple Song o’ the Year contenders in “The Era of Lucifer Rising,” “Amelia,” and “La Llorona Negra.”
In interviews, I’ve seen The Magus boldly claim to make “extraordinary music for extraordinary people.” I’d say he’s half right. I’m just an ordinary dude, but Daemonosophia’s extraordinary music has spoken to me nonetheless. The last year or so has been a bit rough for me physically, and I’m having to face the fact that I can no longer live life the way my pre-40s self could. So when “The Era of Lucifer Rising” closes with (what I believe to be) ‘Above hatred and madness/Beyond weakness and pain/I raise the veil and break the chains/My reign has just begun’, followed by a pair of powerful screams, I can’t help but feel empowered to handle whatever challenges this new era brings me.
Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: The Circle Music
Websites: necromantiathemagus.bandcamp.com | facebook.com/themagus666 | www.themagus666.com
Releases Worldwide: February 20th, 2026
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Give Me Your Soul...Please
Never Ending Hill
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https://genius.com/King-diamond-never-ending-hill-lyrics
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Necrosexual – Road to Rubble Review
By Mark Z.
It was a day like any other at the AMG water cooler when someone mentioned Necrosexual had a new album coming out. Ha, I ought to myself. I vaguely remembered reviewing the Philadelphia band’s Grim1 debut back in 2018, which I had slapped with a 1.5 due to its sloppy execution and lackluster production. Perhaps I expected too much from a band led by vocalist, guitarist, and bassist “The Necrosexual,” whose main claim to fame was doing interviews for Metal Injection and MetalSucks while clad in corpse paint. Let someone else take their new album, I thought to myself. I’m sure someone will get enticed by that band name. But week after week went by, and Road to Rubble sat in the promo bin like an unflushed quarter-turd in the office bathroom stall. Somewhere in my heart, I felt it had to be covered, and before I knew it, I had assigned it to myself. That color vomit artwork is certainly worse than the first album’s cover (which was already pretty bad), but given that The Necrosexual has taken eight years to release this second album, perhaps taking the plunge would be worth it?
Stylistically, not much has changed since Grim1. Necrosexual still play a comedic, sleazeball form of blackened punk-thrash that sounds something like a snottier version of early Celtic Frost or a PG-13 version of Shitfucker. On songs like the opener, “High Times in Hell,” the band deliver big, confident riffs over battering mid-tempo drums, all while The Necrosexual delivers his sneering roar. A few tracks also feature brief forays into genuine black metal, complete with frosty riffs underlaid by blast beats. In a move that vaguely calls to mind Devil Master, much of the album also features twinkling synth lines in the background, an effect that makes the second track, “The Brimstone Brothel,” sound like a Venom-inspired carnival ride from hell.
ROAD TO RUBBLE by Necrosexual
For all my gripes about Grim1, variety wasn’t one of them, and Road to Rubble features a similar level of diversity with a much higher level of quality. “Kiss the Knife” stands out with its catchy, sinister verses that feature the track title sung in a King Diamond-style falsetto, while the more straightforward “Lubricator” sounds like an alternate version of Morbid Tales where the dethroned emperor has become a sex slave. As the album progresses into its final third, things get more rock-esque, with the rhythms getting stompier, the leads getting more flamboyant, and the vocals getting more adventurous. “Damned Romance,” for example, is like a blackened 80s cock rock anthem that culminates with a chorus of deep crooning cleans that are impossible not to sing along with. The closer, “Hard Leather Woman,” gives off similar vibes while reminding me of Midnight with its gruff, semi-clean vocals.
If there’s any gripe I have with Road to Rubble, it’s that stacking so many slower songs in the album’s second half saps a bit of the energy generated by the quicker songs earlier in the record. By the time I’ve reached the eighth of these nine tracks, hearing another slow song like “Nocturnal Ignition” isn’t going to make me have a nocturnal emission anytime soon. Fortunately, the stellar production outweighs this quibble, with the guitars sounding full and vibrant, and the overall sound having a slightly raw edge while balancing everything well. The guitar solos are plentiful, colorful, and rocking, and the band sound like they’re enjoying the hell out of themselves over the entirety of these 35 minutes.
In revisiting Necrosexual with Road to Rubble, I initially wasn’t sure whether my taste had gotten worse or the band had gotten better. Turns out, it’s probably a little bit of the former and a whole lot of the latter. With this album, the band has maintained their penchant for variety while stepping things up in every way, with better songs, better performances, and a better production job. Beyond all that, this album just feels incredibly endearing, with a genuine, fun, and oddly timeless quality that makes Necrosexual sound like a band you want to both listen to and root for. For those who don’t mind a little humor and playfulness in their blackened thrash, I’d say this Road to Rubble is worth taking a ride down.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: PCM
Label: Black Metal Archives
Websites: necrosexual.bandcamp.com | facebook.com/grimmestofalltime
Releases Worldwide: February 27th, 2026
