In 1560, Lope de Aguirre, a Spaniard who would deem himself the “Wrath of God,” joined Pedro de Ursúa’s expedition through the Amazon rainforest. He would eventually find himself in charge after successfully plotting to assassinate not just one, but two of the expedition’s leaders. Power hungry and full of bloodlust, Aguirre headed towards Peru to overthrow the Spanish colonial government and declare the territory for himself. Fate had other plans in mind for him, however, as his rebellion ended in his death at the hands of those he sought to overthrow. Werner Herzog perfectly captured the essence of this tale in the magnificent film Aguirre, Wrath of God,1 but clearly this is a story meant to be told in black metal. Enter Antrisch. Carcharodon heaped high praise on their debut album, Expedition II: Die Passage, which was about Sir John Franklin’s 1845 expedition in the Arctic, and predicted the independent band would soon find themselves attached to a label. Now here they are, signed with AOP Records, and ready to deliver the tale of yet another historical expedition—Expedition III: Renitenzpfad.2

With their attack-heavy brand of black metal, Antrisch is not your typical atmoblack group. Yet the atmospheric aspects of their music play a key role in their storytelling. They establish a setting through Spanish-sounding elements, such as the acoustic tremolos of what sounds like a Spanish guitar on opening song “Conquista – Prolog.” Other atmospheric touches further bring the story’s setting to life, with animal and environmental sound effects on “Verschanzt – Perleneilandterror” placing listeners firmly in the jungle. Finale “Canis Ivpvm Edit” borrows a page from Vengeful Spectre as it incorporates the din of war whilst Spanish guitars strum mournful notes. Antrisch also establish atmosphere with emotive arpeggios, ambient segments with sparse drumming, and whispered rasps from Maurice Wilson.3 They prove to be masters at immersing listeners into their narrative.

EXPEDITION III : Renitenzpfad by Antrisch

Where Antrisch really shine is in their aggressive, riff-driven black metal. Once the opening Spanish stuff ends on “Conquista – Prolog,” the tune erupts in a satisfying burst of blackened rasps, blistering blast beats, and furious riffs. And boy, do they play some great riffs. There’s a sweet melodic riff to bookend that opening song as well as some memorable tremolos throughout. The part that takes the cake is about two minutes into “Canis Ivpvm Edit,” where a bass/guitar bit combined with some impressive kitwork and vocal delivery lays down a showstopping performance. Their blend of aggressive black metal with more dramatic atmospherics has a lot in common with what Kanonenfieber do, and clearly, they have learned much from the master, Noise. Antrisch prove they can leverage their music to craft some exciting stories, even if I don’t know what the hell they’re saying.

Buoying the terrific production are some phenomenal performances. Wilson’s rasps are a force of nature. He has an entertaining vocal cadence that makes the music that much more enjoyable. His snarl is absolutely vicious, but in quieter moments, he shifts to a whispered rasp—one that’s no less menacing for being less loud. His manic energy makes for the perfect medium to tell about a madman like Aguirre. Noel Ewart Odell’s kit work has a similar persistent, manic energy. Like all aggressive black metal, he excels at incessantly pounding blast beats, but knows when to dial things back for proper ambiance and mood shifts. On occasion, he bursts into a bit of lively dance beats (“Hidalgo Infernal”) or speedy marching beats (“Bittergruen”). His omnipresence is all the more noticeable when he disappears, allowing the atmospheric elements to sink in. I’ve already spoken highly of the ever-shifting guitar work. Both Robert Falcon Strike and Alexander Gordon Laing impress with their dual attack, mixing trems with riffs and then slowing things down with poignant arpeggios. The whole crew displays an impressive bit of acrobatics and discipline.

There’s the famous Greek saying that you never “step into the same river twice, for it is not the same river.”4 Such is the case for Expedition III: Renitzenzpfad. The tracks are never the same on any given spin due to their ever-shifting, progressive structures. The constant shifts between aggression and quieter atmosphere not only keep you on your toes, but threaten to give you whiplash. While there are certainly powerful hooks you’ll keep returning to, each spin of the record reveals new depths and surprises. Antrisch successfully transport you to the lushness of the Amazon rainforest and into the mind of a madman in a riveting feat of musicianship and songwriting.

Rating: 4.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Websites: Bandcamp | Facebook
Releases Worldwide: March 27th, 2026

Reviewing albums explicitly labelled post-metal always seems to bring out my inner pedant. I know all genre labels are kind of meaningless, but post-metal specifically seems to simply be slapped onto anything with fewer riffs than your average atmo-black record, but a lot more cleans. Nonetheless, you know what it sounds like, in essence. If that essence had form, it could be Unverkalt on their third LP Héréditaire. Born in Greece and now split between Greece and Germany, Unverkalt’s self-styled avant-garde approach to post-metal takes its “heaviest and most heartfelt” form on this album, which also marks their signing with Season of Mist. Unknown to me beforehand, promotional references to Cut of Luna and Sylvaine in particular caught my eye, along with the art. I’m glad I picked it up because Unverkalt have something that approaches brilliance at many times. But in embodying the vague yet recognisable subgenre—and sounding good whilst doing it—Héréditaire fails to go further than the safety of the minimum required.

Ignore the artist touchstones in the promo; Unverkalt has little meaningful in common with them: a female lead vocalist is about where that starts and ends. If anything, the aura reflects more Harakiri for the Sky, Heretoir, or maybe Frayle. Lead vocalist Dimitra Kalavrezou sings with a distinctive, somewhat sweet intonation, and screams with articulate fierceness—impressive considering this is her first record providing harsh vocals. Her voice is joined by that of guitarist Eli Mavrychev and—in a late-album highlight—Sakis Tolis (“I, The Deceit”), often layered and intermingled to lend a chorus-of-many-voices air that can be quite powerful. This sense of solidarity and humanity ties into Héréditaire’s overt emotionality—easily its greatest asset—which revolves around mournful yet uplifting themes that rise from softly resonant notes into the (regrettably blurry) weeping of tremolo and chunky riffs. It’s through the continued swell and fade of each composition that we get to see the greats that Unverkalt is capable of.

Héréditaire by Unverkalt

Even as songs tend to repeat the same pattern, most manage to draw the listener in. Synths (“Oath ov Prometheus”), vaguely MENA-style saxophone (“Ænæ Lithi”), and sprinklings of piano (“Penumbrian Lament”), and humming strings (“Maladie de l’Esprit”)1 float in and out, and I only wish they were used more. Harnessing the drama of surging, urgent riffs (“Die Auslöschung,” “Oath ov Prometheus”) and heartfelt group screams and singing (“Death is Forever,” “A Lullaby for the Descent”), the iterated compositions win you over by sheer force. These plainly beautiful melodies and ardent vocal performances are inextricable, each lending the other a level of strength and gravity neither could claim in isolation. Some songs stand head and shoulders above others in this regard: “Die Auslöschung,” “Death is Forever,” “Maladie de l’Esprit,” and in particular, “I, the Deceit,” where Sakis Tolis brings not only his voice but a distinctly Scandinavian melodeath2 vibe to a song where he and Dimitria also duet in their shared native tongue. That song and many others are also examples of Unverkalt’s strange, quasi-pop-rock leanings that they incorporate through the use of bobbing, understated clean refrains that slingshot back into something heavier or more atmospheric (“Oath ov Prometheus,” “A Lullaby for the Descent,” “Introjects”). This weirdness sharpens Unverkalt’s style and works surprisingly well.

Héréditaire thus brims with feeling, strong melodies, and potential. Undeniably stirring at its best (“Die Auslöschung,” “I, the Deceit,” “Maladie de l’Esprit”), and with little idiosyncrasies of style giving it distinction, as a whole it feels oddly unrealised. One culprit is the shockingly compressed mix, which robs the guitars of their body and drums of their bite. Given the vocal range on display and the elements of instrumental experimentation (horns, piano, etc), this would sound far better with a roomier production. But it’s primarily the overly repetitive structure of the compositions that causes issues. Though the passion of the singing or screaming, and the force of a good melody cause you to briefly forget, every song follows essentially the same trajectory—or rather, the same sequence of things repeats across the album, sometimes spanning between songs. Whispers or quiet singing, a steady beat and post-rock atmosphere, black-adjacent speed and screaming, and a lapse into a swaying tempo. With nine tracks adding up to around 50 minutes, you start to notice.

I don’t want to rag on Héréditarire too much; it’s a good album. The fervency and melancholia of the vocal performances—from Dimitria especially—and melodies show the passion behind the project, and there’s a thread of individuality that could pull them out of obscurity. But for as expressive, intriguing, and compelling as their music often is, Unverkalt’s reluctance—or inability—to step outside of a template holds them down when they could be soaring.

Rating: Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026

Finally, the new year is upon us! A fresh start for some, same shit different year for others; mainly, my minions who toil in the mines ducts of the Filter. Since they don’t get any holidays, they probably don’t even fucking know it’s 2026 yet, but that’s okay. As long as they come back to HQ with a substantial haul, their ability to know when it is is immaterial.

These are the sacrifices we (not me, though), make to ensure you get the goods relatively on time-ish. So say thank you!

Kenstrosity’s Freaky Foursome

Upiór // Forefathers’ Eve (Redemption) [January 2nd, 2026 – Self Released]

Featuring members of Gorod (Benoit Claus) and Xaoc (Kévin Paradis), Upiór pinged my radar after a certain cosmic Discordian pinged me. A blistering combination of Fleshgod Apocalypse opulence and Wachenfeldt aggression, sophomore release Forefathers’ Eve (Redemption) impressed me immediately as “The Black Paintings ripped my face right off. “A Blessing or a Curse” doubled down on speed, blasting rhythms, and eerie melodies to propel itself straight into my Song o’ the Year long-list. Even with three instrumental interludes, all of which are quite fluffy, Forefathers’ Eve (Redemption) crams pummeling riffs, exuberant percussion, and dramatic lushness into its 51-minute runtime. “Forefathers’ Eve (Part I),” a fantastic companion to Fleshgod Apocalypse’s “Cold As Perfection” without aping its features, conjures a similarly affecting character that draws me in completely. Forefathers’ Eve (Redemption)’s middle section continues to build personality and develop greater dynamics from that point, represented most clearly in melodic riffs and expressive leads/soloing (“The Woman that Weeps”). Leading into its conclusion, a tonal shift towards the dire at this junction foreshadows the imminent release of Upiór’s second act, Forefathers’ Eve (Damnation) (due in early April), charring songs like “Forefather’s Eve (Part II)” and “Between the Living and Dead” with blackened rabidity and dissonant flourishes. All of this to say, Upiór launched this latest arc with a striking blow, and I can only imagine what’s in store for Damnation.

Forefathers’ Eve (Redemption) by Upiór

KadavriK // Erde666 [January 9th, 2026 – Self Released]

Germany’s melodic death metal quintet KadavriK have been cranking out records since 2007, but I only heard about them this year, once again, thanks to Discord. Erde666, their fifth outing, takes an unorthodox and progressive approach to melodic death metal, which makes comparisons difficult to draw. Stripped down and raw in some moments, mystical and lush in others, Erde666 is all about textures. Its opening title track explores that spectrum of sounds and philosophies to its fullest, even drawing heavy influence from blues, psychedelia, and sludge at times (“Getrümmerfreund”), but it all coalesces seamlessly. Following up an opener as strong as that would be a tall order for anyone, but KadavriK are clever songwriters, and the long form served them well even compared to the more straightforward tracklists of previous installments (“Nihilist,” “Das Ende Des Anthropozäns”). Off-kilter guitar melodies countered against twinkling Kalmah synths and sweeping strings do a lot of work to elevate and liven the crushing chords of their high-impact riffs as well, which adds a ton of interest into an already unconventional melodic death record (“Widerhall”). All of this makes for a record that might not be as immediate or fast-paced as most aim for in this space, but, counterintuitively, significantly more memorable. Don’t sleep on this one, folks!

Erde 666 by KadavriK

Luminesce // Like Crushed Violets and Linen [November 20th, 2026 – Self Released]

Prolific at a scale I haven’t witnessed since Déhà, Luminesce mastermind Alice Simard, based in Québec, piqued my curiosity for the first time with Like Crushed Violets and Linen, her sophomore effort under the Luminesce moniker. Boasting machine-gun rapidity (“Exploited Monochromaticism”), off-kilter rhythms (“Silver”), and a downright romantic sense of melody (“Like Crushed Violets and Linen,” “Lamp of Fulguration”)—countered by lyrical themes ranging from guilt complexes to gender identity (“To Restore”)—Like Crushed Violets and Linen is a deeply personal record forged in a melodic technical death metal mold. And as such a record, it recalls the vicarious guitar pyrotechnics of Inferi and Obscura while securing a melodic sensibility more in line with neoclassical composition (“The Covenant of Counterfeit Stars”). Unlike many of her contemporaries, however, Alice is a master of editing. Filled with killer ideas and instrumental wizardry without involving a drop of bloat, each of these seven songs coalesce into a buttery-smooth 30-minute excursion that punches far above its feathery mass. The addition of delightful chiptune dalliances helps distinguish Luminesce further from the pack (“To Restore”), though I’m torn about how far forward they are in the mix. In fact, the mix is my main gripe, as Like Crushed Violets and Linen is muffled and a bit flat, despite boasting a much-appreciated meaty bass presence. Nonetheless, if you’re looking for an unlikely tech-death contender, Luminesce might be just what you need.

Like Crushed Violets and Linen by Luminesce

Bone Storm // Daemon Breed [January 30th, 2026 – Self Released]

As the CEO of this Filter company, I withhold the right to break the rules and include a very cool bonus fourth option, Bone Storm’s cavebrained Daemon Breed. Do you like Bolt Thrower? Yes, you do. Do you like Bear Mace? Yes, you do. By proxy, then, you already like Connecticut’s Bone Storm as they draw from the same chunky, groove-laden school of death metal. At a somewhat overachieving 50 minutes, Daemon Breed pummels the listener beneath a veritable smorgasbord of neck-breaking riffs built upon a framework of triplet grooves, swaggering syncopations, and galloping double bass assaults. Their approach is simple and unburdened by blistering speed, fiddly technicality, or atmospheric deviation, and in that way recalls the undeniable immediacy and brutal effectiveness of records like Black Royal’s Firebride. With highlights “Heaven’s End (Burn Them All),” “Plaguerider,” “Sanctimonious Morality,” and above all “Ritual Supremacy,” Bone Storm use that approach with aplomb, proving that the spirit of classic, no-frills death metal is vital and vicarious. Delightfully cogent roars and gutturals allow the most difficult deliveries (see “Daemon Breed”) to feel vicious and purposeful, while a subtle thread of melody (see “Cursed Born”) affords the record a small measure of songwriting variety to break things up just when Daemon Breed needs it most. Heavy reliance on triplets and perhaps a zealous desire to put down every idea that seems good even if it’s placed immediately adjacent to much better one (“Halo of Disease” and “Hammer of Judas” bookending “Ritual Supremacy” are tough positions to defend, as is “Wrist Slitter” next to the fun Frozen Soul-esque “Blood Priest”), hold it back from higher praise only mildly. Moral of the story? Enter the bone zone, with haste!

Daemon Breed by Bone Storm

Creeping Ivy’s Riffy Remainder

Lord Elephant // Ultra Soul [January 30th, 2026 – Heavy Psych Sounds]

Sometimes, you don’t need dynamic songwriting, harmonic density, or even a vocalist. Sometimes, all you need are riffs. Okay, and maybe some psychedelic leads to go over those riffs. Ultra Soul, the sophomore album from Italian instrumental trio Lord Elephant, delivers 48 minutes of pure, mostly unadulterated stoner-doom. In the feudal jungle of heavy riff rock, Lord Elephant pays scutage to King Buffalo, similarly forming longish compositions where simple, bluesy figures reign supreme, stretching their limbs in grassy patches. Occasionally, guitarist Leandro Gaccione, bassist Edoardo De Nardi, and drummer Tommaso Urzino lock into some lively, head-bobbing grooves (“Gigantia”). But mostly, Lord Elephant keeps things meditative, hypnotizing listeners with Earthless drones and lurches (“Smoke Tower,” “Black River Blues”). De Nardi’s bass often leads the way (“Electric Dunes”), the underwater tone of which reminds me of falling for Isis.1 Lord Elephant aren’t reinventing any wheels here; the familiarity of their bluesy riffing simply won’t interest those for whom such bluesiness is a staid marker of old-man rock. The absence of vocals, however, makes Ultra Soul work as pseudo-ambient music that can set the mood, or accompany tasks, or gateway a normie. Closer listening will reveal, though, a tight trio reveling in the rudiments of rock music—a drummer, bassist, and guitarist vibing on a riff.

Ultra Soul by Lord Elephant

Andy-War-Hall’s Salvaged Windfall

Juodvarnis // Tékmés [January 23rd, 2026 – Self Released]

Lithuania’s Juodvarnis cooked for a long six years between albums for their fourth record Tékmés. With the confidence and sharpness displayed on all levels by Juodvarnis here, that was clearly time well spent in the kitchen. Sporting a brand of progressive black metal that blends the Enslaved framework of prog-black with the epic heft and melody of Iotunn and the crushing rhythms and harsh vocals of Gojira, Tékmés is tight, lively and achieves a remarkable level of melancholic thoughtfulness without neglecting the average listener’s chronic need for riffs. Translated to “flow” from Hungarian,2 Tékmés navigates inter-song and album-wide progressions of pummeling rhythms (“Dvasios Ligos”) and slow marches (“Tamsiausias Nušvitimas”), impassioned clean vocals (“Platybės”) and razor-throated screams (“Juodos Akys”) to achieve a gradual, natural sense of advancement across its 42-minute journey. If progressive black metal that knows how to riff and can turn the reverb off 11 sounds like a good time to you, give Juodvarnis’ Tékmés a shot sometime.

Tékmés by Juodvarnis

Thus Spoke’s Obscure Offerings

Ectovoid // In Unreality’s Coffin [January 9th, 2026 – Everlasting Spew Records]

Normally, it takes copious amounts of reverb, wonkiness, melody, or turbo-dissonance for death metal to be palatable to me. Every once in a while, however, an album like Ectovoid’s In Unreality’s Coffin comes along and shows me that there is another way. The music’s stickiness has a lot to do with its boundary-straddling take on OSDM. Ostensibly, the battering, percussion, sawblade riffing, and gruff gurgling growls mark it as your everyday modern no-nonsense death metal, somewhere between Cryptopsy and Immolation. But In Unreality’s Coffin is more like tech-death, disso-death, and brutal-death in a trench coat than it is any one of them, or another subgenre.3 Its arpeggios can be rhythmically snappy, sometimes combined with equally sharp vocal delivery (“Intrusive Illusions (Echoes from a Distant Plane)”), but more often than not channel a churning chaos that resists punchiness for a darker unease I find addictive (“Collapsing Spiritual Nebula,” “Erroneous Birth”). The music is constantly speeding up or slowing down, churning guitars collapsing with slides (“Dissonance Corporeum”) or pitching upwards in squeals (“In Anguished Levitation”), or evolving into mania as screams and growls fragment and layer (“Formless Seeking Form”). Rather than being exhausting, it’s exhilarating, with expertly-timed releases of diabolically echoing melody (“Collapsing Spiritual Nebula”) or a new groove to latch onto (“In Unreality’s Coffin”) coming to keep you afloat. Ectovoid keep you guessing without actually really pushing the boundaries, making In Unreality’s Coffin both a lot of fun and straightforwardly br00tal enough to sustain a savage workout; or just a really intense 45 minutes.

In Unreality’s Coffin by Ectovoid

Exxûl // Sealed into None [January 15th, 2026 – Productions TSO]

Phil Tougas has had an impressive start to the year. Before Worm’s Necropalace this February, came Sealed into None, the debut by Exxûl—a genre-blending, kinda blackened epic-power-doom-heavy-metal group also comprising several of Phil’s Atramentus band-mates. Several people brought up this album in the comments on my Worm review, often to the tune of “Exxûl better,” and while I respectfully disagree on the quality ranking of the two, I can’t deny how fabulous Sealed into None is. Here again are genres of music I’m usually unable to connect with—in this instance, power and classical heavy metal—but shaped in a way that opens my eyes and ears. Yes, the high-pitched wail style of singing first took me a little off-guard when they first arose on “Blighted Deity,” and they offend my usual tastes. But they are impressive, and work in a way I thought only harsh vocals could when following the trajectory of distorted keys and guitar (“Walls of Endless Darkness”), or shouting into an atmospheric abyss (“The Screaming Tower”). Oh, and of course, the overall vibe of magnificent, melodramatic blackened doom that sets the scene, capped off with—predictably—phenomenal guitarwork, is just magic and enough for me to get past my knee-jerk vocal ick and love it not in spite of that, but because of what it can bring to the whole. I love the slow builds to dazzling solos (“Bells of the Exxûl through to “Blighted Deity,” “The Screaming Tower”) and the way the camper, heavy-metal sides blur into something darker (“Labyrinthine Fate”). I just love this album, to be honest.

Sealed Into None by Exxûl

ClarkKent’s Canadian Catch

Turpitude // Mordoré [January 1, 2026 – Self Released]

Since 2019, Alice Simard has been a prolific presence in Quebec’s underground metal scene. She consistently releases albums for several different projects, from the ambient atmoblack of Coffret de Bijoux to the tech death of Luminesce (also uncovered in this month’s Filter by our Sponge Fren). Mordoré, the fourth full-length for Turpitude, thrives on its riffs and carries a cheerful energy reminiscent of the carefree raw black metal of Grime Stone Records stalwarts Wizard Keep and Old Nick. Yet Simard opts for traditional instruments, no synths, though production choices make the drumsticks sound as if they’re banging against blocks of wood, give the guitars a lofi reverb, and cause Simard’s voice to fade into the background in a cavernous growl. The riffs are the real star, with some terrifically catchy melodic leads and trems throughout (“La Traverse Mordorée,” “Aller de L’avant”). This combination of riffs, a raw sound, and often upbeat tunes draws comparison to Trhä and To Escape. While Mordoré keeps a mostly cheery tone, Turpitude’s no one-trick pony. There’s a tinge of the melancholic on the moody, atmospheric “Peintra,” as well as a successful stab at covering a non-metal song a lá Spider God on “Washing Machine Heart.”4 This is a worthwhile endeavor for those who like their black metal raw and energetic.

Mordoré by Turpitude

Grin Reaper’s Heavy Haul

Valiant Sentinel // Neverealm [January 16th, 2026 – Theogonia Records]

Greek heavy metal heroes Valiant Sentinel dropped their sophomore platter Neverealm back in mid-January, unleashing forty-six minutes that reek of high fantasy. Galloping riffs, driving drums, and vocal harmonies aplenty supply a cinematic adventure that basks in fun. While the pacing of Neverealm mainly operates in high-energy bombast, Valiant Sentinel smartly weaves in mid-paced might, evidenced by how the controlled assault of “Mirkwood Forest” provides a breather after opening chest-thumpers “War in Heaven” and “Neverealm.” Acoustic pieces “To Mend the Ring” and “Come What May” further diversify Neverealm’s heavy metal holdings, and while I’m usually keener on more aggressive numbers, these two tracks comprise some of my favorite moments on the album.5 Mostly, Valiant Sentinel summons comparisons to Germany’s heavy/power scene—chief among them Blind Guardian—going so far as to bring in BG drummer extraordinaire Frederik Ehmke. I also catch fleeting glimpses of Brainstorm and Mystic Prophecy in Valiant Sentinel’s DNA, though guitarist and composer Dimitris Skodras does a commendable job carving out a distinct identity for the band. Featuring skilled performances across the board and guest spots from Burning Witches’ Laura Guldemond (“Neverealm”) and Savatage’s Zak Stevens (“Arch Nemesis”), Valiant Sentinel packs loads of drama into a streamlined package. So what are you waiting for? Go grab your polyhedrals and a Spelljammer, and set sail for Neverealm.

Neverealm by Valiant Sentinel

Fili Bibiano’s Fortress // Death Is Your Master [January 30th, 2026 – High Roller Records]

Does Shredphobia keep you away from metal? Does the sultry siren call of licks, riffs, and chugs make you break into a cold sweat? If so, I strongly urge you to stay away from Fortress’ sophomore album, Death Is Your Master. Channeling Tony Martin-era Black Sabbath and 80s Judas Priest, Fortress drops six-string shenanigans that’ll get your booty shaking and the floor quaking, offering a romping retro slab that goes down slow ‘n’ easy. The overt classic 80s heavy metal worship on tracks “Flesh and Dagger” and “Night City” delivers riff after riff recalling the glory days, giving Fortress an authenticity that expands what could have otherwise been a one-dimensional LP. Guitarist Fili Bibiano sizzles with axe-slinging abandon, occasionally conjuring the neoclassical debauchery of Yngwie (“Savage Sword,” “Maze”). Still, it’s not all about the guitar, and drummer Joey Mancaruso and vocalist Juan Aguila nail their contributions as Fortress wends their way through a trim thirty-four minutes. On a guitar-forward album featuring slick songwriting and singalong jams, Death Is Your Master bumps, dives, and wails in a slow-burn frenzy of classic heavy goodness. Dig in!

Death Is Your Master by Fili Bibiano’s Fortress

Baguette’s Brutal Burglary

Skulld // Abyss Calls to Abyss [January 23rd, 2026 – Time to Kill Records]

While last year was alright for death metal and notably starred Dormant Ordeal, I felt it was lacking in quantity of impressive releases for said cornerstone of the metal underground. Fortunately, Italian group Skulld is here to start off the year with a bang! Abyss Calls to Abyss takes Bolt Thrower’s tank-rolling grooves (“Mother Death”) and Dismember’s melodic buzzsaw action (“Wear the Night as a Velvet Cloak”) and adds in some crust punk influence as extra seasoning (“Le Diable and the Snake”). It feels like they’ve taken some influence from both Finnish and Swedish varieties of death metal as well, and I’m here for it! The band is fluent in switching things up at the drop of a hat without sacrificing energy or cohesion. “Mother Death” and “Drops of Sorrow” go from heavy, dissonant chords to big lead guitar melodies, which in turn lead to a chunky and punky death metal groove that’s bound to get your head moving. Teo’s drumming controls the mood in excellent fashion, adding fast blast beats or slow-pummelling stomps when called for. The vicious, varied growls of Pam further cement the violence contained within and add to the album’s attitude. At a brief 34 minutes spread over eight songs, it wastes no time going for your throat in a multitude of ways. Get this album into your skull or get Skulld!

Abyss Call To Abyss by Skulld

Total Annihilation // Mountains of Madness [January 16th, 2026 – Testimony Records]

What would happen if you took Vader, Slayer and Sodom and threw them in a big ol’ manic death/thrash blender? The answer is Mountains of Madness! While Swiss Total Annihilation’s earliest works were more in line with classic ’80s thrash metal, they have increasingly moved towards more aggressive and relentless pastures, and their songwriting is all the better for it. Fourth album Mountains of Madness channels records like Vader’s Litany and Sodom’s Tapping the Vein in particular (“The Art of Torture,” “Age of Mental Suicide”), taking advantage of a relentless, drum-forward groove and a furious vocal performance. The album’s dual guitar attack weaves together thrashier tunes with parts that reach straight up Swedeath territory, be it melodic or not. In addition, tracks like “Mountains of Madness” and “Choose the Day” throw some melodic thrash akin to Sodom’s self-titled album into the mix for that extra bit of variety and replay value. Mountains of Madness isn’t afraid to slow things down with a satisfying lead riff, but most of Mountains of Madness is at a respectful lightning-fast pace, as thrash should. Another brief but powerful addition to the January pile ov skulls!

Mountains Of Madness by Total Annihilation

Polaris Experience // Drifting Through Voids [January 2nd, 2026 – Distant Comet Entertainment]

On the earliest days of the year, Japan delivered an awesome surprise drop of death metal-influenced progressive thrash! Polaris Experience features various Cynical riffs (“Interplanetary Funambulist,” “Bathyscapes”) while sporting a similarly old-school guitar tone throughout. Being progressive thrash, the main focus is naturally on the oh-so-sweet instrumentation that balances melody and groove seamlessly. The instrumental “Parvati” alone highlights how tight everything is, from the snappy drumming to the bouncy bass work. Most importantly, the music is catchy and memorable despite its relative complexity and lack of brevity. Additionally, Drifting Through Voids uses vocals sparingly but in all the right ways, complementing its technicalities with a traditional thrashy, harsh bark. The fact that it’s a two-man project and a debut makes it all the more impressive. Fans of similar recent progressive and technical shenanigans like Species should take notes post-haste. Considering we’ve already had this and Cryptic Shift this early in the year, and how prog/tech thrash is usually only allowed one or two notable albums per year, we could be in for a banner year for the subgenre. It also marks the first time in ages that a Japanese album has genuinely good production. Welcome to the new millennium!

Drifting Through Voids by Polaris Experience

There’s a big problem with today’s metal scene: There aren’t enough fukkin bands that sound like Nifelheim. Every time I listen to those crazy Swedes, I want MOAR of their scalding black-thrash riffs, MORE of their pummeling blast beats, more of the unhinged ferocity that feels sorely lacking in today’s scene, when it seems like every band needs to have clean vocals and mix at least three genres. While Nifelheim vocalist Hellbutcher did release a very good album in 2024 via his eponymous band, his main project’s frantic intensity has gone largely unreplicated. Fortunately, Nuctemeron are here to change that. Over the past decade, this German group has kept the black flame burning with a slew of splits and EPs that bear titles like Beastfuck and Rape from the Grave, all while clad in enough spikes and leather to make them the favorite customers of their local BDSM shop. With their debut album, Demonic Sceptre, the group has continued following Nifelheim’s burning warpath, unleashing a barrage of frenetic riffs, scathing vocals, and battering rhythms that would make those Swedes proud.

Yet at the same time, calling Nuctemeron mere Nifelheim clones is hardly accurate. Perhaps most notably, the band’s aptly-named vocalist, “Lunatic Aggressor,” avoids mimicking Hellbutcher’s manic rasp by instead delivering a larynx-shredding shriek that somehow turns songs like “Burn My Skin to Leather” into singalong anthems. And, as hinted at by the cover art’s apparent homage to Destruction’s Eternal Devastation, the music here shows that these Germans have heard plenty of thrashy bands besides Hellbutcher and Co. Take the instrumental opener, “Fresh Blood for the 13th Coffin,” which is an ambient synth piece with vaguely medieval vibes that recall Desaster. Said influence continues with the Hellfire‘s Dominion-style guitar melodies that open the first proper track, “The Bat,” before the slicing verses began slashing into your neck like a sharpened scythe. Likewise, “Under Devil’s Command” features a terrific, olde school main riff that evokes the glory days of 80s speed metal, while the harmonized guitars of that song’s bridge serve as a saccharine throwback to metal’s golden age.

Demonic Sceptre by Nuctemeron

That said, it’s clear that Nifelheim is a massive influence here. And fortunately, Nuctemeron absolutely nail that band’s sound with a slew of the wildest black-thrash cuts I’ve heard in a long time. Early highlight “After Violent Storm” basically functions as a complementary vasectomy, as the ricocheting guitar line in that song’s refrain is hot enough to turn whatever genitals you have into something that looks like a charred pork rind. “Fuck Off!!! (In the Name of Evil)” uses Nifelheim’s infamous two-word mantra as the basis to unleash a shitstorm of bouncy, frantic guitars that culminates with the sound of a skipping record repeating that titular proclamation over and over. Later, the aforementioned “Burn My Skin to Leather” sounds like a lost cut from Servants of Darkness with its squealing guitar lines, while “Metallic Thunder” uses a rapid, tapping guitar line to great effect.

My only real criticism here is that some of the songs repeat their main riffs a bit too much, but that feels like a minor quibble in light of the sheer inspiration on display. The aforementioned “Lunatic Aggressor” shrieks his head off like a banshee the whole time, and the way he pronounces his V’s as W’s is positively endearing. Guitarist “Exterminator” unleashes riff after riff of pure maniacal energy, and his searing, fast solos are a perfect complement to the band’s relentless nature. As shown on the closing track, “Brandish the Hammer of Hell,” the group also aren’t afraid to mix things up, as the song concludes with crooning clean vocals that mimic a melodic guitar line. The production is also great, sounding raw and powerful while remaining clear and retaining plenty of dynamic range.

Demonic Sceptre is exactly what your psychotic inner black-thrash fan has been craving. This is the first group I’ve heard that truly embodies Nifelheim’s unhinged, frantic style, and yet they mix things up just enough to avoid being a mere worship act. What’s more, the band constantly exude a sense of furious inspiration, yet for how extreme they are, their songs sure are fukkin catchy. For me and anyone else bold enough to brave the group’s scorching fury, Nuctemeron’s debut may just be the best black-thrash record we hear this year.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: I Hate Records
Websites: nuctemeron-blackspeedhell.bandcamp.com | facebook.com/blackspeedhell
Releases Worldwide: March 13th, 2026

My general lack of awareness and the fact that The Mountain King themselves submitted the album via contact form and didn’t give much away in their promo pack left me unprepared for Pike Dreams. In the hazy air of the promo sump, I caught the word ‘doom’, but when I hit play on Pike Dreams that’s not quite what I got. As much as the name and cover art seem to scream Sabbathian (neo-)classical heavy metal, stoner, and of course doom, Pike Dreams is ambient, synth-led post-rock, and it’s instrumental. The German duo have been lurking around the borders of drone/stoner/doom since 2014, and do not operate as a solely instrumental act. That Pike Dreams speaks to its being created as “a slow cycle of reflection on human history across the last two millennia,” where each song is named for a particular year of great social and societal change in Europe. Marrying evocation with execution is a difficulty especially acute for instrumental music—how does The Mountain King fare?

As an ambient album, Pike Dreams leans heavily towards synth, with touches of piano, barely-there percussion, and heavily-muted guitars. It carries a feeling of nostalgia that manifests dualistically in fuzzed-out soundscapes and grainy warmth à la Boards of Canada (“1066,” “1381”), and on the other through dungeon-synth, and quasi-medieval horns and melodies (“1328”). This seems appropriate given the record’s historical concept. Its modernity surfaces in subtle hints at an industrial edge to riffs that break the surface of haze and resonate between echoing pulses, reminding me fragmentarily of Phal:Angst and Haunted Plasma (“1066,” “1789,” “2026”). What Pike Dreams is most of all, however, is quiet. Regardless of the music’s precise direction, it remains blanketed by fog with every element subdued, magnifying the meaning of the word ‘reflection’ in the album’s description.

Pike Dreams by The Mountain King

The Mountain King take the ‘less is more’ approach not only to volume, but also to the structure of the record and the compositions themselves. Pike Dreams could be described as fluctuating between introspective calm and confident expressiveness, but this translates to a change in intensity from 1 to 1.5 on a scale of 10. Gentle pulses trade places with blunt, horn-accented chugs (“476,” “1789”), strings and tremolo blur together in indistinct softness (“1525,” “2010”), and trap beats support liquid guitar-synth hybrids (“1789,” “2026”). Often, the blurred boundaries of physically and synthetically-crafted sounds are beautiful, melodically and precisely in their dreamlike ethereality (“1066,” “1524”). Often, however, do the persistent understatement of movement and omnipresent muting hamper Pike Dreams’ ability to gain its listeners’ attention. This muffling is no doubt intentional, and does work well at intervals: for instance, in the service of contrast or transition (“2010”); acting as a musing pause (“1524”); or to amplify a melody’s poignancy through almost painful delicacy (“1066”). Yet its unequivocal application to all moments of all songs can make even the grandest passages underwhelming.

In this regard, it’s uncertain how a listener is meant to relate Pike Dreams to its subject matter. On the one hand, the deliberate vagueness of the soundscape mirrors a look back through the mists of time, and allows the audience to project their own sentiments onto its subtle evocation. On the other hand, this same nature prevents the audience from connecting to the music itself, and from connecting the music to its supposed year of reference. More minimalist tracks (“1328,” “1381,” “2026”) may work better when the listener detaches, but more expressive ones (“1066,” “1524,” “2010”) when the listener invests in their refrains—and the ones in those tracks are often very lovely. Whether there’s an issue here will be down to the role one designates to a concept album—especially of the instrumental and ambient kind.

Pike Dreams is as hard to pin down as you might expect from the above and from its appropriately mysterious title. As a whispering, quite beautiful, backdrop, it makes for a soothing and introspective experience that I can’t deny I enjoy returning to. In many ways, it’s a breath of fresh air amidst a constant storm of fast and extremely heavy music that so often fills these halls, and a chance to exhale and let go in a time of conflict and strife. The Mountain King may not have done enough to fully embody their themes or impress their compositions’ identities upon the listener, but how it feels for the duration is worth something.

Rating: Good
DR: 10 | Format Reviewed: VBR mp3
Label: Void Key Recordings
Websites: Bandcamp | Facebook
Releases Worldwide: March 6th, 2026

#NowPlaying #TheMetalDogIsNowPlaying
#IronSavior
Reforged - Ironbound
Sweet Dreams (Are Made of This)

🎸 Live Stream:
https://nowplaying.themetaldog.net/

YouTube Search:
https://youtube.com/results?search_query=Iron%20Savior+Reforged%20-%20Ironbound+Sweet%20Dreams%20%28Are%20Made%20of%20This%29

LastFM:
https://www.last.fm/music/Iron+Savior/_/Sweet+Dreams+(Are+Made+of+This)

Lyrics:
https://genius.com/Iron-savior-sweet-dreams-are-made-of-this-lyrics

Listen on major platforms:
https://song.link/s/15DnKJ5Helu4KmUH9lUqmf

#IronSavior #DieterLenz #MichaelSchuren #PeterRuechel #PowerMetal #HeavyMetal #GermanMetal #1990sMetal

#NowPlaying #TheMetalDogIsNowPlaying
#Destruction
Under Attack
Dethroned

🎸 Live Stream:
https://nowplaying.themetaldog.net/

YouTube Search:
https://youtube.com/results?search_query=Destruction+Under%20Attack+Dethroned

LastFM:
https://www.last.fm/music/Destruction/_/Dethroned

Lyrics:
https://genius.com/Destruction-dethroned-lyrics

Listen on major platforms:
https://song.link/s/1w7RR1TjH1jnJsfNYPvkG0

#Destruction #MarcelSchirmer #MichaelPiranio #ThrashMetal #Metal90s #GermanMetal #EuropeanThrash #UnderAttackAlbum #DestructorsLegacy

When it comes to the vast pantheons of mythological figures, Aeon Gods is clearly interested in the most powerful. Their 2024 debut album, King of Gods, expounded upon the mighty deities of Mesopotamia with plenty of power metal bombast. Now, less than 18 months later, this German five-piece turns their attention to ancient Egypt. Specifically, Reborn to Light orbits the sun god Re (more commonly known today as Ra). The first half recounts Re’s nightly voyage into the underworld and his battles with the giant snake Apophis, then the latter half describes Re’s disagreements with humankind, which lead to his eventual departure at the hands of an unbelieving population. Let’s examine this latest offering and weigh its worthiness.

Reborn to Light may be about a sun god, but Aeon Gods is more similar to the moon reflecting the light of many important power metal forebears. The predominant style is an anthemic blend of Gloryhammer and Sabaton. As expected, the music is big and dramatic, seeking to replicate the larger-than-life storytelling of Brothers of Metal, though with much more of a symphonic slant than folk. Aeon Gods stops just short of going full-blown symphonic power metal like Dragony, sticking closer to acts like Twilight Force or Freedom Call, which garnish with keyboards more judiciously. Organs and choirs at times recall the theatricality of Powerwolf. Pretty much all the main hallmarks of the genre are present on Reborn to Light.

Reborn To Light by Aeon Gods

Overall, Aeon Gods are blessed by their devout worship of these groups. Most immediately noticeable are the sharp, memorable choruses (charismatically delivered by Alex “Sol’Ra-tu” Hunzinger), as well as the bounteous guitar shredding (courtesy of Robert “Abzu’Kean” Altenbach and Nino “En-Atum” Helfrich). Reborn to Light embodies its concept unexpectedly well, being enhanced considerably by a lyric sheet (and a casual Wikipedia perusal about Egyptian mythology). The bulk of the record paints a vivid cycle of blazing sunrise (“Birth of Light”), tranquil twilight (“Barque of Millions (Amduat pt. I)”), a valiant battle (“Soldiers of Re (Amduat pt. III)”), and the inevitable victory of the sun (“Reborn to Light (Amduat pt. IV)”) again. In many important respects, Aeon Gods stacks up well against the genre greats.

On the other hand, this side-by-side comparison reveals a few qualities in which Aeon Gods is lacking. While Sol’Ra-tu has a solid singing voice—some listeners will appreciate that he avoids the typical shrill upper ranges—it isn’t always strong enough to carry the music on its own, particularly during the slower parts like quasi-ballad “Barque of Millions (Amduat pt. I).” The guitarists prove their mettle with their soloing during the bridges of most songs, but there are few notable leads that might have given the vocals a boost. Anja “Su’en-Chel” Hunzinger’s keyboards are more impactful, injecting a triumphant oomph to the chorus of “Reborn to Light (Amduat pt. IV)” and an awe-inspiring tone to “Blood and Sand (Re’s Dying Reign pt. II).” Finally, while Aeon Gods rejects bloat, Reborn to Light does not deviate at all from the standard pop structure, which gives each song a measure of predictability despite the variety in the compositions.

Imperfections notwithstanding, Reborn to Light is a great implementation of tried-and-true musical formulas. It’s executed very well, and should be a pleasantly familiar—albeit safe—experience for many power metal fans. I would, ideally, like to see Aeon Gods apply their abundant talents to more daring songwriting and let the guitars and keyboards share a bit more of the melodic load. Reborn to Light is a sizable step up from Aeon Gods’ debut, showing they are on a clear upward trajectory. I look forward to the day when Aeon Gods ascends to the echelons of full-fledged godhood.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Scarlet Records
Websites: scarletrecords.bandcamp.com | aeongods.com | facebook.com/AEONGODS
Releases Worldwide: February 20th, 2026

Today I discovered the band Winselmutter from #Germany. Even though I've listened to #BlackMetal for many years my ears weren't ready for the pure raw onslaught they bring. I love it!

So for #MittwochMetalMix and, since the band is female fronted, #MusicWomenWednesday I bring you:

👥 Winselmutter
💿 Ketzergeyst
 https://winselmutter.bandcamp.com/album/ketzergeyst

* Raises invisible oranges to the sky.

#metal #RawBlackMetal #GermanMetal