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!
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!
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.
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.
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.
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.
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.
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!
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
#2026 #AbyssCallsToAbyss #AmericanMetal #Atramentus #BearMace #BlackMetal #BlackRoyal #BlackSabbath #BlackenedDeathMetal #BlindGuardian #BoltThrower #BoneStorm #Brainstorm #BurningWitches #CalliopeCarnage #CanadianMetal #CoffretDeBijoux #CrypticShift #Cryptopsy #Cynic #DaemonBreed #DeathMetal #Dismember #DistantCometEntertainment #Doom #DoomMetal #DormantOrdeal #DriftingThroughVoids #Earthless #Ectovoid #Enslaved #EpicMetal #Erde666 #EverlastingSpewRecords #Exxûl #FiliBibianoSFortress #FleshgodApocalypse #ForefatherSEveRedemption #Fortress #GallowglassGalas #GermanMetal #Gojira #Gorod #GreekMetal #Hardcore #HeavyMetal #HeavyPsychSounds #HighRollerRecords #Immolation #InUnrealitySCoffin #Inferi #InternationalMetal #Iotunn #ItalianMetal #Jan26 #JapaneseMetal #JudasPriest #Judovarnis #KadavriK #Kalmah #KingBuffalo #LikeCrushedVioletsAndLinen #LithuanianMetal #LordElephant #Luminesce #MelodicDeathMetal #Mitski #Mordoré #MountainsOfMadness #Neverealm #Obscura #OldNick #PolarisExperience #PowerMetal #ProductionsTSO #ProgressiuveMetal #ProgressiveBlackMetal #ProgressiveDeathMetal #Punk #Review #Reviews #Savatage #SealedIntoNone #SelfRelase #SelfReleased #Skulld #Slayer #Sodom #Species #SpiderGod #StonerDoom #StonerMetal #StuckInTheFilter #StuckInTheFilter2026 #SwissMetal #SymphonicDeathMetal #TechnicalDeathMetal #Tékmés #TestimonyRecords #TheogoniaRecords #Therion #ThrashMetal #TimeToKillRecords #ToEscape #TotalAnnihilation #Trhä #Turpitude #UltraSoul #Upiór #Vader #ValiantSentinel #Wachenfeldt #WizardKeep #Worm #Xaoc
Stainless Unleash New Single “Whorefrost”
Portland storming hard rock outfit Stainless return with their most ambitious work to date, confirming the release of their debut album “Lady of Lust & Steel” on High Roller Records in 2026. The announcement arrives alongside the premiere of the new single “Whorefrost”, now available to stream and purchase through the label.
https://www.youtube.com/watch?v=t__WGO61w8o
Formed in 2022, Stainless grew out of the Pacific Northwest underground, with members previously active in Black Breath, Long Knife, Nightfell and Ripper. The band quickly established a reputation for a sound that draws on classic hard rock while pushing into heavier territory. Guitarist Jamie Byrum describes their approach as hard rock or heavy rock, noting that although metal influences run through their music, Stainless are not a straight metal band.
The group first made their mark with the self released “Snakebite” and “Too Hot To Steal” single, followed by the mini album “Nocturnal Racer”, their first collaboration with High Roller Records. The release was met with strong international feedback, something Byrum admits came as a relief. He explains that the band’s blend of traditional influences and unconventional execution can be unexpected in the modern landscape.
“Lady of Lust & Steel” expands that foundation with eight new tracks recorded at Red Lantern Studios in Portland during the spring and summer of 2025. The album was produced by Byrum and engineered and mixed by Evan Mersky. Vocalist Larissa Cavacece once again delivers a commanding performance, her raw and raspy delivery shaped by early years singing in a Plasmatics cover band and drawing comparisons to Leather Leone and Wendy O. Williams.
The album opens with “Restless an’ Ready”, a high energy track with a clear nod to AC/DC and Accept. Byrum wrote it with live performance in mind, building a middle section that echoes the feel of a classic live album. Across the record, songs such as “(Don’t Cross Me) Fool” and “Take a Listen Mama” highlight the band’s commitment to variety, a quality they trace back to their love of seventies hard rock and metal, combined with the sharper edge of eighties influences.
Album track list 01 Restless an’ Ready 02 Whorefrost 03 (Don’t Cross Me) Fool 04 Lady of Lust & Steel 05 Danger in the Night 06 Take a Listen Mama 07 Vitamin Tease 08 Rough Justice
“Whorefrost” is available now through High Roller Records. “Lady of Lust & Steel” will follow in 2026.
Release: out on 20 March 2026
Stainless online:
Instagram: https://www.instagram.com/stainlesspdx
Bandcamp: https://stainlesspdx.bandcamp.com
High Roller Records
Website: https://www.hrrecords.de
Bandcamp: https://highrollerrecords.bandcamp.com
YouTube: https://www.youtube.com/channel/UCq8sfG5C3Ur2ALS-9XLQSLg
#hardRock #HeavyMetal #HighRollerRecords #LadyOfLustSteel #NewWaveOfTraditionalHeavyMetal #News #NWOTHM #Stainless #thenwothm #whorefrost
It’s no secret that funeral doom is all about death, but in case you weren’t aware, Lone Wanderer hits you over the head with the fact (don’t worry, it’s not a fatal whack). The title of their latest record, Exequaie, is Latin for “funeral rites.” The album cover, from Ernst Ferdinand Oehme’s 1828 painting Procession in the Fog, depicts a ghostly funeral procession, and most song titles use death as a theme in some shape or form. Lone Wanderer have been at this for over ten years, but they’ve been independent until now, signing with High Roller Records for the release of Exequaie. According to the band’s promo sheet, this will be album number three, but perhaps it’s telling how funeral doom warps one’s sense of time when they claim that their 43-minute debut is an EP. Their follow-up, The Majesty of Loss, is only three minutes longer, so it’s anyone’s guess where they draw the line between LP and EP. Their albums have only gotten longer since, with The Faustian Winter hitting the hour mark and now Exequaie reaching a lofty 72 minutes. Honestly, if you’re looking for a soundtrack to your funeral, this isn’t a bad option.
On the funeral doom scale, Lone Wanderer fits the Oromet scale more closely than My Dying Bride or Godthrymm. Exequaie mixes the gentle with the crushingly heavy, and the heavier riffs carry more reverb than muscle, lending a more tranquil feel than raw power. Over the course of 24 minutes, the beastly opener “To Rest Eternally” demonstrates Lone Wanderer’s slow burn approach, with impenetrably deep vocals, glacial drum beats, and a slowly developed melody. The gentler portions put away the booming drums and instead twinkle with arpeggiated rhythm while the bass plays out a complementary melody. We hear this tug and pull throughout Exequiaie, from the melancholic and heavy to something more peaceful, still tinged with sorrow but carrying a little hope. Ironically, “Anhedonia”1 showcases the album’s most pleasurable and memorable riffs during its opening few minutes. The remainder is also exquisite, delving into immense sorrow before closing out in tranquility. The song guides you into gentle acceptance of the fate that awaits us all at the end.
Going in line with the “funeral rites” theme, plenty of elements in Exequaie appear to represent religious symbols or godly figures. The opening minutes of “To Rest Eternally” provide a distant reminder of a church setting with the tolling of bells. This holy setting returns in the finale, “Epistemology of the Passed,” where organs play a mournful dirge alongside wistful arpeggios. The vocals from Bruno Schotten serve as an omnipresent character, his low rumbles coming off like thunder rolling through the sky. Scattered throughout the album, Lone Wanderer perform spoken word portions that serve to enhance this godly persona. While such song segments are generally a nuisance, here they fit seamlessly, taking on the presence of an Oz-like character, commanding yet distant. The purpose of these elements may be inscrutable, but they do provide a sense of formality and authority accompanying death.
As great as the individual tracks are, Exequiae’s biggest obstacle is its own length. With any funeral doom record, holding the listener’s attention can be a challenge, and a 72-minute runtime across 5 songs feels more like work than pleasure. Yet there is plenty to enjoy on this epic record, and Lone Wanderer does implement some variety to mix things up a bit. “Existence Nullified” has a moment of chugging death-doom riffs that take me back to early Swallow the Sun. “Epistemology of the Passed” has a similar increase in tempo thanks to energetic tremolos and brisk drum beats. These moments are brief and few, but all the more notable because of their rarity. In the end, Exequaie’s length isn’t a deal breaker because it has such exquisite compositions. There’s just so much beauty in the music it could go on for twice as long and it’d still be heavenly.
Lone Wanderer is kicking funeral doom off to a great start for 2026. There’s something about the band’s often gentle sound that creates calm, as opposed to bands that lay the despair and melancholy thick with more powerful, overbearing guitar tones. Don’t let the 72 minutes intimidate you. Set aside some time and let Exequiae’s mix of melancholic, peaceful, and even hopeful tones wash over you and transport you, for a time, to a place where you no longer need to worry.
Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Website: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026
While I may be a product of the 80s, I have almost zero direct recollection of the decade itself. Born in 1985, I didn’t become self aware until the 90s.1 So, essentially, by the time I could form long-lasting memories, most of the world’s great music had already been written. Perhaps my inaccessible 80s origins explain why I am drawn to things from and about the era. The bizarre color schemes, the bombastic musical aesthetic, the cheesy-yet-awesome cinema, all of it gives me a satisfyingly melancholic sense of nostalgia. The 80s feel like my own personal primordial, mythological paradise, a Garden of Eden to which I can never return. The gate is eternally guarded by a cherub wielding a flaming sword, but thanks to bands like Rave in Fire, I need not risk being divinely smote in order to feel like I’m back in the garden, all innocent, naked, and happy.
Just one look at that glorious album cover should tell you that Spain’s Rave in Fire oozes 80s glory. Lead single “Still Standing” sounds like it rode a tiger straight outta Ronnie James Dio’s mind with its driving groove, intricate guitar leads, and the effortlessly powerful vocals of singer Sele. The track is so 80s that it would fit perfectly over the top of a Rocky IV fight scene or training montage (one of my primary measuring sticks for quality 80s music, I might add).
If metal was doing something cool in the 1980s, it’s a good bet that Rave in Fire does it too. “Witches’ Hell” captures the swagger of peak Scorpions, the instrumental opener and its successor scream Screaming-era Judas Priest, and “Untiring Eagles” and “Speed and Rave” sound like Megadeth from an alternate reality, one where Dave Mustaine is female and can actually sing. The closing title track displays the band’s more ambitious aims, mixing all of the above-mentioned influences with progressive rock a la Rush and/or Kansas. Overall, Rave in Fire does everything they do with so much competence and authenticity that they’re hard not to love.
My only real nitpick with Square One involves the transition from the “The Hellion”-esque opener into first proper track “Dark Poison.” The switch just doesn’t match up very well, so much so that I checked multiple times to make sure I hadn’t unwittingly messed up the track order. It’s a fairly minor flaw in the grand scheme of a 42-minute album, but it’s jarring each time nonetheless. Instrumentally, Rave in Fire is stacked with talent. Guitarist Jonjo puts on a classic metal/rock clinic, and the rhythm section (Sara on bass and Jimi on drums) displays impressive chemistry. But the MVP trophy goes to vocalist Sele. Her passionate performance is just spectacular, sounding so unbelievably genuine and lending Square One a pleasing patina of seemingly long-lost classic status, and, fortunately, the beautiful production only enhances the luster of that patina.
When I picked Square One out of the promo sump, I’d just finished Stranger Things and was yearning to fill that 80s-shaped hole in my heart. After spinning this dozens of times, I can confidently say that Rave in Fire has done just that. This band is loaded with talent, and I expect more very good albums from them in the future.
Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: raveinfire.bandcamp.com | facebook.com/raveinfire
Releases Worldwide: January 30th, 2026
KATE’S ACID Announce Debut Studio Album Hellbender – Out March 2026 via High Roller Records
High Roller Records is delighted to confirm the forthcoming release of Hellbender, the first full studio album from KATE’S ACID, arriving on the 20th March 2026.
The album’s title track has been unveiled alongside a brand-new lyric video, available to watch here:
https://www.youtube.com/watch?v=PMT91r1bUvQ
A Legacy reignited
Originally formed in Bruges in 1980 under the name Precious Page, the band ACID quickly became recognised as pioneers of European speed metal. Their classic line-up – vocalist Kate de Lombaert, guitarists Dirk Simoens (Dizzy Lizzy) and Donald Devers (Demon), bassist Peter (T-Bone) and drummer Geert (Anvill) – released three influential albums on Giant Records: Acid (1983), Maniac (1983) and Engine Beast (1985). The group disbanded in the mid-1980s, but their cult status only grew.
In 2019, Kate de Lombaert revived the spirit of the original band with a new formation under the name KATE’S ACID, joined by Mathieu Trobec, Gilles Reuse, Andreas Stieglitz and Bastiaan Andriessen. The band returned to the stage at Keep It True Rising in 2021 and again at Keep It True in 2023, where a live album was recorded. High Roller Records subsequently issued Blowing Your Ears Off in 2024.
Introducing Hellbender
Hellbender marks the first studio album from the revitalised KATE’S ACID and features nine brand-new tracks. The current line-up includes guitarist Geert Annys, drummer Ash, and Colombian bassist Camilo “Thunder Screamer” Ortega (Axe Steeler), who contributed the majority of the bass recordings. Kate de Lombaert once again leads on vocals.
Recording sessions took place in both Belgium and Colombia, with mixing handled in Berlin by Jacky Lehmann. As the band notes, “Hellbender offers great songs, like the speedy ‘The Lightning Conductor’, a biker anthem named ‘Riding Out’ or ‘Do Not Burn The Witch’, making it a natural contender for the legitimate successor to ‘Maniac’.” The album was mixed by Jacky Lee Man (audiosound.de) and mastered by Patrick W. Engel (Temple Of Disharmony). Cover artwork is provided by Marcio Aranha.
Tracklist – Hellbender
#80SHeavyMetal #HeavyMetal #hellbender #HighRollerRecords #katesAcid #NewWaveOfTraditionalHeavyMetal #NWOTHM #PreciousPage #speedMetal #thenwothm
REVIEW: ZEPTER – “ZEPTER”
Release date: 20.02.2026
Label:High Roller Records
3–5 minutesPablo Rumel
ZEPTER is a traditional heavy metal band from Austria, formed in 2024 by musicians who had already played together in other projects. After quickly releasing a debut EP, the group shaped an identity built on classic structures, frequent twin-guitar harmonies, and clear references to the NWOBHM, seventies hard rock, and early speed metal. Their first full-length, released by High Roller Records, combines new material with a single cover and reflects a sound influenced by Thin Lizzy, UFO, and early Maiden.
Review
The album opens with Slasher on the Highway, a brief synth intro straight out of an eighties horror film. It does not linger. Fifteen seconds in, the first sonic hit breaks through, driven by a fast, stripped-down, punk-leaning rhythm. The riffs rely on tight power-chord work, with high melodic lines and twin-guitar breaks anchoring each verse. Lukas Götzenberger, on vocals and guitars, delivers a high, sweet, controlled voice that stays powerful but never angry. An ethereal tone that moves easily across the band’s framework.
Everlasting clarifies the band’s core approach. Those high-register twin-guitar phrases return, now paired with galloping rhythms and very eighties stop-and-start breaks. Tobias Hochwagen’s bass keeps close to the drums and comes forward during the melodic interludes, in a manner clearly indebted to Maiden.
Writing a track called The Slayer and sounding like eighties Slayer is a choice, and that is what happens here. Fast, syncopated chords cut the phrasing and return with new bursts of speed. Bell hits appear, along with heavier, slower sections. The twin guitars remain the group’s defining asset. They cross and re-cross, building lines loaded with feeling, while bass and drums carry the center.
Hit The Streets leans fully into a hard-rock format, with riffs mixing bends and gallops in a clean, stylish way. It feels like the soundtrack to an old martial-arts-meets-gangsters film set in some neon-lit alley. Drummer Alex Nemeth keeps things grounded. No polyrhythms, no excessive fills. The music calls for a steady hand, clear transitions, a four-on-the-floor pulse, and consistent speed.
https://www.youtube.com/watch?v=g4OrIsrov6Y
With a similar energy, The Exterminator brings another fast track that does not rely solely on tempo. The band inserts small arrangements between verses, this time with Sabbath-like melodic lines and wide twin-guitar work in the solo sections. This is one of their signatures. Instead of neoclassical or dissonant speed solos, they favor sustained, harmonized phrases. No guitar hero theatrics. Composition drives the song, and the rhythm section is allowed to step out of its basic mold and explore freer ideas. A strong moment for the band.
Dark Angels switches gears. Mid-tempo, riff-heavy, hook-driven, and far more grounded. A traditional lead guitar solo appears here, framed by a sound that blends Misfits-style horror punk with NWOTHM touches reminiscent of UFO or proto-heavy acts like Ashbury or Wishbone Ash. A solid entry point for listeners seeking something different from the rest of the album.
In 1984, a Swedish band called Screem recorded a three-track demo. One of those songs was Lonely Night. The style aligned with the NWOTHM wave, echoing bands like Sortilège or Manilla Road. The sound quality was undeniably raw, but the energy was unmistakable. Zepter picked up on that spirit. Their version of Lonely Night retains the urgency, the clean rhythmic drive, and those small guitar details that elevate the arrangement. Does it sound like the opening of an eighties anime? Absolutely. And the heavy, dragging riffs after the solo are executed with precision.
The album ends with The Lords, the most unrestrained track of the set. It opens at full speed, built on sharp palm-mute sections and crisp right-hand attack. It is the most headbang-ready song on the record, yet it never abandons the band’s melodic identity. The track recalls early speed metal in the style of X Japan or Exciter, anchored once again in tightly matched twin-guitar work. A strong closer.
Conclusion
Zepter presents a clear, coherent identity shaped by melodic twin guitars, well-placed eighties arrangements, and a rhythmic foundation that favors control over technical excess. The retro angle is intentional and executed with care, supported by a solid grasp of heavy and early speed metal lineage. Their next step lies in refining their signature elements, adding greater rhythmic and emotional variation, and expanding the vocal expressiveness that could help elevate a strong foundation into a more distinctive and memorable voice.
TheNwothm Score: 7.5/10
Links
Bandcamp:https://fuckingkillrecords.bandcamp.com/album/zepter-inferno
Instagram:https://www.instagram.com/zepterattacks/
Label:High Roller Records
Read More Reviews
#austriaHeavyMetal #AustrianHeavyMetal #hardRock #HighRollerRecords #nwobhm #NWOTHM
INTERVIEW: MINDLESS SINNER (SWEDEN)
5–8 minutesThe Nwothm
Mindless Sinner have been part of Sweden’s heavy metal fabric since the early eighties, carrying their sound from the small clubs of Linköping to stages across Europe. Their story runs through name changes, shifting styles and long breaks, yet the band’s core spirit has stayed intact.
In this interview we look back at the key moments that shaped their journey, from the early days of the FWOSHM era to their return in the 2000s and the renewed energy driving them into 2026. It’s a straightforward conversation with a band who have seen trends come and go but never lost sight of why they started in the first place.
https://www.youtube.com/watch?v=9jMDCvHb9YM&list=PLvAyoNx6tDfO8rZFT9LtI298Wpu9Ny0jK
Interview
TheNwothm: For those new to the band can you introduce who you are and where you’re from?
M.S: Well, We are a band called Mindless Sinner coming from Linköping a small town in Sweden .
TheNwothm: Can you take us back to the very beginning, when you were still known as Purple Haze and later Genocide? What were those early days like in Linköping’s heavy metal scene?
M.S: There was quite a small but healthy scene back in the day. Many different bands all over the place. We played a lot around our home turf and this was back in 1981 when the NWOBHM exploded just a couple of years earlier. So we became a part of the FWOSHM (First wave of Swedish heavy metal).
TheNwothm: What inspired the transition to the name Mindless Sinner in 1982, and how did that identity shape your sound?
M.S: We always wanted a good name and after we went from Purple Haze to Genocide we discovered that there was already a band called Genocide. One day a friend of ours just came up with Mindless Sinner so we adapted to that name.And we thought that it sounded more Heavy Metal and that it would fit our music better.
TheNwothm: Your first EP, “Master of Evil” (1983), is still considered a cult classic. What do you remember most about writing and recording it?
M.S: Before second guitarist Jerker Edman joined the band in early -83 we were a 4 piece band and we had a lot of songs written but after he arrived we started to write better songs as a 5 piece So we wrote the songs that became the MOE record. We always wanted to record our own record but we never had any money for the studio cost but we won a music contest and the price money was enough to pay for the studio. We were amazed when we came down to the studio as we had never recorded in a proper studio before. But it turned out pretty good and I remember that it was good fun and we learned a lot.
TheNwothm: Three years on came out “Turn On the Power” (1986) remains a landmark album in Swedish heavy metal. How did the band’s creative energy evolve during that period?
M.S: We were very creative during that time cause TOTP was recorded in oct-84 the same year that MOE was released. But our record company at the time was almost bankrupt and TOTP wasn’t released until early 1986 so we were lucky that it was released at all as the record company did go bankrupt shortly after.
https://www.youtube.com/watch?v=mJhJbT3h2OI
TheNwothm: After “Turn On the Power,” you shortened the name to Mindless and moved toward a more commercial hard rock style. What drove that change in direction?
M.S: It was the sign of the times really and looking back now we shouldn’t have done that move.
TheNwothm: Looking back at Missin’ Pieces (1989) and the single Heaven Will Know, do you feel that era is misunderstood, or do you see it as an important chapter in your evolution?
M.S: All I can say is that we should have stuck to our guns. But it is what it is.
TheNwothm: Reflecting on that period, how did the Swedish rock and metal scene of the late ’80s influence your choices at the time?
M.S: I guess our kind of style went out of fashion and you could go the hairband style or the heavier thrash and speed/black metal style so I guess we were a little caught in the middle.
TheNwothm: What brought you back together after the 1990 split, and again in 2014?
M.S: First we got together for our 20thanniversary 2001 and we played a gig in our hometown at the Ghost MC club just for fun. Then in early 2002 we were invited to play at the Motala Metal Festival. After that we talked about maybe record some new stuff but it never happened. Then fast forward to late 2013 when we were invited to play at the 2014 Muskelrock Festival to celebrate 30thanniversary of the MOE release. We thought that is should be a one off gig but it has just evolved since then. So here we are in 2026.
TheNwothm: How did the chemistry feel after so many years apart?
M.S: We have always been friends and never lost contact so it was nothing strange about anything. We just picked up where we left.
TheNwothm: Under the restored Mindless Sinner name, how did you approach writing “The New Messiah” after such a long break?
M.S: We tried even though it was hard to write and record it as we used to do and I think we got it pretty close. Of course we are better musicians now and we write in a different way but it felt pretty good after a while.
https://www.youtube.com/watch?v=4k-rRqcyeoE
TheNwothm: What makes live performance so central to the Mindless Sinner identity?
M.S: I guess playing live is very important for the band and it’s very cool coming to different countries and play our music. And the crowds are great everywhere we go banging and singing along to our songs. So it’s great fun doing now what we didn’t do back in the days.
TheNwothm: With “Poltergeist” and “Metal Merchants,” how do you balance your roots with creative growth?
M.S: We can’t write another We go together or Master of evil even if we wanted to. But I guess the songs we are writing these days we couldn’t have done in the past so it goes hand in hand. I think that the new songs blend really well with the old ones.
TheNwothm Looking ahead what can fans expect musically in 2026? New material or fresh directions?
M.S: There will be no new music this year but we have new songs ready to be recorded for a new album. There will be new re-releases of both MOE and TOTP in April 2026.
TheNwothm: What live plans are in place for next year?
M.S: We are going to Spain in February and Austria in may then we have some stuff in the works. So as much as we can.
TheNwothm: How do you see the band’s legacy evolving into the future?
M.S: As I said there are new re-releases for our old albums coming up for both new and old fans to check out and we will be marching on spreading the gospel so we are far from the end.
TheNwothm: How can our readers buy your music and merch?
M.S: They can buy our music at their local record store and via our label High Roller Records. They can also download or listen to our music on mostly every digital platforms. They can also buy it from us at the merch stand when we are out there playing live.
TheNwothm: Where can our readers follow you online?
#HeavyMetal #HighRollerRecords #metalMerchants #mindlessSinner #MindlessSinnerSweden #NewWaveOfTraditionalHeavyMetal #nwoshm #NWOTHM #poltergeist #thenwothm #thenwothmCom #turnOnThePower
STAINLESS announce debut album “Lady of Lust & Steel” for March 2026 via High Roller Records, plus first single revealed
The Nwothm 1–2 minutesHigh Roller Records has confirmed the arrival of the first full-length album from Portland, Oregon heavy rock outfit STAINLESS. Their debut, titled “Lady of Lust & Steel”, is scheduled for release on 20 March 2026.
The opening single, “(Don’t Cross Me) Fool”, has just been unveiled along with a lyric video, available here:
STAINLESS formed in 2022, although its members have long been fixtures within the Pacific Northwest underground, contributing to bands including Black Breath, Long Knife, Nightfell and Ripper. Their earliest release was the self-issued “Snakebite/Too Hot To Steal” seven-inch, which was followed by the “Nocturnal Racer” mini-album, marking their first collaboration with High Roller Records.
Following the momentum of “Nocturnal Racer”, the band return with “Lady of Lust & Steel”, an eight-track album that expands their sound with greater depth and confidence.
Recording took place at Red Lantern Studios in Portland throughout spring and summer 2025 with Evan Mersky behind the desk. Guitarist Jamie Byrum produced the record and handled mixing duties alongside Evan. Vocalist Larissa Cavacece once again defines the band’s character with a gritty, powerful delivery that recalls the spirit of Leather Leone and Wendy O. Williams. Her background includes fronting a Plasmatics tribute project, which continues to inform her commanding style.
Tracklist
Links
HRR Facebook: https://www.facebook.com/hrrecords
Bandcamp: https://stainlesspdx.bandcamp.com/
Instagram: https://www.instagram.com/stainlesspdx
#DonTCrossMeFool #hardRock #HeavyMetal #HighRollerRecords #LadyOfLustSteel #NewWaveOfTraditionalHeavyMetal #NocturnalRacer #Stainless #thenwothm
Fili Bibiano’s Fortress announce second album “Death Is Your Master” on High Roller Records
Fili Bibiano’s Fortress confirm the arrival of their second full‑length album Death Is Your Master, scheduled for release on 30 January 2026 through High Roller Records. The band have also unveiled a new lyric video for the track Fugitive.
Formed in Whittier, California in 2016, the group established themselves with a debut EP before releasing their first album Don’t Spare The Wicked in 2021. To distinguish themselves from other bands using the same name, the project now operates under the title Fili Bibiano’s Fortress, honouring the band’s founder and primary creative force.
Death Is Your Master marks the next chapter for the traditional heavy metal outfit. The album features Fili Bibiano on guitar, bass and synth, with Joey Mancaruso on drums and Juan Aguila on lead vocals. Recording took place at Black Light Studio in Gardena, California, as well as Brothers Marc Studio, with production handled by Fili Bibiano.
The record continues the band’s signature approach, driven by Bibiano’s neo‑classical guitar style, which remains a defining element of the Fortress sound.
https://www.youtube.com/watch?v=V44aIzCoCro&feature=youtu.be
Tracklist
Line‑up
• Fili Bibiano – guitar, bass, synth • Juan Aguila – vocals • Joey Mancaruso – drums • Adrian Aguilar – drums on B.Y.O.D.
Band and label information
Facebook: https://www.facebook.com/Fortressheavymetal
Instagram: https://www.instagram.com/fortressheavymetal
HRR Records: https://www.hrrecords.de/FILI-BIBIANOS-FORTRESS
#DeathIsYourMaster #FiliBibianoSFortress #HeavyMetal #HighRollerRecords #NeoClassicalMetal #NewAlbum #NewWaveOfTraditionalHeavyMetal #NWOTHM #thenwothm #thenwothmCom
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