Sometimes a record practically introduces itself with a shrug. Take Via Doloris and their debut Guerre et Paix. The band name? A shortened nod to the Via Dolorosa. The death of Jesus and some “suffering-as-identity” vibes that we’ve seen a thousand times in black metal. The album title? Literally War and Peace in French. The cover art? You’ve seen it. You have seen it—some grayscale, vaguely haunted expanse that could just as easily front a dozen other releases clogging up the “give in to your anger” section. None of this is a crime on its own, but stack all these choices together, and they start pinging that lizard-brain reviewer alarm: this looks like a mid-tier black metal album before a single note even plays. Then there’s the promo copy, dutifully promising “a passage through pain in search of meaning, and the distant, flickering promise of rebirth.” Is this thing good, or is it just another entry in the ever-expanding catalog of metal-by-numbers?

Via Doloris is the solo project of guitarist Gildas le Pape, who spent several years performing live with Satyricon, and Guerre et Paix marks his debut under the moniker. The sound is a comfortable middle ground between more straightforward, blast-driven, 2nd-wave riffing and more expansive, atmospheric impulses, with le Pape’s melody-forward riffs driving the compositions. His guitar work never veers too far off the blackened path, but he imbues each riff with a sneaky melodicity and deploys a fair amount of variety in his 6-stringed attack. There are notes of Havukruunu-esque pagan black melodies (“Communion”), swirling Blut Aus Nord icy arpeggios (“Omniprésents”), and searing, Anaal Nathkrakh-flavored bouts of black metal destruction (“For The Glory”). Throughout it all, le Pape’s knack for catchy, multi-faceted blackened riff-craft shines through. The parts are at once hypnotic and aggressive, and often deepened through intricate guitar layers, allowing songs to flow seamlessly between movements. I’ve found the entrancing outro to “Ultime Tourment” or the Fluisteraars-like motif of “Visdommens Vei 1” stuck in my head for weeks during the review, a testament to the strength of the guitar parts on display and to their immersive effect.

The songs on Guerre et Paix largely sit in the 6–7 minute range, and while Via Doloris doesn’t always wring every possible peak out of that runtime, le Pape makes it feel purposeful more often than not. A track like “Un Franc Soleil” is built around an engaging central riff that subtly evolves as the song progresses, even if it stops just shy of a full-blown crescendo. This approach carries across the record: rather than leaning on dramatic shifts, le Pape favors gradual layering and textural changes, letting songs breathe and unfold at their own pace. The songwriting tends to stick to a core tempo and feel, with variation coming from added guitar layers, drum patterns, or ambient elements rather than structural overhauls. While this can create a meditative consistency that makes certain parts and songs blend together, it ultimately works in the album’s favor, giving Guerre et Paix a cohesive, immersive flow that reinforces the strength of its ideas over the course of a full listen.

This is all buoyed by a seriously sharp production job. Guerre et Paix sounds immaculate. Produced by le Pape and mixed with Nicolai Codling, it opts for clarity over the genre’s usual haze with crystalline guitars front and center, cutting cleanly through even the densest passages. They’re icy but precise, with every layered phrase coming through intact instead of dissolving into mush. Frost (Satyricon, 1349) turns in a characteristically stellar session performance, and the mix gives him room to flex. The drums have a warm, natural quality to them that showcases a varied performance. It allows the more subdued sections to breathe while still filling the mix during more intense, blast-heavy moments. It all comes together to elevate the album’s most dynamic touches, letting details like the choral swell in “Omniprésents” or the melancholic closing progression of “Communion” land exactly as they should.

As it turns out, Guerre et Paix lands comfortably above the genre’s overcrowded middle tier. Via Doloris has delivered an immersive and nuanced atmospheric black metal record, carried by memorable, melodic guitar work that unfolds beautifully over contemplative songs. It sounds amazing and marks le Pape as a promising voice within the space. This is way better than the somewhat generic packaging would suggest.



Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: viadoloris.bandcamp.com | instagram.com/via.doloris
Releases Worldwide: March 20th, 2026

At first blush, pop music and progressive rock might seem too contradictory to be combined effectively. While the former prioritizes immediate accessibility, the latter prizes unconventional artistic expression. Even so, several Norwegian bands are finding immensely original ways to reconcile these differences. Moron Police and Meer have been showered with heaps of deserved praise by my colleagues, but I discovered my personal favorite of the bunch tucked at the very end of GardensTale’s Top Ten(ish) of 2022 list. Major Parkinson’s Valesa – Chapter I: Velvet Prison quickly became one of my most beloved records of all time with its inimitable charm and wit. All permanent band members have returned for Valesa – Chapter II: Viva the Apocalypse!, which is particularly relieving given vocalist Jon Ivar Kollbotn’s heart attack while performing on stage a few years ago. I’m grateful that the full crew is still here to delight audiences once more.

If there’s anything predictable about Major Parkinson, it’s their unpredictability. While the chimeric fusion of synth-pop and prog rock of Velvet Prison was drenched in 80s nostalgia, Viva the Apocalypse! feels somewhat more modernized. The guitar lines (Øystein Bech-Eriksen and Sondre Skollevoll1) are much more prominent and flashy, with full-on solos in “Showbiz” and “Superdad.” In fact, pretty much everything about Viva the Apocalypse! is flashy. Lars Christian Bjørknes’s2 piano keys that featured prominently in prior albums are mostly replaced by glitzy synths, frequently underscored by blazing trumpets3 and smooth saxophone.4 Brand-new guest vocalist Halie’s husky singing complements Kollbotn’s gravelly yet velvety tones extremely well. His voice has only become richer over time, bathing my ears as if with warm honey.

Valesa – Chapter II: Viva the Apocalypse! by Major Parkinson

Major Parkinson has always been defined by duality, but on Viva the Apocalypse! it’s sharper than ever. The first half of the record is full of ridiculously catchy, quirky arrangements and carefree curiosity. There are even sprinklings of funk (“Superdad”) and gospel (“Showbiz”). “Viva the Apocalypse!” is the climax of this feverish party, as trumpets, upbeat electronic tunes, and guitar riffs blast with reckless abandon. But something about all this mirth doesn’t feel quite genuine, and the second half of Viva the Apocalypse! grows more hostile as the mask starts to slip. “Karma Supernova” begins with ominous bass notes that intertwine with guitar and synth lines to signal something sinister approaching, with Sondre Veland’s drumming sporadically becoming frantic as tension builds and releases. His frenzied kitwork and the whirring synth tone at the end of “Maybelline” give the vivid impression that the record is about to self-destruct.

As different as the individual elements are on Viva the Apocalypse!, Major Parkinson again weaves them together into a unified and unique experience. I miss the eccentric interludes from Velvet Prison, but other songwriting tricks have carried over. As before, Viva the Apocalypse! leans on simple recurring lyrics to tie the tracks together with tickling déjà vu. Examples include “The world is on fire, and you look so beautiful” (“Superdad,” Kiss Me Now!”), and “Free drinks for everyone!” (“Showbiz,” “Karma Supernova”). I particularly love the one-two punch of “Superdad” and “Father Superior,” which (as their titles suggest) are deliciously complementary, both musically and lyrically. However, I’m less enthralled by Kollbotn’s unsettling shouting match with returning vocalist Peri Winkle in “Maybelline,” which contrasts starkly with their gentle duet in “Kiss Me Now!” Despite the powerful artistic statement, these closing tracks are more difficult to appreciate musically.

In many ways, Viva the Apocalypse! is Major Parkinson’s most incendiary chapter to date. It’s more technically impressive—the drums and guitars in particular get their chance to shine brightly. Once again, they have cleverly evolved their sound and leveraged a diverse supporting cast to enrich the musical environment. The first half of Viva the Apocalypse! is a fantastic dream from which I don’t want to wake, but the second half is meaner and less emotionally gripping for me. Still, there is something special going on here, just like in Norway’s prog scene as a whole. If the world is on fire, I’m glad that Major Parkinson is around to give us a good time as it goes up in flames.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: PCM
Label: Apollon Records
Websites: majorparkinson.bandcamp.com | majorparkinson.com | facebook.com/majorparkinson
Releases Worldwide: March 13th, 2026

Do you ever hear a punk song and think, “Sure, I’d also like to overthrow the establishment, but couldn’t you learn to play guitar a bit better?” Have you ever found yourself embarrassed to be banging your head to a sick black metal riff written and performed by one of the world’s most repugnant lowlifes? Yes. So have thousands of our brethren in every squat and co-op from Greece to Iceland; and as is their wont, they have taken matters into their own grubby hands, pressing a huge variety of records that radiate out from the collision of metal and hardcore in every hue and shade, from the bilious How Hate is Hard to Define to the cerulean Archivist. Rosa Faenskap, unsurprisingly, fit themselves into the long-wavelength end of that rainbow.

Practicing a particularly dark and frostbitten form of Euro-Lefty-Black-Hardcore, Rosa Faenskap find themselves between the vicious pallor of Thurm and the sanguine rage of Svalbard, on occasion reflecting a few fleeting tones from the early Plebeian Grandstand records. Emil Vestre grinds out icy tremolo leads as jagged as they come, crashing and crackling in coupled cacaphony with vocalist Håvard Solli’s snarling bass; in the pre-breakdown chug and pick-scrape of “Faenskap for alltid,” you’d swear you were standing six feet away from their amplifier in a damp Oslo basement. Drummer Anders Jansvik’s performance is likewise big and booming. Whatever the trio might lack, it’s not energy.

Ingenting Forblir by Rosa Faenskap

Though Rosa Faenskap are pretty green, this sophomore record is remarkably focused, holding its space through force and fury, hammering a few riffs as harshly as possible before their close. “Den Svake Mannen” rides a rung-out arpeggio so continuously that you can still hear it when Vestre switches over to tremolos, but I’m never disappointed to hear them return to it halfway through the song. “Faenskap for Alltid” pursues a more straightforward black metal at first, expertly executing a couple of stock tremolo metal riffs with a panache that I’m surprised to hear outside of a Spectral Wound record before the band shift from blackened to bruising, stomping through a breakdown and proclaiming “faenskap for alltid!” again and again.

Ingenting Forblir’s success stands in part on the band’s canny writing, but is far more indebted to its quality of sound. The record’s production and mix, handled by the band in collaboration with Oskar Johnsen Ryd and Torfinn Sommerfeldt Lysne, respects the vitality of the material, sounding live and livid. My only complaint is that Jansvik’s drums can get buried during busy sections, in part due to a muffled snare tone. Despite a low-DR master, the record is dynamic where it needs to be; when the band leave Vestre alone and pensive with their guitar, the quiet registers, and I feel myself slipping a bit closer in towards the record.

“Jeg Våkner Snart” closes Ingenting Forblir as the band’s most ambitious and successful song, layering tremolo leads over gang vocals, retreating into quiet, reverberating melody, and ending in a boiling conflagration of noise. For a sophomore record leaner and meaner than the band’s 2023 debut, it’s just the right ending. Ingenting Forblir hardly breaks new musical ground, but Rosa Faenskap’s sour determination will likely propel it into my regular listening rotation this year. In practice, I might not be up for faenskap for alltid, but I’ll happily recommend faenskap for lenge.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps MP3
Label: Fysisk Format
Websites: rosafaenskap.com | rosafaenskap.bandcamp.com
Releases Worldwide: March 6th, 2026

It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting—especially if you’ve once again enlisted the mighty Mistur’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black?

As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv’s Agnete Kjølsrud, a smart decision by Kampfar on the amazing Ofidians Manifest. While Bakketeig’s performance on 2021’s solid Wild North West, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kjølsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.1

The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir.

But, like all Vreid records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken.2 But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer.3 It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kjølsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kjølsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier SotY contender.

There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black is Vreid’s best album since V. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters—especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.



Rating: 3.5/5.0
DR: Stream | Format Reviewed: Stream deez nutz
Label: Indie Recordings
Websites: vreid.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: March 6th, 2026

Vreid - The Skies Turn Black

https://vreid.bandcamp.com/album/the-skies-turn-black

#blackMetal #deathMetal #metal #scandinavianMetal #vreid #blackMetal #norwegian #norwegianMetal #sogndal

After removing my clothes, I wade into the promo sump. Yes, nakedness is advised for such a foray, as any loose material can get you ensnared by the bog’s filtration and disposal machinery or by the foul denizens that reside within the sludge. I enter herein with a single purpose in mind: to find a promo that will restore my credibility as a reviewer, if I ever had any to begin with. Since my return to the hall, I’ve written 3.5 after 3.5, and I am in search of something that will bring my average down before I am made to “non-suspiciously” disappear again. I reach down and grasp a promising prospect. Pieces of congealed n00b meat and 16-year-old promo remains fall from the cover, revealing a band name that sounds like some guy’s last name and a photo of several dudes in various tough-guy poses. I smile, allowing myself to hope that I’ve found what I’m looking for. Further investigation reveals Rozario’s Northern Crusaders to be a 50-minute-long heavy/power metal album, and I tell myself that this has 2.5 written all over it. Yep, this’ll do.

My confidence grows when I see that these Norwegians have picked the album’s first two songs as singles. “Fire and Ice” starts things off with some energetic power metal-infused heavy metal that brings Dream Evil immediately to mind. After a huge earworm chorus and some killer riffing and leads, the song winds down, and I’m horrified to realize that I’ve been involuntarily smiling and headbanging the whole time. Fear not, I say to myself. The next single can’t be as good. “We are One” takes the momentum of the opener and runs with it. I hear Brainstorm. I hear Dio. I hear more Dream Evil. I hear an even bigger chorus. Shit.

Not to worry! I’m sure they’ve simply stacked the singles at the front because they’re the best tunes. A qualitative drop-off is sure to come! Just as those foolish words finish leaving my mind-lips, “Down Low” slaps me across the face with a down-tuned chug that I didn’t see coming. This PED-enhanced version of Rozario, also seen on “Sleepless” and “Betrayed,” fits the Brainstorm mold alluded to above, and even ventures towards Mystic Prophecy levels of heaviness. “Crusader” and “Die Like Warriors” both see the band putting their Saxon pants on, their quality daring me to add them both to my “SWOARDS” playlist of battle-ready metal.

I finish Northern Crusaders for the first time and am surprised at just how fast the album’s 50 minutes flew by. I play it again. I like it even more. I am totally fucked. Sure, I can look across the album’s track list and pick out two songs that I don’t absolutely love (“Coming Home” and “The Warning”), but they’re still good songs whose place in the runtime almost totally mitigates any potential impact they could have had on the overall flow. I’m rather pissed that singer David Rosario puts in a journeyman performance with his weathered voice, and I’m even more upset that he’s filled his near-eponymous band with so much talent, particularly on guitar. The duo of Stein Hjertholm and Taran Lister has filled these tracks with muscular riffs, beautiful leads, and face-melting solos, and this is a huge reason that Northern Crusader feels so effortless and easily replayable. Even the production is fantastic. Gah! What a catastrophe!

It’s now been several weeks since I plucked this from the sump. As I put the finishing touches on the review and prepare to enter the final rating, I am suddenly aware of a presence in the room with me. I look up from my laptop screen to see 3.5 glaring at me with a sinister smile on its face. “You couldn’t live with your own failure,” it says. “Where did that bring you? Back to me.” I type the score, realizing it is futile to resist, fully aware that I’ve made the mistake of judging Rozario’s Northern Crusaders by its cover. I slam my computer screen down, stand up, and walk away, naked and full of shame.1

Rating: 3.5/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Pride & Joy Music
Websites: rozarioofficial.com | facebook.com/rozarioband
Releases Worldwide: February 20th, 2026

If you know anything about grumpy ole Grier, you know he’s been dry-humping Bizarrekult ever since 2021’s Vi Overlevde. “Dry-humping” might not be the correct term. Maybe passionate lovemaking? Yeah, that’s the stuff. But, in all seriousness, this little band came out of nowhere and has been making waves in such a short time. While the debut had me glued to my seat, the follow-up, Den Tapte Krigen, damn-near bolted me down—to the point that I had to cut myself out of my pants to break free. If that had been the band’s swansong, I would have been just fine for the rest of my life. But Bizarrekult is back to ruin another pair of my pants. Behold! Alt Som Finnes!

Before we begin, let’s explore some of the new additions Bizarre and co. have brought to the table with this new outing. While the general structure of the output remains the same, the approach can vary. Joining the ranks of second-wave Norwegian black metal, Alcestian meloblack, and Enslaved-like intricacies are three guest vocalists: Yusaf “Vicotnik” Parvez (Dødheimsgard), Lina (Cross Bringer, Predatory Void), and Kim Song Sternkopf (Møl, The Arcane Order). I’m not sure whether the songs were created with the guests in mind or whether they evolved during the songwriting process, but each song was made for its guest. Each with a gentle, clean vocal style, you can expect some of the most melodic, gorgeous accompaniment in the Bizarrekult’s repertoire. And besides Sternkopf’s contribution to the closing “Tomhet,” this song is also the first ever to be penned in English. Not that we metalheads have an issue with songs in a country’s native language, unlike the rest of the mainstream poser fucks. But it’s a nice addition.

Alt Som Finnes by Bizarrekult

Alt Som Finnes kicks off with a surprising piece in the form of “Hun.” Mostly surprising in its simplicity and short runtime. Alternating between clean and distorted vocals and ripping blackened riffs, this track only whets the whistle—nothing more and nothing less. Which leaves me wanting more before “Blikket Hennes” slaps the fuck out of me like a cat who hasn’t received its treats. This track has a thick bass, unsettling old-school black metal dissonance, venomous Aldrahn-like growls, and a trudging pace slowed by tar. Then, it collapses into a gorgeous atmosphere as Parvez’s beautiful vocals hit hard and crush the olde ticker like it’s made of parchment.

There are so many reliable tracks that it’s difficult to choose one over the other. That said, “Avmakt” is a beautiful piece with one of the most memorable black metal licks I’ve heard in some time. And not because it’s thrash, death, or any other sort of approach, but because it’s a killer true black metal riff. As the song progresses, the melodies expand like an ever-growing blanket that settles over mountains and valleys, like giants slumbering below the fabric. It’s one of those songs that proves you don’t need the beauty of the clean vocals of “Blikket Hennes” to achieve the same task. While there are others in the same vein as “Avmakt,” “Aversjon” takes it to another level with its influences. Opening with slow-moving melodics and sorrowful sustains, it quickly goes dark, slithering below the Earthly strains like a viper. But, like a miracle at the darkest of times, an uplifting, Alcest-like air breathes over—pushing deep and far, even into Enslaved-esque prog-tivity.

On first spin, Alt Som Finnes is an absolute rollercoaster of emotions that, even though it’s not uncommon for Bizarrekult to instill, leave me completely crippled by the end. Outside of the surprisingly two-pump Chuck that is “Hun,” the rest weave together while many still try to resist the tempting urge to give in and conform to the predictable fabric patterns. Instead, you have a glowing blanket that is also scorched and tattered beyond repair. Though it remains intact, when touched, it feels both gentle and painful at the same time. It’s a conflicting album in its tone but not in its delivery, and the intricacies of this slow burner try hard to topple Den Tapte Krigen from its perch. Who knows where it’ll stand in time, but, regardless, this new outing is a worthy addition to the Bizarrekult family.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 256 kb/s mp3
Label: Season of Mist Underground Activists
Websites: bizarrekult.bandcamp.com | facebook.com/bizarrekult
Releases Worldwide: February 20th, 2026

Ever shrouded in mystery, the enigmatic collective Misotheist emerges from their icy realm to deliver succor to fans of metals black and arcane. De Pinte, the band’s fourth release, roughly translates from Norwegian to ‘The Tormented’ or ‘They Tormented,’1 a fitting appellation given the Trondheim troupe’s fondness for tortured topics and twisted themes.2 At their core, Misotheist takes the oppressive atmosphere of Selbst and merges it with Mayhem’s pummeling impudence, then strategically adorns that union with subtle melodies and naked emotions that remind me of Decline of the I. Mostly, though, Misotheist sounds like Misotheist, and given Doom_et_al’s brazen glazin’ of their last couple albums, that’s not a bad path to walk. Right?

As with prior albums, Misotheist continues exploring the band’s sonic landscape within the context they’ve defined for themselves. Second-wave tempests reign supreme, broken up by leaden crawls and punctuated with antagonistic bouts of dissonance and harmony. Fans of the band won’t be surprised at De Pinte’s mix, once again donning the lo-fi trappings Misotheist is known for and imbuing the songs with buzz and crunch. With four tracks on De Pinte compared to the typical three, Misotheist manages their most accessible album to date by keeping the opening trio trim (for them, anyway) and comprising a tightly written side A. Overall, the refinement on De Pinte signals a keen band that understands the path to greater success is one of degrees.

The first three tracks on De Pinte may be Misotheist’s best material yet, spewing counterbalanced discord and melody over varied paces in concise doses. The guitar twangs in “Unanswered Thrice” drop a wistful anchor of melancholy that tugs at the heartstrings over furious riffing and a bludgeoning drum performance, and “Blinded and Revealed” rumbles at an unhinged gait similar to Panzerfaust, injecting spidery leads over the blackened tumult beneath. It’s “Kjetterdom,” though, that stands out amongst on the A-side of the album, decelerating the momentum to an agonizing plod while the bass plays a pivotal melodic role that offsets serpentine guitar jangles. Throughout, the vocals cut and gut with what sounds like broken glass being ground in the back of someone’s throat, engendering an uncomfortable brutality that works seamlessly with the music. In all, the front half of De Pinte is loaded with great moments and potent songwriting, setting the stage for Misotheist’s longest song to date.

Though the heights of De Pinte surpass its predecessors, Misotheist hits a snag during the album’s last leg. The key to De Pinte comes down to tension, and where the front of the album excels here, “De Pinte” doesn’t quite stick the landing. Swirling, hypnotic trems play over rigidly metered bass drum blasts, and odd cymbal splashes jar proceedings out of orbit and into an exciting, dangerous crash course. The musical dynamics expertly weave to and fro, adventurously shifting the song’s velocity over a twenty-minute run that always shocks me with how fast it slips by. Misotheist’s dedication to atmosphere and tension throughout “De Pinte” is magnificent, and it’s baffling when so much time gets spent forging tension to have De Pinte just… end. There’s no big release. No catharsis. It might have been easier to look past if Misotheist hadn’t committed the same sin at the end of Vessels by Which the Devil Is Made Flesh, too. Despite how great the rest of the album is, the lack of fulfillment leaves me hollow, and the impact is outsized since this is a listener’s final impression.

Make no mistake, Misotheist brings the goods with De Pinte, and any fan of metal should find plenty to like on it. Though I’m disappointed with the lack of a fulfilling climax, I regularly find myself looking for forty minutes to sneak in another listen. Unquestionably great moments permeate the album, and while I’m disappointed with its final, crucial juncture, Misotheist’s latest is a must-listen in a month flush with quality releases. Don’t miss it, or the choice could come back to torment you.



Rating: Very Good!
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Terratur Possessions
Website: Bandcamp
Releases Worldwide: February 20th, 2026

Brutal cold envelops the building as my minions scrape through ice and filthy slush to find even the smallest shard of metallic glimmer. With extensive budget cuts demanded by my exorbitant bonus schedule—as is my right as CEO of this filtration service—there was no room to purchase adequate gear and equipment for these harsher weathers. However, I did take up crocheting recently so each of my “employees” received a nice soft hat.

Hopefully, that will be enough to tide them over until the inclement weather passes and we return to normal temps. Until then, they have these rare finds to keep them warm, and so do you! REJOICE!

Kenstrosity’s Knightly Nightmare

AngelMaker // This Used to Be Heaven [November 20th, 2025 – Self Released]

I’ve been a fan of AngelMaker’s since their 2015 debut Dissentient. The grossly underrated and underappreciated Vancouver septet are a highly specialized deathcore infantry, with their lineup expanding steadily over their career in concert with their ever-increasing songwriting sophistication. Unlike the brutish and belligerent debut and follow-up AngelMaker, 2022’s Sanctum and new outing This Used to Be Heaven indulge in rich layering, near-neoclassical melodies, and dramatic atmosphere to complement AngelMaker’s trademark sense of swaggering groove. With early entries “Rich in Anguish” and “Haunter” establishing the strength of both sides of their sound, it always surprises me how AngelMaker successfully twist and gnarl their sound into shapes—whether it be hardcore, blackened, or melodic—I wasn’t anticipating (“Silken Hands,” “Relinquished,” “Nothing Left”). A rock-solid back half launched by the epic “The Omen” two-part suite brings these deviations from the expected into unity with the deathcore foundation I know AngelMaker so well for (“Malevolence Reigns,” “Altare Mortis”), and in doing so secure their status as one of the most reliably creative deathcore acts in the scene. Nothing here is going to change the minds of the fiercer deathcore detractors, but if your heart is open even just a crack, there’s a good chance This Used to Be Heaven will force themselves into it, if not entirely rip the whole thing asunder. My advice is simply to let it.

This Used To Be Heaven by AngelMaker

ClarkKent’s Sonic Symphonics

Brainblast // Colossus Suprema [November 11th, 2025 – Vmbrella]

A debut album five years in the making from a band formed in 2015, Colossus Suprema is the brainchild of Bogotá, Colombia’s Edd Jiménez. Jiménez turned his passion for and training in classical composition towards his symphonic progressive act, Brainblast. With Bach as an inspiration, Brainblast’s brand of technical death metal has the grandeur of Fleshgod Apocalypse, the speed of Archspire, and the virtuosity of concert musicians. Jiménez’s classical training shows — the compositions have an orchestral feel, only played at insane energy levels. The speed, the depth, and the breadth of the instrumentation are sure to leave you breathless. Nicholas Le Fou Wells (First Fragment) lays down relentless kitwork with jaw-dropping velocity, while Eetu Hernesmaa provides technical fretwork that’ll similarly leave you awestruck. He delivers sublime riffs on “Relentless Rise” and a surprising melodic lead that steals the show on “Unchain Your Soul.” Perhaps most prominent is the virtuoso play of the bass from Rich Gray (Annihilator) and Dominic Forest Lapointe (First Fragment) that is omnipresent and funky on each and every song. To top it all off is the piano (perhaps from Jiménez), giving the music some gravitas with the technical, concert-style playing. This record is just plain bonkers and tons of fun. Given this is the debut from a young musician, the idea that Brainblast has room to grow is plenty exciting.

COLOSSUS SUPREMA by BRAINBLAST

Gods of Gaia // Escape the Wonderland [November 28th, 2025 – Self Released]

If you’ve been eagerly awaiting the next SepticFlesh release, Germany’s Gods of Gaia have got you covered. Founded in 2023 by Kevin Sierra Eifert, Gods of Gaia is made up of an anonymous collective from around the world, contributing to a dark, heavy, and aggressive form of symphonic metal. Their sophomore album, Escape the Wonderland, features a collection of death metal songs with plenty of orchestral arrangements that add a dramatic flair. Along with crushing riffs and thunderous blast beats, you’ll hear choral chants (“Escape the Wonderland,” “Burn for Me”), bits of piano (“What It Takes”), and plenty of cinematic symphonics. SepticFlesh is the obvious influence, but the grandiosity of Fleshgod Apocalypse flares up on cuts like the dramatic “Rise Up.” The front half is largely aggressive, with “What It Takes” taking the energy to thrash levels. The back half dials down the energy, even creeping to near doom on “Krieg in Mir,” but never pulls back on the heaviness. Cool as the symphonic elements are, the riffs, blast beats, and brutal vocal delivery are just as impressive. Make no mistake, this is melodic death metal above all else, with symphonic seasonings that elevate it a notch. Just the opposite of what the record title suggests, this is one wonderland you won’t want to escape.

Escape the Wonderland by Gods of Gaia

Grin Reaper’s Frozen Feast

Hounds of Bayanay // КЭМ [November 15, 2025 – Self Released]

Two-and-a-half years after dropping debut Legends of the North, Hounds of Bayanay returns with КЭМ to sate your eternal lust for folk metal.1 Blending heavy metal with folk instrumentation, specifically kyrympa2 and khomus,3 as well as throat singing, Hounds of Bayanay might sound like a Tengger Cavalry or The Hu knockoff, but you’ll do yourself a disservice by writing them off. Boldly enunciated, clarion cleans belt out in confident proclamations while grittier refrains and overtones resonate beneath, proffering assorted and engaging vocal stylings. Rather than dwelling overlong in strings and tribal chanting, the deft fusion of folk instruments with traditional metal defines Hounds’ sound and feels cohesively integrated on КЭМ, providing an intimate yet heavy backdrop to a hook-laden and alluringly replayable thirty-nine minutes. In addition to the eclectic folk influence, there’s a satisfying variety of songwriting from track to track, with “Ardaq,” “Cɯsqa:n,” and “Dɔʃɔrum” exemplifying the enticing synthesis of styles. More than anything else, Hounds of Bayanay embodies heart and fun, warming my chilly days with a well-executed platter of Eastern-influenced folk metal. Don’t skip this one, or the decision could hound you.

KEM by Hounds Of Bayanay

Blood Red Throne // Siltskin [December 05, 2025 – Soulseller Records]

I’m shoving up against the deadline to wedge this one in, but Blood Red Throne’s latest deserves a mention, and bulldozing is just the sort of thing you should do while listening to BRT’s brand of bludgeoning, pit-stomping romp. Back in December, the venerable Norwegian death metal act dropped twelfth album Siltskin, maintaining their prolific and consistent release schedule. In addition to their dependable output, BRT stays the course with pummeling, brutish pomp. In his coverage of Nonagon and Imperial Congregation, Doc Grier drums up comparisons to Old Man’s Child, Panzerchrist, and Hypocrisy, and while I’m not inclined to disagree on those points, I’ll add that Siltskin also harkens to Kill-era Cannibal Corpse in its slick coalition of mid-paced slammers, warp-speed blitzes, and fat ‘n’ frolicking bass. Add to that the sly, sticky melody from the likes of Sentenced’s North from Here (“Vestigial Remnants”), and you’ve got a recipe for a righteous forty-five-minute smash-a-thon. Blood Red Throne’s last few records have been among their best, which is an incredible feat for a band this far into their career. While Siltskin doesn’t surpass BRT’s high-water mark, it keeps up, and if you’re hungry for an aural beatdown, then Blood Red Throne would like to throw their crown into the ring for consideration.

Siltskin by Blood Red Throne

Gotsu-Totsu-Kotsu // Immortality [December 17, 2025 – Bang the Head Records]

I am woefully late to the charms of Gotsu-Totsu-Kotsu, a Japanese death metal outfit prominently featuring slap ‘n’ pop bass. Had it not been for our trusty Flippered Friend, I might have continued this grievous injustice of ignorance, but thankfully, this is not the timeline to which I’m doomed. Immortality is Gotsu-Totsu-Kotsu’s seventh album, and those who enjoy the band’s previous work should remain satisfied. For new acolytes, Gotsu-Totsu-Kotsu grasps the rabid intensity of Vader and Krisiun and imbues it with a funky edge. Meaty bass rumbles and sprightly slapped accents, provided by bassist/vocalist Haruhisa Takahata, merge with Kouki Akita’s kit obliteration to establish a thunderous, unrelenting rhythm section. Atop the lower end’s heft, Keiichi Enjouji shreds and squeals with thrashy vigor and a keen understanding of melody. First proper track “Anima Immortalis” even includes gang intonations that work so well, I wish they were more prevalent across the album. The sum total of Gotsu-Totsu-Kotsu’s atmosphere is one of plucky exuberance that strikes with the force of a roundhouse kick to the dome. Had I discovered it sooner, Immortality would have qualified for a 2025 year-end honorable mention, as I haven’t been able to stop spinning it or the band’s prior releases.4 Though I’m still in the honeymoon phase, I expect this platter to live on in my listening, and recommend you not miss this GTK killer like I almost did.

Thus Spoke’s Random Revelations

The Algorithm // Recursive Infinity [November 21st, 2025 – Self Released]

I’ve been a fan of The Algorithm since the early days, back when their electronica-djent was almost twee in its experimental joy, spliced with light-hearted samples. Over the years, Rémi Gallego has tuned his flair for mesmeric, playful compositions to develop a richer, more streamlined sound. Recursive Infinity continues the recent upward trend Data Renaissance began. With riffs and rhythms the slickest since Brute Force, and melodies the brightest and most colourful since equally-prettily adorned Polymorphic Code, it’s a cyberpunk tour-de-force. The wildness is trained, chunky heaviness grounding magnetic melodies (“Race Condition,” “Mutex,” “By Design”), dense chugging transitioning seamlessly into techno (“Advanced Iteration Technique,” “Hollowing,” “Graceful Degradation), and adding bite to bubbly, candy-coloured soundscapes (“Rainbow Table,”). The skittering of breakbeats tempers synthwave (“Endless Iteration), and bright pulses wrap cascading electro-core (“Race Condition,” “Mutex”) and orchestral melodrama (“Recursive Infinity”). It’s often strongly reminiscent of some point in The Algorithm’s history, but everything is upgraded from charming to entrancing. This provides a new way to interpret Recursive Infinity: not just a reference to an endless loop in general, but to Boucle Infinie (Infinite Loop)—Remi’s other musical project—and by extension, The Algorithm themselves. Yet he is still experimenting, including vocoder vocals (“Endless Iteration,” “By Design”) for a surprisingly successful dark-Daft Punk vibe in slower, moodier moments. With nostalgic throwbacks transformed so beautifully, and the continued evolution, there’s simply no way I can ignore The Algorithm now. And neither should you.

Recursive Infinity by The Algorithm

Owlswald’s Holiday Scraps

Sun of the Suns // Entanglement [December 12th, 2025 – Scarlet Records]

Bands and labels take heed—We reserve December for two things: Listurnalia and celebrating another trip around the sun. It is not for releasing new music. Yet this blunder persists, ensuring we inevitably miss gems like Sun of the Suns’ sophomore effort, Entanglement.5 The record dropped just as the world was tuning out for the year, and it deserves much better. Building on the foundation of their 2021 debut, TIIT, the Italian trio has significantly beefed up their progressive death formula. Mixing tech-death articulation with deathcore brutality, Entanglement ensures fans of Fallujah will feel right at home with its effervescent clean melodies and crystalline textures. Francesca Paoli (Fleshgod Apocalypse) returns to provide another masterclass behind the kit with rapid-fire double-bass, blasts, and tom fills, while guitarists Marco Righetti and Ludovico Cioffi deliver cosmic shredding and radiant solos that are both technical and deliberate. While the early tracks lean into Fallujahian songcraft and Tesseract-style arpeggios, the album shines brightest late when the group largely sheds its stylistic orbit. “Please, Blackout My Eyes” pivots toward a majestic Aeternam vibe with ethereal tech-death incisiveness, while “One With the Sun” and “The Void Where Sound Ends Its Path” hit like a sledgehammer with Xenobiotic’s deathcore grooves. Though Luca Dave Scarlatti’s vocals lack differentiation, the sheer quality of the compositions carries the weight, proving Sun of the Suns are much more than mere clones.

Entanglement by Sun Of The Suns

After waiting seventeen years to release their debut full-length, Norwegian progressive metal act Course of Fate is now three albums in since 2020. I missed their sophomore release in 2023—I’m actually just learning it exists as I type this—so I was especially excited to see this group back in action. Mindweaver was a delight of an album, the kind of release that hums with potential and makes you eager to see what a band is going to do next. Evidently, I missed what Course of Fate did next, but now that Behind the Eclipse is here and audible, I’m no less excited to share that they haven’t missed a step.

Course of Fate are still very much Course of Fate, though the sound I remember from Mindweaver has morphed into something altogether more aggressive and impactful. Kenneth Henriksen and Fredrik Jacobsen’s guitars are louder and rougher around the edges, and bass by Torstein Guttormsen is fully audible through most of Behind the Eclipse. Their core sound—a heavy backdrop supported by lush drumming (Per-Morten Bergseth) and memorable, just-melodic-enough riffs counterbalanced by Eivind Gunnesen’s smooth singing—is still there, but even the singing is more aggressive than I remember, with the odd growl thrown in for good measure. There is a sense of care to the songwriting, evident in the quiet keys and strings, and the storytelling in the lyrics to songs like “Behind the Eclipse,” the titanic opener1 with an epic chorus and huge resolution that gets stuck in your head for days after you hear it.

There’s a sense of melancholic anger throughout Behind the Eclipse; Course of Fate are very much at home in frustration and sorrow, though their compositions are as lively as ever. “Acolyte,” for example, opens with a quiet piano lead that builds to an aggressive, almost thrashy riff. Gunnesen is loud here, fitting in so well with the music, right up to the chorus—then things slow. The piano returns, and his performance turns introspective. Then, as soon as it’s over, Course of Fate is back to its fiery self. The balance is impressive and shows up again throughout. Closer “Neverwhere” is another classic Course of Fate exploration, a song that builds and builds from bitter reflections to soaring interludes to its massive chorus and beyond. As with Mindweaver, there is an emotive core to Behind the Eclipse that gives it genuine staying power (and once again, the ballad is one of the best songs, this time in the form of “Don’t Close Your Eyes”).

There are only a few moments throughout Behind the Eclipse where the aforementioned balance of aggression and melancholy doesn’t quite come together, and in these moments, it becomes “merely” good metal. “Sky Is Falling” is a fine song, but it comes in a little strong for my tastes, while “Hiding from the Light” takes a slower, less immediate approach that initially had me wondering if Course of Fate didn’t have some metalcore influences. It isn’t metalcore—I can’t stress that enough—but the balance isn’t quite there, at least not to my ears. With that said, the solo guitar work in “Sky Is Falling” is one of the coolest moments on Behind the Eclipse, and I love the use of growls in “Hiding from the Light.” Every song has something going for it, and this is in large part due to the fact that Course of Fate are strong performers and great songwriters. As a bonus, eight tracks spanning forty-five minutes make it hard to lose interest at any point.

So I’d say Course of Fate have done it again—they’ve kick-started my year with an impressive showing of progressive metal that I expect to come back to often as the year goes on. Behind the Eclipse is a well-written, cathartic, and empowering album that is fun to listen to. I could argue it’s a little uneven, but it never dips below “good” and often reaches “great.” It seems that Course of Fate are finding their groove—not to mention a consistent release schedule—and I couldn’t be happier for it.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Roar! Rock of Angels Records
Websites: facebook.com/courseoffate
Releases Worldwide: January 30th, 2026