This is the debut album from Irish black/death metallers Coscradh.
Nahanagan Stadial boasts 41 minutes of apocalyptic black/death metal. Across five songs Coscradh unleash Hell as they craft harsh-yet-compelling malevolent soundscapes. Continue reading “Coscradh – Nahanagan Stadial (Review)”
Belphegor are an Austrian black/death metal band and this is their twelfth album.
Influenced by the 90s era of both black and death metal, The Devils contains 36 minutes of unholy new material, (or 42 if you include the bonus track, which is a rerecorded medley of two older songs). Continue reading “Belphegor – The Devils (Review)”
This is the fourth album from Canadian black/death metallers Begrime Exemious.
Rotting in the Aftermath contains 37 minutes of filthy underground death metal with a raw blackened edge of ice. This is the most death metal I’ve heard the band, and they sound like they’re enjoying themselves with it. Continue reading “Begrime Exemious – Rotting in the Aftermath (Review)”
This is the third album from US black/death metallers Haunter.
Following on from 2019’s very well-received Sacramental Death Qualia, Haunter have now returned with 32 minutes of new material. The band’s style can be termed progressive black/death metal, and Continue reading “Haunter – Discarnate Ails (Review)”
This is the debut album from US black metal band Tómarúm.
Featuring a member of The Ritual Aura, and session members from Inferi and Virvum, Ash in Realms of Stone Icons contains 60 minutes of progressive black/death metal. Continue reading “Tómarúm – Ash in Realms of Stone Icons (Review)”
Malthusian are from Ireland and Suffering Hour are from the US. Both play blackened death metal, and they have teamed up for this split release.
Malthusian start us off and offer up two tracks, with a total duration of 20 minutes. Continue reading “Malthusian/Suffering Hour – Time’s Withering Shadow – Split (Review)”
Devourer are a Swedish/Russian black metal band and this is their fourth album.
I really enjoyed 2017’s Across the Empty Plains and 2019’s Dawn of Extinction, so upon receipt of Raptus it was a must-listen.
Ever since first hearing Devourer back in 2017 I was immediately Continue reading “Devourer – Raptus (Review)”
This is the second album from US solo symphonic black/death metal act Tine.
Tine’s debut album – The Forest Dreams of Black – was one that I enjoyed a great deal, and I can’t quite believe that it came out seven years ago. I’m pleased to say that we now have a new album on the horizon – Mergae Maris Profundi – which provides us with 54 minutes of blackened death metal to hungrily consume. Continue reading “Tine – Mergae Maris Profundi (Review)”
Vahrzaw are an Australian black/death metal band and this is their fourth album.
Having enjoyed 2014’s Twin Suns & Wolves’ Tongues and 2018’s Husk, I knew I wanted to check out The Trembling Voices of Conquered Men as soon as I could. This new album further develops the sound that Vahrzaw did so well on Husk, taking it Continue reading “Vahrzaw – The Trembling Voices of Conquered Men (Review)”
Wonderbox Metal gets sent a lot of new music, (which is great), but there’s no way that everything can get covered unfortunately, (which is not so great). This new column hopes to redress this balance, if only slightly, by taking a look at a handful of releases that a record label has recently sent out that might have otherwise slipped through the cracks.
I, Voidhanger Records consistently puts out high quality, frequently non-standard music. One of their releases is always an interesting proposition to explore. Below you’ll find four of the label’s more recent ones; make sure you give each of them the time it deserves… Continue reading “Label Roundup: I, Voidhanger Records – Creature, Mystras, Ars Magna Umbrae, & Vertebra Atlantis (Reviews)”
Wonderbox Metal 