This is the sixth album from US avant-garde black/death metal band Imperial Triumphant.
Imperial Triumphant always make a fascinating record. Check out any of their albums, (such as 2020’s Alphaville or 2022’s Spirit of Ecstasy and you’ll be in an unfamiliar world of avant-garde experimentation and gilded individuality. Continue reading “Imperial Triumphant – Goldstar (Review)”
This is the debut album from Australian blackened doom/sludge band Ghostsmoker.
Playing a hideous stew of blackened sludge and doom metal, Ghostsmoker’s debut album Inertia Cult is a 42-minute endurance test – do you have what it takes to survive their onslaught of abrasive distortion and scathing darkness? Continue reading “Ghostsmoker – Inertia Cult (Review)”
Dissocia are a Spanish progressive metal band and this is their debut album.
Brought to us by current/ex-members of Aposento, Bizarre, Cancer, Eternal Storm, and Wormed, Dissocia play modern progressive metal, with elements of death metal incorporated into its cinematic whole. Across 41 minutes, To Lift the Veil makes its intentions known in no uncertain terms, and has an impact. Continue reading “Dissocia – To Lift the Veil (Review)”
This is the fourth album from Danish deathcore band Cabal.
I really like Cabal, so was well chuffed when Everything Rots appeared on the horizon like a gathering storm. 2020’s Drag Me Down and 2022’s Magno Interitus were both first class examples of deathcore heaviness. The latter showed a progression in the band’s sound too, reducing the blackened influences. What will the 38 minutes of new material on Everything Rots reveal? Continue reading “Cabal – Everything Rots (Review)”
This is the second album from Indian metal band Bloodywood.
Bloodywood mix together folk and nu-metal, delivering 33 minutes of music on Nu Delhi that’s idiosyncratic and full of personality. Continue reading “Bloodywood – Nu Delhi (Review)”
This is the second album from US death metal band Gates to Hell.
Gates to Hell play a form of death metal that’s been injected with hardcore urgency, grindcore intensity, and slamming heaviness. With ten songs in 21 minutes, Death Comes to All wastes little time and gives the listener a brutally good time. Continue reading “Gates to Hell – Death Comes to All (Review)”
Osgraef are a black/death metal band and this is their debut album.
Osgraef mix black, death, doom, and war metal into a 42-minute expression of mysterious brutality. Reveries of the Arcane Eye is a ball of raging potency and deep obscure atmosphere. Continue reading “Osgraef – Reveries of the Arcane Eye (Review)”
This is the third album from US death metallers Chaos Inception.
Wow, I did not see this coming. 2012’s The Abrogation stood out with its quality, and I’ve periodically wondered over the years if we’d ever see another from Chaos Inception. I had long assumed not, but here it is – unheralded, and unexpected. Can Chaos Inception stand up to scrutiny in 2025? Continue reading “Chaos Inception – Vengeance Evangel (Review)”
This is the second album from US extreme metal band Aversed.
2021’s Impermanent was an enjoyable album that mixed a few different metal styles together to deliver a satisfying result. Four years and a change of singer later, and Aversed are back with the 40-minute Erasure of Color. Continue reading “Aversed – Erasure of Color (Review)”
Aran Angmar are an international, (Greece/Italy/Netherlands), black metal band and this is their third album.
Featuring the vocalist of the mighty Saille, Ordo Diabolicum contains 43 minutes of second wave black metal, enriched by folk and atmospheric elements. A mix of the Scandinavian and Greek scenes in style, if you’ve encountered Aran Angmar previously, this is a newly evolved and accomplished version of the band. Continue reading “Aran Angmar – Ordo Diabolicum (Review)”
Wonderbox Metal 