I’ve been following Universe 217 ever since they released Never back in 2013, and I can safely say that few bands are able to conjure an atmosphere of despair, doom, and grief quite like this Greek collective.

They’ve just unveiled a video for the track “Wrong.” While it isn’t a brand-new song as the band have been performing it live for some time, it feels strikingly fresh and revitalized in this visual form. The video perfectly highlights Universe 217’s remarkable ability to channel sorrow and desolation, reinforcing their signature sound: heavy, immersive, and emotionally draining in the most compelling way. 

The song crawls forward on slow-paced rhythms and monolithic, crushing riffs reminiscent of the kind Neurosis are renowned for. Above it all rises Tanya Leontiou’s extraordinary voice, carrying a deeply emotional, despondent weight that elevates the track into something truly haunting. 

If this is any indication of what’s to come, a new album in 2026 can’t arrive soon enough.

Keep them under your radar: https://www.facebook.com/universe217

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Each week we dive headfirst into the chaos of the release calendar so you don’t have to, sorting the skull-crushers from the snooze-fests, the molten riffs from the meaningless noise. This week spans everything from pit-starting thrash to fluffy Disney soundtracks, and we’ll tell you what’s worth blasting at full volume and what deserves to be dumped in the bargain bin.

The Good: When it comes to crossover thrash, few bands hit as hard as Cruel Bomb. This four-piece unleashes a ferocious, high-octane assault that distills the genre’s finest elements: the raw aggression of Power Trip, the neck-snapping stomp of Municipal Waste, and the razor-sharp precision of Warbringer. 

On some tracks, Cruel Bomb unleash bone-crushing breakdowns built to spark pure chaos in the pit, pure Hatebreed-style punishment aimed straight at the jugular. Elsewhere, they shift into a mid-tempo, stomp-driven menace ripped straight from Slayer’s darkest playbook. The result? A lethal crossover cocktail, nasty, unrelenting, and as unstoppable as the genre gets.

The bad: A couple of years ago, if I picked up a CD at a store with the Nuclear Blast stamp on it, I knew I was in for some sharp, quality metal. But Auri? That’s another story. Aside from Tuomas Holopainen of Nightwish fame being involved in this project along with his singer wife, this has little to do with metal at all. 

Instead, what you get feels more like Kate Bush wandering into a fairy-tale world of kings, queens, castles, and enchanted forests. Sure, it’s atmospheric, but far from heavy. Honestly, it sounds more like the soundtrack to a fluffy Disney animated movie than something you’d expect from Nuclear Blast. 

The Brutal: New York’s death metal quartet Castrator are back with their crushing second full-length, Coronation of the Grotesque, an album that sharpens their long-honed balance of old-school grit and mosh-ready brutality. It’s heavy, it’s memorable, and it avoids falling into the tired clichés. That doesn’t mean, they’re here to reinvent death metal’s wheel, that’s not the mission. Instead, Coronation of the Grotesque spotlights everything that makes the genre great: razor-sharp riffs, brutal vocals, and relentless headbanging power. A well-executed, bone-breaking death metal experience so what more could you ask for? 

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There are zillions of heavy metal and hard rock bands out there and a good chunk of them are working hard to carve out a name for themselves. Some are driven by pure passion, happy to record a few tracks and play the local club circuit. Others are chasing something bigger: recognition, touring opportunities, and maybe even making music their full-time life.

Both paths are valid. But the truth is that making it in heavy music is brutally tough. The bar is high, the field is so crowded, and the rules keep changing. What counts as “success” is deeply personal and relative to your own goals, but if you're genuinely ambitious and want to break through the noise, there are a few things worth knowing.

First off: it’s not just about following a checklist or hiring a publicist and expecting some kind of magic. PR can amplify your message, especially if you already have something compelling to say, but it won’t automatically catapult your band into the spotlight.

There’s no shortcut. No secret formula. No matter what some self-proclaimed “wizards” are selling you with their paid plans promising to boost your followers, skyrocket your Spotify numbers, and land you on international tours, most of it are just empty promises.

Let’s cut the bullshit: when you hire a publicist, you’re hiring their network and their influence, their ability to reach the right outlets, the right editors, the right gatekeepers. And if you’ve got a real story, a strong identity, and you’ve already done the groundwork, they can absolutely help you get noticed.

But that’s not the same as blasting out a generic press release to a list of blogs that get ten visitors a day. That’s not PR, it’s basically checking boxes and hoping someone notices.

Good PR isn’t about hype for hype’s sake. It’s about connecting your band with the right people, in the right way, at the right time. And that only works when it’s backed by substance: music that matters, visuals that stand out, and a vision that feels authentic and alive.

You can pay a few hundred dollars for a consulting call, just to be told to comment on other people’s posts and hope they follow you back or how to “beat the algorithm” and rack up Spotify streams. You can spend more on a professionally written bio and EPK. You can spend some serious money on a promo campaign.

And then... nothing happens.

No major publication picks it up. No radio play. Just a couple mentions on small blogs with barely any readership. You get 10 more listeners on Spotify, 2 Bandcamp sales, and you’re still paying out of pocket to play a show 100 miles from home.

So don’t look for shortcuts. And definitely don’t fall for what seems like the “easiest” way.

Making it in music and especially heavy and hard music, is far trickier than that. Focus on perfecting your sound. Build authentic, honest relationships with fellow musicians, fans, promoters, and anyone else in the scene. Don’t engage on social media just to chase attention or coverage. People can sense that from a mile away.

Don’t give Spotify too much credit! It’s overrated. It pays nothing and won’t help smaller bands get noticed. It won’t get you tour invites or take you outside your local circuit. A truly great live show, where you impress the crowd, connect with fans, and treat other bands and venue staff with respect, will get you further than 10,000 passive streams ever could.

And please, don’t waste your money on “career builders” who charge hundreds of dollars just to give you basic advice over the phone. Talk to musicians you respect. Ask questions. Most of them will gladly give you a few minutes and maybe even a contact or two that can actually help.

Don’t trust managers who ask for money up front. Any well-respected manager only makes money when you do. And don’t work with publicists who just blast your music to an impersonal list of a thousand emails. That’s not a strategy, that’s just spam.

Good work speaks for itself. Real connections matter. There’s no magic formula, but there is a path, and it starts with being great, being genuine, and showing up.

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There was a time when Century Media Records stood at the cutting edge of heavy music, home to some of the most innovative and genre-defying metal and hardcore acts like Tiamat, Eyehategod, and others who all helped reshape the heavy music scene. Now, under the umbrella of Sony Music, the label’s roster feels more diluted. Some of the recent signings seem questionable, lacking the bite and originality that once defined the label’s legacy.

Unfortunately, new Estonian signees Pridian appear to fall into that category. Their brand of modern metalcore: a blend of chugging riffs, polished melodies, and glossy electronics sounds all too familiar, echoing the formulaic approach of countless similar bands chasing the same old and tired blueprint. Not that their debut album Venetian Dark released under the Pridian moniker (they previously went by ÆØNS) is a bad record, but by the time the second track wraps up, I'm already tempted to hit the skip button. Their particular blend of Architects-style modern metalcore mixed with Static-X-flavored industrial gloss wears thin quickly, offering little to hold attention beyond the polished production.

Tracks like “Near Dark” and “Idoldust” follow that formula closely, and whether that works for you will likely depend on your affinity for bands like Static-X or Architects. Personally, I’m not a big fan of either, but if those names appeal to you, there’s a good chance you’ll find something to enjoy in Venetian Dark.

That said, while the band shows technical proficiency, I feel they’re still in the process of searching for a distinct identity and could benefit from a bit more maturity in their songwriting. (5/10)

Jason Hicks

Band info: https://www.facebook.com/pridianband
Label info: https://www.centurymedia.com

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In the ever-challenging world of heavy music, there's a stubborn idea that clings to the scene like a bad hangover: that paying to play with bigger bands or buying your way onto a tour will magically catapult your career. Reality check: it won’t, well at least not anymore, and it might even wreck your finances (and your spirit) in the process.

Let's get one thing straight: pay-to-play has always existed. But like 20 or 15 years ago, there was a bigger safety net. Labels would invest in promising young bands, covering tour support with the expectation of earning it back through record sales, merchandise, and long-term career building. Today, that support system has largely eroded, mostly due to the decline in record sales. If you're paying out of your own pocket to open for a bigger act or to join a tour package, you’re carrying all the risk — and there's often little chance of seeing any real return.

Why Paying to Play Doesn’t Pay Off

First, you’re basically funding someone else’s success. When you fork over hundreds or thousands of dollars to get a 20-minute opening slot, you're not investing in your career — you're filling the pockets of promoters, headliners, or booking agents who already have built-in audiences. Worse, your own fans might not even make it given the early slots. You’ll often be given the bare minimum of time to soundcheck (if any) and might even get a sound guy who’s actually the lighting guy, bartender, and doorman all rolled into one.

Then there’s the financial sinkhole: travel costs, gear expenses, food, lodging, and lost work hours pile up fast. If you’re lucky enough to score a deal, maybe you’ll ride on the tour bus with the bigger bands and crew. But more often, you’ll have to rent a van, sleep in it, or crash in some sketchy hostel — because depending on the location, a halfway decent hotel room can easily cost 100€ a night. You could rack up debts that take months (or years) to clear — all for the honor of saying you once opened for someone like Kreator or Morbid Angel. Good luck selling enough T-shirts and vinyl to make that money back.

Then there’s the fact that labels aren’t the safety net they used to be. Even if a label gets involved today, many will demand a huge chunk of your merch sales on tour, sometimes 20–30% right off the top, and also take royalties from your album sales. You’re effectively working for free (or worse, paying to work) while they gamble on whether your name will become profitable. If it doesn’t? You're stuck holding the empty bag.

"Exposure" Doesn’t Pay the Bills

Opening for a massive band might get you in front of a bigger crowd, but that doesn’t automatically translate into a loyal fanbase. Building real fans takes time, authenticity, and repeated exposure — not just a single rushed set while half the audience is still buying beers.

It Sets a Bad Precedent

Every time a band agrees to buy onto a tour, it sends a message to the industry: "This is okay." It normalizes predatory practices and pushes truly talented but broke bands even further into the margins.

So, What Should Bands Focus On Instead?

Grow Your Own Audience: Grind it out locally and regionally. Build a fanbase that will actually show up for you.

Smart Support Slots: Say yes to shows that make sense — geographically, financially, and musically. A few good opening gigs are better than a dozen random ones.

Save for the Right Opportunities: Invest your money where it counts — recording, merch, gear, smart DIY tours.

Build Relationships, Not Debts: Make genuine connections with promoters, bookers, and other bands. People remember good bands and good people — and when they put together a show, your name will be on their mind.

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From time to time, a band comes along that completely blows everything else out of the water, and the last few months have been packed with incredible surprises, like Septaria (review coming soon) and this astonishing band from Iceland, simply called Múr. Their self-titled debut album is a masterpiece that demands attention. 

 The record kicks off with the epic "Eldhaf," a nine-minute journey that showcases the band's ability to craft grandiose, melodic post-metal. But it doesn’t stop there—Mur effortlessly transitions into fierce, relentless death metal, at times evoking the intensity and complexity of Gojira. 

This momentum carries through into the next track, "Frelsari," which delivers crushing riffs and hard-hitting rhythms, further redefining what we can expect from modern metal. Elsewhere, "Messa" dives into electronic elements, creating a vicious blend of Strapping Young Lad’s chaotic energy and Gojira’s precision. 

Then, "Heimsslit" sees the band returning to their post-metal moments, weaving spacious and contemplative atmospheres that add depth and contrast to the album’s already dynamic sound. 

The closing track, and personal highlight, "Holskefla" delivers more punch than an enraged bull. It begins with a subtle, melodic guitar intro, luring the listener into a false sense of calm before erupting into massive, bone-crushing riffs, played with a precise, almost militaristic rhythm that commands attention. This track alone proves Múr’s unrelenting force and musical prowess. 

 Snatched up by Century Media, Múr is an album brimming with potential—a testament to a band that’s not just making waves but destined for even greater things. Their unique blend of intensity, complexity, and sheer power is bound to elevate them to the next level in the metal scene. (8/10)

Jason Hicks

Band info: https://www.facebook.com/mur.official.band

Label info: https://www.centurymedia.com

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Black Aleph's debut album, Apsides, is a sonic journey that unfolds through layers of atmospheric weight and textural complexity. Consisting of Lachlan Dale (guitar, effects), Peter Hollo (cello, effects), and Timothy Johannsen (percussion), the Australian trio masterfully blends elements of post-metal, ambient, and experimental rock, weaving together influences from the likes of Neurosis, Godspeed You! Black Emperor, Sunn O))), and Earth.

Opening with "Descent," the track immediately sets the tone with a dark, brooding atmosphere that feels almost claustrophobic and ritualistic. The haunting combination of dissonant guitar riffs, throbbing cello lines, hypnotic beats and dark chants instantly draws the listener into a world that feels heavy and foreboding. The use of effects adds an additional layer of menace, making this track a powerful introduction to the album's thematic exploration of space, tension, and inner conflict.

However, as the album progresses, Black Aleph begins to shift gears, leaving behind the almost claustrophobic intensity of "Descent" for a more expansive and contemplative sound. The influences of Arabic music become more apparent, especially in tracks like "Ascension," where the intricate, almost hypnotic rhythms blend seamlessly with the ethereal, echoing sounds of the cello. This shift in tone creates a dynamic contrast, allowing the music to breathe and open up, transforming from moments of tension into waves of introspective calm.

This album is a bold and adventurous exploration of sound, texture, and atmosphere. The lack of traditional song structures gives Apsides a fluid, organic quality, but also a sense of unpredictability. It's a journey through sonic landscapes that feel at once alien and familiar, with every moment offering something new to discover. For fans of dark, atmospheric music with a profound emotional depth, Apsides is an essential listen. (8/10)

Jason Hicks

Band info: https://blackaleph.bandcamp.com

Label Info: https://www.artascatharsis.com

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On their latest release, In Resonance Nexus, earthtone9 embark on a journey of rediscovery, reconnecting with their core sound while pushing their boundaries further than ever before. Known for their intelligent and nuanced approach to music, the band reflects on creating what they describe as their heaviest and most melodic work to date. In this interview, earthtone9 discuss the creative process behind In Resonance Nexus, their collaboration with producer Lewis Johns, and offer insight into the album’s exploration of themes like perception and reality.

In Resonance Nexus is described as rediscovering the essence of earthtone9. Can you share more about the journey of finding this core and how it influenced the creation of the new album?

We changed our approach for the writing process of IRN. We primarily used home studios instead of gathering in a rehearsal room. This meant that ideas were more fully realized without compromise or negotiation, and in turn this meant we leaned into some aspects of our sound that had fallen away over recent times. 

We wanted this album to have an urgency and savagery that had been missing from our post 2010 work.

Your music has always been praised for its nuanced palette and intelligent approach. With In Resonance Nexus being both your heaviest and most melodic work to date, how do you feel the band’s sound has evolved? How did you balance these two contrasting aspects during the songwriting and recording process, and what challenges did you encounter in achieving this balance?

It feels to us like finally have enough perspective and experience to draw upon all the era of the band and combine them into compelling music. There have been periods of time when heavy, aggressive music stopped being interesting to us and we focused on melody and melancholy.
Now we’re able to fully combine all the elements of our sound in a coherent way. Balancing the contrast comes naturally to us at this point.

The collaboration with producer Lewis Johns has been highlighted as a significant factor in bringing the intensity and drive back to your music. Can you elaborate on how working with him shaped the final sound of In Resonance Nexus?

Lewis is a very good musician, music technology technician, music arranger and communicator/interpreter…basically all the attributes that support and drive a band to realise their musical vision.
Lewis brought to the table tones, post-production elements, instrumental parts and a mix that we wouldn’t have naturally gone for. All these aspects contributed to making the album what it is.

The lead single "Oceanic Drift" features lyrics that reflect on the concept of things not being what they appear. How do these themes of perception and reality play out across the rest of the album?

The idea of the perception vs reality gap is a reoccurring theme. There are so many dimensions to it: Personal delusion, accidental and intentional misinformation, group think, mythic figures who embody the trickster – it’s such a rich seam for inspiration.

After such a long hiatus, what motivated you to come together and create new music again? How did the creative process differ this time around compared to previous albums?

Creating and collaborating on music was an incredibly important anchor point for Joe, Owen and I during the lockdown era. Writing and being in regular contact, and creating music for its own sake was a joy.
After a while we felt like the music was earthtone9 and that we had some very strong material. The main difference is that we weren’t working to a deadline, we had the bones of 30 something songs to choose from and around 20 songs were completely finished.

With In Resonance Nexus marking a significant point in earthtone9’s journey, what are your hopes and plans for the future? Are there any new creative directions or projects on the horizon that you can share with us?

It would be killer to keep the momentum going, to play shows regularly and to release new music every 18 months or so. We’ve been so start-stop for a long time and want to change that.
We have a really loyal core fanbase and want to do events directly with and for them. We still figuring out what that looks like but it’s going to happen.

Follow earthtone9 for more info and updates: https://www.facebook.com/earthtone9

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Hail Spirit Noir, the Greek progressive black metal band known for their genre-blending sound, has once again pushed the boundaries with their latest album, Fossil Gardens. This new release marks their most extreme effort to date, incorporating more black metal elements while maintaining the psychedelic and experimental flair that has become their signature. In this interview, the band delves into the inspiration behind their intense new sound, the philosophical and scientific themes that shape the album, and the collaborative process that brought Fossil Gardens to life. 

"Fossil Gardens" is noted as your most extreme effort to date, incorporating more black metal elements while maintaining your signature psychedelic sound. What inspired this shift towards a more intense and chaotic soundscape, and how did you approach the songwriting process for this album?

Like all our records, it's never been a conscious decision. Things usually turn out the way they do of their own accord and more often than not totally different from what we might have had in mind. We are surprised ourselves, hah. To my ears, it's a natural progression from Eden's sort of mellower approach, not a reaction but a continuation as there are elements from all our albums plus new ones. The process was the same as always; Haris comes up with the basic structure, and then Demian and I add the guitar parts and change things around to finalize. Sakis and Foivos add their own touch with their suggestions.

The album explores philosophical and scientific themes, particularly the struggle to unravel the secrets of the universe and transcend space and time. Can you elaborate on the lyrical and conceptual inspiration behind "Fossil Gardens"? How do these themes influence the music and the overall atmosphere of the album?

The album title is a way to describe the universe, basically. We were talking about the album theme with Haris and had an image of a museum of dead concepts as their exhibits, or concepts that are about to become obsolete but still provide the world with meaning, fuel if you will, just like fossils do. Because in time everything will perish and every idea or concept we cling to today will morph into something vastly different. It might even end up with a different meaning altogether. In the vast expanse of the cosmos, it's a garden from which all things stem and everything goes to die. It sounds bleak, but every song is almost triumphant as we discuss these topics as a celebration of every fault and failure that makes us want to explore and expand our senses. To be honest, lyrics come almost after the music's done or at least when we have an idea of what it's going to sound like. Usually, the music informs the lyrics, but we have a basic concept beforehand.

You worked with Dimitris Douvras and Magnus Lindberg on the production of "Fossil Gardens." What was it like collaborating with them, and how did their expertise contribute to the final sound of the album?

Douvras has been working with us ever since the final Transcending Bizarre? album. It was a no-brainer that he would record and mix the album as we can't think of anyone else at this point to put up with the amount of work our projects require. He also possesses a keen ear for sounds, and his suggestions have proven invaluable. We were looking for someone with a different approach to mastering this time, which is why we opted not to use Alan Douches. We particularly love Lindberg's work on the Cult of Luna albums, and generally, he has managed to augment the sound without sacrificing the tones Douvras slaves over. Not an easy feat, let me tell you.

The visual side of the album, crafted by George Baramatis and Dimitris Katsenos, plays a significant role in portraying the abstract vision of "Fossil Gardens." How do the album's visuals complement its musical and thematic content?

There's a little of the lyrics of every song in the cover artwork, both by coincidence and by design. When we first saw Baramatis's artwork, we were blown away as it encapsulated everything we felt the album's sound should project. Looking at it while listening to it, you should feel like you're taking a dive deep into that void through sea shells and bone alleys. Katsenos managed with his artwork to give a visual representation for each song, and this makes the booklet even more immersive.

"Fossil Gardens" is seen as a continuation of the journey started with "Eden in Reverse," but with a more aggressive and extreme approach. Can you discuss the transition between these two albums and how your music has evolved during this period?

As I said, it wasn't a conscious decision. I mean, some people thought we were going to go full synthwave because of Mannequins, but that was a one-off experiment. "Eden...." was released right around the time COVID put a halt to everyone's plans, so maybe that made us a bit frustrated. Well, it obviously did, and I could blame that for the album's sound. Or maybe we spent a lot of time listening to albums of '90s black metal and even new releases that kind of had a '90s vibe to them, like the new DHG album, which was breathtaking, and the impressive Stormkeep album. Fans have commented that with every album we jump forward a decade, so this time it was bound to be the '90s. I can't really say if our process got more sophisticated or if it's exactly the same. If anything changed, that's probably our tastes and current influences. Even the so-called return to our previous sound doesn't seem like that to me. Simply because black metal vocals are the majority on the LP, that shouldn't in itself mean that. "Eden..." didn't require them, and the new songs called out for them.

Haris mentioned that the album has a solid yet abstract sound production, aiming for the listener to perceive the music as a whole rather than the sum of individual parts. How did you achieve this cohesive sound, and what challenges did you face during the production process?

The idea was to create a wall of sound that you would crush against, but a wave that would carry you towards the source. Massive yet immersive. Haris, being the main composer, had a pretty clear vision of what he wanted the album to be, so he guided Douvras towards the end goal. But it was Douvras who managed to get out of us the required performances and then added his ear to the mixing process. I can't think of any challenge in particular other than proving a real challenge for me to record vocal-wise as I hadn't done that in quite a bit and I didn't know how they would turn out.

Order the album here: https://hailspiritnoir.com

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Norway's Shaving the Werewolf, known for their unique blend of noise rock and mathcore, has released a captivating animated music video for their single "Sentient Husk." The track is from their latest release, the God Whisperer EP.

The video depicts a dystopian future where misery and pollution dominate, and wealth is grotesquely uneven. "The video is a septic mess showing a general apartment complex from the future," says vocalist Ottar. It portrays people resorting to chemical solutions to cope with the harsh realities of depression, alienation, and hopelessness, while a central figure with a god complex thrives on their misery.

Since 2010, Shaving the Werewolf has delivered a provocative mix of power violence, noise rock, and mathcore, leaving an indelible mark with their intense live shows and unique sound. Watch the new video for "Sentient Husk" below.

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Bearing in mind the image encapsulating this album, a slightly gothic looking skeletal (?) butterfly against a wintery tree backdrop, one could easily pass it by. Though the merest sliver of curiosity might remain. It was this modicum of interest which resulted in me hitting play. Dropping any preconceived notions, I mentally prepared for what was to follow.

"Cruel Words" commences on a post-rock note with "Mine to Break"; a cavalcade of dreamy high chords. However, if there's any track which begs to be ‘stuck with’, it's this one. The rhythm unhurriedly builds in pace accompanied by a passionate voice and an unhurried guitar. And then, abruptly, it's as if the sky falls. The passionate voice amps up in emotion and the aura is that of palpable frustration, anger, grief (draped in pitch black). In short, a fantastic opening which heightens the senses leaving one crushed though especially eager for more. I wasn’t prepared in the slightest.

The second track, "Pain is a Wasteland", smothers the still quivering psyche with a loving caress. Though there's an unmistakable menace lurking beneath the surface, a feeling that at any moment a storm will break the sun's warmth. It does, though not with the same fury the first track exhibited. This is more a slow-burn with a structure much like a nagging migraine which builds to staggering intensity. Fans of Neurosis (and the like) should have their interest perked at this juncture.

The album continues to batter the senses with the utilization (and excellent manipulation) of synth, piano, guitars and a voice overflowing with emotion and range, a combination resulting in an exquisite and definite delicate balance of calm, melancholy and the transition to its direct opposite; a heaviness, a dirge/sludge presence akin to trudging through molten lava.

Staggeringly the quality of this album remains extremely high throughout even though a few tracks dip into double digit lengths it somehow still manages to hold the listener in thrall. Standouts include the opener as well "Dead Butterflies". With a haunting aura which brings to mind Danny Boyle epics such as "Sunshine" and "28 Days Later" there's little doubt that Déha (it is at this point that I should mention this is the artists name, the genius solely responsible for this) could well place cinematic audiences on the edges of their seats if he had such the desire. The album also contains a cover; a re-envisioning of "Saturnine" by The Gathering. However, for the ultimate Déha (goosebump) experience the acoustic reprise of "Mine to Break" is a must listen.

In conclusion, if you've never heard of, or even seen, a Déha album, now is your chance. Understandably, one may have reservations upon audio bursting at the seams with synth attributes, post-rock and sludge sensibilities with an atmosphere as thick as heard here. Drop them and dive in! For the mastery contained herein is perilously close to a religious experience. (9.8/10) 

Cult

Band info: https://www.facebook.com/burningworldrecords
Label info: https://www.facebook.com/dehamusic

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Vokonis are a Swedish trio from the city of Borås, comprised of Simon Ohlsson – Guitar/Vocals, Jonte Johansson – Bass/Vocals and new(ish) drummer/percussionist Peter Ottosson. Per Wiberg of Opeth, Spiritual Beggars, Kamchatka also makes an appearance on keyboards.

Odyssey is the follow-up to 2019's acclaimed third album “Grasping Time” with artwork by Kyrre Bjurling (artist behind Vokonis' previous works Grasping Time and the reissue of Olde One Ascending). The cover alludes to the naturalistic yet mystical world evoked by the works of Roger Dean (Yes, Asia, Atomic Rooster, Uriah Heep) and thus betrays the band's intentions to delve further into prog-rock waters. This will doubtlessly whet the appetite of fans of the proggier wing of sludge/doom metal.

Odyssey starts with its shortest track 'Rebellion' at a mere 3:17 minutes with a crunching heavy metal riff that reminds one of the likes of power metal revivalists Grand Magus, there is definitely a NWOBHM vibe present here. There are also some pleasant melodic Alice In Chains' Layne Staley vocal lines courtesy of Jonte that contrast nicely with Simon's more aggressive approach. A bracing and effective opener that sets the listener up for the album to come. Second track 'Odyssey' brings to mind Oakland psych prog outfit Mondo Drag with the heavy Hammond Organ flourishes, making this a potential psych classic. 'Blackened Wings' takes us back to the conciseness of the opening track and takes a sludgier approach ala Elder who they coincidentally shared a stage with back in the pre-covid era. 'Azure' follows a similar pattern in terms of track length and style but also adds some gorgeous soloing from Simon towards the end that melds effortlessly and brilliantly with Per's Ken Hensley/Jon Lord influenced keyboard playing, all of which make for a thrilling conclusion.

'Hollow Waters' tips its hat to Lateralus/10,000 Days era Tool with strong anguished vocals reminiscent of Maynard James Keenan. The track winds back on the heavy sludge somewhat and embarks on a psychedelic journey into mysterious worlds as intonated by the aforementioned album cover. 'Odyssey' and 'Hollow Waters' may have been longer pieces but they were veritable warm-ups for album closer 'Through the Depths' which is a mammoth 12:48 minutes, an extraordinary piece that further demonstrates the band's ongoing musical maturity. For the first quarter we are met with the band's trademark brand of progressive sludge/doom before being greeted with some beautiful melancholy Blues Jamming which one would have heard from the likes of the late, great Gary Moore. This continues right through to the album's conclusion and proves true the old adage saving the best till last. Without doubt the finest track by a country mile and a perfectly epic way to conclude the album.

Going further down the progressive rabbit-hole like countrymen Opeth could have proved a risky move, thankfully it has paid off and Odyssey is brilliantly balanced between more immediate tracks and longer challenging fare that will appeal to both fans of doom/sludge and vintage prog. (8/10)

Reza Mills

Band info: https://www.facebook.com/OfficialVokonis
Label info: http://thesignrecords.com


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In so many ways Spectral Lore’s enigmatic Ayloss is the polar opposite of recurring collaborator Jacob Buczarski (Mare Cognitum). Perhaps it’s a disservice to even make this comparison, but the links are plain to see. Both acts are juggernauts of modern atmospheric black metal that have worked together multiple times, most recently on the challenging but exceptional split LP Wanders: Astrology Of The Nine, and now both have released records within only a few short weeks of each other. Despite their clear chemistry when working in tandem, their respective careers are strikingly different. Buczarski’s work has been a consistent, forward-facing development of spacey, melodic black metal. Every record builds and refines the formula of its predecessor, but ultimately the most recent iteration differs little from the first in style. Ayloss’s sound is earthier, yet more abstract. Spectral Lore albums can sound wildly different from each other, so much so that one could wonder if it’s even the same artist at the helm. And yet, amusingly, with Ετερόφωτος it is in the most experimental moments that Ayloss stumbles.

Make no mistake though, there’s a whole lot of solid black metal in the mix here in spite of its missteps. With a hefty 74-minute runtime, there’s a lot of material to sift through. It starts off well, ‘Ατραπός’ tidily stakes out much of the territory Spectral Lore mean to cover across the record. Waves of tremolo riff laden blast beats expertly give way to wonky grooves, clean breaks and post-metal builds to ultimately paint a nuanced, mystical portrait. Five more dense compositions follow that are often challenging to decipher as they dance all across the spectrum of extreme metal. ‘Apocalypse’ is a striking conceptual piece that noticeably gets louder and more chaotic over the course of its eight minutes. The music seems to audibly break apart as mechanical noise is steadily introduced until it’s just the noise itself at the end.

There is a wonderful 54-minute record in Ετερόφωτος. Bizarrely though, the six chief tracks eventually give way to ‘Terean’, a nineteen minute ball of . . . nothing? There’s some unsettling ambience going on, the kind that would suit a brooding arthouse horror film, but it does absolutely nothing for an atmospheric black metal record. It threatens to get interesting with some distant chanting sort of building up in the background near the end, but it amounts to nothing as the track eventually sputters out. An unfitting end to an otherwise great album. (7/10)

Brett Tharp

Band info: https://www.facebook.com/spectral.lorebm
Label info: http://www-i-voidhanger.com

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Norwegian noise rockers, Årabrot, have been busy. Having only just released the EP “The World Must Be Destroyed” in January, they’re back already with their new album “Norwegian Gothic”. Hardly surprising; when there are no limits to the expansiveness of your sound then multiple releases are required to encompass the sonic fallout. This time around Årabrot are bringing along an entire host of guest musicians for the ride, contributions from Lars Horntveth (Jaga Jazzist), cellist Jo Quail, Tomas Järmyr (Motorpsycho), Anders Møller (Turbonegro, Ulver) and Massimo Pupillo (Zu) are scattered throughout this hour long opus. As if that wasn’t enough, “Norwegian Gothic” was produced by the reputable Jaime Gomez Arellano, who has worked with the likes of Paradise Lost and Hexvessel to provide the best mixing and production quality available within the industry.

Ranging from Ghost/Grave Pleasures sounding hybrids to Nick Cave moodiness and avant-garde jazz, this opus is a kaleidoscopic amalgamation of every facet of the band’s sound. An audial journey through the soundscapes that they have traversed over the years, weirdly this album is Årabrot’s most accessible work to date. With the exception of a couple of spoken word filler tracks, every song on this record has a catchy, danceable beat with a strong overtone of pop musical influences apparent throughout. It’s not without heaviness, however, at its core this is still very much a rock/metal album.

A veritable melting pot of weirdness and instrumental diversity, the only minor downside to this release is the spoken word fillers – thankfully, they’re short and you won’t be missing anything worthwhile if you choose to skip over them. Another major push of the envelope for these Scandinavian experimentalists and the payoff is simply phenomenal. A genuine pleasure to listen to from start to finish, “Norwegian Gothic” is the peculiar gothic party album that 2021 didn’t know it needed. (8.0/10)

Angela Davey

Band info: https://arabrot.bandcamp.com
Label info: https://pelagic-records.com


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As anyone who's caught them live will tell you, Red Fang are downright riff masters and this title track from their forthcoming album "Arrows" will surely become a headbanging, foot-tapping, singalong classic in a regular Red Fang show. Not only this song captures their trademark lush melodies but also rocks out with big, groovy and chunky riffs. 

“It was so gratifying to put these songs on tape with Funk!” says guitarist/vocalist Bryan Giles of the album that was produced by longtime collaborator Chris Funk (Murder The Mountains, Whales and Leeches). "It felt very comfortable with a loose schedule. We didn’t take it one song at a time, but added guitars, vocals, or general weirdness whenever an idea sprang to mind. We busted out a hurdy gurdy! It was that fun. Long live Rock!!”

Red Fang know what they do well and they stick to it and if gritty and highly contagious stoner rock is your jam there are few bands who can deliver it better than them, so expect another great album from this Portland-based group. Check out a taste of what's to come from the record with this humorous video for "Arrows" below. 

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For someone proclaiming to be a flag-bearer for the new wave of British death-metal, Celestial Sanctuary churn out some generic and sterile old-school flavoured death-metal. 

The band's debut full-length album "Soul Diminished" now available via Church of Road and Redefining Darkness is getting a lot of attention in the underground lately and I can't really understand the hype, not that it's a really bad record per se, but in my opinion it pales in comparison to other robust releases unleashed by Venom Prison and Cryptic Shift. 

For most of the nine tracks of "Soul Diminished", fast and brutal riffs are intertwined with some uninspired and bland mid-paced riffs that owns more to crossover and hardcore rather than death-metal. Try to imagine any run of the mill groovy metal act from the 90's trying to give some leftover songs a filthy and old-school death-metal twist, there's even the occasional breakdown thrown into the equation. Few tracks deviate from this formula,  with some dull and tedious riffs that  never sound nearly as dangerous or threatening as it should be and a bare minimum of lead work.  

There are however some good moments here, "Relentless Savagery" just like the title indicates shows the four-piece distilling a vicious and ferocious death-metal and "Suffer Your Sentience" that recaptures that decadent, moribund riffing of Obituary and Asphyx. But unfortunately it is not enough to offset the negatives and in the long run "Soul Diminished" won't spearhead any resurgence of the British death-metal scene, better leave that effort to Grave Miasma, Cryptic Shift or Venom Prison, who are all doing a much better job. (5/10)

Jason Hicks

Band info: www.facebook.com/CelestialSanctuaryDeathMetal

Label info: www.redefiningdarkness.com | www.churchroadrecords.limitedrun.com

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Not to be confused with Canada's Soothsayer, or even the long since disbanded Phoenix act, this Irish quintet compose audio far removed from thrash, or so the accompanying PR materials would have us believe. The art certainly points to such; a blazing inferno, engulfing a construct of sorts, casts shadows, a lone figure walks away from the carnage as if he carries not a care in the world. Naturally thoughts race to past black-metal controversy though with the way this image is captured (on canvas) depicting zero atrocity, there’s little indication that the audio will veer into either a death or black-metal direction.

"Fringe" is the introduction to both the album and the band's style. Perilously close to six minutes this track evokes vintage Akercocke antics, of incorporating ponderously long introductions. The gothic aura shrouded in baying wolves poses quite the gamble based on the minimalistic nature (chanting, ambient nature and a dusty background narration) it boasts. As the track climaxes however, the atmosphere has built to a palpable crescendo, patience has proven to be a virtue and the second track takes the baton. For those not accustomed to such, "Outer Fringe" is more easily accessible and bears abrupt and, blazingly obvious, definitive oomph following a traditional build, naturally. A furious passion seething with frustration amidst a slew of other emotions in the vocal department, complemented by rhythms straddling the funeral and death/doom fence widen the eyes whilst the haunting nature of the finale showcases the acts apparent hypnotic prowess.

"War of the Doves", next up, literally shatters the listeners assumptions with its unpredictable arrangement. Fading dissonant rhythms are usurped by a passage of bass noodling and a voice (courtesy of Eugene S. Robinson of Oxbow) boasting the power to evoke a stunning grasp of manifested grief and anguish. The aura of the album has suddenly transformed, a driving melodious dirge reigns to whet the audience’s appetite for stomping around in a style similar to an iconic robed Candlemass front man.

Akercocke sensibilities (this time in the arrangement department) are conjured again as the album passes the midway point; infrequent black metal rhythms nestle amidst a landscape dotted with progressive themes, whispered and bellowed vocals and a surprisingly tranquil classical interlude. Although "Cities of Smoke" sports the shortest length it stands triumphant sporting galloping movement and unbridled ferocity.

The album comes to a close with a pair of tracks which easily hurdle the ten-minute mark, a fact (like a hammer to the face) which bluntly portrays the genre this album is nearest. A trio of guest vocalists (sponsoring Benediction, Poltergeist, Murder One, and Medulla Nocte) complement the last half of the album propelling its captivation to stratospheric heights.

Unpredictable and showcasing a manhandling of the juxtaposition of melody versus unrestrained passion this album demands exploration and several listens to fully grasp and completely embrace. When that point is reached however be prepared for this is likely to be all-consuming. (8.4/10)

Cult

Band info: https://facebook.com/soothsayerdoom
Label info: http://tometal.com


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Before I start, I'd like to tackle the obvious (the elephant in the room), Ildaruni are from Armenia. Now, not knowing another single act from the same geographical location (I'm sure they exist) this makes me curious indeed only more so as the accompanying art is rather nondescript, in as far as it could work for a release belonging to any number of genres.

In regards to the audio. The opener/introduction oozes with atmosphere; Gregorian chants overlaid by synth which conjures any number of fantasy RPGs. As the track progresses spoken word passages are added to the track's gratification to bring about an aura which conjures a strong likelihood that this will veer into atmospheric black-metal waters.

"Treading the Path of Cryptic Wisdom" tears from the gate with slight power-metal leanings. This feel transforms to accommodate a passage dominated by instruments one would find on any Skyclad release. Moments later rhythms encroach to replace all these thoughts in favor of uncontrollable movements. A vocal style (complemented by a chorus of sorts conjuring a Viking gathering) adds to the track's impact. Layered in a well-executed ancient/nature vibe this is a fantastic approach and physical realization to garner one's attention making that all-too important positive immediate impression.

'Beyond Unseen Gateways' progresses to display Ildaruni's probable influences. As well sporting a majestic marriage of atmosphere, pagan rhythms and riffs, fans of both Dissection and Amon Amarth will no doubt appreciate it as Ildaruni also show their adoration of melodic BM. Cresting riffs flow, minus the harsh frigid nature associated with many acts in the genre, to create an undulating soundscape evoking an almost tangible narration of age-old myth, a myriad of tales inked in Bold type by way of the frolicking foundation of melodious arrangements. "Boundless Numen- Gardens of Ardini'' is an excellent example.

Among the myriad of influences which flash across the brain the exquisite blending of styles puts me in mind of early output by Moonspell (namely "Wolfheart") although this is significantly swifter in pace there are specific passages in "Towards Subterranean Realms" to strengthen this thesis.

The final track, "Whence Ravenstone Beckons", overflows with the aforementioned darkly fantastical atmosphere (leading me to believe Elves might actually exist and are quite possibly the reason why society isn't overrun by Orcs, Trolls and Goblins), in essence a perfect pairing of melodic black-metal and pagan-metal which this release has already excelled at showcasing.

Although somewhat 'light' in tone, there are a number of instances to perk the interest of the more traditional genre fan. From clean, to spoken to spitting 'absolute fire' the commanding vocal presence of Artak Karapetyan cannot be ignored, executed with a professionalism which far surpasses his years on scene his is a throat which fronts this vehicle through waters both murky and occasionally even uplifting. Bolstered by a solid, clear, production the 'whole' is a wonder to experience provoking an appreciation any fan is sure to blissfully exhibit. (9.3/10)

Cult

Band info: https://www.facebook.com/Ildaruni
Label info: https://blacklion.nu

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It doesn't take a rocket scientist to surmise that Feculent are going to 'bring the filth'. In fact, their name (translated as "foul with impurities") and the crimson mire landscape album art points with a blazing neon sign to such. Though it remains to be heard exactly how the band will go about tackling the premise. Obviously, the name nods to a wide spectrum of styles within the extreme genre. Is this therefore goregrind, pornogrind, brutal death, audio bursting at the seams with pig squeals or something which bears a decidedly more menacing tone?

It doesn’t take long to answer the mystery. Seething with ill-intent, the album commences with a wallop, gripping the ankles of the listener to yank them from their relaxed, unsuspecting, stance towards the dirt.

Grandiose, yet utterly brutal, rhythms in a style akin to Immolation assault the listener, an unhurried yet merciless barbed wire wrapped around Neanderthal club attack, complemented by a tone which might suggest the bands origin; swampland? Perhaps Florida or Louisiana? Guess again. Feculent, ironically, are from a location which the music continues to strongly evoke. I only wonder; is it preposterous to use The Underworld and 'Down Under' as similar terms?

As the album progresses it compounds the archaic, long forgotten, imagery which the first track had successfully conjured. "Host Consumed" bears a bludgeoning motif whose intent goes hand in hand with the low growled vocal accompaniment which especially recalls Tucker-era Morbid Angel. An exquisite track caressing the pleasure sensors. But I have a feeling the album isn't through just yet!

An unmerciful rumble approach, the bending string tendencies of vintage Gorguts and occasional cascading BM riffs result in the undeniable enjoyment and irrefutable replayability of "Weaponization of the Amygdala". It isn't, however, until "A Pit of Unshakable Depths” and "Beneath the Bedlam" (both stunning standouts within an album of especial note) that another strong influence becomes slap-one-in-the-face pungent. This element? The grand malevolence which genre giants Incantation have so painstakingly trademarked in their unwavering dedication to both the genre and their craft. This palpable aura is only cemented by the suffocating, harrowing, nature (the album's final track) "The Grotesque Arena; A Perverse Spectacle" provides. In essence a stellar second half to round out an album which speaks tremendous volumes no matter its frustratingly short length.

Familiar though also meticulously crafted and nuanced Feculent offer six tracks bursting with sufficient weight and genre chops to sate those whose OSDM yearnings have become ravenous as of late.

Based on the caliber exhibited herein one should expect the bands moniker to become part of the cavernous, OSDM, death/doom lexicon in record time.(8.8/10)

Cult

Band info: https://www.facebook.com/Feculent
Label info: https://brilliantemperor.bigcartel.com


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No pretentious narrative-seeking introduction can precede a record like Interstice. The debut record from Tennessee’ newest experimental deathgrind outfit Knoll has its share of existential ponderings in the lyric department, but executes musically as a caustic, rabid twelve-track juggernaut with minimal nonsense. The Memphis underground just got a hell of a lot heavier.

A snarling blend of thundering grindcore, dirty cavern death and noxious noise, Interstice is at once straightforward and unusual. It advances with a serrated knife edge and cuts to the bone just as quickly, hissing through four furious tracks within five or six minutes. The vocals are the most immediately grabbing, a rapid dance between bulky gutturals and some of the most piercing shrieks in contemporary metal. The guitars are a happy balance between dissonant fingerwork and frill-less stompers while the drums pound away tirelessly. The bass work falls through the cracks both in terms of the mix and songcraft somewhat, unfortunately not an uncommon feature of extreme metal. Between the vocals and some of the more pummeling riffs, Venom Prison arise as an easy comparison but Knoll invest more into high tempo blasts and discordant riffing than Venom Prison’s fare.

That’s not to say that Knoll are stuck in one gear the whole time. ‘Grasp’ comes along quickly with a dual guitar harmony that intentionally clashes one against the other melodically to lead into a hellish progression of low tempo chaos. ‘Door To Moil’ and ‘Myr’ are feedback-soaked experimentations into power electronics while ‘Inherent of Life’ settles into a sludgy groove for most of its runtime. But ultimately Interstice tends to stick to fast tempos and pure, unfiltered fury throughout its short length.

Knoll seem to know what they’re about on their debut. There’s experimentation and variety, but not an over-investment into either. They’re certainly not the finished picture, but this kind of confident delivery meeting head-on with great, dynamic songwriting so early on means it’s likely to be a great one when it is.(8/10)

Brett Tharp

Band info: www.facebook.com/KnollVHS

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