“Noxious Emissions” is the debut EP from a new death metal outfit, Voidhämmer from Long Beach, California. Note the umlaut! Voidhämmer play a death metal style which is a mix of filthy, putrid sounds with the drive of a crusty punk band. This three piece’s debut EP consists of four songs with a total runtime of almost fifteen minutes long.

Deep diving into the music, “Rotting in Excrement” opens with a mid-tempo catchy riff before the blast-beaty bits start. You can hear a clear d-beat style drum pattern which drives the song forward. This is evidenced in the next song “Cadaveric Bloat” too but this time the guitars have that traditional punk/crusty opener. But the song quickly changes to distinct death metal riffing and at some instances slowing down further to create crushing doom-y moments. “Phosphorized” is next, which is very much in the similar vein as the previous track. The final track “Coffin Leakage” feels like a circle-pit song, probably the catchiest song for me which activated my stank face. The song maintains good tempo changes to not make it monotonous and a guitar lead to end the song.

The deep cavernous guttarl vocals sit perfectly over the mix, whereas the overall production is not something anyone will pick holes at. The image of the band is portrayed well through the production of the final output – a bit rough around the edges, giving that grime-y crusty feeling, while also ensuring the instruments are discernible.

I enjoyed “Noxious Emissions“. It’s short and hard-hitting. You can tell their influences off the bat. They do remind me of a crusty Undergang. But that said, there is an abudance of newly formed death metal outfits in the last 5-10 years whose styles are very similar and Voidhämmer might just get lost among all those names. That’s probably my only criticism whether the band has done enough in the EP to make it memorable. “Noxious Emissions” is a great start to get heads turning and with time and having more music under the belt, they’re bound to get the accolades. Voidhämmer are a good band with a good EP and they’re well worth your time!

Stay død!

Originally posted on tempelores.com

Havukruunu are no stranger to the spotlight, after a string of very competent albums, most notably Uinuos Syömein Sotahas, which was released five years ago. Tavastland, the band’s latest effort further cements the band’s reputation as one of the better, more interesting and vastly consistent black metal bands out there today. Tavastland is replete with riffs, vocals that switch between harsh and clean choral vocals, dynamic song writing, excellent lead guitar work and immersive soundscapes. By comparison, Tavastland is a tad weaker than their previous effort, but that is probably the only blemish on this 54 min album. There are three songs which stand out for immediately - Kuolematon Laulunhenki, Tavastland and Unissakävijä. However, like all albums, this deserves a spin from front to back. I’m a little bummed that I missed the band’s album release tour in Finland, but no doubt if they happen to play within a 100km radius of where I am, I will be sure to make the trip. After Tavastland, I feel that Havukruunu are arguably the best contemporary black metal export out of Finland currently, with a sound that has strayed away from the classic Finnblack sound. I say this as a massive compliment!

Spain’s Summoning Hellgates burst onto the scene this year with Spear of Conquest, a blistering hybrid of black/death metal. This 21 minute EP makes my cut solely because this has been the most enjoyable extreme music released in the calendar year. There is pure Angelcorpse worship - high on intensity, chaotic, primitive downtuned aggressive riffs, almost leaning towards “war metal” territory but not quite there. The vocals are not Helmkamp-y (of Angelcorpse, OFC fame), but it’s caustic and hateful in their own right. The production on this EP makes it quite palatable for me, a tad warm and probably almost inviting enough for the casual Blasphemy listener. Spear of Conquest is an uncompromising slab of music by this two-piece outfit. I believe the length of the EP is just right to warrant multiple spins and to keep it from being too repetitive, a symptom of this subgenre. Being signed onto Osmose Productions, Summoning Hellgates will probably to be a force to reckon with in the future. I’m quite enjoying the resurgence of extreme music from Spain and that it’s just not Teitanblood and Altarage who have paved the way.

Cénotaphe are becoming one of the more prominent names in the modern French black metal scene, and Chimères is their latest magnum opus. Their previous album, Monte Verità, featured in my top ten list of 2020, so it was without a doubt that I was excited when this came out. The duo of Fog and Khaosgott have produced poetry with this album - Aggressive yet exceptionally melodic riffs, often utilizing bright, triumphant major-key shifts that contrast sharply with the bleakish screaming vocals. The album takes you on a highly emotive journey from start to finish, but if there was one standout track that encapsulates the album, then it’s the second track - Titans. Perhaps it’s just me but when I think of the French and I juxtapose that with black metal, then I immediately think of high art, high brow and elitism. Cénotaphe brings all those elements into Chimères. Highly recommended!

Innumerable Forms are a very underrated death/doom band from Boston, Massachusetts and have a career spanning almost 20 years. Think strong Finnish death/doom influences, some Winter, pounding death metal riffs and an atmospheric darkness enveloping it all. With Pain Effulgence, I feel the band has embraced more atmospheric elements and more slow mournful melodies, making it more evocative. It’s this balance that makes Pain Effulgence quite a trip for the listener. The guitar leads that sit over that thick atmosphere is worthy of note - like little embelishments that make the listening experience a gazillion times better. I love the production and the guitar tone achieved here by the inimitable Arthur Rizk (famed mixing/mastering wizard) - supreme clarity while not compromising on the vision and ethos of the band and the subgenre. I feel a bit validated when I saw that CVLT Nation ranked this album as the number one death/doom album of the year. Without a doubt, it’s my favorite death metal or death metal adjacent album of 2025!

Volahn are one of the better known acts from the Black Twilight Circle collective and they have been one of my favorite black metal bands in the last decade ever since I discovered them. I’ve also been lucky to see this elusive band perform live two years ago at the Never Surrender festival. With Popul Vuh, Volahn have unleashed only their third full length, eleven years after Aq'Ab'Al. Unsurprising, this album is steeped deep in indigenous Mesoamerican / Mayan heritage. It’s not just thematically rich in history, but also Eduardo, the main man behind Volahn (and BTC), has incorporated traditional instruments like flutes, percussive shells, and acoustic guitars. Musically, from a black metal perspective, the album is everything that one would expect from Volahn - melodic raw black metal, aggressive and frenetic tremolo riffing, a ritualistic atmosphere. The tracks are long and transformative, often switching tempos, styles but extremely cohesive and effortless in their transitions. I wish I understood Spanish, all songs are sung in it, but even to me it feels like there’s a strong, intense and purposeful message being conveyed through these tracks. I most certainly didn’t expect Volahn to return with a full length but boy am I glad that they did. Popol Vuh is a must listen for fans of the subgenre!

Kostnatění, a musical project by D.L, has quickly pierced the extreme metal realm with its brand of experimental black metal. Úpal, the previous album released in 2023, was super well received across the spectrum of fans. With Přílišnost (Excess), D.L, takes his musical direction further into experimental territory, so much so that I find it hard categorizing the music as “metal”. There are black metal elements but also the exploration results in a chaotic mix of dissonance, breakdowns, nauseaous atmosphere, electronic breakbeats and more. The album is technical, while at the same time embraces simple yet catchy grooves in the melodies. It can be perceived that D.L. is trying too much with this album, which leads to an exhaustive listen, you know - experimental for the sake of being experimental. But I quite enjoy it. I’m probably almost ten listens in and it’s something that resonates quite well with me. If you don’t mind the sensory overload of dissonant black metal with modern experimental sounds, then Přílišnost (Excess) is the perfect album for you. A definite grower, with more listens!

I’ve mentioned this before that a new album by Tales of Medusa wasn’t on my bingo cards for 2025. I feel very privileged and thankful to be on their list to receive one of the only 100 LP copies made for this album. In case you are unaware, Tales of Medusa are an “anonymous” epic heavy metal band residing somewhere in Canada (most likely British Columbia). They’re anti-digital, anti-mainstream and give out physical copies of their album to fans for free. I’ve been a fan of theirs ever since I was gifted a copy of Antiquity, their 2021 demo, by Axe, their guitarist. Relentless Tragedy is their third full length album and the band continues their brand of 80s epic heavy metal storytelling based on ancient Greek history. The album is a masterful display of neoclassical songwriting, layered guitars, epic and operatic vocal lines, capturing both heroism and tragedy. As someone who only started appreciating true traditional heavy metal in the last decade or so, I still find it hard to chew on and appreciate epic heavy metal in general, but it’s easy when the masters of the craft like Tales of Medusa produce something as good as Relentless Tragedy. This belongs in the Louvre!

I’ve been fortunate to spot Scimitar before they exploded in the underground. I’ve been familiar with vocalist Shaam Larein’s solo project ever since I saw her perform at Muskelrock in 2023. Additionally, I’ve been a long time Slægt fan and appreciated their brand of blackened heavy metal. So imagine when both these worlds collided in 2024! I caught Scimitar’s first ever live performance at Metal Magic last year and then subsequently again this year at Muskelrock, but this time with a debut full length under their belt! Scimatarium I is a brilliant yet complex fusion of black metal, post-punk, and heavy metal. In an interview with White Filth and Crypt of the Wizard, the band members described their intention with the music as - “We wanted to pack the songs with as many layers and riffs as possible” (I’m paraphrasing). This is quite evident from the music, but what elevates the music is Shaam’s epic, clean soaring vocals! The songwriting is complex but remarkably fluid, jumping from jagged, angular guitar riffs to galloping rhythms to psychedelic passages. It’s quite a frenzy and I love it! Scimitarium I is truly something unique in this scene of ours. I honestly find it challenging to rank it at only number three as my top three releases blur a bit into each other. Scimitar are brilliant, ‘nuff said!

Let’s get this out of the way - I’m a huge Vultures Vengeance fanboy. The Knightlore, the band’s debut back in 2019, is probably one of the best pieces of heavy metal music in the last two decades. So when Dust Age came out quite early in the year, it was not surprising that many hailed it as an instant AOTY contender. If you’re new to this Italian heavy metal sensation, Vultures Vengeance play a brand of heavy metal that is equal parts epic, progressive and traditional. Just like in the Knightlore, Dust Age opens in one of the most epic crescendos with the title track. These boys know how to start an album. The album continues with intricate winding riffery, twin guitar harmonies, acoustic passages and to top it off idiosyncratic and passionate vocals. On the latter, what I especially love about Dust Age is that the vocals seem to be a tad higher on the mix, an improvement on their previous releases. This was probably the only minor grievance I had with the Knightlore. There’s not a single weak song in Dust Age, each unique in its own right, a plethora of diverse guitar melodies, captivating through and through. Vultures Vengeance have produced something magical with Dust Age. A stamp in time!

Norway’s Nachash returns with Eschaton Magicks, which if I may add, are a band who have floated under the radar of general black metal and extreme metal listeners. This is atypical black metal from Norway and the band mustn’t be written off based on their birthplace. I discovered Nachash, thanks to Signal Rex, the label they’re now signed on and which released Eschaton Magicks. I love black metal if it borrows heavily from the old school 80s sounds and Nachash do that perfectly! The album is a mastery of occult black metal, often mid-paced but infuses the sinister sounds of heavy metal, much like the legendary Master’s Hammer and Mortuary Drape. The raspy commanding vocals compliment the exceptional song-writing, with themes of eschatology and ancient sorcery. What makes this record stand out for me is that it hits the spot with what I’m looking for in black metal - galloping black/thrash-y moments, repetitive monotonous hypnotic passages, heavy metal riffery, vocals with a bite and an ode to the occult. I also feel these songs will translate live excellently. I really hope I can catch them live next year. Eschaton Magicks may not be for everyone but if your tastes overlap with mine, you’ll surely appreciate this wonderfully underrated and overlooked band!

Non-metal album of the year

This is the first time I’m talking about favorite non-metal album of the year. If you’re even remotely familiar with Steröid, how can one not give them a shout-out?! Chainmail Commandos has been my most played album of the year and it is definitely my favorite album of the year! Steröid’s mastermind is Lord Gordith, the man behind Quest Master, who is very much part of the Aussie/Hobart underground. Chainmail Commandos can perhaps be described as bizarre, supremely catchy, punk influenced heavily by NWOBHM. The vocals are easily the most divisive for listeners oweing to its high-pitched chipmunk like delivery. Some hate it but if you can get past it, then the album will be sureshot favorite in a matter of minutes. The songwriting is incredibly sincere and technically proficient. It’s honestly hard to make “simple” music sound great and unique. Steröid have managed to achieve just that. The tracks are anthemic, have infectious choruses and all around will give you the pure joy of rocking to them. Chainmail Commandos is a whimsical masterpiece. When I learnt that Steröid were touring Europe, without batting an eyelid, I found the closest show to me. The best live show in a very very long time for me. This will be a modern classic for years to come!

Chainmail Commandos through the night! 🎶

With that, 2025 comes to a close. Up the irons and may 2026 bring us more great music! ⚔️⛓️✊

Icelandic black metal band Vafurlogi was born out the ashes of the infamous Svartidauði, with founding member, Þórir Garðarsson at the heart of this new band. Coincidentally, Vafurlogi’s debut is the only “pure” black metal album on my list. Í vökulli áþján is raw, atmospheric and blends cold, tremolo-picked riffs with haunting melodies and feral vocals. It’s not surprising that this album sounds very Icelandic when it comes to how popular that (incestuous) scene has become. But Vafurlogi stands out in my opinion and they’re bringing something new and fresh, standing on the shoulders of the pioneering bands like Svartidauði. The songs are well paced and at times very catchy! Í vökulli áþján will resonate with fans of atmospheric black metal and “nowadays” black metal.

Grendel’s Sÿster have been hyped by the self-proclaimed heavy metal nerds of the scene. The band plays a very unique blend of heavy metal, doom and folk rock, while almost getting into whimsical territory but still maintaining an aura of sombreness. The band released Katabasis into the Abaton in both English and German, with the same song structures and only changing the lyrics. The band creates an otherworldly soundscape that feels both ancient and contemporary. Tracks like “Chamber of Visions” and “Descending Shadows” feature ethereal melodies, somber vocals, and intricate arrangements that weave a spellbinding narrative. If you’re not into bands like Slough Feg or Skyclad, then this might be slightly challenging to get into but if you persevere then it’ll be worththe effort!

After an EP and a string of singles, the London-based heavy metal outfit Coltre make a striking impression with their debut album To Watch With Hands...To Touch With Eyes. Along with Judas Priest’s Invicible Shield, this was probably one of my most played albums of 2024. Rooted in NWOBHM influences, the band crafts songs that are both nostalgic and forward-thinking. It does seem like this album was lifted out a time capsule from the late 70s, just at the brink of the NWOBHM movement. My favorite tracks on the album are "Rat race” and “Temptress”, which I’ve listened to umpteenth number of times. The entire album is brimming with dual-guitar harmonies, infectious hooks, and impassioned vocals. To Watch With Hands...To Touch With Eyes is a very promising debut that firmly establishes Coltre as a band to watch in the heavy metal scene!

Savage Oath is one of the rare super-groups whose output is either at par with the individual bands’ work or even surpasses it. The band consists of members who’ve been part of Visigoth, Sumerlands, Magic Circle, Manilla Road and more. Although formed in 2018, they have only just released their material in the form of an EP (2023) and their debut Divine Battle this year. Divine Battle feels like an epic journey through the realms of myth and heavy metal. The grandiose soundscapes, galloping riffs, majestic melodies, and commanding vocals make this album such a winner on all fronts for the heavy metal listener! I was lucky to catch their live performance at Hell’s Heroes (Houston) this year. It was quite an experience especially when everyone’s shouting out the lyrics to “Wings of Vengeance”. Divine Battle is a masterclass in epic heavy metal, appealing to fans of Eternal Champion, Manilla Road and Blind Guardian.

Obnoxious Youth was one of my best discoveries of the year. The band is everything what I’d like from mixing heavy metal with punk, speed and thrash. Burning Savage is fiery, chaotic and chock-full with explosive tracks that deliver maximum impact. For example, the opening track of "Imminent Evil" starts off with a very catchy riffy intro and then morphs into this relentless assault on all your senses. That just sets the scene for the rest of the album. The production feels very raw and unfiltered, which captures the live energy of the band. I cannot wait to see them live in 2025 at a show or festival near me. Fans of Discharge, Motörhead, Venom will find much to love here!

Swiss heavy metal band Amethyst released their debut EP Rock Knights in 2022, which very soon put them on the heavy metal map. I’ve been lucky to see the band twice, first at Muskelrock and then opening for Metalucifer. With many accolades and extremely positive reviews under their belt, I approached their debut album, Throw Down the Gauntlet, with a bit of caution. How does a band surpass or even meet the expectations of the ever-hungry old school heavy metal fan?! Thankfully, I think Amethyst have produced a stellar record. It is nostalgic, it feels like a collection of heavy rock anthems, it pays homage to the 70s and 80s and it kicks ass! Amethyst, more than anything else, showcase their maturity as very respectable song-writers and not just relying on infectious guitar hooks or catchy choruses. Throw Down the Gauntlet is a testament to the enduring appeal of heavy metal, blending nostalgia with fresh energy.

Blood Incantation have become a name who have now pierced through the underground cosmos of death metal to create their magnum opus which has gotten the nods of the likes of the Time magazine. Absolute Elsewhere sees the Denver-based death metal innovators exploring new dimensions of sound. Known for their cosmic themes and progressive compositions, this album pushes their boundary-defying ethos further. The album features just two tracks (“The Stargate” and “the Message”), which unfolds as a 45-minute journey through ambient soundscapes, celestial melodies, and crushing heaviness. This album is slowly becoming a favorite of mine, maybe just slightly behind Starspawn. But overall, Absolute Elsewhere feels like a logical culmination of everything they did with their signature death metal style and their ambient experimentation with Timewave Zero. The band showcases their ability to weave atmospheric elements into their technical prowess. Love it or hate it, Absolute Elsewhere is ambitious and since I’ve been following the band members and their associated acts quite closely for the last decade, I think this album perfectly represents their individual tastes and influences. I reckon this is an album that will be remembered for years ahead into the future.

Demon Bitch are a heavy metal band hailing from Detroit. They’re just not any heavy metal band but a band who have produced probably (arguably) the best album of the 2010s in Hellfriends. I discovered them a bit too late but suffice to say if I were to re-do my 2016 list, I’d put Hellfriends as my number one album of that year. But here we are now, with the band’s sophomore album titled Master of the Games. To be honest, I wasn’t sure whether the album would make the cut because it came out only at the end of November but like petrol to fire, this has caught on so quickly and rose through the ranks of my list. This is yet another high-octane album with a very raucous, unfiltered and NWOBHM-inspired sound. It’s overly theatrical and Logon’s vocals are off the charts. The album has it all - galloping riffs, searing solos, and anthemic choruses that beg to be screamed along with. This is unbridled heavy metal passion and Master of the Games is a triumphant return for the band after eight long years.

Spectral Voice edges over Blood Incantation for me, and if you are unaware, the band shares most of its members with the only exception of Eli handling dual drums and vocal duties. I love my doom/death and if it’s in the vein of diSEMBOWELMENT or Winter, then it immediately perks my ears up! One of my highlights of 2023 was seeing Spectral Voice live (albeit through some technical issues), but it was a moment I will relish forever. At that time, the band released a split with Undergang, so I was extremely surprised to see Sparagmos release in February early this year. With the four tracks on Sparagmos, the band brings back the suffocating atmosphere and cavernous production which they are known for. It’s bleak, oppressive and the occasional bursts of blasts and eerie melodies provide that sweet contrast that fans of this genre will devour quite happily. What more can I say, Sparagmos is yet another feather in the hat of these talented musicians from that Denver circle!

Inconcessus Lux Lucis who?!

This band can be described as my best discovery of 2024. The band is signed on the very reputable and the very arcane label, I Voidhanger Records. That’s how I primarily discovered them. Musically, the band stands at the crossroads of black metal and traditional heavy metal - the dial of it being more black metal or heavy metal changes as you traverse through Temples Colliding in Fire. What won me over with this album is the song-writing and the intricate guitar work (from the riffs to the solos). They are just exceptional and hooked me instantly. The album production is fairly modern but not to the point of it being squeaky clean, but good enough to hear every instrument and it being accessible enough for the normie metalhead. If you’re a fan of Maiden, 80s Bathory or even more underground acts like Negative Plane or Malokarpatan, then this is an album for you. Front to back, Temples… keeps you glued to your seats and there are jaw-dropping moments where you’re in awe of the musicianship and song-writing of Baal and Maphos, the two members of Inconcessus Lux Lucis. The album feels like an absolute essential for fans of both genres and more people need to know about this band. I’m getting a feeling of déjà vu from when I discovered Malokarpatan in the late 2010s and I wanted everyone to check them out! Inconcessus Lux Lucis rules hard!

With that, 2024 comes to a close. Up the irons and may 2025 bring us more heavy metal! ⚔️⛓️

I first caught wind of Thanatomass thanks to the inimitable David Glomba. The gorgeous album cover art that he did will drawn you in with all its gradiosity. And having known David’s taste over the years, the band certainly piqued my curiosity. Suffice to say, Thanatomass didn’t disappoint at the slightest. Thanatomass are a Russian primal black/death metal band with a style played in a frenzied, frenetic and chaotic manner. It has some of the “war metal” sensibilities, tons of reverb and echo with the vocals and screaming guitar solos and squeals. But in my opinion, this isn’t bestial enough that it gets incoherent. The riffs are out there and ‘Hades’ definitely hits you very hard!

Stikkersvin, from Denmark, seemed to have flown under the radar for many, which is a darn shame! The band plays black metal heavily influenced by punk. It’s like as if Taake suddenly decided to make a d-beat album. Stikkersvin will surprise you vocally from the traditional black metal screeches to shouty punk vocals to more nordic chants. Where this album wins is that you can feel the raw energy on this record right from the first track and throughout the album. High tempo and lots of headbang-y moments!

Dikasterion, a Belgian black/death band, haven’t had too many releases prior to this EP of theirs. ‘Chaos as a New World’ sounds fantastic as I feel it invokes the ghost of Order from Chaos. There isn’t something mindblowing with Dikasterion BUT they seem to know their (good) influences, acknowledge them well and their output is solid! Death metal riffs for days with an old school production and caustic vocals (very Helmkamp-y) is just what the doctor ordered. I hope this paves the way for Dikasterion to tour more and also have their first full length out in the future.

Isn’t it wild that this year was the first time I ever heard of King Gizzard?! They’re not even a heavy metal band and are often described as alternative/indie adjacent when it comes to their musical style. I listened to a handful of tracks from their catalog prior to this album and it wasn’t my cup of tea. However with PetroDragonic Apocalypse… (the title is a mouthful), these bunch of “non-metalheads” put out a really enjoyable stoner/psychedelic/thrash album. The songs are extremely catchy, groovy, filled with arcane and weird lyrics, and there’s a hook where you’d expect to hear and it doesn’t disappoint. For the archetypical heavy metal fan, King Gizzard will either get your plaudits or they will get your disapproval as a elitist. For me, it’s definitely the former but my love for King Gizzard starts and ends with this album only, and boy what an album this is!

‘Storming the Walls’ is Triumpher’s debut and you’d wonder where have these guys been lurking all this while?! This is an epic heavy/power metal band hailing from Greece. Lots of people have described this as “monumental” and it does live up to the glowingly high reviews. There are many Bathory-esque moments here as well. I’d have rated it higher if I wasn’t a casual fan of the epic heavy/power metal. But purely in terms of masterful muscianship and song composition, Triumpher probably wins album of the year for me!

From epic heavy/power in Triumpher to epic heavy/doom in Smoulder! Smoulder’s latest album, ‘Violent Creed of Vengeance’ is their best work yet. They’ve expanded their sound to explore the thrashier and the more traditional heavy metal side of things and honestly, this is a real treat for fans of the band and heavy metal fans in general! Sarah’s vocals deserve a shoutout here and I feel they’re more unhinged and at times even maniacal compared to the previous releases. This is great, go Sarah! Each song is complete in itself and the album feels like it has no fillers. The guitar melodies and riffs are meticulous but yet don’t go overboard, just arriving at almost perfection. I’m quite stoked to see Smoulder live next year at Hell over Hammaburg, until then I’m spinning this many more times!

The legendary Church of Misery return with ‘Born Under a Mad Sign’, their seventh full length album after a musical career spanning almost three decades. If you are not living under a rock, you’d know that CoM are like the Black Sabbath of Japan and if Sabbath played stoner doom. These guys, whose albums depict serial killers thematically, have produced an album which I’d rate very highly even amidst their illustrious discography. It’s almost a return to superb form with slow, groovy, bass-heavy and thunderous riffs. Kazuhiro, who returns to the band since the ‘Vol. 1’ album, displays a stellar vocal performance with the level of gruff-ness that any true stoner doom fan will enjoy. The album is quite consistent (consistently great) and there isn’t a dull moment at all. Church of Misery are back, baby!

Sentient Ruin are the one of the hottest labels in the underground right now and it is with reason after putting out several good releases across different subgenres. So when I heard of Invultation being on their roster and I saw the album art, it took me a matter of seconds to start listening to this record. Invultation are a one man black/death metal band. ‘Feral Legion’ is absolutely crushing in a bestial, Archgoat-y kind of way. Heck, I love me some caveman riffs played through a severely distorted filter but where Invultation wins me over is how he modulates the pace from slow crushing doomy heavy riffs to incoherent blasty noise. If you’re looking for something novel, Feral Legion isn’t it but if you’re looking for something that pays homage to black/death legends and possibly the Ross Bay Cult bands, then look no further. This is my death metal album of the year, oügh!

Century are possibly one of the most sought after heavy metal bands in the world. After blowing people away with their 2020 demo, these Swedes spent the next three years cooking and now we have the magnificent ‘The Conquest of Time’. Along with Tyrann, they’re holding the flame of 80s Swedish heavy metal high and proud. ‘The Conquest of Time’ is packed to the brim with trad guitar riffs, vocal moments that will get approving nods from any self respecting NWOTHM aficianado and song writing that makes the songs flow so effortlessly. If we were to talk about purely classic heavy metal albums, ‘Conquest of Time’ is my album of the year. If all goes well, then I should be seeing Century live twice next year and you know where I’ll be - right in front screaming out the chorus to ‘The Fighting Eagle’!

I’ve been a huge Malokarpatan fan ever since ‘Nordkapaten’ (the band’s sophomore album) dropped in 2017. Malokarpatan return with their fourth album, ‘Vertumnus Caesar’, their most ambitious work till date. The band hails from Slovakia and they sing in their native tongue Slovak. It’s difficult to put a finger on what Malokarpatan sounds like but I’d say that their foundations are heavy metal and proto-black metal - think of Bathory, Venom, Mercyful Fate and the obvious comparisons with Root or Master’s Hammer. But that’s just the foundational sound, ‘Vertumnus Caesar’ offers listeners so much more. The band explores 70s prog rock, Tangerine Dream-like synth-y moments, an occultish atmosphere and they concoct it all together to create something so unique that it can only be called THE Malokarpatan sound. I’ve been blown away by the record from start to finish and no matter how many listens, the album sounds as fresh as ever. Each listen giving away some of the hidden intricacies in the songs. Vertumnus Caesar is a true masterpiece and will definitely be talked about for years to come!

With that, 2023 comes to a close. Up the irons and may 2024 bring us more heavy metal! ⚔️⛓️

Air Raid are a heavy metal outfit from Gothenburg, Sweden. They’ve been riding the resurgent wave of traditional heavy metal since the 2010s and have made quite a name for themselves in the underground heavy metal circuit. I was introduced to the band through their third album, ‘Across the Line’ and then subsequently caught them live opening at the Up the Hammers festival in Athens, Greece. Seeing them release an album after close to six years caught my attention and I was curious what this gap could’ve impacted their sound or direction.

‘Fatal Encounter’ is Air Raid’s fourth album in a career spanning close to fourteen years so far. As far as first impressions go, I wasn’t extremely satisfied with what I heard and it took me a couple of more listens to understand what the band was trying to achieve. After I sank my teeth into this, it became apparent that there’s a slight change in the band’s sound. Air Raid are still a stellar heavy metal band but with ‘Fatal Encounter’, I feel a drift into AOR territory. The album also feels a bit more emotional, for lack of a better word. Earlier albums were more “straightforward” heavy metal, whereas ‘Fatal Encounter‘ gives each song, each section and each instrument more room to breathe (and shine) and it isn’t all guns blazing riffy heavy metal left, right and centre.

There are a few tracks that stand out for me. Thunderblood opens more traditionally with a powerful chorus (Thunderblood, I’m a rider of the storm) but the guitar solo is very emotive. In Solitude doesn’t refer to the band but it talks about love and breakups. Naturally the music follows the overriding emotion here from the chorus to the riffs. Edge of a Dream showcases Fredrik’s immense vocal talent. It is slightly upbeat with a very obviously catchy and likeable verse-chorus. Let the Kingdom Burn is a slower tempo song which would suit an arena with its heavy palm muted pounding riffs and groove section. The song quickly transforms into something you’d hear glam/hair bands play. ‘Fatal Encounter’ also contains two covers, See the Light by Trazy and Pegasus Fantasy by Make-Up. While I’m not too familiar with the former, the latter is a cover of a track used for a famous anime opening intro (Saint Seiya). Air Raid really makes this track their own, especially with the singing in Japanese. It sounded great!

I can see critics being quick to judge Air Raid’s slightly new direction. It’s almost very Enforcer-esque, who also changed their sound similarly in the later 2010s. Comparisons are inevitable unfortunately. Is it the most original sounding album? Definitely not. Does it have its heart in the right place and is it genuine sounding? Definitely yes. In isolation, I think ‘Fatal Encounter‘ delivers to the ardent heavy metal and heavy rock fan. For long-time fans, it might be something that will take a while to adjust because the album does evoke many emotions and it is more mellow sounding. It shows the maturity of the band and the willingness to experiment with new ideas, so props to the band for that. Overall, I think Air Raid has done a solid job with ‘Fatal Encounter’.

Originally posted on Tempelores.com

Moonlight Sorcery hails from Tampere, Finland. They got everyone from Sarah (Banger TV) to bloggers to rave eloquently about their debut EP from last year titled Piercing Through the Frozen Eternity. It is not without any reason that this band has received such acclaim. They play a style of symphonic melodic black metal with neoclassical leanings. An oversimplified genre descriptor would be like Emperor and Yngwie Malmsteen having a baby in the backdrop of the harsh and grim Finnish winter landscape.

Many had enjoyed their first EP and it was surprising that they announced a second EP towards the end of 2022. This followup EP is titled Nightwind: The Conqueror from the Stars, and it has been available digitally since December 2022, while the physical release date was 13 January 2023. Nightwind consists of three original songs and a cover by greek black metal band Agatus.

Nightwind opens with Ancient Sword of Hate, which starts off almost in a nonchalant manner but very soon the melancholic organ parts kick in and this builds into the exceptional guitar work that we associate with the band already. Yötuulten kutsu is the next track which translates to “call of the night winds”. The track opens in a thrash-y manner and the verse-chorus sections are filled to the brim with melody and some of the catchiest riffs you’ll hear on the EP. It evokes a heroic feeling and the upbeat rhythm doubles down on that feeling.

Constellations is the next track. It is an instrumental clocking in over seven minutes long. The Wintersun influence is strong in this intro but that’s where the comparison ends because Moonlight Sorcery makes this track their own. Constellations feels like a journey. The guitar work exudes virtuosity but at the same time it is not sweeps or solos for the sake of it, but each section feels thoughtfully created.

The last track on the EP is a cover of Agatus’s Black Moon’s Blood from their Dawn of Martyrdom album, which was released in 1996. I think Moonlight has taken this track and made it fit perfectly with their style and in this EP. They’ve, quite naturally, infused their symphonic elements and also subtly added bombastic drum sounds, which provides that extra oomph (almost post-punk-y), while still retaining the essence of this old school track. The vocals are more high-pitched and fit it well too. Overall, it was total justice to the original while making it sound very Moonlight Sorcery-like.

The instrumentation and the musicianship on Nightwind is top notch. The rhythm guitars feel very rich and warm. I do not need to mention the exceptional solos and guitar leads, because I feel that I’ve overstated that fact more than a couple of times. The bass is played loud and proud and you can hear it clearly through the album and it does a great job of being the rhythmic skeleton in all songs. I’m not a fan of symphonic black metal, primarily due to the keys but I must say, like their first EP, I am a big fan of how the band uses keys. Just the right mix.

Overall, I think Nightwind is a worthy successor to Piercing, and it is also more, for lack of a better word, straightforward sounding as well. I guess their first EP which brought them to the scene caught a lot of ears off-guard and that veil of mystery has been lifted, so it’s not that much of a surprise how good Nightwind is from a songwriting and musicianship point of view. The challenge for bands aren’t the one-hit wonders but about sustaining their ability to churn out killer music from time to time. In that regard, Moonlight Sorcery has exceeded all expectations and I look forward to what the band does next!

Originally posted on Tempelores.com

Dusk are legends from the South Asian and Asian scene in general. Almost touching their third decade in existence, the band fronted by Babar Sheikh (ex-Impiety), released Imaginary Dead earlier this year. There are moments of death/doom, modern-era Rotting Christ, death/thrash bits with some great guitar solos and also not to mention experimental electronic synth-y sections. What shines through this album is the songwriting and the vocal performance. Dusk hail from Pakistan and it feels like the band makes a concerted effort to infuse influences from Sufi poetry and those singing/recital styles. I enjoy the spoken word sections as well as soaring melocholic screams. I rate Imaginary Dead highly and if Dusk weren’t already on the world map, this definitely puts them there!

Never judge a book (or album) by its cover but in the case of Baazlvaat, if the cover doesn’t pique your curiosity, I’m not sure what will. This can be either so bad or eccentricly genius. After a couple of spins of An Old Forgotten Text, I’m definitely leaning towards the latter. This was my first introduction to Baazlvaat, a rather peculiar black/folk and weirdly experimental band from USA (Michigan). I saw some comment which described this album as “What if Zappa grew up listening to Bathory and Celtic Frost”. It couldn’t more truer. I’ll go as far to say that this isn’t even a black metal album. Sure the vocals and some sections can indicate so, but the band goes on a musical trip exploring different directions, sometimes within the confines of a single song too. It’s brilliant! If I spent more time with Baazlvaat, I’d have rated this higher!

Negative Plane make their eleven year return with The Pact, their third studio album. I’ve heard of Negative Plane prior to this album but it was only a name I associated with something shrouded in mystery. Let it be stated that the Pact is not an easy listen (at least for me). It’s dense. It meanders through odd riff structures, weird time signatures and moments which pay tribute to the first-wave of black metal. The riffs almost feel like they could belong on a Mercyful Fate album too. They’re that good! With most of the tracks clocking over eight minutes, you will feel like you’re being taken on a mesmerizing journey. I love the production here especially with how the ambience is accentuated with church bells and chamber choir vocals. The Pact is a beautiful album and a masterpiece!

Pharmacist have released the best Carcass (Necrotism-era) sounding album ever, after Necrotism naturally. My comparisons albeit inevitable are merely meant flatter this Japanese death/grind band. Flourishing Extremities on Unspoiled Mental Grounds, boy that was a mouthful, is unique in itself wherein on one hand you can see the clear Carcass influence but at the same time they make it their own. The album comprises of grind-y songs over seven minutes long rife with some stellar guitar work. The songs have extremely catchy melodies, pummeling drums, snarly gurgly vocals and guitar solos (wait what?) to top it all off. You will not come across death/grind with guitar solos as exceptional as these. Fun fact, Andrew Lee from Ripped to Shreds, did most of the guitar leads on this album. I hope Pharmacist get the recognition they deserve because FEOUMG is a great record!

Sumerlands needs no introduction if you operate in the heavy metal realm of things. Dreamkiller is the band’s follow up to their wildly popular self-titled debut from six years ago. I would say that expectations were high for the band and with the change in vocal duties from Phil Swanson (Hour of 13 fame and many more) to Brendan Radigan (ex-Magic Circle), all eyes were on the band to see what they could deliver. Sumerlands didn’t disappoint to say the least. Dreamkiller flows so effortlessly from track to track. It’s a wonderful slab of heavy metal with AOR leanings. It’s massive sounding, the vocals are brilliant and the riffs are memorable for days! Dreamkiller cements Sumerlands’ credentials in heavy metal and although they have only two albums to their name, they’re easily one of the best heavy metal bands of the last two decades!

Elder’s album may not appear on many AOTY lists but they are on mine for several reasons, chiefly that I am a massive Elder fanboy since their magnificent Lore album from seven years ago. But I’ll also stick out my neck to say that Innate Passage has so much to offer. Elder is no longer the same band since their inception in the 2000s and they’ve transromed into this overtly proggy and (almost) instrumental ambient heavy rock band. Innate Passage takes Elder to greater heights from Omens. There’s just more (and better) of the long winding proggy/psychedelic sections with some exquisite guitar work, tremendous basslines and hooks that you expect to hear but still get blown away every time you hear them. Elder are the epitome of modern proggy heavy rock and Innate Passage is yet another great album from these extremely talented musicians.

It’s been quite a year for Wormrot with losing their second original member in Arif (their inimitable vocalist), while at the same time Hiss, their fourth full-length, being heralded as one of the best grindcore albums in recent years. Tumultuous but yet Rasyid has held the fort for so long as their guitarist and songwriter. Nonetheless, I’m glad that Arif was able to contribute to Hiss with his incredible vocal lines. It’s almost an instrument in itself lending itself to create the Wormrot sound - from the gang vocal shouts to screeches to growls. This will be his best work with Wormrot. While Arif’s vocals is one of the highlights of Hiss, I’d say the way the songs are structured and varied is yet another reason why Hiss stands out so spectacularly. There are influences from hardcore punk to Discordance Axis / Gridlink-esque grindcore to Wormrot’s earlier work (Dirge and Abuse). It’s a melting pot of styles, while still retaining Wormrot’s stamp. Hiss is not just a grindcore album, which can tend to be very one dimensional, it’s just so much more!

Luzifer are not a new band. The band members’ other band is the more well known Vulture, who are a speed/thrash demon. But we’re talking about this other avatar of theirs called Luzifer. Although having existed for over a decade, Iron Shackles is the band’s debut album. The band’s sound can be described as being influenced heavily by Mercyful Fate. It has anthemic choruses, guitar work that will make Denner and Shermann very proud, very catchy grooves and to mix it up a bit of very well chosen synths and post-punk (like in Der Golden Reiter) moments. Iron Shackles closes with a galloping Attila and often I’d put this album back on repeat. There’s not a single dull moment from start to finish and with the amount of re-play value it has, this was easily my favorite heavy metal album of the year!

Ares Kingdom are the Bolt Thrower of death/thrash. They’re unfortunately severely underrated and every few years, they deliver pulverizing and relentless albums consistently. I’d rank this album highly for that reason itself, that this is so consistent in terms of what it offers listeners. Born from the legendary “cult” band Order from Chaos in the 1990s, Ares Kingdom’s latest effort In Darkness At Last is probably one of their most brutal releases. You can feel the venom seething through the record. I can’t imagine how this would sound live. Chuck, Alex and Mike go all out with their muscianship and songwriting. Each track has something to give and the whole is greater than the sum of the individual tracks. Another highlight of this album is its production. It’s caustic and raw, almost fooling you as if you’re hearing the album live. Ares Kingdom are masters of the underground and In Darkness At Last is a great release!

Phobophilic’s Enveloping Absurdity is my death metal album of the year. These relatively lesser known young upstarts have taken the strong Demilich influence and made death metal that is heavy, groovy and also 10x more accessible to discerning ears. Heck, you can see Demilich’s Nespithe influence on the album cover too with the face drawings. But if Nespithe is the master then Enveloping Absurdity is the most promising apprentice. That’s high praise and it earns the number one spot in my list. I’ll stop with the comparisons now. Enveloping Absurdity has those “stop-start” guitar sections which are so catchy and headbang worthy, the caveronous growls, all round such great riff and seamless transitions and tempo changes. The production is very well balanced. It could’ve been murkier and that would’ve been my preference but that would’ve drowned out some of the beautiful guitar work which surfaces during the doomy/slower sections. The album title track is my favorite track which showcases everything that the album extends into. This band deserves more recognition!

With that, that’s a wrap. Until next year!

Berator hail from Chicago and are one of the newer bands on the illustrious Dark Descent Records roster. Their newly released ‘Elysian Inferno’ EP is my first introduction to the band. Prior to this EP, Berator put out a two song demo titled ‘R.A.I.D.S’ and those songs are also featured on ‘Elysian Inferno’. At first glance of the logo and album cover, I get strong vibes of black/death metal. But that’s me judging a book by its cover. What further cemented my suspicions were the band members’ partial involvement with acts like Profanatica and The Chasm as per Metal Archives. 

‘Elysian Inferno’ clocks in at slightly over 22 minutes and the six tracks went about in dizzyingly quick manner. After multiple listens, I can confidently say that my initial suspicions were not too far. I’d describe Berator as a black/death metal band with strong thrashy moments. If you dig bands like Archgoat, Order from Chaos and Destroyer 666 then Berator would be a shoo-in for you. 

The first track, ‘Sultans of Incest’ has a build up which then hits you hard in a frenzied chaotic manner. Midway the song hammers down the riffs hard. It’s definitely a promising start to the EP. ‘Onslaught to Absolution’ carries on this tempo of punishing black/death metal. ‘Dead Rats’ is a track that gets more interesting in the second half. The track explodes into hard hitting riffs, a black/thrashy section and then whammy bar guitar solos. ‘War Lust’ is heavy and creates a wall of sound but at this time for me, it feels a bit repetitive. I can commend the guitar solo and the barrage of riffs immediately after that which make it enjoyable. ‘Final crucifixion’ has a slower opening and pounds away in a very Archgoat like manner. Crushing mid-paced caveman riffs. The song does switch it up a bit with blastbeats in between. ‘Swine Cult’ is the last track on the EP. The guitars sound more buzzsaw-y than usual. It cuts right through. Out of the six tracks, I felt some were not as memorable but ‘Swine Cult’, ‘Sultans of Incest’ and ‘Final Crucifixion’ were definitely my highlights.

Right off the bat, when someone utters black/death and a band which is on a roster like Dark Descent’s, you’d imagine a muddled cavernous production. Berator’s production is somewhere between “medium rare” and “well done”. It’s perfect for my taste wherein the various instruments and vocals are equally audible. The vocals, although a tad “distant” and echo-y, it doesn’t get buried in the mix. The guitars are crisp yet raw. The rhythm section of drums and bass are tight. 

To sum up, I enjoyed ‘Elysian Inferno’. It’s a band true to their style and influences. They’re neither original nor do they seek to be original. So in that sense, the EP won’t blow you out of the water but the band’s efforts to create a slab of music which is hard hitting and honest to their influences is something worthy of checking out. 

Originally posted on Tempelores.com

Schizophrenia burst onto the scene two years ago with their Voices EP. They took the world by storm with their brand of death/thrash metal which is very reminiscent of bands like Demolition Hammer and early Massacra. The leather-clad four piece hail from Belgium and were previously performing under the moniker of Hämmerhead with Ricky (vocals and bass) and Romeo (guitars) as founding members. Lorenzo (drums) and Marty (guitars) joined Schizophrenia in 2017 and since then they’ve garnered a good reputation around the globe.

The band has now released their followup to the Voices EP and it’s their debut full length called Recollections of the Insane. If you are acquainted with Voices, right off the bat you will notice that the band has tweaked their sound a tad. They’ve upped their death metal quotient (in their death/thrash style) several notches higher. This change in direction is not surprising when you get to know that the band members are avid fans of death metal, primarily early Morbid Angel. I heard this in a live stream of their interview and even posed a question or two about the new album. Schizophrenia veers off in a more death metal direction and that is certainly not a bad thing at all.

Recollections of the Insane opens with Divine Immolation and after a thirty second intro, they waste no time in hitting you hard with pummelling blast beats and fast guitar riffs. The vocals feel harsher as well and the chorus is laid over some exquisite guitar noodling. This is also heard on other tracks like Fall of the Damned. Cranial Disintegration is slightly on the thrash-y side but equally hard-hitting. There is a “vocal breakdown”, for lack of a better word, which is like a hammer hitting the anvil. So prepare yourself for some intense head nodding with a stank face. Sea of Sorrow wouldn’t have been out of place on the Voices EP and feels like the older Schizophrenia.

As I progressed through the album, I was getting some serious old-school Vader vibes on tracks like Monolith, Onwards to Fire and Souls of Retribution. Something about tremolo-esque death metal riffs over blast beats screams Vader to me. Onwards to Fire is a relatively mellow-er track where the band does slow things a bit in certain parts of the song. It gives the album a slightly different flavor. Souls of Retribution also showcases a one minute guitar solo in the middle of the track between the verses. There’s some immaculate musicianship on this album from all members. My favorite track is Inside the Walls of Madness and captures all the elements of what this version of Schizophrenia offers. The riffs are chuggy and very headbang-inducing. It is blast beat central and the vocals sound menacing.

Schizophrenia are doing a “reverse Sepultura” wherein they’re getting heavier and more brutal from their previous record. It’s funny because the band probably borrows its name from Sepultura’s second full length with the same name. And after Schizophrenia, Sepultura took a more thrash-y and groovy route. I feel like a knob for having to explain what I meant by “reverse Sepultura” but I hope you get the drift. Like I mentioned earlier, this change in the sound is not a bad thing.

Overall, Recollections of the Insane is well produced, a tad more polished than Voices but the intensity of the music comes right through. The guitar work effortlessly glides from chuggy riffs to melodic solos. The songwriting is tight and doesn’t feel like there are any loose ends or B-side-y material creeping into the album.

If you enjoy death/thrash and can stomach something even heavier, then this album is for you. Remember when Sodom released Tapping the Vein and it blew people’s minds with its heaviness? This is THAT album by Schizophrenia!

Originally posted on Tempelores.com

If you’re into heavy metal, then anything released by Cruz de la Sur should pique your interest. Shock to the System is Tower’s latest sophomore album and I was quite excited to listen to this. Tower are a five-piece NWOBHM-inspired heavy rock band hailing from New York. Sarabeth fronts the band with vocals, James Danzo and Zak are the guitarists, James Jones does the drums and Jeff Filmer (though not in the band at present) did bass on the record. Bass duties are currently handled by newcomer Jack Florio. It is a bit unfortunate on my part that my introduction to Tower was through their sophomore album. I did give their 2016 self-titled debut album a couple of spins before sinking my teeth into Shock to the System.

A few spins into the album and I’m absolutely engulfed with old school nostalgia. Tower will light up your ears with their lovely mix of highly energetic, heavy metal inspired 70s hard rock while also delivering some exceptionally soulful moments. Sarabeth’s vocals take full credit for adding a hefty dose of soul to this record. She sounds absolutely powerful with those soaring vocals. Accompanying the stellar vocals, but not to be outshined, is the guitar work. The riffs are sublime and catchy, almost effortless and epitomizes what great heavy rock music should sound like. The entire ensemble with the rhythm section fit perfectly together. This is also largely down to how the album is produced and mastered by Sasha Stroud. It’s a great feat to accomplish if you can bring out the energy of the band through the mix and make it sound as if you’re experiencing Tower live in a basement gig.

Shock to the System doesn’t have a weak song on it. There I said it! It’s quite rare for an album to achieve that in this day and age, especially when you are talking about a traditional sounding band. The band balances paying homage to their influences, working within those boundaries while also sounding original. There’s something that each song offers. Most of the tracks on the album are high on energy and tempo but there are also some tasteful ebbs in the music too. Prince of Darkness is a favorite of mine which starts off slow, full of emotions, and picks up pace two-thirds into the song and ends in a crescendo-like manner. There are also some songs whose choruses could well become anthems like Lay Down the Law which gallops forward after a slow beginning. In Dreams showcases their best guitar work in terms of riffs, cleans and solos. You can clearly feel the mood of the song shift as time elapses with every minute. The album closer, Powder Keg, feels like it could be the soundtrack for a high speed car-chase through deserted towns.

My only regret is not having discovered Tower earlier but it’s not too late for you! Tower’s Shock to the System packs a quite a punch with 70s/80s nostalgia, catchy hard rocking heavy metal tunes and one of the best vocal performances I’ve heard in recent years. Turn up the volume and headbang away!

Originally posted on Tempelores.com