Full House Brew Crew |Glasgow Grin |ROAR

Release Date February 6^th, 2026
Format CD/Vinyl
Genre Heavy/Groove Metal
Country Greece

Raised from the concrete of Athens, Greece, Full House Brew Crew has been grinding for years, but "Glasgow Grin" is where they finally stop playing nice. Led by Vagelis Karzis, who has put in serious time with Rotting Christ and Wolfheart, the band has shifted from their earlier vibes into a much more hostile territory. They’ve moved away from just being another heavy group and stepped into a space where the aggression is the point. This isn't a project done in the shadows but a focused, loud-as-hell unit that wants to leave a mark.

If you want music that sounds like a bar fight in a basement, "Glasgow Grin" is your ticket. These guys aren't interested in being your friend or making sure you're comfortable. The guitars on tracks like "No Gods, No Chains" and "The Other Side" are absolutely savage, thanks to a production job that makes the riffs sound like they’re coming through a wall of oversized amps. Saku Moilanen’s engineering gave the band a punchy, punishing sound that makes the drums sound like they’re being hit by a sledgehammer. It’s loud, it’s angry, and it’s got enough muscle to knock the teeth out of anyone expecting a soft radio rock album.

The vocals from Karzis are the real deal here, no fake tough-guy acts, just genuine tension and rage. You can tell he’s writing about real-world garbage and the frustration of the daily grind. Songs like "From The Gutter" and "Reign Of Terror" carry a heavy vibe that is thick and mean. The band sounds like they finally stopped caring about what’s popular and just decided to play the nastiest, heaviest groove metal they could muster. The bass and drums lock in so hard it creates a massive wall of noise that just keeps coming at you without any apology.

It’s refreshing to hear a band from the Greek scene step away from the traditional black or melodic death metal sounds to deliver something this heavy on the groove side. "Glasgow Grin" is an arrogant, powerful display of what happens when a band decides to just let loose. There’s no filler and no waste. It’s a middle finger to anyone who thought they were slowing down. If you need something to fuel a bad mood or a long night of making poor decisions, this is the album you need to be blasting.

Score: 8.3

Full House Brew Crew:

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Induction |Love Kills! |Reigning Phoenix Music

Release Date February 6^th, 2026
Format CD/Vinyl/Digital
Genre Symphonic Power Metal
Country Germany

Born from the loins of metal royalty, Induction isn't just riding on the co-called Hansen coattails. While Tim Hansen has that legendary DNA, he’s spent the last few years carving out a path that’s more than just a tribute to his old man’s legacy. After tearing up stages with Stratovarius and Sonata Arctica, and surviving a revolving door of members, the band finally locked in a killer lineup in 2024. With Gabriele Gozzi handling the pipes and a fresh rhythm section, they’ve evolved from a "project to watch" into a legitimate heavyweight contender in the German scene.

"Love Kills!" is a massive middle finger to anyone who thinks power metal is dying or getting soft. These guys aren't playing around with flowery nonsense. They’re delivering high-speed, soaring anthems that actually have some balls. The production is huge, handled by Tim himself, and you can tell they wanted this to sound like a stadium-filler. It’s got that classic European bombast but delivered with a modern aggressiveness that keeps it from sounding like a dusty relic.

The guitars on "Love Kills!" and "Gods Of Steel" are absolutely relentless. Tim and Justus Sahlman are trading riffs that would make a veteran headbanger weep, and Gozzi’s vocals are the real deal, high-octane and theatrical without being annoying. "Dark Temptation" shows they can handle the drama without losing the pace, while "Beyond Horizons" is the kind of anthem that makes you want to drive through a brick wall. It’s fast, it’s loud, and it’s defiantly epic.

By the time you hit the massive closing of "Empress," you've been dragged through a gauntlet of soaring choruses and neck-snapping transitions. It’s an ambitious album that manages to be loud, proud, and obnoxious in the best way possible. Induction is clearly done playing the "rising star" game and is now just aiming to dominate. If you want your power metal with a side of aggression, this is the one to blast.

Score: 8.0

Induction:

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Cattle Hammer |Dark Thoughts With Lights Out |Road To Masochist

Release Date February 6^th, 2026
Format CD/Vinyl
Genre Blackened Sludge/Drone Metal
Country United Kingdom

Born from the wreckage of the UK underground in 2023, Cattle Hammer is the brainchild of Duncan Wilkins, a man whose resume includes filth-peddlers like Fukpig and Mistress. If you know his history, you know he isn't here to write radio hits. The band crawled out of the gate with a massive 71-minute endurance test called "Methlehem", proving they have zero interest in brevity or your comfort. Now, they’ve returned to follow up that initial descent into madness with their first proper full-length, a four-track exercise in misery titled "Dark Thoughts With Lights Out".

Look, "Dark Thoughts With Lights Out" is a suffocating experience, which is clearly what these guys wanted. It kicks off with "Gloomsower", and right away, the sludge is thick enough to choke on. The vocals sound like someone being buried alive, screaming through a foot of wet soil. It’s slow. It’s painful. It drags its feet like a death march where the destination is just a bigger hole in the ground. There’s no flash here, just a vibrating, low-end drone that wants to rattle your teeth out of your gums.

Then you get "Rotting", which opens with some spoken-word bitterness that actually makes you feel like garbage. The riffs are massive, vibrating monoliths that just hang there in the air, refusing to move. It’s the sound of total stagnation. It makes you feel like time is stopping, but not in a cool way, more like watching your own life waste away while you’re paralyzed on the floor. It’s a total bummer, which, in the world of blackened sludge, is usually a compliment, though the pacing might test the patience of anyone who isn't already half-dead inside.

By the time "Watchmen, Alone" and "Body Puzzle" roll around, the band leans harder into the drone part of their description. "Watchmen, Alone" starts with some disorienting noise before the hammer finally drops in slow motion. It’s mean and brutish, but it stays in that one gear for a long time. "Body Puzzle" finishes the job with riffs that sound like planets grinding together. The vocals are panicked and claustrophobic, adding to the general sense of "I need to get out of this room."

It’s a decent debut if you want to feel like a total wreck, but it's a lot to take in one sitting. The production is raw and stays away from any studio magic, which keeps the misery feeling real. It’s cruel, it’s loud, and it definitely doesn't care about your mental health. If you’re into the kind of stuff Khanate or Burning Witch put out, you’ll find some common ground here, even if it feels a bit like a slog to get through the whole thing.

Score: 6.5

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https://roadtomasochist.co.uk/

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Meteora |Dissonance |H-Music

Release Date January 23^rd, 2026
Format EP
Genre Symphonic Metal
Country Hungary

Hailing from the concrete and history of Hungary, Meteora has been grinding through a massive conceptual journey that started back in the summer of 2025. They kicked things off with "In This Silence", followed it up with "Broken Mind", and now they’re dropping the final hammer with "Dissonance". This band doesn't just play songs, they build these massive, theatrical worlds. They’ve spent the last year proving they have the stamina to put out a trilogy of EPs, eventually weaving them all together into a full-length beast called "Darkest Light".

"Dissonance" kicks the door down with "Darkest Light", which hits with a waltz-style swing that’s got more drama than a gothic soap opera. The triple-vocal attack is where these guys actually flex. You’ve got the clean female leads, the male melodic lines, and the "beast" growls all fighting for space in a way that actually works. Having Nils Courbaron from Sirenia show up for a guest solo adds some serious shred credentials to the mix, giving the track a technical edge that keeps the symphonic elements from getting too soft.

The middle of the EP shifts into "Shadows Of Ignorance", where Noémi Holló takes the lead and absolutely crushes it. This track is the result of guitarist Dániel Baranya and keyboardist Atilla Király teaming up on the writing, and you can hear the chemistry. It’s got that haunting atmosphere that makes you want to stare at a graveyard in the rain, but it keeps enough energy to stay relevant. It’s a successful experiment for the new writing duo and keeps the momentum high before the final descent into the heavy stuff.

When Meteora decides to get aggressive, they don't mess around. "Dissonance – My Reality Pt. IV" is easily some of the heaviest material they’ve put to tape. The harsh vocals are front and center, backed by jagged riffs that move away from the fluff and get straight to the point. Then they wrap the whole trilogy with "Witch Hunt – Tragedy Of Delusion". This one is a monster, full of black metal influence and Wagnerian intensity. It’s massive, loud, and closes the chapter with enough fire to melt the winter frost.

The production on this is top-tier for the genre. Getting guys who have worked with Machine Head and Swallow The Sun to handle the mix and master was a smart move. It sounds huge without losing the individual layers of the choir or the grit of the guitars. "Dissonance" is a hell of an ending to this EP cycle, and it shows Meteora has the creative juice to keep going for a long time. If you want symphonic metal that actually has some teeth, this is your fix.

Score: 8.0

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Aeon Gods |Reborn To Light |Scarlet Records

Release Date February 20^th, 2026
Format CD/Digital/Vinyl
Genre Epic/Power Metal
Country Germany

Aeon Gods roared out of the German scene with a heavy fixation on ancient myths and a lineup that sounds like they just stepped off a chariot. Led by Alex ‘Sol'ra-Tu’ Hunzinger, this crew operates under a "myth-driven" banner, adopting god-like personas and theatrical flair. Their previous work established a foundation of symphonic weight, and now they’re pivoting their focus toward the scorching sands and cryptic underworlds of ancient Egypt.

If you’re hunting for a journey through the “Amduat” without the dry history lecture, "Reborn To Light" is the ticket. Aeon Gods take the legend of the sun-god Re and turn it into a high-speed chase through the night. The production is massive, thanks to Simone Mularoni’s desk work, ensuring the guitars and keyboards fight for dominance without one killing the other. It’s got that big, cinematic energy that fans of the epic style crave, trading the usual European forests for desert temples and divine warfare.

The songwriting leans heavily into the "Amduat" and "Re's Dying Reign" multi-part sagas. Instead of just throwing random tracks together, the band links these chapters to tell a story of solar cycles and rebirth. "Barque Of Millions" and "Soldiers Of Re" bring that classic power metal gallop, fueled by grand choirs and a lot of melodic firepower. It’s the kind of stuff meant for a big stage, which makes sense considering their upcoming tour with Victorius.

While the album stays firmly in the lane of bands like Sabaton or Wind Rose, it packs enough orchestral muscle to stay interesting. "Feather Or Heart" and "Blood And Sand" provide a balance between aggressive riffing and those huge, soaring hooks that stay stuck in your skull. The Egyptian theme isn't just a gimmick but baked into the atmospheric passages and the way the keyboards layer over the percussion. It’s a loud, proud display of heroic metal that plays to the back of the room.

Score: 8.0

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Witch |The Hex Is On... And Then Some |Lost Realm Records (Reissue, Remastered)

Release Date 30.01.2026
Format 2CD/LP
Genre Heavy Metal
Country USA

Born in the gutters of Huntington Beach in '83, Witch was the kind of beautiful disaster that only 1980s Orange County could vomit up. They were a middle finger to the mainstream, mixing the speed of Judas Priest with the total visual depravity of Mötley Crüe and KISS. Drummer Punky Peru was a certified maniac who’d bleed all over his kit, while Peter Wabitt wailed like a banshee over the riffs of Ronny Too and Jim Warmon. These guys played in clubs and burned them down literally, and survived enough brawls and pyro accidents to make most modern bands look like choir boys. They were huge on the circuit, sharing stages with Slayer and Yngwie Malmsteen but they were probably too volatile for the suits at Atlantic or Polygram to handle.

Finally, Lost Realm Records has rounded up the chaos into "The Hex Is On... And Then Some". This collection is a total monster, spanning their prime years from 1984 to 1989 and throwing in those weirdly cool God Box sessions from the mid-90s. It’s about time someone archived this stuff properly. Listening to this is like taking a time machine back to a Woodstock Anaheim show where you’re pretty sure someone is going to get punched or set on fire. The production is raw and loud, exactly the way this kind of street-level metal should be served.

The early stuff like "Nervous Wreck" and "Damnation" is pure adrenaline. You can hear the transition from the absolute filth of the 1984 EP into the more professional, though still dangerous, vibe of the "Nobody Sleeps" era. "Cinderella (In Black Leather)" is an anthem for the kids who lived for the Sunset Strip but wanted more venom in their veins. Peter Wabitt has that classic high-register metal snarl that cuts through the mix, and the guitar work is frantic and sharp. It’s a snapshot of a time when metal was actually dangerous, not just a fashion statement.

The second disc with the God Box sessions is a wild curveball. Produced by Howard Leese, these tracks like "Mad For Life" and "Pay The Due" show a different side of the beast. It’s got a bit more of a groove, but the core of the band, that defiant, "us against the world" attitude, is still there. It’s cool to see they didn't lose their edge even when they tried to get a bit more sophisticated in the studio. Tracks like "Black Magic" keep that heavy spirit alive without sounding like they’re trying to copy the glory days.

This is a mandatory pickup for anyone who worships at the altar of 80s underground metal. It’s not a "refined" experience but a loud, proud, and messy history lesson of a band that should have been massive but chose to stay wild instead. "The Hex Is On... And Then Some" is a massive package of riffs, ego, and leather that proves Witch was the real deal. If you want a piece of the real SoCal metal history, this is it.

Score: 7.8

 https://www.lostrealmrecords.com

https://www.facebook.com/LostRealmRecords

https://www.instagram.com/lostrealmrecords

https://www.youtube.com/@lostrealmrecords

https://www.witchtheband.com

Weedpecker |V |Heavy Psych Sounds Records

Release Date February 23^rd, 2026
Format LP/CD/Digital
Genre Psychedelic/Stoner Rock
Country Poland

Born out of the Polish underground, Weedpecker has spent years as a top-tier dealer of psychedelic stoner rock. They’ve spent four albums chasing the green dragon through hazy riffs and melodic dreamscapes. Now, for their fifth outing, the band enters a new transformation, lead by Piotr Dobry through a period of personal chaos and total instability to see what survives the fire.

Look, life is a fragile bitch, and Piotr Dobry clearly went through the meat grinder before sitting down to pen "V". You can hear that "everything is falling apart" vibe baked into the very soul of this record. It’s not just some dudes jamming in a garage but a therapeutic purge. They dragged these songs through multiple studios and long months of obsessive tweaking because they wanted the dirt and the beauty to coexist perfectly. The result is a heavy, shimmering trip that sounds like someone finally admitting they don’t have all the answers while the world burns around them.

The riffs on "Fading Whispers" and "Ash" are thick enough to choke on, but there’s a massive melodic streak running through them that keeps things from becoming a total downer. This isn't just a wall of noise, the synths handled by the trio of Piotr Sadza, Tomasz Walczak, and Piotr Dobry add this spacey, layered dimension that makes you feel like you're floating in a sensory deprivation tank filled with THC. Zbigniew Promiński beats the skins with enough force to keep your head nodding, while Piotr Kuks keeps the low end anchored in the grime.

When you get to "In The Dark We Shine" and "Mirrors", the band really leans into that "heavy psych" tag. It’s spaced-out and trippy, but it never gets too soft or loses its edge. They’ve managed to capture that specific feeling of things slipping away, especially on "The Last Summer Of Youth". It’s a bitter pill wrapped in a gorgeous, fuzzy melody. The production handled by Haldor Gruenberg at Satanic Audio is top-notch, giving the guitars a massive presence while letting the synths swirl around your skull like smoke.

This is a damn good record for anyone who wants their psych rock with a side of existential dread. It’s honest, it’s loud, and it’s got enough layers to keep you digging for weeks. Weedpecker is still the king of the mountain when it comes to this sound in Poland, and "V" proves they’ve got plenty of fire left in the tank, even if that fire is currently burning their house down.

Score: 7.8

https://weedpecker.bandcamp.com/music

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Venthiax |Rites Of Ra |Dying Victims Productions

Release Date February 27^th, 2026
Format CD/Vinyl
Genre Speed/Thrash Metal
Country Sweden

Venthiax formed in March 2021 in Huskvarna, aiming to be the loudest band in the Jönköping region. The lineup features bassist Wendy Juneström, known for the Black Pages fanzine, guitarist Viggo Heinonen, formerly of Pyrrha, and drummer/vocalist Emil Borg. After releasing a demo, an EP, and two live albums, the Swedish trio signed with Dying Victims Productions for their debut mini-album. Drawing influence from 80s titans like Slayer and Sodom, they focus on aggressive, old-school songwriting.

"Rites Of Ra" kicks in the door with the subtlety of a brick to the face. Venthiax clearly worships at the altar of early Teutonic thrash and American speed metal, delivering a sound that reeks of stale beer and leather. The production here is wonderfully grimy. It sounds like it was recorded in a dungeon, keeping the edges rough and the atmosphere dark. There is no modern sheen to hide behind, just pure, unfiltered noise that demands you bang your head until your neck snaps.

Viggo Heinonen’s guitar work drives the chaos. The riffs are fast, jagged, and heavily influenced by the evil sounds of early Sodom or Kreator. He attacks the strings with serious aggression, creating a wall of distortion that powers the whole machine. Solos shriek and wail over the rhythm, adding to the manic energy. The guitar tone is sharp enough to cut glass, providing the perfect soundtrack for a circle pit in a dive bar.

The rhythm section creates a battering ram of sound. Emil Borg abuses his drum kit. His playing is primitive and savage, avoiding technical wizardry in favor of pure propulsion. He whips the toms and crashes the cymbals with a relentless fury that keeps the tempo pushing forward. Wendy Juneström’s bass rumbles underneath, locking in with the drums to form a heavy foundation. This bottom end gives the tracks the necessary muscle to back up the speed.

Vocally, Borg barks out lyrics about ancient rituals and mayhem with plenty of venom. His delivery is harsh and shouted, matching the abrasive nature of the music perfectly. Songs like "Speed Metal Mayhem" live up to their name, delivering exactly what is advertised on the tin. The band keeps things short and punchy, getting in, wrecking the place, and getting out before things get boring.

This mini-album is a fun ride for anyone who misses the glory days of the mid-80s underground. Venthiax delivers a satisfying dose of speed and aggression without overthinking it. It is raw, it is fast, and it is loud. Sometimes that is all you need. Grab a beer, turn the volume up to eleven, and let "Rites Of Ra" tear your speakers apart.

Score: 7.5

https://www.facebook.com/people/Venthiax/100090480222392/

https://venthiax.bandcamp.com/

https://www.instagram.com/venthiax/

https://www.youtube.com/channel/UCMMwzcuPjZpiCA95JZk_-fA/

Belzebong |The End Is High |Heavy Psych Sounds Records

Release Date February 20^th, 2026
Format LP/CD/Digital
Genre Doom/Stoner Metal
Country Poland

Poland’s loudest riff dealers, Belzebong has been spreading their fuzz-drenched gospel of bong metal since 2008. With no vocals and no compromises, they summon crushing instrumentals soaked in doom, sludge, and psychedelic haze. Their hypnotic live shows and cult-like following have turned them into underground legends, delivering slow, sinister grooves straight from the green abyss. With acclaimed albums like “Sonic Scapes & Weedy Grooves”, “Greenferno”, and “Light The Dankness”, Belzebong have toured extensively across Europe and the U.S., leaving trails of blown minds and smoke-filled venues in their wake. Belzebong is not just a band, it’s a ritual of riff worship for those who live by the fuzz and die by the bong.

Belzebong drags everyone down into the dirt with "The End Is High". The Polish riff lords deliver a soundtrack for the apocalypse that sounds like a mountain collapsing. Heavy Psych Sounds Records put this out, and it fits perfectly with the vibe of total destruction. The whole thing reeks of green smoke and impending doom. It is aggressive, heavy, and loud enough to wake the dead.

Satanic Audio handled the recording, and the result is a wall of noise. Sheepy Dude, Alky Dude, and Cheesy Dude stack fuzz on top of distortion until the air gets thick. The low frequencies rattle the teeth in your skull. It is abrasive and exactly what a doom fanatic needs. The production captures the grime of their gear without cleaning up the mess.

The tracks roll forward with crushing slowness. "420 Horsemen" and "Hempnotized" plod along like a funeral march for the planet. Hexy Dude keeps the drums slow and punishing. The repetition locks you in and refuses to let go. You just nod your head until your neck hurts. It is hypnotic in the most violent way possible. This is a great addition to the collection. Belzebong stays true to the fuzz and the weed. "The End Is High" offers no salvation, just heavy riffs and a slow descent into oblivion.

Score: 7.8

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https://belzebong.bandcamp.com/

http://instagram.com/belzebong420/

https://www.belzebong.com/

Burning Path |Burning Path |Dying Victims Productions

Release Date February 27^th, 2026
Format CD/LP
Genre Heavy Metal
Country Chile

This whole project started in the worst way possible. Back in late 2024, the Chilean scene took a massive hit when Andre Adasme, known to us as Hades, was murdered. That tragedy ended Lucifer's Hammer right there because you just can't replace a character like that. But metal doesn't just stop. His brother Titan and guitarist Hypnos decided to keep the machine running, not by dragging the old name through the dirt, but by starting fresh. They formed Burning Path to honor that legacy. It takes guts to step out of the shadow of a beloved band and try to march forward while the wound is still fresh.

"Burning Path" picks up the torch and runs with it. If you were into the last Lucifer's Hammer stuff, you are going to get exactly what you want here. Titan stepped up to handle vocals along with drums and guitars, joining Hypnos to crank out some serious mid-tempo heavy metal. This isn't about speed or thrashing until your neck snaps; it's about that strut. The songs ride a groove that feels ripped straight from 1985. It’s got that silky, melodic edge that reminds me of Dokken or even Europe before they got too fluffy, but with enough grit to keep it street-legal.

The influences are worn right on the sleeve. You can hear bits of Diamond Head and Heavy Pettin’ in the riffing. It’s catchy stuff. The duo focuses on making anthems that stick in your head rather than showing off how fast they can play scales. The melodies are front and center, bringing a mix of heroism and genuine sadness, which makes sense given the history here. It’s moody, but it still rocks. The production fits the music well, giving the guitars enough bite without losing that melodic sheen that this style needs to work.

Overall, this is a respectful and cool continuation of a sound we already dug. "Burning Path" is a testament to resilience. It honors Hades by keeping the volume loud and the denim vest tight. It’s a good time for anyone who loves that classic, mid-paced heavy metal sound. They managed to pull triumph out of a tragedy, and while it might be a new name on the cover, the spirit is old school and alive.

Score: 7.3