Ritual Arcana rises from the underground as a power trio featuring SharLee LuckyFree on bass and vocals, the doom
godfather Scott “Wino” Weinrich on guitar,
and Oakley Munson on drums. While Wino is known for his work in legends like The Obsessed and Saint
Vitus, and Munson comes from The Black Lips, this project charts a new path.
Their debut self-titled album is released through Heavy
Psych Sounds, blending supernatural themes with raw, amplified power.
When you see a lineup like this,
expectations are instantly high, and Ritual Arcana
mostly delivers the goods. This isn't just Wino
doing another doom project. The inclusion of SharLee
LuckyFree and Oakley Munson changes
the chemistry entirely. The album kicks off with a massive wall of sound that
immediately tells you this is about volume and riff-worship. It sounds like
three people in a room sweating it out, cranking their amps until the tubes
scream. The energy is undeniable, blending that classic Maryland doom stomp
with a garage-rock looseness that keeps things interesting.
The production work by Frank Marchand and mastering by Alan Douches deserves a mention because the album
sounds massive. The guitar tone is thick enough to chew on, and the bass
rumbles right in your gut. It’s heavy, but you can hear every instrument
clearly. The drums snap and crash through the mix, driving the songs forward
even when the riffs drag into the sludge. There is a primitive quality to the
recording that suits the music perfectly. It avoids modern, sterile production
techniques in favor of a raw, live feel that metal fans will appreciate.
SharLee LuckyFree handles the
vocals with a chanting, melodic style that fits the occult themes of tracks
like "Summon The Wheel" and "Wake The Goddess." She just
lets the melody ride the wave of distortion. The songwriting keeps things
tight. Most songs clock in around three or four minutes, meaning they get in,
bash your skull, and get out. There is no endless noodling here. The band
focuses on the hook and the groove, making sure your head is banging from the
first second to the last.
This debut is a solid slab of rock
and roll. It hits hard and leaves a mark. While it sticks to the roots of the
genre, the execution is top-tier. You get ten tracks of supernatural heaviness
that work best when played at maximum volume. Ritual
Arcana proves they are a cohesive unit, not just a random assembly of
musicians. If you want riffs that crush and drums that swing, this record
belongs in your collection.
Release Date February
6th, 2026 Format CD/LP/Digital Genre Black/Death
Metal Country Sweden
The story of
In Aeternum began in 1992 under the name Behemoth, releasing two rehearsal tapes before
adopting their current moniker in 1994. After circulating the track "The
Pale Black Death" in 1996, the band recorded their first proper MCD,
"...And Darkness Came," in 1997. This release caught the attention of
Necropolis Records, leading to their 1999 debut
album "Forever Blasphemy." The band toured Europe with Immortal and
played Wacken Open Air, solidifying their
reputation. They followed up with "The Pestilent Plague" in 2000 and
"Nuclear Armageddon" in 2002/2003, moving to Agonia
Records. Following the 2005 album "Dawn Of A New Aeon" and a
tour with Belphegor, the lineup shifted, and
they released the "Curse of Devastation" MCD in 2007 via Pulverised Records before going on hiatus in 2009.
Activity resumed in 2015 with a new
lineup, resulting in the "The Blasphemy Returns" EP in 2016 and a
mini-tour in 2017 before another period of silence. In 2024, a chance meeting
at a festival in Sundsvall reunited the classic lineup of David Larsson, Daniel Sahlin,
and Perra Karlsson. They began writing new
material in October 2024, signed with Soulseller
Records in 2025, and recorded their comeback album "...Of Death And
Fire" that summer, marking a full return to their roots with the same
members from two decades prior.
It has been twenty years since this
specific trio of maniacs recorded a full-length together, and they clearly
haven't spent that time softening up. David Larsson,
Daniel Sahlin, and Perra
Karlsson reunited to resurrect In Aeternum,
and the result is the kind of violence you expect from Swedish veterans. They
skipped the modern trends and went straight for the jugular. This is
"Forever Blasphemy" era aggression channeled into 2026. The chemistry
is obvious from the first second, delivering a barrage of noise that sounds
like a chainsaw cutting through bone.
The guitars rip through the speakers
with a raw, buzzing distortion that brings a sadistic grin to your face. Songs
like "Danse Macabre" and "The Vile God Of Slime" prove that
these guys can still shred with the best of them. Larsson
and Sahlin trade riffs that are pure blackened
death metal filth, hammering down on the strings until the job is done. Perra Karlsson behind the kit destroys everything in
his path, blasting away with a level of intensity that puts younger bands to
shame. It is loud, rude, and dangerous.
Larsson’s vocals
are a distinct growl, spitting out lyrics about destruction and darkness like
he truly means it. He sounds possessed here. The production, handled by the
band and Gord Olson, keeps things gritty without
turning into a mess. The inclusion of Erik Danielsson
on "To Those Who Have Rode On" adds an extra layer of venom to the
end of the album, fitting perfectly with the overall hostility of the music. It
is a relentless assault that refuses to apologize for being exactly what it is:
pure metal.
You won't find any symphonic
nonsense or melodic singing here to ruin the vibe. In
Aeternum sticks to their guns, delivering a collection of songs that aim
to crush your skull. Tracks like "Beneath The Darkened Tomb" and
"Mortuary Cult" keep the energy high, blasting forward with zero
hesitation. This album creates a wall of sound that brutally assaults the
listener, offering no weak moments or filler to skip. It is a solid, consistent
listen for anyone who likes their music fast and heavy.
"...Of Death And Fire" is
a victorious return for a band that never got enough credit back in the day. It
is brutal, fast, and totally uncompromising. If you want music that sounds like
a war zone, this is for you. Soulseller Records
made the right move bringing these guys back into the fold. Crank it up and let
the neighbors hate you, because In Aeternum is
back to burn it all down.
Release Date December 12nd, 2025 Format LP/CD/Digital Genre Progressive/Death Metal,
Avant-garde Metal Country USA
Fleshvessel is an
experimental metal collective hailing from Chicago, Illinois. They made waves
in the underground scene with their 2023 debut, "Yearning: Promethean
Fates Sealed", introducing a bizarre fusion of extreme metal and obscure
instrumentation. The band returns with their sophomore effort, "Obstinacy:
Sisyphean Dreams Unfolded", released through the always eccentric I, Voidhanger Records. The lineup features Alexander Torres handling a massive array of
instruments alongside Sakda Srikoetkhruen, Troll Hart, Gwyn Hoetzer,
and Colin MacAndrew.
The sheer amount of madness packed
into these four tracks is hard to process at first. Fleshvessel
takes the framework of death metal and mangles it with jazz, black metal, and
progressive rock until it looks like something completely different. The music
shifts constantly, jerking the listener around with sudden tempo changes and
weird harmonic choices. It is technical and demanding, refusing to offer any
easy hooks or simple grooves. The band seems dead set on disorienting anyone
who listens, creating a sound that is as fascinating as it is confusing.
What makes this album really strange
is the gear they use. You expect guitars and drums, but then they throw in
flutes, clarinets, a viola, and even a saw or metal spatula. These aren't just
background textures; they are right up front, fighting for space with the
distortion. The mix of acoustic folk instruments with heavy amplification
creates a jarring contrast. One minute it sounds like a chamber orchestra, and the
next it descends into total metallic chaos. It gives the album a distinct
flavor that you won't find in a standard death metal release.
The vocals match the insanity of the
music. The performance swings wildly between deep, guttural roars and high-pitched
screams that border on hysteria. With songs running between nine and sixteen
minutes, there is a lot of ground to cover. The band crams a thousand ideas
into every minute, making the album feel dense. It requires a lot of patience
to get through the longer sections, as the constant shifting prevents you from
settling into a rhythm. It is an exhausting listen, but the technical skill on
display is undeniable.
The concept here revolves the myth
of Sisyphus, and the music reflects that endless struggle. It is a stubborn,
difficult record that refuses to compromise. While the constant barrage of
noise and changes might be too much for some, fans of the weird and avant-garde
will dig into the complexity. It is a worthy follow-up to their debut, offering
a challenging experience for anyone looking for something far outside the norm.
Release Date March 20th, 2026 Format CD/Digital Genre Brutal Slam Death Metal Country United Kingdom
Engorgement hail from
the UK and they have finally crawled back out of the woodwork after more than
thirteen years of silence. It has been a long time since their debut
"Excruciating Intestinal Lacerations" dropped, leaving fans waiting
for the next dose of filth. The band has returned to the scene via Comatose Music with their sophomore album, "They
Rot Beneath Our Floor". The lineup features veterans of the scene, and
they enlisted Floor Van Kuijk to handle the
mixing and mastering at his studio, ensuring the final product sounds massive.
The production on this thing is
absolutely thick. Van Kuijk knows how to make a
band sound like a demolition crew, and he did a killer job here. The guitar
tone is tuned down to the basement, creating a wall of noise that hits you
right in the chest. Nothing about this recording sounds thin or weak. It is
just a barrage of low-end frequencies designed to disturb the peace. The drums
are mixed high enough to crack skulls, providing a relentless beating that
drives the whole machine forward.
Musically, Engorgement
keeps it ignorant and heavy. Songs like "Keep Festering" and
"Blunt Force Osteotomy" are perfect examples of their approach. They
lock into a mid-paced groove and just hammer it home. Stu
Hine sounds like he is gargling sewage, delivering vocals that are
barely recognizable as human speech. It is exactly the kind of caveman
heaviness you want from a release like this. There is no showing off, just
pure, rhythmic violence that appeals to the lizard brain.
The artwork by Christian Castro is totally sick and matches the
gore-obsessed themes perfectly. "They Rot Beneath Our Floor" is a
solid release that gives death metal fans exactly what they crave. It is heavy,
aggressive, and doesn't mess around with anything unnecessary. If you want a
soundtrack for stomping around and breaking stuff, this album does the job. It
is a fun, brutal ride that hits the spot without trying to be anything it
isn't.
Release Date April 18th, 2025
Format CD/Digital
Genre Gothic Metal
Country Italy
A
Tear Beyond formed in
Vicenza back in 2008, bringing together six musicians from various backgrounds
to create a sound that merges reality with imagination. Their journey began
with the debut "Beyond" in 2012, followed by "Maze Of
Antipodes" in 2015 and "Humanitales" in 2018. Over the years,
they have built a reputation for theatrical live shows, sharing stages with
heavyweights like Nightwish, Moonspell, and Septic Flesh.
This collective treats their band as a mix of visual art and sonic power, using
masks and costumes to represent the balance between elements like fire, wind,
and madness. With their latest release, "Afterthought", they conclude
a conceptual narrative known as the Forgiveness Saga.
A Tear Beyond is a
traveling circus of the macabre coming straight out of Vicenza. With
"Afterthought", these Italians continue their obsession with masks
and melodrama, blending gothic metal with a heavy dose of industrial noise. If
you dig the dark vibes of Moonspell or the
electronic pulse of Lord Of The Lost, this stuff
hits the right nerves. They aren't interested in playing it safe. They want to
drag you into their weird, theatrical world where reality blurs with fantasy
and the music serves as the soundtrack to a twisted play.
The sound on this disc is massive.
You get crunchy guitars from Ian Vespro and Undesc Grotesque locking horns with Phil's keyboards and orchestral arrangements. It’s a
collision of organic instruments and cold, mechanical loops. The rhythm
section, with Cance on bass and Skano on drums, keeps the whole machine moving forward
without stalling. It’s heavy, catchy, and filled with layers that reveal
themselves after a few spins. The electronics drive the songs, giving them a
modern edge that keeps the gothic elements from sounding dusty.
Lyrically, this is deep stuff. We
are looking at the conclusion of "The Forgiveness Saga," a concept
that dives into the mess of human relationships, fear, love, hate, and the
struggle to forgive. Tracks like "Deliverance" and
"Unravel" pack an emotional punch that matches the heaviness of the
riffs. Claude Arcano delivers a vocal
performance that captures all that drama, shifting between aggression and
melody. The addition of Sara Yuna Gramola’s
vocals on a few tracks adds a nice contrast, making the heavier moments hit
harder.
This release proves that A Tear Beyond deserves the attention they get. They
have shared stages with giants like Nightwish
and Septic Flesh, and you can hear that
big-stage energy here. "Afterthought" is a cohesive journey through
the dark corners of the human mind. It demands your attention. It’s not
background music for doing your taxes; it’s music for staring into the abyss
and waiting for it to blink.
Release Date February 20th, 2026 Format CD/Digital Genre Melodic
Death Metal Country
Greece
AmongRuins started
their path back in 2012, originating as a studio project before evolving into a
full band ready to hit the stage. After making waves in the scene with their
2023 output "Land Of The Black Sun", the Greek outfit returns to the
frontlines with "Advent Of Chaos". This new full-length sees the band
pushing their sound into heavier, darker territory, utilizing the talents of Sverd on vocals and bass, Thanos
and Alex Flouros on guitars, and Scott Naylor on drums to craft a modern metal assault.
This album kicks the door down
immediately. The production work from Saku Moilanen
gives the album a massive, thick sound that rattles the speakers. AmongRuins aren't messing around with "Advent Of
Chaos"; they bring a heavy, driving energy that hits hard. The guitar work
is the driving force here, balancing those crushing, palm-muted rhythms with
the kind of soaring lead lines that get stuck in your head for days. It is
heavy, it is loud, and it sounds fantastic.
Sverddelivers a
vocal performance that sounds like he is tearing his throat out. His growls
possess a raw power that sits perfectly on top of the instrumental violence.
The inclusion of guests adds a cool dynamic to the tracklist. When Christianna steps in on "Into The Flame" or George Prokopiou joins the fray on "Open
Wounds", it adds a haunting layer to the music. These additions don't
soften the aggression; they just make the heavy parts hit even harder by
comparison.
The rhythm section locks in tight,
providing a concrete foundation for the melodies to do their work. Tracks like
"Red Divine" and "Frozen To The Core" show a band firing on
all cylinders. The keyboards and atmospheric elements from Christos Mitros hang in the background, adding a
cinematic darkness without drowning out the guitars. It’s a balance of
brutality and emotion that keeps you banging your head while actually feeling
the music.
AmongRuins has
delivered a serious album here. "Advent Of Chaos" is a beast of an
album that merges the aggression of death metal with the hooks of traditional
heavy metal. It is dark, it is heavy, and it demands to be played at maximum
volume. If you are looking for music with guts and melody, this release
delivers the goods.
Release Date
13.02.2026 Format CD/LP/MC/Digital Genre Death
Metal Country Germany
Slaughterday formed in the
East Frisian city of Leer back in 2010. This heavy powerhouse comes with a
pedigree that amounts to death metal nobility in the northwestern corner of
their native country. The original and still remaining core duo consists of
string-shredder Jens Finger, who served as the guitarist of Oldenburgian death metal legends Obscenity from 1994 until 2010, and is also the
growler of new label mates Temple Of Dread. The other half of the duo is
personified by vocalist and drummer Bernd Reiners,
who has also lent his voice to Aurich based death thrashers BK 49 among other acts. Since their inception, they
have released a string of well-received albums starting with "Nightmare
Vortex" in 2013, followed by "Laws of the Occult", "Ancient
Death Triumph", and "Tyrants of Doom". "Dread Emperor"
marks their sixth full-length studio album.
"Dread Emperor" hits like
a sledgehammer to the face immediately. Slaughterday
proves once again why they are top dogs in the German scene, delivering a
barrage of riffs that worship at the altar of the Florida greats. The sound is
thick, gritty, and incredibly loud. Jens Finger
churns out guitar lines that swing between doom-laden heaviness and high-speed
aggression. The transition between the slow, crushing segments and the faster,
chaotic parts keeps the energy up. It is pure death metal worship, fueled by
distortion and adrenaline, catering to anyone who likes their music heavy and
hostile.
One thing that makes this album rip
is the songwriting. While plenty of bands can play fast, Slaughterday writes songs that actually stick in your
brain. The choruses are catchy, and the haunting melodies layered over the
rhythm section give the tracks a dark atmosphere. You can hear the experience
in the way the duo structures the songs. They know when to let a riff ride and
when to switch gears into a blast beat. Reiners’
vocals are deep and guttural, matching the cosmic horror themes perfectly.
Speaking of themes, the Lovecraftian vibe is strong here. The lyrics paint
pictures of ancient monsters and cosmic terror, which fits the music like a
glove. The production by Jörg Uken at Soundlodge is top-tier. The drums sound huge, and the
guitar tone has enough filth to please the old school purists without sounding
like it was recorded in a trash can. The artwork by Pär
Olofsson is also sick, perfectly capturing the vibe of the music
contained within.
If you are looking for a soundtrack
to the apocalypse, this is it. "Dread Emperor" is a solid addition to
the band's discography and a great start to the death metal year. It is
aggressive, melodic in the right places, and heavy as hell. Slaughterday has delivered the goods once again. Crank
it up and let the cosmic rot take over.
