Yoth Iria |Under His Sway |Repulsive Echo Records (Reissue/Remastered)

Release Date January 13^th, 2020 | Reissued March 21^st, 2026
Format CD (Auriferous Gold Edition)
Genre Black Metal
Country Greece

Yoth Iria emerged from the Athenian underground as a massive force, spearheaded by the legendary Jim Mutilator. As a founding member of titans like Rotting Christ and Varathron, his DNA is all over the tracks that built the Greek scene. This project serves as a bridge between those ancient 90s foundations and a more majestic, modern darkness. With the lyrical mind behind genre classics steering the ship, the band functions as a gateway to the obsidian throne of the Hellenic realm.

It has been exactly 6 years and 66 days since the original release dropped in early 2020. Repulsive Echo Records marked this specific timeframe, from January 13th, 2020, to March 21st, 2026, to return the Great Duke of Hell to the throne. They went all out for this "Auriferous Gold Edition." The packaging screams luxury and devotion to the craft. We get a hand-numbered obi card signed with a gold pen, a golden brown tray, and a gold reflection layered disk. They even brought back the original front cover concept by Nikos Tsiolis Artworks on glossy art paper. It looks like a relic dug up from a royal tomb.

The audio received just as much attention as the visuals. Remastered at legendary Studio 5 in Athens, this reissue is significantly louder and more aggressive than the original pressing. The lineup on this recording is a gathering of wolves. You have George Emmanuel from Lucifer’s Child on guitars, Maelstrom from Ravencult etc. destroying the drums, and the legendary Magus from Necromantia and Thou Art Lord on vocals. Hearing these titans collaborate on a louder master brings a terrifying energy to the forefront. The production retains the dirt and soul requisite for this genre while ensuring the volume peels paint off the walls.

Musically, the EP stands as a masterclass in the specific atmospheric sound that Greece is famous for. The title track "Under His Sway" and "Sid-Ed-Djinn" mix heavy metal gallops with pure black metal evil. These tracks summon ancient spirits and deal heavily in themes of Satanism and forbidden knowledge. The riffs are melodic yet menacing, creating a majestic darkness that envelops the listener. There is no filler here, just a concentrated dose of occult power.

Closing out the release is a cover of the Rotting Christ classic "Visions Of The Dead Lovers." It is a bold move to touch such a sacred track, but Yoth Iria owns it. This reissue is not just a cash grab but a statement of intent. The band claims their spot on the obsidian throne with force. For anyone obsessed with the Hellenic sound, this gold edition is the definitive version of a modern classic.

Score: 9.0

https://yothiria.bandcamp.com/album/under-his-sway

https://www.facebook.com/yothiriaofficial#

https://www.instagram.com/yoth.iria/

https://yothiria.com/

Deos |Augustus Omnipotens |Wormholedeath Records

Release Date December 5^th, 2025
Format CD/Digital
Genre Blackened Death Metal
Country France

Deos has been waging war on the underground scene since 2014. Hailing from France, this squad, founded by Fabio Battistella, Jack Graved, and Loïc Depauwe, dedicated their existence to the history of the Roman Empire. They aren't rookies in this arena. They have three previous albums under their belts, starting with "Ghosts Of The Empire" and leading up to 2022's "Furor Belli". After tearing up stages across Europe and hitting the Cart & Horses in London, they returned to the studio to craft their fourth assault, "Augustus Omnipotens".

The narrative here is massive. The band tackles the rise of Octavian, the man who became Augustus. It is a bloody trek through Roman history, dealing with the aftermath of Caesar’s death and the brutal road to the Pax Romana. The lyrics dig into the dirty details of political backstabbing and ancient warfare. It is a heavy concept that demands a heavy soundtrack, and the band delivers a grim atmosphere that fits the subject matter perfectly.

Musically, this is blackened death metal with zero compromise. The riffs are jagged and vicious, cutting through the mix with hostility. The drums hammer down constantly, driving the music forward with serious aggression. The vocals are harsh, sounding like they are shouting commands over the din of battle. J.-F. Dagenais mastered the album, and the sound is crisp enough to hear the details. It is aggressive music for aggressive history.

"Augustus Omnipotens" is a fierce addition to the Deos catalog. The band executes their vision with total focus. While the relentless pace might blur the lines between a few tracks, the energy remains high. It is a historical beating that fans of Roman history and extreme metal will appreciate, especially those close to Ex Deo and Kataklysm. It is loud, angry, and historically accurate.

Score: 7.0

Deos:

www.facebook.com/deos.legio

www.instagram.com/deos_official

www.deos-official.bandcamp.com/releases

www.youtube.com/@deos-official9793/

Enemy Awake |Rotten Soul |Self-release

Release Date December 31^st, 2025
Format Digital
Genre Death Metal
Country Sweden

Enemy Awake is a one-man death metal machine hailing from Sweden, driven by the vision of multi-instrumentalist Ivan Castro. Functioning as a solo project, Castro handles the writing and recording duties, channeling his personal views and life struggles into aggressive music. This latest output, an EP titled "Rotten Soul", serves as the follow-up to previous works, recorded personally by Castro before being sent off for mixing at the legendary Sunlight Studios and mastering by Lawrence Macrory.

When you see the Sunlight Studios logo on a death metal release, you enter with certain expectations. You want that buzzsaw guitar tone that sounds like a chainsaw cutting through a ribcage, and Enemy Awake delivers exactly that. Ivan Castro went to the right place to get his sound sorted. The production here is thick and aggressive without turning into a wall of noise. It is loud and in your face, making the guitars sound massive. Lawrence Macrory did a fine job on the master, ensuring that everything punches through the speakers with enough force to wake the neighbors.

Musically, "Rotten Soul" sits comfortably between the melodic side of Swedish death metal and a more American groove-thrash rhythm. You can hear the ghosts of the Gothenburg scene in the riffing, but there is also a stomp to it that reminds me of late 90s groove metal. Tracks like "Too Empty To Bleed" and "No Way Out" have catchy hooks that get your head moving immediately. Castro isn't trying to be the fastest player in the world but focuses on writing songs that stick in your head. The riffs chug along with a heavy bottom end, providing a great backdrop for the growls.

The aggression here is genuine. Since this is a one-man project, the vision remains focused solely on what Castro wants to say. The anger in the vocals matches the distortion in the strings. The inclusion of the demo track "Sangre" is a cool addition, showing a slightly rawer side of the project, but it fits right in with the studio tracks. The songwriting is competent, keeping things moving so you don't get bored. It’s simple, effective heavy metal that makes you want to drink beer and break stuff.

This EP is a worthy listen for anyone who digs that classic HM-2 pedal sound but wants it arranged in a catchier, more rhythmic structure. It is a fun release that bangs hard enough to justify the time investment. "Rotten Soul" might not change the landscape of extreme music but it hits the spot when you just need something heavy and loud. It is a respectable effort from Ivan Castro and a good way to blow out your eardrums unto the new year.

Score: 7.5

Links:

https://facebook.com/Enemyawakesweden

https://open.spotify.com/artist/4ySlgbJ21E0nGaIJV8Rvn4

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

https://enemyawake.bandcamp.com/

Korax MVD |Eidolon |Self-release

Release Date October 31^st, 2025
Format Digital
Genre Alternative/Industrial Metal
Country Uruguay

Korax MVD is an alternative rock and metal duo formed in 2020 in Montevideo, Uruguay. The band is composed of Natalia Arocena, who handles bass, guitar, theremin, and vocals, and André Goldman, who manages synthesizers, samplers, and programming. Blending alternative rock and metal with industrial elements, Korax MVD creates a sonic landscape driven by dystopian narratives inspired by science fiction and cyberpunk, exploring themes such as loneliness, loss, and alienation. All of the band’s material is recorded and produced independently, with mastering carried out at Montevideo Records by Pablo Soñora.

This Uruguayan duo aims for a dark, cinematic ride into a cyberpunk future, but "Eidolon" ends up stuck in the parking lot. Industrial rock demands a certain level of mechanical aggression or sleazy groove to work, and this release misses the mark on both counts. The production sounds flat, lacking the punch required to make the distorted guitars and synthesized beats threaten the listener. Instead of a crushing wall of sound, we get a thin layer of noise that fails to elicit any real reaction. It’s hard to get invested in a dystopian nightmare when the soundtrack sounds this tame.

The songwriting suffers from a serious lack of dynamics. Every song seems to ride the same mid-tempo chug, never accelerating into chaos or slowing down into genuine creepiness. The electronic elements, which should provide texture and atmosphere, often sound like stock presets from cheap software. They sit on top of the mix awkwardly, clashing with the guitars instead of weaving into them. If the goal was to create an immersive atmosphere, the result is unfortunately shallow and repetitive.

Vocally, the delivery matches the monotony of the music. The performance lacks the necessary venom or despair to sell lyrics about alienation and loss. You want a singer to sound like they are on the edge of a breakdown or commanding an army of machines, but here it just sounds tired. The emotional stakes never rise above a simmer, making the listening experience feel like a chore. You keep waiting for a hook or a scream to break the cycle, and it just never happens.

Ultimately, "Eidolon" is a forgettable entry in a genre that relies on shock and awe. It has the aesthetic down on paper, but the audio lacks the teeth to back it up. There is no danger here, no grime, and no real excitement. Korax MVD needs to go back to the drawing board and figure out how to make their machines bleed, because right now, this machine is running on empty. The only positive for me was the front-cover.

Score: 4.0

Links:

Spotify: https://open.spotify.com/intl-es/album/3Yj06IEoQeq2XjVY5PDv44?si=8ui6T5cdRuK-icWMY9CNTg

Bandcamp: https://koraxmvd.bandcamp.com/

Youtube: https://www.youtube.com/@koraxmvd77

Facebook: https://www.facebook.com/Koraxmvd

Instagram: https://www.instagram.com/koraxmvd

Tiktok: https://www.tiktok.com/@korax.mvd

Ravenspell |Obsidian King |Fighter Records

Release Date March 12^th, 2026
Format CD/LP/Cassette/Digital
Genre Heavy Metal
Country Canada

Ravenspell is a heavy metal band hailing from the frozen north of Canada, dedicated to the high-fantasy traditions of the genre. The band combines theatrical storytelling with traditional metal instrumentation, building their identity around lore, battles, and mythology. The lineup consists of Alisander The Seer on vocals, Ravok Blackwing on guitars and backing vocals, Corvax Crowhammer on bass, and Volpale The Ravenous on drums. With a focus on organic sound and epic themes, they have joined the roster of Fighter Records to unleash their debut full-length album.

If you want to know what heavy metal is supposed to sound like when the people playing it actually mean it, put on "Obsidian King". This isn't some plastic, computer-generated noise but sounds like four maniacs in a room sweating and bleeding for the music. The opening track "God The Watcher" rips right out of the gate with a killer riff and a scream that tells you everything you need to know. Ravenspell understands that metal needs energy, and they bring heaps of it. The guitar work from Ravok Blackwing is fantastic, blending those galloping rhythms we all crave with leads that actually have some soul to them.

The production here is top-notch without sounding fake. David Lizotte did a great job mixing this because you can hear every drum hit and bass line clearly. It sounds heavy and loud, just the way it should be. Songs like "Relentless" and " Onwards We March" are absolute bangers. The chorus on "Obsidian Wing" is huge, the kind of thing you want to scream along to after a few beers. The band plays tight, but there is looseness to the groove that gives it a real human feeling. Alisander The Seer has a voice that fits this music perfectly, switching between aggressive roars and melodic singing that cuts through the noise. He reminds a lot the late Russ North (Cloven Hoof) and that’s a huge, huge plus.

Toward the end of the album, things get even more serious with "Atilla". This song is massive. It captures that adventurous spirit where the music tells a story just as much as the lyrics do. The changes in tempo and the guitar solos keep your head moving the whole time. It is a long track, but it uses every second well. The artwork by Carl Lavoie on the cover is sick too, matching the dark, fantasy vibe of the tunes. It is cool to see a band pay attention to the whole package, making the physical copy worth owning.

This debut from Ravenspell is a total winner. It has the riffs, the vocals, and the attitude to stand up against any other release coming out this year. If you dig bands like Iron Maiden or Visigoth, you need this in your collection immediately. Fighter Records found a gem here. "Obsidian King" is a blast to listen to, and I can't wait to see what these guys do next. Crank it up. The best albums of the year list has just open.

Score: 9.0

https://www.facebook.com/ravenspellofficial

https://www.fighter-records.com/

Andradite |Ruined |Bleeding Nose Records

Release Date December 5^th, 2025
Format Digital
Genre Modern Metal
Country Germany

The story of Andradite began in Cologne, Germany, where frontwoman Coco teamed up with Sudi and Mia to forge a sound that bridges the gap between raw emotional trauma and cold industrial precision. This trio didn't just appear out of thin air; they’ve been grinding in the digital trenches, racking up tens of thousands of views and building a cult following before even dropping this debut. They occupy that moody space where modern metalcore meets glitchy electronic atmosphere, positioning themselves as a new voice for the disaffected and the broken-hearted.

"Ruined" is a concentrated dose of modern aggression that doesn't waste time trying to be anything other than what it is. The production is massive, delivering those down-tuned breakdowns with a punch that’ll rattle your teeth, while the industrial synths provide a dark, flickering backdrop. Coco is the obvious focal point here, switching between those bottomless, guttural barks and a clean style that sounds like it’s about to shatter. It’s a vocal performance that actually has some guts behind it, especially on tracks like "Crave" and "Wounded Child," where the transition between the heavy and the melodic feels organic instead of forced.

The band leans heavily into the contrast between destruction and fragility. You get the sense that they aren't just playing parts; songs like "Look Me In The Eyes" and "Passing On The Pain" carry a genuine bitterness that fits the "Modern Metal" tag perfectly. Sudi’s guitar work provides a thick wall of noise that anchors the electronic elements, preventing the whole thing from sounding like a pop album with distorted guitars. It’s got that Spiritbox or Bad Omens vibe, but with a colder, more mechanical edge that gives them a slightly different identity in a crowded scene.

Is it the heaviest thing you’ll hear? No. Is it the most experimental? Hardly. But "Ruined" works because it stays focused. The EP captures a specific type of German efficiency mixed with raw, bleeding-heart lyrics. While "Dancing In The Dark" leans a bit more into the melodic side, the overall atmosphere remains bleak. It’s a debut that shows a lot of potential and enough attitude to keep the gatekeepers at bay while appealing to the new generation of metalcore kids who live for these types of breakdowns.

Score: 6.5

Links:

https://www.andradite.band/

Syberia |Quan Tot S’apagui |Moment Of Collapse Records

Release Date 30.01.2026
Format CD/LP/Digital
Genre Post Metal
Country Spain

Barcelona has always been a hotspot for killer art, but Syberia is proving they can conjure a different kind of darkness. Starting out back in 2013 with "Drawing A Future", this instrumental four-piece has been climbing the ladder through "Resiliency", "Seeds Of Change", and a massive stint on Metal Blade for "Statement On Death". Now, Oscar Linares, JordiOnly, Quim Torres, and Manel Woodcvtter have returned to their roots, dropping an album titled entirely in their native Catalan that focuses on the literal end of the world. It is a sonic map of the void, designed by a band that has spent over a decade perfecting how to be loud without saying a single word.

"Quan Tot S’apagui" translates to when everything goes out, and that is exactly the vibe Syberia is pushing here. This is a massive, immersive trip into the passage of nothingness where the riffs are thick and the atmosphere is heavy. They have cranked up the black metal influences this time around, giving the songs a more ferocious edge than their previous material. It is a grim, introspective journey that focuses on the collapse of reality, trading in the brighter melodies of their past for something far more devastating.

The way these guys build tension is top-tier. They start off with these fragile, shimmering guitar lines that hang in the air like smoke, slowly stacking layer upon layer of noise until the whole thing erupts into a massive wall of distortion. The pacing is deliberate and they don't rush into the chaos. Instead, they let the dread simmer until it is impossible to ignore. It is a masterclass in instrumental storytelling, making you experience the end of days through sheer volume and a hell of a lot of reverb.

Even without a vocalist, the emotional impact is huge. The transition from the melodic sensitivity they are known for into these more atmospheric and intense territories shows a band that is evolving. Tracks like "Llampecs D’oblit D’uns Records En Vida" and "Naixença D’una Mort Tranquil·La" are prime examples of how they balance beauty with pure destruction. It is a dark, cold, and rewarding experience for anyone who wants their metal to provide a cinematic descent into the abyss.

Score: 8.5

https://linktr.ee/syberia

https://www.facebook.com/syberiaband

https://www.instagram.com/syberiaband/

https://syberia.bandcamp.com/

https://linktr.ee/momentofcollapse

Brahmashiras |Trinitite |Caligari Records

Release Date February 20^th, 2026
Format CD
Genre Death/Black Metal, Hardcore Punk
Country Russia

The heavy metal underground has always had a soft spot for the weirdos, and Brahmashiras definitely fits the bill. These guys crawled out of Vladimir, Russia, back in 2023 with a self-titled EP that confused and crushed people in equal measure. They took the grime of hardcore punk and shoved it into a meat grinder with death metal, coming out with something that felt like an old-school grindcore attack but with the ego of a heavy metal power trio. They gained a cult following fast because they didn't sound like everyone else trying to copy the Florida scene.

Now they’ve returned with “Trinitite”, and it’s clear they haven't spent the last two years playing nice. This full-length debut is a massive step up in terms of pure hostility. While the EP was a bit more stripped back, this new album is a restless, vibrating mess of aggression that clocks in at twenty-six minutes. It’s got a much stronger blackened edge this time around, sounding like a band that’s genuinely pissed off at the world. The production is thick and loud, capturing the raw, spiteful vocal bark and the chaotic riffing without making it sound like a muddy basement tape.

The execution on songs like “Deadly Arrow” and “The Sudlica Of Khton” shows a band that has tightened their grip on their instruments. It’s abrasive as hell and built specifically for the people who want their music to hurt a little bit. The transition from the more punk-influenced roots into this vengeful, blackened death metal hybrid is seamless. The drums pound away with a savage energy that keeps the seven-song run moving at a breakneck pace, never slowing down long enough for you to catch your breath.

There is a real sense of enlightenment through violence here, matching that strange invitation they give about the "womb of desire." Brahmashiras has maximized their potential by leaning into the red and keeping the attack constant. It’s a calculated escalation of everything they did before, delivering a crushing blow to anyone who thought their first EP was a one-time deal. If you want something that sounds like a hungry beast tearing through the cage, this is the one to blast until your ears bleed.

Score: 7.5

www.brahmashiras.bandcamp.com

www.caligarirecords.com

www.facebook.com/caligarirecords

https://caligarirecords.bandcamp.com/album/trinitite

www.instagram.com/brahmashirasblack/

https://www.youtube.com/watch?v=2kaf1mqWLpY

Adeline Gray |Portrait Of Our Descent |Self-release

Release Date February 6th, 2026

Format Digital

Genre Alternative/Groove Metal

Country Italy

    Adeline Gray is a fresh unit out of Italy that clearly spent a lot of time staring at Belgian surrealist paintings and overthinking Oscar Wilde before plugging in their amps. The name is a mashup of René Magritte’s mother and the immortal vanity of Dorian Gray, signaling a band obsessed with the bridge between beauty and absolute filth. They’ve crawled out of the studio with a sound that attempts to balance that "artistic" dualism, trying to be both the elegant face in the mirror and the rotting soul hidden in the attic.

"Portrait Of Our Descent" functions as a psychological map of hitting rock bottom. It’s got that Italian flair for drama, fueled by a mix of Deftones atmosphere and a Pantera style rhythmic beating. The lyrics are a total spiral into the human abyss, dwelling on the internal storms and mental contradictions that make life a headache. While the vibe is mostly dark and restless, they keep shoving a message of hope down your throat, insisting that you can actually get back up once you’re done crawling in the dirt.

The music itself is a tug-of-war. On one side, you’ve got Marco Longhi’s vocals and Andrea Pistarelli’s riffs trying to capture that Dorian Gray grace with melodic, introspective passages. On the other side, they remember they’re a metal band and pivot into the rougher, more violent territory. It’s a decent enough attempt at groove metal, though at times it feels like the band is fighting their own shadows to see which side wins. The production at Studio 73 is clear enough to hear the struggle, making sure the bass from Davide Borgogelli and Alberto Mussoni’s drumming don’t get lost in the emotional fog.

Honestly, the Adeline Gray concept is heavy on the intellect, which is cool if you want to read a thesis while headbanging. Tracks like "Beyond The Room" and "Smoldering Depths" show they have the chops to execute this vision of an "inner fight." However, the anger sometimes feels a bit restrained by the "artistic" requirement to stay melodic. It’s a moody, restless journey that hits the marks for fans of the genre, even if it doesn't quite rip your head off.

Score: 6.5

Links: 

https://www.facebook.com/profile.php?id=61578511246380

https://www.instagram.com/adelinegray.band/

https://open.spotify.com/artist/4RP2iD2ElroBUpaW1I8Xb9

https://music.apple.com/it/artist/adeline-gray/1848205827

https://youtube.com/@adelinegray_band?si=JCwKh0Jb_PkvRXyw

Pagan Altar |Mythical & Magical |Dying Victims Productions

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

Pagan Altar is a name whispered in the shadows by anyone who actually gives a damn about the history of British metal. Formed in London back in 1978, these guys were far too weird and mystical for the radio, blending heavy/doom with a gloomy, rustic folk vibe that felt like it was unearthed from a burial mound. Led by the late, legendary Terry Jones and his son Alan, the band spent decades as a cult secret before finally getting the respect they deserved. "Mythical & Magical" is their third full-length, pulling together songs that sat in the vault since the late seventies and early eighties, finally seeing the light of day to prove that some things just get more potent with age.

If you want music that sounds like a damp forest at midnight, "Mythical & Magical" is the gold standard. This album is a massive, sprawling beast that ignores every trend from the last forty years. Alan Jones handles the guitar like a wizard, weaving these intricate, soulful leads that dance around the crushing weight of the riffs. It’s got that ancient, dusty atmosphere that Dying Victims Productions is smart to keep alive. This isn't just a collection of songs. It’s a trip into a world of folklore and dark magic that leaves most modern "occult" bands looking like plastic toys.

The vocals from Terry Jones are the real deal, high, reedy, and full of a haunting character that you just don't hear anymore. When he tells stories in tracks like "The Cry Of The Banshee" or "The Crowman," you believe every word of the nightmare. The rhythm section of Trevor Portch and Mark Elliot keeps things grounded, providing a thick, thumping pulse that allows the melodies to soar. There’s a certain melancholy hanging over the whole experience, especially on the longer epics where the folk influence bleeds into the heavy rock foundations.

This reissue is a mandatory pickup for the double vinyl alone, especially with that etching on the final side. It’s the peak of the band’s output, showing off their mastery of that specific "NWOBHM meets 70s rock" style they perfected. The production on "Samhein" and "The Sorcerer" captures warmth and a resonance that digital-obsessed bands can’t replicate. It’s a 20th-anniversary celebration of an album that was already timeless when it dropped, proving Pagan Altar is the true king of the underground.

Score: 8.0