Kingdom | Primeval Cult Of Strength In The Womb Of Suffer | Osmose Productions

 

Kingdom is a Polish death metal band formed in 2003, known for their relentless and dark approach to extreme music. Over the years, the band has built a reputation for delivering violent and uncompromising works deeply rooted in the traditions of satanic and blasphemous death metal. With several full-length releases already behind them, Kingdom returns under the banner of Osmose Productions with their new album, “Primeval Cult Of Strength In The Womb Of Suffer.”

The album contains ten original tracks along with a cover of Deicide’s “Lunatic Of God’s Creation.” It was recorded at Garaż Studio with Mateusz Szulborski overseeing the process, while the cover art was once again created by Maciej Kamuda, staying in line with the visual style Kingdom has established over the years.

Musically, the album is a furious assault from start to finish. The riffs are fast, violent, and crushing, supported by pounding drumming and guttural vocals that carry the essence of chaos and destruction. The songs are direct and intense, rarely exceeding four minutes, which gives them a relentless drive and sense of immediacy. Tracks like “Behold Thy Light Dying,” “Exterminatus,” and “Womb Of Suffer” strike with full force, combining aggression with dark atmospheres, while “Przedwieczny Kult Sily” and “Ruiny Ludzkosci” add a distinct Polish edge to the band’s sound.

The production captures the rawness of the music while maintaining the power necessary for this style of death metal. It is unrelenting and merciless, which fits perfectly with the themes of blasphemy, destruction, and satanic worship that dominate the lyrics. The closing Deicide cover feels natural in the flow of the album, serving as a tribute to one of the genre’s forefathers while keeping the same venomous spirit that defines Kingdom’s own material.

“Primeval Cult Of Strength In The Womb Of Suffer” is an intense release that embodies the essence of satanic death metal – dark, aggressive, and unyielding. It stands as another strong chapter in the history of Kingdom and confirms their place among the most furious bands in the underground scene.

Score: 8.0

https://www.facebook.com/kingdomtempleofdeath/timeline

Blutsauger | Nocturnal Blood Tyrants | De Tenebrarum Principio/ATMF

 

Blutsauger is a black metal duo from Italy, a country often overlooked in the genre but with a dedicated underground scene. Formed in the early 2020s, the band draws its name from folklore surrounding Nosferatu and bloodsucking figures of Central and Eastern Europe. Their music reflects this imagery: stark, violent, and cloaked in darkness. After releasing a demo in 2021, Blutsauger gained attention for their raw and uncompromising style, which quickly secured them a deal with De Tenebrarum Principio, a division of ATMF. Their debut full-length, “Nocturnal Blood Tyrants,” now marks their official arrival, with two more albums already promised to follow.

 “Nocturnal Blood Tyrants” is an unrelenting dive into raw black metal. Across eight tracks, Blutsauger channels a sound that is violent and trance-inducing, built on furious riffs, relentless drumming, and harsh vocals that echo with ancient malice. The production is raw and stripped-down, amplifying the hostile and suffocating atmosphere the duo aims to create.

The songs are compact and direct, rarely stretching beyond five minutes, which keeps the intensity constant. Titles such as “Blood Solstice,” “Black Shroud Ritual,” and “Wash Them With Fire” reflect the grim nature of the music, steeped in imagery of violence, ritual, and plague. The last track, “Ausgeblutet,” pushes the album into its darkest depths, offering a lengthier and more oppressive conclusion.

What stands out is the consistency of the vision. Blutsauger is clearly devoted to black metal’s most primitive roots, and they deliver it with conviction. The album balances aggression with an almost hypnotic repetition, creating a destructive and ritualistic atmosphere. Black metallers who worship Marduk, Gorgoroth, and the early ’90s raw sound will find “Nocturnal Blood Tyrants” a strong and faithful continuation of that tradition.

Score: 7.5

https://www.facebook.com/blutsaugerkult

https://blutsauger.bandcamp.com/album/path-of-the-bleeding-dead

Reinforcer | Ice And Death | Scarlet Records

 

Reinforcer is a German melodic power metal band formed in Paderborn. Emerging on the scene with their 2021 debut “Prince Of The Tribes,” the group quickly caught attention for their epic sound rooted in classic power metal traditions. Their style blends galloping riffs, driving rhythms, and anthemic choruses, carried by a flair for storytelling inspired by myths and history. With Logan Lexi on vocals, Niclas Stappert and Tobias Schwarzer on guitars, Fabiàn Rodriguez on bass, and Lasse Schmiedel on drums, Reinforcer delivers music that appeals to fans of Blind Guardian, Running Wild, Iced Earth, and Manowar. “Ice And Death” marks their second full-length release, once again channeling themes of legends, folklore, and the eternal clash of heroes and villains.

 “Ice And Death” is a fast-paced and adventurous journey into epic landscapes of myth and history. The album captures the essence of heroic power metal through driving double bass, fiery guitar harmonies, and choruses designed for mass sing-alongs. From the opening anthem “Heir Of The Bear,” Reinforcer establishes a storm of riffs and sweeping melodies that set the stage for what follows.

The band draws inspiration from both history and dark folklore. Songs like “Bring Out Your Dead” and “The Piper” reflect tales of plague and superstition, while “Skogamor” and “The Witch Mayor” dive into mysterious and eerie storytelling. The title track “Ice And Death,” referencing the Norse frost giant Ymir, feels like the towering heart of the album, combining strength with cold grandeur.

Musically, the album moves with energy and precision across its nine tracks, balancing speed-driven passages with more melodic moments. Logan Lexi’s voice has a strong presence, cutting through the mix with clarity and passion, while the twin guitar attack of Stappert and Schwarzer keeps the songs dynamic and memorable. The rhythm section holds steady power, driving the pace forward without hesitation.

At 37 minutes, “Ice And Death” is compact yet full of character, avoiding unnecessary filler and delivering one story after another with intensity. It has the kind of straightforward power metal appeal that works both for longtime fans of the genre and for listeners looking for music steeped in adventure and myth.

Score: 7.0

https://www.facebook.com/reinforcermetal

https://www.instagram.com/reinforcermetal/#

Heretoir | Solastalgia | AOP Records

 

Heretoir is a German band formed in 2006, originally created as the musical vision of David Conrad. Over time, the project evolved from a solo endeavor into a full band, bringing together musicians who share the same outlook on expressing emotions through heavy, atmospheric, and deeply personal music. Known for their fusion of post-black metal, post-rock, and elements of modern metal, Heretoir have always focused on themes of loss, grief, and humanity’s relationship with the world. Their music stands as a mirror to modern existence, translating inner struggles and external chaos into powerful soundscapes.

“Solastalgia” continues this journey, offering an hour-long exploration of both environmental and personal themes. The title itself refers to the distress caused by environmental change, a concept that resonates strongly throughout the album. Heretoir transform this idea into music that is both heavy and fragile, destructive and uplifting at the same time.

Across the eleven tracks, the band weaves together trembling guitar lines, massive wall-of-sound riffs, and dynamic drumming with anguished screams and soft, sorrowful passages. Songs like “The Ashen Falls” and “You Are The Night” create an atmosphere where despair meets beauty, while tracks such as “Rain” and “Dreamgatherer” bring moments of fragile reflection. The inclusion of additional instruments like flute, piano, and chimes expands the emotional range of the album, giving it a broader texture without breaking its overall intensity.

The sound remains firmly rooted in post-black metal, yet Heretoir explore different directions, blending modern metal aggression with post-rock expansiveness and even elements that touch upon screamo intensity. It feels vast and intimate at the same time, allowing listeners to immerse themselves in shifting layers of melancholy and fleeting sparks of hope. The final inclusion of “Metaphor,” originally written by Jesper Strömblad and Björn Gelotte for In Flames, ties the album to a wider musical lineage while fitting naturally into the flow of Heretoir’s vision.

“Solastalgia” is an album that hurts, but in its pain, it creates a strange sense of comfort. It reflects grief, loss, and uncertainty, yet carries an undercurrent of resilience. With contributions from guest musicians and carefully crafted production, it becomes one of the most emotionally charged works in the band’s history.

Score: 8.3

https://shop.aoprecords.de

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https://artofpropaganda.bandcamp.com

https://www.facebook.com/heretoir

https://www.instagram.com/heretoir_official

Crimson Coven | -0- The Genesis | Shadow Kingdom Records

 

Crimson Coven step forward from obscurity with their debut EP “-0- The Genesis”, released by Shadow Kingdom Records. The band’s exact origins remain hidden, yet what they deliver here feels like a fully realized statement. Their sound carries echoes of traditional heavy metal and epic doom, drawing inspiration from the grandeur of myth and the weight of ancient tales.

The EP runs just under twenty minutes and opens with a brief spoken intro, “Genesis (Intro)”, which acts as a gate into the world Crimson Coven are creating. What follows are three lengthy compositions that embody a style rooted in heavy riffing, melodic guitar interplay, and a dramatic vocal performance that lends a sense of the theatrical. The atmosphere throughout the EP is one of grandeur, conjuring images of myth and legend. Each part of the instrumentation contributes to this — guitars rising in unison, bass providing depth and resonance, and drums carrying the songs with steady power..

The title track “Crimson Coven” makes an immediate impression with its proud and heavy delivery, setting the overall character of the release. “The Born Of The Serpents” extends this atmosphere further, its measured pacing and dark aura painting visions of ritual and ancient powers. The closing piece “Unleash The Kraken” stands as the longest, unfolding with grandeur and carrying the listener through rising waves of intensity. Vocals remain central throughout, high and spectral, sounding as if they are calling across time itself.

The production balances weight and space, allowing the instruments to sound powerful without overwhelming each other. It emphasizes the band’s intent to create something majestic and ominous, an atmosphere that feels larger than the length of the EP might suggest.

As a first impress, “-0- The Genesis” leaves a lasting mark. It feels like the unveiling of a band with a strong vision, one that takes traditional heavy and doom elements and channels them into something evocative and dramatic. For listeners drawn to epic tales, heavy riffs, and commanding vocals, this EP offers a promising and immersive beginning.

Score: 8.0

www.crimsoncovenband.com

www.shadowkingdomrecords.com

www.facebook.com/shadowkingdomrecords

https://www.facebook.com/crimsoncovenband/

https://crimsoncoven.bandcamp.com/album/0-the-genesis

Cemetery | Thoughts On Life… And Death | Independent

 

    Cemetery was founded in 1990 in Schongau, Bavaria, by singer and guitarist Dani Zizek and drummer Michael Bolz. Early on, the band quickly built a reputation in the German underground, especially after the release of their 1991 demo, which gained attention far beyond Germany. Sharing the stage with groups like Fleshcrawl, Dark Millennium, and Pyogenesis, they seemed destined for a strong career. However, in 1994, shortly after finishing their debut “Enter The Gate,” their label went bankrupt, and Cemetery disbanded.

More than two decades later, the project was revived, eventually leading to their 2017 comeback. With various international line-ups and notable collaborations, the band has since stabilized around Zizek, Heilmeier, Hendel, and Kasper. Cemetery’s sound blends old school death, black, and progressive metal into something distinct, and although they perform live only on rare occasions, their music continues to circulate through underground channels worldwide.

Their 2025 release, “Thoughts On Life… And Death,” is a concept album running just under 50 minutes, exploring the rise of a totalitarian regime and the crushing of individual spirit. Told through the eyes of a fictional character named Jim, the story unfolds in ten chapters, combining raw aggression with atmospheric, experimental passages.

The opening track, “Thoughts On Life,” is a fast, stripped-down beginning that frames Jim’s initial reflections and anxieties. It moves directly into “Among The Dead,” where heavier death metal roots come forward as Jim senses societal collapse. “Grief, Anger And Despair” raises the intensity with furious drumming and cutting guitar work, fitting Jim’s confrontation with political injustice. “Physical Fear” slows the pace into something heavier and suffocating, depicting Jim’s arrest during a violent uprising, before expanding into a sprawling mid-section.

The short instrumental “Nothingness” shifts the album into its second half, where the experimentation grows stronger. “Lock The Doors To Your Mind” merges all of Cemetery’s stylistic elements into a restless, shape-shifting piece, embodying Jim’s psychological breakdown in prison. “Believe” contrasts bursts of speed with quieter sections, echoing the pressure placed on him to abandon his individuality. This leads into “Truth A,” largely instrumental and unsettling, where the atmosphere of interrogation and forced judgment dominates, moving away from traditional death metal into more progressive and oppressive territory.

The closer, “Thoughts On Death,” stretches past eleven minutes and drifts into doom-death territory. Slow, heavy, and despairing, it portrays Jim’s final moments after enduring torture and abandonment, capturing his last grasp at dignity. It stands as the emotional weight of the album, closing the concept in grim resolution.

“Thoughts On Life… And Death” balances aggression and atmosphere while keeping the storytelling central. It’s an album with a strong narrative backbone, moving from classic death metal roots to experimental progressive paths. For listeners drawn to concept-driven extreme metal, it offers a grim and immersive journey. A brilliant combination of Death, Pestilence, and early Opeth, leaving me to wonder why such bands remain unsigned.

Score: 8.5

https://cemeterydeathmetal.bandcamp.com/album/thoughts-on-life-and-death

https://www.facebook.com/cemeterygermany

https://www.instagram.com/cemeterydeathmetal/#

Svarthart | The Soul’s Eclipse EP | Sepulchral Silence

 

Svarthart is a Belgian doom/death metal band formed in the mid-2010s. Their music carries the weight and atmosphere of classic European doom with the heaviness of death metal, influenced by bands such as My Dying Bride, Officium Triste, and Paradise Lost. Over the years, they have built a reputation for slow, sorrowful passages mixed with heavy riffing and deep growls. "The Soul’s Eclipse" is their third release, a five-track EP that marks the final appearance of longtime vocalist Dempsey. The EP was self-produced and mixed by guitarist Tom Mesens, and it also comes as a split CD with fellow Belgian funeral doom band Riven.

"The Soul’s Eclipse" runs for nearly half an hour and continues the band’s path of combining dark atmosphere with weighty riffs. The opening track, "Down To Zero," sets a heavy foundation with slow-moving guitar lines and growled vocals that feel fittingly oppressive. "The Path" is shorter and more direct, adding urgency to the otherwise brooding nature of the release. "Almost Alive (Light And Dark Version)" is the longest track, stretching over seven minutes, and carries the most dramatic shifts between heavy and softer passages with additional female vocals. "Imprisoned" leans into the death metal side of their sound, with strong riffing and deep growls, while "An Infection Spreading" closes the EP with a grim and dragging atmosphere, leaving the listener with a sense of restlessness.

The sound is raw but effective, with guitars creating a massive wall of heaviness and the drums maintaining a steady, unrelenting pace. Dempsey’s vocals are deep and anguished, giving the songs an emotional weight that fits the doom/death tradition. The production keeps the music harsh and unrefined, which works well for this kind of release but it has enough weaknesses.

Overall, "The Soul’s Eclipse" stays true to the traditions of doom/death metal while carrying the personal mark of the band. With this release, Svarthart continue to build their place in the underground scene of Belgium and beyond.

Score: 6.8

https://www.youtube.com/channel/UCpDnOvnhk5rTyMyRyiHpTbA

https://svarthart.bandcamp.com/

https://www.facebook.com/svarthart/

New World Depression | Abysmal Void | Testimony Records

 

    Formed in Münsterland, Germany, in 2005, New World Depression began their journey with a death’n’roll approach on their debut EP “The Last Step Of Evolution” before gradually moving into old school death metal territory. Drawing influence from heavyweights such as Asphyx, Bolt Thrower, and Obituary, the band built their reputation within the underground scene. Across the years, they have released six albums and two EPs, always remaining dedicated to a crushing, groove-driven style of death metal. Despite staying in DIY circles for a long time, their persistence earned them spots at festivals and shows alongside names like Asphyx, Lik, Sinister, Tankard, Uada, and Vader.

With “Descent” in 2020 and “Interment Of Sins” in 2023, the band embraced professional production and label support, which opened the next chapter of their career. Now, with their seventh full-length “Abysmal Void”, New World Depression deliver their darkest and most punishing vision yet, a continuation of the themes of destruction and downfall explored on their previous releases.

“Abysmal Void” is a death metal album that deals with humanity’s ugliest sides—greed, war, delusion, and decay. Across ten songs, New World Depression transform these ideas into a sonic storm that feels both crushing and relentless. The music is firmly rooted in old school death metal, but the album also adds more atmosphere, weight, and dynamics than before, making it a step forward in depth and impact.

The riffs are thick and punishing, driven by a clear sense of groove that never let’s go. The drumming is heavy and forceful, giving each song a strong backbone, while the bass adds a dark layer beneath the storm of guitars. Vocals roar with authority and power, perfectly fitting the hostile themes. The production, shaped at Soundlodge Studio by Jörg Uken, gives the album a sharp punch while keeping the atmosphere grim and suffocating. They are a combination of Bolt Thrower in music with Asphyx on vocals.

At just under 42 minutes, the album moves with purpose and intensity, creating a dense wall of sound that still allows space for shifts in rhythm and feeling. Each track feels like a new chapter in a story of collapse, making the album not only heavy but also coherent as a whole experience. The cover artwork by Juan Castellano mirrors the music perfectly, presenting a hellish landscape of chaos and ruin that reflects the themes and sound of “Abysmal Void.”

For long-time fans of New World Depression, this album delivers everything they might expect and more. For new listeners, it offers a direct and crushing introduction to a veteran band that has been refining their craft for two decades.

Score: 7.8

http://lnk.spkr.media/newworlddepression-abysmal

https://www.facebook.com/testimonyrecords

https://www.instagram.com/testimony_records

https://newworlddepression.bandcamp.com/album/abysmal-void

https://www.facebook.com/newworlddepression

https://www.instagram.com/newworlddepressionband

LVTHN | The Devil's Bridge | Amor Fati

 

Hailing from Belgium, LVTHN (aka Luthn) emerged in 2013 with a vision steeped in occult devotion and adversarial black metal. Their music has always been tied to ritual and spiritual intensity, merging violent expression with a sense of otherworldly purpose. After making their mark with their 2016 debut album through Amor Fati Productions and Fallen Empire Records, the band remained silent for nearly a decade, focusing on creating their next major statement. Now, with “The Devil’s Bridge,” LVTHN presents a work born from years of contemplation and spiritual discipline, channeled into a sonic form intended to unsettle, transform, and initiate.

“The Devil’s Bridge” is an intense journey into a dark, ceremonial space where the line between music and ritual dissolves. Across its seven tracks, LVTHN create a suffocating yet mesmerizing atmosphere, fusing blistering black metal with an undercurrent of trance-inducing repetition. The guitar work shifts between violent tremolo assaults and slower, more deliberate passages, allowing each composition to feel like a summoning. The drumming alternates between relentless blasts and ritual-like pacing, guiding the listener deeper into the album’s spiritual narrative.

The vocals are delivered with conviction—raw, scathing, and possessed—acting less like lyrics and more like incantations. This is most striking in the title track, where guest vocalist Kark (Dødsengel) channels a chilling presence, transforming the song into a full ritual invocation. The production leans toward a heavy and atmospheric sound, allowing the instruments to merge into a singular force while still carrying enough distinction to catch shifts in texture and rhythm.

The production maintains a heavy and atmospheric sound, merging the instruments into a wall of force while still allowing the edges of each to cut through. This creates a constant tension, with the music pressing forward like a tide that refuses to recede. The lyrical content, drawn from occult devotion, reinforces the impression that this is not merely an artistic project but a work of spiritual intent.

The experience of “The Devil’s Bridge” is into a liminal space where destruction and revelation coexist. It is an uncompromising journey meant to be absorbed as a whole, and for those willing to engage fully, it offers an intense and transformative passage.

Score: 8.0

www.facebook.com/adversarialism
www.lvthn.bandcamp.com 
www.amor-fati-productions.de  
www.amorfatiproductions.bandcamp.com  
www.facebook.com/amorfatiprod

Lotan | Yetzer Hara | Emanzipation Productions

 

    Lotan are a Danish blackened death metal band formed by members with a history in bands such as Vanir and Ethereal Kingdoms. Their name is inspired by the mythological sea serpent Lotan from ancient Canaanite lore, symbolizing chaos and destruction. Since their inception, the band has gained attention for their intense live performances and their merging of relentless aggression with strong thematic narratives. Drawing influence from acts like Behemoth, Hate, Mgła, Belphegor, and Anaal Nathrakh, Lotan aim to create music that is as forceful in sound as it is in message.

With “Yetzer Hara,” Lotan present a 40-minute surge of blackened death metal atmospheric and ferocious. The production is heavy and absorbing, with guitars weaving between melodic dissonance and punishing riff-work. Drumming is rapid, precise, and often overwhelming in its speed, driving the songs with relentless energy. The bass underlines the heaviness, adding depth to the overall sound, while the vocals deliver a commanding presence through harsh, incinerating growls and screams.

Lyrically, the album draws from the concept of the “evil inclination” in human nature, rooted in biblical and mythological imagery. Themes of violence, internal struggle, and societal decay run throughout the songs, expressed through intense and evocative phrasing. The atmosphere is further amplified by the occasional melodic passages, which provide brief moments of reflection before the assault resumes.

Tracks like “Minenwerfer” and “Scorched Tyranny” strike instant with aggression, while tracks such as “Omnicide Manifest” and “Righteous Fury” allow more space to unfold, expanding into darker, more layered territories. The inclusion of “Heksenat” adds variety with its shorter, more concentrated attack, keeping the momentum strong.

The production by Jakob Gundel ensures a balanced mix where every instrument is given its weight, and the artwork by David Troest visually complements the album’s themes of chaos and destruction. “Yetzer Hara” feels like a complete experience, built with intent and delivered with conviction, leaving a lasting impression for fans of extreme metal.

Score: 7.5

https://www.facebook.com/lotanband

https://www.instagram.com/lotan_band/

https://music.apple.com/us/artist/lotan/906743669

https://www.youtube.com/channel/UC9dQMqruqPPJbpPzUTwt0AA

https://lotan.bandcamp.com/album/lotan

Hemelbestormer | The Radiant Veil | Pelagic Records

 

    Hemelbestormer has been crafting their own sonic universe for over a decade, blending post-rock, doomgaze, and black metal into immersive soundscapes. Formed in Hasselt, Belgium, by musicians with deep roots in the country’s hardcore and metal scenes, the band has built a reputation for transporting listeners across vast, emotional, and cosmic landscapes. Over the years, they have appeared on some of Europe’s most respected festival stages, from Roadburn to Dunk! to Graspop Metal Meeting, delivering intense and atmospheric performances that bridge the crushingly heavy with the ethereal.

“The Radiant Veil,” the band’s fourth full-length, continues this journey with an eight-track cycle inspired by the Etruscan civilization’s view of the solar system. Each composition carries the name of a celestial body in the old Etruscan language, beginning with the Sun (“Usil”) and ending with Saturn (“Satre”). Across its nearly 70-minute runtime, the album paints a vivid voyage through space, using sound to evoke the beauty and the cold vastness of the cosmos.

The music unfolds through towering guitar work, deep and resonant bass, and drums that alternate between restrained pulse and all-out assault. Synthesizers add an otherworldly texture—sometimes swelling like distant radiation, other times flickering like the light of far-off stars. Tracks like “Cel” immerse the listener in alien atmospheres, while “Laran” introduces luminous synth passages reminiscent of science fiction’s cinematic moments. The opening “Usil” sets a monumental pace, its seismic riffs and icy leads conjuring stark, expansive imagery, while “Turms,” featuring Philip Jamieson of Caspian, blends soaring melodic passages with heavier surges of intensity.

Hemelbestormer’s ability to move between massive, earth-shaking heaviness and delicate, almost fragile ambience keeps the experience engaging from start to finish. The production gives the instruments breathing space while retaining a dense, enveloping power. By the time “Satre” draws the album to a close, the listener has been carried through a full cycle of tension, release, and cosmic wonder.

“The Radiant Veil” is not just an album—it’s a journey, one that invites listeners to drift into deep space, tethered only by the gravitational pull of Hemelbestormer’s sound. It’s an absorbing and meticulously built work that rewards patience and immersion.

Score: 8.3

Proscription | Desolate Divine | Dark Descent Records

 

Formed from the dark alliance between Finland and the United States, Proscription emerged as a formidable force in blackened death metal. The band features seasoned musicians whose backgrounds span acts like Maveth, Lantern, and other underground entities of the extreme metal spectrum. Their debut album “Conduit” was released in 2020 to strong underground reception but faced the obstacles of a pandemic-stricken world. Now fully forged and sharpened, Proscription returns with “Desolate Divine,” a work conceived with a stronger vision and performed by a fully established line-up.

 “Desolate Divine” is an uncompromising journey into an abyss of relentless force and apocalyptic grandeur. From the first moments of “Gleam Of The Morningstar,” the album charges forward with searing riffs, crushing low-end, and an oppressive yet hypnotic atmosphere. The guitars move between swirling tremolo assaults and bone-splintering rhythmic strikes, each part flowing into the next with a sense of inevitability. The drumming maintains a merciless momentum, shifting between high-speed blasting and weighty, ceremonial passages that allow the music to breathe ominously.

Vocals are delivered with a commanding venom, mixing cavernous growls with rasping cries, reinforcing the sense of spiritual desecration that permeates the album. Tracks like “Heave Ho Ye Igneous Leviathan” and the title track “Desolate Divine” summon an almost ritualistic power, while “The Great Deceiver” and “Not But Dust” close the work with a sense of finality—like the collapse of a world into silence and shadow.

The production captures the band’s ferocity without sacrificing the suffocating density that gives the music its oppressive character. Every layer feels purposeful, from the deep, engulfing bass to the serpentine leads that twist through the chaos. The result is an album that carries the rawness of underground death metal and the grandeur of occult blackened extremity.

Score: 8.0

https://www.facebook.com/ProscriptionHorde/

https://www.darkdescentrecords.com/shop/

https://darkdescentrecords.bandcamp.com/

Pungent Stench | Extreme Deformity | Hammerheart Records

 

    Formed in Vienna, Austria in 1988, Pungent Stench quickly became one of Europe’s most notorious extreme metal acts. Known for their raw blend of death metal and grindcore, laced with grotesque humor and disturbing lyrical themes, they stood apart from their contemporaries by injecting absurdity into brutality. Their early years produced a handful of demos and EPs that cemented their underground reputation, leading to international tours alongside bands such as Master and Abomination. Over time, they became cult icons within extreme metal, influencing countless acts in the genre’s darker and more perverse corners.

“Extreme Deformity” is a snapshot of Pungent Stench in their most primitive and unfiltered state, recorded in a single day in August 1988. This reissue from Hammerheart Records resurrects the original four tracks, including the long-lost “Rip You Without Care,” unheard for over three decades. The sound is raw and abrasive, a direct product of its era, capturing the chaotic energy of early death metal’s formative years.

The EP surges with relentless riffs, pounding drums, and guttural vocals that feel completely sick. There’s a sense of immediacy—these songs sound like they were born in the rehearsal room and captured straight to tape without overthinking. The inclusion of “Embalmed In Sulphuric Acid,” recorded with members of Napalm Death and Extreme Noise Terror, adds a unique twist, blurring the lines between death metal and grindcore in a collaborative blast of noise and aggression.

Also featured is a vintage live recording from Vienna in 1988, offering a glimpse into the chaotic, sweat-soaked shows of the band’s earliest days. The remastering gives the material a fuller punch without stripping away its rough charm, keeping the sound firmly anchored in the late ’80s underground. For sickos into Carcass, Repulsion, Autopsy, Macabre this release captures the same diseased atmosphere that defined the genre’s infancy.

Score: 8.0

https://www.hammerheart.com

https://hammerheartstore.com

Sear Bliss | The Haunting | Cosmic Key Creations

 

    Sear Bliss is a Hungarian pagan black metal band formed in 1993 by bassist and vocalist András Nagy. Known for their distinctive blend of atmospheric black metal with brass instruments like the trombone, they quickly became one of Hungary’s most respected extreme metal acts. Over the decades, Sear Bliss has built a devoted following in the underground metal scene through their unique sound, combining harsh black metal foundations with epic and haunting arrangements. “The Haunting” was originally released in 1998 as the band’s second, and hard to find, full-length album, and this 2025 repress brings it back to life for both old fans and new listeners.

This album runs for just under 46 minutes and delivers an immersive listening experience from start to finish. The guitar work balances icy black metal riffing with moments of grandeur, supported by a steady rhythm section that keeps the music grounded. The use of trombone, a trademark element in Sear Bliss’s music, adds an eerie and solemn dimension to the songs, giving them a distinct character within the black metal sphere.

The production captures the raw essence of late ‘90s extreme metal while maintaining enough detail to let each instrument be heard. The vocals are delivered in a harsh, commanding style that blends seamlessly with the instrumental arrangements, enhancing the dark and epic atmosphere. Tracks like “Tunnels Of Vision” and “Unholy Dance” stretch past the eight-minute mark, allowing the band to fully explore their themes with gradual build-ups and dramatic peaks. Shorter pieces such as “Land Of Silence” and “Soulless” provide contrast, offering more direct and immediate bursts of energy.

“The Haunting” stands as an important chapter in Sear Bliss’s history, reflecting their creative vision at a formative stage while delivering a sound that remains unique in the black metal genre. The 2025 repress comes in a Super Jewel Box with an eight-page booklet featuring Kris Verwimp’s artwork, which perfectly complements the album’s dark and epic tone.

Score: 8.3

https://www.searbliss.hu/

https://www.facebook.com/searblissband

Sear Bliss | Phantoms | Cosmic Key Creations

 

    Formed in 1993 in Szombathely, Hungary, Sear Bliss quickly earned recognition for blending black metal with atmospheric and symphonic elements, often featuring brass instruments such as trombone in their arrangements. Their music has always balanced aggression with grandeur, creating a distinctive sound within the European black metal scene. Originally released in 1996 by II Moons Records, “Phantoms” marked the band’s debut full-length album and laid the foundation for their future works. Over the years, it has gained a reputation as an underground classic, praised for its unique approach and epic scope.

“Phantoms” runs for just under 50 minutes, weaving together atmospheric passages, icy riffs, and symphonic textures. The album opens with “Winter Voices,” a short instrumental that works as a prelude before the first full song, “Far Above The Trees,” which introduces the listener to the band’s signature blend of harsh vocals, melodic guitar work, and brass accents. The sound is often expansive, with long compositions such as “Aeons Of Desolation” and “Land Of The Phantoms” allowing themes to unfold gradually, combining black metal intensity with a sense of grandeur and space.

Tracks like the masterpiece “1100 Years Ago” and “As The Bliss Is Burning” keep the energy varied, moving between faster sections and slower, more atmospheric parts. The use of trombone throughout the album is one of its most distinctive features, adding a mournful, almost regal tone that contrasts with the harsh guitars and vocals. Closing chapters like “Beyond The Darkness” and “With Mournful Eyes” wrap up the album with a sense of finality, leaving a lasting impression of epic and haunting black metal.

The 2025 repress by Cosmic Key Creations presents the album in a Super Jewel Box format with an 8-page booklet, limited to 500 copies, making it an attractive release for collectors. The sound retains its raw and atmospheric qualities, preserving the essence of the original 1996 release.

Score: 9.0

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