heavy-metal-darkness: September 2025

Tuesday, September 30, 2025

Bonginator | Retrodeath | Testimony Records

Release date: 24.10.2025

Formats: CD, LP, MC, Digital

Genre: Death Metal/Synthwave Fusion

Country: USA

Bonginator have come a long way since bursting into the underground with their cartoonish violence, weed-soaked lyrics, and intergalactic stoner fantasies. Formed in Massachusetts in 2021 by Erik Thorstenn, the band wasted no time in carving a name for themselves through relentless touring, tongue-in-cheek concepts, and a love for everything loud, gory, and absurd. Their debut EP The 1986 Doink City Massacre put them on the map, while The Intergalactic “Gorebong Of Deathpot” (2023) confirmed they weren’t a flash-in-the-pan gimmick. Now, only two years later, they return with “Retrodeath”, an album that amplifies their bizarre blend of old-school death metal and retro pop culture references.

From the start, “Retrodeath” makes it obvious that Bonginator is no ordinary death metal act. They lace their riffs with thick layers of synthwave atmospheres, the kind you’d expect from an ‘80s horror flick or arcade game soundtrack. Guest appearances by bands like Belushi Speed Ball, Fulci, and even saxophonist Tim Capello (yes, the same one from The Lost Boys) make this album feel like a celebration of absurdity. Songs such as “All Cops Are Biomechs” and “Pizza Time” embody the chaotic humor of Bonginator’s world, while “Intruder Organism” channels cinematic sci-fi horror with heavy riffs that crash straight into digital textures.

The album’s running time, just over 46 minutes, balances traditional brutality with tongue-in-cheek weirdness. Death metal purists might struggle with the constant intrusion of synths, cartoonish samples, and odd humor, yet that is exactly the point of Bonginator’s identity. They thrive on breaking up the blastbeats with sounds of alien invasions, arcade alarms, and exaggerated vocal deliveries. It doesn’t always land with the same punch, but when it works, it creates an unmistakable atmosphere that is hard not to grin at.

“Retrodeath” is not made to be consumed like a standard death metal record. It is more like an audio comic book, a technicolor explosion where chainsaw riffs fight pixelated monsters. Bonginator may not aim for perfection, but they aim for entertainment, and in that department they succeed. This is an album that will divide listeners, but for those who get on board with the madness, it delivers exactly what it promises.

The cover artwork by Dan Goldsworthy ties the package together, presenting Bonginator as more than just a band. They are building their own warped universe of aliens, bongs, and VHS-era aesthetics. “Retrodeath” may not hit every mark, yet it proves that Bonginator is firmly committed to their strange mission of making death metal fun, colorful, and unashamedly weird.

Score: 7.5

http://lnk.spkr.media/bonginator-retrodeath

https://www.facebook.com/testimonyrecords

https://www.instagram.com/testimony_records

https://testimonyrecords.bandcamp.com

https://www.facebook.com/bonginatorMA

https://www.instagram.com/bonginator.ma

Revenge | Night Danger | Dying Victims Productions/Rata Mutante Records

Release Date: October 17

Format: CD, Vinyl LP

Genre: Speed/Heavy Metal

Country: Colombia

Formed in Medellin in 2002, Revenge has carved their place as one of Colombia’s most reliable and hard-working speed metal bands. Over two decades, they’ve built a reputation for their raw energy, their unrelenting approach to classic heavy metal, and their constant activity across South America. The invitation to perform on the 70,000 Tons Of Metal cruise back in 2018 was proof of their international recognition, something few South American acts have achieved in this style. Now, on their tenth studio album, “Night Danger”, released through Dying Victims Productions and Rata Mutante Records, the band continues to march forward with determination and firepower.

“Night Danger” charges ahead with riffs that balance aggression and melody, showing Revenge’s dedication to the sharp edge of speed metal while keeping one foot firmly in traditional heavy metal territory. Think of the galloping drive of early Running Wild and Helloween mixed with the heroic charge of Judas Priest or Riot. This blend is where Revenge thrives, and “Night Danger” makes that clear from the opening moments to the closing strike.

The songs on display are lean and built for maximum impact. The drumming of Hell Avenger is relentless, keeping the pulse fast and tight, while Night Crawler and Esteban “Hellfire” Mejía handle the guitars with a balance of precision and fire. Camilo Hernandez’s bass holds everything down with a metallic punch. Mejía’s vocals, raw and piercing, give the album its personality, adding grit and energy that matches the band’s sound perfectly.

The tracklist is straightforward and doesn’t waste time. Cuts like “The Hammers Fall” and “The Devil Race” blast forward with urgency that is instantly satisfying. “Misty Night” and “Desire From Pain” bring in darker shades while keeping the speed alive. By the time “Crushing Death” closes the album, it feels like Revenge has delivered exactly the kind of full-throttle metal experience their fans expect.

“Night Danger” doesn’t wander outside of its chosen path, and that is its strength. It’s built on tradition, pure speed, and a passion for the old-school flame that the band has carried proudly since their beginnings. The production is raw, direct, and powerful, fitting the underground roots from which the band emerged. It is a record made for fans who want their heavy metal unfiltered and high-voltage.

With this tenth album, Revenge proves that consistency is not just about repetition, it’s about dedication. “Night Danger” is a strong and energetic release that shows why the band has endured for over twenty years. It won’t surprise listeners with unexpected turns, but it delivers a true and unapologetic speed metal strike. For those who have followed the band from the start, it’s another solid entry in their arsenal. For newcomers, it’s an excellent way to discover what Colombian heavy metal is all about.

Score: 7.8

https://revenge666.bandcamp.com/album/night-danger

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

https://www.youtube.com/user/ESTEBANREVENGE

Eisregen | Krebskolonie | Massacre Records (Reissue)

Release Date: 26 September 2025

Format: 2CD Digipak, 2LP Vinyl

Genre: Dark Metal/Death Metal

Country: Germany

Eisregen’s history has always been bound to controversy. Formed in 1995 in Thuringia, the band quickly became one of the most polarizing names in the German extreme metal scene. Known for their provocative lyrics, black humor, and a sound that sits somewhere between death metal, gothic influences, and dark folk-inspired elements, Eisregen carved out their place as cult icons. Their second album “Krebskolonie,” originally released in 1998, was the album that pushed them into infamy. It was banned in Germany for years, earning its place as a whispered legend among fans and critics. Now, in 2025, celebrating their 30th anniversary, Eisregen brings it back in a new form, complete with live tracks and a reworked version of one of their most notorious songs.

Hearing “Krebskolonie” again with a modern production touch is a strange experience. The essence of the album remains grim, theatrical, and sometimes grotesque. The remastering by Markus Stock gives the sound more presence, yet the songs retain their raw and almost uncomfortable character. Tracks like “Scharlachrotes Kleid” and the title track “Krebskolonie” maintain that unsettling mix of melody and morbidity that made Eisregen such a unique act in the late 90s. The violin passages from 2T and the keyboard layers add a twisted elegance, while the vocals of M. Roth remain as abrasive and unsettling as ever.

The inclusion of “Futter Für Die Schweine – Rezept 2025” strikes as a declaration, adapting one of their darkest songs into something politically correct and vegan, while keeping the grotesque humor intact. It is bizarre, almost parody-like, but very much in line with the band’s character. The bonus live recordings from WGT 2000 are a nice archival addition. They capture Eisregen at an early stage, raw and uncompromising, though the sound quality is understandably rough compared to the remastered studio album.

The new artwork by Svartir Andar Graphix fits the atmosphere of the release, visually amplifying its morbid concept. The packaging and expanded edition make this a collector’s item, especially for those who never had access to the original album due to its ban.

Still, listening to “Krebskolonie” in 2025 is different than hearing it in 1998. The shock value is dulled by time, and while the remaster adds power, the material itself feels like a product of its era. For longtime fans, it is a must-have historical reissue. For new listeners, it can be fascinating, but not essential beyond its cult status. Eisregen’s return of this infamous record is a celebration of their past, though it is more a monument of what was then a revelation of what is. This reissue succeeds in preserving the myth and making it accessible again, but musically it lands as solid rather than outstanding.

Score: 6.5

Eisregen online:

https://kkth.de/

https://www.facebook.com/eisregen.official

https://www.instagram.com/eisregenoffiziell/

Sunday, September 28, 2025

Zatokrev | Bring Mirrors To The Surface | Pelagic Records

Release Date: 29 August 2025

Format: Digital, CD, Vinyl

Genre: Atmospheric Sludge/Doom/Post-Metal

Country: Switzerland

Zatokrev has long been known as explorers of the human spirit, always digging into the hidden caves of the mind and dragging something raw, ancient, and hypnotic back into sound. Formed in 2002 in Basel, the band carved its way into the underground with releases that never sat still, each one expanding into new sonic territory. Their music is less about genre cages and more about a river of sound that surges through sludge, doom, psychedelia, post-metal and something entirely their own. Over the years, they’ve worked with labels like Candlelight, Czar Of Crickets, and Pelagic Records, constantly refining their path toward heavier spiritual dimensions. Collaborations with bands such as Minsk and splits with fellow travelers showed how much Zatokrev thrives in shared artistic spaces, always ready to absorb and transform.

Now in 2025, they return with "Bring Mirrors To The Surface", an album that’s like a vision quest made audible. The album is filled with voices and energies from outside the core band, with guest contributions from Bölzer, Schammasch, Inezona, Manuel Gagneux of Zeal & Ardor, and Minsk. These additions don’t fragment the sound, they extend the horizon, as if Zatokrev opened their temple doors and invited different spirits to add their own fire to the ritual.

Across eight songs, the band stretch time and space, moving from vast dirges into eruptions of cathartic violence and passages where sound turns meditative. "Red Storm" is a towering opener, almost ten minutes of trance-inducing repetition and cosmic weight, joined by the feral presence of Bölzer and Schammasch. "Blood" and "The Only Voice" show how Zatokrev balances heaviness with passages that shimmer in strange beauty, while "Unwinding Spirits" takes on an almost spiritual intensity with Manuel Gagneux’s distinctive touch. "Faint" and "Pearl Eyes" break the intensity into sharper fragments, granting intervals of calm before plunging back into longer, world-building compositions like "Deep Dark Turns Green".

The production captures the vastness of the band’s sound, giving equal space to rumbling basslines, tortured riffs, cavernous drums, and voices that sound more like incantations than simple vocals. It is heavy, yes, but not in the sense of crushing weight alone. It is heavy because it resonates like a ritual, something ancient unearthed and translated into modern amplifiers.

"Bring Mirrors To The Surface" is like the culmination of the band’s journey so far, gathering all the paths they have walked, sludge, doom, post-metal, psychedelia, ritualistic experimentation, and presenting them as one great offering. There is a sense of finality in its atmosphere, as if the band have reached a summit and are calling down visions from a higher peak. This album reads like scripture written in distortion and echoed through mountains. For fans of Neurosis, YOB, or Ufomammut, it is a must, but Zatokrev’s voice is their own, and "Bring Mirrors To The Surface" proves that their journey is far from over.

Score: 7.0

https://www.facebook.com/ZATOKREV

https://www.facebook.com/pelagicrecords

Last Retch | Abject Cruelty | Time To Kill Records

Release Date: 26 September 2025

Genre: Death Metal

Origin: Canada

Formats: CD/LP/MC/Digital

Last Retch is a death metal band from Hamilton, Ontario, Canada. Their sound blends the catchiness of Carcass, the pounding melodic weight of Bolt Thrower, and the savagery of Cannibal Corpse. They first appeared in 2021 with a raw demo that gained quick attention. In 2022, they released their first album “Sadism And Severed Heads” with artwork by Paolo Girardi, followed by the “Ergotism” EP in 2024. Both releases built their reputation as one of the rising Canadian names in death metal.

With "Abject Cruelty," Last Retch delivers a concentrated attack of old-school death metal across 27 minutes. The album opens with the title track, a mid-length storm that sets the entire atmosphere before the band plunges into shorter, violent strikes like "Beasley Meth Merchants" and "Dissecting The Leper." These songs hammer in direct blows with riffs that stick immediately.

The album thrives on pacing. Short and brutal cuts are balanced with longer songs such as "In The Polder They Reek," which builds its aggression step by step before spilling into chaotic blasts. Every track is distinct, avoiding monotony without stretching beyond what’s necessary. The rawness of the riffs is matched by a thick bass tone and relentless drumming, while the vocals add a hoarse, deep layer that drives the attack further.

Tracks like "Resinous Drip Of Decay" and "Oozing Pustules" underline the band’s fascination with decay and disease, giving the album a consistent thematic direction. Closer "Gatling Gun" fires off with mechanical aggression, leaving no room for doubt that Last Retch wanted this album to be short, violent, and repeatable.

The production is direct, keeping the instruments harsh and dirty but still strong enough to cut through. It doesn’t drag into over-polished territory, instead serving the songs with a raw edge that fits their style perfectly. "Abject Cruelty" is a death metal album that burns quickly and memorably. It’s a half-hour slab of decay and violence, built for those who want riffs, speed, and power without filler.

Score: 7.3

https://www.facebook.com/lastretchDM/

https://lastretch.bandcamp.com/

https://www.youtube.com/channel/UCydoZxnJqGq4AeETKM6uO-A

https://www.instagram.com/last.retch/

Constrict | Kadavergehorsam | 7Degrees Records/Loner Cult Records/783Label

Release Date: October 3rd, 2025

Format: One-sided 12" vinyl, Digital

Genre: Grindcore

Country: Germany

Formed in April 2015 in Potsdam, Germany, Constrict emerged with a mission to play grindcore at full force while carrying over death metal’s rhythmic punch. Their first release was a raw demo, followed by the debut album “Ultima Ratio” in 2018. After lineup changes, the EP “Saturation” (2020) pushed the band further into DIY territory. In 2022 they issued “Devourer”, a cassette with unique handmade artwork, adding darker and more atmospheric elements to their sound. Despite departures of founding members, Constrict reshaped themselves as a four-piece, more direct and aggressive. Their work ethic remains completely underground, with recording, mixing, and mastering all handled by the band.

“Kadavergehorsam” is Constrict’s sharpest and most immediate work so far. It condenses everything the band has been building since their earliest days into a concise burst of grindcore that wastes no second. At just over 15 minutes, it is pure impact. The EP lashes out against exploitation, alienation, and the false promises of neoliberalism. Songs like “Rats” and “Cattle” make their point without subtlety, ripping forward with lyrics that cut into systemic cruelty. In “Bloom”, personal suffocation under constant pressure comes through in jagged riffs and relentless pace. By the time “Fight Back” arrives, it turns from depiction to defiance, channeling raw fury into resistance.

Musically, Constrict stays true to the hallmarks of grindcore. Blast beats, d-beats, and brutal riffing. What makes “Kadavergehorsam” stand out in their own catalog is the sense of control in how they balance speed with groove. Instead of firing nonstop at the same gear, they work in sudden tempo changes, well-timed breaks, and hooks that stick in your head. “Mammon”, the first single, is a perfect example, shifting between pummeling grind and moments that practically demand movement.

The production is raw and unvarnished, exactly what this style thrives on. It is direct, close to the practice room, which matches the DIY spirit of the band. Every instrument punch through clearly enough to make the songs distinct, without polishing away their intensity. As a complete EP, “Kadavergehorsam” is gripping, furious, and deeply rooted in the underground. Constrict has made something that commands attention through sheer urgency and conviction, while remaining true to the ethos that brought them here.

Score: 7.5

Constrict

Bandcamp

Instagram

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7Degrees Records (GER)

Loner Cult Records (BE)

783Label (UK)

Achathras | A Darkness Of The Ancient Past | Cult Never Dies

Release Date: 30 September 2025

Format: CD, Vinyl, Digital

Genre: Black Metal

Country: Unknown

Achathras emerged as a mysterious project formed by musicians already seasoned in the black metal underground. Their names are kept hidden, though their roots lie in long-running, acclaimed bands. The aim is simple and direct, to reignite the spirit of the European black metal movement from the 1990s, where atmosphere, aggression, and melody coexisted in equal measure. Their debut full-length, “A Darkness Of The Ancient Past”, comes via Cult Never Dies, a label known for curating works that honor the raw flame of extreme metal history.

“A Darkness Of The Ancient Past” is a trip into the classic era of black metal, built on sinister riffs, icy melodies, and an aura of mysticism. It is not an album of reinvention, rather one of immersion, pulling the listener into a time when keyboards painted star-lit skies and guitars roared like storms over ruined temples.

The album opens with “The Weaving Of The Worlds,” a short and eerie introduction that leads into the blasting assault of “Anointed With Moonfire.” Here, Achathras instantly display their direction in violent riffing, interlaced with majestic synth lines, a formula that recalls the early symphonic surge of Emperor and the haunting presence of Odium, while vocals are caustic and commanding.

“A Cerement Of Flame” rides on furious rhythms before slowing into passages of almost sorrowful melody, while “Emanation Of Chaos” revels in its stormy structure, a ritual of swirling guitars and spectral keyboards. The brief “Melancholy Wanderer” provides a pause, an interlude that feels like walking alone through mist-drenched ruins. The longest compositions, such as “A Lamenting Presence,” stretch beyond seven minutes and reveal Achathras’ capacity for atmosphere. Layers of synth and riffs build a landscape where triumph and despair circle each other, always retaining that aura of ancient grandeur. The album closes with “The Uttermost Cold,” a track that’s like a final plunge into the abyss, its chilling melodies fading like echoes lost in frost.

Production is sharp enough to capture detail, yet raw enough to keep the sense of underground authenticity intact. The synths never overpower the guitars, instead weaving in as a spectral companion. Drums pound with ritualistic intensity, adding momentum and heft. What makes “A Darkness Of The Ancient Past” engaging is not novelty, but commitment to atmosphere and songcraft. Achathras embraces the traditions of 90s black metal, from the blasting ferocity to the melodic grandeur, creating an album that feels timeless in its approach. It is an ode to an age of darkness, mysticism, and otherworldly beauty. This is an album for those who still search for the cold fire of the past in black metal, when riffs carried a sense of danger and keyboards summoned visions of cosmic desolation.

Score: 8.0

Achathras online

Facebook: https://www.facebook.com/profile.php?id=61576909640662

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

Bandcamp: https://achathras.bandcamp.com

Spotify: https://open.spotify.com/artist/3j8hhYVu9OcjvIEF4WZBwO?si=EZg7DtROSbaTqLfOmq2PWg

Cult Never Dies online

Website: https://www.cultneverdies.com/

UK & ROW Webstore: https://cultneverdies.myshopify.com/

EU Webstore: https://cultneverdies-eu.travelling-merchant.com/

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

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

Feral State | II | Road To Masochist Records

Release Date: September 26th, 2025

Format: Vinyl, Digital

Genre: D-beat Hardcore Thrash Punk

Country: UK

Born out of Leicester’s underground scene, Feral State is a snarling force of hardcore punk chaos. The band carved their name through a string of splits and their self-titled debut, which quickly caught attention for its raw aggression. Their sound is a volatile mix of D-beat, thrash, and punk, delivered with clenched teeth and spitting rage. Fronted by Joe Lander’s uncompromising vocals and driven by the relentless speed of Marcus Green on drums, Feral State embody the feral urgency their name promises. With “II”, they charge even harder, unrepentant and venomous.

From the opening air raid siren of “Concrete,” “II” throws you headfirst into the maelstrom. Every track here feels like a fistfight in a back alley, short bursts of violence that leave just enough room for the next blow to land. The guitar tone is scorched earth, thick and abrasive, while the drums hammer forward with unrelenting momentum. Vocals cut through with pure hostility, less sung and more shouted into your bloodstream.

What makes “II” stand out is its unyielding consistency. Tracks like “Constant Terror” and “Slow Decay” barely give you time to breathe, demanding movement, sweat, and destruction. “Scab” is a minute-long detonation of pure rage, and “Nuclear” erupts with a riff so vicious it feels like the floor beneath you cracking open. The closer, “Survival Game,” distills everything Feral State stands for into one last violent surge, leaving the listener flattened yet exhilarated.

This is an album about capturing the adrenaline of the pit, the catharsis of volume, and the joy of pure sonic violence. Feral State has managed to harness their raw energy without losing the live-show intensity, thanks to Ian Boult’s dirty yet punchy production. The artwork by Stonegeist perfectly mirrors the music that is bleak, chaotic, and impossible to ignore. “II” doesn’t just continue the Feral State story, it sharpens it into a weapon. For fans of Broken Bones, Extreme Noise Terror, and D.R.I., this is an album that is timeless in its punk ferocity and vital in today’s climate.

Score: 7.0

https://www.facebook.com/FeralState666

https://feral-state.bandcamp.com/

https://www.instagram.com/feralstatehc

https://roadtomasochist.co.uk/

https://www.facebook.com/roadtomascochist/

Empire Drowns | Endless Nights | Mighty Music

Release Date: 31 October 2025

Format: LP (grey vinyl, limited to 150 copies), CD, Digital

Genre: Melodic Doom/Death Metal

Country: Denmark

Empire Drowns is not a new name for followers of the Danish underground. Built from members of Withering Surface, Urkraft, Meridian, Thorium and others, the group unites musicians with long experience in extreme metal. “Endless Nights” is their first major statement under the Empire Drowns banner, a release through Mighty Music that puts them firmly on the international map.

The album was recorded by Marco Angioni at Angioni Studios and mixed/mastered by Tue Madsen at Antfarm, names already known in European metal circles thanks to their work with Moonspell, The Haunted and Baest. With this team behind it, the sound of “Endless Nights” comes across with precision, depth and a dark presence that supports the dramatic atmosphere of the songs.

Across nine tracks, Empire Drowns crafts music that is at once melodic and crushing. The vocals of Michael Hvolgaard Andersen move between cavernous growls and dramatic spoken passages, while Thomas Birk’s guitars supply heavy riffs and mournful leads. Anders Ro Nielsen’s keyboards add a spectral layer that deepens the atmosphere, and the rhythm section of Angioni and Kim Jørgensen gives the songs their force and forward drive.

Songs like “A Choir Of Fallen Angels” and “Stoneheart” draw from the tradition of Paradise Lost and My Dying Bride, heavy yet filled with sorrowful melody. “Santiago Sunrise” introduces a sense of wide landscapes and emotional light, while “The Great Flood” is turbulent and aggressive. The title track “Endless Nights” captures the core of the album with its balance of darkness, melancholy and melodic flow. Closing track “Life Is Fading” leaves a lasting impression, solemn and reflective.

Empire Drowns are not only inspired by the grey skies of Scandinavia. They also channel experiences from East Africa, where the extremes of nature, culture and struggle provide contrast and intensity. This dual origin gives the music a broad emotional horizon, one that moves between despair, resilience and beauty.

“Endless Nights” is a strong introduction to a band that is serious about their future. With live shows scheduled for 2026, Empire Drowns aims to carry this atmosphere onto the stage and build a reputation not just on album but also in direct contact with their audience. For listeners of Paradise Lost, My Dying Bride, Anathema and Katatonia, this is a release worth attention.

Score: 7.5

facebook.com/empiredrowns

instagram.com/empiredrowns/

Darkness | The Death Squad Chronicles | Massacre Records

Release Date: 26 September 2025

Format: CD Mediabook, Vinyl, Deluxe Box, Digital

Genre: Thrash Metal

Country: Germany

Four decades in the trenches of thrash metal is no small feat, and Darkness return to celebrate exactly that with “The Death Squad Chronicles”. Formed in Essen in 1984, the band has always stood as one of the underground champions of the German scene, moving alongside names like Kreator, Sodom and Destruction. Their debut “Death Squad” in 1987 quickly earned cult status, while follow-up “Defenders Of Justice” cemented their reputation as a band with relentless drive and a fierce sense of identity. Though the decades brought line-up changes and pauses, Darkness never truly disappeared, and this new chapter is a thunderous reminder of their legacy.

Produced and mixed by Cornelius Rambadt and mastered by Dennis Köhne, the album reworks some of the band’s earliest milestones with modern power, pulls hidden demo material from the vaults, and introduces two completely new songs. It’s a blend of past and present, crafted with the precision of musicians who know thrash inside out.

The collection kicks off with “The Gates”, a short atmospheric opener that quickly launches into a barrage of speed and aggression. Familiar classics like “Death Squad”, “Burial At Sea” and “Defenders Of Justice” are reborn with sharper production, while still carrying the raw bite that made them underground anthems in the first place. Tracks such as “Victims” and “Iron Force” are violent bursts, striking in their directness. At the same time, longer tracks like “Battle To The Last” and “Predetermined Destiny” stretch into darker territories with riff-heavy attacks that show just how well Darkness can sustain intensity over extended runs.

The brand new songs “Proud Pariah” and “Last Round Is On Us” prove that Darkness are not simply reliving their past but moving forward with undiminished fire. These tracks sit comfortably alongside the re-recorded classics, giving the album its freshness and energy.

A special mention goes to “Death Squad 2025”, which brings together an army of guests from the global thrash and extreme metal community. It’s less a single and more a full-scale thrash party, uniting multiple generations around the sound that started in the Ruhr Valley back in the mid-80s.

“The Death Squad Chronicles” is more than just a nostalgic look back. It’s a heavy strike of German thrash with teeth bared, riffs sharpened, and adrenaline still pumping. For fans old and new, it’s a reminder that Darkness remains an uncompromising force after 40 years. This anniversary release is one of the year’s essential thrash offerings.

Score: 8.3

Darkness online:
http://www.darkness-thrash.de/
https://www.facebook.com/darknessdeathsquad
https://linktr.ee/darknessthrash

Saturday, September 27, 2025

Victimarum | Seitsemän Soihdun Valossa | Signal Rex

Release Date: 11 October 2025

Format: CD, Vinyl

Genre: Black Metal

Country: Finland

Victimarum formed in 2022 and wasted no time in making their presence known in the Finnish underground. Their demo and EP in 2023 already hinted at a band deeply rooted in the legacy of their homeland’s black metal traditions, carrying that icy melodic approach that recalls the early 2000s era. The band even included a Horna cover, marking their connection to the lineage from which they spring. Now, with their first full-length “Seitsemän Soihdun Valossa”, the Finns deliver a work that solidifies their place in the scene and proves they are ready for a larger audience.

Across its 44 minutes, the album is relentless and atmospheric at once. The production is balanced caught in the crossfire of aggression and precision, where every riff and drum strike cuts through with clarity, and retains a sense of underground harshness. The guitars are melodic and aggressive, weaving tremolo passages that move between sorrow and fury. the bass underlines the chaos, giving the songs a darker spine, while the drumming alternates between furious blasting and more measured pacing, giving the songs variety and momentum. Vocals are severe and forceful, delivered in Finnish, adding to the album’s cold, ritualistic character.

The compositions advance with resolve, shifting between faster assaults and slower, more epic passages, creating a dynamic flow across the album. Tracks like “Tulenkantaja” and the title track “Seitsemän Soihdun Valossa” radiate intensity with their riff-driven approach, while others such as “Kuolemalle” and “Ilmestysten Kuningas” lean into darker, more expansive atmospheres. “Seitsemän Soihdun Valossa” demands full immersion, rewarding the listener with an experience that is brutal, melancholic, and triumphant in equally matched. It captures the essence of Finnish black metal, presenting it with solid songwriting and energy that keeps the album engaging from start to finish.

Score: 7.7

https://facebook.com/victimarum

https://signalrex.bandcamp.com/

https://www.signalrex.com/

Precious Blood | False Prophets | Self-Release

Release Date: 29 October 2025

Format: Digital, CD, Vinyl

Genre: Blackened Caribbean Doom Metal

Country: USA

Precious Blood might be a new name on paper, but its three members are anything but newcomers. Formed in 2024, the New York City trio gathers together guitarist and vocalist AJ (Jesus Knevil, Snake Canyon), bassist and vocalist Dave Kramer (Blood Feast, Suaka, Stanley), and drummer and vocalist Grace Perez (The Wickedexorcist). Their combined experience in thrash, doom, and underground metal bleeds into their debut full-length, “False Prophets”. The result is an album with heavy riffs, rough textures, and a grim atmosphere, wrapped in a strange and unique Caribbean-doom cloak.

The term blackened caribbean doom might sound unusual bur it describes well what Precious Blood is aiming for. Songs like “Footsteps Of Babylon” and “El Muerte” dig into historical and cultural shadows, with rhythms and accents that pull away from standard doom pacing. There’s a tribal sway here, even under the weight of distorted guitars and harsh vocal deliveries. On the other hand, tracks like “Bludgeoned Charred” and “Shadow Of The Cross” dive into more straightforward thrash territory, sharp and direct, keeping the energy alive. The balance between these two sides gives the album a restless character, refusing to sit still.

The production, handled by Joe Hogan alongside the band, captures an earthy rawness. The instruments grind against each other without losing shape, and the vocals, shared between all three members, provide a chaotic, almost ritualistic quality. “Whore’s Grave” (my fave track), the longest cut, carries this approach to its extreme, moving from pounding sections to eerie chants that echo with unease. Meanwhile, “Old Man Abaddon” shows the trio’s knack for twisting doom into something more frantic, almost deranged.

“False Prophets” doesn’t always hit with the same intensity across its eight tracks, yet it never loses its strange, unsettling charm. It feels like a debut that plants its flag with confidence in its own twisted path. The Caribbean influences aren’t just window dressing; they are stitched directly into the riffs and rhythmic backbone. It is an album that sounds born of smoky bars, half-lit rituals, and history whispered in drumbeats.

This is a promising and unusual first full-length, one that shows Precious Blood carving out a sound rooted in doom and thrash but shaded with the darker history and spirit of the Caribbean. It may not hit as hard as it could in every song, but “False Prophets” already gives the band a character of their own, something distinct in a crowded underground.

Score: 7.0

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Narrenwind | Gorzkie Plony | Pagan Records

Release Date: September 2025

Format: CD, LP, Digital

Genre: Black Metal / Blackened Heavy Metal

Country: Poland

Narrenwind has been around for more than a decade, building their name on a sound that bridges the rawness of black metal with the epic weight of heavy metal riffing. Formed by Ævil (guitar, bass) and Klimørh (vocals), the duo has carved out a niche in the Polish underground featuring albums that combine ferocity and atmosphere. After releasing their last two records through Ævil’s Wheelwright Productions, they now return to Pagan Records, the label that supported their early days. “Gorzkie Plony” is their fifth full-length, featuring session drums from Anti-Christian (known from Tsjuder and Beaten To Death), mixed and mastered by Haldor Grunberg at Satanic Audio, and wrapped in the artwork of JRMR.

The eight tracks on “Gorzkie Plony” run just over half an hour, keeping the writing sharp and to the point. The band’s blend of styles is immediately clear: buzzing black metal tremolos and icy atmosphere sit side by side with heavy metal gallops and anthemic, almost bard-like vocal passages. The Polish lyrics add depth and an old-world aura, especially as some of them borrow directly from national poets like Baczyński and Miciński, as well as a cover of Maanam through Olga “Kora” Sipowicz’s words. This literary grounding gives the album a layer of cultural gravity that feels naturally tied to the music’s dramatic tone.

The production strikes a balance between rawness and clarity. Instruments remain distinct, with the guitar riffs driving the songs forward and Anti-Christian’s drumming pushing them with restless energy. Klimørh’s vocal performance, grim and theatrical, ties everything together, moving from harsh growls to expressive chants. The closing track “I-II-I-II” is the shortest and most unusual cut here, leaving a strange, almost ritualistic aftertaste that works as a final punctuation mark to the album.

“Gorzkie Plony” is not an overly long listen, but it carries a sense of purpose and cohesion. The mix of blackened aggression, heavy metal roots and Polish poetic influence makes it stand out in a crowded field. Narrenwind continues to occupy their own corner of the scene, and this album confirms that their craft is still sharp and full of fire. This album, with its balance of harshness, tradition and cultural reference, will speak to fans of black metal and to listeners who appreciate when metal reaches beyond music into history and literature. It’s a release that feels bound to its place of origin, which makes it all the more compelling.

Score: 7.0