Citrinitas |Unending Descent |Caligari Records (Demo)

Release Date January 30^th, 2026
Format Cassette
Genre Death/Doom/Black Metal
Country Finland

Citrinitas emerges from the frozen landscape of Oulu, Finland, presenting their first public recording. This mysterious entity formed and captured these sounds in 2025, keeping their identities completely hidden from the public and their label. With a total runtime of around thirteen minutes, this debut demo is released through Caligari Records, aimed at listeners looking for a blend of death, doom, and black metal influences.

Citrinitas offers a very standard, by-the-numbers approach to extreme metal that sounds exactly like a hundred other demos sitting in the bargain bin. The production is raw, which usually works for this genre, but here it just renders everything flat. The guitars buzz and the drums clatter, creating a wall of sound that fails to leave any lasting bruise. The three tracks on offer blend together into one long, undistinguished jam session. The band tries to fuse the slowness of doom with the aggression of death metal, but they end up canceling each other out. Instead of crushing heaviness or manic speed, you get a mid-paced rumble that never really goes anywhere. The riffs are buried so deep in the mix that they lose all their teeth. You can hear what they are trying to do, but the execution lacks the venom required to make this style dangerous.

"Unending Descent" plays out, the noise happens, and then it stops. It creates an atmosphere of sorts, but it is one of boredom more than dread. The vocals are standard distortions that sit on top of the instruments without adding any rhythmic drive. It’s like the band is going through the motions of being "evil" and "dark" without actually channeling any real hatred or despair into the recording.

This demo serves as a placeholder for a band that hasn't figured out their identity yet. It is functional background noise for people who just want something heavy playing but don't expect to remember a single second of it once the tape clicks off. Citrinitas has managed to put three songs on a cassette, which is an accomplishment in itself, but they need to bring actual riffs to the table next time if they want anyone to care.

Score: 5.0

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Eric Wagner | Eulogy 7" |Ripple Music

Release Date December 12^th, 2025
Format 7" vinyl
Genre Doom Metal
Country USA

Eric Wagner was the voice that defined doom metal for decades. As the frontman of Trouble, he didn't just sing, he preached misery and redemption over monolithic riffs. His work on albums like "Psalm 9" and "The Skull" set the standard for everyone else. Later projects like The Skull and Lid proved he wasn't a one-trick pony, exploring different shades of heavy. He left us in 2021, but his influence remains stuck in the concrete foundation of the genre.

This release hits you right in the gut before you even drop the needle. "Eulogy" isn't just a catchy title but serves as the final closing of the casket for one of the most distinctive voices in the scene. Ripple Music teamed up with the musicians from Eric Wagner's solo band to deliver this 7" slab, and it treats the man's legacy with the serious respect it demands. It’s a short ride, but the emotional impact hangs heavy in the air long after the music stops. This is for the die-hards who stuck around from the white-metal days of the 80s all the way to the end.

The A-side gives us "Nothing But Blue Skies," which stands as the last vocal performance Eric Wagner ever recorded. It was originally meant for his solo album, and you can hear why it needed to see the light of day. The track strips away the wall of distortion usually associated with his past work, relying instead on a more acoustic, atmospheric approach. Victor Arduini lays down guitar work that supports the vocals without getting in the way. It’s raw and honest, capturing a legend sounding vulnerable and real. There is no studio magic hiding the wear and tear in his voice, and that’s exactly why it works.

Flipping the record over, the band pays tribute to their fallen leader with a cover of the Trouble classic "The Misery Shows (Act II)." This isn't some cheap karaoke rendition. Brian "Butch" Balich steps up to the mic, and he delivers the lines with power and reverence. The backing band, featuring Chuck Robinson and David Snyder, locks into that classic doom groove instantly. They understand the swing and the drag that makes this style of music heavy. It sounds like a group of friends pouring one out for a brother, playing with fire and genuine emotion.

The production on "Eulogy" keeps things sounding grounded and human. Arduini handled the mix, ensuring that the acoustic side retains its intimacy while the electric side packs a punch. Nothing gets buried, and the drums have a nice, natural thud to them. It’s a fitting end to a massive career. This little piece of vinyl is a mandatory addition to the collection for anyone who claims to love doom. It’s a sad, heavy, and beautiful farewell to the Godfather.

Score: 8.0

Cyclone |Known Unto God |High Roller Records

Release Date February 6^th, 2026
Format CD/LP/Digital
Genre Thrash Metal
Country Belgium

The roots of Cyclone from Belgium, who eventually became one of the most popular European thrash metal bands, go way back to 1981. They were originally formed in Aalst under the name of Centurion. As their music was getting harder and harder, it was decided to use a more cutting-edge moniker. A variety of demos was recorded before Cyclone signed a deal with Roadrunner Records where they released their now legendary debut album "Brutal Destruction" in 1986. This was followed by "Inferior To None" on Justice Records in 1990. After that, the band disbanded. Ending a long hiatus, Cyclone decided to reform in 2018 and has appeared live regularly since then (playing on their own or at prestigious festivals like Headbangers Open Air in Germany). Now, High Roller Records releases Cyclone’s comeback mini album "Known Unto God", with five brand-new compositions.

It has been thirty-six years since Cyclone dropped new material, and usually, when a band returns after three decades, it ends in embarrassment. That is absolutely not the case here. "Known Unto God" is a massive kick in the teeth that proves these Belgians still have plenty of fire in the tank. The energy here rivals their output from the mid-80s, screaming with aggression and speed. High Roller Records picked up a winner here, as this EP delivers pure, unadulterated thrash metal without any modern nonsense or digital trickery ruining the vibe.

The guitar work from Maxime Deschamps and Jesse Van Den Bossche drives this release. They churn out riffs that demand you bang your head until your neck snaps. It sounds loud, rude, and aggressive. The production strikes a great balance, keeping the dirt and rawness of the 80s intact while ensuring the drums and bass punch through the speakers. Guido Gevels sounds fantastic on the mic, spitting out lyrics with venom. The whole band plays like a unit that has been touring for years, locking in tight on every tempo change.

One distinct aspect of this release is how it incorporates classic heavy metal influences from NWOBHM in tracks like "Nothing Is Real". It adds a layer of melody and structure that keeps the speed from becoming monotonous. The songwriting is smart, keeping things memorable and catchy while maintaining high velocity. It is refreshing to hear a thrash band that remembers how to write actual songs instead of just stringing fast parts together.

This mini-album is a serious statement. Twenty minutes of music flies by instantly, leaving you reaching for the replay button immediately. If this is just a teaser for a full-length album down the road, then the European thrash scene is in for a treat. Cyclone has returned to reclaim their territory, and "Known Unto God" is the weapon they are using to do it. Dig it, crack a Belgian beer, and play it loud.

Score: 8.3

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Frozen Ocean |Askdrömmar |Apocalyptic Witchcraft

Release Date February 13^th, 2026
Format CD/Cassette/Digital
Genre Depressive Rock, Atmospheric Black Metal
Country Russia

Vaarwel is the maniac behind Frozen Ocean, and he has been churning out strange musical trips for over twenty years now. He has taken us everywhere from the cold void of deep space to the fantasy worlds of Tove Jansson and through the sagas of Norse mythology. The guy has a massive catalog, and he usually handles everything himself, vocals, guitars, bass, keys, the works. With "Askdrömmar", he is back, but this time he is leaving the cosmos and the forests behind to drag us kicking and screaming into the filthy, neon-lit belly of the city. It is a concept album inspired by the writings of John Ajvide Lindqvist, focusing on the urban sprawl as a hungry, living entity.

The first thing that hits you when you spin this album is a serious Master's Hammer vibe, and I mean that as a massive compliment. It has that same eccentric, cult black metal aura where the grimness meets a weird, almost theatrical catchiness. It isn't just standard depressive black metal, it has character and swagger. The way Vaarwel uses keys alongside the rasping vocals creates a specific, twisted atmosphere that reminds me of those Czech legends at their peak. It is quirky, dark, and heavy all at once. The music doesn't just sit there, it marches forward with a distinct personality that separates it from the hordes of bands copying the same old suicidal formulas.

Musically, "Askdrömmar" blends depressive rock with atmospheric black metal in a way that actually keeps your attention. The tracks are catchy, driven by strong melodies and a gothic doom undertone that works perfectly with the urban nightmare theme. The choice to write the lyrics entirely in Swedish, tipping the hat to bands like Lifelover, adds a layer of cold alienation to the whole package. You don't need to speak the language to get the point; Vaarwel's voice communicates the dread of wandering through empty streets at 3 AM perfectly. The production lets the instruments breathe without killing the raw emotion, and the keyboards, in particular, do a great job of painting those flickering streetlights against the darkness.

This album holds together incredibly well as a complete listen. It pulls you down the "moon road" and through the labyrinth of the city without any dull moments. The gothic touches and the driving rhythms make sure you are headbanging just as much as you are soaking in the gloom. It is hypnotic stuff. Vaarwel has really stepped up his game here, delivering what is easily the strongest Frozen Ocean release I have heard in a long time. It is dark, it is catchy, and it has enough attitude to stand tall in a crowded genre.

Score: 8.0

 https://www.facebook.com/frozenoceanrus

https://apocalypticwitchcraft.co.uk/

Temptress |Hear |Blues Funeral Recordings

Release Date January 23^rd, 2026
Format LP/CD/Digital
Genre Doom/Drone/Post Rock
Country USA

Dallas-based trio Temptress isn't interested in playing by the rules of any single subgenre. Founded in 2019 by road-tested veterans Andi Cuba, Kelsey Wilson, and Christian Wright, the band bypassed the usual growing pains, dropping their debut EP just five months after their first jam. Since then, they've been relentless, racking up over 200 shows alongside heavy hitters like Eyehategod and Khemmis. After a solid full-length debut in 2023, they’ve joined the Blues Funeral Recordings roster to drop their latest evolution, "Hear".

"Hear" is a weird, loud beast that mashes together drone, noise, and grunge without sounding like a mess. It’s got that "Tripolar" energy the band talked about, where everyone throws their soul into the pot. You get these massive hooks that actually stick, paired with grooves that sound like they’re trying to tear themselves apart. It’s a step up in terms of songwriting, keeping that raw power they developed on the road while letting the melodies actually do some damage.

The vocal trade-offs between Andi, Kelsey, and Christian give the songs a layer of dirt that most three-pieces lack. When "Narrows" or "These Walls" get going, the chemistry is obvious. They aren’t just playing over each other, they’re locked into a specific kind of chaos. It’s got a bit of that Heavy Temple or Hippie Death Cult vibe, but with a meaner, dissonant edge that keeps things from getting too predictable or pretty.

There are moments where the drone elements take over, and you just have to sink into the noise. "Downfall" and "Now Or Never" are prime examples of how they use volume to create an atmosphere that isn't just about being the loudest person in the room. It’s a solid, heavy-as-hell offering that proves Temptress is one of the most hardworking acts in the underground right now. If you want something that bridges the gap between a garage jam and a massive doom session, this is it.

Score: 7.0

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Ernte |Der Schwarzen Flamme Vermächtnis |Purity Through Fire

Release Date February 13^th, 2026
Format CD/LP
Genre Black Metal
Country Switzerland

Ernte is the brainchild of Häxär, a guy who spent two decades messing around with dark ambient and graphic arts before deciding he needed to get back to the sonic filth of his youth. In 2020, he dragged Askahex into the fold, she’s got some serious pedigree from the doom scene with Ashtar and shEver, to handle the bass, violin, and those throat-shredding vocals. After a couple of albumns and a live debut in late 2023, these Swiss misanthropes have clawed their way to a fourth full-length. They claim to hate the modern world, and honestly, the music sounds like they’re ready to watch it burn while they sip something strong in the Alps.

The new offering, "Der Schwarzen Flamme Vermächtnis", is a war-driven beast that sounds like a serrated blade dragged across a frozen lake. It’s got this "sparkling filth" production where everything is shredded and raw, yet you can hear every agonizing detail of the guitars. Ernte doesn't hide behind a wall of noise; they use a fierce, metronomic speed that reminds me of the early Dødheimsgard era where the cold wasn't just a vibe. The songwriting is hateful and aggressive, delivering a specialized brand of Swiss hostility that refuses to play nice with current trends.

Askahex is a force of nature on this album, delivering vocals that sound like they were ripped from a throat filled with glass. Her history with the violin adds a layer of grim atmosphere that isn't there to be pretty, it’s there to add tension to the wreckage Häxär creates with his riffs. Tracks like "Warrior Of The Black Flame" and "Lord Of Ascending Flame" are unrelenting, showing off a level of speed and aggression that puts most of the "traditional" clones to shame. The sound is dry, lethal, and focused on total devastation.

If you’re looking for something that bows to the hollow progress of 2026, keep walking. This album is a middle finger to a sickened society, built on values of fire and blood. It’s an authentic, biting piece of true Helvetic black metal that stays locked into a grim, anti-modern philosophy. Ernte has delivered an album for the fanatics who want black metal to sound like a natural disaster devouring mankind. It’s cold, it’s fast, and it’s genuinely pissed off.

Score: 7.5

www.purity-through-fire.com

www.facebook.com/ernteblackmetal

Voidhämmer |Noxious Emissions |Caligari Records

Release Date  January 9^th, 2026
Format Cassette
Genre Death Metal, Grindcore
Country USA

Born from the filth of the Los Angeles underground, Voidhämmer is a power-trio featuring members of Swampbeast and Crematory Stench. They aren't interested in being your friend or making something pretty. This crew specializes in a vile, chaotic blend of crust, death metal, and grindcore designed to sound like the end of the world. By tapping into raw, buzzing entropy, they’ve managed to create a debut that sounds like it was dragged out of a shallow grave.

This demo, "Noxious Emissions", is a nasty piece of work. From the second "Rotting In Excrement" starts, it’s clear these guys aren't messing around with any clean production or technical wankery. It’s got that thick, disgusting tone you’d expect from fans of Coffins or Incantation. The guitars have a disgusting buzz to them, and the vocals sound like someone choking on their own bile. It’s ugly, mean, and exactly what death metal should be when it's stripped down to the bone.

The drumming on "Cadaveric Bloat" and "Phospherized" keeps things ugly and fast, hitting those grindcore speeds before dropping back into a miserable, mid-tempo crawl. There is a real sense of filth here, it’s the kind of music that makes you want to take a shower as soon as the tape stops spinning. They’ve captured a primal horror that’s missing from a lot of modern, over-produced garbage. "Coffin Leakage" closes the demo out with enough disgusting energy to leave you wanting more, even if the world is ending.

If you worship at the altar of Disrupt or want your metal to sound like a literal cosmic hellscape, this is for you. It’s a quick, sharp shock of total inhumanity. The production is swampy and gross, which is perfect for a Caligari Records release. It’s a solid debut that shows Voidhämmer has the right idea when it comes to making noise that is genuinely terrifying and sick. Grab a beer, crank this loud, and watch the world burn.

Score: 7.5

 

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https://voidhammerdeath.bandcamp.com/album/noxious-emissions

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The Eternal |Celestial |Reigning Phoenix Music

Release Date January 16^th, 2026
Format CD/Vinyl/Digital
Genre Gothic Metal
Country Australia, Finland

Born from the bleak fusion of Melbourne’s gloom and Helsinki’s frost, The Eternal has evolved into a heavy-hitting international force. After the massive reception of "Skinwalker" back in 2024, the core duo of Mark Kelson and Richie Poate kept the momentum rolling by locking in the Finnish rhythm section of Niclas Etelävuori and Jan Rechberger. This lineup isn't just a random collection of names; it’s a veteran crew that bridges the gap between atmospheric gothic vibes and crushing doom, carving out a space that sounds like a funeral in a cathedral.

After "Skinwalker," these guys had set the bar higher. "Celestial" doesn't mess around. It hits with a thick, suffocating atmosphere that keeps the "Gothic" tag honest. The production is massive, giving the riffs enough space to bleed without losing the punch. Kelson’s vocals are as mournful as ever, and the addition of the Amorphis pedigree in the rhythm section provides a solid, punishing foundation. It’s a gloomy trip that rewards anyone who actually wants to sit down and listen to the music instead of just having it on as background noise.

The songwriting on tracks like "Celestial Veil" and "Casting Down Shadows" shows a band that isn't scared to let a melody hurt. They’ve managed to capture that specific brand of misery that fans of Swallow The Sun or Katatonia live for. There’s a lot of shadow here, but the melodies are strong enough to keep the whole thing from sinking into a total black hole. It’s heavy, it’s depressing, and it sounds massive through a pair of decent headphones.

That said, calling it an EP feels a bit modest given the length of these compositions. "It All Ends" and "Bleeding Into Light" pack more ideas into five minutes than most bands manage in an entire career. The updated version of "Everlasting MMXXVI" is a nice touch for the long-time fans, showing how much this current lineup has beefed up the old-school sound. It’s a strong, focused release that keeps the fire burning until the next full-length drops.

Score: 7.8

The Eternal:

Facebook | https://www.facebook.com/TheEternal

Instagram | https://www.instagram.com/theeternalofficial/

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TikTok | https://www.tiktok.com/@theeternalofficial

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Sacrilege | Behind The Realms Of Madness |High Roller Records (Reissue/Remastered)

Release Date 23.01.2026
Format MLP
Genre Punk/Thrash Metal
Country United Kingdom

Sacrilege formed in Birmingham in 1984, right where soot, tension and working class anger were still thick in the air. Fronted by Tam on vocals, alongside Damian on guitar, Tony on bass and Andy on drums, the band came out of the same underground pressure cooker that bred Discharge, English Dogs and Broken Bones. Early demos circulated fast in punk and metal circles, leading to a deal with Children Of The Revolution Records and the recording of six tracks that would become “Behind The Realms Of Madness”. The band barely played any shows, promotion was minimal, yet word spread hard and wide. This album travelled on tape trades, word of mouth and pure reputation, turning Sacrilege into a cult name long before cult status was fashionable.

"Behind The Realms Of Madness" is a total neck-breaker that proves you don't need a million notes to sound dangerous. From the moment "Lifeline" kicks in, the aggression is disgusting. Tam’s vocals are pure venom, sounding more menacing than most of the guys fronting bands in 1985. There is no glossy production here to hide behind, just pure, filthy energy. Songs like "Shadow From Mordor" and "At Death's Door" show off Damian's talent for writing riffs that bridge the gap between a Discharge basement show and a Metallica arena.

The mix of styles on this album is what makes it a mandatory listen for any self-respecting metalhead. You can hear the doom influences creeping into the faster thrash tempos, creating a sound that is heavy as hell. "A Violation Of Something Sacred" and "The Closing Irony" are grim, politically charged anthems that haven't aged a day. The drumming is relentless, and the bass tone has that perfect metallic clang that defines the mid-80s UK underground.

It is easy to see why this sold tens of thousands of copies back in the day with zero promotion. "Out Of Sight, Out Of Mind" closes things out by leaving you wanting to smash your head against a wall. This isn't some polite trip down memory lane; it is a reminder that Sacrilege was the undisputed kings of the crossover sound. If your collection is missing this, you aren't playing the game right. It is loud, it is ugly, and it still shreds.

Score: 8.0

https://www.facebook.com/sacrilegeofficial

D.A.M. |Inside The Wreckage |Dissonance Productions

Release Date January 30^th, 2026
Format 2CD Deluxe Edition
Genre Thrash Metal
Country United Kingdom

    D.A.M. (Destruction And Mayhem) roared out of Morecambe in the mid-80s, eventually catching the eye of Noise Records. Managed by the legendary Paul Loasby and sent to Hannover to record with Harris Johns, they had the pedigree to lead the UK thrash charge alongside Sabbat and Xentrix. They even shared stages with Candlemass and Dark Angel at the Hammersmith Odeon, leaving behind a legacy that ended far too soon when the global metal climate shifted in the early 90s. This "Inside The Wreckage" collection pulls their two studio albums into one package for anyone who misses when the UK scene actually had teeth.

"Human Wreckage" is a nasty, high-speed assault that shows why these guys were hyped. Songs like "Death Warmed Up" and "Total Destruction" are pure neck-snapping material. Harris Johns gave them a production that sounds like a rusted blade, fitting for a band that didn't care about being pretty. It is fast, aggressive, and captures that specific 1989 energy where the riffs were designed to cause as much chaos as possible in a small club.

The second disc, "Inside Out", shows a band that actually learned how to write songs without losing their edge. It is more technical and "Man Of Violence" or "Thought For The Day" prove they were getting better at their craft. They traded some of the raw speed for better structures and a darker atmosphere. It is a shame the industry moved on, because "Inside Out" had enough quality to compete with the big American imports of that era.

If you want a history lesson in British thrash that actually kicks ass, this is it. You get the debut, the more refined follow-up, and some bonus tracks like "Aliens" to round it out. The liner notes and photos from Mark Freebase add the right kind of context for a band that should have been massive. D.A.M. was a ferocious outfit, and having both albums in one place is a win for anyone who still wears a denim vest.

Score: 8.3

https://www.facebook.com/DAMmetal

https://www.facebook.com/DissonanceProductionsUK

Funeral Home | My Kingdom Is Hell |Inverse Records

Release Date January 16^th, 2026
Format Digital/CD
Genre Death Metal
Country Finland

Hailing from the frozen streets of Kuopio, Funeral Home has been lurking in the underground since 2009. These Finns aren't interested in the fancy, over-produced garbage that clogs up the airwaves. They’ve spent over a decade refining a sound that bridges the gap between old-school filth and that classic death 'n roll swagger. After years of building their name, they’ve finally vomited up their debut full-length, "Your Funeral", via Inverse Records to show the world what Finnish grime sounds like.

The heart of this beast is the single "My Kingdom Is Hell", and if you can't tell by the title, it’s a middle finger to the weak. The track is a tribute to Lemmy Kilmister, and it carries that Motörhead spirit through a meat grinder of death metal riffs. It’s fast, it’s ugly, and it stays true to that "49% motherfucker, 51% son of a bitch" attitude. They aren't trying to be poets here they just want to kick your teeth in with a heavy groove.

Musically, the album stays simple and effective. Funeral Home understands that death metal works best when it isn't overthinking things. The songs on "Your Funeral" rely on straightforward structures and melodies that sound like they were dragged out of a damp crypt. Ossi Maalampi’s vocals provide a rough, guttural edge that fits perfectly over the dual-guitar attack of Henri Ojala and Henri Thitz. It’s a relentless wall of noise that favors a raw, unrefined sound over any modern production tricks.

"Your Funeral" is a solid slab of aggression for anyone who misses when metal was just about loud guitars and a bad attitude. The rhythm section of Juha Korhonen and Jouko Poussu keeps the tempo steady enough to bang your head until your neck snaps. It’s a dirty, honest debut that respects the legends while carving out its own path in the Finnish scene. If you want something that sounds like a graveyard party, this is it.

Score: 7.5

 Links:

https://www.facebook.com/funeralhomeofficial

Diespnea |Radici |Code666

Release Date February 13^th, 2026
Format CD/LP
Genre Avant-Garde/Black Metal
Country Italy

Diespnea started back in 2014 as a solo outlet for Wolke before morphing into a two-man operation with Anxitudo around 2019. They dropped their first full-length "Pneuma" in 2020, which stayed closer to the atmospheric black metal playbook. For this new one, "Radici", they decided to trash the standard blueprints. The band handled every bit of the recording and mixing themselves to keep the sound from getting castrated by some outside producer who doesn't get their vision. They’re tapping into a vibe that’s less about frozen forests and more about the sun-scorched, dusty rot of a Mediterranean wasteland.

If you’re looking for another "Transilvanian Hunger" clone, keep walking. "Radici" is a weird, jagged trip that trades the typical snowy mountains for a blistering, arid hellscape. It’s got that unstable energy you’d expect from fans of "666 International" era Dødheimsgard, where the riffs don't just tremolo-pick you to death, they twist and turn in ways that make your skin crawl. The production is raw and lacks any of that digital sheen that ruins modern metal, giving the whole thing a grit that mirrors the dry, rocky ground the lyrics obsess over.

The songwriting on "Radici" is pretty damn fearless. You can tell these guys stopped caring about what a black metal band is "supposed" to do. Tracks like "L'Abbraccio Del Serpente" and "Mescalynia" bring in a level of dissonance and strange timing that makes the music feel like it’s warping under the heat of a desert sun. It isn’t always easy on the ears, and it shouldn't be. The vocals are caustic, and the way the analog dirt mixes with the digital tinkering creates a tension that stays sharp through the whole runtime.

This isn't a perfect album, as some of the experimental parts can get a bit indulgent, but the attitude is 100% there. It’s an ugly, honest, and dusty piece of work that actually has a personality of its own. It’s rare to find a band that can step away from the northern clichés and make something that smells like burnt earth and ancient, forgotten rituals without sounding like a total mess. For a second album, Diespnea are definitely carving out a very strange, very specific corner of the underground for themselves.

Score: 7.5

Diespnea

https://diespnea.bandcamp.com/

https://diespnea.com/

https://www.instagram.com/diespnea/

Aural Music / Code666

https://www.auralmusic.com/

https://auralmusic.bandcamp.com/

https://www.facebook.com/auralmusicgroup/

https://www.instagram.com/aural_music/

Rave In Fire |Square One |High Roller Records

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

Rave In Fire is a pack of heavy metal addicts from Madrid who have been grinding since 2015. After their 2022 breakout "Sons Of A Lie" put them on the map, they finally made it to the stage at Trvheim in Germany to show the underground what they’re made of. Now they’ve teamed up with High Roller Records to drop their second full-length, handled almost entirely by their guitarist Jonjo Negrete. They’ve trimmed down to a four-piece, and you can hear that shift in how the music hits your ears this time around.

"Square One" is a meaner, more experimental beast than what these Spaniards have done before. Moving from a twin-guitar attack to a single-axe lineup has forced the bass and drums to step up and take over the empty space. It works. The songs aren't just standard throwback worship; they’ve added some thrashy edges and speed metal sections that keep the energy high. Sele’s vocals lead the charge with a style that reminds me of Leather Leone in her prime, giving the whole thing an aggressive, old-school bite.

The tracks "Dark Poison" and "Knightwalker" are pure headbanging fuel, blending that classic 80s Scorpions vibe with the dark, heavy atmosphere of Dio. Then you’ve got "Speed And Rave," which is a total neck-snapper. They aren't just playing it safe with the traditional metal playbook anymore. The title track "Square One" gets pretty wild for an ending, throwing in some progressive touches that show they’ve been practicing more than just their power chords.

This is a self-produced middle finger to anyone who thinks traditional metal is dying. The production is raw and honest because they did it all themselves at California Studios. It’s got that authentic Madrid dirt on it, inspired by the legends like Barón Rojo but pushing into a more technical territory. If you want your metal loud, fast, and Spanish, Rave In Fire is delivering the goods right now.

Score: 8.0 

https://www.hrrecords.de

https://www.facebook.com/hrrecords

https://www.instagram.com/highrollerrecordsofficial

https://www.facebook.com/raveinfire

https://www.instagram.com/raveinfire