Release Date
March 27th, 2026 Format CD/Cassette Genre Death
Metal Country
Germany
Hailing from
Germany, Barbaric Oath consists of the duo G. And L., individuals who
have operated in the underground trenches alongside Into
Coffin, Nekus, and Putridarium. They fired their first shot in 2024 with
a demo named "Attack! Attack! Attack!". Fast forward to now, they
arrive with their debut mini-album via Caligari Records,
bearing the title "Sword, Sorcery, Vengeance".
This release channels a specific
kind of old-school fantasy destruction. You get twenty-one minutes of audio
violence heavily inspired by vintage role-playing games like Heroquest alongside bloody fantasy movies from the
seventies and eighties. The guitars churn out massive, primitive riffs
recalling the early days of Bolt Thrower, mixed
with the hostility of Finnish acts like Belial
and Mythos.
"Sword, Sorcery,
Vengeance" unleashes five songs of absolute sonic warfare. The drums pound
relentlessly, driving the momentum forward like a spiked club to the skull. The
duo pile on the distorted tremolo picking and monstrous guttural vocals,
building a totally brutal and vicious soundscape. "Crom Cult" and
"Bestial Witchery" deliver prime examples of this skull-battering
hostility. The songwriting stays totally focused on aggression, serving up
heavy blows and ignoring any technical wankery.
The production comes off suitably
raw, matching the caveman aesthetic perfectly. The mix favors the low end,
keeping the guitars thick and the bass booming. "Sword, Sorcery,
Vengeance" brings a highly satisfying dose of fantasy death metal to the
table. It provides enough skull-crushing material to keep headbangers returning
to the bloody battlefield for another round.
Release Date February 20th, 2026 Format CD Genre Blackened Doom Metal Country Italy
Dwellnought crawled out of Varese, Italy back in 2023, dragging a metric ton of
auditory filth with them. They spawned in the shadows, crafting a vile
concoction of devastating doom foundations rotting beneath bleak, blackened
skies. "Monolith Of Ephemerality" is their debut full-length offering
via Caligari Records, serving as an immense,
suffocating plunge into cosmic terror. These Italians bring an archaic, ruinous
rumble to the table, expanding into horrifying auditory territories akin to the
most depraved underground acts roaming the abyss.
The noise puked up on "Monolith
Of Ephemerality" is pure, unadulterated annihilation. Gigantic, punishing
riffs violently crash into venomous undercurrents, constructing an
overwhelmingly hostile hellscape. Towering waves of sonic terror smash against
agonizingly slow tempos. Dwellnought
orchestrates a terrifying vortex of sound that systematically erodes sanity. It
operates as a harrowing descent into absolute darkness, dragging the listener
down a bottomless, horrifying void of total destruction.
Songs like "The Final Desire Is
Unbeing" and "Crystalized Flesh Identities Condensed Into Wombs Of
Matter" drag the listener through a horrific marriage of audio obliteration
and cosmic dread. Guitars violently drone and wail, while the percussion
constantly pounds like rusty nails into a wooden coffin. Vicious snarls echo
from the abyss, completing the traumatic ordeal. Dwellnought
delivers a thoroughly crushing execution of extreme metal. They pummel the
skull with relentless hostility.
"Monolith Of Ephemerality"
delivers pure, unfiltered auditory violence. Dwellnought
executes their vision with total brutality and relentless aggression, hammering
a singular, rusted nail into your skull. The album demands attention through
sheer sonic force and total malice. It is a harsh, uncompromising trip into
madness.
Release Date February 20th, 2026
Format CD
Genre Death/Black Metal, Hardcore Punk
Country Russia
The heavy
metal underground has always had a soft spot for the weirdos, and Brahmashiras definitely fits the bill. These guys
crawled out of Vladimir, Russia, back in 2023 with a self-titled EP that
confused and crushed people in equal measure. They took the grime of hardcore
punk and shoved it into a meat grinder with death metal, coming out with
something that felt like an old-school grindcore attack but with the ego of a
heavy metal power trio. They gained a cult following fast because they didn't
sound like everyone else trying to copy the Florida scene.
Now they’ve returned with
“Trinitite”, and it’s clear they haven't spent the last two years playing nice.
This full-length debut is a massive step up in terms of pure hostility. While
the EP was a bit more stripped back, this new album is a restless, vibrating
mess of aggression that clocks in at twenty-six minutes. It’s got a much
stronger blackened edge this time around, sounding like a band that’s genuinely
pissed off at the world. The production is thick and loud, capturing the raw,
spiteful vocal bark and the chaotic riffing without making it sound like a
muddy basement tape.
The execution on songs like “Deadly
Arrow” and “The Sudlica Of Khton” shows a band that has tightened their grip on
their instruments. It’s abrasive as hell and built specifically for the people
who want their music to hurt a little bit. The transition from the more
punk-influenced roots into this vengeful, blackened death metal hybrid is
seamless. The drums pound away with a savage energy that keeps the seven-song
run moving at a breakneck pace, never slowing down long enough for you to catch
your breath.
There is a real sense of
enlightenment through violence here, matching that strange invitation they give
about the "womb of desire." Brahmashiras
has maximized their potential by leaning into the red and keeping the attack
constant. It’s a calculated escalation of everything they did before,
delivering a crushing blow to anyone who thought their first EP was a one-time
deal. If you want something that sounds like a hungry beast tearing through the
cage, this is the one to blast until your ears bleed.
Release Date January
30th, 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.
Release Date January 9th, 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.
Moral Implant is a death metal band formed in October 2017, built on a shared need to
fuse extreme sounds into something dark, confrontational, and hostile to
comfort. The trio work from personal principles, channeling aggression and
psychological tension into music that rejects trends and easy formulas. Their
debut EP arrives as a focused statement of intent, grounded in opposition,
inner collapse, and the mechanics of control.
“Delusion” presents Moral Implant as a band obsessed with pressure and
unrest. The music surges through a narrow corridor of aggression, where death
metal violence collides with blackened hostility and grindcore urgency. The
riffs twist and scrape, the pace shifts without warning, and the overall sound
stays oppressive and confrontational. There is a strong emphasis on angular
movement and unstable rhythm, giving the EP a restless character that mirrors
its themes of psychic fracture and ideological decay.
The songwriting
focuses on constant motion and escalation. Sections collide, recoil, and
realign, building tension through repetition and abrasion. Solos cut through
the chaos in scorched fragments, adding disorientation instead of release. The
production favors raw force over clarity, keeping everything close and
suffocating, which reinforces the EP’s hostile atmosphere without smoothing the
edges. Lyrically, “Delusion” attacks organized belief systems and all forms of
imposed authority. The words circle around destruction, control, and spiritual
manipulation, presented as symptoms of a long, ongoing collapse. This thematic
focus ties closely to the music’s aggression, forming a unified expression of
resistance and refusal. The EP communicates anger that is human and flawed, not
abstract or distant.
“Delusion” works as a
compact release that delivers intensity without dilution. It leaves a strong
impression through its focus on unrest and violence, even if some ideas could
evolve further over time. As a debut, it establishes Moral
Implant as a band committed to confrontation and inner darkness,
offering a harsh and uncompromising listen that aligns well with its
underground ethos.
Elsinore is a fresh banner raised by Giorgio Trombino, a long serving figure in the
Italian underground who has already left fingerprints through Assumption, Bottomless,
Shrieking Demons, Haemophagus,
Undead Creep, Thysia, and a long list
of related projects. The idea for Elsinore surfaced
during a Denmark tour in 2025 while Trombino was
deep into Hamlet, and the name reflects the English form of Helsingør. With
this new outlet he returns to the earliest strain of death metal, the kind that
erupted in the late eighties with Death, Vampire, Repugnant,
and Death Breath. “The Vengeful Ghost,
Tombstone Hex” arrives through Caligari Records on
7 inch vinyl and presents the project in its first raw blast.
The EP
wastes no time showing its intentions. The sound is crude, serrated, and
charged with the kind of dirt you only get from someone who has spent years
digging into the roots of the genre. Trombino handles
the recording and mixing himself, and that do it yourself approach gives the
music a lived in character, gritty without slipping into parody. The guitar
tone is like a rusted saw, the vocals claw their way forward, and everything
comes together with the sort of immediacy that suits a two track release with
zero padding.
“The
Vengeful Ghost” lunges forward with a classic death metal stomp, built around
riffs that rotate with simple, violent rhythm. It is energetic and compact,
shaped for impact rather than ornament. “Tombstone Hex” goes straight for the
throat, shorter and more manic, almost like a bar fight captured on tape. The
two songs complement each other well, one leaning on weighty churn, the other
attacking with frantic motion.
What makes
the EP work is the honesty in the delivery. There is no glossy coating, no
attempt to hide raw edges. It sounds like a musician feeding off the same spark
that ignited early demo era death metal, and that spark returns here with
satisfying force. The release is brief, although that brevity suits this
project, since the music lands quickly and leaves a strong aftertaste.
Elsinore starts
their journey with something blunt, direct, and full of dirt under the
fingernails. It is not aiming for sophistication, it is aiming for impact. As a
first statement it succeeds, and if the upcoming full length expands on this
foundation, the project could become one of the more exciting throwbacks in the
Italian underground.
Burning Death rose from Nashville in 2021, a city
not exactly known for hellfire riffs, but these three arrived to correct that. Ethan Rock, Jerry
Garner and Gore come from the local
underground, carrying years of noise, sweat and underground scars. Their path
together is built on raw thrash, drenched in anti-religious fury and sharpened
by influences from classic Teutonic destroyers, the early savagery of Slayer, the wild spirit of Sabbat from Japan and the feral chaos that South American bands
have been throwing at the world for decades. Their music is a straight
invitation to violence on a spiritual level, stripped of modern sugarcoating
and played with a hungry, hostile attitude.
“Burning
Death” lands fast and mean, the way a debut from a band with this mindset
should arrive. The album sticks to a simple idea, thrash that strikes hard,
with riffs that bite immediately and vocals that sound drenched in venom. The
trio keeps the energy high from the first second, no hesitation, no gentle
introduction, just a steady assault that keeps pushing forward.
The guitar
work has that classic late-80s cruelty, sharp edges everywhere, with a few
sudden falsetto eruptions that give the songs extra madness. Ethan Rock and Jerry
Garner fire riff after riff with a kind of wild joy, the kind that comes
from musicians who know exactly what they want to unleash. Gore’s drumming stays on constant attack mode,
hitting with that old underground spirit, dry and punishing.
Production
is rough in the right way, keeping the aggression intact while staying
readable, nothing buried, nothing turned into mud. It matches the band’s
personality, direct and violent. There is no grand concept behind the album,
simply eight tracks of pure hate, delivered with speed and fury. The whole
thing runs tight and quick, which actually helps the impact. You finish the
album and the instinctive reaction is to spin it again. It has that kind of
punch, the kind that makes the half hour feel like a fireball.
The band
clearly thrives on chaos and blasphemy, and they sound alive inside it. There
is no softness anywhere here, no attempt to soften the blow. It is a debut that
doesn’t try to win you over politely, it just storms the place and dares you to
keep up. Fans of old-school extremity will find plenty to enjoy, and newcomers
who want to explore the more savage corner of thrash will get a very clear
introduction. And at the end of the listen, the album delivers exactly what its
name promises, pure Burning Death energy,
nothing more, and sometimes that is all an extreme metal release needs to hit
the spot.
Moral Implant started in 2017 as three friends
from Poland who wanted to carve their own corner in extreme metal. Their idea
was simple, dark power with no sugarcoating and no trend chasing. The band
talks openly about creating from instinct, exploring the darker corridors of
human mind and spirit, and rejecting every form of oppression. Their approach has
a raw honesty that many groups claim, but few manage to carry through.
“Delusion”
arrives as their debut EP under Caligari Records and
serves as a compact showcase of their vision. The music hits with a constant
rush, with death metal as the spine, blackened aggression bleeding through the
edges, and bursts of grind intensity cracking the surface. The tempo keeps the
listener on alert, always shifting into new attacks that sound spontaneous but
clearly come from a unified direction. Guitars twist into jagged patterns,
throwing sudden angular shapes that sound unhinged in a good way. Solos cut
through with a burned out, scorched quality, giving the songs a slightly
deranged flavor.
The vocals
act more as a declaration than simple delivery, harsh and confrontational with
a tone that matches the band’s lyrical intent. Their themes strike against
religious dominance and systematic suppression, handling these topics with
sharp, direct wording. The music supports that stance, aggressive in a manner
that feels human and stormy rather than calculated. This EP is built on
tension, constant pressure, constant movement.
The overall
sound is gritty but in a way that reminds the listener this is a band that
wants dirt on its hands. The mix leaves enough space for each part to punch
through without turning into chaos. Drums hammer through steady blasts and
sudden snaps, always pushing the songs forward. The guitar and bass tone stays
thick, almost swampy, which gives the EP a low end that rattles through the
whole listen.
“Delusion”
sits comfortably in the realm of aggressive underground metal, with enough
personality to give Moral Implant a solid
identity right from the start. It brings the kind of intensity that leaves the
listener with a sense of raw confrontation. The EP shows a group that knows
exactly what they want to project, and they channel it through speed, heaviness
and a mental spiraling atmosphere. Anyone drawn to extreme metal that remains
unfiltered will find this release worth exploring.
Formed back in 2001 by the duo Dagfari Wartooth and Sceot
Acwealde, Bretwaldas Of Heathen Doom is
one of those British underground curiosities that refuse to fade into
obscurity. They emerged from the shadows of the West Midlands with a sound
drenched in ancient folklore, battle smoke, and ale-soaked pagan spirit. Their
music stands somewhere between the primal heaviness of Amebix
and the cosmic grit of Hawkwind,
merging raw doom metal with rough-edged storytelling. “Seven Bloodied
Ramparts,” first released in 2010 and now finally pressed on vinyl by Caligari Records, remains their most defining
work, a strange and stubborn monument to rustic heaviness and weird English
heritage.
This album
doesn’t rush to impress. It trudges, stumbles, and sways like an armored drunk
at dawn, its riffs thick with earth and age. The production is dry and honest, no
gloss, no trickery, just guitars that rumble like stone wheels and drums that
sound as if recorded in a damp barn. Vocals come in rough chants and
half-growled verses, and that’s where the charm lies. There’s a sense of old
soil under the fingernails, a spirit of forgotten fields and rain-worn ruins.
“Seven
Bloodied Ramparts” walks the line between heavy metal’s heroic roots and a kind
of eccentric English doom. The songs move with a stubborn rhythm, sometimes
with slow, stomping menace, other times in a rough gallop that nods toward the
old days of Bathory and Pentagram. The lyrics speak of war, death, and
defiance, but always from the perspective of survivors who drink and laugh in
the aftermath, not conquerors basking in glory.
It’s easy
to see why this release gained cult status. It’s simple and strange in equal
measure, too stubborn to die and too personal to imitate. The new mastering
brings a bit more depth without taming the rough spirit that defines it.
Listening to it today, it still sounds out of step with everything else, a
dusty, unshaven artifact from a corner of British metal that refuses to clean
itself up. Not for everyone but for those drawn to the ancient, muddy, and
oddly poetic corners of heavy metal, “Seven Bloodied Ramparts” is a curious and
stubbornly alive piece of history.
Formed in 2020, Heteropsy
comes from Japan and share members with Frostvore.
While Frostvore go for the straight Swedish
death metal sound, Heteropsy describes their
approach as “mourning death metal,” combining the heavy buzz of the Boss HM-2
pedal with the slow, dragging sadness of doom. Their sound mixes the bleak
atmosphere of bands like Autopsy and Rippikoulu with the melancholy of Switzerland’s Sadness and the violent edge of early Naglfar. After several short releases, “Embalming”
marks their first full-length album, released via Caligari
Records.
The eight
tracks that make up “Embalming” run for nearly fifty minutes and are drenched
in distortion and decay. The guitars are tuned to sound like machinery from a
forgotten age, grinding and humming through every riff. The drums stomp along
with a ritualistic pulse, creating a sense of repetition that suits the
death-and-decay theme. The bass hums beneath everything, adding weight to the
already oppressive sound. The vocals are buried deep within a tomb, as an
instrument within the chaos.
The
production captures the old Swedish style in its filthiest form, but it’s
handled with enough clarity for every element to sit together without blurring
into chaos. The guitars dominate the mix, buzzing like a swarm of insects over
an open grave. There’s a kind of cold sadness in the melodies that crawl
through “Asphyxia” and “Memento Mori,” while “The Sodomizer” and “Seventh
Damnation” lean on more traditional death metal aggression. The closer, “Old
Friends,” stretches near ten minutes, moving between dirge-like tempos and
sudden eruptions of faster sections, giving the album a fittingly grim
conclusion.
“Embalming”
sounds like a tribute to the death-doom tradition that rose from the Nordic
underground in the 90s, filtered through the strange precision of Japanese
musicianship. The atmosphere is heavy, mournful, and unrelenting, and doesn’t
rely on experimentation. Instead, it locks into its chosen path and follows it
with discipline. The result is an album that drags the listener through its
world of rot and sorrow, one slow riff at a time.
For those
who appreciate their death metal thick, cold, and steeped in despair,
“Embalming” delivers exactly that. It’s not an album with deep analysis but that’s
absorbed in a dark room, where the sound of decay becomes something grimly
mesmerizing. Heteropsy’s debut is a solid release
from a band that clearly understands the bleak power of death and doom merged
into one mass.
