heavy-metal-darkness: Time To Kill Records

https://www.facebook.com/qwalen

Saturday, February 7, 2026

Qwälen |Veri Virtaa Edelleen |Time To Kill Records

Release Date March 6^th, 2026
Format LP/CD/MC/Digital
Genre Black Metal, Punk
Country Finland

Qwälen became what it is in 2017. The band members share a passion for playing music in its various raw manifestations and their band backgrounds include Kürøishi, Viimeinen Virhe, Letterbombs and Hoc Est Bellum among many others. Diverse background bleeds into Qwälen’s interpretation of black metal. Simplicity, rawness, speed and honesty. These values were present in the beginning and the same values still hold true. Lyrical themes in the first album focused on self-portrayal, dealing with loss, building anew along with finding alternatives in abandonment, misanthropy and Satan. The second album ponders the sheep-like nature of humanity, the inevitability of destruction, the acceptance of being faulted and surrendering to a greater force. The third album continues the path but also explores the musical roots of the north. More black metal than ever. More of something else entirely. Still cold and sharp. Instruments are held as true weapons and words emanate true power. Rottenness of our human reality, the abolition of our kings and gods, the normatively sinister path of brotherly violence. For Qwälen all of them mean nothing and yet all are everything. Blood continues to flow.

Finland has a nasty habit of spitting out bands that sound like they live in a dumpster fire, and Qwälen fits right in. With "Veri Virtaa Edelleen", these guys channel their punk backgrounds into a black metal framework without making it sound weird or disjointed. It is ugly, loud, and angry music for people who think the world is going down the drain. The energy here is kinetic. You can hear the hardcore influence in the drumming and the way the riffs chug along, but the atmosphere remains grim and northern.

The production on this third album keeps things grimy. Recording at Waiting Room with Mikael Neves paid off because the sound has enough crust on it to peel paint. It is not too lo-fi, but it definitely isn't trying to be radio-friendly. The guitars have that distinct buzzsaw quality that cuts through the mix, while the vocals sound like someone screaming from the bottom of a well. This sonic approach fits the themes of misanthropy and anti-religious sentiment perfectly. When they scream about dead gods, you believe them.

"Veri Virtaa Edelleen" maintains a consistent level of aggression. The band strips away any unnecessary fat, leaving only the essential parts of the song. There are no long, boring ambient sections to skip over. It is just straight-up violence from the first second. The songs invoke a desire to break furniture. The mix of d-beat rhythms and tremolo picking creates a wall of noise that serves its function well.

Ultimately, this is a record for the pit. It is music for drinking cheap beer and complaining about society. Qwälen delivers the goods without asking for permission. If you want something that sounds like a fistfight in a frozen forest, give this a spin. The blood flows, the headbanging follows.

Score: 7.5

https://qwaelen.bandcamp.com/

https://www.instagram.com/qwaelen/

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

Soul Of Anubis |Ritual |Time To Kill Records

Release Date 20.02.2026
Format LP/CD/MC/Digital
Genre Sludge/Doom Metal
Country Portugal

Soul Of Anubis is a power duo formed in 2010 from the North of Portugal. Their music is a blast on stage with ferocity of sound that goes from thrash to sludge, capturing doom and post-metal at same time, performing energetic and contagious live acts. With several concerts in the underground scene and festivals in Portugal and across borders, they created their own fan base and captured the most distracted of this genre, delivering to the public not only intense performances that provoke a certain magnetism, but that lead them to be outside of themselves.

It is always cool when two dudes make enough noise to sound like five. Soul Of Anubis brings a massive wall of fuzz on "Ritual" that proves you do not need a bass player if your guitar rig is loud enough. This is sludge metal that drags its knuckles on the ground. Hugo Ferrão handles the riffs and the screaming while Rui Silva beats the hell out of the drums. They stick to a formula that works for them, mixing slow, miserable doom sections with faster thrash beats when the energy needs a kick.

The band built this album around the idea of dying and coming back, inspired by Egyptian myths and personal loss. You can hear that struggle in the vocals. The screaming sounds like someone actually fighting off demons in the underworld. The songs have a darkness to them that matches the subject matter perfectly. It sounds angry and desperate. They channel the exhaustion and mental battles of the last few years into the riffs, making the whole thing feel heavy in more ways than just the tuning.

Getting Keijo Niinimaa from Rotten Sound on "Mind Crusher" was a smart move. His voice adds an extra layer of grime to the mix. The rest of the songs follow that lead without dropping the ball. They don't mess around with boring jams that go nowhere. These guys know when to speed up and when to let the feedback ring out. The tracks fit together well to tell that story of going down into the darkness and clawing your way back out to the light.

"Ritual" is a cool release for anyone who digs heavy, down-tuned music. It has plenty of aggression and a dark atmosphere that sticks with you. Soul Of Anubis delivers the goods without trying to be something they are not. It is a loud, angry album that serves as a fitting soundtrack for bad days. If you like your metal raw and full of hate, give this a spin.

Score: 7.5

https://www.facebook.com/soulofanubis/

https://www.instagram.com/soul_of_anubis/

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

https://soulofanubisband.bandcamp.com/album/ritual

Monday, January 26, 2026

Overtoun |Death Drive Anthropology |Time To Kill Records

Release Date Feb 13^rd, 2026
Format LP/CD/MC/Digital
Genre Death/Thrash Metal
Country Chile, USA

Overtoun is a death/thrash band based between Santiago, Chile, and Boston, MA, fusing the rich musical heritage of Latin America with the complexity and aggression of technical death metal. Founded by Agustín Lobo and Matías Bahamondes, the band solidified its lineup with Yoav Ruiz-Feingold (Atheist, Graviton) on vocals and Matías Salas on bass. Their discography includes two full-length albums: "Centuries Of Lies" (2018), and "This Darkness Feels Alive" (2021). The latter was mastered by Flemming Rasmussen (Metallica,Blind Guardian) and won best metal artist at the 2022 Chilean Pulsar Awards (Chilean Grammys), being praised by the specialized media. Overtoun has performed extensively throughout Latin America, with five national tours in Chile, a tour in Brazil and shows in Argentina, with support slots for Death To All, Sinister, Cryptopsy, and Atheist. In 2025, the band completed their first tour of Japan, including performances in Yokohama and Tokyo, with an appearance at the Tokyo Brutal Fest. Produced by Martín Furia (Destruction, Bark), Overtoun’s third album signals a bold new chapter, introducing darker, genre-defining material that will amplify Chilean metal’s global reach.

“Death Drive Anthropology” digs into death, ritual, and collapse with a mindset that stays hostile and grounded. The writing leans on tight death thrash foundations, driven by sharp riffing and drumming that refuses to loosen its grip. Chilean rhythmic ideas and folk shaped guitar lines are woven into the material without turning it into a gimmick. The result stays aggressive, physical, and rooted in metal tradition, with enough personality to avoid sounding generic.

The production handled by Martín Furia gives the record a massive, punchy sound that makes the riffs on "The Final Beat" and "Dur Khrod" hit like a brick to the skull. It’s got that raw, South American violence but it’s filtered through a lens of high-tier musicianship. They brought in some heavy hitters for guest spots too, including Max Phelps and Enrico H. Di Lorenzo, which adds some extra layers of filth to the mix. The songwriting on "Jade, Gold, Obsidian" shows they can write a hook without sacrificing any of the speed or the technical shredding that defines their style.

When you get to "Wind And Water" and the three-part "The Waves Suite" consisting of "Siren", "Ocean", and "Caleuche", you hear a band that has spent a lot of time on the road refining their craft. The inclusion of Chilean rhythms and folk-inspired guitar parts isn't some gimmick for tourists; it’s baked into the DNA of the songs. It makes the title track, "Death Drive Anthropology", sound massive. They’ve managed to capture the chaos of their live shows while keeping the technical bits precise and punishing.

This is a solid, mean album for anyone who thinks modern death metal has gotten too soft or too focused on studio tricks. Overtoun is delivering a masterclass in how to bridge the gap between technical proficiency and pure, unadulterated thrash rage. It’s a loud, violent trip through different cultures' views on death, and it cements their status as a force to be reckoned with. If you want something that actually has some teeth, this is the one to blast until your neighbors call the cops.

Score: 8.0

Overtoun:

https://www.overtoun.com/

https://www.facebook.com/OvertounOfficial

https://www.instagram.com/overtounofficial

https://overtoun.bandcamp.com/
Time To Kill Records:

https://skulldband.bandcamp.com

Tuesday, January 6, 2026

Skulld |Abyss Calls To Abyss |Time To Kill Records

Release Date: January 30rd, 2026
Format: CD/LP/Digital
Genre: Death Metal, Crust, Hardcore
Country: Italy

Skulld emerged from Romagna, Italy, in 2019, formed by musicians deeply tied to the DIY punk and hardcore underground. From the start, the band fused old school Swedish death metal with crust and hardcore urgency, while placing strong emphasis on feminist, anti fascist, and anti racist positions. Their early EP “Reinventing Darkness” and the full length “The Portal Is Open” established a reputation for abrasive songwriting paired with mythological, pagan, and political themes. Over time, Skulld evolved into a six member collective, widening their sound without losing its confrontational spirit.

“Abyss Calls To Abyss” arrives as a focused and intense chapter in the band’s discography. The album builds on familiar death metal foundations, thick riffs, relentless pacing, and harsh vocals, while pushing deeper into conceptual territory. The abyss here is presented as a symbolic space, internal and external, where destruction and rebirth coexist. Lyrically, the album weaves feminist narratives, pagan imagery, and social awareness into a unified vision that remains dark and confrontational throughout.

The songwriting emphasizes pressure and momentum, driven by a strong hardcore pulse that keeps the material urgent and physical. Melodic elements surface naturally within the aggression, adding contrast without shifting the album’s overall severity. The atmosphere stays oppressive and ritualistic in its own way, rooted in repetition and intensity rather than ornamentation. Vocals deliver the themes with authority, reinforcing the album’s confrontational and political undertones.

Production wise, “Abyss Calls To Abyss” presents a raw and cohesive sound that suits the material well. The album avoids unnecessary embellishment and keeps its focus on impact and cohesion. There is a clear sense of direction in how the themes and musical ideas are developed, giving the album a unified identity that holds together across its runtime.

With “Abyss Calls To Abyss”, Skulld reinforces their standing within Italy’s extreme metal underground as a band committed to intensity, ideology, and atmosphere. The album expands their established formula with deeper thematic focus and stronger cohesion, making it a solid and engaging release within contemporary death metal circles.

Score: 7.5

Skulld:

https://www.instagram.com/skulldband

https://www.facebook.com/skulldbanditaly/

Time To Kill Records:

https://tenebro666.bandcamp.com/

Thursday, November 27, 2025

Tenebro | Una Lama D’Argento | Time To Kill Records

Release Date: December 12th, 2025

Format: Digital, LP, CD, Cassette

Genre: Death Metal

Country: Italy

Tenebro comes from Italy and have carved their name into the darker corners of death metal with their obsession for horror and giallo cinema. Their music has always carried the grime and theatrical cruelty of vintage gore films, filtered through a raw Italian underground spirit. “Una Lama D’Argento” arrives through Time To Kill Records, presented with vivid artwork by Julian Ibanez, and serves as the band’s tribute to the twisted imagination of Dario Argento. With a concept that reaches across his classic films and turns iconic scenes into extreme metal violence, Tenebro continues their path as one of the more distinctive acts operating in this wicked corner of the genre.

“Una Lama D’Argento” keeps the duo’s trademark approach firmly intact, built on direct aggression and a grim cinematic character that sticks close to the world of Argento. The album moves with a steady sense of menace, never subtle, always pressing forward with a fascination for blood soaked storytelling. Tenebro translates on screen nightmares into bursts of brutality, using riffs and vocals as tools for vivid and unpleasant imagery. The atmosphere leans toward claustrophobic horror, drawing from the tension and madness of films like “Deep Red” and “Suspiria”, without drifting away from pure death metal violence.

The songs fit into an overarching nightmare that treats each film reference as another grisly chapter. “Impiccata”, which the band themselves push as the lead shot of terror, works as a good example of their approach. It’s aggressive, rapid, and straight to the point, matching the shock of the hanging scene that inspired it. Other tracks follow the same philosophy, translating mutilations, mirror reveals, and grotesque finales into heavy assaults driven by vocals that sound like they crawled out of a basement. Even when the album leans into more atmospheric tension, the violence returns quickly, keeping the pace harsh and single minded.

There’s a clear effort to expand their sound with new touches without abandoning the horror pumping through their veins. Some parts lean into theatrical ideas, some into melody, some into pure blunt force. These additions work well enough, adding color to the chaos, although nothing drastically changes Tenebro’s core identity. The band keep everything grounded in their signature grotesque style, using every track to sharpen their obsession with giallo metal and bring Argento’s imagery into a more savage form.

Overall, “Una Lama D’Argento” offers a solid slab of horror death metal, delivered with enthusiasm for the grotesque and loyalty to its cinematic inspiration. It’s heavy, vivid, and straightforward, more focused on delivering a nightmare than on broad musical expansion. Tenebro manages to create an intense tribute to Argento, even if the album doesn’t always reach for something larger. It stays true to the duo’s taste for blood soaked storytelling, and fans of their filthy aesthetic will find plenty of darkness to sink into. This is a violent journey through Italian cult cinema, reconstructed with growls, riffs, and menace.

Score: 7.0

Tenebro:

https://www.instagram.com/tenebro.official/

Time To Kill Records:

https://www.facebook.com/217pescarahardcore/

Monday, November 24, 2025

217 | In Your Gaze | Time To Kill Records

Release Date: 7 Nov 2025
Format: LP/CD/Digital
Genre: Hardcore
Country: Italy

217 started in Pescara in 2018 with the ambition to unite old-school hardcore shaped by Slapshot and Judge with thrash roots inspired by The Haunted and Slayer. After a series of shows and a first European run, the band released the EP “Atheist Agnostic Rationalist” through Indelirium Records in 2019, a small pressing that moved fast inside the Italian hardcore circuit. The pandemic forced them to pause, then a line-up shift shook the project in 2020, although they never issued a breakup. In 2024 the band returned as a four-piece and began writing the material that would become their debut album. Their influences spread wider now, from classic American hardcore to mid nineties new school and even the darker edges of alternative rock, giving the band a broader voice.

“In Your Gaze” marks the return of a band that clearly spent years sharpening their style. The core remains rooted in American hardcore traditions, straight from the lineage of Cro-Mags, Slapshot and Snapcase, although the band opens the gates to thicker, gloomier textures inspired by Bauhaus, My Dying Bride and Sisters Of Mercy. This combination gives the album a restless personality, one moment swinging toward punchy hardcore, the next sliding into something darker and dreamlike.

The vocals sit right at the center, raw and unfiltered, carrying a tone that fits the push and pull of the music. The guitars change direction often, moving from fast chugging patterns to more atmospheric parts where the influence of bands like Into Another and Life Of Agony becomes obvious. The bass and drums hold everything steady, keeping the music grounded even when the band moves into their more shadowy zones.

Lyrically the album walks through grief, loss and the messy corners of human behaviour. The writing touches on personal collapse, the weight of capitalism on relationships and the struggle to hold on to identity while everything around you twists for profit. The band uses this theme as a thread between songs, turning different stories into one larger narrative about survival inside a world that eats its own people.

The production stays rough around the edges, which suits the band’s roots. Nothing comes across as too polished once the album gets going. The guest appearance of Kate in “Pit Is Not A Crime” adds a sharp turn and gives the album a moment where the energy spikes again before dropping into darker territory. Their cover of “Hood Crew” pays respect to Growing Concern and reinforces where the band’s heart lies.

The album lands just above average. It shows ambition and a strong identity, although some ideas could have used a bit more shaping. Still, “In Your Gaze” presents a band that refuses to play it safe. They return to the scene with a work that mixes aggression with gloom and personal storytelling with a sense of restless exploration. It is a solid first full-length, built with commitment and clear intent, and it places 217 back into motion for whatever comes next.

Score: 6.5

https://217pescarahardcore.bandcamp.com/album/in-your-gaze

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

https://www.instagram.com/217_pescarahardcore/

Monday, October 27, 2025

Season Of The Dead | Zombie Chronicles Vol.1 | Time To Kill Records

Release Date: November 14, 2025

Format: CD/Vinyl/Cassette

Genre: Death Metal

Country: United States/Italy

The twisted trio behind Season Of The Dead, Titta Tani, Giacomo Anselmi, and Enrico Giannone, know exactly what kind of nightmare they’re summoning. With roots that trace back to the cult horror lineage of Necrophagia and Goblin, they’re reviving that vintage VHS stench of death and decay that defined underground horror metal decades ago. Add guest monsters like John McEntee and Chuck Sherwood of Incantation, Fiore Stravino of Fulci, and Dave Neabore of Dog Eat Dog, and “Zombie Chronicles Vol. 1” becomes a meeting point of death metal history and horror obsession.

The album unfolds like a blood-soaked anthology. Each track plays as a short horror story, splattered with rotten riffs, gurgling growls, and that slow-burning tension familiar to Italian horror cinema. You can almost hear the flicker of the film reel between songs, as if Lucio Fulci himself was somewhere behind the curtain orchestrating the carnage. The guitars buzz with that grainy, necro production that recalls the earliest Necrophagia releases, while the drums move with ritual precision, hammering through scenes of possession, cannibalism, and apocalypse.

Vocally, the dual presence of McEntee and Stravino keeps the horror shifting between styles of terror, the deep cavernous growls of Incantation’s tombs and the more theatrical, splatter-soaked screams from the Fulci camp. The result sounds like a séance between American and Italian horror traditions. Giacomo Anselmi’s guitar work has a cinematic streak, throwing eerie melodies and unsettling chord shapes into the gorefest, while Titta Tani’s drumming brings structure and chaos in equal measure.

“Zombie Chronicles Vol. 1” succeeds in being exactly what it promises: a horror soundtrack disguised as a death metal album. It’s made to please those who grew up on late-night VHS marathons and still remember the stench of fake blood and burning film. The production keeps everything raw enough to match the aesthetic, grimy, loud, and menacing.

There’s a sense of purpose behind the madness. Each track contributes to a larger horror vision, one that honors the undead and the spirit of old-school terror metal. “Necromancy” opens the portal with ritualistic intent, while “Voodoo Ritual” and “Events Of Flesh” plunge straight into the slaughterhouse. “The Other Side” and “Bloodfreak” close the cycle in total decay, like the final reel melting in the projector.

“Zombie Chronicles Vol. 1” is made for horror maniacs, death metal purists, and anyone who believes that the best art still comes from the grave. It’s the sound of shovels digging into old soil, resurrecting something foul and familiar. A grotesque and fitting tribute to horror’s most unholy corners. Play it loud, and preferably, in the dark.

Score: 7.5

Season Of The Dead

https://www.facebook.com/seasonofthedeadband

https://www.instagram.com/seasonofthedeadband/

Time To Kill Records

https://www.instagram.com/pyrexiaofficial/

Saturday, October 18, 2025

Pyrexia | Unholy | Time To Kill Records

Release Date: August 28th, 2025

Format: CD/Digital

Genre: Death Metal

Country: USA

When you talk about American death metal, especially the New York breed, Pyrexia’s name is carved deep into its history. Formed back in the early 90s, they came up alongside the brutal wave that produced Suffocation and Internal Bleeding. Their sound was never about subtlety, but about raw, physical impact. After several releases that built their underground reputation, “Unholy” arrives as a re-recorded and refined version of their 2018 album “Unholy Requiem,” this time through Italy’s Time To Kill Records, bringing the album to listeners worldwide with a sharper attack and heavier presence.

“Unholy” wastes no time proving what Pyrexia is all about. Relentless death metal built on massive riffs and merciless drumming. It’s pure assault all the way through, packed with low-end crunch and pit-ready intensity. The sound is heavier, clearer, and more crushing than its earlier incarnation. Chris Basile’s guitar tone grinds with industrial precision, while Matt Johnson’s drumming keeps the whole structure locked into a war rhythm.

Guest appearances strengthen the album’s impact. Ron Kachnic from Malignancy adds extra aggression on “Unholy Requiem,” Devin Swank from Sanguisugabogg adds guttural firepower on “Wrath,” and Doug Cerrito (Suffocation, Hate Eternal) brings that old-school pedigree to “The Anointed.” These appearances feel natural, like old comrades returning to the battlefield, reinforcing Pyrexia’s roots in death metal’s brutal lineage.

Vocally, Jim Beach keeps things on the edge of human endurance, growling through lyrics that dive into the darker ends of biblical imagery and human corruption. There’s no search for melody, no theatrical detours, just pure, direct aggression. The bass tone from Shaun Kennedy has a thick, metallic pulse beneath everything, and the production finally gives the band the ferocious sound they’ve always deserved.

“Unholy” runs just under half an hour, and in that time, Pyrexia delivers exactly what their legacy demands. Fast, heavy, and merciless death metal. There’s no filler or fancy tricks, only seasoned brutality from musicians who know their craft. It’s a modern presentation of the classic New York sound, violent, precise, and raw enough to make your speakers bleed.

Score: 8.0

Pyrexia

https://www.facebook.com/PYREXIADEATHMETAL

Time To Kill Records