Impureza | Alcázares | Season Of Mist

 

    Impureza is a Franco-Spanish metal band founded in 2004 by guitarist Lionel Cano Muñoz in Orléans, France. The band is known for its unique blend of death metal and flamenco, a style they call Hispanic Metal. Their sound merges traditional Spanish music, acoustic fretless bass, and flamenco guitar with brutal vocals and extreme metal intensity. Drawing inspiration from Iberian history, esoteric themes, and Latin culture, the band creates concept-driven music entirely in Spanish.

Over the years, Impureza gained attention through early demos, split releases, and performances with major bands like Gojira, Suffocation, and Cattle Decapitation. Their first full-length, "La Iglesia Del Odio," appeared in 2010, followed by the widely praised "La Caída De Tonatiuh" in 2017. After several lineup changes, vocalist Esteban Martín joined the band, bringing a fresh and aggressive vocal style that fit seamlessly with the band’s vision. Known for their historical and fictional storytelling rooted in Spanish conquest and resistance, Impureza has become a distinctive voice in the extreme metal world.

"Alcázares" continues Impureza's unique direction, mixing death metal with flamenco influences in a way that sounds fluid and vivid. The album runs for just under 50 minutes and contains 11 tracks. It presents a musical journey that feels cinematic and intense from the first moment, thanks to the layered approach of the band. The combination of metal and flamenco is well-thought-out and fully integrated, with the flamenco parts carrying equal weight to the heavier sections.

The vocals by Esteban Martín add a strong presence, and his delivery in Spanish gives the music an identity that goes beyond language. The phrasing fits perfectly into the rhythms and melodies, and it gives the music a natural tone that avoids sounding forced. The Spanish language suits death metal more than traditional heavy metal in this context—it blends well with the intensity and speed of the instrumentation.

After the “Verdiales” flamenco-inspired intro, strikes "Bajo Las Tizonas De Toledo," which takes the world by storm with its chorus that oddly resembles Madonna’s “Music”—not just in melody but in rhythm and spacing. The pace of the album is dynamic. Some sections are extremely fast, with brutal blast beats and shredding guitars, while others slow down into acoustic flamenco interludes or melodic choral passages. These shifts are frequent, often within the same track, and the transitions feel smooth. The rhythms are complex but not confusing, which makes the music engaging without sounding chaotic. The percussion and fretless bass work together to build a rhythmic base that feels alive. Some arrangements even include orchestral layers, provided by guest musician Louis Viallet, which add another dimension to the atmosphere.

The production by Sébastien Camhi and mastering by Jacob Hansen support the multidimensional sound. Each instrument can be heard clearly, and the mix balances the acoustic and electric parts. The flamenco guitar, handled by Lionel Cano Muñoz, is central to the album’s identity and is used throughout—not just in intros or outros. Percussion by Xavier Hamon adds traditional Spanish texture that merges well with the heavier drumming.

Visually, the album cover by Johann Bodin and Xavier Ribeiro reflects the themes of the music—historic, dramatic, and mystical. The art shows a ruined courtyard and ghostly knights rising from the grave, fitting well with the lyrical focus on conquest, resistance, and memory.

"Alcázares" is an immersive listen. It doesn’t follow a single formula and keeps changing shape, switching from aggression to grace without losing focus. The album is deeply rooted in Spanish history and sound, but it speaks fluently in the language of extreme metal. For fans of Nile, Hate Eternal, Behemoth, or Fleshgod Apocalypse, "Alcázares" is essential listening. After Brujeria I enjoyed a Hispanic album so much.

Score: 8.5

Firmament | For Centuries Alive | Dying Victims Productions

 

    Formed in 2021, Firmament is a heavy rock band from Leipzig, Germany. The group was born out of a passion for classic rock sounds, filtered through their own unique vision. Drawing inspiration from proto-metal and the New Wave of British Heavy Metal, their music blends the warmth of the past with a forward-moving spirit. Their debut, "We Don’t Rise, We Just Fall," released in 2023 by Dying Victims Productions, made a strong first impression with fans and press alike. Since then, Firmament has performed at well-regarded festivals such as Muskelrock, Starlett Stock, and Trveheim, steadily gaining recognition as a passionate and convincing live act. The band consists of Marco Herrmann (vocals), Tom Michalik and Philipp Meyer (guitars), Stefan Deutsch (bass), and Jonas Zeidler (drums).

"For Centuries Alive" is their sophomore album and a confident follow-up that carries over the spirit of their debut while expanding on it. Across its eight main tracks and the intro, the band presents a carefully structured and emotionally rich collection of songs. The dual guitars are central to the album’s character, weaving melodic lines that bring to mind the storytelling quality of classic acts like Wishbone Ash or Thin Lizzy. Riffs and harmonies work in sync, with solos that feel natural and flowing. The drumming and bass playing form a solid base throughout, helping maintain momentum while giving the music space to breathe.

The vocals of Marco Herrmann are steady and expressive, often guiding the listener through lyrical themes that feel personal and reflective. His delivery has depth without going over the top. The band relies on songcraft and thoughtful arrangements and smooth transitions, giving the album a strong sense of cohesion. The production is organic and intimate. The mix allows each instrument to be heard clearly, with the guitars particularly well-balanced.

"For Centuries Alive" does not overreach. It sticks to what Firmament does well and continues to build on their foundation. The songs are varied in tempo and character, but everything connects as a whole. It’s easy to follow and rewarding on repeated listens. Rather than relying on shock or novelty, the band trusts in their songwriting and collective chemistry, which pays off. This is an album for those who enjoy classic-inspired heavy rock that doesn’t feel over-stylized, and its charm lies in its sincerity and craft. With "For Centuries Alive," Firmament confirms that they are more than just a promising act.

Score: 8.0

Eternal Darkness | Eternal Darkness | Pulverised Records

 

    Eternal Darkness was formed in 1990 in Eskilstuna, Sweden, at the dawn of Scandinavian death metal’s most fertile years. The founding lineup included Toni Pietilä (lead guitar), Make Pesonen (drums), Janne Heikkinen (vocals), Jarmo Kuurola (rhythm guitar), and Tero Viljanen (bass). Their initial output was limited to two demos and a now-cult 7-inch before fading into silence in 1993. Tragedy struck with the deaths of Jarmo in 1995 and Toni in 2014. Despite these losses, a rebirth began in 2019 with the inclusion of new members John Carlsson (lead guitar), Kristian Henriksson (rhythm guitar), and Jeff Hausel (bass), bringing new momentum to a band that had, for decades, only existed in obscurity and legacy.

After more than three decades, the long-awaited debut album, "Eternal Darkness," arrives in the wake of the band’s unexpected disbanding in April 2025. The album, recorded by longtime friend Peter Bjärgö at the renovated Erebus Odora Studio—once the band’s rehearsal space—carries the final stamp of a group that never compromised and never softened.

"Eternal Darkness" is a slow-moving, towering monolith, anchored in early '90s Scandinavian death and doom. It is heavy in the most physical and psychological sense. Every riff drags like a funereal procession, built around minimal structure and maximum impact. The tuning is deliberately low, set in A, grounding the sound in extreme depth. The tone is crushing, and the pacing is deliberate, yet never plodding. Every track feels like a concrete wall closing in.

The vocals are guttural and raw, delivered without excess. Janne Heikkinen’s voice remains tethered to the grave, rasping out tales of suffering, burial, and finality without theatrics. The dual guitars move between blunt-force rhythms and extended doom dirges with a single-minded purpose. This is music built from pain, for pain. The inclusion of flute (of doom) passages—performed by a child during the recording sessions—is neither whimsical nor out of place, but chillingly effective. These moments aren’t there to surprise but to disturb.

The production preserves the density and cavernous quality of the performances. It brings everything forward with respect and care, giving weight to silence and echo just as much as to distortion and noise. The occasional use of samples adds unease without distraction.

Lyrically, the album is steeped in death, loss, and the irreversible. It is dedicated to the memory of Jarmo Kuurola, Toni Pietilä, and Vendela Bjärgö, which lends genuine emotional gravity to its themes. The texts, written by Sami Salonen, mirror the musical content in their restraint and directness. Nothing here is exaggerated. Nothing is exaggerated because it doesn’t need to be.

"Eternal Darkness" sounds like it was written with no interest in approval or revival. It could have come out in 1992 or 2025 and sounded just as fatal. That it came now, and that it ends the band’s long and painful arc, is its own kind of justice. This is not an album about nostalgia or final words. It is simply an album that exists in the same cold space the band always inhabited.

There are no shades of optimism. No resolution. Just the sound of a band that was always meant to bury, not build. "Eternal Darkness" is unrelenting, sorrowful, and pure in purpose. It stands completely apart, not because it tries to—but because it never needed to try.

Score: 8.6

Phobetor | A Solitary Vigil EP | Independent/Black Jasper Records

 

Phobetor is a blackened death metal band based in the United Kingdom. Since their formation, they have channeled raw darkness into controlled fury, blending death metal aggression with black metal atmosphere. Their previous full-length, “Through Deepest Fears And Darkest Minds” (2021), carved a path into shadowy emotional terrain, gaining respect for its intense energy and apocalyptic vision. Known for their suffocating sound and bleak lyrical narratives, Phobetor has continued to evolve without losing their core identity. With the addition of guitarist Ben Ash (ex-Satyricon and Strigoi), their sound has grown sharper and more textured, preparing the ground for their return with “A Solitary Vigil.”

 “A Solitary Vigil” is a tightly constructed and thematically cohesive EP. Across five tracks and just over twenty minutes, Phobetor dives deep into dark soundscapes marked by a harsh and ritualistic energy. The production is powerful without being overbearing, balancing intensity with a clear sense of weight.

The opening title track delivers immediate force, built around layered guitar work and an unsettling vocal performance by Debora Conserva, whose voice sounds as if it rises from ancient tombs. Her style continues to carry the release, especially on “Absence Of Light,” a track that builds slowly and carries a heavy, oppressive pace, using tension as much as volume.

There is a coldness running through these songs—bleak melodies are carved into aggressive rhythms, while passages drift in and out of despairing atmospheres. “Black Fading Winter” is short but suffocating, and its speed and structure make it feel almost like a cursed hymn.

The band’s musicianship remains consistent throughout, with Marc Dyos's drumming guiding shifts in tone and Dredgewood's bass adding depth to the mix. Ben Ash and Ross White trade icy, angular guitar leads that don’t aim for comfort, instead pushing the listener deeper into cold, grey terrain. The final track, “Where Mournful Shadows Dwell,” is a fitting conclusion—drenched in a slow-burning darkness that lingers long after it ends.

Sonically, the EP benefits from the hands of Ollie Roberts and Lawrence Mackrory, whose mixing and mastering keep the sound rich and intense. The visuals by Ghost Kid match the music well—ghostly, abstract, and terrifying.

 “A Solitary Vigil” feels like a focused descent. Phobetor commits to their own atmosphere and executes it with precision. This EP is designed to drag the listener through a barren psychological landscape. If you're drawn to blackened death metal with a strong sense of atmosphere and a restrained but effective use of melody, this release is worth attention.

Score: 8.4

Panzerchrist | Maleficium Part 2 | Emanzipation Productions

 

    Panzerchrist is a Danish extreme metal band formed in the mid-1990s. Known for their blistering intensity, fast tempos, and military-themed imagery, the band became a cult name in the underground death metal scene. Over the years, their sound evolved to incorporate blackened elements and atmospheric layers while maintaining a brutal foundation. Their lineup has shifted several times, but key contributors have kept the band active and forward-moving. With the release of "Maleficium Part 1" in 2024 and now "Maleficium Part 2", they bring their conceptual vision full circle. The album also marks the departure of founding member Michael Enevoldsen, leaving behind a legacy now carried forward by a revitalized lineup.

"Maleficium Part 2" is a violent and theatrical continuation of the themes introduced in its predecessor. The sound is aggressive yet carefully structured, combining relentless drumming with dense layers of guitars, occasional synth lines, and eerie interludes that give the songs breathing space without lowering their intensity.

The production, handled by Tue Madsen, is sharp and punishing. Every instrument has weight, from the hyperspeed kick drums to the thick, down-tuned riffs and snarling bass lines. The mix never feels congested despite the high-speed chaos, and the atmosphere remains oppressive from beginning to end.

Vocalist Sonja Rosenlund Ahl continues to push her performance further, offering one of her most furious and expressive deliveries to date. Her phrasing, vocal shifts, and lyrical tone add another dimension to the band’s sound. Her presence is central—not only as a vocalist but also in giving identity to the album’s mood, especially in the slower and more theatrical segments.

Musically, Panzerchrist still operates in the territory shared by bands like God Dethroned, Belphegor, and Vader, but they do so with enough personality and intensity to avoid sounding repetitive. The first track, “Witchfinder General,” channels black metal fury reminiscent of Belphegor, while the rest aligns more with the heavy precision and battle-like energy that Panzerchrist knows better to do.

Thematically focused on witchcraft and human corruption, the lyrics and song titles keep a tight conceptual thread without feeling forced. The balance between relentless aggression and haunting slow passages reflects the album’s lyrical subjects—persecution, fear, and human cruelty—with sincerity and power.

"Maleficium Part 2" stands as a strong chapter in Panzerchrist’s long discography. It does not feel like an afterthought to Part 1 but rather a complementary release with its own sense of purpose. It’s fast, punishing, dark, theatrical, and thoughtfully constructed, clearly shaped by a band with years of experience and a cohesive vision.

Score: 8.0

Iron Spell | From The Grave | Dying Victims Productions

 

    Iron Spell is a traditional heavy metal band from Santiago, Chile, formed in 2013 by drummer and composer Felipe Carvajal, also known as Steelhammer. The original idea behind the project was to create a classic heavy metal album that channeled the dark theatrical atmosphere of bands like King Diamond and Black Sabbath while embracing the flamboyant spirit of ‘70s and ‘80s hard rock, such as KISS, Alice Cooper, Twisted Sister, and W.A.S.P. However, the band faced early setbacks due to lineup issues, and their planned debut album was scaled back into the four-track EP “Heavy Metal Witchcraft.”

The EP’s online release attracted attention quickly and was reissued in Europe in multiple formats, with German label Dying Victims Productions leading the charge. Since then, Iron Spell has made a steady climb in the underground scene. Their first full-length, “Electric Conjuring” (2016), featured none other than Richie Faulkner of Judas Priest, further boosting their reputation. The band kept up momentum with the “Live Magic After Midnight” EP and a best-of compilation in 2021. Their second full-length, “From The Grave,” arrives after a long wait, presenting a clearer picture of the band’s musical identity and vision.

"From The Grave" is a direct and energetic heavy metal album that draws heavily from the spirit of the ‘80s. Every song feels like a tribute to that era, filled with theatrical vocals, galloping riffs, sing-along choruses, and horror-inspired themes. The album moves from slower, moodier pieces to faster, more urgent tracks with natural flow, offering a well-balanced variety throughout.

The production supports the music well, with an organic feel that suits their retro sound. The twin guitar work of Terry and Raiden is tight and melodic, shifting between driving rhythms and classic soloing. Ivlock keeps the low end steady, while Steelhammer, the founding drummer, brings lively fills and consistent pacing to the songs. But it’s Merciless who steals much of the attention with his dynamic, high-range vocals. He tells each story with flair and emotion, making the songs feel like mini horror tales with a theatrical twist.

Each track has a strong identity, whether it leans toward traditional heavy metal, speed metal, or something more rock-oriented. The band doesn’t rush—each composition is given space to develop, and the mood builds nicely as the album progresses. The final track, “Children Of The Night,” adds a dramatic ending that feels fitting, almost like the closing scene of a horror movie.

There’s a strong sense of unity in sound and image. The horror theme isn’t overdone, but it gives the album a clear concept that ties the songs together. Combined with the album artwork by Claudio Bergamin, it forms a solid aesthetic that fans of vintage metal and dark rock will appreciate. Zombies are ready to attack.

"From The Grave" doesn’t try to complicate things—it delivers classic heavy metal with passion and personality. The songs are enjoyable, easy to follow, and packed with the kind of energy that works both on album and on stage. It’s the kind of album that plays like a long-lost vinyl gem from the golden years of metal, dug up and revived with fresh intensity.

Score: 8.3

Azathoth's Dream | Solitary Forest Necromancy | Iron Bonehead Productions

 

    Azathoth’s Dream began as a solo project in 2023 and quickly gained attention through their debut album, “Nocturnal Vampyric Bewitchment.” Rooted in the haunting traditions of late 1990s French black metal, the band drew inspiration from acts like Osculum Infame, Bekhira, Winter Funeral, and Seth. Their sound also aligned with the newer wave of raw, vampyric black metal emerging in the U.S., associated with projects such as Sanguine Relic, Vampirska, and early Lamp Of Murmuur. Now expanded into a two-member entity and part of the underground collective Order Of The Broken Sword, Azathoth’s Dream continues their development under Iron Bonehead Productions with the release of their second album, “Solitary Forest Necromancy.”

 “Solitary Forest Necromancy” stays true to the project’s core influences, yet adds more dimension. The sound remains rooted in distant, atmospheric black metal with a strong sense of melodic sensibility. The overall tone is cold and mist-covered, shaped by sharp guitar lines and distant, dungeon-born vocals. The synths play a large role, giving the album a ceremonial and arcane feeling that enhances its spectral mood.

The production is raw but structured in a way that doesn’t blur the musical intent. There’s a consistent mood of isolation and spiritual withdrawal that flows from start to finish, backed by tempos that shift from slow, hypnotic marches to more urgent, wind-swept charges. At times, the synths guide the structure more than the guitars, producing a distant echo of dungeon synth’s ambience. The vocals are buried but expressive, drifting through the mix like the voice of some forgotten forest entity.

Despite being deeply immersed in familiar sonic territory, “Solitary Forest Necromancy” does not come across as derivative. The songwriting gives each piece its own shade within the greater landscape of the album, making the listening experience feel cohesive and intentional. The length is well-judged, avoiding fatigue and making the entire journey feel contained and complete.

“Solitary Forest Necromancy” is the kind of black metal that appeals through mood and devotion. There’s no need for fast changes or dramatic turns; the focus is on repetition, trance, and deep immersion in a nocturnal and woodland world. The addition of a second member seems to have brought more structure and variation into the sound without changing its essence.

Score: 7.0

Executionist | Sacrament Of The Sick | Independent

    Executionist was formed in 2020 in Gallagher, West Virginia, by teenage brothers Brett and Tristan Ash, who were just 17 and 13 at the time. Their first release, the EP "Destined For Destruction," came out in early 2021. Two years later, they dropped the "Genesis 666" single, further developing their sound. For a time, the band played live as a duo, until Austin Rose joined on bass in 2024. In 2025, guitarist Mike Kinder completed the four-piece lineup. That same year, the band prepared their debut full-length, "Sacrament Of The Sick," recorded at their home studio and produced entirely by the Ash brothers.

"Sacrament Of The Sick" is a thrash metal album built with dedication and youthful force. From the first note to the final seconds, Executionist keeps the music fast, energetic, and direct. Influences from Kreator and Children Of Bodom can be felt, especially in the tempo shifts and guitar parts, but the band has shaped the songs with their own ideas and personality.

The performances are tight. The guitars are sharp and aggressive, with twin harmonies that cut through the mix in a precise and balanced way. Riffs are crafted with attention and have a strong sense of structure, while the leads bring in melodic parts without slowing the momentum. The drums drive the pace with constant movement and power, and the bass adds depth behind the chaos. Brett Ash’s vocals are intense, rough, and consistent throughout the album.

There is a clear focus on writing songs that stay memorable without losing impact. The music avoids becoming too complex or too simple, and the production supports the band's goal. It sounds natural and powerful, without extra weight or distractions. The track lengths are well chosen, keeping the energy up without tiring the listener.

The flow of the album works smoothly, with an intro that prepares the mood and a closing track that ends things with force. Even though there’s no need to go track by track, it’s clear that each song was treated with care. "Serrated Shadows," the pre-release single, is a strong example of the band’s current direction.

Executionist sounds like a band that has grown quickly, and "Sacrament Of The Sick" is a strong step forward. It has enough variation to hold interest and enough consistency to define their sound. The album leaves a solid impression and shows what a young thrash metal band can achieve with focus, intensity, and hard work.

Score: 7.7

Crucible | Hail To The Force | From The Vaults Records

 

    Crucible is a new force in the Danish metal scene, built from the embers of passion for speed, aggression, and melody. Formed in 2024, the band brings together musicians from acts like Impalers and Pectora, uniting under a simple mission: to write strong, memorable songs driven by the energy of classic heavy and speed metal. Their lineup solidified quickly, with Thomas Carnell and Jon Brogård on guitars, Phillip Butler handling vocals, Ole Iversen on drums, and Kenneth Frandsen on bass. Drawing from a variety of influences—from Riot City and Racer X to cold war history and cinematic soundscapes—Crucible aims straight for the throat with raw intensity and an undying love for the genre’s roots.

 “Hail To The Force” is a fast, loud, and determined introduction to Crucible’s vision. Across ten tracks and 37 minutes, the album burns with purpose and direction. The music charges forward with galloping rhythms, tight twin-guitar work, and intense, high-pitched but tuneful vocals. There is no concept, no pretense—only adrenaline-fueled songwriting shaped by the instincts of its two main guitarists.

Each track brings something different to the table. Some are full-speed assaults that echo the energy of early US and German speed metal, while others slow things down to explore more atmospheric or heavy approaches, nodding toward epic metal and even post-apocalyptic themes. The songwriting is clear, focused, and consistent in intent, without sounding repetitive. Crucible is not interested in overcomplicating their sound—they rely on sharp riff construction, strong vocal hooks, and pounding drums to get their message across.

What sets “Hail To The Force” apart is its intensity. Recorded in a tight window, the album captures the band’s urgency. The drums, in particular, are alive and powerful, benefitting from an unsampled, live-in-the-room energy. Vocals are forceful but never overdone, balancing grit with attitude. The production, handled by Marco Angioni, is rough around the edges in a good way—real and immediate without sounding messy.

The album flows well from start to finish, with brief moments of variation that give space for the band’s different inspirations to shine through—whether it’s a touch of Cold War imagery, sword-wielding fantasy, or power metal grandeur. Despite being a debut, there’s confidence in the execution. Crucible sounds like a band that knows exactly what it wants to do, and they do it with speed and fire.

“Hail To The Force” is a strong start for Crucible. It’s fast, heavy, and direct, delivering a mix of classic and modern speed metal elements without getting bogged down in nostalgia. The performances are energetic, the riffs are solid, and the band plays with commitment and drive. Crucible may be at the beginning of their journey, but with this album, they’ve planted their flag with force and clarity.

Score: 8.2

Angerot | Seofon | Redefining Darkness Records

 

    Angerot is a death metal band from Sioux Falls, South Dakota, formed in 2017. Since their debut album, “The Splendid Iniquity,” the band has drawn strong inspiration from the classic Swedish death metal style, often compared to bands like Unleashed, Grave, and Dismember, while adding their own American perspective and sonic weight. Throughout their discography, Angerot has been known for including notable guest musicians, a tradition that continues in an even more ambitious way on their fourth full-length album, “Seofon.” Led by guitarist and vocalist C.R. Petit, the band’s lineup is rounded out by Zaugg on bass and Jason Ellsworth on guitars.

 “Seofon” is a conceptually intriguing album that uses a clear and consistent idea as its foundation: seven songs featuring seven different drummers. Each drummer brings their own experience from across the extreme metal spectrum, from brutal death to blackened thrash, and this impacts the feel and delivery of every track. The result is an album with noticeable variation in rhythmic approach and energy while still sounding cohesive.

The core sound of Angerot remains rooted in heavy, atmospheric death metal. Guitars often carry the weight, with tremolo-driven riffs, layered harmonies, and a tone that nods to both Scandinavian and Floridian traditions. The vocals are deep and mid-paced, delivered with a firm cadence that maintains a steady presence across all songs. There's a strong focus on building songs around structure and pacing, avoiding chaos in favor of measured force.

The different drummers don’t make the album feel disconnected or scattered. Instead, they offer subtle changes in style that prevent repetition. Derek Roddy brings speed and intensity, while Daray adds more dramatic, bombastic passages, and others such as Zack Simmons and Pierce Williams play in ways that complement Angerot’s slow-burning, atmospheric riffs. The mix by Andreas Linnemann helps balance the character of each guest’s drumming without changing the identity of the band itself.

There’s a cold and ritualistic tone throughout “Seofon,” with slower tempos used effectively and often more than faster ones. The album is not built around aggression alone but is filled with dark atmosphere and a sense of deliberate movement. Even in the faster moments, the music rarely becomes chaotic. It maintains a firm direction and relies on precision rather than unpredictability.

Visually and conceptually, “Seofon” stands apart from previous Angerot releases. The artwork by Carrion Design avoids past themes, offering a design that suits the special nature of this release. The band clearly approached this not as just another album but as a project with its own place and mood.

 Angerot has succeeded in creating something personal and distinct. The changing drum performances give each song a unique feel while the band’s identity stays intact. The album is strong from beginning to end, never straying from its vision. With its thoughtful execution and haunting atmosphere, “Seofon” stands out as Angerot’s most creative and well-developed release to date.

Score: 8.5