As a re-recording and re-imagining of their 2007 masterpiece “Hangman's Hymn”, Sigh return with their usual madness, while giving this release a refresh with a (slightly) better production and infusion of their newer influences, elements, and band members. While we are great fans of the original version and its impact, at the given time, this refresh brings the album to a more modern context (in terms of the band) and will certainly appeal to any nostalgic fans.

Keeping things weird and unique as always, Mat McNerney is back with the current era of Hexvessel that has them playing a very frosty and powerful blend of Atmospheric Black Metal with some of the band’s earlier Dark Folk elements. In “Nocturne” the band shapeshifts a bit more, taking the BM elements of “Polar Veil”, and blending some harrowing bleak soundscapes with chilling vocals and a few guest appearances to keep things dreamy and weird.

With a mood setting opener and the chilling keyboards of “Sapphire Zephyrs”, the band sets a very desolate backdrop that masterfully is reinvigorated with piercing Black Metal-styled guitars and harsh screams. The transition to “Inward Landscapes” shifts the momentum to more atmospheric territories alongside Mat’s eerie clean vocals. One of our favorite tracks has to be the moody “A Dark Graceful Wilderness”, which gives us some “Dawnbearer” and “When We Are Death” vibes.

Unleashing a clinical onslaught of uncompromising Finnish Black Metal, today we have Sargeist with “Flame Within Flame”. As the band’s first full-length release in nearly eight years, and featuring Shatraug back on vocals, this album is fierce and punishing, just what we all expect from this congregation of masterful Black Metal musicians, which also feature Spellgoth handling bass guitar and backing vocals, and new drummer Nur-i-siyah.

Regardless of the line-up changes, Shatraug and VSJ keep the band’s style intact with their furious riffing onslaughts. Pummeling away with their signature style, “An Eternal Dream Beyond the Accursed Protent”, “Flame within Flame” and “The Chant of Rotting Tongues" perfectly transition between fast paced sections to more hypnotic and melodic passages that keep things eerie and highly atmospheric. With a timeless Black Metal style, this release masterfully mixes the gritty and raw with a polished production and crisp instrumentation.

It is quite impressive how far has Fallujah come, from their early Deathcore days, to their current Progressive/Technical Death Metal style. With “Xenotaph”, the band continues to polish their skills and delivers the best album to date. It is brutal, it is technical, it is fast, it is crafty, it basically has it all, and fans of the band and the genre will be blown away as to how good it really is.

Setting the mood with “In Stars We Drown”, we get a very dreamy and ethereal piece, similar to Persefone cranks out, but with the distinctive Fallujah style. From here on, the rollercoaster ride begins with the crushing “Kaleidoscopic Waves” and its intricate guitar work, “Labyrinth of Stone” and “Step Through the Portal and Breathe”, and their Death-like tempo changes and crafty melodic interludes . The band’s abilities to craft songs that perfectly blend heaviness with melody and technical prowess have greatly matured over time and are beyond masterful here.

As the first Katatonia release without Anders Nyström, “Nightmares as Extensions of the Walking State” continues the band’s moody and melancholic journey with ten emotional songs. While losing Anders was a big blow to the band, Jonas Renkse and company compensate by creating a very dreamy and crafty release that weaves back and forth between bleakness and heaviness, but at the end of the day, still feels as just a continuation of their efforts from the last few years.

The release starts heavy with powerful riffs that very quickly dissolve into the band’s weepy style. New guitarists Nico Elgstrand (ex Entombed) and Sebastian Svalland (ex In Mourning), are definitely capable musicians and imprint some of their personal styles on tracks like “The Liquid Eye”, “Lilac”, and “Departure Trails”, they still mimic some of the older ‘Katatonia-style’ riffs and arrive at a very familiar and traditional sound, which is not band for people expecting more of the same, but it does now grow the band’s musical range.

Dropping completely unexpectedly, today we have legendary Norwegian Doom Metal band Funeral with a four song EP titled “The Funereal”. Featuring a three movement song and an acoustic piece, this release continues the band’s voyage through Doom Metal territories with lush string instruments (violin) and crushingly heavy riffs. For fans of the genre, this is a nice entry in 2025, a year that has started slow with these types of releases.

This Aussie two-man band went away for over ten years and returned recently in 2021 and has dropped an album a year since 2023, making it one of the most productive in the scene. For the uninitiated, Austere was one of the originators of the Depressing Black Metal style back in the 2000’s and they continue to spew their bleakness with “The Stillness of Dissolution”. Evolving more into Atmospheric Black Metal territories, this release is engaging, catchy and yet very desolate in punishing, just what the doctor ordered for a cloudy and rainy day.

Opening with “Dissolved Exile”, the band showcases their technical chops with a very melodic and crafty piece filled with engaging guitar leads, melodic passages, and crafty drumming alongside a good dose of harsh vocals. One of the signature styles from all of Tim Yatras’ bands is the dramatic clean vocals, that gracefully add that extra level of bleakness to the very well composed and expertly layered core music. Immediately inciting the listening to headbang alongside the catchiness of the guitar work, “Rusted Veins” is one of the album’s stand-out tracks, just completely intoxicating.

As one of the main bands that got us into Symphonic Black Metal back in the late 90’s, …And Oceans has been around for a while, and even after their hiatus they continue to push the genre and deliver high-octane music. Featuring ten tracks and over 46 minutes of music, the band brings back some of their Industrial/Electronic elements into the fold, while keeping the intensity level at 11.

Opening with “Inertiae”, here we get some of the Havoc Unit side of the band with some cybergoth passages, amongst the usual fare of dramatic symphonic elements and hefty harshness. Coming back down to relentless melody and engaging atmospherics, “Förnyelse i Tre Akter”, “Chromium Lungs, Bronze Optics”, and “The Form and the Formless”, showcase the band in its most polished and vicious way. It is quite impressive that while keeping their core sound from their old days intact, the band still sounds fresh and exciting.