Always delivering extremely interesting releases, today we have Germany’s Ancst and their latest effort “Summits of Despondency”. Intricately layering many styles into a very pummeling and yet melancholic sound, this album features nearly 45 minutes of viciously delivered intense music. While genre purists will not enjoy the medley of styles in this release, we are huge fans of the amount of creativity and well crafted intermingling of everything from hardcore to Post-Black Metal.

Opening with the crushing “Kill Your Inner Cop”, the band instantly oozes an Hypocrisy vibe with menacing guitars and relentless intensity. The vocals are quite hectic and probably the singular identifying characteristic of the band’s diverse musical explorations, as this track bleeds into the more melodic “Inferno” and “Final Hour”. Due to the intensity of the band’s musical approach, songs quickly blend into each other, and before you can tell , you have heard 4-5 songs without even noticing.

Unleashing frosty waves of intense atmospheric Black Metal, today we have Ukraine’s Eskapism and their latest EP titled “Reminiscence”. Delivering a brilliant balance of melody, rawness, and old-school atmospherics, this trio creates very dynamic and engaging songs that are both uncompromising and expertly crafted. Recommended for fans of early Dimmu Borgir, Old Man’s Child, Kampfar.

The release leads with the mystical “A Cry into Oblivion”, a song that slowly builds up into a superb headbanging session thanks to its melodic nature alongside lush and dramatic atmospheric keyboards. The blistering album title track captures that timeless mystical sound of late 90’s Black Metal, similar to Tartaros, Limbonic Art, and Emperor, with its dramatic synths and crafty tempo changes. The mood suddenly shifts with the ambient instrumental “Whisper of Ancient Times”, a very nice piece to come full circle in this release.

Creating a very punishing and miserable aural experience, today we have Finland’s Blood Red Fog and their very aptly titled “Fields of Sorrow” release. With a vibe similar to bands like Mortualia, this release unleashes over 50 minutes of exciting Black Metal with tons of experimental atmospheric elements and a very demoralizing mood. Only for masochists, this release will turn any day into a bleak ordeal.

The hypnotic “Before The Cold Light” sets a very trippy metaphysical mood that is instantly ravaged by the blistering BM onslaughts of “Gallows Poles and Shallow Graves”. With such a fierce tempo change, the band delivers a punishing blow with brutal guitars and hyper fast drumming, we love these types of contrasts. The depressive mode of “Abode of Shadows” gives you that certain Doomy vibe that perfectly blends with BM harshness, creating an immersive wallowing experience, this brilliant misery bleeds into the eerie “Ever-Returning Genocide”.

Hailing from Austria, today we have the pummeling Theotoxin and their latest hellish offering “Fragment: Erhabenheit”. Delivering a dynamic mixture of Black/Death Metal, the band unravels nearly 45 minutes of ravaging songs filled with brutality and dissonance. For fans of bands like Behemoth, Belphegor and Old Man’s Child, this release balances a brilliant production and waves of brutal onslaughts.

The ritual begins with the blistering opener “Golden Tomb”, a very punishing track filled with demonic vocals, waves of ravaging guitars and bestial drumming. Combining shrieks with deeper snarls, allows the band to create a very effective vehicle to deliver their lyrics while the world seems to crumble with the relentless intensity of the band’s music, as we can hear both in “Obscure Divinations” and the commanding “Prayer”, which give that Behemoth vibe but with a different twist.

Unleashing a wave of ritualistic Black Metal, today we have Finland’s Ordinance and their sophomore release “In Purge There is No Remission”. With nearly 50 minutes of music, this release covers a wide gamut of BM styles with some tracks being more traditional, others being quite old-school, but an overall sense of brutality and destruction is nicely conveyed by the band. If you like fast, raw, and punishing music, this release is certainly for you.

Opening with the blistering “Obstructed Paths”, we get a hefty dose of buzzsaw like guitars, blistering drumming and slower incisive passages with a certain ritualistic vibe. And that was just in the first five minutes. As the band pummels through pieces like the eerie “Diabolopathia” and its hypnotic riffs, the more traditional “Gathering Wraiths” with its savage intensity, and the pummeling “Credo Sceleratum” with its Philippines-style Thrash/Black Metal guitars and heavy metal screams, there is a clear indicator that this band is full of creativity and a knack for brutality.

Unleashing what is most likely the most explosive and melodic Black Metal release of 2020, today we have Uada and their third full-length release “Djinn”. Slowly refining their craft over time and gathering wide acclaim over the last few years, this North American outfit delivers almost 60 minutes of non-stop high-octane music that will have people headbanging from start to finish. If you like bands like Mgła, Pilorian, Inquisition, etc. you will love this exciting release.

Opening the release with the album title track, the band sets a relentless pace with superbly catchy riffs and a very engaging and energetic vibe. The dual guitar attack of James Sloan and Jake Superchi, works magically as their intensity and craftiness is quickly evident, creating a very powerful mood and the perfect environment for furious headbanging, as shown in the opener and the blistering “The Great Mirage”. Other tracks like “No Place Here”, show a mellower and yet still incisive side to the band’s superbly melodic musical approach.

When bands and musicians say the experiment in their music only to please themselves, there is always that lingering concern that holds them back to truly revolutionize their sound to avoid upsetting their fans. Ihsahn is one of those that keeps true to his vision and always pushes the boundaries of his sound to please his creative endeavors, and “Pharos” is the latest example of this. Featuring three original songs and two covers, this release explores Progressive Rock/Metal territories while still delivering some of his signature staples.

The release opens with “Losing Altitude”, a track that reminds us of “After” but with a more definite Proggy vibe and no harsh vocals. The vocal and atmospheric arrangements are brilliant and quite neat, perfectly paired with Ihsahn signature guitar riffs and crispy distortion. Delivering serious Haken vibes, “Spectre at the Feast” is another exploratory piece with lush atmospheric arrangements, a pulsating bass guitar line and soaring vocals.

Three years after terraforming the scene with their excellent 2017 release, today we have Brasil’s Jupiterian dropping the massive “Protosapien”. Pushing the boundaries of the genre and always delivering something interesting and aurally punishing, this band is one of the few that constantly improves over time and morphs into new shapes in each release. If you like punishing riffs, a wide variety of genres, and the feeling of being on a choke hold (by music), then you can’t miss out on this one.

After slowly creating a very dissonant atmosphere with their opening track, “Mere Humans” instantly unleashes a barrage of punishing riffs and a hypnotic pace. As one of their specialties, the band suddenly switches gear into heavier and slower territories with the (newer) Lantlôs-esque “Voidborn” and its waves of pummeling guitars. The growls are a perfect match for such an aggressive and yet subtly melodic onslaught.

Unleashing a short but sweet barrage of hateful and raw Black Metal, today we have God’s Bastard and their debut EP “Last Standing Village”. Originally self-released last year, on I, Voidhanger Records gives this EP a limited digipak release to introduce the band to a wider audience. Featuring a very raw and direct sound with some Punk/Hardcore elements, similar to bands like Bosse-de-Nage, 20 minutes will pass by in seconds in this very promising release.

Opening with the ravaging “Chaos Apologist”, the listener is quickly immersed with a very chaotic and punishing sound. The band’s brutal onslaughts change from almost Nordic BM riffs at first, to a more diverse and crafty and all-out chaotic mode. Building on their dissonance, “God Raise The Sea” delivers a more carefully constructed onslaught of punishing riffs and some more experimental and jazzy melancholic passages, adding to the band’s unique musical approach, similar to what early Epel Duath used to do.

Unleashing nearly 40 minutes of crafty Technical Death Metal, today we have Italy’s Hateful and their third full-length release “Set Forever On Me”. While most bands in the genre currently focus on technical wankery, this band actually delivers cohesive songs that are both technically proficient and enjoyable to listen to. The band’s sound is a mixture of old-school Death/Necrophagist Tech Death Metal with a few modern touches, so you know you are in for a treat.

The band quickly blasts into the playful craftiness of “On the Brink of the Ravine”, flanked by intricate drumming and engaging riffs, the band sets a very hectic pace. The band’s ability to still sound like a traditional Death Metal band is quite evident as tracks like “Phosphenes” and “Oxygen Catastrophe” have heavy roots and just need some technical sprinkles to come together, and deliver brilliant headbanging passages.