May 292026
 

(written by Islander)

For the second year in a row we’re premiering a song by Ka’aper, a collective of musicians who now call Cyprus their home. It is happening for a second year in a row because Ka’aper have quickly followed their 2025 debut album While Flows the Nile with a second album titled When Gods Walked the Earth that’s set for release on June 12th by Satanath Records.

As described by the label, the new album encompasses “ten heavy and melodic stories about life and death, love and betrayal, the fleeting and the eternal,” moving “between visions of ancient mythology and reflections on the present day seen through its prism.”

For those visitors here who are familiar with While Flows the Nile, the new album includes similar musical ingredients, but with further variations and iterations. Some might call it melodic death metal, some might use the more amorphous term “dark metal”, but it’s probably better for us to use the song we’re premiering today as a more concrete representation of Ka’aper’s musical proclivities. Continue reading »

May 292026
 

(Before DGR and others around here embarked on two weeks of recent festival activity, he pollinated our archive of drafts with a great many reviews, and today we’ve plucked another one. This time his focus is the latest album from L.A.-based Dawn of Ashes, released in March of this year.)

Many, many moons ago – like last year for instance – I wrote about Dawn Of Ashes’ return to the industrial and electronic sound on their album Infecting The Scars. The group have gone through a few metamorphoses over the course of their career, careening into a symphonic black metal sound for two albums before settling on a harsher industrial metal approach for a few and creating something of a ‘scars’ trilogy, of which the current final act was the aforementioned return to the sound they started with on Infecting The Scars.

In listening to it, you could still hear parallels between the abrasive electronics, immensely catchy multi-layered keyboards, and effects-riddled vocals, and the more traditionally heavy metal influences that’ve played on the band’s shoulders for a while now. The distance between where they had started, where they wound up, and black metal’s taste for theatrics suddenly did not seem all that far from one another, and Dawn Of Ashes were acting as a bridge of sorts. Continue reading »

May 282026
 

(written by Islander)

We had an 11th-hour cancellation of a premiere I had committed to write for today. With the unexpected free time dropping in my lap like that, I thought I ought to get a head-start on the coming weekend roundups.

A head-start is sorely needed because the backlog of new music I haven’t had a chance to include here has swelled to humongous proportions, thanks to me shirking my duties while at Maryland Deathfest last weekend. The swell has become even more swollen in light of all the new songs that have surfaced just since last Sunday.

To reduce the swelling, we’ll lance the infection and let the following new songs and videos spurt out. (Yeah, that was a gross analogy, but the music isn’t gross, although a lot of it is indeed infectious.) Continue reading »

May 282026
 

(Last December as part of our LISTMANIA series, for the 10th year in a row, we shared an eclectic year-end music list from Canadian musician Seb Painchaud — whose band Tumbleweed Dealer also came out with a great new album last year. But that 2025 YE list turned out to be incomplete. Seb missed some shit, and now makes up for it with this supplemental collection of 18 titles.)

We are almost halfway through the year, and I’ve been sitting on this list for months. Let’s just blast through it real quick and get this off my to-do list. Continue reading »

May 282026
 

(Our Norway-based contributor Chile wrote the following very enthusiastic review of the sophomore album released earlier this month by D.C.-based Desolus.)

For a guy who’s constantly (or often enough) on about how he likes his metal fast, I feel like I am not listening to nearly enough thrash metal, arguably one of the fastest genres around. Furthermore, since thrash can be easily welded together with influences from both death and black metal, thus making it even more interesting and varied, I really have no excuse.

So what better chance to indulge in such activities than to wield some wicked new thrash album and give it a proper review in the process (I am also not claiming here that I can actually write a proper review), and therefore we are joined today by Washington D.C.’s Desolus and their just-released sophomore album Dwellers of the Twilight Void. Continue reading »

May 272026
 

(written by Islander)

Nearly 20 years into their career, which in the context of metal is akin to a geologic epoch, the Danish band Crocell prove through their latest album that they are at the peak of their powers rather than on a downhill slide. They have used their accumulated experience to create a harrowing adventure, equal parts furiously violent, oppressively crushing, and deeply haunting — an adventure threaded with dark melodies that are just as vital as Crocell’s ability to hammer hearts and fracture spines.

The name of the album (Crocell’s seventh full-length) is Swarm of Insects, and it will be released on May 29th through Emanzipation Productions. As the label’s texts explain, “The album title evokes images of biblical plagues, but may just as well reflect a humanity blindly swarming and feeding on whatever scraps are thrown its way.” And thus “the lyrics explore tyranny, oppression, betrayal and demagoguery.”

As for the music, Crocell’s evolved hybrid of death and black metal often does sound like audio portrayals of plague, but it drives a listener’s imagination toward other visions as well — which you can now experience for yourselves through our full streaming premiere. Continue reading »

May 272026
 

(Our friend and contributor Ben Manzella caught the Los Angeles stop of the ongoing Decibel Magazine Tour on the night of May 12th and sent in the following thoughts about the performances, along with his own excellent photos. We’re late in posting this, through no fault of Ben’s, due to our editor’s distractions at a recent festival in Baltimore.)

As I write this review, still recovering from the welcome bangover courtesy of Northwest Terror Fest, the annual Decibel tour will be rolling into Portland this evening. While most of the lineup showcased varied interpretations of death metal, the addition of Spirit Adrift ended up being a personal highlight due to my limited familiarity with their music. Weeknight metal shows are always a gamble, and while the collective attention span at most shows seems limited, I was glad to see a good crowd show up at the Belasco this past Tuesday. Continue reading »

May 272026
 

(Here’s DGR’s review of the debut demo from a pulverizing U.S./Canada grind band called Vision of Terror. It will take you more time to read the review than to listen to the demo. But you should read the review anyway, ‘cuz it’s fun.)

You’d think by this point the idea of reviewing a grindcore release and giving it the same sort of treatment we would give to a full album would cease to be funny, but never let it be said that we aren’t a bunch of children trapped in aging and frail bodies. Because, the idea is still funny – especially if we can double up on said humor by reviewing a demo as well – given that grindcore is one of the battle-hardened genres that’ve gone through the ritual scarification required to be the musical equivalent of an auditory tantrum.

The fact that the songs are short, usually three to four parts total, and generally speaking reflect a tremendous amount of passion but not a lot of technique, is one of the defining marks of a major root of the grindcore tree. That idea has been part of the genre’s virulent strain since the very beginning, like a DNA marker that allows us to figure out that someone had sex with a hippo four hundred years ago and that is why you now have to deal with a weeks-long coughing fit.

No matter what gets added to it, whether it’s the NCS-fave hardcore punk or even melodeath riffwork that in combination tends to result in the sort of manic and explosive material accredited to modern day grind groups like Rotten Sound, you are always guaranteed that short burst of energy and head-spinning drumming by the time you’re done. If it doesn’t sound like the band are racing against the time it takes for the venue to cut power to the stage, then what’re we even accomplishing? Continue reading »

May 262026
 

(Below you will find Comrade Aleks’ very engaging discussion with the humble founder of the French epic black metal band Eminentia Tenebris, whose latest album, their fourth, was released last year by Antiq Records.)

We always do our best to follow new releases and present our readers the most actual and up-to-date information, but life is life and it’s difficult to cover all releases we receive. So I found the digital promo of Eminentia Tenebris’ album Whispers of the Undying in the corner of my desktop. I immediately recognized the album’s cover art, as it looks like a manifest, it’s very metal to the degree of cliché, yet it’s remarkable and solid. Thus finally I paid proper attention to this album and enjoyed it a lot with its epic and cinematic black metal.

It could be a nostalgic vibe of some songs or their refreshing breath, but I believe that the decision to do an interview with Cryo, Eminentia Tenebris’ founder, was a right one. Continue reading »

May 262026
 

(This is Todd Manning’s review of the first new album from Chicago destroyers Lair of the Minotaur in a very long time, and it’s out now on The Grind-House Records.)

It’s difficult this time of year for me to find time to write about music, but I couldn’t let a new Lair of the Minotaur record go without comment. I Hail I is the first full-length they’ve released in sixteen years, and it is a fabulous return. Lair of the Minotaur is the brainchild of guitarist/vocalist Steven Rathbone. He’s always managed to bring in top-notch talent to complete the lineup, this time reuniting with longtime drummer Chris Wozniak and bringing in bassist/producer extraordinaire Sanford Parker.

If any metalheads have been unlucky to overlook this killer band in the past, it is worth saying that Lair of the Minotaur sound like their name, like a minotaur let loose in the proverbial china shop. They deftly combine sludge and thrash influences, along with a talent for mixing in limitless hooks and memorable riffs. Their classic debut, Carnage, seemed to emphasize the sludge over the thrash, while most have emphasized the thrash a bit more. I Hail I returns to the burly sludge sounds of the debut. Continue reading »