(In this latest of Daniel Barkasi’s monthly album reviews for NCS he focuses on records released in February 2026.)
With the snow thawing in our area – a much different tale for many in the northeast US – leaving the house has become much more of a normal feat, without the risk of slipping on an ice sheet. I should have whipped out my ice hockey skates when we had sub-freezing temperatures, and made a complete ass of myself. Well, you know, in a different way than normal.
The lessening presence of arctic cold in the air hasn’t slowed the release calendar, with proceedings picking up with an icy bluster of quality releases in the year’s shortest month. For the “bigger” releases, Mayhem put out what has been one of the most dynamic and intriguing releases of their existence, while Worm went symphonic with dazzling results, and vets Converge bestowed an all-timer upon us.
While we’ve only got six spots to bestow in this column, there were several strenuous omissions, not due to a lack of quality of course, but fierce competition amongst a bevy of top level records. Mors Verum’s death metal manifestation is ever intriguing, Howling took me by surprise with their abrasive black metal, and The Magus and Nazghor provided contrasting-yet-gripping slabs of the dark arts, whereas Bizarrekult and Diabolus, Mecum Semperterne gave their own inspiring and undeniable viewpoints on all things black. Hell, there’s a full slate for this monthly exercise that would have been fantastic, but therein lies the strength of February’s offerings.
With all of that said, a brief departure, but for my brain a necessary one, so thanks for indulging me: There’s a lot going on in the world, and much of it is challenging to process and is all so very complex and downright scary at times, so as we preach here, find the joy in your life, as it’s critically important to your sanity and the whole journey of existence. For many of us, that’s music, so keep on indulging. For those struggling, we hear you, and send all the warm wishes and thoughts. I have to say that, especially for the people of Iran, who have been senselessly slaughtered and oppressed for decades, I hope better days are on the horizon – you’ve all endured much more than I can comprehend, and our hearts are with you.
Let us take in some truly magnificent music together!
Ensanguinate – Death Saturnalia (With Temples Below)
Release Date: February 6, 2026
A band whose talents were laid bare in their debut full-length Eldritch Anatomy in 2022, Slovenia’s Ensanguinate take influence from many early ’90s death metal staples and add a psychedelic component, blanketed by an overarching blackened texture. How these ideas would manifest in the future was anyone’s guess, and with that time now being the present, Death Saturnalia (With Temples Below) arrives to emphatically answer those inquiries.
Said inspirations remain at the heart of Ensanguinate’s music, churned into a mixture that’s increasingly brazen and sophisticated. Conceptually, the album is based on three mythological female Goddesses in Kali, Ereshkigal, and Lilith, with a deeper focus on the occult in both theme and sound. Before us is a record worthy of those stories; enthralling and vehement.
The compositions are wild and uncontrolled, but assembled in a way that’s cohesive and altogether mesmerizing. Blistering statements such as “Angel of a Thousand Poisons” boast segments that quickly rend and tear like classic Morbid Angel, while dazzling with exquisite, mind-bending lead play that drives the mood; guitarists Jaka Črešnar and Andrej Čuk are both in top form.
The album includes intricate, boldly twisted tracks such as “Rooted in Accursed Ground”, and shredding morsels of blackened death metal are abundant – “On Wings of Bone” and “Savage Hunger Far Beyond” attack directly and surely with an always enticing hint of unpredictability.
“The Whip and the Pendulum” takes a number of chances, with grounded, winding acoustic segments and murky keyboards dictating a psychedelic doom pacing that echoes acts like Blood Ceremony, though never forgetting to give a pummeling when necessary.
There’s plenty to sink one’s teeth into in Death Saturnalia (With Temples Below) that’s both familiar and done so on their own terms; an admirable achievement in the current crowded landscape. The trance-inducing aura and raw barbarity that Ensanguinate expertly blend permeates their sound further than before, offering a delicious callback to several classic approaches, whilst simultaneously succeeding in sounding fresh and inspired. Prepare for something completely different!
Coscradh – Carving the Causeway to the Otherworld
Release Date: February 20, 2026
Give me the frenzied and untethered in my music any day, and Coscradh serves up a fine representation of that often rarified air. Their debut LP Nahanagan Stadial was our first exposure to their wild black/death soundscapes, arresting my attention in a way that many don’t. Thriving in a swirling mass of sound accented by lead vocalist/guitarist Ciarán Ó’Críodáin’s mangled vocalizations (many of which are penned in old Irish) amounts to a presentation that’s their own eclectic musing. Now on 20 Buck Spin, their second full-length Carving the Causeway to the Otherworld tightens their approach within increasingly fitting production values that truly show their best selves.
While Nahanagan Stadial’s rawness amongst the subtle textures of the band’s complex songwriting was notable, there’s a discerning precision to Carving the Causeway to the Otherworld that elevates. The mangled voicings that we’ve grown to adore continue steadfastly, immediately branding the album via gnarled howls and croaks in “Five Fifths Awaken.” Ó’Críodáin has worked hard at expanding his already impressive vocal toolkit, while also being accented with backing pieces from bassist Hick O Aodha and lead axe wielder Jason Keane.
Continuing on, the following title track bursts into a full gallop by a rumbling storm of instrumental madness, with guitars flailing wildly as drummer Boban Bubnjar glues the formation together with his driving percussive vibrance.
Astrological storytelling amongst Gaelic themes is at the center of Carving the Causeway to the Otherworld, with examples focusing on the god Mars (“Adhradh Dé Ghoac” literally translates to “The God of Mars”), and cuts such as the virulent “Scythe of Saturn” (visually depicted in the brilliant cover art courtesy of Khaos Diktator Design) thrash away with blackened fury.
Stinging celestial black metal fury saturates throughout – the previously mentioned “Adhradh Dé Ghoac” is an especially effective example, though this sonic foundation is consistently and decisively present – while tracks such as “Badhah’s Shadows” slow the tempo in key moments to give the listener plenty of differentiating viewpoints.
Moreover, “Caesar’s Revelation (Hibernia L. VI V. XIV ad XVI et XXIV)” howls and wails in methodical, creeping fashion, and closer “Opening the Gates to Styx, Nix, Kerberos and Hydra” is a carefully built, intrinsically frantic piece that’s as directly caustic as it is gargantuan in scope and execution.
If a harrowing, provocative journey with well-measured compositional quality exhibited by a coarse, pointed black/death metal core sounds enticing, then Coscradh is doubtlessly a band for you. Carving the Causeway to the Otherworld is the resultant of a confident bunch who are growing within their already expansive palette.
Phasma – Purgatory
Release Date: February 20, 2026
For a ravaging, groovy good time, we present Phasma – the two-man project of Kawir’s Jason Athanasiadis and vocalist Luis Ferre of Gravecarver, joining forces to bring a techy black/death hybrid to life that’s an absolute earworm. Moreover, and quite critically, also managing to deftly avoid the typical pitfalls of similar acts who produce music that’s wholly uninteresting.
With Purgatory being the band’s third album, and this being our first exposure to their wares, we went back and took in the first two, leaving us with the impression of this being their most fastidious work that threads the needle of a style that’s difficult to stick a clean landing with.
“I” – every song is simply a Roman numeral – dishes gobs of instrumental wizardry whilst infusing a keen catchiness that’s not contrived. The riffs are big, the transitions within the song are potently effective, and that solo is like fire to ice, melting with extreme proficiency.
Vocally, there’s a hint of deathcore tonality, but also plenty of death metal gristle, equaling out to the sort of variety that works with the constantly changing intonation. “II” for example showcases smart decisions in the writing department, by giving a powerful mid-paced stomp to contrast the opener’s freakishly quick trajectory. A melodic spin is central to the riff machine that is “IV”, and chunky, slick rhythms drive the abrasive “V” to keep a noticeably diverse number of influences packed within Phasma’s tech death amalgamation.
Purgatory hits fast and leaves just as quickly with a brisk sub-27-minute runtime, but that compactness accentuates what’s on offer rather than not giving the listener enough. An album that’s catchy as hell without being formulaic, putting a spin on a genre that doesn’t always conjure much beyond flashy noodling. Phasma write actual songs, and they’re fine ones that amount to a meaty, infectious good time with tons of replayability.
Misotheist – De Pinte
Release Date: February 20, 2026
Truth be told, when Terratur Possessions announced a new Misotheist record, we were frothing at the mouth at what the mysterious black metal purists may have awaiting our eager ears. Showcasing steady progress with every release, 2022’s Vessels by Which the Devil is Made Flesh represented the band’s most clinical collection to date, but attuned listeners knew that there was even more bubbling just below the molten surface. Enter De Pinte to further realize a black metal albatross that will not be impeded.
When it comes down to the essentials of the top tier of black metal, one needs menace, poise, and a baneful resonance. When you add distinctive subtlety and rigorous attention to detail, then there’s the potential for something special. De Pinte possesses all of those quantities and presents them in an expansive but candidly savage manner.
“Unanswered Thrice” serves as a sort of set-up, establishing an ominous, ritualistic feeling that penetrates the record deeply. In addition, a real purpose is felt through each note and progression, with each segment building onto what’s next.
“Blinded and Revealed” aims straight for the listener’s most vulnerable arteries and slashes with bloodthirsty accuracy. As the song advances, so does the uneasiness, as a scrupulous build reverberates to raise tensions to a fever pitch, before pulling back to turn expectations on their proverbial heads.
Rhythms and leads unite in a poised, gritty dance in “Kjetterdom,” embracing a methodical pace and invoking a desperate, gloom-infused crawl that works to lead into the pièce de résistance, the monolithic title track “De Pinte.” Eerie, minimalistic symphonic notes transition slowly into plodding blackened doom ruminations, with animalistic roars adding a hostility that tears through the mix. There’s a true artistry on display that’s indeed rare, as more layers are unearthed as the song moves step-by-step. When the band’s leathery wings emerge, we go into a full, majestic gait that plunges deeper and deeper into the abyss. The second half of the song nimbly transitions between ringing tenseness and monumental explosiveness, leaving the listener breathless at the conclusion.
We’ve said a mouthful and may be running low on adjectives to confess much more, but we’ll certainly try: De Pinte is a level of mastery that even we didn’t envision, and our expectations were lofty at minimum. To quote the fabled George Costanza when the nectar of the mango reinvigorated his libido, “I think it moved.” My Seinfeld reference of the month, ladies and gentlemen, but I digress. Misotheist has defied all conjecture and materialized a record in De Pinte that has all the makings to be a genre staple for a very long time.
Vorago – Morulus
Release Date: February 20, 2026
From anointed black metal royalty to chaos absolute, the brand new, filthy black metal project Vorago sets the table for an abundant bruising. Hailing from Mexico and Germany, the unnamed pair make their entrance in a robust, riff-centric fashion, taking crunchy, rhythm-guitar-dominant death metal and adding vocal-cord-annihilating blackened screams and aesthetic to form a maniacal bond in Morulus that’s utterly exhilarating.
Zero time is wasted to lay waste to all within a wide radius, with “Torquemada” laying down riff after glorious riff with a bulky tone and a relentless forward motion. Quick hits like “Raedern” give a black/grind bustling energy, while entries such as “Darkhammer” revel in crushing blackened death glory. We can’t emphasize enough – this is pulverizing stuff that’ll bust more than a few bones.
You want aural evisceration, try on “Negative Response” and “As It Gazes Back” for size, for they’ll flog one with hammer-fisted tenacity via colossal guitars as venomous as a Black Mamba. There’s a sonic similarity to Profanatica, twisted with a smidgeon of Blasphemy for good measure, that’s present in both production and structure; wholly impressive for such a debut.
The title track completes the nearly 31-minute album with a mid-paced black metal leaning monstrosity; to the point and indisputably imposing. Morulus provides little frills, none of which are needed or missed, and truthfully would have distracted from the full-on punishment that Vorago no doubt intended. A bold, to-the-point statement from a fresh act who obviously contains the knack for perpetually heavy output that’ll pound the listener into a fine powder.
Lokabrenna – Acephalic Apocrypha
Release Date: February 22, 2026
We conclude with another new project, this time from a recognizable source. Icelandic solo work Lokabrenna began in 2025 with a beastly single “Nights of Gnashing Teeth” that was somewhat on the down low, but to any who listened, a thirst for more began. The fellow behind this is Sturla Viðar, ex-vocalist/bassist for the legendary Svartidauði and contributor to the also defunct act Sól án Varma.
Obviously, with such a pedigree of creativity, when the full-length debut album Acephalic Apocrypha was released this month, we stopped everything and gave it our undivided attention. Then, a few listens more, and as the story goes, it was quite a feat to pull oneself away.
A creeping feeling introduces the aforementioned “Nights of Gnashing Teeth” in a ’70s horror stylization, soon erupting with a blunt force of low-fi rhythms and nightmarish roars. Sonically dense and heinous in intent, yet alluring and oddly hypnotic all at once, the layers presented are numerous and used to great effect.
Continuing by spilling over into more off-putting atmospheres is “Eldritch Armaments I: Anti-God Indoctrination” – a mostly staticy, frightening interlude that ramps up the tension to a fever pitch, then transitions into a chant and is completed by an excellent clip from the film Valhalla Rising. This works as a lead-in for “Spread Blood Eagle” – introduced by a nasty lead that’ll cut down mountains, quickly becoming more astringent as the pulsating drums enter to produce absolute torturous destruction. The guitar work is stingingly effective, channeling the mood via razor sharp leads and rhythms that play off of each other in an almost macabre dance, blasting right through the nearly 15-minute runtime while constantly keeping the listener guessing with nervy trepidation.
“The Indifferent Stars Above” is the fourth and final entry on Acephalic Apocrypha, and it’s a monster in both length (over 20 minutes) and inventiveness. A grime-ridden, blackened doom pacing begins this trek, cultivating terror from a different angle. The songwriting is exceedingly well-plotted, with each segment connecting into both what came before and what lies in wait. Despite the year still being in very early days, it’s difficult to imagine something else coming along that’s equally as unsettling as Acephalic Apocrypha as a whole, but especially this specific opus, unless Hasard emerges from the catacombs with new tidings.
Lokabrenna is a mighty statement from a musician who has been involved in some truly astounding and important black metal, and he’s got a lot more to say if this record is any indication. Acephalic Apocrypha is an uninhibited, potent album overflowing with creative zeal and invigorating presence. Iceland is the reigning champion of black metal that’s wholly uncommon in the most gratifying of ways, and we’re here for all of it.
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