(Here is a new monthly roundup of album reviews by Daniel Barkasi, which includes recommendations for six albums released in September 2026.)
With the fall season having officially started, the cool air has been refreshing. With that comes the start of football season – well, no, the other kind of football for this fella. The one that’s played with your feet that aligns with the name. You can have your throwball.
The big news, besides the kicking off the club game – it’ll be an interesting tale for my beloved Liverpool, though technically undefeated – was the very long awaited news about the accusations against Manchester City and their famed 115 charges of financial doping, irregularities, fake sponsorships, and a couple other things: they were reported to have been found guilty on 114 of them. This investigation was conducted by an independent commission to ensure neutrality, and their findings may somehow be worse than anticipated.
The Premier League’s official statement is worded far more strongly than I ever expected – stating that the club “arranged ‘sham’ contracts with a number of its commercial partners, as well as relying on ‘sham’ agreements with others, to artificially inflate the club’s revenues and reduce its costs.” Furthermore, their lack of good faith both outside and related to the investigation were also referenced. The quoted amount is staggering – in excess of £900 million. Yes, that much.
The process towards what exactly happens next is likely a long one, with the appeal to come. Manchester City’s chief executive put out a laughable statement, claiming that this is a conspiracy theory not based in fact. This is an ownership group who thinks they’re untouchable and above any rules, regulations, or laws, and will gaslight their supporters into their farcical delusions. The repercussions likely will be unprecedented, potentially including expulsion from the Premier League, titles stripped, and even the possibility of a forced sale of the club and significant legal issues beyond football. Frankly, they’ve earned all of it.
Discounting my unending love of LFC and the two Premier League titles missed by a single point to the club in question, this comes as no real surprise. The discussion of nation states owning sports teams/leagues is an intriguing one that’s full of corruption and human rights abuses and nefarious intent. My club is in a position I don’t want them in, too, and frankly, I hope this is the scenario that starts real change before the game is ruined completely.
As for how the City case started, Der Spiegel blew the lid off of this in 2018, leading to today’s circumstances. I don’t know what will ultimately happen, as there are more layers to this than a prog album, but whether you’re a fan of the sport or not, it’s a fascinating tale of corruption and manipulation that still has plenty of unwritten chapters to go. I’ve already had to update this once due to massive breaking news, and by the time you read this, there may be more revelations.
I hope the resultant goes down something like this:
The releases of note for September were plentiful and varied, as typically happens as the summer heat fades. I won’t stop raving about Novae Militiae’s Apocryphon of the Unborn Light, possibly ever, and the ever-consistent Archgoat delivered yet again. Green Carnation gave us the final part of the A Dark Poem trilogy, and it was nothing short of stunning; listen to all three consecutively, if you have about two hours to set aside, as that full front-to-back experience is worthwhile.
For the offbeat, Acausal Intrusion and Venomous Echos (who have graced this column before) have plenty of blackened madness on tap. The EPs made their mark; प्रलय (Pralaya) with the searing Inferno, Hadopelagyal’s violent blackened overtures, and Judiciary with smack across the brow of shredding crossover/hardcore. More black metal goodness of differing flavors was bestowed upon is via From The Vastland, Miasmes, Hail Conjurer, Draugr, and Theosophy. If death metal is your vice, the rowdy trio of Sacreligious, Tombstalker, and Filth each brought their own style of deathly ruin.
We could go on and on and still miss a bunch of things, but it’s time to get to the main event – a mix of sorts that should leave most with at least a few records they’ll want to further investigate.
Demonic Manifestation – Grimshrine
Release Date: September 4, 2026
You want riffs, Demonic Manifestation has an abundance on a platter. The Mexican troupe carry a heavy HM-2 death metal influence – the guitar tone is unmistakable, of course – but also a bit of Incantation running through their blood. Up to now, they’ve had two more than solid full-lengths, but their third Grimshine is what’s bringing them to the discussion. Most important about the band and Grimshine in particular is that unlike the seemingly unlimited number of monotonous copycats crawling out of every crevice these days, they’ve got the chops and writing acumen to pen interesting songs and burgeoning, brutal riffage. We did mention the riffs, yes?
Without hesitation, “Cult of Dominion” blasts through the wall like the Kool-Aid man via a rhythmic onslaught that’s both hard-hitting and addictingly groove-filled. Grimshine rattles off fetching riff monsters one after the other; a certain way to pique these ears. “Ninth Flame Oath” and “Terror Cosmic Gates” go for the throat in a very direct and pounding way – Felipe González is an expert skinsman, blasting when he needs to, and changing the tempo at a moment’s notice when the song calls for it. “Kuru the Laughing Death March” goes more down that Incantation route, with ripping solo and lead work to offer up something other than all-out slamming barbarity.
Mid-paced death metal is a style that often calls to this writer’s brain; the space given can afford the guitars more of a chance to separate themselves, and Demonic Manifestation have this down to a science with “The Horror” and “Host” especially, while entries such as “Spheres of Death” give a combination of both fleeting wrecking ball type death metal and the more measured, rigorous eviscerations that the upper crust regularly demonstrate.
Perhaps the song that best epitomizes the band’s best qualities is “Phantasma” – riffs that get branded into your psyche, numerous pace changes that keep proceedings interesting, and consistently visceral, gruff vocalisations that shake the ground beneath one’s feet. Both guitar and vocal duties are split between Victor Mercado and Enrique Martínez Fray, and their chemistry and efficacy is off the charts.
Demonic Manifestation aren’t aiming to reinvent death metal, as they could easily fit in with those seminal early ’90s acts, and it’s true that there’s a certain homage to that foundational sound that has inspired so many. What helps the group establish themselves is the engaging, hulking songs they’ve conjured that invokes a dark and brooding atmosphere to go along with the classic mindset that they embrace. Most of all, Grimshine is a fine chunk of death metal that hits the right note between nostalgia and outright heinous, meaty contemporary death metal.
Fluisteraars – Jacht der mysteriën
Release Date: September 11, 2026
We’re always straight shooters here, and we’ll gladly admit that we didn’t get the hype behind the Dutch post-black practitioners Fluisteraars at first. It took some time and a re-visit a few years ago for their work to finally click in my often odd brain. Luwte is an incredibly level album, balancing both the airy, beautified side of post-black metal with something incessantly sinister. Many refer to Bloem as their magnum opus, entrenched in a vibrant cinematic scope that was wholly fascinating, though we must say that the earlier stuff that contains more sandpaper resonated most, as excellent as said opus is.
Truthfully, Fluisteraars are incredibly difficult to pin down. Each release is a unique reflection of the band’s ethos, so as far as Jacht der mysteriën is concerned, we parked any preconceived expectations and went in with open ears.
What struck immediately is that the atmosphere here is darker and fraught with trepidation. The galloping wall of guitars that thrusts “Grondeloos donkere bossen” into one’s psyche is violent yet captivating, and once entwined with Bob Mollema’s trademark snarl, we’re caught in their web. A haunting piece that grows foggier as it creeps forward at a steady gait, cultivating an organic flow that’s easy to get lost inside.
“Condities der afstraffing” continues the trek into the shadowy unknown, feeling subtly harsher than its predecessor with an uptick in urgency enshrouded in a fear-laden aura. Comparisons to Luwte are thus far apt, but of course what’s presented is its own beast, and a crafty one at that. Fluisteraars are masters at changing direction with a subtle movement, and this is on full display deep into this piece, with Mink Koops’ guitar wailings making a slight shift towards an airy hopefulness, before turning bleaker still through the song’s conclusion, with Mollema’s twisted shrieks and fuzzy synths driving the point home.
Final entry “Zwarte zomermaan” is an off-kilter piece; an 18-minute marathon that’s the most varied of the trio of offerings put forth on Jacht der mysteriën. The opening riff lives in a post-rock style of wistfulness whilst also maintaining a creeping vibe. The song abruptly transitions to a minimalistic, disconcerting synth segment, serving as the final eight minutes of the track and ultimately the album; it’s captivating and cinematic, though perhaps a tad long in the tooth, but also leaves a mysterious impression to what is a fascinating work.
Taking in Jacht der mysteriën fully requires openness, and there’s much to unpack once you complete it, and chances are, you’ll want at least a few repeat listens to soak in what may have been missed. Plenty of replayability and an overwhelming atmosphere make this one of this scribe’s most recommended of Fluisteraars celebrated discography. Long-time admirers will absolutely find an abundance to melt into with Jacht der mysteriën, and the uninitiated (until now) will likely come away at the least intrigued to hear more.
Sněť – V bažinách vědomí
Release Date: September 11, 2026
Old school inspired death metal of a different ilk than our first album from Demonic Manifestation, Czechia’s Sněť instead are closely correlated to the likes of Autopsy and Demilich, with a little bit of grind blended in for good measure. Their 2021 debut full-length Mokvání v okovech was a solid introduction, showcasing potential for plenty more, though not perfect by any means. Suffice to say, they’ve come back for round two much stronger and ready to unleash serious punishment on V bažinách vědomí.
Roughly translating to “In the Swamps of Consciousness,” the five-piece without question reside in the filth-ridden sewers of death metal, coughing up loads of grime-soaked riffs and an in-your-face attitude to evolve into the most realized and utterly monstrous form that Sněť has thus far mustered. Need proof? “Tíha světů” grinds and roars like a blood-soaked torture chamber of muscular, crunchy riffs festering in slime. Axemen Ransolič and Hnisatel have upped their game considerably, slinging memorably disgusting riffs and shrewd, insidious leads that are a major point of focus.
Řád Zdechlin’s guttural bellows rumble alongside the heavily distorted strings; another marked step up, both in presence and unfettered potency. Sněť’s compositional quality has also tightened – cuts such as “Kladivo ve tmě” and “Dřevěný kůl” are contagious in their cagey nature and monumentally forceful sonic might.
Chaos abounds in the frantic “Apokalyptický smaragd budoucí doby”, while the contrasting “Ve stínu slunce” offers a methodical pace that’s no less impactful, even being bookended by spoken-word segments with the fleshy center delving into a full stomp of vile disdain. Drummer Krütorr and rhythm partner in crime / bass wielder Hrdlořez are particularly convincing both here and on the equally pungent “Nekončící koloběh snění a probouzení,” taking full advantage of the space given to add their own blunt and merciless touches to provide an almighty hurting on all within earshot.
This barrel of muck that Sněť have concocted is a phenomenal example of how to execute this style of death metal with both utmost precision and a singular flair for obscenely strident riff creation. The songs are infectious and the instrumental performances across the board are tighter than previously demonstrated, melding together to form an indignant record that will be near impossible to tire of. V bažinách vědomí is a hell of a step forward that no doubt instantly elevates Sněť within the underworld of raunchy death metal.
Blodtår – Monark
Release Date: September 18, 2026
A more sophisticated approach to black metal can still include enough fire and brimstone to not come off as tame or restrained. When it comes to Sweden’s Blodtår, that needle has been threaded marvelously with their second full-length Monark, interlacing melancholic and folk elements with harsh, chilling classic black metal stylings framed by the authentic struggles and adversity experienced by main curator Carl.
Windir is an obvious conclusion to draw comparatively, though Thyrfing and early Enslaved influences can also assuredly be picked out. Blodtår do walk their own pathway, especially in the songwriting directives. Somber acoustics make way for a mournful yet savage explosion of slick guitar work, forming an enduring self-titled opening bluster. The pain in Carl’s desperate screams is gripping as it is irate, being one of many notable elements of Blodtår that function so lavishly. My favorite characteristic, however, is the terrific downtrodden melodic lead that’s masterfully expressive in-and-of itself.
“Till min sista viloplats” sees Blodtår at a height of rage, tearing through the listener with reckless abandon, though always maintaining that sullen tonality that permeates the entirety of Monark. When the piece transitions into a calming vocal harmony and clean instrumentation to complete the song, the folk elements take hold, transitioning beautifully into “Paradis” – a crushing composition that again so poignantly fuses downtrodden melodicism with icy early ’90s black metal fervor.
Tracks such as “Det slutar i lågor” and the decisively moving and studious “Bland kvällens skuggor ännu vandra” embrace a Norse sort of sound to heart – the former by way of stylized chants and the latter via the penetrating, hypnotic atmosphere cultivated. Not taken so far as to be contrived like so many imitators, but more to push into differing and immersive landscapes. Others like the title track “Monark” take a more forthright, caustic approach to ensure that the record emits a significant snarl. Finale “Den eviga isen” contains one of the most spellbinding guitar lead harmonies we’ve heard this year, surrounded by anger intermixed with contrasting tranquility. A difficult union, to be certain, but Blodtår executes it sublimely.
Monark isn’t an easy listen, considering the subject matter as well as the highly intricate and careful construction that Blodtår has undertaken to complete this painstaking achievement. Many have attempted to follow in the footsteps of acts like Windir and have fallen on their proverbial faces, but Blodtår takes those soundscapes of the genre’s forefathers whilst forging music on their own terms, to which Monark has been their most affirming and rousing endeavor to date.
Flame – Ignis Draconis Daemonicus
Release Date: September 25, 2026
For a band who has been active for nearly three decades, Flame’s output has been relatively sparse, releasing two albums in 2005 and 2011 respectively, and not a whole lot since, other than a duo of EPs. That inactivity ends now, as the blackened thrashers have returned with their long-awaited third long-player in Ignis Draconis Daemonicus, and it’s a raucous good time in the vein of Aura Noir and the like.
Flame sure isn’t breaking new ground, but damn it if they don’t have the riffs and the sort of evil, blasphemy-ridden aura that the better examples of this aural bearing possess. “Kaosphere” roars out of the gate hard and fast; a simple-yet-blistering swipe across the jaw, thrashing about with a bleak, occult-like demeanor that’s difficult for these ears to ignore.
“Spellfire” is just as the title describes, blasted forth by the wailing, hearty guitar exertions of Blackvenom and the amusingly named Dr. Vomit. How does one earn a doctorate in regurgitation, anyway? While we want to leave the answer to that inquiry unanswered, what is true is that Ignis Draconis Daemonicus is filled with to-the-point riffage that’ll get the old head nodding.
Tonally, what you hear is what you get, and there isn’t much deviation from the formula. This is dirty, unencumbered blackened thrash that’s a throwback to classic Desaster, or even more regionally, that of countrymates Urn. Tracks such as “Mystical Voice of My Demon Master” have a steady, mid-paced romp that is the typical pacing for the record, with a devilish sort of feel and a definitive swagger. “Sethanic Sorcery” delivers a satisfying crunch by way of a few licks that stick in the cranium, where “Pure Damnation’s Ecstacy” is a speed demon that spits acidic filth from start to finish.
Ignis Draconis Daemonicus is by no means perfect or anything particularly fresh, but what it does do is harness a particular sound that we’ve got a soft spot for, and does so in a confident manner that bleeds the sort of belligerent, foul overtones that we seek in a black thrash hybrid. Sometimes you just crave something that you can kick back and soak in, and Flame has dropped an album that’s gratifying and doesn’t require a whole lot of introspection. These Finns certainly light that candle bright with this tenacious bulldozer.
Noctule – Extinguish Thy Flame
Release Date: September 25, 2026
With the final record for the month, we have Noctule, the solo project of Serena Cherry, who is primarily known by her work in the post-black/hardcore act Svalbard. With Svalbard sadly hanging them up, she has revived her solo black metal project, whose single previous release was 2021’s Wretched Abyss. Very much steeped in the atmospheric black metal realm as well as the subject of video games (she’s a journalist for GamesRadar+ after all), that record was a solid foray into something that departed from her then main musical outlet. Shrouded in a theme that’s an obvious passion, that debut did feel a little undercooked in some areas, while also giving glimpses of potential amongst solid foundational ideas.
Extinguish Thy Flame in many ways is those concepts coming to a fully realized form, while also boasting a bit of a sonic shift that serves the music quite well. Conceptually based on Elden Ring, each song depicts a particular demigod from said game, which is one very meaningful to the sole creator of this album. Sonically speaking, the general orientation lies in the melodic black metal sphere, with plenty of nods towards the more classic stylings of melodic death metal. What we have is more energetic and pacey than Wretched Abyss for certain, with “Devour the Gods” showing these elements off with immediate effect. The guitar work blazes ever brightly, with gobs of hooks and harmonies sitting in the proverbial driver’s seat, propelling what is a spirited and snappy affair.
The whole record is without question much more bombastic than said debut Wretched Abyss, boasting a lively production to match the electric and melodically fervent songwriting. A definitive At the Gates-ish influence shows deeply in tracks such as “Lord of Blood,” though one can make a closer connection to the melancholic melodeath sounds of Be’lakor and Insomnium as the record continues. Cherry’s roars are fiery and unambiguous, emblazoned by an undercurrent of wrath and furor. Much like the game it’s based on, there’s an “epic” feel ingrained in cinematic pieces like “Grafted” – the piano intro works nicely when transitioning to a particularly tasty lead-guitar assault – as well as the catchy “Age of the Stars.”
The breakneck trajectory that’s established early is nearly always present, piercing like a sword into the gut, but there’s plenty of nuance to be had to keep proceedings dynamic. “Goddess of Rot” leans into morose post-black, but fused to the core with weeping melodies and an absolutely addictive lead passage that’s the focal point. “Lament of the Omen King” emulates a defiant march via a wall of drums and crunchy guitar rhythms, before launching into a lightspeed gallop that’ll leave one’s head spinning by the conclusion. Meanwhile, “Hallowhorn Grounds” leaves us in a moderately hopeful and persistently contemplative state; the spoken word lines and the clean guitar section set up a grandiose, memorable last gasp to end with a glimmer of optimism inside clouds of nefarious darkness.
Cherry held nothing back with a determined and profound effort in Noctule’s return, traversing a thematic course that’s acutely personal in a heart-on-the-sleeve manner that’s a hallmark of her audible designs. Whether a hardcore Elden Ring devotee or having never heard of the game, there’s no prerequisite for enjoying what Extinguish Thy Flame has in store. Musically, it’s a work with a colossal sound, plenty of intensity, and more melodic sensibility than even we expected, harnessing a melting pot of inspirations that make Extinguish Thy Flame accessible in a way, but with measured amounts of refinement and fuming apprehension to merge into a diverse and convincing fireball of an album.
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