(Our friend Daniel Barkasi returns with another monthly collection of reviews for recommended releases, and this time draws his lot from what the month of March brought us.)
I had a bit of a different angle planned for the beginning of this edition until April 2nd, but we’re going to take an unwelcome detour.
News that day came out informing us that we lost two important artists – James Lollar, known as the darksynth legend Gost, and Harms Way guitarist Bo Lueders. Both had an indelible impact in their respective genres, and their losses are a devastating shock to the friends and family of these two fine folks, but of course also to those who followed and embraced their creative endeavors. Harms Way’s crushing, vibrant approach to hardcore is a go-to for me, and Lueders came across as an excellent guy who touched the lives of many through his music, his podcast, and his all-around good nature.
Due to my personal experiences, I want to focus on Gost/James Lollar for a moment – an artist who holds an esteemed place for myself and many others due to his extremely innovative and genre-molding music, which in tandem with Perturbator, Carpenter Brut, Dance with the Dead, Mega Drive, and Dan Terminus, invented and perfected the darksynth sound. His dense, incredibly aggressive and monolithic productions are ones for the ages. A discography that has been in regular rotation since hearing Behemoth in 2015. My wife and I were lucky enough to cover a live show of his in December of 2023 – the only time either of us got to view his work live, and what an indelible experience it was.
I also got the esteemed honor to interview Loller for NCS in connection to his latest, and sadly now last album, Prophecy, which we also reviewed for the site. A super humble, articulate, friendly, and supremely talented individual in my brief experience. Re-reading that interview hit me hard, thinking of a talent in their prime, but also as a person who had so much more life to live. From knowing those who were close to him, he was as wonderful of a human as could be, which makes this sting all the worse. A guy who also wasn’t much older than I, and the whole mortality thing scares the wits out of me, so it’s a sobering thought. That of course pales in comparison to what his family and friends are going through.
RIP to both of these gentlemen. I say this a lot, but tell those you care about how much you love them every chance you get, and try not to sweat the small stuff.
******
On a personal note, the new place is coming together. Fence construction for the horse pasture is in full swing, and I’m doing my best to not get in my wife’s way – she’s the master at this sort of thing. There’s a giant round pen that we completed on Saturday. The best part is that we’ll have the horses here at some point this month, and we’re excited to finally have them home with us.
When we spoke of musical quality in the month of February, that trend has continued into March and looking further still, that train will only continue to gain steam going into April. For the bigger stuff, Temple of Void returned with a fine outing, Hellripper once again shredded our faces off (shameless self-promotion), and Neurosis shocked us all with a triumphant return.
As for releases we’d have loved to have included here but the numbers game got the better of us, there’s plenty to delve into. We have Via Doloris with a hell of a debut of noxious black metal, The Silver (comprising some familiar faces from Crypt Sermon and Horrendous) crafting post-black in a highly different and equally effective manner, Tulus with a cunning effort, forward-thinking death metal with bite from Gutvoid, nefarious black metal from Alkhemia, Erbeet Azhak, and Aerdryk (who both come from the same creative source), and melodeath done right by another unexpected return this month, courtesy of The Duskfall (no Bandcamp link yet, but reviewed here).
What’s left must be exquisite, considering all of that stellar music, am I right? Well, this fellow certainly thinks so, and we hope that you do as well. Without further delay…
Lömsk – Act II – Of Iron and Blood
Release Date: March 6, 2026
Swedish black metal quartet Lömsk turned this head abruptly with their Act I EP back in late 2024, with a pointedly direct, bombastic approach that also contained carefully infused smidgeons of melody that don’t tone down the intensity. A mature debut to be certain that established intent whilst foreshadowing future possibilities.
Now arriving at their first full-length via Act II, every element present before has been amplified, resulting in music that’s more grandiose, but also landing heavier blows. “Of Iron and Blood” exemplifies what makes Lömsk tick, tearing through the listener like a sharpened bayonet deployed with merciless rage. The guitar work is smooth yet abrasive, boasting a vast array of tremolos and rhythms that guide the song forcefully into one’s psyche.
All members use monikers depicting military ranks, and as such, the axe-wielding duo of The Lieutenant and The Major are a virulent, unimpeded force. I’m sure the Fawlty Towers character that shares the rank of the latter lead guitarist would approve, though I don’t think Lömsk is speaking to a talking moose head.
In addition to being a hard-edged form of melodic-leaning black metal, their music carries an emotive weight. Opening affront “Fields of Elysium” showcases these components immediately, conjuring a stirring virility by combining explosiveness with spirited crescendos to form a breathtaking sonic constitution. Vocalist The Colonel (no, I’m not asking for the secret recipe – somebody stop me) possesses a thick, rumbling roar, while selectively utilizing a coarse croon that gives one the old goosebumps.
Mid-paced, brawny pieces such as “Entropia” and “Stare Into the Void” play a part in making Act II a versatile behemoth, allowing the record to breathe when necessary while not reducing the gristly apprehension that penetrates from beginning to end. The stunning “Furia” is a robust, lengthy journey that knows when to assault with hulking strength, and when to deftly pull back to make the listener thirst for more. Drummer The Captain directs here exceedingly well; not typically in the forefront, but his presence is always right there.
Lömsk has stepped up in ways we didn’t predict, and the expectations going in were already significant. Act II takes everything that Act I introduced and adds deeper dynamics to an already keen songwriting prowess that oozes confidence and bravado. We can’t wait to catch them live in May at Maryland Deathfest in the not-so-distant future, as these songs feel like they’re made for the stage. Until then, we’ll be taking this thing in a whole lot more.
Mammon’s Throne – My Body to the Worms
Release Date: March 13, 2026
Australia is and likely will always be one of the best places to discover music. There’s a creative freedom that’s ingrained in the large majority of acts that hail from there, crafting their wares in ways that folks from other locales don’t frequently dare. As closely as I follow that scene, the name Mammon’s Throne had yet to grace my ears until now, despite having formed in 2018 and with two albums under their belt. Their third My Body to the Worms stands as an eye-opening introduction – an amalgamation of sludge, doom, and heavy metal forged together to become a one-of-a-kind sound that’s epic as it is monstrous.
A distinctive groove permeates “Senseless Death” as the number bounces between crunchy death metal and a more classic metal flair, with large shifts to firmly entrench the doom aspects that are the true core of Mammon’s Throne. The middle bridge takes a dramatic minimalistic shift, trading screeching roars for mid-range, haunting cleans to set up the smashing conclusion. That’s just track one, folks.
Most impressive of all isn’t the obvious technical proficiency, but how the collective of talents in their ranks come together to write outstanding songs packed to the gills with stylistic fluctuations and enduring moments. The pounding, fuzzy riff that kicks off the stoner-meets-death “Elixir” is grotesquely heavy and equally psychedelic to a point that would make Electric Wizard jealous.
“An Angel’s Grace” gives a mesmeric doom and gloom vibe, but every so often punches with a nifty riff or a barbarous vocal bit to keep the listener on their toes, yet maintains a steady pacing that keeps proceedings moving. “Every Day More Sickened” represents a mercilessly heavy riff onslaught, but with a somewhat blackened sludge skin that involves plenty of mood changes and fun surprises. Vocalist Matthew Miller’s arsenal is fully stocked, with his death growls imposing, his gothic-inspired cleans potent, and his higher pitched screams ear piercingly delicious.
Such an amazing time has been had with My Body to the Worms in my many spins that a claim of it being one of the most purely enjoyable records thus far in 2026 isn’t a bold statement. These guys are incredible songwriters and know how to balance out a plethora of influences into a tidy package that’s incredibly difficult to resist. Mammon’s Throne has that special something, and we dare you to not at the least crack a smile or twenty while jamming to this beast.
Aldheorte – The Wild Divine
Release Date: March 27, 2026
Diving back into the murky waters of black metal shouldn’t be a surprise to any reader of this hodgepodge of musical tidings, so we dive in head-first with Aldheorte’s The Wild Divine. Their debut full-length Where Gods Have Eyes to See gave us plenty to chew on, and now with album number two, they’ve fine-tuned their recipe of blistering, aggressive black metal to a sharpened, immeasurable force.
Being part of the revived classic label Solistitium Records is a step into the spotlight for this duo, who are on quite the release hot streak with the mind-bendingly addictive Nazghor dropping what may be their finest. Consider any friendly challenge accepted and achieved – The Wild Divine is pulsating and ruthless from the first note and maintains that energy through the 37-minute runtime. “Vanity” and the title track set the table with blistering guitars that wail and slash with utmost precision and pissed-off fortitude, enhanced by consistently savage shrieks that are both hellacious and full of might.
Does Aldheorte know how to do anything but put the pedal to the floor? With tunes such as “Ouroboros” they indeed play melody-infused black metal that isn’t as reliant on full-on pace, but rather settle into an immense, meticulous approach that serves them as well as the more furious pieces do. “Hesperus” embraces a similar mantra, with the common thread of being robust and commanding expositions.
For slick guitar work, the opening tremolos from “Prayers to Fallen Gods” will tear one’s face asunder – Rhynn’s work is incisive – while melting together with muscular rhythmic undertones. Closer “The Offering” adds a dash of melody once again to tweak the purview, but remains a steady and gripping finale filled with indignation and instinctual song progressions.
Aldheorte has unleashed an engaging and fiery eruption of a record in The Wild Divine that’ll satiate one’s lust for black metal that’s fierce and bitter, yet wisely doesn’t fall into the trap of being one-note and predictable. A compelling release with gobs of replayability.
Antrisch – Expedition III: Renitenzpfad Marañones
Release Date: March 27, 2026
When a band forges their own identity filled with ingenuity, at the least, the proper respect must be given. Germany’s Antrisch takes that to heart with wholly different and intriguing concepts. Thematically, their music is based on stories of explorers, with each release title involving a numerical Expedition. An EP began their journey in 2021 – Expedition I: Dissonanzgrat – to put their own creative spin in a more fictional space with real-life historical references throughout. Their first full-length Expedition II: Die Passage took on the tale of Sir John Franklin’s expedition to unexplored parts of the frigid Northwest Passage in Canada that ended in complete disaster. Their atmospheric black metal paints from a broad palate, managing to fit the complex story with equally detailed sonic interpretations.
For Expedition III: Renitenzpfad Marañones, the subject is Lope de Aguirre – a Spanish conquistador whose bloody conquest in search of El Dorado in 1560 is the primary focus. As a warning, this is an LP with an extraordinary amount of layers and depth – a piece that requires one’s full attention in order to experience it properly. As such, this is like a novel put to harsh, eloquent, and violent black metal. Antrisch are storytellers, and it’s incredible how this doomed exploration is captured in painstaking detail.
Vocalist Maurice Wilson – assuming this is a pseudonym/reference to the British man of the same name who failed in an attempt to climb Mt. Everest – possesses a low growl that’s emotive and harsh, as he narrates the story in such a way that we’ve yet to hear from any other similar act. The sense of disquieting horror stitched throughout Expedition III: Renitenzpfad Marañones is palpable and utterly intoxicating.
Musically, there’s plenty of snarl, which is entwined within the more nervy moments. Opener “Prolog – Conquista” contains moments of raucous frenzy contrasted with passages of pure discontent via cleaner instrumentation and vicious vocalisations, setting the wildly varying tone of the album.
The record plays out best as a singular piece of music, with each song being a unique chapter woven into a larger narrative. “Hidalgo infernal – Der baskische Wolf” blasts and pummels at a steady trajectory, merged with a careful touch of clean passages that all come together into an acrimony-filled finish. Hearty riffs and fierce leads blaze the tale forward via “Los Marañones I Nattern & Narren”, whereas a solemn grim overtone dominates the wondrous “Los Marañones II Bittergrün”
This feeling is held firmly as sounds of heavy rains saturate the morose “Non svfficit orbis” – one of the darkest black metal songs this year has yet to offer. Violence turns slightly into a more downtrodden feel in “Perleneilandterror,” though there are plenty of tension-breaking segments of unbridled ire, especially as the track escalates to its cessation. The albums wraps up with the moody, reflective “Canis lvpvm edit – Wolfsfalle | Verratener Verräter” to the tune of dire synths and blistering walls of virulent sound.
Breaking down the individual characteristics of an album that’s such a complete package as Expedition III: Renitenzpfad Marañones in hindsight doesn’t do justice to the breadth of what’s being presented, but it undoubtedly is an album chock-full of variance and aptitude that evolves with each song. A project that was already an ambitious, fastidious undertaking has raised the bar for the band and anyone who dare attempt something similar. Antrisch has bestowed a true work of art upon us, and we implore you to envelope yourself completely in the world and moment in history that they’ve so tirelessly documented. If this doesn’t land a spot in my year-end, it’ll be a shock.
Malum – From the Voids
Release Date: March 27, 2026
The Norwegian style of black metal will always be fundamental to the growth and explosion of the genre, and when a relatively newer act executes to a level that reflects the masters, then one must take notice. The entity at hand is Malum, and they’ve been busy since their 2020 inception with a pair of EPs, a split, and a full-length in tow – all of which have been fine entries as part of the long history of quality Norwegian acts. Their latest, From the Voids, however, is an unforgiving demon that embraces the best qualities of said longstanding style while simultaneously injecting their own fresh interpretation to stand out amongst a packed crowd.
What makes Malum stand out is quite simple – their ability to pen noxious, voracious black metal of an esteemed caliber that’s memorable as it is malignant. Drummer A.A. has been the driving force from the start, and notably in 2024, a reset of the lineup occurred that fleshed Malum out to be a full four-piece (previously a two-piece). From the Voids is the resultant, and to say that the choices made have paid dividends is an obvious one.
There’s a hint of atmosphere present straight away in “Stare Into Darkness” – arising a shadowy gloom that’s ever present throughout From the Voids. Furthermore, their sound profile is dense with the correct balance of low end, giving Malum a steamroller sort of resonance. Vocalist E.T.S. portrays deeply seeded abhorrence, groaning with hostility as examples such as “Ignorance Made Bliss” and “Deranged and Depraved” take their time to dissect the listener’s state of dread. The combination of all of these elements equates to a domineering blend that’s captured with maximum efficacy.
While primarily drawing influence from the Norwegian way of black metal, there’s an undoubted influence from the Polish scene – think Blaze of Perdition or perhaps Groza, who despite being German, have a comparable sort of dreary atmospheric black metal quality. Cuts such as “In Gloom II” and the vehement title track epitomize these comparisons, though Malum certainly plots their own course.
From the Voids at its essence is a scorching slab of black metal, enveloped in darkness and written with extreme attention to detail with a pinpoint execution to boot. Within that, there’s a primal aura that keeps their creations authentic and all the more cunning. Malum has an assured prominence about them, so keep a keen eye on their movements from here on out.
Zerre – Rotting on a Golden Throne
We finish on a classic Monthy Python “And now for something completely different” vibe. Thrash isn’t a genre that’s often featured in this monthly roundup, and it’s not due to disliking it – the reality is quite the opposite, as it’s a style that was my first exposure to the heavier/faster side of metal and remains a go-to in my listening habits. However, to be frank, thrash hasn’t been all that numerous with stuff that has captured my attention recently.
Legends such as Testament and Coroner are relevant and vibrant as ever, but they’re an exception rather than the rule. There are, of course some excellent recent releases from some fresher faces – Void, Warfield, Sarcator, Devastator, Daeva, Intoxicated, and watch for the upcoming Nukem record – but overall, there’s an overwhelming amount of stale, rehashed dreck to wade through. Also, why don’t the bigger names regularly take a smaller, hungry band on tour? A connection to this conundrum, perhaps, but we’re going on a tangent.
The point is, we’ve got a thrash band worthy of plaudits – in this case, a crossover act – who absolutely knocked my socks off. The band in question is Zerre, and with their fourth record Rotting on a Golden Throne, they’ve turned the volume all the way up and have stitched together an album that’ll throw your hapless self into a D.R.I. style surging circle pit, and you’ll come out wanting another go.
The ginormous, crunchy riffage is thrown at your ears from all directions, with an adrenaline-soaked vigor to match. “Pigs will be Pigs” blisters away with a classic gallop, accompanied by savage, enthusiastic screams via Nico Ziska, who embodies the authentic sneer that we need from thrash. There’s a punky edge, plenty of well-placed gang vocals, and every factor that makes crossover thrash such a burst of unbridled spirit.
Quick-hit menaces such as “Deception of the Weak,” “Concrete Hell”, and “No Alibi” run one over like a bullet train by way of turbocharged guitar work and a pace that’ll make the Roadrunner jealous. Yet, they’ve also got plenty of tricks up their sleeves with entries such as the elongated “Mental Vacation” – which utilizes a stripped-down, clean guitar intro to lull the listener into a sickening riff that pushes the song into overdrive. Heavy as an anvil, but with plenty of twists to keep proceedings interesting.
The twin-guitar affront courtesy of Rocco Lepore and Dominik Bertelt melts faces, with a talent of conjuring delicious riffs, licks, and hooks that tangle in tandem to rend all in the vicinity – “Pigs will be Pigs” and “Concrete Hell” are fine examples, but realistically, their stamp is all over Rotting on a Golden Throne. The rhythm section also can’t be overlooked; drummer Basti Spahn is a constant force in Rotting on a Golden Throne’s entirety, but his contributions are especially evident in the title track as he nimbly owns the various tempo changes, whereas “Tin God” exhibits he and bass partner Tim Müller at their wildest and most unhinged.
Want to have a raging good time, put on the latest Zerre and go for a drive down the highway. Or, if you don’t have a car, just run really fast or something. It has to be said that Dying Victims – the label putting out this release – is putting out killer classic, speed, etc. records on a frighteningly consistent clip, so check out their impressive roster for more. As for Zerre, there hasn’t been a record in the thrash realm that has gotten this crudmedgeon’s pulse elevated like this since Daeva’s Through Sheer Will and Black Magic nearly four years ago. Rotting on a Golden Throne proves that thrash, if assembled with gobs of zeal, indeed does have plenty of gas in the tank.
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