(We present another monthly collection of reviews by Daniel Barkasi, who focuses his attention this time on albums released during April 2026.)
Spring – that lovely time when the cold goes away and I don’t need thermal undergarments to go outside. Alas, Mother Nature can’t seem to make up her mind – freezing one day, gorgeous the next. One day, we experienced the conditions of all four seasons in a single day. Those kinds of swings have been common all over – ask the poor iguanas in Florida – so we just have to push through it.
When titling this edition, yes, of course we’re parodying the A Song of Ice and Fire book series that’ll seemingly never finish, so with a lack of judgement in the humor department, this is where we landed. At least this column will be done before the next book comes out.
Also, totally unrelated – the horses are finally home! It’s good to have them back, and by the time we’re writing about May releases, we’ll hopefully be able to announce the arrival of our girl Naru’s foal.
The beginning of festival season is of course upon us, and NCS’s very own Northwest Terror Fest is literally days away as I write this. To all attending, have the absolute best time, and thanks for making it and this lovely place what it is. I’ll join the group someday. Maryland Deathfest follows, of course, with a lineup that’s difficult to imagine being real. For me, Fortress Festival immediately follows, so stay tuned for a documentation of my adventures in the town of Scarborough.
We’d be remiss, of course, if there wasn’t a mention of At the Gates’ The Ghost of a Future Dead. Tomas Lindberg’s swansong performance is not only memorable because of that sad reality, but the fire and determination put forth from the entire band on this record is awe-inspiring. A fitting sendoff for a frontman who for my money could be the greatest in metal history. You should check out Andy Synn’s review – it’s a weighty piece that gives a ton of perspective.
With all of that said, it’s time to wrap-up the month of April, which as we mentioned previously in this space, was going to be a steam engine with no means of stopping. Acts such as Sisyphean crafted black metal of esteemed quality, Uada took a hard turn and it worked incredibly well, Vomitory did what they do best, Melechesh dropped a killer EP, Nukem continued the momentum in what’s been an improved year for thrash, and the absolute kings of death metal Immolation released yet another slab of brilliance that’ll unsurprisingly make plenty of lists at year’s end.
Other need-to mentions include Reeking Aura, Ignobleth, Necroccultus, Avertat, Grief Collector, Xorcist, Archaic Oath, Pig’s Blood, and Blood Countess, who all dropped excellent records of high quality. Aversio Humanitatis released one that you may hear more about from me in the near future, so keep an ear out.
But, lo and behold, we come to my picks for this edition – a varying bunch that includes a surprise or two, with the common denominator of not being able to get out of my head.
Anifernyen – Ex Tenebris Lux
Release Date: April 9, 2026
We spoke of At the Gates in the introductory piece to this column, and here we have a band in Anifernyen who are certainly influenced by said genre-defining legends. However, it’s important to note that the Portugal natives add their own perception and aren’t making a carbon copy of what was done before. With their second album Ex Tenebris Lux, they’ve managed to tighten their creative side, whilst backing that up with precision performances that add up to a focused, sharply executed effort that’s difficult to deny.
It’s evident immediately on opener “Silentium Est Aureum” that this is going to be a riff bonanza with dark, cutting harmonies coming from all directions. Plenty of depth to be unearthed here, with slick and hard-hitting guitar work via the duo of Luís Ferreira and David Silva. Additionally, a thick melodic black metal influence percolates inside Ex Tenebris Lux, especially inside the downtrodden leads to carry forward a murky aesthetic.
Another notable element is the flexible vocal barrage of Daniel Lucas. He possesses an impressive range, from disquieting whispers at just the right times (reminds me of Colony era Anders Fridén) to menacing roars and screams that provide a harsh punchiness to proceedings. A vicious blackened undertone permeates entries such as the desolate “None Shall Be Denied” and “Disciple Surpasses the Master,” whereas “Fortuna” and “From Darkness Comes Light” stick closer to the grittier portion of the mid-’90s Gothenburg sound that’ll always make this writer smirk in approval.
The rhythm section sits prominent in the mix; an astute decision, as drummer Hugo Almeida is a dominant force, often setting the tempo from behind the kit, whereas bassist Ricardo Vieira’s lines are sneakily technical when they hit the surface. Pieces such as “Frustra” give a more up-tempo, energetic feel, though never straying far from the consistently darker atmosphere that often brings comparisons of Vinterland. Conversely, “Virtue Lies Defeated” changes up things slightly, traversing into more progressive territory within the structure and the clever vocal harmonies – not sure who performed the female vocals that appear here and towards the end of the track, but kudos for adding a haunting, differing impression that make this piece a standout.
Ex Tenebris Lux is a mature, ravishing album that’s so wisely crafted that we can’t help but return to it. We didn’t know of Anifernyen before we stumbled upon this, and we’re damn glad for that, as very few acts these days capture this sort of inspired magic in the genre. There’s a verve similar to Night in Gales (a band near and dear), and it’s fitting that in the same release month as The Ghost of a Future Dead a hungry band that has connective tissue with what Tompa and crew have inspired for so long triumphantly emerges to make a significant mark. Makes this bitter old cynic get a bit sentimental.
Doedsvangr – Within the Flesh
Release Date: April 10, 2026
Now the time has come for some black metal violence in the form of Doedsvangr and their latest, Within the Flesh. Straight away, a cover consisting of a demon taking a chomp that’s more than their share of the source of communion wafers gives an obvious clue of what to expect – blasphemous, aggressive black metal without compromise.
Unironically, the first song’s title is on the nose as can be – “Devil Bites Man” – which oddly made me think of a classic The Simpsons reference of the delightful Hans Moleman presentation of “Man Getting Hit By Football.” That’s where the comparisons divert; unsurprisingly – this track is ominous and utterly infectious, with a devious groove and a pulsating core that doesn’t quit. Their approach to black metal draws from both the easily distinctive Norwegian sound and the more raw Finnish variety, resulting in a hawkish feel that also embraces an overarching perilousness that the band nail with gusto.
Doedsvangr isn’t overtly arduous, per say, and frankly, they don’t need to be – blistering morsels such as “Omnipath” are an outright pummeling, though there’s enough nuance to make what they’re dishing out interesting. “Black Sun Dissolution” is slyly melodic in parts, whilst also being demonically twisted – vocalist Doedsadmiral’s wicked groans and bellows see to that throughout.
With the straightforward nature of Within the Flesh, there’s also no lack of ambition. “Blodskam” for example moves to an enduring, creeping slither that’s disorienting as it is visceral, whereas closer “Rites of Thorns, Rise of Flesh” takes a hint of a classic heavy metal bend with the opening riff, before descending into the fiery pit of malevolence to cultivate a gritty, maniacal conclusion.
If you want black metal that’s overflowing with disdain and foaming at the mouth with profane intent, Doedsvangr’s latest is doubtlessly within your wheelhouse. We’ve had a lot of releases in the genre hit the proverbial sweet spot thus far in 2026, and this beauty is no exception. There’s no fussing about on Within the Flesh, and you’ll get what you paid for in terms of spiteful, execrable black metal vehemence.
Sicarius – Nex
Release Date: April 10, 2026
Sicarius was a project that was at one point left for dead. It wasn’t until 2024 when guitarist Argyris and bassist Carnage would reunite, attempting to jolt this entity back into existence. The result of their efforts is Nex, a record that can be described as a sinister, baneful, and altogether unhinged formulation of to-the-throat black metal.
They of course brought new blood into the fold in the form of vocalist Akéfalos, and his higher-register screams are reminiscent of current Ba’al / Hecate Enthroned vocalist Joe Stamps, but at times utilizing somewhat of a deeper snarl when called for. Akéfalos’ delivery is consistently enraged, fitting the band’s all-out pummeling, indignant pace like a bloody glove.
Brisk, ireful tracks such as “Cold Death” and “No Witnesses” show Sicarius at their most primal, encompassing a war metal sort of provocation, while very much sonically residing in the maniacally heavy and fiery black metal realm. As Nex moves along, it somehow becomes more incensed, with razor-sharp entries like “Crashing into the Abyss” and “Daggers Down” to figuratively hack and slash the hapless listener like a seasoned serial murderer. Even the album cover invokes a comparable visual accompaniment.
“The Hunger We Cannot Sate” brings the riffs, amounting to a blackened death approach that keeps that fire in their belly burning while providing a slightly differing viewpoint. The finale and title track brings proceedings back to the carnage-filled depths, completing the dense, abrasive attack with one of the most furious compositions on offer, fittingly boasting a guest solo from Mayhem’s Charles Hedger.
Sicarius’ comeback is indeed a success, conjuring immeasurable intensity that will render you unrecognizable via unbridled aural fervor. Nex is a demanding, punishing listen that overwhelms the senses, so come prepared, as this is a record that’ll leave plenty of bruises.
Archaic Oath – Determined to Death and Beyond
Release Date: April 24, 2026
A brand-new project from folks from quality acts such as Lhaäd and Marche Funèbre isn’t without proven pedigree, and with that comes a level of elevated expectancy higher than that of an unknown quantity. Said manifestation comes by the name of Archaic Oath, whose black metal stylings harken back to the mid-to-late ’90s and the melody-infused acts of the Scandinavian region. Big boots to fill, naturally, but they just may have the right amount of swagger.
The question, of course, is will they do something fresh or simply rehash those who laid the groundwork? Upon first listen of debut record Determined to Death and Beyond, those classic elements are quickly noticeable, but they stand on their own merit. “Above the Ice” amounts to not only a crisp introduction to the band’s intent, but amounts to an engaging flurry of icy melodies that invoke thoughts of Sacramentum in sheer grandiosity.
“Wrath of the Witches” maintains the high-energy start, mixed with a serrated edge to balance out their sound, with a keen focus on sharp, encompassing melodies. Lykormas handles all of the primary instruments, and his ear for equilibrium in the deftly curated arrangements helps propel Determined to Death and Beyond to a higher standard. Vocalist Arneriach delivers a piercing yet robust scream that fits seamlessly with the air that Archaic Oath are aiming to reside in, showcasing a frigid tonality that simply works.
From there, the record flies by, with selections such as “Forest of Horrors” and “Path of Penitence” keeping the accelerator pressed firmly to the floor, though there are plenty of shifts to keep the album from becoming one-note or predictable. “Into the Temple of Light” gives several lighter moments mixed in with numerous fierce segments to complete proceedings; the acoustic passage is solemn and relaxing, setting up the bombastic finish with aplomb. A cover of Emperor’s “Ye Entrancemperium” is the technically final track, giving a steadfast interpretation of a timeless cut that we’ll consider as more of a bonus track, as the previous song feels like the true conclusion of what is a cohesive, consistent effort.
Melodic black metal devotees will find much to appreciate with Archaic Oath’s debut effort, as will many who have a soft spot for the aforementioned Sacramentum and long-standing acts such as Necrophobic. Determined to Death and Beyond isn’t reinventing the wheel, and it doesn’t need to. The nailed-on performances and attentive songwriting immerse the listener into a release that’s near impossible to ignore.
Pure Wrath – Bleak Days Ahead
Release Date: April 24, 2026
Decidedly singular, forward-thinking, yet grime-filled black metal is what Indonesia’s Pure Wrath has been concocting since the debut Ascetic Eventide rattled us in 2017. The solo work of the incredibly talented Januaryo Hardy, his ability to meld themes of modernist strife in a vivid, detailed, and often gritty package has resulted in a true sound of his very own, and his latest Bleak Days Ahead is an exquisite, unfiltered piece that needs to be heard to be believed.
Make no mistake, Pure Wrath’s latest is a legitimate journey through the muck that’s refined and painstakingly detailed. Beginning with a two-part effort that constitutes about half of the record in “Bleak Days Ahead” Pt. I & II is ambitious, and it packs a monumental punch while constantly keeping the listener on the edge of their seat.
Beginning with a quote that I could not place (would love to know the origin), but is poignant all the same, setting up a vicious aural bolt of lightning; tremolos ablazing to drive the song into a quick gait, slowly adding new pieces to the mixture as the track becomes more blighted and complex. The insertion of light organs and echoing clean passages in this commencing opus adds deeper texture to escalate the already considerable tension. The haunting climax of a saxophone solo amongst light pianos is chilling, and that’s just one track.
As you can plainly hear, there’s a lot going on within Pure Wrath’s output. This continues with the second part of “Bleak Days Ahead” – beginning with a wall of nasty rhythm guitars that transition to a full gallop of nail-biting, black metal frenetics. A more rampant cut that isn’t without a sense of nuance and well-timed airy, despair-laden segments that enhance the more feral, impetuous bits. The piece in the middle with throat singing accompanied by ringing clean guitar passages is especially sublime, directly connecting to a turbulent yet majestic final stretch.
Hardy’s diversified approach continues throughout the rest of Bleak Days Ahead; the hypnotic, apprehensive “Haven of Echoes” continues the disquieting aura, where “Spectral Insomnia” delves into post-black territory without becoming kitschy, highlighted by the build towards a mesmeric crescendo. Crossing over into the final track “Opaque Mist” is a clip from a famous interview with a person diagnosed with catatonic schizophrenia, giving a disorienting vibe as the track steadily transitions to a catchy trip-hop approach, all while continuing to add layer upon layer, conjuring a dizzying, confounding aura to eclectically sign off in a wholly singular styling.
Pure Wrath is a project bursting with creativity and intrinsic focus, and Bleak Days Ahead may be the most impactful expression to emanate from Hardy’s mind to date. Many times, the most memorable music knows no barrier, and to that effect, consider this as acing that proverbial assignment. Bleak Days Ahead is a sobering, harsh dose of grim reality in a harrowing musical form.
Hrob – Brána chladu
Release Date: April 27, 2026
Speaking of downtrodden and devoid of hope, we tunnel into the frosty embrace of Hrob and their vision of mangled death/doom by way of their debut record Brána chladu. These Slovakians sugarcoat nothing, boasting a hearty, raw, and menacing approach that’ll engulf like a massive avalanche.
Jan Vlášek’s cover art embodies what Hrob are crafting musically to the letter; their sound is massive and imposing, the riffs big, and the aura emitted is one of cold disdain. You can feel “Chrám prázdnoty” and “Tiene Stromov” like a frigid wind piercing your skin, assailing the listener via glacial-sized riffs and vocalist Michal’s deep, cavernous growl.
There’s a primitive energy throughout Brána chladu that harkens to early influential death/doom curators Winter and Dusk. This old-school direction serves Hrob nicely as they beat the ever loving tar out of all in their wake. Cuts such as the caveman riffing of “Genocída snov” and the grinding, turbulent slab of morbid doom that is “Zotročený oheň” leave significant imprints as they brutalize without mercy.
A number of folks often draw ire from the length of many releases within the realm of doom, and those among that group will be glad to know that Brána chladu falls a few minutes short of the 40-minute marker. A hefty chunk of this is occupied by the title track that completes the album; a piece that delves into the band’s slow and merciless approach more so than any other entry available, rounding out as the most varied and effective single entity they’ve amassed. The guitar work is especially potent, with more of their established gargantuan rhythms conjoined with wailing leads that jab at you from all directions.
With the proper application of dynamics, mixed together with their to-the-point affront, Hrob have succeeded in penning a record proving to be a compact assault of unbridled punishment and vexing, cunning skill. Brána chladu holds nothing back, giving us a delectable portion of horrific, tenacious savagery that’ll scratch that primeval itch with arduous delight.
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