(Here we present Daniel Barkasi’s latest monthly collection of reviews for NCS. This one focuses on albums released in October 2026.)
Thankfulness can be tricky. Everyone’s life situation is unique, of course, and we all have encountered strife, heartache, sadness, but also joy, elation, and warmth. Lately as I’ve seen folks really struggling, it isn’t lost upon me how fortunate we’ve been in many facets of this winding adventure that is life. As I write this, I’m looking out at our horses, petting our wonderful Australian Cattle Dog, Jericho, as he attempts to tackle me with affection, and the importance of such moments aren’t lost on me. A reflective mood has struck my often pessimistic brain, and it goes to show that sometimes you’ve got to slow down a bit and embrace every good moment. They’re the ones you want to remember and call upon during difficult times.
Solidifying this feeling is the loss of a friend and fellow passionate music writer in Kenneth Gallant, who passed away back in July, and I unfortunately only recently found out about it.
The social media algorithm can be cruel, and it’s true that we hadn’t kept in touch as much as we should have. Such is life, as everyone gets busy and can drift in different directions, and Ken was a busy dude – writing, making comics, creating art, co-hosting his Thrashcast podcast, spearheading the Horror Metal Sounds website that combined his passion for horror films and metal. He made a bold step in these endeavors, and was very successful at sharing his passions in his own way.
I vividly remember him giving me the recommendation to check out Sonic Boom when visiting Toronto, which is a treasure trove of excellent records. We also talked about the cool spot that is the Bovine Sex Club, a legendary venue in Toronto that puts on tons of shows and is a staple of the local music scene. His celebration of life was fittingly held there, and his absence has left a lot of broken hearts, especially his wife. I truly regret not staying in touch, but the fact remains that I had a lot of love and respect for Ken. RIP, friend – you’re truly missed, and your shining example of how to pursue your passions to the highest degree will not be lost on anybody in your orbit.
So give your pet(s) a scratch (if you’ve got them), give a partner, spouse, friend, parent, family member, etc. a hug and treasure the moment. As I’ve gotten older and (hopefully) wiser, I cherish these moments so much more than my more naive, younger self.
This column is in tribute to Ken, and with him in mind, let us listen to some incessantly angry, heavy as hell metal music, shall we?
October has been stacked to a ridiculous degree. Almost to the point of considering going back to covering eight albums for this edition like we did in the past instead of the now usual six, but alas, the time to do so isn’t there. However, there are plenty to shout out before we get to the main event.
I covered the debut of SRPNTS, which if you haven’t heard that explosion of fury, what are you even doing? Mannveira is another, with a superb psychedelic approach to black metal. The annual celebration of Werewolves was per usual a hell of a time and one of the nastiest pieces of death metal this year. Mother of Graves, Shores of Null, and Somnent (whom we also interviewed and premiered/reviewed) have covered you nicely for doom in these autumn months.
Column alumni from all the way back to the second edition of this monthly writeup Sgàile put out a stunning, forward-thinking piece that eclipses genres. For a differing view on the expansive black metal pool, Cursebinder’s Psychohazard and Anagnorisis’ Caregiver are both not very comparable, but altogether impactful albums that you shouldn’t ignore. Meanwhile, Deathwards will shatter one to pieces with their blackened thrash escapades, Wolves in the Throne Room remain as strong as ever, Détresse managed to take another step upward, and Spirit Possession dazzled like only they can.
Herzog’s final album Mugwort is a story itself, with main creator Asgeir Amort battling terminal cancer as he completed this poignant last musical expression, with even his wife Isa Myling taking over vocals after he lost his ability to sing. A touching and hard-hitting record that lays bare how tenuous life is (RIP).
Of course, we could keep going, as it’s been a banner month, but we must get to our selections. Enjoy and take care of yourselves!
Dumal – The Trials of Existence
Release Date: October 2, 2026
Hailing from the Philadelphia-adjacent town of Ambler, the trio known as Dumal have been composing robust, atmospheric black metal since 2013, stylistically akin to Mgła with a hair of Spectral Wound’s pointed delivery intertwined. Somehow having slipped under the radar for yours truly until the album we’re talking about today, The Trials of Existence, we of course did a dive into their discography (we always do that with a band that’s new to us, and you should, too), and it’s been a steady upward ascent, especially with 2020’s The Confessor; an album that’s left a noticeable impression.
The Trials of Existence, meanwhile, builds upon The Confessor and supplies what is unquestionably their most refined and equally cutting work to date.
Setting the table as to what one is getting into, “Cyrillic” cultivates a gritty, derelict ambience by way of roaring guitars and pacey drum work. The production is minimalistic and filled with a layer of sandpaper, giving a raw posture that serves the music well. That ’90s sort of air is ingrained throughout The Trials of Existence, not by mimicry, but by invoking an aligned spirit.
Tracks such as “Ivyland” and “Mine to Destroy” double down on the dreary, fog-filled sort of affront, coupled with memorable leads that penetrate the listener’s sensibilities along with sneakily thumping bass lines. There’s plenty to sink one’s teeth into in every fiber of this rich tapestry; “Rendered Impotent by Glass” stands amongst the darker entries presented, with a diabolical resonance that these ears adore, while the ambitious “Silver Exposure” is a journey unto itself, providing a frothing and varied illustration of black metal, from the cloudy to the outright searing.
Most notable is the aforementioned ten-minute opus, which smoothly progresses as it deftly moves onward, twisting the mood toward several angles while keeping the listener fully engaged and unable to foresee what may come next. The segment at the 3:48 mark is undoubtedly my favorite on the record, baring its fangs fully in a mesmerizing bit of guitar-driven majesty. “Praise Him” completes the album with equal gusto, providing an insistent, torrid final stretch.
If black metal dripping with the breed of visceral atmosphere that’s exquisitely detailed entices, The Trials of Existence provides a noteworthy instance of how to simultaneously execute both to a renowned level. A true album experience that proves Dumal as a band to watch very closely.
Firtan – Helios
Release Date: October 2, 2026
Over the years, Germany’s Firtan have constantly evolved and honed their sound – increasing dynamism and offering transforming songwriting techniques, consistently resulting in fresh and invigorating releases that challenge the listener. For this writer, the band really found their groove on 2022’s Marter, an immersive album that showcased an improved songwriting acumen and a more ravenous attack. However, fourth album Ethos was the one that got them on the map, so to speak, emphasizing a weightier, overwhelming sound amidst their nuanced, folk-inspired yarns, giving a breadth of vehemence that elevated their sound.
Now with Helios, we have what may be the band’s most lively release, whilst also changing gears to present a more ample palette of sounds.
“Kalikas Tongue” oozes presence, boasting elaborate writing and a bevy of influences – crunchy pieces that reflect a death metal purview show a distinctive turn, albeit used in modest doses, while also encompassing a goth-esque feel at times with sullen disposition and a higher prominence in the violins, all within their overarching black metal shroud. That sounds like a lot, and assuredly, it is, but the key is that the cohesion is tightly wound so as to not become a splattered mess. “Ambrosia” continues this pathway, though with a hypnotic edge via repeated macabre chants and clean voicings, emitting an indelible urgency.
“Solis Currus” compares to Ne Obliviscaris in how the violins often dictate the tempo, curating a somberness that occasionally strays into melodic doom territory, though never far enough to be a drastic deviation. “Ascension” delves back into an airy, hallucinogenic black space, dialing up the tension just when Helios needed it.
Keep in mind, this is a longer record, clocking in at around an hour, and that gives plenty of opportunity for Firtan to experiment. “Wide Open Eye” flirts with blackened death metal, adding heft to the center of proceedings, while the title track injects a disquieting, melancholic tonality, by way of layered clean singing (jinx) and acoustics amongst the nervier, bleak passages.
The boldest piece is “The Hierophant Way” – containing a literal connection to the aforementioned Ne Obliviscaris via James Dorton’s vocal contributions – and is an eclectic composition that traverses between haunting states and smashing abrasion. Without question their biggest risk, and thankfully, the execution is there to meet the band’s aspirations.
The question of Helios being Firtan’s best is a difficult ask, and for this scribe, it doesn’t rank above Ethos at this moment in time, but these are two quite contrary efforts, each spellbinding in their own singular fashion. Helios is a symbol of a band not content to sit still, always pushing their proverbial envelope, and true to form, it works exceedingly well, showing the latest configuration of Firtan to be a rousing exploration that is truly a proud accomplishment.
Otras – Na Krídlach Morovida
Release Date: October 15, 2026
If an album’s vibe can be portrayed by the cover artwork, Otras and their latest Na Krídlach Morovida (translating roughly to “On the Wings of the Plague-Seer”) is as brilliantly positioned as can be. The frightening image of a flying beast hovering over an unsuspecting town is ominous as can be, and the music is as filth-ridden and barbaric as one would hope.
Otras dispense jagged, vicious black metal within a grittily produced sonic cloud, giving what feels like a bit of a throwback with a punk edginess. These Slovakian madmen are indignant and uncompromising, and the record moves fast. “Kropiť Polia Jedom” lulls the listener in with a morbid, morose intro before spitting vitriol in large quantities by way of buzzing guitars and raspy, rabid howls courtesy of vocalist Sekerus. This is black metal tempered by utter malfeasance, bitter and resolute.
Entries such as “Kríže” and “Obrí Muž” tear ahead with reckless abandon, propelled by the twin guitar assault of Doctor Conqueror and Viktor Znečistič. The pairing play off of each other nicely, balancing ringing feedback, massive riffs, and scalding tremolos and lead pieces to bury the listener in intensive distortion.
“Oči v tŕní / Spevy z Roklín” is seven minutes of utterly unhinged mid-paced violence, as the band are dismantling the audience and enjoying the process, especially via the gargantuan drum work from Hniloba and his rhythmic bass-slinging other half Trebor II (don’t want to know what they did to Trebor I). This is maniacal stuff, and pieces such as “Pieseň Troch Mŕch” continue at a comparable gait, draped with utter contempt and waves of disgusting guitars, whereas final salvo “Kosti Mŕtvych Neradno Obracať” evaporates whatever the hell is left of the hapless now plague-ridden onlookers.
Simply put, Otras bring boiling, frenzied black metal whose mission is to disturb and annihilate, and Na Krídlach Morovida is an emphatic statement of intent. This is raw and bestial black metal that sounds as powerful and rugged as it should, wisely avoiding the overly trebly, boring and weak sound that all too many mistakenly utilize. Otras rips, plain and simple, and any seeker of this variety of black metal will quickly succumb to their diseased musings.
Morgue – Herald the Dawn
Release Date: October 16, 2026
Morgue has the eminent honor/detriment of being a repeat artist in this column, with their 2024 album Close to Complete Darkness being featured in June of that year, where we commanded that you “embrace your pummeling.” They’re back with Herald the Dawn, with a contrasting in color but almost reflective piece of tentacle-laden cover art once again from the great Paolo Girardi.
Musically, this is really cut from a similar cloth – death metal that brings the riffs and hostility in equal measure. What differentiates is that Herald the Dawn feels a hair more focused on propagating an impending doom style aura vs the pedal-to-the-floor evisceration that Close to Complete Darkness is. The new record horrifies to a deeper degree, with the starting pair of “Vortex of Darkness” and “The Abyss I Know” both having their moments of full-on destruction, but aren’t as compressed and have added breathing room, allowing for additional subtlety to creep in.
The drum lines on “Obedient to No Will” are intoxicating; forthright and pulsating, but ever building, adding to an unpredictability throughout Herald the Dawn. If thirsting for old school rhythms and intense shredding, “The Last Supper” and the title track will quench absolutely, all while the scorching leads on “Cursed Be” will melt even the most discerning of faces.
Wrapping up with “The Deserted Garden of Eden” leaves the album on a rapturous high, itself being a diverse combination of dominating force and suffocating eeriness. Much like the previous record, Herald the Dawn is compact and wastes not a second on filler or meandering. When you put on Morgue, you’re getting quality that isn’t a recycling of everything they’ve done before. They obviously passionately care about their craft, putting in a rich amount of detail that reveals itself with repeat listens.
Morgue endures as one of a select number of death metal bands who keep churning out quality albums (not to mention their equally excellent project Corrupter) at an impressive clip that is difficult to deny, but frankly don’t get enough ears on them. They’ve revised the recipe enough with Herald the Dawn for it to stand tall on its own merit, while definitively being a Morgue album in every facet. For an especially enjoyable time, we suggest listening to Close to Complete Darkness and Herald the Dawn back-to-back for a connective, unique stomping that all may not be prepared for, but take us at our word that it’ll be worth the broken bones.
Sépulcre – Cryptic Temple of Otherworldly Abhorrations
Release Date: October 16, 2026
Sticking with death metal, we have Sépulcre, who like Morgue also comes from France, but is a relative newcomer to the scene. We first encountered them in 2022 via the Cursed Ways of Sheol EP; cavernous and murky, much like the heralded Grave Miasma and Lvcifyre. Naturally, being an admirer of both, Sépulcre lands right in my wheelhouse, though they do separate themselves in that there’s less of a black metal influence present, residing much more firmly in the death metal camp, though there are certainly moments where that vantage point seeps out.
After a four-year absence, the band is unfurling their debut full-length, Cryptic Temple of Otherworldly Abhorrations. From the start, the pace isn’t blistering, but more spacious and perilous – “Ominous Path (To the Nightside)” imbues dread with immediacy, settling into a death/doom pattern comfortably, using that approach to breed a fearsome backdrop. “Abyssum Drakon” does burst off into a quickened clip, but smartly shifts between a steady provocation and slower, drawn-out segments.
The primary vocals of KD echo with brutality and vigor, though there are assorted techniques sprinkled about to add all-important divergency. “Cryptic Temple…” is as good of a case as any, featuring a range from rumbling growls to higher register screams. This cut tweaks the tempo back even more, instilling an advanced sense of trepidation, all leading to an explosive last stretch, connecting to a clever, gloomy instrumental in “…of Otherworldly Abhorations.”
“Katabasis” shows off the percussive ability of drummer JW, moving tactfully to complement the mysterious guitar passages of KD and HW, before erupting into what may be the heaviest, most candid incursion on the album, with the track darting in several directions to keep the listener off-kilter. The final two entries similarly keep one guessing; “Towards the Unknown” features delicious lead play amidst a forlorn atmosphere, and “Darkness Rules Supreme” in an intriguingly sinister fashion by way of particularly revolting stringed conjurations.
Sépulcre don’t fully move into the death/doom realm, but they do toy with it enough to make a marked impact on the overall presentation of Cryptic Temple of Otherworldly Abhorrations, which frankly is an orientation these ears would appreciate hearing more often. That open-mindedness enabled Sépulcre to spread their demonic wings, resulting in an album that not only pulverizes with an abundance of squalid riffs and death metal aggression, but materializes a desolate overtone overcome with shadows and devoid of hope. As good as this album is, keep a keen eye on Sépulcre – there’s definitely more to come from these talented folks.
Temple Nightside – Cenotaph Severance
Release Date: October 30, 2026
Black/death metal via the reliable continent of Australia is where we end the month, and Temple Nightside are primed to drag you kicking and screaming into the dank abyss. If uninitiated, allow us to educate briefly. Having been active since 2010, they’ve dropped a few demos and splits, and mainly, four full-lengths; Condemnation first in 2013, followed by The Hecatomb three years later, which is where we became aware of their charms. Recondemnation arrived in 2018, and Pillars of Damnation in the awful year of 2020.
The most recent duo are the albums that have impressed this guy most, and it’s certainly been a longer than usual break, so the announcement of their fifth record Cenotaph Severance was obviously a welcome one. Their interpretation of this style is insatiable and unrelentingly noxious. What they’ve done here is slyly increase all of those characteristics where it wasn’t clearly fathomable, if that would be possible after the last two stellar releases.
The aptly titled “Seething Dissolve” does exactly that via devilish, uncontrolled guitar wails and concrete-smashing riffs, wrapped in a caliginous aesthetic that enhances the wild but well-conceived song construction. IV’s roars are confidently unfettered, while recording debutant guitarist Ignis Fatuus (Portal, Impetuous Ritual, Grave Upheaval) and himself deliver said unending flurry of guitars to impeccable precision. This continues in the thickly blackened “Sunken in Charnel Entrails” and the meticulous, doom-inspired trample of “The Slow Embalming of the Will” to accelerate our descent into the depths. They achieve this with an unflappable swagger of a band who knows exactly the path they’re forging, wielding an instinct that’s sharpened like a wickedly serrated blade.
Cenotaph Severance is loaded with highlights, however. “Within Sepulchred Walls” is difficult not to single out. It features sublime progression throughout, performed in several ways; disturbing harsh and whispered vocal tradeoffs, humungous moments of tumultuous tension by way of how the guitars and the rhythm section meld seamlessly to push each to the limit, and a formidable finale that’ll crumble even the pickiest of listeners. The following entries “Desolation Utterance” and “Exhumed Death” are enveloped by those same key elements via an apocalyptic feel, comparable with the visuals of the prolific cover art (not sure who the artist is, but great work whoever you are).
Temple Nightside’s dependability is esteemed, calcifying their discography as a can’t-miss proposition. The production contains the right balance of coarse turbulence, and the baneful, immense soundscapes that submerge the listener in the mire with a malevolent smirk. When viewing the band’s career thus far, it’s of little doubt that Cenotaph Severance is not only the outfit’s most decisive effort, but also the one that contains the highest level of songwriting variance. Beyond those more nitty-gritty aspects, the band knows no bounds and defiantly pushes them further, ultimately making Cenotaph Severance gratifyingly vexing and doubtlessly unmissable.
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