For over fifteen years technical death metal band Allegaeon has worked hard to develop a distinct sonic vision that today shines brighter on the sixth album “Damnum” providing the ideal balance between sheer fury and enticing melodic splendor.
In the beginning “Bastards of the Earth” makes you feel at peace with a soothing series of arpeggios but an obscure force will bring an overload of abrasive rhythmic patterns easily amplified by the angered growls and the fierce technical riffage.
“Of Beasts and Worms” enhances a contemplative mood with mellow acoustic passages accompanied by a heartfelt clean vocal delivery but everything changes as the hostile rhythmic section takes over and the lead guitar work delivers acrobatic progressions.
“Called Home” sounds particularly fascinating focusing on emotional depth and recurring cathartic melodic textures emphasized by glowing atmospheric accents nevertheless the fiery guitar riffs acquire darker tonalities to build robust grooves.
Surrounded by a haunting atmosphere “The Dopamine Void Pt. 1” embraces dazzling prog dynamics but this sense of tranquility disappears as soon as “The Dopamine Void Pt. 2” unleashes violent rhythmic blasts diligently fueled by the breakneck speed and the relentless guitar riffs channeling a primal death metal force.
Within the darkened realm of “Only Loss” guitars effortlessly create complex enraged progressions well supported by the ruthless growls and the precise drumming but you can still perceive a dismal melodic essence.
Ultimately “Damnum” is the product of an intense sonic evolution as Allegaeon constantly showcase great creativity and impressive musicianship but also choose to explore a variety of emotive themes through eloquent lyrics.

Greek symphonic extreme metallers W.E.B. embrace an ambitious obscure sonic vision within the convoluted soundscapes of the fifth full-length “Colosseum”.
An endless darkness is destined to triumph on “Dark Web” as decadent symphonic tapestries surround the malignant rhythmic rampage and the merciless growls while the lead guitar work will evoke grim feelings with a brief tasteful melodic breakdown.
“Murder Of Crows” shifts the focus to a poetic melodic essence as guitars carefully craft melancholic progressions enhanced by refined atmospheric arrangements yet the mighty rhythmic section is ready to unleash faster punishing blasts.
The title track begins with slow burning guitar phrases and theatrical vocals inevitably conveying a sinister mood and the solemn symphonic elements continue to embellish the inflamed rhythmic ensemble and the lavish melodies.
Something evil lurks in the dark as “Dominus Maleficarum” immediately manifests a venomous rhythmic approach highlighting the menacing blackened influences of the soaring guitars enriched by the darkly majestic atmospheric layers.
“Exaudi Luciferi” would be a perfect horror movie soundtrack relying on riveting symphonic orchestrations, creepy narratives and a slower ominous tempo that constantly amplifies a fascinating dramatic depth.
Throughout the intricate sonic realm of the new album “Colosseum” W.E.B. are developing an intriguing formula that seamlessly blends ferocious blackened dynamics and captivating symphonic grandeur.

Deathcore veterans Whitechapel proudly add a new explosive chapter to their prolific discography with the intriguing soundscapes of the full-length “Kin”.
“I Will Find You” conveys genuine emotions through mellow acoustic harmonies and glowing guitar phrases but the precise rhythmic section is ready to manifest an aggressive approach through crunchy riffage and untamed drumming accompanied by visceral growls.
Conflicting feelings linger through “A Bloodsoaked Symphony” as somber atmospheric textures surround a series of abrasive rhythmic blasts carefully embellished by charismatic guitar leads.
“Anticure” follows a slower tempo to embrace a reflective melodic momentum featuring a passionate vocal delivery and crispy guitar tonalities but a darker mood emerges through the significantly heavier segments.
“To The Wolves” doesn’t waste any time as the ferocious growls and the soaring guitar riffs amplify the savage rhythmic rampage yet there will be calmer moments leading to a tasteful melodic solo.
You can perceive bittersweet sentiments throughout “Without Us” as the versatile guitar work effortlessly crafts rich melancholic melodies in contrast with the occasional heavier grooves.
The title track focuses on a softer composition once again highlighting the album’s emotional depth through heartfelt clean vocals and soothing acoustic guitars that will ultimately give way to an extensive fervent solo.
Undoubtedly “Kin” is the product of a distinct sonic evolution as Whitechapel look forward confidently expanding their vision blending ruthless dynamics and intense emotive themes.

Swedish death metallers Aeon aim to impress the extreme metal scene with the ominous & vicious onslaught embodied by the new full-length “God Ends Here”.
“Liar’s Den” is filled with brutal guitar driven grooves well supported by the incendiary strength of the untamed drumming ultimately leading to a solemn finale courtesy of majestic orchestrations.
You simply cannot escape the malevolent soundscapes of “Church Of Horror” as the fury and speed of the colossal rhythm section hold a dominant role while the guitar leads rightfully add some charismatic technical elements.
“Deny Them Eternity” puts the spotlight on the edgy technical accents and the darkened tonalities of the guitar work which successfully increase diversity within the main relentless rhythmic core.
The title track slows down a bit to emphasize the epic atmospheric layers and the ominous tones of guitars which deliver a massive series of complex progressions through a monumental rhythmic maze.
“Let The Torturing Begin” revolves around venomous growls, big spiteful guitar riffs and pummeling drums diligently building anthemic death metal dynamics spiced up by the fancy melodic flair of the solo.
“Queen Of Lies” marks a memorable finale as the visceral rhythmic patterns and the malignant growls march fiercely through an arcane atmosphere enriched by another round of excellent melodic leads.
From beginning to end “God Ends Here” proves that despite the long gap between records Aeon still has the necessary passion and anger to deliver a solid death metal opus embellished by elegant atmospheric interludes.

Polish blackened death metal band Hate proudly continues to follow an arcane sonic pathway and delve into the depths of Slavonic mysticism to create the majestic & obscure twelfth full-length “Rugia”.
The title track showcases an organic songwriting approach that puts the spotlight on the charismatic guitar work which effortlessly shifts from mysterious melodic phrases to ferocious riffage ultimately leading to blistering blackened grooves.
Throughout “Exiles To Pantheon” the precise rhythmic section is always ready to unleash a vicious assault following the fast monumental drum blasts and the consequent savagery is further enhanced by the ruthless growls.
Drenched in darkness “Saturnus” at times sounds less aggressive and conveys dismal feelings through the ominous guitar tonalities and the subtle melodic accents flowing through malevolent rhythmic dynamics.
Within a cryptic spiritual dimension “Awakening The Gods Within” relies on the inspiring lead guitar work which successfully embellishes the primordial rhythmic core and evokes a sinister flair.
In the beginning the slower tempo on “Valesian Guard” emphasizes the dramatic nature of the harrowing guitar melodies which will inevitably evolve into fierce rhythmic patterns with constant tormented riffage and furious growls.
Fueled by an inflamed creative force Hate celebrate thirty years of activity and channel the darkest elements of extreme metal to craft the crushing soundscapes of “Rugia” which is definitely a great addition to their prolific discography.

Following a thrilling sonic evolution Rivers Of Nihil begin a new eclectic chapter with the latest offering “The Work” which clearly defies standard musical categories blending poignant soundscapes and ferocious progressive death metal.
“The Tower (Theme from ‘The Work’)” is a cathartic album opener focusing on compelling melancholia infused atmospheric waves and bittersweet piano melodies emphasized by soothing vocal harmonies but will suddenly transition to heavier rhythmic blasts and insane growls.
“Dreaming Black Clockwork” immediately embraces cold tonalities as the extreme nature of progressive death metal style thrives through the complex rhythmic patterns until the cinematic atmospheric arrangements convey a pale sense of tranquility.
“Wait” begins with an understated piano piece floating gently through an enigmatic atmosphere following a slower tempo and the warm vocal delivery emphasizes a glowing melodic essence amplified by the flawless lead guitar work.
The hazy multilayered atmosphere of “The Void From Which No Sound Escapes” evokes somber emotions and creates a surreal sonic realm embellished by a striking saxophone solo while abrasive guitar riffs and extra speed skillfully build an aggressive rhythmic rampage.
The dramatic depth of “Episode” comes to life through the spacey atmospheric ensemble and the whispered vocals enriched by the technical prowess and the melodic splendor of the guitar solos in contrast with the occasional faster and quite brutal rhythmic patterns.
“Terrestria IV: Work” embodies a grand finale manifesting the band’s convoluted sonic vision as the whole instrumentation effortlessly shifts from visceral & twisted rhythmic dynamics courtesy of the majestic combo of pummeling drums and unrestrained riffage to contemplative melodic passages featuring the elegant jazzy vibes of the saxophone.
Rivers Of Nihil deliberately took time off to focus on the opulent multifaceted composition behind “The Work” which is destined to impress the audience with the remarkable musicianship and the intense creative force.

German thrash metal band Vulture is ready to unleash incendiary grooves and horror vibes throughout the brand new album “Dealin’ Death”.
“Malicious Souls” relies on unstoppable aggressive riffage triggering familiar thrash rhythmic blasts amplified by the ravenous screams and the wild shredding of the guitar solos.
“Gorgon” still revolves around robust rhythmic patterns and killer guitar leads yet the addition of classical piano and dismal melodic phrases is bound to grab your attention.
The furious guitar driven grooves and the thunderous drumming of “Star-Crossed City” stay true to a successful thrash metal formula enriched by a series of compelling melodic licks.
On “Below The Mausoleum” a nightmarish atmosphere surrounds the fierce rhythmic rampage while the lead guitar work shifts the focus on an elaborate melodic approach.
The title track is fueled by an uncompromising thrash/speed metal force as the rhythmic section follows a faster tempo enhancing the presence of belligerent riffage and angered screams.
“The Court Of Caligula” stands out for the charismatic guitar work skillfully shifting from bold riffs that demand instant headbanging to refined melodies accompanied by epic atmospheric accents and an anthemic chorus.
On “Dealin’ Death” Vulture aim to develop a fresh sonic vision confidently channeling the high-speed energy of old school thrash metal and drawing inspiration from classic horror stories & movies.

Scottish progressive metallers Dvne audaciously explore diverse sonic pathways to craft majestic soundscapes on the sophomore full length “Etemen Ænka”.
“Enûma Eliš” manifests a complex songwriting approach that naturally blends darkened tonalities and extra heavy rhythmic dynamics highlighting the excellent guitar work while the opulent atmospheric arrangements emphasize an emotional turmoil.
The immersive nature of “Court Of The Matriarch” quickly comes to life through the recurring luminous melodic phrases and the ethereal atmospheric waves yet the rhythmic section often embraces a strong prog inspiration leading to impressive technical patterns.
“Omega Severer” offers alluring melodic movements and charismatic guitar soloing accompanied by comforting clean vocals conveying a profoundly introspective mood yet the song’s shapeshifting nature will generate contrasting moments as the fierce riffage takes the center stage.
“Sì-XIV” focuses on a series of elaborate guitar progressions that can effortlessly create monumental grooves amplified by the tormented screams in contrast with the cathartic blend of fragile melodies and dreamy atmospheric accents.
“Mleccha” follows a melancholic post-metal direction as the soulful guitar melodies surrounded by hazy atmospheric textures naturally craft a shimmering sonic ensemble that will ultimately evolve into intense & heavier rhythmic crescendos.
The sumptuous final track “Satuya” relies on a convoluted composition that generates a world of profound contrast as guitars seamlessly shift from glowing delicate harmonies to savage riffs spiced up by technical prog elements and supported by a robust rhythmic section in the midst of a darkened atmospheric realm.
“Etemen Ænka” is characterized by heavy & intricate instrumental patterns but it becomes evident that the synths and the ambient sounds hold a crucial role allowing Dvne to add a rich atmospheric depth that emphasizes the sci-fi thematics.

Swedish death metal band The Crown celebrated the thirtieth anniversary in 2020 and now is ready to deliver an overdose of impactful grooves throughout the tenth full length “Royal Destroyer”.
Staying true to the title “Let The Hammering Begin!” unleashes an overwhelming rage following a fast menacing rhythm constantly fueled by hostile drum blasts and extra heavy guitar riffs channeling an insane thrash metal energy.
Since the beginning, the monumental rhythmic section on “Motordeath” crafts enraged dynamics channeling the raw energy of 90s death & thrash metal enriched by a series of charismatic & groovy guitar progressions.
“Ultra Faust” embraces a slower creepy mood as the darkened tonalities of the guitar work can evoke a sense of impending doom that will ultimately evolve into an aggressive rhythmic assault amplified by the savage growls.
On “Glorious Hades” a mysterious atmosphere introduces robust rhythmic patterns yet a darkly alluring melodic essence will emerge through the mournful guitar phrases and the sophisticated solo.
The classic melodic death metal style of “We Drift On” leads to a balanced mix of somber guitar progressions demanding a slower contemplative rhythm and inflamed riffage fully conveying darkened vibes.
“Beyond The Frail” returns to a faster blistering rhythmic ensemble relying on crushing guitar riffs and spiteful growls to generate memorable grooves while the finale acquires ethereal tones with haunting arpeggios.
Undoubtedly the core of “Royal Destroyer” revolves around the fury of the massive rhythmic section and the relentless riffage yet The Crown manage to add some dramatic melodic textures to such extreme metal formula.

Danish progressive metallers Iotunn invite you to join an unforgettable cosmic journey with the striking debut full length “Access All Worlds” featuring talented vocalist Jón Aldará of Hamferð. 

“Voyage Of The Garganey I” marks a grandiose beginning as the spacey atmospheric intro leads to a harsh rhythmic ensemble characterized by vicious growls and crunchy riffage yet the prog metal inspiration will generate elaborate dynamics and majestic guitar soloing. 

The monumental title track immediately stands out for the dramatic clean vocal delivery embellishing the technical aspects of the intricate guitar progressions which will naturally shift from sumptuous melodic moments following a slower rhythm to aggressive dynamics evoking somber feelings. 

“The Weaver System” offers a pleasant overdose of gorgeous melodies emphasizing the soulful tonalities of the guitar work and the poignant emotions expressed by the theatrical vocals yet the band carefully creates convoluted rhythmic patterns channeling the gelid darkened vibes of melodic death metal. 

The ambitious final track “Safe Across The Endless Night” perfectly manifests the band’s prowess as within a massive sonic maze guitars fiercely deliver unrestrained riffage enriched by prog oriented technical accents and thrilling solos but you can also perceive a captivating melancholia through the darkened melodic phrases and Jón’s eloquent vocal performance. 

While Iotunn are just beginning their sonic endeavor you can immediately appreciate the remarkable musicianship and the fascinating creativity that generate the complex composition of “Access All Worlds” which is definitely destined to impress the metal scene.