Formed in 2004 by multi-instrumentalist and songwriter Justin Greaves, Crippled Black Phoenix audaciously continues to develop a unique vision exploring diverse musical territories to create the emotionally vulnerable opus “Sceaduhelm”.
The impactful track “Ravenettes” overcomes standard music boundaries offering hazy atmospheric textures and groovy rhythmic patterns that generously amplify guitar distortion and grave tonalities.
“Things Start Falling Apart” faces uncertainty and grief in a fascinating post-rock realm filled with gloomy harmonies enriched by a contemplative vocal delivery and opulent atmospheric arrangements.
“No Epitaph / The Precipice” chooses a minimalist approach to emphasize a sorrowful mood so guitars effortlessly shift from mellow acoustic lines to increasingly darker and quite powerful electrifying dynamics.
“Hollows End” presents a surprisingly catchy dream-pop structure that almost sounds playful at times focusing on delightful retro synths, decadent guitar riffs and bittersweet vocals.
“Colder and Colder” stands out for the immense melancholia embedded within the perfect combo of refined melodic phrases and sharp riffs, once again resulting in a captivating darkened rhythmic ensemble.
Belinda’s bewitching vocal performance is at the center of “Under the Eye” while skillful guitars and multilayered synths elegantly craft moody rhythmic crescendos and enchanting melodic tapestries.
Matching its poetic title “Beautiful Destroyer” expresses unresolved sentiments as guitars naturally embrace a grim doom metal inspiration to build significantly heavier rhythmic patterns and eloquent melodic passages.
Refusing to stand still Crippled Black Phoenix deliberately commit to a sincere artistic evolution that rightfully generates the eclectic soundscapes and the emotive lyrical themes of “Sceaduhelm”.

Founded in the early ‘90s by Emperor’s original bassist Tchort, Green Carnation continue to follow a remarkable evolution and this time choose to reveal a more vulnerable side on “A Dark Poem, Part II: Sanguis”, the second part of a quite ambitious trilogy .
The album opener “Sanguis” immediately showcases a fascinating intricate composition through soaring guitars generating gripping rhythmic variations with a distinct prog metal style embellished by the dazzling vintage flair of the keyboards tapestries but the mood becomes increasingly darker leading to a grim finale.
Evoking contrasting sentiments “Sweet to the Point of Bitter” relies on the successful combo of harsh guitar riffs and nostalgic melodies complemented by a soulful vocal performance and solemn atmospheric arrangements.
On “I Am Time” guitars and keyboards naturally craft a melancholic grandeur highlighting sweeping melodies and somber tonalities that reach the acme with an enthralling guitar solo.
Within the contemplative atmospheric realm of “Lunar Tale” everything slows down to emphasize the bittersweet piano melodies and the otherworldly flute that elegantly surround poignant vocals.
As “A Dark Poem, Part II: Sanguis” symbolizes a more personal lyrical approach Green Carnation deliberately embraces darker themes to fully express an emotional turmoil.

Danish existential prog metal band Only Human proudly enters the metal scene with the apocalyptic vision of the debut album “Planned Obsolescence”.
Surrounded by an enigmatic atmosphere “Drift” highlights a mature musicianship focusing on a hypnotizing melodic ensemble with a variety of fluent crispy guitar phrases.
On “The Sun and the Moon” the poetic vocal delivery and the shimmering guitar progressions emphasize poignant melodic themes yet the rhythmic section will acquire extra heaviness & speed.
“Steep Descent” instantly showcases a modern technical progressive approach confidently blending fiery grooves, intricate guitar acrobatics and warm piano harmonies.
“Aspire” is filled with bittersweet emotions as peaceful vocals accompany melancholic guitar progressions ultimately evolving into a luminous guitar solo.
“Breach” depicts a dystopian dimension through syncopated rhythms diligently built by aggressive drumming and visceral riffage until otherworldly multilayered synths evokes wistful feelings.
Within the bleak reality of “Planned Obsolescence” Only Human present to the world their personal sonic manifesto through contemplative melodies and strong technical skills.

Founded by Gildas Le Pape and joined by Frost of legendary Satyricon, Via Doloris honors the majestic legacy of Nordic metal forging its own charismatic sonic identity on the thrilling debut album “Guerre et Paix”.
Through the icy realm of “Communion” ominous guitars follow a perilous pathway leading to an ideal mix of venomous blackened grooves and enticing melodic progressions that certainly highlight an introspective vision.
“Un Franc Soleil” evokes sheer melancholia through the overwhelming bleak tonalities of the cascading guitar melodies and the consequent decadent crescendos ultimately embrace more energetic rhythmic dynamics.
Showing devotion to black metal’s formal foundations, “Omniprésents” builds obscure rhythmic patterns highlighting the murky guitar sound and the reckless speed of the monolithic drums until we take a deep breath and reach a hypnotizing melodic momentum.
You can perceive a primordial force behind the foreboding rhythmic wall of “Ultime Tourment” as aptly tormented guitar riffs and desperate growls amplify the inner blackened wrath in contrast with a dramatic wintry harmonious ensemble.
In the frostbitten world of “Guerre et Paix” Via Doloris confidently embarks on a gloomy artistic journey in search of meaning through claustrophobic soundscapes and surreal melodic waves.

Electro Nordic folk vikings Eihwar have already gained worldwide attention and continue to shape a new mythological world through the magical soundscapes of the sophomore album “Hugrheim”.
The spiritual journey begins with “Nauðiz” offering uplifting rhythmic dynamics and strong tribal elements while acoustic guitars complemented by delicate vocal harmonies emphasize an ancestral folk essence.
At the center of “Freyja’s Calling” you will find mystifying chants that seem to evoke invisible forces and fervent rhythmic dynamics effortlessly create a perfectly danceable style.
Throughout “Skuggaríki” minimalist guitar lines are constantly surrounded by shadowy atmospheric arrangements that certainly amplify a darker cryptic vision.
The title track relies on a trance inducing rhythm embellished by otherworldly vocal harmonies to efficiently build a fiery march to war.
“Heill Óðinn” uses shamanic drums and theatrical contrasting vocals to hypnotize the listeners as the rhythmic crescendos increasingly acquire ritualistic vibes.
Rising from the mystical lands of “Hugrheim” Eihwar showcases a charismatic pagan imagery and courageously takes you to remote Nordic landscapes but also straight to a dancefloor, in viking fashion of course.

In the prolific underground metal scene Unverkalt are bound to impress proudly unveiling a gloomy cinematic vision on the new album “Héréditaire”.
The grim composition of “Die Auslöschung” crafts wistful melodies embellished by delicate vocal harmonies but the inner extreme metal attitude takes over with furious drumming and venomous growls.
“Oath Ov Prometheus” hits you in the face with monolithic black metal blasts fueled by a relentless infectious riffage but this hellish sonic realm ultimately reaches a dreamy atmospheric finale.
Throughout “Ænæ Lithi” we find a luminous sense of peacefulness as guitars acquire dreamy tonalities following a sorrowful rhythmic pathway later evolving into monumental crestfallen crescendos.
A mystical aura surrounds “I, The Deceit” consequently guitars can evoke an alluring melancholia yet gradually lead to a vicious rhythmic assault certainly enhanced by wrathful growls courtesy of Sakis Tolis of Greek giants Rotting Christ.
“Maladie de l’Esprit” reveals an introspective approach delivering decadently romantic arpeggios and whispered vocals while the shadowy atmospheric arrangements seamlessly blend with harsh guitar progressions.
Within the overwhelming darkness of “Héréditaire” Unverkalt move confidently invoking mysterious primal forces to successfully construct sultry soundscapes and merciless blackened grooves.

Emerging audaciously from the prolific underground metal scene Ponte Del Diavolo crafts the ritualistic, inevitably poisonous, sophomore opus “De Venom Natura”.
The macabre album opener “Every Tongue Has Its Thorns” leads to an arcane dimension through the esoteric vocal delivery and conjures primordial forces with a sinister rhythmic tension fueled by the extra fast drumming and the oppressive guitar riffs.
Darkness continues to descend upon our fragile hearts as “Spirit, Blood, Poison, Ferment!” begins a ruthless rhythmic march highlighting the raw energy of the guitar work and adding cryptic vibes with the ominous trombone and the seductive lyrical invocation.
Reminiscent of occult 70s rock “Il veleno della Natura” follows a mysterious sonic pathway with sultry harmonious passages and frenetic rhythmic crescendos embellished by the decadent romanticism of the Italian lyrics.
“Delta-9 (161)” invites you to join a profound spiritual trip dancing under the moonlight surrounded by hypnotizing guitar melodies, acidic tonalities and expansive doom laden grooves.
Indeed “De Venom Natura” holds a bewitching occult power that allows Ponte Del Diavolo to fully embrace eternal darkness and manifest their self proclaimed “blackened post‐punk” aesthetics.

Belgian obscure black metal stalwarts Enthroned invoke ominous forces to compose the merciless twelfth full-length “Ashspawn” which rightfully becomes a celebration of death and rebirth.
“Crawling Temples” is the vessel of uncompromising black metal as guitars violently emerge from some impossibly dark abyss to deliver majestic rhythmic patterns fueled by the insanely fast drumming.
Characterized by uneasy tonalities “Stillborn Litany” gradually acquires indisputable ferocity as the precise rhythmic section dictates a feverish tempo embellished by solemn accents and convoluted guitar leads.
You could never escape the total darkness of the title track which efficiently maintains an asphyxiating rhythmic core, consequently the relentless guitar riffs create a constant sense of impending demise.
“Ashen Advocacy” dwells within a cryptic atmospheric realm where the visceral guitar riffs and the desperate harmonious phrases diligently prepare a perilous descent into tenebrous depths in the midst of a chaotic rhythmic rampage.
In the lugubrious dimension of “Assertion” there is time for introspection but guitars hold an ancestral malevolent essence producing sharp riffage and vitriolic progressions complemented by the hellish growls.
After three decades Enthroned remains faithful to a ritualistic black metal worship and continues to unleash sheer terror through the oppressive soundscapes of “Ashspawn”.

Inspired by local legends and enigmatic myths Carach Angren presents a new dramatic chapter of their prolific career with the ghastly narratives and symphonic grandeur of the EP “The Cult of Kariba”.
This horrific tale of vengeance unfolds through the cryptic atmospheric realm of “Draw Blood” where colossal guitars channel a primordial blackened essence as speed increases significantly while the majestic orchestrations manifest a macabre attraction for epic scores and decadent melodic themes.
“The Resurrection of Kariba” relies on the stark beauty of classical piano and solemn atmospheric arrangements that inevitably evolve into a furious rhythmic assault easily amplified by frostbitten guitar tones and creepy growls.
The curtain falls as the operetta “Venomous 1666” delivers the right dosage of aggression through the relentless rhythmic section in contrast with the opulent symphonic orchestrations and the heart wrenching sentiment of the impeccable violins.
If you love extreme metal and horror literature “The Cult of Kariba” will satisfy your needs as Carach Angren confidently expand their narrative universe through brutality and exquisite classical elegance.

With a refreshed lineup and a blazing creative approach, heavy rock veterans Stoned Jesus look forward to building a brighter future with the release of “Songs To Sun”, the first album in an ambitious forthcoming trilogy.
The trippy ride properly begins with the massive guitar driven grooves of “New Dawn” executed in perfect stoner fashion and faithful to the band’s trademark heaviness, therefore monolithic riffs are at the center of an energetic rhythmic core in contrast with the magical slow burning melodic progressions.
A perennial melancholia surrounds “Lost In The Rain” as the rhythmic section slows down to emphasize the contemplative mood and guitars carefully create intricate melodies ultimately leading to an impressive solo.
The hazy wild distortion embedded in “Low” demands a tighter aggressive rhythmic ensemble so guitars focus on gelid tonalities and a series of wicked grooves that can even acquire extra speed guided by a shadowy extreme metal force.
Due to a moody catchiness the chorus of “Quicksand” gets stuck in your mind while the attentive acoustic guitars evoke a gloomy peacefulness yet the hypnotizing rhythmic crescendos eventually follow a more chaotic sonic pathway complemented by the frantic vocals.
Overall “Songs To Sun” shows a genuine fuzzed-out rock quintessence and has the necessary strength to truly celebrate the beginning of an inspiring new artistic chapter for Stoned Jesus.