This one is cool. Because it’s just ripping death metal from beginning to end, courtesy of Tormentor Tyrant. And who could ask for more? A Finnish three-piece comprised of S.Envenom on guitars/vocals, M.Malignant for bass/solos/vocals), and J.Carnage on pounding drums. Together since 2020 the band released a couple of singles and their self-titled EP prior to this debut full-length, Excessive Escalation of Cruelty.
So what’s what here? Welp, first things first we have “Tartarean Iron Grip” which will kick your nads in, then “Crueler Tomorrow” which is like the soundtrack to a serial killer’s late lunch. Plus, it’s got some riffs that rival the knife penetrating the chest. “Pit of Anguish” is the sonic equivalent of being dropped in a pit full of rabid weasels, then “Cosmic Wild Hunt” comes along and messes things up seven ways ‘till Sunday. The sinister nature of this one isn’t lost on me, and shouldn’t be on you.
“Terminal Revelation” is the sound of the hounds coming to rip and tear you to pieces, happily lapping up the blood that is spilled. “Heavy Death Bombardment” is that closing tune that makes you wanna duck, because a weapon’s coming for your skull. When it’s all said and done Tormentor Tyrant have delivered a blistering piece of death metal, and I am here for it! I would grab my copy post-haste if I were you!
Standout Tracks: “Heavy Death Bombardment “, “Cosmic Wild Hunt”, “Crueler Tomorrow”, “Pit of Anguish”.
Quickly returning with another full album after last year’s Evolve, Japanese groove/modern metal act Nemophila bring us their fourth album in Apple of My Eye. Since Evolve last year, the group parted ways with guitarist Saki, citing differences in musical direction. Continuing on as a four piece, Nemophila bring some new arrangements to their latest album, moving into some heavier and more diverse waters, and it’s something that should thrill long-time fans as well as help introduce the band to a larger foreign audience.
Much like last year’s Evolve, Apple of My Eye isn’t content with simply sticking to the script. Songs range from some incredibly heavy and bordering on brutal stuff, to ballads to culturally influenced numbers. There’s a bit of something for anyone without spreading themselves too thin. “Brainwash” is likely the go-to for the heavier side of things, with it’s groove emphasis and frantic drum battery by Tamu Murata, while Mayu does a lot of flexing on her aggressive screams. The brutal breakdown towards the song’s end is nothing if not vicious. “Just Do It!” opens the album with energy to spare, melding some heavy riffing playful basswork from Haraguchi-san with a soaring and memorable chorus that will certainly entice people to further explore the album. “Error Detection” delivers a potent bit of heaviness as well, rounded out by what should be an easy and fun ‘sing-a-long’ live chorus, and the song switches to an almost Indian-sounding flavor in the second half.
“赤加賀智-AKAKAGACHI-” acts much like “Ame-te-ras” did on Evolve, with big, tribal-esque drumming to the forefront of the song, which was influenced by a serpent dance, and Mayu’s vocals flow around the music in an utterly addictive way, rounded out by a fine solo by Hazuki. “アナタダレ” does a different variation of the tribal-esque drumming patterns at the onset, before exploding into more groovy riffing, giving drummer Tamu another section to shine in. “Beautiful Days” is the ballad of this album, and it certainly sounds like one of the best ones that the band has ever done. The melodies are pretty, and Mayu’s vocals carry the emotional weight to bring the track some extra gravitas, and none of the usual ‘sap’ for this type of track. The closing song, “Good as Hell Quartet” is a fist in the air type anthem, balancing stadium rock elements (including a flashy solo) with heavier ones in such a way that it’s hard not to simply start the album all over again once it finishes.
Apple of My Eye is yet another shining example of what Nemophila can do. It’s heavy and full of grooves, but carefully balanced with melodies and outside the box influences to make for an album that grabs and holds your attention from start to finish. It’s fun, continues to expand Nemophila’s sonic palette, and hopefully brings them one step closer to making an international name for themselves. Rightfully, they should be the next Japanese act to make it big, if they so desire.
Visual kei act Magistina Saga started in 2010, and have three previous full-length albums under their belt, with the last one releasing in 2021 (Athanasia). Add to that a slew of previous EPs and singles sprinkled throughout the band’s existence, and there’s a pretty sizable discography to be had. BloodMossAgate is their fourth album, which offers a mix of symphonic metal, gothic tones, some djent, and a bit of Japanese flair to it, to create an album that feels a bit different than what’s coming from this particular genre in the West.
Other than to discuss the aforementioned genre-blurring, it’s hard to really put a pin on what Magistina Saga is doing. “Chain of Causality” starts things off after the short instrumental title track intro, which sets up the mood for the song to explode with djenty riffing, spooky keys, and Iori’s commanding clean vocals. It’s really all about the atmosphere with this mid-tempo track, focusing on the dreamy yet thunderous sound the band conjures up. It’s follow-up, “Blood Riding Psycho,” moves into more epic and urgent territory, elevating the tempos and melodies and swirling them around into something even more majestic.
“Trinity Blaster” merges these faster tempos with even more bombastic, and almost anime-OP sounding, keys to give it a slightly different flavor to the frantic riff energy, which includes a scorcher of a solo later on. When combined with it’s follow up in “Voltage,” which takes the grooves into more modern directions (still with a ripping solo), it’s another example of how they can manipulate their sound to keep things fresh without disrupting the flow of the album. Single and later track “Regret” embraces an almost power metal energy to it amid the symphonic goth vibes, bringing an uplifting chorus that lets the song soar a bit, while the high-energy riffs ensure the feeling is on the buzzing, crunchy side. Closer “Lament” ends things with a more traditionally gothic feeling, with Iori and the keys/piano start the song off before the moves into heavier territory, but the sweeping, cinematic feel never fades and it makes for a powerful finale.
BloodMossAgate should be an easy sell to any fans of symphonic or gothic metal, but with it’s expanded range and unique elements, it’s also not bound to them either. Magistina Saga capture a sound that is ripe with standout qualities, from the heavy riffs to Iori’s compelling vocals to the cinematic atmosphere, there’s a lot that they have to offer. Fascinating music that is begging to be heard.
Fortunate to already ingest the first two albums from Canadian thrashers Hazzerd for this site (and love them), it’s evident that the benchmark is high for album three in the aptly titled The 3rd Dimension. Five years may seem like an eternity in the metal realm for another studio record, but the band switched out second guitarists as Nick Schwartz (Tymo, Kill Witch) replaces long-time member Brendan Malycky beyond the slow pandemic shut down that took place mere months after releasing 2020’s Delirium. Vibrancy reigns supreme on this outing – intertwining a mix of heavy, hard-hitting material as well as an epic instrumental that showcases the four-piece know how to riff in musically appealing ways that can catch followers young and old.
Wasting no time “Interdimension” steamrolls with the similar viciousness of Havok against Megadeth – a blitzkrieg of powerful, explosive lead breaks while the momentum shifts between interesting mid-tempo / slightly faster riffs along a killer transition sure to get pit-mongers alert to active engagement. When the group wants to stretch some of their epic tendencies as far as longer arrangements fueled with melodic hooks, look no further than “Unto Ashes” – the back-and-forth gang vocals next to drummer Dylan Weserndorp’s natural raspy proceedings pogo next to a bevy of gallop-oriented guitar parts, ‘with a snap of my fingers, you will cease to exist’ a standout line as the momentum shifts into a headbanging rally cry for the metal masses.
Midway through the short instrumental “TTT” serves as a breather in the early Testament sense, neoclassical arpeggio runs abound – as “Pagueis” returns the band to their semi-sophisticated thrash platform, featuring Dylan’s adept double kick / groove skills along with some thoughtful dive bomb / shredding lead break action out of guitarist Toryin Schadlich. “ThArSh TiLl DeTh” reaches back to an early, raw sound that gets its punk-like point across in an economical 2:27, but the nine-minute plus “A Fell Omen” showcases all sides of the band on this instrumental – the acoustic ambiance, layered electric action, into a frenzy of musical dexterity and versatility that rivals Megadeth, Heathen, and maybe Sacrifice in their prime between attacking parts as well as deeper, melodic nuances.
Hazzerd knows their craft and continually develop material that bursts from the speakers in such a way that they showcase thrash in the best regard once again through The 3rd Dimension. While the old guard has plenty left in the tank, never discount the younger artists who can also write (and deliver) high quality material album after album like this.
I am quite the Grave Digger fan, believe it or not. Even though they’ve been together for almost 45 years, I first got into them roughly a decade ago. The thing that really got me was their rawness and intensity. Well, guess what? The newest album Bone Collector keeps that feel going and then some. Vocalist Chris Boltendahl also produced this disc and he sounds like a man possessed. Hell, as soon as “The Devils Serenade” kicks in you’ll find yourself taping the windows like a hurricane is coming.
Guitarist Tobias Kersting keeps the riffs hot and tasty like that aunt who makes killer mac and cheese, while “Killing Is My Pleasure” is a song that sprained and retaped ankles are ready to go back in the game for. “Mirror of Hate” is equal parts dark n’ moody, yet heavy as balls. Bassist Jens Becker and drummer Marcus Kniep complement each other very well here, and the track simply destroys. Meanwhile “Made of Madness” will bloody your nose like it’s nothing.
“Graveyard Kings” will mess you up, down, and sideways before “Forever Evil – Buried Alive” keeps that trend going. We get dark and moody at times on the closer “Whispers of the Damned” which I personally loved. Dunno, something about this one just hits. All told, Grave Digger have done it once again. A kickass metal record with great hooks and sexy riffs makes Bone Collector an album you’re gonna love. I’d recommend it!!
Standout Tracks: “Killing Is My Pleasure”, “Made of Madness”, “Whispers of the Damned”, “Graveyard Kings”.
Brutal death metal act Relics of Humanity’s last full-length record Ominously Reigning Upon the Intangible was released over a decade ago (2024 to be precise), though they did release an EP in 2018 as well as a sprinkling of singles in the time between. But they’ve officially returned with Absolute Dismal Domain, a nine-song concept album about the annihilation of light (both spiritually and physically, no less) with a new label in tow (Willowtip). Fans of old school brutal death should buckle up for this one.
The sonic rumblings of Absolute Dismal Domain match the bleak darkness showcased on its cover. While Relics of Humanity have some quickly identifiable characteristics of brutal death metal on display, it’s actually a bit harder to ‘nail’ them with a generic description. The riffing is chaotic and angular, offering a genuine bit of murkiness (as do that ominous low gutturals), and it’s such that it doesn’t keep a straight-forward and simple barbaric tone that brutal death bands aim for. Despite the ’90s-inspired tin can drum blasts, there’s an element of oozing, vile otherworldly-ness when they slow down. “In the Name of Ubiquitous Gloom” aims to drag out firmly out of the light with it’s slow, brooding riffs and dissonant flavors. The blend of technical and visceral makes for a deeper experience as well, with the title track nestling itself into an effective blur of both worlds, maintaining intensity but without causing it all to become an overly noisy and indistinguishable wall of sound. This is probably the album’s greatest strength. As a concept album, it flows but it never bleeds itself too far together. There’s a minimal amount of ‘brutal death blur’ as you move from one end of the album to the next.
Relics of Humanity have found a formula that’s built upon some of the foundations of brutal death metal, but it doesn’t limit itself to just that formula. Instead, bringing in some murky, modern dissonance and atmosphere proves to be a fine addition for added moodiness, without ruining the brutality at hand. Absolute Dismal Domain is sure to find favor with the extreme metal crowd with ease.
Germany as a country continues to offer a multitude of rich young artists willing to put their mark on the metal scene. Hailing from Stuttgart, Axetasy formed in 2020 – releasing their debut demo Slicing Dreams the following year, as well as two follow-up singles that set the stage with this debut full-length Withering Tides. The four-piece delivers a style that integrates aspects of speed, black, and old-school power into a traditional metal platform that is equally aggressive as it can be melodic in surprisingly nuanced ways. Between the twin guitar attack, forceful vocal delivery, and potent sense of bass/drum mainframe duties, it’s easy to ascertain the passion these musicians have for classic 80s bands from all across their European heritage as well as some distant across the pond influences.
Most listeners will easily gravitate towards the exhilarating guitar action, spirited hero-oriented lead breaks, and dual harmony antics from vocalist Johnny ‘Amon’ Kröner and Nik ‘Fetch’ Mangold. Their energetic abilities galvanize those deep Iron Maiden / early Helloween feel good moments racing through time as “Voidcrawler” and “Withering Tides of Space” peel through your speakers. Add in Ben ‘Jaxxy’ Kruska as a third fluid piece through his progressive bass passages and it’s easy to understand that there’s high quality riffs, transitions, and hooks that mesmerize from initial exposure through successive, deeper playbacks. Choosing to subscribe to a clean yet raw enough production ensures that one foot in the past while not forsaking appeal to a younger, hungry audience who clamor for bands closer to their age bracket to champion. When the band choose to slow down to mid-tempo gallop mode in sections of “Deadly Witch”, it reaches this explosive impact when the harmony background vocals and double kick activities of drummer Chris Kröner take control in the chorus. Pulling double duty as the singer, Johnny’s delivery contains the requisite forceful bite to his verses, taking on occasional eagle screams to punctuate key passages on highlights like “Axetasy – Of Murder” and “Fatal Maze”.
40 minutes later, most ardent metalheads won’t have any problem returning for another round of Withering Tides. Axetasy has a great future ahead of them if they can continue to crank out infectious speed anthems with the right amount of guitar hook swagger that exists here.
We Are the Catalyst have been paving their own way for quite some time. Their latest release is just the most recent example, with them independently releasing a new song every couple of weeks for all of 2023 and into September 2024. Friction nicely bundles up these songs into one release for the average person who may not have had them on their radar within the modern metal realms.
Continuing to fit nicely into their alternative/modern metal description, We Are the Catalyst hit with a groovy, catchy, and energetic combination as you move your way through Friction. It’s an addictive mix that captures elements from metal, rock, industrial, and more, and continues to sit in a position that feels like their own. “Antihero” is a solid introduction, with it’s emphasis on grooves and swirling melodies, while vocalist Cat Fey sits in the front, offering a beautiful voice that feels powerful and confident. “Into Darkness” keeps up the heaviness, going so far as to include some brutal vocals in addition to the usual cleans, also blending some effective bits of electronics and elegance into a a potent, multifaceted track. It’s something that “Parasite” does again later, but with even greater intensity behind it. On the other side of the fence, “My Dreams are Killing Me” stands out as a more gentle and melodic cut, gradually swelling up and providing a soaring chorus. Likewise, “The Awakening” utilizes playful electronics and hook-y riffing to elevate the song to an ethereal quality. Something that the ballad-y closer “In a Vacuum” does to maximum impact, showcasing Fey at her most emotive as the electronics swirl around her.
We Are the Catalyst continue to move forward, doing their own thing. Friction is a celebration of what the band has continued to do, without needing to bend the knee to a label or particular sound. They are nothing if not hard at work, especially given that they have already continued to carry forward with new songs since this album, with “Boiling Point” already released in early 2025. If you like modern metal and haven’t yet discovered them, there’s no better point to tag along for the heavy and melodic ride than now.
January is usually a quieter time in the metal world, given the switch-over to the new year and bands laying plans for spring/summer touring. But some groups see fit to start the year off with new music, be it a preview of bigger things to come or just a simple one-off to keep them at the fore-front of listeners minds. This month, we cover As December Falls, Ave Mujica, Band-Maid, City of the Weak, Conquer Divide, Cyhra (pictured above), Diablevoix, Dimrays, East of Eden, Kakumei Meloic, Lilac & Lotus, LOT SPiRiTS, NiL, Scandal, and Ziyola.
As December Falls “Therapy”
Coming off of the band’s fourth album Everything’s On Fire But I’m Fine (due all the way in August of this year), “Therapy” is an uptempo rocker with some elements of punk, pop, emo, and even a thunderous breakdown all coming together in a very catchy combination. If you like what you hear, they have also released “AngryCry,” which hits some groovy pop/punk notes, with some hook-y melodies that instantly grab hold. (As December Falls official website)(As December Falls on Instagram)
Ave Mujica “KiLLKiSS”
The opening to Ave Mujica’s anime hits massive symphonic metal beats, with a side helping of gothic and even thrash. Arguably one of the band’s strongest songs to date, it offers up a massive chorus that soars with rumbling drums, powerful orchestrations, and Sasaki Rico’s elegant vocals. The sense of urgency never fades, with the song ending on some of it’s most frantic notes. Hopefully the rest of the music here will stick to the same high bar set by this first cut. (Ave Mujica officlal website)(Ave Mujica on X)
Band-Maid “Zen”
The first song in 2025 from the ever-rocking Band-Maid also serves as the opening to the currently airing anime Zenshu. It’s got all of the classic Maid elements at play in their most shining form. The energy is upbeat and catchy, the instrumentation is playful but ever intricate (including a killer solo), and Saiki’s vocals are beaming at the front of it all. Just an all-around fun track! (Band-Maid Official website)(Band-Maid on Facebook)
Cyhra “Superman”
Cyhra finally returns with a new song to celebrate the band’s signing with new label Reigning Phoenix Music. Kicking off instantly with the chorus provides a solid opening salvo, grabbing you and keeping the momentum going with their catchy melodic metal grooves and Jake E’s always excellent vocal work. Keep our eyes out for their third full-length album, but this is a great teaser to get excited about. (Cyhra official website)(Cyhra on Instagram)
City of the Weak “STFAFM”
While it’s been a while since 2018’s Pulling Teeth, City of the Weak have continued to put out singles in the years since, with “STFAFM” harkening fully back to that groovy, attitude-fueled hard rock that made that album standout. This is a hook-y, heavy cut that is bound to get into your head, and hopefully more new songs are incoming. (City of the Weak official website)(City of the Weak on Instagram)
Dimrays “Bad Taste”
The first new song from Dimrays since 2023’s “Everlasting,” “Bad Taste” does anything but leave a bad taste in listeners mouths. A combination of massive grooves, frantic riffs and a fiery solo, a soaring chorus, some hip hop and electronic elements, as well as a pulverizing breakdown to finish the song on – it’s a fun and energetic trip that fans shouldn’t miss out on. (Dimrays on X)(Dimrays on Facebook)
Lilac & Lotus “Above the Noise”
Continuing to release a number of singles through 2023 and 2024, Lilac & Lotus fit comfortably in the modern metal field. “Above the Noise” offers plenty of catchy melodies and metallic riffs as it escalates to a dabbling in screams before returning to a moving chorus and more playful melodic instrumentation. Consider this group one to watch as they continue to release new material. (Lilac & Lotus on Facebook)(Lilac & Lotus on Instagram)
Diablevoix “Daze”
One woman idol act Diablevoix returns with a brutal yet catchy track that is sure to get fans excited. Strong groovy elements merge with darkly melodic/melancholic tones, all led by Haluka’s vocals, which switch up between more elegant clean vocals and harsh screams. The aesthetic of the video also nicely captures this dynamic and lends to the visual kei appeal factor. (Diablevoix on X)(Diablevoix on Instagram)
LOT SPiRiTS “Outside Story”
An upbeat, rock-friendly number from 3-piece LOT SPiRiTS, a group that has been around since 2020. “Outside Story” maintains soaring hooks from both the vocal end as well as the guitar melodies, both of which keep the track on the catchier side of the spectrum and ground the track with ‘down to Earth’ appeal. While the hard rock formula has been done, LOT SPiRiTS capture all of it’s glory. (LOT SPiRiTS on Instagram)(LOT SPiRiTS on X)
Scandal “Terra Boy”
Speaking of rock, the long-standing Japanese act Scandal have returned with “Terra Boy” as a precursor to their upcoming Love, Spark, Joy EP due in early March. It’s an incredibly infectious song that digs into some funky riffs and bass, offering a very dance-friendly opportunity with it’s merger of some traditional Japanese elements and pure, joyous rock appeal. Long story short, it’s just a really fun track. (Scandal on Instagram)(Scandal official website)
NiL “Brand NiL World”
An idol act that took some digging to find more information on, NiL blend some moments of harsh metallic aggression, punk energy, and some modern electronics and idol flair into a rollicking song that will definitely grab you and nestle itself inside your head. There’s a lot of elements involved in the sound, but it makes for a more intriguing listen. Hopefully we will hear more soon from them. (NiL on X)
Kakumei Meloic “Oh! Mikuji” A new video from a song from last year’s Hanate Super Energie seems to be the embodiment of that particular album title. “Oh! Mikuji” is a rousing, uptempo track that all but begs for the listener to start moving along with it. The frantic clashing of rock and a more traditional Japanese feel makes for a fun, ear-worming time that’s easy to listen to over and over again without fail. A real ‘pick-me-up’ of a song. (Kakumei Meloic on X)(Kakumei Meloic on Instagram)
Ziyola “RE:bellion”
A three-member visual kei act active since 2021, “RE:bellion” is the first new song from Ziyola since 2023’s No Fate album. Strong, mid-tempo grooves and an added emphasis on atmosphere, in addition to an effective melodic front with both guitars and keys, makes for a driving force of a track. (Ziyola on X)(Ziyola on Instagram)
Conquer Divide “Bad Dreams”
Conquer Divide return with their first new material since the excellent Slow Burn (and the loss of Janel Duarte). Enlisting two vocalists from Of Virtue to add to Kia Castillo’s vocals for this track makes it a real treat. The song swings from more melodic moments to gradually bring up to a heavy groove towards the song’s end, and the interplay between vocalists is incredibly fun. A great start to the band’s next era. (Conquer Divide official website)(Conquer Divide on Instagram)
East of Eden “Shooting Star”
The first East of Eden since Mina took over for Wakazaemon on bass, the violin-led metal act continues to impress with their unique sense of style. Ayasa’s violin work stands as a fantastic foundation to give them a different approach to symphonic elements compared to many, and when they are able to showcase the violin in contrast with heavier instrumentation like on “Shooting Star,” it has a very powerful and lasting impact. (East of Eden official website)(East of Eden on Instagram)
