October

Listening back to Binah’s debut, Hallucinating in Resurrecture, it is easy to see how the UK band could be lumped in the old-school death metal revival of the 2010s. Their heavy groove and obsession with Sunlight Studios’ guitar timbre alone sufficed. However, even then, something more complex was brewing beneath, highlighted by the atmospheric qualities, especially prominent in the title track. This atmospheric dimension further flourished in 2018’s Phobiate, which incorporated additional progressive elements and off-kilter ideas to set Binah apart from the herd. “Dream Paralysis” is a perfect example of this evolution, its discordant quality colliding with a contorted rhythmical structure.

Ónkos is another leap forward for Binah, who forge stronger connections to their experimental side. Ambiance sits at the core, shifting forms throughout. The electronic component might have existed before, but here it feels more immersive. The introductions and interludes it offers have a cosmic quality. 

This widening scope feeds directly into the psychedelic and progressive components of Ónkos. Amid a punishing death-metal form, their intricate guitar work opens another dimension amid the brutality. It channels the early spirit of Timeghoul, balancing beauty and horror.

While this might suggest that Binah might have made a more rigid turn outside of death metal, that is not true. Their old-school Swedish death metal adoration is still there, palpable in every heavy groove, identifiable through the guttural distortion. However, they move from the raw churn of classic Clandestine toward the expansive, narrative approach of Crimson.

The melodic guitar lines, the intricate solos, the immersive ambiance, and the bravery of experimentation all reveal this, but even more so is the fact that, much like Edge of Sanity, they do not forget their past. That refusal to abandon death metal’s core is precisely what makes Ónkos Binah’s most daring and accomplished work to date. – Spyros Stasis

I never thought I would see Coroner release a new record, and yet here we are. Twenty-two years after the monumental Grin, the Swiss act makes its long-awaited return with Dissonance Theory. Coroner pushed thrash to new dimensions, harnessing its raw aggression through a technical lens. Their first single from the new record, “Renewal”, reaffirmed this lineage, taking on a Kreator-esque hostility, but patching it through the trio’s relentless precision and heavy groove.

However, Coroner’s vision was more ambitious. I always viewed them as a reflection of Voivod, both bands tapping into the same discordant stream. However, where the Canadians reveled in chaotic exhilaration, the Swiss worshipped an unyielding force of precision. The breakdowns of “Transparent Eye” show this rhythmic dedication, a relentless order that slowly twists the mind. That same structural rigor injects the heavy groove that has always been Coroner’s hallmark. It is hard to believe that a band founded in 1983 could unleash the industrial coating of “Sacrificial Lamb”, the tremendous momentum of “Symmetry”, or the mid-tempo application of “Trinity”.

It is a truly forward-thinking mindset, separate from any pointless progressive term. How many thrash bands can you name with atmospheric passages? The aforementioned Voivod, maybe Depressive Age, aspects of Mekong Delta, and Sabbat. It is a slim list, right? Yet, Coroner did exactly that through the discordant lead of “Paralyzed, Mesmerized” in Grin, and they still unearth this otherworldly sense in “Sacrificial Lamb” and “The Law”. Still, through all this technical aptitude, the relentless rhythm, the discordance and atmosphere, Coroner remain extremely straightforward and catchy.

The opening track, “Consequence,” and its chorus alone will have you tapping frantically on the repeat button. It makes the ride through Dissonance Theory that much more rewarding, an ambitious work that retains a direct perspective. It proves that Coroner were not just ahead of their time back in the 1980s and 1990s, they still are to this day. – Spyros Stasis

Evoken – Mendacium (Profound Lore)

Part of the extreme doom/death pantheon, Evoken have amassed a near flawless discography. Embrace The Emptiness, Quietus, and Antithesis of Light established an unyielding sense of dread and sorrow. However, starting with A Caress of the Void, Evoken began to soften slightly (very, very slightly), enveloping their dread in a sense of melancholy. Hypnagogia and Altra Mors joined that tradition, but their new record, Mendacium, looks to unravel this.

Mendacium acts as a hybrid point. Opener “Matins” rekindles the old hopelessness, its riffs breaking in slow waves, vocals lamenting as though everything is destined to be swallowed by the abyss. It is a sad procession, a task that must be completed to achieve some form of catharsis. The continuation with “Lauds” follows this paradigm; here, the guitars and keyboards drip with venomous intent, their discordance enhancing the already uneasy sense of the ritual.

This is where the record twists, with Evoken tapping into their latter-day self. In this mode, they augment their majestic quality, confidently walking toward despair rather than being dragged into it. To that end, they evoke (see what I did there?) the melancholic spirit of the Peaceville Three, adorning their ceremony with a tangible, sorrowful essence. Then it all comes crashing down again. “None” channels Esoteric’s psychedelic endeavors, and the grand finale with “Compline” results in the final, unavoidable devastation.

Here doom contorts into something harsher, as death metal brutality tears through the funereal veil. It is an excellent structure, paying homage to the band’s evolution over the years and collecting all its individual components into a unified form. Thus, Mendacium does not just retrace Evoken’s past; it refracts it, proving that their command of extreme doom/death’s language remains as devastating and as essential as ever. – Spyros Stasis

Gates of Dawn – III (Death Hymns)

One of the most exciting acts in underground black metal, Gates of Dawn possess an uncanny ability to mix psychedelia into their black metal brew. True, others have pursued similar experiments, most notably Oranssi Pazuzu, but Gates of Dawn retained much of the black metal rawness in both their debut, I, and their more experimental sophomore, II, which at times embraced a kosmische outlook.

With III, the balance nearly collapses, with Gates of Dawn giving themselves over almost entirely to psychedelic rock. As “Screaming Skin” comes in, it is still the majestic black metal side that pierces through. The synthesizers create a vast space, while the guitar work stays in the metallic domain with galloping rhythms and even a quasi-romantic, medieval-esque passage. Yet, under the surface, the guitars lay catchy licks, more akin to psych rock. The second half of the track establishes the shift as the dreamy melodies take on a 1960s surf-rock perspective.

While black metal persists in parts, the foundation has shifted. Garage rock becomes a driving force in “Magewind”, with the guitars acquiring more grit as the drums perform their circular krautrock-inspired procession. Funk ideas bloom within this setting, the second half of “Faces In Flames” coming alive with a 1960s groove. And then the intricate guitar playing in “Trembling Gaze” has more in common with Eric Clapton than with Snorre Ruch.

With III, Gates of Dawn display a similar mindset to Ved Buens Ende in Written in Waters, a willingness to transcend the genre’s perimeter, while still haunted by its presence. Though sonically these two records are very different, they both mark a step away from the black metal space toward psychedelia, but there is always some pull that remains.

“Fell Specter” is the most obvious example —an excellent track that sees Gates of Dawn momentarily retreat into tremolo-picked black metal. What is even better is the moment when that riff collides with the intense audio effects, combining the cold grimness with a spaced-out feeling. It encapsulates Gates of Dawn’s creativity and opens a world of potential for what comes next. – Spyros Stasis

Grole – Come Here at Your Own Peril (Tour de Garde)

Jordan Kelly, aka Illusory, is best known in the Canadian black metal scene for his work with Spectral Wound and Profane Order. With Grole, Illusory descends to the primal depths of black metal, relishing its lo-fi qualities and harsh structures, and also finds a place to excavate his interests in Newfoundland history, tradition, and heritage. The first specimen in With a Pike Upon My Shoulder is a raw and uncompromising piece, defined by harsh production and lead lines that cut through the murk.

Where the debut carved out Grole’s raw foundations, Come Here at Your Peril refines them. Here, Illusory places the punk and proto-extreme metal heritage on equal ground with the raw black metal side. “Sheila’s Brush” feels like a blackened crossover track, while “Dubh Dóite” delivers a Celtic Frost-ian groove and deathgrunts. Further heavy metal tropes appear, with the sharp riffs of “I Went Home Today” echoing with a blackened edge.

Despite these excursions, the black metal presence is strong. “Talamh An Éisc” is the most prominent expression, with its traditional riffing radiating the icy feel of the genre, while the howling vocals echo through the abyss. Even the acoustic guitar inclusion in “I Went Home Today” reaffirms its lineage, a technique associated with the folky side of the Norwegian scene.

What this results in is a record that is more immediate and catchier than its predecessor. Tracks like “Moratorium” and its insane chorus, or “The Anti Confederation Song” with its powerful hooks, will be embedded in your mind for days to come. There is, however, a touch of the earlier romanticism that has subsided, mainly due to the less cavernous production, which moves away from the mystical and into the confrontational. If With A Pike Upon My Shoulder is the descent to the abyss, then Come Here At Your Peril is where Illusory sharpens the blade, combining immediacy with rawness to deliver a memorable result. – Spyros Stasis

Hooded Menace – Lachrymose Monuments of Obscuration (Season of Mist)

Hooded Menace’s trajectory appeared set. The Finnish ghouls’ career was defined by the rotten ambition of Autopsy and the towering forms of Winter. Yet, in a surprising twist, 2021’s The Tritonus Bell saw them ingest classic heavy metal tropes. It was not so much the early Peaceville Three bleakness that guided them, but rather the fiery steel of Mercyful Fate and King Diamond. With Lachrymose Monuments of Obscuration, this transformation is solidified, with the trio stepping back into 1980s glory. This is immediately apparent as the expressive lead work to “Pale Masquerade” settles in. NWOBHM collides with the fiendish essence of Melissa, and a touch of proto-thrash through bursts of undisciplined guitar solos.

However, if it were a complete shift from death/doom into heavy metal, the result would be ridiculous. This is where Hooded Menace show their quality. They do not forget their past; instead, they reconfigure it. “Portrait Without a Face” is telling, the track alternating between its Iron Maiden fascination and the My Dying Bride and Paradise Lost gloom (cello and all). Similarly, “Into Haunted Oblivion” awakens the Celtic Frost specter, its vile demeanor as unforgiving as ever.

Further classic doom tropes surface: the melodic essence of Candlemass shines through “Daughters of Lingering Pain”, and Cathedral’s playful, circa The Carnival Bizarre, invocations define “Lugubrious Dance”. In that way, Lachrymose Monuments of Obscuration is a record that knows its past, thrives in its present, and even finds room for a sly wink with a Duran Duran cover to close the casket. – Spyros Stasis

One of Nine – Dawn of the Iron Shadow (Profound Lore)

One of Nine enter a rich tradition of black metal bands finding inspiration in the works of J.R.R. Tolkien. This is a subject that requires balance. On the one hand, they must lean into atmosphere and heroic poetry; on the other, they must retain the aggression and vigor of the genre. This tension pushes One of Nine to evolve from their debut style into something more ambitious.

Dawn of the Iron Shadow builds on Eternal Sorcery, but it is a deeper, more complete work. The ambient passages are more descriptive, serving as immersive introductions with monologues and narration. Much like Summoning, the band also weave these elements into the songs themselves. The result is a richer tapestry, with “Age of Chains” layering choirs and bells over a black metal backbone. Their fast-paced, expressive core has also stepped into majestic territory. Stormblåst-era Dimmu Borgir is the reference point, shining through the meticulous arrangements of “Behold the Shadow of My Thoughts” and “Of Desperate Void”.

Yet One of Nine balance this mainstream symphonic style with darker shades. Emperor’s influence fuels the fury of “Dreadful Leap”, while sharpened, melodic leads in the Sacramentum mold echo through “Death Wing Black Flame”. They also glance at their contemporaries, with Wormwitch’s recent pointed aggression informing “Quest of the Silmaril” and lending a modern edge to the Tolkienian tapestry.

Through these extensions, One of Nine live up to their ambition rather than becoming just another Middle-earth-inspired act. They project atmosphere and storytelling with both emotion and compositional strength. The only blemish is that Dawn of the Iron Shadow does not yet uncover wholly new ground. But if their evolution continues, that breakthrough might only be a matter of time. – Spyros Stasis

Primitive Man – Observance (Relapse)

In Primitive Man’s world, there is no room for hope. There is barely room for breathing. They view the world not as collapsing, but as already collapsed, and the rest of us are catching up to that fact. This running thread defines their discography and is the key component of their latest work, Observance. Many in extreme music have tried to capture this outlook, but Primitive Man stand apart in the way they join different lineages.

The slow, collapsing pace owes to the drone/doom pioneers, with the punishing minimalism of Khanate and the annihilating essence of early Unearthly Trance defining “Seer”. This is punishment delivered in sparsity. Riffs crash down, separated by gulfs of silence, while despairing vocals echo through cavernous depths. This feeling is enhanced via a funeral essence, a sense of melancholy that radiates with dread. The melodic touches of “Devotion” channel this energy, making for a heartbreaking turn. It is a foundation that is complete through the post-metallic influence of Neurosis, breathing a dissonant air into the grandeur of “Water”.

However, much like all their points of reference, Primitive Man understand that slow pace and towering form are not enough. To that end, they are on point with their sound design and noise textures, channeling the adventurous essence of Wolf Eyes to uncompromising effect, with even the interlude “Iron Sights” standing out with its chaotic form. Similarly, touches of punkish energy offer a pummelling alternative to the slow-moving dread of “Social Contract”.

The more subdued noise-rock applications are contorted, but they still arrive with the distinct Swans-ian touch in “Transactional”, and the blackened aesthetic is ever-present in “Natural Law”. And of course, none of these offer any respite, any deviation from the end goal of Observance. Seventy minutes of suffocation, ending not with relief but with obliteration. – Spyros Stasis

Sum of R – Spectral (WV Sorcerer / Dusktone)

Reto Mäder’s project, Sum of R, has always circled around one foundation: ritual. Through the years, Sum of R have changed their perspective multiple times. Their early experimental doom machinations reached a peak with 2013’s Lights on Water. This was followed up by a surprising retreat to a minimal, dark ambient form with the excellent Orga. 

In 2022, Sum of R released Lahbryce, which featured the addition of Jukka Rämänen and Marko Neuman of Dark Buddha Rising, injecting a new psychedelic dimension. In many ways,  Lahbryce was a return to the pre-Orga sound. Here, the drones were subjected to the doom riffs, but unlike Lights on Water, Sum of R injected a further psychedelic twist. A successful experiment, they now return to it with Spectral.

The droning progression and hypnotic movements mirror Lahbryce, where weaving melodies and free-flowing rhythmic patterns create a trance-like atmosphere that can lead to uneasy moments. “Null” exemplifies the latter, as the percussive structure becomes unwieldy and out of control. Like their Finnish kin, they embrace the doom dimension, unleashing excruciating processions of nihilistic torture in “Waltz of Death”.

At the same time, Sum of R return to their past. The post-metal and post-rock elements return in “Beer Cans in a Bottomless Pit”, where the electronic backbone slowly shifts toward krautrock-style repetition. Similarly, they again retreat to a minimal state, with echoes of Orga pulsing through the strange percussive structures of “Null” and the malicious abstractness of “Violate” and “Cold Signature”.

If Spectral falters, it’s in its closeness to Lahbryce. Though it refines the album’s approach—making it more focused, more controlled—it does not quite transcend it. The ritual remains, dark and glorious, but its circle feels familiar. However, as with rituals, repetition is not so much a sign of stagnation as of devotion, and this can lead to strange new places in the future. – Spyros Stasis