September

As we gear up for the end of 2025, the heavy stream continues uninterrupted. Unearthed black metal recordings from LVTHN and Vörnir are finally released, while Gjendød, Nexion, and Destruction Ritual continue to define the present of the genre, albeit in different ways. Historic acts make their solid returns, with the newest Paradise Lost and the long-awaited Fauna releases. On the fringes, Nuclear Dudes continue their manic, low-key, ambitious efforts, Igorrr merge electronica and black metal, Hateful Abandon offer dark industrialized post-punk, and Intercourse stare into the abyss without blinking. That and much more, so dig in! – Spyros Stasis

Arkhaaik – Uihtis (Eisenwald)

One of the stranger outfits from the Jünger Tumilon, Arkhaaik are obsessed with the ritualistic dimension of extreme metal. Their debut record, dʰg̑ʰm̥tós, follows the path of mystical black/death, tracing the lineage of Grave Upheaval and Mitochondrion. Yet, their return with Uihtis sees a tectonic shift. While the ritual remains at the centre of it all, the primal black/death has given way to a more refined, blackened death/doom approach, a change that is also mirrored in the cleaner production. “Hagrah Gurres” oozes with this essence, taking on the latter-day Septicflesh majesty (minus the symphonic applications) and delivering it with devastating force. 

The striking component here is the groove, and its derivation is uncanny. It alternates between the modern death/doom scene and also incorporates elements from Panzerfaust and their graphic applications. This is Arkhaaik’s newfound strength. Their ability to assimilate diverse elements and bring a unified result. Take their black metal side. For the most part, they rely on fleeting lead patches, small discordant fragments. However, these still convey the same sense of unease evoked by the dissonant orthodoxy advocates.

Similarly, the death metal form alters, at times settling into its atmospheric doom quality, but then exploding in a catchy beatdown with “Hrkþos Heshr Hiagom”. It continues, from the atmospheric interludes that evoke the darkness ushered in by the Ruins of Beverast, to the momentum and energy infused with the spirit of Bölzer. Most importantly, Uihtis does not simply rehash these ideas. It makes them its own, and while it does not appear that Arkhaaik have fully completed their vision, they are definitely on the right path. – Spyros Stasis

Destruction Ritual – Providence (End All Life)

Destruction Ritual’s 2021 demo felt like a message from the genre’s primal years. It manages to contain the lo-fi, raw, and aggressive quality that defined black metal demos, but without becoming a gimmick. The project of French heavyweights MkM (Antaeus), TerrorReign (Necrobloos), and US-based guitarist Arafel oozes with poisonous distortion, taking to heart the relentless core of Blood Libels, and the venomous extension of black metal orthodoxy.

Yet, Destruction Ritual’s return with Providence turns a new page. The production now suits a full-length, shedding the demo’s rougher edges without losing venom. From the outset, the early Scandinavian ethos prevails. The title track best exemplifies this turn, its riffology saturated with the trademark icy tremolos. It provides a vivid element, a dream of dark forests where spectres roam. It is an aesthetic that carries over through the eerie, arachnoid lead work, especially pronounced in the clean-ish parts of “Washed Away Sins”. 

This excavation goes further, with a proto-black metal perspective shining through both lead mechanics and progression. The guitars encompass a duality, a yin and yang, at times descending into a cacophonous à la early Bathory haze (“Providence”), to then ascend to classically metallic notions (“Pride & Corrupted Dreams”). The drums do not relent, their continuous beating is not as fast, as it is dedicated. Their martial approach constructs a near militant procession, one that allows Destruction Ritual to tap into their latent DNA. The Antaeus strain is right there, and the venomous onslaught in “Closure” makes sure we do not forget this.

The orthodox route is also called upon, with the cold and torturous mid-tempo of “Gone Days of Splendor” and the atmospheric parts of “Decaying Masks of Remorse” shining through. Thus, Providence does not simply retrace Destruction Ritual’s steps. It instead unearths black metal’s primal soil, its proto form’s extremity, Antaeus’s venomous scars, and the ritual pulse of orthodoxy, binding them together in a singular, destructive statement. – Spyros Stasis

Fauna – Ochre & Ash (Prophecy/Lupus Lounge)

With their debut record, Rain, coming out the same year as Diadem of 12 Stars, Fauna established themselves as one of the first Cascadian black metal bands. Like their contemporaries, Fauna are obsessed with the majesty of the Pacific Northwest. They translate the area’s mystical sceneries into raw, ambient forms. However, it did take a moment for their sound to come together, with the rough promise of Rain and The Hunt finally paying off in their 2012 full-length, Avifauna. Following 13 years of silence, Fauna now return with another ambitious work in Ochre & Ash.

The atmosphere is again fundamental, Fauna taking great care in sonic placements and sound recordings to build a holistic ambiance. Today, this sounds closer to the Nordic folk of Wardruna, especially in “A Conjuring”, which also serves as a platform from which Fauna can leap into other territories. Hypnotic tinges rise from the clean guitars with “Labyrinths”, making use of their circular motif to craft its inescapable mazes. When the distortion surges and the pace drops, the music drifts toward funeral doom rather than earthy black metal.

The same energy can be harnessed to achieve a strange, forest psychedelia in parts of “Eternal Return”. The wolf might change his coat, but not his nature. Thus, Fauna still tap into the primal black metal havoc, the start of “Nature and Madness” conjuring an apocalyptic quality to its trademark black metal riffing. These reveal the bloodied teeth, with Fauna imbuing their form with a tribal essence passed from the likes of Neurosis. Not so much a musical influence, but rather a spirit guide that points the band toward their true north.

Fauna’s return is admirable, and Ochre & Ash sees them return to their true form. Longform compositions, blending ambient sensibility, tribal spirit, and black metal devastation, Ochre & Ash is a demanding yet deeply immersive rite, one that reveals more with each descent. – Spyros Stasis

Gjendød – Svekkelse (Osmose)

Rekindling black metal’s flames is no simple task, and few truly succeed in this endeavour. And then there are those who not only awaken the old ethos but also chart their own path. This is Gjendød’s story, whose latest record Svekkelse comes just one year after their excellent fifth full-length, Livskramper. As has been the case throughout the band’s discography, Gjendød’s foundation dates back to the mid-1990s, leaning toward the more outlandish expressions of the genre.

So echoes of Ulver’s pastoral melancholy reverberate through the passages of “Lykkens bortgang”, while the Enslaved influence injects a sense of lost magic and lore. It is an otherworldly pull, captured through the relentless progression of “Uten nåde” and the second half of “En elv av kjøtt” and its beautiful acoustic guitar passages.

Yet, underneath this foundation lies a discordant self. On “Maktens sødme”, the pre-industrial Thorns lineage is clear. The intricate guitar work feels like an echo of Snorre’s feverish dreams. This dissonant methodology recalls Ved Buens Ende. The start of “En elv av kjøtt” spirals into a vortex of chaos and entropy. Slight melancholic touches are offered, with “En staur i hjertet” employing the icy riffology to create a nocturnal anthem, parallel to the works of Djevel.

Further off-kilter ideas float, like the synthesizers in “Den Falske råte” hint at a cosmic escape. Throughout all this, Gjendød seamlessly balance between the primitive core of the genre and its more nuanced manifestation. Svekkelse stands as a testament to Gjendød’s duality, firmly rooted in tradition yet unafraid to venture into uncharted terrain as a hermit. – Spyros Stasis

Hateful Abandon – Threat (Sentient Ruin)

Hateful Abandon understand intersections. Their entire discography is built on this fact. For them, punk and industrial are not parallel lanes. No, they are branches of the same tree, best presented under a joining post-punk root. Their first record in a decade, Threat, opens with this principle. “Nuclear Thread Worker” relishes the early Killing Joke aura, this unsettling state between punk history and urban reality, where the two competing forces mold Threat.

“Shithouse” moves closer to hardcore chaos, but never gives in. The straightforward progression instead repeats on an endless loop. On the other side, the industrial tone appears in a sinisterly gleeful manner. The bombastic start to “Scavenger” is only the surface for Hateful Abandon, but deeper undercurrents are running just below. The apocalyptic essence of “Scavenger” takes hold, with operatic vocals evoking memories of the early In Slaughter Natives releases, as does “Sculptures” with its off-kilter synthesizers. It is an always-present narrative, as Hateful Abandon feel a strong pull toward the apocalyptic.

“Dome” with its huge bass lines evokes the fiery visions of Streetcleaner, the faraway cries heralding an inescapable devastation. It is a vibe that persists even in the most desolate moments, with “Shimmer Road” evoking the Swans-like melancholy. Coupled with some minor black metal influences, especially pronounced in “Nuclear Thread Worker”, Hateful Abandon unveil a world aflame. This invocation comes with a certain mystique. And while their guiding light might be the post-punk foundation of Joy Division, their far-reaching extensions make for a much more daunting offering. – Spyros Stasis

Treading a similar path to Jason Köhnen’s Bong-Ra, the past two decades saw the breakcore architecture of Gautier Serre’s early career mutate into ever more concrete forms—still as spastic and crazy as his earlier works, but touched differently. Where Köhnen’s vision ended up encased in industrial grime and heaviness, all oozing electronic textures and sparking electricity (check out Black Noise, released earlier this year), Serre pushed his project Igorrr towards predominantly black metal territories. While 2017’s Savage Sinusoid had already hinted at this direction and 2020’s Spirituality and Distortion announced the true metallic potential behind the project, Amen witnesses its full realization.

Drop the needle anywhere on the album and you’ll be inundated with waves of utterly intense and, perhaps, insane but organic-sounding instrumental expression. Owing to Serre’s ambitious approach, which included recording actual church organs and acoustic instruments, the album feels vibrant and breathes deeply even in its more suffocating passages.

Neoclassical strings and operatic vocals float above ripping riffs and striated breakbeats, then pour right through them (“Daemoni”). Gorgeous Eastern melodies intertwine with blast beats to explode into blistering second-wave black metal (“Headbutt”). Elsewhere, chants dissolve into saturating textures (“Pure Disproportionate Black and White Nihilism”). While it might appear unnecessarily extravagant on paper, this astute eclecticism is what ultimately elevates the album above its peers, with an injection of adrenaline at hand every time things threaten to fall into a rut. – Antonio Poscic

Intercourse – How I Fell in Love With the Void (Brutal Panda)

Many find staring into the abyss daunting, something to be done sparingly if at all. But that is not the case for Connecticut’s Intercourse, who, since their inception, have consistently peered into the void. Their aptly titled, fifth full-length, How I Fell in Love With the Void, does not abstain from that practice. To that end, they once more contort their noise rock fascinations through a hardcore immediacy. This makes the discordant guitar work in “The Ballad of Max Wright” hit with much more potency. “Unsuccessfully Attempting to Parse Nightmare From Reality” takes this further, contemplating a dissonant obsenity that bounces between old-school punk ethos and Fugazi‘s post-hardcore.

Thus, Intercourse dig into the dark and oppressive side of hardcore. The heavier groove works nicely alongside the noise rock influence, with touches of a sludge pedigree coming through when things slow down. This makes the despair more palpable in “Zoloft and Blow”, staring down the same dead ends that Great Falls have found (“Family Suicide Gun”). Plunging into the atmospheric only enhances the despair, the title track being a prime example when the clean guitars and subdued playing come in.

This contradiction brings to mind Chat Pile and their melancholic outlook, especially in “I’m Very Tired Please Let Me Die”, where they provide a subtle industrial injection. Even in their more energetic state, as seen in the metallic-induced “Cadaver Resume” with its chugging and the mathcore-adjacent “Another Song About the Sun”, they still cling to a sense of hopelessness. Intercourse understand that hopelessness is not always defeatism; sometimes it is the only way through. – Spyros Stasis

LVTHN – The Devil’s Bridge (Amor Fati)

Formed in the mid-2010s, LVTHN quickly transitioned from their early, raw, Scandinavian-inspired sound to the rising orthodox black metal trend. Their debut full-length, Eradication of Nescience, was a timely offering, following the footsteps of the French black metal scene, coalescing Antaeus’s devastating force with the Aosoth-ian transcendental devilry. The band’s sophomore record, The Devil’s Bridge, might be arriving nine years later, but in spirit it inhabits the same space as their debut.

The latter stage of orthodoxy still prevails, with “A Malignant Encounter – The Servant” employing the Aosoth principles once more, forming a solid, impenetrable guitar wall. The guitar timbre is near elemental, a cosmic force that pushes against all life. From there, the dissonant injections are expected, with the guitars in “A Malignant Encounter – The Master” and “Sum Quod Eris” dripping their discordant poison on top of the aggressive progression. Here, the more chaotic outbreaks break the mould, the start of “Cacodaemon” and “Grim Vengeance” show the unforgiving side of the band, honed by the spirit of Ondskapt and Funeral Mist.

In moments, this can become even more abrasive, with “Mother of Abominations” unearthing the Katharsis corpse for a brief time. However, while The Devil’s Bridge is a well-put-together record, it does feel like clinging too hard to the past. According to their press release, the bulk of the work was written and recorded in 2019, with further adjustments being made over the years. That’s something that comes across. A record frozen in a different time, which invokes its spirit, but does not extend it. – Spyros Stasis

Modern Life Is War – Life on the Moon (Deathwish)

One of the prominent hardcore acts of the 2000s, Modern Life Is War, released two pivotal records in My Love. My Way and Witness. What made them stand out was their dedication to the punk ethos, while feeling a strong melodic pull. This pull might have been overstated in their third full-length, Midnight In America, and the band eventually performed a course correction with their 2013 Fever Hunting. Now they return 12 years later with Life on the Moon, a record that swings the pendulum wildly across different states and moods.

The emotional core is exposed, from the “Invocation” introduction and its almost poppy sentimentality, and it remains prevalent throughout Life On The Moon. “Jackie Oh No” pushes harder on these melodic inclinations, while “Homecoming Queen” further digs in its hooks. Still, there are times when the balance is better, with “First Song on the Moon” finding equilibrium between fervour and catchiness. Similarly, “In the Shadow of Ingredion” and “Johnny Gone” move closer to the old-school ethos, the former embracing quasi-metallic elements and the latter some New York hardcore characteristics.

The transformations keep revolving, from post-hardcore abrasiveness in “There Is a Telephone That Never Stops Ringing”, to the relentless speed of “Bloodsport” and the subdued Have Heart energy of “You Look Like the Morning Sun”. There are also moments of quasi-psychedelic introspection, “Empty Shoes” with its emotive quality, “Over the Road” with its hypnotic aspiration, and finally “Kid Hard Dub” with a hazy perspective.

Overall, this constant transformation holds the record back, disrupting its flow and restraining it from hitting a certain stride. There are still interesting ideas in Life on the Moon, but it feels like Modern Life Is War have not completely coalesced these. Maybe this will come the next time around, and hopefully that will not take another 12 years. – Spyros Stasis

Nexion – Sundrung (Avantgarde Music)

The problem with unexpected hit albums, even in niche genres, such as 2020’s Seven Oracles by Reykjavík’s black-death metal outfit Nexion, is that the band suddenly have expectations to live up to. While the yips, the curse of the sophomore release, or whatever you want to call it, is very much a real thing, the Icelandic quintet appear too imperious and self-assured to succumb to such foolishness. Sundrung stands shoulder to shoulder with the best Nexion have produced so far.

Nebulous as it might be, applying the Icelandic black metal term here makes sense, as Sundrung exhibits certain similarities with the music of Misþyrming and Svartidauði in each of its tracks’ epic tapestry: majestic riffs rolling along growled chants and lighter folk flourishes alternating with brutal attacks. Simultaneously, there is a hunger at play within Nexion’s idiom that separates them from the lot as they draw from death metal’s unfiltered brutality and sprinkle perverted atmospherics across the eight tracks.

There is very little filler here despite the album’s 50-odd minutes. In fact, the extended duration seems critical in making the band’s special moments—passages that sound like storms brewed in the deepest layers of hell—feel truly earned. Here, Josh Rood’s deranged, Attila Csihar-evoking roars skitter over machine gun riffing and snaking melodies, like something off of an early Behemoth record or Keep of Kalessin’s flash in the pan Reclaim. Terrific stuff. – Antonio Poscic

Nuclear Dudes – Truth Paste (Independent)

Jon Weisnewski, of the mighty Akimbo, might have started Nuclear Dudes as his bedroom project, but boy, this thing has legs. On their fifth full-length, Truth Paste, Weisnewski is joined by Teen Cthulhu vocalist Brandon Nakamura for an exhilarating ride. The start is bombastic, as “Napalm Life” descends into a grindcore frenzy, fierce and unrelenting. It is an expression rooted in the punk lineage, which manifests in various forms.

The crossover-inspired “Holiday Warfare” contains fragments of a thrash past, while “Juggalos for Congress” reveals a more traditional groove. However, Nuclear Dudes tend to take things to extremes, relishing the powerviolence perspective, especially pronounced in the absolute mayhem of “Sad Vicious”.

Still, a fundamental component here is the industrial backbone, and Nuclear Dudes feel a strong pull towards electronica. It is so powerful that at times they retreat to dance-like moments, as in the second half of the title track and “Death of a Burning Man”. At other times, this morphs into an industrialized fascination, which at its most basic level arrives with a Ministry or Prong-ian quality (“Cyrus the Virus”).

Where things get really interesting is when the industrial self merges with the grindcore essence, taking a cue from Genghis Tron’s monumental Board Up the House. “Space Juice” is a prime example of this motif, and the stunning use of synthesizers is capable of expanding the violent ideas toward otherworldly realms, as is the case with the hazy quality of “Concussion Protocol”. There is a lot of sarcasm and playfulness here, and it fits the image, but do not fool yourself: Truth Paste is anything but middle-of-the-road or straightforward. The ambition shines from underneath all that. – Spyros Stasis

Paradise Lost – Ascension (Nuclear Blast)

Among the original wave of doom-death metal bands, particularly those who rose to fame during the early 1990s in the ranks of the UK’s Peaceville Records, Paradise Lost have aged most gracefully. Whether thanks to the stability of their lineup or the self-confidence and freedom to experiment with genres as they saw fit—from death and gothic metal to synthpop and back—the music they put out feels vibrant and played with genuine gusto even four decades into their career 

Ascension, the group’s 17th LP, finds them in stellar form. As if each style they ever came across embedded a fragment of itself into their DNA, the album becomes akin to a mashup—based in dramatic death and doom metal, but free to stretch into territories of gothic rock, post-metal, and pop. Take, for example, the opener “Serpent on the Cross”, which is a crushing and relentless sublimation of Paradise Lost’s death-doom tendencies, featuring tightly wound atmospheres that release into galloping rhythms and gorgeously melodic riffs.

Meanwhile, “Tyrants Serenade” ups the melancholy and Weltschmerz to levels unheard since 1993’s Icon, and “The Precipice” has the group descending into funeral doom, with grave piano keys and Nick Holmes’ stunning vocal delivery leading the dirge in its steady, heavy crawl. These are all signs of a mature band that, despite all odds, sound as if their life had just begun. – Antonio Poscic

Vörnir – Av Hadanfärd Krönt (Mystiskaos)

I am becoming increasingly terrified by the prolific nature of particular musicians, especially when they tend to collaborate. Not only can they continue to produce new work, but they also tend to unearth their earlier material, reworking it and releasing it. This is the case with Vörnir, featuring artists such as Alex Poole, Rory Flay, Swartadauþuz, and H.V. Lyngdal. Much like the case of LVTHN’s new record, Vörnir’s debut was written at a different time. Written between 2011 and 2015 and recorded from 2015 to 2024, Av Hadanfärd Krönt radiates with the spirit of another era, steeped in the orthodox tradition of black metal.

This work needs to be experienced as a continuum, a flow of dark energy that arrives in maelstrom form. Vörnir tend towards orthodoxy’s harsher side, not shying away from relentless assault without many breaks. However, while the anger is palpable, there is an underlying methodology that runs through it. This unyielding perspective is defined by strict precision, not loose aggression. It makes the work that much more calculating, and as a result, it becomes colder.

The pull of the dissonant is still there, but it feels like the time passed between writing and recording has transfigured it. Instead of the venomous injections, Vörnir unleash psychedelic fumes. Far away, fleeting lead work delves into this motif, projecting different emotional flavors. At times, these hallucinogenic capabilities project a deep ambiance, an otherworldly dreaminess. Still, they are also capable of constructing towering moments of mid-tempo dedication, or even granting momentum to the ongoing assault.

This is where Vörnir succeed. They balance between the initial proximity of their compositions to orthodox black metal, but they have allowed time to imbue these with additional components. In that sense, they appear almost as an avant-garde act that is rooted in tradition but pushes further beyond. – Spyros Stasis