MetalMatters: The Best Metal Albums of March 2026

This month’s best metal features surprising returns. It took 14 years for Miserere Luminis to follow up their excellent, self-titled debut with the fantastic Ordalie, but just three years later, they are back with another high-quality release in Sidera. Similarly, death metal legends Monstrosity return eight years after the brutal return-to-form of The Passage of Existence to produce another exquisite specimen of death metal sovereignty in Screams from Beneath the Surface.

Most surprising of all is the bomb that Neurosis dropped with An Undying Love for a Burning World. Not only do they now have Aaron Turner (ISIS, Sumac) in their ranks, but they have also produced a record that can stand proudly alongside their masterworks in Times of Grave, Through Silver in Blood, and A Sun That Never Sets.

However, that is not all! The Silver also make their return, fueling their post-black metal with progressive elements, to what is expected to be the final release for Gilead Media. Decipher scorch all with their black/death brutality in θέλημα, and Temple of Void descend to death doom depths. That and much more, so dig in! – Spyros Stasis

Bekor Qilish – Consecrated Abysses of Dread (I, Voidhanger)

This new, somewhat short (at 30 minutes) transmission by multi-instrumentalist Andrea Bruzzone and his vessel, Bekor Qilish, continues to map the outer edges of extreme music, adding stunningly inventive experimental ingredients and avant-garde flair to various mutations of black, death, doom, thrash, and progressive metal. As usual, the architecture of Bruzzone’s aesthetic seems sourced from the same hell that inspired M.C. Escher.

Here, he makes a cornucopia of metallic attacks ping around impossible multidimensional spaces, while Cryptic Shift-esque bouts of cosmic tech death metal lead into mangled passages of atmo black that sound as if cult prog metal legends Spiral Architect or Spastic Ink played death metal in a parallel universe. Throughout, the musicianship remains on a fascinating level, further elevated by guest spots from Mick Barr (Krallice and a thousand other projects) and Gabriele Gramaglia (Cosmic Putrefaction).

In the hands of Bekor Qilish, the “avant” in avant-metal becomes a raison d’être, a high-velocity particle accelerator to discover new elements, proving once again that they remain one of the most vital representatives of Italian experimental metal and its central label, I, Voidhanger. – Antonio Poscic

Cruel Force – Haneda (Shadow Kingdom)

As German thrash gradually sanded down its feral edges, each subsequent generation tried to resurrect the primordial black/thrash spirit of early Sodom. In the 1990s it was Disaster, in the 2000s Nocturna,l and in the 2010s Cruel Force. The latter unleashed absolute havoc, combining the unhinged proto-black/thrash metal with a heavier Celtic Frost attitude. Within a two-year span, they had released two records that stood the test of time in The Rise of Satanic Might and Under the Sign of the Moon before suddenly dropping from the face of the earth.

In 2023, Cruel Force unexpectedly returned with Dawn of the Axe, which carried much of the thrash character of their earlier days, but with one major adjustment. Much like the German thrash forefathers, Cruel Force started to sand off the roughness of their earlier works. I know what you are thinking, “Thrash does not evolve!” But it kind of does. The mid-period works of Kreator and Sodom did not let chaotic instinct drive them, but rather a more pronounced sense of design. It was still aggressive and frantic, but it did not carry the same animalistic tendencies. The same winds of change are now even more prominent with Cruel Force’s fourth full-length, Haneda.

The gruff vocals are a thing of the past, and in comes the cleaner delivery of mid-period thrash. It hits at a different emotional register, a sense of heroism rather than villainy. They are still urgent and direct, but no longer rabid. The lead work follows the same pattern, in which the earlier dissonance is replaced by a more melodic, fluent traditional metal approach. The opener, “The Cross”, triumphantly signals as much. Its thunderous melodies echo the NWOBHM spirit, something also radiating through the fantastic guitar solo in “Sword of Iron”, bringing to mind the glory of Angel Witch.

Still, the foundation of Haneda is on the thrash tradition, but it has shifted from In The Sign of Evil toward Agent Orange. The high-octane energy defines the progression, be it through the pristine, sharp riffs of “Whips a Swinging” or the unstoppable drumming, with poignant fills maintaining the momentum in “Titan’s Awakening”. Both forces, guitars and drums, still invoke this thrash trademark sense of frenetic energy. Gang vocals further fuel this approach, their powerful inclusion acting as a further lift, adding more aggression to the cleaner main vocal delivery.

Haneda is a true continuation of the Cruel Force evolution and the inclusion of more traditional metallic elements in their music. The dissonance and schizoid lead work now has a strong melodic counterweight, and their songwriting appears more nuanced, based more on grand design rather than on feeling or instinct. The title track best exemplifies this, especially in its progression as it moves from barbaric rhythms toward an epic crescendo, reminiscent of classic heavy metal closers on monumental 1980s records.

In a way, Cruel Force are re-enacting the same arc that the great German bands of the 1980s followed, but they do so in their own way. The NWOBHM inclusion feels natural; its punk roots complement thrash’s shared punk heritage. What is more important, however, is that even though Cruel Force’s approach to thrash has changed, it does not appear less honest. It feels natural, an organic shift rather than a forced transformation. This is what makes Dawn of the Axe and now Haneda such enjoyable listens, even though personally, I will return more often to The Rise of Satanic Might. – Spyros Stasis

Decipher – ΘΕΛΗΜΑ (Thelema) (Transcending Obscurity)

The sophomore release by Athens-based trio Decipher navigates the fairly crowded intersection of Hellenic black metal, razorblade-sharp death metal, and the jagged aesthetics of crust. Whereas their 2023 debut, the solid Arcane Paths to Resurrection, suggested a band exploring the heritage of melodic black metal pioneers such as Dissection and Marduk, ΘΕΛΗΜΑ (Thelema) finds them cultivating a more unique artistic vernacular.

Unlike many of their peers, who like to pad the meatier parts of their music with (often drab) atmospheric lulls, Decipher opt for a leaner, structurally tighter approach. Cuts like the vicious “Return to Naught” or the martial “Towards Renaissance”, for instance, end up as rumbling and bombastic black-death blasts, while the vocal style shifts between a chant-like growl and venomous shrieks. Here, rhythmic shifts emerge from the friction of blast beats and shifting skitters, while the dissonance we usually associate with the Icelandic school (think Misþyrming) is tempered by a welcome Hellenic sense of melody. – Antonio Poscic

Miserere Luminis – Sidera (Debemur Morti)

The richness of the Quebecois black metal scene cannot be overstated. It’s fertile ground that nourishes not only the primitive aspirations of Akitsa and Forteresse, but also the melancholic dreams of Gris and Sombre Forêts. Miserere Luminis belong in the latest constellation, being essentially the full collaboration between the two legendary acts. Falling more toward the strongly melodic essence of Sombre Forêts than the immersive melancholy of Gris, the project did not initially distinguish itself much from its components. This divergence came 15 years later with their sophomore record, Ordalie, which modernises this sound with much stronger production and even more nuanced musicianship.

Their 2026 follow-up, Sidera, picks up where Ordalie left off. In modernising their black metal, Miserere Luminis do not descend into the familiar tremolo picking frenzy at the genre’s core. Instead, they move closer to post-metal, with the guitars adding more weight, and their melodies piercing through more sharply. This also suits their more romantic take on DSBM, defined by sorrow and melancholy rather than nihilism and self-destruction. The result is immediate: their melodic instinct now washes over this work with fervour, even at times when the guitar melodies do not deliver it. “Les fleurs de l’exil” showcases this flexibility, where the violin lets forth lines that could have come as easily from a score by The Kronos Quartet.

Melodic immediacy and post-metal applications can have the adverse effect of diluting the nuance of compositions. But, Miserere Luminis resist this temptation throughout Sidera, as they did with Ordalie. Their playing is nuanced and intricate, filled with strange twists and turns that are always unexpected and exciting. In particular, the drumming is magnificent, capable of changing from frantically fast, with blastbeats and all, to slowed-down moments that can radiate a jazzy influence. The cymbal work, in particular, is striking, adding variety to the rhythmic structures and expanding their timbral quality, and it does so without coming across as exhibitionist but rather as necessary.

Similarly, Miserere Luminis’s structures do not aim for a quick and easy payoff. Despite their strong melodic foundation, the trio indulges not only in long-form tracks (on average, ten minutes) but also in linear songwriting. This is a post-metal influence as well, but here again, they resist the easy repetitive structures with killer choruses. “Aux bras des vagues & des vomissures” sees them build up the song slowly, performing a steep ascent that is gruelling but, in the end, redeeming. In this fold, they also have space to improvise, retreating into a free-flowing mode with moments like the minimal ending to “De cris & de cendres”. It is closer to a sorrowful lounge interpretation, yet retains the track’s emotive, melodic core.

It is the sign of a veteran band, and it should come as no surprise from the individuals who delivered works like Il était une forêt… and Royaume de glace. However, when comparing Sidera with Ordalie, it is difficult not to feel that Miserere Luminis have not made the same leap they made from their self-titled debut to their sophomore record. The main difference would be in Sidera putting more effort into immersion, its long-form compositions allowing for a deeper sonic journey through abstract emotions. But it lacks some of the distinct hooks that still echo through my ears from the first time I heard Ordalie. Still, given that they had 15 years to work on Ordalie, something like that is expected and does not detract from Sidera‘s spectacular work. – Spyros Stasis

Misotheist – De Pinte (Terratur Possessions)

The greatest strength of Misotheist is their sense of pace. Their ability to slow their black metal to an absolute crawl while still delivering impact and retaining their edge. “Kjetterdom” from their new record, De Pinte, stands as a testament to this modus operandi, its slow katabasis unfolding at a gruelling pace, while their Thorns-ian lead work reveals their dedication to the orthodox tradition and its subsequent expressions through the Nidrosian and the Icelandic scenes.

Since their 2018 self-titled debut, Misotheist have been breathing in the fumes of orthodoxy and have forged their own ritualistic form. This is now fully fledged out in De Pinte, in that it clearly draws from the tradition, but paves its own way. The final part of “Blinded and Revealed” is telling, capable of crafting the same dark, towering ambience without the need for additional choirs or synthesisers. Here, it is instead the repetitive guitar hooks that craft a thick vortex, an ever-present theme that creates a mesmerising effect, while the strenuous drumming acts as the palpable heartbeat of the track.

That is not to say that Misotheist solely focus on the slow and atmospheric. The power of these moments is in their ephemerality, offering a break from the overwhelmingly confrontational nature of this work. “Unanswered Thrice” draws a very different picture, where the relentless drumming establishes a determined progression, while the skeletally discordant lead flourishes mirrors the Deathspell Omega methodology. It is an epic display, augmented through a cataclysmic approach, a barrage of discordance and violence that explodes into absolute havoc. In contrast to their slow, atmospheric moments, these parts wear their influences more openly, with Misotheist more interested in adhering to norms rather than paving their own way.

Like many works of orthodox black metal, the binding force is the discordance, but Misotheist wield it primarily as a tool of pacing. A distillation of early Thorns’ grimness and Gorguts-ian venom. Yet, Misotheist’s applications in De Pinte are so varied that they somehow break out of this mould, without losing their edge or identity. While their faster, aggressive parts echo with the same vitriol you would find in the Icelandic scene, they do not sound rehashed or nostalgic.

Even more impressive is their approach to the slower atmospheric parts, with Misotheist taking on a funereal form, abstaining from the usual black metal mechanics while still evoking their grandeur. It is a contradiction, deeply traditional, yet somehow establishes its own identity. That is the power at the core of De Pinte, and it is why it is Misotheist’s crowning achievement. – Spyros Stasis

Monstrosity – Screams From Beneath the Surface (Metal Blade)

For the death metal legends of old, it is a herculean task to deliver works of equal quality to their early masterworks. Some, like Deicide, usually falter, though they do surprise in certain cases (such as The Stench of Redemption). Others, like Immolation, seemingly can do no wrong. Monstrosity belongs in the latter category, with their recent, albeit sparse, output hitting as hard as Imperial Doom, Millennium and In Dark Purity. The success of latter-day Monstrosity comes from the band reconciling two frameworks simultaneously: their historic foundation and the need to push beyond.

Screams From Beneath the Surface, their first full-length in eight years, successfully continues this tradition. It does so by having one foot planted in the glorious past. Their death metal is still defined by meticulousness and intricacy. The rapid fret movements in “Atrophied” are a particular highlight, as discordant lead work melts into slower, more emotive parts. The drumming is equally impressive, its frantic movements granting “Spiral” both rhythmic variety through flourishes and a great sense of unpredictability. The thrash lineage also surfaces in these moments, setting off a barbaric rampage through the unhinged and primal approach of tracks like “Vipers”, whose progression recalls the proto-death metal of Possessed.

On the other side, there is something strikingly modern-sounding about Monstrosity. Their groove takes on a hardcore-tinged quality, the opening track exploding into heavy breakdowns that still radiate with their deathly past. Similarly, their guitar tone sounds firmly of the present, not interested in retaining the grimy quality of the 1990s. The chugging in “The Colossal Rage” is a perfect example of this mentality, retaining its death metal pedigree while giving it a more modern twist. What is more impressive, however, is the incorporation of further elements into the Monstrosity core.

The dissonant quality of “Blood Works” sees the band moving outside of their comfort zone, but it is “The Dark Aura” that surprises. The bizarre atmospheric turn, the use of synthesisers, and the doom-laden progression reveal a completely different face of Monstrosity.

What binds these two frameworks together is a great sense of melody. Looking at Monstrosity’s trajectory through the years, it feels like they have always been moving toward this moment. Even in their earlier days, the riffs and lead work, while extreme and discordant, always concealed a more immediate, hook-like essence. This became more prominent in their later records, and it is at its peak here. It is never an overtly mellow quality; rather, it is more in line with how Bolt Thrower would use melodic lines to enhance their groove and immediacy, albeit in a very different way.

For Monstrosity, it becomes the connective tissue that brings everything together. “Banished To The Skies” merges atmosphere with brutality in that way, “Spiral” draws on Middle Eastern melodies to enhance its sense of mysticism, and “The Thorns” further drives its sense of nuance through the intricate intersections of melodic ideas. It is what ties everything together and what ultimately makes Screams From Beneath the Surface stand out in an already impressive, nearly flawless discography. – Spyros Stasis

Neurosis – An Undying Love for a Burning World (Neurot Recordings)

The influence of Neurosis on extreme music cannot be overstated. Coming out of the punk scene in the mid-1980s, the Oakland band found their own voice through a blend of hardcore, noise rock, doom metal, and psychedelia. It is easy to forget how unique and ahead of their time records like Souls at Zero, Through Silver in Blood, and Times of Grace are, simply because of the sheer influence they have had on the scene. Up until 2016, Neurosis continued their creative efforts, their music still pushing boundaries and looking for new avenues of expression.

However, in 2022, everything was put on pause, as news of Scott Kelly’s abuse of his wife and family came to light. At that stage, it was unclear what would happen with Neurosis. Would the band move forward, try to find a replacement, or quietly cease their journey? A few days ago, the answer to these questions arrived abruptly and unexpectedly. Neurosis announced a new show for the Fire in the Mountains festival, and at the same time dropped their new record, An Undying Love for a Burning World. Even more surprising was the addition of Aaron Turner, previously of ISIS and currently of Sumac, to the line-up on vocals and guitars. Reading the announcement felt like dreaming.

Turner’s creative output has been shaped by Neurosis’s great works, and his inclusion in the band brings in a new perspective. The industrial backbone is more prominent. The pummelling rhythms that introduce “Mirror Deep” tap into a Celestial-like slow, precise beatdown. It draws from a common ancestor in its Godflesh explosiveness, bringing a sense of volatility. At the same time, the noise rock influence is stronger. Staying with “Mirror Deep”, the track employs unconventional guitar strumming and unorthodox rhythmic patterns that verge on a Caspar Brotzmann rendition.

Similarly, the start to “Seething and Scattered” takes its cue from the contorted rock form of Swans, where the constant pushing and pulling between the guitar parts creates tension and expectation. These are not new components, but part of Neurosis’s heritage, and Turner brings them back to the surface, making them a central theme in An Undying Love for a Burning World.

In this way, the foundation has not changed. Neurosis still evoke their tectonic heavy music, balancing the fine line between hardcore and doom. “First Red Rays” returns to this monolithic tradition, with Neurosis taking their time to build up the track. The process of construction, peak and deconstruction is cinematic, a well-known practice that Neurosis have helped pioneer.

Another tactic is the use of circular motifs in “Blind”, where the guitar parts recur as the track evolves, growing more menacing over time. The music and sound appear almost elemental and endless, escaping their own dimension, yet they also bleed the same austere vastness back into the song structures. “In the Waiting Hours”, one of the record’s highlights, this towering motif is fed back into the moving riffs, the expressive breakdown after the folkish tones unleashing all this build-up energy.

The other axis is, of course, the ambience. Part of Neurosis’s unique blend is their ability to pair their hardcore roots with a psychedelic quality. The second half of “Blind” finds them in their minimal setting, leaving behind the rock instrumentation and opting for a stripped-down, atmospheric krautrock rendition. While their heavy moments deliver their apocalyptic wrath, these otherworldly parts imbue them with a spiritual dimension, and from there, further experimentation can begin.

The Hammond organ-like tone is disturbing, its presence both dislocated and central to the track. Similarly, the old-school synthesiser parts in “Seething and Scattered” combine with the feedback to awaken a mystical aura, one that was fully articulated in A Sun That Never Sets. The guitars also play this part, the midsection of “First Red Rays” tapping into the psychedelic stream, their clean-ish parts setting an oasis amidst the post-hardcore onslaught.

An Undying Love for a Burning World is Neurosis making multiple statements. Firstly, on a musical level, they are rejuvenated. The inclusion of Turner, someone who deeply understands the group’s sound, has breathed new life into the band. The record itself feels like a Neurosis record, but it also feels like the start of a new chapter. Turner has unearthed components of their sound that, while always there, were not in the spotlight.

Most importantly, Neurosis’s decision to return at all is the most important statement. An Undying Love for a Burning World is an apt title for this work. They look back on their history, attempting to carry it forward without letting it be defined solely by Kelly’s actions. Perseverance and resilience have always been their ethos, and they are not empty words but dictate their lives and creativity. Through this agony, they open up to the future with a work that proudly stands among their stellar discography. – Spyros Stasis

New Age Doom & HR – Angels Against Angels (We Are Busy Bodies)

Led by drummer Eric J. Breitenbach and multi-instrumentalist Greg Valou, Vancouver’s New Age Doom have been exploring various permutations of Fourth World ambient, dub, metal, and progressive rock since 2019, but they’ve never sounded so aggressive and dynamic as they do on Angels Against Angels. At least part of that sonic transmutation is a consequence of collaborating with Paul Hudson, alias HR, the vocalist and frontman of seminal hardcore punks Bad Brains.

Still, the opener “Life on the Other Side Pt. 1” ushers in the album with birdsong and HR’s optimistic croon, and not hardcore aggression. “Truth needs mercy and mercy needs love,” sings HR, his delivery closer to Lee ‘Scratch’ Perry’s (who also collaborated with New Age Doom) rather than his usually fiery spit. From here on, things change quickly, with an explosion. Buzzsawing, careening riffs, reverb-laden snares, and grumbling baritone saxophone soon join into a jarring contrast of moods and sounds, which settles into a cohesive whole.

Across the album, Breitenbach, Valou, HR, and their many collaborators move from proper dub (“Radio On”) and jazz punk (“Angels Vs. Angels”) to noisy post-metal (“One Heart”) and baroque progressive rock (“Amaseganalo Pt. 2”), threading all these disparate songs and styles with a narrative that signals “survival, chaos, and hope all at once.” – Antonio Poscic

Possession – The Mother of Darkness (Iron Bonehead)

Belgium’s Possession is a subtle beast. They respect and relish the primordial black/death sound, and they take to heart many of the infernal disciplines that fuelled its fire. But, at the same time, they are a band of their times, and they do not look solely to a glorious past for inspiration, but also to a vibrant present. Their sophomore record, and first new work in seven years, The Mother of Darkness, continues this approach, gazing into the abyss of black/death tradition but refusing to be consumed by it.

Much of the record is centred around timeless black and death mechanics. The introduction to this work, with its cellos, violins and distant choirs, radiates the same vampiric quality that defined early Necromantia. This is not the “new darkness”, cultivated by the orthodox black metal scene, but rather an earlier strain, one that in some ways feels even more sinister. As the devilish lead parts extend, Possession tap into the schizoid and unhinged nature of the old-school, with moments like “Young Blood Ritual” appearing completely unhinged in their fret movements. In turn, this breathes a tremendous sense of movement and purpose, with parts like the second half of “The Black Chapel” barraging through its dedicated, constant snare hits toward a great war.

However, this is where Possession do not so much break with tradition but rather tamper with it. They do not propel themselves aimlessly toward chaos; they do not completely give in to their animalistic side. There is something more meticulous at work under the surface, and moments like “Graveside Prayer” can appear disordered and sloppy; they are actually nuanced and precise. The drumming here is extremely economical, offering a simple rendition that drives the progression. This is not mere caveman beating.

Similarly, with the guitar work, Possession have already shown they have mastered the proto-black/death havoc ushered in the early 1990s, but here they also spiral into much more defined, moving through dissonance into serpentine melody. It is a more recent approach in black/death, this ability to tap into the barbaric essence, while at the same time retaining control. “The Wild Hunt (Let Them Run)” is the best specimen of this approach, sounding immediate and frantic, its fast drumming and vitriolic vocals tilting the track toward collapse, yet the performance remains controlled, precise and towering.

The final joining of black/death past and present comes through the gloomier inclusions in The Mother of Darkness. While the Necromantia spectre sets its claws into the intros and outros, it is soon joined by a more modern interpretation of the same darkness. “The Black Chapel” channels the early to mid-period Emptiness spirit on the one hand, while also displaying a deep admiration for the slower, gruelling Celtic Frost progression. It is this mindset, the drive not to reshape tradition but to reignite it, that makes Possession’s sophomore record such a valiant effort. – Spyros Stasis

Rosa Faenskap – Ingenting Forblir (Fysisk Format)

Oslo trio Rosa Faenskap are back with their sophomore release, and they are more furious than they’ve ever been. Considering the times of pointless war, genocide, and injustice we’re living through, theirs seems to be the most appropriate response. Expanding upon Rosa Faenskap’s tradition of somehow making gorgeous and melodic yet infinitely belligerent music, Ingenting Forblir once again borrows as much from crust and hardcore as it does from old school black metal. Their path follows in the footsteps of the likes of Iskra, Ancst, and Dawn Ray’d, while sounding considerably more pissed off.

With tremolo chords that swirl and howl like tornadoes armed with knives, bass lines that feel like tremors, and the over-the-top energy of drum lines, “Den svake mannen” (“The Weak Man”) opens the album with an explosion, inundating the soundscape with nasty and vicious attacks that, against all odds, simultaneously sound weirdly empowering. The brutality is relentless from there on, culminating in the emo and post-hardcore (Cursive/Jawbox/Hopesfall) indebted “Klarhet i kaos” (“Clarity in Chaos”) and the barbed wire-like atmosphere of “Bygg til himmelen” (“Build to the Sky”). Stunning stuff. – Antonio Poscic

Speglas – Endarkenment, Being & Death (Trust No One Recordings)

Formed in 2015 by Isak Koskinen Rosemarin (Sweven) and Alexi Hedlund (ex-Conflagrator), Speglas’ original output mirrored Morbus Chron’s latter-day progressive direction, which would eventually give birth to their continuation, Sweven. However, even on their 2015 EP, Birth, Dreams & Death, Speglas already showed a deeper desire to rekindle the original Swedish melodic death metal sound, and its closer ties to progressive metal, but even more so to traditional heavy metal.

More than a decade after their debut EP, Speglas return with their debut full-length, Endarkenment, Being & Death, and the pull of 1990s Swedish death and black metal is strong. The Gothenburg scene informs their melodic inclination, but not through its mid and later interpretations. Instead, they unearth the early At The Gates spirit, where a sharper and more direct attack contrasts with the record’s impressive hooks and harmonies. This darker brew is best exemplified with “The Spirit Postmortem”, making it hard not to see the parallel with Terminal Spirit Disease, where the vocal delivery echoes with a Lindberg-inspired vitriol.

Remaining solely within death metal ground would be enough to make Endarkenment, Being & Death a very strong work, but Speglas look into further corners of Sweden’s heavy history. The start of “The Endarkenment” is probably the most surprising, where the heavy riffs bring to mind the epic weight of Candlemass. Here, their sorrowful, slow-moving lead work radiates a melancholy akin to that of the great doom act, before gradually transforming into something more ethereal, shedding its weight and taking on a crystalline form. The flip side of this melodic quality is a blackened dimension, with “Hitherto Awry” reminiscent of Dissection’s glory days, spreading discordant guitar passages over a more traditionally metallic framework.

Because beneath the extreme metal surface lies a deep appreciation for traditional heavy metal’s stainless-steel core. The melodies of “Dearth” might carry a dark and melancholic tone, but their origin is in the Iron Maiden tradition. At the same time, the progressive inclinations, not as pronounced as in a band like Sweven, also provide a fair deal of flair to the performance. “Rage Upon The Dying Fire” is the best example of this, its purposeful progression and demeanour moving the whole endeavour back toward the extreme heavy metal origins that defined Sweden’s scene.

In recent years, a number of bands from Sweden have been interested in reinvigorating the country’s original extreme metal sound. When faced with limitations of their raw beginnings, Tribulation pushed into the goth dimension. Similarly, Floating’s progressive inclinations were eventually overwhelmed by a post-punk and shoegaze influx in Hesitation Lights. But Speglas view things differently. Their approach is not to look outside the genre but within. In that way, Endarkenment, Being & Death does not look to recapture lost magic or resort to nostalgia. It rediscovers a sound instead. – Spyros Stasis

The Silver – Looking Glass Hymnal Blue (Gilead Media)

As with any genre that rises to prominence, post-black metal feels oversaturated. What started as a further push outward from the black metal space, touching on shoegaze, post-punk and screamo, seems to produce an ever-repeating tired mesh of washy tremolo and reverb-drenched melancholy. When The Silver’s debut, Ward of Roses, was released in 2021, it felt like a revolt against that orthodoxy, but one performed in an unconventional way. While still embracing the post-black metal sound and structural quality, the band formed by members of Crypt Sermon and Horrendous looked into the progressive metal space. Today, they return, not looking to expand their sound but rather to hone it.

Looking Glass Hymnal Blue still finds its foundation in the post-black metal sphere. In the title track, their guitar parts are heavily layered, different textures interacting, blurring the lines between melody and dissonance, akin to Krallice’s approach to black metal. This mechanic, combined with the exhilarating progression, applies pressure, moving the arrangement closer to the screamo-informed edge of post-black metal. Even in the thick of this, the Silver don’t follow the orthodoxy, instead allowing their progressive inclinations to pierce through the thick veil of sound.

Instead of falling into the more abstract and overwhelming space that post-black metal inherits from shoegaze, the Silver favour a more progressive rock and traditionally metallic approach. Their lead work is imbued with greater precision; their sense of melody is not so much informed by the post-punk scene as by the progressive rock tradition of the 1970s and its eventual absorption into extreme metal. The vocal delivery also mirrors this; its clean passages especially radiate a sense of grandeur and wonder that can be detected in the latter-period work of Enslaved.

The point of convergence for these traditions is the strong sense of melody. The lead work is drenched in this essence, not only informed by prog rock or post-black metal, but also by blues rock in the guitar phrasing. And despite the ambitious narrative that the Silver propose, they still tap into a more immediate and catchy space. The pseudo-Gothic push is strong, highlighting “The Demon Bridge” with its dreamlike melodies, casting a romantic shadow over the proceedings. On the other hand, the second half of “Two Candles” embraces its pop sensibility, the stunning chorus acting as a counterweight to the nuanced progressive parts.

While there are times when the result feels too saccharine, the choruses becoming too catchy, the hooks too intrusive, the Silver’s commitment to them makes the final artefact work, so it does not appear as a forced inclusion but rather as a statement of their overarching sonic narrative. At the same time, they are capable of descending to fiercer moments of extreme metal expression, as heard again in “Two Candles”, where they bounce from the pop parts to a more dissonant edge, reminiscent of Monumension.

In this way, their goal of enriching the post-black metal sound with a more holistic approach is achieved, but at a price. While the richness of traditions gives depth to Looking Glass Hymnal Blue, the overall result feels more stitched together than organically manifested. The Silver have mastered synthesis; now it remains to be seen if they can manifest something entirely their own from these assembled components. – Spyros Stasis

Temple of Void – The Crawl (Relapse)

Active since 2013, Detroit, Michigan’s Temple of Void have always occupied an interesting position on the death-doom metal axis, equidistant from the initial wave of 1990s British doom (resembling early My Dying Bride, foremost) and gnarly, proto-caveman death metal in the vein of Benediction, Obituary, and Asphyx. Still, their recent run of albums suggested that the band were caught in a back-and-forth between the styles, opting for more doom elements on one record, before fully immersing themselves in death metal on the next.

Their fifth LP, The Crawl, throws out the rulebook and any such genre-bound considerations out of the window. While “Poison Icon” opens the record with some superbly heavy doom-death—complete with screaming yet melodic guitar leads—it soon transitions into jangly post-punk propulsion, reminiscent of both Killing Joke and their more gothic-leaning contemporaries.

Elsewhere, “A Dead Issue” swings and grooves with a sludgy, stoner rock vibe, helped by electric organ riffs, while “Thy Mountain Eternal” returns to an almost traditional, Candlemass-infused doom sound. Although stylistically all over the place, the album, as a whole, works surprisingly well, thanks to and not in spite of these idiosyncrasies. – Antonio Poscic

Transilvania – Magia Posthuma (Invictus)

Being old-school does not mean staying in a single lane. Austria’s Transilvania have made it a habit of reaching across the black metal spectrum and taking what they need. Throughout their discography, black/thrash acts as their pillar, but they do not forget about the grim Norwegian heritage, or its more melodic, but equally twisted, Swedish expression. It is a wild combination, and while it occasionally feels stretched thin, Transilvania usually manage to drive it home.

Their third full-length, Magia Posthuma, immediately evokes circa The Somberlain Dissection with the title track. Here, Transilvania opt for a slower pace, giving their progression a towering and oppressive presence. At the same time, they weave these delicate, crystalline melodies together, bringing to the surface a harrowing, infernal essence. They eventually pick things up, their tempo reaching for a higher gear and the tremolo picking taking over, but they never let go of this melodic core.

This comes later, as the bitter Norwegian quality takes over with its monotonous, long-form riffing in “Set the Tombs on Fire”. It is a form that Transilvania clearly know well, and it shows in their ability to conjure many of its facets. “A Tower to Confess” takes a sorrowful perspective, its desolate quality reminiscent of early Ulver. Then “Poenari By Night” opts for the grand and theatrical, its undeniably orthodox essence glorifying De Mysteriis Dom Sathanas.

Where Transilvania break from the Norwegian influence is in their return to more traditionally metallic passages. While the vanguard of Norwegian heavy metal rebelled against many of the heavy metal norms of the time, Transilvania re-establishes this connection through a thrash lineage. Here, it is the guiding light of Tormentor that paves the way. When the title track breaks away from its melodic contortions and dives headfirst into a more immediate attack, the lineage becomes unmistakable. It arrives with a further vitriolic edge, especially on tracks like “Hallows of the Heir”, where the lead work adopts an inverted heavy metal approach, ushered in by forerunners such as Mortuary Drape and Necromantia.

This primal, heavy metal lift imbues Magia Posthuma with high-octane energy, not unlike that found in works by contemporaries Malokarpatan. It is this combination of strange atmospheric theatricality, recalling the dark visions of Negative Plane in “The Faustian Bargain”, alongside an obnoxious attitude shining through the blackened steel of “Tuberculosis Reign”, that ties everything together. However, it does not do so throughout the work, and that is the sole downside with Transilvania’s offerings so far.

The sides that the Austrians invoke stand mostly on their own, not interacting so much as co-existing. It has been a feature of their output so far, but with Magia Posthuma, they are definitely appearing more cohesive, making a stronger attempt to bring all these forms together. Even though it does not feel entirely complete, it remains a valiant effort and a very enjoyable listen. – Spyros Stasis

Unmother – State Dependent Memory (Fiadh)

On their latest dispatch, London-based post-black metal outfit Unmother navigate the porous boundaries between the genre’s scorched-earth residues and their more avant-garde tendencies. Compared to the group’s 2021 debut, Lay Down The Sun, State Dependent Memory demonstrates an even more elastic, pliant essence, which makes typical black metal structures expand and contract under the weight of an increasingly inhuman world.

Nothing captures the trio’s sensibilities better than “Modern Dystopia”. “The splendour of concrete / Grey as flesh, ever lifeless / Within my veins, walk / There’s no use hiding / My eyes are in the walls.” Growled with pain and a hint of pointed intent, the words resound in a chamber whose walls are made of black metal elements but whose air of heaviness recalls the loose jangle of post-punk. “Attiki-Victoria”, a cover of Athens’ synth-punk/noise group ΟΔΟΣ 55, further explores this tension, drowning an elevated, epic-feeling chorus in bright riffs and intricate drum patterns.

Elsewhere, “State Dependent Memory” unearths melodies that are tender yet capable of conjuring eerie atmospheres. While the lineage of Poland’s Furia and the Netherlands’ Laster is audible in the shifting, dissonant geometry, Unmother possess a distinctive pulse. – Antonio Poscic