Mega Colossus’s philosophy for making music seems to be “if it ain’t broke, don’t fix it.” What this specifically means for them is a triumphant return of their hybrid of traditional heavy metal and classic rock, with pinches of thrash and power metal. Similar to Iron Maiden, Judicator, or Dream Tröll, Mega Colossus eschews the darker and harsher aspects of metal, choosing instead to build upon an unassailable melodic foundation. In that regard, it feels like Mega Colossus is operating at a godlike level. They have an exceptional knack for unearthing juicy earworms and threading them onto more hooks than can be found in a master angler’s tacklebox. Just like with Riptime and Showdown, to call Watch Out! fun would be a massive understatement.

As ever, an unadulterated spirit of camaraderie shines through in the way the members of Mega Colossus play together. I’ve already established how catchy Watch Out! is, but it’s the way that the melodic components synergize that makes it special. While twin guitar harmonizations may be standard in this genre, the skill with which Chris Millard and Bill Fischer craft them is anything but. The vocal harmonies, though more sparing, are no less sweet, with up to three other band members melding their voices with lead singer Sean Buchanan’s during key lines (“Good Hunting”). Every time they shout during the chorus of “Battlefront,” I can’t help but dream of shouting along with them in the crowd at a show. Fittingly, “Tag in Your Friend” is the greatest all-around example of coordination between the vocal and guitar melodies. Anthony Micale’s bass lines are no less important to this melody delivery system than are Doza Mendoza’s high-octane drum rhythms.

While Mega Colossus largely functions the same, they refuse to stagnate in songwriting. Others in this genre may struggle to keep songs relevant past the 5-minute mark, but Mega Colossus expertly stretches song lengths without the listener noticing. Chief among them is “Good Hunting,” which has the highest hooks per minute and a stellar bridge. If this isn’t my Song o’ the Year in December, something must have gone very right in 2026. Elsewhere, Mega Colossus proves that they can still write engaging music with the speed dial turned down. The dreamy guitars in “Here Lies You” echo Led Zeppelin, while “Bloodless” goes full bard-mode, telling the tale of Kvothe (The Kingkiller Chronicle). I would have preferred that these two slower tracks weren’t placed back-to-back at the end of Watch Out!, which might be why “Bloodless” feels a bit too long. Minor pacing quibbles aside, it’s great to hear Mega Colossus continue to branch out compositionally.

Showdown was a tough act to follow, but Mega Colossus knocked another album out of the park with seeming ease. Each member’s individual performances have leveled up, with faster, more technical fretwork and an impressive array of drum tempos. Buchanan’s vocal range has expanded, the rich timbre of his voice drawing me into the stories he spins and making the poetic lyrics even easier to appreciate. The sheer quality and quantity of hooks radiate enthusiasm with every note. I hope that Watch Out! will be the record to ignite the explosion in popularity that Mega Colossus deserves. These lovable ruffians have once again brought a smile to my face and joy to my heart.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: colossusmetal.bandcamp.com | meltedfaces.com | facebook.com/colossusmetal
Releases Worldwide: March 6th, 2026

Kutemouse (aka Mrs. Killjoy)

Watch Out! Mega Colossus has done it yet again. And by “it,” I mean they captured the heart and soul of traditional metal in the most entertaining way possible. So entertaining, in fact, that they have managed to grab my attention and pulled me from the depths of stale pop music to a world of rich lyrics, incredible guitar riffs, and extraordinary vocals. This down-to-earth band of unapologetic nerds hails from North Carolina, with Watch Out! being their fifth full-length album since their debut in 2008. Their music continues to be the bridge between pop culture and metal that the world never asked for but desperately needs, leading to me, an avid pop and K-pop listener, feeling a critical desire to share this review.

This seven-track album carries on the trend of combining sharp hooks with entertaining lyrics that its preceding album Showdown set, yet once again, this band has evolved their sound. Several tracks feature eerie interludes and dark lyrics, providing contrast to the high-energy compositions we’ve heard from Mega Colossus previously. That’s not to say that each track doesn’t make me want to get up and dance, grab a sword, jump in a Chevy Impala, and go on an adventure (yes, in that order), but the album as a whole deals with heavier themes that are followed through within the instrumentals. Mega Colossus has cited rock band Uriah Heep as inspiration for this album, accounting for the lean into the contrasting style this album presents. In fact, thanks to the darker tones pervading this record, Watch Out! swerves more into traditional metal territory over the band’s previous Kansas-esque classic rock sound.

Most tracks begin gradually, with the two guitarists, Chris Millard and Bill Fischer, leading the build-up into the familiar quick-tempo, high-energy sections as lead vocalist Sean Buchanan begins singing. More contrast is introduced with a subdued interlude or two, only to get thrown right back into the frenzied fray that gets your heart racing. One of the tracks that doesn’t follow this pattern is “Battlefront,” the first single to drop from Watch Out!. This is likely not a coincidence, as the song best mirrors the warmer sound and hopeful call-to-action lyrics found in previous hits. It’s a full dance party throughout the entirety of the track, with no breaks in tempo to be found and guitar riffs that ascend and descend like hills on a roller coaster. Yet the fact that the song is in a minor key and contains lyrics concerning fighting ‘til death gives the track more edginess over its mellow counterparts like “Wicked Road” (Showdown).

As one who comes from a background of listening strictly to pop music, I greatly appreciate Mega Colossus’s elaborate storytelling ability that breathes life into each song’s lyrics. “Here Lies You” provides a reprieve from nimble tremolo picks and a breather from all that adventuring and dancing. The song swells into a gorgeous duet between the two guitarists, accompanied by Sean Buchanan’s husky vibrato, that tells the story of a fallen soldier haunting the battleground where he passed rather than moving onto an afterlife reminiscent of Valhalla. The tragic, poetic lyrics are what bring this album to life and are what help shape its doomful sound that still appeals to pop culture enthusiasts like myself.

While I wasn’t as intrigued by this album as I was by Showdown, this album will hopefully broaden Mega Colossus’s listener base by adding edgy tempo contrasts and imaginative, somber lyrics to their overall sound. Between the incredible vocals that have only improved with time, the easter eggs in their lyrics that point to fictitious worlds created by others, and the dueting guitarists that bring powerful energy to each track, Watch Out! deserves a listen or twelve from music listeners of any genre.

Rating: 3.5/5.0²

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Those who heed Triumpher’s call as I do will be happy to know that the MegatonManowarsword righteousness these Greeks wield like Olympians remains as stalwart as ever. In fact, Piercing the Heart of the World marks the high-water mark of the Triumpher troupe’s songwriting skill and performative prowess. Mars Triumph puts down a vocal showcase of a singular passion, his wild and animalistic delivery reminiscent of Riot City’s early work. That invigorating spirit finds loyal and unflinching support from stellar guitar leads, galloping riffs, and scorching tremolo waves courtesy of guitarists Christopher Tsakiropoulos and Mario Ñ Peters. Meanwhile, Stelios Zoumis rumbles like a thunderous storm, throwing hefty bass bolts through every measure to anchor every one of Piercing’s 45 minutes in righteous metal. Driving the march toward inevitable WICTORY, Agis Tzoukopoulos tumbles, pounds, and stomps his way through every technique known to metalkind in the pursuit of maximum awesomeness, and finds it with alarming regularity here.

Piercing the Heart of the World proves that Triumpher achieved the next stage of evolution in their still-young career. With the massive one-two punch of “Black Blood” and “Destroyer,” Piercing launches with a ferocity that would intimidate the finest specimen of any apex predator family. The former song recalls the vampiric darkness that inked Storming the Walls, which is a welcome introduction, but fails in the most exhilarating way to prepare me for the sword-raising spirit of the latter. That, in turn, fails to prepare me for the epic beauty that is “The Mountain Throne.” The first of two Song o’ the Year contenders, this sub-seven-minute odyssey traverses a calming plucking melody to dive right into blackened speed and a thrashy gallop, all while Mars croons and wails atop a storm of double bass runs and blasts. Yet, the whole is smoother than chrome and sharper than scalpels, resulting in an utterly astounding listening experience. However, even it feels understated when faced with the late-album highlight “Erinyes.” Punky and thrashy in a way I never thought traditional heavy metal could be, but still possessed of that chest-thumping, fist-pumping flame that lights hearts and souls ablaze, “Erinyes” is an unqualified success of excess, exuberance, and excitement.

In the past, Triumpher’s greatest weakness was always that the highlights far outstripped the supporting cast. Not so with Piercing. Even the slow and metered “Ithaca (Return of the Eternal King),” ballad interlude “Vault of the Immortals,” and two-act closer “Naus Apidalia” find ways to make memories and stand with distinction in Triumpher’s catalog. In all cases, those memories are founded in storytelling, either by establishing new characters (as is the case with “Ithaca”), shifting the tone (“Vault”), or by resolving arcs and tying up loose ends (“Naus Apidalia”). This strategy, in turn, makes more traditional heavy metal crowd pleasers like “The Flaming Sword”—which boasts a sleeper chorus that will get stuck in your head—feel more impactful than they might’ve otherwise.

With this in mind, I found very little to complain about. If it weren’t for his sheer charisma, I would say that Mars’ vocal performance teases the “Too Much” button far more often than I prefer. Were it not for the presence of endless barnstormer solos and affecting melodies, I would bemoan the protracted runtime of the closer. The meaty bass presence foils my bubbling rant against the more aggressive compression and increased loudness of this master. The caveats persist, leaving behind a wake of hobbled criticisms that would conspire to chip away at Triumpher’s final score. The damage they perpetrated amounts to mere flesh wounds in the end. Put simply, Piercing the Heart of the World is Triumpher’s greatest triumph yet, and you’d do well to hear it!

Rating: Great!
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: No Remorse Records
Websites: triumpher.bandcamp.com | facebook.com/Triumpher.official
Releases Worldwide: March 6th, 2026

Steel Druhm

I was unaware of Greek mega-trve metal warriors Triumpher until Kenstrosity tackled their Storming the Walls debut back in 2023. I was immediately intrigued by the Manowar-meets-Megaton Sword-meets-Primordial sound they brought to the battlefield, and though there were some trials, tribulations, and rough spots to their presentation, the core of something bigger was there. Things improved on 2024s Spirit Invictus, as the Triumpher sound became more potent and consistently enthralling, and they seemed poised to usurp the throne of trve metal through sheer might and mayhem. Fast-forward to 2026, and their third crusade is set to kick off with Piercing the Heart of the World. I came into this hoping and expecting to be shocked and awed by sword, shield, and steroidal masculinity. Could Triumpher be the Manowar for this new age? That’s a mighty big loincloth to fill, but hope hung thickly in the air.

My anticipation of excessive glory overload was slaked by ginormous opener “Black Blood,” and woe to those who don’t bend the knee. It’s a volatile mash-up of Manowar, Primordial, and Doomsword, with a structure that starts out larger-than-life and tries to stack vainglorious and titanic moments upon one another like a grand memorial to the Elder Gods. Vocalist Mars Triumph channels Manowar’s legendary Eric Adams while also referencing Primordial’s A.A. Nemtheanga. This makes the song a total barn burner and exactly what I was hoping for. They follow this up with the uber-beefy, badass “Destroyer,” which reeks of Manowar’s The Triumph of Steel era. Grandiose choral segments and black metal influences elbow their way in, but this is a trve metal chariot ride through the Nine Worlds. Keeping the sword between the ribs, “The Mountain Throne” finds Triumpher pushing every lever to MAX GLORY as the false and weak flee for the safety of their fortifications. This one brings a lot of the same energy as the recent Fer De Lance, and there are touches of Lost Horizon, too. Mars stretches his vocals to the very edge of madness, and the chorus is as mighty as a barrel full of Wotans. Those who make it through this will be gifted a lifetime supply of wisdom, power, and back hair.

What could stop such a mighty and righteous host after such a rousing start? A soft and flabby middle, that’s what. “Ithaca (Return of the Eternal King)” is a slow-burning epical ballad that keeps building toward a massive release of rage and wiolence, but the release never arrives, and you’re kept on the edge of something for nearly 7 minutes with no somethings in sight. This results in the condition known as Blue Baldur. “Ithaca” is immediately followed by the 2-minute interlude “Vaults of Immortals,” which is equally restrained and subdued, making for 9 minutes stuck in emo-fied low-gear. This blunts the album’s momentum, taking you out of battle rage and into resource management. Steel cares not for resource herding when they are enemies left to be smottened! While things pick up with “The Flaming Sword,” and especially the trve-meets-semi-black-thrash of “Erinyes,” it feels like the album never fully regains its war footing, and 9-minute plus closer “Naus Apidalia” is merely good, not great, and suffers from some very Virgin Steele-esque compositional sinkholes and ego bloat. At a reasonable 44:44, Piercing the Heart of the World feels much longer than that, and though the first 16 or so minutes are massive, the rest of the album can’t sustain the prolonged siege.

I’m impressed with Mars Triumph’s performance. He’s gotten more proficient from album to album, and he has a crazy broad range. Anyone who can approximate Eric Adams is talented, and his black and death vocals are good as well. That said, he can and does overdo things at times, pushing his tonsils beyond human control. I can’t even suggest he dial things back, since that is not what Triumpher is all about. You just take the good with the weird and ride on. The guitar work from Christopher Tsakiropoulos and Mario Ñ Peters brings the thunder to the tundra, borrowing from a raft of trve and heavy influences while injecting enough blackened edges to make things extra deadly and dangerous. As the riffs roar and soar, Agis Tzoukopoulos delivers Scott Columbus-approved war drumming that embiggens the sword and spirit. This is a talented horde, and it’s the songwriting missteps that ultimately derail their relentless advance.

Triumpher have all the tools to forge a world-beating heavy metal monsterpiece, but Piercing the Heart of the World fails to penetrate my armor and score a critical hit. I heartily enjoy the opening trilogy, and there’s solid stuff later on, but this isn’t an album that captivates me from start to finish, despite my fervent wishes that it did. Piercing loses some of the ground won by Spirit Invictus, but I haven’t lost heart. The warrior spirit will endure and rise again if Crom wills it. Onward to great deeds!

Rating: 3.0/5.0

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Anyone unfamiliar with Lovebites can approximate their sound as an all-female version of Galneryus,² although Lovebites is much more than a clone of a great band. Their full-length debut Awakening from Abyss dropped in 2017, with subsequent albums Clockwork Immortality and Electric Pentagram released in 2018 and 2020, respectively. Both follow-ups impressed, but nothing quite reached the heights of their debut until fourth album Judgement Day hit shelves in 2023. Introducing new bassist Fami,³ Judgement Day honed Lovebites’ attack to a lethal edge, and with even more time spent sharpening their craft, Outstanding Power cuts deeper than ever.

Lovebites’ stable lineup exudes an electrifying chemistry throughout Outstanding Power. Each component of the band’s auditory milieu complements the others, whether it’s the blazing guitar tandem of Midori and Miyako, Haruna’s meticulously mechanical drumming, or Fami’s low-end purr and incredibly hooky countermelodies. Musically, Lovebites has never been this exacting. From the calculated rhythms in “Silence the Void” to the galloping rolls in “Blazing Halo,” Haruna’s drumming goads songs with an unflappable urgency that’s simultaneously composed and tempestuous. Meanwhile, Fami’s bass flexes mondo swagger that recalls Geddy Lee’s aggressive plucks and twangs (“The Castaway”) as well as Flea-bitten flourishes (the intro to “Blazing Halo”). In fact, the bass’s expanded role on Outstanding Power defines what elevates the album above the rest of Lovebites’ already first-rate output. Besides trading vicious solos and captivating riffs with fellow axe-bearer Midori, Miyako supplies the keys, channeling duel-lead, arpeggiated runs à la Children of Bodom (“The Castaway”) as nimbly as she blankets moods with Sonata Arctica-informed synth and piano (“Eternally,” “One Will Remain”). Atop it all, singer Asami coos, belts, and wails with a voice that some may find an acquired taste with her heavy use of vibrato, but is powerful and unique. Overall, the songwriting on Outstanding Power synchronizes into lock-step bombast, where each track dazzles with its own fully-fleshed identity and laser-honed melodies.

Though not without fault, Outstanding Power unequivocally claims the top spot in Lovebites’ catalog (so far). No small part of this is thanks to Fami and Haruna, who bring the rhythm section to the fore with undeniable performances that match the high-flying axe-work besieging previous releases. The biggest strike against Outstanding Power is the album’s sixty-four-minute runtime, which the sharp songwriting mitigates with infectious melodies and perfectly executed instrumentation. Even Outstanding Power’s weakest cut, seven-minute ballad “Eternally,” contains good moments despite fumbling Lovebites’ momentum down the home stretch. Add in the surprisingly spacious mix⁴ that gives the band ample space to pop and you’ve got yourself a bona fide power metal classic on your hands.

Power metal presents a challenge to rate, as its natural optimism and oft-cheesy tropes can be at odds with what typically engenders high scores and opinions, and makes Outstanding Power the most difficult score I’ve assessed up to this point. Throughout, Lovebites exemplifies power metal ethos, unleashing high-octane shredded cheese with a flagrant nonchalance that is shamelessly irresistible. With Outstanding Power, Lovebites not only delivers their greatest achievement so far, but the best power metal release I’ve heard in over a year. Relentless riffs, grooves, and fills assail listeners with flamboyant moxie and technical ecstasy, defining an album I haven’t been able to put down since I got my grubby mitts on the damned thing. If fun won’t kill you, give Lovebites’ opus a spin. Or maybe give it a listen anyway, because what’s life without a little Love?

Rating: Great
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Napalm Records
Websites: Bandcamp | Facebook
Releases Worldwide: February 18th, 2026

Maddog

Much to her chagrin, Thus Spoke and I share many things in common. Chief among them is our anaphylactic allergy to major scales; being the two resident vegans, we struggle with cheesy music.⁵ While this has made power metal a difficult subgenre, Lovebites is an exception. Our coverage of this Japanese juggernaut has been scarce, but I gave 2023’s Judgement Day a tempered positive filter review. Outstanding Power has the same foundation as Lovebites’ prior work, but with a beefier rhythm section, more variety, better riffs, hookier hooks, and more cohesive songwriting. It’s a fantastic record.

Outstanding Power is textbook power metal, in the same sense that Rust in Peace is textbook thrash. The centerpiece is Asami’s vocal performance, which is appropriately over-the-top but steps back to let the instruments shine. Lovebites’ most visible weapon is their dual-guitar assault. Across theatrical leads, deathy riffs, and unrestrained solos, guitarists Midori and Miyako display a mastery of melody. Even with such stiff competition, Lovebites’ rhythm section stands out. Fami’s bass plays every part it can, with blistering riffs, playful lines that recall a young Steve Harris, and explosive additions to choruses. Haruna’s drumming is a gem, especially when her lavish fills and opening salvos help stitch the album together. Both the bass and the drums peak when their respective musicians take the songwriting reins; Fami’s collaborative composition “Blazing Halo” features irresistible dueling bass and guitar solos, while Haruna’s “Forbidden Thirst” highlights her grooviest drum work. No member of Lovebites ever fades into obscurity.

Outstanding Power holds me rapt throughout. Across their hyperactive leads, 1980s virtuoso shredfests (“One Will Remain”), and fanciful Mark Knopfler-style (Dire Straits) joyrides (“Wheels on Fire”), guitarists Midori and Miyako don’t miss a beat. Their dominance becomes clearest when they join forces. Lovebites’ harmonies recall Iron Maiden, and the guitarists’ knack for separating and rejoining makes “The Castaway” an early contender for Song o’ the Year. Asami’s vocals aren’t bulletproof, particularly in her higher register. Still, the vocals and the guitars forge an ironclad alliance that raises Outstanding Power to new heights. The guitars’ imitation of the vocal shouts on “[Grin] Reaper’s Lullaby” makes me grin every time, while the orgiastic leads that accompany the final chorus of “Out of Control” remind me of Madonna’s classic “Burning Up.” Even the ballad “Eternally” is a triumph. While its vocal melodies are memorable, “Eternally” takes a cue from Gamma Ray’s “Lake of Tears” in delegating much of the heavy lifting to the weepy guitars. These ingredients make Outstanding Power a wellspring of enormous climaxes. The guitar solos are at once emotive and explosive (“The Eve of Change”), and each song ends with pizzazz (“Silence the Void”). In short, Outstanding Power is a goddamn pleasure.

Outstanding Power is such a spectacle that I can’t even begrudge its excess. I hear Sunburst in the chugging riffs of “Blazing Halo.” I hear Riot in the downright rowdy “Silence the Void.” I hear 1980s electronica interspersed with chest-thumping power metal in “The Eve of Change.” I hear Symphony X in the vocal melodies and the atmosphere of “Forbidden Thirst.” I hear Kryptos’ heavy metal revival in the rockin’ ruffian riffs of “Out of Control.” I hear blackened melodeath in the vicious “Reaper’s Lullaby,” contrasting with the heart-rending ballad “Eternally.” Most importantly, I hear Lovebites in every moment. All five band members sustain the album’s shifts while sticking to their signature styles. With its balance of variety and continuity, Outstanding Power feels half as long as its 64-minute runtime. Due to the album’s wide emotional range, I even grew to love its more upbeat tracks. Criticizing Lovebites for sounding cheerful seems akin to criticizing Monet because you don’t like yellow water lilies; sometimes flowers are yellow, you twit! Outstanding Power tries to do a lot, and it nails every piece.

As I struggle to process this album, I’m reminded of Eldritch Elitist’s review of Imperial Circus Dead Decadence. Yes, Outstanding Power is self-indulgent; what’s your point? Lovebites paints their variegated image of power metal with five brushes and five million colors, and the result is astounding. It isn’t perfect, and the crushed master makes it harder to appreciate the album’s finer features. But Outstanding Power easily won over my shriveled heart. While major scales make me gag, these ones just feel like the crest of a wave. While I tend to balk at hour-long albums, this one goes by in a heartbeat. Power metal isn’t my usual fare, but Lovebites has created a masterwork.

Rating: 4.5/5.0

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The Magus

That promise seems to have been delivered, as Daemonosophia arrives with nary a 9-minute track to be found. The two advance singles land as relatively straightforward black metal tunes but still manage to maintain The Magus’ penchant for horrific theatricality. I was tempted to embed first proper track “Psuedoprophetae,” an absolutely blistering assault that appears on the heels of a version of the Lord’s Prayer that’s a bit different than the one I was taught in Sunday school, but I’ve opted for “Magia Obscura” instead. The latter demonstrates more of the diversity found across Daemonosophia, its snarl augmented by a clean intro and majestic heavy metal guitar leads.

But don’t let those two tracks trick you into thinking that Daemonosophia is just another melodic black metal album. The variety on offer within these compositions and their 47 minutes is astounding. The title track made me realize what Iced Earth in their prime might have sounded like if they were a black metal band, “Amelia” is a hauntingly beautiful tribute to the dramatic devilry of King Diamond, and “The Era of Lucifer Rising” sees The Magus reworking a tremolo-laden black metal church-burner from Thou Art Lord’s 1994 debut record into a melodic monstrosity of esoteric might. But perhaps the greatest surprise is album closer, “La Llorona Negra,” an outstanding cover of a classic Latin American folk song. Organ, harpsichord, and piano introduce the song and its first, female, vocalist, and for a moment, it doesn’t sound all that different than the version you heard on the Coco soundtrack. That is, until your hear La Llorona herself screaming in anguish behind the beautiful singing, and before the song evolves into a metal juggernaut with The Magus on the mic near the halfway point.

There is very little for me to complain about on Daemonosophia. Its runtime feels vastly shorter than it is, and its compositional flow has made it nearly impossible not repeat over and over again. The Magus demonstrates an incredible gift for songwriting, Maelstrom’s drumming is a tympanic tempest that lives up to his name, and while El might play for Soulskinner, he should probably be called ‘Facemelter,’ as his guitar playing has made it look like I touched the Ark of the Covenant. My one critique would be that the production feels a bit heavy on the low-end tones, and this was initially a barrier to me feeling Daemonosophia’s full impact. The album is saturated with hidden touches that demand to be heard, and I had to minorly tweak my EQ settings to fully excavate them. At the end of the day, this is a small price to pay for an album that has delivered me multiple Song o’ the Year contenders in “The Era of Lucifer Rising,” “Amelia,” and “La Llorona Negra.”

In interviews, I’ve seen The Magus boldly claim to make “extraordinary music for extraordinary people.” I’d say he’s half right. I’m just an ordinary dude, but Daemonosophia’s extraordinary music has spoken to me nonetheless. The last year or so has been a bit rough for me physically, and I’m having to face the fact that I can no longer live life the way my pre-40s self could. So when “The Era of Lucifer Rising” closes with (what I believe to be) ‘Above hatred and madness/Beyond weakness and pain/I raise the veil and break the chains/My reign has just begun’, followed by a pair of powerful screams, I can’t help but feel empowered to handle whatever challenges this new era brings me.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: The Circle Music
Websites: necromantiathemagus.bandcamp.com | facebook.com/themagus666 | www.themagus666.com
Releases Worldwide: February 20th, 2026

The post The Magus – Daemonosophia Review appeared first on Angry Metal Guy.

From the very first moment the keyboards swell in opener “Antinatalism,” you know you’re in for some fun(erally dismal) times. Creeping at the pace of a drugged-out snail in the Antarctic region, “Antinatalism” brilliantly glistens while also dragging you through the icy snow with its crashing (and crushing) riffs and methodical drumming. When founder David Unsaved growls, it’s with the force of the bear from Annihilation after freshly devouring Daniel Neagoe (Eye of Solitude and a fuckton of other bands), further throwing the listener into a pit of existential despair and woe. Most impressively, at over 10 minutes, the time flies by effortlessly, due to its ability to draw you in and keep you enthralled for the entire length.

The other four songs on this 62-minute behemoth hold up pretty damn well themselves. The album centerpiece “Decima,” which features mournful melodies from a panduri (three-stringed lute) that accentuate the sorrow midway into the song, giving the album even more breathing room to expand and envelop you in its snare. “Becoming Void” sounds like Canto III on steroids, picking a fight with Turn Loose the Swans-era My Dying Bride for lunch money, and again feels like a six-minute song at over 15 minutes due to how well-crafted it is. None of the songs overstay their welcome, but they still feel like soulful journeys to a mournful end.

Produced by Greg Chandler (Esoteric), Qroba does an amazing job of giving breathing space while also smothering the listener. The drums feel cavernous and monstrous, plodding with intent. The scant few leads² amplify the dour vibes a thousandfold, making damn sure there’s no light escaping this realm. If there was a nitpick to be had, this is the epitome of mood music. You’re not going to grab this on a warm, sunny day out in the sun with some lemonade and a book to read.³ Qroba is solemn, reflective music if there ever was some.

And this fits in quite well with other solemn, reflection-time music from the likes of Skepticism and Shape of Despair. Qroba came at a time when I didn’t know I needed it, with all the chaos going on around the world as well as in my own circle, but I’m glad it did, as this has been playing non-stop since I first laid ears upon it. If you’ve never taken to funeral doom ever, Ennui won’t change your mind, as this is sorrow personified and exponentially amplified. However, if you need a severe purging, welcome to your new favorite band.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 319 kbps mp3
Label: Meuse Music Records
Websites: Bandcamp | Facebook
Releases Worldwide: February 27th, 2026

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If you know anything about grumpy ole Grier, you know he’s been dry-humping Bizarrekult ever since 2021’s Vi Overlevde. “Dry-humping” might not be the correct term. Maybe passionate lovemaking? Yeah, that’s the stuff. But, in all seriousness, this little band came out of nowhere and has been making waves in such a short time. While the debut had me glued to my seat, the follow-up, Den Tapte Krigen, damn-near bolted me down—to the point that I had to cut myself out of my pants to break free. If that had been the band’s swansong, I would have been just fine for the rest of my life. But Bizarrekult is back to ruin another pair of my pants. Behold! Alt Som Finnes!

Before we begin, let’s explore some of the new additions Bizarre and co. have brought to the table with this new outing. While the general structure of the output remains the same, the approach can vary. Joining the ranks of second-wave Norwegian black metal, Alcestian meloblack, and Enslaved-like intricacies are three guest vocalists: Yusaf “Vicotnik” Parvez (Dødheimsgard), Lina (Cross Bringer, Predatory Void), and Kim Song Sternkopf (Møl, The Arcane Order). I’m not sure whether the songs were created with the guests in mind or whether they evolved during the songwriting process, but each song was made for its guest. Each with a gentle, clean vocal style, you can expect some of the most melodic, gorgeous accompaniment in the Bizarrekult’s repertoire. And besides Sternkopf’s contribution to the closing “Tomhet,” this song is also the first ever to be penned in English. Not that we metalheads have an issue with songs in a country’s native language, unlike the rest of the mainstream poser fucks. But it’s a nice addition.

Alt Som Finnes kicks off with a surprising piece in the form of “Hun.” Mostly surprising in its simplicity and short runtime. Alternating between clean and distorted vocals and ripping blackened riffs, this track only whets the whistle—nothing more and nothing less. Which leaves me wanting more before “Blikket Hennes” slaps the fuck out of me like a cat who hasn’t received its treats. This track has a thick bass, unsettling old-school black metal dissonance, venomous Aldrahn-like growls, and a trudging pace slowed by tar. Then, it collapses into a gorgeous atmosphere as Parvez’s beautiful vocals hit hard and crush the olde ticker like it’s made of parchment.

There are so many reliable tracks that it’s difficult to choose one over the other. That said, “Avmakt” is a beautiful piece with one of the most memorable black metal licks I’ve heard in some time. And not because it’s thrash, death, or any other sort of approach, but because it’s a killer true black metal riff. As the song progresses, the melodies expand like an ever-growing blanket that settles over mountains and valleys, like giants slumbering below the fabric. It’s one of those songs that proves you don’t need the beauty of the clean vocals of “Blikket Hennes” to achieve the same task. While there are others in the same vein as “Avmakt,” “Aversjon” takes it to another level with its influences. Opening with slow-moving melodics and sorrowful sustains, it quickly goes dark, slithering below the Earthly strains like a viper. But, like a miracle at the darkest of times, an uplifting, Alcest-like air breathes over—pushing deep and far, even into Enslaved-esque prog-tivity.

On first spin, Alt Som Finnes is an absolute rollercoaster of emotions that, even though it’s not uncommon for Bizarrekult to instill, leave me completely crippled by the end. Outside of the surprisingly two-pump Chuck that is “Hun,” the rest weave together while many still try to resist the tempting urge to give in and conform to the predictable fabric patterns. Instead, you have a glowing blanket that is also scorched and tattered beyond repair. Though it remains intact, when touched, it feels both gentle and painful at the same time. It’s a conflicting album in its tone but not in its delivery, and the intricacies of this slow burner try hard to topple Den Tapte Krigen from its perch. Who knows where it’ll stand in time, but, regardless, this new outing is a worthy addition to the Bizarrekult family.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 256 kb/s mp3
Label: Season of Mist Underground Activists
Websites: bizarrekult.bandcamp.com | facebook.com/bizarrekult
Releases Worldwide: February 20th, 2026

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At just over 35 minutes, In Perfect Stillness is composed of a mood-setting intro and 4 songs running between 7-9 minutes. With so little meat on the bone, the marrow had best be savory and memorable, and Domhain achieve that. First track proper “Talamh Lom” kicks off in highly Gothic realms with post-y cold trems ungirding Andy Ennis’ plaintive, forlorn clean singing. He lapses into harsh blackened croaks soon enough, and when things slow down, the sawing cello appears alongside sad, ethereal vocals from cellist/drummer Anaïs Chareyre. It’s a beautiful and poignant combination that keeps you listening attentively as the band moves between harsh and fragile, heavy and soft. There’s a beautiful flow to the music that carries you away to another place and makes you forget about the passage of time. There are slight touches of A Swarm of the Sun here alongside Darkest Era-esque moments, and there’s a vague Warning vibe in the music too. “Footsteps II” bears a strong resemblance to the moodier moments of Ghost Brigade and Deathwhite, which is an easy way to win me over as the sadboi feelz flow like hobo wine on Skid Row.

The title track brings strong Agalloch notes as downcast but furious black metal takes centerstage, and select moments remind me of Nechochwen as well. The way the ethereal female vocals pair with the blackened rasps is captivating and expertly done, creating a wealth of emotional resonance. The album’s high point arrives with the 9-plus-minute “My Tomb Beneath the Tide,” which is a gigantic dose of negative emotions delivered in a beautiful, beguiling package. Here, the post-black, melodoom, and atmospheric black metal ingredients coalesce into a potent brew that will make you feel things you might not want. There’s an epic scope to the song that recalls the best of Primordial, but I hear a lot of vintage Votum in the vocals, and the shifts from harsh to sullen and soft are very well-conceived and executed. This is easily my favorite song so far in 2026, and I can’t stop getting lost in the moods here. The production is quite good, but there’s a weird background static-hiss that leaks through at times, most noticeably on “My Tomb Beneath the Tide.” It’s a bit distracting, and I hoped it was just on the video, but it’s on the promo copy as well, which is unfortunate.

The vocal combination of Andy Ennis and Anaïs Chareyre pays major dividends across In Perfect Stillness. Ennis has a convincingly dour singing voice that conveys grief and despair, and his blackened rasps are equally powerful. When he leans more toward death roars, he reminds me a bit of Nick Holmes of Paradise Lost. The guitar work by Nathan Irvine and Bryn Boothby sets the dark, dreary tableau perfectly. The frantic, post-y trems and the savage blackened riffage deliver real impact, and their morose doom noodling and trilling captivate the ear. This is an ensemble that knows how to toy with the listener’s heart and mind, and over the too-short runtime, they have their way with you emotionally again and again.

Domhain have a great thing going here, and though it isn’t something entirely new, they stamp it with enough identity to make it their own. In Perfect Stillness is a short, sharp shock to the part of the brain that deals with feelings, and there’s a genuine, raw beauty to their music that sticks with you long after you step away. It’s the rare album I wish were longer, and I actually don’t want it to end when it does. That’s a sure sign that a band created something special. Hear this sooner rather than later, as it will make waves.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: These Hands Melt
Websites: domhain-band.bandcamp.com | facebook.com/domhain.band | instagram.com/domhain_band
Releases Worldwide: February 20, 2026

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While early Phasma works boasted a songwriting style and sound that evoked a grotesque Whitechapel/Vampire Squid lovechild, Purgatory is a charred and venomous affair of only a tenuous relation to that concoction, and all the better for it. Conjuring a vision where Vimur, Harms Way, and Crypts of Despair’s first two albums merged into one mangled mass, Purgatory writhes and slithers through an unholy collection of brutal riffs, immolating tremolo flares, and swaggering grooves. While Phasma’s vocal approach largely carries over from early works, pairing a guttural roar with piercing screeches, but minimizing previously prevalent items like subterranean gurgles and glass-shattering squeals, it takes on an altogether more intimidating character here. Instead of showing off the full range of technical skills and range as this unit had to prove on their self-titled debut, Phasma took Purgatory as an opportunity to be as mean and concise as possible.

Simplifying their song structures, doubling down on memorable hooks, and restricting technical expositions to a minimum helped Phasma achieve their goal, resulting in a work that feels genuinely terrifying. Opening duo “I” and early highlight “II” prove this within thirty seconds of their introduction, but also create a delightful deviation from the usual songwriting tricks I expect from one phrase to another. For example, “I” makes me think a huge breakdown is about to drop right at the start, only to blast into the shadowed iciness of black metal, then dive seamlessly into a gym-ready hardcore groove. Subverting my expectations becomes a regular occurrence in Purgatory. “II,” “III,” and “VI” all venture deeper into doom-laden dungeons than I would’ve ever anticipated from a record as evil and high-energy as this. Harmonized melodies and layered guitar pyrotechnics only enhance this effect when things transition between paces and moods in a snap (“II”). By thusly offsetting their stripped-down writing with constant fiery twists and gnarly turns, Phasma crafted a remarkably exciting and rich experience that is an absolute joy to experience over and over again.

Despite its truncated 27-minute runtime, Purgatory burgeons with invigorating ideas all meticulously arranged, but initial spins suffer at the hands of a production of unforgiving loudness. “IV” in particular challenged my ability to appreciate the fantastic lead-into-chug-triplets and Vampire Squid riffs that bulge out from densely packed bass rumbles and glassy cymbals, in no small part because everything is so in-your-face as to flatten entirely. “V” feels a similar impact, though an eerie, bass-driven atmospheric break and subsequent Atrae Bilis-esque bridge briefly alleviates that effect. Understanding that the intended purpose of Purgatory is to oppress and destroy, a little more headroom in the mix and master would’ve allowed Phasma to hit harder and better highlight the myriad clever details distributed throughout.

Thankfully, the production isn’t so ruinous as to make my experience with Purgatory anything less than a delightful treat. As I spent more time with it, I loved it more, craved it regularly, and found additional moments to take home. Memorable beyond what I anticipated, and more engaging than I dared hope, Purgatory is a resounding success in all areas other than engineering. In some circles, that one weakness won’t matter much. In the end, it didn’t matter much to me either, such is the strength of Phasma’s songwriting.¹ This is one trip to limbo you won’t want to miss!

Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: phasmaproject.bandcamp.com | facebook.com/PhasmaProject
Releases Worldwide: February 20th, 2026

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Scythe doesn’t make grand statements about existentialism or introspection, nor do they redefine a genre. First and foremost, Scythe is here to serve up sickly, sticky licks with blithe recklessness. This fearsome foursome drops track titles that ooze with enough viscera (“Liquified Entrails,” “Of Pure Goriness”) to squelch onto a Cannibal Corpse setlist while harkening to soundscapes defined by Pestilence and Autopsy. Throughout Boiled Alive, the pace oscillates between frenzied paroxysms and plodding crawls, often within the same song (“Necrophilic Corpse Orgies”). Though it would be easy for these dynamics to jostle listeners, the savvy songwriting avoids clumsy transitions and affords an entrancing experience. Ultimately, Scythe guides listeners through a curated gallery of horror that’s as thrilling as it is fulfilling.

Interweaving Asphyxiating drudges with Mercilessly hectic eruptions, Scythe concocts a unique brew all their own. Boiled Alive simmers with ever-shifting tempos, imbuing the album with vivacity and a disarming blend of chops and accessibility.¹ Where “Liquified Entrails” opens with a cannonade evoking an unholy union of Priest’s “Riding on the Wind” and Merciless’ “Souls of the Dead,” “Of Pure Goriness” flits between a mid-paced slink and rabid surges of hostility, and sounds like the crossbred bastard of Cannibal Corpse and Dismember. “Necrophilic Corpse Orgies” and “Tenebrous Decease” expose Scythe’s ability to nimbly jump between accelerated clips and more measured velocities, electrifying with their seamless agility as they navigate whipsawing tempo changes with a sophistication that is all the more impressive considering the band has no other projects or credits to their names.²

The musicianship on Boiled Alive is especially tight for a band formed just three years ago, and the mix highlights the band’s technical acumen. Rather than feature the glossy veneer popular with bigger labels, Boiled Alive sports a dry, natural texture that allows Scythe’s instrumentation to glisten. Reminiscent of the production on Invictus’s release last month, every whack on a tom and clang on the bass is afforded an organic timbre, imparting a raw aesthetic that lets Scythe sizzle. Whether rattling off meticulous snare rolls (“Necrophilic Corpse Orgies”), punky, snare-kick combos (“Plastered in Phlegm”), or playful cymbal splashes (“Of Pure Goriness”), David Rolea flays the skins on every track. Meanwhile, bassist and vocalist Andrei Constandache wields a gorgeously fat low-end tone³ as he assaults the mic with a menacing rasp. Not to be outdone, guitarists Mihai Panait and Andrei Oglan buzzsaw their way through Boiled Alive’s eight tracks, focusing on knotty riffs over wankfest solos. While the drums are the star of the show, Scythe suffers no weak links.

Part-thrashy, part-doomy, and all deathly, Scythe swings for the fences on Boiled Alive. And dammit, it’s Great. This beast writhes and squirms with purulent pizzazz, and I’m guilty many times over of restarting Boiled Alive as soon as the final track concludes. I wish solos were more prevalent across the album, and Constandache’s vocals, while effective, could use some variety, but these nitpicks should be taken as wishlist items for ol’ Grin rather than anything inherently off with Boiled Alive. Scythe discharges riffs and fun with an enviable effortlessness that should have death metal dealers and appreciators paying attention. In a genre with so much competition, Boiled Alive stands above the rabble, and I anxiously await the next time the Scythe comes down.

Rating: Great
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: Bandcamp | Instagram
Releases Worldwide: February 1st, 2026

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On the funeral doom scale, Lone Wanderer fits the Oromet scale more closely than My Dying Bride or Godthrymm. Exequaie mixes the gentle with the crushingly heavy, and the heavier riffs carry more reverb than muscle, lending a more tranquil feel than raw power. Over the course of 24 minutes, the beastly opener “To Rest Eternally” demonstrates Lone Wanderer’s slow burn approach, with impenetrably deep vocals, glacial drum beats, and a slowly developed melody. The gentler portions put away the booming drums and instead twinkle with arpeggiated rhythm while the bass plays out a complementary melody. We hear this tug and pull throughout Exequiaie, from the melancholic and heavy to something more peaceful, still tinged with sorrow but carrying a little hope. Ironically, “Anhedonia”¹ showcases the album’s most pleasurable and memorable riffs during its opening few minutes. The remainder is also exquisite, delving into immense sorrow before closing out in tranquility. The song guides you into gentle acceptance of the fate that awaits us all at the end.

Going in line with the “funeral rites” theme, plenty of elements in Exequaie appear to represent religious symbols or godly figures. The opening minutes of “To Rest Eternally” provide a distant reminder of a church setting with the tolling of bells. This holy setting returns in the finale, “Epistemology of the Passed,” where organs play a mournful dirge alongside wistful arpeggios. The vocals from Bruno Schotten serve as an omnipresent character, his low rumbles coming off like thunder rolling through the sky. Scattered throughout the album, Lone Wanderer perform spoken word portions that serve to enhance this godly persona. While such song segments are generally a nuisance, here they fit seamlessly, taking on the presence of an Oz-like character, commanding yet distant. The purpose of these elements may be inscrutable, but they do provide a sense of formality and authority accompanying death.

As great as the individual tracks are, Exequiae’s biggest obstacle is its own length. With any funeral doom record, holding the listener’s attention can be a challenge, and a 72-minute runtime across 5 songs feels more like work than pleasure. Yet there is plenty to enjoy on this epic record, and Lone Wanderer does implement some variety to mix things up a bit. “Existence Nullified” has a moment of chugging death-doom riffs that take me back to early Swallow the Sun. “Epistemology of the Passed” has a similar increase in tempo thanks to energetic tremolos and brisk drum beats. These moments are brief and few, but all the more notable because of their rarity. In the end, Exequaie’s length isn’t a deal breaker because it has such exquisite compositions. There’s just so much beauty in the music it could go on for twice as long and it’d still be heavenly.

Lone Wanderer is kicking funeral doom off to a great start for 2026. There’s something about the band’s often gentle sound that creates calm, as opposed to bands that lay the despair and melancholy thick with more powerful, overbearing guitar tones. Don’t let the 72 minutes intimidate you. Set aside some time and let Exequiae’s mix of melancholic, peaceful, and even hopeful tones wash over you and transport you, for a time, to a place where you no longer need to worry.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Website: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026

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