Formed in Birmingham, UK in 1982, by Nik Bullen. Napalm Death were originally one of the bands that defined the UK hardcore thrash/punk sound of the mid-late 1980s, along with bands such as Extreme Noise Terror, Doom and Sore Throat. The band has gone through countless line-ups and many former members have gone on to become significant figures in a variety of musical scenes…

Formed in Birmingham, UK in 1982, by Nik Bullen. Napalm Death were originally one of the bands that defined the UK hardcore thrash/punk sound of the mid-late 1980s, along with bands such as Extreme Noise Terror, Doom and Sore Throat. The band has gone through countless line-ups and many former members have gone on to become significant figures in a variety of musical scenes…

Defragments Of Insanity is the re-recording of Necrodeath’s second album, Fragments Of Insanity, originally released in 1989. This new version succeeds in keeping the original brutality and dark mood of the album intact, yet with the very distinctive approach of the current lineup of the band, the longest-standing in Necrodeath’s illustrious career. Considered a cult classic for decades, Fragments Of Insanity is the quintessential thrash / black metal album, an album that influenced many bands over the years and has been praised by fans and artists alike. And this new version will give younger fans a chance to own a piece of history that was no longer easy to find.

The Death Metal Band Antropomorphia returns with the new album "Merciless savagery". After the sensational "Rites ov perversion" work from 2014, the troupe from Tilburg presents another genre masterpiece.

Although the band Anathema has since gone down a much more atmospheric and melodic route with their music, it's important to note that the group began as one of the pioneers of death doom metal, a style of music similar in its melancholic feeling to what Anathema has done more recently, but much heavier and darker in the one it is executed. With a few demos and this debut 'Serenades', Anathema would be setting the groundwork for a style that has since become much more popular by the likes of bands like Swallow the Sun. Although 'Serenades' is a classic work for its development in that doom metal sound, it is an incredibly hit-or-miss ordeal throughout, and may be better appreciated for its place in history than as a listening experience of its own.

It’s not difficult to see why Eluveitie is a folk metal powerhouse. From humble beginnings, the band has grown into an institution that delights its legion of fans with its harmonious blending of traditional folk instruments and death metal. While it has been a few years since the band dropped their latest effort — acoustic offering Evocation II: Pantheon in 2017 — the band has revisited their heavier side and has relished the opportunity to create another heavy album and has returned in 2019 with their eighth studio album Ategnatos…

Swiss folk metallers ELUVEITIE will release their new album, "Ategnatos", on April 5 via Nuclear Blast. Recordings took place in their beloved New Sound Studio with their engineer of choice Tommy Vetterli and mixing duties were handled by renowned studio wizard Jens Bogren in his Fascination Street Studios in Örebro, Sweden.

The Crestfallen EP (1992). The style of early Anathema was a strange juxtaposition between smooth, melancholy guitar leads and deformed death metal children with one leg longer than the other trying to dance. The rhythms are sometimes absolutely horrible and do not even create distinctive riffs, just juddering patterns that do nothing for atmosphere or heaviness. Many of the riffs are dominated by bass and drums, but when we get something with recognizable shapes and moods it picks up something from the scuzzy production and works a treat, conjuring real feeling with ease. The first two songs definitely have the pick of the riffs and manage to express their anguish a little better: the melodies are also all over them, and these features give the release its character…

Vlitmas, while though fresh and starting to place its foot in the ground, consists of names that are long known in the metal community. Armored with freshly brewed metal, the super-group consists of legendary guitarist Rune “Blasphemer” Eriksen (Ex-Mayhem, Earth Electric, Aura Noir), ferocious drummer Flo Mounier (Cryptopsy) and acclaimed vocalist/bassist David Vincent (Ex-Morbid Angel). The three-piece has extensive amounts of extreme metal history behind themselves, and they got together to manifest this sinister work of art into reality.

The production value on Clayman is instantly apparent; the album's initial sounds jump right out and pull the listener in, conveying a power and excitement that lasts the duration of the disc. The songs on Clayman are what ultimately sell In Flames, though. With some of their best writing yet, they continue to tighten up a sound that could please fans of everyone from Queensrÿche to Arch Enemy to maybe even Satyricon. With their blend of speed, melody, and pensive aggression, In Flames is indeed hard to pin down. Clayman at its core, though, is invigorating, well-executed metal that, dare it be said, is a fun listen; this probably isn't far from what the band intends.

Seventh Swamphony is another fine addition to Kalmah’s discography and a testament to their consistency. For a band to release their seventh album and still maintain the standard they originally set is a rare and commendable accomplishment. Their charm lies in their fun combo of black metal ferocity and vocal bent, folk and neoclassical melodic choices, and their particular (and quite frankly astounding) proficiency in using dual (or more) guitar lines to great effect in their compositions.

A master of melodic death metal, In Flames delivers one of its best efforts with 1997's Whoracle. One extremely heavy number after another flows continuously from this record's track list, including standouts like the mind-bending "Gyroscope" and "Morphing Into Primal," just two of the original and extremely well-executed songs offered on this release. Indeed, some tracks are much better than others on Whoracle. Softer numbers like "Jester Script Transfigured," with its half-acoustic Metallica ballad vibe, could probably have been left off this otherwise powerful recording. There are also some rather unnecessary vocal histrionics, most notably on "Worlds Within the Margin," but this kind of overcooked "singing" really comes with the death metal territory…

As one of heavy metal's most popular subgenres, melodic death metal has seemingly had every possible angle covered, but Finland's Kalmah have arguably challenged that assumption with their late-‘00s efforts, after striking upon a style enhanced by an unconventional blend of serrated thrash riffing and swirling synthesizers. This blend is once again showcased in impressive fashion by the group's sixth full-length, 12 Gauge, which, if anything, is even more aggressive than its immediate predecessors, on the strength of raging moshers like "Bullets Are Blind," "Hook the Monster" and "Godeye"…

80 minutes of epic orchestral doom/ death metal from musicians known from such acts as Susperia, Dimmu Borgir, Sirenia and Funeral. Abyssic convey sombre funeral doom draped in Norwegian black metal majesty and sophisticated 70's progressive rock. Low-tuned sinister riffs and discerning orchestration for fans of Septic Flesh, My Dying Bride and Shape Of Despair.

Brymir is perhaps best known for their beautiful and epic orchestrations, adding an extra dimension and a huge sound to the band. Previously, this has been kind of a challenge, as the guys have also taken care of the production side of the albums themselves. Years later, vocalist Viktor Gullichsen, now has the experience he was lacking back then and as a result the sound of this album is huge, very cinematic, while on the other hand the album kept in touch with its genre and also has this raw edge to it. Impressive. But what would a fantastically produced album be without epic songs? In that aspect Brymir certainly delivers. This album contains a wide assembly of styles and genres and shows Brymir’s various musical extremes more dynamically than ever before.