Showcasing that the USA can also unleash punishing Funeral Doom albums, today we have the legendary Evoken and their latest opus “Mendacium”. Seven years have passed since their last full-length release and the band returns with some gargantuan slabs of Doom, split in eight tracks and over 60 minutes of music. For fans of slow and painful music, this release has that grainy old-school vibe of outfits like Thergothon and Morgion, with hauntingly simple and effective atmospherics and deep growls.

Opening with the cavernous explorations of “Matins”, the band sets a glacial pace with distorted riffs and subtle atmospherics. As the release progresses to the chugging Death Metal riffs of tracks like “Lauds”, and “Terce”, the listener can appreciate the band’s core influences in a slow and demoralizing way, creating a bleak atmosphere while providing rays of light through crafty guitar leads or instrumental passages. The band has perfected their tempo switching, to combine superbly slow parts with some hellish onslaughts of speed and punishment.

Delivering a very cinematic and elegant Symphonic Black Metal release, today we have Dutch duo Carach Angren and their EP “The Cult of Kariba”. Keeping up with their very elaborate and lush style, for over 20 minutes and five tracks, the band fully immerses the listener in their own horror-themed world thanks to powerful arrangements and crafty progressions. It has been five years since “Franckensteina Strataemontanus”, and the band showcases they were just getting started with their intricate and highly elaborate music.

Unleashing one of the most dreamy and otherworldly releases of 2025, today we have Remina with their sophomore release “The Silver Sea”. Formed by Heike Langhans and Mike Lamb, and now with Shayne Roos on drums, this outfit delivers one hell of an Atmospheric Gothic/Doom Metal release that will send shivers down your spine. For seven tracks and nearly 45-minutes of music, the band creates some of the most atmospheric and haunting music ever created, so be prepared to be blown away.

Opening with the sidereal dreaminess of “Trust No One”, Heike’s solemn and charismatic vocals are perfectly embraced by trippy and crafty atmospherics alongside powerful riffs. Featuring a more prominent Doom vibe, “Algol” has Mick Moss (Antimatter) in an amazingly engaging duet with Heike. The second guest appearance comes under “Vanta Ray”, a very lively piece featuring Tony Dunn of Sgàile and very crafty guitar work, alongside playful drumming and a very melancholic vibe.

Becoming one of the premier Heavy/Power Metal bands in the scene has been no small feat for Finland’s Battle Beast. With “Steelbound” the band showcases their sheer power and catchiness with nearly 40-minutes of high-octane music. Noora Louhimo signature vocals have made the band shine from the rest, and with this release she is ready to propel her band to new heights.

Opening with the ridiculously catchy and speedy “The Burning Within”, the band makes a strong statement with crafty instrumentation and soaring vocal melodies. Giving some Nightwish-meets-Sonata Arctica vibes, songs like “Here We Are”, “Steelbound”, and “Twilight Cabaret” feature extremely engaging chorus sections and very engaging atmospheric elements, giving the band a mixture of epicness and playfulness that almost nobody else has.

There are only a handful of bands in Thrash Metal that have legendary status and have continued to push the envelope with their music. Testament is definitely one of them as with each release they come refreshed and improved, never staying static and constantly evolving. With “Para Bellum”, the band continues to spread their devastating sound while trying new things and inducing massive amounts of headbanging.

Opening with the brutal “For the Love of Pain”, we immediately had to make sure we were listening to Testament as this track is vicious and crushing thanks to its aggressive guitars and massive drumming. However, it’s the harsh vocals that got us confused, in a good way. Things come back to the band’s more ‘normal’ thrashing ways with “Infanticide A.I”, “Shadow People”, and “Meant to Be”, were Chuck Billy’s snarls come center stage alongside the vicious riffing of Eric Peterson and Alex Skolnick.

There is normal Melodic Death Metal, and then there is Finnish Melodic Death Metal, while being the same genre, there is just a certain signature style to the latter. Mors Principium Est is one of the most underrated Finnish Melodic Death Metal bands from the scene, having been putting out excellent releases since 2000, this band seems to fall under the radar to some of its most popular counterparts like Insomnium, Omnium Gatherum, and early Amorphis. With “Darkness Invisible”, the band throws in some additional orchestral arrangements around their very cohesive and precise sound.

Opening with the high-octane “Of Death”, we are treated to a blistering pace filled with dramatic arrangements and intricate guitar melodies and leads. Ville Viljanen continued the band’s legacy by bringing back some of its original members Jarkko Kokko and Jori Haukio for the previous release of re-recording of old songs., but it is not until this studio album that we can hear the band’s original ferocity and technically, paired with some extra maturity and musical proficiency gained over the years, as songs like "Venerator", “Monuments” and “Beyond the Horizon” showcase.

Creating one of the most harrowing and primal releases ever, today we have Fauna and their long awaited “Ochre & Ash”. Thirteen years have passed since the release of “Avifauna”, and fans have been craving for a new album from this Pacific Northwest duo. More than worth the wait, this release unleashes nearly 70 minutes of crushing music that creates discomfort and hands out punishment from the opening atmospherics all the way to the closing riffs.

Opening with the ritualistic “A Conjuring”, the band sets a very feral and Heilung/Wardruna-esque atmosphere that masterfully transitions into the crafty drumming and dissonant riffing of “Nature and Madness”. Shifting gears, the duo unleashes hell with great intensity and violence. The drumming and screamed vocals remind us a bit of Mike Rekevics in Vanum/Fell Voices. As the dense atmosphere dissipates a bit, the track moves into a cavernous direction with enthralling atmospherics and a wall of distortion.

Coming in hot with tons of hype and mystery, UK’s President has made more than enough waves with their mystique. In their first EP release, “King of Terrors”, the band easily substantiates with hype with six piercing tracks that masterfully combine Metal elements with a plethora of more mainstream influences, and a hefty dose of catchiness. This mysterious outfit manages to craft tracks that are a great balance of heaviness and melody, creating some truly memorable soaring vocal arrangements and masterful instrumentation.

Opening with “In The Name Of The Father”, the EP sets a very high bar with its relentless aggression, Djent-y elements, and their transition to soaring clean vocals and subtle electronics. While definitely not your regular Metal track, it certainly has its merits. Things quickly escalate as “Fearless” continues with its distorted guitars and some of the catchiest percussion and chorus sections that we have heard in quite a while.

Just when you think that Amorphis can’t get any better, the band gives us “Borderland”. In this release, the band unleashes almost 50-minutes of high-octane Melodic Metal, with their signature style and a few surprises. Constantly refining and improving their sound, the band manages to sound as epic and melodic as always, with a hearty mixture of catchiness and heaviness, creating another astounding release filled with bangers.

Opening with “The Circle”, we immediately get that magical Amorphis atmosphere thanks to crafty synths and guitar work. Via Santeri Kallio, the band’s signature vibes are set in motion, as clear and well crafted instrumentation come together to create tracks like “Bones”, “Dancing Shadow”, and “Fog to Fog”, where Tomi Joutsen’s dual vocal attack is just the cherry on top of the cake.