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Seems like the Filtration system is overburdened once again. Normally, my minions have to scavenge much longer to pick things up this early in the year, but 2026 is proving to be rich in moderately precious metallic ore. That just means I gotta push my team even harder to pull greater loads of filth from the ducts!<\/p>\n
As I send them in for yet another round, please enjoy the spoils thus far exploited. BEHOLD!<\/p>\n
Kenstrosity\u2019s Tattered Tome \ufeffDeath Drive Anthropology by Overtoun<\/a><\/p>\n Andy-War-Hall\u2019s Primordial Pick-Up Of Vultures and Dragons by The Grand Myth<\/a><\/p>\n Saunders\u2019 Sunken Shards Jack Harlon & The Dead Crows<\/a> \/\/ Inexorable Opposites [February 6th, 2026 \u2013 Magnetic Eye Records<\/a>]<\/p>\n Inexorable Opposites by Jack Harlon &The Dead Crows<\/a><\/p>\n Grin Reaper\u2019s Reaped Recluse Monuments to Ruin by Cold Communion<\/a><\/p>\n Mossgiver<\/a> \/\/ Renewer [February 6th, 2026 \u2013 Sij MusicArt<\/a>]<\/p>\n Renewer by Mossgiver<\/a><\/p>\n Ossomancer<\/a> \/\/ Banebdjed\u2019s Path<\/a> [February 28th, 2026 \u2013 Esoteric Evocations]<\/p>\n Banebdjed\u2019s Path by Ossomancer<\/a><\/p>\n Tyme\u2019s Danish Dalliance \u00c6del Fetich by \u00c6del Fetich<\/a><\/p>\n Creeping Ivy\u2019s Ashen Afterthought In my humble opinion, lyrics are key to making stoner metal more than novelty music. If you\u2019re referencing reefer in your album art, band name, and song titles, at least keep the reeferisms out of the songs themselves, or better yet, avoid vocals altogether. Taking this latter advice to heart is instrumental Polish four-piece Belzebong, who have been at it for almost 20 years now. On The End is High, their fourth full-length, Belzebong deal 35 minutes of fuzzed-out riffery described as \u201ca new sermon for the final days.\u201d While not as highbrow (huh huh) as the instrumental stoner metal of Bongripper, Belzebong are similarly ominous on opener (yes) \u201cBong & Chain,\u201d which caps its ten-minute burn with creepy, haunting synths. From there, the band settle into material more akin to Bongzilla; sound clips adorn the chill grooves of \u201c420 Horsemen,\u201d \u201cHempnotized,\u201d and \u201cReefer Mortis,\u201d which closes things out with some solid Electric Wizard <\/a>worship. If you instinctively (and understandably) recoil from music with marijuana aesthetics but dig the meditative repetition offered by stoner metal, consider sampling The End is High. It\u2019s not exactly the caricature it advertises itself as.<\/p>\n The End Is High by Belzebong<\/a><\/p>\n Baguette\u2019s Bygone Bounty The Blood Lives Again by Sundecay<\/a><\/p>\n Temple Balls<\/a> \/\/ Temple Balls [February 13th, 2026 \u2013 Frontiers Music<\/a>]<\/p>\n ClarkKent\u2019s Enchanting Earworm A Reign To Conquer by Hela<\/a><\/p>\n Spicie Forrest\u2019s Vicious Vittles A Wilhelm Scream returns after a four-year hiatus with their eighth long player, Cheap Heat. Sounding like the best combination of The Story So Far and Rise Against, A Wilhelm Scream delivers an impressive tour de force so late in their career. Vocalist Nuno Pereira is the highlight of Cheap Heat, driving the album with urgency and passion (\u201cSomebody\u2019s Gonna Die,\u201d \u201cFell Off\u201d), but no one here is a slouch. The rhythm section\u2014bassist Brian J. Robinson, rhythm guitarist Trevor Reilly, and drummer Nicholas Pasquale Angelini\u2014gleefully tosses gas on Pereira\u2019s bonfire (\u201cI Got Tunnel Vision\u201d) and delivers solid grooves (\u201cPoison II\u201d) and searing ragers (\u201cUnsolving the Mystery\u201d) that keep the energy cranked to 11 all through Cheap Heat. Hooks are by far the most common lead duty, and Ben Murray puts on a fucking clinic. Each note that rings out from his axe sounds like it fucking owns the place (\u201cRun,\u201d \u201cVisitor: Unimpressed\u201d). Cheap Heat is a smidge front-loaded with \u201cMidnight Ghost\u201d and \u201cI Got Tunnel Vision\u201d being album highlights, but no song on here is anything short of a barn burner. At a super tight 28 minutes, Cheap Heat hits hard and fast and gets the fuck out of Dodge before you\u2019re even sure what hit you. I didn\u2019t expect a 26-year-old hardcore outfit to knock my teeth out when I queued it up on a whim one morning, but Cheap Heat is proving to be one of my favorite albums of the year.<\/p>\n Cheap Heat by A Wilhelm Scream<\/a><\/p>\n Who doesn\u2019t like the combination of thrash\u2019s unchained aggression and black metal\u2019s cold hate? There\u2019s never been a better pair. Lead Injector hit the ground running on debut LP Witching Attack. From the opening moments of \u201cSiege Upon Heaven\u201d to the closing moments of \u201cNuclear Antichrist,\u201d Lead Injector is here to do two things: feed high-speed buckshot to God, skeletons, and anything else that gets in their way, and have a Hellripping<\/a> good time. \u201cAngel Destructor\u201d and \u201cSiege Upon Heaven\u201d barrel pell-mell through searing riffs and blast beats, while groovier tracks like \u201cEvil Executioner\u201d and \u201cNuclear Antichrist\u201d let black metal\u2019s punk ancestry shine through. Heavy metal influences a la Judas Priest<\/a> can be found injected into tracks like \u201cSacrifice This Bitch\u201d and \u201cM.C.C.I.\u201d While nothing about Lead Injector\u2019s sound is particularly new, I\u2019m not sure that\u2019s a bad thing. This debut is a unique and retro spin on a tried-and-true formula that bodes well for a young band. Witching Attack is a killer time that Ash Williams would gladly spin while boomsticking Deadites alongside Lord Arthur\u2019s army<\/a>.<\/p>\n
\nOvertoun<\/a> \/\/ Death Drive Anthropology [February 13th, 2026 \u2013 Time to Kill Records<\/a>]<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/05\/Overtoun_DeathDriveAnthropology_01-500x500.jpg\")
Chilean progressive death thrash outfit Overtoun is what you get when you mix old school Death<\/a> and Atheist with the proggier side of Pestilence<\/a>, then amp the thrash up by a half turn. At a lofty 50 minutes, you\u2019d expect third release Death Drive Anthropology to drag on, but to make that assumption is to criminally underestimate Overtoun\u2019s creativity and versatility. Opening up the throttle in fine form, the one-two punch of \u201cWhat Unites All (ft. Max Phelps) and \u201cThe Final Beat\u201d manages to encompass many of these Chileans\u2019 songwriting and performance skills in a scant 10 minutes. More introspective, nuanced songwriting takes center stage throughout Anthropology\u2019s midsection, balancing smart melodies and minimalist atmosphere with complex guitar layering, proggy structures, and shreddy wizardry (\u201cDur Khrod,\u201d \u201cJade, Gold, Obsidian,\u201d \u201cYurei,\u201d \u201cWeeping\u201d). The three-part \u201cThe Waves Suite\u201d suite adds a mystical character to the affair that blends remarkably well with Overtoun\u2019s more overt political messaging and emotional textures, which helps carry the record through its lengthy runtime without causing fatigue. It\u2019s a neat record that\u2019s modestly blemished by a bass presence that begs for more weight and wildness, especially considering the raw talent on hand. Nonetheless, if you\u2019re looking for a creative, thoughtful, and sophisticated entry into the death\/thrash progosphere, Death Drive Anthropology makes a strong case.<\/p>\n
\nThe Grand Myth<\/a> \/\/ Of Vultures and Dragons [February 26th, 2026 \u2013 Suncrusher Recordings]<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/05\/The-Grand-Myth-Of-Vultures-and-Dragons-01-350x350.jpg\")
I have a grossly limited capacity for seriousness. Yeah, I like my death metal progressive, technical, and thoughtful, much the way Brandon Bordman\u2019s The Grand Myth deliver it on their latest record, Of Vultures and Dragons, but sometimes I just want fun, too. Of Vultures and Dragons, an adaptation of Ethan Pettus\u2019 novel series Primitive War in which a rescue team searches a Vietnamese jungle for a missing platoon of Green Berets and fights for their lives against dinosaurs, has fun in spades. Utilizing a many-layered guitar attack (\u201cSymbiotic Death\u201d), shifting and propulsive rhythms (\u201cThrough the River Styx\u201d), a wide cast of voice actors for brief narrative bits and surprisingly bright tones (\u201cAgony\u201d), The Grand Myth\u2019s approach to progressive death metal isn\u2019t revolutionary, but it\u2019s deeply refreshing and engaging regardless. Though an absolute blast, The Grand Myth doesn\u2019t spew embarrassingly stupid levels of campiness with their sci-fi dinosaur theming like Victorius<\/a>. Rather, Of Vultures and Dragons can be fairly emotionally effective at times thanks to Bordman\u2019s emotive clean\/harsh vocals and elaborate soloing (\u201cPyre,\u201d \u201cAgony\u201d). Nobody asks about your favorite dinosaur anymore, so feed your inner kid with The Grand Myth\u2019s Of Vultures and Dragons now!<\/p>\n
\nPuscifer<\/a>\/\/ Normal Isn\u2019t [February 6th, 2026 \u2013 Alchemy Recordings<\/a>]<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/05\/Puscifer-NormalIsnt01.jpg\")
After losing track of recent offerings, I reacquainted myself with the latest LP from Puscifer, leaving me pleasantly surprised in the aftermath. The project featuring Tool\/A Perfect Circle frontman Maynard James Keenan returned for their first hit out since 2020\u2019s Existential Reckoning. Normal Isn\u2019t finds the shape-shifting project embracing its quirky, gothy industrial rock and electronic elements through an angsty filter of guitar-driven arty rock, post-punk, and infectious songcraft. Age should not weary Maynard, as he still sounds angry, cynical, and on point vocally through a mostly engaging, catchy bag of tunes. The dueling vocal melodies with collaborator Carina Round\u2019s ghostly singing work a treat amidst jittery beats, angular riffs and strong electronic overtones. Rhythmically, it is an interesting ride, drummer Gunnar Olsen putting in a top-notch performance, while there is a vaguely progressive edge underlying the hook-centric songwriting. Opener \u201cThrust\u201d sets the album in motion with sticky hooks, a darkly humorous, unhinged Maynard performance, and a dose of spite. Other key highlights include \u201cBad Wolf,\u201d \u201cSelf Evident,\u201d \u201cA Public Stoning,\u201d and \u201cImpetuoUs.\u201d Puscifer made a fine return with Normal Isn\u2019t.<\/p>\n<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/05\/JackHarlontheDeadCrows-InexorableOpposites01.jpg\")
You\u2019ve gotta love a sneaky name drop from our trusty commentariat. It has led to many great discoveries over the years. On this occasion, one of our dear commenters enlightened me to Melbourne psych-blues-doomers Jack Harlon & the Dead Crows with fourth LP, Inexorable Opposites. And it didn\u2019t take long absorbing this latest slab of rustic Aussie coolness to be struck by the album\u2019s slow-burning, addictive power, and gritty tones. Boasting an expansive, rugged sound built on layers of distortion and a weighty blend of psych-drenched blues and doom heaviness. Jack Harlon & the Dead Crows features old school, outlaw-driven lyrical content from mastermind and vocalist\/guitarist Tim Coutts-Smith, meshing fictional tales of woe and adventure of character Jack Harlon, with relatable real-life struggles. Through the fuzz, thick jammy vibes, and Coutts-Smith distorted, menacing Aussie drawl, catchy songcraft shines through the muck and psych haze. From the tense, stoner-infected grit and catchy hooks of opener \u201cMoss,\u201d through to the stormy outback balladry of closer \u201cTo Die,\u201d Inexorable Opposites is a hard-hitting, riffy delight, further evidenced through scorched earth, infectious cuts like \u201cVenomous,\u201d \u201cSeer,\u201d and the trippy, drug-addled \u201cMt. Macedon.\u201d<\/p>\n
\nCold Communion<\/a> \/\/ Monuments to Ruin [February 13th, 2026 \u2013 Self Released]<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/05\/Cold-Communion-Monuments-to-Ruin-01-350x350.jpg\")
Melodic death\/doom isn\u2019t a genre I dabble in often, but every now and again, one of its bands thwarts my defenses and wraps their tendrils around my precious listening time. Durham, North Carolina\u2019s Cold Communion is one such band, featuring Barre Gambling (Daylight Dies<\/a>) on guitar and Tim Rowland (Alchemy of Flesh<\/a>, Silent Vigil) on everything else. If that sounds like an unfair split, take a spin and reassess, because Gambling\u2019s performance defines Cold Communion\u2019s melancholic character as much as Rowland\u2019s emotive growl. Forgoing any long-form doom epics, Monuments to Ruin\u2019s longest song comes in at five-and-a-half minutes, with the entire album clocking just forty-five. It\u2019s a tidy platter, and both in song composition and mood shares ample common ground with Finnish sadbois Insomnium<\/a>. Besides Monuments\u2019 superior production, songs like \u201cA Stillness Survival\u201d and \u201cWhen the Light Breaks\u201d wouldn\u2019t feel out of place on Across the Dark or One for Sorrow. And despite the somber trappings one might expect from doom-adjacency, there\u2019s plenty of lively riffing and solos to find across Monuments to Ruin, adding a touch of boom to the gloom. In the end, Cold Communion doesn\u2019t reinvent the genre or break new ground, but Monuments to Ruin offers a comfy chair by the fireside on a freezing cold day, and I\u2019m perfectly content with that.<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/05\/Mossgiver-Renewer-01-350x350.jpg\")
Atmospheric black metal often contrasts the beautiful with the bestial, typically prioritizing moods over hooks. \u2018Twas a delight, then, to unearth Mossgiver\u2019s Renewal, which deftly combines the two. Weaving together hypnotic passages flooded with strings, piano, flute, synths, double bass rolls, and the requisite blackened tremolos, Mossgiver\u2019s mastermind Tilen \u0160imon (Ueldes) delivers the band\u2019s best record to date. Above all, Renewer sounds like a celebration of nature in the vein of Autrest<\/a> and C\u00e2n Bardd<\/a>, evoking a whispering wind whipping at leaves or sunlight dappling a brook shaded by oaks and maples. Beyond the well-crafted soundtrack for a walk through the woods, Mossgiver etches emotion into the nooks and crannies of Renewer\u2019s five tracks. From rousing string orchestrations (\u201cI Bring the Spring with Me\u201d) to soft-and-heavy tradeoffs pitting clean guitar and pan pipes against distorted guitar and blast beats (\u201cRenewer\u201d), Mossgiver shimmers with a lush backdrop of instrumentation rife with playfulness and pensiveness. The trio of primary songs revolve around powerful melodies that evolve over each track\u2019s duration, with assorted instruments coming in and out to push refrains along. Renewer\u2019s brisk thirty-four minutes showcase Mossgiver\u2019s sticky compositions and leave me whistling its melodies for days at a time. Now throw on your hiking boots and get lost in the Moss.<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/05\/Ossomancer-Banebdjeds-Path-01-350x350.jpg\")
Six-and-a-half years removed from Ossomancer\u2019s debut Artes Magickae, lone wolf and mastermind Kamose returns to tread Banebjed\u2019s Path. Bursting with references to mythology and mysticism, Banebjed\u2019s Path rumbles and shakes with arcane thunder. Although the backdrop and track names might recall the frenzied onslaught of Nile<\/a>, Ossomancer instead conceives a realm recalling Aeternam<\/a>, Iotunn<\/a>, and Naglfar<\/a>. Despite the scant thirty-four-minute runtime, Banebjed\u2019s Path sprawls across diverse landscapes and textures. Opener \u201cThe Ogdoad Arrangement and the Osirian Creation\u201d oscillates between In Flames<\/a> melodies and a slinky crawl that could pass for a 90s Geddy Lee bass line played over synth injections from Rush\u2019s 80s era. Follow-up track \u201cSobek \u2013 Cosmic Vibrations Devoured\u201d features Kreator<\/a>-bred riffing, while closing duo \u201cA Sea of Sand, a Silver Star\u201d and \u201cRetraction into Kether\u201d synthesize the ethereal atmospheres of Iotunn<\/a> with the blackened assault of Naglfar. Through it all, Ossomancer sounds fabulous, as Banebjed\u2019s Path flaunts an enviable DR 8 and a bodacious mix that spotlights its burly bass performance. Ossomancer\u2019s sophomore outing is crammed with meloblack goodies, and though it\u2019s not a long trek, the journey down Banebjed\u2019s Path far transcends its distance.<\/p>\n
\n\u00c6del Fetich<\/a> \/\/ \u00c6del Fetich [February 20th, 2026 \u2013 Deadbanger Productions]<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/05\/AEdel-Fetich-Cover-Art.jpg\")
That blinged-out pink dish-glove-clad hand is what first drew me to Denmark outfit \u00c6del Fetich\u2019s self-titled debut. Then I clicked play and was taken on one of the more compelling \u201cblack\u201d metal rides in recent memory. With roots primarily buried in the soil of the traditional second-wave, \u00c6del Fetich is rife with moments of rifferous tremolodic speed (\u201cRidderlig Lider,\u201d \u201cMadras\u201d) and absolutely berserk guitar chaos (\u201cSort Magi\u201d). There\u2019s a Trh\u00e4-like sense of experimentation, and the rawness of the production enhances the oft-changing compositions, which, like weather in the Midwest, often shift on a dime without warning. Luckily, \u00c6del Fetich\u2019s adept songwriting organically smooths these transitions, which could have easily come off stilted and jarring, but makes drawing direct comparisons to the \u00c6del Fetich sound difficult, as there\u2019s a spectrum of other influences at play. There are tracks packed with punky punch (\u201cEt Liv Fuld af Fejl,\u201d \u201cIldtang\u201d) or imbued with folky reverence (\u201cMit Billede af Dig\u201d) and even some 80s pop\u2014fans of the movie Flashdance shouldn\u2019t have a problem finding the poppy easter egg hiding near the end of \u201cSort Magi.\u201d Far and away the star of the show, however, is singer Skvat, whose performance is filled with as much black metal bravado as it is theatrical exuberance, his arsenal of shrieks, growls, hoots, howls, and operatic baritonations a refreshing treat, akin to if Mike Patton woke up one day deciding to record a Danish black metal album. Bottom line is, I really dig \u00c6del Fetich and think you will too.<\/p>\n
\nBelzebong<\/a> \/\/ The End is High [February 20th, 2026 \u2013 Heavy Psych Sounds]<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/05\/Belzebong-The-End-is-High-01-350x350.jpg\")
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\nSundecay<\/a> \/\/ The Blood Lives Again [February 13th, 2026 \u2013 Self Released]<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/05\/sundecay-2026-the-blood-lives-again-350x350.jpg\")
Toronto\u2019s Sundecay has been around for a while. These Canadian doomers spawned sometime prior to 2014, quietly releasing EP material every once in a blue moon. The Blood Lives Again is their first full-length release\u2014their first signs of life since 2018 in general\u2014and the time and care they took to develop their sound and songwriting prowess pays off here in spades. The doom and proto-doom inspirations from Black Sabbath<\/a> to Saint Vitus<\/a> are obvious (\u201cHere Comes the Wizard\u201d), complemented by other influences from proto-metal, psychedelic, and progressive music (\u201cSilence Spoken\u201d). The hefty, layered guitars have a nice fuzz without fully landing in stoner territory. Ambitious long-form tracks like \u201cWill Dusk Defy Dawn\u201d flow like water while carrying significant emotional heft. Lastly, a moody, reverb-heavy vocal performance crowns the classic doom trance the band is aiming for. At five tracks and some 43 minutes, The Blood Lives Again is a total vibe and flies by before you\u2019ve even noticed. Fans of the \u201970s should take notes!<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/05\/temple-balls-2026-st-350x350.jpg\")
One of the most authentic ways you can honor rock music tradition is via questionable naming conventions. On an unrelated note, Temple Balls is a Finnish hard rock\/glam rock band, and they\u2019re fun as hell! They\u2019re not particularly new around the block, either: the group formed in 2009, and self-titled Temple Balls is already their fifth album since debut Traded Dreams in 2017. 2023\u2019s Avalanche felt like a watershed moment, a welcome surprise that brought some new life and energy to a fairly dated genre of Europeisms and Hanoi Rocks rehashes. Temple Balls proves that Avalanche wasn\u2019t a one-off, continuing their extremely authentic throwback approach. The heavy\/power-metal-meets-AOR direction of songwriting (\u201cFlashback Dynamite,\u201d \u201cSoul Survivor\u201d) gives it that extra guitar oomph and energy that melodic music like this requires to be anywhere near competitive. With great all-out vocals from Arde Teronen and gigantic hooks to match, it\u2019s just a damn good time front to back. Though it will sadly be the last time we\u2019ll hear Niko Vuorela\u2019s guitar work on record (R.I.P., and fuck cancer), the self-titled is certainly a worthy final milestone for him\u2014and hopefully, another beginning for his comrades.<\/p>\n<\/p>\n
\nHela<\/a> \/\/ A Reign to Conquer [February 27, 2026 \u2013 Ardua Music<\/a>]<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/05\/Hela-A-Reign-to-Conquer-01.jpg\")
Just as it put a pause on many plans and projects, the COVID pandemic slowed down the output of Spain\u2019s Hela. A Reign to Conquer marks their first record since 2019\u2019s Vegv\u00ecsir, which was their third release since 2013. This brief hiatus brought new blood in the form of vocalist Raquel Navarro, though, in truth, the only consistency in Hela\u2019s lineup is the other three members\u2014Tano Gim\u00e9nez on bass, Miguel Fern\u00e1ndez (The Holeum<\/a>) on drums, and Juli\u00e1n Velasco (The Holeum<\/a>) on guitars. They have a deep bond, first forged in 2009 with The Sand Collector before forming Hela just three years later. Though they brand Hela as melodic doom, and the band does have a little in common with Katatonia<\/a>, I think it\u2019s more accurate to describe them as dreamy progressive rock. Navarro is a major reason for this, with dreamy croons that guide listeners through breezy soundscapes. She bears a passing resemblance to Maud the Moth<\/a>, though the music Hela plays is decidedly more metal than our Dolphin friend\u2019s favorite nocturnal insect. Guitarist Velasco plays a hypnotizing mix of atmospheric fuzz, crushing doom, and melodic riffs that add some heft and crunch to the ethereal sound. A Reign to Conquer has plenty of layers to probe, rewarding listeners who bear with it for repeat listens. While my initial spins left me wanting, I\u2019ve since become spellbound. Add to that some gorgeous artwork, and this is a nice addition to anyone\u2019s vinyl collection. Hela yeah!<\/p>\n
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A Wilhelm Scream<\/a> \/\/ Cheap Heat [February 27th, 2026 \u2013 Creator-Destructor Records<\/a>]<\/p>\n![\"\"](\"https:\/\/www.newsbeep.com\/us\/wp-content\/uploads\/2026\/05\/Lead-Injector-Witching-Attack-01-350x350.jpg\")
Lead Injector<\/a> \/\/ Witching Attack [February 20th, 2026 \u2013 High Roller Records<\/a>]<\/p>\n