MYSTFALL Unveil “Sleeper In The Abyss”

 

Greek symphonic metal act MYSTFALL present their new single “Sleeper In The Abyss”, taken from their upcoming studio album Embers of a Dying World, released via Scarlet Records.

Embers of a Dying World marks the band’s second full-length release, following their 2023 debut Celestial Vision. Led by the commanding soprano vocals of Marialena Trikoglou, MYSTFALL continue to expand their cinematic, darkly atmospheric sound.

The album explores an alternate dimension where dreams and nightmares wage war to preserve the human spirit. Each of its ten tracks unfolds as a standalone story, reflecting on the consequences of human actions on Earth.

Among these compositions is the new single “Sleeper In The Abyss”, offering a glimpse into the album’s immersive and dramatic sonic world.

Embers of a Dying World is out now through Scarlet Records.

Herbscure Unleashes Debut Self Titled EP via Dale of Shadows Records

 

Austrian one‑man project Herbscure has released its debut self‑titled EP through Dale of Shadows Records, marking the official arrival of what creator Daemon Herbae calls Herbal Black Metal.

Composed, recorded, mixed, and mastered entirely in Herbae’s home studio in Gratwein‑Straßengel, the EP presents a bold fusion of raw black metal intensity with the rhythmic sway of reggae. What began as a stylistic experiment has evolved into a fully formed artistic identity, pushing genre boundaries with confidence.

Across its three tracks, Herbscure explores the tension between harsh atmospheres and groove‑driven undercurrents, crafting a sound that feels both unexpected and strangely cohesive. The release positions the project as one of the more unconventional new voices emerging from Austria’s underground metal scene.

GUS DRAX RELEASES NEW SOLO ALBUM

 

Theogonia Records is proud to announce the release of "Theories of Imperfection," the brand-new instrumental solo album from acclaimed Greek guitarist Gus Drax, out now on all platforms as of April 3rd, 2026. This eight-track journey represents Drax’s most ambitious work to date, seamlessly blending the technical mastery he is known for in Sunburst and Suicidal Angels with a new level of melodic depth and emotional intensity.

From the philosophical opening of "Sentio Ergo Sum" to the high-octane "Sombrero Attack," the album showcases a staggering dynamic range. Drax pushes the boundaries of modern progressive metal by fusing blistering shred with cinematic textures and expressive storytelling. The record is further elevated by an elite lineup of guest musicians, including George Kollias on drums and a guest solo by Andy James, ensuring a world-class listening experience from start to finish.

The album’s powerful, crystal-clear sound is the result of expert mixing and mastering by Simone Mularoni at Domination Studio, while the striking cover art by Remedy Art Design perfectly reflects the music's balance of chaos and beauty. Standing as a landmark in his career, "Theories of Imperfection" is a must-listen for guitar enthusiasts and prog-metal fans alike. It is available now via Theogonia Records in both physical and digital formats.

Shade Of Memories Release New Single “Pyramid”

 

American progressive heavy metal project Shade Of Memories has unveiled its new single, “Pyramid.” The track was recorded, mixed, and mastered at Delbox Audio Studios.

Founded in 2013 by Seattle/Tacoma musician Jay Pratt, Shade Of Memories operates as a one‑man project blending heavy metal intensity with cinematic storytelling. Pratt’s debut album, Glaciers of Tomorrow (2021), earned international attention for its disciplined musicianship and concept‑driven approach.

REVIEW: TRELLEBORG – Lands of Njord

 

TRELLEBORG – Lands of Njord

Stygian Crypt Productions

The Viking metal scene has expanded rapidly in recent years, and with such an explosion it becomes clear how few bands genuinely have something to contribute. Many releases fall into the “decent but forgettable” category. TRELLEBORG, however, arrive from Russia with a debut full‑length that shows they are not content to follow the well‑worn path.

While Lands of Njord contains the expected folk elements—melodic lines, keyboards, accordions—the band avoids the common trap of imitating the genre’s established giants. Instead, they introduce touches that feel refreshingly atypical for Viking metal. One of the album’s strengths is its playful streak: humorous musical passages appear throughout, reminiscent of the light‑hearted approach ALESTORM occasionally take, yet without slipping into parody. This sense of character helps the album stand apart.

The songwriting also resists predictability. Structures shift, themes evolve, and several tracks hold surprises even for seasoned listeners. Considering the apparent young age of the musicians, the level of maturity and confidence in their arrangements is particularly notable.

Lands of Njord ultimately stands as a strong Viking/pagan metal release—rooted in the genre’s traditions but unafraid to diverge from them. It is an album that grows with repeated listens, revealing more of its personality each time. The closing track, the orchestral and soundtrack‑styled “Birth of Skerriz,” is a striking finale that highlights the band’s broader compositional ambitions.

Nick Parastatidis

REVIEW: DARKTHRONE, The Underground Resistance

 

DARKTHRONE, The Underground Resistance (2013)

Peaceville Records

Έχουν ξεφύγει πραγματικά εδώ.

Οι Νορβηγοί είναι πασίγνωστοι. Όσοι προτιμούν τη Black Metal, την ιστορία τους, υποθέτω ότι μισούν την εποχή τους από το 2002 και μετά. Όσοι είμαστε περίεργοι, την ψάχνουμε. Και τί δεν έχουν παίξει: από Crust Punk influenced Metal έως και επικό Heavy, με αρκετά NWOBHM στοιχεία εδώ. Και γιατί όχι; Το κλασικό Heavy Metal, επιδραστικό για ολόκληρο το φάσμα των σκηνών, υπάρχει παντού. 

Οι Fenriz και Nocturno Culto, ως μουσικοί, έχουν προφανώς μεγαλώσει με τους κλασικούς του είδους. Έχουν δει τί κατάφεραν πρώτοι οι Bathory, που στράφηκαν από τον ακραίο στον επικό ήχο. Να λοιπόν πεδίο δόξης λαμπρό! 

Έξι κομμάτια στα περίπου σαράντα λεπτά συνολικά, και το Dead Early να μην κρύβει τις βαθιές επιρροές τους από τους Celtic Frost. Ακολουθούν τα Valkyrie, Lesser Men, The One's You Left Behind, Come Warfare the Entire Doom, Leave No Cross Unturned, που συγκεντρώνουν και πάλι όλα τα ακούσματα αυτής της πλευράς των δύο φίλων και συνεργατών μουσικών. 

Όπως και τα περισσότερα άλμπουμ αυτής της πειραματικής περιόδου τους (η οποία συνεχίζεται ακατάπαυστα έκτοτε), είναι πιο ανοιχτά σε μεγαλύτερο μέρος του κοινού. Αν αυτό κρίνεται καλό ή κακό, είναι υποκειμενικό. Απλά είτε μας αρέσει είτε όχι.

English:

They’ve truly gone off the deep end here.The Norwegians are well known. Those who prefer Black Metal and its history, I assume, despise their scene from 2002 onward. As for us curious ones, we’re exploring it. And there’s nothing they haven’t played: from Crust Punk-influenced Metal to epic Heavy, with quite a few NWOBHM elements in the mix. And why not? Classic Heavy Metal, influential across the entire spectrum of scenes, is everywhere. 

Fenriz and Nocturno Culto, as musicians, have obviously grown up with the classics of the genre. They’ve seen what Bathory achieved first, shifting from extreme to epic sound. So, here’s a field of glorious opportunity! 

Six tracks in roughly forty minutes total, with Dead Early clearly reflecting deep Celtic Frost influences. Followed by Valkyrie, Lesser Men, The One’s You Left Behind, Come Warfare the Entire Doom, Leave No Cross Unturned, all gathering again the sounds from this side of the two friends and collaborators. 

Like most albums from their experimental period (which has continued relentlessly ever since), these are more accessible to a broader audience. Whether that’s good or bad is subjective. It simply is—whether we like it or not.

Τάκης "Ε-Μortal One" Γιώτης

REVIEW: DESTRAGE - The King Is Fat 'n' Old

 

DESTRAGE - The King Is Fat 'n' Old

Coroner Records

I recall first listening to this Italian band's debut, Urban Being, and being immediately impressed by their ability to blend classic metal elements with modern influences, resulting in a highly catchy and engaging sound. About a year later, they released their sophomore album, The King Is Fat 'n' Old, which continues along a similar musical path. However, in my opinion, it falls slightly short of the mark set by their debut.

While the album retains the core ingredients that made their first effort stand out, it seems that in an attempt to showcase their technical prowess and make a strong impression, DESTRAGE has overloaded many of the compositions. The songs feature frequent tempo shifts, thematic changes, and a multitude of ideas that, at times, come across as overwhelming. These abrupt transitions can disrupt the natural flow, making some tracks feel more like a patchwork of disparate parts rather than cohesive songs. As a result, the overall listening experience can feel chaotic, with the band’s intention of sounding progressive and elaborate occasionally working against them.

That said, DESTRAGE is undeniably a highly talented and cohesive band. Their performances are top-notch, with well-trained musicianship and a tight rhythm section. The guitar work is particularly notable, especially the solos heavily influenced by Yngwie Malmsteen, complemented by Zakk Wylde-style false harmonics. The vocals are also a strength—capable of growling, screaming, and singing with skill and versatility.

If you enjoy modern metalcore that balances clean vocals with harsh, aggressive tones, this album is worth exploring. It offers a high level of musicianship and energetic songwriting. However, personally, I would prefer more structured compositions with less embellishment. Additionally, I find the duality of clean and harsh vocals somewhat tiresome; while both are performed well, the frequent use of this vocal style has become somewhat of a cliché in the genre.

In summary, The King Is Fat 'n' Old is a commendable work that showcases the band’s technical abilities and creativity. Still, its tendency toward chaotic arrangements and vocal duality might not appeal to all listeners, especially those seeking more streamlined, cohesive songs.

Christine  Parastatidou