In the liminal space where dreams flirt with reality and light dissolves into shadow, ACID MAGUS, Pretoria’s own experimental rock mavericks, emerge with Scatterling Empire, a monumental ode to defiance, culture, and the unrelenting spirit of resistance. Set to release on 21 February 2025 via Mongrel Records, the album is an intricate tapestry of sound, philosophy, and storytelling—a psychedelic journey through the fragmented pieces of history and humanity.
The inspiration for Scatterling Empire is deeply rooted in the complexities of human history, particularly the devastation wrought by colonial conquest. “We all feel oppressed at times. That feeling resonates with the stories of conquest throughout human history,” the band reflects. “Colonialism and its unquenchable thirst to conquer culture and uniqueness has threatened the very fibre of what makes us who we are. These musings quickly led to the beginnings of a fantastical tale suited to a psychedelic doom soundtrack.”
From the thunderous opening riffs to the haunting final notes of “Haven,” the album invites listeners to question, reflect, and imagine a world where culture and identity stand resilient.
The band’s creative process for Scatterling Empire was a collaborative evolution of their signature DIY approach. Guitarist Keenan laid the groundwork with home demos, which were further developed by drummer Jethro and vocalist Rico, each infusing their unique touch. “This time, we took everything into the studio for the first time,” they share. High Seas Studios, under the skilful hands of Jacques Du Plessis, provided the perfect environment to harness Acid Magus’s raw energy while refining it into a sonic masterpiece.
Known for seamlessly blending genres like doom, stoner, psych, punk, and classic rock, Acid Magus pays homage to their heroes—Led Zeppelin, Black Sabbath, Kyuss, and Hendrix—while carving a space all their own. With Scatterling Empire, they expand their sound into “fast, slow, heavy, moving, and massive” territories, creating an album that is both unyielding and introspective.
True to their ethos, Acid Magus leaves the interpretation of Scatterling Empire to its audience. Yet, the underlying message resonates powerfully. “We should meet each other in the middle, cast our differences aside, and attempt to live in peace,” the band explains. But they do not shy away from lamenting the lives and cultures lost to history’s injustices. This duality culminates in “Haven,” a closing track both haunting and profound, embodying the yearning of displaced people for a home that may never be reclaimed.
Heavy, impassioned, and unapologetically authentic, this album is an invitation to question, rebel, and transcend.
Irish hard rock powerhouse XIII Doors are poised to take the rock world by storm with the release of their explosive debut album, ‘Into The Unknown’, out now. Packed with electrifying riffs, anthemic choruses, and raw emotional intensity, the record is set to establish the four-piece as a dominant force in modern rock.
Following the success of their latest single, ‘See How Far You’ve Come’, XIII Doors have been riding a wave of momentum, garnering high praise from industry heavyweights, including Def Leppard’s Joe Elliott, who raved: “Wow! XIII Doors are ferocious. Amazing drumming, powerful relentless guitars, and great choruses. Well done lads!”
The guys will also be special guests of legendary guitarist, Michael Schenker’s forthcoming Irish tour in May, billed as “My Years in UFO 1972-1978”. Tickets are now available.
‘Into The Unknown’ showcases XIII Doors’ ability to craft hard-hitting, melodic rock infused with a distinctive identity. Drawing from influences such as Alter Bridge, Tremonti, Alice in Chains, and Stone Temple Pilots, the album masterfully blends powerful riffs with evocative storytelling and soaring vocal performances. The record also subtly nods to founding member DJ O’Sullivan’s deep appreciation for traditional Irish, Arabic, and Hindustani music, further enriching its sonic depth.
From the bone-crushing energy of Unleash The Beast to the introspective and emotionally charged title track Into The Unknown, the album delivers a diverse and dynamic listening experience. Each song weaves together themes of perseverance, redemption, and self-discovery, making Into The Unknown not just an album, but a journey.
Speaking about the record, frontman DJ O’Sullivan reflects: “This album represents everything we’ve been through as a band and as individuals. It’s about facing the unknown with conviction and embracing the road ahead, no matter how uncertain it may seem. Every track tells a story, and we can’t wait for the world to hear it.”
With a reputation for high-energy, adrenaline-fuelled live performances, XIII Doors will be celebrating the release of Into The Unknown with a headline show at Dolan’s in Limerick on February 22nd, marking a pivotal moment in the band’s journey. Fans can also catch them on tour across Ireland and the UK in the lead-up to the album’s release.
Blending razor-sharp musicianship with commanding vocals and undeniable stage presence, XIII Doors is ready to break barriers and make their mark. ‘Into The Unknown’ is not just an album—it’s a battle cry, a testament to resilience, and a bold declaration of the band’s arrival.
TRACKLISTING Unleash The Beast Sorceress of Lies Make a Life Again Lead The Way Face The Truth Into the Unknown See How Far You’ve Come Inside
Upcoming shows: 22nd – Dolan’s – Limerick, IE (Official Album Launch) May 9th – Opium – Dublin *with Michael Schenker May 10th – Mandela Hall – Belfast *with Michael Schenker 28th Feb XIII Doors Live At Campbell’s Bar Derry 19th June The Loverocks Beer and Music Festival, St Leonards Farm, Dorset 29th June Wildfire Festival, Wanlockhead Scotland
Swedish thrash and melodic death metal band VILT strives to take the Scandinavian sound to new heights. Through aggressive riffs, fast drums, and intense vocal performances they have already established a unique signature style. Following the success of their two-track single Adversary in 2022, which led to a performance at In Flames’ Dalhalla Brinner festival, VILT released the EP …To Mourn The Death Of A Stranger in 2024. Now they’re gearing up for their debut album, releasing new single ‘Dealing with the Devil’. A song about facing your problems before they break you.
VILT’s upcoming album is a raw and relentless letter to a fractured past. Between guttural aggression and haunting melodies, the album is a battle cry to the younger self—a figure clinging to borrowed beliefs and fragile personas. Through towering riffs and soul-ripping growls, VILT tears down the illusions of what they once thought defined them. The upcoming album is personal yet universal, a tribute to the limitless potential within us all.
Finnish melodic death metal band Defiled Serenity released their long-awaited debut album Within the Slumber of the Mind on February 21st 2025 via Inverse Records.
Vocalist Paavo Laapotti comments: ”I love melodeath so the songwriting was really easy-going. We worked on this album for a long time, but I’m glad we did. I gathered a bunch of talented people around me for this project and now I just feel very proud of the album and my band mates.”
Album’s lyrical themes revolve around depression, death and my thoughts around these topics. I’ve used a lot of my own experiences in life while writing these lyrics and I feel like it has been some sort of therapy for me. This project is my baby and I want to give it my all.
Nikos from VisionBlack did an amazing job with the cover art I designed with him. He captured just the right feeling to his art what we were looking for.”
”We also got the priviledge to work with Juha Tapio and Sonja Lindberg and they did a phenomenal job.”
Track list:
Alkutaival (feat. Juha Tapio)
Voices from the Void
Exiled to Infinity
Death
Mortal
Within the Slumber of the Mind
Through the Chaos
Your Worst Enemy
Tears of Black
Unfaithful (Rihanna cover) (feat. Karisma)
Recorded & mixed by Lauri Seppälä
Mastered by Juho Räihä / SoundSpiral Audio
Album cover by Nikos Stavridakis / VisionBlack
Defiled Serenity is a melodic death metal band from Loimaa, Finland. It was founded by the vocalist and Before The Dawn frontman Paavo Laapotti in 2021. The band’s music is for the fans of old In Flames, Amorphis, Amon Amarth, Dark Tranquillity etc. Their sound relies heavily on the 90’s melodeath sound, but with modern twists. The songs are filled with low growls, chunky guitars, beautiful melodies and tight rhythm sections.
They released their first stand-alone single ”Voices from the Void” in 2022 and it has reached over 25,000 streams on Spotify alone. Since then, the band has been writing new material and now it’s time to unleash their long-awaited debut album!
Finland’s melancholic goth doomsters HANGING GARDEN share another preview from their upcoming EP “The Unending” – out March 14th on Agonia Records – in the form of a new single and music video, “The Passage”.
It’s available here:
Delving deeper into the rituals, beliefs and existential concepts intrinsic to the nature of humanity and its cultures, HANGING GARDEN continues the thematic continuum of their previous full-length album, “The Garden”. Their latest work, a mini-album bearing the name “The Unending”, is a four song entity, its thematic focal points those of perseverance and the occult, of returning to a harmony with nature and the remorseless forces therein. Once again, an aesthetic interplay between light and darkness, dissonance and harmony, serenity and ferocity, HANGING GARDEN‘s novel musical work seeks to provide the listener with a journey through emotion and spirituality, through their meadows and wastelands, and onwards into the collective soul of humanity.
“The Unending” was produced by Jussi Hämäläinen and Jarno Hänninen and mixed & mastered by Jarno Hänninen at D-studio. The cover art & layout was created by Kalle Pyyhtinen.
Tracklisting: 1. To Seize the Night 2. The Passage 3. Morgan’s Trail 4. The First Sunrise
HAGNING GARDEN was brought to life in 2004 with an early style that encompassed heavy, doom-oriented metal music. Roughly two decades, seven albums and a couple of line-up shuffles later, the Finns shifted to a more melodic, contemporary sound, which is rooted in dark atmosphere, and leans towards open-minded and playful musicality. While still entrenched in metal, HANGING GARDEN possesses a versatile, many-layered style of playing, male & female vocals, and draws influence & inspiration from music and art, far and wide. The group may appeal to fans of Swallow the Sun, Ghost Brigade, October Tide, Katatonia or Type O Negative.
Line-up: Mikko Kolari – guitars Jussi Hämäläinen – guitars, backing vocals Kimmo Tukiainen – guitars Nino Hynninen – synths Jussi Kirves – bass, moog Antti Ruokola – drums, programming Riikka Hatakka – vocals Toni Hatakka – vocals
After festering in their hallowed crypt for the past eight years, finally, Spawn of Possession are reborn as RETROMORPHOSIS. Once again, Jonas Bryssling and his former bandmates joined forces with ex-Obscura and Necrophagist guitarist Christian Muenzner. But in adding former Decrepit Birth drummer KC Howard, along with some old-school bells and whistles, this new band of proven players has unlocked the missing link in technical death metal’s evolutionary chain.
“My issue with modern tech bands is they forget they’re a death metal band“, Technical Music Review writes in their review of Retromorphosis’ debut album Psalmus Mortis. “Retro has plenty of groovy, heavy ass riffs that punch you in the face”.
Psalmus Mortis was released yesterday, Friday, February 21 on Season of Mist. You can hear all eight exquisitely ugly songs by listening to the full album stream on the Season of Mist YouTube channel.
Psalmus Mortis is nearly a decade in the making, but Retromorphosis’ debut album shows that this band loom over technical death metal larger than ever. Lead single “Vanished” comes screeching out the shadows before quickly settling into a bone-crunching riff that reeks of the old school.
“I prefer my death metal to sound ugly and mean” axeman Jonas Bryssling says with a satisfied grin.
For Psalmus Mortis, Retromorphosis reunited with fellow Swede Magnus Sedenberg, who’s been their preferred engineer of death since Spawn of Possession’s first two demos. But this time around, they opted for more of the raw production that defined the scene during the early ’90s. Caspersen’s fast and filthy bass runs are the gnarled roots from which the twisted tale of “The Tree” takes its accursed hold.
“There was no hesitation”, Bryssling says about respawning with his old bandmates. “I don’t have to tell them much. They know how it’s done”.
Given this band is blessed with ungodly levels of technical skill, it’s no wonder that Retromorphosis have concocted some freshly freakish experiments. Psalmus Mortis opens with spooky organ glows, tense strings and a ghostly gothic choir. “That sense of atmosphere is something that old-school bands used to have”, Bryssling remembers. “I really like that. The organ is my favorite instrument. I just kept adding it to every song”.
Evil atmosphere isn’t the only new life force on Psalmus Mortis. “Everyone knows KC Howard is an insane talent”,Bryssling says about his new drummer. Howard left his brutally precise mark on the scene when he was behind the kit for Decrepit Birth, but he’s the radioactive ooze that feeds Retromorphosis’ frenzied nucleus. His non-stop nuclear barrage drives high-flying album closer “Exalted Splendour” toward its blinding conclusion.
“We had rules in Spawn of Possession”, Bryssling explains when asked what separates Retromorphosis from his previous offspring. “Everything had to always be so intense. Retromorphosis is more free. Psalmus Mortis can be eerie, doomy or even quite simple”.
Put the song that bears their name under the microscope and feast your eyes on everything Retromorphosis are capable of. Christian Muenzner rips through not one, not two, but three guitar solos, each one packed with more technically innovative twists than a triple helix. “I’m the one / chosen son / gifted and reborn“, vocalist Dennis Röndum growls like a man newly possessed by the devil.
Tracklist: 1. Obscure Exordium (1:50) 2. Vanished (4:48) [WATCH] 3. Aunt Christie’s Will (5:46) 4. Never to Awake (4:34) 5. The Tree (5:24) [WATCH] 6. Retromorphosis (5:12) [LISTEN] 7. Machine (9:05) 8. Exalted Splendour (5:30) Full runtime: 42:11
Lineup Jonas Bryssling (Spawn of Possession) – Guitars Dennis Röndum (Spawn of Possession) – Vocals Christian Muenzner (Spawn of Possession, ex-Obscura and Necrophagist) – Guitars Erlend Caspersen (Spawn of Possession, The Allseeing I, Abhorrent) – Bass KC Howard (Odius Mortem, ex-Decrepit Birth)- Drums
Even a lawless field like death metal has exceptions that prove the rule. Retromorphosis spawned from a unique leader of the genre, but their unholy union on Psalmus Mortis is a living testament that you can’t bury what was already undead.
Spawn of Possession remains one of modern metal’s most accursed influencers. During the early to mid-2000s, the noctambulant Swedes toured both sides of the Atlantic alongside Cannibal Corpse and Hypocrisy. Having scaled the accursed summit to reach death metal nirvana on what was only their third album, after three decades, the band was put to rest. But like an especially pungent spore, the seeds of SoP have been festering in its hallowed crypt, waiting to come alive and haunt the earth once more.
Such is the sordid backstory of Retromorphosis and their debut Psalmus Mortis. In 2020, amidst the pandemic’s endless lull, one of Spawn of Possession’s founding members was again bitten by death metal’s radioactive songwriting bug. “I wanted to make an album that wasn’t tied to anything we’d done before”, says Jonas Bryssling. While this new batch of malevolent creations still stemmed from his punishingly technical fretwork, the riffs were splitting off into even more twisted headbanging directions. But to bring these relentless mutations to life, first, he needed a familiar spark.
“There was no hesitation”, Bryssling says when asked about resurrecting the creative energies with his former Spawn of Possession bandmates. Pairing back up with rock-solid vocalist Dennis Röndum and elastic bassist Erlend Casperson once again yielded promising results during the early phases of Psalmus Mortis. To further test the equation, they added another familiar but no less fearsome shredder. Before joining them for Incurso, Christian Muenzner lent his flaming left hand to two other stone-cold classics: Necrophagist’s Epitath and Cosmogenesis by Obscura. “I don’t have to tell them much”, Bryssling continues. “They know how it’s done”.
Indeed, time has only fermented this group’s mutant chemistry. After spending the summer of 2023 recording Psalmus Mortis in their underground laboratory, Retromorphosis emerged with the missing link in technical death metal’s evolutionary chain. “Vanished” officially cracks open its beaker with the satisfying crunch of the old school, steamrolling out a rugged red carpet for Röndum’s imposing growl. It was the first song Bryssling wrote during the album’s initial trial period, but the band continued to tinker with the album’s eventual lead single after the other eight tracks were hammered into gruesome shape. Muenzner’s solos scream like a poor unsuspecting soul who’s being dragged into the shadows. All the while, Casperson flogs his bass as if hiding a mischievous grin, its ghoulish bounce bringing the lyrics’ cosmic body horror into frightening focus.
“We had rules in Spawn of Possession”, Bryssling explains, as a matter of fact. “Everything always had to be so intense. Psalmus Mortis is intense, too, but it can also be eerie or even quite simple”.
Simplicity might not be Retromorphosis’ dominant chromosome. Even though it’s fueled by straight-forward, down-picked chugging, the album’s nine-minute monolith “Machine” churns through multiple tempo changes, cranking up the tension with every accelerated blast beat. But the band did opt for a leaner chemical base. Psalmus Mortis was produced by Magnus Sedenberg, who’s been the band’s Swedish engineer du jour dating back to Spawn of Possession’s first two demos. “Reuniting with Magnus felt like the natural thing to do”, says Bryssling, “but for this album, we scraped away some of the studio polish”. With its sludgy distortion and hallucinating speed, “Never to Awake” certainly summons the ’90s untamed spirit. “I prefer my death metal to sound ugly and mean”.
While roughly a decade in the making, Retromorphosis still grip it and rip it on Psalmus Mortis. Heck, chunks of the band’s first album were hung up to dry like butchered livestock after just one crack in the studio, much to their own amusement. “I don’t think there’s a single first take on the SoP albums”, Bryssling laughs. Röndum doesn’t mince words, either. He chews through syllables with all the careful consideration of a meat grinder. And while each tale descends into its own sweaty night terror, they all escalate from bad to worse. Despite its seemingly pedestrian title, “Aunt Christie’s Will” unpacks a maze-like mystery that ends with an especially morbid twist.
Of course, given this crew’s technical chops, Retromorphosis were bound to birth more head-spinning experiments. Psalmus Mortis injects fresh blood into their chilling cosmic horrors by fleshing out their technical arsenal with some unusual instruments of torture. The album opens with doomed power chords, pounding drum fills, then…spooky organ glows, tense strings and a ghostly gothic choir. “That was a new experience”, Bryssling says about adding more synthetic textures to the mix, though his inspiration came from a life-long obsession. “That sense of atmosphere was something old-school bands used to have”. The special effects aren’t just saved for its ominous opening instrumental oeuvre, either. “The Tree” puts a dystopian twist on the age-old tale of human greed with synths that glow like alien guts.
Freakier ambience isn’t the only new life form on Psalmus Mortis. “Everyone knows KC Howard is an insane talent”, Bryssling says. Howard left his brutally precise mark on the scene when he was behind the kit for Decrepit Birth, though Retromorphosis were formally introduced to their new drummer through Röndum, as the two had crossed paths during an episode of the Cali Death Podcast. Howard’s nuclear barrage of double bass kicks feeds the band’s cellular engine like jet fuel, driving high-flying album closer “Exalted Splendour” toward its blinding conclusion.
Ask Bryssling to identify what separates this new baby from their first born and the answer is, in fact, quite simple.”Retromorphosis is more free”. Put the song that bears their name under the microscope and feast your eyes on everything this band are capable of: non-stop blasting, brain-bursting bass fills, solos that would fry a supercomputer and pure unholiness. “I’m the one / chosen son / gifted and reborn”.
With Psalmus Mortis, technical death metal’s chosen ones rise from the grave.
Recording Studio: Pama Records AB, Kristianopel, Sweden Sharkbite Studios, Oakland, CA, United States
Production Credits: Produced, Mixed & Mastered by Magnus Sedenberg at Pama Records AB, Kristianopel, Sweden
Kimmo Kuusniemi’s ASA unveil the long-overdue release of "Collective Failure" + first music video for title-track! Check it out and stay tuned for more news! Click image to watch the video
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
Ads
Visionary artist KIMMO KUUSNIEMI's ANCIENT STREAMING ASSEMBLY (ASA) have released “Aurora Nuclearis”, a powerful 12-minute audiovisual experience, dedicated to the Late Keyboardist Esa Kotilainen. - Click image to watch the video
Click image to watch the video
Metal Shock Finland (World Assault )