This week’s Heavy Music HQ reviews include releases from Alkaloid, Archvile King, Coronatus, Crystal Lake, Elwood Stray, HamaSaari, Helix, Megadeth, Nite Stinger, Rotting Christ, Sky Valley Mistress, Temptress and Textures.
The ratings are on a 5-star scale.
Alkaloid – Bach Out Of Bounds (Season of Mist)
Alkaloid defy the “less is more” philosophy with their usual maximalist shred. Their new project, however, takes a sharp turn into classical territory with Bach Out Of Bounds, an album that feels like a daring acoustic experiment. This baroque-inspired tech-death clash shouldn’t work, but it does, capturing the spirit of Bach and transforming it into something engaging and dangerously compelling, complete with captivating female vocals.
While featuring reworked tracks, the album feels entirely fresh. Be warned: it is an exceptionally long and relentless sonic novel with no breaks, demanding dedicated listening time. This is not for the casual fan, but for those who crave unapologetic perfection and intricate virtuosity. Bach Out of Bounds proves extreme complexity and adventurous spirit can triumph without compromise, offering a demanding yet profoundly rewarding journey.
Rating: 4
(Carlos Tirado)
Les Acteurs de l’Ombre Productions
Archvile King – Aux Heures Désespérées (LADLO)
Archvile King is a solo project from French multi-instrumentalist Baurus. Aux Heures Désespérées is his second full-length, the follow-up to 2022’s A la ruine. The songs blend black and thrash metal, continuing the conceptual saga of the Worm King, emphasizing the futility of war.
In addition to the extremity of black metal and the tempo of thrash, Archvile King manages to inject traditional metal melodies from time to time, making things a bit more accessible. There is a cinematic flair at times as well on tracks like “Le chant des braves” and the title track. Aux Heures Désespérées provides plenty of variety and engaging compositions.
Rating: 3.5
(Chad Bowar)
Coronatus – Dreadful Waters (Massacre)
After focusing on the air as subject matter for 2021’s Atmosphere, the veteran German symphonic metal band Coronatus explore the oceans and seas with Dreadful Waters.
The band composes songs that have a lot of atmosphere, utilizing both orchestral and folk approaches. There’s plenty of vocal diversity, utilizing two female singers and a male vocalist. The vocals are sometimes operatic, other times more traditional, with spoken word adding spice to tracks like “The Siren.” Coronatus’ style is melodic and dramatic without devolving into melodrama and cheesiness. The songs on Dreadful Waters have a lot of depth and intricacy, and while there are some catchy moments, adding more would make the album even more memorable.
Rating: 3
(Chad Bowar)
Crystal Lake – The Weight Of Sound (Century Media)
Eight years after their previous release Helix, a couple lineup changes, and some touring, Japanese metalcore band Crystal Lake have brought their hybrid sound of metalcore and hardcore back with their latest release The Weight Of Sound.
The album starts like an auditory kick to the face with “Everblack” and it is a non-stop rollercoaster and does a great job of maintaining that momentum until the end. “Coma Wave” serves as a solid bookend to this high-octane adventure that balances out being a calm send out while still keeping the momentum of the album. Japan may not be the first country that comes to mind when one thinks of metalcore, but The Weight Of Sound reminds people that they can rock with the best of them.
Rating: 3.5
(Dalton Husher)
Elwood Stray – Descending (Out Of Line)
It’s not often that an album gets better as it goes along, but that’s what Elwood Stray find themselves in with Descending. The German group is too attached to their metalcore ways on the first handful of songs, going through rudimentary motions (harsh/clean vocal interplay, the obvious lead-up to a breakdown) all kept close to the three-minute mark. Tracks seven through ten are where Descending begins its transformation into something more appealing.
The dreamy melodies of “Detached” are an excellent display of their sublime vocal ranges, while the supreme aggression of “Ivory Tower” is its immediate opposite. The guitars are able to stand out, not always the case throughout the rest of the album, with an emotional solo on “Neon Fade” and appealing riffs on “Genesis.” Descending has a solid half of music going for it.
Rating: 3
(Dan Marsicano)
HamaSaari – Pictures (Klonosphere)
French progsters HamaSaari formed after Shuffle disbanded, issuing their debut album Ineffable in 2023. Pictures is a concept album based on images, paintings and dimensions and what we choose to place inside and outside them.
They draw from a wide palette of styles, with prog rock their touchstone while also injecting bits of folk, post rock and alt rock. Tracks like “The Wild Ones” and “Lost In Nights” shift from moody and mellow to heavy and melodic, while numbers such as the acoustic “Under The Trees” remain understated. Jordan Jupin’s vocals, with influences of everybody from Einar Solberg to Morrissey, are excellent, shifting from fragile and emotional to powerful and back again. There are a few lulls, but Pictures always has something interesting around the next musical corner.
Rating: 3.5
(Chad Bowar)
Helix – Scrap Metal (Perris)
In recent years Helix seem to have kept a low key profile….a far cry from the early 1980s when the Canadian band had a commanding presence in the nascent metal scene. Scrap Metal sort of celebrates the band’s more exuberant years. Half the tracks are unreleased songs from past recording sessions while the other half features a selection of songs from previous releases. Throw in 1 brand new song and you have an interesting retrospective album.
The new track is called “Stuck In The ‘80s” and – both musically and lyrically – it perfectly encapsulates the band’s spirit. Besides this track, the album boasts other fist-pumping hard-hitting metal tunes, such as “Fast & Furious” and the classic “Jaws Of The Tiger.” Bluesy numbers such as “Tie Me Down” and “The Same Room” give the album a bit of variety. Scrap Metal is an enjoyable album that reminds us why Helix need to get back on the road.
Rating: 4
(Chris Galea)
Megadeth – Megadeth (BLKIIBLK)
According to Megadeth mastermind Dave Mustaine, the band’s seventeenth album, a self-titled effort, will be their final studio release. It’s the first Megadeth album for guitarist Teemu Mäntysaari (Wintersun), bassist James LoMenzo’s first since 2009’s Endgame and drummer Dirk Verbeuren’s second record with the band.
Appropriately enough, Megadeth pays homage to various eras of the band. The ripping opener “Tipping Point” is straight from the old school, while “Let There Be Shred” has many qualities of the Rust In Peace era. There are also modern sounding numbers. And while the riffage and solos are top-notch throughout, a couple weaker tracks somewhat dilute the overall impact. The most interesting songs are the last two. “The Last Note” is Mustaine’s emotional farewell composition, followed by “Ride The Lightning,” a song he co-wrote when he was in Metallica. It’s a great way to bring things full circle. They’ve been one of thrash’s most influential bands over the past four plus decades, and with Megadeth, ride into the sunset on their own terms, their place in the metal pantheon secure.
Rating: 3.5
(Chad Bowar)
Nite Stinger – What The Nite Is All About (Pride & Joy)
The Brazilian band Nite Stinger are relatively new, having emerged with their self-titled debut in 2021. However, their influences date back to the glory days of the Sunset Strip when glam rock/hair metal reigned supreme.
What The Nite Is All About embraces that era of bands like Poison, Ratt and Motley Crue while giving it a modern touch as well. Heavy riffs, requisite guitar solos and melodic choruses can be found throughout the album. While a bit formulaic, the songs’ melodies have a way of burrowing into the listener’s brains. The 11 tracks have minimal filler, with What The Nite Is All About paying homage to a simpler time, the kind of escape we need these days.
Rating: 3
(Chad Bowar)
Rotting Christ – Aealo (Season Of Mist)
When a band re-records an album, many times it’s their early material, when production was primitive. Not so for Rotting Christ, whose album Aealo was their eleventh studio album, released in 2010. Always evolving, it was epic in scope and ambition, but wasn’t as well received as its predecessor, Theogonia.
This version is sonically superior to the original, with an improved mix that’s even more cinematic and dynamic. Diamanda Galas returns for the closing cover song “Orders From The Dead,” as does Primordial’s AA Nemtheanga on “Thou Art Lord.” The 2026 version of Aealo stays true to the original in terms of arrangements, with better sound the goal of the re-recording. It succeeds in doing that, aimed directly at those fans who think this is one of Rotting Christ’s more underrated releases.
Rating: 3.5
(Chad Bowar)
Sky Valley Mistress – Luna Mausoleum (New Heavy Sounds)
Luna Mausoleum is the second full-length from the UK duo Sky Valley Mistress. When they play live, Kayley “Hell Kitten” Davies plays half the drum kit while Max “Leather Messiah” Newsome plays guitar and the kick drum. They are a long way from the U.S. southwest, but the band’s name makes it clear that Kyuss is an influence, but in addition to desert rock, Sky Valley Mistress incorporate everything from punk to ’70s hard to rock to doom and even a little gospel.
Davies is a potent vocalist, singing with a lot of dynamics, shifting from sultry to soulful to belting it out. Sky Valley Mistress are equally adept at focused tracks like “Too Many Ghosts” and lengthier numbers such as “House Of The Moon” and the impressive 9-minute closer “Blue Desert II” that twists and turns through different styles. Luna Mausoleum is engaging from start to finish, with interesting songs, good musicianship and Davies’ aforementioned vocal performance.
Rating: 4
(Chad Bowar)
Temptress – Hear (Blues Funeral)
Who are Temptress exactly? A mournful doom metal act? A grungy throwback? A bruising hardcore unit? On Hear, their second album, the answer to these questions is all of the above. The trio has found a pile of hooks to fashion these songs around. “These Walls” and “Now Or Never” are hard-charging powerhouses that have “hit single” potential.
Every member of Temptress shares vocal duties, much like their See record, though the quicker paces put some napalm on that dynamic. They dial up the heaviness quota on “Downfall” and “Be Still.” The excruciating slowdown during the last few minutes of the former will be hard to top for the rest of 2026.
Rating: 4
(Dan Marsicano)
Textures – Genotype (Kscope)
Since Dutch crew Textures disbanded several years ago, prog metal devotees hoped dearly that the band would return one day. Well, the diehards got their wish, and new record Genotype serves as the conceptual counterpart to 2016’s Phenotype. The group essentially picks up where they left off, with a sound bridging metalcore, extreme metal and djent. The results don’t really redefine their sound, but hone and sharpen it.
These songs contain an appealing balance between metallic riffage and progressive complexity, melodic finesse and tasty atmospherics. And the execution is tighter than a duck’s arse. “At The Edge Of Winter,” featuring ex-Delain singer Charlotte Wessels makes a statement, distilling many of the band’s strengths within less than seven minutes of polyrhythmic grooves and incisive synths. Other standouts include “Measuring The Heavens,” which neatly builds to a crushing crescendo, and “Closer to the Unknown,” a potent mix of aggressive and accessible moments. Genotype doesn’t re-write the playbook, but serves as a welcome return for an outfit who appear reenergized after a break.
Rating: 4
(Brendan Crabb)
