This week’s Heavy Music HQ reviews include releases from The Berserker, Blutgott, Carmeria, Cirith Ungol, Darkest Hour, Dream Unending, The Duskfall, Ministry, No Man, Rattlesnakes, Sarcator, Satanic Planet, Shogun Mojo, Unchained Vengeance and Xentrix.
The ratings are on a 5-star scale.
The Berserker – The Reawakening (Apocalyptic Witchcraft)
The Berserker have had a colorful career to say the least; releasing four albums over the course of the early 2000s and rising to fame in the industrial metal scene before splitting back in 2010. But, as of 2020 they have gotten the band back together and their latest release The Reawakening is a testament to their longevity and commitment to the style.
Their sound can be best described as if Combichrist and Skinny Puppy got together and took inspiration from Francesco Paoli of Fleshgod Apocalypse. The Reawakening is a brutal yet harmonious mix of man and machine that holds no punches and manages to stand out among its contemporaries.
Rating: 3.5
(Dalton Husher)
Blutgott – Die Schlacht Um Knochenheim (Death Of The Blood King) (FDA)
Thomas Gurrath’s Blutgott Metal Universe is far more than a band. Born over twenty years ago as Debauchery, it now unites death metal, hard rock and German-language metal across more than twenty albums, with its own mythology, miniatures, a tabletop wargame, books and music videos. Die Schlacht um Knochenheim (Death of the Blood King) opens a new saga, and it’s gloriously unapologetic about its fantasy roots, with no politics, only monsters, dragons and war. The story pits Balgeroth, the Blood King of Knochenheim, against the demon lord Luziferon in a conflict that destroys the Imperium of Mankind and topples Asgard. The fiercest battle rages at the Dragon Fortress itself, guardian of the passage between Hell and Eden.
The format is the album’s boldest move. Two ten-track CDs tell the same story twice: the Debauchery version in English death metal, and the Balgeroth version in German. It’s less a translation than a retelling, with titles like “Im Schlund des Chaos” and “Drachen und Götter” replacing their English counterparts. Newcomers may feel they’ve joined the campaign midway, but accompanying singles and videos should help. Loud, theatrical, and proudly nerdy, this is a rallying cry for dark fantasy fans, but with tracks like “Fall Of The Skull Mountain,” “Death Of The Bloodking,” “Sturm der Blutdrachen,” and “Im Schlund des Chaos,” there’s something for anyone and everyone who falls into their world.
Rating: 3
(Jeanetta Briski)
Carmeria – Ex Cathedra (Self)
Ex Cathedra is Australian metal band Carmeria’s third full length album to date and, as with it’s predecessors, is self released. A theatrical, epic intro piece sets the scene for a high quality mix that sees the band in symphonic metal territory, with whispers of gothic rock and delivered with a strong melodic hard rock sheen.
In fact, this is an album absolutely dripping in melody, both vocally and musically. Nothing jars as intelligent, memorable guitar based songwriting is polished to gleaming with piano, orchestration and keytar as the band weave a symphonic path through the album’s nine tracks (plus that intro). Given what I’ve heard from the band previously, their melodic hard rock side is pushed even more to the fore on Ex Cathedra, but it sounds good on them and seems a natural progression as they look towards their future.
Rating: 3.5
(Andy Barker)
Cirith Ungol – All The Shadows (No Remorse)
Coming as a bit of a surprise, traditional heavy metal masters Cirith Ungol unveil their seventh album All The Shadows just a few years after it was reported that the band’s aging core were looking to hang things up for good. Joining the band for All The Shadows is Night Demon guitarist Armand Anthony, due to health concerns about longtime member Jim Barraza, as well as bassist since their reunion Jarvis Leatherby. To round it all out is the longtime duo of drummer Robert Garven and vocalist Tim Baker, helping the band not sway in their ability to churn out new classics after over 50 years as a unit.
The title track combined with “This Mortal Stain” make for a great combination of traditional heavy metal and the ability to slow things down to play the doom angle that the band has never shied away from. “Empty Tomb” may be a reference to the grave the band has yet to inhabit, giving way to one of the best tracks on the album. All The Shadows is an incredible album and a rightful addition to the band’s reunion output, rivaling Forever Black as the best of that bunch.
Rating: 4
(Tom Campagna)
Darkest Hour – Suffer Divine (MNRK Heavy)
Some bands don’t quite get the breaks, regardless of heads down work ethic and sheer consistency. Washington DC’s Darkest Hour haven’t accrued the streaming numbers or sizeable crowds of some of their more high-profile peers, but remain as furious as ever, more than 25 years after their debut, via new full-length Suffer Divine.
Drenched in twin-guitar harmonies and spanning the brutal, Slayer-infused title track (the standout cut here), “Warrior’s hefty beatdowns and Swedish flavors of “Salvation,” their sound efficiently bridges melodic death metal, thrash and metalcore. The songs rarely outstay their welcome, and there’s plenty of high-octane intensity and vocal fury, but also emotional outpourings and sonic density. “The Unforgiving Hand” offers respite from the sheer blistering speed. It’s possible to have a signature sound, deviate just enough from it each time around to elude stagnation, but not change things up too much so as to not alienate significant chunks of your fan-base. It’s a trick Darkest Hour pull off neatly here.
Rating: 4
(Brendan Crabb)
Dream Unending – Certain Uncertainties (20 Buck Spin)
Dream Unending are a band that is under constant evolution, starting merely writing doom albums but have been able to parlay that into some of the more intricate and well written atmospheric albums in recent memory. Back are Justin DeTore (Innumerable Forms) and Derrick Vella (Tomb Mold) on their third album Certain Uncertainties, making music nothing like their death metal alter egos were capable of. Opener “Blinding Allure” is a breathtaking trip through what appears at face value to be another death doom piece, but it makes up for that moniker in terms of pure pulchritude. How often is this genre as dynamic as this duo makes it sound?
There are a few guest spots from familiar faces like Leila Abdul-Rauf on trumpet, additional percussion from producer extraordinaire Benny Grotto on the title track, and Brendan Radigan joining the penultimate track “I Carry Your Burden” on vocals. There are surprises around every corner on this disc. “Strained Sincerity” has excellent melodic guitars that get layered and increasingly more complex with beauty juxtaposed against galloping riffs amping up the overall variety. Certain Uncertainties is the perfect title for an album and band that are far from clear cut, yet distinct in their own right.
Rating: 4.5
(Tom Campagna)
The Duskfall – The Everlasting Shadows (The Circle)
The Everlasting Shadows is The Duskfall’s first album in 12 years, released digitally earlier this year and now receiving a physical release via The Circle Music. Though substantial time has flown by between records, this is like reconnecting with an old friend, as the band have stuck to the melodic death metal that dates back to their formation in the early 2000s.
From those days, guitarist Mikael Sandorf is the last remaining original member. Sandorf switches from guitar to vocals for The Everlasting Shadows, emphasizing the throaty growls and avoiding any of the singing that popped up in 2014’s Where The Tree Stands Dead. Closer “The Peacemaker” and the title track are some of The Duskfall’s fiercest material to date, while the acoustic guitars in “World Of Lies” and keyboards in “Legion” take the opposite approach.
Rating: 3.5
(Dan Marsicano)
Ministry – Hate To Go (Take Out Or Delivery) (Cleopatra)
Back in 2007, Ministry said The Last Sucker would be their final album, but five years later returned with Relapse and have issued several records since then. Now they say their latest album Hate To Go (Take Out Or Delivery) will be their swan song.
The band’s seventeenth studio album continues their industrial-tinged metal with sound bites and politically charged lyrics from frontman Al Jourgensen. Even at 68 years old, he still has plenty of anger and passion, evident on tracks like “Voices Of Hate,” “We Hate” and “The White Man Lied.” For more than 40 years, Ministry have been the conscience of industrial metal, and whether or not Hate To Go (Take Out Or Delivery) turns out to be their final album, their place in the genre’s pantheon is secure.
Rating: 3.5
(Chad Bowar)
No Man – Between The Sword And The Neck (Iodine)
Between The Sword And The Neck is the latest release from the Washington, DC hardcore band No Man. The title comes from an interview with Palestinian poet Ghassan Kanafani, who described the impossibility of genuine negotiations between the oppressor and the oppressed. The album flies by in 26 minutes, with intense vocals from frontwoman Maha Shami and music that shifts from furious and chaotic to groovy and melodic.
The album includes lines from the aforementioned Kanafani along with other Palestinian poets. Shami’s mother and daughter also make appearances. “They Have Names” features names of those killed, spoken by their own friends and family. There are also guest appearances from Hirs’ Jenna Pup and Faim’s Kat Lanzillo-Hidalgo on opener “In Spite.” Between The Sword And The Neck is politically and emotionally charged, musically dynamic and impactful.
Rating: 3.5
(Chad Bowar)
Rattlesnakes – Shadows In The Night (Listenable)
Nottingham’s Rattlesnakes only formed in 2024, but they’ve moved quickly. A well-reviewed EP, a headline tour with several sell-outs, and a Listenable Records deal in January 2026 have led to Shadows In The Night, their debut full-length, and it should cement their reputation as one of the UK’s most promising young metal acts. The sound is rooted in the NWOBHM, with galloping rhythms, twin guitars, and gang vocals, plus a modern speed-metal edge.
The title track, “Destroyer,” and “Lost Nor Found” are built for a live crowd, while “The Other Side Of Midnight” and “For Even Gods Can Die” bring the vintage gallop. “Spellbound” blends classic riffing with a heavier, modern rhythm section. Rowena Neale’s commanding vocals tie it all together. The record goes deeper, too. “Breakdown” tackles mental health and lost faith with real care, and “Where The River Meets The Sea” is a standout ballad, lifted by strings and flute, about longing for a more natural way of life. It’s occasionally wide-ranging, but the band’s conviction holds it together. A confident, heartfelt debut.
Rating: 3
(Jeanetta Briski)
Sarcator – The Ones We Follow (Reigning Phoenix)
It’s easy to forget that even though Sarcator have been together since 2018, all the band members are still in their early 20s. That may partially account for the monumental shift in sound on their fourth album, The Ones We Follow, as the Swedish group goes from blackened thrash metal to country-fried hard rock. The raspy growls are kept in play, but that’s the lone holdover from their past.
Such an abrupt change shouldn’t work as well as it does, but Sarcator are fully committed. Like cowboys in corpse paint riding through dusty plains on the hunt for their next score, the band brings along banjos and harmonicas to sweeten the deal. Only young musicians open-minded and unafraid to challenge prior expectations could pull off what Sarcator does on The Ones We Follow.
Rating: 4
(Dan Marsicano)
Satanic Planet – Dead Deities (Relapse)
Satanic Planet’s Dead Deities makes it hard to dismiss the band as a gimmick. With Lucien Greaves, Luke Henshaw, Dave Lombardo, and Justin Pearson now writing and recording together, the group sounds sharper and more certain, delivering eleven songs of dark, abrasive protest music that wears its theatricality openly without letting the show swallow the point. Lombardo’s immense drumming drives everything; Pearson supplies hardcore edge, and Henshaw’s blackened synths add a funereal chill. Tolling bells, noise interludes, and ritualistic group vocals make the record play like one long descent.
The album finds its footing with “Church Burning,” written after the 2022 arson attack on The Satanic Temple’s Salem headquarters. Greaves answers with defiance rather than despair, arguing that violence erodes opponents’ credibility. The title track widens the frame into a rejection of blind obedience to any authority. “Sam Alito’s Mom” and “Ammosexual” add mockery as a weapon, keeping the anger human rather than preachy. The back half turns stranger and more atmospheric, with “Cannibal Syndrome” and “Ouroboros” suiting the bleak outlook before “Satan’s Spawn” closes things ceremonially. What elevates the record is how lived-in the politics feel: named targets, concrete grievances, rage with direction. It lacks subtlety, and some shorter cuts play as mood pieces, but at eleven tracks it stays lean. Loud, pointed, and dramatic, it’s for anyone wanting heavy music that stands for something.
Rating: 3
(Jeanetta Briski)
Shogun Mojo – Shogun Mojo (Frontiers)
Shogun Mojo are a new band formed by vocalist Dan Reed (Dan Reed Network) and guitarist Tommy Thayer (KISS). The lineup for their self-titled debut album is rounded out by a couple of Sweden-based musicians: bassist Bengt Jonasson and drummer Robert Ikiz.
The musical direction is evident from the opening song “Funk Party,” featuring a hard rock base and funky groove. There are plenty of radio-ready tracks, from “Gonna Raise Hell” to “Turn It Up.” The influences are from the ’70s and ’80s, with Reed’s unique vocal style giving things a timeless vibe. There’s also a version of the Phil Collins’ “In The Air Tonight,” which has been sped up and funkified. Shogun Mojo is rooted in the past, but is still a breath of fresh air.
Rating: 3
(Chad Bowar)
Unchained Vengeance – Unbound And Unforgiving (Nameless Graves)
Unchained Vengeance are a Portland, Oregon duo formed by vocalist Nick Courtney (Vicious Rumors) and multi-instrumentalist Nick Wusz (Dolven, Travellers Rest). Their debut full-length is Unbound And Unforgiving.
Courtney sang in an Iron Maiden tribute band, and that’s the musical direction of the album. The songs are epic and melodic, blurring the line between traditional and power metal. The songs are lengthy, dramatic and potent. There are also several instrumental interludes that don’t really elevate the proceedings, as Courtney’s powerful Dickensonesque vocals are the star of the show. Unbound And Unforgiving has plenty of high points along with a few lulls that dilute the overall impact.
Rating: 3
(Chad Bowar)
Xentrix – Allied With The Enemy (Listenable)
The latest album from Xentrix, one of the enduring pillars of British thrash metal, is Allied With The Enemy. Nearly four decades into their journey, the band remains a roaring beast, unleashing a tempest of devastating riffs and relentless rhythms. Four years after Seven Words, their newest album reveals another facet of the band’s musical identity.
Following their return with 2019’s Bury The Pain after a 23-year hiatus, Xentrix embraced a more modern approach to songwriting and production, one that continued on its successor. This time, however, Dennis Gasser and Kristian Havard, the two remaining members of the classic lineup, steer the band back toward its old-school roots. While progressive and technical elements have been part of Xentrix’s early musical vocabulary, Allied With The Enemy revisits a distinct era of their sound, bringing previously understated aspects of their identity to the forefront. Tracks like “Doomsday Hook,” “The Dark Eternal,” and “We Drink the Same Poison,” alongside Andy Sneap’s production, make this album a compelling thrash metal statement. Bridging old-school aggression and modern precision, Allied With The Enemy captures the excitement and fervor of thrash metal’s golden age.
Rating: 4
(Arash Khosronejad)
