I’m reaching out from an interdimensional void called Skinwalker Ranch from Hell with a brand-new issue of reviews, ready to inject chaos straight into your skulls. I’ve delivered plenty of destruction, death, obliteration, and massacre—along with an unimaginable dose of existential boredom—beyond the borders of our collapsing reality. The underground thrives, screaming in defiance as usual.
The underground metal isn’t just a genre, it’s a way of life, a shadow realm where passion burns hotter than profit. Major labels and mainstream trends don’t dictate the sound of this world; instead, it’s shaped in dingy basements, grimy rehearsal spaces, and the restless hearts of those who live for the music. Bands record on their terms, tapes and vinyl get passed from hand to hand, and every gig is an act of rebellion. From the relentless hardcore punk squats of Berlin, Oregon or New York to the death metal crypts of Tampa, Stockholm or Istanbul, wherever you live, the scene breathes in the dark, feeding off the energy of those who refuse to be silenced. There’s no corporate gloss here; just pure, unfiltered sound, born from frustration, fury, and the unshakable will to exist outside of society’s decaying grip.
With Skinwalker Ranch from Hell #2, I bring you another serving of interdimensional musical madness, packed with more haunted metal album reviews than decaying souls of humans could ever handle. And yes, you need them as the outcasts and the restless wanderers seeking something beyond the mundane. The underground metal scene may be built on alienation, but it forges connections stronger than steel. In cramped, sweat-drenched venues, amidst deafening chaos, we find unity in the distortion. The world outside may be rotting, but here, in the raw power of sound, we are alive!
Deathsecution – Demonstration of Evil (N/A, 2025)
A new one-man project emerging from the heart of the Balkan Peninsula. The Romanian musician known as Witchspit seems to have teleported himself straight back to the years 1982-1986. Handling all instruments and compositions, he first mixed whiskey and cola with Lemmy Kilmister, then downed beers with Venom and Bathory between 1981-1983, before jamming in a garage with Mantas (Death) and Possessed around ’83-’84—or at least, that’s exactly what the sound feels like.
The style and songwriting are built on a filthy and raw foundation, capturing the essence of early death and black metal. Since this is a solo project, he seems to be doing whatever he pleases, without constraints. Fans who only worship the demo tapes of early prime bands might dig this, though, of course, there will be those who despise it. I’d also recommend it to those who enjoy modern acts like Revenge and Midnight.
Samiarus – Demonstration (Unsigned, 2025)
Samiarus is a raw and aggressive black/death metal band from Oakland, California. Formed in 2023, they are still a new act, but their style is deeply rooted in American black metal, infused with a strong old-school, aggressive and primitive form of American death metal influence, and it’s delivered with a raw production. The recording has a very old-school, live-take feel to it.
This three-track demo features song structures that move at a raw and dark pace, with familiar riff patterns within the genre. They have put a lot of passion into crafting these compositions. The vocals are raw and aggressive, perfectly complementing their style. Fans of raw and primitive black/death metal will appreciate this release. And for labels looking for a dark and uncompromising black/death metal act, they need to check and reach out to Samiarus.
Purging – Demo ’25 (Demo – Unsigned – 2025)
Purging is a very new band, and they have just released their 2025 demo. Hailing from Long Beach, California, Purging plays heavy American death metal built on doomed tones, chords, and notation. They carry an old-school spirit. In some songs and sections, you can hear death-doom or doom-death riffs, but overall, their style remains rooted in old-school death metal.
At times, the drum recording seems to struggle with faster tempos, but after all, this is a demo. Across the five tracks, I never found myself bored or feeling like a song was lacking, which is a strong sign in itself. The dominant presence of mid-tempo, alienated, existential song structures stands out. The album cover’s clear H.R. Giger influence and Alien-like atmosphere further reinforce this vibe.
I’m not sure if they will lean more into doom or death metal in their future material, but if they continue to refine their songwriting, they have real potential. Fans of the style—and labels—should not overlook this band.
Solephemeros – Land of Shadows (Demo, 2025)
Solephemeros is a one-man project from the USA, with all instruments and compositions handled by Bradley Hazelworth. Musically, it leans towards an old-school death/black metal style. The black metal influence is primarily rooted in the American black metal tradition, though there are occasional traces of European influence, such as certain intros, clean vocals, and varied vocal experiments. However, overall, the compositions maintain the esoteric approach commonly found in US bands.
In 2023, Solephemeros released two separate singles. The recording and songwriting efforts show promise, but the project still has a long way to go. We’ll see how it evolves in future releases. Those interested in esoteric, doomy death/black metal with experimental sections may want to give it a listen.
Foetorem – Demo’25 (Unsigned – 2025)
On these cold days of February, I suppose the reason I keep coming across bands that reflect this cold, dark, and depressive atmosphere is because we are all under its influence. Foetorem is yet another new and dark band. They can be considered part of Denmark’s recent wave of dark, death-themed, existentially tormented doomy death metal.
This three-track demo is dominated by the legacy of old European doom-death metal, adorned with old-school brutal vocals, slow doom riffs, and classic darkened death metal riffs and drumming. The entire demo is steeped in a mix of new and old-school darkened death metal sound, with each track supported by doomy riffs and tempo changes.
I am eagerly anticipating their first full-length album. Fans of modern European-style darkened death metal and old-school doom-death metal should check this band immediately.
Celestial Crown – She Brought the Night (Independent, 2024)
Celestial Crown has been active since 2000, consistently producing music over the years. For those of us who haven’t engaged with many bands from the Baltic region, this group stands out as one of the rare acts emerging from Estonia. Their latest full-length album runs for 45 minutes and features a style I would describe as Western European-style modern doom-gothic metal from the second half of the 1990s.
At times, they incorporate early ’90s doom riffs and brutal-raw vocals, but for the most part, their sound leans toward a more modern gothic metal approach, dominated by clean and female vocals throughout the album. The songwriting primarily revolves around the guitarist’s riffs, leads, and rhythms. Their compositions align with the gothic doom metal wave that was abundant in the late ’90s and early 2000s.
The album’s production isn’t very professional, especially since the drums sound weak and off, which becomes the Achilles’ heel of the record for fans of this style. Personally, I didn’t enjoy this album much. I am not a fan of this kind of gothic doom metal, but there are still fans of late ‘90s modern gothic doom, both in Europe and in my country. Compared to similar bands from Central-Western and Northern Europe, this album doesn’t fall far behind. If you don’t mind the production flaws, you might actually enjoy it.
Flaying – Unrecognizable Waste (Demo 2025)
Flaying is a one-man project from Las Vegas, playing old-school themed brutal death metal. It reminded me of early Putrid Pile. The riffs and guitar tones in this nearly 10-minute, three-track demo are strong but somewhat unorganised. However, the intent is clear—brutal riffs, slam-style breakdowns, aggressive rhythm guitars, and varied vocal styles scream themes of death, serial killers, horror, and gore straight into your face.
That said, the guitar tones are quite weak, and some riffs don’t fully lock into the compositions. While there are solid ideas here, the limitations of a one-man project hold the recording back. If he refines his riffs and concepts into something sicker and forms a full band with a drummer and bassist, Flaying could evolve into a killer American brutal death metal act. As it stands, it doesn’t earn a full pass from me, but I’m definitely looking forward to the next release.
Phrenelith – Ashen Womb (Dark Descent, 2025)
I’ve been following Phrenelith since 2017, and they have returned with their new album, Ashen Womb. Active since 2013, these Danes continue to carry forward their trademark dark-themed, doomy old-school death metal style on this record.
This nearly 40-minute album includes two atmospheric instrumental tracks. Most of the riffs and song structures have a noticeable black metal feel, and compared to their previous albums, these elements are more dominant. Overall, they have continued along the path set by their 2021 full-length Chimaera somehow.
The album’s production and recording quality seem slightly improved this time. The bass guitar is well-integrated into the mix, and in songs where a raw guitar tone is used, it enhances the overall sound. However, the drum arrangements feel somewhat simplistic, and the transitions between sections are weak, though I attribute this to their stylistic approach. The songs feature more blackened guitar riffs and tones, with occasional moody keyboard support.
On this album, Phrenelith delivers a darker and more thematic death metal sound, where black metal-inspired riffs and compositions play a more dominant role. Personally, I would have preferred to hear this approach with a more powerful production—the guitars and overall sound feel a bit too raw for this style. However, every track is crafted with a focus on a more astral, black metal-influenced projection.
Overall, Ashen Womb is an album that should satisfy fans of European old-school death metal and black metal. They’ve earned a pass from me again.
Warbringer – Wrath and Ruin (Napalm Records, 2025)
Warbringer, who started as a young band in the early 2000s and became one of the pioneers of the thrash metal revival era, now continues their journey as middle-aged metal musicians, consistently releasing new albums. Their seventh album, Wrath and Ruin, is set to be released on March 14, 2025. The band hails from Ventura, California, but I wouldn’t describe this album as one heavily influenced by the Bay Area-San Francisco thrash metal style. Instead, elements of European thrash metal, particularly its occasional melodies and overall sound, play a significant role here. Harmonic riffs and moderately powerful rhythm guitars dominate all the songs.
It’s difficult to say that Warbringer is merely a clone of another band, a continuation of a certain era, or an imitator of a particular style. One of the band’s biggest advantages among the new wave of thrash metal groups is that they have developed a sound that can be considered their own within the thrash metal genre. This trait is even more prominent on this album, which I find to be a very positive aspect.
The album’s concept appears quite futuristic and contains sci-fi elements, judging by the cover art, layout, and the lyrics that I was able to paraphrase. It presents a futuristic setting where today’s problems continue to escalate, making it yet another addition to the dystopian-themed thrash metal world. Fans of rhythmic American thrash metal who appreciate bands staying true to their craft will find this album highly satisfying. Overall, I found it to be a solid and well-executed release.
Shrine of Denial – I, Moloch (Transcending Obscurity, 2025)
Ankara, historically renowned for its extreme and obscure metal acts, continues this tradition with Shrine of Denial, a band that embodies the city’s rich metal heritage. Their debut album, I, Moloch, showcases a fusion of transcendental death and black metal, blending the raw intensity of 1990s second-wave Northern European black metal with the visceral aggression of early 2000s carnal death metal. This amalgamation results in compositions dominated by these two distinct sounds, effectively capturing a ‘wall of sound’ that transcends seamlessly into their recordings of the songs in the album.
The vocals maintain an average tone, fitting well within the compositions, though a more aggressive delivery could have enhanced the overall impact. Intermittent, lethal lead guitar segments emerge throughout the tracks; increasing their frequency could elevate the music to an epic level. The album’s backbone consists of rhythmic and dynamic black and death metal riffs, complemented by drumming that closely follows these patterns, establishing a dominant character throughout.
Conceptually, the album draws inspiration from late 90s European bands, crafting transcendental mythological narratives rooted in ancient religious texts. In terms of composition quality, I, Moloch surpasses many contemporary bands within this genre that I’ve listened to.
Teitanblood – From The Visceral Abyss (Norma Evangelium Diaboli – 2025)
One of Spain’s most harrowing and destructive bands, Teitanblood, returns with a new albüm after a long six-year hiatus since their last release, The Baneful Choir. From what I’ve heard, this extended siesta has paid off, as the album is both dynamic and dark. By the third listen, it had fully drawn me in—you begin to catch subtle and different nuances the more you listen, especially in the lead guitar work, where more haunted and creative riffs have been subtly woven into the compositions at times.
The band’s typical style of crafting long songs remains intact, with tracks averaging around six minutes. In terms of production, their sonic explosions have been well captured and balanced, particularly in the guitars and drums. I couldn’t find any poorly mixed or out-of-place elements—overall, it’s clear they paid close attention to detail in that department.
Perhaps the band’s Achilles heel lies in the limited variation in riff and song structures that comes with their chosen style. However, despite this, they’ve managed to write compositions that stay true to their sound while incorporating some fresh parts. These small nuances make the new album feel more dynamic.
After their debut, Seven Chalices, this is now my favourite release of theirs. With From the Visceral Abyss, they continue to solidify their position as one of the most chaotic and powerful death/black metal bands in Europe.
Corpus Offal – Corpus Offal (20 Buck Spin – 2025)
Cerebral Rot (Seattle) was a pretty sick band, and they broke up in recent years. Their guitarists decided to carry on under the name Corpus Offal last year, releasing a demo, and now, not long after, their self-titled debut album is here. The band consists of Cerebral Rot guitarists Clyle (also of Caustic Wound and Fetid), Ian (Crurifragium), Jason (ex-Demoncy), and Jesse (Bell Witch). If you’re familiar with these guys and their other projects, you probably already have an idea of what to expect.
The band plays a unique brand of death metal, occasionally veering into psychotic death grind. It’s not exactly a continuation of their previous bands—there are some different, sicker riffs and songwriting choices here. That’s what made this debut more interesting to me, to be honest. The guitars aren’t as ultra-low-tuned as in their past projects, and there’s a heavier presence of psychotic riffs, with a stronger old-school death metal influence in the overall sound.
Personally, I liked the recording and production—everything sits just right in the mix. Fans of American death metal, brutal death metal, or death grind shouldn’t overlook this album.
Grotesque Ceremonium – Beyond The Masters (Deathrune Records – 2025)
One of the most prolific underground figures in Turkey is undoubtedly Batu Çetin. Aside from his main band, Cenotaph, he’s been involved in several other projects over the years, and one of my personal favourites among them is Grotesque Ceremonium. I’ve listened to all the albums from this project over the years, and with each release, their take on old-school, dark, and blasphemic death metal has become more refined and twisted in both sound and songwriting.
This new album is by far my favourite from them—it’s filled with deranged vocals and more complex, haunted riffs. The production has a deep and isolated feel to it, which perfectly suits the raw, satanic, and dark death metal atmosphere they aim to create. There wasn’t a single track on this album that bored or tired me.
For fans of old-school, slow-to-mid-tempo blasphemic death metal, this album is an absolute must-listen.
Urn – Morbid Death and Birth of Unreleased Nightmares (Osmose, 2025)
Urn makes its return after a rather long hiatus. This time, they bring with them a collection of troubled nightmares that you may have come across in different places before, but many of which you’ve probably never heard or seen. They’ve released a compilation album featuring previously unreleased tracks from their earlier full-length albums, as well as tracks from various singles, promo recordings, and splits. Osmose Records and Sulphuric must not have wanted these songs to be forgotten and wasted. According to the provided information:
• Tracks between 1 and 6 taken from The Nameless Wraith / Morbid Death split.
• Tracks between 7 and 10 taken from the Promo 1997 demo.
• Tracks 11-12 taken from the Promo 2005 demo.
• Tracks 13-14 (CD version only) taken from a spring 2006 recording session. Track 13 was previously unreleased. Track 14 appeared on Hellbangers Metal Forces (Iron Pegasus Records, 2008).
Most of these tracks truly reflect Urn’s old-school chainsaw speed metal-influenced black metal style. Considering these tracks weren’t on their full-length albums, I wouldn’t miss this compilation. Their new full-length album, titled Demon Steel, will be released on March 28 through Osmose Productions.
Urn – Demon Steel (Osmose Productions, 2025)
Two weeks after the release of their compilation albums and my review of them, Urn’s 2025 full-length Demon Steel was unleashed. That compilation was probably a sign of the sound change the band would pursue on their next album. It’s not a complete 180-degree shift, but it’s safe to say Urn has stepped pretty far outside of their usual style—this album doesn’t feature the black metal sound and songwriting we’ve come to associate with them.
Demon Steel is heavily influenced by classic heavy metal and the transitional era (1995–2005) of Teutonic thrash bands. It also carries the melodic rhythm and lead guitar elements heard in some classic/old school Finnish melodic extreme metal bands. Vocals have evolved in that direction too, although some songs still retain their old speed metal flair. Compared to previous records, the production is significantly polished—clean and sharp.
Once again, Urn has created something uniquely theirs, but I’m not sure how many of their longtime fans will embrace it. This isn’t a Cold Lake situation after Into the Pandemonium— it’s definitely not a bad album—but the old black metal sound is no longer present. Still, it’s undeniably metal!
Fans of heavy metal and thrash metal and black metal enjoy the oldschool blackened edge should absolutely give this a listen. As for Urn’s diehard followers—well, they’ll have to decide for themselves!
Toughness – Black Respite of Oblivion (Godz Ov War, 2025)
Toughness is a relatively new band formed in Poland in 2020, consisting of quite young musicians. The band plays a tough brand of death metal with strong bass riffs and dominant rhythmic guitar lines, influenced by early Decapitated, Demilich, and old Gorguts, along with touches of tech/jazz compositions.
On this second full-length album, I can say they’ve taken their music much further compared to their 2022 release, The Prophetic Dawn. A rhythmic and dark songwriting style dominates all the tracks. There are minor production flaws, but overall, the album has a rather acoustic, raw sound and production.
Most of the compositions are built around bass guitar-driven riffs. I wouldn’t call it a weak point—probably more of a conscious choice—but lead guitars and riffs could have been a bit more creative and occasionally more prominent.
All in all, I’m quite satisfied with this album. Death metal fanatics and underground metal heads who enjoy haunted technicality in extreme form—this one’s for you!
Benediction – Ravage of Empires (Nuclear Blast, 2025)
With Ravage of Empires, Benediction proves once again why they remain one of the most vital forces in British death metal. Over three decades into their career, the Birmingham
legends show no signs of fatigue, delivering a record that’s raw, relentless, and rooted in everything that made them great in the first place.
The album opens with “A Carrion Harvest” and never looks back—loaded with crushing riffs, pounding drums, and Dave Ingram’s unmistakable growl. Songs like “Engines of War” and
“Beyond the Veil (of the Grey Mare)” balances brutal aggression with mid-tempo groove, recalling their classic early ‘90s output while still sounding fresh.
What sets this album apart is its focus. There’s no filler, no overproduction, no trend-chasing. Just straight-ahead death metal with conviction. The guitar tone is heavy and grimy, the production by Scott Atkins hits hard without losing clarity, and the band sounds more united than ever.
Lyrically, Ravage of Empires is steeped in themes of decay—political, societal, even spiritual. But it avoids tired clichés and instead offers defiance: Benediction isn’t lamenting the fall— they’re soundtracking it.
This isn’t a reinvention, and it doesn’t need to be. It’s a statement of survival, from a band that has endured trends, line-up changes, and time itself. Benediction’s strength has always been their ability to sound timeless, and this album cements that legacy.This is a furious, riff- heavy record that will stand proudly in Benediction’s discography.
Unmerciful – Devouring Darkness (Willowtip Records- 2025)
On Devouring Darkness, Unmerciful unleashes another uncompromising assault of brutal death metal, proving once again why they remain a dominant force in the genre. Released through Willowtip Records, the album delivers ten tracks of ferocious speed, surgical precision, and relentless aggression.
Guitarists Jeremy Turner and Clinton Appelhanz continue to drive the band’s punishing sound, crafting intricate riffs that balance technical mastery with raw intensity. Josh Riley’s monstrous vocal performance perfectly complements the chaos, delivering gutturals that feel as hostile and unrelenting as the instrumentation behind them. Songs like “Infernal Conquering” and “Malice Unbound” showcase the band’s ability to blend complex structures with crushing brutality, while their cover of Origin’s “Vomit You Out” serves as a fierce nod to their technical death metal lineage.
The production remains clear without sacrificing the feral edge that defines the band’s sound, ensuring that every blast beat, tremolo riff, and guttural roar lands with maximum force. Devouring Darkness doesn’t reinvent Unmerciful’s formula — it sharpens it to a lethal point. This is brutal death metal delivered with absolute conviction and craftsmanship. For fans of extreme metal at its most uncompromising, Devouring Darkness is a must-hear.
Acherontas – Nekyia: The Necromantic Patterns (Zazen Sounds / III Damnation, 2025)
Acherontas aren’t just playing black metal — they must be practising rituals in the rehearsal room! Nekyia drags you deep into their esoteric world, where songs feel like spells and every note bleeds mysticism. This album doesn’t move in straight lines. It coils, it whispers, it crushes under the weight of ancient energies.
The album shines when it walks the tightrope between raw chaos and transcendental beauty. Tracks like “The Eleventh Inversion” and “Serpent’s Oath” channel that eerie energy perfectly, while “The Chalice of Fiery Transmutation” dares to weave in unexpected textures like haunting saxophone. Still, at times, the ritualistic layers weigh too heavily, slowing the flow in the album’s dense middle section.
Still, Nekyia isn’t built for the faint-hearted. It’s a gate-opening ceremony disguised as an album — dark, sprawling, and unapologetically devoted to the occult arts. Nekyia doesn’t seek easy catharsis or catchy riffs. It demands patience, total immersion, and a willingness to lose yourself in its ritualistic embrace. For those tuned to the deeper frequencies of black metal, Acherontas once again deliver something profound and unsettling.
Cancer – Inverted World (Peaceville Records, 2025)
Three and a half decades after they first clawed their way into the underground, Cancer return with Inverted World — and the fire still burns. Now based in Spain, where John Walker has relocated and rebuilt the band with a new lineup, Cancer sound like a group reborn through decay: rougher, angrier, and staring deeper into the realms of death. Musically, the spirit is pure death metal. Tracks like “Amputate” and “World Turned to Ash” churn with mid-tempo dread and razor-edged aggression. The riffs have weight, Walker’s guttural bark sounds as venomous as ever, and there’s an oppressive atmosphere hanging over everything.
Still, Inverted World feels real, heavy, and deeply human. Cancer aren’t chasing trends or polishing themselves clean. They’re crafting death metal with cracked hands and broken teeth, staying loyal to the style they helped create — just now doing it under the Spanish sun instead of the British gloom.
