Death metal heavyweights Decapitated return with their eighth album ‘Cancer Culture.’ Read our thoughts on this yummy slab of brutality here.

For anyone who is a fan of all things metal and rock, Blue Heron’s debut, ‘Ephemeral’ (Kozmik Artifactz (DE), Seeing Red Records (USA)) is a clear winner, and not to be missed by any means.

The Dark Alamorté weave an epic tale of loneliness and anger on their brutal new album ‘Lunacrium Thepsis.’ Read our review here.

On their new album ‘Malicious Intent,’ Sheffield outfit Malevolence perfect their blend of metal and gut-thumping hardcore.

Wholly different from his previous offerings, ‘Azúl Arriba, Blue Below’ displays Juan Tigre’s manifold ability to create plush ambient soundscapes.

‘Crime As Theatre’ is a crushing debut, wielding vitriol and outrage with expert care. Armagideon Time is the next torchbearer of hardcore punk.

Almost three years in the making, ‘Complete Control’ sees Baltimore maulers Misery Index make their brutal post-pandemic return.

With their latest studio recording, ‘Misery Made Me’ (UNFD Records), Silverstein delivers a refined, deftly executed album that hits hard, both emotionally and audibly.

Trivium frontman Matt Heafy unleashes ‘Rashomon,’ the first fruits of his black metal project Ibaraki; as dramatic and thought-provoking as it is unrelentingly violent.

Love Hertz is an interesting concept: a book about a DJ who has discovered a secret sound frequency capable of taking over minds and bodies, and a soundtrack to match the party atmosphere it dwells within. The book touts itself as a “romantic comedy with a sci-fi twist,” while the package altogether is deeply rooted

Agnes Vein’s ‘Deathcall’ is a rare breed, with cross-genre appeal for death, doom and black metal listeners in its sludge-fuelled songwriting.

‘The Agony & Ecstasy of Watain’ is the dingiest, most elaborate and most ambitious expression of darkness yet from Swedish stalwarts Watain.