UMUR "Extinction Level Event" is a one-track single release by US, California based thrash metal act Dark Angel. The single was released through Reversed Records in April 2025 and functions as a teaser release for Dark Angel´s forthcoming fifth full-length studio album bearing the same title. Dark Angel formed in 1981 under the Shellshock monicker but changed their name to the current one in 1983. They released four full-length studio albums between 1985 and 1991 before disbanding in 1992. Especially drummer Gene Hoglan went on to become one of the most prolific musicians on the scene subsequently playing with artists like Death, Strapping Young Lad, Dethklok, Testament, and Fear Factory (among others). Dark Angel reunited in 2013 (in the same quintet lineup who disbanded in 1992) initially playing sporadic shows, but after some years they started writing new music. Tragedy struck when founding member/guitarist Jim Durkin suddenly passed away in March 2023 at the age of 58, but the band soldiered on replacing Durkin with Hoglan´s wife Laura Christine.

Stylistically "Extinction Level Event" isn´t a continuation of the technical multi-riff/multi-section thrash metal style of "Time Does Not Heal" (1991), and if comparisons have to be made I´d place the musical direction to somewhere between the aggressive raw thrash metal of "Darkness Descends" (1986) and the slightly more sophisticated and technically leaning thrash metal style of "Leave Scars" (1989), probably leaning more toward the latter than the former. We can establish right away that Dark Angel haven´t included any contemporary influences and other than a more detailed and well defined contemporary production style (although still with an old school organic touch), "Extinction Level Event" could well have been released in the 1980s. So, Dark Angel aren´t here to revolutionize thrash metal, but rather just play the music style of their youths with the right amount of skill and aggression. After getting used to Ron Rinehart having a more worn and raw voice and vocal style than his 80s/90s self, "Extinction Level Event" grew on me after a couple of listens and Dark Angel arguably still have their place on the thrash metal scene. A 3.5 star (70%) rating is deserved.

UMUR "Kinship" is the second full-length studio album by Danish metal act Iotunn. The album was released through Metal Blade Records in October 2024. It´s the successor to "Access All Worlds" from 2021. There have been no lineup changes since the predecessor. Iotunn formed in Copenhagen in 2015 and released the promising "The Wizard Falls" EP in 2016 and with the release of "Access All Worlds" they started making headlines.

Stylistically the material on "Kinship" is a natural successor to the material featured on "Access All Worlds". Progressive/power metal combined with both death, black, folk, and even doom metal elements, and all delivered in an epic and atmospheric package (it´s one of the better combinations of melodic tinged metal and extreme metal I´ve heard in a while). Lead vocalist Jón Aldará (Barren Earth, Hamferð) performs both epic clean semi-operatic vocals (both low end and high end cleans), death metal growling, and black metal snarling, and as a result the vocal part of the album is quite varied. The material on the 8 tracks, 68:23 minutes long album is both eclectic in style, epic in sound, but also powerful, heavy, and massive. It´s relatively polished, but still with enough rawness to pack a punch when that is needed. Other than the paatos filled and skilled vocal performance, one of the other great assets of "Kinship" is the harmony- and lead guitar work of the two Gräs brothers, Jens and Jesper. The album is loaded with soaring epic leads that´ll have you picture great mountains and beautiful valleys, fantasy castles and dark wizards. The scope of the music is almost cinematic in nature.

"Kinship" features a high quality production job courtesy of prolific Danish producer Jacob Hansen. This is a perfect sound production for this type of music. As mentioned above the sound is relatively polished and you can hear all details clearly in the mix, but there is still bite and rawness enough for this never to become a sterile listening experience. Combined with the intriguing, sophisticated, and powerful songwriting, and the high level musical performances, this results in a high quality sophomore studio album from Iotunn. A 4 - 4.5 star (85%) rating is deserved.

UMUR "Malignant Crucifixion" is an EP release by Swedish death metal act Cryptorium. The EP was independently released in February 2025. It follows the release of Cryptorium´s November 2024 debut full-length studio album "Descent into Lunacy". The EP consists of four tracks and features a 14:06 minutes long playing time.

"Schizophrenic" and "Black Despondency" were both recorded during the sessions for "Descent into Lunacy" but left off the debut album. "Schizophrenic" is an old demo track, which in it´s original version was included on the July 2023 "Cryptic Bloodlust" demo, but this version sounds vastly different to the version found on the demo. Stylistically the material on "Malignant Crucifixion" is in one of the more filthy and raw versions of old school Swedish death metal out there and that goes for both the studio tracks and the two live tracks which bookend the EP. Extremely raw, murky, and intense old school death metal.

The quality of the songwriting is decent, the sound production raw and organic, and the musicianship solid, but "Malignant Crucifixion" is not a release which adds much to what was presented on "Descent into Lunacy". A 2.5 - 3 star (55%) rating is warranted.

UMUR "The Abysmal Womb" is the debut full-length studio album by Swedish death metal act Moondark. The album was released through Pulverised Records in December 2024. Moondark was a very shortlived group who formed, released a demo, and then disbanded all within the year of 1993. Several members of Moondark subsequently went on to form Dellamorte. Moondark reunited in 2011 and re-issued their 1993 demo as the 2015 "The Shadowpath" demo/album. "The Abysmal Womb" is however their first real studio album.

Lead vocalist/bassist Mats Berggren is not part of the new incarnation of Moondark and therefore new members Allan Lundholm (bass) and Alexander Högbom (lead vocals) have been added, making Moondark a quintet on "The Abysmal Womb".

Stylistically Moondark pretty much pick up where they left off, although Högbom adds a more varied vocal arsenal to the band´s music, which is a welcome change from the 1993 demo. The music is still ultra heavy and relatively primitive old school death metal. It´s not really death-doom metal (the riffs are typically a bit too fat and chuggy for that) but there are some parts of the music which could be labelled that. It´s just generally very heavy music with simple brutal riffs and rhythms, a brutal growling/screaming vocalist in front and the occasional morbid leads to add an eerie mood to the soundscape.

The sound production is powerful, detailed, and very well sounding. It´s great to hear Moondark´s music presented with a good quality sound production. It really boosts the music and makes it more interesting and impactful. Upon conclusion "The Abysmal Womb" is precisly what I had hoped it would be after listening to the 1993 demo. An improvement in all departments and an overall good quality death metal release in the heaviest end of the spectrum. A 3.5 star (70%) rating is deserved.

UMUR "Arcana Rising" is the debut full-length studio album by Norwegian doom/heavy metal act Coffin Storm. The album was released through Peaceville Records in March 2024. It was preceded by the February 2024 pre-album single "Over Frozen Moors". "Over Frozen Moors" appears as the album opener on "Arcana Rising" in the same version as on the single. Music videos were released for the tracks "Over Frozen Moors" and "Open the Gallows". Coffin Storm formed in 2020 and features the trio of Bestial Tormenter (bass, guitars), Apollyon (drums), and Fenriz (vocals). All three prolific personalities on the Norwegian extreme metal scene having played with/or still play with artists like Dødheimsgaard, Darkthrone, Nekromantheon, Internö, Immortal...etc.

Stylistically the material on "Arcana Rising" is a mid-paced, raw, and energetic heavy metal/doom metal style. Fenriz has an epic singing style but at the same time he also sounds a bit demented. It´s like listening to Carl-Michael Eide (Virus, Aura Noir, Ved Buens Ende, Infernö) meeting a less accomplished Messiah Marcolin (Candlemass, Memento Mori). Fenriz vocals are pretty surely an aquired taste, but to my ears they provide the music with some charming oddball personality and they work really well within the context of Coffin Storm´s music. The riffs are sharp and heavy, the drumming is organic and powerful, and the leads and harmonies are well executed.

The tracks are well composed and feature enough creative details to keep the album entertaining throughout the 6 tracks, 44:54 minutes playing time. Coffin Storm are not afraid to write long tracks, because they know that they are able to deliver a powerful and intriguing attack throughout the songs. Best examplified by the 10:26 minutes long "Open the Gallows". The album features an organic, raw, and detailed sound production too, and "Arcana Rising" is an every way possible a high quality release. If a comparison is to be made it would be to Candlemass but Coffin Storm are slightly more raw, dark, and unpredictable. A 3.5 star (70%) rating is deserved.

UMUR "Empress of Evil" is a one-track single release by US, California based thrash metal act Nukem. The single was independently released in April 2023. It´s the first release from Nukem since they released their debut full-length studio album "The Unholy Trinity" in 2016. It´s worth a mention that Gary Holt (Exodus, Slayer) plays guitar solos on "Empress of Evil".

Stylistically Nukem have changed quite a bit since "The Unholy Trinity" which was a thrash metal release with many nods toward speed metal and traditional heavy metal. "Empress of Evil" is instead an aggressive and brutal thrash metal song and it´s fans of an artist like Power Trip rather than fans of the more melodic thrash/heavy metal style of the debut album who are gonna appreciate this single. The vocals are raw, snarling, and angry and the riffs are sharp, intense, and brutal. The same with the drumming.

"Empress of Evil" features a fat, massive, and powerful sounding production job. If this turns out to be a teaser release for a forthcoming album, there is plenty to look forward to. Personally I thought Nukem had found their own charming thrash/heavy metal niche with "The Unholy Trinity" and had hoped they would continue down that road on future releases, but this is pretty intense and powerful thrash metal too and definitely worth a listen. A 3.5 star (70%) rating is deserved.

UMUR "The Patchwork Gehinnom" is the third full-length studio album by Polish black metal act Iperyt. The album was released through Pagan Records in December 2017. It´s the successor to "No State Of Grace" from 2011 and features one lineup change since the predecessesor as bassist Abuser has been replaced by Vincent.

Iperyt play an industrial tinged extreme metal/black metal style featuring programmed drums. That description probably puts off at least half of the readers of this review, but please read on as Iperyt are an act who have something to offer. The tracks are dark, aggressive, and powerful black metal but the programmed drums provide a cold futuristic atmosphere, and this is one of the few cases where programmed drums actually have some merit. They are not here just as a replacement for a human drummer, but they actually contribute to the soundscape adding the right gloomy industrial atmosphere to the material. Compared to the earlier releases by Iperyt, "The Patchwork Gehinnom" is their least industrial tinged release though and it´s much closer to black metal than industrial metal. The vocals are snarling and aggressive and Iperyt shows mastery of both blasting fast-paced parts and heavy mid-paced parts. It´s the depressive atmospere and a feeling of hopelessness which are the defining elements of "The Patchwork Gehinnom". In other words this is a pretty bleak release with absolutely no light in sight.

"The Patchwork Gehinnom" is well produced and it manages to both pummel the listener with an abrasive and massive layering of guitars, bass, programmed drums, sound effects, raspy black metal vocals, and the occassional samples, but also challenge the listener´s intellect with some intriguing details. The songwriting is effective but slightly one-dimensional other than the atmospheric "Scars Are Still Sexy" and album closer "Checkmate, God!", which shows a slightly more melancholic version of Iperyt, stepping outside their usual black metal style and adding some semi-melodic raw vocals instead of the snarling vocals. "The Patchwork Gehinnom" is overall a strong release from Iperyt and probably their most accessible up until then. A 3.5 star (70%) rating is deserved.

UMUR "Department of Apocalyptic Affairs" is the second full-length studio album by Norwegian black/avant-garde metal act Fleurety. The album was released through Supernal Music in 2000. It´s the successor to "Min tid skal komme" from 1995, although the two full-length studio albums are bridged by the 1999 "Last-minute Lies" EP. Fleurety consists of the duo of Alexander Nordgaren (guitars), Svein Egil Hatlevik (drums, synths, vocals), but in addition to the core duo "Department of Apocalyptic Affairs" also features a host of prolific guest appearances from artists like Maniac (Mayhem, Gravetemple, Sinsaenum, Tormentor), Garm (Ulver, Borknagar, Arcturus), Einar Sjursø (Virus, Infernö), and Hellhammer (Mayhem, Shining, Arcturus, The Kovenant), among others.

"Department of Apocalyptic Affairs" opens with "Exterminators" and right off the bat it´s audible that Fleurety have completely changed since the black metal days of "Min tid skal komme". If you´re familiar with the musical direction of the "Last-minute Lies" EP, the avant-garde metal style of "Department of Apocalyptic Affairs" probably won´t come as a surprise, but if you come to "Department of Apocalyptic Affairs" directly from listening to "Min tid skal komme" and expect that "Department of Apocalyptic Affairs" will sound anything like the debut album you will as a minimum be very surprised and in some instances (depending on your tastes and open mindedness) very disappointed by the highly experimental and ever changing avant-garde metal style of "Department of Apocalyptic Affairs".

The vocals vary between semi-jazzy female clean vocals, male clean vocals (of many different types), and more aggressive snarling male vocals. In that respect Fleurety have brought back a few of the extreme metal elements they had otherwise left behind on "Last-minute Lies", but other than a few heavy riffs and punchy rhythms here and there and the aggressive raw vocals, there isn´t much here which reveals that only 5 years before Fleurety were a black metal playing unit. It´s fellow contemporary countrymen Ulver, Atrox, and to a lesser extent Manes that Fleurety have something in common with. The bass, guitars, drums, and vocals are complimented by programmed drums and effects, keyboards, and saxophone, making "Department of Apocalyptic Affairs" quite the interesting affair in terms of instrumentation.

"Department of Apocalyptic Affairs" features a decent quality production job, but the distorted guitars at times sound a bit powerless. I´m not sure they are meant to be massive and heavy, but it would have been nice with a bit more punch and power when the music occasionally features heavy riffs. Heavy riffs aren´t the dominant musical element of the album though. That´s instead dissonant lead- and (dis)harmony themes, odd jazzy interludes, and all sorts of other weirdness and abrupt musical shifts. To my ears most tracks have a musical red thread, but there are moments where the avant-garde nature of the compositions almost overpower the songwriting and become weird for the sake of it. Upon conclusion "Department of Apocalyptic Affairs" is a bold sophomore studio album from Fleurety. They certainly don´t cater to their original fanbase with this one, but I respect that this ws their musical statement at that point in their career. A 3.5 star (70%) rating is deserved.

UMUR "Demo 1988" is the first demo recording by Finnish thrash metal act Oppression. The demo was independently released in (as the title suggests) 1988. Oppression formed in 1987 and disbanded in 1992 after releasing three demos and one EP. All recorded material by Oppression was reissued on the 2015 "Scars 1988-1990" compilation album released through Xtreem Music.

Stylistically the 3 tracks on the 14:19 minutes long demo are in an aggressive thrash metal style which at times is even slightly technical in execution. When most brutal, fast-paced, and aggressive Oppression touch proto death-thrash metal territories. They are an incredibly well playing band considering that this is their first demo, and they even manage to bring variation with the heavy mid-paced and quite cleverly composed "Parasites". Oppression are no one-trick pony, although they still have a consistent musical style. Lead vocalist Santtu Laakso has a sandpaper raw delivery which perfectly suits the music.

The late 1980s Finnish thrash metal scene have some real gems hidden here and there (Mengele, Phlegethon and Protected Illusion are three other worthwhile recommendations) and this demo is one of them. Oppression is one of those artists where it´s hard to understand why they didn´t get a recording contract. There are tons of quality here both in terms of high level musicianship, a very well sounding demo production, and above all some well written and effective thrash metal tunes. A 3.5 star (70%) rating is deserved.

UMUR "...It's Amazing, How Stupid Some People Can Sometimes Be" is the debut full-length studio album by Finnish crossover thrash metal act Dirty Damage. The album was released through Euros Records in 1988. Dirty Damage formed in 1984 in Helsinki, Finland and their only output was this debut album and a subsequent 1988 single release featuring two tracks from the album.

Stylistically Dirty Damage play a relatively standard crossover thrash metal style influenced by the likes of Suicidal Tendencies and D.R.I. In that respect "...It's Amazing, How Stupid Some People Can Sometimes Be" isn´t anything out of the ordinary although they sometimes cross into more regular thrash metal territories too (I even hear nods towards rock´n´roll and traditional heavy metal/speed metal), making the album a bit more varied than many ofter crossover thrash metal releases from that time. The tracks are all 1-3 minutes long (short) bursts of aggressive energy though, so no long epics on this one.

Dirty Damage are a well playing unit and lead vocalist Marko Rytkönen (who would soon depart and join Protected Illusion) has the right attitude filled snarling raw delivery. "...It's Amazing, How Stupid Some People Can Sometimes Be" features a raw, unpolished, and almost live sounding production job, but the rawness of the production suits the material well. A 3.5 star (70%) rating is deserved.

UMUR "Red Planet" is the third full-length studio album by Norwegian stoner doom metal act Valhall. The album was released through Housecore Records in June 2009. It´s the successor to "Heading for Mars" from 1997. I´m not sure the band were split-up in the years between the two albums but they at least had a longer hiatus. Valhall formed in 1987 and originally featured Gylve Nagell (aka Fenriz from Darkthrone) on drums on their first two demos (and on some tracks on their third demo). Nagell left in 1990 and didn´t perform on Valhall´s two 90s studio albums, but he has returned to the fold and plays drums and performs vocals on "Red Planet". Lead vocals are still handled by Ronny Sorkness though.

While Valhall played a hybrid traditional doom metal and stoner doom metal style on their first two releases, they have completely shed the traditional doom metal elements from "Red Planet" which is a pure stoner doom metal release equally influenced by Black Sabbath and later contemporary psychedelic tinged stoner metal bands. With "Red Planet" I finally got what I was screaming for on the first two releases, which is a bottom heavy sound production, and although the drums feature a slightly powerless and dry tone, the heavy fuzzy guitar tone and organic bass make up for a lot of that. Even Sorkness who I have previously critisized for his non-distinct and sub par vocal performances has stepped up on "Red Planet". Don´t get me wrong the vocals are still the weak link of "Red Planet", like they were on the two preceding album releases, but here they are decent and tolerable.

The songwriting is solid but nothing out of the ordinary for the genre, and I can think of quite a few contemporary releases in the same genre which I would put on before this one. So, upon conclusion "Red Planet" is a decent quality comeback release from Valhall, but it´s probably more a hobby project for the members than a serious band as we haven´t heard from them since. I don´t know if that´s what keeps me a litte unconvinved of the overall quality of this release, but to my ears it´s simply a bit redundant. A 2.5 - 3 star (55%) rating is warranted.

UMUR "Heading for Mars" is the second full-length studio album by Norwegian stoner doom metal act Valhall. The album was released through Head Not Found in 1997. It´s the successor to "Moonstoned" from 1995. Formed in 1987 it took no less than five demos and a stylistic journey from a hybrid death, thrash, black, doom metal style too a more pure doom metal style on "Moonstoned" before Valhall landed on the music style heard on "Heading for Mars"...

...which is a Black Sabbath influenced stoner doom metal style combined with more epic traditional doom metal moments and even some 70s hard rock touches. Lead vocalist Ronny Sorkness gets the job done, but he doesn´t have a distinct voice or vocal style and the vocals are arguably the weakest link of "Heading for Mars" (just as they were on "Moonstoned"). Another issue from "Moonstoned" contineus on "Heading for Mars" too and that´s the below par sound production values. Doom metal and stoner doom metal releases need a heavy organic bottom end but this sound production is thin and lacking the heavy bass bottom which is so important for an album in this genre.

Repeating the same mistakes isn´t a plus in my book and Valhall seem content playing a similar doom metal/stoner metal style to the one found on the debut album (although leaning more towards stoner doom this time around), which in itself isn´t an issue, because the compositions are actually relatively well written and effective. But continuing with a lead vocalist which sounds out of his league and a thin sound production lacking bottom end are unforgivable. A 2.5 - 3 star (55%) rating is warranted.

martindavey87 Released in 1996, ‘Black Moon Pyramid’ is the fifth studio album by German hard rock guitarist/band Axel Rudi Pell. It follows on from the incredibly strong ‘Between the Walls’, which marked a creative shift in the band, as the quality of writing, production and overall performances took a huge step up.

However, in all honesty, perhaps they took a slight step back with this one. It’s a solid album, don’t get me wrong, and continues in exactly the same vein as its predecessor, but there’s just nothing overly remarkable I can think of to comment on.

‘Fool Fool’, ‘Getting’ Dangerous’, ‘Hole in the Sky’, ‘Touch the Rainbow’, ‘Aquarius Dance’ and the title track itself are all good songs, displaying furious guitar virtuosity and Jeff Scott Soto’s powerful vocals that demand attention. But that’s about all I can think of worth mentioning. ‘Black Moon Pyramid’ has been on my playlist for quite a white now, and I just couldn’t figure out what to say about it. It’s a solid, hard rock record, simple as that.

UMUR "Moonstoned" is the debut full-length studio album by Norwegian doom metal act Valhall. The album was released through Head Not Found in February 1995. Valhall formed in 1987 and originally featured Gylve Nagell (aka Fenriz from Darkthrone) on drums on their first two demos (and on some tracks on their third demo). Nagell is however not part of the lineup on "Moonstoned" and actually hadn´t been involved with Valhall since 1990. Valhall started out playing a hybrid death, black, thrash, doom metal style but when they released their third demo "Trauma" in April 1990, they played a more pure death-doom metal style.

On "Moonstoned" none of the band´s extreme metal past is heard though, and the listener is instead treated to a more traditional doom metal style with a clean vocalist in front. It´s actually still Ronny Sorkness singing, who has been Valhall´s lead vocalist since day one, so he has just left the extreme metal snarling vocals behind and opted for a more "normal" vocal style. Stylistically the music on "Moonstoned" is similar to what an artist like Trouble did in the late 80s/early 90s, so there´s the occasional stoner doom metal touch to the band´s heavy doom metal style (Black Sabbath is of course also an influence).

Valhall are a well playing band but while Sorkness is a decent vocalist who gets the job done, he doesn´t have a particularliy distinct sounding voice and the vocals are a weak link of the album. The sound production is another...it simply sounds thin and lacks the heavy organic bottom end which this type of music is so dependent on. The songwriting is actually pretty decent and fairly memorable, but with the other issues "Moonstoned" isn´t a perfect release by any means. A 3 star (60%) rating is still warranted though.

UMUR "Pagan Token" is the fifth demo release by Norwegian death/black/thrash/doom metal act Valhall. The demo was independently released in March 1991. It succeeds the "Live Demo 91" which was released earlier the same year. Opening track "Melting Picture" had already been released on "Live Demo 91" and the same with "Painful Solitute", although they of course appear here in studio versions. The latter was also on the tracklist of the April 1990 "Trauma" demo. Other than those two tracks "Pagan Token" features "Versatility" and "Moribund Penisual".

Compared to "Trauma", this demo has a more homemade feel to it and it´s not nearly as well produced. "Pagan Token" features more of a rehearsal space recording quality. Stylistically Valhall had reached a point where they played a death-doom metal style which isn´t terribly different from the sound of the first Paradise Lost album. It´s slow (although occasionally faster-paced), sorrowfilled, and doomy death metal with a raw shouting/growling vocalist in front.

Coming from a good quality demo like "Trauma" to this is a bit of a disappointment. It´s not a bad quality death-doom metal release, but it´s not a particularly great one either. It sometimes sounds almost too stripped and it feels like there are empty spaces in the music where little is happening. It´s too bad because I felt Valhall was on to something with the "Trauma" demo but it appears to have been a one-of. A 2 - 2.5 star (45%) rating is warranted.