Here it comes – the time to appreciate the fire that burned through the past 12 months. With the passing of the years, finding truly incredible albums becomes a harder venture, but the good news is that there were  still  some authentic and fascinating sounds in MMXXV!

Before I begin with the AOTY list,  I want to say that globally, we’ve lost around 400 people this year in the metal wold, some of them – part from the black metal community as Myrd’raal (Bergrizen, also guest in Kroda), Thomas (Nekrist), Joris Stein Bachus van der Doolaert Houtekiet (Hellevaert, Walpurgisnacht, Weemoed), John Thomas Bratland (Ragnarok) and Robert Amir Ayddan (Dethroned, Shining), among others. It is good to pay our respect to the ones we’ve lost, so do not forget to include their best works in your playlists tonight.

Also, some  incredible bands decided to cease their activity. Among them –  Blaze of Perdition, Lebenssucht and Sarke. Althought I strongly believe that the musicians behind the projects will not be gone from the scene and will continue to unleash some new material, these two bands will be very much missed. At least we will always have their legacy, which is a very strong reminder of the human spirit and creativity, isn’t it?

Thus said, let’s begin with the best works of Art this year…

TOP 25 FULL-LENGTH ALBUMS

MALAKHIM : “And In Our Hearts the Devil Sings”
The album feels like stepping into a vast, shadowed cathedral where fire and ice converge, and the inherent darkness of the human spirit is  summoned. The Swedish act refines their fierce melodic black metal with an almost hymnal sweep, balancing crushing velocity and icy tremolo riffs with moments that breathe like whispered invocations. Across seven compositions the album channels themes of inner wickedness and spiritual unrest, giving each song a mournful yet defiant presence. The production is strikingly clear, revealing deep layers of sonic detail while still maintaining a raw, unholy edge that suits the music’s ritualistic intent. A deep nocturnal rite, I would say.

Cult of Fire: “The One, Who Is Made of Smoke”
“The One, Who Is Made of Smoke” feels like a ceremonial passage through loss, transcendence and rebirth, using black metal as its ritual language. Inspired by Hindu myth and dedicated to the figure of Dhumavati, the album carries a narrative arc that moves from mournful introspection to moments of ecstatic uplift, guided by both intense riffs and evocative atmospheric passages. The inclusion of guest vocalists and unusual instruments like Hammond organ and djembe enriches the texture, lending the music a primal and ceremonial feel that sets it apart from more orthodox black metal fare. While some listeners might find the album’s meld of melody and spirituality less raw than traditional extremes, it rewards those willing to immerse themselves fully in its flow and symbolic depth. In the end, it’s a record that invokes darkness and fire, and also the idea of music as a sacred journey – something to sit with and let wash over you.

MARTRÖÐ: “Draumsýnir eldsins”
Martröð’s “Draumsýnir eldsins” reminds me of a descent into a fevered dream‑vision where fire and psyche bleed into one another, conjuring a dark ritual of sound that’s as unsettling and compelling in the same time. On this debut full‑length, the Icelandic collective channels frenzied black metal chaos through vast, swirling arrangements that twist primal riffs with avantgarde,  classical and psychedelic elements. Every track moves with a sense of fascinating propulsion – unleashed blast beats and dissonant guitar cascades seem to mirror visions of creation and decay, while eerie textures and choirs add a spectral edge that lingers like a waking nightmare. There’s an enchanting ebb and flow to the album’s structure, where moments of relentless fury give way to unsettling calm before the next wave crashes in. It’s an intense, immersive journey that rewards listeners who embrace its surreal, transformative energy rather than just its ferocity in black metal music.

DARVAZA: “We are Him”
This album is a black sacrament invoked in sound, where DARVAZA’s feral energy and blunt devotion carve a path through orthodox extreme metal. The Italian–Norwegian duo channel their rawest instincts into seven tracks that alternate between stark, ritualistic mid‑tempo and bursts of primal aggression, conjuring an confrontational and nflinchingly devout atmosphere. Clean yet abrasive production lets simple, relentless riff patterns and guttural vocal incantations resonate like dark hymns, while slower, doom‑tinged passages add a trance‑like weight to the ceremony. Though the album rarely strays from the classic black metal formula the band has honed, the cohesion and sense of ritual purpose make it a compelling rite for listeners drawn to unembellished, adversarial sounds. An album that resembles an unmasked expression of devotion and defiance that sits comfortably among the fiercest offerings of the genre.

Αχέροντας: “Νekyia – The Necromantic Patterns”
If you’ve ever wondered what an occult ceremony in the form of black metal would sound like – look no further. This album is a journey through cryptic landscapes where every riff and chant echoes with esoteric purpose. Across its seven tracks, the band melds visceral aggression with sweeping melodic currents, creating a tense dance between furious blast‑driven passages and hauntingly memorable guitar lines that seem to whisper ancient incantations. The performance showcases a blend of intensity and craftsmanship, with drums and vocals especially driving the ritualistic energy that characterizes the record’s unfolding magic. While rooted in classic Greek black metal ethos, the album’s layers of melody and dynamic shifts give it a sense of transcendence that lingers beyond the initial blast of sound.

NEXION:  “Sundrung”
Nexion’s “Sundrung” feels like an apocalyptic rite cast in black metal fire, where every roar seems beckoned from the edge of ruin and cosmic discord. Drawing from Norse cosmology, animist reflection, and runic lore, the album builds its brooding atmosphere with pounding drums, layered melodies, and unsettling vocal shifts that range from guttural invocations to eerie clean vocals. The dynamic interplay between furious aggression and sweeping, almost ceremonial passages gives the record a sense of ceremonial gravitas, like a soundtrack to a world unraveling and reforging itself in flame. While rooted in extreme metal’s brutality, the compositions unfold with surprising depth and varied tempos, pulling the listener through moods of defiance, desolation, and dark foresight.

THE STONE: “Kletva”
The Stone’s “Kletva” emerges like an ancient curse whispered through frostbitten winds, a black metal incantation that blends relentless drive with a raw, old school intensity rooted deeply in the band’s long‑standing legacy. On their tenth full‑length, the Serbian veterans unleash seven evocative tracks where high‑velocity guitars and angular melodies crash against blistering drums and feral vocal declarations, conjuring both fury and solemn shadow. The album’s production captures a gritty yet clear edge, letting the melancholic leads and rhythmic assaults weave together like entwined rites of fire and ruin. While rooted in 90s‑infused black metal tradition, Kletva also reveals moments of dynamic tension and ritualistic pacing that invite immersive listening. Overall, it stands as a compelling testament to The Stone’s enduring will and sonic identity, ас а ceremony that feels timeless.

Aeon Winds: “An Ode To The Mountains”
“An Ode To The Mountains” is a pilgrimage through storm‑buffeted peaks and forest cathedrals, a symphonic black metal journey that captures both the haunting majesty of nature and the ancient lore woven into the Carpathians. Across its sprawling eight tracks, Aeon Winds balance melancholic melodies and sweeping arrangements with blistering black metal ferocity, avoiding overblown bombast while still conjuring vivid emotional landscapes. Guest vocalists and choral layers deepen the album’s sense of ceremony, while violin and keyboard textures elevate the atmosphere into something almost mythic. The dynamic interplay between melodic passages and harsher outbursts gives the record an immersive flow, guiding the listener through mists, stone, and shadow toward some forgotten threshold. 

OFERMOD: “Drakosophia”
“Drakosophia” is a cavernous ritual unearthed from shadowed antiquity, where Ofermod summon the serpentine wisdom of the Left‑Hand Path with a sonic incantation that’s mesmerically magnetic. Across nine tracks recorded in Sweden and released in autumn 2025, the band – anchored by Belfagor with fresh vocal presence from Adeptus and ferocious session drums from Florian Musil – delivers a style of “Orthodox Black Metal” steeped in esotericism and dark ceremonial intent. The music moves with dynamic force, trading blistering blast beats and razor‑sharp tremolo patterns for moments of trance‑like chant and rhythmic depth, conjuring a feeling of ancient rites and doctrinal mystery. While its intensity and occult atmosphere run deep, the album also reveals striking melodic currents and immersive pacing that make the ritual feel like an odyssey. In “Drakosophia”, Ofermod forge a ritualistic passage through dread, doctrine, and draconian fire that rewards listeners attuned to its arcane pulse.

SANIUS: “Astros y sabios”
Ceremonial invocation born from primordial depths, where ancient cosmic forces and black metal’s raw intensity converge in shadowed rites. Drawing on over three decades of underground lore from the Colombian scene, the album opens with brooding, organ‑tinged introductions that seem to summon unseen energies before erupting into fierce, chant‑like black metal assaults. Throughout its seven expansive tracks, the interplay between evocative melodic passages and militant, trance‑inducing rhythms creates a sense of otherworldly communion, conjuring celestial wisdom and ancestral serpent power in equal measure. The performances carry ritualistic solemnity and visceral force, forging an immersive atmosphere and casting a voyage through cosmic shadows and esoteric fire. Horobale testament to underground devotion.

WINDSWEPT: “The Devil’s Vertep”
A grim ritual unearthed from dusty courtrooms and candlelit archives, where the echoes of 18th‑century witch trials are transmuted into corrosive black metal. Inspired by The Black Book of Kremenets Castle and the forced confessions and brutal sentences of Western Ukraine’s 1753 – 1754 trials, the album unfolds as a six‑act descent into fear, accusation, and judgment. Windswept’s raw, instinctive approach with jagged guitars, volatile tempo shifts, and Roman Sayenko’s rasped vocals mirrors the psychological tension of historical testimony while grounding the music in a stark immediacy. Moments of trance‑like repetition and oppressive atmosphere give way to bursts of aggression, making the record feel like  a conceptual narrative and some type of  sonic exorcism of collective dread. You can read the full review HERE.

DRUDKH: “SHADOW PLAY”
This album feels like a twilight passage through memory and mist, where Drudkh weave their signature atmospheric black metal into a fascinating lament that resonates with both melancholy and defiance. The six expansive tracks traverse themes of exile, life’s cycles, and the interplay between light and shadow, blending solemn tremolo‑driven melody with moments that feel like whispered incantations amidst the storm. From the introspective opening “Scattering the Ashes” to the meditative weight of “The Eve” and the vast reflection of “The Thirst”, the album unfolds like an inner journey that beckons full immersion. You can read the full review HERE.

Blut Aus Nord:  “Ethereal Horizons”
Blut Aus Nord expand their visionary black metal into entirely new dimensions of atmosphere and introspection. On their 16th full‑length, Vindsval and company blend spectral tremolo riffs with swirling cosmic synths, trance‑like leads, and moments of melodic transcendence that seem to lift the listener into otherworldly vistas beyond the ordinary. The music flows like a ceremonial procession through seven distinct realms – from the hypnotic “Shadows Breathe First” to the vast, luminous “The End Becomes Grace”, balancing raw black metal intensity with sweeping, cosmic hallucinations. Dissonant shadows and psychedelic textures intertwine into passages – meditative and ferocious, inviting full immersion . Containing the most fascinating parts from Blut Aus Nord’s created worlds so far – the traditional psychedelic universes that recall “The work which transforms God” & “Hallucinogen”. Glorious tracks that exhale otherwolrdly stardust particles and celestial silence. Absolute masterpiece of BAN, who once again , transform the melody into a ethereal spectral ray of matter.

KAOSEKT: “The Fathomless Void of Death”
“The Fathomless Void of Death” feels like a raw invocation from the Greek underground, where KAOSEKT channel the chaos of untamed black metal into a visceral rite of fire and abyssal fury. Emerging from Thessaloniki’s DIY scene and recorded live in winter 2024, the album unfolds with dense, fast‑moving riffs and corrosive vocals that evoke a night‑marred odyssey through primal torment and cosmic dissolution. The band’s sound leans into the spirit of second‑wave black metal while retaining a raw, almost ritualistic urgency, with each track feeling like a chant to unbound chaos and ecstatic ruin. Though concise in structure, the record’s intense energy and bleak thematic swirl make it feel like a plunge into an ever‑expanding void beyond mortal comprehension. Impressive.

MISANTHROPIC MIGHT:  “Qualzucht”
“Qualzucht” was summoned from the heart of Vienna’s underground, where Misanthropic Might refine their blend of raw black metal with a bleak, almost ceremonial intensity. The album unfolds over nine tracks that carry relentless blast‑driven onslaughts with eerie interludes and oppressive rhythms, creating a sense of ritual catharsis. Songs like “Pestgrube” and “Deathbell” juxtapose pounding drums and serpentine riffing with vocal torment that feels like pure invocation, while “Walk Among the Tombstones” shifts into a slower, ominous march through shadowed space. Though steeped in traditional black metal ferocity, “Qualzucht” also offers moments of chilling atmosphere that feels truly unique.

MALPHAS: “Extinct”
“Extinct” is an astral storm unleashed from the depths of Swiss black metal underground – a raw, chaotic rite where fury and melancholy collide in elemental force. On their fourth full‑length, MALPHAS channel Swedish‑inspired tremolo and thrashing energy into nine tracks that balance blistering assault with unexpected melodic depth and moments of eerie calm. The album’s shifts between feral blast‑driven passages, melancholic guitar lines, and occasional piano accents, guiding listeners through vistas of desolation and cosmic dissonance.

ENTHRONED:  “Ashspawn”
Conceived over six years in close collaboration with occult author Gilles de Laval, the album’s nine tracks weave together blinding blasts, oppressive mid‑tempo trudge, and serpentine riffs that oscillate between raw ferocity and unsettling melodic depth. From the blistering velocity of “Crawling Temples” to the ritualistic weight of “Ashen Advocacy”, the record balances violent catharsis with introspective shadows, inviting the listener into a transformative journey. Each song feels like a deliberate invocation, rooted in demonology and metaphysical praxis. Ashspawn stands as a culmination of Enthroned’s essence and a dark testament to spiritual annihilation and regeneration at the heart of  our scene. You can read the full review HERE.

IBEX ANGEL ORDER: “II: Void Sermon”
Dark mass summoned from the bowels of orthodox black metal, where every tremolo‑driven riff and guttural roar serves as an invocation. After a decade since their debut, the Dutch duo deliver a fierce statement of intent – raw, unpolished, and unrelenting in its occult fervor, channeling shadowed sermons meant to strip away the listener’s earthly shell and plunge them into abyssal rites. The eight tracks balance blistering bursts of blast beats and serpentine riffs with slow, trance‑like passages that evoke ancient seances and ritualistic invocation, giving the album a visceral impact and hypnotic depth. A ceremonial descent into void and illumination alike. For those drawn to black metal’s more arcane and confrontational edges, “Void Sermon” stands as a compelling testament to the raw, uncompromising spirit.

Ad Omega: “Fathan Aiseras Seus”
Esoteric rite unearthed from the soil and tombs of Etruria, where Ad Omega summon ancient Genius Loci and primordial spirits through black metal’s shadowed language. Across eight tracks, the Italian duo weave blistering tremolo riffs, piercing blast beats, and eerie atmospheres into a tapestry that evokes blood rituals, sacred groves, and the mists of necropolises, rooted in a conceptual vision of lost Disciplina and arcane wisdom. The album’s procession unfolds with both raw intensity and meditative depth, balancing technical ferocity with moments that feel almost like whispered invocations over flame and incense. Though clearly anchored in orthodox black metal aesthetics, each passage is part of a nocturnal journey into hidden knowledge and ancestral strength.

FLAGG: “Diabolical Bloodlust”
Emerging from the forgotten altars of Finnish black metal, where chaos is law and aggression feels almost sacred. On their third full‑length, Flagg unleash eight tracks of raw, unrelenting energy that fuse blast‑beat fury with ferocious riffs and occasional grim melodic undercurrents, giving the whole affair a sense of violent ritual. Vocals howl like desperate proclamations from within a burning cathedral, while rhythm and lead interplay conjure ferocity and dark momentum. There are moments of trance‑like ethos beneath the barrage, as chilling harmonies and morbid ambience creep just under the surface of the relentless attack, unashamedly devoted to chaos and blood‑soaked fire.

HAMMERFILOSOFI: “Signum”
“Signum” feels like a proclamation from the depths of austere black metal, where every riff and blast beat reverberates with philosophical wrath. The international duo’s second full‑length channels the raw spirit of early Scandinavian ferocity while crafting its own rhythmic machinations. From the abyssal march of “A Dance Above the Abyss” to the relentless surge of “Funeral Veil” – each track contains a sense of ritual urgency. Mastered at the iconic Endarker Studio, the sound carries a sharp, haunting presence that makes the darkness feel alive and almost tactile. Lyrically and sonically, the album embraces mysticism, revolt, and esoteric warfare, rewarding listeners who seek more than mere sound.

HIEROPHANY: “Tenebrario”
“Tenebrario” unfolds like a shadowed liturgy drawn from the murky depths of ancient rites, where Hierophany wrap their fierce and atmospheric black metal in a cloak of deathly mysticism and nocturnal devotion. Emerging from Mexico City as a reborn entity from the ashes of Black Hate, this debut under the new name feels like a hymn of Mort and Shadow, with each of the six sprawling tracks conjuring an intense blend of ritualistic ambience and raw extremity. The music’s ebb and flow – from the brooding incantations of “Ars Moriendi” to the climactic weight of the title track evokes dimly lit altars and metaphysical confrontation, as if the listener is invited to witness an apsidal ceremony of flame, flesh, and spirit. With its immersive atmosphere and dissonant edge, “Tenebrario” pulls you deep into its occult heart, balancing ferocity with brooding introspection in a way that feels both ancient and mesmerizing, like a haunting voyage.

Lord Belial: “Unholy Trinity”
Lord Belial summon their legacy with unrelenting strength and dark fervor. After their strong 2022 comeback, this tenth studio offering doubles down on razor‑sharp songwriting and evocative melodic currents, making each of its nine tracks feel like a profane invocation steeped in blasphemous ritual. From the savage opener “Ipse Venit” to the apocalyptic hymn “Antichrist”, the band balances furious blast beats, viscious riffs, and haunting leads that conjure images of hellish courts and midnight rites. In “Unholy Trinity”, Lord Belial reaffirm their mastery of black metal’s orthodox fire, crafting a darkly immersive experience that stands as a tribute and testament to their enduring devotion to the unholy arts.

Mütiilation : “Pandemonium of Egregores”
“Pandemonium of Egregores” was summoned from the deepest corridors of French black metal. On this eighth full‑length, Meyhna’ch and drummer Kham channel the project’s long‑standing aura of bleak ceremony into five expansive compositions that map a journey from rural curses to urban inferno, balancing raw, tremolo‑laden riffing with darker, almost processional atmospheres. The album’s structure – from the brooding Overture through to the sprawling title track – evokes a sense of ritual passage, as if each song serves as a portal through varying landscapes of dread and transcendence.

Lamp Of Murmuur: “The Dreaming Prince in Ecstasy”
“The Dreaming Prince in Ecstasy” was sprung from dreams and nightmares, where Lamp Of Murmuur crafts a blackened odyssey that teeters between ecstatic transcendence and shadowed torment. On this fourth full‑length, the Los Angeles‑based project expands its sound with a bold blend of atmospheric depth, melodic sweep, and ritualistic intensity – from the haunting allure of “Forest of Hallucinations” to the sprawling three‑part title suite that serves as the album’s pulsating heart. The record’s dynamic shifts – raw black metal ferocity, gothic‑tinged melody, and even moments of near‑symphonic grandeur, giving it an immersive narrative feel, as though you’re traversing an arcane dreamscape filled with both ecstasy and peril.

TOP 10  BEST  DEBUT  ALBUMS

FERUCH: “FERUCH”
On their self‑titled debut, the Italian collective craft a raw yet evocative sound rooted in the rugged spiritual heritage of their Alpine homeland, giving each of the eight tracks a visceral connection to landscape and legend. Songs like “Celebrazione Funerea” and “Rituale Aureo” move with fierce momentum, balancing speed and melody in a way that feels both ancient and immediate, while haunting instrumental passages deepen the album’s sense of rural ritualistic atmosphere. With lyrics sung partly in Italian and echoes of pagan symbolism, the record is a hymn to darkness, heritage, and the mythic power of ancestral land.

Osgraef: “Reveries of the Arcane Eye”
Osgraef unleash a ferocious blend of black, death, and war metal that seems summoned from a realm beyond ordinary comprehension. On their 2025 debut full‑length, the band whose members you already know well, constructs six expansive tracks that move from serpentine incantations to unrelenting sonic obliteration, conjuring themes of Luciferian mysticism and arcane invocation along the way. The music’s raw brutality is tempered by eerie atmospherics and dissonant interludes like whispered secrets from a forbidden grimoire. With thunderous drums, serrated riffs, and guttural proclamations dominating the ritual chamber, the album balances sheer ferocity with an almost ceremonial sense of purpose.

ROBUST: “ROBUST”
Robust emerges like a primal rite from the raw underground of black metal’s most unrefined edges, where chaos and craft collide with unpredictable force. On this self‑titled 2025 debut, the band channels the visceral spirit of early Gorgoroth and Akitsa while injecting moments of grotesque melody and surprising rhythmic twists that feel almost like ecstatic invocations of disorder. Across its eight tracks, the album shifts between furious blast‑driven onslaughts and almost hypnotic passages.Vocals lash with insane shrieks and guttural intensity that heighten the album’s ritualistic mania, while the raw yet purposeful production pulls each element into stark relief. Read the full review HERE. 

RIETAS: “Torne Valley Black Metal“
An album, inspired by the frozen heart of the Torne Valley itself, where northern winds and ancient dialects seep into every riff and howl. The 2025 debut full‑length from the Finnish one‑man project of Ari XIII (Curse Upon A Prayer) conjures raw, elemental black metal that rolls like a relentless storm across eight tracks, embodying both the bleak mystique of its homeland and an almost pagan fervor in its execution. There’s a tension here between uncompromising intensity and evocative atmosphere – blast beats and sharp tremolo riffs crash against moments of eerie ambience that feel like windswept forests and shadowed riverbanks.

SEPRENTES: “Desert Psalms”
Serpentes conjure black metal as baptism in flame. Across its seven towering psalms, the Portuguese/Icelandic collective channels raw, venomous aggression and eerie atmosphere into a sonic path of transgression and unforgiving purification . The music oscillates between blistering onslaughts and dissonant passages that evoke desolate landscapes, giving the album a ritualistic ebb and flow that mirrors both chaos and contemplation. Contributions from members of Misþyrming, Svartþoka, and Angrenost add depth and texture, making each track feel like a shared incantation of fire and spirit.

PURITAN BONE: “Ecstasy on the Frontier of Blood”
Puritan Bone channel the corrosive spirit of underground black/death metal into a relentless ceremonial offering. Across its compact and extremely punishing tracklist, the Portuguese trio blend feral blast beats and serrated riffs with grimly evocative atmospheres that feel like a plunge into forbidden ecstasies and blood‑soaked visions. Read the full review HERE.

Hexekration Rites: “Misanthropic Path of Carnal Deliverance”
Hexekration Rites unleash a visceral blend of ritualistic ferocity and shadowed ceremony. Across nine tracks recorded between 2022 and 2023 and released in April 2025 via Godz Ov War Productions, the Parisian trio conjure a pummeling yet meticulously structured sound that marries nihilistic blast‑driven assaults with thunderous grooves and eerie lead motifs. The album’s thematic arc feels like a twisted liturgy, blending misanthropic proclamations with incantatory phrasing that draws listeners into its dark intent.

DUNES OF ASH: “The Fall of the Seven Sisters”
“The Fall of the Seven Sisters” feels like an anti‑liturgy summoned from the ruins of cosmic harmony, where Dunes Of Ash channel the raw spirit of orthodox 90s black metal into a bleak but compelling vision. The Portuguese trio’s 2025 debut unfolds across seven tracks that alternate between ferocious tremolo‑picked barrages and unsettling atmospheric shifts, evoking celestial collapse and corrosive entropy in every riff and howl. Conceptually rooted in the idea of corrupted pillars of creation and malignant dissolution, the album’s pacing is drawing the listeners deeper into its storm of negation and dark symbolism with each passage. The raw and precise production anchors the chaos without smothering the clarity of performance, letting guitars, drums, and vocals intertwine like incantations against the void. 

Sepulchre: “Psalms unto Caesar”
Rising from the American hinterlands, Sepulchre conjure stark black metal that balances old‑school ferocity with sweeping melodic embrace. Recorded and independently released in July 2025, the five‑track debut unfolds like a procession through shadowed altars and icy plains, with tremolo riffs and unrelenting blast beats often punctuated by eerie interludes and subtle keys that deepen its ritual atmosphere. Tracks such as “Hail as Gods” build from disciplined ferocity into grand, evocative passages that feel like psalms recited over fallen realms, giving the album an expansive and majestic arc. In “Psalms Unto Caesar”, black metal becomes a stark ceremonial journey: a blend of harsh catharsis and haunting grandeur that marks a compelling start for this Tennessee‑rooted project.

KNELLRITE: “Entaphosophia”
Entaphosophia is a chaotic, arcane cosmos, where raw melodic black metal is wielded as both a hammer and an invocation. On this debut full‑length, US solo‑project Knellrite – led by Micah B., with vocal and lyrical contributions from Lord Valtgryftåke, blends furious tremolo riffs, relentless percussion, and dissonant harmonies into a dense and immersive sonic ritual. The album’s structure, framed by stark keyboard interludes and towering tracks such as “Faustian Pillars of the Adversary”, carries a sense of mounting dread and hypnotic repetition that feels like stages in a grand rite of dissolution and revelation. While its raw execution retains an unpolished edge, repeated listening reveals moments of spectral melody beneath the maelstrom. Truly compelling offering from the underground – a sonic journey through chaos, decay, and the bitter wisdom unearthed in their wake.

TOP 10  BEST  EP’S

Faidra: “Dies Irae”
Released in early 2025 via Northern Silence Productions, this EP gathers three expansive tracks – the new “Dies Irae” alongside “Ixion” and “Phantasmagoria” – into a cohesive rite that bridges past and present phases of the project. The music channels the spirit of early Scandinavian black metal with hypnotic tremolo riffs and swirling keys, creating landscapes that shift from melancholic stillness to ritualistic momentum and back again. With touches of folky melody and choral accents giving way to rawer, more visceral eruptions, this work  easily could find its way into the listener’s heart.

FUNERAL HARVEST: “Malum in Se”
“Malum in Se” is a six‑track EP that weaves visceral tremolo riffs and blistering rhythms into a stark descent that exalts the adversary as a fiery force of transformation and rebellion. Inspired by the spirit of Lucifer (Hēlēl ben Šāḥar) and paying homage to cult influences like Celestial Bloodshed – including a reverent cover of “Truth Is Truth, Beyond the God”, the music feels like a deep occult conviction. Raw intensity and moments of eerie atmosphere flow together like a midnight ritual, pulling the listener into the solemn core of the band’s vision.

Aryan Art: “За Любов и Светлина”
After ten years since his previous record, Bulgarian composer Alexander Ivanov returns alongside guest musicians on guitar, mandolin, and mellotron to weave two sprawling movements that feel like rites of personal renewal and communion with nature’s cycle. Rooted in pagan reverence and existential reflection, the music balances tremolo guitars and primal percussion with wistful harmonies and subtle folk‑tinted textures, representing love and light as fragile forces wrested from solitude, ritual patience, and ancestral memory.

Nyktmyst: “Nyktmyst”
A compact yet potent five‑track EP, the band conjure a sound that channels ‘90s‑rooted ferocity with an elemental, almost pagan atmosphere woven through both the main compositions and the haunting interludes. Tracks like “O Viandante, Noctivagant” and the closing epic “Portal Tomb” move with a breathless fervor that feels larger than their brief runtimes, evoking windswept tombs and nocturnal wanderings.

Vagabond: “Baptism in the Morning Darkness”
Vagabond’s debut EP guides the listener across the threshold between night and new beginning. Born from the collaborative vision of Bulgarian underground musicians Simeon Redansky and Georgi Karachev, the release blends atmospheric black metal’s layered textures with raw ferocity and thoughtful introspection, giving the four tracks a sense of dynamic and emotional breadth despite its concise form. The title itself – a metaphor for confronting the unknown at the edge of light and darkness, is reflected in the music’s shifting moods, from the evocative intro “Dawn of the Hollowed” into the fierce, expansive waves of “Shadows Baptized in Ash” and “Mourning Under the Bleeding Sky”. There’s a ritualistic flow here, as torrents of tremolo and blast beats weave with haunting ambiance, creating a journey that feels cathartic and transformative. You can read more about the title HERE.

Lucifugum: “Adanom”
Released on cassette in April, this ritual‑like EP was created and mixed under the shadow of ongoing conflict in Mykolaiv and Kharkiv, lending the music a visceral edge that resonates with defiance and survival. Stabaath returns to the vocal forefront with renewed venom after overcoming serious throat issues, so the release is a pure testament of inner strength.

Drudensang: “Geysterzvvang”
Drudensang channel their fascination with Krampus, Perchten, and the Rauhnächte into a storm of tremolo riffs, blast-driven onslaughts, and eerie atmospheric sway. The tracks balandce old-school intensity with moments of haunting melody and brooding tension, making the music feel like a procession of gospels from an infernal creed. The EP’s production sits between clarity and rawness, letting the spectral keyboards and venomous vocals cut through the tempest with uncanny precision. A summoning of shadowed spirits and wild hunts, a compelling testament to Drudensang’s unique blend of folklore, ferocity, and ritual black metal.

Dysangelium: “Exxekratus”
“Exxekratus” emerges from the depths of German underground black metal, where Dysangelium summon a potent blend of orthodox fury and ceremonial intensity across its four tracks. Released in early 2025 via World Terror Committee and running around twenty-seven minutes, the EP builds on the band’s patient evolution since “Death Leading” – pairing stark, strident riffs with a cleaner yet still grim sonic presentation that deepens its ritualistic tension. The opener “Of the Burning Throne (Manifest I)” and the hauntingly urgent “Whispering Knives (Manifest II)” balance propulsive momentum with eerily melodic undercurrents, while the climactic “Delirious Transcendence” – a piece from earlier sessions, feels like an invocation at the heart of the ceremony.

Maha Pralaya: “Rites of Blasphemy”
Potent conjuration from the raw underground edge of blackened metal, where Maha Pralaya’s dark fervor crystallizes into a compact ceremonial offering. Released as a two-song single in May , its tracks “Blasphemous Ascension” and “Flesh of the Swine Upon the Altar” channel corrosive tremolo riffs and snarling aggression into a concise invocation of chaos and defiance that leaves a strong impression despite its short runtime. Bursts of ferocity tempered by moments that feel like unholy prayer and guttural proclamation, as if calling forth blasphemous energies through sheer sonic force. The production leans toward a raw, underground aesthetic that enhances the sense of primal ceremony, so here black metal becomes a sacrament and transgression: a compact and immersive descent into the darker rites.

LUNAR AMULET: “LUNAR AMULET”
Lunar Amulet’s debut feels like a moonlit incantation cast in atmospheric black metal. The self-titled 2025 debut EP from Portland, Maine-based Lunar Amulet – a new project led by Aaron Charles of Falls of Rauros, Rhûn, and Blood Chariot – unfolds across seven movements that come as a nocturnal rite. The music weaves patient, melodic tremolo with subtle synth textures and distant vocal murmurs, conjuring a ritualistic stillness and feral energy. The albums favors space and introspection, letting its melancholic melodies and ambient interludes feel like whispered incantations under a starving moon. “Lunar Amulet” is an evocative and immersive first statement.

TOP 5 BEST  SPLIT RELEASES

Sanctvs and Sotherion: “Inter Mortuos Liber”
Yfel 1710 and Dominance: “Zakon Nienawiści”
Mo’ynoq / Urocyon: “Mo’ynoq X Urocyon”
Myling and Mørkt Tre: “Betrolla Blö Befrija / Вогнище Відьми Ворожіння”
Smyrtonos and Vagabond: “Inhuman Blasphemy”

What about your AOTY list? Share your favorite treasures below…

… And have a great MMXXVI – let your inner primordial fire  burn bright!