Les Bâtards du Roi - Les chemins de l'exil (2025)

This is another of the newer masked European black metal bands, only they use what look like some sort of templar-meets-executioner attire with dirty sacks covering their faces. From the looks of the sophomore album's cover, I expected this to be really raw, Medieval and rustic in execution, but in reality it's much more accessible, with a cleaner mix of the instruments and an extremely good sense of melody. I listened back to their s/t debut album from the previous year, and these building blocks were already present, but Les chemins de l'exil strikes a much better balance between the drums, vocals and guitars, where it had seemed a little off prior. Should this description seem too tidy for a band with the moniker of Les Bâtards du Roi, fear not, because they keep things savage enough with the vocals and some of the more stormy riffs as you'll find in "Chevalier au corbeau", etc.

That said, they really thrive on the classic sense of melody that is not uncommon in this scene. Bands like Griffon, Aorhlac and Véhémence thrive with this aesthetic, but while Les chemins d'exil isn't quite as ear-bleedingly graceful and catchy as that last comparison, it's got an almost anthemic quality that will attach itself to you. There is also plenty of variety, with some excellent acoustics here, usually used for intros but so good that I almost didn't want them to end in some places. In addition to the traditional black metal snarl, there are some cleaner vocals, often used over the aforementioned acoustics, but also as these melodic choirs that will erupt against a surging rhythm. The drums have a great, full feel to them which lends passion and propulsion to the faster parts, but also a lot of meat to the slower, airier sections where you'll be able to pick up on a lot more of the fills. I also enjoyed the rhythm guitar tone, it's got a springy and natural feel to the distortion which puts some punch into every melody, but also works well with such a clean studio mix.

I've said countless times that the French scene is severely underrated, with dozens of bands performing at a high level of proficiency and composition. Yes, some of the more famous, dissonant outliers like Blut Aus Nord have been enormous, deservedly so, but I find a lot of these second or third tier acts' efforts to explore history and nature through the black metal medium to be highly appealing. If you like any of the acts I named earlier, or Belenos, or the last couple Seth records, get your credit card ready because I think you're also going to be impressed with what's on this disc.

Verdict: Win [8/10]

https://www.facebook.com/profile.php?id=61564480907615

Kreator - Krushers of the World (2026)

I've been with Kreator for nearly 40 years at this point; no, not as a member, but as a fan of this institution that has swept the thrash metal genre for pretty much all its existence. The band has rarely stumbled, much less fallen, and even then they were at least trying to experiment within the dimensions of their own sound and not prime themselves as radio sellouts. But since their 1999 nadir Endorama, which really isn't that bad, there's been nothing but upside, consistent and professional quality which you can count on every time a new record is sitting on the shelves. There was a point where they modernized their production to keep with the times, and some melodic death metal influences crept into the sound tastefully (and continue to do so), but you also had some albums where they were returning to the structure of their later 80s stuff.

If you're still guarding the gates of old and never made it passed Pleasure to Kill or Terrible Certainly, two of their best albums to be fair, then Krushers of the World is probably not going to be for you. It's a modern marvel of production, busy yet accessible, but a pretty far cry from the savage Teutonic thrash of Endless Pain or Pleasure to Kill. That's okay, we still have those albums and can listen to them as long as we breath (hopefully beyond). This is more of an omnibus of the ideas they've implemented in the 21st century, from Violent Revolution to Hate über alles, and yeah, while few of the songs are going to be as stick as they once were back in the 80s when this was all so much more novel...this is still a pretty damn good album. In particular they manage to get these anthemic tunes like "Tränenpalast", "Krushers of the World" or "Satanic Anarchy" where you've got the strong melodies in the chorus that can contrast against Mille's barking. And yes, the guy still sounds much the same, but he's got that timeless, raving thrash vocal that works as well alongside the modern studio glitz as it did back in the flesh-peeling debut. Recognizable in an instant, charismatic and plays well with melody and harshness in equal measures.

The guitar playing is top shelf, with atmospheric chords running against semi-complex, dextrous riffing patterns, keeping the ears' attention throughout, and great leads whipping out on top of the refined German engineering. Mille and Sami are quite a duo by now, and they never let you down here. Ventor's drumming is spotless and Leclercq, the newest member (but quite a veteran himself from DragonForce, Loudblast and a metric ton of other bands) solidifies himself as the anchor to the sound. You even get a guest vocal growl from Britta of Cripper and Hiraes, which was a little unexpected. Not a weak song here, and even though it's not reshaping my life as the band did with Pleasure to Kill, Terrible Certainty, Coma of Souls, nor does it even have some of the throwback infectiousness of Hordes of Chaos and Enemy of God, I still love this arena-oriented modern Kreator sound, it's almost infused with a bit of Angela-era Arch Enemy. Young me, 40 years ago, would be totally blown away to think this band would even still exist! But to be doing it in style, that's just a testament to a band that loves what it is.

Verdict: Win [8.25/10]

https://www.kreator-terrorzone.de/

Pyre - Where Obscurity Sways (2025)

When I look back at the metal albums that end up my favorites for a particular year, there's a pretty even division between those that are innovative and unique while staying catchy, and others that just do a great job doubling down on a pre-established sound and writing damn good songs. In the case of Where Obscurity Sways, the third full length from Russia's Pyre, it was the latter. The album's title is eerily prescient since I'm the only person I've even seen mentioning this one...perhaps it should be dubbed Where Obscurity Stays. But in 2025, this was the metal disc I returned to the most, like a death metal 'comfort food', because I enjoyed all of the songs a lot. It's also a great evolutionary stride for their own style, keeping consistent with its forebears while offering something new, something better for the band.

Pyre's still performing a sound rooted in the later 80s or early 90s, a perfect blend of Florida death metal like Obituary or Death, Dutch oldies from Pestilence and Asphyx, with a little bit of the Swedish style of an Entombed or Dismember, only with the guitar tone dialed back a little. You know it's still there, because there's a great chunkiness to the slower grooves, and a smooth roil when they pick up the pace. But it's nowhere near the gruesome or fleshy style they had on Human Hecatomb or the EP. The riff-lines and leads here are easily the best they've done to this point, whether it's the awesome verse grooves of "From the Stygian Depths" which recall Slowly We Rot, or "Murderous Transcendence" which is an amazing tune that hits pretty much all the bases, from sinister harmonies to flawless double kicks. The riffs in cuts like "Domains of the Nameless Rites" or "Pestilential Fumes" are just perfect throwback patterns, evil and memorable and set up against strong songwriting which emphasizes some variety at every turn.

There's a new drummer here, Oleg, and he's phenomenal, not that his predecessor was weak by any means, but I feel like the entire rhythm section, not just the percussion but also the bass mix, is way better balanced and creates a framework that could thrive independently, even without the awesome array of riffs that last the album's 35 minute duration. Where Obscurity Sways follows Chained to Ossuaries in having the smoother production than the older albums, but I can't imagine it any other way, the material is just suited to being mildly more accessible, and it's not like there is any commercialization or obnoxious level of polish...the music is still dark, mysterious, and classic in a way I just love my death metal records. I'm reminded a little of Necrovation's eponymous 2012 sophomore, not only because the aesthetics are similar, but also because it's just an awesome experience when I'm in the mood for the genre and want something well-written and balanced without being too ridiculous. I love this record. It's nothing new at all, but I would like for more people to get to experience it. My #1 for this last year.

Verdict: Epic Win [9.25/10]

https://pyredeathmetal.bandcamp.com/

Pyre - Chained to Ossuaries (2020)

Chained to Ossuaries came after a six year period from Human Hecatomb, so it makes sense that there's been a little evolution in the Pyre sound. They weren't completely absent, having participated on a few split EPs with Chile's Corpsehammer and Sweden's Interment, and the changes here are no less old school than the raw tones they were emitting in their earlier works. In fact, the guitar tone is pretty much intact, but the mix of the record is a little darker and cleaner, so it's got a more controlled and clinical vibe to it. Nevertheless, they sound no less evil, because the riffs here are just cruise control, grim tremolo picking sequences that perfectly blossom into the dark chord patterns, with solid leads and melodies placed exactly where they need to be, and a lot more confidence that doesn't need to chainsaw your face like the last album.

That's not to say your face is safe, mind you, because this shit still delivers, just on a slightly deeper, more cerebral level. Where Human Hecatomb might resemble a zombie outbreak at your local potter's field, Chained to Ossuaries is more like a cabal of necromancers meeting there in the evenings. It's invariably old sounding death metal, without much nuance beyond the early 90s, so to that extent nobody familiar with the previous album is going to be disappointed. There's a bit more of early Death in a lot of the chord choices in places like "Ornaments of Bones" or "Wreath of Crucifix", but that fleshier and meatier guitar tone twists it into something different, but you could certainly envision breakdowns from Leprosy arriving at almost any juncture on a lot of these songs. The vocals are also a little different than before, he's got less of a skin shredding tone to him and a bit more blunt brutality, compacting those emphatic John Tardy-like growls to something meshed a little better into the dark tone of the instruments. Basically he's a little less out of control, and the riffing itself compensates with a lot bolder chords and melodies.

Another great album, just inching past Human Hecatomb, although if I wanted the grislier listen then I would happily trade them off. This is more of an escape, neither as ripping or brazen but a lot more mature, a direction that the band will continue forth in the future. Definitely good enough that the band should have appeared on a lot more radars, but this sort of meat & potatoes, well crafted death metal often struggles to get noticed since it's not as technical or progressive as others in the field. Never really a clone of anything, but wearing most of its influences on its sleeve, Chained to Ossuaries is just another fine example of its genre sitting among the dust, waiting to be discovered.

Verdict: Win [8.25/10]

https://pyredeathmetal.bandcamp.com/

Pyre - Human Hecatomb (2014)

Human Hecatomb feels like the obligatory full-length version of its predecessor, the Ravenous Decease EP, with the same sort of raw production and a lot of DNA from the same influences. Obviously it's got a lot more too it, and the mix of the instruments seems as if its gotten a little more under control, but if you're a fan of the more disheveled bands that have come out of that Swedish style throughout the last few decades, whether Repugnant or Bastard Priest or Katakomba or LIK, this one's going to sit well with you because it's very well done and sticks the landing on most of the tracks. That flesh-ripping guitar tone and the brash mix of the instruments don't hinder it whatsoever, but give it an eternal freshness, like grave-dirt that's being constantly flipped over with a shovel to expose new generations of worms.

Again, the music isn't just d-beat rock based, they love the huge, doomier, evil chord patterns you often encounter in death metal, and then to trade those off with some vile propulsion. There's a better sense of melody you'll hear on this album, with some cool leads or harmonies vaulting across the dense hostility of the rhythm guitars. Vocally it still sounds like someone spliced John Tardy's sustained gutturals together with the carrion tones of Martin van Drunen, but there's a ton of genuine pain and carnage in there so that it never sounds like some dull doppelganger. The guitars are pretty much Ravenous Decease with a bigger toolbox to work from, and they pull off a lot of great chugging patterns here which wouldn't sound out of place on Clandestine. That simple, immediate catchiness that has you headbanging and doesn't ever seem to let up, they just don't make poor choices when writing material. All the songs here are good, with a few personal favorites being the chuggy "Flesh to Poles", the perky "We Came to Spill Thy Blood" which is one of a couple with a more death & roll vibe, and "Possessed" with those evil, slower rhythms and narrative/samples and all.

All told, Human Hecatomb is a step up and forward, perhaps not the first example of this niche you're going to grab for, but an extremely reliable one if you're into the Swedish tones. I'd say musically this one has a little less of the US influence in the actual songwriting, but it's the vocals that bridge that Atlantic gap. It's a Russian Clandestine 20+ years later with a bit more unhinged mix and a vocalist yanked right from The Rack and Cause of Death. Fun songs, timeless production thanks to its lack of polish, and a focus on actually putting enough ideas into its material that it's never some dull, redundant slog. And to think, this is probably my least favorite of their full-lengths!

Verdict: Win [8/10]

https://pyredeathmetal.bandcamp.com/

Pyre - Ravenous Decease EP (2012)

Pyre is a little-known Russian death metal band that almost nobody ever seems to talk about, despite having a killer upswing trajectory to their catalogue which has won me over several times. Their origins were as yet another of the bands honoring the Swedish legacy, with that speaker ripping guitar tone and a couple of tunes here that remind one a lot of Entombed, Grave, maybe a little of Holland's Asphyx. However, the material here on the Ravenous Decease EP definitely falls on the rougher side of that equation, raw and unhinged like a Repugnant or Maim. They also don't delve too far into the d-beat influences, you can hear it on a riff or two but it's more like they're transferring early US death metal into that Swedish guitar tone.

The vocals are abusive, sounding like their at a crossroads between John Tardy of Obituary, Martin van Drunen of Asphyx/Pestilence and L-G Petrov of Entombed. The guitars are really abrasive, sounding like a noisy live performance of this tone, and occasionally going a little too far so it seems as if you're eardrums are going to collapse. I mean, you could replace steel wool with these things to clean off your pots & pans, but they have a nice punch during the choppier, rocking riffs ("Insanity") or the tremolo picked, writhing evil at a faster pace. The rhythm section sounds like thunder being filtered through an old radio microphone, and the songs feature enough variety even across the 20 minutes of this EP that you won't become bored. There's nothing unique, truly, Ravenous Decease is just a gestalt of elements you like from other death metal acts, and this sort of throwback style was already plentiful, but some things just don't grow old on me, and I like several of these songs like "Insanity" and "Dark Sorcery". It doesn't hold up to their full-length albums, but it's a firm foundation upon which they would build.

Verdict: Win [7/10]

https://pyredeathmetal.bandcamp.com/