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Australian death/thrash duo BATTLEGRAVE are set to return with their third and most devastating full-length release to date.

Enslavement delivers 10 tracks of unbridled and vitriolic, death-laden thrash metal. This relentless barrage of calculated venom, intense riffing, and punishing rhythmic precision further cements the band’s reputation for uncompromising extremity.

Lyrically tied to themes of violence and aggression, Enslavement weaves an interlocking narrative of a subterranean demon harvesting human souls to satiate its unending hunger. This conceptual core adds a sinister layer beneath the album’s sonic brutality.

Fans can experience a sample of what’s to come with the album’s first single, “Bonesaw.”

The band comments on the song: “Bonesaw’ delivers an aural assault on the listener, with all the power of a screwdriver plunged into the eardrum. Delving into the world of dismemberment, the track lyrically focuses on the evolution of medical tools in forensic pathology and features razor sharp riffage, a chaotic drum performance, two skin ripping solos and a vocal attack aimed directly for the jugular. Prepare to be taken apart piece by piece with the bonesaw.”

Watch the official music video for “Bonesaw” here.

Stream the song on Spotify, Apple Music and Amazon Music.

Enslavement is due out on April 10. Pre-order the album at: battlegrave.bandcamp.com/album/enslavement

The album was recorded by Clint Patzel of BATTLEGRAVE, mixed by Tim Shearman and mastered by Logan Mader. Session drums by Robin Stone.

Track-listing:
1) Soul Chasm

2) There Is Only Death

3) Bonesaw

4) Eyes Of Enslavement

5) Venom

6) The Grand Machine Of Despair

7) Asylum

8) Marked By Evil

9) Under The Banner We March

10) US Outpost 31

Line-up:

Rohan Buntine – Vocals, Lyrics

Clint Patzel – All Strings

BAND BIO:

BATTLEGRAVE are a two-piece death/thrash project from Melbourne, Australia, formed in 2017 following the release of their debut demo track, “Mortar Fire,” which quickly generated strong underground buzz.

The duo followed with the EP To Hell with War (2017) and full-length albums Relics of a Dead Earth (2018) and Cavernous Depths (2022, via Bitter Loss Records), establishing a reputation for blending savage thrash intensity with punishing death metal weight. Their releases have received consistent acclaim across the global metal press and airplay on international radio platforms.

While primarily a studio-driven force, BATTLEGRAVE have also brought their music to the stage, recruiting respected musicians from Melbourne’s metal scene to deliver their blistering sound in a live setting.

Throughout their discography, the project has collaborated with world-class drummers including Kevin Talley, 66Samus, and most recently Robin Stone, further reinforcing the precision and power behind the band’s extreme sonic identity.

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Source: ClawHammer PR

Band:	Ewig.Endlich
Release:	Im November
Genre:	Post (Black) Metal
Country:	Germany (Dortmund)
Release Date:	3rd of October, 2025
Released via:	Horror Business Records
Recording:	Liquid Aether Audio
Artwork:	Simon Albers (Ewig.Endlich)
Layout:	Marvin Ganskow

When it comes to browsing new music, I have always been a highly visual type of person. I’m not saying that it is all about the artwork, but a luring cover often pushes me into attention way quicker than “the regular stuff.” When I first encountered the artwork of Im November by German Metal combo Ewig.Endlich, I knew there will be a sound that is going to be difficult to pin down. This hand-painted picture radiates quite some statements from first glance already. Occasional spots of light submerged in dark main theme initially conveys the impression of an intensely calm situation. Only when going further into detail, the light spots in this painting broadcast an imagery that transports movement exactly at the spots of light that mark positions of human presence. What to expect from that – I didn’t know but I assumed it was going to be good. And I was certainly not disappointed.

Having surfaced with their first demo in 2016, Dortmund-based Post(-ish)-Metal band Ewig.Endlich first appeared on the radar. When I first encountered their music (again via browsing for Lower Rhine Underground – surprise) it was their 2018 release “Auf Grund” that already received quite some praise back then and caught my attention. Having asked for permission to upload this release to the LRU channel, it only took a little while until the release of their latest output Im November, which is why it was also this release that immediately found its way onto the channel.

What can I say – this is a wild mixture of genres that probably can walk by the term of Post-Metal, but there is way more than that happening on this entire release. There is a little something of everything happening all over the place. If possible, you could also call this by the name of Extreme Metal, but this would probably cut off the clean Post-Metal sequences. As you might guess, there are quite a lot of different genres that are mixed. The first track track “Mosaik” alone already displays the versatility of Ewig.Endlich. Kicking in with a sound that might immediately bring in the notion of straight-up Black Metal, the transfer into the vocals already blends this tone with vocals that construct a sound that interconnects Black Metal with what I used to call “Sad Punk” in the vein of Kaput Krauts. Don’t get me wrong, the vein of the Black Metal tone generally dominates, but there is a subtle impression of the aforementioned Punk that also goes togeher with the lyrical themes of societal progression of the protagonist on this album. When eventually also hitting the sequences that are delivered with growling vocals, it even feels as if we transferred right into a more melodic early Amon Amarth track. On “Mosaik,” the listener can get the full scope of this album already.

Further on, though, Ewig.Endlich are very keen to prove that they are capable of intertwining way more different genres than on this first track alone. Especially this natural connection between sounds that you would not imagine to get along together (you could call it the Ordinary Corrupt Human Love effect) is something that this combo seems to be at ease with. On the second track “Risse,” especially the melodic framework that points at the Post-Metal notion introduces. Continuing the sound of the riff on “Mosaik” in clean and Post-Metal-esque tone, a brief yet beautiful introduction progresses towards a sound that would probably rather be associated with Death Metal – if even possible. The Post-Metal tone omnipresently recurs on different tracks on the album, partly culminating with the warm and ambient tone that is accompanied by clean vocals on “Schutt.” So we’re talking about a range that moves somewhere between Post-Metal, Death Metal and Black Metal with nuances of Punk and everything is puzzled together in order to coin a sound that can be considered quite unique.

Lyrically speaking, the album follows a protagonist that initially feels detached from societal constraints in urban life because of their alienation. On further progression, while restlessly wandering and experiencing repulsion, the protagonist enacts by force of being weary of life only to eventually almost detach from life. When beinv overwhelmed by the blank will to survive, the pursuit of belonging progresses towards a more abstract state and also connects with urban life. If you are in favor with lyrics that follow a more detailled pattern, I can highly recommend to dive a little deeper into this album because it is absolutely worth it. Especially the language that narrates this progression feels incredibly heart-warming. These lyrics together with the artwork of this album delivers quite the full package of dedication and is a must-listen if you love to get into records that will need more than just sonical attention in order to fully grasp the environment of its sound.

As was probably clear from the introductory paragraph highly favoring the artwork of this release already, I also have to mention that every single track of this album received a different painting by band member Simon Albers, which is the kind of dedication that absolutely grasps my attention. By doing so, Im November gains a strongly unique character. The music was recorded by Mario Dahmen at Liquid Aether Audio, who was capable to filter the specific tone that moves in between these numerous genres. This album was released on black 12″ vinyl by Horror Business Records.

Once again, I am incredibly late to the game writing about this release in 2026 while it was released in October 2025. Nevertheless, it’s always better to dive deeper into releases at least somewhen instead of never at all. I have to admit that I did not know a lot of local Post-Metal bands and I’m always glad to see bands from nearby playing musical styles that are not entirely overfed these days. This is why I enjoyed Im November quite a lot. Anytime there is music that moves in between different musical spheres but never fully claims one of these, I’m all in for that. Ewig.Endlich are certainly capable of doing just that.

Black metal veterans Rotting Christ have disclosed a complete list of festival appearances for this year. The majority is scheduled in Europe.
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Brazil black metal unit Ain Sof Aur will put out their third long player, entitled Theos-Vel-Samael, on March 27th via I, Voidhanger Records. Details and first single can be checked out via Bandcamp widget.
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Speed is just so cool. The band, and the movie honestly. These Aussies are so cool, in fact, that they were given the VIP treatment on Valentine’s Day by All Elite Wrestling (AEW). They graciously invited them to Grand Slam Australia, where they got to go back stage at the Qudos Bank Arena in Sydney and enjoy all the antics and tomfoolery. Check out their video below. They look so happy it’s precious.

What’s even better is the fact that their single “The First Test,” off their 2024 album Only One Mode, was used as the official song for the event. That’s awesome.

Speed are touring all over the world over the next couple months, heading everywhere from Peru to the Philippines. They’re quite the doozy live, so make sure you catch them whenever and however you can.

Speed 2026 tour dates:

03/04 – Monterrey, MX @ Nodriza Studio #
03/05 – Mexico City, MX @ Gato Calavera #
03/06 – San José, CR @ Amon Solar #
03/07 – Bogotá, CO @ Capital Music #
03/10 – Quito, EC @ Mad Max #
03/11 – Lima, PE @ Vichama Conciertos #
03/12 – Santiago, CL @ Club Chocolate #
03/14 – Buenos Aires, AR @ Uniclub #
03/15 – Sao Paulo, BR @ Espaço Usine (NDP Fest) #
04/15 – Brighton, UK @ Chalk ^
04/16 – Birmingham, UK @ XOYO Birmingham ^
04/17 – Bristol, UK @ Electric Bristol ^
04/18 – Newcastle, UK @ Digital ^
04/19 – Leeds, UK @ Project House ^
04/20 – Glasgow, UK @ Slay ^
04/22 – London, UK @ Electric Ballroom ^
05/26 – Tokyo, JP @ Antiknock
05/27 – Osaka, JP @ Beyond
05/28 – Tokyo, JP @ Huck Finn
05/30 – Kawasaki, JP @ Bloodaxe Festival
06/03 – Taipei, TW @ The Wall Live House
06/05 – Shanghai, CN @ TBA
06/06 – Guangzhou, CN @ TBA
06/07 – Hong Kong, HK @ Mom Livehouse
06/09 – Manila, PH @ Mandaluyong
06/10 – Ho Chi Minh City, VN @ Out The Run
06/12 – Bangkok, TH @ Mr Fox Livehouse
06/13 – Kuala Lumpur, MY @ TBA
06/14 – Singapore, SG @ Aliwal Arts Centre

= w/ Clique
^ = w/ Whispers and Bodyweb

The post Speed Share BTS Video from AEW Grand Slam Australia appeared first on MetalSucks.

There’s a deluge of great releases coming up in the next month, so we’ve devised this handy guide for our most anticipated albums!

The post Metal Injection's Most Anticipated Albums Of March 2026 appeared first on Metal Injection.

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(written by Islander) Yesterday’s column was shorter than usual. I explained then that I was leaving home early for a day-long outing with my spouse. That happened, and what we did together was a tremendous amount of fun. But we didn’t get back to our island home until nightfall, and I didn’t spend what was […]

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Smith/Kotzen is the collaboration between Adrian Smith and Richie Kotzen that nobody knew we needed. Most of you will know who these guys are, but just in case you don’t, Smith made his name as the guitarist in the legendary Iron Maiden, helping define the twin-guitar sound of classic ’80s metal. Kotzen, meanwhile, built a … Continue reading Gig Review: Smith/Kotzen / Kris Barras Band – KK’s Steel Mill, Wolverhampton (17th February 2026)

Get in the van.

The post Here’s This Week’s Top Ten Stories On Theprp.com (February 22nd, 2026) appeared first on Theprp.com.