Good Day Noir Family,
Listening to Hide Inside The Moon by Mortal Prophets feels like entering a carefully lit inner universe, one built on literary memory, retro futurism, and emotional restraint.

Hide Inside The Moon is Mortal Prophets’ Album Out Now

Rather than offering instant gratification, the album asks for attention. The reward comes through immersion rather than impact.

The opening track, Mad Girls Love Song, unfolds as a suspended moment outside of linear time. Inspired by the legendary poet Sylvia Plath, this project sets a reflective tone that frames its artistic ambition, curated by John Beckmann. The composition feels fragile yet deliberate. Moreover, the restraint in arrangement allows the emotional core to surface without excess.

Then Eyes In The Sky shifts the energy. The rhythm becomes insistent, while sharp electronic tones recall the sleek urgency of 1980s arcade aesthetics. The track never turns playful. Instead, it keeps a sense of tension, as if movement itself becomes a form of unease. The pulse propels the listener forward while maintaining a sense of distance.

The title track, Hide Inside The Moon, deepens the atmosphere. Its opening feels cinematic, almost like the beginning of a lost score by John Carpenter. Electronic droplets tick beneath a hypnotic rhythm, while the muffled vocal delivery floats as if detached from gravity. The song becomes a doorway rather than a destination.

Later, Good Karma stands out for its vocal treatment. The doubled voice effect creates a subtle tension between warmth and menace. Meanwhile, the carefully shaped keyboard tones reinforce the project’s identity. I’m Her Honey softens the mood. It carries a gentle nostalgia reminiscent of 1980s television themes, offering comfort without sentimentality.

Twilight’s Last Embrace closes the album with minimalism and quiet futurism. The track feels like a transmission sent across time, echoing the philosophical calm of La Belle Verte. Because of this, the ending does not resolve the journey but reframes it.

Hide Inside The Moon succeeds through vision and coherence. It balances intellect and emotion with care. Mortal Prophets deliver an album that feels thoughtful, cinematic, and deeply personal, inviting listeners to step inside rather than simply observe.

Hide Inside The Moon is Mortal Prophets’ Album Out Now!

Visionary!

The Mortal Prophets is the shape-shifting project of New York–based artist John Beckmann, operating at the crossroads of avant-garde composition, roots Americana, and shadowy electronic textures. Conceived less as a fixed band than a revolving platform, the project brings together a rotating cast of collaborators around Beckmann’s songwriting, concepts, and production vision.

Across a prolific run of releases, The Mortal Prophets move fluidly through twisted blues, kosmische drift, psychedelic dream-pop, and noir-tinged balladry, unified by a cinematic sensibility and lyrically charged atmosphere. Drawing on Romantic poetry, mysticism, and European experimental traditions, Beckmann crafts songs that feel haunted by American folk forms while remaining restlessly forward-looking.

Find Mortal Prophets Here:

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The post Hide Inside The Moon is Mortal Prophets’ Album Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Underground For The Masses announces not only new bands on the festival’s bill, but also adds an extra date for extra madness, so be ready for three ritualistic days, with mesmerizing acts. Therefore, Quantic club will host the 3rd edition of Underground For The Masses on April 23-24-25, 2026, in Bucharest- Romania.

And now, the new names confirmed on the festival’s bill are: Sargeist, Naglfar, Ritualization, Nazghor, Antikvlt, Pénitence Onirique, Mallephyr, Patristic, Proch, Wiccan Rede, Deathless Void, Sektarism, and Malhkebre.

The other names confirmed for the festival are: Tsjuder, Darvaza, Whoredom Rife, ArsGoatia, and  Tabula Rasa.

And that’s not all. Author of multiple photography books including “A Journey Through Death”, “Imaginary Landscapes of Reality”, and ”The Soul of the Stage”, and renowned for his work with influential acts such as Marduk, Nifelheim, Mortuary Drape, Darvaza, and Whoredom Rife, NecrosHorns will return, and also hold an exhibition to reveal the unfiltered spirit of the scene he documents.

Event: https://www.facebook.com/events/1330426081579353/
Tickets: https://bilete.quantic.pub/bilete-underground-for-the-masses-iii-110438/

Expect madness. Expect chaos. Expect to be consumed by the underground.

Artwork by Anca Kivart, and presented by Din Intunerec.

I started 2025 with several rounds of radiation therapy. I was still going through my colorectal cancer treatment, and the current phase was radiation. Every day, I had a long commute to get to the facility – and equipment – that my medical team oversaw. These appointments came right on the heels of chemotherapy I’d finished earlier, so my body was quite exhausted already. It was becoming harder to find the will to get out of the house and make it to the hospital. Naturally, I started relying on what usually helps me: music.

Around this time, news of John Sykes’ passing hit the headlines. He’d passed away earlier, but the public was only just hearing about it. I’d heard his name many times before, but I had to admit, I didn’t really know much about him. There’s only so much music one person can discover! But I decided to right that wrong and start somewhere. I chose to begin with Thin Lizzy’s Thunder and Lightning.

This album then became the soundtrack to those radiation appointments. I listened to it every day for weeks, and I truly loved the music. I realized then that I didn’t even know Phil Lynott and Thin Lizzy all that well. I knew the “hits,” so to speak, but I wasn’t familiar with their full albums. It took me by surprise how much I loved this record; it had a heavy, gritty sound that I really dug.

I recognized the song Cold Sweat since Megadeth had already covered it on Super Collider, but I was hearing the original for the first time. It’s definitely the highlight of the album! But This is the One, Heart Attack, and the title track are also incredible songs. Overall, this is a killer record, and it shaped the early part of this year for me.

One interesting thing I noticed is that some hardcore Thin Lizzy fans are divided on this record. Apparently, some feel that John Sykes made their sound too heavy and that the band lost its bluesy edge. I can’t speak to that since I haven’t checked out their entire discography yet. I may also be dealing with some recency bias. Nevertheless, I think Thunder and Lightning is incredible. There’s no way Sykes made their sound “worse.” His only songwriting credit is on “Cold Sweat” anyway, but he undeniably brought a new approach to the guitar work. He was young, full of energy, and bursting with creativity, and he gave all of that to Thin Lizzy. Combine that with Phil Lynott’s genius and you get an excellent album.

It’s a shame that it ended up being the band’s final statement. Given what we know about how Sykes was treated in Whitesnake, I can’t help but imagine an alternate universe where he and Lynott kept collaborating throughout the ‘80s. Alas, that was not to be. I hope that wherever these two talented individuals are now, they are jamming and coming up with new tunes together.

Right around the time my radiation treatment was ending, Dream Theater released their highly anticipated album, Parasomnia. The hype was off the charts because it was their first studio album with Mike Portnoy in 16 years! Unlike Thin Lizzy, I know Dream Theater inside and out; I’ve been a fan for a long time. Of course I was going to check this album out! I listened to it a lot during commutes to the hospital for follow-ups, as well as at home when I needed to rest and recover.

Parasomnia is another solid album from the band. In my opinion, there isn’t anything too groundbreaking here as they played it quite safe, but if you already love their sound and missed Portnoy’s drumming and songwriting, you’ll find plenty to like. My overall feeling is that the band was so excited to be back together and writing again that they weren’t really concerned with reinventing the wheel.

It’s a concept album that deals with sleep disorders and the various ailments that go along with them. From what I can tell, it’s more of a thematic collection than a linear narrative like Scenes From A Memory. While each song follows the parasomnia theme, they function as standalone tales that don’t necessarily connect into one singular story.

My favorite track is Bend the Clock. If you want an introduction to the current Dream Theater sound, I would start there. The band promoted Midnight Messiah and Night Terror as singles, so you can dive into those next. While this album didn’t necessarily amaze me, I can understand why. When musicians who know each other this well reunite, muscle memory is bound to kick in. For the next record, however, I have a feeling they will want to head into uncharted territory once again. I can’t wait for that!

Later in the year, I was quite shocked by Ozzy Osbourne’s passing. Everybody knew he had been having health problems, and he had recently organized a farewell event, but no one expected to lose him so soon after that show. My knowledge of Ozzy’s material was mostly from his Black Sabbath days. I knew, of course, some of the biggest hits from his solo career, but I’d be lying if I said I knew the deep cuts. Just like with John Sykes, I was determined to right the wrong and dedicate some time to Ozzy’s career to pay my respects to a legend.

I started with Bark at the Moon, and this album defined a big chunk of August and September for me. Everything on this record sounded so good that I just kept coming back to it. I still can’t believe how underrated Jake E. Lee is. Together with Bob Daisley, he contributed to the fruitful songwriting of some of Ozzy’s best material, even though he wasn’t officially credited on this album! The title track already has legendary status, deservedly so, but seriously, pick any song.

I read online that some fans didn’t like the keyboards on this record but I have no idea what the problem is. Yes, it’s featured quite prominently on some tracks, but keyboards in rock music are nothing new. If it fits the song, which on this album it does, it can be a great instrument to add some depth.

Even though I love every track here, I will say Bark at the Moon, Now You See It, Rock ‘n’ Roll Rebel, and Waiting for Darkness are the highlights. Waiting for Darkness, in particular, is so good I don’t understand how it’s not a staple on every Ozzy playlist.

After discovering the entire record, I jumped into The Ultimate Sin, another record featuring Jake E. Lee. I love this one too! Jake brought a certain magic to the band; I really wish he could have stayed longer. These days, I’m doing my due diligence and spending time with Blizzard of Ozz and Diary of a Madman. I’ve always known of Ozzy and his work with Sabbath, but now I’m finally enjoying the deep cuts of his solo career.

He certainly was an interesting person who lived through massive triumphs as well as deep struggles. Yet, he somehow stuck around and stayed relevant. What a legend! People are complicated, I know, but I want to end this on a positive note: Ozzy did so much for heavy metal over the decades. That, alone, is worthy of respect and I’ll miss him.

Looking back, 2025 was a year defined by endurance—both in my health and in the music that carried me through it. From the radiation facility commutes with Thin Lizzy to the recovery days spent with Dream Theater and Ozzy, these albums provided more than just a distraction; they gave me a sense of discovery when I needed it most. Whether it’s the “muscle memory” of an old favorite or the “righting a wrong” of a missed classic, I’m just grateful to still be here, still listening, and still digging for those deep cuts.

The post Finding Strength in Sound: A Year of Discovery and Recovery appeared first on Mega-Depth.

Photo Courtesy of Chris Griffiths/Riff Photos

Edited by Anselm Anderson

Today, Award-winning Blues-Rock guitarist Ross Harding Announced New 2026 Live Dates for ‘The Blood & The Blues’ UK Tour, which will see him continue to take his darker bluesy rock & roll throughout the UK in 2026.

Ross Harding had a successful 2024, performing throughout the UK in cities such as Newcastle, Glasgow, Bracknell, London, Southampton, Woking, and Kingsbridge. He showcased his talent in various formats, including Solo Acoustic, Unplugged Band, and Full Electric Band. The full electric band performances will now be held under the name “Ross Harding & The Dark Blues.” However, the exceptional musicianship, captivating songs, and distinctive dark blues rock sound will continue to shine. ‘The Blood and The Blues’ UK Tour will begin with live dates from late January 2026 onwards. New dates are set to be announced once confirmed, so keep an eye on Ross’s socials.

The new dates will include a debut headline full-band performance at Ram Jam Records in Kingston Upon Thames on Saturday 7^th February 2026, followed by a set as part of the Stockport Blues Night on Thursday 12^th February 2026 at The Spinning Top in Stockport. Then Ross Harding and The Dark Blues will visit The John Peel Arts Centre in Stowmarket on Saturday, 28^th February 2026.

 In March 2026, Ross Harding will perform a solo acoustic opening set for established blues-rock band Big Wolf Band on Friday, 20^th March 2026 at Colne Delta Blues and Americana Club in Brightlingsea, Essex. Then the band will return to The Fiery Bird in Woking, Surrey, on Saturday 21^st March 2026, before wrapping the month up with their debut Dark Blues electric band performance at the newly opened venue Riff Factory in Stoke On Trent on Friday 27^th March 2026. This follows Ross’s sold-out solo acoustic and acoustic band sets last year in the city.

Ticket links and details can be found below.

Speaking about the 2026 live dates, Ross Harding explains:

“2026 is all about my Dark Blues Revival – honest, authentic music, both live and recorded. I’m humbled by the warmth music lovers in the UK and abroad have shown me, and I look forward to revisiting those cities while bringing the music to new audiences both here in the UK and beyond”.

No Ross Harding live show is alike, with his musical skills and versatility being showcased in three unique formats: Solo Acoustic, Acoustic “Unplugged Band” and Electric Band. Much like John Mayer’s 2008 release ‘Where The Light Is: Live In Los Angeles’, this approach allows people to fully experience Ross Harding’s songwriting, guitar talents, and captivating stage presence.

Ross has already enjoyed a successful run on the UK live circuit, opening for fellow blues-rock artist Dan Patlansky at Oran Mor in Glasgow, Scotland and The Cluny, Newcastle in April 2024. This was then followed by more solo acoustic performances supporting British Blues-Rocking riffmeister Jack J Hutchinson at The Black Heart in Camden, London and rising American roots rock band Caitlin Krisko & The Broadcast on their first headline UK Tour at The 1865 in Southampton,

He also released the single ‘A Thousand Snakes (Deluxe Version)’, which is a stripped-back acoustic version of the track. It has already received US radio airplay and has been helping secure coverage from a variety of music publications and shows, including Rock The Joint Magazine, Overtone Magazine, The Edward Fowler Show, The Guildford Dragon, and Rambling Man Writings, amongst others. This was followed by extensive radio airplay of further singles, including ‘Revelator Blues and ‘Me & Lucifer’, which both received airplay on radio stations such as Blues Radio UK and WDNF Philly.

He also performed at venues in Bristol, including Mr Wolf’s and The Louisiana, where he once again opened for Jack J Hutchinson before the London date. Then, in November 2025, he opened for Blues Harmonica extraordinaire Will Wilde in Southampton to a sold-out crowd.

His latest album, ‘The Blood & The Blues’, is out now on CD and digital formats.

Stream/Download Here: https://artists.landr.com/057829490291

‘The Blood & The Blues’ 2026 UK Tour will visit the following venues:

Date: Saturday 7^th February 2026

Venue Address: Ram Jam Records, 46b Richmond Road, (Behind The Grey Horse pub), Kingston upon Thames, KT2 5EE

Ticket Link: https://www.ramjamrecords.co.uk/events/07-02-26-the-ross-harding-band

Date: Thursday 12^th February 2026

Venue Address: The Spinning Top, 20 Wellington Rd S, Stockport SK4 1AA, UK

Ticket Link: https://www.fatsoma.com/e/2p4s71kv/stockport-blues-night-thomas-heppell-ashley-sherlock-ross-harding-andy-preston?utm_source=social_share&utm_medium=social&utm_campaign=social_share

Date: Saturday 28^th February 2026

Venue Address: John Peel Centre for Creative Arts Church Walk Stowmarket Suffolk, IP14 1ET.

Ticket Link: https://johnpeelcentre.com/JohnPeelCentre.dll/WhatsOn?f=380961

Date: Friday 20^th March 2026

Venue Address: Colne Delta Blues and Americana Club (Solo Acoustic Support To The Big Wolf Band), Brightlingsea Community Centre, located at Church Road, Brightlingsea, Colchester CO7 0fT.

Venue Website: https://colnedelta.club/

Date: Saturday 21^st March 2026

Venue Address: Fiery Bird, 32 Goldsworth Rd, Woking, GU21 6JT

Ticket Link: https://sessami.co/events/rosshardingdarkblues

Date: Friday 27^th March 2026

Venue Address: Riff Factory, Stoke On Trent, ST4 4HS.

Ticket Link: https://www.gigantic.com/ross-harding-blues-band-tickets/stoke-on-trent-riff-factory/2026-03-27-19-00

(More Dates To Be Announced)

 SOCIAL MEDIA LINKS

Website: https://rosshardingmusic.com/

LinkTree: https://linktr.ee/rossharding

Facebook: https://www.facebook.com/rosshardingofficial/?locale=en_GB

Instagram: https://www.instagram.com/rosshardingofficial/

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Welcome to our annual countdown of our top 40 metal albums of the year. 2025 was another banger of a year in heavy music, and the varied bands on this list are a testament to that. As a reminder this list is reserved for full-length albums, and as another reminder this isn’t a traditional “best of” list. Just one person’s favorites from 2025. I hope you find some favorites on this list as well.

40. Mourn The Light – Sorrow Feeds The Silence
Epic trad metal sailing in from the southeastern shores of Connecticut. Their most complete and best sounding release to date.
https://mournthelight.bandcamp.com/album/sorrow-feeds-the-silence

39. Christian Mistress – Children of the Earth
Ten years after their last full-length album, trad metal legends Christian Mistress returned with an absolutely fiery effort. There were few bands who returned from self-imposed hiatus who delighted as much in 2025 as this band.
https://christianmistress.bandcamp.com/album/children-of-the-earth

38. VoidCeremony – Abditum
Equal parts technical mastery and crushing heaviness, the newest VoidCeremony offering is an absolutely labyrinthine work of monumental death metal.
https://20buckspin.bandcamp.com/album/abditum

37. Phrenelith – Ashen Womb
Copenhagen’s Phrenelith dropped arguably their best work to date in 2025. Ashen Womb is a brutal, beast of an album that is as interesting as it is unrelenting.
https://phrenelith.bandcamp.com/album/ashen-womb

36. Orm – Guld
I’ve been a huge Orm fan since their 2017 self-titled debut album, and each subsequent Orm record seems to build on the foundation of melodic, atmospheric black metal that they’ve perfected. Guld sees the band head in some new and interesting directions with their sound and I’m absolutely here for it.
https://indisciplinarian.bandcamp.com/album/guld

35. Phobocosm – Gateway
Montreal’s Phobocosm play a style death metal that’s fully equipped for the darkest and most harrowing of nights. Their newest album was any even darker pitch of black, if that’s even possible. Truly devious material from a band that specializes in it.
https://darkdescentrecords.bandcamp.com/album/gateway

34. Tower – Let There Be Dark
Tower’s 2021 debut was one of my favorite metal albums of that year, so it should come as no surprise to see them on this list again. This album’s title is more than apropos, as Tower takes their sounds seemingly further into the fiery depths. The added dark metal elements gave Tower an even more powerful and engaging sound.
https://towernyc.bandcamp.com/album/let-there-be-dark

33. Scare – In The End, Was It Worth It?
If you’re looking for vitriolic crust punk mixed with top-notch, sludgy hardcore, then this record needs to be on your player immediately. Easily one of the angriest records you are going to hear from 2025, and one that deftly picks up the torch where their Canadian crust/hardcore forefathers left off.
https://scareqc.bandcamp.com/album/in-the-end-was-it-worth-it

32. Fauna – Ochre & Ash
The first album in 13 years for ambient black metal project Fauna, and they quickly made up for lost time with one of their best offerings to date. Coming from within the beauty and majesty of the Cascadian mountains of Washington state, Fauna’s music is as mystical and magical as that glorious range.
https://fauna.bandcamp.com/album/ochre-ash

31. Disembodiment – Spiral Crypts
Spiral Crypts is the debut full-length from Canadian death metal outfit Disembodiment, and it fully delivers off the promise of their 2021 debut EP. Not afraid to add a little groove to their brand of bludgeoning metal, Disembodiment will be sure to get the circle pits going in your living room ones the play button is mashed.
https://everlastingspew.bandcamp.com/album/spiral-crypts

30. Havukruunu – Tavastland
The newest full-length from these Finnish black metallers caught me completely by surprise, but what a brilliant and pleasant surprise it was. Truly epic pagan, black metal of the highest order, this album may be the rightful heir to the kingdoms of both Immortal and Emperor.
https://havukruunu.bandcamp.com/album/tavastland

29. Afghan Haze – Sermons of Filth and Disgust
The album title pretty much nails it for this Connecticut quartet. Afghan Haze play a mix of sludge, doom, and stoner rock that truly just oozes both filth and disgust. Filthy riffs, filthy vocals, filthy low end rumblings, and disgustingly good songs abound.
https://afghanhaze.bandcamp.com/album/sermons-of-filth-and-disgust

28. Ossuary – Abhorent Worship
Absolutely crushing full-length debut album from Wisconsin’s Ossuary. Listeners of The Metal Dad Radio Show already know I like my death metal of the slow and sludgy variety the best. This album does more than scratch that itch. Abhorent Worship slithers and sneers its way through six dastardly tracks leaving you ready to immediately do it all again.
https://mesacounojo.bandcamp.com/album/abhorrent-worship

27. Void of Hope – Proof of Existence
One of the first truly great albums to drop in 2025 came last January courtesy of Finland’s Void of Hope. It also happens to be one of the best debut albums you are going to hear from this past year. Dark, atmospheric black metal that was tailor-made for long, frostbitten winter nights.
https://avantgardemusic.bandcamp.com/album/proof-of-existence

26. Castle Rat – The Bestiary
New York City’ Castle Rat may have some of the best live shows you’ll see in a dingy club, but can they translate it to record? Oh, yes, they can. As much as I loved their 2024 debut album, The Bestiary sees a band truly hitting their stride. This is trad metal done right and the songs on this record will have you ready to grab a sword and head straight into battle without a second thought.
https://castlerat.bandcamp.com/album/the-bestiary

25. Bone Church – Deliverance
One of Connecticut’s finest metal exports over the last half decade or so is stoner rock outfit Bone Church. It’s hard for a band to make an album that’s catchier and more accessible for the average music fan than their previous material while still maintaining the heaviness and grittiness that made them darlings of the stoner rock world. Yet here we are. Turn this one up to 11 and keep it there.
https://ripplemusic.bandcamp.com/album/deliverance

24. AAWKS – On Through The Sky Maze
Canada’s AAWKS play a heady, almost trippy brand of sludge-infused stoner rock. This is a band that’s not afraid to merge crushingly heavy riffs with a melodic flair, giving stoner rock fans and those who like their doom on the dirtier side of the ledger both something to sink their teeth into. On Through The Sky Maze is one of their most ambitious and raucous albums to date.
https://aawks.bandcamp.com/album/on-through-the-sky-maze

23. Reekmind – Mired in the Reek of Grief
There were so many great debut albums in 2025 and easily one of the best of the lot came from Australia’s Reekmind. I’ll freely admit to knowing little about this act before coming across Mired in the Reek of Grief, but this album has me dying to hear more from this band. Top-notch death doom that is equal parts brutal and mesmerizing.
https://reekmind.bandcamp.com/album/mired-in-the-reek-of-grief

22. When the Deadbolt Breaks – In The Glow of the Vatican Fire
One of my favorite metal bands coming out of CT today are the trio known as When the Deadbolt Breaks. Mixing doom and sludge metal with atmospheric and experimental elements When The Deadbolt Breaks create a truly unique sound unlike even other outfits of the same ilk. In The Glow of the Vatican Fire is their most ambitious album to date, yet may also be their most accessible as well.
https://whenthedeadboltbreaks.bandcamp.com/album/in-the-glow-of-the-vatican-fire

21. Lamp of Murmuur – The Dreaming Prince in Ecstasy
One of the absolute best black metal bands in the world these last five years resides in the US. Lamp of Murmuur has been putting out stunning releases seemingly every year since the pandemic times, but The Dreaming Prince in Ecstasy may be the best offering to date. This album is one of the true successors to the mighty second wave of black metal, and continues the legacy with aplomb.
https://lampofmurmuur.bandcamp.com/album/the-dreaming-prince-in-ecstasy

20. Primitve Man – Observance
You will be hard-pressed to find a band that writes music as vitriolic and as crushingly heavy as Colorado’s Primitive Man, and Observance may in fact be their heaviest and angriest record to date. This album weighs on you like a tank, and feels like the sonic aftermath of total destruction. Just a completely brutal record from start to finish in the best way possible.
https://primitivemandoom.bandcamp.com/album/observance

19. Occulsed – Antegnosis
Featuring members who have played in a litany of killer extreme metal acts (including recent favorites Father Befouled and Encoffination), Occulsed came exploding out of the rich Atlanta metal scene with their second full-length album in 2025. With influences ranging as far and wide as Tampa and Sweden, Occulsed mastered their often discordant and crushing brand of death metal.
https://everlastingspew.bandcamp.com/album/antegnosis

18. Blackbraid – Blackbraid III
Some artists continually get better with each release, and you can count New York’s Blackbraid amongst that group. With an album that felt even heavier and angrier than previous releases, yet somehow more melodic as well, Blackbraid III has permanently cemented Blackbraid as one of the best USBM bands, bar none.
https://blackbraid.bandcamp.com/album/blackbraid-iii

17. Cemetery Moon – Dominion of Ashes
One of Connecticut’s best metal exports, Cemetery Moon, dropped their newest album of powerful, unadulterated black metal this year. More melodic than their previous releases, Cemetery Moon opted for a fuller, more approachable recording on this album. Yet, that doesn’t mean this will be accessible to the mainstream masses. On the contrary, the slight alterations to their sound created an even more overall vicious and frost-bitten affair.
https://cemeterymoon.bandcamp.com/album/dominion-of-ashes

16. Lo-Pan – Get Well Soon
One of the most consistent (and consistently good) stoner rock bands over the last two decades is Ohio’s Lo-Pan. Get Well Soon sees them continuing to fire on all cylinders, and at the top of their game. Chunky riffs combined with soaring vocals and a bottom-heavy back end make so many of these songs the kind of ear worms you pray for. Turn it up loud and prepare to rock out.
https://lo-pan-rock.bandcamp.com/album/get-well-soon

15. Kamra – Unending Confluence
Every year it seems that there is one band that’s not on my radar at all that comes out of nowhere to knock me on my ass. In 2025 that honor belongs to Slovenia’s Kamra. Mixing symphonic-styled black metal with some absolutely mind-bending experimental elements (especially those vocals), Kamra delivered easily one of the most unique and interesting records of the year. This is one of those albums worth multiple listens because you never know what you’re going to catch the next time around.
https://voicesofkamra.bandcamp.com/album/unending-confluence

14. Ancient Death – Ego Dissolution
Another band that dropped an absolutely blistering full-length debut in 2025 was Massachusetts death metal quartet Ancient Death. Guitarist Jerry Witunsky also plays live with Atheist, so that should give you some benchmark on how angular and progressive the songs on this album can get, but none of that eschews how downright brutal this album feels at certain turns. Easily one of the best death metal records of the year, (with some of the best solos and riffing around) and one that I’ve been listening to non-stop since it dropped back in April.
https://ancient-death.bandcamp.com/album/ego-dissolution

13. Intercourse – How I Fell In Love With The Void
I’ve been an Intercourse fan for longer than I can remember and count some of their releases among my favorites of the last decade plus. But How I Fell In Love With The Void is special, even for a band that’s this good at what they do. This is a violent, vicious album that never really relents enough for you to ever catch your breath, and that’s exactly how Intercourse likes it. Make sure you give at least one listen with headphones on so you can pay close attention to some of the best, and most biting lyrics you’ll see this year as well.
https://intercourse.bandcamp.com/album/how-i-fell-in-love-with-the-void

12. Anthrodynia – Unspeakable Horrors Emanating From Within
Let me mention again how much I like my death metal slow, sludgy, and filled with gnarly riffing. Canada’s Anthrodynia are the absolute embodiment of that statement. Their debut full-length album is filled with dirge-like doom sections, coupled with blasting madness to create the ultimate death-doom album of the year. This is a band I’ll be paying close attention to moving forward.
https://anthrodynia.bandcamp.com/album/unspeakable-horrors-emanating-from-within

11. Paradise Lost – Ascension
30+ years and 17 full-length albums into their careers Paradise Lost needs no introduction. One of my all-time favorite metal bands released another banger of a record in 2025. Ascension continues to build on this band’s legacy of creating amazing gothic-tinged, death-infused, doom metal. Some of their most memorable songs of the last five years appear on this record and based on how much I loved the last three albums that’s as high a compliment as I can give.
https://paradiselostofficial.bandcamp.com/album/ascension

10. Prayer Group – Strawberry
There were some pretty stellar noise rock records that hit the streets in 2025, but they all paled in comparison to the one released by Virginia’s Prayer Group. This is an album that revels in its discordance without losing sight of still making songs that snag the listener as opposed to repelling them. If this one doesn’t get your heart rate pumping a little higher by the end of the record there may be no hope for you.
https://prayergroupsaves.bandcamp.com/album/strawberry

9. Waldgefluster – Knochengesange
Germany’s Waldegefluster dropped two full-length albums on the same day in 2025. Knochengesange I and II are companion albums, with the first album being stuffed with Waldgefluster’s brand of emotive, atmospheric black metal and the second being rooted in acoustic/dark-folk traditions. Both albums are genius in their own rights, but for our metal purposes here we’ll focus on the first album. If you are looking for truly contemplative, beautiful, and yet wholly frostbitten black metal this should be the first album from 2025 you reach for.
https://blackmetalwaldgefluester.bandcamp.com/album/knochenges-nge

8. Malthusian – The Summoning Bell
It’s been seven long years since Ireland’s Malthusian released their stellar debut full-length album. Waiting seven years for this stunning follow-up probably wasn’t on anyone’s bingo card, but the wait was worth it for the album we’ve been gifted. This is blackened death metal that’s as filth-laden and grimy looking as the swampy scene on the album’s cover. Filled with massive, doomy passages and absolute brutality from start to finish, this was one of the most intense death metal albums of the year.
https://malthusian.bandcamp.com/album/the-summoning-bell-2

7. Evoken – Mendacium
New Jersey’s Evoken has been one of the best US doom exports since their debut album dropped back in 1998. Their last album, 2018’s Hypnagogia was also a top 10 album for me that year, so it should come as no surprise to see them here again. Few bands have mastered the ethereal realm of death doom the way Evoken have and it’s not hyperbole to state that Mendacium is one of their best efforts to date. As heavy and as interesting as they have ever been.
https://evokenofficial.bandcamp.com/album/mendacium

6. -(16)- – Guides for the Misguided
One of the longest running bands on this year’s list is California’s -(16)-. I’ve been a fan of this band since the mid-’90s and have been equally stoked to see new albums consistently pop up every few years. Guides for the Misguided was the first album of 2025 (released back in February) that I knew was going to not only make my year-end list, but crack the top 10 as well. This is sludge metal of the highest order and one of the best albums -(16)- has ever released. Equal parts thick as molasses, yet filled with head-bobbing catchy riffs, killer solos, and melodic interludes, this is an album I’ve been pretty obsessed with for close to a year now.
https://16theband.bandcamp.com/album/guides-for-the-misguided

5. Hooded Menace – Lachrymose Monuments of Obscuration
It’s so refreshing when a band you love refuses to stand pat on their sound and is willing to take sonic chances that pan out perfectly. Such is the newest album from Finland’s Hooded Menace. While their newest release is still rooted in the mesmerizing death doom that they’ve become synonymous with, Lachrymose Monuments of Obscuration infuses old school metal aesthetics with absolute perfection. Turns out reaching into the past for trad metal inspiration can give your already exemplary sound something fresh and exciting. Since this album’s release in October this may be my most listened to record over the last three months of the year.
https://hoodedmenace.bandcamp.com/album/lachrymose-monuments-of-obscuration

4. Tithe – Communion In Anguish
As you could glean from this list I personally felt this was another stellar year in the death metal world. My favorite death metal record of 2025 comes from Portland, Oregon’s Tithe. Communion In Anguish takes a death metal foundation and runs it through a gauntlet of black metal, doom, and grindcore aesthetics. What sounds, on paper, like a kitchen sink mishmash comes out of your speakers as a vitriolic, wild ride of an album. At certain turns this thing is ripping at your face like a feral cat, and at others it chooses to melt your face off slowly and steadily instead, sometimes within the boundaries of one track.
https://tithepdx.bandcamp.com/album/communion-in-anguish

3. Tribunal – In Pentinence and Ruin
Vancouver, Canada’s Tribunal exploded onto the metal scene in 2023 with a debut album that I thought was going to be really hard to top. Foolish me for doubting this band so early in their already impressive careers. In Penitence and Ruin takes the gothic/death doom of their debut and builds a virtual monument to one of my favorite metal sub-genres. As beautiful and elegant as it is dark and heavy, this is the type of album you sit down with for hours on end and let it wash over you. There’s an element of seductive melancholy here that is simply unmatched by any of their current peers. Truly a masterwork of gothic metal dominance.
https://20buckspin.bandcamp.com/album/in-penitence-and-ruin

2. Rwake – The Return of Magik
Hard to believe it’s been 14 long years since Arkansas’ Rwake released a full-length album, but time flies when you’re trying to survive I suppose. The album’s title is an apropos one because this album truly is a magical one. I’ve been obsessed with this record since it dropped all the way back in March, uncovering new and interesting pieces with every listen like an obsessed miner searching for gold. Rwake’s brand of experimental sludge has always been eye-opening with each new release, but The Return of Magik is simply next-level good. Truly one of the most engrossing albums we’ve been gifted so far this decade.
https://rwake.bandcamp.com/album/the-return-of-magik

1. Deadguy – Near Death Travel Services
The return of New Jersey hardcore legends Deadguy was cemented when they dropped their first full-length album in 30 years. When this album was released on June 27 I knew by June 28 that this would be my top album of 2025, and despite the best efforts of some stellar bands armed with killer albums I’ve never wavered from that. I was a massive Deadguy fan back in the ’90s, so trust me when I say that this is the best thing they’ve ever released. It’s an angry, violent record the way that only Deadguy could do it. I’ve been playing this album non-stop for the last six months and I don’t see that ending any time soon.
https://deadguy666.bandcamp.com/album/near-death-travel-services

Good Day Noir Family,
Listening to An Exception by I Forget Myself feels like stepping into a private corridor of thoughts where intuition guides every turn.

An Exception is I Forget Myself’s EP Out Now

Rather than chasing familiarity, this EP chooses atmosphere, patience, and personal language. The experience unfolds slowly but with intention.

The opening track, The Climb, hooks you from the first note. A delicate vocal approach floats above a restrained rhythmic frame, and yet the tension never disappears. Instead, the song breathes and expands. Moreover, the syncopated rhythms evolve gradually, creating a sense of motion without urgency. Because of this, the track feels suspended between reflection and momentum. The harmonic ideas shift with care, and the abrupt, blade-like ending lands with surprising force.

Then, Bygones reinforces the identity of the project. While many artists lean on repetition or current formulas, I Forget Myself avoids trends entirely. The track feels like a guided passage rather than a conventional song. There is a narrative quality in the arrangement, and the listener follows it instinctively, almost as if led through an inner landscape rather than a structured composition.

With Magna Catharsis, there are vocal inflections that may remind some listeners of Blind Melon, especially in the warmth and fragility of the delivery. However, the surrounding textures push the song elsewhere. Psychedelic hues surface, while distant echoes hint at the exploratory spirit associated with Pink Floyd. Still, the track remains grounded in its own emotional logic. These references act as faint reflections rather than destinations.

Contexts closes the EP with a more urgent pulse. The rhythm tightens, and subtle arpeggiated effects introduce a dystopian edge. Meanwhile, the atmosphere grows denser, pulling the listener forward rather than letting go. Because of this shift, the ending feels open-ended yet deliberate, as if the journey continues beyond the final note.

Overall, An Exception succeeds because it values vision over convenience. It trusts the listener to stay present. I Forget Myself delivers a body of work that feels intimate, experimental, and quietly confident. In a landscape often driven by immediacy, this EP chooses depth and direction instead.

An Exception is I Forget Myself’s EP Out Now!

Unique and Superb!

An Exception is I Forget Myself’s EP Out Now

I Forget Myself is an experienced singer-songwriter, producer, and multi-instrumentalist who has worked as an independent artist in the music industry and performed in various rock bands. Born and raised in South Africa, he has European ancestry and has lived in Asia for over a decade. Currently based in Hong Kong, his music reflects a distinctive style influenced by his global perspective.

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The post An Exception is I Forget Myself’s EP Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Good Day Noir Family,
Eyal Erlich returns with “Already In,” a track that moves like a quiet desert breeze carrying half-forgotten memories.

Already in is Eyal Erlich’s Single Out Now

It begins with a gentle guitar pattern that feels like an empty road stretching through a sun-bleached plain.

The mood is intimate, yet far from fragile, because the melody suggests motion, purpose, and a subtle inner fire. Erlich has always had a natural gift for introspective songwriting, and here he channels that strength into something deeply atmospheric without ever drifting into excess.

The vocal line enters almost as a companion to the guitar rather than a dominant force. The two elements interact with a smooth flow, creating a sense of reflection and emotional depth. Moreover, Erlich’s delivery carries a warm grain that helps anchor the track in a very human place. His phrasing invites the listener to slow down and breathe, as if he were guiding them through a personal journal left open under the night sky.

As the drums finally join, the song expands. The rhythm rounds out the arrangement and shifts the track into a more cinematic space. Yet the beat never overwhelms the delicate guitar work; instead, it supports it, giving the impression of steady footsteps along a dusty trail. Because of this balance, the track gains an Americana-tinged pulse, rich with folk accents and subtle rock energy. Each arpeggio feels like a mirage shimmering just out of reach, while the vocals maintain a calm narrative thread that ties everything together.

The production is warm and organic. Every instrument breathes naturally, and the dynamics rise gradually, forming a journey rather than a static moment. Erlich’s ability to merge introspection with melodic clarity creates a listening experience that feels grounded and dream-laden. Consequently, “Already In” stands as one of his most evocative releases, offering a space where memory, longing, and quiet hope coexist in harmony.

Already in is Eyal Erlich’s Single Out Now!

Dreamlike!

Eyal Erlich stands as a rare figure in today’s indie rock scene – one that bridges the timeless spirit found in legendary rock stars of the 70s with the raw honesty of personal experience. Since stepping onto the stage, he has carved out a reputation as a singer-songwriter who writes with an unflinching eye toward love, loss and the fragile beauty of being human.

Find Eyal Erlich Here:

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The post Already in is Eyal Erlich’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Houston, TX – Progressive rock artist Leon Alvarado has announced new details surrounding his highly anticipated studio album, The Wicked Forest, slated for release on February 27, 2026.

The album showcases an impressive lineup of guest musicians, including Billy Sherwood, Jon Davison (Yes), and Johnny Bruhns (CIRCA). With its blend of lush atmospheres, dynamic keyboards, driving progressive percussion, and soaring vocals, The Wicked Forest continues Alvarado’s legacy of creating evocative, concept-driven musical experiences.

Following the critical success of The Changing Tide, Alvarado’s upcoming release expands his repertoire with seven new compositions that deliver a contemporary progressive rock sound while honoring the classic spirit of the genre.The Wicked Forest is dedicated to the memory of Johnny Bruhns, honoring his musical contributions and lasting friendship. He sadly passed away before the album was completed, but his spirit lives on in the music.

Track List:

The Big Bang
Beyond
Urban Disturbance
Chase In Three
Man In A White Car
Lost In The Forest The Wicked Forest

Personnel:
Leon Alvarado: Drums, Keyboards (all tracks), Backing Vocals (track 5)
Billy Sherwood: Bass (1, 2, 3, 5, 6, 7), Guitars (3, 6, 7)
Jon Davison: Vocals (2, 3, 5, 6)
Johnny Bruhns: Guitars (1, 2, 5), Sitar (2)
James Griggers: Additional Guitars (3)

Lyrics:
Tracks 2 and 3 by Linda Alvarado
Track 6 by Leon Alvarado

Songwriting:
All songs by Leon Alvarado except “Man In A White Car” by Alan White, Geoff Downes, Trevor Horn, Steve Howe, and Chris Squire.

Production:
Produced and Mixed by: Leon Alvarado
Mastered by: Maor Appelbaum
Cover Art: Synergy Design

About Leon Alvarado
Leon Alvarado is an American progressive rock artist, and composer celebrated for his cinematic soundscapes and collaborations with notable figures in the progressive rock community. His discography includes acclaimed releases such as The Changing Tide, The Future Left Behind and Music From an Expanded Universe. Blending intricate arrangements, atmospheric textures, and rich narrative depth, Alvarado’s music resonates with fans of both classic and contemporary progressive rock, solidifying his place as a distinctive voice in the genre.

Leon Alvarado Online
Facebook: https://www.facebook.com/leonplays
Bandcamp: https://leonalvarado.bandcamp.com/

Melodic Revolution Records
https://li.sten.to/mrrmusiccom