THE TOP 10 ALBUMS OF THE MONTH should be self-explanatory, an ordered ranking of ten albums that’d resonated most throughout this month. If you’re new to the site, the tendency is heavy and/or surreal music. Choices are selected based on temporal immersion, personal connection, impressive style, point of view, aesthetics and with consideration for the lasting value of each selection. All choices are ultimately personal and come without consideration for populism, nepotism, cronyism, or any outside factors including perceived “relevance”. Writing about music is a passion I afford as much time as is manageable and I am grateful to have so much to choose from. Thank you.

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I. This month on MystificationZine.com included 22 longform album reviews, 25+ video reviews/features, 20 short album reviews, and I am eternally behind on written interviews. As much as I try to cover there is a vast, vast number of overlooked releases that are yet worth seeking out, go and continue your search until you are sated.

II. In 2025 written reviews will continue to have a video component which will ideally post at the bottom of each review or feature at the end of each week (Friday or Saturday) If you enjoy these please consider following on YouTube. We are hovering around 1150+ subscribers and hoping to reach the 2,000 mark in 2025. Updates will pick back up on a regular basis soon, I have had some issues with my EOTY 2024 vids and it’ll take a bit longer to shred through everything and catch up with January.

III. As always I’d like to express my gratitude for the bands, labels and PR firms who choose to work with me. Thank you.

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20. Shrieking Demons – The Festering Dwellers [Transcending Obscurity]
19. Consumption – Catharsis [Dusktone]
18. Bergthron – Neu Asen Land [Trollzorn]
17. HÄXKAPELL – Om jordens blod och urgravens grepp (2025) | REVIEW
16. MUTAGENIC HOST – The Diseased Machine (2025) | REVIEW
15. PENTAGRAM – Lightning in a Bottle (2025) | REVIEW
14. NECRONOS – Charred Tongue (2025) | REVIEW
13. ONIROPHAGUS – Revelations From the Void (2025) | REVIEW
12. BLOOD RED FOG – Marrasv​ä​et (2025) | REVIEW
11. BALEFIRE – Balefire (2025) | REVIEW

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#10
ARTIST:	JONATHAN HULTÉN
TITLE:	Eyes of the Living Night
RECORD LABEL(S):	Kscope

Learning of my younger sister’s suicide on the first day of the year set a harsh tone for 2025 and in process of these events I’d naturally gravitated toward this album, having landed in the exact right headspace to receive its at times hymnal, dulcet-toned storytelling as funeral programme and reception alike. This of course interferes with my ability to review it, since it’d offered comfort and contemplation as I’d helped clean up and support the aftermath of her passing… and it has continued to be a point of psychic respite and (again) process right down to the lyrics. Because of these events ‘Eyes of the Living Night‘ is suddenly a part of me on a deepest possible emotional level, key catalyst and salve, and I don’t think I’d gravitated there randomly… having admired the fellowe’s art and music since the early 2010’s. Whatever short draft I’d conjured in preview of the album in late December was of course completely changed by my experiences but I will say that regardless of this we can view Hultén‘s smokey nightside carnival of music box folk, pop-tinged rock, bluesy dramatism, and signature harmonized vocal layers as admirable reveal of his grand personal ambitions given life via bigger production values. The possibilities now sit wide-open thanks to an incredible leap in terms of expanded instrumentation, stepping out of the choral folken mode and going even bigger with their presentation.

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#9
ARTIST:	CONCRETE ICON
TITLE:	Voracious Streams
RECORD LABEL(S):	Memento Mori

Conjuring memories of bands such as Resurgency and even Nerlich this third album from Concrete Icon speaks to brutality through its battery while also carrying a very clear directive toward early-to-mid 90’s death metal. This amounts to a big change from their previous sound which was more melodic and easier-going by direct comparison. We can hear classic USDM informing ‘Voracious Streams‘ in most every sense otherwise, providing its own groove-centric hammer which should appeal to fans of everything from early Sinister to newcomers in the Finnish scene like Disguised Malignance and Cryptic Hatred.

“Chopped in half during its inception and rebuilt for freshly violent action Turku, Finland-based death metal quartet CONCRETE ICON achieve this third full-length album from a new perspective, now more intensely focused on ‘old school’ standards for brutality, groove, and the proper feature of the riff. In this way ‘Voracious Streams‘ stands out with appreciable immediacy as a bull among the cowed and softening will of the sub-genre’s modern zeitgeist. Classics-minded but never completely lost in the shadow of any one point of inspiration this album’s directorial hand leads with groove and an up-front hammer but eventually wields its punishing ouevre into an appreciably balanced showing.“

>> FULL REVIEW <<

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#8
ARTIST:	NECROMANIAC
TITLE:	Sciomancy, Malediction & Rites Abominable
RECORD LABEL(S):	Invictus Productions, The Ajna Offensive

However you might define Necromaniac‘s style at face value, be it 80’s death metal or blackened death-thrash and everything in between I would emphasize that their medium is not the sort of rote worship that typically comes with sub-genre music set expectations. This debut from the long running force is patient in its laboring, exciting for its conjuration of the sinister unknown, and ‘old school’ in spiritus to the point that I’d found myself transfixed. The root of their craft is probably morbid, violent thrash metal outliers of the late 80’s but their work is yet conscious of old-and-new interest in the mayhem that foundation’d spawned.

“Hidden from plain sight and at work on shadow-and-ghost conjured curses for well over a decade London, England-based morbid blackened death-thrash metal quartet NECROMANIAC emerge cloaked and black-eyed in peak possession form for this well-built debut full-length album. Obsessed with the cruelty of extreme thrash metal of the mid-to-late 80’s and indebted to morbid blackened death nascency ‘Sciomancy, Malediction & Rites Abominable‘ presents classics-minded craft at a highest standard today, uncompromised evil finding its bloodier, blackened flow in an age of torpor and forgotten principles. Though there may be some patience involved in allowing these deliberately struck, highly detailed pieces to sink in fans of the riff who show up for this one should be rewarded in every case.“

>> FULL REVIEW <<

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#7
ARTIST:	ACOLYTES OF MOROS
TITLE:	Sphere of Adversity
RECORD LABEL(S):	Nine Records

On this sophomore full-length album Acolytes of Moros conjure atmosphere which is leagues darker than anything they’ve done in the past, an exploration of form and technique which leans into extremes for intensity and gets it right in the context of neo-traditional doom metal insight. In most band’s hands these ideas would be saladry, an uncouth and messy mélange, but for these Swedish folks there is a natural logic to longform storytelling and an emphasis on the riff which is refreshing. Engrossing and diabolic but, sure, still intimately stated despite the harrowing surrealism abounding.

“All that is cursed collates and surrounds with every step taken deeper into the intoxicating dark as Uppsala, Sweden-based doom metal trio ACOLYTES OF MOROS invite us to their realm of shadows via this impressive sophomore full-length album. A double album in four longform acts ‘Sphere of Adversity‘ finds the band still rooted in the revivalist traditional doom metal mindset of the 2000’s as they explore extreme and atmospheric inspiration which carries us to through the underworld depicted. Taking their expression to a new and far more distinct headspace in the process of endarkenment these folks have done well to take command of what is most unique about their craft and lean into it within deeply detailed, thoughtfully struck doom metal pieces.“

>> FULL REVIEW <<

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#6
ARTIST:	MEMBARIS
TITLE:	Black Plasma Armour
RECORD LABEL(S):	W.T.C. Productions

The prior LP from Membaris was elaborate in its presentation but frenetic and outrageous in its strikes, from my point of view the standard set was high enough that I couldn’t have imagined where ‘Black Plasma Armour‘ would go. As it turns out the whole of the album reeks of focus, of breakthrough moments and freshly peaking expression. Production values, pacing, etc. all of this goes a long way but the wilding performances and riffcraft, melodious and chaotic alike, make for a record which’d garroted me from the first spin.

“Erratically charged yet coherent in their conjuration of both beauteous and bleak tracts of irreverent, mayhemic craft Limburg, Germany-based black metal quartet MEMBARIS return for a barely contained sixth full-length album. Two nearly equitant sides with each bearing its own deranged soul-siphoning escalation which bottlenecks at both conclusions, providing shape to the breath of madness which spews from ‘Black Plasma Armour‘ another act of raving lunacy under their name. Notably supranatural in its serrated melodious patternation the psychoactive rush that this troupe is known to bring now achieves fresh stellarly peak on this latest album, a teeming and bellowing call to a void they now command.”

>> FULL REVIEW <<

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#5
ARTIST:	PYRE
TITLE:	Where Obscurity Sways
RECORD LABEL(S):	Osmose Productions

While many of their perceived peers from the early 2010’s ‘old school’ death metal resurgence iterated quickly, found no endpoint for ‘old school’ death metal beyond progressive rock, and’ve largely moved on Pyre return to the main subject and continue to build upon the insight they’d found within their first two LPs. ‘Where Obscurity Sways‘ follows some of the path tread on their previous album in that they’ve moved away from the eldest Swedish death metal ideal toward more of their thrashing (early) Asphyx and Morgoth-esque side via Van Drunen-esque vocals and more varietal pacing. Not only are they still writing big riff-crammed pure death metal songs but the production values here are especially suited for the details they’ve faceted into each piece. Always above average work, and for my own taste even more impactful than expected.

“There is no hat-trick, no melting away of sub-genre constructs, no obscurant magickry assembled on Saint Petersburg, Russia-based death metal quartet PYRE‘s third full-length album beyond their command that we sit staring into the eyes of death and madness ’til we’ve fully felt the downward pull of life’s torment. Through their vortex of hands and eyes all sickness, human cruelty and decay builds ‘Where Obscurity Sways‘ into prime ‘old school’ death metal monument, an authentic addition to the (true) legion. By once again expertly wielding auld weaponry into their own twisted mirror upon our collectively doomed reality these profound-yet-traditional wares once again thrill in their looming-large state, a reminder of their station as a superior act among thousands.“

>> FULL REVIEW <<

https://osmoseproductions.bandcamp.com/album/where-obscurity-sways

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#4
ARTIST:	RELICS OF HUMANITY
TITLE:	Absolute Dismal Domain
RECORD LABEL(S):	Willowtip Records

A half hour-long concept album from a Belarusian brutal death metal band? No, it isn’t our beloved fellowes Eximperituserqethhzebibšiptugakkathšulweliarzaxułum (hugely anticipating their return, though) but rather surprisingly a full-fledged and well considered return from Relics of Humanity and an album which holds its cards a bit for the sake of telling a story and introducing its own wild dynamism. I’d loved this album for its impact, of course, and the kind of raw and pinging slap of its well-tuned production values but even moreso for the mind expanding possibilities introduced by the shortform narrative. For my own taste this is some of the most tasteful, or, mature presentation I’ve seen from a brutal death band with any real talent and insight associated with their name.

“Animalistic in its recension and surreal in its atmospheric discharge this much anticipated concept album from Minsk, Belarus-based brutal death metal quartet RELICS OF HUMANITY aims to turn our eyes away from God as they snuff out all light and bask in the thought of an eternity spent in suffocating gloom. Our destination and their third full-length, ‘Absolute Dismal Domain‘, is an elegantly depicted cataclysm… a brutal death metal record where every downtuned note clubbed and each hammer of its taut snare counts toward its primeval return to desolation, a siphon of life and hope from already greying minds.“

>> FULL REVIEW <<

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#3
ARTIST:	NACHASH
TITLE:	Eschaton Magicks
RECORD LABEL(S):	Signal Rex

For the sake of evil heavy metal that’d deploy an uneven speed-metallic whip across the eyes for its impact the surreal thrashing “deathened” black metal of Norwegian trio Nachash just so happens to line up with my taste in obscure pre-’91 feeling black metal, usually the sort of stuff we’d get from an ex-death metal band or late to the party thrashers in eastern Europe. While we could compare the more heavy metal driven fusion of their Shadow Kingdom debut several years ago now we find a more raw, punkish trample to their meter which trades Varathron-esque riffcraft and detailing for something more abrupt and atmospheric. We don’t necessarily lose anything in this trade so much as make room for an expanded vernacular.

“Having spent the better part of six or so years delving deeper into the wellspring of ancient extremist intent and occult-alchemic conjured visions Oslo, Norway-based black metal trio NACHASH present their findings, triumphal knowledge of the endtime on this sophomore full-length album. A curious second angle at a death-worshipping black metal album rooted in the first wave’s speed/heavy metal upsurge ‘Eschaton Magicks‘ is a creation which scythe-cuts and invaginates temporal logic in sourcing its difficult to reference sound, stepping outside of time for the sake of the terminus in mind. A rolling attack through ancient extremes and psychotic performances the trio’s work values energy and accost just as much as detail and technique this time around, making for a harried yet consistently bounding record which achieves an even more singularly set sense of self this time around.“

>> FULL REVIEW <<

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#2
ARTIST:	CENTURY
TITLE:	Sign of the Storm
RECORD LABEL(S):	Electric Assault Records, Dying Victims Productions

Having gravitated toward Century‘s debut so immediately when it’d released and spread nothing but enthusiasm for it since I’d approached ‘Sign of the Storm‘ knowing it’d not likely strike me in the exact same way. And to be fair it is a different album from a band who’ve moved on quickly in emphasizing their anthemic NWOBHM and classic Swedish heavy metal inspired sound, excising some of the “rock” for the sake of something which fully exits the 70’s from my point of view. Their layered vocals and use of melody is admittedly repetitious in practice but I’d viewed this as consistency, an album which makes sure its impact is felt and lived with throughout its runtime. Simply put, it stuck with me more than most of what I’d heard in January.

“Despite authoring some of the more tuneful better days underground heavy metal tradition in years Stockholm, Sweden-based duo CENTURY recognize the damnation of the present on this sophomore full-length album, choosing to live in it rather than struggle with the past, or, pretend a vibrant tomorrow exists. Tales of high fantasy, of the dead arisen and nightside possession, raise Hell amidst struggles for freedom as they settle in the deeper pockets of ‘Sign of the Storm‘. As a follow-up the album captures the band “maturing” in their presentation and authorship without losing the hand-built, from-the-hip energy that’d sold the last.“

>> FULL REVIEW <<

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#1	Album of the Month
ARTIST:	BARSHASKETH
TITLE:	Antinomian Asceticism
RECORD LABEL(S):	W.T.C. Productions

The sophistication of Barshasketh‘s body of work naturally speaks for itself in the sense that the level of composition, lyricism and overall directive deployed bears the conviction of minds incensed into self-liberation. As a black metal record ‘Antinomian Asceticism‘ isn’t plainly flexed perfectionism, though, it is still enjoyable as a rhythmically charged album experience possible to soak into with any number of neurons engaged. For my own taste I didn’t necessarily land upon any other record this month that’d so resolutely done its own thing, found its own voice and conjured profound meaning from that font of inspiration.

“To widen the lens of insight and purify the spirit of its easily clouded eye Edinburgh, Scotland-based black metal quartet BARSHASKETH secret away to a self-devised panopticon which offers starkly smoking clarity to the seeker, a fortitude gained through the madness of isolation. Their paradigm endures, deranged through an alchemically stripped still-caustic bravado which stabs its many-fanged puncture via this fifth full-length album. ‘Antinomian Asceticism‘ exists as a vessel for mystic violence one’d want from the melodious and mayhemic cut of this name and one that overflows with its findings, managing a balance between all that could be said and only just what is vital to convey to the truly concerted ear.“

>> FULL REVIEW <<

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