Ghola - Aeon

Labels: Larry Records/Vamonos Records/Zegema Beach Records

Formats: Vinyl/CD/Digital

Release Date: 28 Sep 2026

Tracklist:

1. Chrysalis

2. Specter of Sisyphus

3. Shadow Reality - Descent Into the Cave

4. Panoptic Singularity

5. Black Knight Satellite

6. Crux Upon the Acropolis

7. Fire in a Madhouse at the End of Time

8. Necropolis (ark)ology

There was a brief moment a few days ago where I thought that things were going to quieten down on the day-job front, but I was wrong. It's gonna be busier than ever (partly self-inflicted!). This isn't my sounding board though, I must remember that. What it is, is the place where I get to share something of a screamo supergroup. 

US band Ghola released their debut album Aeon in late September. I try my best not to do this usually but I want to mention the bands that lend their members to Ghola, because they're all excellent and they are; Bleached Cross, Crowning, Frail Body, Greed Worm, Inosuke, Itto, Lord Snow, Oaktails and Stormlight (and breath...). The album was released on single-sided vinyl, on CD and digitally via Larry Records, Vamonos Records and Zegema Beach Records.

If ever there was an intro sample on an album that speaks to just how insane the world currently is, it would be the one that opens ‘Chrysalis’. The line “escape before it’s too late” struck a chord that I wasn’t expecting and what follows is equally as devastating. Raging emo-violence/screamo with furious vocals and ethereal instrumental passages, all in the space of around ninety seconds. The single-sided nature of the vinyl pressing makes complete sense when there’s nothing even resembling a pause between ‘Chrysalis’ and ‘Specter of Sisyphus’. What is stark though is the difference between the two songs. ‘Specter of Sisyphus’ swings between atmospheric post-hardcore dreaminess and off-kilter chaos. It’s layered in such a cool way as well, which I can’t really explain.

‘Shadow Reality - Descent Into the Cave’ veers in a different direction too; from opposing time-signatures and chaos, to nostalgic emo melodies and spoken-word vocals. It goes a long way in quite a short space of time. Music is what you make of it and as lines get continually blurred thanks to the creativity of musicians, and songwriters, the predictability disappears. ‘Panoptic Singularity’ is a case in point, as it’s born out of the previous song but it’s totally different in approach and feel. Sounding like an instrumental interlude at first before growing in dissonance and intensity. It’s quite a spectacle actually.

The mathiness is real on ‘Black Knight Satellite’ but also so are the art-rock/emo sensibilities. Ghola even throw in some guitar melodies that sound a lot like they come from a keytar, which is a great touch. The more I hear of this album the more it slaps! If you’re not a fan of the harsher side of screamo/emoviolence, I reckon you’ll dig this. I love dynamics on ‘Crux Upon The Acropolis’, where Ghola moves quickly between fast and slower parts, leaving very little time for them to truly land. It’s a relatively short song but that doesn’t matter at all.

Penultimate song ‘Fire in a Madhouse at the End of Time’ is an 80’s video game laid against a backdrop of horror and cosmic noise. That description sounded a lot less pretentious in my head but oh well, I’m not changing it now! Closing with ‘Necropolis (ark)ology’ is the last chance for Ghola to deliver their more metallic, post-hardcore sound and amongst the gang-like vocals, they give the gift of one final grand blast. It’s a shame that Aeon has to end here, but its impact hits harder because it does. 

Ghola have done a great job with this album and dropping it in the latter-half of 2026 is bound to disrupt anybody whose writing their AOTY lists already.

You can stream and purchase Aeon digitally via ZBR's bandcamp page below:-

Ghola Instagram - @ghola_violence

It's also available digitally from Larry Records here - https://larry187.bandcamp.com/album/aeon.

Physical copies can be purchased from the labels below:-

Larry Records - https://larryrecordsisagang.bigcartel.com/product/ghola-12in-single-sided

Vamonos Records - https://www.vamonosrecords.com/product/ghola-aeon

Zegema Beach Records CAN/INTL - http://www.zegemabeachrecords.com/zegema-beach-releases/ghola

Zegema Beach Records U.S.A. - https://persistentvisionrecords.com/products/ghola-aeon

Larry Records Instagram - @larryrecords187

Vamonos Records Instagram - @vamonosrecords

Zegema Beach Records Instagram - @zegema_beach

Sulphuric Deity - Extermination Hammer EP

Labels: Self-Released

Formats: Tape/Digital

Release Date: 04 Sep 2026

Tracklist:

1. Extermination Hammer (Salvation Rejected)

2. Holocaust Wings

3. Eternal Night Of War

4. Deiform Protocol

5. Total Spiritual Annihilation

UK war metal trio Sulphuric Deity burst forth in February with their debut demo, filled with blistering black/death metal. A mere seven months on, they have self-released their first EP Extermination Hammer. As a band still in their infancy (but not experience-wise), they have notched up live appearances alongside Deitus, Funebrarum, Morbific, and they'll soon be ripping the stage apart again in November as part of a stacked line-up that includes Rwake, Wormrot, Pig Destroyer and Eyehategod! Now is a good time to get acquainted if you aren't already.

The demo set the stall out early. The EP builds on it in ridiculous fashion. The screaming, swirling noise that opens ‘Extermination Hammer (Salvation Rejected) isn’t an accident, as Sulphuric Deity lay out a more expansive and destructive sound. The sheer level at which this trio operates sonically is something to behold, while the song-writing and performance is incredibly mature. From the pummelling percussion, to the insane harsh vocal range and guitar tones that could only come from a UK underground band, there’s a lot to appreciate here.

No time between songs is wasted, as ‘Holocaust Wings’ kicks into gear straight away with an even greater tempo. Crashing cymbals, gutteral lows, piercing highs and buzzing riffs keep up the intensity. ‘Eternal Night Of War’ is almost the opposite, as it builds anticipation initially before lurching instantly into a mass of grinding ferocity. I said earlier on that Sulphuric Deity were becoming more expansive but I’d like to strike that part of the statement from the record. They are just more destructive.

The trio’s war metal approach is more obvious again on ‘Deiform Protocol’, as they deliver something closer to mid-paced blasting with powerviolence-esque riffs and crazed screams. In truth, it’s a song that defies any kind of description I’m trying to give. EP closer ‘Total Spiritual Annihilation’ is warp-speed personified from the very start. Even when Sulphuric Deity slow things down later on, there’s no true respite, as time-signatures fluctuate and atmospheres change in an instant. 

There are no gimmicks or embellishments employed here. What you get is a raging EP that doesn’t let up from a band that are set on delivering pure aural terrorism. Off the top of my head, I can’t think of another band in the UK that comes close to Sulphuric Deity at this time.

Sulphuric Deity released Extermination Hammer on a very limited tape pressing, which unsurprisingly sold out quickly. You can purchase it digitally from their bandcamp page below:-

To keep up to date with future live activity and releases, they are on Instagram @sulphuricdeity.

Our Wits - Let Me Join You

Labels: Self-Released/Fiadh Productions

Formats: Vinyl/CD/Tape/Digital

Release Date: 27 Feb 2026

Tracklist:

1. A Dream, Interrupted

2. See You Later

3. Truly, A Diminishing Return

4. Why Is It That Only You Were Saved?

5. Haunt Me

6. Martyrs

7. Let Me Join You...

8. ...Until Everything Fades

I want to begin this review by apologising to Our Wits for the length of time it's taken me write this. They initially wrote to me back in January about their newest album Let Me Join You and they've been very patient (though I completely understand if that patience has been lost since!). I didn't plan for things to take this long and I make no excuses.

The New Jersey, U.S.A. post-hardcore quartet formerly known as Our Wits That Make Us Men, started out as the solo spoken-word project of vocalist Dean Scordilis. Their debut album as a full band, The Manifesto, was released in April 2017 and it was followed by an appearance on the Zegema Beach Records tribute compilation to Jeromes Dream, It's More Like An Homage To You. After a lengthy hiatus, Let Me Join You emerged as a self-released album on vinyl, cd, tape (via Fiadh Productions) and digitally.

I had a great writing rhythm last month. This month, not so much but time’s still on my side. Pressing play on opener ‘A Dream, Interrupted’ instantly resets whatever has been disrupting my rhythm. Gentle guitar and ambience coupled with spoken-word that sounds like samples but isn’t, provides an intro to the unexpected (I guess?!). ‘See You Later’ is an emotive take on post-hardcore, where the instrumentation is at times melodic and at others heavy, almost in unison with the vocals. There are a lot of similarities at play here. Comparisons to La Dispute have already been done to death, while I’m getting Refused and early Turnstile (maybe I’m way off!). 

‘Truly, A Diminishing Return’ is an art/math-rock masterpiece wrapped in emo sensibilities. Lovely instrumentation is joined by spoken-word vocals that later become harsher, and louder before retreating with the music itself, which also becomes softer. There’s a burst of energy towards the end, which shows their heavier side again briefly. I feel like ‘Why Is It That Only Your Were Saved?’ could be about anything from evangelical religious people to those who survived war,  but I guess the subject matter isn’t all that important given the musical backdrop, which is fantastic. Our Wits dial the emotion up so it’s off the charts, as gentle passages give way to raging explosiveness and vice versa.

I’ll be honest and say that I didn’t fully know what to expect with this album but the further I get into it, the more it reveals and the more engrossing it becomes. The addition of electronic beats and whispered vocals during the laid-back song ‘Haunt Me’ make for a super relaxed vibe. There’s definitely a lot to keep you guessing here and on ‘Martyrs’ you’re greeted with a whole mix of things. You’ve got math-like tempos, melodic riffs, groove, rousing vocals/gang-chants, hip-hop/funk influences and proper extreme metal too. It’s got everything!

The album’s title song ‘Let Me Join You…’ is a lot more upbeat and danceable. Lush swathes of guitar and sensitive percussion are joined by heartfelt, screamed vocals. It’s as close as you’re going to get to early-2000’s emo/post-hardcore. Closing with ‘…Until Everything Fades’, Our Wits present their most expansive track on the entire album. As is the case with lengthier screamo songs, this one is gentler and more akin to a story, and like a story it has an intro, a middle that builds slowly and a conclusion that releases tension in a way that only this type of music can.

Sometimes it takes a little while for an album to hit with me and I don’t know why in this case. Our Wits make exceptional music. Self-releasing it, especially on physical formats, goes to show how much they believe in what they’re doing. Having a DIY label like Fiadh Productions helping out does nothing but good too. 

 

You can stream the album and buy it on vinyl, and digitally from Our Wits below:-

Our Wits Instagram - @ourwitsnj

Tape copies are available to grab from Fiadh Productions here - https://fiadh.bandcamp.com/album/let-me-join-you

Fiadh Productions Instagram - @fiadhproductions

Monterey - It Always Passes Over Me...

Labels: Third House Label/Zegema Beach Records

Formats: Vinyl/Digital

Release Date: 28 Sep 2026

Tracklist:

1. Song for a Dead Bird

2. Resolve in Spring

3. Song for a Falling Bird

4. With Ease

5. Untitled

6. Portraits

7. Acts as Atonement

8. Dying with Shame

9. ...It's Always in Motion

Today, I finally filled my fourteenth Ikea Kallax cube with LPs. That means I have nowhere for my smaller records to go, until I sort out more storage. I've got to get on that over the next few days (recommendations are greatly received!). Talking of LPs, the debut 12" from Floridian metalcore/screamo band Monterey was released last month via Third House Label and Zegema Beach Records.

Containing members from Concealer and Rosemary Nods Upon The Grave, Monterey formed in 2024 and to date they've released a two song single and splits with Keep Reaching, and Self Inflicted Wound respectively.

I found metalcore through the NWOAHM. Killswitch Engage, Shadows Fall, Unearth and Himsa, to name but a few, I also first heard European bands like Caliban and Heaven Shall Burn around the same time. I only mention that particular sub-genre because it has been used to describe Monterey’s sound. Opening their debut album It Always Passes Over Me… with ‘Song for A Dead Bird’, Monterey build from subtle emo/screamo beginnings to flourishes of emoviolence and back again. It’s definitely emotive, with a great use of melody and truly heavy instrumentation, alongside the higher-pitched screams. 

‘Resolve in Spring’ is a fantastically off-kilter song that’s so infectious. Again, very emo centred but heavy too in all the right places. Given the bands that lend members to Monterey, this record is both familiar and unexpected (if that makes any sense at all). ‘Song for a Falling Bird’ has a panic-inducing layer of sound that radiates throughout the song, with all kinds of other elements adding suspense and release.

There’s a much more straightforward approach to ‘With Ease’, which is immediately heavier. That up-front sound withdraws during the song’s mid-section though, once again providing safety in measured melody and just as you’re feeling secure, it bites again with fury. Monterey manage to perfect the art of punch and counter-punch, where opposites collide. It’s here where the mid-point is reached, with ‘Untitled’ acting as an interlude that threatens to overspill. 

It refrains from doing so though. Instead, leaving that job to ‘Portraits’, where Monterey truly let fly. It’s the heaviest song on the album so far and it’s where I’m finally beginning to understand the metalcore comparisons. ‘Acts as Atonement’ follows suit with another barrage of intensity, coupled with the introspective melody that’s now part and parcel of grass roots screamo. I’m not talking about whatever mainstream tosh the industry thinks is screamo!

Before you know it, you’re nearing the end of the album and penultimate song ‘Dying with Shame’ is exactly the jump-start needed, showing that Monterey can write sub one-minute blasts that still sound complete. I talked about opposites earlier on and you can’t get more opposite than ‘Dying with Shame’ and the eight+ minute closer ‘…It’s Alway in Motion’. Out goes the fierce tempo (initially) and in comes a more pensive intro.

It’s an intro that picks up pace though, albeit gradually as it’s allowed the time to do so. Monterey’s instrumental prowess is allowed to build as well, especially because those instruments take centre stage for the majority of the song. It’s six minutes in before the full band bursts forth one last time, reminding us all of their explosive nature.

I think I got a bit too hung-up on the metalcore tag at the start of this review, even though I’m still looking for the current day equivalent to those bands I mentioned above. Talking about Monterey and this record in isolation though; it was definitely a cathartic experience. Heavy in all the right places but also lighter when it needed to be. Monterey show great song-writing experience, which shouldn’t come as any surprise. Epic!

You can stream It Always Passes Over Me... at Monterey's bandcamp game below, where you can also download it digitally for just $1 (total bargain!):-

Monterey Instagram - @monterey.fl

12" vinyl copies are available from the label stores below:-

Third House Label - https://thirdhouse.limitedrun.com/products/877920-th115-monterey-it-always-passes-over-me

Zegema Beach Records CAN/INTL - http://www.zegemabeachrecords.com/zegema-beach-releases/monterey

Third House Label Instagram - @thirdhouselabel

Zegema Beach Records Instagram - @zegema_beach

Dødmoon - Demø MMXXV

Labels: Signal Rex

Formats: CD/Tape/Digital

Release Date: 05 Nov 2025

Tracklist:

1. Reaped by The Dark Light

2. Victorious Signs of Arcane Madness

3. Hail of Hellfire

Having spent much of today with my laptop stuck in a loop at work, I came to the realisation that I too am stuck in a loop at home. I have a review (not this one, obviously) in the works, but my brain just isn't braining. Not knowing if I have some form of undiagnosed ADHD, I have decided to try and do a hard-reset with some truly epic Finnish black metal.

I seem to have a knack for covering pretty obscure black metal of late (by that I mean in the last week or so), as Dødmoon come with no information aside from a bandcamp page and a Metal Archives page. No members, no history, just mystery. The band's debut demo was released in November 2025, before Portuguese label Signal Rex picked it up for both a CD, and tape release.

Right from the off, Dødmoon serve up barbaric rawness on ‘Reaped by the Dark Light’. The percussion is pretty central to that raw sound, while the guitars buzz away underneath as rasping distorted vocals add to the bleak atmosphere. That said, the guitars are allowed space a times, where they provide a thin veil of melody. 

After the up-tempo approach of the demo opener, ‘Victorious Signs of Arcane Madness’ shows a slower, more off-kilter side to Dødmoon’s sound. It’s still raw but there are subtle avant-garde flourishes too. That’s what’s so great about Finland’s heavy music community; they’re able to inject so much personality into what they produce. 

Demo closer ‘Hail of Hellfire’ again offers something unique and unlike what came before it. Paying close attention to the guitar work reveals a catchy and consistent pattern before the music takes a more intense turn. From the mid-point onwards, it gets louder and weirder, thanks to the pummelling drums and screeching solos. The hauntingly melodic/metallic ending fades out at just the right pace for you to regain some breath.

With that, it’s all over. This demo acts as a glimpse into what Dødmoon could offer with future releases. Calling it just a black metal release does it a disservice too. Its layers and swirling artistry make it infectious. I for one am excited to hear more from this band.

You can stream and purchase the demo digitally from Dødmoon via bandcamp below:-

Both CD and tape copies can be purchased from Signal Rex here:-

https://www.signalrex.com/store/releases

Dødmoon Metal Archives - https://www.metal-archives.com/bands/Dødmoon

Signal Rex Instagram - @signalrex