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Ozigiri – Here Comes The Eliminator (2026)

With a few problems released on 26 April through Bandcamp, but it seems that there are also physical copies avaible. The announcement said”:

I’ve fused together all the genres of music I love: Grindcore, Death Metal, Argent Metal, Djent, Speedcore, Breakcore, Digital Hardcore, and Cybergrind.

I call this “Digital Grindcore.”

Well, if you know Ozigiri, I can tell you that “Here Comes The Eliminator” starts as brutal as Ozigiri can get. Extremely fast grindcore like beats with brutal vocals. Adrenaline rising energy. Musicwise you can expect anything between goregrind (including gore vocals) and hardcore techno. Fortunately this time not too many happy tunes interludes, just one happy hardcore track. Almost the entire album is of idiotic energy with here and there a bit of a break. This is about as good as Ozigiri gets!

Link: Ozigiri

va – 「電子硬核大集会 (2026)

Two new Ozigiri releases around the same time, just like with my previous reviews! Again, a compilation that includes Ozigiri and an Ozigiri album.

The label, Fujimi Industry Records, appears to be a Japanese hardcore label that is not very active anymore. At least, Discogs is not updated. The label website lists this release as: “「電子硬核大集会 -Digital Hardcore Assembly”. Deepl comes with a slightly different translation, but with the same meaning.

The music is mostly what you could call “digital hardcore”. Uptempo, punky, electronic music. Not as wild as Ozigiri or Coakira can get. That is to say, Ozigiri’s solo track is pretty Ozigiri, but the first tracks are more ‘punky’. RedOgre comes with a ‘digicore’ extratone track that is pretty damn cool. Towards the end the album goes more into a hardcore techno direction. Akiradeath is also featured here. There are two names that were new to me DJKurara and BIJU.

A very fine compilation of Japanese electronic music.

Link: Fujimi Industry Records

A Place To Bury Strangers – Rare And Deadly (2026)

Even though this album was released last Friday, Discogs has it listed as released in 2025.

There are no surprises on “Rare and Deadly”. As we are used to by now, the new album contains mostly softer shoegaze-type songs and a few of the mayhem that we all like this Brooklyn band for.

The softer tracks are alright, some of the harscher tracks are great.

Links: A Place To Bury Strangers, DedStrange

Malamati – Jashan-e-Malamat (2026)

Maybe it goes a little far to call this “Muslim noise”, but “Malamati” refers to the “way of blame” current in Sufism. The title of the fourth album of this project seems to refer to the same concept: “The Celebration of Disgrace”. Malamati is originally from Pakistan, now a resident of Germany.

“Jashan-e-Malamat” is a Bandcamp release of about 40 minutes. Some tracks are dark or noise ambient, while other tracks are total noise outbursts. This combination reminds a bit of projects like Murderous Vision or Gnawed, but second and ninth tracks have more of an approach like Control. A massive wall of noise with extreme, screamed vocals. Other noise tracks are a little less extreme. Most of the tracks of the album are more to the ambient side.

It seems that all Malamati-releases are self produced. The sound is good enough to be picked up by a label. Also the artwork of this album would look good on a physical release.

Trace Amount – Flagrant (2025)

I found Trace Amount when I was looking for ‘dark techno’. There is this dark, slow type of electronic music. Trace Amount uses (screamed) vocals which makes it stand out. Especially for this project, there is a fine line between it being a ‘techno’ or an industrial project.

This new 24 minute album appeared on Spotify, so I thought it was time to present it to my readers. Discogs says that Trace amount is an: “Experimental harsh industrial project from Brooklyn, New York”. It is not that harsh and I have some doubts about the “industrial”, albeit perhaps “industrial techno”.

The man behind the project is Brandon Gallagher who plays or has played in hardcore and goth bands, mostly the former. Does that bring a ‘solution’ to the question if Trace Amount is industrial or ‘techno’? Not really. Does that matter?

“Flagrant” contains a recognisable style. Slow ‘industrial techno’ with metal-type vocals. Dark, moody and quite interesting.

Link: Trace Amount

O Saala Sakraal – Oaster (2025)

There is no rush for O Saala Sakraal. After a debut in 2018 and a second release in 2021, this is the third album again four years later. All albums are released by Cyclic Law.

“Oaster” is again a ritual sounding album, sometimes ambient, sometimes with drumming or weird vocals. As on the previous two albums, the atmosphere is dark and good. A recognisable sound that is quite uncommon in general.

Indeed, another very interesting album. Just a bit short, 40 minutes.

Links: O Saala Sakraal, Cyclic Law

Wolfskin – Ring of Spheres (2025)

Even though the Discogs of this Portugese project goes back to 1995, in 2001 I reviewed a promo cd in a luxury package. I remember a cork package of which the tape has withered by now. At the time I did not like the release much, too ‘soundscapish’ for my liking.

Almost a quarter of a century later, Cyclic Law presents an upcoming (4 December) dark ambient album with alchemical themes. The music is again/still droning dark ambient soundscapes. I have not listened to this type of music for a long time and “Ring of Spheres” reminds me why. This is not (or no longer) my kind of music. Not that it is bad or even boring, it simply does not do much to me.

Should you like minimalist dark ambient, you could try this long running project. The album does not have a vinyl length for a change, but a cd length of 74 minutes.

Link: Cyclic Law

Haus Arafna – The Spring Heals (2025)

The lastest batch of Galakthorrö releases came with a Haus Arafna 7″ that is available on green and black vinyl (and probably sold out by the time you read this).

The title track is a slow and melancholic track in the vein of the most recent Arafna releases. On the other side there is the much rougher “Auserwählt”. A wall of noise, a pounding rhythm, mr. Arafna’s distorted vocals; the more dramatic approach to their sound. A great track.

Links: Haus Arafna, Galakthorrö

Distoromance – Déjà Si Mort (2025)

Galakthorrö picked up a new project. This time from France. If Discogs is correct, this is Distoromance’s second release. The project consists of a duo that share other projects that are equally unknown to me, Abîme and Kalte Lust, the latter going back over a decade.

The 7″ can be placed in the more ‘minimal wave’ side of the Galakthorrö spectrum. The music is alright to good, but somewhat typical.

Links: Distoromance, Galakthorrö

November Növelet – Electrical (2025)

The lastest full length of mr. and mrs. Arafna is a recognisable NN release. The sound perhaps became even more melancholic though. Here and there NN became a bit more ‘minimal wave’ in sound and there are perhaps some ‘synthpoppy’ tones.

“Electrical” remains in the slower pace whereas previously the speed would go up a bit every so often. Imagine the melancholic side of NN, but then a full album.

Links: November Növelet, Galakthorrö