Online Radio for the Doomed - Doom Metal Radio & Metal Webzine
Twenty-three years into one of extreme metal’s most uncompromising discographies, The Ruins of Beverast deliver Tempelschlaf: seven tracks of blackened doom that move closer to the live stage than anything von Meilenwald has attempted before, while remaining as resistant to easy interpretation as the oracular dreams the album takes its name from.
Demetra Cartsos is fifteen years old. She fronts a band, writes the songs, manages the bookings, runs the social media, attends regular school and music school in the same week, and still finds time to have nightmares worth writing about. The Devastation, the Vienna occult rock and metal band she founded in February 2025 at fourteen, spent their first year winning competitions, opening for established acts, and playing every serious doom stage the Austrian underground had to offer
Doom Cinema exists because certain films and certain music share the same blood. They were built in different rooms, by different hands, but they arrive at the same place: enclosed spaces, obsessive bonds, institutions rotting from within, the body as a site of punishment and desire. Alucarda is one of those films, and its roots run deep: Le Fanu’s 1872 Carmilla, Stoker’s 1897 Dracula, de Sade’s Justine from 1791, Goya painting his black visions onto the walls of a house nobody else was meant to enter. Director J.L Moctezuma drew from all of it, fed it through the Panic Movement, and came out the other side with something that belongs at the center of everything doom has ever been about.
Released in December 2025 through Terratur Possessions, We Are Him is a visceral reminder of what happens when black metal is played with genuine, predatory intent. Omega handles every instrument with a level of focused aggression that bypasses the typical lo-fi murk, opting instead for a production style that is punchy and massive.
Melbourne’s Jack Harlon & The Dead Crows built their mythology around a drug-addicted gunslinger moving through a science fiction Western landscape.
As the frost of January 2026 begins to thin and we find ourselves on this final day of the month, it’s time to look back at the tectonic shifts of the year that was. 2025 didn’t just give us the (pretty expected) funerals; it surprised us with a series of massive, lively comebacks. We saw legendary names rise from the crypt and long-silent projects return with a ferocity that proved the “old world” is the only world – a timeless, decaying landscape where the shadows never truly fade!
Another December in Berlin, another weekend spent hiding from the sleet inside the massive concrete shell of the ORWOhaus for De Mortem et Diabolum.
STATE OF DOOM #17: NEW AND NEWER SOUNDS IN DOOM METAL
The April 2025 release of The Glow Of A Distant Fire, the ninth full-length album by The Howling Void, the monolithic, San Antonio, Texas-based one-person project of Ryan Wilson, is less an evolution than a culmination of his symphonic funeral doom style, immediately asserting itself as a standard for the genre. While deeply rooted in the genre’s defining characteristics of glacial pacing and oppressive atmosphere, the album distinguishes itself by leveraging immense soundscapes, aimed for intense philosophical introspection.
This newest album, The Dreaming Prince in Ecstasy, is the synthesis of those extremes, a commandingly ambitious work that finds M. channeling the dark theatricality of the past while pushing the speed and grandeur established on the previous record.