“…  it’s time to wage war again. Against the modern world.” ~ Mayhem legend Mr. Maniac  

As 2025 comes to an end, we reflect upon the year’s highlights and brutal disappointments. Top-notch masterworks came in the form of Funeral’s The Funereal EP, Green Carnation’s A Dark Poem Part I: The Shores of Melancholia, and Paradise Lost’s Ascension. The artists behind those titles all deserve infinite respect. Katatonia’s Nightmares as Extensions of the Waking State instantly became a personal favorite. Meanwhile, one of my most highly recommended rock bands, Seigmen, and the equally brilliant related outfit Ljungblut likewise debuted material. Although too few took notice, Phil Anselmo, my vote for the greatest extreme frontman to have achieved mainstream success, dropped Gold with Scour. Anselmo celebrated several anniversaries this year, as the 30th of Down’s NOLA.

Unfortunately, many listeners missed out on «Когда настанет завтра» by the Moscow-based titans Aria — the first metal group to ever catch my interest, along with Kipelov, the solo project of their original frontman, Mr. Valery Kipelov. (Controversial take: Aria, through the Artur Berkut era, and Kipelov beat all else in the realm of traditional heavy metal.) The sphere of Russian rock moreover gifted audiences with the collection of re-recorded songs «Молнии Индры» by Kino — a band so good that even the maker of Filosofem has stated that he enjoys some of their hits. 

For black metal, however, 2025 has been an atrocious year, despite a few admirable releases, like Fír’s EP Het sinistere oog. Early on, Vicotnik parted ways with Dold Vorde Ens Navn. That certainly felt catastrophic, as it was an ideal supergroup. Granted, Vicotnik will surely continue to produce awe-inspiringly ingenious material in his other projects.

Another major blow came this past summer, when the revered label owner, festival organizer, and source of weaponized honesty Ole A. Aune announced that he would not be signing any new bands and warned that the once noble art form is being abused “to death by mediocrity, cosplaying, impostors, trends and politics.” Aune, a nearly infallible fount of wisdom, is indeed correct. Black metal must be dangerous, and any efforts to declaw it by converting it into a breeding ground for weaklings must be thoroughly stomped out — «Здесь для слабых места нет».

A great way to remember just how far the genre has fallen is with Season of Mist’s 2025 reissue of one of its crowning achievements, Mayhem’s uncompromising Grand Declaration of War — an immortal Nietzschean triumph, featuring Blasphemer’s technical perfection and unsurpassed artistry in combination with Mr. Maniac’s absolutely unrivalled vocal performances. Grand Declaration of War remains a testament to strength and vision — militant elitism at its finest. This is, in fact, the antithesis of much of the sloppy and horrifically uncool trash that currently passes as black metal. 

All that said, at this point, I must interrupt myself, in light of an update, and ask: Do you know what’s most black metal of all? Fosen Fire & Rescue, the Norwegian Civil Service, and the Red Cross, who bravely face real danger, in total contrast to the vast majority of these bedroom whiners, or pretend tough guys, that have invaded the dark arts. Yes, for the artistic and social experiment of the century, Slagmaur’s General Gribbsphiiser and Thorns’ Snorre Ruch (a couple of our favorite musical hooligans) conspired with those heroes, spreading awareness of their work and much more far and wide. Be forewarned: If you fail to experience the masterpiece that is Slagmaur’s Hulders Ritual in February 2026, you are simply beyond salvation. 

Although the result of Slagmaur and Thorns’ Houdini-esque disappearing act obviously had a positive outcome, tragically, during this “year of misery,” the black metal community actually lost several legends, including at least one good friend of the named musicians from Trøndelag. We pay special respect to the departed warrior Trånn Ciekals of Djevel. Ciekals earned the title of one of the movement’s best composers, and his legacy will certainly live on.

I really did want to say, “Fuck Off Nowadays Black Metal,” and broaden that statement to modern music in general. However, there really were some legitimate full-length reasons for me to take a rare break from the likes of the grim and frostbitten Velvet Revolver… Without further ado, here are the 10 best original black metal albums of 2025 —

Ritualmord, This Is Not Lifelover

Kim Carlsson is not only, in my incredibly well-informed opinion, Sweden’s best black metal artist, but he is one of the greatest and most authentic creators you could hope to find in any genre. The Lifelover legend, who has built a remarkably varied catalog, remains one of my very favorite frontmen and composers for reasons that he’s constantly reaffirming by upholding the gold standard.

Although Ritualmord had unleashed must-hear content beforehand, the masterpiece that is This Is Not Lifelover technically became the band’s debut, arriving for the glorious 20th anniversary of Lifelover. I actually received this offering last year and yet still haven’t fully processed it due to its countless layers and nuances. Carlsson’s sublime work always overpowers listeners, and This Is Not Lifelover is one of the most emotionally cutting and transformative efforts I’ve heard. This grand achievement murders me, each time without fail: “Hela min kropp skriker nej .” The poetic lyrics were penned by both Carlsson and 1853, who provided additional vocals. Carlsson tracked the music together with Belgium’s esteemed Déhà.

Carlsson, as a tireless innovator, transcends styles in Ritualmord, meaning that This Is Not Lifelover is much more than a black metal album and cannot be pigeonholed; this sonic miracle is truly unlike anything else. Granted, the fact persists that Carlsson embodies the black metal lifestyle, and thus whatever he does will always be black metal. Carlsson’s other release this year, A Symphony to the Void’s Vattnet, is much further from the literal definition of black metal, but we urge readers to also experience this indescribably magical and gorgeous meditative journey.

Watch out for a new EP by Carlsson’s pioneering Hypothermia next year, and note that 2026 marks their 25th anniversary. We were thrilled to learn of the exceptional recording lineup around Carlsson: Phil A. Cirone remains, while Fredric Gråby and Sven Lindsten have joined.

Key track: “Spår”

Sarkom, Exceed In2 Chaos 

Sarkom continues to represent First-Class Norwegian Black Metal. The far-too-long-awaited Exceed In2 Chaos arrived as the follow-up to the addictive Anti-Cosmic Art nearly a decade later, but it became clear why this multi-faceted record took so long to perfect once it finally reached our ears. Exceed In2 Chaos was single-handedly composed by Erik Unsgaard, also of the phenomenal So Much For Nothing, and additionally features the expertise of Galaaen, Somby, and top drummer Dominator.

Herr Unsgaard, one of the genre’s most charismatic figures, delivered countless amazing surprises throughout Exceed In2 Chaos; it was and is a much-needed relief to experience an opus so musically and even visually unique (yet still true to the spirit of the genre), especially given all the aforementioned blueprint-regurgitating posers that surround us. The lyrics call out the glorification of anxiety, societal weakness, attention-seeking internet wankery, and so forth. While Sarkom remains one of the most fun and, dare I say, enjoyable black metal bands, they always maintain their bestial aggression. Thus, Exceed In2 Chaos amounts to one of the most compelling albums of the year from any category.

Even MetalSucks had to acknowledge that Sarkom’s cover of The Prodigy’s “Breathe” from Svøpt i en dynge av dritt (2021) is one of the best black metal singles of the past five years, and, quite predictably, Exceed In2 Chaos’ irresistible first single, “Enter as Fool — Exit as Beast,” ranks among 2025’s catchiest songs. This number, as the album as a whole, has an infectious physical energy that makes it one of those rare black metal efforts you can actually bring to a workout. Massive hails to Mrs. Ksenia Hinderson for shooting a fantastic video to accompany this track, earning the band an invitation to the Berlin Music Video Awards. Hopefully, Hinderson’s collaboration with Sarkom will be an enduring one. As we wait to see what happens there, we remain excited to hear where Unsgaard will take Sarkom and So Much For Nothing next, as he has written material for both projects and never fails to make each new release extremely memorable.

Key track: “Enter as Fool — Exit as Beast”

Terratur Possessions, TERRATUR COMPENDIUM MMXXV

While the metal community refuses to kill their lethally annoying obsession with the opinions of Slipknot’s boring frontman, in an unexpected turn of events, the fine folks at Loudwire began asking the truly important question, “But what does professional gatekeeper Ole A. Aune have to say?!,” recognizing his supremacy as the scene’s most trusted voice of reason and negativity. Aune’s superior label, Terratur Possessions, founded in 2007, not only serves as the poster child for black metallic integrity but relentlessly works to obliterate tolerance for mediocre artists while raising the bar for sass and arrogance goals.

Naturally, TERRATUR COMPENDIUM MMXXV, the fourth sampler of its kind, showcases Aune’s curating brilliance. Aune prudently included the following fearsome entities therein: Darvaza, Misotheist, Syn, Enevelde, Umbra Conscientia, Nihilvm, Nekyian, and, to our uncontainable excitement, Diabolus, Mecum Semperterne! — the supergroup of Whoredom Rife’s K.R; Eskil Blix of Mare and a number of other extremely important outfits; Brage Kråbøl of Enevelde, Misotheist, and Kråbøl; and the maker of many of my favorite albums Mr. Tor-Helge “Cernunnus” Skei of Manes, Manii, Syning, Lethe, etc. Keep your eyes and ears open for developments from Skei because this unparalleled genius, whom I basically think is the greatest thing on the planet, has several planned masterpieces looming on the dark horizon; Skei’s offerings make me want to hit the delete button on virtually all else, and they should encourage you to feel the same way. He was the MVP of 2023 and 2024, and there are no words for what he will be presenting in 2026. 

If you call yourself a True Black Metaller and do not follow Terratur Possessions, then you either need to be enlightened or are likely one of those insufferably clownish bandwagon-riding suckers for gimmicks known as Blackbraid fans and will surely feel that the great post-Soviet song «Мастурбация» by the holy Sektor Gaza describes your dreary so-called life. (Ironically, there is more masculinity in that lovely composition than in the entire bottom 99% of the black metal community.) 

Key track: “Diabolus, Mecum Semperterne!’s Ab illo benedicaris, in cujus honore cremaberis”

Enthroned, Ashspawn

On Ashspawn, courtesy of Season Mist, Enthroned’s Nornagest delivered what I believe to be one of the best vocal performances in the history of black metal; his assaults are brilliantly varied and overwhelmingly intense. Being the prophet that he is, earlier this year, Lord Aune stated that T. Kaos has to be one of the two “finest guitarists and songwriters out there these days.” As Enthroned’s first effort with T. on guitars and bass, Ashspawn represents the divine union of unreal talents — the Enthroned trio is perfected by Menthor on drums and percussion. Nornagest, a true intellectual, moreover conspired with occult author Gilles de Laval, who assisted with Ashspawn’s concept and details in various respects. Laval even created sigils for each song. The only proper reaction to the nine spiritually-charged compositions of Ashspawn is speechlessness. 

It would be criminal not to mention that Enthroned enlisted the extraordinary visual artist, scholar, and author José Gabriel Alegría Sabogal for their main art. Meanwhile, Nornagest himself, who holds master’s degree in the arts and has lent his expertise as a graphic designer to powerhouses like Morbid Angel and Slayer, contributed an additional piece that he labored on for about a year. Finally, the technologically daring video for “Raviasamin” owes to the innovation of C.S.R of Schammasch. Nornagest comments, “He studied José’s artwork and immersed himself completely in the lyrics, into the sigils, the calculus, and the numerology that was linked to the song. He worked like a titan for three months straight on this clip, basically from morning till evening. The result is phenomenal and really reflects the vision we had.”

This painstakingly crafted record was born of blood, sweat, tears, and iron will, ensuring that the band’s full vision couldn’t have been executed better. As Nornagest told me, “There was quite a lot of magic involved in this album.”

Read Nornagest’s eloquent and enlightening exclusive track-by-track guide for Metal Insider here. 

Key track: “Raviasamin” 

Enevelde, Pandemonium

Enevelde’s Pandemonium may have premiered last year on cassette, but its true release by Terratur Possessions occurred this past April. Although he is already incredibly accomplished, Brage Kråbøl, who hails from black metal’s most gifted family, just might be the youngest artist worthy of being called a torchbearer of the genre. Indeed, Mr. Kråbøl has more talent in his pinkie than the sum of all the picks on most year-end lists I’ve been seeing.

Kråbøl is not only a superb vocalist, but also a magnificent composer and multi-instrumentalist. He never disappoints, and Pandemonium is an undeniable win in all respects. There are absolutely no flaws on this album, and any black metal writer who has neglected to acknowledge it should bow their head low in shame and join their fellow cringesters over at the Behemoth Fan Club. I’ll have to repeat the statement I made at the beginning of the year: Pandemonium is probably some of the best black metal I’ve heard.

Key track: “Pandemonium” 

Darvaza, We Are Him 

The venerable Darvaza chose to hit us with their sophomore album, We Are Him, on the anniversary of the unveiling of the 10/10 full-length debut by the related Ritual Death. We Are Him stands as an unassailable product of the prowess of Omega on all instruments and the vocals of Wraath, one of the greatest and most fiery frontmen. Both prolific artists boast a dizzying list of accomplishments, having ceaselessly labored to keep the black flame burning in a variety of bands. 

The duo brought their best to We Are Him, which somehow manages to even defy expectations. This wonderfully brutal record instantly inspires awe and equates to an absolute scorcher from beginning to end. Verily, this is a shockingly excellent work that speaks for itself.

Key track: “Blood of No-One”

Nachash, Eschaton Magicks

Nachash is the shared vision of the legendary drummer Tiller (formerly of Wraath’s first beast known as Celestial Bloodshed, to whom Funeral Harvest paid tribute this year on their commendable EP Malum in Se), E. Rustad on bass, and Anders Westbye, who completely slays on vocals and guitar. Just as Tiller has with Celestial Bloodshed, Rustad has arguably put out some of the highest quality black metal through Knokkelklang, definitely Syning, and Askeregn is also fantastic.

Accordingly, Eschaton Magicks is infuriatingly great. It contains aspects of death, doom, and thrash, yet still manages to be maximally black metal. Eschaton Magicks seems truly touched by the spirit of insanity and violence, whereas, again, so many bands these days are mere pretenders. 

Key track: “Stygian Nightmare”

Jordsjuk, Naglet til livet

Jordsjuk’s full-length debut, Naglet til livet, features some of Norway’s leading weapons: Renton, Mannevond, Sagstad, and Birger Larsen. These veterans display true necrotic fury paired with the stellar musicianship that the scene often lacks. Within Naglet til livet, Jordsjuk has artfully melded nostalgic black metal with components of death, thrash, punk, rock, and even doom. Of course, this apocalyptic fist in your face of a record reflects the band’s unshakeable confidence, maximally tight chemistry, and enviable songwriting skills. Mannevond’s unreal vocals are the bonus that pushes this album’s excellence off the charts. Respect to Jordsjuk for keeping their carefully crafted lyrics Norwegian! 

Naglet til livet is completed by the artwork of Sindre Foss Skancke, who notably painted the iconic cover for Dødsengel’s already classic sophomore record, Mirium Occultum (2010).

Key track: “Kollaps”

Nattverd, Tidloes naadesloes

As with Jordsjuk, Renton demonstrates his mastery in Nattverd, who pummeled us with Nordic fire and ice this year on Tidloes naadesloes. Nattverd has essentially become a supergroup. Hence, the fact that Taake’s Hoest and Slagmaur’s Dr. Von Hellreich joined the already killer combination of talents as guests seemed too good to be true. 

Mixing and mastering was, as for Nattverd’s previous album, I helvetes forakt, flawlessly handled by former Haust member Ruben Willem, who has earned multiple Spellemann Awards.

Aside from presenting us with nine irreproachable original compositions, by way of the remarkable cover “Naar vi har dolket guds hjerte,” Nattverd paid tribute to Dødheimsgard’s debut album, Kronet til konge, which turned 30 this year.

Key track: “De sviande ord vaagar ikje for sitt liv”

The Works of Maxime Taccardi, Kyūketsuki’s Oni and Nightmare Detective and Osculum Serpentis’ The Streams of Sorrow

Painter, sculptor, musician, author, and more Mr. Maxime Taccardi never ceases to astound us with the quality of his albums and the levels of evil for which he masterfully finds artistic translation. As one of the last genuine individuals in the scene, Taccardi’s projects place among the most unforgettable and belong in a category of their own. Taccardi’s elevated output reflects his scholarly nature while also seeming too sinister to be attributed to a human creator. His creations are deeper, more rewarding, and more disturbing than basically all else.

There are endless reasons to celebrate Oni and Nightmare Detective by Taccardi’s Japanese-inspired horror project Kyūketsuki as well as The Streams of Sorrow by his raw vampiric outfit Osculum Serpentis, but listeners must simply immerse themselves in these three terrifying gems without any preconceptions.

Be aware that Taccardi has been making massive leaps ahead as an outstanding video creator, and be sure to follow his YouTube channel here. We very much look forward to Taccardi’s future victories and know that he’ll delight us with further surprises in 2026.

Key track: Kyūketsuki’s “Devilman”