Petrozavodsk's Spyon have been delivering melodic power metal from the Karelian capital since 1996. Three decades from the shores of Lake Onega make them one of the longest-running power metal acts in Russia's northwest.

Spatregen ("Late Rain") practice symphonic black metal from Esslingen am Neckar, layering orchestral grandeur over harsh black metal frameworks. Active since 2014, they bring cinematic ambition to the Swabian black metal scene.

Yorkshire's Squalords deal in the kind of doom-sludge hybrid that feels like wading through wet concrete. Since 2014, they have cultivated a sound that is unrelentingly heavy and deliberately paced.

Srd, originating in Murska Sobota before relocating to Ljubljana, practice black metal since 2017. Their Slovenian name meaning "anger" or "wrath" channels concentrated fury into atmospheric compositions from Slovenia's easternmost to its central capital.

Experimental ambient black metal project from Graz, active since 2018, with a prolific catalog including albums like "Des Himmels Tränen" and "Walking in the Shadows." Their atmospheric compositions blend celestial imagery with melancholic darkness, pushing black metal into introspective, ambient-influenced territory.

Stavropol's SS-18 have been practicing black metal from the North Caucasus since 2003. Named for the Soviet intercontinental ballistic missile, over two decades of Caucasian activity have produced compositions channeling Cold War nuclear dread.

Kharkiv's SS-20 thrash from Ukraine's second city since 2009. Named for the Soviet intermediate-range ballistic missile, over a decade and a half from the eastern metropolis, their Cold War weapons reference channels nuclear-age dread into compositions of sustained aggression.

SSS (Short Sharp Shock) formed in Liverpool, England in 2005, delivering a high-velocity crossover thrash sound shaped equally by hardcore punk, thrash metal, and grindcore. Signing to Earache Records, the band released The Dividing Line (2008) and Problems to the Answer (2011) before concluding their career with Limp. Gasp. Collapse. (2014) on Prosthetic Records. SSS operated at the more abrasive end of the British crossover revival, with a commitment to brevity and brutality that aligned them with the grindcore underground as much as the thrash audience. The band subsequently went on indefinite hold.

St. Fenton the Tainted merge black and sludge metal into a corrosive, irreverent brew. This UK act has been active since 2015, wielding tongue-in-cheek blasphemy alongside genuinely crushing heaviness.