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Ciao, miei cari metallari! Are you ready to embark on a wild journey to the “Bel Paese” together with The Headbanging Moose to know more about our metal lady of this month of April? Not just a metal singer and songwriter, but she’s also a psychologist and psychotherapist, creating a strong connection between heavy music and mental health, or as she prefers to say, she talks to the community where loud music meets deep healing. Bridging metal, psychology, and visual art, shaping a voice and a vision that are both intense and deeply human, she’s the frontwoman for the up-and-coming Italian band 5RAND, and one of the must-see names of the new generation of growlers. Her name is Julia Eleonora, better known by her stage moniker Julia Elenoir, and she will kick your ass mercilessly with her undeniable talent, charisma and passion for all things Heavy Metal.
Born and raised in the beautiful city of Rome, Italy, Julia has been creating music since her childhood, having grown up surrounded by rock and metal. She started playing classical guitar at the age of 13, and formed her first band when she was 17, beginning to compose her earliest songs. Over the years, her musical style evolved naturally from lighter styles like Hard Rock to a heavier, more introspective metal sound, with Death Metal becoming her main style. “Because I love its edge, its rawness, the catharsis it creates. The extreme side lets me explore, push boundaries and channel aggression and vulnerability at the same time. With 5RAND we mix melodic death and deathcore …not to provoke, but to dig deeper,” she said when asked why she decided to follow such an extreme path with Death Metal.
Founded in 2015 in Rome, Italy by Julia on vocals and Pierluigi Carocci on the guitars (who was working on his own solo project), Riccardo Zito on bass, and Francesco Marroni on drums, but currently formed of Julia and Pierluigi alongside bassist Acey Guns and drummer Andrea De Carolis, the up-and-coming Melodic Death/Groove Metal act 5RAND builds on a punishing modern metal foundation layered with the cinematic depth of melodeath, creating an intense and emotionally immersive soundscape and, therefore, carving out a distinctive place in the modern metal scene. “The name 5RAND comes from a South African 5 Rand coin that Pierluigi once received from a shaman as a good-luck charm. It stayed with him and with us,” explained Julia in one of her interviews. “Musically, we live at the crossroads of aggression and melody. We play, we record, we move forward.”
Having since toured extensively across Europe, sharing the stage with iconic acts such as Dark Tranquillity, Vader, Butcher Babies, Infected Rain and many others, 5RAND alredy released their debut album Sacred / Scared in 2017, followed by their 2019 sophomore Dark Mother, and their excellent third installment Ordhalia, from 2025, a sonic evolution in their already solid career, sounding darker, more introspective, and conceptually daring. Furthermore, Julia has written all the lyrics for 5RAND and has co-composed the music for every song released by the band to date, showing how much she’s involved with 5RAND. Not only that, even Julia couldn’t give a precise answer when asked how she would label the music by 5RAND, just to give you an idea of how dynamic, fresh and unique their style can be. “That would be hard to say precisely, since we don’t fit exactly in only one subgenre, like many many modern bands don’t. We’ve got a bit of Thrash and Death Metal, but also Industrial Metal and a lot of melodies too.” And if you want to experience their music in loco you can find their albums on Spotify, and also visit YouTube to enjoy their official videos for songs like Old Angel Midnight, Paint of Pain, Erase, Several Injuries, Cordyceps, live versions of Preacher of Lies and Cordyceps, and many more.
Owner of such a powerful and versatile voice, it was obvious that we would see Julia as a guest vocalist for different bands and projects. For instance, you can find her doing all female vocals for the 2022 album Ex Mortis Gloria, by Bristol, England-based Technical Death Metal band Imperium; as a guest vocalist for the song A New One, from the 2018 album Liberation, by Italian Symphonic Heavy Metal band Infinita Symphonia; and also as a guest vocalist for the 2020 album Phagocity, by Italian Groove Metal outfit South of No North. Moreover, when asked about venturing on a solo project in the near future, she said that’s indeed a possibility. “I’m always open. For now, I’m focused on 5RAND, but I don’t rule out solo work or collaborations in the future. Art is fluid; it transforms. I’d especially like to do something acoustic with my own songs, but for now we’re working on the next release.”
As expected, Julia is highly influenced by some of the most important names in the history of heavy music. “Growing up, we’d say the classics: Iron Maiden, Metallica, Slayer… now the names are slightly different and more recent though, like Slipknot, Gojira, Fear Factory,” she commented. In addition, as one of the most promising female growlers of the current scene, Julia is also a huge admirer of the music by Arch Enemy and Jinjer. “I’ve been inspired by voices like Corey Taylor from Slipknot, and among the women I really admire Cristina Scabbia, Alissa White-Gluz, Tatiana Shmayluk, and other artists who know how to blend intensity and versatility. I admire anyone who can shake me to the core while destroying the stage.”
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Regarding her vocal technique, Julia said that she works a lot on her clean and growl dual-voice style. “It’s not about volume, but control, endurance, and intensity. You have to be able to express emotion even when the voice is rough. I always warm up, focus on breathing, and pay close attention to vocal health. Clean parts and growls require completely different mindsets.” She practices a lot everyday, always focusing on warmups and breathing exercises, saying that singing in a Death Metal and/or Metalcore style has its easy parts, as well as really hard ones. “The hard part is keeping vocal health and expressiveness. The ‘easy’ part or at least what becomes more natural with experience is letting emotion flow once technique is solid.”
If there’s one thing that Julia and the boys from 5RAND enjoy doing, that’s hitting the stages with their live concerts. After signing with Art Gates Records, the band started working on new dates, aiming at expanding their touring and reaching a wider audience. A very good reason why all of us should keep an eye on their social media, because if 5RAND are taking your city by storm anytime soon, you surely don’t want to miss it. Also, when asked which song she likes to sing live the most, she mentioned the excellent Cordyceps. “Cordyceps because the crowd goes particularly crazy with that song, but I love to sing all our songs.” Julia also has her “hobbies” behind the scenes during their tours. The rest of the band said they suspect Julia really enjoys watching people eat. “That’s why everything she cooks is in enormous quantity,” commented her fellow bandmates.
When questioned about the current metal scene in Italy, she said that Death Metal, as well as Progressive and Power Metal, might probably be the most appreciated genres by Italian fans, apart of course form the bigger bands like Iron Maiden, Metallica and so on, but she also said that the majority of the Italian people tend to be a bit “lazy” in their musical taste and aren’t that eager to discover new bands or genres. “People mostly like what they already know,” she commented. Furthermore, she also mentioned she’s proud to see a new generation of women participating in the scene in Italy. “We’re seeing more and more women in metal bands, which is obviously very good! Many of them are very talented, maybe they’re still a bit confined to the symphonic style and to singing (too few women play an instrument on stage), but we hope their number keeps growing; versatility will come eventually.” However, she also believes everyone should be treated equal in heavy music. “I don’t think a band should be considered just for its members’ sex. In a better world, the musicians’ sex shouldn’t be more important than the colour of their hair.”
As mentioned in the beginning of this tribute to our multi-talented Italian diva, Julia is also a professional psychologist, having studied Psychiatry, Psychology and Behavioral Sciences (with a major in Psychology) at Sapienza Università di Roma, graduating in 2013, and having also got a major in Brief Strategic Therapy (BST) from Scuola di Specializzazione in Psicoterapia Breve Strategica, currently running her own initiative named “Harmony of Chaos”, offering a fusion of metal music and insights on mental health. Not only that, Julia seems to be a philomath, having also obtained a Master’s Degree in Web Marketing and ICT and a degree in Marketing, Management and Business Economy, both also at Sapienza Università di Roma. And when she’s not studying, she loves arts, books, and sports, especially outdoors and in nature, as well as cooking a lot and keeping fit. As you can see, Julian never stops, she’s always creating new things, always searching for something new, always broadening and deepening her knowledge, and may she keep condensing all that awesomeness in the music by 5RAND for many years to come, because it’s people like Julia who definitely contribute to a much better world.
“Joining 5RAND in 2015 was a big step. I’m also passionate about psychology… in fact, I’m a psychologist and later specialized as a psychotherapist with a metal soul. I love helping people overcome mental struggles.” – Julia Elenoir
This stormy and wrathful Black and Death Metal duo reveals themselves as a banner as well as an alliance with their long-awaited, scathing third album.
Hailing from the frontiers of southern Chile in a bloody transfixion that decomposes and darkens the veins of everything created under the stormy and wrathful Black and Death Metal that’s been inoculated all along the last decade, Temuco, Araucania-based entity Cenotafio reveals themselves as a banner as well as an alliance with their long-awaited third album, titled La Escisión Acausal: Por La Vía Inversa Hacia La Descarnación, English for “the acausal cleavage: through the inverted way to the fleshing out,” the follow-up to their 2019 sophomore opus Larvae Tedeum Teratos. Across the 43-minute album’s six tracks, the duo formed of Daniel Hermosilla on vocals, guitars and bass, and Patricio Kusnir on drums and vocals lays bare a supremely sepulchral landscape where genre delineations become irrelevant. Black Metal devours Death Metal, then vice-versa, all while a roiling undercurrent of Doom Metal provides the rhythmic sturm under drang that’s seemingly scattershot but eventually reveals its restless genius.
Atrabilis Taenia Solivm carries a cadaverous name for a song, starting in the most Blackened Doom manner imaginable before exploding into a chaotic blend of Black Metal led by their demonic vociferations and the ruthless drums by Patricio. Speaking of sluggish doom, I love it when a band that’s known for long, doomed songs decides to blast our faces with a sharp and shorter-than-usual tune like Osario, with Daniel delivering an overdose of insanity through his riffs and bass lines, resulting in a song not recommended for the faint at heart. And Nigredo Transfixión keeps the atmosphere as grim and unfriendly as possible, another caustic fusion of Black, Death and Doom Metal by the duo where Patricio steals the spotlight with his demented blast beats.
They continue to darken our minds and thoughts with the bludgeoning Acausal Escisión, presenting a caustic, visceral slab of Blackened Death Metal; and it’s time to enter a pit of deadly snakes in Viperidarium, offering our putrid ears a massive wall of sounds which end up boosting their Mephistophelian guttural to a whole new level of obscurity. And as the icing on their dark cake, we have Orbis Coagula, a multi-layered, evil, Stygian and brutal aria presenting the darkest elements of Doom Metal intertwined with the most vicious Black and Death Metal sounds, with Daniel ‘s riffs sounding absolutely disturbing and evil until the song’s climatic, vile end, sending shivers down our spines.
After immersing yourself into the dark and doomed waters of La Escisión Acausal: Por La Vía Inversa Hacia La Descarnación, you’ll quickly notice the wait for a new album by Chile’s monster Cenotafio was absolutely worth it. Buried under miles of Blackened Death and Doom Metal ash, the duo sounds on fire from start to finish, and if you want to show them your utmost support you can find those talented musicians on Facebook and on Instagram, stream their caustic music on Spotify, and purchase their sulfurous new album from their own BandCamp or from the Demoniac Productions’ BandCamp. Cenotafio are among us to spread sheer obscurity, blackening their Death Metal sounds while also turning their Black Metal vein even deadlier, with La Escisión Acausal: Por La Vía Inversa Hacia La Descarnación embracing us all in absolute darkness.
Best moments of the album:Osario and Orbis Coagula.
Formed during the early eighties, this UK Heavy Metal and Hard Rock outfit is back with their electrifying third album.
Formed during the early eighties, releasing the debut album Shadows of the Night back in 1984, and remaining dormant until 2017 (which culminated with the release of their 2021 sophomore self-titled album), Durham, England-based Heavy Metal outfit Dark Heart is ready to rock once again armed with their third installment, entitled Evolution. Produced by Pete Newdeck and mastered by Harry Hess of Harem Scarem, the new album by vocalist Alan Clark and guitarist Nick Catterick, alongside the more-than-special session musicians Josh ‘Tabbie’ Williams on bass and Pete Newdeck on drums, is a journey back to the glory of the 80’s without sounding repetitive or outdated, always moving forward while staying loyal to the foundations of the NWOBHM.
Crisp, minimalist guitar lines ignite the band’s rockin’ party in Light The Flame, with Alan already showcasing his vocal power supported by the classy guitar work by Nick, sounding perfect for admirers of Melodic Hard Rock. And the guitar riffs and solos by Nick keep embellishing the airwaves in Cold Winter while Josh and Pete bring the groove of the 80’s with their killer kitchen sounds, followed by End Of Tomorrow, a power ballad by the quartet where Alan delivers another solid, emotional vocal performance. Hands Of Fate blends the harmonious sounds of Melodic Rock and AOR, with Pete’s drums dictating the song’s classic pace, whereas Spread Your Wings offers us all another round of melodious riffs and soaring vocals, with its background keys adding a touch of finesse to the overall result.
Then investing in a more old school fusion of Heavy Metal and Rock N’ Roll we’re treated to Ride The Highway, and the final result is obviously electrifying, led by Nick’s razor-edged riffs. Put differently, the name of the song ends up being an invitation. After such a powerful tune we have You And I, presenting an AC/DC-inspired riff and evolving into an AOR feast where all backing vocals support Alan’s vocals in great fashion. Life To Crucify and its 80’s keys will pierce your mind, while the guitar lines by Nick exhale Melodic Hard Rock magic, followed by Eyes Of Light, a more generic version of their own rock music, still enjoyable but not as exciting. Mortality brings forward six minutes of a strong, deep ballad by Dark Heart led by the passionate vocals by Alan; and closing the album we face the dancing tune Burned, again reminding us of the glory of the 80’s while also showcasing a modern, dynamic sound by the band.
As already mentioned, although still rooted in classic NWOBHM, Heavy Metal and Hard Rock, Evolution also reflects the maturity in the band’s songwriting, positioning it as a must-listen for fans of both old school and modern-day rock and heavy music, and if you want to join Alan and Nick in their quest for metal you can start following Dark Heart on Facebook, stream their captivating music on any platform such as Spotify, and of course, put your hands on Evolution by purchasing you favorite version of the album from different locations such as Pride & Joy Music and Rough Trade. This is not just Heavy Metal; it’s an evolution in the style of a band formed in the distant year of 1984, but who’s now “back to the future” and ready to go places to the sound of their exciting new music.
Best moments of the album:Light The Flame, Ride The Highway and Life To Crucify.
Worst moments of the album:Eyes Of Light.
Released in 2026 Pride & Joy Music
Track listing 1. Light The Flame 5:25
2. Cold Winter 4:58
3. End Of Tomorrow 6:20
4. Hands Of Fate 4:31
5. Spread Your Wings 5:10
6. Ride The Highway 5:49
7. You And I 5:25
8. Life To Crucify 4:46
9. Eyes Of Light 4:36
10. Mortality 6:20
11. Burned 4:41
Band members Alan Clark – vocals, keyboards, backing vocals
Nick Catterick – guitars, keyboards, backing vocals
Guest musicians
Josh ‘Tabbie’ Williams – bass (session)
Pete Newdeck – drums, backing vocals (session)
Erupting from the depths of Denmark with a new onslaught of putrid Death and Doom Metal, this ruthless creature will unleash hell armed with their debut full-length offering.
Erupting from the depths of Kolding, Denmark with a new onslaught of putrid Death and Doom Metal, sounding heavier, darker and more merciless than before with riffs dripping decay, drums pounding like collapsing stone and vocals dredged from the deepest rot, the ruthless creature known as Foetorem (which translates to “stench of decay”) is unleashing hell with their debut full-length opus, poetically titled Incongruous Forms Of Evergrowing Rot. Recorded, mixed and produced by the band’s own Daniel Farre and Claus Andersen, mastered by Dan Lowndes at Resonance Sound Studio, and displaying a sinister artwork by N. Zuki of Belial NecroArts, with logo by Giancarlo Melgar and layout by Alice Mingotti and Giorgio Spewo, the newborn spawn by the aforementioned Claus Andersen and Daniel Farre on vocals and guitars, alongside Ric Broe Goldschmidt on bass and Geistaz on drums, spews psalms of death that drag the listener into miasmic landscapes, conjuring abhorrent visions of human ruination, becoming a must-listen for fans of Spectral Voice, Krypts, Mortiferum, and Hooded Menace, just to name a few.
The quartet shows no mercy for our putrid bodies and kick off their soul devouring feast with Reeks of Moldy Guts, where the vocals by Claus and Daniel are absolutely haunting from start to finish, and their violent Death Metal vein explodes in Escalating Rot, led by the caustic riffage by Claus and Daniel while Geistaz sounds like a stone crusher on drums. In Oozing With Pustulent Fluids the sound is just as carnivorous as the title, with the menacing bass by Ric walking hand in hand with another ruthless drumming by Geistaz in a lecture in extreme music made in the beautiful Denmark; followed by Mors Viaturis – the Death Traveler, perhaps the most Doom Metal of all songs, as sluggish and grim as it can be albeit a bit tiresome in the end.
Then after the cryptic interlude Grotesque Decomposition we face a wall of brutality and hatred in the form of Rebirth in Morbid Disgust, alternating between the sheer savagery of Death Metal and the gloomy heaviness of Doom Metal, all spiced up by another cadaverous vocal performance by Claus and Daniel. After that, it’s time for the skies to go pitch black to the sound of Tapestries of Misery, offering total doom annihilation to our putrid ears while Geistaz dictates the pace with his devilish beats. Claus, Daniel and Ric’s stringed attack bring forward their most deranged, metallic and thunderous sounds in Decay of the Flesh, sounding brutal and relentless from start to finish, followed by Peeled Face Mask, presenting one last blast of their ass-kicking hybrid of Death and Doom Metal, and leaving us completely disoriented after all is said and done.
A suffocating surge of filth sharpened into pure ruin, showcasing no light, no hope, only the stench of inevitable collapse rising, Incongruous Forms Of Evergrowing Rot can be purchased via mailorder or BandCamp, and you can also join Foetorem in absolute darkness on Facebook and on Instagram, and stream their obscure music on any platform like Spotify. Foetorem stand on the verge of their most defining chapter yet, promising to expand their oppressive sonic palette, delving deeper into the putrid atmospheres and melodic decay that have become their signature, and if you nurture a deep passion for extreme music, you’re certainly in for a treat.
Best moments of the album:Escalating Rot, Rebirth in Morbid Disgust and Decay of the Flesh.
Worst moments of the album:Mors Viaturis – the Death Traveler.
Released in 2026 Everlasting Spew Records
Track listing 1. Reeks of Moldy Guts 5:13
2. Escalating Rot 4:44
3. Oozing With Pustulent Fluids 4:26
4. Mors Viaturis – the Death Traveler 5:35
5. Grotesque Decomposition 0:31
6. Rebirth in Morbid Disgust 5:15
7. Tapestries of Misery 5:10
8. Decay of the Flesh 3:55
9. Peeled Face Mask 5:38
Band members Claus Andersen – vocals, guitars
Daniel Farre – vocals, guitars
Ric Broe Goldschmidt – bass
Geistaz – drums
This ruthless Death Metal beast from Brazil is ready to unleash hell once again with their third full-length opus, delivering sharp criticism of religion, world wars, and the darker trajectories of power and authority.
Formed in 2010 in the harshest corners of Salvador, the capital of Brazil’s northeastern state of Bahia, the ruthless Death Metal beast known as Papa Necrose is ready to unleash hell once again with their third full-length opus, poetically entitled Anthropomorphy Execution, following up on their 2021 sophomore Open Infected Body. Recorded, mixed and mastered at Evil Live Studios, with drum editing by Hugo Elias (Infected Cells), and showcasing a sinister cover art by Alex Shadrin of Nether Temple Design, the new album by frontman Alessandro Necrose , guitarists Carlos Silva and Danilo Vagner, bassist Éric Gusmão, and drummer Luquian Silva marks a moment of maturation for the band, keeping their raw, aggressive style intact while also exploring more complex song structures, technical riffing, and layered compositions influenced by the most technical 90’s Death Metal the likes of Death’s Human and Pestilence’s Testimony of the Ancients. Lyrically, the album delivers sharp criticism of religion, focusing on the role of Catholicism in historic humanitarian crises, world wars, and the darker trajectories of power and authority.
Carlos and Danilo begin slashing their axes in great fashion in Fall, Die, and Break, and when Luquian starts hammering his drums it’s absolute hell and chaos, followed by Disenchant Them, another bestial Death Metal extravaganza with a strong Thrash Metal vibe, with Éric pounding his bass while Alessandro roars like a rabid creature. Then after the phantasmagorical, eerie (but not very exciting) interlude Between Voices and Fear, we’re treated to the title-track Anthropomorphy Execution, a ruthless tune where Éric’s bass sounds absolutely metallic, providing the band’s guitar duo with exactly what they need to fire their deadly riffs; and they speed things up and get even more infuriated in the Death Metal attack titled Bleeding Social Membrane, led by another infernal vocal performance by Alessandro.
Hammered in the Mind lives up to the legacy of 90’s Death Metal while also presenting the band’s own technical and even progressive twist, while in Eighteen Years Awake we face pure violence and hatred flowing from all instruments, in special from the nonstop, savage drums by Luquian. Cathedral of Death sounds absolutely fast, furious and demented from start to finish, with Alessandro barking like a rabid entity while his bandmates offer a killer fusion of rage and dexterity; whereas in Silenced by Death all cryptic background sounds and other elements add an extra touch of darkness to their core Death Metal. Finally, we’re invited to one final mosh pit in The Thousand Yard Gaze, featuring a guest guitar solo by James Murphy (Death, Obituary, Cancer), with Éric and Luquian bringing forth their most intricate sounds of the entire album for our total delight.
Delivering scorching riffs, crushing drums, and an atmosphere designed for those who crave the raw edge of the genre since their inception, Papa Necrose tackle human contradictions, religious hypocrisy, war, death, and other societal ills through their music, exposing the underbelly of the world we live in, exactly like what they have to offer in their new album. Having said that, if you want to join such a talented Death Metal army and experience their rebellious music in all of its glory, you can find those Brazilian death dealers on Facebook and on Instagram, stream their demented sounds on Spotify, and above all, purchase the excellent Anthropomorphy Execution from the Awakening Records’ BandCamp and Big Cartel. Religion, war, death and power have always been a dangerous combination, and albums like Anthropomorphy Execution by Papa Necrose are among us to prove once and for all that Death Metal will forever be the best way to channel all that evil in a positive and exciting way.
Best moments of the album:Bleeding Social Membrane, Eighteen Years Awake and Cathedral of Death.
Worst moments of the album:Between Voices and Fear.
Released in 2026 Awakening Records
Track listing 1. Fall, Die, and Break 4:52
2. Disenchant Them 4:31
3. Between Voices and Fear 1:10
4. Anthropomorphy Execution 5:08
5. Bleeding Social Membrane 7:19
6. Hammered in the Mind 3:38
7. Eighteen Years Awake 4:43
8. Cathedral of Death 4:05
9. Silenced by Death 4:09
10. The Thousand Yard Gaze 6:50
Band members Alessandro Necrose – vocals
Carlos Silva – guitar
Danilo Vagner – guitar
Éric Gusmão – bass
Luquian Silva – drums
Guest musician
James Murphy – guitar solo on “The Thousand Yard Gaze”
These Symphonic Black Metal visionaries are back with their stunning sophomore opus, this time with a strong focus on inner conflict, loss, transformation and resilience.
After the more-than-positive feedback received with the release of their 2022 breathtaking debut The Resurrection of Lilith, Aalborg, Denmark-based Symphonic Black/Gothic Metal visionaries Defacing God return from the underworld with their most personal and intense album to date, titled Darkness Is My Crown. Mixed and mastered by Tue Madsen at Antfarm Studios, and showcasing a visceral artwork by Leoncio Hrmr (capturing the darker, more intense, and complex atmosphere developed for the album), the newborn spawn by frontwoman Sandie “The Lilith” Gjørtz and her horde formed of guitarists Jakob Batten and Christian Snapholt Nielsen, bassist Rasmus “Kalke” Munch Nielsen, and drummer Michael Olsson sees the band once again fuse Blackened Death Metal, symphonic darkness and occult atmosphere, this time with a strong focus on inner conflict, loss, transformation and resilience, an unfiltered reflection of confronting darkness head-on and reshaping it into strength, identity and purpose.
An ominous intro drags us all to the Stygian lair ruled by The Lilith and her henchmen in Nocturnal Vestige, sounding and feeling very melodic, harsh and piercing, with Jakob and Christian firing their scathing riffs nonstop. Malediction Manor already kicks off in full force to the hammering drums by Michael, evolving into a bestial display of Symphonic Black Metal for the delight of all fans of the darkest side of music; whereas in It Comes at Night the band slows things down and brings to our avid ears an overdose of dark sounds led by the devilish guitars by Jakob and Christian. Then offering another cryptic intro we face I See Shadows, evolving into a headbanging, grim aria blending Black and Doom Metal in a compelling way, followed by Nefarious Enclave, one of the most venomous songs of their career, an onrush of Black Metal sounds with a rebellious thrashing twist where The Lilith roars and barks like a she-demon unleashed into humanity and avid for blood.
The second part of the album begins with the absolutely obscure Hymns of the Memoir, sounding like a devilish ceremony led by the vile vociferations by The Lilith, therefore getting us ready for the Symphonic Black Metal beast entitled There Is No Light, where its background keys add an extra touch of epicness to their sound while Rasmus and Michael bring the groove armed with their respective bass and drums. Your Presence Lingers Here, one of the first singles released, follows a similar pattern as the previous song but with more enraged riffs and the utterly venomous roars by The Lilith; and the album keeps its imposing, bold and dense atmosphere flowing in Transition, with their guitars and drums walking hand in hand with its once again killer background keys, offering different layers and nuances until its excellent finale. Lastly, the icing on the cake comes in the form of the blasphemous, visceral The Last Revelation, where The Lilith leads her vicious horde in another metallic journey through the lands of modern-day Symphonic Black Metal.
Defacing God are on another level after the release of Darkness Is My Crown. They not only sound heavy, dark and relentless, but the message behind their music has tons of depth, multiple layers, and a sense of hope during such difficult times to basically everyone alive. Sandie and the boys deserve our total admiration and recognition for their efforts to make our dark world a better place through their Black Metal magic, and we can all see what they’re up to on Facebook and on Instagram, including their undisputed tour dates, and don’t forget to also stream their music on Spotify, and to put your damned hands on their new album from their own BandCamp or by clicking HERE. From darkness they’ve arisen, and in darkness they’re now crowned the new torchbearers of Symphonic Black Metal.
Best moments of the album:Malediction Manor, Nefarious Enclave, Your Presence Lingers Here and The Last Revelation.
Worst moments of the album: None.
Released in 2026 Apostasy Records
Track listing 1. Nocturnal Vestige 4:29
2. Malediction Manor 3:11
3. It Comes at Night 3:54
4. I See Shadows 3:56
5. Nefarious Enclave 3:25
6. Hymns of the Memoir 3:51
7. There Is No Light 3:40
8. Your Presence Lingers Here 4:08
9. Transition 4:28
10. The Last Revelation 3:33
Band members Sandie “The Lilith” Gjørtz – vocals
Jakob Batten – lead guitars
Christian Snapholt Nielsen – rhythm guitars
Rasmus “Kalke” Munch Nielsen – bass
Michael Olsson – drums
Delivering slow-decaying, putrid Death Metal with a raw and rotting intensity, this Romanian entity will spread “the Curse of the Deep” with their ruthless new opus.
Delivering slow-decaying, putrid Death Metal with a raw and rotting intensity since their inception back in 2020, Transylvania, Romania’s own zombie horde Putred returns from the grave with their third full-length opus, titled Blestemul Din Adânc, or “the curse of the deep” from Romanian. Recorded and mixed by the band’s own Uriel Aguillon at Natorum Demonto Studio, mastered by Gabbi at Spatial Mastering Studios, and displaying a cadaverous artwork by Colombian artist Julian Mortuus, the follow-up to their 2025 devastating sophomore Megalit al putrefacției sees the band currently formed of Filip Garlonta on vocals, Uriel Aguillon and Denis Bucur on the guitars, Corina Elena on bass, and Andrei “Ficus” Orha on drums take the brutality of their rotten sound to a whole new level, placing them as a must-see name of the current European Death Metal scene.
The cryptic intro Pandemonium is a very relaxing and soothing one despite its name, like the calm before the storm that’s about to come in Sfâșiat… Stigmatizat (“torn… stigmatized”), a doom-soaked Death Metal aria where Filip’s deep, inhumane guttural guides the listener to the pits of the underworld, followed by the haunting title-track Blestemul din Adânc, offering an avalanche of cold, visceral Death Metal in the vein of the mighty Frozen Soul. Corina and Ficus hammer their respective bass and drums in Întâlnirea Mortală (“the deadly encounter”), keeping the atmosphere as dense and evil as possible, whereas Cripta Vrăjilor (“the crypt of spells”) sounds and feels groovy, evil and heavy-as-hell, with the venomous vociferations by Filip matching perfectly with the riffs and solos by Uriel and Denis.
Then a very poetic name and a sinister start warns us all of the Death and Doom Metal beast that’s rising from the underworld in Devorat de Întuneric (“devoured by darkness”), offering a massive wall of aggressive sounds by the band, whereas a demented scream by Filip ignite the also doomed and vile Groapa Oaselor (“the pit of bones”), with Ficus crushing our souls with his demonic beats. Uriel and Denis’ riffage then rev up the band’s deadly engine in Catacombe Sângerii (“the catacombs of blood”), a lecture in primeval Death Metal for diehard fans of the style. Ultimul Clopot (“the last bell”), the last original song of the album, reeks of putrid Death Metal, led by the rumbling kitchen by Corina and Ficus, also showcasing those demented solos we love in this type of music; and lastly, we face their cover version for Benediction’s Subconscious Terror, from their 1990 classic Subconscious Terror (check the original version HERE), as visceral and inhumane as the original, and certainly not recommended for the lighthearted.
Always forging sacred walls of sound built on decaying guitars and guttural vocals steeped in decomposition and ruin, Putred are on absolute fire (and sulfur) in their breathtaking new album Blestemul Din Adânc, a suffocating overdose of doom-infused Death Metal tailored for admirers of the darkest and heaviest form of extreme music. Even if you don’t speak any Romanian at all, you’ll have an excellent time listening to Blestemul Din Adânc, and you can show the band your total support by following them on Facebook and on Instagram, by streaming their demonic creations on Spotify or any other platform, and of course, by purchasing their infernal new opus from their own BandCamp, as well as from the Awakening Records’ BandCamp or Big Cartel. In the end, “the Curse of the Deep” is upon us all, and there’s nowhere to run nor hide from the bludgeoning blend of Death Metal by these Romanian marauders.
Best moments of the album:Blestemul din Adânc, Cripta Vrăjilor and Catacombe Sângerii.
Worst moments of the album: None.
Released in 2026 Futhark Records/Awakening Records/Iron Forest Records
Band members Filip Garlonta – vocals
Uriel Aguillon – guitars, vocals on “Subconscious Terror”
Denis Bucur – guitars, everything in “Pandemonium”
Corina Elena – bass
Andrei “Ficus” Orha – drums
Budapest, Hungary’s own Speed and Thrash Metal machine channels the spirit of 80’s extreme music in their third full-length album, a full-scale, post-apocalyptic metal experience.
Faithful to their no-compromise ethos, Budapest, Hungary’s own Speed/Thrash Metal machine Türböwitch channels the spirit of 80’s Extreme Metal through a modern sense of immediacy, delivering songs that are fast, filthy and built for maximum impact. Recorded at Spezial Hell Studio, and produced, mixed and mastered in by Gravel Shores at Spiritside Studio, the third full-length offering by vocalist Zsolt “Zslöd” Lédeczi, guitarists Zsolt “Kommandante Klit” Harsányi and Péter “Mr. Fireball” Tóth, bassist Valdemár “Välde” Volcsánszky, and drummer Botond “Khäosz Bringer” Kasper, entitled Under Haunted Skies, is a ten-track journey through a world collapsing into darkness and clawing its way toward resilience, a full-scale, post-apocalyptic metal experience – dark, fast, atmospheric, and unforgiving, marking a decisive step forward for the band while further refining the uncompromising attitude and relentless live energy that have earned them a strong reputation within the European underground.
Just like in an 80’s horror movie, the intro Evoker of the Twilight drags us to absolute darkness before we’re crushed to pieces in Markoláb, with the thunderous beats and fills by Khäosz Bringer inspiring us all to slam into the pit while Zslöd growls like a demented beast from the abyss, all boosted by Välde’s metallic bass jabs. The title-track Under Haunted Skies is just as deranged and rebellious, with the striking riffage by Kommandante Klit and Mr. Fireball cutting our skin deep mercilessly; whereas venturing through the badass lands rules by Motörhead, the band offers the melodic yet visceral Cult Mastery, the perfect depiction of Black N’ Roll. And it’s pedal to the metal in the high-octane extravaganza Ashbringer, with Zslöd’s vile roars being nicely complemented by the band’s thrashing backing vocals.
They keep firing their unrelenting blend of Blackened Thrash Metal in Highways of Death, with the electrifying, venomous sound of their guitars penetrating deep inside our rotten souls. Then Välde’s ruthless bass kicks off the heavy, infuriated and maniacal Ultimate Failure of Will, another excellent choice to dive into the pit like a headbanging bastard, while delivering the most melodic riffs of the whole album, it’s time for When the World Crumbled, keeping the atmosphere as chaotic and fun as possible. In Moshpit at the End of the Day the name says it all. Get ready to be caught in an absolutely wild mosh pit of Black and Thrash Metal, with Khäosz Bringer literally bringing chaos to the band’s already incendiary music; and lastly, we have Road to Resilience, the most Rock N’ Roll song of all, and also the least exciting one, although when they speed things up they sound great as usual.
Rooted in Blackened Speed and Thrash Metal, Under Haunted Skies draws from the raw savagery and punk-fueled aggression of acts like Midnight, the razor-sharp thrash precision of The Crown, and the dark melodic drive of Hellripper, while maintaining a clearly identifiable personality. In case you want to know more about Türböwitch, their music, tour dates and plans for the future, you can find those headbanging bastards on Facebook and on Instagram, stream their sick music on Spotify, and above all, purchase the electrifying Under Haunted Skies from BandCamp, from Time To Kill Records, or by clicking HERE. Hopelessly addicted to fast riffs, unholy noise, and loud parties, Türböwitch continue to thrive in the filth and fury of the underground, and you better get ready because once they catch you, there’s absolutely no escape from their sonic anarchy.
Best moments of the album:Markoláb, Ashbringer and Moshpit at the End of the Day.
Worst moments of the album:Road to Resilience.
Released in 2026 Time To Kill Records
Track listing 1. Evoker of the Twilight 1:13
2. Markoláb 3:31
3. Under Haunted Skies 4:05
4. Cult Mastery 3:27
5. Ashbringer 3:40
6. Highways of Death 4:00
7. Ultimate Failure of Will 2:12
8. When the World Crumbled 4:40
9. Moshpit at the End of the Day 3:12
10. Road to Resilience 3:52
Band members Zsolt “Zslöd” Lédeczi – lead vocals
Zsolt “Kommandante Klit” Harsányi – lead guitars, backing vocals
Péter “Mr. Fireball” Tóth – rhythm guitars, backing vocals
Valdemár “Välde” Volcsánszky – bass
Botond “Khäosz Bringer” Kasper – drums, backing vocals
Germany’s own Blackened Thrash Metal horde returns with their striking new opus, taking us on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond.
Truest of the true, Germany’s own Blackened Thrash/Speed Metal horde Cruel Force storms back with swords gleaming high on their fourth full-length opus, entitled Haneda, which translates to “feather field” or “wing rice paddy,” derived from the Japanese kanji for hane (羽, wing or feather) and ta/da (田, rice field), the worthy follow-up to their 2023 critically acclaimed album Dawn of the Axe. Recorded by Marco Brinkmann at Hellforge Studio, Bauer Studios and The Parchment Studios, and showcasing an old school artwork by Maegan LeMay, the newborn spawn by Carnivore on vocals, Slaughter on the guitars, Spider on bass, and GG Alex on drums further proves that the band is more so an old-style Speed Metal band, largely bereft of that blackened edge during their First Era. The tradeoff is that there’s a prominent mysticism coursing through that speed, and the blue-collared aspect of Dawn of the Axe is now spit-shined to a lethal slickness that makes Haneda hit that much harder, taking the listener on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond.
The epic, battle-driven intro The Cross sets the stage for Cruel Force to kick our asses in Whips-A-Swinging, with the frantic, insane riffing by Slaughter adding an extra dosage of adrenaline to the band’s already demented Thrash Metal, accompanied by the crushing beats by GG Alex. There’s no time to breathe as the quartet continue their path of chaos and rebelliousness with Savage Gods, with Carnivore’s deranged vocals living up to the legacy of old school Speed Metal; whereas in Sword of Iron the name of the song says it all, transpiring classic Heavy Metal while Spider’s demonic bass walks hand in hand with GG Alex’s nonstop drums. Then we have Crystal Skull, where its 80’s action movie-like intro gradually morphs into a headbanging sound led by Slaughter’s guitar, albeit it would have been a lot better with vocals.
Warlords presents hints of the metal music made famous by Manowar, but without forgetting their core savagery and speed, alternating between sheer heaviness and the metallic madness of the riffage by Slaughter; and it’s time to put your elbows up and slam into the pit to the sound of Black Talon, with its Punk Rock attitude and its Thrash Metal vibe elevating Carnivore’s vocals to new heights. Titan’s Awakening is another song where the band wastes no time and begins distilling their frantic insanity right from the very first second, with Slaughter’s demented riffs being nicely boosted by the thunderous kitchen by Spider and GG Alex. And how about a nine-minute Thrash and Speed Metal song? That’s exactly what you’ll get in the breathtaking title-track Haneda, with their riffs and beats matching flawlessly with Carnivore’s vicious vocals, inspiring the band (and their fans) to march into the battlefield until the song’s epic and melodic grand finale.
“To us, it often feels like what Rainbow / Dio would have sounded if they’d played speed metal,” commented the band, and with its neoclassical moments plus tasteful references to Eastern European metal, Haneda locates that unique melting-pot of the thrashing rage of classic Kreator, Deathrow, Razor, Piledriver, and Powerlord meeting the grandeur of equally-classic Rainbow, Iron Maiden, and Virgin Steele. You can enjoy all that power, speed and rage from Haneda by grabbing a copy of the album from the Shadow Kingdom Records’ BandCamp or webstore, and don’t forget to also follow the band on Facebook and on Instagram, and to stream their striking creations on Spotify. Having said all that, do you have what it takes to venture into Haneda and disturb the Savage Gods on the way to the Crystal Skull?
Best moments of the album:Whips-A-Swinging, Sword of Iron and Haneda.
Worst moments of the album:Crystal Skull.
Released in 2026 Shadow Kingdom Records
Track listing 1. The Cross 1:19
2. Whips-A-Swinging 4:01
3. Savage Gods 4:28
4. Sword of Iron 4:03
5. Crystal Skull 4:52
6. Warlords 6:23
7. Black Talon 4:04
8. Titan’s Awakening 4:15
9. Haneda 9:11
Band members Carnivore – vocals
Slaughter – guitars
Spider – bass
GG Alex – drums
Let the carnage commence to the incendiary new offering by the chief standard bearer for Blackened Thrash and Speed Metal worldwide.
From the moment that Aberdeen, Scotland-based Hellripper burst into the metal world’s simmering consciousness back in 2014, the Blackened Speed and Thrash Metal throne was destined to be conquered. Recorded and mixed by the band’s own mastermind, vocalist and multi-instrumentalist James McBain at Coronach Studios, mastered by Damian Herring at Subterranean Watchtower Studios, and showcasing a stunning artwork by the always phenomenal Adam Burke of Nightjar Illustration, the breathtaking Coronach, the fourth studio album by James and his Hellripper, named after the improvised communal singing that is a tradition at funerals and wakes in Scotland and Ireland, is the band’s visceral but vital sound rendered in eye-frying, widescreen thrash-o-vision, a dazzling display of nefarious militancy with huge, skull-slicing, unforgettable tunes (digging deep into the hazy past while also drawing ghostly parallels between ancient rites and the challenges and conflicts of the present day), and a worthy follow-up to the project’s 2023 masterpiece Warlocks Grim & Withered Hags.
The opening tune Hunderprest, featuring the James’ partners in crime Joseph Quinlan on lead and additional guitars and Marianne on additional vocals, continues the feast of blackened sounds from their 2023 album, with James delivering his trademark harsh roars nonstop. Marianne is also featured in Kinchyle (Goatkraft and Granite), with its poetic lyrics being nicely vociferated by James (“Salt water fills the wounds of time / Grey Palisades fade into endless fucking, pure soul-sucking night / Born of thunder, wind and rain / Vultures on jagged wings usurp the kings, and call upon my name”) while the music is as rebellious and vibrant as it can be; and the serene sounds of a piano kick off The Art of Resurrection before morphing into a frantic feast of Thrash and Speed Metal, with James’ riffs and pounding drums walking hand in hand with his visceral growls. Then we face Baobhan Sith (Waltz of the Damned), featuring guest Jess Townsend on the violin, and the music is just as demolishing and captivating as the rest of the album, again showcasing a phenomenal guitar work by James, flawlessly clashing with Jess’ crying violin.
Joseph and Marianne are back in Blakk Satanik Fvkkstorm, portraying the perfect name for a Hellripper song, and of course it’s highly recommended for some action inside a wild circle pit, offering the high-octane vibe of Speed Metal and James’ devilish Black Metal gnarls. James keeps delivering sheer violence and speed mixed with the culture and folklore of his beautiful homeland in Sculptor’s Cave, firing some of his fastest riffs and blast beats; followed by Mortercheyn, featuring Max Southall on additional percussion, one of those songs that will put you to dance, or in other words, a chaotic hurricane of Blackened Thrash Metal led by James’ trademark caustic vocals and riffage. Last but certainly not least, we have the title-track Coronach, with guest Antonio Rodriguez bringing even more epicness to the music with his bagpipes. With the title and some of the lyrics coming from Coronach, a poem by Sir Walter Scott (“He is gone on the mountain, / He is lost to the forest, / Like a summer-dried fountain, / When our need was the sorest. / The font reappearing / From the raindrops shall borrow, / But to us comes no cheering, / To Duncan no morrow!”), while the music is simply majestic, the album ends on a beyond climatic and epic mode.
“I think this album sounds ‘colder’ than the previous one,” notes James. “With each album I create, I feel the overall sound is more diverse than before, but also more cohesive in tone and atmosphere. You’ll find influence from anything and everything from Venom and Mercyful Fate, to Watain, Opeth and Manic Street Preachers, all wrapped up in a nice speed metal package! I wanted each track to include something that I had never done previously, whether that be the inclusion of a different instrument, or the way a song starts, for example. I think each track will offer some sort of surprise.” Hellripper is already considered a chief standard bearer for Blackened Thrash and Speed Metal worldwide, and Coronach will undoubtedly inspire James to keep howling into the future with more of his sensational music. You can start following Scotland’s best metal band ever on Facebook and on Instagram, subscribe to their YouTube channel, stream all of their scathing creations on Spotify, and of course purchase a copy of the incendiary Coronach from BandCamp or by clicking HERE or HERE. In other words, simply hit play, feel the music found in Coronach embrace your rebellious soul, and let the carnage commence.
Best moments of the album:Kinchyle (Goatkraft and Granite), Baobhan Sith (Waltz of the Damned), Blakk Satanik Fvkkstorm and Mortercheyn.
Worst moments of the album: None.
Released in 2026 Century Media Records
Track listing 1. Hunderprest 5:49
2. Kinchyle (Goatkraft and Granite) 4:33
3. The Art of Resurrection 5:44
4. Baobhan Sith (Waltz of the Damned) 6:24
5. Blakk Satanik Fvkkstorm 3:53
6. Sculptor’s Cave 4:35
7. Mortercheyn 4:18
8. Coronach 8:48
Band members James McBain – vocals, all instruments
Guest musicians Joseph Quinlan – lead & additional guitars on “Hunderprest” and “Blakk Satanik Fvkkstorm”
Marianne – additional vocals on “Hunderprest”, “Kinchyle (Goatkraft and Granite)” and “Blakk Satanik Fvkkstorm”
Jess Townsend – violin on “Baobhan Sith (Waltz of the Damned)”
Max Southall – additional percussion on “Mortercheyn”
Antonio Rodriguez – bagpipes on “Coronach”
Attention, metalheads!
THE HEADBANGING MOOSE 