It’s time to rumble with THE HEADBANGING MOOSE SHOW every Thursday @ 20:00 UTC+2 (with a reprise on Saturdays @ 19:00 UTC+2) exclusively at Midnight Madness Metal e-Radio, your Greece-based web radio blasting the best of heavy music nonstop 24/7!
Presented by Gustavo Scuderi, The Headbanging Moose Show will bring to you the cream of underground metal music, giving you a short and sweet background on every band played on the show. No silly jokes, no shenanigans… THIS IS PURE F****N’ METAL!
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The desecrator of extreme music is back with his twelfth studio album, unleashing terror worldwide by combining a raw, high impact attack with a stark clarity of sound.
The solo project of Belarusian multi-instrumentalist Denis Tereschenko, brought into being in 2007 after his relocation to northern Israel, Die Entweihung has been on a constant evolution, changing as its creator changed both as a man and a musician, from its early days as a Black Metal entity to its current Blackened and Progressive Thrash Metal sound, culminating now in 2026 with the release of Worldwide Terror, the project’s twelfth studio album and the follow-up to the 2021 album Kings & Pawns and the 2022 album Strict Regime Country. Produced and mixed by Denis himself, mastered by Sondre Solberg at Lakeside Studio, featuring Czech vocalist Alena 7 (also known as Alena Krákorová), with saxophone, violin and cello parts performed by different session musicians, and completed by the distinctive imagery of Belarusian artist Olga Kann, Worldwide Terror combines a raw, high impact attack with a stark clarity of sound that allows each element of the music to speak and be heard, becoming a must-listen for fans of Orphaned Land, Détente, Holy Moses, and Confessor.
Denis and Alena already present the band’s updated sound in the title-track Worldwide Terror, sounding a lot more Heavy Metal than the project’s previous more extreme sonority; whereas more of Denis’ razor-edged riffs are offered in Warriors Of The Lie, feeling like the soundtrack to a war movie, or in other words, it’s an excellent battle hymn where his galloping bass and drums bring sheer adrenaline to the music. Generation Of Pawns blends extreme music with progressive sounds from the 70’s, and despite not being a bad song, it lacks the energy of Alena’s vocals. And venturing through the realms of Folk Rock and Metal with a more epic edge we have Newborn, where Alena’s vocals are nicely boosted by Denis’ crying guitars.
It’s pedal to the metal in the Rock N’ Roll extravaganza titled Really Your Life, with the scorching riffs by Denis blending in great fashion with Alena’s soaring vocals and she-demon vociferations; followed by Eight Billion Headed Whore, showcasing a crazy name for a song (but I guess that whore is Mother Earth in the end), once again presenting a wild fusion of Progressive Metal with folk and extreme elements. Denis then delivers a bold sound through his riffs, bass and drums in The Brightest Night, a truly entertaining instrumental piece that sets the stage for The Darkest Morning, featuring guest vocals by Israeli artist N.Khaos, presenting another blast of epic vocals lines and the electrifying energy of the riff.
It’s time to confront the horrors of reality, to stand up and be counted with Die Entweihung to the sound of his newborn spawn Worldwide Terror, and if you want to be part of the project’s army of darkness you can find all information about it on Facebook and on Instagram, enjoy Denis’ wild creations on any platform like YouTube and Spotify, and of course purchase the album from BandCamp, from Morbid and Miserable Records, from Southern Soundclash Records, or from Tikoes Kecemploeng Productions. Worldwide Terror is about to be unleashed, and you better get ready because there will be blood.
Best moments of the album:Warriors Of The Lie, Really Your Life and The Darkest Morning.
Worst moments of the album:Generation Of Pawns.
Released in 2026 Orbid and Miserable Records/Southern Soundclash Records/Tikoes Kecemploeng Productions
Track listing 1. Worldwide Terror 5:02
2. Warriors Of The Lie 6:29
3. Generation Of Pawns 4:41
4. Newborn 8:07
5. Really Your Life 6:31
6. Eight Billion Headed Whore 5:14
7. The Brightest Night 5:04
8. The Darkest Morning 7:15
Band members Alena 7 – vocals
Denis Tereschenko – all instruments
Guest musicians
N.Khaos – additional vocals on “The Darkest Morning”
These Norwegian death dealers are back with another slab of pure violence and gore, a concept record steeped in death, desperation, and ritual slaughter.
Hailing from Oslo, Norway, the ruthless Death Metal creature known as Horrifier has been vomiting pure, old school brutality straight from the underground since 2022, drawing inspiration from the legendary bands of the late 80’s and early 90’s by channeling the rotting sounds of Autopsy, the gnarly filth of Entombed, and the feral aggression of Repulsion. Now, those Norwegians return with their second full-length opus, Revelations of Gore, a concept record steeped in death, desperation, and ritual slaughter, following up on their critically acclaimed 2023 debut Horrid Resurrection. Following a dying man who, standing at the edge of his final breath, encounters a monstrous entity offering him eternal life (but immortality demands a price), the new opus by Adrian Risøy on vocals and guitars, Sander Halvorsen also on the guitars, Erik Krokan on bass, and Andreas Langås on drums sees that same man feed the creature with human sacrifices in exchange for more time among the living. What starts as desperation slowly turns into obsession, as the line between survival and damnation fades beneath a growing pile of corpses.
The disturbing intro Voices sets the stage for the band to annihilate our senses in Compelled to Slaughter, starting in a Doom Metal-inspired rhythm before all hell breaks loose to the demented vociferations by Adrian; and Andreas takes the lead with his demonic beats and fills in Human Butchery, supported by the scorching riffage by Adrian and Sander in a lecture in primeval Death Metal. The Ingestion again ventures through the realms of doom-laden Death Metal, as dark and evil as it can be, with the kitchen crafted by Erik and Andreas sounding utterly vile, and get ready for a solid riff attack in the form of Rejoice, Children of the Flesh, a ceremonial tune that could have been a little more violent and dynamic in the end.
Body Hoarder puts the band back on track with an avalanche of aggression and hatred flowing form all instruments, in special from the nonstop beats and fills by Andreas in another onrush of pure Death Metal insanity, whereas Morbid Lust continues to pave the band’s demonic path by offering more of their cadaverous vocals and old school riffs and beats, inviting us all for some action inside the pit. Their second to last blast of Death Metal violence comes in the form of The Final Oblation, with the guitars by Adrian and Sander transpiring malignancy accompanied by the rumbling bass by Erik; and last but certainly not least, we’re treated to the band’s signature blend of crude and vile Death Metal in Blood for Ascension, with Adrian’s bestial vocals penetrating deep inside our putrid minds.
Musically illustrating the desperation and dementia of the album’s main character with deft moves between relentless violence and suffocating darkness, Horrifier are absolutely savage throughout the entirety of their newborn spawn, and if you want to know more about such a violent band and show them your support you can find those guys on Facebook and on Instagram, stream their sick creations on Spotify, and grab a copy of the infernal Revelations of Gore from their own BandCamp or from the Personal Records’ BandCamp or webstore. Mirroring the protagonist’s descent into madness, Revelations of Gore stays true to the original ethos of the Metal of Death. No gimmicks. No mercy. Only death.
Best moments of the album:Human Butchery, Body Hoarder and Blood for Ascension.
Worst moments of the album:Rejoice, Children of the Flesh.
Released in 2026 Personal Records
Track listing 1. Voices 0:27
2. Compelled to Slaughter 3:44
3. Human Butchery 4:45
4. The Ingestion 4:29
5. Rejoice, Children of the Flesh 5:13
6. Body Hoarder 3:32
7. Morbid Lust 4:24
8. The Final Oblation 5:34
9. Blood for Ascension 5:59
Band members Adrian Risøy – vocals, guitars
Sander Halvorsen – guitars
Erik Krokan – bass
Andreas Langås – drums
This up-and-coming Black Metal entity is back with its most compelling work, once again deeply rooted in the Northern European Black Metal tradition, always sounding fresh, grim and furious.
Emerging from the Pacific Northwest, Washington, United States-based entity Hulder built a devoted following across a series of releases marked by their commitment to ancient craft, uncompromising production, and a sound rooted in the Northern European Black Metal tradition. Now in 2026 the indomitable vocalist and multi-instrumentalist Hulder, alongside bassist Necreon, returns with Verbolgen, the project’s third full-length opus, and the follow-up to the highly acclaimed albums Godslastering: Hymns of a Forlorn Peasantry (2021), and Verses in Oath (2024). Mixed by Ahti Kortelainen at Tico Tico Studio, mastered by Mika Jussila at Finnvox Studios, with drums engineered at Elektric City Recording, and displaying a dark and enfolding artwork by Morrigan, Verbolgen sees the project expand its instrumental palette, drawing in session musicians Keld on hurdy gurdy, lead guitars and keyboards, Vapula and Vrolok on drums, and Januaria on the flute, sharpening the dual creative core that has defined its most compelling work.
The ominous folk-infused intro Drie Raven will drag our souls to the dark realm ruled by Hulder until we’re crushed into pieces to the sound of The Crowning, where her she-demon roars match perfectly with the infernal Black Metal beats by Vrolok, also presenting haunting keyboard passages, courtesy of guest musician Keld. Thy Binding Oath offers a stunning fusion of Black, Folk and Doom Metal, and you can feel the atmosphere getting heavier and more suffocating while Hulder and Necreon deliver truly haunting vocals; followed by the title-track Verbolgen, bringing forward a more direct Black Metal attack by Hulder and her horde, with even her vocals sounding harsher and more infernal. And …And We Shall Sing is a true storm of extreme sounds by the band where Vapula takes the lead with his pulverizing beats and fills while the guitars by Hulder breathe fire.
Then a sinister intro morphs into a Melodic Black and Folk Metal extravaganza entitled In Blood and In Earth, where the keys by Keld sound majestic from stat to finish, followed by Den Nacht Zijn Lied, which should translate from Dutch as “the night’s song”, a fitting title for a classic Black Metal tune where Vrolok once again sounds ruthless on drums supported by the hammering bass by Necreon. View From Nemeton is a hurricane of Black Metal insanity by the band, with Hulder darkly vociferating the song’s caustic words (“In inhuman plane where flora nor fauna shall dwell / Everlasting winds rustle golden glades though grace not the mortal flesh / In the embers of olden days and those which have yet to come / Forsaken effigies stand guard for the rites of the sacred blot / I rede thee wanderer / Hear thou my rede”) in a lecture in the style, before the expansive instrumental piece The Glow of Dawn closes the album on an epic mode, leaving us absolutely disoriented after all is said and done.
With the release of the excellent Verbolgen, Hulder cement their place among the greatest names of the current Black Metal scene worldwide, sounding sharper and more obscure than ever, while remaining loyal to their roots. If you want to know more about this up-and-coming Black Metal beast, you can find the project on Facebook and on Instagram, including their live dates (like the incendiary upcoming tour with the mighty Dimmu Borgir), stream their music on any platform like Spotify, and above all that, purchase Verbolgen from BandCamp or by clicking HERE. Verbolgen is a Dutch adjective that translates to “enraged,” “furious,” or “incensed,” describing a state of intense, seething anger, often stemming from a feeling of being wronged, and all those dark feelings are exactly what Hulder offer us all in their new album, a scathing blast of Black Metal that will reach deep inside our blackened hearts.
Best moments of the album:The Crowning, …And We Shall Sing, In Blood and In Earth and View From Nemeton.
Worst moments of the album: None.
Released in 2026 20 Buck Spin
Track listing 1. Drie Raven (Intro) 2:18
2. The Crowning 6:28
3. Thy Binding Oath 5:38
4. Verbolgen 4:01
5. …And We Shall Sing 6:01
6. In Blood and In Earth 7:09
7. Den Nacht Zijn Lied 6:45
8. View From Nemeton 5:23
9. The Glow of Dawn 4:48
Band members Hulder – vocals, electric & acoustic guitars, keyboards
Necreon – bass, vocals
Guest musicians
Keld – hurdy gurdy, lead guitars, keyboards (session)
Vapula – drums on “Verbolgen”, “…And We Shall Sing”, “View From Nemeton” and “The Glow of Dawn”
Vrolok – drums on “The Crowning”, “Thy Binding Oath”, “In Blood and In Earth” and “Den Nacht Zijn Lied”
Januaria – flute (session)
As the fires of summer continue to burn in the Northern Hemisphere, there’s nothing better than dedicating an entire article to one of our beloved Burning Witches, more specifically the one responsible for turning the band’s lyrics into sheer power and energy through her soaring, undisputed vocals. Not only a classy vocalist and frontwoman, she’s also a diehard metalhead, always ready to show her love for old school Heavy Metal, and always ready to rock our world with her incredible voice and charisma. Her name is Laura Guldemond, a crazy wild child and frontwoman for one of the must-see names of the current metallic scene, and once you know more about her career, her personal life, and her passion for heavy music, there’s certainly no turning back, as you’ll be under the spell of one of the most talented “witches” of the worldwide metal community. Having said all that, are you ready to be locked in the tower by the phenomenal Laura Guldemond here on The Headbanging Moose?
Born on July 31, 1988 in Zoetermeer, a city in the Western Netherlands, in the province of South Holland, Laura doesn’t exactly come from a family of musicians, but there was still a lot of music surrounding her in her early days. “It’s funny, because my parents weren’t into music, but my grandparents were musicians – they played the double bass and the violin. They travelled around playing music, and I guess the next generation was fed up with that, so it had to continue with me! My mum’s half-sister still plays the flute, too.” Although she could sing a little bit and was comfortable with some notes, she had to learn the high notes by taking singing lessons, and at one point she decided she wanted to become a professional singer. Then she went to a conservatory in Eindhoven called The Metal Factory to continue with her studies. “When I was about twenty years old, I decided to take things a little more seriously, and that’s when I started taking singing lessons. Later on, I decided that I had to study music somehow. I auditioned for the Haarlem conservatory and ended up in the preparatory course for it, but then I came across the Metal Factory, and I was part of the first batch of students there.”
Laura has been immersing herself in Heavy Metal and Hard Rock for most of her life, saying it was a big discovery for her when she was younger. “My parents never really went any heavier than Queen. Which I like, but then I discovered Within Temptation, and I loved it. That was probably mainly because it sounds a little mysterious. That’s what I liked about it, at least. When the time came that I had enough allowance to buy albums, I found W.A.S.P.’s Dying for the World right next to Within Temptation. I really like W.A.S.P. as well. From then on, I started listening to more and more different things. Quite quickly after that, I decided that I wanted to play guitar. And I did have a guitar, so I did try to play it, but I had no lessons, and I ended up giving up. I did already sing, and that’s what I kept doing,” she commented.
It was in 2019 when Laura joined the amazing Burning Witches, replacing the band’s original vocalist Seraina Telli, and she fit the blank spot perfectly with her undisputed vocal potency, being immediately embraced by the band’s diehard fanbase. That same year, she released her first song with the band, the excellent Wings of Steel, following by the EP Wings of Steel, also in 2019, and her first-ever full-length opus with the girls, Dance with the Devil, in 2020. That same year, the band released an EP titled Acoustic Sessions, followed by their full-length albums The Witch of the North (2021), The Dark Tower (2023), and more recently Inquisition (2025), all available on Spotify or any other streaming platform. Furthermore, you can also check Laura and the girls kicking ass on the official videos for songs like High Priestess of the Night, The Dark Tower, The Witch of the North, and Unleash the Beast, or check their official YouTube channel for those videos, full playlists and other content including interviews and live footage of all of their tours.
When Laura joined Burning Witches, she said they were all very welcoming, helping her overcome any initial challenges as she said she’s the type of person that needs a lot of time to get used to other people. There was of course a lot of rehearsal time required in the beginning until they all got used to Laura’s vocal style and vice-versa, but as expected there’s also a lot of fun involved in the overall process. “We go out to dinner sometimes, we hang out after rehearsals, so that is nice,” she commented, also having some nice words to say about the freedom she has while writing material for the band. “When it comes to writing my melodies and lyrics, I have a fairly large amount of freedom. Sometimes they come up with something they like, but even then, I am free to try something else, or we can discuss various ideas. It’s always fairly open. It kind of depends on how attached they are to the ideas they already have. There are plenty of times when there is no idea at all yet, and I can just make up whatever I like.”
Needless to say, the band’s diehard fans were all very welcoming when Laura became a member of Burning Witches, even when you take into account they already had two very solid albums released prior to her joining the band. Laura was actually more prepared for the feedback from the audiences than her bandmates in the end. “To be completely honest, I think it had been a much more emotional process for the rest of the band than it has for me. In a way, I had kind of already prepared myself for such reactions. The stories are out there. Like Tarja and Nightwish, for example. You still hear people complaining about that these days, which makes me think: guys, seriously, still? You know it is going to happen, and you know it is going to keep happening. So I was mentally prepared for that. Some of those people have returned, others haven’t. That’s just how things go.”
Before becoming the frontwoman for the indomitable Burning Witches, Laura was the vocalist for an array of very interesting bands and projects. It looks like her first Heavy Metal band was Utrecht, Netherlands-based Progressive Metal act Synergy Protocol, having played with them from 2013 until 2015, and having recorded their 2014 debut three-track demo. Around the same time, from 2014 to 2015, she was also the vocalist for Epic Rock Choir, a Netherlands-based group of singers specialized in major rock and metal opera projects like Arjen Anthony Lucassen’s The Theater Equation, and founded an Experimental and Electronic Rock and Metal project named Generation Lost together with Marco van der Hoorn, but nothing has ever been released under that flag.
The other two bands that Laura was a member of were Dordrecht, Netherlands-based Progressive Metal/Rock project Magoria, working as one of their vocalists between 2017 and 2018, and of course her main band before she joined Burning Witches, the excellent Eindhoven, Netherlands-based Symphonic Power Metal band Shadowrise, fronting the band from their inception back in 2009 until they split up in 2019 (one of the reasons being of course her full-time commitment with Burning Witches), having recorded with them the 2016 EP Escape from Shadow Island, and their 2018 self-titled full-length, both available on BandCamp and on Spotify.
Not only that, Laura can also be found as a guest musician in several different bands and projects, showcasing her absolute energy, dynamism and versatility, allowing her to sing basically any music genre you can think of. For instance, she was a guest vocalist on the song Valkyries in the Sky, from the 2024 album Gods of Metal (Year of the Dragon), by German/Italian Heavy Metal band All for Metal; choir vocals on the official video recording of the 2016 album The Theater Equation, by Dutch Progressive Metal/Rock icons Ayreon; vocals on the song Schwestern aus Stahl, from the 2025 Damokles, by German Heavy Metal/Hard Rock band Blindgänger; vocals on the song The Path That Never Ends, from the 2026 album Sons of the Abandoned, by Spanish Melodic Death Metal outfit Bloodhunter; vocals on the song Back on the Streets, from the 2022 album Back on the Streets, by UK Power Metal band Chrysalïd; and vocals on the 2025 single Fierce, by Swiss Symphonic Metal band Deep Sun.
If you think this is it, you’ve got another thing coming, as Laura was also a guest vocalist on the song Receptor, from the 2025 album Receptor, by American Progressive Metal act Dissona; vocals on the song Poison Tears, from the 2025 album Unbreakable, by the indomitable Heavy Metal/Hard Rock duo Ellefson-Soto; vocals on the song False Faced Demon, from the 2022 album Inquisition, by Dutch Symphonic Metal band Epinikion; female vocals on the song Blind Souls, from the 2017 album The Endless River, by Jordanian Melodic Death Metal band Eternal Insomnia; vocals on the 2022 album Malleus Maleficarum, and on the Avatarium cover The Fire I Long For, from the 2023 album Ventus Metallum, by German Heavy/Power/Progressive Metal project FB1964; and vocals on the song For Blood & Glory, from the 2021 album Serpent Chariot, by Austrian Blackened Thrash Metal band Golden Blood.
Do you want some more? Well, Laura was also featured as a guest vocalist on the song Stand United, from the 2022 album Dealer of Souls, by Swiss Heavy/Power Metal band Gomorra; on the song All Women in Me, from the 2023 self-titled album by Dutch Progressive/Symphonic Metal band Heavenqueen; on the song Sleeper, from the 2025 album Gilgamesh, by Ukrainian Progressive Metal/Rock act Korypheus; vocals on the song The Great Masquerade, from the 2025 album Remnants of Rapture, by Canadian Heavy Metal outfit Lycanthro; on the song Alone, from the 2024 album Shadow Empress, by Progressive Metal warrior Nino Helfrich; backing vocals on the 2015 album Wayward Sanctuary, by the now defunct Dutch Progressive Metal/Rock project ReSolve; vocals on the song Your Time Has Come, from the 2024 album Blood of the Witches, by German Heavy Metal/Hard Rock guitarist Stephan Georg; choirs on the 2015 album The Diary, by Dutch Symphonic/Progressive Metal/Rock duo The Gentle Storm; vocals on the song Neverealm, from the 2026 album Neverealm, by Greek Heavy Metal band Valiant Sentinel; and vocals as one of the “Pirate Queens” on the song The Pirate Queens, from the 2022 album Lost, by Dutch Symphonic Power Metal project Woods of Wonders.
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As you can see, Laura is one of the best vocalist of the current Heavy Metal scene worldwide, with countless bands recruiting her as a special guest in their new albums, and of course with her career with the striking Burning Witches being the icing on the cake. However, it’s important to say that before being such an accomplished vocalist, she’s also a true metalhead, nurturing deep passion for the same rock and metal icons as any of us, as well as some of the most interesting names of the non-metal scene. “Lots of awesome metal bands have influenced me during the years. To name a few I listened to a lot as a teenager; Within Temptation, W.A.S.P., Judas Priest, Iron Maiden, Halestorm, Eluveitie, Death Angel and Kamelot. But also great contemporary singers like Sia, Christina Aguilera and Beyonce. This is reflected in the versatility of my voice,” she commented.
When asked which song she loves the most in her life, her answer was the purest, most incendiary form of Heavy Metal you can think of. “I love Painkiller by Judas Priest because the drums start playing and you immediately feel the energy.” Moreover, she considers the one and only Metal God Rob Halford as a role model, saying he’s one of the people who’ve inspired her the most in terms of how she sings with Burning Witches now, as well as the indomitable Bruce Dickinson. “What I love is that he has so many songs with a lot of vocal dynamics. So I would say both he and Bruce Dickinson inspired me. I’ve heard Bruce a few times when people are listening from a bit further away and it sounds hyper-laden. I think it’s because I have a bit of memorization there too.” Dio is also a huge influence in her life, and the fact Burning Witches recorded a cover version for the all-time classic Holy Diver also shows how much she loves his unique voice.
Speaking of cover songs, Laura also maintains a really entertaining YouTube channel as her “solo project” (which you can also find alongside all of her other links and social media by clicking HERE), recording multiple cover songs with very special guests the likes of Courtney Cox and Sara Jolís as her support band, among other interesting videos. For example, you can enjoy Laura’s soaring vocals in killer cover songs including W.A.S.P.’s Wild Child (which is by the way one of the bands she used to listen to the most when she began listening to metal music), Iron Maiden’s The Trooper, Cradle of Filth’s Nymphetamine Fix, AC/DC’s Highway to Hell, Slayer’s Raining Blood, Pantera’s Walk, and Judas Priest’s Painkiller, among several other incredible videos where she will melt your faces with her scorching, sharp vocals.
Speaking of her vocal technique and how she prepares for the intense life on the road, Laura, who currently uses a Neumann U 87 Ai (a legendary large-diaphragm FET condenser microphone, featuring cardioid, omnidirectional, and figure-8 polar patterns), mentioned in one of her interviews how difficult it is to bring to stage what’s recorded in the studio. “Recording a song is one thing, but singing it at the same level every night is a different matter.” Owner of very versatile and dynamic vocals, as already mentioned, she said she always enjoys trying new things with her voice. “The others in Burning Witches like it when my voice sounds relatively deep, so we have been playing around with lower keys in recent years,” she commented. “These days, I have been trying to learn to use vocal fry better than I could before. So who knows? Maybe I will be doing something with that in the future. But it has to get better first. Singing clean with a bit of distortion on it is something I know I can do well at this point. If I add something that doesn’t sound quite as good, and you can actually hear that difference in quality, it will just end up sounding weird.”
She also commented about the importance of maintaining a good health, in special when your voice is your instrument of work. “I am often afraid of getting a sore throat, so my main priority is keeping nice and warm. During summers, I hardly ever have a sore throat, but once winter rears its head, I have to be careful. And to be fair, during spring and autumn as well. Also, when I work out too hard, and my body gets tired, I get a sore throat as well. That is something to watch out for.” She also mentioned it’s extremely important to build up her stamina before a headlining tour starts, alternating between singing and resting until she’s warm enough for the band’s longer-than-usual sets. “Especially if I have just been on vacation, and I haven’t sung for a while. Then it truly is important to build up my stamina, as I’m really going to feel the difference once I have to do a longer set.”
This might sound repetitive, but Laura is not only an extremely talented vocalist; she’s also a vocal coach ready to help any newcomers to the world of singing with her professional and dynamic approach. You can find more details about Laura’s services as a vocal coach (in Dutch, English or German) on her official website, including the subtypes of services available such as singing lessons, workshops, and growling. “I always try to find ways to make them practice things step by step. There are certain techniques that require you to use a little more power, which means they are potentially more dangerous, as more power is a bigger burden on your vocal cords if you do it wrong. That’s why I try to explain things step by step, so they can actually warm up to it step by step, allowing them to do things properly from the moment they start to add more power to it.”
In the end, after witnessing Laura kicking some serous ass live for the first time earlier this year in Toronto, I felt the urge to write this tribute to such a phenomenal vocalist, and after knowing more about her and her focus and hard work to keep delivering high-quality Heavy Metal for the masses, we must all agree she’s more than just another frontwoman. She’s the epitome of heavy music, a woman that puts her heart and soul into her music, delivering breathtaking vocals with endless charisma it doesn’t matter if she’s singing with Burning Witches, if it’s recording a cover song for her YouTube channel, or if it’s as a guest for another rock and metal band. Laura will most certainly hypnotize you with her stunning vocals and screams, lock you inside her tower of Heavy Metal, as I warned you in the beginning of this tribute, and throw the key away. Well, I bet you’ll be more than happy when that happens.
“Lots of awesome metal bands have influenced me during the years. To name a few I listened to a lot as a teenager; Within Temptation, W.A.S.P., Judas Priest, Iron Maiden, Halestorm, Eluveitie, Death Angel and Kamelot. But also great contemporary singers like Sia, Christina Aguilera and Beyonce. This is reflected in the versatility of my voice.” – Laura Guldemond
This up-and-coming Indonesian Brutal Death Metal duo returns from the pits of the underworld with a sickening second serving of mind warping malice.
Having left the Brutal Death Metal scene battered and broken with their 2024 debut album Reek Of Putrefaction On Excruciating Lust, the ruthless East Java, Indonesia-based duo Vertiginous has returned from the pits of the underworld with a sickening second serving of mind warping malice, entitled Incessant Affliction. Mixed and mastered at Endless Gruesome Studio, where the likes of Vile Desolation and Analtopsy have spawned their cruel creations, the new opus by Jossi Bima on vocals and Hendika Dwi Prasetyo on the guitars, bass and drums has a sound that conjures visions of bodies raked by methodical bursts of machine gun fire, the vicious disassembling of the human form, with its entrails and organs adorned in the unnerving artwork of the renowned Timbul Cahyono of Bvllmetalart (Avulsed, Defeated Sanity, Massacre), being therefore perfect for fans of the carnage blasted by Indecent Excision, Embodied Torment, Disgorge and Gorgasm.
The duo wastes no time and kick off their decimating metal feast with the bludgeoning Suffering, Misery and Slaughtering, led by Jossi’s infernal guttural, while Hendika’s demolishing beats will crush your cranial skull in Tortured with Endless Despair, another demonic blast of Indonesian brutality. Mutilated with Anguishes carries a charming name for a Brutal Death Metal attack by the duo, with Hendika slashing his axe nonstop in the name of violence; while Jossi’s guttural gets even deeper in Chaotic in the Weakened Reason, sounding absolutely inhumane and evil. And the decimating Engraved Loathing continues to spread the duo’s passion for the extreme, in special through Hendika’s massive blast beats.
Hendika keeps hammering his drums like a wild beats in Uncertainty in Abstract Destiny, while Jossi vociferates rabidly in the best Death Metal style; and those Indonesian bastards show no mercy for our souls in Crucified in Fate Hesitation, crushing their instruments and growling nonstop in the name of Brutal Death Metal. There’s no time to breathe as we’re smashed like insects once again in Incubated Inquietude, offering an overdose of Cannibal Corpse-inspired riffs for our total delight, with its slower but heavy-as-hell moments adding an extra kick to it. Restrained in Obscurity is not as dynamic as the rest of the album, albeit still gory and violent, and their coup-de-grace comes in the form of Unclear Misery, with Jossi roaring and barking in our faces until the very end.
Featuring ten new tracks delivered with a breathless intensity, each one a fresh wave of dread and terror meticulously crafted and steeped in the very essence of rot, decay and carnage, another injection of adrenaline straight into the chambers of the heart, Incessant Affliction represents a huge step forward in the career of such a talented duo, and if you want to join them in their quest for brutality you can find them on Facebook and on Instagram, and purchase their new opus from Comatose Music’s BandCamp or webstore. With Incessant Affliction, there is no end in sight, no hope for respite from the ravages of horror. Vertiginous are coming, and there is no place you can hide.
Best moments of the album:Mutilated with Anguishes, Uncertainty in Abstract Destiny and Incubated Inquietude.
Worst moments of the album:Restrained in Obscurity.
Released in 2026 Comatose Music
Track listing 1. Suffering, Misery and Slaughtering 3:30
2. Tortured with Endless Despair 2:46
3. Mutilated with Anguishes 2:58
4. Chaotic in the Weakened Reason 2:19
5. Engraved Loathing 3:56
6. Uncertainty in Abstract Destiny 3:33
7. Crucified in Fate Hesitation 2:31
8. Incubated Inquietude 3:03
9. Restrained in Obscurity 3:02
10. Unclear Misery 2:44
Band members Jossi Bima – vocals
Hendika Dwi Prasetyo – guitars, bass, drums
This UK-based lethal, technical Heavy and Groove Metal machine is back in action with a new EP, a pure demonstration of resilience and the start of a much heavier, more honest era for the band.
Having shed their Hard Rock veneer to emerge as a lethal, technical Heavy and Groove Metal machine, London, UK-based quintet Metasoma is back in action with a brand new offering titled Core, a sharper, heavier new EP that pairs Pantera-sized groove with Architects/Parkway Drive-style modern precision. Recorded between BaRock Entertainment Studio in Poland and Es Studio in London, the new EP by vocalist Vlad Iancu, guitarists Michal Sedzielewski and Artur Wojcik, bassist Bolo, and drummer Joe Patterson is a pure demonstration of resilience and the start of a much heavier, more honest era for the band, marking the first statement from a solidified international unit where they pit British rhythmic weight against the uncompromising metal heritage of the Polish and Romanian underground.
The striking guitar lines by Michal and Artur will transport us all to the band’s Groove Metal and Metalcore world in Downfall, offering a great option for having some fun inside the pit, followed by the also electrifying Attic, where Vlad focuses on his piercing clean vocals, giving the song a more modern vibe accompanied by the classic beats by Joe. Omen kicks off in a dark, ominous manner, with Vlad delivering enraged and demented vocals in another well-balanced hybrid of Metalcore with classic and modern heavy elements. The crushing riffs by Michal and Artur are boosted by Bolo’s thunderous bass in Shock, crafting a metallic atmosphere that will inspire you to headbang like there’s no tomorrow; and they close the EP with their most direct Metalcore tune, titled Horizon, where their Djent-infused guitars and bass are perfect for the demented vocals by Vlad.
Conceptually, Core is a pessimistic hellscape, a sonic mirror held up to war, propaganda, and the false righteousness of modern reality where high-velocity energy is tempered by a discordant, playful homage to System of a Down, proving Metasoma can be cerebral without sacrificing their low-end groove. “There is a specific kind of numbness that comes when unfortunate events happen in quick succession; these songs are our way of fighting that anaesthesia. Whether we are digging through the attic of mixed childhood memories or scattering the ashes of a toxic relationship, the goal is the same: to learn from the mistakes of our forefathers and do better. We’ve turned these struggles into sonic paintings, but we leave the final interpretation to the listener’s own sensitivity,” commented the band, and you can get in touch with them via Facebook and Instagram, subscribe to their YouTube channel, stream their music on Spotify, and of course purchase their new EP from Bandcamp. Core is a very good indication of what the future holds for Metasoma, and you better get ready as that future will be absolutely heavy.
This collaborative Atmospheric Death and Funeral Doom Metal project is ready to embrace you with their debut opus until you see your last glimpse of daylight.
A collaborative Atmospheric Death and Funeral Doom Metal project formed in Cardiff, Wales in 2022 by guitarist John Courage, featuring musicians from the UK and Sweden, God Unknown are finally unleashing upon humanity their debut offering, beautifully titled Last Glimpse of Daylight. Produced by the band itself, engineered by John Courage and Daniel Tjernberg, mastered by Dan Swanö at Unisound, and showcasing a darkly serene artwork by Manino Linic, the debut album by Daniel Tjernberg on vocals (with additional vocals by Camilla Tjernberg on the song “Stay with Me”), John Courage on the guitars, Adam West on bass and additional guitars, Michael Lang also on bass, Kostas Panagiotou on keyboards, and Tats McGee on drums will embrace you in absolute grief and melancholy, darkening the skies with the sheer power of funereal and grim Doom Metal.
The thunderous, low-tuned bass lines by Adam set the tone in the Stygian intro MMMMDXIV, before all hell breaks loose in Embraced by the Moonlight, with the deep, devilish vocals by Daniel walking hand in hand with the sluggish Doom Metal riffs by John and Adam. Then we face the massive, embracing title-track Last Glimpse of Daylight, as slow and hammering as its predecessor, where Tats pounds his drums with tons of hatred and darkness in his heart; and it’s Kostas who takes the lead with his church-like keys in the phantasmagorical interlude Passage, darkening the skies for the band to attack us with Fallow Land, led by another crushing performance by Tats on drums, offering Daniel exactly what he needs to vociferate like a demonic entity. It’s then time for Camilla to embellish the airwaves with her melodic vocals in Stay with Me, a lecture in passionate and somber Funeral Doom Metal by God Unknown, flowing into the obscure outro Frost on the Windowpane, again led by Adam and his doomed bass lines.
Inspired by the love of somber, funeral doom and atmospheric themes, God Unknown are ready to crush our minds and souls with the absolute heaviness and obscurity flowing from their excellent debut Last Glimpse of Daylight, and if you want to join such a promising band in gloom and darkness you can find them on Instagram, stream their music on any platform such as Spotify, and of course, above all that, purchase a copy of their striking debut from their own BandCamp or by clicking HERE. In other words, let the lugubrious and grim Doom Metal by God Unknown embrace you, until you see your last glimpse of daylight.
Best moments of the album:Embraced by the Moonlight and Stay with Me.
Worst moments of the album: None.
Released in 2026 TM Productions
Track listing 1. MMMMDXIV 1:11
2. Embraced by the Moonlight 2:46
3. Last Glimpse of Daylight 6:09
4. Passage (Interlude) 2:16
5. Fallow Land 6:36
6. Stay with Me 5:11
7. Frost on the Windowpane 2:51
Band members Daniel Tjernberg – vocals
Camilla Tjernberg – vocals on “Stay with Me”
John Courage – guitars
Adam West – bass, additional guitars
Michael Lang – bass
Kostas Panagiotou – keyboards
Tats McGee – drums
This vicious Australian entity is unleashing hell with their debut offering, boasting ten tracks of brilliantly violent riffing fueled by percussive intensity and unearthly vocals.
Bringing together members from across Australia to deliver a vicious blend of Death and Black Metal with Deathcore since 2022, drawing influence from bands such as Behemoth, Suffocation, Emperor and Nile, the unrelenting Blackened Deathcore creature Complexant is poised to unleash their first-ever full-length album, simply titled Apex. Mixed and mastered by the unstoppable Christian Donaldson (Cryptopsy, Suffocation, Shadow of Intent, Ingested), with vocals tracked by Joey Marsh at Beyond the Marsh Studios, and guitars and bass tracked by Shannon Zivkovic, and showcasing a grim artwork by Matt Priso, the debut by vocalist Dan Greigsy, guitarists Shannon Zivkovic and Gavin Bradley, bassist Chris Tuckley, and drummer Seb Su boasts ten tracks of brilliantly violent riffing fueled by percussive intensity and unearthly vocals.
The album kicks off with the pulverizing Apex, a nice and sweet welcome card by the band stating the album is definitely not for the faint at heart, flowing into No Angels Weep, with Seb taking the lead with his infuriated, ruthless beats and fills in the name of chaos and savagery while Dan roars and screams like a rabid beats nonstop. Their demented metal attack goes on in full force in Afterlife, where the intricate yet violent riffs by Shannon and Gavin live up to the legacy of modern-day Death Metal, followed by Swing Myself To Sleep, continuing to pulverize everything and everyone that crosses their path, simply perfect for some vigorous headbanging; whereas Critical Mass is as infuriated as its predecessors, albeit lacking the same level of dynamism and heaviness.
Back to their trademark level of insanity and violence we face Heretical Supremacy, with Dan’s demented screams walking hand in hand with the top-notch guitar work by the band’s axe duo, while Cyclops presents a more progressive and technical side of the band, with the thunderous kitchen crafted by Chris and Seb sounding phenomenal. Then again venturing through the realms of Progressive and Technical Death Metal without forgetting their Deathcore essence we have Eye For An Eye, and the final result is beyond infernal for our total delight. Lastly, after the ethereal and grim interlude No Hope For Humanity, we’re treated to their coup-de-grace titled No Hope For Sanctuary, with Dan roaring nonstop supported by the intricate and visceral instrumental pieces blasted by his bandmates, therefore putting a demolishing ending to the album.
With their debut album Apex, Complexant continue to push a sound defined by weight, darkness and unrelenting intensity, and if you want to know more about such a promising name from Down Under you can find those guys on Facebook and on Instagram, stream their music on any available platform such as Spotify, and of course purchase a copy of the excellent Apex from the band’s own BandCamp. In other words, Complexant are unleashing upon us an overdose of heaviness and savagery not recommended for the lighthearted, proving why they’re becoming the apex predator in the extreme music community in their homeland.
Best moments of the album:No Angels Weep, Swing Myself To Sleep and Eye For An Eye.
Worst moments of the album:Critical Mass.
Released in 2026 Bleeding Art Collective/Blood Blast Distribution
Track listing 1. Apex 1:24
2. No Angels Weep 3:58
3. Afterlife 3:19
4. Swing Myself To Sleep 3:30
5. Critical Mass 3:33
6. Heretical Supremacy 4:08
7. Cyclops 4:27
8. Eye For An Eye 4:23
9. No Hope For Humanity 1:09
10. No Hope For Sanctuary 4:38
Band members Dan Greigsy – vocals
Shannon Zivkovic – guitar
Gavin Bradley – guitar
Chris Tuckley – bass
Seb Su – drums
This the unrelenting Blackened and Atmospheric Death Metal entity from France strikes again with their sophomore album, definitely not one for the faint of heart.
Forged in 2013 in the fires of Chambéry, an Alpine town in southeast France, the unrelenting Blackened/Atmospheric Death Metal entity known as Viande (the French word for “meat”) does more than create scarring, wholesome dark and doomy Death Metal – they delve into the more atmospheric side of things that messes with your consciousness and has potential psychological implications. Adorned by a grim artwork by JB Godefroy, the caustic Monument aux morts, which is French for “war memorial,” is the sophomore studio opus by vocalist J, guitarist B, bassist O, and drummer I, following up on their 2022 full-length L’abime dévore les âmes, offering more of the band’s aggressive, militaristic approach aided by a combination of abyssal growls and tormented screams, and ultimately, a haunting, eerie atmosphere touched by dissonance that wouldn’t be out of place in a horror movie.
After an ominous start the band comes ripping our hearts out in Linceul immense (“immense shroud”), with the vile guttural by J sending shivers down our spines in a lecture in Blackened Doom Metal; then O and I make the earth tremble with their ruthless bass and drums in Sacrifice ardent (“burning sacrifice”), as sluggish, grim and vile as it can be. Germes de mort (“seeds of death”) brings forward another round of the band’s trademark fusion of Black, Death and Doom Metal, led by the cryptic riffs and synths blasted by B, while Monolithe de chagrin (“monolith of sorrow”) alternates between the absolute heaviness of Doom Metal and the visceral sounds of Death Metal.
After such a demented display of deadly sounds the band keeps haunting our souls with Cercueil de vase (“coffin of vase”), a bold, intense display of their Atmospheric Death Metal vein spearheaded by the always gruesome vociferations by J, followed by Une cage d’os (“a cage of bones”), not recommended for the faint at heart, with the dissonant riffs by B piercing our flesh mercilessly. I takes the lead with his slab of brutality on drums in L’esprit cachot (“the dungeon spirit”), making the album sound even more obscure and infuriated, whereas Austérité maximum (“maximum austerity”) is an extensive outro that albeit atmospheric doesn’t add much to the album. And lastly, as a bonus track we have L’homme Brasier (“the brazier man”), as demented as the other songs and, therefore, worth the investment in whatever version it’s available.
When the carefully devised Monument aux morts ends, the feeling is akin to stumbling out of a horrific catacomb in an enhanced spiritual state, with the cries of a thousand dead souls still ringing in your head, being therefore perfect for fans of the obscure music crafted by Incantation, Teitanblood, Cruciamentum, Dwelling Below, and Dead Congregation. Furthermore, if you want to know more about such a dark creature from the French extreme music landscape, you can find the band on Facebook and on Instagram, staying up to date with their live concerts, stream their scorching music on any platform such as Spotify, and above all that, grab a copy of the excellent Monument aux morts from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store (or click HERE for all things Viande). Monument aux morts is an exceptional album in the style and definitely not one for the faint of heart, and we can all rest assured Viande are far from done when it comes to spreading darkness through their Black and Death Metal creations.
Best moments of the album:Linceul immense, Cercueil de vase and Une cage d’os.
Worst moments of the album:Austérité maximum.
Released in 2026 Transcending Obscurity Records
Track listing 1. Linceul immense 6:26
2. Sacrifice ardent 7:07
3. Germes de mort 6:17
4. Monolithe de chagrin 3:58
5. Cercueil de vase 7:07
6. Une cage d’os 6:28
7. L’esprit cachot 6:11
8. Austérité maximum 2:30
Bonus track
9. L’homme Brasier 5:58
Band members J – vocals
B – guitar, synths
O – bass
I – drums
Do you know what “Couture Metal” means? The indomitable Anna Khristenko of the up-and-coming Australian metal band ANA explains that and more on this exclusive interview.
Anna Hristenko (ANA)
THM: Hello, and thank you for chatting with The Headbanging Moose today! I always like to start these interviews asking the artist or band to introduce themselves to our audience. Who’s ANA, where do you come from, and where are you headed as a band?
Anna Khristenko: Hi guys, thanks for taking the time to chat with us. I am Anna Khristenko the vocalist of ANA. We are a Metal band who are based in Melbourne, Australia. We have our own unique vision for what metal could be and we’re excited to share it with the whole world.
THM: You explicitly use the phrase “Couture Metal” to describe your style. How do you bridge the gap between high-fashion visual theatricality and punishing, aggressive Symphonic Metal in your music?
AK: The term couture is more of the initial mindset to craft something of high quality and meticulous attention to detail. Of course there is the aesthetic presentation too but that is also a result of this mindset.
THM: Your new album Motivated By Death is described as a philosophical exploration of the human condition. What inspired you to use mortality, vulnerability, and resilience as the driving forces behind the album?
AK: This philosophy is what motivates us to do what we do. Why else would anyone risk everything and go against what is commonly seen as logical? Our art is born from this notion.
THM: Motivated By Death shows massive progress in songwriting compared to your debut EP. What did you intentionally change about your creative approach when sitting down to write the album?
AK: We didn’t really change our approach to writing. We have always believed and thrived when we improvise and that’s what we did here. One big factor is the fact that we have a couple of new members on this record and that we had immediately written this after some extensive touring so the chemistry within the band was at its peak.
Album Review – ANA / Motivated By Death (2026)
THM: It’s not a secret to anyone that your performance anchors the record, effortlessly shifting from atmospheric deliveries on Hate Me to operatic chops on Papa. How did you prepare your voice to navigate such widely diverse styling across the album?
AK: I relied a lot on my opera training, not just for technique but also the discipline. This record also gave me the opportunity to explore new sides to my abilities that I had previously not explored.
THM: Ending the album with a cover of the absolute classic Aerials, by System of a Down, is a bold, nostalgic move. Why did you choose this specific track to close out your debut statement, and how did you approach giving it the signature ANA symphonic spin?
AK: We have actually been playing this cover since our very early days on the local club circuit. A lot of fans have wanted a recorded version and it seemed like the right time to do it.
THM: The aesthetics in your official videos for Hate Me, Shadow of Life and Papa are amazing, but of course Hate Me is by far the song with the most thought-provoking and visually captivating video of all. How was the process to put together such a killer video, and what can we expect from ANA in the near future in terms of your unique blend of heavy music and visual arts?
AK: Hate Me was intended to be controversial from its inception. Therefore, all creative choices were made with that as our guiding principle. We’ve got a lot of plans for future videos. We don’t want to give too much away but I can say that there will be more MV’s from this album. We don’t usually like repeating ourselves so you can expect to be surprised.
ANA
THM: How has the local heavy music scene in Melbourne and in Australia in general influenced your progression from a brand new band to releasing a full-length album on a global scale?
AK: The Melbourne scene is fantastic and incredibly diverse. Travelling overseas has shown us how much bigger the world and the scenes really are. Japan has become a second home to us and so far this year we have performed more shows there than we have back home. We’re a little busy with international dates for now Melbourne but we will return and it will be epic!
THM: What are your main influences in music and arts? What inspires you to write music, perform and play live onstage?
AK: All of us in this band have extremely different influences ranging from Adele, Buddy Guy, X Japan, Oasis, Lara Fabian, WASP, KISS, Daft Punk, Movie Sountracks etc. As you can see it’s a very diverse and unconventional list. What inspires us is being able to take all of that and create something new. To then be able to share it with fans around the world is the greatest gift for us.
THM: Thanks again for your precious time! It means a lot to us when new bands and artists let us know more about their music, their goals and plans for the future. Any final words or considerations you would like to share with our readers?
AK: Thank you for all the love you have shown us. Listen to the album and watch the videos. We will be in your city as soon as we can and we’d love to hear you sing along.
Attention, metalheads!
THE HEADBANGING MOOSE 