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!
So remember, EVERY THURSDAY @ 20:00 UTC+2(with a reprise on Saturdays @ 19:00 UTC) tune into Midnight Madness Metal e-Radio to enjoy one hour of kick-ass underground metal from all over the world, courtesy of The Headbanging Moose!
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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.
Channeling Death Metal’s most barbaric traits and pushing the extremities of its sound forward through experimentation, atmosphere and dissonance, this venomous entity is ready to unleash hell armed with their debut album.
Formed in Milwaukee, Wisconsin back in 2022 by former members of Pig’s Blood and Carnal Ruin with the intent to channel Death Metal’s most barbaric traits and push the extremities of its sound forward through experimentation, atmosphere and dissonance, the venomous entity known as Horrid Mass is ready to unleash hell armed with their debut album, titled Nauseating Ecstatic Degeneration. Recorded, mixed and engineered by Nicholas Elert at Howl Street Recordings, mastered by Dan Swanö at Unisound, and with cover collage and logo by Tony Capodilupo and layout by Terror Matt of Night Terrors Records, the debut by Nick Lewis on vocals and bass, Tony Capodilupo on the guitars, and Spencer Powers on drums is a total descent into filth, chaos and sonic ruin, presenting the band at their most punishing and immersive, being therefore highly recommended for fans of Incantation, Rottrevore, early Carcass, Undergang, Impetuous Ritual, Rippikoulu, Portal, Cianide, Archgoat, and Teitanblood, among others.
Like the intro to a sinister horror flick, the band arises from pitch black darkness in Worthless Mote, with the deep guttural by Nick matching perfectly with the primeval riffs by Tony, followed by Writhe, bringing to our avid ears another blast of their doom-laden Death Metal sonority where the massive beats by Spencer will make your head tremble, dragging your putrid soul to their Stygian lair for all eternity. And if that’s not dark enough for you, the band then offers almost seven minutes of sheer violence, horror and heaviness in the form of the demonic Execration, where Nick’s vociferations reach a new level of evil, resulting in a lecture in cadaverous Death Metal not recommended for the lighthearted.
Then guest Nicholas Elert makes a lot of noise in the cryptic interlude S.H.E.D., warming us up for Cruelty, a straightforward Death Metal onrush by the trio led by the demolishing drums by Spencer. Tony’s Sludge Metal-inspired riff ignite the band’s ruthless engine in Loathsome, inspiring us to break our necks headbanging like true metal maniacs; and the trio then invites us all to slam into their gory and visceral pit in Violent Ascent, with Nick’s bass and Tony’s riffs penetrating deep inside our corrupted minds. Lastly, it’s time for the skies to get dark and heavy as there’s a storm coming with Congregate, starting in a sinister Doom Metal manner before all hell breaks loose to the infernal beats and fills by Spencer.
Rooted in tradition yet striving to experiment, Horrid Mass exist in a furious state where structure and collapse are simultaneously at odds, drawing from the genre’s progenitors while at the same time crafting something wholly their own, presenting something both primitive and hostile. You can get to know more about those talented death metallers via Instagram, stream their demented creations on Spotify or any other platform, and show them your utmost support and your passion for the extreme by purchasing the excellent Nauseating Ecstatic Degeneration from their own BandCamp or from the Night Terror Records’ BandCamp or webstore. Nauseating Ecstatic Degeneration is harsh, brutal and visceral, or in other words, the perfect depiction of our decaying society, inspiring Horrid Mass to keep turning our violent reality into first-class Death Metal for many years to come.
Best moments of the album:Execration, Cruelty and Violent Ascent.
Worst moments of the album: None.
Released in 2026 Memento Mori/Night Terror Records
This multi-talented American duo is ready to attack armed with their debut album, taking listeners on an unforgettable journey through powerful soundscapes that fuse symphonic, gothic, and progressive elements.
A Symphonic and Melodic Metal duo consisting of vocalist and visual artist Carol Phillips and multi-instrumentalist Scott Loose (of bands like As the Sea Parts, Brave, and Stellar Death), Washington, D.C.’s own Element of Fate are releasing their highly anticipated debut full-length album, titled Dreamfall, taking listeners on an unforgettable journey through powerful soundscapes that fuse symphonic, gothic, and progressive elements. Drawing influence from traditional metal bands, while also leveraging modern recording techniques to craft their unique sound, the duo presents a stunning combination of soaring vocals and dynamic instrumentation in Dreamfall, bringing forward an immersive narrative experience tailored for fans of Nightwish, Amorphis and Epica, just to name a few.
Scott makes sure the atmosphere gets as dark and epic as possible with his riffs and drums for Carol to shine on vocals in Alone in the Dark, reminding me of some of the thrilling creations by the mighty Huntress; whereas investing in a blend of Symphonic and Epic Metal we face Shadow Self, where the striking guitars by Scott walk hand in hand with the witch-like vocals by Carol. Night Winds might be the most theatrical song of the album, alternating between sheer atmospheric moments and bursts of heavy music, always embraced by the deep, emotional vocals by Carol, followed by Dreamfall, the song that carries the name of the album, offering another blast of their ritualistic core sounds with Carol’s vocals clashing in great fashion with Scott’s hammering drums. Whispering Tree fills the ambience with their more introspective sounds, feeling dark and minimalist in a modern take on traditional Symphonic Heavy Metal. Then the metallic bass by Scott kicks off Firebird, another song where melody and darkness intertwine resulting in a truly mystical journey; and be it a standalone single or a bonus track, Warhorse Fire Horse showcases a beautiful, galloping Heavy Metal vibe, with Carol’s deep gnarls feeling utterly devilish.
The multi-talented frontwoman Carol Phillips reflects on the creation of the album, stating, “Dreamfall is the most personal and ambitious project I’ve ever created as an artist,” and you can find more information about Element of Fate on Instagram, stream their music on Spotify, and of course purchase Dreamfall from BandCamp or by clicking HERE. Serving as a fully immersive artistic statement, combining music, visual storytelling, and meticulous world-building into a cohesive experience designed for fans of grand, emotionally resonant metal, Dreamfall is just the first step for Element of Fate, and we can rest assured the duo will provide us with many other excellent albums like their debut in the coming years.
Best moments of the album:Dreamfall and Firebird.
Worst moments of the album: None.
Released in 2026 Independent
Track listing 1. Alone in the Dark 2:41
2. Shadow Self 6:36
3. Night Winds 8:33
4. Dreamfall 5:29
5. Whispering Tree 4:36
6. Firebird 4:24
Bonus track
7. Warhorse Fire Horse 4:04
Band members Carol Phillips – vocals
Scott Loose – guitars, bass, keyboards, drums
Lets embark on a journey through the Swedish mythology and nature in this frostbitten interview with the up-and-coming Melodic Death Metal beast Northborn.
Northborn
The Headbanging Moose: First of all, thanks a lot for your time to chat with us. Can you please begin by introducing Northborn to our readers? When and how did the band start, and what changed since your inception?
Northborn: A frosted thanks that you gave us the opportunity to do this interview. Northborn is a passion project that aims to capture both the world mythos, no matter from what corner of the world the inspiration comes from, and to combine this with the blistering melodic death metal that ruled Finland during the early 2000s. Every song’s goal is to capture the feeling it’s written around to create something majestic and unique.
The band started when Björn had a writer’s frenzy and didn’t know what to do with all his ideas. Hence, he took contact with skilled musicians that looked for similar music he wrote and quickly he founded a burning core that became the frozen force that stands before you today.
And what has changed? Well, the concept of the band has evolved at record pace since we have such a great dynamic within the group. We all have honed our vision with the band, yet there’s room to grow. A band is never finished in its evolution.
THM: You have just released your debut self-titled album this year. What’s the general concept behind the album, and is it exactly the way the band was expecting it to be, or are there any elements you wish you could have done differently?
Northborn: The concept behind the album is partly to show the world that a new melodeath force has been born, hence the name of the album. We present ourselves at the same time that our debut now is “borned”. The concept grew with the songs, I’d say, but every song was chosen carefully to fit in a greater theme of myths and epic melodeath history. We had no clear view on what to expect when the album was released, but since it’s self-made, we’re incredibly proud of what we’ve accomplished. And as for the future, we now have an ever clearer vision of what we want to evolve and try out. I cannot reveal it yet, but things are already moving in the shadows.
THM: The opening track Hymn of the North Star spans over six minutes and sets a majestic tone for the album. What went into the composition of this specific track to make it the definitive introduction to Northborn?
Northborn: We all decided that the listener would be introduced to a wall of symphonic melodeath the second they played the album, and we also saw that this particular track was a great representation of what Northborn has to offer. Björn spent a great deal to make all the parts flow seamless throughout the song, and the result speaks for itself in grandeur and epicness. Other songs were discussed, but Hymn of the North Star spoke strongest towards our vision when the song list was created.
THM: Songs like Yokai of the Lake hint at distinct cultural folklore. What drew you to include a Japanese mythological entity (Yōkai) alongside the otherwise heavily Nordic, winter-focused themes of the record?
Northborn: Since Northborn is founded with the world mythos as a vital core to its sound, it was only natural to expand the sound beyond the Scandinavian melodeath scene. Björn is a huge fan of eastern mythology and its richness and variety from the Nordic tales he grew up with. Japanese melodies and stories blended perfectly together towards Yokai of the Lake. It just came natural to him. When the rest of the band heard it, it was a given that it needed to be included on the album. We’re glad it did since it shows a variety we want to incorporate in the future. So rest assured that this is not the last song that derives from the Nordic melodeath sound.
Album Review – Northborn / Northborn (2026)
THM: You signed with Art Gates Records to release this debut. How did this partnership come about, and how have they helped you bring your vision of heavy Nordic music to a global audience?
Northborn: Björn is already a member of the Art Gates Records family due to his other band, Havamal. He knows the CEO and the crew well from before, and he spoke highly about the label with the rest of the members from an early stage. It was a given to speak to them when the band was in its early stages, and it has been a great cooperation since then. We cannot thank them enough for unleashing us onto the world.
THM: One of the main characteristics of your musicare the heavy influences from early 2000’s titans like Children of Bodom, Norther, and Ensiferum. How do you balance paying homage to these legends while establishing a unique voice for Northborn?
Northborn: All three of them are a huge inspiration to us, so we’re humbled that you mention them when speaking about our music. What’s important for us is to carve our own legacy in both melodies, stories, and variety while maintaining the core elements these legends brought to the scene. Our sound is both inspired and evolved, so to say. We want the audience to have that foundation when listening to us, while at the same time seeing the evolution towards the future our music does and will represent.
THM: Björn’s role handles both vocals and keyboards. How do you approach arranging the symphonic and keyboard layers so they amplify the aggression of the guitars without overpowering them, and how do the vocals are added into the mix?
Northborn: A song is written with a melody in mind, and while we iron out the song, we find the places where the instruments need to amplify the feeling that song is based around. Every section and instrument has a purpose, and that purpose needs to be clear through the dominant instrument in that section. It’s a thin line to balance, but our own studio master Tobey proved to be a musical wizard in this subject. The vocals have the same purpose as the instruments. But at the same time I think the vocals have an added role since they tell the verbal story to the listener. The music and the vocals enhance each other towards the end goal of the song. Usually the vocals grow from the melodies, yet a general concept of the song already exists from the first tones.
THM: How has the local Swedish metal heritage shaped your specific musical identity? I mean, coming from the land where Melodic Death Metal was born, it’s quite obvious such a unique style has a strong influence on your music, but are there any other elements from the Swedish culture that have a huge impact on your sound?
Northborn: Swedish melodeath and the Swedish metal scene are a great foundation for all of us. And since we all come from different musical backgrounds it just enhances the uniqueness of the sound Northborn presents. I’d also say that the majesty of our Scandinavian nature and mythological history have impacted the foundations of the band greatly since it gives a natural feeling of somber glory you hardly find anywhere else on Earth.
Northborn
THM: Any new bands worth listening to from the Swedish scene apart of course from Northborn? How’s your relationship with those bands or any other Swedish band?
Northborn: We have many friends in the Swedish scene since it’s a close community when starting out. It’s often passionate persons that you encounter, and since you have a common ground in metal it’s easy to kick off a conversation. And as for Swedish bands I’d recommend Riket, Eternal Evil, Zornheym and of course Havamal. We have a great relationship with all the bands mentioned here.
THM: Thanks again for your time! Please feel free to send your final message to our readers, and hopefully we’ll see you guys crossing the pond in the near future for some live performances in Canada and the United States!
Northborn: Thank you for having us! We would love to meet you guys after an awesome concert one day. Motherfrosters! Follow The Headbanging Moose, listen to our new album until your ears bleed frosted fire, and prepare for the musical darkness to come. Stay frosty!
The triumvirate of conspirators from Death Metal beast Werewolves returns with the sophomore opus of their even more demonic alter-ego, exploring darker realms in a blaze of blasphemous Black Metal.
A confluence of dire forces, Melbourne, Australia-based ravenous Black Metal horde Faustian brings together perpetrators of horrific sonic assaults, crimes committed under the names of Abramelin, Werewolves, The Berzerker, Psycroptic, The Amenta, The Antichrist Imperium and more. As a matter of fact, they present their music as “unhinged devil-worshipping Black Metal from the members of Death Metal stuporgroup Werewolves,” as the band is formed of the infamous Sam Bean on vocals and bass, Matt Wilcok on the guitars, and David Haley on drums. Having proved time and again their mastery of wildly violent Death Metal as the aforementioned Werewolves, Faustian allow the triumvirate of conspirators to explore darker realms in a blaze of blasphemous Black Metal, culminating now in 2026 with their sophomore beast Parable Of The Sewer, the follow-up to their 2023 debut We Come as Angels, and a must-listen for fans of the demonic savagery blasted by Emperor, Mayhem, Akercocke, and Dark Funeral, just to name a few.
There’s no sign of peace or hope, only absolute chaos and devastation from the very first notes in I Curse You, led by the always demolishing drums by David while Matt fires his most Black Metal riffs of all time. Broken Better, the first single released, brings to our putrid minds and souls a dark, sluggish and sinister sound perfect for Sam’s demonic vociferations, sending shivers down the spines of the faint at heart. Sam continues to roar and bark madly in the poetically titled I Want the Ride to Begin Again, with his primeval bass lines matching perfectly with David’s crushing, unstoppable beats and fills, whereas Immaculate lives up to the legacy of 90’s Black Metal, in special through the scorching riffs by Matt, offering Sam exactly what he needs to deliver his most visceral vocals of the album.
In Cephalophore, the song’s initial cult-like sounds clash with the heaviness blasted by the instrumental parts, evolving into another bestial display of the raw, vile Black Metal insanity; followed by We Do Not Use Names Here, carrying another very poetic and harsh title for a fast and scathing composition by Faustian, hitting us hard in the head while Sam continues to roar manically in the name of violence and darkness. Tenements (Only the Wicked Walk in Circles) is a no shenanigans Black Metal extravaganza spearheaded by Matt’s strident riffs, highly recommended for fans of the mighty Mayhem, while their coup-de-grace comes in the form of The Rot Shall Inherit the Earth, hammering our frail bodies mercilessly, with David sounding like a demented beast behind his drums until the very end.
“If the Werewolves aesthetic is violence, then Faustian’s is fear and horror,” commented Matt Wilcock. Parable Of The Sewer is indeed an album of feral intensity, incendiary violence, unearthly majesty and mystery, fear and temptation. Hence, if you want to join the guys from Faustian is pitch black darkness and show them your total support, you can find them on Facebook and on Instagram, stream their venomous music on Spotify or any other platform, and of course purchase Parable Of The Sewer from their BandCamp or from the Apocalyptic Witchcraft webstore. As Conor Droney, head of Apocalyptic Witchcraft, has neatly offered in succinct summing up, Parable Of The Sewer is a “savage masterpiece from Down Under,” and I bet once you start listening to such a pulverizing album, your mind and soul will be forever doomed.
Best moments of the album:I Curse You, Immaculate and We Do Not Use Names Here.
Worst moments of the album: None.
Released in 2026 Apocalyptic Witchcraft
Track listing 1. I Curse You 4:45
2. Broken Better 5:37
3. I Want the Ride to Begin Again 5:08
4. Immaculate 4:27
5. Cephalophore 5:27
6. We Do Not Use Names Here 6:06
7. Tenements (Only the Wicked Walk in Circles) 4:26
8. The Rot Shall Inherit the Earth 5:46
Band members Sam Bean – vocals, bass
Matt Wilcock – guitars
David Haley – drums
Several metalheads in Toronto raised their golden horns to three of the must-see names of the local scene on a warm and fun Friday night in the city.
INTRODUCTION: Golden Horns Fest 3 & Belgian Jasper’s Birthday Bash!
I’m not going to write another massive complaint about the hideous Toronto traffic any day of the week. I’m just going to say it took me over one hour and thirty minutes to drive for around 30km last Friday. Yes, it was insane. Anyway, let’s talk about music, as one of Toronto’s coolest metalheads, our buddy Jasper De Man, also known as Belgian Jasper, the host of Loud & Clear, not only celebrated his birthday on Friday July 10 at the cozy Monarch Tavern, with performances by three of the must-see metal bands or the current Canadian rock and metal scene, those being RAIDER, NAPOLEON, and ABYSMAL WHORE, but he also announced the winners of the third edition of the Golden Horns Awards. This year’s winners were Abysmal Whore for Best Toronto Band, Russell Allen for Metal Warrior Award, Alissa White-Gluz for Best Interview, Helloween for Best Live Show, Afra Catharina for Best Photo International, and Afrida Nawar and Isabelle for Best Photo Canada. By the way, Afrida was once again uber nice and helped us with some photos as Keith Ibbitson of Metal Paparazzi was not feeling well and couldn’t attend the event. Thanks again, Afrida!
After a short delay due to some technical difficulties at the venue, it was time for total devastation with Toronto-based Death Metal brigade ABYSMAL WHORE, and if you don’t know these girls and guys, go check their music on BandCamp and on Spotify as they’re awesome. Formed of the indomitable Marta Chilina on vocals and guitar, Nava Amin also on the guitar, Andrew Phillips on bass, and Korrosive’s own Kaveh Afshar on drums, the band played basically songs from their 2024 demo Sadistic Urge, and I must say they sounded a lot better live than in the studio, delivering a dirtier and more aggressive rendition of their songs. I really want to see a full album by such a promising band of the Canadian scene, because they definitely know how to craft high quality music, and they surely show their passion for the extreme through their music and when they’re kicking ass onstage.
Band members Marta Chilina – vocals, guitar
Nava Amin – guitar
Andrew Phillips – bass
Kaveh Afshar – drums
After a short break it was time for Alternative Punk/Post-Hardcore four-piece NAPOLEON to set the house on fire with their beyond electrifying performance, igniting some fun mosh pits and putting a smile on everyone’s faces with their energy and charisma. Playing a very vibrant set including songs like Buried In The Garden Of Eden, Haunting Me, Lord and Savior, and I Better Run (all available on BandCamp and on Spotify, by the way), frontman Jon Elmaleh and his henchmen Tommy Whyte on the guitar, Camilo Martinez on bass (who kept playing like a true badass even after one of the chords simply decided it didn’t want to be part of his bass anymore), and Eitan Garazi on drums didn’t stop kicking ass not even for a single second, and if you’re in Toronto looking for some action inside the pit, keep an eye on their tour dates. Those guys are fantastic live.
Band members Jon Elmaleh – vocals
Tommy Whyte – guitar
Camilo Martinez – bass
Eitan Garazi – drums
The last attraction of the night was Kitchener/Waterloo’s own Thrash/Death Metal machine RAIDER, and those guys never fool around when it comes to delivering pure, unfiltered sonic devastation to their avid fans. Having released the album Trial by Chaos in 2023 (available on both BandCamp and Spotify), the band formed of Gabe Rosa on vocals and lead guitars, Bennett Smith on vocals and guitars, Aaron Tanner on bass, and Angus Pike on drums showed no mercy for our souls with an incendiary performance, blasting the heaviest and fastest sounds you can think of. They kept shredding their guitars, screaming and pounding their drums nonstop, almost setting fire to the venue, and there wasn’t a single song in their setlist that didn’t transpire extreme aggression. I think it’s about time those guys release a new album, and of course, they should book more shows in the city. They were the icing on the cake on a night of first-class Canadian metal, and if they ever take your city by storm, you know what to do. Thank you, Jasper, for bringing those three bands together for us! It was a great celebration, even with Belgium losing such a tough match against Spain that same day. Well, bring it on, World Cup 2030!
Band members Gabe Rosa – vocals, lead guitars
Bennett Smith – vocals, guitars
Aaron Tanner – bass
Angus Pike – drums
This Peruvian Death and Doom Metal entity returns from the underworld with their scorching third offering, exploring the darkest corners of the human species.
Active since 1994, Lima, Peru-based entity Psicorragia (the temporary manifestation of a person’s soul or astral body at a distance from their physical body) has forged a distinctive identity rooted in darkness, combining the weight of Death and Doom Metal with elements and technique from traditional Death Metal, along with Black Metal nuances and influences from other dark genres, establishing themselves as a representative band of the genre in South America. Now in 2026 the band formed of Mario Romanet on vocals and bass, Marco Borra and Alick González on the guitars, Antonio Duncan on keyboards, and Teo Suchero on drums returns from the underworld with their third studio offering, Nekromanthra, ten years after their 2016 sophomore beast Madremuerte. Showcasing a sinister artwork by American artist Thomas G. Anderson (recognized for his Dark Art aesthetic, where cinematic photography and psychological horror converge), the album explores the darkest corners of the human species, immersing itself in landscapes of decay, death, and the deepest horrors of existence.
…Y sus plagas invocaron, or “…and their plagues they invoked” from Spanish, is already bold, imposing and grandiose, with the haunting background keys by Antonio bringing even more epicness to the dark vociferations by Mario; while Abismales (“abyssal”) continues to spread sheer doom and obscurity upon us, with the lugubrious beats by Teo walking hand in hand with the crying, visceral guitars by Marco and Alick. The atmosphere gets darker and more menacing as the music progresses in Lo inexorable (“the inexorable”), with their guitars once again transpiring pure Funeral Doom Metal magic, followed by Sombras luminosas (“luminous shadows”), where a grim intro morphs into a Death and Doom Metal beast led by Teo’s crushing drums, while Mario keeps growling like a demonic entity. La osamenta (“the skeleton”) offers us all nine minutes of despair, melancholy and doom while Mario darkly declaims the song’s venomous words accompanied by the phantasmagorical keys by Antonio; and lastly, a ritualistic start evolves into the most funereal song of the album, titled Nekromanthra, el meditar de los fúnebres (“Nekromanthra, the meditation of the funereal”), putting a vile, soul consuming ending to the album.
With Nekromanthra, the band delves even deeper into their darkest vision, expressed through six tracks infused with Death and Doom Metal, being therefore highly recommended for fans of the obscure music blasted by renowned acts the likes of My Dying Bride, Anathema, Katatonia, Paradise Lost, and Moonspell, as well as more extreme bands such as Varathron, Rotting Christ, Acheron, Edge of Sanity, Mystifier, Abysmal Grief, and Unholy. You can find more details about the band on Facebook and on Instagram, stream their music on any platform such as Spotify, and of course purchase Nekromanthra from their own BandCamp or from the Satanath Records’ BandCamp. It’s time to dive deep into the darkest side of humanity, and there’s nothing better than the new album by Psicorragia as the soundtrack to such a disturbing journey.
Best moments of the album:…Y sus plagas invocaron and Sombras luminosas.
Worst moments of the album: None.
Released in 2026 Satanath Records
Track listing 1. …Y sus plagas invocaron 8:49
2. Abismales 7:19
3. Lo inexorable 6:17
4. Sombras luminosas 7:39
5. La osamenta 8:58
6. Nekromanthra, el meditar de los fúnebres 6:01
Band members Mario Romanet – vocals, bass
Marco Borra – guitars
Alick González – guitars
Antonio Duncan – keyboards
Teo Suchero – drums
These Tasmanian devils reaffirm their status not merely as Technical Death Metal stalwarts in their new album, but as architects actively shaping its future, proving that mastery, sharpened by time, only grows more lethal.
For over two decades, Psycroptic have operated at the vanguard of Technical Death Metal, defined by instrumental precision, structural intelligence and an uncompromising creative ethic. From their Tasmanian origins to commanding stages worldwide, the band have built a reputation on rhythmic complexity, exacting musicianship, and a refusal to plateau. Now in 2026 the band formed of Jason Peppiatt and Jason Keyser on vocals, Joe Haley on the guitars, Todd Stern on bass, and David Haley on drums returns with their ninth studio opus, The Pulse of Annihilation, following up on their critically acclaimed 2022 album Divine Council. Produced once again by Joe Haley at Crawlspace Productions, and showcasing a haunting artwork by Belial NecroArts, the album features once again a formidable dual-vocal assault just like in their previous offering, heightening the record’s impact and presenting layered, confrontational elements that remain tightly synced with the band’s intricate foundation.
Joe’s lugubrious, evil riffs will darken the skies in the opening track Ashes of a New Dawn, quickly accompanied by David with his massive, intricate and ruthless beats and fills, followed by Gathering a Venomous Herd, with both vocalists exhaling hatred through the song’s demonic words (“Venomous tongues in this world now defiled / Fractured souls drown / In our self-proclaimed wisdom / Divided we fall to this new faceless god”) in a lecture in Technical Death Metal. Then a sinister intro evolves into a Stygian display of Progressive Death Metal titled A Sword of Me, with Joe and Todd hammering their strings with tons of anger and dexterity; and No Time for the Weak carries an excellent title for another hard hitting tune by those Australian veterans, with the deep and sharp vociferations by Jason Peppiatt and Jason Keyser reeking of Death Metal, while after an atmospheric intro the venomous Our Pillars Fall turns into a feast of progressiveness and violence, with David once again sounding inhumane behind his drums.
David kicks off the also groovy and technical Annihilation Pulse, with the slashing riffage by Joe cutting our flesh mercilessly; whereas No Blade of Grass brings forward another round of their acid words that will certainly pierce our brains (“Unseat the throne of hypocrisy / Who mourns when chaos dies / Relentless strife and delusion / Feeding fevered dreams of poisoned tribes / Who rise together a rancorous afterthought / Orate the funeral call”) amidst sheer Death Metal devastation. They keep the ambience as dense and brutal as possible to the sound of To Embrace This Curse, with their scorching vocals crushing our souls mercilessly, and lastly we face Forging the Crown, perhaps the most technical of all songs, where Joe and Todd are phenomenal armed with their respective guitar and bass while David dictates the pace with his beyond complex and thrilling beats and fills.
“The Pulse of Annihilation is pretty much the culmination of everything that has come before,” remarked Joe Haley. “As with past releases, we never force anything stylistically and just let the songs manifest of their own accord – maintaining progression while remaining very much Psycroptic. Because of this, I feel this is our most epic, thrashing, technical while grooviest release yet.” Across the excellent The Pulse of Annihilation, Psycroptic sound focused, disciplined, and fully aware of their trajectory. Complexity remains foundational, but it is now guided by compositional restraint and veteran confidence. Hence, you can get in touch with those Australian metallers via Facebook and Instagram, stream their sonic violence on Spotify, and of course purchase their new album from BandCamp, from Metal Blade Records, or from Direct Merch. With The Pulse of Annihilation, the band reaffirm their status not merely as Technical Death Metal stalwarts, but as architects actively shaping its future – proving that mastery, sharpened by time, only grows more lethal.
Best moments of the album:Gathering a Venomous Herd, Our Pillars Fall and Forging the Crown.
Worst moments of the album: None.
Released in 2026 Metal Blade Records
Track listing 1. Ashes of a New Dawn 4:08
2. Gathering a Venomous Herd 3:19
3. A Sword of Me 4:29
4. No Time for the Weak 3:43
5. Our Pillars Fall 6:45
6. Annihilation Pulse 4:03
7. No Blade of Grass 3:24
8. To Embrace This Curse 4:10
9. Forging the Crown 4:43
Band members Jason Peppiatt – vocals
Jason Keyser – vocals
Joe Haley – guitars
Todd Stern – bass
David Haley – drums
This Canadian Technical Death Metal sea beast returns from the ocean depths with their sophomore album, a dark conceptual journey rooted in nautical horror and psychological collapse.
Blending Technical and Progressive Death Metal with technical precision, crushing grooves, and Deathcore aggression, St. Catharines, Ontario’s own rising force Eaten By Sharks continues to evolve from the sound established on their 2022 release Eradication with their newborn spawn, entitled The Undertow Of Hate, embracing a more composition-focused and cinematic approach by crafting a dark conceptual journey rooted in nautical horror and psychological collapse. Recorded, mixed and mastered by Christian Donaldson, and displaying another killer artwork by Paolo Girardi, the new album by Matt Sherriff on vocals, Chris Chaperon and Dan Okowinsky on the guitars, Tyler Abrams on bass, and Justin Whitehead on drums offers us mere mortals a devastating blend of Deathcore, slam, and modern Extreme Metal intensity, becoming therefore a must-listen for fans of Fit For An Autopsy, Gojira and Cattle Decapitation, just to name a few.
The piercing guitars by Chris and Dan invite us all to dive deep into the unruly waters of The Undertow Of Hate in Vessels Torn, with Matt screaming and gnarling like a demented creature until the very end; while In Tidal Chaos starts in a sinister way before all hell breaks loose to the massive beats by Justin and the rumbling bass by Tyler in a lecture in Technical Deathcore. Capsized sounds even heavier and more demented, with Matt’s deep guttural reeking of classic Death Metal, supported by the always technical and venomous guitar work by Chris and Dan; and let’s enjoy several bodies slamming into the pit to the sound of Bodies Overboard, with Justin hammering his drums nonstop, consequently bringing even more heaviness and violence to their music.
Their Technical Death Metal vein pulses harder than ever in Treading Water, with the visceral roars by Matt walking hand in hand with the intricacy and hatred blasted by his bandmates, followed by Dragged Under, which keeps the momentum going with an explosion of absolute violence by all band members, all boosted by the groovy kitchen crafted by Tyler and Justin. Becoming Chum is definitely less electrifying than its predecessors, albeit still very aggressive and showcasing the band’s trademark sound; and the band will drag us 10,000 meters deep to the multi-layered, very technical and demonic Crimson Tide, where their striking riffage offers Matt exactly what he needs to vociferate like a creature from the deep, flowing into the cinematic outro Surfaced Remains, where you can smell the blood of the fallen on their shark-infested waters.
With a commitment to high-quality production and engaging storytelling, Eaten By Sharks are poised to leave a lasting impact on the genre with the release of The Undertow Of Hate, an album built around transformation, destruction, and irreversible change at sea. You can find those subaquatic death dealers on Facebook, on Instagram and on YouTube, stream their visceral creations on any platform like Spotify and Apple Music, and of course purchase their awesome new album from Bandcamp or from CDN Records. Just like an aggressive shark at sea, Eaten By Sharks can smell your blood from a very far distance, and once they capture with their Technical Death Metal and Deathcore jaws to the sound of their new opus, there’s no way out.
Best moments of the album:In Tidal Chaos, Treading Water and Crimson Tide.
Worst moments of the album:Becoming Chum.
Released in 2026 CDN Records
Track listing 1. Vessels Torn 4:43
2. In Tidal Chaos 4:36
3. Capsized 3:36
4. Bodies Overboard 3:53
5. Treading Water 3:40
6. Dragged Under 3:42
7. Becoming Chum 4:25
8. Crimson Tide 4:03
9. Surfaced Remains 1:26
Band members Matt Sherriff – vocals
Chris Chaperon – lead guitar
Dan Okowinsky – guitar
Tyler Abrams – bass
Justin Whitehead – drums
As a vast monolith from deep space crashes into Earth, this uncanny horde offers us all a scathing dose of frozen Black Metal, exploring dark mythologies and cosmic evil entities.
When a vast monolith from deep space crashes into Earth and plunges the planet into a new ice age, a fanatical cult devoted to a timeless entity known as the Void Star rises amid the apocalyptic chaos. That’s the plot behind the excellent Cult of the Void Star, the first full-length opus by Milwaukee, Wisconsin-based Black Metal horde Niveous, following up on their 2025 debut EP Endless Snowfall. Recorded, engineered, and mixed by Shane Hochstetler at Electrical Audio, mastered by Arthur Rizk, and showcasing a cryptic artwork by Nortaath and Will Kramer (with logo by Luciferium War Graphics), the new offering by Vokar on vocals and bass, Nortaath on vocals and drums, and Zygrath on the guitars is a scathing, breathtaking dose of frozen Black Metal, exploring dark mythologies and cosmic evil entities.
The band’s cold and Stygian Black Metal attack begins in full force with Harbinger of the Void Star, where Nortaath hammers his drums in the name of darkness while their evil vociferations are simply stunning, followed by Servants of the Monolith, featuring a guest guitar solo by Joe Michaelson, resulting in another cryptic creation by such an uncanny horde, with the visceral riffs and tones blasted by Zygrath’s axe transpiring Black Metal magic. Then with guest vocals by Jake Rogers of Visigoth, Frostborne Resistance already kicks off with endless savagery, obscurity and rage, with Vokar and Nortaath doing a phenomenal job not only with their demonic roars and gnarls, but their rumbling bass and drums also sound inhumane. Then a horror movie-like intro explodes into total insanity in Baptism of Shadows, with Zygrath taking care of the vocal duties; followed by Northbound, presenting elements of caustic Punk Rock and Rock N’ Roll added to their core Black Metal sound, with the strident guitar lines by Zygrath sending shivers down our spines. And lastly, Boreal Stronghold is one final Black Metal attack by the trio, ending the album on a high note to the crushing drums by Nortaath.
As Earth is consumed by black storms and endless blizzards, and as the world is reduced to a frozen wasteland, Niveous are among us all to spread their bitterly cold Black Metal madness and consume our darkened souls with the scathing music found in Cult of the Void Star. Hence, if you want to explore their frostbitten realm you can find those American black metallers on Facebook and on Instagram, stream their venomous creations on Spotify or any other platform, and above all that, purchase their new album from their own BandCamp or from the Hypnotic Dirge Records’ BandCamp or webstore as a CD or an LP. Black Metal is always better when served cold, exactly like what Niveous have to offer in the intense and thrilling Cult of the Void Star, embracing us in absolute, frostbitten darkness for all eternity.
Best moments of the album:Harbinger of the Void Star and Northbound.
Worst moments of the album: None.
Released in 2026 Hypnotic Dirge Records
Track listing 1. Harbinger of the Void Star 7:25
2. Servants of the Monolith 5:57
3. Frostborne Resistance 6:28
4. Baptism of Shadows 6:53
5. Northbound 6:40
6. Boreal Stronghold 5:33
Band members Vokar – vocals, bass
Nortaath – vocals, drums
Zygrath – guitars, vocals on “Baptism of Shadows”
Guest musicians
Joe Michaelson – guitars solo on “Servants of the Monolith”
Jake Rogers – clean and choir vocals on “Frostborne Resistance”
Nicholas Elert – synthesizers and orchestrations on “Baptism of Shadows”
Attention, metalheads!
THE HEADBANGING MOOSE 