The Headbanging Moose Show – Thursdays @ 20:00 UTC+2 exclusively at Midnight Madness Metal e-Radio

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Attention, metalheads!

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!

Here are all the options where can blow your speakers with Midnight Madness:

Official website
Facebook
Twitter
Online Radio Box
Tunein
Streema
Listen2MyRadio
Radio Garden
Streamitter.com

Don’t forget to follow The Headbanging Moose on Facebook to know beforehand which bands will be played on the show every week.

And if you want to have your new album reviewed at The Headbanging Moose AND played at Midnight Madness Metal e-Radio, simply get in touch with us through our CONTACT US page.

Album Review – Rob Zombie / The Great Satan (2026)

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The Great Rob Zombie is back in action with his incendiary eighth studio album, featuring 15 tracks with a sound described as a return to his “Hellbilly” roots.

As a rock icon and filmmaker with a unique vision, the indomitable Rob Zombie has continuously challenged audiences as he stretches the boundaries of both music and film. Four years after his excellent 2021 album The Lunar Injection Kool Aid Eclipse Conspiracy, Rob Zombie and his henchmen Mike Riggs on the guitars, Rob “Blasko” Nicholson on bass, and Ginger Fish on drums are back with another blast of Punk Rock, Heavy Metal, rebelliousness, blood and horror in The Great Satan, the eighth studio album in his undisputed career, featuring 15 tracks with a sound described as a return to his “Hellbilly” roots, overflowing his trademark sound and his always interesting way of interpreting love, life, death, blasphemy, and of course, Satan.

F.T.W. 84 feels like a journey back in time, more specifically to the glory of the late 90’s and early 2000’s, and it’s fantastic how after all these years Rob can still deliver crushing heavy music, with his vocals sounding truly demonic. Moreover, is it “Fuck the World” or “For the Win”? Well, it’s up to you to decide. Anyway, Mike delivers his old school trademark riffs nonstop in Tarantula while Ginger proves why he’s been hammering the drums with the band since 2011 in another hard hitting feast of heavy music. (I’m a) Rock ‘N’ Roller has a similar energy and vibe as his ultimate classic “Dragula”, blending Alternative and Industrial Metal with his passion for horror movies; followed by Heathen Days, another song inspired by his early days where Mike once again fires sheer adrenaline from his axe for our absolute delectation. Then, after the weird interlude Who Am I, it’s time for the Rock N’ Roll party titled Black Rat Coffin, offering an amalgamation of all phases and albums released by the band, with Rob’s vocals sounding haunting as usual. And how not to enjoy a song with such a stylish title like Sir Lord Acid Wolfman? It’s absolutely experimental, cryptic and phantasmagorical.

It’s pedal to the metal in the industrialized and mechanized attack entitled Punks and Demons, reminding me of the classic sound by the mighty Ministry, with Blasko and Ginger making sure the earth cracks in half to their demented kitchen; and everyone will get wet with Rob’s venomous vociferations in The Devilman, while the music once again presents a strong Industrial Rock and Metal vibe. Out of Sight is a bit generic compared to the rest of the album, albeit Mike’s riffs still exhale electricity nonstop; whereas Revolution Motherfuckers is perfect for raising our horns and breaking our necks, a true metallic anthem dedicated to our rotten and decaying world. Then after another horror movie-like interlude, titled Welcome to the Electric Age, it’s time for total anarchy with The Black Scorpion, offering an incendiary hybrid of Punk Rock and Thrash Metal led by Ginger’s killer drums boosted by the song’s wicked background sounds. Rob and his crew slow things down and deliver a strip tease tune titled Unclean Animals, as cryptic and dark as it can be, before all fades into absolute fear and obscurity in the outro Grave Discontent, ending the album on a vile, grim mode.

It’s always amazing to witness how talented, hardworking and passionate Rob Zombie is about his music, movies, and every other artistic expression in his undisputed career, and all those decades of experience didn’t make him sound mellower or softer; quite the contrary, it feels like he’s getting heavier, darker and more violent album after album, with The Great Satan representing another display of pure excellence by such a unique, multi-talented artist. You can find more information about him and all of his projects on Facebook and on Instagram (or simply click HERE for all things Rob Zombie), stream his pulverizing rockin’ anthems on any platform like YouTube and Spotify, and of course, put your dirty hands on The Great Satan by clicking HERE. A lot of people might consider the title of his new album blasphemous, satanic, impure, or controversial, but let’s he couldn’t care less about that. He’s the Great Rob Zombie, he lives and breathes our Great Rock N’ Roll, and that’s what really matters in the end.

Best moments of the album: F.T.W. 84, Heathen Days, Punks and Demons and The Black Scorpion.

Worst moments of the album: Out of Sight.

Released in 2026 Nuclear Blast Records

Track listing
1. F.T.W. 84 3:55
2. Tarantula 3:02
3. (I’m a) Rock ‘N’ Roller 3:32
4. Heathen Days 2:17
5. Who Am I 0:34
6. Black Rat Coffin 3:04
7. Sir Lord Acid Wolfman 3:45
8. Punks and Demons 2:38
9. The Devilman 3:26
10. Out of Sight 2:47
11. Revolution Motherfuckers 2:33
12. Welcome to the Electric Age 0:54
13. The Black Scorpion 1:33
14. Unclean Animals 3:33
15. Grave Discontent 1:00

Band members
Rob Zombie – vocals
Mike Riggs – guitars
Rob “Blasko” Nicholson – bass
Ginger Fish – drums

Album Review – Necronomicon Ex Mortis / Zombie Blood Nightmare EP (2026)

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This zombified Death Metal horde returns from the dead with a cadaverous new EP, boasting a sound as sharp and punishing as its subject matter, showcasing a band at their most chaotic and gleefully grotesque, but also their most ambitious.

Formed in 2023 in Chicago, Illinois, horror-death fiends Necronomicon Ex Mortis return with their most ferocious and unhinged release to date, the six-track EP aptly titled Zombie Blood Nightmare. Produced, recorded, and mixed by Charlie Waymire at Ultimate Studios, mastered by Ernesto Homeyer, and embraced by the sick artwork by Genoicide Artwork, the new EP by John Sawicki on vocals, Michael Nystrom Bala and Manuel Barbara on the guitars, Yusuf Rashid on bass, and Joey Ferretti on drums boasts a sound as sharp and punishing as its subject matter, showcasing a band at their most chaotic and gleefully grotesque, but also their most ambitious, a whirlwind of 90’s Death Metal stomp, 80’s shred obsession, and tongue-in-cheek B-movie gore that cements their identity as both serious riff-worshippers and gleeful purveyors of horror camp.

The EP kicks off in the best Death Metal style with Left To Die, with Michael and Manuel dictating the pace with their frantic, slashing riffage, resulting in a very good excuse for slamming into the pit like a putrid, decaying corpse. And let’s break our necks headbanging to No More Room In Hell, where the band brings forward their darkest mode, almost sounding Blackened Death Metal, in special the evil vociferations by John (not to mention the song’s hellish solos). Chopped Up And Burned carries a Cannibal Corpse-inspired title that lives up to the legacy of venomous Death Metal, spearheaded by Joey’s ruthless drumming while also presenting melodic yet piercing solos; whereas an imposing start gradually morphs into a mid-tempo, devilish feast of Death Metal in Lumbering Blood Sucking Freaks, accelerating its pace as time passes by for our total delight. Hungry For Brains is by far the most “zombified” of all songs, paying homage to all zombie movies we love so much, with John’s raspy gnarls walking hand in hand with their visceral riffage, and there’s no better way to conclude an album of Death Metal than with extreme aggression and savagery like in Démoni, where Yusuf and Joey make the earth tremble with their undisputed kitchen.

With Zombie Blood Nightmare, the band delivers not just another step forward, but a gory leap through the gateway to hell. It’s a record that pays homage to their Death Metal forebears while shamelessly indulging in horror schlock and fretboard excess. It may open new doors, or as the band prefers to put it, “new gateways to hell.” Hence, you can join the band’s army of the dead by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their zombified creations on Spotify, and of course by grabbing a copy of their newborn baby from BandCamp or by clicking HERE. It’s time for the dead to rise once again to the sound of the visceral Death Metal by Necronomicon Ex Mortis, because as the mighty Cannibal Corpse say, there’s no other way – you have to kill or become.

Best moments of the album: Chopped Up And Burned and Hungry For Brains.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Left To Die 4:38
2. No More Room In Hell 5:18
3. Chopped Up And Burned 6:59
4. Lumbering Blood Sucking Freaks 3:41
5. Hungry For Brains 4:41
6. Démoni 3:15

Band members
John Sawicki – vocals
Michael Nystrom Bala – guitars
Manuel Barbara – guitars, orchestration
Yusuf Rashid – bass
Joey Ferretti – drums

Album Review – Dissentience / Kaiju EP (2026)

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These monsters of Melodic Thrash and Death Metal are back with a ruthless new offering, a four-track concept EP that fuses cinematic horror, crushing riffs, and lyrical dread into a singular apocalyptic vision.

Hailing from Bethlehem, Pennsylvania, Melodic Thrash/Death Metal unit Dissentience returns with their most conceptually ambitious and sonically punishing release to date, the EP Kaiju, following up on their 2022 full-length Empire Anatomy. Produced by Corey Pierce and Dissentience, engineered by Matt Menafro at Peach Pie Sound, mixed by Zeuss, mastered by Alan Douches at West West Side Music, and displaying an apocalyptic artwork by Matt Stikker, the new offering by Connor Valentin on vocals and guitar, James Vitale also on the guitar, Sean Langer on bass, and Nick Scherden on drums is a four-track concept EP that fuses cinematic horror, crushing riffs, and lyrical dread into a singular apocalyptic vision. Drawing inspiration from classic Japanese monster films and the unknowable terrors of Lovecraftian mythology, the record explores the narrative of a colossal, nameless beast as it decimates a city, and rather than paying tribute to kaiju lore in name alone, the band builds a world where riffs, lyrics, and production align to place the listener in the path of annihilation.

The opener Obsidian Tomb captures the initial moments of catastrophe, and just like in an apocalyptic movie the song starts in a serene, dark manner before turning into a pulverizing Thrash and Death Metal attack, with Connor’s vocals exhaling hatred and fury. Then we have Chaos Absolute, focusing on the political and social collapse that follows the attack, transpiring progressiveness and intricacy while also showcasing an overdose of violence flowing from all instruments. In addition, Nick’s drumming is a thing of beauty throughout the entire song. The title-track Kaiju then represents the climax of the EP, unleashing a relentless barrage of violence and devastation while the metallic bass by Sean crushes our damned souls accompanied by the ultra sharp riffs by James in a lecture in Progressive Death Metal; whereas Death Shroud transitions into the aftermath, a landscape of ash, grief, and existential dread, and that dreadful vibe is perfectly depicted in the grim riffage by James and the hammering drums by Nick, before a killer solo by James concludes the EP on a visceral mode.

With Kaiju, Dissentience have crafted a fully realized conceptual journey that pushes their sound further into new territory, refusing to imitate the past by forging a sound that avoids the trappings of nostalgia, drawing from influences like Trivium, Revocation and Lamb of God. You can get in touch with such an amazing new name of the current metal scene via Facebook and Instagram, subscribe to their YouTube channel, listen to their music on Spotify, and put your monster-like hands on Kaiju from the band’s BandCamp or webstore. Where others nod to monsters, Dissentience gives them voice, weight, and consequence like in Kaiju, sounding and feeling as heavy and thunderous as the giant creatures depicted throughout the entire album.

Best moments of the album: Chaos Absolute and Kaiju.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Obsidian Tomb 6:09
2. Chaos Absolute 5:24
3. Kaiju 4:42
4. Death Shroud 7:23

Band members
Connor Valentin – vocals, guitar
James Vitale – guitar
Sean Langer – bass
Nick Scherden – drums

Concert Review – Belphegor (Lee’s Palace, Toronto, ON, 02/22/2026)

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Metalheads from all across Toronto gathered this Sunday night to praise the beast together with one of the most influential Blackened Death Metal bands of all time.

OPENING ACTS: Narcotic Wasteland, Hate and Incantation

In the middle of what’s perhaps the harshest winter in the past few decades in Toronto, NARCOTIC WASTELAND, HATE, INCANTATION and BELPHEGOR brought to Lee’s Palace some welcome heat this Sunday night with their infernal Praise the Beast North America Tour 2026, another massive event organized by the mighty Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi and I were there to cover such a feast of heavy sounds. There were also two bands billed to play in “The Cave” (aka the room upstairs at Lee’s Palace), those being Nashville, Tennessee’s own Experimental Folk/Black Metal band Primeval Well, who released back in 2021 the excellent album Talkin’ in Tongues with Mountain Spirits (available on Spotify), and Hamilton, Ontario-based Progressive Death Metal act Cryophilic, who released in 2023 their sophomore opus Damned and Decayed (also available on Spotify). The only issue is that due to some delays they ended up playing pretty much at the same time as Incantation and Belphegor, so I have absolutely no idea if anyone was able to watch their performances.

The night started with the awesome performance by South Carolina-based Death Metal trio NARCOTIC WASTELAND, who kicked some ass onstage with their undisputed energy and heaviness. Mixing songs from their two albums with newer singles like the brutal Barbarian, all available on Spotify, the band formed of Dallas Toler-Wade, Kenji Tsunami (who’s not only a phenomenal bassist, like a Death Metal version of Dream Theater’s own John Myung, but his bass is also a thing of beauty) and Austin Vicars took no prisoners in their quest for pure Death Metal, and after they finished playing the closing song of their short but very sweet set, Introspective Nightmares, we were all left wondering when we’ll be able to see those guys live again, perhaps with a bigger set. You can get more details about such a fun extreme music act by clicking HERE, and if they ever take your city by storm, don’t miss the chance of seeing those excellent musicians live.

Setlist
Morality and the Wasp
Faces of Meth
Barbarian
Delirium Tremens
Keeping Up with the Jones
We Agnostics
Introspective Nightmares

Band members
Dallas Toler-Wade – vocals, guitars
Kenji Tsunami – bass, vocals
Austin Vicars – drums

Poland’s own Blackened Death Metal institution HATE also had a very short set, but that didn’t mean the concert by Adam “ATF Sinner” Buszko, Dominik “Domin” Prykiel, Tomasz “Tiermes” Sadlak, and the stone crusher Daniel “Nar-Sil” Rutkowski (who returned later that night drumming for the mighty Belphegor) was not heavy enough. Quite the contrary, they made sure they used their limited time to deliver a ruthless, no shenanigans performance for our total delight. Having released the excellent Bellum Regiis in 2025, available on both BandCamp and Spotify, the quartet proved once again why Polish extreme music is so marvelous, leaving us completely disoriented after all was said and done. The mosh pits were already getting out of control, the temperature inside the venue was getting scorching, and the horns were being raised high, all thanks to the fires of Black and Death Metal by one of the heaviest bands to ever arise from the stunning Poland. Toronto wants more Hate. We deserve more Hate. And hopefully they won’t take long to return to the city with another pulverizing concert.

Setlist
Intro
Sovereign Sanctity
Erebos
The Wolf Queen
Bellum Regiis
Iphigenia

Band members
Adam “ATF Sinner” Buszko – vocals, rhythm guitar
Dominik “Domin” Prykiel – lead guitar
Tomasz “Tiermes” Sadlak – bass
Daniel “Nar-Sil” Rutkowski – drums

There were a few delays during the entire night, not sure if due to sound issues or something else, which ended up extending the whole event a lot longer than previously planned. Good thing that there’s no curfew at Lee’s Palace, and even better that when the next attraction is Pennsylvania’s Death Metal masters  INCANTATION, it never feels too late to get caught in some of the wildest mosh pits of the entire fest. Their latest releases Unholy Deification, from 2023, and Onward to Golgotha Live, from 2025 (both available on BandCamp and on Spotify) are very good sources if you want to familiarize yourself with their setlist, with songs like Golgotha and Impending Diabolical Conquest sounding sensational live, and of course, it’s always a true pleasure witnessing the talent, passion and charisma of the one and only John McEntee onstage. He’s a true metal warrior, no doubt about it. Furthermore, one very interesting fact about the show in Toronto was the amount of girls doing crowd surfing and stage diving during their concert. I think it was easily over 10 different girls doing those during one of the songs, with one even showing her athleticism and flexibility by doing a few splits onstage, which was pretty badass. Let’s see when Incantation return to Toronto if those girls will have other nice tricks to prove once and for all who runs the world.

Setlist
Golgotha
Carrion Prophecy
Emaciated Holy Figure
Iconoclasm of Catholicism
Concordat (The Pact) I
Blissful Bloodshower
Profanation
Vanquish in Vengeance
The Ibex Moon
Impending Diabolical Conquest

Band members
John McEntee – vocals, guitars
Luke Shively – guitars
Chuck Sherwood – bass
Kyle Severn – drums

BELPHEGOR

Sunday is always a day for regular people to go to the church, but for us metalheads it’s the perfect day to do the exact opposite, and let’s say Austrian Blackened Death Metal beast BELPHEGOR more than helped us succeed in such a blasphemous activity with one of the darkest and heaviest concerts of the past few months in Toronto. Playing a mix of their entire discography with their latest album The Devils, from 2022, plus their two fantastic new singles Sanctus Diaboli Confidimus and Scarlet Beast-Leviathan (a beautifully haunting song, by the way), all available on BandCamp and on Spotify, such a malevolent horde led by the unrelenting Helmuth Lehner was breathing fire and sulfur during their entire show, and if you were on the left side of the stage you would also feel everything tremble to the demented drums by Daniel “Nar-Sil” Rutkowski. It was a really fun experience to be honest, despite the fact the trembling got way too heavy at times.

I wonder what some fervent Catholics would say about Belphegor’s music and live performances. Those guys almost cracked the earth in half with their music, allowing Satan himself to arise from the underworld. The mosh pit was like a cauldron of fire, their demonic vocals and reefs exhaled sulfur and blasphemy, and it was easy to see all faces in awe during their satanic and cathartic mass. After their black mass was over, I noticed one girl that’s in pretty much every extreme music show in Toronto with a busted lip and some blood down her chin, and based on her happy face she was more than fine with that. She’s a total badass, she doesn’t fear any mosh pit, and she’s the perfect depiction of the love of Toronto for Black and Death Metal. Belphegor more than deliver it in both genres, usually at the same time, and if they provde us with half of the darkness and electricity from this Sunday next time they visit Toronto, I bet we’ll see more happy faces and busted lips around the venue. Praise the beast, praise all ladies who make heavy music a much better place, and praise the almighty Belphegor.

Setlist
The Procession
Baphomet
The Devil’s Son
Sanctus Diaboli Confidimus
The Devils
Stigma Diabolicum
Pactum in Aeternum
Lucifer Incestus
Virtus Asinaria – Prayer
Scarlet Beast – Leviathan
Totentanz – Dance Macabre

Encore:
Belphegor – Hell’s Ambassador

Band members
Helmuth Lehner – vocals, guitars
Wolfgang Rothbauer – guitars
Chris Bonos – bass, backing vocals
Daniel “Nar-Sil” Rutkowski – drums

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Album Review – Soul of Anubis / Ritual (2026)

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This Portuguese duo returns with their fourth full-length opus, capturing the full scope of their signature sound, a visceral blend of aggression and dynamic shifts that refuses to be confined to a single genre.

Formed in 2010 in Northern Portugal, Sludge/Doom Metal creature Soul of Anubis has carved out a distinct place within the European underground thanks to their explosive fusion of Thrash, Sludge, Doom and Post-Metal, channeling the raw urgency of Mantar, the primal energy of early Mastodon, and the relentless drive of High On Fire and Black Cobra. Now in 2026 the duo formed of Hugo Ferrão on vocals and guitars, and Rui Silva on drums returns with their fourth full-length opus, titled Ritual, following up on their 2019 album The Last Journey. Recorded, mixed and mastered at Studio Lote 71 in Portugal, Ritual captures the full scope of the band’s signature sound, a visceral blend of aggression and dynamic shifts that refuses to be confined to a single genre.

The duo wastes no time and kicks off their groovy and visceral attack with the title-track Ritual, where Hugo screams with tons of anguish while Rui crushes his drums in the name of sludge and doom. Then featuring guest vocalist Keijo Niinimaa from Rotten Sound, it’s pedal to the metal in the demented Mind Crusher, bringing elements of Hardcore, Punk Rock and Crust to their trademark insanity, followed by Incarnation, the first single of the album, keeping the fires of Doom Metal burning, with Hugo not only roaring manically but his riffs also exhale aggression. And Vermin is by far the least dynamic and exciting of all songs, although it still presents the band’s core essence (but not as strong as the other songs).

Death Cult carries the perfect name for a song by any band in the heavy music spectrum, and Soul of Anubis crush our spinal cords with their undisputed blend of absolute doom, as heavy as a thousand riffs in their “version” of it. Let’s keep headbanging like true maniacs to the sound of God’s Burial, where the duo builds a rumbling atmosphere with their caustic riffs and beats; and it’s then time to put the pedal to the metal and speed things up in Human Torch, with Hugo once again bursting his lungs screaming. Last but not least, we face the longest and most obscure of all songs, Unholy Tomb, with Hugo’s riffage and Rui’s drums making the earth tremble until the very last second of such a groovy-as-hell aria.

Pushing the sonic boundaries by Soul of Anubis even further, expanding upon their trademark blend of massive riffs, dark groove, and emotional gravity, while highlighting a newfound sense of urgency and compositional versatility, Ritual is undoubtedly their strongest effort to date, and you can put your damned hands on such an incendiary album by purchasing it from BandCamp, from the Time To Kill Records’ webstore, or simply by clicking HERE. Don’t forget to also follow the duo on Facebook and on Instagram, and to stream their austere creations on Spotify. With their new album, Hugo and Rui have crafted a true metallic ritual, pointing to an even brighter future ahead of them and, consequently, keeping us metalheads as happy as we can be with another demolishing underground band.

Best moments of the album: Mind Crusher, Dead Cult and Human Torch.

Worst moments of the album: Vermin.

Released in 2026 Time To Kill Records

Track listing
1. Ritual 6:17
2. Mind Crusher 4:46
3. Incarnation 4:49
4. Vermin 3:29
5. Death Cult 5:20
6. God’s Burial 4:32
7. Human Torch 3:41
8. Unholy Tomb 8:30

Band members
Hugo Ferrão – vocals, guitars
Rui Silva – drums

Guest musician
Keijo Niinimaa – vocals on “Mind Crusher”

Album Review – Merculistarya / Áradó Fájdalom a Tűnődés Medrében (2026)

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This multi-talented Hungarian Black Metal musician is ready to darken the skies with his debut solo offering, following a thorn‑ridden path of struggle, fear, disappointment, madness, resignation, and death.

A Symphonic and Melodic Black Metal one-man project by Hungarian vocalist and multi-instrumentalist Árpád Szenti, best known for his drumming work with bands such as Thy Catafalque, Ahriman, Athame, and Damnation, the obscure Merculistarya is going to darken the skies with its debut offering, titled Áradó Fájdalom a Tűnődés Medrében (or “a flood of pain in the bed of contemplation” from Hungarian). Recorded and mastered by Árpád Szenti himself, with artwork by Attila Petheo, logo by Akos Gera, and layout by Zsolt Benko, Áradó Fájdalom a Tűnődés Medrében is a concept album where each song is connected, each meaning is intertwined, forming a single immersive narrative following a thorn‑ridden path of struggle, fear, disappointment, madness, resignation, and death, contrasted against the vastness of nature, its elemental force, its mysticism, and the unseen dimensions that pulse beneath reality.

Minimalist guitars set the tone in the Atmospheric and Depressive Black Metal aria Merengő (or “pensive” in English), with Árpád’s anguish gnarls giving the song a truly darkened vibe while also presenting multiple layers of melancholy, violence and heaviness. Then a piano intro suddenly exploders into sheer Black Metal madness in A haldoklás csalogat (“dying lures”), with Árpád putting the pedal to the metal with his crushing beats and slashing riffs; and his visceral, melancholic vociferations walk hand in hand with another blast of Melodic and Depressive Black Metal insanity in Kitörve süllyedés (“breaking down”), not to mention the touch of finesse added to the music by his piano.

An ethereal and atmospheric intro once again morphs into Árpád’s Black Metal magic in Rémálomköd (“nightmare mist”), featuring Ivett Dudás as a guest vocalist, flowing like an arrow on fire in pitch black darkness until the very last second. Then guest Gabriel Cold takes care of the intro in Pusztuló kor (“destroying age”) before all hell breaks loose in a lecture in Black Metal by Árpád, who’s ruthless with his Stygian riffs, blast beats, and in special with his devilish roars; followed by Álomország (“dreamland”), another song where Árpád beautifully blends the charming sounds of the piano with the harshness of extreme music. It could have been a little bit heavier, though. And closing the album we face Sóhaj (“sigh”), presenting more of his slab of Hungarian Black Metal, with his phantasmagorical keys bringing even more insanity to the music.

Rooted in the darker currents of old school Black Metal, Áradó Fájdalom a Tűnődés Medrében is a deeply personal statement that has been taking shape for over two decades, reflecting a long and introspective creative journey. “This album is a fragment of my soul. Through Merculistarya, I unearthed emotions and energies that could not have surfaced through any other form of expression,” commented the multi-talented Árpád. You can get in touch with such a hardworking and passionate musician via Facebook, and purchase his awesome debut from Loud Rage Music’s BandCamp or webstore, from Pest Records’ BandCamp or webstore, or from Metal Or Die Records’ BandCamp. Fear, madness, death, nature, and Black Metal. This is what Árpád Szenti and his Merculistarya have to offer you in his first full-length album as a solo artist, and I bet you’ll have an absolute blast feeling all those emotions while listening to his acid yet deeply emotional music.

Best moments of the album: Merengő, Rémálomköd and Pusztuló kor.

Worst moments of the album: Álomország.

Released in 2026 Pest Records/Metal Or Die Records

Track listing
1. Merengő 7:03
2. A haldoklás csalogat 4:59
3. Kitörve süllyedés 5:18
4. Rémálomköd 6:16
5. Pusztuló kor 6:39
6. Álomország 7:17
7. Sóhaj 5:38

Band members
Árpád Szenti – vocals, all instruments

Guest musicians
Gabriel Cold – intro on “Pusztuló kor”
Ivett Dudás – vocals on “Rémálomköd”

Album Review – Domhain / In Perfect Stillness (2026)

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This up-and-coming Irish entity is poised for world domination with their first full-length opus, blending an emotional mix of Post-Black Metal, Blackgaze, and Atmospheric Black Metal.

Formed in 2021 in Northern Ireland and consisting of four experienced musicians from the Irish metal scene, those being Andy Ennis (Celtachor, Imperial Demonic, Overoth) on vocals and bass, Nathan Irvine (So Much for the Sun) on the guitars, Ashley Irwin (So Much for the Sun) on the guitars and backing vocals, and Anaïs Chareyre-Méjan (Ironborne) on drums, vocals and cello, Belfast-based outfit  Domhain (an Irish word meaning “world,” “the deep,” or “depth”) blends an emotional mix of Post-Black Metal, Blackgaze, and Atmospheric Black Metal, featuring distinctive vocal harmonies and cello. Following the release of their debut EP Nimue, in 2023, and the split Of Pine and Oak (with the band Ephemeral), in 2025, the band returns in full force now in 2026 with their first full-length opus, entitled In Perfect Stillness. Produced by the band itself alongside Chris Fielding, who was also responsible for the engineering and mixing at Foel Studio, mastered by Mike Lamb at Ghost Bird Studios, and displaying a grim yet delicate artwork by the band’s own Anaïs Chareyre-Méjan, In Perfect Stillness consists of five darkly embracing songs highly recommended for admirers of the darkest yet delicate side of music, positioning Domhain as a force to be reckoned with in the current Post-Metal landscape.

An overdose of melancholy flows from the dark cello by Anaïs in the cinematic intro Una Tarra Ci Hé (which translates roughly to “A Land Is There” from Corsican, often referring to the beauty or essence of Corsica), warming up our senses for the band’s undisputed Post-Black Metal attack in Talamh Lom, a Gaelic phrase, primarily Irish, that translates to “bare land,” “empty land,” or “uncultivated ground,” with Andy’s both clean and deep guttural adding an extra touch of obscurity to their sound while the guitars by Nathan and Ashley exhale heaviness. Things get even more introspective in Footsteps II, featuring guests John Wilson on the piano and Raul Andueza on the cello, with the band going almost full Post-Metal while also presenting atmospheric and progressive nuances in their core sonority. The last part of the album is by far the heaviest one, starting with the stormy title-track In Perfect Stillness, where Andy’s visceral roars and Anaïs’ thunderous drumming turn it into a must-listen for fans of the genre; and guest vocalist Sarah Fielding (of Darkest Era) lends her stunning voice to My Tomb Beneath The Tide, starting in a serene, melodic manner and presenting a beautiful clash of vocal styles while Nathan and Ashley fire their trademark scathing riffs and solos, ending the album on a high and embracing mode.

If you want to know more about the stylish, enfolding music crafted by Domhain, as well as more details about the band and their live performances, you can get in touch with those Northern Irish metallers via Facebook and Instagram, and don’t forget to also stream their unique music on any platform such as Spotify, and of course to grab a copy of the awesome In Perfect Stillness from their own Bandcamp or from These Hands Melt, or simply click HERE for all things Domhain. Domhain are poised for world domination armed with their striking full-length opus, shaking the foundations of Post-Black Metal in a beautiful and compelling way, and I can’t wait to see what’s next in the career of one of the must-see names of the underground scene worldwide.

Best moments of the album: In Perfect Stillness and My Tomb Beneath The Tide.

Worst moments of the album: None.

Released in 2026 These Hands Melt

Track listing
1. Una Tarra Ci Hé 1:57
2. Talamh Lom 7:10
3. Footsteps II 9:29
4. In Perfect Stillness 7:22
5. My Tomb Beneath The Tide 9:22

Band members
Andy Ennis – vocals, bass
Nathan Irvine – guitars
Ashley Irwin – guitars, backing vocals
Anaïs Chareyre-Méjan – drums, vocals, cello

Guest musicians
Sarah Fielding – vocals on “My Tomb Beneath The Tide”
John Wilson – piano on “Footsteps II”
Raul Andueza – cello on “Footsteps II”

Album Review – Daidalos / Dante (2026)

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This German lone-wolf of Symphonic Black Metal returns with a thrilling reinterpretation of the Divine Comedy, where doubt, despair and revelation intertwine.

The brainchild of German composer, vocalist and multi-instrumentalist Tobias Püschner, founded in 2020 as a creative outlet merging Black Metal, orchestration and conceptual storytelling, Brunswick, Germany-based Symphonic Black Metal entity Daidalos (also spelled Daedalus, a legendary Athenian craftsman, inventor, and architect in Greek mythology) returns with a brilliant conceptual album, titled Dante, following up on the project’s 2022 debut The Expedition. Recorded and produced by Tobias  himself, with guitars and bass recorded by Nahuel Lozano of Mental Cruelty (who also took care of the album’s mixing and mastering), and displaying a dark, devilish artwork by Bérénice Tulliez of Noirs Dessins, Dante is a reinterpretation of the Divine Comedy, where doubt, despair and revelation intertwine. Yet the core remains the same, the search for meaning in darkness, expressed through meticulous orchestration, intense vocal delivery and the balance between aggression and melancholy that defines Daidalos. Each track represents a fragment of this descent, from the intro in the forest, through the gates of hell, to the final escape, from storm to silence, from fire to frost.

Cryptic sounds ignite the opening tune Dante, with Tobias beautifully gnarling the song’s dark lyrics (“Straying in the Darkwoods / Raging Demons frighten me / In a Forest, on a Hill / Our Poem has begun / Shadows of a Poet who has lost his Way of Life / Leading down the Underworld / Where withering Sunlight dies”), exploding into Inferno, with his blast beats being boosted by all background orchestrations and the striking riffage by Nahuel in a lecture in Symphonic Black Metal. Ashes continues with Tobias’ incandescent feast of Black and Death Metal, with his haunting keys adding an extra touch of insanity to the music, followed by Storm, and the name of the song says it all. It’s an overdose of pure adrenaline, darkness, heaviness and epicness by Tobias, with his deep guttural bringing even more fury to his already violent Black Metal. Then featuring guest vocals by Erik Püschner (most probably Tobias’ own son) we have Minos, a phantasmagorical interlude that sets the tone for King, attacking us relentlessly with his Dimmu Borgir-like vociferations and keys, always supported by the killer riffs by Nahuel.

Polish brass metal duo :wisielec: (D.Rudzinski and T.Grzyb) brings the power of the mighty gongs to another enfolding interlude Styx, whereas Gate showcases a more cinematic side by Daidalos, both warming us up for Dis, where Tobias goes absolutely mental on drums and orchestrations, generating a grandiose wall of sounds perfect for slamming inside the circle pit (of fire). Phlegethon might be the coolest of all interludes thanks to its church-like organ, flowing into the also cryptic Malebolge, which sounds like it was taken from a movie score, exploding into Euphobia, a song that sounds inspired by some of the more recent creations by Cradle of Filth while also presenting devilish lyrics roared by Tobias (“Far above your faith are laws of sinful rotten Dreams / Flowers grow on / Mirrors and their Roots consume / Suddenly: Clashing Dew, Blossoms fall to Snow / In this loveless Pleasure-fauna / Sins have grown like Thorns”). Finally, Ultimatum closes the album on an apocalyptic, hellish mode, with Tobias firing his undisputed growls, blast beats and epic keys nonstop for our total delight.

For devotees of the Symphonic and Atmospheric Black Metal, Dante undoubtedly resonates with the monumental orchestrations of Fleshgod Apocalypse, the dark theatricality of Dimmu Borgir, and the apocalyptic scope of Septicflesh, and if you want to put your hands on such an amazing album from the always exciting German underground, you can grab a copy of it from the Rockshots Records’ webstore as a CD or an LP, or simply click HERE for all digital versions available of the album. Don’t forget to also give Tobias Püschner and his Daidalos a shout on Facebook and on Instagram, staying up to date with all things Daidalos, and of course to stream his creations on Spotify or any other platform. The reinterpretation of the Divine Comedy by Daidalos turns Dante into a must-listen for fans not only of extreme music, but also of good storytelling with endless darkness, passion and despair, and if that’s an indication of the path Tobias will follow with his future releases, we can rest assured Symphonic Black Metal will remain strong for many years to come.

Best moments of the album: Inferno, Storm and Euphobia.

Worst moments of the album: Gate.

Released in 2026 Rockshots Records

Track listing
1. Dante 2:18
2. Inferno 3:42
3. Ashes 4:22
4. Storm 4:05
5. Minos 0:30
6. King 4:00
7. Styx 2:08
8. Gate 0:20
9. Dis 4:15
10. Phlegethon 1:18
11. Malebolge 0:40
12. Euphobia 4:54
13. Ultimatum 4:19

Band members
Tobias Püschner -vocals, drums, keyboards, orchestrations

Guest musicians
Nahuel Lozano – guitars, bass (session)
Erik Püschner – vocals on “Minos”
:wisielec: – gongs on “Styx”

Album Review – Primaluce / Way of Perfection (2026)

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Behold the new opus by this talented French project, inviting us into an immersive process where imperfection isn’t a failure to be corrected, but the engine that drives growth and strives to be better.

Following the release of Dark Mirrors, which was featured by Aardschok Magazine as one of the best rock and metal albums of 2025, Paris, France-based Progressive Rock/Metal project Primaluce returns with their most focused and fully realized work to date, the excellent Way Of Perfection. Written by the band’s mastermind Stefano Primaluce and recorded at Colosseum Sound Factory, the album captures a long-form artistic vision finally stepping into focus, a forward thinking human record in a time of digital overload and excess carefully brought into being by Stefano Primaluce on rhythm guitars, keyboards, backing vocals and programming alongside vocalist Falco, guitarist Andrea Rocchi, bassist Marco Adami, and drummer Michele Avella, inviting the listener into the immersive process itself, where imperfection isn’t a failure to be corrected, but the engine that drives growth and strives to be better.

Their Dream Theater vein pulses hard in The Wind Remains, with Stefano and Andrea giving a lecture in progressiveness with their refined guitar work, and the whimsical, intricate keys by Stefano match perfectly with Falco’s soaring, passionate vocals in Back Into the Blue, a fantastic aria of progressiveness. The Turning of the Circle also presents striking solos by Andrea while Michele delivers the most complex yet visceral drumming you can imagine, supported by Marco’s ruthless bass lines, followed by Countdown at Dawn, a more straightforward Progressive Rock tune with AOR elements led by Falco’s rockin’ vocals. Running Out of Yesterday showcases beautiful lyrics (“I’ve been chasing shadows on a borrowed day / Trying to outrun the words I couldn’t say / The clock keeps warning me with every turn / There’s only so much time we get to burn / But something in the night still calls my name / A spark that won’t surrender to the blame / And though the weight keeps pulling me behind / I feel a fire rising in my mind”) amidst the perfect blend of Progressive Rock and Metal, whereas in Heart of the Moment we see Stefano and Andrea deliver another entertaining “duel” of guitar and keyboard solos.

The second part of the album kicks off with the magical When the Light Returns, sounding like the score for an epic adventure movie while alternating between more progressive moments and sheer Melodic Rock; and Stefano’s Dream Theater-ish keys set the tone in Standing in My Name, while Marco and Michele keep the groove flowing in great fashion armed with their respective bass and drums. Black Static Halo is one of the most melodic of all songs. It could be played on any Rock N’ Roll station around the world, and I bet all listeners would be stunned by its quality and energy. The band continues to shine like diamonds in Echoes of Tomorrow, with Falco delivering one of his strongest vocals performances of the album for our total delight; and it’s impressive how they manage to add so many layers and nuances to their core sound without sounding too busy like in In the Tides of Time, keeping the energy flowing to the classy riffs by Stefano and Andrea. Last but certainly not least, Primaluce offer our ears one of the most electrifying songs in Way of Perfection, titled Where the Water Meets the Stone, with Falco stealing the show with his powerful vocals once again.

Balancing high-level musicianship with clarity and restraint, Way of Perfection is deliberately structured as a continuous journey, moving from heavier, more complex arrangements into quieter, introspective and emotionally open moments, with melody acting as the magnet that holds everything together. If you’re a fan of the music crafted by iconic bands the likes of Dream Theater, Rush, Toto, and Enchant, among others, you should definitely give the guys from Primaluce a shout on Facebook, and of course grab a copy of Way of Perfection from BandCamp. Primaluce are on an absolute roll with the releases of Dark Mirros last year and Way of Perfection now in 2026, and as long as they keep that momentum going in the near future, we can rest assured Progressive Rock and Metal will remain strong for our total delight.

Best moments of the album: Back Into the Blue, Running Out of Yesterday and Where the Water Meets the Stone.

Worst moments of the album: Heart of the Moment.

Released in 2026 Independent

Track listing
1. The Wind Remains 7:36
2. Back Into the Blue 7:48
3. The Turning of the Circle 7:12
4. Countdown at Dawn 5:53
5. Running Out of Yesterday 5:08
6. Heart of the Moment 4:42
7. When the Light Returns 5:02
8. Standing in My Name 6:03
9. Black Static Halo 5:18
10. Echoes of Tomorrow 4:00
11. In the Tides of Time 7:15
12. Where the Water Meets the Stone 5:50

Band members
Falco – vocals
Stefano Primaluce – rhythm guitars, keyboards, backing vocals, programming
Andrea Rocchi – lead & acoustic guitars
Marco Adami – bass
Michele Avella – drums

Album Review – Witches Coven / Soul Reaper (2026)

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This enigmatic Singaporean Doom Metal creature arises from its Stygian lair with its sophomore opus, offering a sonic journey through introspection and remembrance. 

Arising from its Stygian lair in Singapore, the enigmatic Doom Metal creature Witches Coven, the brainchild of vocalist and instrumentalist Imran Manaff (of Funeral Hearse and Splinter), is ready to darken the skies once again with its sophomore offering, entitled Soul Reaper, following up on the project’s 2022 debut World on Fire. Mixed and mastered by Rambow-Musis, Soul Reaper brings forward seven tracks of heavy, atmospheric doom, shifting focus from the fiery exploration of global unrest of the project’s 2022 debut to a narrative that is both deeply personal and universally resonant, offering a sonic journey through introspection and remembrance.

The maniacal bass by Imran kicks off the opening track Tomorrow’s Dream, soon joined by his hammering drums in the best Sludge Metal style, sounding electrifying from start to finish. Then he offers our avid ears a very melodic and gripping Stoner Metal tune titled Chasing Smoke, with his inebriate vocals adding even more gasoline to the music; and it’s pedal to the metal in the Rock N’ Roll feast titled Come Fly Away, where his riffs and solos are truly incendiary. And back to a more sluggish sonority he offers our avid ears Hollow, again blasting his raspy vocals while his beats and fills keep the song at a decent pace and vibe (despite being a bit too lengthy in the end).

Get ready to break your necks headbanging to the power of the riff crafted by Imran in October Flames, offering our putrid ears an overdose of Doom and Sludge Metal throughout its seven minutes of a descent into total madness; whereas his hammering drums are boosted by his thunderous bass lines in Intolerable Dissent, again presenting that rockin’ riff smell we all adore so much. Not only that, it’s impressive just to think it’s only one guy making all that good noise. And last but definitely not least, let’s drive through the lands of Stoner, Sludge and Doom Metal one final time with Plains of Yesterday, where all instrumental pieces exhale Rock N’ Roll, in special his fast-paced riffs and killer solos.

“I spent the last three years in a state of reflection,” commented Imran Manaff. “This album is a product of that. I wanted to create something that felt heavy, not just musically, but emotionally – like the burden of a memory you can’t shake. The title Soul Reaper isn’t about death, but about confronting those parts of our past that have shaped us, for better or worse.” Put differently, Soul Reaper promises to be a powerful addition to the genre, cementing Witches Coven’s place as a formidable force in the underground music scene, and you can join Imran Manaff on Instagram to know more about Witches Coven (as well as his other bands), stream the project’s creations on Spotify or Apple Music, and of course buy a copy of Soul Reaper from BandCamp. The second offering by Witches Coven sounds darker, heavier, more introspective and, therefore, more engaging than World on Fire, and if such a darkened path is what Imran Manaff has in mind for the future of Witches Coven, we can rest assured album number three will be even more haunting, if that’s humanly possible.

Best moments of the album: Tomorrow’s Dream, Come Fly Away and Intolerable Dissent.

Worst moments of the album: Hollow.

Released in 2026 Spy Satellite Records

Track listing
1. Tomorrow’s Dream 6:45
2. Chasing Smoke 6:30
3. Come Fly Away 3:30
4. Hollow 9:37
5. October Flames 7:07
6. Intolerable Dissent 5:07
7. Plains of Yesterday 6:03

Band members
Imran Manaff – vocals, guitars, bass, synth, drums programming