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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A celebration of the band’s 15-year career, the new album by this American Progressive Metal entity will take us on an an epic 36-minute journey blending alchemy and astronomy.
A celebration of the band’s 15-year career, and a true time capsule featuring no modern audio editing techniques like quantizing or pitch correction, Alchestronomyis the fourth studio album by Philadelphia, Pennsylvania’s own Progressive/Melodic Death Metal/Rock outfit Parius, following up on their 2022 album The Signal Heard Throughout Space. Produced by the band itself, mixed and mastered by Jamie King, and displaying a sinister artwork by Stephen Andrade, the new offering by Louis Thierry on vocals, Ryan Rauch on the guitars, Kenny Rentz on bass, and Dan Silver on drums, with the support of guest keyboardist Diego Tejeida, is an epic, 36-minute suite perfect for admirers of the music by The Black Dahlia Murder, Haken and Opeth, among many others, taking us all on a exciting and progressive journey to outer space.
The sinister keys by Diego bring a dark Deep Purple-ish touch to Alchemy, exploding into a multi-layered Progressive Death Metal tune where the guitar lines by Ryan walk hand in hand with Kenny’s rumbling bass. Unbecoming of a Gentleman is a more direct Progressive Metal tune with the harsh vocals by Louis increasing its heaviness considerably, followed by Celestial Sea, sounding as if Dream Theater decided to experiment with Death Metal elements. Moreover, Dan keeps hammering his drums manically, supported by the always killer bass by Kenny. Chrysopoeia offers an amalgamation of styles boosted by a theatrical and progressive vibe, with its riffs and keys being in absolute sync until the end; whereas Equivalent Exchange flirts with Progressive Rock at times, with the soulful guitar solo by Ryan adding extra layers of emotion to the music. Blind Eyed Starlight keeps the Progressive Metal essence of the album burning majestically, with Ryan once again stealing the show armed with his electrifying axe; and lastly we face Astronomy, sounding like a wild fusion of Dream Theater and Opeth, with the classy beats and fills by Dan bringing sheer adrenaline to their sound, therefore concluding the album in great fashion.
“An alchemist and an astronomer engaged in a battle of ideals. Each of them convinced they know what will ensure they live forever. The album is a sort of musical inkblot test that the band hopes will be cherished by prog fans and casual listeners alike, serving as both a half-hour progressive music epic, as well as seven distinct and traditionally structured songs — a progeny of works like Dream Theater’s Six Degrees of Inner Turbulence and The Mars Volta’s Cassandra Gemini,” commented the band about their new album, and if you want to know more about those talented guys you can find them on Facebook and on Instagram. Don’t forget to stream their music on Spotify, and of course, to purchase Alchestronomy by clicking HERE. Just like that famous joke starts, “an alchemist and an astronomer walk into a bar,” but of course this is no joke. This is high quality heavy music, and I’m sure we’ll hear a lot more from Parius after such a successful celebration of 15 years of existence with their excellent new album.
Seven years after the release of their excellent debut, this American Heavy and Doom Metal supergroup returns with their sophomore beast, setting the course for an even brighter future ahead of them.
Perhaps we should occasionally simply trust the Bible, as we all know it mentions – as well as a number of apocalyptic prophecies – seven years of plenty following seven years of famine. Which brings us to Silvertomb, the New York-based all-star Heavy/Doom Metal band featuring former Type O Negative and Danzig members Kenny Hickey on vocals and guitar, and Johnny Kelly on drums, and their three equally renowned bandmates Joe James (Agnostic Front) on the guitar, Hank Hell (Sheer Terror) on bass, and Aaron Joos on the guitar and keyboards. Seven years after the release of their debut Edge of Existence, the band returns with their sophomore beast entitled The Interpretation Of Nightmares, which sees them end their long hiatus, setting the course for a successful future. “Just as things were really beginning to take off for Silvertomb, our hands were suddenly tied for a number of years due to the pandemic and its long-lasting aftermath; on top of that, I had a drinking problem that urgently needed sorting out,” said Kenny Hickey, looking back at the period between 2020 and 2024.
Brain Matter / No God kicks off with a strong Black Sabbath vibe, with the vocals by Kenny and the sluggish Doom Metal beats by Johnny darkening the skies beautifully, always showcasing the power of the mighty riff. Then after the cryptic and atmospheric interlude Ascension we face an overdose of Doom Metal magic in the form of Graves in the Sky, again blending delicate sounds with the heaviness of sheer doom, while the electric and acoustic guitars by Kenny, Joe and Aaron are truly embracing; followed by You Know, which, despite the soulful sounds emanating form their guitars, is a lengthy interlude that could have been more dynamic.
What starts in a serene way to the whimsical keys by Aaron evolves into a massive beast of Doom Metal titled Prayer for the Paranoid, led by the anguished vocals by Kenny, again inspired by the one and only Black Sabbath; and Distorted follows a similar pattern as its predecessor, sounding gloomy form start to finish, with Hank bringing darkness and groove to their sound armed with his heavy bass. No Way to Live is perhaps the heaviest of all songs in the album, where Kenny is once again insane on vocals supported by the thunderous kitchen by Hank and Johnny while their guitars keep breathing fire in our faces; before we’re treated to When Will You Learn?, a dark and pensive ballad by the band that puts a Stygian ending to the album, showcasing another excellent vocal performance by Kenny.
Showcasing haunting and inspiring songs, and autobiographical lyrics from the most difficult period in Kenny Hickey’s life, The Interpretation Of Nightmares is definitely a must listen for admirers of the fusion of Heavy and Doom Metal. “Even more so than on our debut, The Interpretation Of Nightmares blends the atmosphere of Pink Floyd’s The Wall with the raw heaviness of Black Sabbath’s first album and the psychedelic hues of T. Rex,” explains Kenny, who chose Swiss-British artist Johann Heinrich Füssli’s famous oil painting The Nightmare from 1781 as an inspiration for the cover artwork, courtesy of Chad Hammett. Having said all that, you can find those talented musicians on Facebook and on Instagram, stream their music on Spotify, and of course purchase the album from several locations like their own Bandcamp. Although the excellent The Interpretation Of Nightmares is already their second release, it’s also just the beginning of a new chapter in their career, and we can rest assured while bands like Silvertomb keep delivering high quality music like what’s in their new album, our good old Rock N’ Roll will never die.
Best moments of the album:Brain Matter / No God, Prayer for the Paranoid and No Way to Live.
Worst moments of the album:You Know.
Released in 2026 Steamhammer
Track listing 1. Brain Matter / No God 3:24
2. Ascension 0:57
3. Graves in the Sky 5:13
4. You Know 3:25
5. Prayer for the Paranoid 4:32
6. Distorted 4:46
7. No Way to Live 5:06
8. When Will You Learn? 5:27
Band members Kenny Hickey – vocals, guitar
Joe James – guitar
Aaron Joos – guitar, keyboards
Hank Hell – bass
Johnny Kelly – drums
One of Czechia’s most brutal creature returns with a new scorching album, where each song represents a unique horror story inspired by classic authors.
Continuing to evolve with each album since their inception 25 years ago, Karlovy Vary, Czechia-based Brutal Death Metal/Deathcore stalwarts Cutterred Flesh are back in action with their seventh studio effort, titled The Shapes of Hidden Malice, the follow-up to their critically acclaimed albums Sharing Is Caring (2021) and Love at First Bite (2024). Showcasing a striking artwork by the always phenomenal Eliran Kantor, the new album by Jirka Krš on vocals, Martin Meyer and Vitalij Novák on the guitars, Ondrej Klaban on bass and Jakub Bayer on drums sees the band trim the progressive fat from their previous albums to become more vibrant and slick, resulting in a more fluid and cohesive sound. Not only that, each song represents a unique horror story inspired by classic authors, or in the band’s words, “they dissect the mechanisms of fear and translate them into sound.”
After a sinister start, all hell breaks loose in The Mad Farmstead, with the dark vociferations by Jirka transpiring insanity, accompanied by the massive beats and fills by Jakub, followed by Le Horla, offering a ruthless display of Death Metal a la Cannibal Corpse, with Ondrej’s bass hammering our cranial skulls mercilessly. It’s then time for Martin and Vitalij to deliver a wild fusion of violence and progressiveness through their axes in The King in Yellow, supported by the always demonic beats and fills by Jakub, while The Willows is another no shenanigans, in your face overdose of heaviness by those Czech metallers, with the visceral roars by Jirka sounding truly haunting. And their Technical Death Metal vein arises in Mimi-Nashi-Hōichi, again presenting a killer riff attack by the band’s guitar duo.
Then featuring Hana Hajdová (from Silent Stream of Godless Elegy) on guest vocals, The Feather Pillow brings forward the band’s Deathcore side, with its breakdowns sounding as obscure as they’re evil and harsh, whereas The Letter U presents another solid guitar work by Martin and Vitalij. It offers a good display of brutality, albeit falling flat after a while. They attack in the best Brutal Death Metal and Deathcore style with The Painted Skin, with Jakub sounding like a stone crusher out of control, killing everything and everyone who dares to cross his path; and the band’s guitar duo shows no mercy for their axes (and for our souls) in The Colour Out of Space, firing strident riffs and solos perfect for the demonic guttural by Jirka. Last but certainly not least, there’s time for one final onrush of bestiality named Berenice, showcasing the once again razor-edged, flammable riffage by Martin and Vitalij.
In summary, the breathtaking The Shapes of Hidden Malice is Cutterred Flesh’s most ambitious album to date, representing a fresh outlook and a visceral approach perfect for admirers of the caustic music by renowned acts the likes of Aborted, Cattle Decapitation, Benighted, Devourment, and Enragement, among several others, and you can get in touch with the guys from Cutterred Flesh via Facebook and Instagram, stream their sick discography on any platform like Spotify, and purchase their scorching new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store (or click HERE for all things Cutterred Flesh). Those guys are out for blood once again armed with their scathing new album, and once they have you in sight, there’s no escape from their grasp.
Best moments of the album:Le Horla, Mimi-Nashi-Hōichi and The Painted Skin.
Worst moments of the album:The Letter U.
Released in 2026 Transcending Obscurity Records
Track listing 1. The Mad Farmstead 3:18
2. Le Horla 3:30
3. The King in Yellow 3:15
4. The Willows 3:07
5. Mimi-Nashi-Hōichi 3:23
6. The Feather Pillow 3:51
7. The Letter U 3:15
8. The Painted Skin 3:34
9. The Colour Out of Space 3:12
10. Berenice 3:22
Band members Jirka Krš – vocals
Martin Meyer – guitars
Vitalij Novák – guitars
Ondrej Klaban – bass
Jakub Bayer – drums
Guest musician
Hana Hajdová – vocals on “The Feather Pillow”
Behold the sophomore opus by this Mystic Metal entity, a concept album telling the story of a nature-loving woman with magical abilities who fights for the greater good, yet a patriarchal society stigmatizes her and burns her alive.
Rebellion and darkness speak from the heart of German Progressive/Melodic Death/Black Metal Crescendium, the brainchild of frontwoman and composer Elena Cor Tauri. Under the flagship of Mystic Metal, the project sails through the abysses of the human soul to guide it into the light. Now in 2026 a mystical fog is settling over the metal world, and Crescendium is at its heart with the release of their sophomore opus DRAC (a word for “dragon,” formed from the song titles, which blend English, German, and Latin lyrics), following on their 2023 debut Within. Recorded by the band itself, and mixed and mastered by the band’s own Nikke Kuki at Collapsed Sanity Productions, the new offering by Elena Cor Tauri on vocals and guitars, and Nikke Kuki on bass and drums is a concept album set against the backdrop of collective wounds from the past, telling the story of a nature-loving woman with magical abilities who fights for the greater good; yet a patriarchal society stigmatizes her and burns her alive. This brutal fairy tale comes to an end with her transformation into a demon, no longer part of society, but free.
The imposing, almost apocalyptic intro Prologue: As Within, So Without darkens the skies and prepares the stage for Elena and Nikke to consume our souls in Dämmerlicht, weaving in quotes from the Malleus Maleficarum, the grotesque 15th century compendium of rules that was responsible for numerous witch burnings. Martin (aka ChaoZ, frontman for Black Metal band Verderbnis) appears as a dogmatic priest and guest vocalist, while Nikke’s rumbling bass and drums offer Elena everything she needs to roar like a true witch. Ravish My Flesh, Soil My Namecarries a beyond poetic name for a hard hitting blend of Melodic Death Metal with Black Metal elements, with Elena’s roars and riffs sounding utterly demonic. Then an epic intro morphs into another blackened feast titled Anderswelt, with both Elena and Nikke blasting their sonic weapons nonstop supported by the song’s awesome choir-like background; whereas Chandra keeps their fire and insanity flowing, offering another ruthless performance by Nikke on drums, while Elena vociferates like a demented she-demon until the very end. and lastly, Epilogue: As The Universe, So The Soul is a calm and soothing creation by Elena, with her serene vocals and delicate piano bringing peace to our damned hearts.
How is the medieval witch hunt connected to women’s lives in today’s society? The answer to that question can be found in the excellent DRAC, which can be purchased from BandCamp or by clicking HERE. In contrast to a digital world where everything is frantic and overwhelming, the music in DRAC invites listeners to delve into their own shadows and transports them into a melancholic experience, with its mystical sounds telling of spiritual journeys, the eternal cycle of life and death, and the struggle against oppression. Don’t forget you can also find more information about Crescendium on Facebook and on Instagram, and stream their scorching music on any platform such as Spotify. DRAC is a reflection on forced exclusion and breaking free from a corrupt system. Night falls on dragon’s wings, and the unspeakable reveals itself in a musical crescendo of Black and Death Metal magic, courtesy of one of the must-see names of the current German extreme music scene.
Best moments of the album:Ravish My Flesh, Soil My Name and Anderswelt.
Worst moments of the album: None.
Released in 2026 Independent
Track listing 1. Prologue: As Within, So Without 2:33
2. Dämmerlicht 7:27
3. Ravish My Flesh, Soil My Name 6:22
4. Anderswelt 7:20
5. Chandra 7:20
6. Epilogue: As The Universe, So The Soul 5:29
Band members Elena Cor Tauri – vocals, guitars
Nikke Kuki – bass, drums
A highly enigmatic, underground Avantgarde and Dissonant Black Metal collective attacks with its first emission, creating a soundtrack of utter horror and consequence.
Under the Madonna Moved by the Serpent Held by the Axis
A highly enigmatic, underground Avantgarde/Dissonant Black Metal project, Malignant Spirit is a collective created by musicians within the ranks of Venomous Echoes, Sleep Paralysis and Veilburner, characterized by a strong theatrical imprint developed on multiple artistic levels. Together, they are the “Wardens of the Triarchy,” and because the band intentionally maintains deep anonymity, their exact geographic origin remains undisclosed to the public. The Obituist is the curator, he who speaks and the recorder of that which transpires; he does not sing, but documents the end of things as they occur. Ossiculum is the architect who builds from what is left behind. He is Coagula: From what survives, it builds something that cannot forget what it once was. Last but not least, Oxydyz’r is he who transforms through the processes of horror and dissolution. He is Solve: Where form persists, it intervenes; where structure resists, it erodes. A Serpent To Devour, A Servant To Abhor is the collective’s first emission, a monumental work in which Malignant Spirit operate within Extreme Metal without leaning into any genre labels, trying to create a soundtrack of utter horror and consequence perfect for fans of the scathing music blasted by Portal, Thantifaxath, Choir, and Mayhem.
Such a distinguished album couldn’t have started in a more phantasmagorical way than with the cryptic intro Nulla Via, O’ Nisi Vulnus, flowing into the demented, hypnotizing whirlwind of sounds named To Bruise The Heel Of Malkuth, where its visceral riffs and haunting background will consume our souls mercilessly. The Inheritance Of Her Ruin is another bestial creation by this uncanny entity, where their evil vociferations do not sound like they’re from this dimension; followed by This Is The Mystery Of The Blood Madonna, even more dissonant and demented than its predecessors, boosted by their infernal beats and fills. And O’ Exile, Spirit Me Away is extremely experimental and visceral form start to finish, as if the band decided to turn their music into a ritual of sounds.
In Wail! Wail! O’ Betrayal, Wail!, half of the song is way too weird, while the second part gets back to their hurricane of infernal riffs and vociferations in the name of extreme music; whereas A Serpent To Devour follows the same unique pattern as its predecessor, although it never flows into their trademark Black Metal madness and remains way too atmospheric almost until the end. In A Servant To Abhor we’re treated to an amazing job done by those eccentric creatures of the underworld on both the guitars and drums, crafting an enfolding and obscure ambience not recommended for the lighthearted; and lastly, your soul will be shredded to pieces to the sound of the 11-minute black mass titled …Is To Crown The Wound That Will Never Heal, where their evil gnarls and scathing guitars are complemented by wicked background keys for our total delectation, and all that chaotic beauty morphs into a dark piano outro that sounds climatic and punishing.
Wrapped in an evocative cover by Roberto Diaz, A Serpent to Devour, A Servant to Abhor, which can be purchased from BandCamp or from the Metal Odissey webstore in the EU and in the US, is an anxiety invoked hellscape built atop the Trees of Life and Death at a time when the infinite tried to become finite. It is in a place where movement was forced to stop, but pressure continued to remain. Even if every now and then the music coalesces around particularly catchy riffs, bizarre arrangements and unexpected rhythmic solutions, A Serpent To Devour, A Servant To Abhor is an alchemical nightmare that plunges the listener into the horror of a boundless, invincible chaos. Having said all that, do you have what it takes to face such an uncanny entity armed with its asphyxiating, devilish and dissonant debut offering?
Best moments of the album:To Bruise The Heel Of Malkuth…, This Is The Mystery Of The Blood Madonna and …Is To Crown The Wound That Will Never Heal.
Worst moments of the album:A Serpent To Devour.
Released in 2026 I, Voidhanger Records
Track listing 1. Nulla Via, O’ Nisi Vulnus 2:55
2. To Bruise The Heel Of Malkuth… 6:52
3. The Inheritance Of Her Ruin 5:27
4. This Is The Mystery Of The Blood Madonna 6:28
5. O’ Exile, Spirit Me Away 4:57
6. Wail! Wail! O’ Betrayal, Wail! 6:27
7. A Serpent To Devour 6:56
8. A Servant To Abhor 7:37
9. …Is To Crown The Wound That Will Never Heal 10:58
Band members Oxydyz’r, he who destroys and alters
Ossiculum, he who rebuilds from the remains
The Obituist, he who records the result as truth
Thursday night I headed to the The Danforth Music Hall to take in GEOFF TATE performing the classic album Operation: Mindcrime in its entirety during his Geoff Tate’s Operation: Mindcrime – The Final Chapter tour. Now, maybe before I get into that I should introduce myself. I’m Blair, retired musician turned photographer and blogger voice for the Toronto metal underground. Over the last couple months you’ve gotten to know me here as the guy behind the camera supporting Gustavo as he reviews shows. For this outing I went on my own, camera in hand, to take in a night from one of my musical heroes and to share my own thoughts on the night. I can’t state enough how much Mindcrime means to me personally. It easily sits in my personal top 5 all-time most influential albums, and solidly secured Tate’s spot on my Mount Rushmore of metal vocalists. So to say I was having a bit of a fanboy moment while sitting in the photo pit would be an understatement. This was a true bucketlist outing, and to be clear from the start, it delivered everything I hoped it would.
The night was opened up by Irish Folk/Pop artist JAMES KEEGAN. This young man at the ripe old age of 22 has already spent 2 years on the road with Geoff Tate, clearly getting the sort of career launch that most can only dream of. He was brilliant. It seemed a strange fit having an acoustic artist open the night, but the crowd responded well… most of it anyway. There were a few hecklers, which James handled masterfully. When someone kept yelling “where are you from”, his off-the-cuff “didn’t the accent and green shirt give you a hint” had everyone laughing. For the record he’s from County Cork in the south of Ireland. He could also have been a comedian the way he worked the room. His set was 6 songs long, 5 of which were supported by a band that included 2 members of Tate’s lineup and a drummer that was used as a punchline during introductions as the only non-European person on the stage. This gave him the big sound this audience expected from an opener at a show like this. To me though, the standout moment was his closer Santiago. The band left the stage. He walked away from the mic and unplugged his guitar. He performed it with the raw acoustics of the room carrying his voice and filled the space on his own. Powerful moment to close the set.
Setlist Crazy Love
Out til Late
Take Me Away
Run (Snow Patrol cover)
Feeling Grey
Santiago
Band members James Keegan – lead vocals, acoustic guitar
James Brown – guitar
Jack Ross – bass
Colin Frecknall – drums
The show began with the band, minus GEOFF TATE, coming out to play through Anarchy-X before the man himself would join for Revolution Calling. In that moment he instantly owned the room. His presence on stage was massive, and pulled the crowd to their feet with a thunderous ovation. Mindcrime would play out in front of us for the next hour. The man’s vocal power is still unmistakable at 67 years old. This is a masterclass in how to handle difficult material as your voice changes with time. We all hung on his every word and gesture.
The band he assembled was perfect. Not just in musical chops, because clearly he’d hire people with chops, but as complete performers. These folks were charismatic and engaging in their own way. They truly helped carry a show that didn’t rely on big stage sets or massive light shows. This performance felt massive because the people performing it made it larger than life. They worked with each other, they fist-bumped fans, they were clearly having a blast playing music that they likely grew up with too. Kelli McCloud joining at points in the evening in the role of Sister Mary was powerful. This lady has some serious pipes, and held her spot on stage like a Shakespearean actor.
He could have sent the crowd home happy with the Mindcrime performance, but that was far from the end of this 1 hour and 45 minute marathon set. When the last notes of Eyes of a Stranger faded, he’d then pivot to material from his recent solo release, Operation: Mindcrime III, and some greatest hits cuts from the Queensrÿche run. We’d see more ‘Sister Mary’ here, and if anything her performance during Do You Still Believe? during the encore was more poignant than during the core Mindcrime set. The night would end with Queen of the Reich and one last thunderous ovation. The band then took time to shake hands and such with everyone down front in a true show of class at the end of this powerful performance.
Setlist Part 1: Operation: Mindcrime I Remember Now
Anarchy-X
Revolution Calling
Operation: Mindcrime
Speak
Spreading the Disease
The Mission
Suite Sister Mary
The Needle Lies
Electric Requiem
Breaking the Silence
I Don’t Believe in Love
Waiting for 22
My Empty Room
Eyes of a Stranger
Part 2: Retrospective
The Answer
Empire
Jet City Woman
Take Hold of the Flame
Encore:
Do You Still Believe?
Silent Lucidity
Queen of the Reich
Band members Geoff Tate – lead vocals
Dario Parente – lead guitar
James Brown – lead & rhythm guitar
Jack Ross – bass
Bruno Sa – lead keyboards, synthesizers
Kelli McCloud – keyboards, acoustic guitar, lead vocals as “Sister Mary”
Robert “Baker” – drums
This one-man Atmospheric Black Metal from the UK is back with a stunning three-track EP, inspired by three Edgar Allen Poe stories which reference ancient Egypt.
Having grown and evolved since its inception in 2019 from one man’s will to create Atmospheric Black Metal inspired by the works of Edgar Allen Poe into an increasingly ambitious studio project, Bristol, UK’s own entity Sepulchre by the Sea, the brainchild of vocalist and multi-instrumentalist Ashley Shannon, returns to its tried and tested mix of Atmospheric Black Metal, Shoegaze and Doom Metal, which has amassed a loyal following during its tenure, with a new three-track EP titled Goldseeker, following on the project’s previous efforts ...and So it Crumbles (2019), Conqueror Worm (2020), Ratiocinations (2021), and Seven Chambers (2024). Spanning over 27 minutes of dark and intense music, Goldseeker is inspired by the Edgar Allen Poe stories “Some Words with a Mummy,” “The Gold Bug” and ‘Ligeia,” all stories which reference ancient Egypt, beautifully translating the mysteries of the original stories into the extreme music played by Ashley and his Sepulchre by the Sea.
Ashley begins his trademark Atmospheric Black Metal attack with Blood of the Scarabeus, where his scorching riffs and blast beats give the song a stronger old school Black Metal vibe, not to mention his demonic gnarls and the song’s ethereal passages sound epic; while the title-track Goldseeker offers a striking fusion of Melodic and Atmospheric Black Metal, with Ashley extracting sheer agony, melancholy and pain from his harmonious guitar lines for our absolute delectation. And finally, Visions of Ligeia starts in a more introspective way to the doom-laden bass lines by Ashley, evolving into another modern-day beast of Atmospheric Black Metal where Ashly bursts his lungs screaming until the song’s dark finale to the sound of the bass and saxophone, putting a solid and climatic ending to the album.
With Goldseeker, Ashely once again managed to remain fresh, interesting and captivating even in a beyond saturated sea of Atmospheric Black Metal bands from all over the world, proving he still has a lot of fuel to burn in the coming years with his unique fusion of heavy music with the intoxicating stories crafted by the one and only Edgar Allen Poe. You can find more details about Sepulchre by the Sea on Facebook and on Instagram, stream his growing discography on any platform such as Spotify, and above all that, show Ashley your support and admiration for the darkest side of music by purchasing the EP from BandCamp. Ashley and his Sepulchre by the Sea never disappoint, and after such a thrilling EP I can’t wait to see what’s next for the “Edgar Allan Poe” of extreme music.
Best moments of the album:Blood of the Scarabeus.
Worst moments of the album: None.
Released in 2026 Anthrazit Records
Track listing 1. Blood of the Scarabeus 9:43
2.Goldseeker 6:48
3. Visions of Ligeia 11:34
Band members Ashley Shannon – vocals, all instruments
Denmark’s own Death and Doom Metal witches return from the grave with their third opus, serving as both the atmospheric journey into the darkest depths of the soul and the guide out of the abyss.
Fiercely sinister and heavy as ever, Copenhagen, Denmark’s own Death/Doom Metal witches Konvent return from the grave with their third album, titled Firesky, following up on their critically acclaimed 2020 debut Puritan Masochism, and their scorching 2022 sophomore beast Call Down the Sun. Produced and recorded by Jacob Bredahl at Antfarm Studios, mixed by Jacob Bredahl at Dead Rat Studio, mastered by Brad Boatright at Audiosiege, and displaying a devilish artwork by the witch Nona Limmen, the new offering by Rikke Emilie List on vocals, Amira Liv Hernan on the guitars, Heidi Withington Brink on bass, and Julie Simonsen on drums is their bravest album yet. Constructed carefully, the record serves as both the atmospheric journey into the darkest depths of the soul and the guide out of the abyss. The Danish band goes to great lengths – literally and figuratively – to reshape the strong footprint they have already left in the scene. Five songs is all it takes the four-piece this time around to prove how incomparably weighty their sonic soundscapes can be, expanding on their influences and experiments significantly with Black Metal.
Exorcise is utterly heavy, dark and gloomy form the very first second, with Julie dictating the song’s lugubrious pace while Rikke delivers her deep, visceral roars nonstop for our absolute delight, with Amira’s Black Metal riffs also sounding haunting. Then we face Scorning, offering us all over nine minutes of sheer Doom Metal, also presenting delicate moments amidst the trademark heaviness blasted by the quartet, not to mention Amira and Heidi sound scorching armed with their axes. There’s nothing better than 11 minutes of undisputed, visceral doom like what they have to offer in In the Unknown, again presenting Rikke’s venomous gnarls supported by another overdose of scathing riffs by Amira while the amazing Julie keeps hammering her drums mercilessly, growing in intensity and darkness until its climatic, crushing and suffocating finale. Firesky, featuring guest vocals by Mai Soon Young Øvlisen (a Danish-Korean musician, composer, and vocalist for Experimental Post-Rock band Meejah), is absolutely melancholic and delicate yet still obscure and cryptic, with their vocals, guitars, bass and drums representing the epitome of modern-day Atmospheric Doom Metal, flowing into the touching, grim outro Postludium, putting a beyond embracing and emotional ending to the album.
“After four years, we are finally ready to release our third album, Firesky, as our most ambitious album yet. On this album we have experimented more with black metal, as it is a genre we are all very inspired by. Lyrically it has been impossible for us to ignore the political state of the world, and we have found it imperative to comment on the active decisions to withdraw basic human rights for women and LGBTQ people. Firesky is a screaming desire to burn everything down and to create a more solidary and empathic world,” commented the band, and you can start following those witches of doom on Facebook and Instagram, stream their music on Spotify, and put your blood-soaked hands on Firesky via BandCamp, via Napalm Records, or by clicking HERE. As aforementioned, get ready for an atmospheric journey into the darkest depths of the soul to the sound of the incendiary new opus by Konvent, and then arising from the abyss to the sheer power of their Doom Metal magic.
Best moments of the album:Exorcise, In the Unknown and Firesky.
Worst moments of the album: None.
Released in 2026 Napalm Records
Track listing 1. Exorcise 8:59
2. Scorning 9:20
3. In the Unknown 11:57
4. Firesky 7:53
5. Postludium 2:56
Band members Rikke Emilie List – vocals
Amira Liv Hernan – guitars, backing vocals
Heidi Withington Brink – bass
Julie Simonsen – drums
Guest musician
Mai Soon Young Øvlisen – vocals on “Firesky”
After a decade since the release of their critically acclaimed debut album, this Swedish Melodic Death and Black Metal horde returns with their incendiary sophomore opus.
After a decade since the release of their critically acclaimed debut album Seraphical Euphony, Stockholm, Sweden-based Melodic Black/Death Metal band Hyperionis back in action with their sophomore opus, titled Elysia. Recorded between 2020 and 2023 at Wing Studios, Studio Forlorn Halls and in various private locations, mixed and mastered by Sverker Widgren between 2023 and 2024 at Wing Studios, and showcasing a sinister artwork by the always great Khaos Diktator Design, the new album by Erik Molnar on the guitars, synthesizer programming and spoken words, Joel Hagroth on the guitars and spoken words, Mikael Malm on the guitars, Raul Vicente on bass, and Mauritz Flodin on drums and orchestrations offers a barrage of guitars and symphonies of a kind that is rarely seen, but great care has been taken to make them complement each other and draw you in to discover more the deeper you get.
The beyond atmospheric and cinematic intro Rapturous Overture sets the stage for Hyperion to crush our souls in Nefarious Sacrament of the Immorals, featuring guest Johan Nephente on vocals, kicking things off with endless fury to the blast beats by Mauritz and the scathing riffage by Erik, Joel and Mikael. Fides Novem, featuring guest vocalist Elias Lyxell, keeps their Black Metal magic burning to the killer riffs and solos by the band’s guitar triumvirate, followed by Iliou Persis, with the one and only Atterigner on vocals, not to mention the battle choir brings an overdose of epicness to the music, as well as Mauritz’s infernal drums. And Paraphrosynia, featuring Karin Eriksson on vocals, brings forward 12 minutes of absolute chaos and insanity, with Karin’s vocals reminding me of old school creations by Cradle of Filth, with all guitars, bass, keys and drums sounding stunning until the very end.
Then investing in an even more demented sonority we have Perennial Transcendence, with all grim vociferations matching perfectly with the thunderous kitchen by Raul and Mauritz; and after the acoustic interlude Vigil of Longing we face the second longest song of the album, titled Epic of Tribulation, starting in a phantasmagorical manner before morphing into a grandiose Symphonic Black Metal aria led by Mauritz’s crushing drums. Furthermore, the despair and obscurity flowing from all vocals is stunning. Epoch’s Eventide also alternates between darker, doom-ish moments and the sheer aggression of Black Metal, with the synths by Erik bringing an extra kick to the overall result, before we face The Primordial Wellspring, where despite its climatic vibe, it doesn’t know if it’s a ballad, an acoustic song or a classic Symphonic Black Metal tune.
“Elysia is an explosion of intensity in all kinds of directions. To call it an ambitious album would be an understatement. Hyperion never creates music with half measures and this is the ultimate statement of that. It is different from Seraphical Euphony, but still contains the vital elements that make us what we are. To make this album a reality has been a titanic effort and we are beyond excited to finally have it released to the world,” commented the band about their incendiary newborn spawn, and if you want to know more about such a talented horde hailing from Sweden you can find those guys on Facebook and on Instagram, stream their caustic music on any platform such as Spotify, and of course, above all that, show them your total support and admiration by purchasing their new album from their own BandCamp, as well as from the Willowtip Records’ BandCamp. This is Swedish Melodic Death and Black Metal at its finest, and let’s hope it doesn’t take another ten years for Hyperion to kick our asses once again with a new album just as great as Elysia.
Best moments of the album:Nefarious Sacrament of the Immorals, Paraphrosynia and Epic of Tribulation.
Worst moments of the album:The Primordial Wellspring.
Released in 2026 Willowtip Records
Track listing 1. Rapturous Overture 2:41
2. Nefarious Sacrament of the Immorals 6:52
3. Fides Novem 8:52
4. Iliou Persis 6:39
5. Paraphrosynia 12:41
6. Perennial Transcendence 6:52
7. Vigil of Longing 1:20
8. Epic of Tribulation 10:58
9. Epoch’s Eventide 9:18
10. The Primordial Wellspring 7:22
Band members Erik Molnar – guitars, synthesizer programming, spoken words
Joel Hagroth – guitars, spoken words
Mikael Malm – guitars
Raul Vicente – bass
Mauritz Flodin – drums, orchestrations
Guest musicians
Johan Nephente – vocals on “Nefarious Sacrament of the Immorals”
Elias Lyxell – vocals on “Fides Novem”
Atterigner – vocals on “Iliou Persis”
Karin Eriksson – vocals on “Paraphrosynia”
Erik Molnar, Joel Hagroth, Mikael Malm, Mortuz Denatus, Johan Camling & Henrik Edman – battle choir on “Iliou Persis”
Behold the crushing debut EP by this American horde, showcasing a band that’s intimately familiar with the essential essence of absolute brutality.
There was no reason beyond the satisfaction derived from the impact of steel on flesh and bone. That’s the feeling of what United States-based Brutal Death Metal newcomers Violence Only have to offer in their debut self-titled EP, a beast of a release that delivers exactly what the band have always promised it would. No gimmicks, no trends, no compromises, just pure Brutal Death Metal. Mixed and mastered by Jeremiah Tuck, and displaying a gory artwork by Rudi Yanto, the debut by frontman Braxton Keyser, guitarist Andrew Mathews, bassist Mark Chandler, and drummer Rene Martinez showcases a band that’s intimately familiar with the essential essence of absolute brutality, being therefore highly recommended for fans of Stabbing, Between The Killings, Devangelic, and Brodequin, among several other torchbearers of pure violence.
There isn’t a single second of peace or hope in Strong Arm Beatdown, already smashing our cranial skulls with the demented growls by Braxton while Rene simply hammers his drums nonstop, followed by Facial Deconstruction, a charming and friendly title for a Brutal Death Metal song, with the riffage by Andrew transpiring evil and fury while Braxton fires his trademark BREEEEEEEs. Warm Dissection continues with the band’s sonic assault, with Andrew and Mark once again pounding their axes in the name of brutality, whereas Victimized And Laughing is perhaps the most infernal of all five tracks, with the screeches and roars by Braxton sounding inhumane supported by the demented instrumental by his bandmates. And finally, Hatred For Humanity closes the EP on a high and violent mode, with Rene once again stealing the show with hi cadaverous beats and fills.
Featuring members of Between The Killings, Stabbing, Flesh Hoarder, Horrific Visions, Embodied Torment and Enfrenzied, taking elements from all the band members’ previous experiences and binding them in barbed wire creativity, Violence Only have captured something new, something wild yet tightly controlled, a pulverizing paradox with skull shattering impact in their debut EP, waging war on our so-called civilized society. You can find more information about the band on Facebook and on Instagram, stream their music on any platform like Spotify, and of course, put your blood soaked hands on their debut EP from Comatose Music’s BandCamp or webstore. But remember, no artificial elements nor any sign of peace or hope are accepted in this case. It’s violence, and violence only.
Best moments of the album:Facial Deconstruction and Victimized And Laughing.
Worst moments of the album: None.
Released in 2026 Comatose Music
Track listing 1. Strong Arm Beatdown 3:13
2. Facial Deconstruction 3:31
3. Warm Dissection 3:15
4. Victimized And Laughing 2:51
5. Hatred For Humanity 3:14
Band members Braxton Keyser – vocals
Andrew Mathews – guitars
Mark Chandler – bass
Rene Martinez – drums
Attention, metalheads!
