It’s time to rumble with THE HEADBANGING MOOSE SHOW every Thursday @ 20:00 UTC+2 (with a reprise on Saturdays @ 19:00 UTC+2) exclusively at Midnight Madness Metal e-Radio, your Greece-based web radio blasting the best of heavy music nonstop 24/7!
Presented by Gustavo Scuderi, The Headbanging Moose Show will bring to you the cream of underground metal music, giving you a short and sweet background on every band played on the show. No silly jokes, no shenanigans… THIS IS PURE F****N’ METAL!
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Brazil’s own death and doom creature returns with its sophomore beast, a summoning of despair that drags the listener into a chasm where brutality and anguish entwine.
Emerging once again from the abyssal depths of the underground, São Paulo, Brazil-based Death/Doom Metal creature Fossilization returns with their sophomore opus entitled Advent of Wounds, a work of sheer ferocity and oppressive gloom, following up on their critically acclaimed 2023 debut Leprous Daylight. Produced by the band’s own vocalist, guitarist and bassist V. (aka Thiago “Vakka” Oliveira of Sludge/Death/Doom Metal band Jupiterian) and guitarist Z. (aka Fernando “Zozi” da Silveira of Thrash Metal band Blackning), engineered by Marcos Cerutti at Hellspass Studio, mixed and mastered by Gabriele Gramaglia at Crepuscular Sound Studio, featuring guest musician F. on drums, and displaying a cadaverous artwork by Chinese artist Guang Yang, Advent of Wounds is a relentless onslaught where its frantic and inexorable rhythms hammer with suffocating intensity, while riffs coil like sepulchral invocations in a maelstrom of death, doom, and blackened chaos highly recommended for fans of Dead Congregation, Krypts, Spectral Voice, and Antaeus.
Cremation of a Seraph already kicks off like a bulldozer, demolishing everything and everyone that dares to cross their path, with V.’s abyssal, deep guttural matching perfectly with the infernal drums by F., whereas Disentombed and Reassembled by the Ages is just as demonic and devastating as the opening tune, an overdose of Doom Metal-infused death madness where V. and Z. deliver the most scathing riffs imaginable. Scalded by His Sacred Halo, featuring guest vocalist Justin Stubbs, portrays a very poetic name for another ruthless aria of darkness by Fossilization where F. once again hammers his drums like there’s no tomorrow; followed by Terrestrial Mold, the sonic representation of total Armageddon, or a top-of-the-line Death and Doom Metal beast where V. vociferates like a creature from the netherworld. Then in Servo a Stygian start gradually morphs into a rumbling sonority not recommended for the faint at heart, while While the Light Lasts offers an even stronger Doom Metal vibe, as dark as the night, with the riffs by V. and Z. being boosted by the pounding drums by F. Lastly, Temple of Flies and Moss might be the shortest of all songs, but its incandescent violence makes it look like a true giant, ending the album on the most obscure note you can think of.
“From the start, my goal was to make an album even more brutal than Leprous Daylight, from sheer death metal brutality to the miserable melancholy of the doom-laden spirit of early Anathema, Paradise Lost, and early Katatonia. You can also hear many of black metal influences across the record, the opening riff of ‘Disentombed and Reassembled by the Ages’ is a direct nod to one of my all-time favorite bands, Antaeus,” commented V., and you can get in touch with him and his Fossilization via Facebook and Instagram, stream their obscure music on any platform such as Spotify, and of course purchase Advent of Wounds via mailorder or from BandCamp. Bleak, crushing and claustrophobic, Advent of Wounds is a summoning of despair that drags the listener into a chasm where brutality and anguish entwine. A suffocating testament to extremity that confirms Fossilization as one of the most formidable forces in contemporary Death and Doom Metal.
Best moments of the album:Cremation of a Seraph, Terrestrial Mold and Temple of Flies and Moss.
Worst moments of the album: None.
Released in 2026 Everlasting Spew Records
Track listing 1. Cremation of a Seraph 5:11
2. Disentombed and Reassembled by the Ages 5:34
3. Scalded by His Sacred Halo 4:20
4. Terrestrial Mold 5:51
5. Servo 5:08
6. While the Light Lasts 5:52
7. Temple of Flies and Moss 3:57
Band members V. – vocals, guitars, bass
Z. – guitars
Guest musicians
F. – drums (session)
Justin Stubbs – vocals on “Scalded By His Sacred Halo”
This Chilean unrelenting outfit offers in their third album a true Book of Death forged in sound, channeling the death drive into a relentless exploration of human rituals, mortality, and cultural collapse.
Expanding their fierce Chilean/American identity, channeling the death drive (Thanatos) into a relentless exploration of human rituals, mortality, and cultural collapse – a true Book of Death forged in sound – Santiago, Chile and Boston, Massachusetts-based Progressive/Technical Death/Thrash Metal beast Overtoun returns in full force with their third offering, entitled Death Drive Anthropology, the follow-up to their 2021 sophomore This Darkness Feels Alive. Recorded at Estudio del Sur, and produced, engineered, mixed and mastered by Martín Furia at Somma Productions, the new album by Yoav Ruiz-Feingold on vocals, Matias Bahamondes on the guitar, Matias Salas on bass, and Agustin Lobo on drums further cements the band as one of the most compelling and forward-thinking forces emerging from the Latin American metal landscape. Rooted in the primal force of 90’s death-thrash yet sharpened by a modern, incisive edge, the album fuses Latin rhythms, folk-tinged guitars, and razor-tight riffs, being therefore a must-listen for admirers of the music by Carcass, Atheist, and Revocation, among others.
The album couldn’t have started in a better and more demented way than with What Unites All, featuring guest vocalist Max Phelps (Cynic, Death to All), with Matias Salas and Agustin sounding absolutely mental with their heavy-as-hell, groovy kitchen. Yoav keeps roaring like a beast in the very technical, melodic yet brutal The Final Beat, blending the most caustic elements from Death and Thrash Metal, and after a cryptic intro the music evolves into another feast of progressive violence in Memento Mori, featuring guest vocalist Enrico H. Di Lorenzo (Hideous Divinity), where Agustin once again dictates the pace while Matias Bahamondes slashes his axe nonstop. Their wicked riffs and pounding drums are the main ingredients in the electrifying Dur Khrod, inviting us all to slam into the pit in the name of our good old Death and Thrash Metal; whereas their progressive vein pulses even harder in Jade, Gold, Obsidian, led by the intricate and flammable riffage by Matias Bahamondes. And in Yūrei they offer a more modern side of their core musicality, alternating between groovy moments and extreme aggression.
Matias Salas beautifully steals the spotlight with his metallic bass in Weeping, as if Sepultura, Dream Theater and Machine Head had a bastard son (who loves Death Metal), which of course translates into total sonic brilliance. Guest Shantanu Vyas (Hazing Over) lends his desperate vocals to the band in Wind and Water, keeping the album at an extreme level of violence and progressiveness; and we then face a killer three-part extravaganza, starting with the 30-second intro The Waves Suite: Siren, setting the stage for The Waves Suite: Ocean, where the band goes almost full tribal with their ruthless sounds, flowing like an arrow on fire in the dark until The Waves Suite: Caleuche puts a very melodic ending to such an interesting aria. The band still has the icing on the cake to offer in the album, the title-track Death Drive Anthropology, inviting us all to slam one last time with them to the sound of the demonic roars by Yoav.
As mentioned, Death Drive Anthropology aims at channeling the death drive into a sonic Book of Death that examines how different cultures confront mortality, violence, collapse, and rebirth through ritual and art, and if you want to feel part of such an exciting metallic ritual, you can start following the band on Facebook and on Instagram, stream their amazing music on YouTube or on Spotify, and above all that, grab a copy of the album from the band’s own BandCamp, as well as from the Time To Kill Records’ webstore. In other words, simply open the Book of Death written by these talented Chilean metallers, and let their sounds bring to your soul the always exciting duality between life and death.
Best moments of the album:What Unites All, Weeping and Death Drive Anthropology.
Worst moments of the album:Wind and Water.
Released in 2026 Time To Kill Records
Track listing 1. What Unites All 5:23
2. The Final Beat 4:46
3. Memento Mori 6:38
4. Dur Khrod 3:54
5. Jade, Gold, Obsidian 4:00
6. Yūrei 5:25
7. Weeping 5:28
8. Wind and Water 4:05
9. The Waves Suite: Siren 0:23
10. The Waves Suite: Ocean 4:11
11. The Waves Suite: Caleuche 1:42
12. Death Drive Anthropology 4:23
Band members Yoav Ruiz-Feingold – vocals
Matias Bahamondes – guitar
Matias Salas – bass
Agustin Lobo – drums
Guest musicians
Max Phelps – vocals on “What Unites All”
Enrico H. Di Lorenzo – vocals on “Memento Mori”
Shantanu Vyas – vocals on “Wind And Water”
Drawing influence from Black, Death, and Thrash Metal, this unrelenting Atlanta horde wrestles with themes such as politics, drug use, existentialism, perseverance, and the lasting consequences of one’s choices in their debut opus.
Drawing influence from Black, Death, and Thrash Metal, the unrelenting Atlanta, Georgia-based visionaries Malefic are unleashing upon us their debut offering, entitled Impermanence. Having roared onto the Atlanta metal scene in 2007 with ambitions to modernize the Black Metal genre, the band currently formed of Aaron Baumoel on vocals and drums, Jason Davila and Sam Williams on the guitars, and Andy McGraw on bass wrestles with themes such as politics, drug use, existentialism, perseverance, and the lasting consequences of one’s choices in their debut opus, being therefore highly recommended for fans of bands the likes of Old Man’s Child, Carcass, Testament, Dissection, and Opeth.
Jason and Sam rev up the band’s malefic engine with their scathing riffs in Blood of the Throne, evolving into a blackened feast of Thrash Metal led by Aaron’s raspy roars and unstoppable beats and fills; and he keeps hammering his drums in In Darkest Dreams, accompanied by the caustic riffs and rumbling bass lines by Jason, Sam and Andy, resulting in the perfect excuse for some wild mosh pit action. Of Gods and Man presents a more sinister, introspective start, before exploding into a demented Black Metal extravaganza, and let’s bang our heads nonstop to the sound of Idiocracy, spearheaded by the always rhythmic drumming by Aaron. After that, it’s time for some insane slamming to the sound of Deserter, where their strident riffs give it an even edgier vibe.
The second half of the album kicks off to the sound of acoustic guitars in Disembodiment before all hell breaks loose in another display of caustic Blackened Thrash Metal madness, followed by Obsidian Earth, one of the most detailed and sulfurous songs of the album, with Aaron stealing the show with his demonic gnarls and killer blast beats. After such an infernal display of extreme sounds the band brings forward Echoes of Silence, starting again in an acoustic manner and evolving into a bestial sonic devastation as expected from such a talented and enraged ensemble. Lastly, the album closes with the first single released, It Haunts, blasting our ears with their Skeletonwitch-inspired ferocity and the always venomous roaring by Aaron.
Offering a fresh, modern take on metal that is unrivaled in the United States, Impermanence represents the culmination of many years of hard work and dedication, along with a deep love for music beyond strict genre boundaries, and if you want to know more about such an unstoppable force of extreme music, you can follow Malefic on Facebook and on Instagram, subscribe to their YouTube channel, stream their music on most platforms like Spotify, and of course grab a copy of their flammable debut from Terminus Hate City’s BandCamp or webstore. The year of 2026 is definitely going to be a blast for admirers of Blackened Death and Thrash Metal, and the first full-length album by Malefic will undoubtedly fuel our inner demons to keep slamming into the pits of the underworld, always in the name of the most extreme of extreme music.
Best moments of the album:Blood of the Throne, Deserter and Obsidian Earth.
Worst moments of the album:Of Gods and Man.
Released in 2026 Terminus Hate City
Track listing 1. Blood of the Throne 3:16
2. In Darkest Dreams 3:44
3. Of Gods and Man 3:54
4. Idiocracy 3:56
5. Deserter 3:53
6. Disembodiment 4:39
7. Obsidian Earth 4:14
8. Echoes of Silence 4:45
9. It Haunts 5:33
Band members Aaron Baumoel – vocals, drums
Jason Davila – guitar
Sam Williams – guitar
Andy McGraw – bass
The Day of the Beast is upon us once again to the sound of their infuriated fifth opus, undoubtedly their heaviest, darkest and most dynamic record to date.
Combining elements of Death, Thrash and Black Metal into their core sound, Virginia’s own Blackened Thrash Metal creature The Day of the Beast returns from the pits of the underworld with their infuriated fifth studio offering, titled Nightspawn Descendants, following up on their venomous 2021 album Indisputably Carnivorous. Mixed by Ricardo Borges and mastered by Tony Lindgren at Fascination Street Studios, the newborn spawn by vocalist Steve Harris, guitarists Steve Redmond and Bobby Phippins (by the way, Bobby sadly passed away back in 2024, which means Nightspawn Descendants is his “swan song”), Justin Shaw on bass, and Jeremy Bradley on drums is undoubtedly the band’s heaviest, darkest and most dynamic record yet, sounding massive and pummeling from start to finish.
The breathtaking With Drakkonian Force offers us all a bestial start to the album, with Steve Harris roaring and barking like a rabid beast supported by the fulminating riffs by Steve Redmon and Bobby, and there’s no time to breathe as those death dealers will crush your spinal cords with A Leering Grotesqueness, with Jeremy bringing an overdose of Thrash Metal to their Stygian core with his ruthless beats and fills. Fangbearer, themed around a Clive Barker short story called Rawhead Rex, continues their path of Blackened Thrash Metal led by the unstoppable drums by Jeremy, whereas in Exsanguination we face infernal lyrics barked by Steve Harris (“Forsaken flesh upon the earth / Derelict anomalies perceive this harsh reality / inner sanctum in a state of mystified perplexity / taste the filth, inhale the void / in misanthropic ecstacy / Unending dissection / of all attempts to reason / Scratching and clawing the path to unconsciousness / Paranoid deception / Terminate sympathy / Feast with the spawning shadows in your heart”) amidst an overdose of dark and ruhless Extreme Metal madness; followed by Revocation of the Black Talons, less vicious but extremely heavy and vile, with Justin and Jeremy making the earth tremble with their demonic kitchen.
The band shows no sign of slowing down at all, as Steve Redmond and Bobby slash their axes like true metallic beats in Their Flesh to the Father, sounding fast, furious and, therefore, perfect for slamming into the pit like there’s no tomorrow. Jeremy keeps demolishing everything and everyone that crosses his path in To the Edge of Abyss, enhancing the song’s violence while their guitars exhale harmony and electricity, all boosted by another bestial vocal performance by Steve Harris. Then we have Dire Omens, one of the last tracks Bobby wrote for The Day of the Beast, which means let’s honor him by letting it rip through our speakers, sounding as hellish and grim as its predecessors; and the band shows no mercy for our frail bodies in Embodiment, with Steve Harris delivering some of his deepest, most demonic vocals of the entire album while the drums by Jeremy sound inhumane from start to finish. Last but certainly not least, we face the massive, Stygian and somber title-track Nightspawn Descendants, with Steve Harris roaring nonstop accompanied by the slashing riffage by the band’s guitar duo and the always thunderous kitchen by Justin and Jeremy.
Crafting their own brand of apocalyptic Extreme Metal that shines a light on the darkest, filthiest corners of the human psyche since their inception back in 2006, The Day of the Beast are definitely going to reach new heights with Nightspawn Descendants, hopefully fueling them to take their music to stages all across the world including places like the UK, the EU, Japan, Brazil, and of course, Canada. Hence, you can stay up to date with all things The Day of the Beast and tell them how much you want to see them live on Facebook and on Instagram, stream their caustic creations on Spotify, and of course put your damned hands on Nightspawn Descendants by purchasing it from BandCamp or by clicking HERE. Nightspawn Descendants is heavy, dark, and sulfurous. It’s an ode to Black, Death and Thrash Metal. and above all that, it’s a tribute to Bobby, a man who lived and breathed heavy music until the very end. Horns up for Bobby, and bang your heads nonstop to Nightspawn Descendants.
Best moments of the album:With Drakkonian Force, Exsanguination, Their Flesh to the Father and Embodiment.
Worst moments of the album: None.
Released in 2026 Prosthetic Records
Track listing 1. With Drakkonian Force 5:04 2. A Leering Grotesqueness 3:52
3. Fangbearer 4:06
4. Exsanguination 4:52
5. Revocation of the Black Talons 6:41
6. Their Flesh to the Father 4:36
7. To the Edge of Abyss 3:49
8. Dire Omens 3:09
9. Embodiment 5:00
10. Nightspawn Descendants 9:43
Band members Steve Harris – vocals
Steve Redmond – guitars
Bobby Phippins – guitars
Justin Shaw – bass
Jeremy Bradley – drums
This uncanny Italian creature is back with the poison of nature, taking their potent potion of Blackened Doom and Post-Metal to strange new heights.
Fresh off appearances at Roadburn and Inferno, the daring and devilishly talented Turin, Italy-based creatures known as Ponte Del Diavolo (Italian for “Devil’s Bridge,” a name applied to dozens of ancient or medieval bridges across Europe, particularly in Italy, due to their impressive or unusual architectural design for their time, which led to popular myths and folklore) have taken their potent potion of Blackened Doom and Post-Metal to strange new heights in their sophomore full-length offering, entitled De Venom Natura, Latin for “the poison of nature.” Recorded, produced, engineered and mixed by Danilo Battocchio at The Deepest Sea, mastered by Magnus Lindberg at Redmount Studios, and displaying a Stygian artwork by Francesco Dossena, the follow-up to their critically acclaimed 2024 album Fire Blades from the Tomb sees the band formed of frontwoman Erba del Diavolo, guitarist Nerium, bassists Khrura Abro and Kratom, and drummer Segale Cornuta deliver a record that extends and refines their musical boundaries, being recommended for admirers of the music by Messa, Chelsea Wolfe, Esben and the Witch, Dead Can Dance, Dool, Electric Wizard, and Darkthrone.
Haunting sounds permeate the air in the horror movie-like opening track Every Tongue Has Its Thorns, featuring guests Andrea l’Abbate on programming and Sergio Bertani (Lucynine) on theremin, exploding into pure Post-Black Metal where Erba del Diavolo is hypnotizing with both her clean vocals and devilish vociferations. Lunga vita alla necrosi, or “long live necrosis” from Italian, is another fantastic song where Nerium slashes his axe supported by the double bass attack by Khrura Abro and Kratom; followed by Spirit, Blood, Poison, Ferment!, featuring Francesco Bucci (Ottone Pesante) on trombone, a massive, hard hitting creation by those Italians with Segale Cornuta taking the lead with his pounding drums while Erba del Diavolo declaims the song’s dark lyrics with tons of passion (“Nature, I notice you! / And I secretly observe / your eroic mutation, possessing me too, / Having me too! / Spirit, blood, poison, ferment! / Spirit, blood, poison, torment!”).
Sergio Bertani then lends his synths to Il veleno della Natura, or “the poison of nature” from Italian, an amazing tune that’s fast, chaotic, melodic and visceral, with all instruments matching perfectly with the Italian words vociferated by Erba del Diavolo, whereas despite all of its layers and nuances (plus guests Andrea l’Abbate on synths and Vittorio Sabelli on bass clarinet), Delta-9 (161) gets a bit too experimental at times, although the band’s core sound is still intact. Silence Walk With Me presents guest Gionata Potenti (aka Omega of the band Nubivagant) on vocals and acoustic guitar, making a sensational vocal duet with Erba del Diabolo while Segale Cornuta brings an overdose of Black Metal insanity to their sound, not to mention the killer bass lines by Khrura Abro and Kratom. And last but not least, the band goes back to the glory of the 80’s in In the Flat Field, blending their Post-Black Metal sonority with elements from Gothic Rock to give the song an even more thrilling vibe, led by Nerium’s strident riffs.
Like a curious scent, De Venom Natura wafts around the idea that Mother Nature is a double-edged sword, at once beautiful and intoxicating while also lethal in its seduction, and Ponte Del Diavolo make sure the listener also sees Gaia that same way while listening to the album. You can get in touch with one of the most interesting names of the current Italian rock and metal scene by following the band on Facebook and on Instagram, staying up to date with their breathtaking live concerts, stream their unique music on Spotify, and of course, show them your utmost support by purchasing De Venom Natura from their own BandCamp, from Season of Mist, or by clicking HERE. Building a dark and sinister bridge between metal and Mother Nature, Ponte Del Diavolo are carving their name in the history of heavy music, leaving us eager for more of their caustic sounds in the near future while we’re all seduced and hypnotized by the powers of nature.
Best moments of the album:Every Tongue Has Its Thorns, Il veleno della Natura and Silence Walk With Me.
Worst moments of the album:Delta-9 (161).
Released in 2026 Season of Mist
Track listing 1. Every Tongue Has Its Thorns 6:25
2. Lunga vita alla necrosi 4:01
3. Spirit, Blood, Poison, Ferment! 4:36
4. Il veleno della Natura 4:58
5. Delta-9 (161) 8:52
6. Silence Walk With Me 6:17
7. In the Flat Field 4:54
Band members Erba del Diavolo – vocals
Nerium – guitar
Khrura Abro – bass
Kratom – bass
Segale Cornuta – drums
Guest musicians
Francesco Bucci – trombone on “Spirit, Blood, Poison, Ferment!”
Andrea l’Abbate – programming on “Every Tongue Has Its Thorns”, additional synths on “Delta-9 (161)” Sergio Bertani – theremin on “Every Tongue Has Its Thorns”, synths on “Il veleno della Natura” Vittorio Sabelli – bass clarinet on “Delta-9 (161)”
Gionata Potenti – vocals & acoustic guitar on “Silence Walk With Me”
This up-and-coming Portland, Oregon-based five-piece Post-Black Metal band will stun us all with their “musical tribute” to the lore of The Elder Scrolls IV: Oblivion.
An up-and-coming five-piece Post-Black Metal band from Portland, Oregon, the thrilling Velothian, the brainchild of multi-instrumentalist Daren Walker, blends elements of Post-Metal, Folk Metal and Shoegaze (often with the inclusion of instruments like horns, synth, cello, and hand drums) in their music, drawing inspiration from nature, science fiction and fantasy. After the release of their 2024 debut EP Path of the Incarnate, the band currently formed of the aforementioned Daren Walker on the guitars alongside Juniper Ashford on vocals, Shawn Brannon on the guitar, Ethan Miller on bass, and Ryan Chappell on drums in unleashing upon humanity their first full-length opus, titled Mythic Dawn. Mixed and mastered by Daren Walker himself, the album is a “musical tribute” to the lore of The Elder Scrolls IV: Oblivion, following Path of the Incarnate, which focused on Morrowind. Moreover, the album title refers to the Mythic Dawn, a secretive Daedric cult in The Elder Scrolls universe that worships Mehrunes Dagon and instigated the Oblivion Crisis.
Their epic battle begins in full force with The One From My Dreams, where Juniper’s devilish gnarls are properly boosted by the scathing riffs by Daren and Shawn, also presenting ethereal passages to give the song even more depth. In Forgotten Ruins, Juniper roars the song’s dark words (“Keepers of the fire / Sigils of ancient glass / Guardians of this mortal plane / Now a scattered memory / Eyes of pale fire / The Children of the sky”) amidst a doom-ish and enfolding blend of Symphonic Black Metal; while the journey continues with The Great Forest, venturing through the realms of Atmospheric Black Metal, with the guitars by Daren and Shawn exhaling obscurity. Night Mother is another sinister and Stygian creation by Daren and his henchmen, with the massive beats by Ryan adding an extra dosage of heaviness to their music; and Ryan keeps pounding his drums supported by the rumbling bass by Ethan in Deadlands, keeping the album at a demonic level of darkness. The band then goes full Symphonic Black Metal in Mania, led by the vile vociferations by Juniper, flowing into the incendiary and intricate closing song Dragonfires, where Daren and Shawn breathe fire from their axes in the name of extreme music.
With songs focusing on both nostalgia from the game itself while also dealing with original stories and scenarios from the role playing experience, Mythic Dawn offers the listener epic, triumphant, and adventurous blackened extreme music, and if you want to join Daren and his horde in such a heavy and dark adventure, you can start following Velothian on Facebook, and of course grab a copy of the excellent Mythic Dawn from the project’s own BandCamp. Extreme Metal has always been the perfect type of music to represent the passion and perils found in role playing games like The Elder Scrolls IV: Oblivion, even more than the usual Power Metal bands, and I’m sure Velothian will soon return with another exciting and utterly metallic journey the likes of Mythic Dawn for our absolute delight.
Best moments of the album:Forgotten Ruins, Night Mother and Dragonfires.
Worst moments of the album: None.
Released in 2026 Independent
Track listing 1. The One From My Dreams 4:19
2. Forgotten Ruins 5:05
3. The Great Forest 6:16
4. Night Mother 6:19
5. Deadlands 5:53
6. Mania 4:51
7. Dragonfires 6:51
Band members Juniper Ashford – vocals
Daren Walker – guitar
Shawn Brannon – guitar
Ethan Miller – bass
Ryan Chappell – drums
Less than one year after the release of their excellent debut, this melodeath beast from Down Under returns with eleven tracks of undisputed aggression, melody and electricity in their sophomore opus.
Less than one year after the release of their excellent debut album The Mountain Before Us All, the unstoppable Melbourne, Australia-based Melodic Death Metal/Metalcore ensemble Destroy Fear continues to build momentum with their sophomore album, entitled The Dark Carnival. Having recently updated their lineup, the band currently formed of Scott Masson on vocals, Jayden Genuis on lead guitar, Luke Baird on rhythm guitar and bass, and newcomer Ondre Barca on drums offers eleven tracks of undisputed aggression, melody and electricity in The Dark Carnival, inviting us all to slam into the pit while they kick some serious ass both in the studio and onstage.
The cryptic Intro to the Dark Carnival sets the stage for the band to kick our asses with Dark Carnival, where Jayden and Luke shred their axes nonstop, delivering killer riffs and solos and, therefore, offering Scott exactly what he needs to roar like a headbanging maniac. Ondre then showcases his dexterity and fury in Slings and Arrows, hammering his drums while his bandmates deliver a striking fusion of Metalcore and Hardcore; and a darker, more sinister start evolves into another feast of groove and heaviness titled Elusion, showcasing a more introspective side of the band. The incendiary Hypochondriac presents hints of Progressive Metal and even Djent, with Scott sounding truly enraged on vocals while the riffage by Jayden and Luke transpire madness; and the band continues to venture through Groove Metal lands the likes of Machine Head in Overcome, albeit a bit generic in the end.
The second half of the album begins with an explosion of aggression titled All for Nothing, where the metallic guitars and bass by Jayden and Luke walk hand in hand with Ondre’s pounding drums. The quartet still has a lot of fuel to burn in House of Cards, with Scott taking the lead with his visceral growls and clean vocals supported by the wall of sounds built by his crew; whereas it’s time to slam into the pit to the sound of Alpha Omega, with Ondre crushing his drums like there’s no tomorrow in a demented explosion of melodeath with an edgy Hardcore vibe. Their second to last metal attack comes in the form of Without Teeth, again presenting their trademark ferocity and groove through their rebellious vocals, caustic riffs and hammering drums, and last but definitely not least, Scott will vociferate rabidly in our faces one final time in Recreant, accompanied by another striking guitar work by Jayden and Luke.
A must-listen for admirers of the caustic melodeath played by In Flames, Trivium, Parkway Drive, and Heaven Shall Burn, among several others, The Dark Carnival is already available for a full listen on any streaming platform such as Spotify and Audiomack, and you can also check what the band is up to, including their live performances, on Facebook, Instagram, and YouTube, or simply click HERE for all things Destroy Fear. Speaking of their live concerts, Destroy Fear managed to released the album in time for Outcast Festival 2026 in Melbourne alongside Verona Lights, Machine On A Break, ANA, Ion Sky, Jupiter The Giant, and Silent Lakes, proving those guys are all about bringing to the stages the energy found in their studio albums, and I’m sure it won’t take long for their album number three to come to light, and for us fans to have a few more reasons to enjoy a nice mosh pit just like what they have to offer in the excellent The Dark Carnival.
Best moments of the album:Dark Carnival, Hypochondriac and Alpha Omega.
Worst moments of the album:Overcome.
Released in 2026 Independent
Track listing 1. Intro to the Dark Carnival 0:47
2. Dark Carnival 4:40
3. Slings and Arrows 4:31
4. Elusion 4:34
5. Hypochondriac 4:12
6. Overcome 4:36
7. All for Nothing 4:27
8. House of Cards 5:23
9. Alpha Omega 4:10
10. Without Teeth 4:37
11. Recreant 4:06
Band members Scott Masson – vocals
Jayden Genuis – lead guitar
Luke Baird – rhythm guitar, bass
Ondre Barca – drums
Always treading further towards the abyss, this Montreal, Quebec-based Black Metal entity returns with six hymns of devotion and transformation.
Vanity of vanities, all is vanity…
Always treading further towards the abyss, Montreal, Quebec’s own Black Metal entity Sanctvs returns with six hymns of devotion and transformation. Staring at the face of Death, De l’Abîme au Plérôme, or “From the Abyss to the Pleroma” in English, is an elegy to our own mortality, a dirge to the passing of time and the changes it inevitably brings. Masterfully crafted by the project’s sole member, vocalist and multi-instrumentalist Mortheos (aka Xavier Berthiaume), known for his work with some incredible bands from the underground scene like Atramentus, Gevurah, Oriflamme, Atonement, Down to Ruins, and Cauchemar, De l’Abîme au Plérôme is another beast of the always captivating Métal Noir Québécois scene, turning it into a must-listen for admirers of the darkest side of Black Metal.
A grim start suddenly explodes into absolute Black Metal violence in Rex Hominum, where Mortheos shows no mercy for his axe nor for his drums, also vociferating rabidly in the name of total darkness. Sacrifié sur l’autel de la rédemption, which is French for “sacrificed on the altar of redemption”, meaning something (or someone) is given up or destroyed for the sake of achieving salvation, atonement, or a greater good, already starts in full force to Mortheos’ carnivorous riffage, flowing majestically until its very last second; followed by Thrène pour un monde révol, or “a rouse to a bygone world”, with once again his devilish guitar lines setting the tone for his hellish vociferations and crisp, pounding Black and Doom Metal beats and fills. Tabula Rasa, the absence of preconceived ideas or predetermined goals, offers us all first-class, in-you-face Black Metal beautifully crafted by our lone wolf, whereas Tour d’ivoire, or “ivory tower” in English, referring to a state of privileged seclusion or detachment from practical realities and the common world (originating from French literature to describe secluded intellectual life), brings forward another overdose of violence ad hatred, with his desperate gnarls sounding amazing. Lastly, get ready for a descent into the underworld with La Lumière de l’infini, or “The Light of Infinity” or “Infinite Light,” referring to a divine, endless, or eternal radiance, filling our avid ears with more of Mortheos’ chaotic screams, riffs and drums.
Following up on the releases of the project’s 2019 debut Mors Aeterna, and its 2025 split Inter Mortuos Liber (with French Black Metal outfit Sotherion), the caustic, harsh De l’Abîme au Plérôme can be purchased from the Osmose Productions’ BandCamp or webstore, and you can also click HERE for all digital links. Mortheos and his Sanctvs can also be found on Facebook and on Instagram, and you can also enjoy the album in full on YouTube and on Spotify. Pleroma (Greek for “fullness”) refers to a state of completeness or abundance, and that’s exactly what Mortheos wants you to feel while listening to the new Sanctvs new offering, an abundance of first-class Black Metal just before you’re dragged back into the abyss.
Best moments of the album:Rex Hominumand Tabula Rasa.
Worst moments of the album: None.
Released in 2026 Osmose Productions
Track listing 1. Rex Hominum 7:16
2. Sacrifié sur l’autel de la rédemption 5:54
3. Thrène pour un monde révolu 8:48
4. Tabula Rasa 6:22
5. Tour d’ivoire 5:46
6. La Lumière de l’infini 8:52
This forward-thinking Canadian band continues to give their own interpretation to the Death Metal style in their new EP, alternating between throbbing discordant blasts and soothing passages, traversing worlds hitherto unexplored.
“Mors verum” does not have a direct, standard meaning in Latin, but likely combines two separate words, “mors” (death) and “verum” (truth). The intended meaning is probably “truth or death,” or perhaps a variation of a phrase like “nihil verum nisi mors” (“nothing is true but death”), or the concept of “the only truth is death”. It is often used in the context of “truth or death” to imply one would rather die than not have the truth. In heavy music, Mors Verum are a forward-thinking Canadian band who are giving their own interpretation to the Death Metal style, creating music that is simultaneously dissonant, progressive, and atmospheric. Recorded at by Sean Pearson at Boxcar Studio, mixed by Mrudul Kamble at Erb Street Recording, mastered by Topon Das at Apartment 2, and displaying an ass-kicking artwork by Arifullah Ali of KanvasKarat, the new EP by Lyndon Quadros on vocals, Mrudul Kamble on the guitars, Spencer Mitchell on bass, and Greg Carvalho on drums, entitled Canvas, offers exactly that captivating blend of Dissonant and Progressive Death Metal, alternating between throbbing discordant blasts and soothing passages, traversing worlds hitherto unexplored.
The quartet wastes no time and kick off their idiosyncratic party with the progressive extravaganza Bloodied Teeth, with the pulverizing, demented drumming by Greg adding even more insanity to their already maniacal sounds. Mrudul’s visceral riffage is boosted by the bludgeoning bass by Spencer in Your Apocalypse, resulting in seven minutes of Dissonant Death Metal not recommended for the lighthearted; and Lyndon keeps barking and roaring like a beast in Serenade, with the music alternating between absolute savagery and more melodic, groovier moments. Then we face the grim title-track Canvas, offering a hybrid of the sluggish sounds of Blackened Doom with the band’s core Progressive Death Metal essence. Needless to say, Mrudul, Spencer and Greg are phenomenal with their sonic weapons; and they’ll finish burying you six feet deep with their undisputed extreme music in Mortal, again presenting the visceral guttural by Lyndon while Greg sounds inhumane on drums.
Following up on their 2015 EP Indoctrination, their 2019 full-length Deranged, and their 2021 EP The Living, Canvas brings to our avid ears lengthier song which never feel tedious as the band embarks on their newfound path with relative ease and confidence. On Canvas, they have adopted a fascinating approach to the style, one that is beautifully tempered yet adventurous enough to excite, being highly recommended for fans of Gorguts, Morbid Angel, Norse, Ulcerate, and Saevus Finis, among others. Those talented and creative guys are waiting for you on Facebook and on Instagram, and don’t forget to also stream their unique music on Spotify, and of course to purchase Canvas from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In the end, the experience of listening to Canvas feels at once liberating and cathartic, leaving us eager for more of their music in the near future, perhaps in the form of their sophomore full-length offering, and I bet you’ll be more than excited for that after their short but incendiary new offering.
Best moments of the album:Bloodied Teeth and Canvas.
A seasoned duo hailing from Italy will darken your soul armed with their debut offering of arcane, devilish and dramatic Atmospheric Black Metal.
Led by vocalist, guitarist and bassist Max Havler (Ophidian, Shrivel), with Davide Billia (Antropofagus, Beheaded, Vomit the Soul) taking care of additional vocals, drums and keyboards, Milan, Italy-based Atmospheric Black Metal entity Evoked Eclipse has its sound closely tied to the Scandinavian Black and Death Metal scene, primarily Swedish, with references to Dissection and Naglfar, but also the Melodic Death Metal of Dark Tranquillity and Opeth and the melancholic Doom and Gothic Metal elements of early Katatonia. Recorded and mixed by Davide Billia at MK2 Recording Studio, mastered by Jens Bogren at Fascination Street Studios, showcasing a cryptic artwork by the beyond talented Gogo Melone (presenting the album’s visual representation in its most arcane, dark and dramatic essence), and with layout by Francesco Palumbo of MKM Graphix, their debut effort The Cries Of Evil represents a new vision of extreme music, positioning the project as one of the must-see names of the new scene worldwide.
The ethereal intro Enchantment will transport us all to the Stygian realm ruled by Evoked Eclipe, flowing into the title-track The Cries Of Evil, where Max roars with tons of anger in his blackened heart while Davide delivers a mix of Black Metal blast beats and sluggish Doom Metal sounds. After that we have Land Of The White Spirit Lady, featuring guest vocals by Kyrah Aylin (of Aresea and Elegy of Madness), a beautiful, dark ballad of Blackened Doom, with their riffs and drums matching perfectly with Kyrah’s stunning vocal lines; and then we face the melancholic, grim interlude Mournishments, setting the stage for The Watch Of Spirits, with Max delivering sharp, crisp riffs and bass lines while Davide continues to hammer his drums mercilessly. In Drops Of Blood we see the band adding hints of Progressive Metal to their core Atmospheric Black Metal sonority, showcasing more of their fiery riffage, followed by Illusions Of The Life, another classic blast of atmospheric madness, sounding as dark and visceral as it can be, morphing into the outro Ascension, feeling utterly epic and leaving us eager for more of their stylish music in the near future.
Max and Davide are waiting for you with their Evoked Eclipse on Facebook and on Instagram, including news, more of their music, and who knows, maybe some live performances in a not-so-distant future, stream the album in full on Spotify, and of course you can put your hands on the excellent The Cries Of Evil from Club Inferno’s BandCamp, from My Kingdom Music, by clicking HERE, as well as from several other online retailers such as MDV Shop, Waterloo Records, and Groovespin.com. The fusion of Atmospheric and Melodic Black Metal with Death, Doom and Gothic Metal nuances found in The Cries Of Evil will certainly darken your already blackened heart even more, fueling the duo to keep blasting their undisputed extreme music for many years to come under their sinister, grim Black Metal eclipse.
Best moments of the album:The Cries Of Evil, The Watch Of Spirits and Illusions Of The Life.
Worst moments of the album: None.
Released in 2026 Club Inferno Ent./My Kingdom Music
Track listing 1. Enchantment 1:11
2. The Cries Of Evil 4:17
3. Land Of The White Spirit Lady 5:58
4. Mournishments 1:25
5. The Watch Of Spirits 7:01
6. Drops Of Blood 5:48
7. Illusions Of The Life 5:17
8. Ascension 2:15
Band members Max Havler – vocals, guitars, bass
Davide Billia – vocals, drums, keyboards
Guest musician
Kyrah Aylin – female vocals on “Land Of The White Spirit Lady”
Attention, metalheads!
THE HEADBANGING MOOSE 