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:
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Expanding their sonic scope while honing the intensity that defined their previous releases, this UK-based Technical Death/Thrash Metal brigade returns to action with a pulverizing new EP.
Expanding their sonic scope while honing the intensity that defined their previous releases, UK’s own Technical Death/Thrash Metal brigade Unburier is back in action with As Time Awaits, a short, sweet and extremely venomous three-track EP that sees vocalist and guitarist Ben Champion, guitarist Blake Hibberd, bassist Stan Mitchell, and drummer Kim Hughes blend old and new school Death Metal styles with technicality, hooks, and razor-sharp songwriting. Carrying the torch of the classic Death Metal sound into a new age, As Time Awaits is certain to enthrall longtime fans of the genre, appealing to fans of giants the likes of Death, Necrophagist, and Revocation, among several others.
The metallic, rumbling bass by Stan will punch you right in the head in Continuum while his bandmates offer an overdose of brutality and technical sounds, all boosted by Ben’s desperate harsh vocals, followed by Abyssal Uncertainty, the most lyrically-ambitious track of the EP, with nods to Camus, Lovecraft and other literary influences, where the listener is invited to witness a trapped laborer’s descent into madness, reflecting on and acknowledging the absurdity of his life and death. Ben and Blake continue to slash their axes mercilessly, offering endless adrenaline flowing from their riffs and solos in the best Technical Death and Thrash Metal style. The third and last song of such an incendiary EP, titled Survive the Vermin, leaves us eager for a lot more from this new phase of Unburier, with Ben’s demented roars matching perfectly with the song’s riffage, bass lines and infernal beats and fills.
Newcomers to Unburier’s realm of fury and technicality will find As Time Awaits to be a compelling introduction to the band’s evolving sound, and longtime listeners will be proud to follow the band’s growth across their earlier releases Thrasher’s Gold (2019), Twisted Existence (2022), and Nebulous (2024), and if you want to know more about such an up-and-coming band from the UK scene you can find those guys on Facebook and on Instagram, listen to their ass-kicking music on YouTube and on Spotify, and purchase their pulverizing new EP from BandCamp or by clicking HERE. After EP number three I guess we’re ready for the band’s first full-length album in the near future, and based on the heaviness found in As Time Awaits, we can rest assured it will be total annihilation.
Best moments of the album:Abyssal Uncertainty and Survive the Vermin.
Fans in Toronto witnessed a night of absolute heaviness and electricity at a jam packed The Opera House together with some of the must-see bands of the current scene.
Temperatures are finally starting to rise in Toronto after one of the coldest and harshest winters in decades, and this Tuesday the mighty ORBIT CULTURE, supported by guests OV SULFUR and ATLAS, brought the heat to the cozy The Opera House during their North America 2026 tour. The venue was absolutely packed, and if I’m not mistaken my sources told me the whole event was around 16 tickets of being absolutely sold out, so we’re talking about almost 900 people taking every single space at the venue with no room for much movement. Not only that, Keith Ibbitson of Metal Paparazzi had to “fight” for space with other 11 photographers also covering the event in a tight area (with five security guys, by the way), and the merch line went from the bar next to the entrance all the way to the floor section. I have no idea when exactly merch became more important than the show itself, as I’m tired of seeing lots of people missing one or more attractions just to grab a shirt. Anyway, it is what it is. Event shirts are super cool, and buying them is extremely helpful for the musicians, so maybe we could all find a better or faster way for the merch line to move as we want to keep supporting all bands.
The first attraction of the night was Tampere, Finland-based Metalcore band ATLAS, often stylized in all caps, who self-describe their sound as “Northcore,” which is basically a mix of heavy, melodic Metalcore with atmospheric, immersive soundscapes. Having recently released the album Sunder, available on Spotify or any other streaming service, the band formed of vocalist Patrik Nuorteva, vocalist and bassist Leevi Luoto, guitarists Kevin Apostol and Tuomas Kurikka, and drummer Aku Karjalainen put on a solid performance for an already packed venue, working as a more-than-effective warmup for Ov Sulfur and Orbit Culture. Well, as I like to say, wake me up when a metal band from Finland sounds boring or tiresome onstage. They always kick ass, ATLAS included, and I’m sure we’ll hear a lot more from those guys in the near future.
Setlist Sermon of the Dying Light
Tower
Coven of Two
Anodyne
I Whisper Your Name Like a Curse
Uni
Ukko
Salt and Sulfur Outro
Band members Patrik Nuorteva – vocals
Leevi Luoto – vocals, bass
Kevin Apostol – guitar
Tuomas Kurikka – guitar
Aku Karjalainen – drums
The whole place was already swarming with fans when Las Vegas, Nevada’s own Blackened Deathcore beast OV SULFUR hit the stage with their pulverizing performance, making The Opera House tremble to their undisputed heaviness. Spearheaded by the unstoppable frontman Ricky Hoover, the band has just started touring to promote their fresh out of the oven album Endless (available on BandCamp and on Spotify), and let me tell you that the new songs from the album worked extremely well live. Ricky and his henchmen Christian Becker and Chase Wilson on the guitars, Josh Bearden on bass, and Leviathvn on drums were on fire from start to finish; however, the fact the venue was jam packed made it a bit hard for fans to start any circle pits. There was a lot of headbanging and horns raising, of course, and the lights also helped turn their show into a multi-sensorial experience. It’s really nice to see Ov Sulfur hitting bigger stages every single time they visit Toronto, not only because they’re awesome, but also because Toronto loves that type of Deathcore, blending sheer savagery with tons of different emotions.
Setlist Endless//Godless
Seed
Stained in Rot
Befouler
Death Ov Circumstance
Wither
Forlorn
Vast Eternal
Evermore
Band members Ricky Hoover – vocals
Christian Becker – guitars
Chase Wilson – guitars
Josh Bearden – bass
Leviathvn – drums
Another quick break (while countless fans were still braving the massive merch lines), and it was time for Eksjö, Sweden-based Melodic Death/Groove Metal titans ORBIT CULTURE to crush our souls with their breathtaking performance. Having recently released the excellent Death Above Life, which you can find on BandCamp and on Spotify, the indomitable Niklas Karlsson, Richard Hansson, Fredrik Lennartsson and Christopher Wallerstedt put a huge smile on the faces of their avid Toronto fans, with absolutely no room to breathe during their entire concert. Songs like Death Above Life, Bloodhound, Hydra and While We Serve sounded insane onstage, and after the closing song Vultures of North was over the happiness on everyone’s faces was outstanding. This was not only the band’s first ever headlining concert in the city, but by far their strongest and most dynamic one as well, proving they’re becoming a reference in the style and, therefore, gaining more and more attention from fans worldwide. I doubt it will take long for those Swedish rockers to return to Toronto, and I bet next time their concert will be even bigger, heavier and more electrifying.
Setlist Death Above Life
The Storm
The Tales of War
North Star of Nija
Saw
From the Inside
Bloodhound
The Shadowing
Open Eye
While We Serve
Hydra
Vultures of North
Band members Niklas Karlsson – vocals, guitars
Richard Hansson – lead guitars
Fredrik Lennartsson – bass
Christopher Wallerstedt – drums
This unstoppable Russian Blackgaze duo is back with their sixth studio album, moving through remembrance toward letting go and acceptance, a quiet reconciliation with what cannot be carried further.
After the burning, there is stillness. Continuing the path opened by their 2024 opus Sacrifice, Saint Petersburg, Russia’s own Atmospheric/Post-Black Metal/Blackgaze duo Olhava is back with their sixth studio album, entitled Memorial. Produced, mixed and mastered by Mikhail Kurochkin, and displaying a darkly captivating artwork by Margot Makletsova, the new offering by Andrey Novozhilov on vocals, guitars, bass and synthesizers, and Timur Yusupov on drums moves through remembrance toward letting go and acceptance, a quiet reconciliation with what cannot be carried further, a shared human state shaped by loss, exhaustion, love, and the fragile will to endure.
The first of the “Ageless River” instrumental tracks, Ageless River X, is a Blackgaze beast that goes on for almost five minutes, hypnotizing us all before we face After I’m Gone and its 14 minutes of atmospheric passages, blackened sounds and the anguished roars by Andrey, while Timur simply crushes his drums in the name of extreme music. Moreover, it completely switches from its core ferocity to a more ethereal sound halfway through it. When the Ashes Grow Cold, featuring a guest “screwdriver solo” (or whatever that is) by Artyom Selyugin (of bands like Show Me A Dinosaur, Somn, and hopeyouwell), is a multi-layered, otherworldly composition that lasts for over 20 minutes for our absolute delight, with its whimsical passages exploding into another round of the duo’s majestic dark music.
Then we have the next Blackgaze instrumental piece, Ageless River XI, heavier and more obscure, as if warning us all about the storm that’s about to begin in the title-track Memorial, where Andrey’s enfolding synths clash with his visceral vocalizations and the Doom Metal drums by Timur, evolving into a full-bodied beast of Post-Black Metal where the anguish flowing from Andrey’s roars is outstanding. Ageless River XII is maybe a bit too long for such a monotone sound, albeit it still builds the ambience for The River Wakes, where their Post-Black Metal vein pulses harder than ever without forgetting their Atmospheric Black Metal essence, and the result is simply superb, with its second half exhaling anger and despair from Andrey’s vociferations. And all comes to an end with Ageless River XIII, the last Blackgaze composition, putting a beyond climatic, eerie and suffocating finale to the album.
Dedicated to more than one loss, Memorial holds space for the dead, for love that has outlived itself, for time that cannot be returned, for friends forced to flee, and for selves left behind. Hence, you can get in touch with the duo and let their music embrace you by following them on Facebook and on Instagram, by streaming their music on Spotify, and of course by purchasing Memorial from the Avantgarde Music’s BandCamp, from Sound Cave, or by clicking HERE or HERE. Memorial offers Olhava’s sonic representation of countless dark emotions like loss, exhaustion, and love, touching deep inside our hearts and souls while speaking the language of atmospheric, melancholic and visceral heavy music.
Best moments of the album:After I’m Gone, When the Ashes Grow Cold and The River Wakes.
Worst moments of the album:Ageless River XII.
Released in 2026 Avantgarde Music
Track listing 1. Ageless River X 4:56
2. After I’m Gone 14:16
3. When the Ashes Grow Cold 20:21
4. Ageless River XI 5:33
5. Memorial 13:24
6. Ageless River XII 6:33
7. The River Wakes 7:29
8. Ageless River XIII 5:46
Band members Andrey Novozhilov – vocals, guitars, bass, synthesizers
Timur Yusupov – drums
Guest musician
Artyom Selyugin – screwdriver solo “When the Ashes Grow Cold”
Let’s raise the chalice of heavy music to the sophomore offering by this Helsinki, Finland-based Melodic Heavy Metal brigade.
Having quickly become a beacon of esoteric Heavy Metal since their inception in 2016, Helsinki, Finland-based Melodic Heavy Metal brigade Chalice raises their chalice of heavy music once again with their sophomore opus, entitled Divine Spear, the follow-up to their 2020 debut Trembling Crown. Forged in the freezing winds of the Finnish winter, the new offering by vocalist and guitarist Verneri Pouttu, guitarist and keyboardist Mikael Haavisto, bassist Joni Petander, and drummer Olli Törrönen is a carefully crafted, razor-sharp package that nevertheless reveals a bounty of sonic and psychic treasures, painting a picturesque landscape of both light and dark, offering deliverance to those seeking beyond the boundaries of the so-called “New Wave Of Traditional Metal” movement.
The acoustic intro Mare Imbrium gradually grows in intensity until it morphs into the bestial Dwell of a Stellar Trance, where the fast-paced, galloping rhythm crafted by Joni and Olli invites us all to join the band in battle in the best Heavy Metal style. In Hollow Curtain we’re treated to classic lyrics declaimed by Verneri (“Face the fate / Of the darkest pathways of time / Gone the tongues of man / Leave no stone unturned on your quest / The sign burns the skies the sand”) while his bandmates deliver sheer headbanging, horns raising epicness; followed by The Pact, a power ballad that sounds cheesy at times, not as exciting as the previous songs, and Age Ethereal, showcasing a more melodic, heavier and more gripping side of the band, piercing our ears with the striking riffage by Verneri and Mikael.
Divine Spear, the song that carries the name of the album, brings forward sheer adrenaline and harmonious riffs, therefore living up to the legacy of the 80’s, with Olli taking the lead with his stylish beats and fills; whereas another serene start to the sound of a crying flute evolves into a beautiful ballad titled Empyrean Liturgy, bringing an extra dosage of melancholy to the band’s journey through the lands of heavy music. In from the Cold sounds like it was taken from an album recorded in the 80’s, with their riffs and solos piercing our minds in great fashion while also flirting with Progressive Metal, and the album ends with the enfolding ballad Alioth, where the entire band is not only on their darkest mode, but Verneri also takes the lead with his soothing vocal lines.
Completed by a clean and crisp (and yet somehow warm and natural) production, Divine Spear dives into deeper depths than what meets the eye, and you can get to know more about the band and their new album by following them on Facebook and on Instagram, keeping an eye on their live performances, of course. Don’t forget to also stream their music on any platform such as Spotify, and to put your damned hands on Divine Spear by purchasing the album from the Dying Victims Productions’ BandCamp or webstore. In other words, it’s time to raise the chalice of Heavy Metal together with those Finnish warriors armed with the “divine spear” in their new album, ready to pierce the souls of the infidels in the name of good heavy music.
Best moments of the album:Dwell of a Stellar Trance, Divine Spear and Alioth.
Worst moments of the album:The Pact.
Released in 2026 Dying Victims Productions
Track listing 1. Mare Imbrium 1:59
2. Dwell of a Stellar Trance 3:31
3. Hollow Curtain 6:32
4. The Pact 4:50
5. Age Ethereal 8:31
6. Divine Spear 5:05
7. Empyrean Liturgy 6:33
8. In from the Cold 5:08
9. Alioth 6:14
Band members Verneri Pouttu – vocals, lead electric and acoustic guitars
Mikael Haavisto – lead electric and acoustic guitars, keyboards
Joni Petander – bass, backing vocals
Olli Törrönen – drums, percussions
Are you ready to burn in the fires of extreme music together with our metal lady of this month of February here on The Headbanging Moose? I’m sure you are, and get ready as her incendiary vocals will melt not only any snow left from this harsh winter, but also your faces, leaving you completely disoriented after all is said and done. She’s an Extreme Metal vocalist, an opera singer, a soprano, a singing teacher, an actress, and a vocal coach, making the whole world of heavy music a much better place for us fans of hypnotizing and powerful vocals. Her name is Jessy Vignolle, sometimes referred to as Jessy “Christ” Vignolle, or simply Jessy Christ, the frontwoman for French metal sensation Usquam, and once you know more about her life, her career and her music, you’ll certainly get addicted to her distinct voice, charisma, and aggression.
Hailing from Paris, France, Jessy has been a curious child from the early age of eleven, discovering her passion for music through the guitar, piano, and singing without a defined direction, exploring everything from classical to rock. All that passion led to her first ever concert as a singer and guitarist at the age of 13, joining her first band a year later. Exploring multiple musical styles including Pop, Jazz, Indian music, Celtic music, and many more, while also drawing inspiration from all their unique characteristics (which she sees as future strengths), Jessy enrolled in musicology and earned a bachelor’s degree in musicology, a master’s degree in artistic supervision, and a master’s degree in artistic engineering. At the same time, she pursued a professional career in classical music, studying operatic singing at the Savigny-le-Temple Conservatory in Paris under Véronique Laguerre and joining the Che Calda Voce opera company led by Laura Marin. Not only that, she also made her mark in the rock and metal music scene, performing on numerous French stages such as La Cigale, La Boule Noire, and La Machine du Moulin Rouge, among others, as well as at festivals.
It was not too long ago, in the not-so-distant year of 2024, when Jessy joined Usquam as their new vocalist replacing Lucas Henry. Formed in 2018, this Paris, France-based Melodic Black Metal band released in 2021 their debut EP Reborn, followed by their fantastic first full-length opus Ex Nihilo, in 2025, already with Jessy stealing the spotlight with her undisputed vocals. Exploring the secrets of dark music, inspired by the observation of a world oscillating between decline and progress, the band currently formed of our metal lady Jessy on vocals alongside Eithenn and Draugr on the guitars, and Alwan on bass aims at spreading their dark philosophy all across the world, and you can get a very good taste of their music on YouTube, BandCamp, and Spotify, enjoy their official videos for the songs Arcana Nox, Altar Ego and Ego Sum (Qui Sum), and keep an eye on their social media for their live performances, in special if you live in France.
Apart from her promising career with Usquam, Jessy can also be found as a guest and as a live vocalist (under the moniker J.V.) for French Black Metal entity NZGL, founded by vocalist, guitarists and bassist Gaël Liger, recording vocals and having also written some of the lyrics for their 2025 album Tales from the Pale Moon… And Other Stories, available on both BandCamp and on Spotify. In addition, she’s also involved with an Industrial/Gothic Rock band named Syndro-syS since 2013, having released with the band the 2015 album Corporation, available on BandCamp. The band doesn’t seem to be active anymore, as they’ve been dead silent since around 2020, but the music is still great and definitely deserves our attention. Who knows, maybe we can all inspire Jessy and Syndro-syS to get back in action if we listen to their music enough, right?
Anyway, Jessy can also be seen as a guest musician to a few very interesting bands and projects since the beginning of her undisputed career. For instance, she recorded all female vocals for the 2022 EP Exist in Ruin, by American Symphonic Black/Death Metal project Exist in Ruin; vocals for the songs Kimi Ga Yo, Seducing Dementia and Whispering Clouds, from the 2013 album Les 12 vertiges, and for the song Hate Me, from the 2019 album Le festin du lion, by French Electronic Industrial Metal act Herrschaft; vocals for the song L’étranger, from the 2018 album Standalone Episodes, by French Progressive Heavy Metal band Seasons; and vocals for the song The Edge of Time, from the 2015 album Symbiosis, by French Melodic Death/Groove Metal act T.A.N.K. Not only that, she also worked as a vocal coach for French Black Metal horde Houle in their 2022 self-titled EP, and their 2024 album Ciel cendre et misère noire.
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An opera singer, soprano and vocal coach, , as already mentioned, Jessy is more than a passionate musician, offering an array of services to accompany most types of celebrations including baptisms, weddings, funerals and tributes, as well as private events, supported by a varied repertoire of sacred music, operas and popular music, such as Ave Maria (Franz Schubert), Voi che Sapete (Wolfgang A. Mozart), When I am Laid (Henry Purcell), La Vie en Rose (Edith Piaf), Someone Like You (Adele), S’il Suffisait d’Aimer (Celine Dion), and many more, always delivering every piece with a ton of emotion to retrace your most beautiful memories. Not only that, she also lends her voice, composes and also collaborates with many international musical projects, just like her guest contributions to the aforementioned metal bands.
As a vocal coach and singing teacher, she will help you understand vocal technique and discover your voice, whether you are a beginner, an artist, or a professional speaker, using a personalized teaching approach that adapts to your needs, mastering several techniques that intertwine theoretical knowledge of the instrument and live practice. Jessy teaches artists and private individuals, always keeping in mind that each student is a unique individual with their own aspirations and energy. Since 2022, she coaches magistrates at the Paris, Angers, and Rennes Courts of Appeal to help them develop their voices as a professional tool. Furthermore, she incorporates elements of the Alexander Technique (a psycho-physical re-education method that improves posture, reduces tension, and enhances performance by teaching musicians to move with more awareness and ease) into her practice to give her students the tools to understand the fundamental mechanisms of their instrument and develop their autonomy.
If you think that’s not enough, Jessy is also an actress, embodying the voice that will bring your audiovisual production to life through voice-over or dubbing, for example, and she participates in some classical concerts within the network of conservatories in the Grand Paris Sud region. Moreover, apart from her private lessons as already mentioned, she also organizes and hosts conferences, masterclasses and workshops. You can enjoy several of her works on the Productions page on her own website, from video clips to short stories and TV ads. But wait, as there’s still more. Jessy has also embarked on a new endeavor, creating her own herbal tea intended for singers, voice professionals and all food lovers, having selected herbs with virtues recognized by voice specialists and entrusted the preparation of the recipe to Happy Plantes, a company of passionate herbalists, very involved in ethical production. The final product is named Élixir du chanteur, and you can get your own package from Jessy’s Big Cartel. The tea can be enjoyed as a snack or as a treatment for those who wish to prevent issues like vocal fatigue, respiratory tract, gastric protection, hoarseness, and so on, all certified from organic farming.
I told you that after knowing more about the indomitable Jessy “Christ” Vignolle you would get more than addicted to her voice, her music, her charisma, and maybe even to her herbal tea), and as long as she keeps firing her whimsical and hypnotizing vocals together with Usquam or any other band or project, we can rest assured the entire world of music will be a much better place. Would it be too much to ask Jessy and Usquam for a US and Canada tour? I’m beyond certain the fans on this side of the pond would go mental with their music. Thank you, Jessy, for your amazing contributions to music in general, and for making heavy music a much better place with your badass attitude. À plus tard!
This Italian Groove Metal entity returns with their thrilling first full-length offering, a concept piece centered on Voodoo, its mysteries, rituals, and symbolic icons.
Born near Rome, Italy around 2012 with the idea to blend heavy and groovy music textures alongside various influences, rhythms, and instruments from all over the world, the unique Groove Metal entity known as Novomundo is unleashing upon us their first full-length opus, titled The Cursed Cult, following up on their 2024 EP Echoes of Ego. A concept piece centered on Voodoo, its mysteries, rituals, and symbolic icons, the new offering by vocalist Valerio Cristiani, guitarists Carlo Ridolfi and Fabio Ciccone, and drummer Fausto Idini is a darker and more crushing take on their renewed sound, showcasing fourteen tracks of ferocity and raw energy blending dark ambient passages with a rotten edge, fusing death-groove and 2000’s metal influences enriched by modern tones and crust-core elements.
Their fusion of heavy music and tribal elements kicks off in full force with Son of Mawu, where Fausto’s primeval drums elevate Valerio’s screams to a whole new level, whereas Carlo and Fabio keep extracting darkly piercing riffs from their axes in Deathless, a heavy hitting tune perfect for slamming into the pit. Then after the short interlude Erzulie we face another ritualistic tune titled Bokor, with the venomous roars by Valerio exhaling Death and Groove Metal amidst a haunting sonority. The quartet continues to hammer their sonic weapons in The Coven, living up to the legacy of the genre, sounding at times like modern-day Machine Head; and we’re treated to another atmospheric interlude named Mojo, flowing into Vodun, a metallic ode to Voodoo where Fausto takes the lead with his pounding, bludgeoning beats and fills.
OSFTG continues where the previous song left off, perfect for some brutal headbanging to the grim roars by Valerio, while Le Marriage de Brigitte carries a weird name for another cinematic interlude before we’re crushed to pieces in Warlord, where Carlo and Fabio bring forward their most austere riffs of the album, this time reminding us of the glorious sound from Roots, by Sepultura. Despite its heaviness, the changes in God’s Violence end up making it a bit confusing to the listener; whereas they get back on track with the multi-layered extravaganza Maitresse La-Sirene, where modern and old school Groove Metal collide. Papa Legba is another tribute to the vile rituals of Voodoo, with Valerio and Fausto making a dynamic duo with their respective screams and beats, ending with the sinister outro Orishas, perfect for wrapping up the whole idea behind the album.
Touching on slavery, prejudice, and death as a way to give value to life, among other themes, The Cursed Cult guides the listener through the pantheon of Voodoo deities, called Loa, exploring their stories and traits as metaphors to convey the album’s core messages, while evoking emotional instability and a sense of unease, symbolizing the fear stemming from ignorance and unfamiliarity. Such a detailed and deep album of heavy music can be purchased from the band’s own BandCamp (or simply by clicking HERE), and you can get in touch with those talented Italians via Facebook and Instagram to know more about the band and their music, and also enjoy their idiosyncratic creations on YouTube and on Spotify. If Voodoo was a metal style, it would definitely be the music played by Novomundo, as their haunting new album is indeed a thrilling sonic ritual that will take the band places. Maybe some really dark ones.
Best moments of the album:Son of Mawu, Bokor, Vodun and Warlord.
Worst moments of the album:God’s Violence.
Released in 2026 Independent
Track listing 1. Son of Mawu 3:29
2. Deathless 3:47
3. Erzulie 0:33
4. Bokor 5:33
5. The Coven 4:10
6. Mojo 1:25
7. Vodun 3:53
8. OSFTG 4:09
9. Le Marriage de Brigitte 1:19
10. Warlord 3:32
11. God’s Violence 3:31
12. Maitresse La-Sirene 5:20
13. Papa Legba 4:39
14. Orishas 2:35
Band members Valerio Cristiani – vocals
Carlo Ridolfi – guitar
Fabio Ciccone – guitar
Fausto Idini – drums
This Greek and American beast is ready to unleash hell with their third full-length offering, unfurling dimensions within the sound that they have concocted.
Attempting to meld influences ranging from Black Metal to Brutal Death Metal and everything in between, including Technical Death Metal, Blackened Death Metal and even Deathcore, the demonic Greek/American beast known as Phasma is unleashing hell with their third full-length offering, simply titled Purgatory. Displaying a Stygian artwork by George Angelis, the follow-up to their 2022 sophomore effort Epiales effortlessly oscillates from sharp Black Metal riffs to pummeling Death Metal blasts with matching vocal styles, and even toss in a breakdown or two in the middle, with every song feeling like an extension if not an improvisation over the previous one, as vocalist Luis Ferre and guitarist Jason Athanasiadis, with the support of session musicians George Markantonis on bass and Bill Nanos on drums, unfurl dimensions within the sound that they have concocted.
The dirty, devilish guitar by Jason sets the stage in I, quickly exploding into a beyond demented and technical feast of Black and Death Metal with Luis growling like a rabid beast for our total delight, followed by II, where another ethereal start evolves into more of the band’s trademark violence, with Bill’s infernal drums walking hand in hand with George’s thunderous bass lines. III sounds as visceral and ruthless as its predecessors, with Luis stealing the show with his deep guttural and bestial gnarling while Jason extract those Cannibal Corpse-inspired riffs that make Death Metal even deadlier; whereas IV presents hints of Dissonant and Avantgarde Death Metal added to their core brutality, keeping the album as sulfurous as it can be. Their insanity, heaviness and rage are boosted by the rumbling bass by George in V, getting utterly experimental at times while also showcasing a strong Deathcore vibe in its breakdowns; and lastly, they’ll pulverize us all with VI, where their Death Metal side gets even stronger, while Bill once again pounds his drums nonstop.
Bands playing a mix of styles isn’t uncommon but to intermingle influences of such disparate, almost contrasting styles is fascinating and remarkable especially when they have high replay value and lasting appeal. That’s exactly what Phasma have to offer in Purgatory, being highly recommended for admirers of the sonic madness blasted by bands such as Mgla, Dying Fetus, Crypts of Despair, Kriegsmaschine, and Psycroptic, just to name a few. You can get to know more about such a bestial duo from Greece and the United States by following the project on Facebook and on Instagram, staying up to date with their live performances, stream their unique creations on Spotify or any other streaming platform, and above all that, grab a copy of Purgatory from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, where you can also find their incredible merch designed by CVSPE. Like it or not, Phasma are here to stay, and they’ll mercilessly drag us to their own purgatory armed with their visceral new album.
Best moments of the album:I and III.
Worst moments of the album: None.
Released in 2026 Transcending Obscurity Records
Track listing 1. I 5:00
2. II 4:13
3. III 4:24
4. IV 3:51
5. V 4:16
6. VI 4:47
Band members Luis Ferre – vocals
Jason Athanasiadis – guitars
Guest musicians
George Markantonis – bass (session)
Bill Nanos – drums (session)
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
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
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.
Attention, metalheads!
THE HEADBANGING MOOSE 