Category Archives: Album Reviews

Album Review – Resin Tomb / Cerebral Purgatory (2024)

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A remarkably cohesive mix of Dissonant Death Metal, gravelly Grindcore and somehow even thick Blackened Sludge crafted by an up-and-coming squad from Down Under.

After releasing their 2020 self-titled debut EP followed by their 2022 EP Unconsecrated // Ascendancy, Brisbane, Australia-based Sludge/Death Metal band Resin Tomb has perfected their sound for their highly awaited debut full-length album, entitled Cerebral Purgatory, and it’s everything you’ve come to expect from them and more. Recorded and mixed by the band’s own Brendan Auld at Black Blood Audio, mastered by Arthur Rizk, and displaying a fantastic artwork by Mitchell Nolte (who’s by the way responsible for all cover arts for Baest and Werewolves), with layout and graphic design by Mitch Long, the new album by vocalist Matt Budge (Consumed), guitarists Brendan Auld (Descent, Feculent) and Matt Gordon, bassist Mitch Long (Consumed), and drummer Perry Vedelago (Siberian Hell Sounds) is highly recommended for fans of Terra Builder, Replicant, and Vermin Womb, just to name a few, offering our avid ears a remarkably cohesive mix of Dissonant Death Metal, gravelly Grindcore and somehow even thick Blackened Sludge.

The opening tune Dysphoria is absolutely devastating and infernal, not recommended for the lighthearted, with Mitch and Perry generating a venomous wall of sounds with their respective bass and drums; and featuring additional vocals by guest Scott Tabone (Burial Pit), Resin Tomb show no mercy for our damned souls in Flesh Brick, a dissonant, violent onrush of Sludge and Death Metal with hints of Grindcore where the guitars by Brendan and Matt will darkly pierce your mind. Then the metallic, sulfurous bass jabs by Mitch will smash your skull in Scalded, a lecture in brutality and insanity by Resin Tomb that should sound amazing if played live on their shows, whereas the title-track Cerebral Purgatory is another heavy bass-infused tune by the band, with the guitars by Brendan and Matt once again cutting our skin deep (albeit a bit too repetitive).

It’s then time for a dark and sinister composition titled Human Confetti, offering the band’s dissonant sounds while Matt vociferates rabidly until the very last second. Needless to say, this song will darken your thoughts without a shadow of a doubt, followed by Purge Fluid, a disruptive, groovy and melodic chant where their guitars and bass sound absolutely heavy and evil, while Perry keeps hammering his drums in a fusion of classic Death Metal and Experimental Death Metal. Their second to last explosion of madness and heaviness is offered to us all under the name of Concrete Crypt, one of the most devastating songs of the album, if not the most, thanks to the visceral screams by Matt and the always thunderous drums by Perry, flowing into the closing extravaganza titled Putrescence, demolishing everything and everyone that’s still standing after all the violence presented in the album, also showcasing an amazing guitar job done by the band’s axe duo as usual.

If high-quality Death Metal is your cup of tea, then you must spend some time Down Under to enjoy the pulverizing new album by Resin Tomb, which is available for purchase from the band’s own BandCamp page of from the Transcending Obscurity Records’ BandCamp page or webstore as a digipak CD, a gatefold LP, a cassette, or a special CD + shirt combo. Furthermore, don’t forget to also give the guys from Resin Tomb a shout on Facebook and on Instagram, to stream all of their sick creations on Spotify, or simply click HERE for all things Resin Tomb. Cerebral Purgatory is an untamed, noisy beast of death, sludge and doom, positioning the band as one of the must-see acts of the year hands down, consequently leaving us eager for more of their wicked sounds in the coming years.

Best moments of the album: Flesh Brick, Scalded and Concrete Crypt.

Worst moments of the album: Cerebral Purgatory.

Released in 2024 Transcending Obscurity Records

Track listing
1. Dysphoria 2:39
2. Flesh Brick 3:09
3. Scalded 4:20
4. Cerebral Purgatory 4:20
5. Human Confetti 4:20
6. Purge Fluid 3:06
7. Concrete Crypt 2:46
8. Putrescence 4:20

Band members
Matt Budge – vocals
Brendan Auld – guitar
Matt Gordon – guitar
Mitch Long – bass
Perry Vedelago – drums

Guest musician
Scott Tabone – additional vocals on “Flesh Brick”

Album Review – Lutharo / Chasing Euphoria (2024)

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One of the must-see names of the current Canadian scene is back with their breathtaking sophomore album, sounding as destructive and violent as it is soaring and captivating.

Bringing forth their signature mixture of traditional Heavy Metal, Melodic Death Metal, Thrash Metal and more, Hamilton, Ontario, Canada-based Melodic Death Metal outfit Lutharo returns with their sophomore opus (and strongest effort to date), titled Chasing Euphoria, following up on their critically acclaimed 2021 debut Hiraeth. Recorded by drummer Cory Hofing at Coho Studio, with additional recording by Thomas Ireland and mixing and mastering by Lasse Lammert of LSD Studio, and showcasing a stunning artwork by Swedish artist Niklas Sundin, Chasing Euphoria is as destructive and violent as it is soaring and captivating, inspiring us all for some vigorous headbanging, boisterous pits and chanting singalongs together with frontwoman Krista Shipperbottom, guitarist Victor Bucur, bassist Chris Pacey and the aforementioned drummer Cory Hofing.

The epic, cinematic intro Gates of Enchantment will set the stage for Krista and the boys to crush our souls in Reaper’s Call, presenting an amazing guitar job by Victor that sets fire to their music in the name of Melodic Death Metal, therefore resulting in a beyond thrilling start to the album. Their violent yet very melodious sounds keep hammering our cranial skulls in Ruthless Bloodline, with Cory dictating the song’s galloping pace with his heavy beats accompanied by the metallic bass by Chris; and get ready for another blast of sick riffs, thunderous bass and unstoppable drums in Time to Rise, with Krista once again showcasing all her vocal range with both her clean vocals and she-demon roars. In Born to Ride we’re treated to pure metal lyrics roared by Krista (“We’re striking the lights out stately / Let the banners fly / Sights never guided me before just stifled my might / Short circuited odds and judgment / With victory to taste / When the blind leads the blind, / You’re at the edge of a blade”) amidst a beyond exciting and incendiary sound perfect for hitting the highway, followed by Bonded to the Blade, a good song albeit not as dynamic as the rest of the album. Victor continues to deliver sheer adrenaline through his riffs and solos, though.

The title-track Chasing Euphoria will bring to our avid ears more of the band’s modern-day, electrifying Melodic Death Metal, with the soaring vocals by Krista walking hand in hand with the massive wall of sounds crafted by her bandmates; and the band then enhances their epicness to a whole new level in Creating a King, offering more of their crystal clear, visceral melodeath with Cory pounding his drums mercilessly from start to finish, resulting in the perfect song for some sick headbanging. There’s no sign of the band slowing down at all, as Strong Enough to Fall is another feast of Canadian Melodic Death Metal with the striking riffs and solos by Victor sounding venomous, enfolding us all in a Heavy Metal embrace. A futuristic start quickly evolves into a straightforward Melodic Death Metal attack by Lutharo in Paradise or Parasite, where Krista keeps delivering her trademark hypnotizing vocal lines while Chris and Cory build a strong base boosted by the song’s background orchestral elements; whereas the doomed bass by Chris ignites the closing tune of the album, titled Freedom of the Night, offering the listener seven minutes of fast-paced riffs and beats and the always sharp yet charming vocals by Krista, or in other words, it’s a more introspective creation by the band putting a climatic finale to their metallic feast.

Lutharo Chasing Euphoria Ultimate Bundle

Lutharo are definitely going places armed with Chasing Euphoria (both figuratively and literally speaking, as they’re gearing up for a massive tour across the United States and Canada), and if you want to show such awesome band from the current Canadian metal scene your utmost support, you can start following them on Facebook and on Instagram, always keeping an eye on their tour dates, subscribe to their YouTube channel and stream more of their breathtaking music on Spotify, and above all that, grab a copy of Chasing Euphoria from their own official website (including the more-than-special Chasing Euphoria ultimate bundle, featuring the album on limited edition pink and blue marble vinyl, a limited edition signed photo, an album T-shirt, a “Time To Rise” patch, a battle flag, and limited edition guitar picks), or you can also find your favorite version of the album by clicking HERE or HERE. Lutharo are definitely going to make a lot of noise worldwide armed with their new album, a cacophony of all that is metal, always chasing euphoria and inspiring us to bang our heads nonstop to the music by one of the best bands of the contemporary Canadian scene.

Best moments of the album: Reaper’s Call, Born to Ride, Creating a King and Paradise or Parasite.

Worst moments of the album: Bonded to the Blade.

Released in 2024 Atomic Fire Records

Track listing
1. Gates of Enchantment 1:13
2. Reaper’s Call 4:00
3. Ruthless Bloodline 4:12
4. Time to Rise 4:21
5. Born to Ride 3:52
6. Bonded to the Blade 4:33
7. Chasing Euphoria 4:31
8. Creating a King 4:08
9. Strong Enough to Fall 4:56
10. Paradise or Parasite 5:07
11. Freedom of the Night 6:45

Band members
Krista Shipperbottom – vocals
Victor Bucur – guitars, backing vocals
Chris Pacey – bass
Cory Hofing – drums

Guest musician
Jeff Wilson – guitars (Live)

Album Review – Fathomless Ritual / Hymns For The Lesser Gods (2024)

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Behold this one-man project from Canada and his striking debut opus, offering us all a technical and brutal form of Death Metal for sacrifices and caverns fully dedicated to the prehistoric gods.

With manic glee, Newmarket, Ontario, Canada-based Technical/Brutal Death/Doom Metal creature Fathomless Ritual recreates the maddening, unhinged kind of Death Metal created by the likes of Demilich, Chthe’ilist, Dead and Dripping, and Mortiferum, among others, and give its own ugly, grime-ridden twist to it, which is exactly what you’re going to get in the project’s debut opus Hymns For The Lesser Gods. Displaying a stunning artwork and gouache paintings by renowned Brazilian artist Marcio Blasphemator, Hymns For The Lesser Gods offers a darker, murkier, cavernous sound, being labeled as “Death Metal for sacrifices and caverns”, but all the same has a denser quality and a sense of modern urgency about it which livens up the proceedings, with the project’s sole member Brendan Dean (or simply B. Dean), of bands like Gutvoid, Fumes and Pukewraith, making a conscientious effort to make the sound more extreme and relevant in his own way without attempting to dethrone the gods.

Pure insanity and heaviness flow from all instruments from the very first second in Hecatomb for an Unending Madness, where Brendan’s deep, inhumane gnarls add an extra touch of obscurity to the music, also showcasing infernal, demented riffs not recommended for the lighthearted; and our lone wolf keeps hammering all of his instruments in Exiled to the Lower Catacombs, resulting in a Neanderthalic, grim Death Metal attack with the bass sounds reverberating deep inside our heads. Those drums keep pounding our cranial skulls in Gorge of the Nameless, not to mention the acid electricity exhaling from Brendan’s riffs and bass, feeling like he’s dragging us deeper and deeper into his Stygian lair. Then get ready for six minutes of demented groove in the form of Grafted to the Chambers of Mirth, where Brendan follows his own “Cavern Death Metal” formula in great fashion, blasting his stringed axes mercilessly while also barking like a demonic entity.

There’s no limit to the level of insanity and darkness blasted by Brendan and his Fathomless Ritual, resulting in another onrush of brutal, dense and headbanging sounds titled Wielding the Bone Wand, while our ears keep being invaded by his devilish roars. And Brendan shows no sign of slowing down; quite the contrary, he keeps slashing his stringed axe like a beast in Cosmic Reflections from the Basin of Blood, another solid creation venturing through the realms of Experimental Death Metal. It’s then pedal to the metal as Brenda’s Death Metal attack will leave you absolutely disoriented in Gelatinous Being of Countless Forms, where the song’s demented but very intricate drums walk hand in hand with his devilish gnarls and rumbling bass punches, and Gifts for Aranaktu is one final onrush of demonic, ruthless metal sounds that will hit us hard in the face. Furthermore, it’s truly impressive how Brendan managed to keep his guitar and bass work so vibrant throughout the entire album without sounding repetitive or stale.

Be prepared to sacrifice yourself and win the favour of the forgotten ones with Hymns For The Lesser Gods, an album that should delight any fan of underground Death Metal, and that you can purchase from Fathomless Ritual’s own BandCamp page, as well as from the Transcending Obscurity Records’ webstore as an 8-panel digipak in the US or in Europe, and as a very special CD + shirt combo also in Europe. Don’t forget to also give Brendan and his Fathomless Ritual a shout on Facebook and on Instagram, because not only he’s embellishing our lives with an album chock-full of riffs and jangly hooks with escalating song structures culminating in cranial implosions, but it’s also a fierce and pulverizing tribute to the prehistoric gods, all embraced by that murky, twisted and engrossing form of Death Metal we all love so much.

Best moments of the album: Exiled to the Lower Catacombs, Grafted to the Chambers of Mirth and Gelatinous Being of Countless Forms.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Hecatomb for an Unending Madness 2:32
2. Exiled to the Lower Catacombs 4:55
3. Gorge of the Nameless 4:15
4. Grafted to the Chambers of Mirth 6:11
5. Wielding the Bone Wand 4:45
6. Cosmic Reflections from the Basin of Blood 4:01
7. Gelatinous Being of Countless Forms 4:58
8. Gifts for Aranaktu 6:54

Band members
Brendan Dean – vocals, guitars, bass, drum programming

Album Review – Eternal Storm / A Giant Bound to Fall (2024)

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A boundless, always-evolving Spanish Progressive and Melodic Death Metal outfit returns with their hugely ambitious yet still passionate and heartfelt sophomore album, a giant step ahead for the band and for the entire style.

Following up on the release of their 2019 debut album Come the Tide, which was a shockingly accomplished, poignant and evocative album which many still regard to be one of the highlights in the style, Spanish Progressive/Melodic Death Metal outfit Eternal Storm returns to the battlefield four years later with their sophomore opus, titled A Giant Bound to Fall, a worthy effort that doesn’t betray their sound nor dilute it. Produced by the band itself, recorded at The Empty Hall Studio (vocals, guitars, bass) and at Sadman Studio (drums), re-amped, mixed and mastered by Dan Swanö at Unisound, and displaying a sinister artwork by Leoncio Harmr (with logo by Christophe Szpajdel of Lord of the Logos), the album is far more nuanced, multifaceted and even feels darker than their debut installment, all masterfully brought into being by Daniel R. Flys on lead vocals, guitars, keyboards and bass, Jaime Torres on the guitars, vocals, keyboards, bass and fretless bass, and Daniel Maganto on bass, additional guitars and additional vocals, plus guest musicians Gabriel Valcázar (Wormed, Ernia) on drums and percussion, and Jaboto Fernández (Nexus 6, TodoMal) on additional keyboards and synths, being recommended for fans of Be’lakor, Dyssebeia, Insomnium, and Dark Tranquillity.

Guest Roberto Bustabad (Varunian, Ovakner, Rvinas) brings some noise and additional synths to the opening tune An Abyss of Unreason, starting in an ethereal manner as the drums by Gabriel arise from the underworld, exploding into a dissonant and experimental hybrid of Black and Death Metal where Daniel R. Flys roars manically nonstop, offering us all endless progressiveness and multiple layers of unique sounds and tones in a true aria of darkness. Then featuring guest vocalist Sven de Caluwé (Aborted), A Dim Illusion is another melodious yet visceral and somber creation by the band, a more progressive version of the music by Insomnium highly recommended for some vigorous headbanging to the piercing riffage by Daniel R. Flys and Jaime; and after such intense and bold tune it’s time for a soothing, serene sonority in There was a Wall, bringing forward elements from modern-day Doom Metal, in special in the sluggish beats by Gabriel, while Daniel R. Flys, Jaime and Daniel Maganto extract sheer groove and feeling form their stringed axes. Their mesmerizing feast goes on in Last Refuge, featuring guests Kheryon on additional vocals and Paul R. Flys on violin, a ten-minute journey through the realms of Progressive and Melodic Death Metal showcasing another amazing job done by all band members, with Daniel R. Flys once again leading his horde with his anguished screams.

It’s then time for a gentle, enfolding interlude titled Eclipse, generating a delicate atmosphere to the sound of minimalist guitar lines (albeit going on for a bit too long, but nothing that takes away its vibe), setting the tone for Lone Tree Domain, with guest Eloi Boucherie (Vidres a la Sang, White Stones) on additional vocals, an even more intricate, detailed and visceral creation by Eternal Storm, with their guitar riffs getting boosted by the rumbling bass by Daniel Maganto, sounding beautiful and impactful at the same time. The trio keeps embellishing the airwaves with their complex yet captivating sounds in The Sleepers, featuring Dan Swanö on additional vocals, a Progressive Death Metal aria alternating between deep, enraged moments and atmospheric passages, exploding into the infernal The Void, a lecture in Death Metal infused with progressive, technical and blackened elements tailored for admirers of the genre, with the superb drumming by Gabriel enhancing the song’s punch while Daniel R. Flys roars like a beast, always accompanied by the thunderous bass by Daniel Maganto. Lastly, we’re treated to the title-track A Giant Bound to Fall, featuring Sergi “Bobby” Verdeguer (Persefone) on additional vocals, beginning in a futuristic, whimsical vibe while also offering more of the band’s harsh and demolishing sounds, bringing peace and hope to our damned hearts and, therefore, putting a stunning finale to the album.

A Giant Bound to Fall is a giant step ahead in the logical direction, for the band and for the entire style. There is little doubt that this hugely ambitious and more importantly still passionate and heartfelt album will go down as another towering landmark in the genre, and if you want to show Eternal Storm all your support you can start following the band on Facebook and on Instagram, stream their music on Spotify, on YouTube and on any other streaming platform, and above all that, purchase a copy of the album from their own BandCamp page, as well as from the Transcending Obscurity Records’ webstore as a CD (in the US and Europe) or as a very special CD + shirt combo (also in the US and Europe). The storm of Progressive and Melodic Death Metal available in the new album by such talented band from Spain definitely deserves a detailed listen by all of us, and I can’t wait to see what’s next in their boundless and always evolving career.

Best moments of the album: An Abyss of Unreason, Last Refuge and The Void.

Worst moments of the album: Eclipse.

Released in 2024 Transcending Obscurity Records

Track listing
1. An Abyss of Unreason 13:35
2. A Dim Illusion 7:18
3. There was a Wall 5:07
4. Last Refuge 10:00
5. Eclipse 4:06
6. Lone Tree Domain 9:27
7. The Sleepers 6:27
8. The Void 6:27
9. A Giant Bound to Fall 6:46

Band members
Daniel R. Flys – lead vocals, guitars, keyboards, bass
Jaime Torres – guitars, vocals, keyboards, bass, fretless bass
Daniel Maganto – bass, additional guitars, additional vocals

Guest musicians
Gabriel Valcázar – drums, percussion (session)
Jaboto Fernández – additional keyboards and synts
Roberto Bustabad – noise and additional synths on “An Abyss of Unreason”
Sven de Caluwé – additional vocals on “A Dim Illusion”
Kheryon – additional vocals on “Last Refuge”
Paul R. Flys – violin on “Last Refuge”
Eloi Boucherie – additional vocals on “Lone Tree Domain”
Dan Swanö – additional vocals on “The Sleepers”
Sergi “Bobby” Verdeguer – additional vocals on “A Giant Bound to Fall”

Album Review – Tanin’iver / Dark Evils Desecrate (2024)

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The blind dragon steed of Lilith will breathe fire upon humanity once again to the sound of his fourth full-length opus, an outpouring of blazing hatred and rage in the form of devilish Blackened Death Metal.

“The heavenly serpent is a blind prince with name of Tanin’iver…he is the bond, the accompaniment and the union between Samael and Lilith. If he were created whole in the fullness of his emanation he would have destroyed the world in an instant.” – The Early Kabbalah

A Black and Death Metal embodiment of one man’s creative spirit, forged in the cold flames of tragedy, loss and personal struggle, an outpouring of blazing hatred and rage at a world blighted by sickness, cursed by violence and intolerance, drowning in greed and ignorance, Adelaide, Australia-based Blackened Death Metal outfit Tanin’iver (the blind dragon steed of Lilith in ancient mythology) is unleashing upon humanity its fourth full-length opus, titled Dark Evils Desecrate, the follow-up to the project’s 2021 album The Lucifer Effect. Produced, mixed and mastered by the band’s mastermind, vocalist and guitarist Steve Lillywhite (aka Skorpa), Dark Evils Desecrate sees Steve (alongside once again guitarist and bassist Liam Mohor) turning his coruscating gaze from the poisonous cesspit of religion and delivering a bombardment of scathing, acidic vitriol onto humanity’s obsessions with war, violence, intolerance and the brain-sapping curse of social media, being therefore highly recommended for fans of Dissection, Belphegor, Mayhem and Svart Crown.

Another World’s Hell hits us hard in the face with its infernal lyrics roared by Steve (“Long, the way, to light  / Out of all this dark / To be precise, / The killing of the night /Will be the end, / Of what I failed to be / Your dreams, are dead”) while the music is as bestial as it can be, with his caustic riffage adding an extra touch of evil to the overall result; followed by Disrepair, another pulverizing, devilish tune by the duo, with Liam sounding thunderous with his bass while also delivering a crisp guitar solo for our total delight. Then we’re treated to Separatist, sounding absolutely devastating from the very first second, with its blast beats and venomous screams and riffs generating a truly demonic atmosphere perfect for some vigorous headbanging, whereas a rumbling, massive wall of sounds will crush your soul in Better the Devil, with its mechanized, pounding rhythm matching perfectly with Steve’s devilish gnarls.

It’s time for another feast of Black and Death Metal titled Freedom Is Never Free, with the guitars by both Steve and Liam grinding your mind in the name of absolute evil and darkness, flowing into Soul Thief, offering our putrid ears six minutes of hatred and fury blasted by the duo, with Steve stealing the spotlight with his most Black Metal, infuriated harsh growls, showcasing a very detailed and dense sonority. Get ready for another Blackened Death Metal onrush by Tanin’iver titled The Seer, where Steve vociferates like a demonic entity nonstop supported by the song’s classic riffs, beast and fills; and a cryptic start evolves into more of the band’s hellish sounds in Drowning on Dry Land, this time also presenting subtle elements from Industrial Metal in special in its drums. It drags for a bit too long, though. And lastly, the band offers us all an ode to the pits of hell titled So Was Red, bringing forward more of Steve’s high-pitched growling, demented riffs and brutal drums, consequently spreading a visceral, demonic stench in the air.

Steve’s story has been one of ongoing struggle, fighting against illness and addiction and processing the impact of heart rending loss, but he has harnessed the chaos that has raged around his life and channeled it into music of profound power and impact. Hence, if you want to show Steve how much you love the music by his Tanin’iver, you can start following him on Instagram, stream more of his music on Spotify, and above all that, purchase the sulfurous Dark Evils Desecrate from his own BandCamp page or from the Morning Star Heresy webstore as a CD or a cassette, letting the music by the blind dragon steed of Lilith reach deep inside your blackened heart.

Best moments of the album: Another World’s Hell, Separatist and The Seer.

Worst moments of the album: Drowning on Dry Land.

Released in 2024 Morning Star Heresy

Track listing
1. Another World’s Hell 4:14
2. Disrepair 5:40
3. Separatist 4:41
4. Better the Devil 4:32
5. Freedom Is Never Free 5:26
6. Soul Thief 6:22
7. The Seer 3:50
8. Drowning on Dry Land 4:34
9. So Was Red 5:30

Band members
Steve Lillywhite – vocals, rhythm guitars, sampling
Liam Mohor – lead guitars, bass

Album Review – Engulf / The Dying Planet Weeps (2024)

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A one-man studio Death Metal act drawing influence from all dark corners of the extreme music realm returns with his massive and savage debut full-length album.

A one-man studio Death Metal act drawing influence from all dark corners of the extreme music realm, New Jersey, United States-based entity Engulf is back with its catchy riffs, gnarly vocals and brutish yet dark vibes in the project’s massive and savage debut full-length album, titled The Dying Planet Weeps. Recorded, mixed and mastered by Chris Kelly, mastered for vinyl by Carlo Altobelli at Toxic Basement Studio, displaying an otherwordly artwork by Pär Olofsson (with additional artwork by Chris Kiesling of Misanthropic-Art, and logo by Steve Crow of Malevolent Icons), and featuring an array of very special guest musicians, the album is the perfect follow-up to the three story-driven EP’s released between 2017 and 2019, showcasing all the talent and passion for heavy music by the project’s mastermind, vocalist and multi-instrumentalist Hal Microutsicos.

Eerie, cryptic sounds permeate the air in the opening tune Withered Suns Collapse until all explodes into a Technical Death Metal attack by our lone wolf, where he not only extracts sheer violence from his riffage, but his guttural roars also bring endless insanity to the song. Then featuring guest vocals by Kevin Muller (of Alluvial), Bellows from the Aether offers more of Hal’s groovy and dissonant Death Metal, supported by the rumbling bass by session musician Giacomo Gastaldi (of Darkend); and Hal keeps hammering his instruments in The Nefarious Hive, featuring guest vocals by the one and only Sven de Caluwé (of Aborted), who delivers his deep, inhumane growls as expected, making a devilish vocal duo with Hal. After such inspiring metal attack, Ominous Grandeur brings elements from Doom and Black Metal to Engulf’s already demonic sonority, resulting in over five minutes of insanity and heaviness where the bass by Giacomo sounds absolutely rumbling until the very end.

The second half of the album will hit you hard in the head with its even heavier and more venomous sounds, starting with Lunar Scourge, a brutal and evil attack of Death Metal by Hal with its blast beats and sick riffage inviting us all to join Engulf in pitch black darkness, whereas Plagued Oblivion, featuring a guest guitar solo by Pat Bonvin (of Near Death Condition), reminds me of some of the wicked creations by Death Metal veterans Unleashed, also presenting some sick elements from Black Metal in its riffs. Then featuring guest vocals by Enrico “H.” Di Lorenzo (of Hideous Divinity) and a guest guitar solo by Chris Kelly, Earthbore is a six-minute journey through the realms of cryptic and savage Death Metal, starting in a serene manner before morphing into a Dissonant Death Metal extravaganza led by the wicked riffs by Hal, flowing into the title-track The Dying Planet Weeps, an extended instrumental outro that follows the same pattern of the previous song, but that takes away a bit of the album’s energy due to its length.

The multi-talented Hal Microutsicos and his demented beast Engulf are waiting for you on Facebook and on Instagram with more nice-to-know details about the entire project, and you can also stream his wicked creations on Spotify and on several other streaming services. Furthermore, in order to show Engulf your utmost support, you can purchase a copy of The Dying Planet Weeps by clicking HERE (physical version) or HERE (digital version), inspiring Hal to keep crafting first-class Death Metal for years to come. The Dying Planet Weeps will surely please most fans of all types of Death Metal due to its versatility and dynamism, once again proving how important one-man or one-woman bands are to the continuity of the underground scene.

Best moments of the album: Bellows from the Aether, The Nefarious Hive and Earthbore.

Worst moments of the album: The Dying Planet Weeps.

Released in 2024 Everlasting Spew Records

Track listing
1. Withered Suns Collapse 5:51
2. Bellows from the Aether 3:31
3. The Nefarious Hive 3:38
4. Ominous Grandeur 5:19
5. Lunar Scourge 4:28
6. Plagued Oblivion 4:45
7. Earthbore 6:11
8. The Dying Planet Weeps 2:19

Band members
Hal Microutsicos – vocals, all instruments, drum programming

Guest musicians
Giacomo Gastaldi – bass (session)
Kevin Muller – vocals on “Bellows from the Aether”
Sven de Caluwé – vocals on “The Nefarious Hive”
Pat Bonvin – guitar solo on “Plagued Oblivion”
Enrico “H.” Di Lorenzo – vocals on “Earthbore”
Chris Kelly – guitar solo on “Earthbore”

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2023

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“Whatever your age may be, when you go to a heavy metal gig, you’re a teenager again.” – Rob Halford

I believe that quote from the Metal God himself perfectly represents the year of 2023 for most of us metalheads, including of course myself and my buddy Keith Ibbitson of Metal Paparazzi as we’ve been to countless metal gigs this year (and you can see detailed reviews with amazing professional photos for each one of them HERE), keeping our inner fires burning during such difficult times for the entire world. A never-ending economic crisis that’s dragging tons and tons of people to poverty everywhere, the Russo-Ukrainian War that persists for almost two years now, the extremely sad and inhumane Gaza–Israel conflict, all environmental disasters that in the end are all mankind’s fault, and so on. On the heavy music side, we witnessed the final concert ever by KISS, the end of great bands like The Agonist and Betraying the Martyrs, and the deaths of Sebastian Marino (former guitarist of Overkill and Anvil), Michael “Majk Moti” Kupper (former guitarist of Running Wild), Jon Kennedy (former bassist of Cradle of Filth and former vocalist of Hecate Enthroned), Hiroshi “Heath” Morie (bassist of X Japan), Charlie Dominici (former vocalist of Dream Theater), and several other talented musicians.

Despite all those losses, it was a very good year for heavy music, as bands kept fighting for rock and metal no matter what, putting on fantastic albums and memorable tours for us fans, with some already voicing their dissatisfaction against Live Nation and Ticketmaster for their sky-rocketing ticket prices, shady fees, and an obscure ticket reselling “mafia” running in the background that inflates those prices even more. In 2024 we’ll surely (and hopefully) see more of this insurgence against their ticket monopoly, and while we wait for that let’s enjoy The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2023, excluding EP’s, best of’s and live albums, offering our avid ears the perfect soundtrack to every single moment in our lives, even if that moment is the apocalypse.

1. UADA – Crepuscule Natura (REVIEW)
One of the rising stars of the current Melodic Black Metal scene returns with their majestic fourth album, unleashing upon us five sonic vessels.
Best song of the album: Retraversing the Void

2. Cattle Decapitation – Terrasite (REVIEW)
Fear the devourer of earth in the form of the brand new and absolutely majestic album by California’s own Deathgrind masters.
Best song of the album: We Eat Our Young

3. Overkill – Scorched (REVIEW)
One of the pillars of old school Thrash Metal will scorch the earth to the sound of their breathtaking new album.
Best song of the album: The Surgeon

4. Hellripper – Warlocks Grim & Withered Hags (REVIEW)
Behold this infernal storm of Blackened Thrash Metal by a one-man army deeply rooted in his Scottish origins.
Best song of the album: Goat Vomit Nightmare

5. Viscera – Carcinogenesis (REVIEW)
UK’s own Technical Death Metal/Deathcore monster returns with their striking sophomore album.
Best song of the album: Sungazer

6. Cannibal Corpse – Chaos Horrific (REVIEW)
The mighty Corpse is back with another pulverizing album of old school, undisputed Death Metal, blasting gore, blood and violence.
Best song of the album: Chaos Horrific

7. Primal Fear – Code Red (REVIEW)
German Power Metal masters are back with their thirteenth opus, a hard-hitting metal lesson and living proof of the healing power of music.
Best song of the album: Play a Song

8. Werewolves – My Enemies Look and Sound like Me (REVIEW)
The most savage Blackened Death Metal band from Australia returns to the battlefield in full force with an even more demented offering.
Best song of the album: I Hate Therefore I Am

9. Vomitory – All Heads Are Gonna Roll (REVIEW)
All heads are gonna roll to the sound of the infuriated new album by one of the most important bands in the history of Death Metal.
Best song of the album: Raped, Strangled, Sodomized, Dead

10. Marduk – Memento Mori (REVIEW)
One of the pillars of Swedish Black Metal is back with a devilish new album, reminding us that we all must die.
Best song of the album: Blood of the Funeral

And here we have the runner-ups, completing the top 20 for the year:

11. Angelus Apatrida – Aftermath (REVIEW)
12. Immortal – War Against All (REVIEW)
13. Blackbraid – Blackbraid II (REVIEW)
14. 4ARM – Pathway to Oblivion (REVIEW)
15. When Plagues Collide – An Unbiblical Paradigm (REVIEW)
16. Hrothgar – Rise of Ragnarök (REVIEW)
17. Mystic Prophecy – Hellriot  (REVIEW)
18. Tsjuder – Helvegr (REVIEW)
19. Hyperia – The Serpent’s Cycle (REVIEW)
20. Sarcoptes – Prayers to Oblivion (REVIEW)

In addition to all that, let’s bang our heads with our Top 10 EP’s of 2023 to prove once and for all that not all great albums of the year have to be so long. The EP’s from this list are simply awesome, showcasing the band’s talent and their ability to sound epic even if the music lasts for only a few minutes.

1. Imperial Demonic – Beneath the Crimson Eclipse (REVIEW)
2. Spectral Lore – 11 Days (REVIEW)
3. Admire the Grim – Rogue Five (REVIEW)
4. Saint Vermin – Together as None (REVIEW)
5. Lost Brethren – Dimensional Rift (REVIEW)
6. Cryptosis – The Silent Call (REVIEW)
7. Nemesism – Nemesism (REVIEW)
8. Decompose To Ashes – In The Eternal Silence (REVIEW)
9. Dysease – Era of Decay (REVIEW)
10. Throat Locust – Dragged Through Glass (REVIEW)

Do you agree with our list? What are your top 10 albums of 2023? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show! And if you lost some of our latest special editions of The Headbanging Moose Show, including our Top 20 Underground Albums of 2023 – Parts I and II, go to our Mixcloud page and there you have hours and hours of the best of the independent scene, sounds good?

Metal Xmas and a Headbanging New Year! See you in 2024!

And before I go, I need to talk once again about Savage Lands, a nonprofit featuring members of Megadeth, Sepultura, Obituary and other legends of metal to support forests in Costa Rica, who released an amazing single titled The Last Howl back in November. The Last Howl is a howling tribute to the howler monkey, which are endangered in Costa Rica. The song features Savage Lands co-founders Sylvain Demercastel and Dirk Verbeuren (Megadeth), as well as support from John Tardy (Obituary), Andreas Kisser (Sepultura), Poun (Black Bomb A) and Etienne Treton (Black Bomb A). 100% of the song royalties will help fund nature sanctuaries, establish green zones and other land preservation projects in Costa Rica. Having said that, why don’t you go and make a nice donation to the cause, and learn more about Savage Lands on their official website? I’m sure Sylvain and Dirk, plus everyone else involved in this magnificent project, will love to receive that Christmas gift from you!

Album Review – Bull of Apis Bull of Bronze / The Fractal Ouroboros (2023)

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A rising force in the American Black Metal scene returns with their stunning, antifascist sophomore album, a brief on occult liberation in seven parts.

Playing what they like to label as “Antifascist Black Metal Liberation Rituals”, the cryptic Colorado, United States-based Black Metal entity Bull of Apis Bull of Bronze stands as a knife pointed to the throat of any who seek to maintain the oppressive systems of white supremacy and fascism that continue to fester in our societies. Formed of Achaierai (aka Cooper Stapleton) on vocals and synths, Athshean (aka Dylan Rupe) on the guitars, bass, harmonium and synths, and Yaeth (aka Jon Lervold) on drums, the band is unleashing upon our rotten society their sophomore opus, titled The Fractal Ouroboros, the follow-up to their 2019 effort Offerings of Flesh and Gold. Mixed and mastered by Jon Lervold at Big Name Recording Studio, and displaying a stunning artwork by Alex CF, The Fractal Ouroboros is as grim and dark as it’s delicate and touching, being a must-listen for admirers of classic Black Metal with a strong atmospheric and epic vein.

As if a ritual was about to begin, tribalistic drums and eerie sounds permeate the air in the opening aria Trophy, growing in intensity until exploding in a dissonant, visceral Black Metal extravaganza led by the harsh roars by Achaierai and the piercing riffs by Athshean, while also morphing into an atmospheric creature during its last part before all erupts once again as majestic Black Metal. Their mysterious, uncanny Black Metal feast goes on in A History of Cages and Broken Bones, with the sinister riffs by Athshean making a beautiful paradox with the Blackened Doom drums by Yaeth; and the guitars by Athshean will darken your thoughts in Suffocate O Earthen Lungs; They Now Lungs of Ash, also showcasing flammable words majestically growled by Achaierai (“A fire to burn our beginning away / A fire to erase the roots / A fire to destroy indigene / A fire to keep us gasping”), whereas the Atmospheric Black Metal tune Annihilation starts in an ethereal, enigmatic vibe and moves on in a smooth and compelling manner, with Achaierai delivering his deepest, most delicate clean vocals while declaiming the song’s poetic lyrics (“The sunset fires catch / The dust, hanged throughout the air / Screaming glints against a bruising sky”).

More of the trio’s tribal sounds are offered to the listener in Liberation Ritual, an extended interlude that will drag your soul to their Stygian realm, sounding absolutely hypnotizing and working perfectly as the predecessor to Our Overt Apocalypse, bringing forward 13 minutes of dark passages, somber nuances and pensive tones,  with Yaeth sounding bestial behind his drums and, therefore, adding an extra touch of heaviness and insanity to the music while Achaierai continues to bark and roar nonstop. Not only that, the song also offers several different layers, breaks, variations and everything else we love in Atmospheric Black Metal, not to mention how devilish the riffage by Athshean feels. Lastly, Bull of Apis Bull of Bronze will attack our senses one final time with 15 minutes of first-class Black Metal titled Ekstasis, Enstasis, and The Fractal Ouroboros, with Achaierai leading his bandmates with his desperate screams while Athshean and Yaeth sound absolutely demolishing and ruthless with their riffs, bass lines and pounding drums, resulting in a fantastic and climatic conclusion to the album that leaves us eager for more of their music in a not-so-distant future.

“Over three years in the making, The Fractal Ouroboros is the embodiment of grief, catharsis, and empowerment”, commented the band about their imposing new album, and if you want to know more about this multi-talented American trio you can find them on Facebook and on Instagram, stream their music on Spotify, and of course grab your copy of the demolishing The Fractal Ouroboros from their own BandCamp page, as well as from the Vita Detestabilis Records’ BandCamp page, from the Fiadh Productions’ BandCamp page, or from Apple Music. Dismantle the police, dismantle all prisons, protect trans kids, black lives matter, indigineous voices matter. This is Bull of Apis Bull of Bronze, and they’re among us to open our eyes against all that’s wrong in our world with The Fractal Ouroboros, a brief on occult liberation in seven parts that will help them easily cement their names in the Black Metal scene worldwide.

Best moments of the album: Trophy, Suffocate O Earthen Lungs; They Now Lungs of Ash and Ekstasis, Enstasis, and The Fractal Ouroboros.

Worst moments of the album: None.

Released in 2023 Vita Detestabilis Records/Fiadh Productions

Track listing
1. Trophy 11:52
2. A History of Cages and Broken Bones 6:49
3. Suffocate O Earthen Lungs; They Now Lungs of Ash 10:51
4. Annihilation 9:41
5. Liberation Ritual 5:49
6. Our Overt Apocalypse 13:31
7. Ekstasis, Enstasis, and The Fractal Ouroboros 15:57

Band members
Achaierai – vocals, synths
Athshean – guitars, bass, harmonium, synths
Yaeth – drums

Album Review – Insepultus / Deadly Gleams of Blood, Steel and Fire (2023)

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One of the most important names of the Romanian Black Metal scene returns after almost 20 years with a thrilling journey into the horrors of war as seen through the eyes of a young soldier in the frontline.

A thrilling journey into the horrors of war as seen through the eyes of a young soldier in the frontline, the demonic and pulverizing Deadly Gleams of Blood, Steel and Fire marks the glorious return of Romanian Black Metal band Insepultus, initially active between 1998 and 2004. Mixed and mastered by Mihai Dinca at Taine Multimedia Studio, and produced by Mihai “Coro” Caraveteanu at Axa Valaha Productions, the new album by Robert “Sepultus” Pieptan on vocals and guitars, Schtephan on bass, and Esmegor on drums shows no glory or grandeur, just death, destruction, pain, wounds and guts, trepidation and distress, or in other words, a Black Metal symphony of death in seven acts for fans of Dark Funeral, Dissection, Emperor, Varathron and Rotting Christ that will bring sheer horror to your mind and soul.

The massive beats by Esmegor will pound your cranial skull mercilessly in the opening tune The Last Battle I, generating a menacing and somber ambience perfect for the band’s Black Metal assault titled The Last Battle II, where Sepultus roars and vociferates in the name of war and Satan accompanied by his own demonic guitar riffs, while Schtephan and Esmegor will make the earth tremble with their kitchen from hell in a lecture in extreme music. Then we have the also multi-layered and Stygian aria The Wreckage of The Earth, showcasing lyrics taken and adapted from Richard Aldington’s poem originally called Bombardment (“Four days the earth was rent and torn / By bursting steel, The houses fell about us; / Three nights we dared not sleep, / Sweating, and listening for the imminent crash, / Which meant our death.”), while the music exhales pure darkness and evil.

The World’s Heart is another hammering creation by those three Black Metal marauders, with Sepultus dictating the pace with his devilish riffs while a siren will pierce your soul in the background, sounding like a march to the abyss until the very last second. Then we’re treated to Hell Upon Earth, a sinister and melancholic interlude where a soldier is writing a letter to his beloved ones to inform about his dark and pitiful fate, flowing into the also destructive The Old Lie, offering our putrid ears another blast of Black Metal venom by the trio, with Sepultus once again sounding infernal on vocals supported by the sluggish, visceral Doom Metal-infused drums by Esmegor. Last but not least, their Black Metal war ends with the also obscure The Trumpet Sound, with Sepultus haunting our damned souls with his screams and razor-edged riffage while Schtephan and Esmegor continue to crush our skeletons with their respective heavier-than-hell bass and thunderous drums.

One of the most obscure hordes to ever arise from Romania is finally back in action after almost 20 years in absolute darkness, and if you want to show Insepultus your support and succumb to their devilish music you can follow them on Facebook and on Instagram, staying up to date with all things surrounding such important entity of the Romanian metal scene. And above all that, go grab your copy of the excellent Deadly Gleams of Blood, Steel and Fire from the Loud Rage Music’s BandCamp page or webstore, getting ready for a dark war alongside Insepultus. It’s absolute horror in the form of fierce, technical, expressive and imperative Black Metal from the land of Wallachia, and I bet you’ll get addicted to their war-inspired haunting sounds for all eternity.

Best moments of the album: The Last Battle II, The Wreckage of The Earth and The Trumpet Sound.

Worst moments of the album: None.

Released in 2023 Loud Rage Music

Track listing
1. The Last Battle I 3:03
2. The Last Battle II 4:02
3. The Wreckage of The Earth 4:31
4. The World’s Heart 4:30
5. Hell Upon Earth 2:57
6. The Old Lie 4:41
7. The Trumpet Sound 4:24

Band members
Robert “Sepultus” Pieptan – vocals, guitars
Schtephan – bass, backing vocals
Esmegor – drums

Album Review – Ewiniar / Another World (2023)

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Croatia’s own Melodic and Gothic Rock and Metal real-life couple will take you on a new distinctive sonic journey to the sound of their exciting sophomore album.

Two years after the release of their debut album Burning the Night, Split, Croatia-based Melodic/Gothic Rock/Metal duo Ewiniar is back with their sophomore effort, titled Another World, representing their commitment to reinforcing the band’s standing as a noteworthy musical entity. Produced by the band’s own Marin Tramontana, and mixed and mastered by Theodor Borovski at Slaughtered Studio, the album once again depicts the perfect synchronicity between the real-life couple formed of Katarina Tramontana on vocals and the aforementioned Marin Tramontana on the guitars, bass and keyboards, this time supported by session drummer Hugo Ribeiro, offering audiences another distinctive sonic journey recommended for fans of the most melodic and delicate side of heavy music.

As atmospheric as it can be, the duo invites us all on a whimsical voyage in the opening tune Shattered Illusion, with Katarina already showcasing her vocal potency accompanied by the classy riffs and keys by Marin, whereas Your Name is a Melodic Rock and Metal creation bringing to our ears more of the couple’s charming, captivating sounds, even presenting hints of the music played by HIM and Lord of the Lost, with guest Hugo sounding precise on drums as usual. Marin’s bass lines bring an extra touch of groove to Cyanide, flirting with Alternative Metal, and that fusion of sounds ends up working really well, consequently boosting Katarina’s vocals considerably; followed by Sister Moon, keeping the ambience dark and delicate, with Martin and Hugo’s groovy kitchen reverberating in the air. And once again venturing through the realms of Gothic Rock and Metal, Katarina will mesmerize us all with her vocals in Mistaken, supported by the stylish keys by Marin.

It’s then time to slow things down and invest in a more pensive, melancholic sound in the serene ballad Indifference Begins, with Marin once again extracting delicate yet piercing sounds form his guitar, accompanied by the slow and steady beats by Hugo. Only Darkness Remains is another Gothic Metal extravaganza by such talented couple, presenting minimalist guitar lines, classic beats and the trademark charming vocals by Katarina, followed by Never Again, a thrilling song with an 80’s vibe, in special in its riffs and bass lines, that should sound amazing if played live one day. Needless to say, Katarina steals the spotlight on vocals once again. Then their second to last blast of finesse and dark sounds, titled Shadows Still Align, brings forward more of their 80’s and 90’s-inspired Melodic Death and Gothic Metal the likes of Dark The Suns, Insomnium and Aeonian Sorrow, with Hugo dictating the pace behind his drums; and there’s no better way to end the album than with another power ballad by Katarina and Marin, entitled Watching the Night Go By, exhaling passion, darkness and melancholy to the stunning vocals by Katarina and the Paradise Lost-fueled riffs by Marin.

In summary, Katarina and Marin nailed it once again with Another World (which is by the way available for a full listen on YouTube and on Spotify), moving forward in their career and showcasing an evolution in their sound while of course still being loyal to their musical roots presented in their debut album. Hence, don’t forget to give the duo a shout on Facebook and on Instagram to let them know how much you enjoy their music, and obviously to grab a copy of Another World from their own BandCamp page, inspiring them to keep embellishing the airwaves and to keep guiding us to different worlds to the sound of their melodious and delicate music.

Best moments of the album: Your Name, Cyanide and Never Again.

Worst moments of the album: Mistaken.

Released in 2023 Independent

Track listing
1. Shattered Illusion 3:29
2. Your Name 3:34
3. Cyanide 3:52
4. Sister Moon 4:14
5. Mistaken 3:44
6. Indifference Begins 4:37
7. Only Darkness Remains 4:35
8. Never Again 3:55
9. Shadows Still Align 4:10
10. Watching the Night Go By 3:56

Band members
Katarina Tramontana – vocals
Marin Tramontana – guitars, bass, keyboards

Guest musician
Hugo Ribeiro – drums