Album Review – Lorna Shore / I Feel the Everblack Festering Within Me (2025)

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Call them heroes or hell-bringers, the torchbearers of modern-day Deathcore are inviting us all to be part of their own movie to the sound of their the declarative and breathtaking fifth album.

Call them heroes or hell-bringers, it doesn’t matter to the  men of New Jersey, United States-based Symphonic Deathcore beast Lorna Shore. Produced and engineered by Josh Schroeder, and displaying a sinister artwork by Zac Shiffer, I Feel The Everblack Festering Within Me, the declarative fifth album in their career, and the follow-up to their 2022 masterpiece Pain Remains, sees the band currently formed of Will Ramos on vocals, Adam De Micco and Andrew O’Connor on the guitars, Michael Yager on bass, and Austin Archey on drums putting all of metal’s subgenres on notice. Because after one listen, you’ll wonder what motivates them and what took metal so long to evolve. You also might wonder whose truck may have hit you while you were listening to the album.

Like the soundtrack to a horror movie, the opening track Prison of Flesh grows in intensity until all hell breaks loose to the visceral beats and fills by Austin in a demented display of brutal and vile Deathcore, while Oblivion follows a similar pattern, with Will’s deep, inhumane growls and screeches sounding like a creature form the abyss, being therefore perfect for some insane action inside the circle pit to the wicked riffs by Adam and Andrew. In the infuriated In Darkness, the background orchestrations and choir elevate the song’s epicness to a whole new level, with once again Will growling manically while the sound of their guitars exhales harmony and electricity; and they continue to fill every single space in the air with their striking fusion of Deathcore and symphonic elements in Unbreakable, leaning towards the sound from Pain Remains. Then a serene start ignites Glenwood, another epic and atmospheric creation by the band overflowing melancholy and darkness, albeit a bit generic in the end.

Will keeps roaring like a true lion in Lionheart, where Austin makes sure his beats and fills are not only heavy-as-hell, but also complex enough to keep the music as vibrant and fresh as possible, followed by Death Can Take Me, another pulverizing display of Symphonic Deathcore where the crushing drums by Austin walk hand in hand with Will’s desperate screams. Then presenting elements from traditional metal styles like Heavy and Thrash Metal we have War Machine, with its background keys elevating its punch, not to mention the excellent job done by Adam and Andrew armed with their axes. Their second to last metallic attack is offered in the form of A Nameless Hymn, with Michael and Austin sounding ruthless with their heavy-as-hell kitchen; and last but definitely not least, Lorna Shore bring forth a masterpiece of darkness entitled Forevermore, starting in an almost Atmospheric Black Metal manner before morphing into a grandiose feast of symphonic elements intertwined with the sheer heaviness of Deathcore, or in other words, it’s definitely a beautiful conclusion to such an epic album.

Lorna Shore are neither dire misery goats, nor flower-picking pollyannas and definitely not lapdogs currying favor from those who would exalt the ordinary, inviting us all to embrace I Feel The Everblack Festering Inside Of Me and, therefore, become part of the band’s own movie. “I think a lot of bands – especially in deathcore – they write stuff that they think is cool, but they’re not necessarily writing stuff that’s true to them,” commented Will Ramos. “I think between everything that we’ve been through over the last couple years, those things have helped push the band to think bigger. We’re putting our heart and soul into it. I think it’s those little experiences that we’ve been through that help shape that. It doesn’t necessarily work for everybody, but it works for us.” Furthermore, you can get in touch with one of the torchbearers of modern-day Deathcore via Facebook and Instagram, stream their vicious, down-tempo creations on Spotify, and of course grab your copy of the poetically titled I Feel the Everblack Festering Within Me by clicking HERE or HERE. When heroes are hard to find, try looking inside yourself first. and when good heavy music is hard to find, simply enjoy the phenomenal new album by Lorna Shore.

Best moments of the album: Prison of Flesh, Unbreakable, Lionheart and Forevermore.

Worst moments of the album: Glenwood.

Released in 2025 Century Media Records

Track listing
1. Prison of Flesh 7:00
2. Oblivion 8:19
3. In Darkness 6:43
4. Unbreakable 4:49
5. Glenwood 6:43
6. Lionheart 5:44
7. Death Can Take Me 7:16
8. War Machine 4:53
9. A Nameless Hymn 5:14
10. Forevermore 9:47

Band members
Will Ramos – vocals
Adam De Micco – guitar
Andrew O’Connor – guitar
Michael Yager – bass
Austin Archey – drums

Album Review – Eleine / We Stand United EP (2025)

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Sweden’s own Symphonic Metal masters return with a compelling offering that draws together a connection between the band’s studio recordings and live performances.

Featuring two unheard pieces, two live tracks recorded at Masters of Rock 2024, and a symphonic version of a fantastic song, We Stand United, the brand new EP by Landskrona, Sweden’s own Symphonic Metal outfit Eleine, is a compelling offering that draws together a connection between the band’s studio recordings and live performances, following up on their critically acclaimed albums Dancing in Hell (2020) and We Shall Remain (2023). Recorded at Studio Bohus, the new EP by frontwoman Madeleine “Eleine” Liljestam, vocalist and guitarist Rikard Ekberg, and guitarist Victor Jonasson (alongside bassist Filip Stålberg and drummer Jesper Sunnhagen, who have recently left the band) might be short in duration, but it will definitely keep their loyal fanbase fully satisfied while studio album number five is in the works.

The cinematic intro Towards the Fields invites us all to join Eleine in their quest for heavy music in We Stand United, a killer new tune by those Swedish metallers where Eleine’s vocals sound hypnotizing as usual, boosted by the deep roars by Rikard, resulting in a massive Symphonic Metal aria bursting with epicness and adrenaline. Never Forget (Live at Masters of Rock 2024) is an excellent live version of one of their heaviest tunes, with its pounding drums and striking riffs adding an extra touch of darkness to it, and the same can be said about We are Legion (Live at Masters of Rock 2024). We can’t see it, but we can imagine the entire crowd jumping up and down with the band in this incendiary and thrilling live version. And closing such a special EP we have the symphonic version of Promise of Apocalypse (Symphonic version), with Eleine stealing the spotlight as expected with her captivating, delicate yet powerful vocals.

“We wanted to give you something in between album cycles. A feel of what’s to come, where we stand right now and a closer look at the past. This is We Stand United – an EP dedicated towards our strong and loyal fans across the world including live tracks and something brand new,” commented Madeleine and Rikard, who are waiting for you to join their army on Facebook and on Instagram (or simply click HERE for all things Eleine), including their unmatched live performances (like their incendiary upcoming tour with the mighty Primal Fear), and don’t forget to also subscribe to their official YouTube channel, to stream their already solid discography on Spotify, and to purchase their excellent new EP from their official webstore or by clicking HERE. We Stand United is unique, it’s alive, it’s symphonic, and more important than all that, it’s a beautiful gift from those Swedish metallers to their fans, warming them up for a bright future ahead of them.

Best moments of the album: We Stand United and We are Legion (Live at Masters of Rock 2024).

Worst moments of the album: None.

Released in 2025 Reigning Phoenix Music

Track listing
1. Towards the Fields (Intro) 1:05
2. We Stand United 4:42
3. Never Forget (Live at Masters of Rock 2024) 4:47
4. We are Legion (Live at Masters of Rock 2024) 3:55
5. Promise of Apocalypse (Symphonic version) 3:43

Band members
Madeleine “Eleine” Liljestam – vocals
Rikard Ekberg – guitars, growls, vocals
Victor Jonasson – guitars

Guest musicians
Filip Stålberg – bass
Jesper Sunnhagen – drums

Album Review – Hades Descent / The Monolith (2025)

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Let’s embark on a cinematic metal journey to the sophomore opus by this UK blackened entity, set centuries into a dystopian future on a dying earth.

Forging Symphonic and Melodic Death and Black metal with a strong cinematic scope, Berkshire, UK-based entity Hades Descent is back from the underworld with its sophomore opus, entitled The Monolith, a dystopian concept album offering a dark fusion of symphonic atmosphere, blackened aggression, and melodic precision, marking the project’s most ambitious work to date. Fully composed, orchestrated, recorded, mixed, and mastered by the band’s mastermind Hades at Titan Studios, underscoring the project’s uncompromising DIY spirit and singular vision, anchored by the beyond versatile vocals by D.M., and featuring the more-than-special guests Karl Sanders (Nile), Brian Kingsland (Nile, Imperishable), Björn “Speed” Strid (Soilwork, The Night Flight Orchestra), and Tim Goodson, The Monolith is set centuries into a dystopian future, on a dying earth, where mankind has embraced cybernetics in pursuit of perpetual enhancement, until humans no longer know where they end and the machine begins. “This is a concept album, based on an idea I had about 5 years ago,” explains Hades. “It’s taken that long to come to fruition! I hired an author, Tony Martucci, to turn the concept into a proper short story, which helped me flesh out the idea fully and turn it into the beautiful album you see here.”

The album kicks off with six minutes of Symphonic Black Metal madness in the form of Tomorrow Is Dead!, featuring guests Brian Kingsland, Karl Sanders and Tim Goodson, all on the guitars, with Hades’ and his henchmen’s striking, melodic riffs and solos walking hand in hand with the demented roars by D.M., whereas in Through Savage Seas they bring forward elements of Progressive Black and Death Metal, with all beats and fills adding endless heaviness to the song. Then the poetically titled Forged In Darkness (And Fire) starts in a cinematic manner before evolving into a symphonic and headbanging feast of vicious riffs and whimsical keys; and we face another round of phantasmagorical keys in Path of The Seeker, providing D.M. with all he needs to deliver his trademark harsh gnarls. Hades continues to bring forth sheer adrenaline in The Oncoming Storm, where his riffs and keys will yet again pierce your mind like an arrow in flames.

Veiled Ambitions is not as exciting as the rest of the album, although it still presents the characteristic fusion of symphonic and extreme sounds blasted by Hades. Then back on track, Hades and his Hades Descent continue their descent (and sorry for all repetition in this case) to the underworld in Sentinels of Time (Illium’s Demise), with the song’s hammering drums complementing D.M.’s desperate screams flawlessly. The Sea of Silent Warriors sounds very intricate and complex throughout its almost five minutes, in special its Dream Theater-like keys and drums, all embraced by the devilish growls by D.M., and finally,  we face the seven-minute beast of darkness titled The Monolith, where guest Björn “Speed” Strid proves why he’s one of the best vocalists to ever arise from Sweden, clashing majestically with the Black Metal gnarls by D.M. in an explosion of first-class extreme music.

A cinematic concept album bringing to us all a dystopian cybernetic future, time travel, destiny, and downfall, The Monolith represents the band’s most complete artistic statement yet, set to establish Hades Descent as one of UK’s most ambitious forces in modern extreme music, being therefore highly recommended for fans of Septicflesh, Fleshgod Apocalypse, Dimmu Borgir, Ex Deo, and Nile, just to name a few. Hence, you can get to know more about this excellent project and its mysterious master, and obviously show him your total support, by checking what Hades is up to on Instagram, by streaming his music on Spotify, and by purchasing The Monolith from BandCamp. It’s time to embark on a metal journey to the dystopian future from The Monolith, and I’m sure you’ll have a great time with the multi-talented Hades as your devilish guide.

Best moments of the album: Tomorrow Is Dead!, Path of The Seeker and The Monolith.

Worst moments of the album: Veiled Ambitions.

Released in 2025 Independent

Track listing
1. Tomorrow Is Dead! 6:52
2. Through Savage Seas 5:46
3. Forged In Darkness (And Fire) 5:56
4. Path of The Seeker 4:30
5. The Oncoming Storm 4:57
6. Veiled Ambitions 5:38
7. Sentinels of Time (Illium’s Demise) 5:02
8. The Sea of Silent Warriors 4:48
9. The Monolith 7:41

Band members
D.M. – vocals
Hades – guitars, bass, drums

Guest musicians
Brian Kingsland – chorus vocals and guitar solo on “Tomorrow Is Dead!”
Karl Sanders – guitar solo on “Tomorrow Is Dead!”
Björn Strid – vocals on “The Monolith”
Tim Goodson – rhythm guitar on “Tomorrow Is Dead!”

Album Review – Esoctrilihum / Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm (2025)

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One of the most innovative names of the Avantgarde Black Metal scene worldwide returns with his tenth opus, a concept album telling the ritual stages in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm.

Often accused of having no sense of measure, French artist Asthâghul churns out a new double album that is grandiose, symphonic, psychedelic, liturgical, and delirious under his Avantgarde Black Metal alter-ego Esoctrilihum. Beautifully titled Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm, his tenth studio album is a prism that reflects every single nuance of the project’s sound, from bombastic Black and Death Metal, to Death and Doom Metal deviations, up to his recent Psych-Folk Metal explorations. Conceptually divided into four chapters, each of which telling a ritual stage in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm, who will finally deliver them to eternal nothingness, the new album by Asthâghul on vocals, guitar, bass, drums, synth, organ, theremin, harp, kantele, hammered dulcimer, and nyckelharpa, with “ultra-dimensional high vocals” by guest Esthurïelh, is a must-listen for fans of Leviathan, The Ruins Of Beverast, Inquisition, Xasthur, all adorned by a wicked artwork named “Youth Of The Beast” by Alan Brown (aka Medusawolf), with photography by Aylowenn Aëla, and visual design by Francesco Gemelli.

In the opening track Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather, there’s no intro nor any build up. It goes straight to your jugular with Asthâghul’s demented beats and creepy keyboards sounding fantastic from start to finish; and his fusion of Avantgarde Black Metal with the church-like sounds from his organ result in an imposing wall of sounds in Kneeling Before the Keeper of the Golden Key to the Absolute Void, followed by At the Mercy of the Flaming Spear of the Bestial Hierophant, also presenting Asthâghul’s demented vision in the form of his own blend of Black Metal. His sonic onrush continues in full force in Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, The Giant Fly, leaning towards Atmospheric Black Metal at times thanks to the dark and dense vibe boosted by his deep, desperate roars, and the way he blends the sounds of all instruments in such a cohesive manner in Hypnotic Danse Macabre of the Blind Noctivagants is outstanding, resulting in a ritualistic Black Metal celebration.

Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme presents even elements from Industrial Black Metal, giving the whole song an even harsher vibe, with his demonic vocals and blast beats living up to the legacy of the genre. Then it’s absolute chaos, madness and despair in Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe, bringing forward another blast of scorching riffs and phantasmagorical keys by our multi-talented Asthâghul, who then goes full Experimental Death Metal in The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite, with his deep guttural and screeching riffage hitting us hard in the head. In Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp we see our lone wolf pounding his drums with tons of anger while his vocals lines sound absolutely ritualistic. It’s a weird song, though, maybe a bit too much, but still enjoyable, flowing into the atmospheric and creepy outro Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites where we face one final Black Metal attack to conclude the album on a visceral mode.

A post-mortem ritual that is told in the secret grimoire of the Ghostigmatah, a sort of modern Necronomicon that constitutes another piece in Esoctrilihum’s phantasmagorical visionary world, Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm is a nightmarish, mystical dimension of death beyond time and space, inhabited by an artist who, through his music, fearlessly lets its dark light filter into our reality. And even if nothing of this massive explanation makes any sense to you, you should definitely go check all albums by the multi-talented and unstoppable Asthâghul and his Esoctrilihum on Spotify, and grab a copy of his new nightmare-fueled album from the I, Voidhanger Records’ BandCamp or from Metal Odissey as a CD (EU or US) or as an LP (EU or US). Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm might not be an album recommended for the average listener or for the lighthearted, but once you dive deep into the experimental realm ruled by Asthâghul like what he has to offer in his new album, you’ll realize you’re in front of one of the leading beasts of the Avantgarde Black Metal movement worldwide.

Best moments of the album: Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather, Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme and Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe.

Worst moments of the album: Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp.

Released in 2025 I, Voidhanger Records

Track listing
1. Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather 9:47
2. Kneeling Before the Keeper of the Golden Key to the Absolute Void 9:06
3. At the Mercy of the Flaming Spear of the Bestial Hierophant 7:46
4. Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, The Giant Fly 8:39
5. Hypnotic Danse Macabre of the Blind Noctivagants 7:28
6. Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme 8:34
7. Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe 9:36
8. The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite 8:36
9. Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp 9:16
10. Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites 5:04

Band members
Asthâghul – vocals, guitar, bass, drums, synth, organ, theremin, harp, kantele, hammered dulcimer, nyckelharpa

Guest musician
Esthurïelh – additional vocals

Album Review – Hasard / Abgnose (2025)

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The sophomore album by this talented French musician sees him dive deeper into nightmarish atmospheres, twisted harmonies and the interaction between orchestra and a typical metal instrumentation.

A spin-off project of Les Chants du Hasard, committed to deliver the darkest and most dissonant Black Metal in the fertile ground on which fascinating orchestral melodies with a dark, melancholic and resigned mood flourish, Paris, France-based Avantgarde Black Metal entity Hasard returns with its sophomore opus, entitled Abgnose. Mastered by Olivier Prouvost, and displaying a sinister artwork by Roy de Rat, the follow-up to the project’s 2023 album Malivore sees vocalist and multi-instrumentalist Hazard dive deeper into nightmarish atmospheres, twisted harmonies and the interaction between orchestra and a typical metal instrumentation, being therefore highly recommended for fans of Akhlys, Aoratos, Blut Aus Nord, and Wreche.

Just like in his previous album, our lone wolf blends the finesse of classical music and opera with the harshness of Avantgarde Black Metal in Oniritisme, with his Stygian vocals walking hand in hand with his haunting riffs and blast beats. Senestral continues to breathe darkness into our already blackened hearts and souls, sounding as the soundtrack to a true psychological horror movie while Hazard’s drumming reeks of classic Black Metal for our total delight; and there’s no time to breathe as Hazard’s nightmarish sounds will penetrate deep inside your rotten mind in Negascendance, a lecture in Avantgarde Black Metal with elements from Post-Black Metal and progressive nuances. Antienne Estrale, the longest of all songs, is also the most detailed, dynamic and multi-layered, not to mention it is creepy and grim as hell, growing in intensity and fire until all fades into oblivion in a lesson in  experimental and extreme music, whereas finally,  the title-track Abgnose closes the album on a high note, with Hazard not only delivering venomous riffs and sluggish beats, but his keys are also phantasmagorical.

The last remnant of the 19th century romanticism had a few words to say about his newborn spawn. “Abgnose is a testament to the greater force that governs our lives, neither a god or a devil, but only pure chance. There is no greater entity sitting in the sky or below the earth, who watches with interest our petty lives. Only pure chance and random events. We spend a short amount of time as a small point on an equally small planet lost somewhere in the universe and we die, only for our futile achievements to be forgotten as fast as we’re replaced. Just count the here and now, as there’s no afterlife. Abgnose stands for removing the idea of the divine, thus leaving only the despair of having to live and not be rewarded for our actions in this world.” Hence, you can get in touch with such a talented musician via Facebook and Instagram, stream his music on Spotify, and of course purchase Abgnose from BandCamp or from Metal Odissey as a CD (EU and US) or LP (EU or US).  Always deeper into nightmares, always further into despair. To what end? That’s a question Hazard keeps asking at every note in his excellent new album.

Best moments of the album: Senestral, Negascendance and Antienne Estrale.

Worst moments of the album: None.

Released in 2025 I, Voidhanger Records

Track listing
1. Oniritisme 8:24
2. Senestral 7:02
3. Negascendance 8:34
4. Antienne Estrale 10:06
5. Abgnose 9:50

Band members
Hazard – vocals, all instruments

Metal Chick of the Month – Luciana Catananti

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Demons from the war now lives… Rain down explosions upon us… Terror in the air!

As we’re heading to the end of another hot and humid summer, let’s keep the temperatures as warm as possible with our metal lady of this month of September, and you better be prepared as she will breathe fire into your damned soul with her scorching guttural. She’s the unrelenting frontwoman for an amazing Italian Technical Death Metal band named Mechanical God Creation, and since mid-2024 she has also become a vocalist for a ruthless Italian Black Metal band named Stormcrow. As you can see, she takes no prisoners in her quest for extreme music, and I’m sure you’ll have an absolute blast listening to the amazing music crafted by her bands. Her name is Luciana Catananti, a talented she-wolf that will kick your ass mercilessly, keeping the fires of Death and Black Metal burning brighter than a thousand suns in her beautiful homeland.

Born on May 2, 1985 in Bergamo, an Italian city northeast of Milan, in the Lombardy region, Luciana was part of a band named Art of Mutilation when she lived in the UK, and also a member of a band called The Anger back then, but there isn’t much information about The Anger anywhere. Well, at least we know that Art of Mutilation was a Melodic Death/Thrash Metal band based in Birkenhead, England in its early days, then moving to Wrexham, Wales, and the band lasted between 2002 and 2011 before splitting up. Luciana was only part of the band in the year of 2005, having recorded with them the demo Mortality that same year. The demo had only three songs, those being Eviscerated, Blackened Sculpture, and Cabal, and as you can see by the only two songs available on YouTube, Luciana and the boys were a really promising band (which unfortunately is no more), and her vocals were already ruthless.

It was then in 2006 in the charming Italian city of Milan when Luciana founded Mechanical God Creation alongside guitarist Simo, and quickly adding bassist Andrea “Veon” Marini, guitarist Andrea “Runza” Galdi, and drummer Mattia Jay “Jambra” Giambini to their lineup; however, as all four already left the band after a few years, she remains as the only member of the original lineup. Their music also morphed from Melodic Death Metal the likes of Arch Enemy in their early days, hence the name of the band (taken from their 2005 masterpiece Doomsday Machine), to a more visceral, brutal and infernal form of Technical Death Metal, even adding hints of modern-day Death Metal and Progressive Death Metal to their core sound, as you can se in the evolution of their music from their 2007 demo …and the Battle Becomes War, to their 2010 debut Cell XIII, followed by their 2013 sophomore Artifact of Annihilation, and finally their 2019 album The New Chapter, all available for streaming in most streaming services like BandCamp, YouTube and Spotify, except for their demo, and you can also enjoy a lot of official videos like Terror In The Air and I Am The Godless Man, and lots of cool live footage including Walking Dead live in Russia in 2014, on their official YouTube channel.

Although Mechanical God Creation haven’t released any new material since 2019, we can also enjoy our dauntless growler as the new frontwoman for an Italian Black Metal band named Stormcrow since July 2024, under the moniker Vexa (maybe taken from a half-troll from Dungeons & Dragons, who knows). Playing what they like to label as “Alpine Black Metal”, the band currently formed of our beloved Luciana, or if you prefer, Vexa on vocals alongside Vastis also on vocals, Astaroth and Tohrus on the guitars, Zedar on bass, and Wraith on drums has been making a name for themselves since 1997, having already released the demo Hell on Earth (2000), the EP Wounded Skies (2004), and the full-length albums Disposition to Tyranny (2012), Face the Giant (2019), and more recently Path to Ascension (2024), all available on BandCamp and on Spotify. Furthermore, although Luciana has only been playing live with the band for now, with no participation in any of the band’s albums, not only you should still listen to all of their discography as their music is awesome, but it will also give you a very good taste of what Luciana has to offer when hitting the stages together with her new horde (and stay tuned as their 2026 European dates are coming soon).

Apart from Mechanical God Creation, Stormcrow, The Anger, and Art of Mutilation, you can also find Luciana as a guest vocalist for the song Urban Massacre, from the 2019 album 1996, by an Italian Death Metal/Grindcore band named Abbinormal. It’s a one-minute song, which might be very short for us metalheads eager for more of Luciana’s vocals, but enough already to show how violent she can sound. She has also recently contributed with her powerful vocals to a track titled Portals, on the new album by legendary Dutch Death Metal band Pestilence that should see the light of day sometime still in 2025 (or maybe only in 2026). In addition, you can also find on YouTube a cover version for Lamb of God’s Walk With Me In Hell by Luciana alongside Italian guitarist and bassist Francesca Mancini, of bands like Chaos Rising, Necrosy, and Sudden Death, and let me tell you that such an incredible female duo kicked some serious ass with their rendition of one of the best songs by Randy Blythe and his crew.

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Highly influenced by bands the likes of Morbid Angel, Behemoth, Cannibal Corpse and Deicide, just to name a few, Luciana enjoys writing caustic, harsh lyrics that reflect the daily reality and the problems we all face in the time we’re living that is so full of very important and sudden changes from the cultural, political and technological point of view. Moreover, apart from heavy music, Luciana also enjoys listening to bands and artists like David Bowie, Adele, Coldplay, and Amy Winehouse, showing her eclectic music taste, and when asked which was her first ever live concert and the very first album she bought, she mentioned the always controversial Marilyn Manson (saying it was a great show and that he is a good frontman, but also pointing out she doesn’t listen to him anymore), and probably a Metallica album as far as she remembers.

Having already played at some of the biggest festivals in Europe with heavy music giants including Ozzy Osbourne, Korn, Megadeth, Graveworm, Meshuggah, and Amon Amarth,  just to name a few, Luciana also mentioned in one of her interviews that she really enjoys a festival in Slovenia named Metalcamp, saying that although it’s not as big as Wacken Open Air, it’s a very nice festival in the midst of nature. I really wish both Mechanical God Creation and Stormcrow would cross the pond and come play a few shows in Canada and in the United States, but I understand it’s not easy nowadays to tour the world due to the high touring costs. Well, maybe I can catch them at an European festival next year, right?

Despite being a proud Italian, while at the same time of course having her own constructive feedback about the current political and social landscapes in her homeland, Luciana is not very involved with the Italian underground scene. She mentioned in one of her interviews that she obviously knows bands like Fleshgod Apocalypse are proudly carrying the Italian flag everywhere they go, and she feels very happy for them despite not being a true fan of their music.

Currently working in the A&R (Artists and Repertoire) department of WormHoleDeath and Epictronic, Luciana mentioned in an interview that one of her biggest mistakes in music was having stopped to play the piano after years playing it, as it certainly helped her to feel calm. However, if you think she enjoys movies that would also make her calm down and relax, you’ve got another thing coming as her favorite flicks are horror movies with zombies or exorcisms, with her favorite one being the classic Dawn of the Dead. Maybe one day we’ll see Luciana joining the cast of a horror movie, playing some sort of she-demon, screaming at our faces, and sending shivers down the spines of the lighthearted. Because she’s a true extreme music diva, and she will show no mercy for your soul armed with her phenomenal vocals and badass attitude.

Luciana Catananti’s Official Facebook page
Luciana Catananti’s Official Instagram
Mechanical God Creation’s Official Facebook page
Mechanical God Creation’s Official Instagram
Mechanical God Creation’s Official YouTube channel
Stormcrow’s Official Facebook page
Stormcrow’s Official Instagram
Stormcrow’s Official YouTube channel

Album Review – Ambush / Evil In All Dimensions (2025)

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One of Sweden’s most electrifying bands returns with a striking new album, bursting with relentless energy while capturing the classic essence of Heavy Metal.

We all know that Heavy Metal is the law, and Växjö, Sweden-based brigade Ambush is more than ready to reinforce that armed with their breathtaking new album, titled Evil In All Dimensions, the follow-up to their critically acclaimed 2020 offering Infidel. Recorded, mixed, mastered and produced by Mankan Sedenberg, and displaying a killer artwork by Péter Sallai of Mortpaintgraphics, the new album by Oskar Jakobsson on vocals, Olof Engqvist and Karl Dotzek on the guitars, Oskar Andersson on bass, and Linus Fritzson on drums draws inspiration from the likes of Judas Priest, Accept, and Iron Maiden, bursting with relentless energy while capturing the classic essence of Heavy Metal, an undeniable proof of the band’s unwavering passion and talent for the genre.

Olof and Karl embellish the airwaves with their striking riffs from the very first second in the title-track Evil In All Dimensions, kicking off the album on a high and incendiary mode, followed by Maskirovka, a metal hymn that exhales of 80’s Hard Rock, with Oskar Jakobsson delivering a passionate, powerful vocal performance that matches perfectly with the song’s headbanging mid-tempo pace. It’s then pedal to the Heavy Metal to the hammering drums by Linus and the rumbling bass by Oskar Andersson in Iron Sign, again sending us back to the glory days of heavy music, and it’s impressive how the band flawlessly blends Heavy Metal with Hard Rock like in The Night I Took Your Life, with their riffs and beats transpiring epicness.

As like in countless other Heavy Metal albums, there’s a power ballad for us to enjoy with our loved ones titled I Fear The Blood, although I prefer a billion times their fast and heavy creations; whereas Oskar Jakobsson’s vocals live up to the legacy of legends like Bruce Dickinson and Rob Halford in Come Angel Of Night, accompanied by the striking, electrifying sounds blasted by his bandmates. The Reaper then showcases the band back to a more cadenced yet still headbanging sound, feeling like it was taken from one of those afternoon movies from the 80’s, while Bending The Steel is another metal hymn with a powerful name, reminding me of some old school tunes by the mighty Judas Priest and Grave Digger, not to mention their dual guitar attack will pierce your brain mercilessly. And lastly, Heavy Metal Breathren brings forward one final onrush of pure metal magic by Ambush, led by the flammable, classy riffs and solos by Olof and Karl.

Get your denim and leather jackets ready, as Evil in All Dimensions marks the beginning of an exciting new chapter in Ambush’s relentless quest for speed. Hence, as the band is ready to rise to even greater heights with their new opus, you can get to know more about their music, tour dates and everything else surrounding such an amazing crew on Facebook and Instagram, stream all of their incendiary discography on Spotify, and grab a copy of Evil in All Dimensions from Big Cartel or from Napalm Records (or simply click HERE for all things Ambush). Because Heavy Metal is their business, and business is good. Or maybe I should say that business is metal.

Best moments of the album: Iron Sign, Come Angel Of Night and Bending The Steel.

Worst moments of the album: I Fear The Blood.

Released in 2025 Napalm Records

Track listing
1. Evil In All Dimensions 4:38
2. Maskirovka 4:33
3. Iron Sign 4:08
4. The Night I Took Your Life 4:57
5. I Fear The Blood 4:44
6. Come Angel Of Night 4:18
7. The Reaper 4:01
8. Bending The Steel 4:19
9. Heavy Metal Breathren 5:12

Band members
Oskar Jakobsson – vocals
Olof Engqvist – guitars, backing vocals
Karl Dotzek – guitars, backing vocals
Oskar Andersson – bass, vocals, backing vocals
Linus Fritzson – drums, backing vocals

Guest musicians
Elias Jakobsson – harmony vocals on “Maskirovka” and “I Fear The Blood”,  piano on “The Reaper”
Jakob Janson – shout vocals on “Bending The Steel” and “Heavy Metal Breathren”
Johan Janson – shout vocals on “Heavy Metal Breathren”
Adam Hagelin – backing vocals on “Heavy Metal Breathren”
Mankan Sedenberg – guitar solo on “The Reaper”

Album Review – Primal Fear / Domination (2025)

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The Teutonic eagle of Heavy Metal strikes again with a thunderous 13-track opus, a masterclass in sonic warfare offering an unrelenting barrage of soaring vocals, earth-shattering riffs, and battle-hardened anthems forged in fire and steel.

Spanning more than 25 years of pure Heavy and Power Metal, having faced numerous challenges since their formation in 1997, and having repeatedly risen from their lowest points like a phoenix from the ashes, Germany’s own metal commando Primal Fear is finally back into the battlefield with their fifteenth studio opus, simply titled Domination, following up on their successful 2023 album Code Red. After a recent line-up change, which saw the incredible Thalìa Bellazecca join on guitar and André Hilgers on drums, alongside the iconic frontman Ralf Scheepers, the unbreakable bassist Mat Sinner, and the unstoppable guitarist Magnus Karlsson, the band will strike again with a thunderous 13-track opus, a masterclass in sonic warfare offering an unrelenting barrage of soaring vocals, earth-shattering riffs, and battle-hardened anthems forged in fire and steel.

The album kicks off with the striking The Hunter, with Ralf delivering pure adrenaline through the song’s classic words (“Through the labyrinth of fear, you’re lost and alone / A primal force unleashed a river of blood / This is the part / When you will run for your life / And every step you take / Leads closer to my knife / Blood stains the ground / The hunt never ends”); and  Magnus and Thalìa showcase their passion for shredding in the excellent Destroyer, a pure Primal Fear extravaganza with Mat and André keeping the rhythm flowing in great fashion. The band then goes full Melodic Power Metal in Far Away, where Thalìa proves why she was chosen as the new band’s guitarist as her dexterity is impressive, followed by I Am the Primal Fear, and as cheesy as the song title might sound, the music is a great mid-tune party by the band, with Mat kicking some ass on bass. Needless to say, it’s great to have him back in action. Tears of Fire is another song with a classic title following a similar pattern as the previous song, with Ralf’s soaring vocals adding an extra touch of epicness to the overall result; whereas back to a heavier, faster and more dynamic sonority we face Heroes and Gods, with André crushing his drums while Ralf pierce our minds with his undisputed screams.

Hallucinations is a smooth, melodic instrumental piece where Thalìa once again steals the spotlight with her flammable axe, warming us up for Eden, a dark and enfolding power ballad by those Teutonic metallers led by Ralf’s passionate vocal performance. In Scream the name of the song says it all, demanding us to jump up and down with Primal Fear and simply scream together with Ralf. Furthermore, the heaviness flowing from the guitars by Magnus and Thalìa is truly awesome, boosted by Mat’s thunderous bass. The Dead Don’t Die brings forward another blast of razor-edged riffs and blast beats that reek of Rock N’ Roll, perfect for some wild headbanging, and get ready to be caught in a crossfire of pure Heavy Metal to the sound of Crossfire, where André pounds his drums nonstop for our total delight. March Boy March is a song that gradually evolves into a metal attack led by Ralf’s piercing vocals while the band’s guitar duo keeps delivering sheer electricity through their axes, and ending the album we have the melancholic ballad A Tune I Won’t Forget, which is fine for what it is despite taking away some of the power blasted in all previous songs.

Recorded by Dennis Ward at Kangaroo Studios, produced by Mat Sinner and co-produced by Ralf Scheepers and Magnus Karlsson, and mixed and mastered by Jacob Hansen at Hansen Studios, Domination reeks of classic Primal Fear while at the same time sounding fresh and unique, proving why the band has been on the road for so many years against all odds. You can check what the German eagle is up to on Facebook and on Instagram, including their breathtaking live performances, stream their incendiary discography on Spotify, and above all that, put your metallic hands on Domination by clicking HERE. Primal Fear are more than ready to spread their metal wings once again all across the globe and dominate the world of heavy music armed with their new album, a new chapter in the career of this Teutonic eagle that refuses to die, forever fighting in the name of our beloved Heavy Metal.

Best moments of the album: Destroyer, Heroes and Gods, Scream and Crossfire.

Worst moments of the album: A Tune I Won’t Forget.

Released in 2025 Reigning Phoenix Music

Track listing
1. The Hunter 4:21
2. Destroyer 4:31
3. Far Away 4:19
4. I Am the Primal Fear 5:41
5. Tears of Fire 5:14
6. Heroes and Gods 4:10
7. Hallucinations 2:37
8. Eden 7:25
9. Scream 4:27
10. The Dead Don’t Die 4:27
11. Crossfire 4:12
12. March Boy March 5:01
13. A Tune I Won’t Forget 3:32

Band members
Ralf Scheepers – vocals
Mat Sinner – bass, vocals
Magnus Karlsson – guitars
Thalìa Bellazecca – guitars
André Hilgers – drums

Album Review – Tine / A Winter Horrorscape (2025)

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This unrelenting entity returns from the bowels of Appalachia with its third studio album, featuring eight crushing songs of pure Symphonic Black and Death Metal.

Forged of cold, wrought iron from the bowels of Appalachia back in 2011 by vocalist, multi-instrumentalist, songwriter and composer Count Murmur, combining the sinister aggression of Black Metal, the power and ferocity of Death Metal, and the sweeping passion of orchestra and symphony to create a truly unique sound, one-man Symphonic Black/Death Metal entity Tine is unleashing upon humanity its third full-length opus, titled A Winter Horrorscape, following up on its 2022 sophomore Mergae Maris Profundi. Produced, mixed and mastered by session drummer Nikola Dušmanić alongside Count Murmur at Ezoterik Studio, with guitar Tones and re-amping by Rodoljub Raičković at Vortex Studio, showcasing a chilly, despondent artwork by James Hutton, and featuring guests Samantha Bounkeua on piano, strings and choir vocals, Peter Ferguson on guitar solos on a few of the songs, and Mark DiAngelo with wind sounds on the title-track, A Winter Horrorscape features eight crushing songs of pure Symphonic Black and Death Metal, proving why the uncanny Count Murmur has already become a reference in the genre.

Guest musician Samantha Bounkeua creates an enfolding, whimsical ambience in Winter Comes, captivating our senses before Count Murmur crushes our souls with A Feather from Lucifer’s Wing, melting our faces and burning our hearts with his visceral gnarls, offering a beautiful and austere explosion of classic Black Metal for lovers of the genre; followed by A Path Through Frozen Woods, which also presents Count Murmur’s trademark roars and Stygian riffage, always supported by the crushing drums by Nikola. And featuring a guest guitar solo by Peter Ferguson, Count Murmur ignites another darkened mass with his devilish vocals entitled Ex Cathedra, bring forward eight minutes of bitterly acid Black Metal madness.

Return to the Black Forest in Winter is a beyond cinematic composition, with all background elements and choir adding an extra touch of obscurity to its vibe. It’s not the most exciting of all songs, though, but still very enjoyable; and continuing with the album’s phantasmagorical energy we have The Scathing Blizzard, this time with Count murmur vociferating rabidly nonstop while also firing scathing riffs, supported by another guest solo by Peter Ferguson. Then our lone wolf keeps blackening the atmosphere with another eight-minute aria titled Triumph at Nineveh, where both his clean and harsh vocals add even more depth to his already multi-layered music; and lastly, the title-track Winter Horrorscape, featuring Peter Ferguson on a guitar solo and Mark DiAngelo on wind sounds, will embrace you in pitch black darkness, putting a stunning and climatic ending to the album like the soundtrack to a horror movie.

As the songs began to take on a wintry and cold feel in A Winter Horrorscape, Count Murmur decided this would be the theme of the album, with the enlisting of the skills of all aforementioned session musicians broadening the breadth and scope of the music considerably. In the end, Count Murmur and his Tine were capable of crafting a piercing, frostbitten piece of extreme music that deserves to be listened to on all four corner of the earth, and you can show your support to such a talented and hardworking metaller by following Tine on Facebook and on Instagram, by subscribing to the project’s YouTube channel, by streaming its music on any streaming platform such as Spotify, and above all that, by purchasing a copy of A Winter Horrorscape from BandCamp. The blend of Symphonic Black and Death Metal by Tine is undoubtedly a thing of beauty, with A Winter Horrorscape representing another fantastic step in the career of the unstoppable Count Murmur, a loyal servant of the darkest of arts.

Best moments of the album: A Feather from Lucifer’s Wing, Ex Cathedra and Triumph at Nineveh.

Worst moments of the album: Return to the Black Forest in Winter.

Released in 2025 Independent

Track listing
1. Winter Comes 2:20
2. A Feather from Lucifer’s Wing 5:11
3. A Path Through Frozen Woods 4:23
4. Ex Cathedra 8:05
5. Return to the Black Forest in Winter 3:41
6. The Scathing Blizzard 3:44
7. Triumph at Nineveh 7:58
8. Winter Horrorscape 6:42

Band members
Count Murmur – vocals, guitars, bass

Guest musicians
Nikola Dušmanić – drums (session)
Samantha Bounkeua – piano, strings, choir vocals, everything on “Winter Comes”
Peter Ferguson – guitar solos on “Ex Cathedra”, “The Scathing Blizzard” and “Winter Horrorscape”
Mark DiAngelo – wind sounds on “Winter Horrorscape”

Album Review – Imperialist / Prime (2025)

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Sounding tighter and more intricate than ever before, this American Sci-Fi Black Metal beast will take you on a journey to outer space to the sound of their breathtaking new album.

Having spent the years honing their craft while keeping their Death Metal-touched Sci-Fi Black Metal sound intact, Monrovia, California’s own beast Imperialist returns with their long awaited third studio album Prime, the follow-up to their critically acclaimed 2021 sophomore offering Zenit and their 2023 EP Quantum. Recorded by Charles Elliott at Tastemaker Audio, mixed and mastered by Dan Swanö at Unisound, and displaying a stylish artwork by Eliran Kantor, the new album by vocalist and guitarist Sergio Soto, guitarist Bryant Quinones, bassist Joshua Alvarez, and drummer Rod Quinones sounds tighter and more intricate than ever before, reinforced further with Thrash Metal elements while also showcasing the darkness and menace displayed on the previous EP but also the maturity in songwriting, being highly recommended for fans of Dissection, Emperor, Valdrin, Vektor, Frozen Dawn, Abigor, and Immortal.

The album kicks off in full force with Starstorm, a demonic display of Technical Black Metal where the guitars by Sergio and Bryant sound as heavy and electrified as imaginable, followed by Beneath The Sands Of Titan, and as a poetic song name deserves a true metallic, no shenanigans sound, that’s exactly what the band delivers, with Rod crushing his drums in great fashion. Their flammable riffs, accompanied by the pure Black Metal bass by Joshua, will darken the skies in Depravity Beheld, while Sergio continues to gnarl like an evil creature; and in I A.M. the dauntless Sergio darkly gnarls the song’s devilish words (“They were naive to think / I would be the one / The prevent their world’s decay / I think therefore I am / Artificially intellegant / Disdain for flesh and blood / Now dominates my world”) amidst a furious Melodic Black Metal sonority for our total delight.

Then after such an insane metal attack we’re treated to the ethereal interlude Heavens Sunder, setting the tone for Final Hours, a ruthless and extremely vile Black Metal extravaganza where Sergio and Bryant deliver some of their most melodic riffs of the whole album, while Rod makes sure the humongous level of heaviness in the song remains intact. Union Of The Swarm sounds as strident and piercing as its predecessors thanks to the caustic riffage by the band’s guitar duo once again, while Rod’s drums sound at the same time rhythmic and apocalyptic, whereas the same Rod speeds things up in the sulfurous Nocturnal Eon, a lesson in contemporary Black Metal where Sergio’s vocals live up to the glory of such an important music genre created in Norway in the 90’s. Last but definitely not least, let’s enjoy seven minutes of first-class Melodic Black Metal in A Ghost Abandoned, led by the rhythmic drums by Rod and the always venomous growls by Sergio.

The music found in Prime oozes passion and dedication at every level, and every listen will prove to be a testament to that. This could very well be the best Imperialist album to date and given their faultless discography to date, that is saying something. You can experience all that by purchasing the album from their own BandCamp, as well as from the Transcending Obscurity Records’ main store, Bandcamp, Europe store or US store, and don’t forget to also follow the band on Facebook and on Instagram, stream their music on Spotify, or click HERE for all things Imperialist. In other words, as their sci-fi obsession has been taken to the next level in Prime, Imperialist are inciting us all to a wild and thrilling metal journey to outer space to the sound of their breathtaking new album, a one-way trip that will surely crush your minds and thoughts in the name of heavy music.

Best moments of the album: Beneath The Sands Of Titan, Final Hours and Nocturnal Eon.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Starstorm 5:09
2. Beneath The Sands Of Titan 5:47
3. Depravity Beheld 5:14
4. I A.M. 4:30
5. Heavens Sunder 1:56
6. Final Hours 4:46
7. Union Of The Swarm 5:27
8. Nocturnal Eon 4:39
9. A Ghost Abandoned 7:22

Band members
Sergio Soto – vocals, guitar
Bryant Quinones – guitar
Joshua Alvarez – bass
Rod Quinones – drums