Metal Chick of the Month – Aleksandra Stamenković

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Hear what I say… There’s no time for prayer!

Lionesses are the primary hunters in a pride, working together to bring down prey, and are faster and more agile than males. And in this cold and dark month of December our lioness Aleksandra “Lioness” Stamenković, guitarist for an array of awesome metal bands including Jenner, Frozen Crown, Chaos Rising, and Sigma Epsilon, will shred her prey to pieces armed with her scorching riffs and solos, as our metal lady of the month. Having said all that, get ready for a wild ride together with Aleksandra and her unstoppable axe, bringing absolute fire to The Headbanging Moose and, therefore, leaving you completely disoriented and eager for more of her first-class music. The days might be getting shorter, and the nights are surely getting longer this time of the year but, in the end, that’s the perfect environment for Aleksandra to hunt us down and to crush our damned souls with her electrifying blend of Heavy Metal magic.

Born on August 5, 1996 in Belgrade, the capital of the southeast European country of Serbia, Aleksandra is the younger sister of Marija Dragićević, the drummer for one of her bands Jenner, showing the talent and passion for heavy music runs wild in their family’s DNA. She was first interested in music back in 2011 when she was 13 years old, saying she wanted to play bass guitar, but as she couldn’t afford one she used to borrow it from one of her sister’s friends. However, she said that “destiny” decided she was going to become primarily a guitarist in 2013, having bought her first guitar back then, therefore starting her journey in heavy music.

Although she’s a renowned musician in the world of Heavy, Power, Thrash and Speed Metal, Aleksandra also nurtures a deep passion for  medicine and graphic design, having graduated from the Faculty of Medicine from the University of Belgrade in September 2021, and becoming a certified nutrition coach, combining her artistic passion with a commitment to promoting healthier lifestyles. And yes, she’s THAT smart and intelligent. In addition, although she mainly writes original songs, she started a YouTube channel back in 2020 where she posts covers of her favorite songs, like for example Into the Lungs of Hell, by Megadeth, Abigail, by King Diamond, and Coma of Souls, by Kreator, among several others, and apart from the usual social media you can also find her on Linktree, Patreon, and Big Cartel.

It was in December 2013 when the indomitable Stamenković Sisters founded in Belgrade the ruthless Speed/Thrash Metal beast known as Jenner, from the ashes of a Glam Metal band they had named Cat O’ Nine Tailz, in which she played bass, and that disbanded after two years. Aleksandra started playing the guitar back then, and with the support of Marija they started searching for two guys to play with them to form a band in the vein of Madam X, but they ended up meeting two girls instead, vocalist Anđelina Mitić and bassist Jana Bacić, and so Jenner was born. Named by Aleksandra after Dr. Edward Jenner (1749 – 1823), an English physician and scientist known as the “father of immunology” for creating the world’s first vaccine, which was for smallpox, the girls started playing covers of their favorite bands including Warlock, Judas Priest, Grim Reaper, and Saxon, and as a year later they became more interested in Thrash Metal they started playing covers of Agent Steel, Exodus, and Anthrax, just to name a few, as well as they started writing their own songs.

After a few lineup changes, the band is now a trio formed of Aleksandra on vocals and guitar, Marija on drums, and Anja Mirković on bass. Under different lineups, but always with Aleksandra and Marija in their formation, Jenner released a demo back in 2015, their debut full-length album To Live Is to Suffer, in 2017, the EP The Test of Time, in 2020, and their sophomore opus Prove Them Wrong, in 2024, with Aleksandra becoming responsible for the band’s vocal duties starting in 2019, as you can see in their 2020 EP and their 2024 release. Not only that, she also took care of the design and logo of their 2017 debut, and of their 2020 EP, expanding her skills even further as a musician and as an artist. You can enjoy basically their entire discography in places such as YouTube, Spotify, and BandCamp, and of course have an absolute blast with their official videos for songs like Night Without Dawn, The Test of Time, Never Say Die, and No Time for Prayer, among others. Moreover, don’t forget to check Beacons for all things Jenner.

Aleksandra has also been part of two other amazing bands for a few years, those being Sigma Epsilon and Chaos Rising. Regarding Belgrade-based Sigma Epsilon, the band has been delivering a more straightforward, no shenanigans blend of Thrash Metal since its inception back in 2014, when a few members of a Serbian band named Prisoner, those being her boyfriend Emil Ivošević on vocals, Stefan Tomić on the guitar, and Nikola Simonović on drums, left the band and started creating their own music. It was only after Aleksandra joined them that they released their first offering, the 2019 EP Svi putevi vode do smrti (or “all roads lead to death” in English), followed by the 2021 single Ruka koja mrda usta, or “the hand that moves the mouth.” She mentioned in one of her interviews that the band is working on a new conceptual album, but until then simply go to BandCamp or Spotify to enjoy their existing songs, and also go check the official videos for the songs Svi putevi vode do smrti, Kap, and Trofej.

The metal machine Chaos Rising is a collaborative international metal project formed back in 2019 open to every female artist interested in metal music, with the project’s participants and guests offering an amalgamation of styles from Groove and Thrash Metal to traditional Heavy Metal and also Melodic Death Metal. It’s indeed a phenomenal initiative showcasing the power of women in heavy music, and if you don’t have enough time to check all of their songs on BandCamp or Spotify, you must at least listen to the song with our dauntless diva on the guitars, the excellent Prisoner, also featuring Miss ScarRed (Germany) on vocals, Catherine Fearns (Switzerland) on the guitar, and Stéphanie Nolf (France) on bass and drum programming.

Furthermore, starting now in 2025 she has also become one of the guitarists for Italian Power Metal warriors Frozen Crown, joining the also indomitable girls Giada Etro on vocals and Alessia Lanzone on the guitar, as well as Federico Mondelli on guitars, keyboards and vocals, Francesco Zof on bass, and Niso Tomasini on drums. Having already played with Frozen Crown during the summer festivals this year, Aleksandra is already fired up to start working with the band on their future releases, and the band is also extremely excited to have her as a permanent member. “Some may question our decision to include in the band someone who was born so far away from us, in a non-EU country, even! Truth is, you don’t choose your family – you build your own. Aleksandra appeared in a pretty challenging situation, and helped us go through both the shocking realization of Jade’s health conditions and the sudden line-up shake, motivating us and gracing us with her enthusiasm. Her incredible dedication, humility, and constant positivity proved we have just found the perfect fit, and after working together for a while, it just ‘feels right’ to start this new chapter with her, and to entrust her with the Crown and the Sword,” commented the band.

If that’s not enough for you, you can also find Aleksandra as the guitarist for Slovenian Heavy Metal beasts Hellcats from 2017 to 2022. “In 2017 Hellcats needed a female guitarist to play with them in Arena Stožice where they would be supporting Slovenian punk band Pankrti on their 40-year band anniversary. They couldn’t find someone closer, so they asked me. At first I thought that it will be only for that concert, but we got along nicely, and I really liked them as people and as musicians,” commented the lioness. In addition, Aleksandra also played bass live with Serbian Melodic Death Metal band Nemesis a couple of years ago, and with the aforementioned Serbian Speed/Thrash Metal band Prisoner back in 2017.

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Not only that, you can also find Aleksandra shredding her guitar as a guest musician in the song Open Your Eyes, from the 2025 album Retribution, by Hungarian Heavy/Power/Speed Metal band Burning Sun; in the song Cimmeria, from the 2023 compilation By This Sword We Rule: A Decade of Steel, by Serbian Epic Heavy/Power/Doom Metal band Claymorean; in the songs We Fight Like Lions and Fear and Regret, from the 20187 EP II/III/IV by Serbian Stoner/Sludge/Southern Metal band Superhammer; and in the song Creatures from the Depth, from the 2019 album Monuments of Fallacy, by Croatian Thrash/Death Metal band War-Head. She has also played with other bands including Realma and Black Widow Conspiracy, has collaborated with several brands such as Harley Benton, Blackfire Pickups and Safari Pedals, and she is a proud partner with Guitar Pro, Guyker, Drop Strap, Playtronica, Ordyh, and Enya Music, aligning with companies that support her music and gear choices.

Her idols and influences are what anyone would except from an avid thrasher like Aleksandra, including some of the most important names in the history of Thrash Metal like Megadeth, Anthrax, and Testament, all playing a crucial role in her style and career, of course. Moreover, when asked which attributes a brand new Speed or Thrash Metal band should have in order to become unique and successful, her answer was exactly what we all want to hear from hardworking metal musicians like her. “People need to make music the way they feel. It doesn’t matter what genre it is, because listeners can recognize energy and sincerity, even when it comes to metal,” she said, and when asked what would be her ideal live show when performing as a band, she also focused on the importance of feeling you’re doing things right. “I’m not sure there’s an ideal performance. What is important is the feeling on stage. And for that to happen I just need to have no technical problems on stage. I’m not asking much.”

As a huge supporter of the underground, and of course as a proud Serbian, Aleksandra was asked not too long ago about the current scene in her homeland, including bands, fanzines, webzines and anything else connected with heavy music. She said that, unfortunately, the situation looks “complicated” as despite the fact there are tons of excellent bands in Serbia, very few webzines promote them, and therefore very few people attend their concerts. Well, let’s say that’s not an issue exclusive to Serbia, as everywhere you go you’ll face the same lack of proper support, with very few kids these days getting into heavy music and succumbing to to the most generic playlists shoved down their throats via all types of social media.

Aleksandra also proved to be an old school metalhead, maybe like Accept would say, an “analog woman”, as she simply loves when an album is released as a vinyl and/or cassette, supporting the revival of those formats (although she said she prefers CDs because they’re more practical). “I’m not a collector myself, but I have some old vinyl and cassettes which I inherited from my mother and I’m really happy that I had an opportunity to have my music on vinyl and tapes,” she commented. Furthermore, when asked about the impact of digital platforms on the careers of bands and artists, she said that Bandcamp for instance helps a lot, but it shouldn’t be the only way of promoting and selling music. “I still haven’t tried other platforms, but I can notice that they’re widespread. I think the ideal way I promote bands is combining all the available methods,” said our unstoppable lioness.

She was also asked in one of her interviews about the greatest satisfaction that music has brought her, and her answer was once again beyond awesome. “The fact that I achieved my goal. My goal was to have at least one physical release of my music, a CD that I’ll be able to show to my children and grandchildren one day. To have something behind me that other people will be able to see and hear and maybe find themselves in it. To inspire others.” Aleksandra also prefers working with a label instead of going full DIY because she believes there are several things she couldn’t do on her own, like a full-bodied promotion of her albums and tours, which makes sense as she can put all her focus on making music, and that’s what really matters in the end.

Lastly, when asked about what a band should sacrifice in order to be successful, and if she has ever sacrificed anything in her life for a better future of her bands, she mentioned she had to reconsider many times what she wanted with the band and whether it was worth it. “In the end, I decided to dedicate myself to education and family, and for the band to be my hobby. Because of that decision, we often have to sacrifice the time we would spend with the family or learning to have a rehearsal or a gig.” To be fair, at least it looks like she’s been able to balance everything quite well in recent years, managing multiple bands, projects and other aspects of her life, always delivering to us avid fans high quality heavy music, and may our unrelenting lioness keep roaring for many decades to come for our absolute delight.

Aleksandra Stamenković’s Official Facebook page
Aleksandra Stamenković’s Official Instagram
Aleksandra Stamenković’s Official YouTube channel
Jenner’s Official Facebook page
Jenner’s Official Instagram
Jenner’s Official YouTube channel

Concert Review – Blind Guardian (Queen Elizabeth Theatre, Toronto, ON, 11/29/2025)

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And the bards brought to Toronto another unforgettable night of first-class, undisputed Heavy Metal.

OPENING ACTS: Seven Kingdoms and Ensiferum

What an unforgettable night of first-class, undisputed Heavy Metal this Saturday in Toronto at the Queen Elizabeth Theatre, courtesy of the most ass-kicking bards in history, the unstoppable BLIND GUARDIAN, supported by SEVEN KINGDOMS and ENSIFERUM, during their must-see Somewhere Far Beyond North American Tour 2025. I need to personally thank Noel Peters of Inertia Entertainment for bringing the bards back to the city less than two years after their phenomenal concert at Rebel in 2024, and I must say this time the entire show was even better, more powerful, and more exciting. Keith Ibbitson of Metal Paparazzi and I were lucky enough the be there to cover such a metallic party, and judging by the reaction of the crowd during the entire night, all metalheads in Toronto will keep talking about the three bands for a long time, wishing they could go back in time to experience everything all over again, and again, and again.

Deland, Florida’s own Power Metal brigade SEVEN KINGDOMS kicked off the festivities around 7:20pm with a highly energetic performance led by frontwoman Sabrina Valentine, properly warming us up for the upcoming attractions of the night. Blending songs from their already solid discography, including their 2022 album Zenith (available on Spotify), the band whose name was taken from The Seven Kingdoms of Westeros in George R. R. Martin’s epic fantasy novel series A Song of Ice and Fire did exactly that during their short but sweet performance, setting fire to the atmosphere with their classic blend of Heavy and Power Metal (although I have no idea why they don’t have a bassist). Camden Cruz was absolutely phenomenal armed with his axe, kudos to Kevin Byrd for sporting a classic Teenage Mutant Ninja Turtles shirt (and if you don’t like the TMNT, you’re not a good person), and as the icing on the cake, or maybe I should say on their cheeseburger, we got the indomitable Krista Shipperbottom, former frontwoman for Canadian melodeath band Lutharo, as the night’s cheeseburger. Yes, we definitely need more Seven Kingsdoms and more cheeseburgers in Toronto soon.

Setlist
Diamond Handed
A Silent Remedy
The Serpent and the Lotus
Valonqar
Wilted Pieces
Through These Waves
In the Walls

Band members
Sabrina Valentine – vocals
Kevin Byrd – guitars
Camden Cruz – guitars
Colton Zietler – drums

After a short break (and certainly not enough to brave the endless line for merch for all bands) it was time for Helsinki, Finland’s Epic Folk Metal warriors ENSIFERUM to bring a true winter storm to the stage with songs from all of their albums, including of course their latest one Winter Storm, released in 2024, all available on BandCamp and on Spotify. Petri Lindroos, Markus Toivonen, Sami Hinkka, Pekka Montin, and Janne Parviainen put on a fantastic show for an already packed venue, yielding their sonic weapons in great fashion for the delight of everyone inside the considerable circle pit that was moving frantically in the middle of the floor section. Their maniacal bassist Sami Hinkka didn’t stop screaming, running around the stage, jumping up and down, headbanging, and of course hammering his bass not even for a single second, and it was beautiful witnessing that extreme energy flowing from him into the hearts of all fans at the Queen Elizabeth Theatre. What a great performer, my friends. And of course, with a name like that, which if you don’t know is Latin for “sword bearer,” the top moments of their concert were the fighting songs Guardians of Fate, Into Battle, and the classic In My Sword I Trust, turning the venue into a true battlefield. Please return to Toronto as soon as you can, Ensiferum, because you guys rock.

Setlist
Aurora
Winter Storm Vigilantes
Way of the Warrior
Andromeda
Fatherland
Heathen Horde
Guardians of Fate
Into Battle
In My Sword I Trust

Band members
Petri Lindroos – harsh vocals, guitars
Markus Toivonen – guitars, backing vocals
Sami Hinkka – bass, clean and backing vocals
Pekka Montin – keyboards, clean and backing vocals
Janne Parviainen – drums

BLIND GUARDIAN

I honestly have no idea why Teutonic Power Metal masters BLIND GUARDIAN decided to do this Somewhere Far Beyond North American Tour only in 2025, as they already celebrated 30 years of the album Somewhere Far Beyond back in 2022, having even released in 2024 a live album of that tour recorded at Rock Hard Festival in June 2022, but who am I to complain about that, right? Quite the opposite, it was a dream come true watching the iconic Hansi Kürsch & Co. deliver a flawless live rendition of one of their classic albums, plus of course a bunch of other superb songs. The first part of the set itself was already worth the price of the ticket, as Into the Storm, Blood of the Elves, Nightfall, and Violent Shadows are killer metal tunes, with all fans already losing their voices screaming those songs together with the bards.

Hansi was in an excellent mood, showing once again he’s not just a phenomenal vocalist, but also a great frontman and entertainer, keeping the audience engaged and hypnotized form start to finish. After they started playing Somewhere Far Beyond, with Time What Is Time and Journey Through the Dark sounding incredible, Hansi joked about the fact he was surprised that they said in 2024 they would return soon, and they actually did. The crowd was on cloud 9 with each and every word pronounced by Hansi, but it was of course when they played The Bard’s Song – In the Forest, and The Bard’s Song – The Hobbit, another majestic moment of the show, that the whole venue turned into a true celebration of heavy music and bards. One of those moments in the life of a person that confirms we all made the right choice in becoming metalheads.

And then came the encore. But it wasn’t just an encore. It was THE encore, one of the best I’ve ever experienced in my life. When the crowd started chanting “Majesty! Majesty!” I had on idea the band was actually going to answer our call. Hansi even joked about it saying that we were not allowed to ask for what we wanted to hear, but we were lucky that was exactly what they were going to play anyway. It was beyond orgasmic seeing them playing Majesty live. I pretty much lost my voice screaming. Then came the biggest surprise of the night for me, Lord of the Rings, and then I lost the rest of my voice. Simply incredible. I don’t know how I was still able to scream with the band during the epic Valhalla and Mirror Mirror, and when we all thought the show was over, the band fired upon us the also breathtaking Lost in the Twilight Hall. What an epic conclusion to a concert full of mosh pits, fists and horns in the air, ad the certainty that the bards will return to Toronto again, hopefully sooner than later for the “surprise” of Hansi and his henchmen themselves. Thank you once again, Blind Guardian. I’m a very happy man.

Setlist
War of Wrath
Into the Storm
Blood of the Elves
Nightfall
Violent Shadows

Somewhere Far Beyond
Time What Is Time
Journey Through the Dark
Black Chamber
Theatre of Pain
The Quest for Tanelorn
Ashes to Ashes
The Bard’s Song – In the Forest
The Bard’s Song – The Hobbit
The Piper’s Calling
Somewhere Far Beyond

Encore:
Majesty
Lord of the Rings
Valhalla
Mirror Mirror
Lost in the Twilight Hall
Sacred Worlds (Orchestral outro)

Band members
Hansi Kürsch – vocals
André Olbrich – lead, rhythm and acoustic guitars
Marcus Siepen – rhythm and acoustic guitars
Johan van Stratum – bass, backing vocals
Kenneth Berger – keyboards, backing vocals
Frederik Ehmke – drums

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Album Review – Death Obvious / Death Obvious (2025)

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Behold the debut opus by this uncanny duo from Finland, offering a harrowing albeit intriguing sound that’s strangely both alarming and comforting in parts.

Hailing from the darkest and most mysterious corners of Finland, the uncanny duo known as Death Obvious came out of nowhere to release a debut album that coalesces elements of Avantgarde Black, Death and Doom Metal to create a harrowing albeit intriguing sound that’s strangely both alarming and comforting in parts. Showcasing a straightforward, grim artwork by Petri Kiviniemi, the debut offering by Lea LaVey on vocals and Sima Sioux on guitars, bass, keyboards and drums brings to our avid ear eight songs that sound like excursions into pitch-black darkness, not knowing what’s coming next, while the listener remains terrified, haunted by monstrous and spectral voices coming and going, being therefore highly recommended for fans of Thantifaxath, Dodecahedron, Veilburner, Lurk, Blut aus Nord, Hexrot, and Deathspell Omega.

Mercury Off Axis is absolutely dissonant, disturbing and grim from the very first second, gradually adjusting its shape and form to a hammering Sludge Metal beast led by the rumbling bass and riffs by Sima, who keeps pounding his drums until a storm of blackened sounds comes crushing our damned souls in Santuario, with Lea barking and roaring rabidly in the name of total fucking darkness. The Great Gate Theory sounds even more sluggish and introspective, with the bass by Sima once again reverberating beautifully while Lea’s vocals transpire insanity; and it’s pedal to the metal in the Experimental Black Metal attack entitled Total Heavenly Desolation, with Lea sounding demented on vocals while Sima crafts the most caustic sounds imaginable armed with his riffs, bass and drums.

Then leaning towards a more visceral, direct form of Black Metal we face The Third Eye Burning, as primeval as it can be, again offering our putrid ears the absolutely dissonant sounds blasted by the duo, whereas after such an insane display of extreme music the duo brings forward the Stygian tune Suffer The Spectacle, starting in a cryptic manner before Lea begins barking like a venomous beast. Their Sludge and Doom Metal vein pulses harder than ever in As Absence Expands Over Everything, perfect for some vigorous headbanging in absolute obscurity; and lastly, it’s time for the chaotic, ruthless Catechismus For The Plagued, presenting eight and a half minutes of first-class Avantgarde Black and Death Metal spearheaded by the demolishing beats by Sima, ending in utter insanity and violence.

In summary, the Finnish death dealers of Death Obvious are clearly onto something in their first full-length opus, having created an exceptional and mature release right off the bat, one that deserves as much attention as it can possibly get before it gets lost in the annals of history. Hence, you can get to know more about such a promising new entity of the Finnish scene on Facebook and on Instagram, stream their wicked music on Spotify, and of course purchase their caustic album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Because Death Obvious is not a rebirth, but a necessary resuscitation.

Best moments of the album: Total Heavenly Desolation, The Third Eye Burning and Catechismus For The Plagued.

Worst moments of the album: Suffer The Spectacle.

Released in 2025 Transcending Obscurity Records

Track listing
1. Mercury Off Axis 5:38
2. Santuario 5:13
3. The Great Gate Theory 5:16
4. Total Heavenly Desolation 4:45
5. The Third Eye Burning 5:56
6. Suffer The Spectacle 6:51
7. As Absence Expands Over Everything 5:53
8. Catechismus For The Plagued 8:30

Band members
Lea LaVey – vocals
Sima Sioux – guitars, bass, keyboards, drums

Album Review – Enthroned / Ashspawn (2025)

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One of the most ruthless beasts of Occult Black Metal returns with their twelfth opus, emerging as both an autopsy and a resurrection, a descent into spiritual death followed by the sublimation of rebirth.

With the release of their twelfth full-length album, entitled Ashspawn, the iconic beast Enthroned marks a new chapter in their three-decade reign of ritualistic and occult Black Metal. Conceived across six years of deliberate creation, the album emerges as both an autopsy and a resurrection, a descent into spiritual death followed by the sublimation of rebirth. Recorded at Ophiussa Studio, produced by the band’s own drummer Menthor, mixed by Stefano Santi at SPVN Studio, mastered by Phil Bashford at The Hive Rooms, displaying a beyond devilish artwork by Jose Gabriel Alegria Sambogal, and written in close collaboration with Gilles de Laval (an occult author known for his works on ceremonial magic and grimoires, such as Sacerdotium Umbrae Mortis and Black Magic Evocation of the Shem ha Mephorash), the new opus by Nornagest on vocals and samplers, T. Kaos on the guitars and bass, and Menthor on drums and percussion channels arcane praxis, metaphysical calculus, and esoteric mapping into a work that is as much ritual invocation as it is music. In other words, it is the culmination of Enthroned’s uncompromising vision, a weapon of transformation forged in fire and darkness.

The gates of the underworld are wide open, and Enthroned are ready to arise from the burning fires of hell and consume our souls in Crawling Temples, with the demented vociferations by Nornagest exhaling pure Black Metal magic. Menthor continues to hammer his drums with endless fury and hatred in Basilisk Triumphant, offering an overdose of the band’s trademark fusion of violence and darkness; whereas T. Kaos fires sheer aggressiveness and sulfur from his axe in Stillborn Litany, another ruthless, old school Black Metal extravaganza that lives up to the band’s own legacy, followed by the title-track Ashspawn, a lecture in classic Black Metal with the inhumane roars by Nornagest walking hand in hand with the infernal drums by Menthor.

T. Kaos will cut our skin deep with his scathing riffage in Raviasamin, while the song’s ritualistic, occult background elements give it an even more Stygian vibe and feel in the name of absolute obscurity. Then the scathing guitar lines by T. Kaos continue to reverberate in the netherworld in Sightless, as evil and visceral as Black Metal can be; and a vile, gruesome scream by Nornagest sets the tone in the just as malignant Chysalid, flowing like a devilish entity running in the dark until its somber ending. That grim atmosphere continues in Ashen Advocacy, presenting almost eight minutes of the blackest of Black Metal by bringing forward the most bludgeoning elements from Doom Metal to spice things up considerably. And last but not least, get ready to be dragged to pitch-black darkness to the sound of Assertion, with the despair and wrath flowing from Nornagest’s roaring sending shivers down our spines.

A true giant of European Occult Black Metal alongside Marduk, Dark Funeral, Gorgoroth and 1349, among others, Enthroned offer their most ambitious and personal statement to date with Ashspawn, embodying a total unity of vision where ferocious blast beats, oppressive mid-tempos, and progressive structures collapse into one another. You can feel the fire blasted by such an infernal horde by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their caustic black masses on Spotify, and of course, by purchasing Ashspawn from BandCamp or by clicking HERE.  In the end, Ashspawn is the testimony of the band’s obscure alignment, a ritual weapon that rejects nostalgia and compromise. It is a resurrection of spirit through suffering, and a reaffirmation of Enthroned’s place among Black Metal’s most visionary entities.

Best moments of the album: Basilisk Triumphant, Ashspawn, Raviasamin and Ashen Advocacy.

Worst moments of the album: None.

Released in 2025 Season of Mist

Track listing
1. Crawling Temples 5:35
2. Basilisk Triumphant 5:53
3. Stillborn Litany 6:48
4. Ashspawn 4:40
5. Raviasamin 4:26
6. Sightless 3:39
7. Chysalid 4:32
8. Ashen Advocacy 7:58
9. Assertion 6:44

Band members
Nornagest – vocals, samplers
T. Kaos – guitars, bass
Menthor – drums, percussion

Album Review – Unviâr / Disglaç (2025)

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This unique Atmospheric Black Metal band from the beautiful region of Friûl will hypnotize you with their first full-length album, revolving around the complex yet unavoidable relationship between man and nature.

An Atmospheric Black Metal project hailing from a small land in Mitteleurope called Friûl, where the Celtic, Germanic, Slavic, Latin worlds coalesce in a unique mosaic of nature, people, magic, culture, languages and traditions, Unviâr, which means “winter” in Friulian, is an ode to the band’s homeland and to its people that pits the constant research and reworking of territorial identity against rampant hyperglobalization. Recorded, mixed and mastered by Davide Zago, and showcasing a stunning artwork by Paolo Girardi, Disglaç, or “defrost” in English, is the band’s follow-up to their 2023 debut EP Faliscjis, revolves around the complex yet unavoidable relationship between man and nature, a work that will delight fans of early Ulver, Drudkh, and Agalloch carefully brought into being by Daniele Tollon on vocals and guitars, Manuel Scapinello also on the guitars, Luca Franzin on bass, and Giulia Zuliani on drums.

The cello by guest Massimo Silverio already adds endless darkness to the band’s core sound in Nevere, or “never” in English, exploding into pure, unfiltered Atmospheric Black Metal led by Guilia’s venomous blast beats, not to mention the ferocity flowing from Daniele’s roars. Corints (“currents”) is another dark and visceral tune blending Black Metal with Post-Metal nuances, with the guitars by Daniele and Manuel exhaling fire; and Guilia takes the lead once again and kicks off the headbanging title-track Disglaç, supported by the massive bass lines by Luca, venturing through more melodic and even acoustic lands while also showcasing the band’s trademark heaviness as if it was three or four songs in one. Ritîr, which means “withdrawal” or “retire,” is a more straightforward Atmospheric Black Metal extravaganza, again presenting the striking riffage by Manuel; whereas last but not least, Massimo Silverio returns with his cello in Sul Ôr, which should translate as something like “on the gold,” closing the album on a pensive, grim mode, with even Daniele’s vocals getting deeper and more introspective.

Featuring dark music and a heavy epicness born from a dark naturalistic romanticism, a music that, with penetrating force, will firmly root itself in the listener’s heart, Disglaç brings forward the ancient voice of the land, the innate call of natural theophany, emerging as an intimate and reserved work, but precisely for this reason pure and uncontaminated. You can get to know more details about such an amazing band, including their live performances, on Facebook and on Instagram, stream their undisputed music on any platform like Spotify, and of course purchase their new album from their own BandCamp, from ATMF’s BandCamp, or from Metal Odissey as a CD or as an LP. Unviâr have simply  mastered the art of Black Metal with their debut album, crafting music that’s rooted in the early days of the genre while also looking forward, never sounding dull or repetitive. They’re one of the must-see names of the current scene worldwide, and I bet you’ll have an absolute blast once you dive deep into the irresistible world of Disglaç.

Best moments of the album: Nevere and Disglaç.

Worst moments of the album: None.

Released in 2025 ATMF

Track listing
1. Nevere 11:31
2. Corints 7:52
3. Disglaç 9:44
4. Ritîr 7:30
5. Sul Ôr 8:19

Band members
Daniele Tollon – vocals, guitars
Manuel Scapinello – guitars
Luca Franzin – bass
Giulia Zuliani – drums

Guest musician
Massimo Silverio – cello on “Nevere” and “Sul Ôr”

Album Review – Suffering / Things Seen But Always Hidden (2025)

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Drawing upon the oppressive weight of soul crushing Death and Doom Metal and the violent fervor of Black Metal, this UK beast returns with their most enthralling and disturbing work to date.

Formed in 2012 in the West Midlands in the UK, Suffering are exponents of Occult Black Metal, conjurers of fevered nightmares, and invokers of darkness and madness. Drawing upon the oppressive weight of soul crushing Death and Doom Metal and the violent fervor of the blackest metal music, bringing them together in an elixir of spirit staining, mind warping venom, the band formed of Sturmgeist Fornicator Insultus on vocals, Aýdlig on the guitars, Inquinatus on bass, and Malleus on drums returns with their second full-length album, their most enthralling and disturbing work to date, Things Seen But Always Hidden, following up on their 2024 EP Symphonies: Diabolis, and a must-listen for fans of bands the likes of Akercocke, Shining, Acherontas, and Forgotten Tomb, among other servants of the darkest arts.

Such a ruthless UK horde begins their black mass in style with the Doom Metal-infused aria The House with the Red Door, starting in a lugubrious way before exploding into an overdose of Black Metal spearheaded by the inhumane drums by Malleus; whereas Enthralled follows the same darkened path as the opening track, with Aýdlig’s riffs reeking of malignancy while Sturmgeist vociferates the song’s austere words like a creature from the abyss. Then another cryptic intro will drag our souls into the unknown in The Chamber of Breathtaking Delights, offering a blasphemous blend of Blackened Doom and Black Metal as sluggish and cadaverous as it can be; and again adding an endless dosage of heaviness and fury to their core sound we face Consorting with the Devil, where Aýdlig and Inquinatus sound absolutely phantasmagorical armed with their axes.

The poetically titled What Once Was Shall Be Again and What Is Shall Be No More demanded a truly haunting sound and vibe to match with its name, which is exactly what the band offers to our putrid ears, followed by Apocrypha Through the Keyhole, another lesson in carnivorous Blackened Doom, with Sturmgeist taking the lead with his devilish gnarls. In addition, it couldn’t have sounded heavier nor more obscure. Then back to a more straightforward Black Metal sonority the band presents Hell on Earth New Eden, with Malleus crushing his drums manically while his bandmates blast an overdose of hatred through their vocals, riffs and bass lines. Lastly, the conclusion to Things Seen But Always Hidden comes in the form of the hellish Behind the Green Door, with the band dragging our impious souls to their venomous lair in the name of sheer doom.

“The darkness and truth that lies within is far beyond what we had imagined possible. But remember, things are not always what they seem and some things are right in front of your face,” commented the band about their new beast, and you can join them in total darkness by following the quartet on Facebook and on Instagram, including their unrelenting live performances, stream their Stygian, spine-chilling Black Metal hymns on any platform such as Spotify, and above all that, put your damned hands on Things Seen But Always Hidden from their own BandCamp or from Apocalyptic Witchcraft Recordings, or click HERE for all things Suffering. However, you must always remember that once you have set foot on this path, there is no way back.

Best moments of the album: Enthralled, Apocrypha Through the Keyhole and Hell on Earth New Eden.

Worst moments of the album: None.

Released in 2025 Apocalyptic Witchcraft Recordings

Track listing
1. The House with the Red Door 7:17
2. Enthralled 4:30
3. The Chamber of Breathtaking Delights 7:00
4. Consorting with the Devil 4:38
5. What Once Was Shall Be Again and What Is Shall Be No More 3:12
6. Apocrypha Through the Keyhole 3:27
7. Hell on Earth New Eden 4:55
8. Behind the Green Door 9:42

Band members
Sturmgeist Fornicator Insultus – vocals
Aýdlig – guitars
Inquinatus – bass
Malleus – drums

Album Review – Thermality / Concept 42 (2025)

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The new album by this Swedish melodeath outfit marks the dawn of a new creative era for the band, one that fuses technical mastery with raw emotional power.

A Melodic Death Metal and Metalcore band that started in autumn 2020 at the Academy of Music & Business, a school for 16 to 19-year-olds situated in Vara near Gothenburg, Sweden, with their musical style having its roots in the melodeath movement that was big in the 90’s and early 2000’s, the up-and-coming Thermality are unleashing upon us their third studio album, titled Concept 42, following the global breakout of their 2024 release The Final Hours (which dominated international metal charts and entered the official Swedish sales rankings). Recorded at the iconic Studio Fredman in Gothenburg, and displaying a cinematic artwork by Andreas Marschall (Kreator, In Flames, Blind Guardian), the new album by Ludvig Sommar on vocals, Noel Hoflund Jonsson and Walter Hamilton on the guitars, Ture Skärfstad Stål on bass, and Hampus Sätterlund on drums marks the dawn of a new creative era for the band, one that fuses technical mastery with raw emotional power where each track is part of a larger conceptual journey.

The band quickly transports us to their wicked world in the opening track Friction, exploding into sheer Melodic Death Metal savagery led by Ludvig’s harsh vociferations, while Noel and Walter take the lead armed with their scorching riffs in Helix, once again inspiring us for some wild action inside the pit. Brainstorm sounds and feels heavily inspired by giants the likes of Soilwork, In Flames and At The Gates, with Ture’s bass and Hampus’ drums making the earth tremble, followed by Inception, not as exciting as the other songs of the album, with even Ludvig’s vocals sounding less aggressive. Concept 42, the song that carries the name of the album, kicks off to the rumbling bass by Ture, evolving into a melodeath beast overflowing harmony and rage, whereas Reminiscence starts in an ethereal, almost melancholic manner, quickly exploding into another blast of heavy and piercing sounds by Thermality.

Breaking Point then blends the classic Gothenburg sound with nuances of modern metal styles, with Noel, Walter and Ture once again giving a lesson in heavy music with their intricate and fierce guitars and bass lines, and it’s time to bang our heads together with those beyond talented Swedish boys in The Hollow, where they speed things up, offering Ludvig exactly what he needs to bark like a demented entity. The band brings forward another song with a more melodic intro that quickly morphs into classic Melodic Death Metal made in Sweden entitled Bright Side, with Hampus making sure there’s plenty of heaviness flowing during the entire song. “SMILE” again showcases that traditional Gothenburg sound led by the striking riffage by Noel and Walter, turning into an excellent option for their live concerts; and get ready to bang your head like a true metalmaniac to the sound of Lost Inside, with Ludvig barking and screaming in great fashion for our total delight. And last but not least, their harmonious yet visceral sounds will penetrate deep inside our minds in Tomorrow, with its guitar solos and breaks adding an extra kick to the music.

“Writing music is absolutely the best thing we know. Music gives us the most support and joy in our daily lives, and we hope it can do the same for those of you who listen to our music. The response we have received since starting this band has been incredible in so many ways. So we wanted to take a sec here and thank you and appreciate all those who came before us in this genre, all the feedback we have received on our previous releases, and everyone who listens to and supports us.
We truly hope you enjoy the album and approach it with an open mind when you listen to the music. With this album, we feel we have taken another step in the direction we want to go-one more step toward reaching the level our music deserves to be at,” commented the band, and if you’re a fan of bands like Gojira, Architects, Lamb of God, In Flames, and Fit For An Autopsy, you should definitely give them a try. You can also find those talented guys on Facebook and on Instagram, stream their music on Spotify, and purchase their new album from their own BandCamp, from Sound Pollution, or by clicking HERE. Concept 42 will most definitely take Thermality to new heights, keeping the flames of Swedish melodeath burning for many years to come through the band’s undisputed music.

Best moments of the album: Helix, Concept 42, and Lost Inside.

Worst moments of the album: Inception.

Released in 2025 Black Lodge Records

Track listing
1. Friction 4:30
2. Helix 3:56
3. Brainstorm 4:00
4. Inception 4:15
5. Concept 42 3:53
6. Reminiscence 3:41
7. Breaking Point 3:40
8. The Hollow 4:00
9. Bright Side 4:13
10. “SMILE” 4:35
11. Lost Inside 3:32
12. Tomorrow 5:00

Band members
Ludvig Sommar – vocals
Noel Hoflund Jonsson – guitar
Walter Hamilton – guitar
Ture Skärfstad Stål – bass
Hampus Sätterlund – drums

Album Review – 5RAND / Ordhalia (2025)

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Offering an overdose of crushing riffs, cinematic atmospheres, and the fierce duality of clean and growl vocals, this Italian outfit is out for blood armed with their incendiary third full-length album.

With a story that began with a unique twist of fate, a chance meeting with a Shaman and a South African 5Rand coin, Rome, Italy-based Melodic Death/Groove Metal/Deathcore outfit 5RAND has been carving a unique space in the metal scene with their blend of Deathcore aggression with the emotional depth of melodeath, offering an overdose of crushing riffs, cinematic atmospheres, and the fierce duality of clean and growl vocals by frontwoman Julia Elenoir. Now in 2025 the band formed of Julia alongside guitarist Pierluigi Carocci, bassist Acey Guns and drummer Andrea De Carolis is ready to take the world of heavy music by storm once again with Ordhalia, their third full-length opus, the follow-up to their excellent 2019 sophomore Dark Mother, and a must-listen for fans of modern and vibrant heavy music.

The cinematic intro Lullaby for the Broken effectively invites the listener to the world of 5RAND before all hell breaks loose in Bloodlife, with Andrea kicking some ass behind his drums while Julia fires deep, enraged roars in the best she-wolf style, accompanied by the caustic riffs by Pierluigi. The title-track Ordhalia starts in a more serene, pensive manner, again exploding into a visceral fusion of Melodic Death Metal and Metalcore with Andrea hammering his drums mercilessly; followed by The Nihilist, featuring Milo Silvestro of Fear Factory, who makes a fantastic vocal duet with Julia, with both their clean and harsh vocals walking hand in hand in the name of extreme music. And Pierluigi’s minimalist guitar lines and Acey’s somber, menacing bass set the tone in Double Bind, a mid-tempo, headbanging chant that will please all fans of modern-day Metalcore.

Julia continues to scream like a blood-soaked Valkyrie in Turbid while her bandmates generate a vibrant hurricane of Melodic Death Metal armed with their scorching instruments, whereas Acey fires more of his cryptic bass lines in Ritual of Silence, with the band’s blend of classic and modern heavy music sounding very exciting. Then all background sounds give Lethargy an epic and vibrant vibe, with Pierluigi firing his heaviest riffs of the entire album, consequently inspiring Julia to roar manically for our absolute delight, while Resurge in Death is by far the most generic and uninspired of all songs, despite still showcasing a striking guitar solo by Pierluigi. Lastly, the band gets back on track with Silent Line, offering a progressive and intricate fusion of melodeath with contemporary heavy music where Julia is once again fantastic with both her she-devil gnarls and whimsical clean vocals.

More than just a band, 5RAND are a creative force blending music and visual art, connecting deeply with their growing fanbase, and the excellence found in their new album Ordhalia will undoubtedly help them in keep building a loyal international following and performing alongside legends the likes of Dark Tranquillity, Vader, Immolation, Butcher Babies and Infected Rain. Such a promising name of the Italian modern metal scene can be found on Facebook and on Instagram, where you can stay up to date with their news and live concerts, you can also enjoy their music on any streaming platform like Spotify, and obviously purchase the electrifying Ordhalia from Big Cartel and other online retailers. 5RAND are out for blood armed with Ordhalia, and I can’t wait to see what’s next for those restless Italian rockers.

Best moments of the album: Bloodlife, The Nihilist and Lethargy.

Worst moments of the album: Resurge in Death.

Released in 2025 Art Gates Records

Track listing
1. Lullaby for the Broken 1:09
2. Bloodlife 3:30
3. Ordhalia 4:27
4. The Nihilist 3:12
5. Double Bind 4:30
6. Turbid 4:03
7. Ritual of Silence 3:54
8. Lethargy 3:43
9. Resurge in Death 3:40
10. Silent Line 4:19

Band members
Julia Elenoir – vocals
Pierluigi Carocci – guitar
Acey Guns – bass
Andrea De Carolis – drums

Guest musician
Milo Silvestro – vocals on “The Nihilist”

Concert Review – Ne Obliviscaris (The Phoenix Concert Theatre, Toronto, ON, 11/21/2025)

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Thousands of lucky fans in Toronto experienced a mesmerizing display of Progressive Death Metal this Friday night, courtesy of three of the must-see names of the current extreme music scene worldwide.

OPENING ACTS: Psycroptic and Rivers of Nihil

What a phenomenal night of pure heavy music this Friday in Toronto at The Phoenix Concert Theatre thanks to Noel Peters of Inertia Entertainment, who brought to the city three of the must-see names of the Extreme Metal scene worldwide. I’m talking about PSYCROPTIC, RIVERS OF NIHIL, and NE OBLIVISCARIS with their North American Headline Tour 2025, hypnotizing everyone who attended the concert from start to finish. Keith Ibbitson of Metal Paparazzi and I were obviously there to witness an overdose of heaviness, intricacy, energy and creativity blasted by all three bands, offering us almost six hours of top-of-the-line music that made every penny invested in the tickets worth it. That’s exactly what you should expect from true hardworking and talented bands, who put the music and the happiness of their fans above any type of business or economic requirements. In other words, kudos to all bands, to Inertia Entertainment, and to everyone who was at the show to support heavy music in a city where music concerts are becoming pure cash grabbing opportunities for scalpers.

The first band to hit the stage, precisely at 6:45pm (which is way too early taking into account the nightmare that getting in and out of Toronto has become in recent years) were the ruthless Tasmanian Technical Death Metal devils PSYCROPTIC, who have been bringing extreme violence to our avid ears since the already distant year of 1999. Spearheaded by the Haley Brothers, those being drummer David Haley, of Australian Death Metal beasts Werewolves, as well as other insane bands like Faustian and Abramelin, and his demented brother Joe Haley on the guitar, the band showed zero mercy for our putrid bodies with a no shenanigans, in-your-face metal attack, blending songs from their entire discography, including their latest opus Divine Council, release in 2022, and their infernal 2025 single Architects of Extinction (all available on BandCamp and on Spotify). After their show I had the pleasure of chatting with the talented and super cool David Haley, telling him how much I love his style and that we need a Werewolves concert in Toronto. Who knows, maybe he’ll send the message to Sam Bean and Matt Wilcock, right? And if Pstycroptic visit your city any day, you know what to do.

Setlist
We Were the Keepers
Frozen Gaze
Architects of Extinction
Cold
Ob(Servant)
Carriers of the Plague
The Watcher of All
Enslavement

Band members
Jason Peppiatt – vocals
Joe Haley – guitars
Todd Stern – bass
David Haley – drums

The second band to set foot on the stage at the Phoenix was Reading, Pennsylvania’s own Progressive/Technical Death Metal machine RIVERS OF NIHIL, performing their excellent 2025 self-titled album (available on BandCamp and on Spotify) in full for the delight of everyone at the venue. If their headlining concert was already phenomenal back in June at Lee’s Palace, this time the band formed of Adam Biggs on vocals and bass, Brody Uttley and Andy Thomas on the guitars, Jared Klein on drums, and the unparalleled Patrick Corona on the saxophone offered a very unique experience to their fans, kicking ass from start to finish with their refined technique, undisputed brutality, and of course, the mesmerizing sound of the sax. Songs like the opener The Sub‐Orbital Blues, Water & Time, House of Light, and in special the headbanging American Death ignited some killer mosh pits in a considerably crowded venue, and when you’re able to slam into the pit to the sound of a saxophone, you know it’s going to be an absolute blast. Those guys are becoming fan-favorites in Toronto, and I guess it won’t take long for the Rivers of Nihil to cross our city again in the near future.

Setlist
Rivers of Nihil
The Sub‐Orbital Blues
Dustman
Criminals
Despair Church
Water & Time
House of Light
Evidence
American Death
The Logical End
Rivers of Nihil

Band members
Adam Biggs – vocals, bass
Brody Uttley – guitars
Andy Thomas – guitars, backing vocals
Jared Klein – drums, backing vocals
Patrick Corona – saxophone

NE OBLIVISCARIS

After a quick break it was time for an overdose of awesomeness by Australia’s most innovative metal band to date, Melbourne, Victoria’s one and only Extreme Progressive Metal horde NE OBLIVISCARIS, simply pulverizing our senses with their inspiring, visceral and mesmerizing performance, playing in full their 2014 album Citadel, and their 2023 masterpiece Exul, both available on Spotify, by the way, offering us all over two hours of the best extreme music imaginable. It was a collective catharsis for every single person at the venue, with the crying violin and the melodic clean vocals by Tim Charles making a stunning paradox with the harsh roars by James Dorton, while the rest of the band fired a full-bodied, complex and utterly captivating blend of Progressive Death Metal with an array of different music genres. And what can I say about bassist Martino Garattoni? The guy is a beast armed with his metallic bass, adding endless groove to the band’s already deep sonority.

Let’s say Tim stole the spotlight during the first part of the show when they played Citadel, making it impossible to take our eyes from his performance, specially when he played the violin AND sang at the same time, and I have no idea how he’s capable of doing such difficult things combined to perfection like that. It was brilliant to say the least, and he was also in an excellent mood joking with the fact that they were only one song in, the three-part Painters of the Tempest, but already at 23 minutes of show. Of course, all fans had a blast with the wild mosh pits generated during their most violent song Pyrrhic, but their most magical moments came with those multi-part songs, with Devour Me, Colossus sounding beautifully inhumane.

There was no significant break from Citadel to Exul, just some words from Tim to an already happy crowd, and when they started playing the astonishing Equus I thought the venue was going to collapse due to its power, strength and electricity. The following songs were just as superb, with the crowd even igniting an Amon Amarth-like rowing on the floor to the surprise of the band (and Tim even mentioned that although he couldn’t understand why we were doing that, he loved it and loved the fact we were all having a great time), before all converged into the darkly gorgeous Anhedonia, with Tim once again sounding like an angel on vocals and the violin. After that, when we thought the show was over, the band came back with a very special encore playing the glorious And Plague Flowers the Kaleidoscope, from their 2012 album Portal of I, and if you’re familiar with the band you know the crowd was treated to another ten minutes of first-class metal where, instead of a wall of death, Tim asked everyone to simply grab a partner and dance together with the band. It was one of the coolest moments of the year, and I must say I can’t wait to see those beasts from Down Under live again in a not-so-distant future. To be fair, everyone who enjoys good music must see Ne Obliviscaris live at least once in life. What they do onstage, no other band can. It’s amazing.

Setlist
Citadel
Painters of the Tempest (Part I): Wyrmholes
Painters of the Tempest (Part II): Triptych Lux
Painters of the Tempest (Part III): Reveries from the Stained Glass Womb
Pyrrhic
Devour Me, Colossus (Part I): Blackholes
Devour Me, Colossus (Part II): Contortions

Exul
Equus
Misericorde I – As the Flesh Falls
Misericorde II – Anatomy of Quiescence
Suspyre
Graal
Anhedonia

Encore:
And Plague Flowers the Kaleidoscope

Band members
James Dorton – harsh vocals
Tim Charles – violin, clean vocals
Benjamin Baret – lead guitars
Matt Klavins – guitars
Martino Garattoni – bass
Daniel Presland – drums

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Album Review – Veilburner / Longing for Triumph, Reeking of Tragedy (2025)

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The eighth opus by this uncanny Death and Black Metal creature sees the duo continue to suffer like two dragons consuming one another in a serpentine-like fashion until one can no longer consume the other, frozen in the shape of infinity.

Only one year after the release of their critically acclaimed album The Duality of Decapitation and Wisdom, Pennsylvania, United States-based Avantgarde Death/Black Metal creature Veilburner returns with their eighth full-length album, poetically titled Longing for Triumph, Reeking of Tragedy. Displaying another Stygian artwork by Luciana Nedelea, the new opus by Chrisom Infernium on vocals, lyrics and design, and Mephisto Deleterio on all instruments and production sees the duo continue to suffer like two dragons consuming one another in a serpentine-like fashion until one can no longer consume the other, frozen in the shape of infinity (∞) and numerologically represented by the digit eight (8). Samael (the “poison of god” and the eighth sphere of the Qlippoth), as well as Choronzon (the dweller of the threshold) and the Ouroboros all correlate with this symbol of infinity and exist in Veilburner’s lore as the antagonistic and immutable eternity, which if confronted can lead to self-destruction and the finality of manifestation, permanently breaking the loop.

Like the beginning of a black mass, the duo ignites their festivities with Longing for Triumph…, with the marching drums by Mephisto suddenly evolving into pure Black Metal madness while Chrisom roars like a demented entity from the abyss; and Mephisto keeps slashing his scorching axe in Pestilent Niche, delivering fierce, metallic riffs for our total delight, as experimental as it is progressive, sounding like two or three songs in one. Then venturing through Atmospheric Black Metal lands with a pinch of Doom Metal we face Rigor & Wraith, with the cryptic vociferations by Chrisom sounding truly haunting, whereas back to a ferocious Black Metal sonority they offer us That Which Crypts Howls Grandeur, where all instruments by Mephisto sound absolutely demonic, adding an extra dosage of insanity and sulfur to the overall result. Da’ath Ye Shadow Portrait is another excellent display of Avantgarde Death and Black Metal by the duo, with Chrisom once again barking rabidly nonstop, followed by Ouroboreal Whorl, the least Black Metal of all songs, maybe a bit too experimental for my taste, never sounding truly heavy. They get back on track with Matter o’ the Most Awful of Martyrs, blasting their trademark blend of demented Black and Death Metal sounds, with Mephisto sounding ruthless armed with his riffs, solos and blast beats until the very last second; and lastly, we have …Reeking of Tragedy, the “conclusion” of the opening track, therefore forming the title of the album, which couldn’t have sounded more inhumane and sinister, with the duo firing their devilish roars and eerie riffs nonstop.

In the spirit of striking while the iron is hot, this eighth evolution of the Veilburner story capitalizes on momentum while simultaneously achieving new heights in their song-crafting and story-telling, leading their characters on a journey in which they cannot recognize triumph without tragedy, and sees them residing somewhere between the abyss and their devotion to mortal re-occurrence, that which seems to attract death, being therefore highly recommended for fans of Blut aus Nord, Imperial Triumphant, Deathspell Omega, Hexrot, Oranssi Pazuzu, Akhyls, and Akercocke. You can dive into the dark realms ruled by Veilburner by following them on Facebook and on Instagram, by streaming their unique creations on Spotify, and of course by purchasing their new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In Longing for Triumph, Reeking of Tragedy, Chrisom Infernium and Mephisto Deleterio face not just any death, but the kind in which they are bound to an infinite loop of reincarnation, and destined to repeat the same traumas and failures as before.

Best moments of the album: Pestilent Niche, That Which Crypts Howls Grandeur and Matter o’ the Most Awful of Martyrs.

Worst moments of the album: Ouroboreal Whorl.

Released in 2025 Transcending Obscurity Records

Track listing
1. Longing for Triumph… 7:00
2. Pestilent Niche 6:19
3. Rigor & Wraith 5:26
4. That Which Crypts Howls Grandeur 6:19
5. Da’ath Ye Shadow Portrait 7:04
6. Ouroboreal Whorl 6:29
7. Matter o’ the Most Awful of Martyrs 6:00
8. …Reeking of Tragedy 7:14

Band members
Chrisom Infernium – vocals
Mephisto Deleterio – all instruments