A gripping journey into the dark abysses of human psychology in the form of first-class Death and Thrash Metal madei n Germany.
Taking the listener on a gripping journey into the dark abysses of human psychology, leaving you hardly any time to catch your breath, Gelsenkirchen, Germany-based Death/Thrash Metal squad Smorrah Is unleashing upon us all their first full-length album, titled Welcome To Your Nightmare, following up on their 2018 EP The Evil Within. Produced, mixed and mastered by Michael Streckbein and Smorrah at Vyrah Studios, and displaying an 80’s and 90’s-inspired artwork by Timon Kokott Artwork, the new release by vocalist Marius Wegener, guitarist Daniel ‘Pumper’ Hartmann, bassist Christian ‘Kraje’ Krajewski, and drummer Raphael Swierczynski is a hard-hitting thrash and groove beast highly recommended for fans of Pantera, Sepultura and Exhorder, among others, representing a huge step forward in their career.
Like a scene taken from a horror movie, an obscure intro suddenly explodes into a visceral sound led by the harsh and piercing roars by Marius in Welcome to Your Nightmare, while his bandmates bring an avalanche of Groove Metal to the song. Then investing in a more direct thrashing sonority, it’s time to slam into the pit to the sound of Dead Snake Eyes, with the nonstop drums by Raphael and the slashing riffs by Daniel taking the song’s animosity to a whole new level; followed by Age of Decay, even more demented and vile than the previous songs, once again showcasing the infuriated Death Metal riffs by Daniel and the always sick growls by Marius. The band slows things down a bit while sounding heavier and more obscure in Killing Spree, with Raphael smashing his drums supported by the low-tuned, menacing bass by Christian; and maybe Hope Dies Last, but Thrash Metal will never die, with the band offering us a furious and incendiary attack that should ignite some fun circle pits during their live concerts.
Get ready to bang your head nonstop while raising your horns to Buried Underneath, an old school, 80’s-infused Thrash Metal extravaganza spearheaded by the classic riffs by Daniel where not a single space in the air is left empty; whereas once again blending the heaviness of Death Metal with the rebelliousness and austerity of Thrash Metal the band brings forward Death Awaits, with Marius deeply vociferating like a demented beast while Daniel kicks ass as usual armed with his riffs and solos, flowing into Evil Betrayal, another modern-day Death and Thrash Metal attack by the quartet reminding me of some of the most recent creations by bands like Nervosa, Torture Squad and Sodom, with Raphael showing no mercy for our necks with his crushing beats. Lastly, let’s enjoy over six minutes of darkness, introspection and insanity in When the Tide Comes In, where the harsh vocals by Marius transpire rage and fury, always accompanied by the unstoppable, violent sounds brought into being by his bandmates while also alternating between more melodic moments and pure savagery until its epic finale.
If you have what it takes to face the unstoppable mosh pits generated by Smorrah in their new album Welcome To Your Nightmare, you can grab a copy of it directly from the band’s own BandCamp page or from the Sick Taste Records’ Big Cartel, and don’t forget to also start following the band on Facebook and on Instagram for news, tour dates and so on, and to stream more of their music on YouTube and on Spotify. The guys from Smorrah are eagerly waiting to welcome us all to our worst nightmare with their new album, and if you consider yourself a true lover of contemporary Death and Thrash Metal, I’m sure you’ll have a very good time even with the psychological torment you’re about to endure.
Best moments of the album:Dead Snake Eyes, Hope Dies Last and Evil Betrayal.
Worst moments of the album:Welcome to Your Nightmare.
Released in 2024 Sick Taste Records
Track listing 1. Welcome to Your Nightmare 4:51
2. Dead Snake Eyes 4:45
3. Age of Decay 5:54
4. Killing Spree 3:58
5. Hope Dies Last 3:45
6. Buried Underneath 5:40
7. Death Awaits 5:00
8. Evil Betrayal 5:19
9. When the Tide Comes In 6:25
Band members Marius Wegener – vocals
Daniel ‘Pumper’ Hartmann – guitars
Christian ‘Kraje’ Krajewski – bass
Raphael Swierczynski – drums
The best thing about a show being scheduled on the same night as Super Bowl is that traffic is pretty much nonexistent, turning the lives of all metalheads who don’t really care about American football a lot easier when it comes to getting to the venue in time to see all bands playing. That’s exactly what happened last night in Toronto at the always cozy Lee’s Palace, when the fantastic bands INHUMAN CONDITION, ORIGIN and VADER brought to the city a true celebration of extreme music during their 40 Years of the Apocalypse Anniversary Tour 2024, another incredible event organized by the unstoppable Noel Peters of Inertia Entertainment. As usual, my friend Keith Ibbitson of Metal Paparazzi (as well as other photographers) were there to register some wild moments of all three bands, but honestly I don’t know how they managed to stay alive and keep their cameras intact during the sick circle pits going on the entire night.
The first band to hit the stage was Tampa, Florida’s own Death/Thrash Metal beasts INHUMAN CONDITION, who were by far one of the best and most electrifying opening acts I’ve seen at any concert in the city in the past few years. Spearheaded by the incendiary frontman Jeramie Kling, the band put on a beyond entertaining show, playing songs from all of their albums including their 2022 release Fearsick and their 2023 EP Panic Prayer, with songs like Panic Prayer, Euphoriphobia and I’m Now the Monster inspiring all concert goers to slam into the pit like there’s no tomorrow. As expected, the two songs that generated the wildest mosh pits were Godzilla and Tyrantula, with everyone at the venue, including the band, acting like wild beasts on stage and in the floor section. Jeramie also had some words of wisdom to share with everyone last night; first of all, he said that a true metal concert needs three things, those being the headbangers, the circle pits, and the crowd surfers, and of course bodies started flying around as soon as he mentioned that. Also, that everything we’ve ever heard about Florida, all rumors and so on, are all true, which was quite funny as it’s usually people outside of Florida who make fun of the state. Well, one thing I know for sure, and that’s that heavy music in Florida is phenomenal, with bands like Inhuman Condition showing everything they got on stage anywhere they go, and if you know nothing about those guys, go check their music on BandCamp and on Spotify, as I’m sure you’ll love to get caught in their mosh.
Setlist Recycled Hate
Panic Prayer
Euphoriphobia
The Neck Step
I’m Now the Monster
Killing Pace
Civilized Holocaust
Godzilla (Blue Öyster Cult cover)
Tyrantula
Band members
Jeramie Kling – vocals
Taylor Nordberg – guitars
Terry Butler – bass
Colton Zietler – drums
After a quick break, it was time for Kansas City-based Technical/Brutal Death Metal veterans ORIGIN to keep the circle pits moving frantically to the sound of their vicious, intricate and demolishing creations. Having released the album Chaosmos back in 2022, the band formed of vocalist Jason Keyser (and by the way, if you haven’t listened to it yet, go check the album Inferno by his brand new project Arborescence of Wrath as it’s a killer album), guitarist Paul Ryan, bassist Mike Flores (one of the best bass players I’ve seen in a while), and drummer John Longstreth showed absolutely no mercy for our necks and souls during their demented performance, blending Technical and Brutal Death Metal with nuances of Grindcore just to make things even more infuriated. The band was ruthless, savage and beyond technical, sounding absolutely insane with songs like Chaosmos, Panoptical and The Aftermath driving everyone at the venue simply insane inside the pit. Jason also had some words to say to the crowd before playing the song Decolonizer, where he showed his pure old school vein by demanding everyone to not take any pictures or record any videos of the song, but simply to go nuts inside the circle pit and collect bruises and black eyes as the memories of that moment (although they kept checking their phones due to Kansas City Chiefs being one of the teams playing the Super Bowl). Needless to say, it was intense, as well as the wall of death he organized before even playing one of the songs, trying to make their show as 90’s-inspired as possible. Origin are one of the coolest bands of the underground scene, and in case you still don’t know them go check their infernal music on Spotify, and don’t miss their live concerts whenever they take your depraved city by storm.
Setlist
Expulsion of Fury
Chaosmos
Accident and Error
Panoptical
Saligia
Decolonizer
Portal
The Aftermath
Unattainable Zero
Band members Jason Keyser – vocals
Paul Ryan – guitars, backing vocals
Mike Flores – bass, backing vocals
John Longstreth – drums
It was getting late (and cold) in Toronto, but nothing that could stop Poland’s own Death/Thrash Metal institution VADER to crush everything and everyone that dared to cross their path at Lee’s Palace last night. The band formed of the iconic Peter on vocals and guitars, Spider also on the guitars, Hal on bass, and Michał Andrzejczyk on drums was flawless throughout their entire set, celebrating 40 years of existence for the delight of all lovers of extreme music in Toronto. Their setlist was a thing of beauty, including songs from their 1992 cult album The Ultimate Incantation, like Vicious Circle, Dark Age and The Crucified Ones, plus several other classics like Black to the Blind, while closing their setlist with a newer song, Shock and Awe, from their latest opus Solitude in Madness, released in 2020, and the response from the fans in Toronto was brilliant, with the circle pits moving majestically until the very last second of their performance.
It’s impressive how they can still sound to tight, vicious and heavy after so many decades on the road, showing their utmost passion for Death and Thrash Metal, and of course as we all know how much they love to play for us, that inspired us to send our love back to them by headbanging nonstop, raising our horns, and getting wild in the pit. The only “issue” was that their official photographer doesn’t seem to be a big fan of crowd surfing, but that was fine as all crowd surfers quickly learned that show was not the best place to practice such metallic art. Anyway, apart from that, and from the same two guys that almost got into a fight with each other countless time (please, be adults and behave next time, alright?), everyone had an amazing time together with those Polish metallers, and hopefully we’ll also have the pleasure of hosting in Toronto the celebration of their 45th, 50th, 55th and so on anniversaries, keeping the fires of Death and Thrash Metal burning forever in the city.
Setlist Macbeth (Laibach song) Decapitated Saints
The Wrath
Chaos
Vicious Circle
Dark Age
The Crucified Ones
Silent Empire
Sothis
Black to the Blind
Carnal
Wings
Cold Demons
Epitaph
Dark Transmission Para Bellum
This Is the War
Helleluyah!!! (God Is Dead)
Never Say My Name
Come and See My Sacrifice
Triumph of Death
Shock and Awe The Imperial March (John Williams song)
Band members Peter – vocals, guitars
Spider – guitars
Hal – bass
Michał Andrzejczyk – drums
This Swedish Melodic Rock band invites us all to navigate the boundless expanse of the their sophomore album, where melody meets symphony in a harmonious fusion.
From the ashes of a band called BB2 (Better Be Together) founded in the early 80’s in Helsingborg, Sweden, comes a Melodic Hard Rock/AOR band named Arkado, inviting us all to navigate the boundless expanse of the their sophomore album, entitled Open Sea, where melody meets symphony in a harmonious fusion. Recorded, produced and mixed by Mikael Svensson at LdM Studios, mastered by Thomas ‘Plec’ Johansson at The Panic Room Studio, and displaying a stunning artwork by Nello Dell’Omo (Mecca, Jim Peterik, Silent Tiger, Stan Bush), the new album by vocalist and guitarist Philip Lindstrand, guitarists Patrik Svärd and Tony Rothla, bassist Bernt Lundgren (who has recently left the band, being replaced by Christer Engholm), keyboardist Mikael Svensson, and drummer Mikael Skafar is the perfect follow-up to their 2020 debut Never Say Never, introducing a slightly symphonic and heavier dimension to their signature sound and, therefore, being highly recommended for fans of Silent Tiger, Drive At Night, Streetlore, Sapphire Eyes, and Strangerland.
It’s time to embark on a musical journey through the seas of Melodic Rock with Arkado, with the cinematic intro Voyage setting the tone for the title-track Open Sea, a very melodic, powerful tune led by the striking vocals by Philip while his bandmates deliver a mix of AOR with 80’s Hair Metal the likes of Bon Jovi and Cinderella, providing us all with an exciting start to the album. The guitars by Philip, Patrik and Tony continue to embellish the airwaves in Running Through The Night, while Bernt and Mikael Skafar generate a solid base with their classy kitchen; and their Rock N’ Roll party has no time to end to the sound of I Gave My Heart, again showcasing their trademark melodious riffs, classic beats, and the whimsical keys by Mikael Svensson. The band then invests in a more harmonious, smoother sonority with the power ballad You Make Me Feel, where Philip steals the spotlight with his passionate vocals, whereas their guitars sound incendiary in the rockin’ tune Rising High, a Hard Rock feast perfect for hitting the road to the sound of the headbanging beats by Mikael Skafar.
The stylish keys by Bernt ignite the AOR extravaganza Her Mothers Lullaby, where their riffs bring an extra touch of heaviness to the overall result. It’s a good song, albeit a bit generic, though. The band gets back on track and their Melodic Rock vein gets even stronger in Long Way To Go, with the band’s guitar triumvirate filling every single space in the air with their endless energy and harmony, also presenting spot-on backing vocals in support of Philip; and Bernt keeps extracting magic and epicness from his keys in the 80’s Hard Rock tune Unchain The Night, a lesson in rock music by Arkado where Philip is once again fantastic with his striking vocals, or in other words, it’s a must-listen for fans of the genre. There are two more songs to go and their rockin’ aura stays strong and exciting in Like Something Heaven Sent, where their guitars exhale electricity in the name of Melodic Rock, before all comes to an end with another ballad titled Show Me The Light Again, putting a charming ending to the album, overflowing endless passion thanks to the always stylish keys and piano by Bernt.
Those amazing Swedish rockers are waiting for you on Facebook and on Instagram to rock your world with news, tour dates, more of their music and so on, and you can also stream their classy creations on Spotify and, above all that, purchase your favorite copy of Open Sea by clicking HERE. If you’re an admirer of the world of Melodic Rock, Hard Rock and AOR, then it’s time to navigate across the seas of Rock N’ Roll together with the Swedish rockers of Arkado, letting their gentle yet electrifying sounds guide you like the wind always guides a sailor to safety even on unruly waters.
Best moments of the album:Open Sea, Rising High and Unchain The Night.
Worst moments of the album:Her Mothers Lullaby.
Released in 2024 Pride & Joy Music
Track listing 1. Voyage 1:33
2. Open Sea 4:28
3. Running Through The Night 3:08
4. I Gave My Heart 4:00
5. You Make Me Feel 4:25
6. Rising High 4:16
7. Her Mothers Lullaby 3:50
8. Long Way To Go 3:38
9. Unchain The Night 3:18
10. Like Something Heaven Sent 4:18
11. Show Me The Light Again 4:10
Band members Philip Lindstrand – vocals, lead guitar
Patrik Svärd – lead & rhythm guitar
Tony Rothla – lead & rhythm guitar
Bernt Lundgren – bass
Mikael Svensson – keyboards, synths, backing vocals
Mikael Skafar – drums, backing vocals
This Los Angeles-based Brutal Death Metal outfit will crush you with their sophomore opus, an eleven-track beast that delves into the disturbed minds of those falling into psychopathic tendencies.
Known for their massive and impactful delivery of extreme brutality, Los Angeles, California-based Brutal Death Metal band Stages of Decomposition is unleashing upon humanity their highly anticipated sophomore studio offering, titled Raptures of Psychopathy, threatening to burrow into your brain like a death metal worm and liquefy it with brutal riffs, chaotic blast beats and adrenaline-invoking time signatures that convey the terror and psychological aspects of the stories told. Recorded by the band’s own guitarist Marco Aromatario, mixed and mastered by Manuel Acevedo at Beatcrusher Recording Studio, and displaying a horror-fueled artwork by Tony Cosgrove (with design by Sidjimbe Art), the album is an eleven-track beast that delves into the disturbed minds of those falling into psychopathic tendencies, with each song encapsulating the murderous essence of true crime, drawing inspiration from infamous figures like Vaughn Greenwood, Richard Ramirez, Jeffrey Dahmer, and more, all brought into being by Salvador Rodriguez on vocals and bass, Cesar Barajas and Marco Aromatario on the guitars, and Daniel Smoo on drums, highly influenced by the raw intensity of Dying Fetus, the brutality of Suffocation, and the slam-infused chaos of Kraanium.
Offering a glimpse inside the mind of Jeffrey Dahmer, the opening tune Drilling of the Cerebellum presents an initial narration full of gore and horror that evolves into a feast of bestiality led by the demented drumming by Daniel, kicking off the album on a beyond violent mode; and Cesar and Marco show no mercy for their stringed axes, extracting bloodthirsty riffs in What Lies Within while Salvador barks and roars like a maniac nonstop. And Salvador continues to haunt our souls with his avalanche of “bree breee breeeeees” in Beast of Jersey, while his bandmates make sure the atmosphere remains as gory and visceral as possible in a fun and vibrant onrush of Brutal Death Metal. Then we have Killing Under Possession, sounding absolutely infernal from the very first second, with Daniel sounding inhumane behind his drums, therefore inviting us all to slam like true metalmaniacs inside a blood-drenched circle pit; whereas there’s not a single second to breathe as Stages of Decomposition will mercilessly bludgeon your cranial skull to pieces in Murder by Proxy, again showcasing the slashing riffage by Cesar and Marco.
Skid Row Slasher is another headbanging extravaganza spearheaded by the deep, visceral roars and barks by Salvador, who also makes sure the earth trembles armed with his rumbling bass, and just when you think the quartet couldn’t sound more demented they will decimate your senses with Carve Out the Eyes, a fast and no shenanigans Brutal Death Metal assault that should sound amazing if played live. After such demonic onrush, the band adds elements from the Thrash Metal played by Slayer to their core Death Metal, resulting in a high-octane, mosh pit party titled Fetal Devourment, with Daniel once again stealing the spotlight with his pulverizing beats and fills; whereas Crawl Space Burial is a solid creation by the band where Salvador keeps vociferating like a rabid beast in the name of gore and extreme music. Then enhancing their animosity to a whole new level we have Human Extermination, a well-balanced, demonic fusion of classic Death Metal with Brutal Death Metal, followed by Mass Psychosis, offering us all two intense minutes of evil Death Metal for our vulgar delectation, hammering our souls with their crushing drums, venomous riffs and the always vile guttural by Salvador until the very last second.
Get ready to be swept away by the savage and brutal Death Metal blasted by Stages of Decomposition in their new album, available for purchase by clicking HERE (and for streaming on YouTube and on Spotify), delivering an onslaught of ferocious guitar work, pounding drums, and guttural vocals, creating an atmosphere of unbridled aggression, and you can also show your support to their undisputed violence by also following the band on Facebook and on Instagram. The band’s brand new opus of real-life horror-infused Brutal Death Metal will be the perfect soundtrack for your lone night walks through desert streets and obscure alleys, but I’m pretty sure if you’re listening to it at top volume or sporting a Stages of Decomposition shirt you’ll be one hundred percent safe, as no serial killer will dare to attack you after noticing your amazing taste in music.
Best moments of the album:Drilling of the Cerebellum, Carve Out the Eyes and Fetal Devourment.
Worst moments of the album:Crawl Space Burial.
Released in 2024 Gore House Productions
Track listing 1. Drilling of the Cerebellum 4:59
2. What Lies Within 3:10
3. Beast of Jersey 2:42
4. Killing Under Possession 3:36
5. Murder by Proxy 3:26
6. Skid Row Slasher 3:36
7. Carve Out the Eyes 2:37
8. Fetal Devourment 3:04
9. Crawl Space Burial 3:12
10. Human Extermination 3:46
11. Mass Psychosis 2:09
Band members
Salvador Rodriguez – vocals, bass
Cesar Barajas – guitar
Marco Aromatario – guitar
Daniel Smoo – drums
This four-piece brigade form Chile will bring sheer blood and gore to us all armed with their demented new EP, overflowing Death Metal and Grindcore.
Formed in 2022 in Santiago, Chile, the unrelenting Black/Death Metal/Grindcore four-piece brigade Onslaught Kommand is among us to spread gore, perversions and explicit violence with their music, which is what they have to offer us all in their brand new EP entitled Visions of Blood and Gore. Recorded and mastered at Abysm of Burning Corpses, and displaying gore masterpieces by Brian Paulin and layout by Paweł Ozon of XXV The Sign, the EP is a delight for fans of the most ruthless form of Death Metal infused with Grindcore and Black Metal nuances, showcasing the passion for all things evil by SplatterHate on vocals and bass, Necromancer and Behemot on the guitars, and Cvnthvnt on drums.
The massive, dirty bass lines by SplatterHate together with the Motörhead-infused riffage by Necromancer and Behemot will drag you to the circle pit in Old Death Ripper, a ruthless Death Metal extravaganza by the quartet that will simply smash your cranial skull mercilessly; and their onrush of brutality, gore and darkness goes on in Headless, with Cvnthvnt dictating the song’s sluggish, menacing pace while SplatterHate continues to roar and bark like a demonic creature from the underworld. It’s then pedal to the metal as the quartet will set fire to the atmosphere in Visions of Blood and Gore, offering our avid ears an onrush of old school Death Metal led by the sick riffs by Necromancer and Behemot. Not only that, it’s actually quite impressive how they managed to sound even more infernal than before. And lastly, we have their rendition for Dead Body Love, by Pungent Stench (check the original version HERE, from their 1989 split Pungent Stench/Disharmonic Orchestra), with their version being just as demolishing and bloodthirsty as the original, and with the deep guttural by SplatterHate sounding utterly inhumane, therefore sending shivers down our spines until the very last second.
The talented and evil Chilean horde named Onslaught Kommand is waiting for you on Instagram with news, tour dates, more of their caustic music and so on, and of course if you want to join their deadly brigade you can purchase a copy of Visions of Blood and Gore from the Godz ov War Productions’ BandCamp page or webstore as a cassette or as a special cassette bundle including Visions of Blood and Gore plus their 2022 self-titled debut demo. Onslaught Kommand bring pure blood and gore in their incendiary new EP, paving the path for those amazing musicians to deliver their first-ever full-length opus in the near future and, consequently, making the Chilean Death Metal scene stronger and more infernal than ever.
Best moments of the album:Old Death Ripper and Visions of Blood and Gore.
Worst moments of the album: None.
Released in 2024 Godz ov War Productions
Track listing 1. Old Death Ripper 4:08
2. Headless 2:09
3. Visions of Blood and Gore 2:23
4. Dead Body Love (Pungent Stench cover) 4:07
Band members
SplatterHate – vocals, bass
Necromancer – guitars
Behemot – guitars
Cvnthvnt – drums
It’s time to start melting the snow that covers a good part of the Northern Hemisphere with endless fire and heat emanating from our metal lady of this month of February, and I’m sure after listening to her incredible voice your heart will be forever warm even during the harshest of the winters. The frontwoman for Swedish Progressive and Symphonic Heavy Metal band Hexed, she’s the owner a powerful voice that will pierce your mind mercilessly, while her undeniable charisma will mesmerize you whenever she hits the stage. Her name is Tina Gunnarsson, and after reading more about such Swedish diva here on The Headbanging Moose I’m sure you’ll become a diehard fan of her music, getting beyond excited to raise your horns together with her whenever Hexed take your city by storm with their amazing live concerts.
Born on January 6, 1974 in Uppsala, a city near Stockholm, in Sweden, Tina started to sing and perform as a child along with her father, who according to Tina herself was an excellent songwriter. She remembers going up on stage and perform two of his songs when she was about six years old, saying that she already knew from that moment that music was going to be her life. By the way, she’s the sister of Teddy Möller, vocalist and multi-instrumentalist for several Swedish underground bands the likes of Loch Vostok, Gauntlet Rule and One Hour Hell, among others, and she’s married to vocalist and guitarist Stellan Gunnarsson, who founded Hexed together with her almost ten years ago, proving that Tina definitely lives and breathes music. In addition, she mentioned that despite being married to Stellan for many years, they only started writing music together after the creation of Hexed, saying that before that they used to focus on their other bands and projects.
Speaking about Hexed, the Swedish Symphonic and Progressive Metal brigade fronted by Tina has been making a lot of noise among metalheads all over the world since their inception back in 2015, with Tina, Stellan and bassist Daniel Håkansson being the three original members who are still part of Hexed, plus guitarist David Nyman and drummer Patrick Wahlberg. Curiously enough, the other original member of the band was Tina’s brother Teddy, who played on all their releases, except for their latest album released in 2022. So far, Hexed released their debut single titled Dreams, in 2016, followed by the three-track EP Exhaling Life, in 2017, and the full-length albums Netherworld, in 2018, and Pagans Rising (which was by the way inspired by Sweden’s witch-hunting hysteria in the late 17th century), in 2022, all available on their own BandCamp page, on YouTube and/or on Spotify (as well as on other streaming platforms).
When asked about how she would describe her music to someone who’d never listened to Hexed before, Tina said that she used to label it as “heavy and melodic with some dark vibes”, and if you visit their official YouTube channel you’ll be able to experience that by listening (and watching) to fantastic songs such as Blasphemy, Pagans Rising, Symphony of Tragedy, Exhaling Life, Stigma Diaboli, Resurrection, Repentance, Oceans, and Obedience. Moreover, when asked to choose a couple of songs with a very special meaning for her, Tina mentioned the title-track of their 2018 album Netherworld, as it really helped her to create a vision and to build something more creative out of all the feelings she had during that time, and Moorfield, from their 2022 album Pagans Rising, because of the feelings she got when she read about the trials and execution while writing about the destiny of the three women that the lyrics are about.
A seasoned veteran in the realm of rock and metal music, Tina was also part of some other very interesting bands prior to forming Hexed back in 2015. For instance, she’s also the vocalist for a Swedish Melodic Heavy Metal band named Detained, formed in 2010 and that released a five-track self-titled EP back in 2011, but that hasn’t done anything (nor even any type of communication) after 2012. I think we can say this project is now defunct, right? Anyway, apart from Detained, she was also the vocalist for an unknown period of time for a Swedish Progressive Metal band named Mellow Poetry (which after a few years changed their name to Mayadome) together with her brother Teddy Möller, but apparently nothing was officially released with her on vocals under that specific name. That’s also the case with a band named Nebraska, which was most probably also from Sweden, but basically nothing can be found online about the band nor about Tina’s involvement with them. On the other hand, back to the now very distant year of 1987, Tina was the lead singer for an Uppsala-based Heavy Metal band named Tradore, also with her brother Teddy, with whom she released a demo that same year titled Beyond the Shadows, still under her birthname of Tina Möller. The band later changed their name to Rue Morgue, but Tina was no longer a member of the band after that.
As a guest vocalist, you can enjoy Tina’s soaring vocals in some amazing bands and projects that surely helped her shape her current vocal style and technique. One of the most interesting of those bands is undoubtedly Uppsala-based Extreme Progressive Metal band Loch Vostok, another band led by her brother Teddy, singing in the song Rebound, from their 2006 album Destruction Time Again!, and doing the female vocals in their entire 2009 album Reveal No Secrets. Apart from Loch Vostok, she also lent her amazing voice to the song (I’ll Never Be) Maria Magdalena, from the 2022 album Trial by Fire, by Norwegian Power Metal duo Mantric Momentum; did all female vocals in the 1996 album Paranormal Activity, and was a guest vocalist in the song Able to Feel, from the 1999 album Near Life Experience, both released by her brother’s old Progressive Rock/Metal band Mayadome (as already mentioned, originally known as Mellow Poetry); did guest vocals in the song Queen of the Sea, from the album In Hoc Signo Vinces, released in 2007 by Swedish Heavy Metal band Wasteland; and also did backing vocals in the 2006 album The Shadow Cabinet, by Danish Progressive/Power/Folk Metal band Wuthering Heights.
As any rock and metal musician, Tina has an array of sensational idols who had a strong influence on how her voice sounds today. Among her music heroes, you’ll find renowned acts the likes of Queensrÿche, Fates Warning, Kamelot and Pagans Mind, also mentioning the 80’s as an amazing source of music, saying she used to listen to ABBA and Supertramp a lot at home, and Queen as her first ever live concert. In one of her interviews, she said that she would love to do a collaboration with Queensrÿche or King Diamond, saying she loves the music by Queensrÿche and of course the voice by Todd La Torre, and that the music by King Diamond and Mercyful Fate has always been with her since the 80’s, nurturing a deep passion for its vibe, stories, theatrical shows, and so on. In addition, she mentioned that if she could go back in time and be part of the recording sessions for any album in history, she would gladly have been a part of Dream Theater’s Images and Words, one of the best records in history in her opinion. “When I listened to When Dream and Day Unite I began to really listen to them with their special sound, later on James LaBrie came in on lead vocals and this album Images and Words really inspired me as a musician.” She also said that she prefers leaving people alone if they’re having a private moment or if they’re outside of a concert or event, but of course she likes to be close to her idols and other talented musicians if that’s not going to disturb their peace. “I really enjoyed being at the same place as anyone must have been to see Sharon den Adel from Within Temptation, having dinner at the table next to us in our special VIP area at Sweden Rock Festival, where our both bands were performing,” Commented Tina.
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Not only passionate about rock and heavy music, Tina also has a great love for nature, saying that she can easily notice a lack of energy of some kind, and where it’s missing based on the four elements. “I often visit the woods when I need to contemplate and understand ongoing things. I often dig the soil when my thoughts become dark and heavy and it helps me to stay grounded,” also saying that “we should use the capacity that our brain has to pick up energies, vibes and to trust our intuition more. That’s where the magic is. My favorite place is viewing a big lake with mountains surrounding it, that’s where I find peace of mind and can feel the real synchronicity with everything. I love the smell of each seasons beginning and how lucky I am to have four seasons in Sweden.” By the away, Tina is not just grateful for having all seasons in her homeland, but she’s also grateful for her family and friends, and to be able to create music, sing, dance and having good times while she’s still alive, and of course for everyone who listens to her music and who attends her live concerts.
According to Tina, the best part of being a musician is to have the ability and possibility to be creative in many ways, from the lyric writing, planning, scheduling, to bringing out all the visions for how she wants her music to be seen and heard, also saying that it would be a dream for her to be independent, but still earning enough money to live a decent life. “Music is the everyday life for us! With that said, we always work hard with all the stuff that has to be done as an active band. We all are employed as well and most of our spare time goes to music related things. No rest for the wicked.” And regarding the life of a musician on the road and travelling in general, apart from playing in major festivals like Wacken Open Air, she would also love to visit the lands where the native people in North America live, something she’s been dreaming about since she was a child. “Nowadays I understand more about all the native populations even in our own country and love Lapland as well. Maybe it is the genes in my blood talking and the lifestyle in harmony with nature.” Furthermore, although she’s not a religious person, she considers herself a spiritual person who believes in synchronicity, the wheel of life and the human mind. “The power of energies are not to be underestimated, things can really move and change with the right persons energies together. The forces we deal with in everyday life is the 4 elements as Earth, Fire, Water & Wind. All these elements create energy. It´s just that simple.”
A while ago, award winning film producer Bruce Moore released a documentary about women in metal, titled “Crushing Stereotypes One Riff At A Time”, where Bruce was able to catch up with a number of musicians, including our diva Tina, to find out what attracted them to the hard and heavy music world and if they had a story of how they took the plunge, what challenges they faced, and how things have changed, or if they have at all. Unfortunately, it looks like the movie is not available for streaming online anymore, but I would keep searching for it if I were you because all reviews of the movie are awesome and say it is a must-watch production for any type of metalhead.
When not in the studio or not on tour, Tina said that she likes to spend her time in her garden, in a forest, or going fishing. “This makes me unwind and it gets me some new energy. I’m also enjoying tarot and that kind of stuff,” she complemented, also saying that when she’s together with the other members of Hexed, she loves to cook and prepare dinner for her bandmates, while the others are responsible for the drinks, the music and the jokes. On a more serious note, Tina fears mankind hasn’t fully learned with all mistakes done during the Middle Ages, a time when religion (in that case Christianity) was responsible for the persecution and murder of people who thought differently and believed differently. “With all the power religion has over humanity I am afraid it will repeat itself if we don’t speak of it or fight against it. The children must learn from our own history and I really dislike when new generations are indoctrinated in a certain religion, let them choose when they are mature enough to have own thoughts and opinions.” Having said all that, it’s time to join Tina in her quest for heavy music, for freedom of speech, for freedom of religion, and so on, blasting her music to all four corners of the earth, until all pagans rise together with our multi-talented metal lady.
Dedicated to the one whose name is three hundred and thirty three, the eighth studio opus by this unstoppable one-man army offers us all raw and cold Black Metal that throws the grit right in your face.
“This album is dedicated to He, whose name is three hundred and thirty three, and that thrice one.”
Poisonous and true Black Metal to the bones, the Stygian, irreligious one-man Black Metal entity Funeral Winds is the true essence of Black Metal music, staying loyal to to the original values of Black Metal, hateful and relentlessly contemptuous in sound and vision, since the project’s inception in Rotterdam, in the Netherlands, in the now distant year of 1991. Now in 2024 the unstoppable vocalist and multi-instrumentalist Hellchrist Xul (aka Maurits Jansen) returns from the pits of the underworld with his devilish eighth studio opus, titled 333, which refers to the Dweller in the Abyss, the Demon of Dispersion, also known as Choronzon. Seen as the last great obstacle between the adept and enlightenment, Choronzon needs to be faced to be able to move beyond the Abyss. Stylistically, 333 is raw and cold Black Metal that throws the grit right in your face, a worthy follow-up to all of the previous efforts brought into being by Hellchrist Xul and his Funeral Winds.
The winds of Black Metal bring to our putrid ears the venomous opening tune Sovereign of Shadows, where Hellchrist Xul doesn’t waste a single second and begin to roar manically while also offering his usual infernal riffage, exploding into the vile and obscure Eternal Nightmare, an overdose of Black Metal insanity hitting us hard with its demonic guitars and bass, pounding drums, and a strong sense that all hope is lost and that we must all succumb to the void. Cast the Gauntlet of Doom sounds even darker than its predecessors, a haunting chant where Hellchrist Xul delivers Doom Metal-inspired sluggish beats while he keeps vociferating in the name of pure evil; followed by Ancient Wrath Unleashed, a brutal Black Metal attack that exhales heaviness and sulfur, with the strident riffs by Hellchrist Xul walking hand in hand with his classic blast beats.
In The Damned Ones Shall Rise we face nonstop savagery and sulfur flowing from all instruments, another classic Funeral Winds composition that lives up to the legacy of old school Black Metal; whereas Forever Cursed and Bound brings forward four minutes of absolute evil where the project’s core Black Metal is complemented by a grim Blackened Doom vibe, perfect for banging your head in total darkness. Then get ready to be dragged into the Stygian realm ruled by Funeral Winds in Birthed By Pure Malevolence, a nonstop, visceral Black Metal onrush with Hellchrist Xul enhancing the animosity of his harsh gnarls to a whole new level. And last but not least, Hellchrist Xul will darken the skies for all eternity with the seven-minute aria Conjuration of the Blind One, with the howling winds once again opening the gates of the underworld for Hellchrist Xul’s diabolical vociferations, flowing in a vile and somber manner while also bringing forward bursts of old school Black Metal, ending in a beyond phantasmagorical vibe.
Hellchrist Xul is undoubtedly an unstoppable force of the Black Metal scene, with 333 being an amazing depiction of al his passion for the style, his talent and his hard work. Hence, don’t forget to give him and his Funeral Winds a shout on Facebook and on Instagram, to subscribe to his YouTube channel and to stream his wicked creations on Spotify, and obviously to purchase a copy of the sulfurous 333 from his own BandCamp page, from the Osmose Productions’ BandCamp page, or simply by clicking HERE. Dedicated to the one whose name is three hundred and thirty three, the new album by Funeral Winds is a continuation of Hellchrist Xul’s descent into the underworld, cementing his name as one of the driving forces of the underground scene and setting the stage for a new chapter in the coming years, remaining always true to the foundations of our beloved Black Metal.
Best moments of the album:Eternal Nightmare, Ancient Wrath Unleashed and Birthed By Pure Malevolence.
Worst moments of the album:Cast the Gauntlet of Doom.
Released in 2024 Osmose Productions
Track listing 1. Sovereign of Shadows 4:01
2. Eternal Nightmare 6:02
3. Cast the Gauntlet of Doom 4:01
4. Ancient Wrath Unleashed 4:53
5. The Damned Ones Shall Rise 3:52
6. Forever Cursed and Bound 4:07
7. Birthed By Pure Malevolence 4:23
8. Conjuration of the Blind One 7:11
Band members Hellchrist Xul – vocals, all instruments
These Canadian metallers are made of metal, their circuits gleam, and they’re ready to show us all the endless power of heavy music to the sound of their striking seventh studio album.
Blending classic Heavy Metal, Hard Rock, and 80’s Hair Metal, Power Metal and so on, Edmonton, Canada’s own powerhouse Striker has been making “shredtacular” anthems since their inception back in 2007, which is also the case with their seventh studio album, titled Ultrapower. Produced, mixed and mastered by Josh Schroeder, and displaying a stylish, metallic cover art by Al Perez of Ramone Sketch, Ultrapower is a strong and solid follow-up to their critically acclaimed 2017 self-titled album and their Juno Award-winning 2018 effort Play To Win, showcasing a collection of the band’s tinkering and exploring new avenues, all brought into being with tons of energy and passion by frontman Dan Cleary, guitarists Tim Brown and John Simon Fallon, bassist Pete Klassen, and session drummer Jono Webster.
The maniacal laugh by Dan ignites the thrilling, metallic Power Metal hymn Circle of Evil, one of the heaviest songs from their past few albums, with Tim and John taking the song’s punch and electricity to a whole new level with their wicked riffs and solos. Then venturing through the realms of Hard Rock and Glam Metal it’s time for BEST of the BEST of the BEST, with its inspiring lyrics flawlessly declaimed by Dan (“If I could show you the top of the world / All of the things I’ve seen / Every long and winding road / All that I gave up to get what I’ve got / Maybe you’d understand / Why I’m never gonna stop”); and the sound of the saxophone brings a “Michael Bolton” vibe to Give it All, an 80’s-inspired, mellow rockin’ tune where Pete and Jono dictate the pace with their classic kitchen. It’s pedal to the metal as Striker will kick you in the head in Blood Magic, again showcasing their always catchy choruses and the beautiful heaviness of their guitars and drums, whereas Sucks to Suck keeps the adrenaline flowing in the album, a nice tune with a chorus that is as cheesy as hell (but that should work really well if played live).
Back to a more direct Heavy Metal sonority form their early records we have Ready for Anything, where Dan kicks some ass on vocals as usual supported by his bandmates’ classic backing vocals, making it impossible not to headbang nonstop to such electrifying tune. Once again paying a visit to the Sunset Strip in California, the band fires City Calling, proving how versatile their music can be, with Pete sounding ruthless armed with his thunderous, metallic bass; and let’s keep this Rock N’ Roll party going in Turn the Lights Out, where the guitars by Tim and John exhale heaviness and melody while Jono keeps hammering his drums in great fashion. Then we’re treated to Thunderdome, their personal tribute to the 1985 cult movie Mad Max Beyond Thunderdome, presenting a pounding rhythm led by the crushing beats by Jono, while Dan and his henchmen keep roaring the famous movie line “two men enter, one man leaves”, whereas Live to Fight Another Day is another AOR/Melodic Rock-infused creation by the band, sounding as if it was taken from one of those teen movies from the 80’s, with Dan delivering the goods with his powerful vocals. Finally, closing the horn-raising Ultrapower we’re treated to Brawl at the Pub, a no shenanigans, classic Striker hymn where the heaviness of their riffs and beats matches perfectly with the soaring vocals by Dan, all complemented by a beyond powerful guitar solo.
“Ultrapower is the amalgamation of 5 years of writing and exploring music. With influences from AOR to Speed Metal, Hardcore to Hair Metal, Steely Dan to Deathcore, you name it, it made its way into the album. In the end with the help of Josh Schroeder’s guiding hand, we melted it all together to present something uniquely Striker. Lyrically we’ve stuck to the Striker tradition of writing montage songs for movies that don’t exist, songs about our spiraling serfdom, and lyrics about the evils that lurk in the shadows,” commented the band about their new album, also saying that “we wanted the album artwork to represent how we feel as a band right now. We are an engine that is fired up and ready to roll. We’re made of metal and our circuits gleam.” Hence, in order to join Striker in their quest for Heavy Metal, you can start following the band on Facebook and on Instagram, subscribe to their YouTube channel, stream their music on Spotify, and purchase a copy of the hard-hitting Ultrapower by clicking HERE. Striker are more-than-ready to show us all the power of heavy music with Ultrapower, and I’m sure you’ll enjoy the ride with one of the best (of the best of the best) bands of the current Canadian landscape.
Best moments of the album:Circle of Evil, BEST of the BEST of the BEST, Ready for Anything and Brawl at the Pub.
Worst moments of the album:Sucks to Suck.
Released in 2024 Record Breaking Records
Track listing 1. Circle of Evil 3:44
2. BEST of the BEST of the BEST 3:19
3. Give it All 4:14
4. Blood Magic 4:35
5. Sucks to Suck 3:15
6. Ready for Anything 3:56
7. City Calling 3:45
8. Turn the Lights Out 2:49
9. Thunderdome 4:01
10. Live to Fight Another Day 4:00
11. Brawl at the Pub 3:47
Band members Dan Cleary – vocals
Tim Brown – guitar
John Simon Fallon – guitar
Pete Klassen – bass
Germany’s own rising metal force strikes back with their sophomore beast, a stirring, intense and dynamic Death Metal affair that is both heavily brutal and dark, yet full of melodic melancholy.
Formed in 2020 in the city of Hanover, the capital and largest city of the German state of Lower Saxony, the unstoppable Melodic Death Metal beast Hiraes strikes back with their highly anticipated sophomore effort, titled Dormant. Produced by the band itself, recorded at LCHQ Studio (vocals), Warehouse Studio (drums) and K-Sound Studio (guitars and bass), mixed and mastered by Jens Bogren and Ricardo Borges at Fascination Street Studios, and displaying a stylish artwork by the band’s own frontwoman Britta Görtz, Dormant is a stirring, intense and dynamic Death Metal affair that is both heavily brutal and dark, yet full of melodic melancholy, masterfully brought into being by the aforementioned she-wolf Britta Görtz alongside guitarists Lukas Kerk and Oliver Kirchner, bassist Christian Wösten, and drummer Mathias Blässe.
Futuristic sounds are quickly joined by the slashing riffs by Lukas and Oliver in Through The Storm, exploding into a feast of modern-day Melodic Death Metal led by the hypnotizing roars by Britta; followed by We Owe No One, one of the coolest songs of the current Melodic Death Metal scene where Britta and the boys are on absolute fire throughout its entirety, presenting amazing riffs supported by the rumbling bass and hammering drums by Christian and Mathias, respectively, being therefore perfect for their live performances. Then slowing things down a bit we have the ballad Undercurrent, while at the same time sounding epic, introspective and delicate, with Britta alternating between her trademark screams and gentle clean vocals; and back to a more visceral sonority it’s time for sheer heaviness spiced up by the striking riffs and solos by the band’s guitar duo in Chance To Fail, not to mention how bestial yet intricate the drumming by Mathias sounds. And the proof of the band’s musical evolution is offered to us all in About Lies, bringing forward almost seven minutes of top-of-the-line contemporary Melodic Death Metal, starting in an enfolding manner and growing in intensity until all spaces are filled with the band’s sharp sounds, resulting in a lecture in the style.
After such insane avalanche of heavy and melodic music, the band offers the cryptic, Stygian interlude Come Alive, a cinematic creation by Hiraes that will hold you in a dark embrace before they come crushing once again in Ocean Child, a hammering, multi-layered tune overflowing passion and hatred, with Britta vociferating rabidly nonstop supported by the headbanging beats by Mathias and the always caustic riffs by Lukas and Oliver, flowing into the breathtaking, menacing Nightflight, a violent onrush of metal music by the quintet that will smash your cranial skull mercilessly, with Britta’s soaring vocals matching perfectly with the electrifying riffage and solos by the band’s axe duo, and with Mathias once again pounding his drums in great fashion. They still have a lot of fuel to burn in Red Soil, a neck-breaking extravaganza bringing forward a massive wall of sounds, including hints of Melodic Black Metal, while also sounding mysterious and utterly obscure; whereas the title-track Dormant closes the album on a whimsical mode, not as striking as the rest of the album, but it’s still a solid composition full of love, rage and darkness.
Due to the use of varying keys and sonic elements, Dormant is undoubtedly fresh without sacrificing the nuances that caused their first album to connect so successfully with fans, and if you want to put your hands on such awesome release you can purchase it from their own webstore, from Napalm Records in the US or in Europe, and by clicking HERE, or you can also stream it in full on Spotify. Don’t forget to also give Britta and the boys a shout on Facebook and on Instagram, staying up to date with all things Hiraes including their incendiary live dates. Dormant will certainly feature among the top metal albums of the year of 2024 due to its endless energy, superb musicianship, and first-class quality of its overall production, and I can’t wait to see what’s next for one of the most electrifying names of the current metal scene worldwide.
Best moments of the album:We Owe No One, Chance To Fail, About Lies and Nightflight.
Worst moments of the album:Dormant.
Released in 2024 Napalm Records
Track listing 1. Through The Storm 4:04
2. We Owe No One 4:11
3. Undercurrent 5:23
4. Chance To Fail 4:13
5. About Lies 6:50
6. Come Alive 1:54
7. Ocean Child 4:21
8. Nightflight 3:48
9. Red Soil 5:44
10. Dormant 5:11
Band members Britta Görtz – vocals
Lukas Kerk – guitars
Oliver Kirchner – guitars
Christian Wösten – bass
Mathias Blässe – drums
A ruthless Death Metal entity from Poland will demolish your damned souls with their heavy-as-hell sophomore full-length opus.
Formed in 2019 in the always pleasant city of Warsaw, Poland, the ruthless Death Metal duo comprised of Michał on rhythm guitars and bass and Greg on lead guitars, known as Soulcarrion, will demolish your damned souls with their sophomore full-length opus, titled Enthrone Death. Mixed and mastered by Darek Młody at PanzerStudio, and displaying a sick cover art and layout by Maciej Kamuda Art and an evil logo by Paweł Pawłowski Illustration, the follow-up to their 2023 self-titled EP and their 2022 debut album Infernal Agony offers the listener 30 minutes of intense, undisputed Death Metal for the masses, with the support of session musicians Mateusz Sibila (Imperial Sin) on vocals and Darek Młody (Hellfuck, Embrional, Stillborn) on drums adding an extra touch of heaviness and insanity to the whole album.
Starting in a sinister, doomed manner, the opening tune Cage of Nothingness already invades our minds with a demonic onrush of Death Metal boosted by tons of Brutal Death Metal elements thanks to the inhumane gnarls by Mateusz and the boisterous drums by Darek, whereas Night Ceremony keeps the album at a Stygian, venomous vibe with the riffage by both Greg and Michał sounding utterly infernal, albeit a bit repetitive at times. Then featuring guest vocalist Vesper Locust (Dammnatorum), the title-track Enthrone Death offers pure hatred and darkness to our putrid ears, with the ripping sound of the guitars matching perfectly with the blast beats by Darek, and there’s no sign of peace or hope, as Infernal Agony is an overdose of old school Death Metal tailored for fans of the genre, with Mateusz once again roaring and barking like a beast for our total delight.
Oblivion will hit us hard with its two and a half minutes of brutality blasted by those talented Polish metallers, with Greg and Michał once again demolishing our senses and adding endless heaviness to the music armed with their stringed axes; and enhancing the album’s obscurity and malignancy, the Doom Metal-infused aria Revenge is Mine brings forward another round of Darek’s massive beats accompanied by the sick riffage by the band’s guitar duo. After that we have Deathoskullum, following a similar pattern as the previous song, with the deep, hellish riffs and beats blasted by the band penetrating deep inside our rotten corpses, being therefore perfect for some intense headbanging; and lastly, World of Putridity carries a beautiful name and puts a beyond vicious ending to the album, with Mateusz vociferating rabidly in the name of classic Death Metal until the very last second.
The Polish underground has always been one of the most exciting of all, in special if you’re a fan of extreme music, and of course Soulcarrion offer in their new opus a high dosage of all that sonic awesomeness that’s found in Poland. Hence, don’t forget to show the guys from Soulcarrion your utmost support and admiration by purchasing a copy of the sulfurous and infernal Enthrone Death from the Godz ov War Productions’ BandCamp page or webstore as a CD or as an ass-kicking CD + shirt bundle, keeping the flames of Polish Death Metal burning for many years to come. Soulcarrion are on fire throughout the entire Enthrone Death, and they’re more than eager to burn your soul armed with the caustic compositions from such insane album.
Best moments of the album:Enthrone Death, Oblivion and World of Putridity.
Worst moments of the album:Night Ceremony.
Released in 2024 Godz ov War Productions
Track listing 1. Cage of Nothingness 4:08
2. Night Ceremony 4:17
3. Enthrone Death 5:03
4. Infernal Agony 3:38
5. Oblivion 2:29
6. Revenge is Mine 3:02
7. Deathoskullum 4:56
8. World of Putridity 2:50
Band members
Michał – rhythm guitars, bass
Greg – lead guitars
Taking the listener on a gripping journey into the dark abysses of human psychology, leaving you hardly any time to catch your breath, Gelsenkirchen, Germany-based Death/Thrash Metal squad Smorrah Is unleashing upon us all their first full-length album, titled Welcome To Your Nightmare, following up on their 2018 EP The Evil Within. Produced, mixed and mastered by Michael Streckbein and Smorrah at Vyrah Studios, and displaying an 80’s and 90’s-inspired artwork by Timon Kokott Artwork, the new release by vocalist Marius Wegener, guitarist Daniel ‘Pumper’ Hartmann, bassist Christian ‘Kraje’ Krajewski, and drummer Raphael Swierczynski is a hard-hitting thrash and groove beast highly recommended for fans of Pantera, Sepultura and Exhorder, among others, representing a huge step forward in their career.
If you have what it takes to face the unstoppable mosh pits generated by Smorrah in their new album Welcome To Your Nightmare, you can grab a copy of it directly from the band’s own BandCamp page or from the Sick Taste Records’ Big Cartel, and don’t forget to also start following the band on Facebook and on Instagram for news, tour dates and so on, and to stream more of their music on YouTube and on Spotify. The guys from Smorrah are eagerly waiting to welcome us all to our worst nightmare with their new album, and if you consider yourself a true lover of contemporary Death and Thrash Metal, I’m sure you’ll have a very good time even with the psychological torment you’re about to endure.
THE HEADBANGING MOOSE 