This multi-national Technical Black and Death Metal entity will crush you with their vicious debut album, one of the most extreme displays of aggression in the style in recent times.
After simmering behind the scenes for quite some time, the multinational Technical Black/Death Metal horde Arborescence of Wrath has finally unleashed their vicious debut album, simply titled Inferno, which promises to be one of the most extreme displays of aggression in the style in recent times. Comprised of a beyond formidable lineup with members from France, Germany and the United States, those being vocalist Jason Keyser (Origin), guitarists Michel Beneventi and JP Battesti, bassist Charles Collette (Benighted), and world renowned drummer Simon Schilling (Marduk), the band offers some superbly composed music with thought out structures and variations in their newborn spawn, only delivered out of pure anger with blistering speed and oppressive intensity. Add to that the incendiary artwork by Santiago Francisco Jaramillo of Triple Seis Design and there you have one of the strongest candidates for Death Metal album of 2023, a must-listen for fans of Hate Eternal, Krisiun, Hour of Penance, Origin, Depravity and Deathfuckingcunt, among other names who definitely know how to blend the most visceral side of metal music with first-class musicianship.
Wrath is a freakin’ massacre from the very first second, with Simon proving why he’s the drummer for Marduk and now also for Arborescence of Wrath while Jason also provides us all with his bestial roars in a lecture in Black and Death Metal. Then we have Carnage, and the name of the song says it all as Michel and JP sound inhumane with their ravenous riffage, supported by the thunderous bass by Charles. Needless to say, this is not recommended for the lighthearted. Their infernal onrush of extreme music goes on in full force in Hangman, again showcasing Jason’s demonic screams while Simon continues to hammer his drums in the name of Black Metal; followed by Relentless Infights, another bestial devastation by Arborescence of Wrath spearheaded by the fulminating blast beats by Simon, whereas after a sinister, operatic start the music explodes into sheer savagery in Holier Than You, again presenting a demented guitar work by Michel and JP for our total delight.
There’s no sign of slowing down for this multi-national blackened beast, as they keep destroying our souls with Cleansing Termination, bringing to our avid ears more of their sick riffs, fulminating drums, and the venomous guttural by Jason, and it’s then time to slam into the circle pit like there’s no tomorrow to the sound of Temple of Ashes, keeping the album at a high level of aggressiveness and insanity while Simon blasts his drums in great fashion until the very last second. Repentance, the last original song of the album, will send shivers down your spine, with its initial eerie intro merging flawlessly with the song’s deep, demonic sonority, resulting in six minutes of top-of-the-line Technical Black and Death Metal. And lastly, we’re treated to their cover version for Immolation’s classic Into Everlasting Fire (check the original version from their 1991 album Dawn Of Possession by clicking HERE), with the band’s own rendition of such demonic aria sounding just as hellish and thunderous as the original one.
This demonic album of first-class Technical Black and Death Metal can be appreciated in all of its (devilish) glory on YouTube and on Spotify, but you should definitely purchase your favorite version of it from the Transcending Obscurity Records’ BandCamp page or webstore as a digipak CD in the US or in Europe, or as special CD + shirt combo also in the US or in Europe. Don’t forget to also start following this demented creature from the underworld on Facebook for news and more of their music, and hopefully we’ll be able to see this multinational entity live somewhere in the near future. Inferno is not only about pure hatred and aggression, but it also showcases a band that’s beyond focused and sharp, consequently placing the album as one of the best of 2023 and the band as one of the driving forces of the newest generation of Extreme Metal.
Best moments of the album:Wrath, Carnage, Relentless Infights and Temple of Ashes.
Worst moments of the album: None.
Released in 2023 Transcending Obscurity Records
Track listing 1. Wrath 3:55
2. Carnage 3:58
3. Hangman 4:42
4. Relentless Infights 5:01
5. Holier Than You 6:10
6. Cleansing Termination 3:06
7. Temple of Ashes 4:06
8. Repentance 6:03
9. Into Everlasting Fire (Immolation cover) 5:33
Band members Jason Keyser – vocals
Michel Beneventi – guitars
JP Battesti – guitars
Charles Collette – bass
Simon Schilling – drums
Cover your heads… No one escapes my hell… On all you know!
It’s time to make a lot of noise here at The Headbanging Moose, courtesy of our multitalented, unstoppable metal lady of this month of November. Pulling triple duty for Chicago, Illinois-based Noise Rock duo Djunah, simultaneously singing, playing the guitar, and playing a Moog bass organ with her feet (which is the reason why they like to say that they have “a leg for a bassist”), she will blow your mind with her undeniable charisma and skills, in special her powerful, unrestrained vocal style, channeling all her mental health issues through her music in the best way imaginable. Get ready to be absolutely stunned by the one and only Donna Diane, letting her music penetrate deep inside your soul and touch your heart in the name of our good old Rock N’ Roll.
Drawing a broad range of comparisons from PJ Harvey and Diamanda Galás to Melvins, the independent Noise Rock project Djunah (pronounced “JUNE-uh”) pairs Donna’s powerful, unrestrained vocal style with crashing guitar riffs and heavy, punishing drums courtesy of drummer Jared Karns (Their/They’re/There, Hidden Hospitals), blending elements from Noise Rock with Post-Metal, Post-Doom, Post-Hardcore and so on to give their sound a very unique taste. Known for their massive, intense live sound, the duo was formed back in 2018 fueled as much by big emotions as it is by love of gear. Donna and Jared have already released the singles Built and Brother, both in 2018 (and both also available as amazing videos on YouTube by clicking HERE and HERE, respectively), followed by their debut full-length album Ex Voto, in 2019, and more recently their sophomore effort Femina Furens, in the first quarter of 2023. For instance, you can find all of their noisy creations on BandCamp and on Spotify, and some of their wicked songs also on YouTube, including the excellent Animal Kingdom and Seven Winds of Sekhmet, or click HERE for all things Djunah.
Speaking about the single Brother, it’s important to say that the song not only features the voices of Anita Hill, Ana Maria Archila, Maria Gallagher and Christine Blasey Ford, but even more important than that, 100% of all sales are donated to Brave Space Alliance, the first Black-led, Trans-led LGBTQ+ center located on the South Side of Chicago. This is a very strong statement of the political and social aspect of the music by Djunah and the importance of discussing such themes to Donna, which means if you want to join her in her everyday fight against prejudice and inequality, you should definitely purchase the single from Djunah’s own BandCamp page. That’s a very good example of exactly how music can have a strong and lasting positive impact in our lives.
Their most recent opus, titled Femina Furens, also has a deep, emotional meaning to Donna. Femina Furens, which is Latin for “furious woman”, fuses influences from poetry the likes of Gerard Manley Hopkins, Sylvia Plath and John Donne, and heavy music such as PJ Harvey, Hum and Neurosis to tell the story of diagnosis and continuing recovery from complex post-traumatic stress disorder, or C-PTSD, with its artwork being inspired by representations of the divine feminine in 1970’s Sci-Fi Metal art, particularly the work of French artist Philippe Caza for “Métal hurlant” (later republished in the United States as “Heavy Metal” magazine). Animals, chariots or sleighs, and mythological figures appear prominently on the album as a way of exploring themes of emotional regulation, power and control, some of the core features of trauma disorders.
“We’re heavy, noisy, and still fairly melodic. If you like aggressive guitar, big drum fills, and an even ratio of singing to shouting, you’ll probably like us,” commented Donna, and you can easily sense the impact of all of her main idols influences in the music by her beast Djunah. For instance, she listens to a lot of early and pre-war Blues, Soul and R&B, with some of her favourite singers being Tina Turner and Lou Rawls, while she also loves Bo Diddley. However, it’s not just music that inspires her. “I’d say the majority of my influences are nonmusical because it makes for more interesting art that way. Some influences are related to the gear I use and building songs around those sounds. Politics had an incredibly strong influence on the album – songs like Built, Bless Your Money, and Mirrors for Narcissists are good examples of that. Messing around with poetry and meter is also a big source of inspiration for me. The name Djunah actually derives from one of my favorite writers, Djuna Barnes, eternal queen of the ungodly long sentence.”
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Donna is (or was) also part of a Chicago-based slashy, bass-Heavy Rock trio named Beat Drun Juel, where she’s responsible for the vocal and guitar duties while Jesse Giallombardo takes care of bass and Mat Haywood of drums. This project came before the creation of Djunah, having released so far a demo EP titled Off Your Face, back in 2014, followed by the two-track EP This Is How I Get Over You / That Boy Musta Stole Something of Mine, in 2015, and the full-length album Suppressor, in 2016, all available on their BandCamp page. Furthermore, you can also go to the project’s official YouTube channel and enjoy their videos for the songs That Boy Musta Stole Something of Mine, Hugger, and Die Unknown. I believe the band is either done or on hold due to Djunah, but you never know if or when Donna will revisit it in the near future.
Donna was also featured on Premier Guitar’s Rig Rundown back in 2020, where she talked about how she managed to learn how to play two instruments at the same time live, plus of course singing. “I actually dove right into it. The most time-consuming part was learning about synthesis because I’d never used an analog synthesizer before. I played a few solo shows with the bass organ first to see if it was something viable to do on stage. Then Nick and I started playing together, and it took us just a couple months to get a set together. I will say I’ve improved a lot over the two years I’ve been doing it. I’m constantly developing technique and changing my setup to help me to do more complex things. So, it’s always a work in progress,” commented our multi-talented diva, also saying that she believes people enjoy the show a lot in intimate settings when they can see what she’s doing up close. “It was definitely a case of necessity being the mother of invention. My old band had ground to a halt, and I wanted a way to play solo without sacrificing the bass. I don’t like using prerecorded sounds or loops, so I decided to try playing guitar and a bass synth simultaneously. It’s such a mindfuck – I love it!”
In April 2021, Donna opened up about being diagnosed with complex post-traumatic stress disorder, or C-PTSD, a disorder caused by complex trauma, or multiple traumas sustained and repeated over time. “Complex trauma can take many forms, such as domestic violence or abuse in childhood (as in my case), and it can have painful, lifelong consequences,” commented Donna, who believes it’s extremely important for anyone suffering from their own sicknesses and traumas to search for help and support, also pointing out the importance of music in that process. “Every day, people come forward with personal stories about sexual assault or opioid addiction or mental illness, and we’re slowly learning as a society to embrace that vulnerability instead of shaming it and telling it to shut up. I want to make music that represents the power of that vulnerability. A lot of my life, I was told I was too sensitive and that being sensitive is weak. So, I killed off a lot of the feeling, in my heart and in my body, just to make it through the day. Reclaiming it and finding power in it has been incredibly healing for me. I think that’s why there’s a lot of sexuality in the music. Sex, to me, is the ultimate in combining sensitivity and power. I sometimes think of it as feminine power, but really it has no gender.” Hence, if you or someone you know need help, you can call the suicide crisis line at 1-800-273-8255 or text 741741, and also search for valuable resources at the No Shame On U website (Chicago only or nationwide).
There are several online interviews with Donna that will show you how amazing she is, and everything she’s doing to take the name of Djunah to new heights. In this one to Car Con Carne Podcast, for example, she talks about her journey and her fight against her personal issues and struggles with C-PTSD; then two years later, she joined Car Con Carne Podcast again in an episode called ‘she who is powerful’ to talk about Djunah’s newest album Femina Furens. There’s also a podcast named Conversations With Dwyer where Donna talks about playing in Chicago dive bars at 17, how she went from writing a novel to music, the DIY ascent of her band and her struggles with C-PTSD; and another one called Mid-Riff where Donna discusses inventing bass organ techniques, dressing like Steve Albini, mentorship, the impact of trauma therapy on music, and much more. Having said all that, what are you waiting for to know more about the unstoppable Donna Diane and her Djunah? Let there be rock, and let there be noise.
“Music is a physical, full-body experience for me anyway, so playing with my whole body – and controlling so much of the frequency spectrum – only deepens that.” – Donna Diane
The excellent new album by these Irish veterans sees the band delivering more of their seminal blend of Celtic and Black Metal.
Dublin, Ireland-based Black/Folk Metal veterans Primordial really do have nothing to prove. Having lasted 32 years and now returning with their tenth full-length opus, titled How It Ends, the Irish band have made it clear they are a primal force who consistently lay it all on the line. Recorded at Hellfire Studios, produced by Chris Fielding at Skyhammer Studio, mastered by James Plotkin, and displaying a classy artwork by Paul McCarroll, the follow-up to their 2018 album Exile Amongst the Ruins sees the band delivering more of their seminal blend of Celtic and Black Metal, all carefully brought into being by vocalist A.A. Nemtheanga, guitarist Ciarán MacUilliam, bassist Pól MacAmlaigh and drummer Simon O’Laoghaire, being therefore highly recommended for admirers of the genre.
The guitar by Ciarán kicks off the band’s grim feast by exhaling a melancholic sound in the title-track How It Ends, being then joined by his bandmates and exploding into a Folk Metal extravaganza led by the passionate vocals by A.A.; whereas the tribal beats by Simon set the tone in Ploughs to Rust, Swords to Dust, a powerful tune with tons of Epic Metal elements with A.A. having an amazing vocal performance while his bandmates keep the music vibrant and imposing until the very end. Then the rumbling guitar lines by Ciarán ignite the also dense and multi-layered We Shall Not Serve, another fantastic creation by the band with Simon and Pól dictate the song’s galloping pace, blending the most energetic elements from Black and Folk Metal. Traidisiúnta, which is Irish for “traditional”, is an instrumental interlude that showcases a more Folk Metal-inspired side of Primordial and flows into Pilgrimage to the World’s End, with the progressive, experimental guitars by Ciarán walking hand in hand with the poetic vocals by A.A. until the very end.
In Nothing New Under the Sun, more of their poetry in the form of lyrics are offered to us all (“So let me show you that there is nothing new under the sun / So gather your days and to the ends of the world together we run / Are we not the penitent, the willing and the righteous, beasts without nation / We are born of plague and marked by your heresy at the myth of creation”) amidst a cryptic, grim sonority, followed by an epic intro that gradually evolves into the battle hymn Call to Cernunnos, with its tribal beats and imposing riffs making it truly compelling. After that, A.A. and his henchmen will darken the skies even more in All Against All, one of the most cryptic and atmospheric of all songs thanks to the strident riffs by Ciarán; however, it goes on for too long and loses its punch after a while. A.A. continues to darkly declaim their wicked lyrics in the somber, Sludge Metal-infused aria Death Holy Death (“I heard Hallelujah, just one last time / Your tired faces, they are worn by sorrow / Out sadness is worn like a gift from God / O Death Holy Death! You cast us in grace”); and lastly, their Irish riffage sets fire to the music in Victory Has 1000 Fathers, Defeat Is an Orphan, where A.A. kicks some ass with his deep, anguished vocals supported by the thunderous kitchen by Pól and Simon in a lecture in Folk Metal.
“How It Ends is a very angry, defiant, visceral, and rebellious album, and as we worked it all began to take more shape and form itself. It may be the note we go out on but it will be a note of resistance, in musical terms. I think it’s also more metal! And more epic!” And the band complemented by saying that “it certainly sounds like Primordial, there is no doubt about that, we have our own style and this is a new chapter of the same book. If we have done anything new it’s really to work with more conviction than ever, and trust more than ever our instincts.” Hence, you can enjoy such multi-layered album in its entirety on YouTube and on Spotify, grab a copy of it from the band’s own BandCamp page or from Metal Blade Records (by clicking HERE, HERE, or HERE), and don’t forget to also check what the band is up to on Facebook and on Instagram. Primordial have been blasting our ears with their Celtic sounds for decades, and based on what they have to offer in How It Ends we can rest assured the band will keep on embellishing the airwaves with their undisputed music for a few more.
Best moments of the album:Ploughs to Rust, Swords to Dust, We Shall Not Serve and Victory Has 1000 Fathers, Defeat Is an Orphan.
Worst moments of the album:All Against All.
Released in 2023 Metal Blade Records
Track listing 1. How It Ends 7:50
2. Ploughs to Rust, Swords to Dust 7:35
3. We Shall Not Serve 7:18
4. Traidisiúnta 2:12
5. Pilgrimage to the World’s End 7:07
6. Nothing New Under the Sun 7:11
7. Call to Cernunnos 5:59
8. All Against All 8:48
9. Death Holy Death 5:40
10. Victory Has 1000 Fathers, Defeat Is an Orphan 6:14
Band members A.A. Nemtheanga – vocals
Ciarán MacUilliam – guitar
Pól MacAmlaigh – bass
Simon O’Laoghaire – drums
This Blackened Thrash Metal beast from Greece will crush us all with their first full-length album, a tour de force that is nothing short of an auditory journey through chaos and darkness.
Formed in 2019 in Corinth, a city in south-central Greece, by vocalist and guitarist Panos Hliopoulos (of Corinthian thrash metallers Massive Pain) and vocalist and guitarist Greg Barlas (of legendary Corinthian Technical Thrash/Death Metal horde Extremity Obsession), but currently a one-man band comprised of Panos Hliopoulos, the demonic Blackened Thrash Metal beast Infernal Throne has just unleashed upon humanity their first full-length album, titled Caelum Et Infernum, or “heaven and hell” from Latin. Produced, mixed and mastered by Panos Hliopoulos himself, and displaying a sick artwork by by Haris Burekas (with booklet and layouts by Rafael Tavares), not to mention all special guests featured in the album, Caelum Et Infernum is a must-listen for metal aficionados, offering our avid ears a 50-minute tour de force that is nothing short of an auditory journey through chaos and darkness, solidifying the band’s status as a rising force in the current Greek extreme music scene.
The atmospheric intro A World Of Chaos will darken the skies and get deep inside our minds before Panos comes ripping in Wings Of Winter, featuring his former bandmate Greg Barlas on vocals, bringing forward a massive wall of sounds crafted by the band’s mastermind offering classic Black Metal blast beats while the vocals by Greg are pure Hardcore. Then featuring Kerveros (Athos) on vocals, Desolation is a more cadenced metal hymn where all vocals sound a lot darker and more desperate, leaning towards old school Black Metal, which in the end works extremely well; and Greg Barlas returns in the pulverizing Among Two Worlds, showcasing damned words (“The light is lost / The light comes out / Thin red lines / They sacrifice your thought / You do their will / You follow the path / This path haunts you / Among two worlds”) amidst a heavy-as-hell fusion of Black and Thrash Metal, whereas the title-track Caelum Et Infernum presents the project in its most venomous form, with the caustic riffs and the hellish drums by Panos exhaling aggressiveness while his vocals sound utterly evil.
Panos keeps hammering his guitar, bass and drums in And Lead Us Not Into Temptation, resulting in a Blackened Thrash Metal onrush not recommended for the lighthearted while also showcasing some Atmospheric Black Metal nuances and passages. In Thy Flame Of Darkness, the ruthless Panos shows no mercy for our souls once again, blending the obscurity of Black Metal with the visceral Thrash Metal by Slayer, resulting in one of the most electrifying of all songs. Put differently, the whole song is pure madness, with his riffs sounding simply incendiary. And Greg Barlas returns for one final round in Cataclysm Of The Soul, also featuring Michalis Kripasis on bass and Nodens (Temple of Katharsis, Prometheus) on drums, with all guests blasting their instruments nonstop until the very end ruthlessly; followed by Αιώνια Ζωή (Eternal Life), featuring Archon (Celtefog, Empathy) on vocals, bringing forward over seven minutes of Infernal Throne’s caustic Black Metal sonority, another tune where desperate vocals match perfectly with the thrashing riffs and beats by Panos, flowing into the obscure outro No Hope, No Pain, which is a good way to conclude the album albeit a bit too long (or maybe it needed to be more dynamic).
You can enjoy such sulfurous metal attack by Infernal Throne in its entirety on YouTube and on Spotify, but of course in order to show your utmost support to the multi-talented Panos Hliopoulos you can purchase a copy of the album from the band’s own BandCamp page, or from the Theogonia Records’ webstore. Don’t forget to also start following Infernal Throne on Facebook and on Instagram, and to subscribe to their YouTube channel for more of their caustic music. Panos did an amazing job representing the chaos between heaven and hell in the new album by Infernal Throne, proving once again why Greece has become the ultimate source of extreme music worldwide, therefore paving a very interesting path ahead of such talented and hardworking Greek musician (and I can’t wait to see what’s next in his thrilling career).
Best moments of the album:Desolation, Caelum Et Infernum and Thy Flame Of Darkness.
Worst moments of the album:No Hope, No Pain.
Released in 2023 Theogonia Records
Track listing 1. A World Of Chaos (Intro) 2:04
2. Wings Of Winter 3:03
3. Desolation 6:45
4. Among Two Worlds 5:27
5. Caelum Et Infernum 6:27
6. And Lead Us Not Into Temptation 5:57
7. Thy Flame Of Darkness 5:43
8. Cataclysm Of The Soul 4:09
9. Αιώνια Ζωή (Eternal Life) 7:10
10. No Hope, No Pain (Outro) 3:46
Band members Panos Hliopoulos – vocals, all instruments
Guest musicians Greg Barlas – vocals on “Wings Of Winter”, “Among Two Worlds” and “Cataclysm Of The Soul”
Kerveros – vocals on “Desolation”
Nodens – drums on “Cataclysm Of The Soul”
Archon – vocals on “Αιώνια Ζωή (Eternal Life)”
Michalis Kripasis – bass on “Cataclysm Of The Soul”
Oakland, California’s own Death Metal institution is back with their pulverizing ninth studio album, featuring brutal bouts of riffery feral attacks, soul crushing doom and all out skull splitting heaviness.
Likely needing no introduction, Oakland, California’s own metal institution Autopsy has been a pioneering Death Metal band for 36 years now. They’ve influenced a generation of bands with their brutal, unhinged brand of violent, grotesque Death Metal with classic releases like Mental Funeral and Severed Survival, and now in 2023 the band formed of Chris Reifert on vocals and drums, Eric Cutler on vocals and guitars, Danny Coralles on the guitars, and Greg Wilkinson on bass returns to the battlefield with their ninth studio album, titled Ashes, Organs, Blood And Crypts. Recorded by Scott Evans and Greg Wilkinson at Sharkbite Studios, mixed by Greg Wilkinson at Earhammer Studio, mastered by Ken Lee at Ken Lee Mastering, and displaying a visceral artwork by Wes Benscoter, the album follows last year’s acclaimed Morbidity Triumphant, while also featuring brutal bouts of riffery feral attacks, soul crushing doom and all out skull splitting heaviness recommended for fans of Obituary, Suffocation, Immolation and Deicide, just to name a few.
Eric and Danny begin their rabid riff attack in Rapid Funeral, a no shenanigans, ass-kicking Death Metal composition that exhales heaviness, rage and violence, and the band needs a little less than three minutes to crush our cranial skulls in Throatsaw, with the hammering drums by Chris walking hand in hand with all deep, guttural vocals blasted throughout the song. Then slowing things down a bit but keeping the atmosphere dark and evil we have No Mortal Left Alive, with Greg adding an extra touch of obscurity to the overall result with his low-tuned bass; whereas their devilish riffs and bass accompanied by the ruthless drums by Greg will haunt your souls in Well of Entrails, offering more of the band’s trademark Death Metal, followed by the title-track Ashes, Organs, Blood and Crypts, where not only they continue to demolish our senses with their undisputed extreme sounds, but there are also hints of Progressive Death Metal and even Doom Metal added to it to make things even more infernal.
And the band’s guitar duo shows no mercy for our spinal cords in Bones to the Wolves, inspiring us to slam into the pit while they deliver sheer awesomeness through their riffs and solos; whereas their guitar madness goes on in Marrow Fiend, also presenting their traditional harsh growls spiced up by the doomed beats by Chris, followed by Toxic Death Fuck, and a beautiful name obviously needed an uncompromised, demonic sonority, which is exactly what Autopsy offer us all with the guitars by Eric and Danny exhaling heaviness. Get ready to break your neck in the name of Death and Doom Metal in Lobotomizing Gods, once again proving why Autopsy are one of the most beloved bands of the underworld, and it’s then time for a destructive onrush titled Death Is the Answer, perfect for diving into the circle pit in the name of gore and violence, with Chris dictating the song’s pace with his demolishing beats. Lastly, the quartet invests in their most Doom Metal vein in Coagulation, bringing to our avid ears gargantuan, vile roars, disturbing riffs and sluggish beats until the very end.
You can see what such important name of the Death Metal scene is up to on Facebook and on Instagram, stream all of their incendiary albums on Spotify, and of course grab your copy of Ashes, Organs, Blood And Crypts by clicking HERE. Based on the quality of the music found in their 2022 album Morbidity Triumphant, and specially on their newborn beast Ashes, Organs, Blood And Crypts, the guys from Autopsy are far from calling it quits, keeping the fires of old school Death Metal burning and, consequently, inviting us all to get into the pit together with them like there’s no tomorrow, and may we keep getting more and more albums of pure, unfiltered Death Metal like their latest installment in the coming years.
Best moments of the album:Throatsaw, Ashes, Organs, Blood and Crypts and Death Is the Answer.
Worst moments of the album:No Mortal Left Alive.
Released in 2023 Peaceville Records
Track listing 1. Rapid Funeral 5:02
2. Throatsaw 2:31
3. No Mortal Left Alive 4:35
4. Well of Entrails 5:06
5. Ashes, Organs, Blood and Crypts 3:45
6. Bones to the Wolves 4:16
7. Marrow Fiend 3:32
8. Toxic Death Fuck 2:41
9. Lobotomizing Gods 2:34
10. Death Is the Answer 3:41
11. Coagulation 3:38
Band members
Chris Reifert – vocals, drums
Eric Cutler – vocals, guitars
Danny Coralles – guitars
Greg Wilkinson – bass
This Texas-based three-piece Black and Thrash Metal outfit is ready to kill armed with their incendiary sophomore opus, inspired by true crime and 80’s slasher films.
Following the release of their critically-acclaimed 2021 debut album Aces Wild and an impressive 11-date UK tour, Austin, Texas-based three-piece Black/Thrash Metal horde Sadistic Force returned to Texas to work on their upcoming sophomore opus, titled Midnight Assassin. Recorded by J. Petri at Come and Track It, mixed by Noah Buchanan at Mercinary Studios, mastered by Joel Grind, and featuring a sick cover art by Timbul Cahyono, Midnight Assassin is an album positively dripping with sinister undertones brought into being by founder James Oliver on vocals and guitars (who fully immersed himself in the writing process, devouring countless hours of true crime and 80’s slasher films for inspiration), Blaine Dismukes on bass and backing vocals, and Jose Alcaraz on drums, being highly recommended for admirers of the darkest and most sulfurous side of Thrash and Speed Metal.
Composed and recorded by Long Island, New York-based Thrash Metal entity Electrocutioner, The Unseen Force is a cryptic intro that sets the stage for Sadistic Force to crush us all in Corpsewood Curse, with the razor-edged riffs by James together with the rumbling bass by Blaine inspiring us all to slam into the pit in the name of pure evil in a lecture in Blackened Thrash Metal. And the band shows no mercy for our souls with the demonic Speed Metal hymn Speeding Black Leather Hell, where Jose dictates the song’s thrashing pace and James delivers his raspy, dirty roars nonstop; whereas the title-track Midnight Assassin will put you to bang your head together with those American metallers, with the growls by James walking hand in hand with his own striking riffage. Then Jose kicks off the Motörhead-infused chant Nuremburg Nights, showcasing the band’s trademark guitars lines, rumbling bass and classic Thrash Metal drums.
There’s no sign of slowing down as they keep attacking our senses with their fusion of Black and Speed Metal in The Butcher’s Apron, a very technical yet extremely devilish creation by the trio highly recommended for some fun action inside the circle pit; and Blaine will smash your head with his metallic bass in Marked for Death, another song perfect for some vigorous headbanging spearheaded by the classic beats by Jose, sounding a lot more melodic than the other songs from the album. Their Rock N’ Roll vein arises in Campaign of Sin, with the guitar lines by James sounding sharp and incendiary in this fun mid-tempo tune, once again presenting a vibrant Motörhead taste that will certainly compel you to raise your horns, whereas closing this insane album of Thrash Metal we have Howl of the Horde, a hurricane of harsh roars, visceral riffs and crushing beats that will inspire even non-fans of this type of music to slam into the circle pit.
“Midnight Assassin is a record steeped in blood and terror,” said the band’s mastermind James Oliver. This comes as no surprise considering the source material with songs inspired by serial killers, stalkers and necrophiliacs, transporting the listeners into a dark and twisted sonic arena that exposes the harsh realities of human depravity and violence. Hence, don’t forget to follow those Thrash Metal slashers on Facebook and on Instagram for news, tour dates and so on, to stream more of their demented creations on YouTube and on Spotify, and of course to purchase a copy of Midnight Assassin from the band’s own BandCamp page or from the Goat Throne Records’ BandCamp page (or you can click HERE for all things Sadistic Force). Do you have what it takes to survive the Black and Thrash Metal attack by Sadistic Force in their new album? If your answer is yes, just get into the pit and enjoy such excellent opus by this up-and-coming trio from Texas, but get ready because, as you know, there will be blood.
Best moments of the album:Corpsewood Curse, Speeding Black Leather Hell and Howl of the Horde.
Worst moments of the album: None.
Released in 2023 Goat Throne Records
Track listing 1. The Unseen Force 0:31
2. Corpsewood Curse 6:03
3. Speeding Black Leather Hell 4:57
4. Midnight Assassin 5:19
5. Nuremburg Nights 4:33
6. The Butcher’s Apron 4:49
7. Marked for Death 5:52
8. Campaign of Sin 3:34
9. Howl of the Horde 5:02
Band members James Oliver – vocals, guitars
Blaine Dismukes – bass, backing vocals
Jose Alcaraz – drums, additional vocals
Guest musicians
Evelyn Albarran, Chris Hall, Austin Harris & Marcello Murphy – additional vocals
Electrocutioner – everything on “The Unseen Force”
Get ready for a profound and emotional musical journey of Death and Doom Metal made in Brazil, inspired by dark historical events and epic narratives.
Inspired by dark historical events and epic narratives, Fallen in the Bloody Field, the brand new album by Timbó, Santa Catarina, Brazil-based Death/Doom Metal entity Volkmort will take you on a profound and emotional musical journey. Recorded at Studio Sonority (drums) and at Satan’s Lair Studio (vocals, guitar and bass), produced by the band itself together with Kleber Hora, mixed and mastered at Dark Paradise Recordings, and displaying a sinister artwork by Fadli of Yandema Art, Fallen in the Bloody Field showcases all the passion for heavy music combined with a lot of hard work and talent by Dunkel Traum on vocals, Unorthodox on the guitars, Necro Abhorrence on the guitars and keyboards, Deathos on bass, and Sepulchral on drums, representing a huge step forward from the band’s debut album Battle Desolation, released in 2019.
The howling, bitterly cold winds of doom are coming to darken your soul in the massive opening tune Cold Winds, where Unorthodox and Necro Abhorrence masterfully unite Death and Doom Metal through their devilish riffage, accompanied by the sluggish, grim beats by Sepulchral; and the quintet wastes no time and keeps filling every single space in the air with their Doom Metal sounds in Returning to the Bloody Field, perfect for some vigorous headbanging while the guitar duo continues to slash their axes in great fashion, all of course spiced up by the deep, vile roars by Dunkel Traum. Then get ready for over seven minutes of sheer doom, despair and obscurity in the form of Doomology of War, where Dunkel Traum distills more of his demonic growling amidst a sinister yet very melodic sonority crafted by his bandmates, with Deathos and Sepulchral generating a beyond Stygian atmosphere with their respective bass and drums.
The quintet takes their fusion of Death and Doom Metal to new (and dark) heights with the 10-minute aria Triumphus Mortis, a lecture in extreme music where the band seems to open the gates of the underworld to spread evil upon the entire world. Moreover, Unorthodox and Necro Abhorrence, supported by the low-tuned, menacing bass by Deathos, will haunt your damned souls with their caustic riffs for all eternity. Black Grave, the shortest of all songs, is also the one that showcases the strongest Death Metal vein of the album, spearheaded by the crushing drums by Sepulchral and the devilish gnarls by Dunkel Traum, and there’s no hope in sight as Volkmort continue to pave their path to the underworld in From Glory to Abyss, blasting the most primeval and macabre version of Doom Metal thanks to another visceral performance by the band’s guitar duo. Lastly, there’s nothing better than ending such grim album of Death and Doom Metal than with a slow, cryptic and absolutely obscure tune titled No Hope, No Life, where again Sepulchral will crush your skull with his pounding drums, putting a climatic and vile conclusion to Volkmort’s doomed feast.
All obscurity and evil blasted by Volkmort in Fallen in the Bloody Field can be appreciated in full on YouTube and on Spotify, but of course if you consider yourself a true servant of darkness you should purchase a copy of the album by clicking HERE or HERE. You can also show the band all your support by following them on Facebook and on Instagram, and by subscribing to their YouTube channel for more of their music. Fallen in the Bloody Field is definitely not recommended for the faint at heart, offering our ears the most Stygian form of Death and Doom Metal and, therefore, placing the band as one of the driving forces of the genre in their homeland.
Best moments of the album:Cold Winds, Doomology of War and Triumphus Mortis.
Worst moments of the album: None.
Released in 2023 Black Hole Productions
Track listing 1. Cold Winds 5:28
2. Returning to the Bloody Field 5:21
3. Doomology of War 7:16
4. Triumphus Mortis 10:39
5. Black Grave 3:53
6. From Glory to Abyss 5:55
7. No Hope, No Life 6:33
There’s nothing better than slamming into the circle pit Down Under on a Friday the 13th, courtesy of three of the best tech death bands of the current worldwide scene.
I honestly still can’t believe that in the middle of my business trip to Sydney, Australia, I was able to catch WEREWOLVES, INGESTED and ARCHSPIRE during their phenomenal Tech Trek Australia Tour 2023 at this really cool and well-located venue named Factory Theatre this Friday night. Not only that, if you’re not familiar with the public transportation system in Sydney, let me tell you that it makes it extremely easy to get anywhere you want, which allowed me to get to the venue as soon as the doors opened at 8pm without rushing or anything like that, giving me enough time to buy some merch from Werewolves, grab a beer, and even chat with some locals who were all truly surprised I came all the way from Toronto for the show.
Precisely at 8:30pm, with the venue being almost full already, Melbourne, Australia’s own Technical Black/Death Metal savages WEREWOLVES kicked off the night with a pulverizing and memorable performance for the delight of everyone who was already positioned inside the pit for some action. Vocalist and bassist Sam Bean, guitarist Matt Wilcock and drummer David Haley (that man is a beast on drums!) took no prisoners during their short and sweet set, blasting our ears with their uncompromised, venomous hybrid of Black and Death Metal with songs from all of their insane albums, including their latest beast My Enemies Look and Sound like Me. Those Aussie metallers know exactly what needs to be done on stage to inspire the crowd for some wild headbanging and circle pits, and songs like No More Heroes, Under the Ground, Crushgasm, and specially the closing one, the antisocial hymn I Don’t Like You, sound even better live than in the studio. There were even some wild howls coming from some (drunk) fans in the audience, just to prove how awesome the band was.
I’m extremely happy that I had the chance to see those guys live in Australia, and hopefully the metal community worldwide will give them the attention they deserve and we’ll finally see Werewolves assaulting the stages in North and South America, Europe, and anywhere else where violence and hatred are an intrinsic part of music. Furthermore, don’t forget to stream their visceral creations on BandCamp and on Spotify, and if you ever witness Werewolves live I highly recommend you go chat with the band after their show as they’re fantastic guys. Sam even joked by asking me if I had a suggestion for a name of their next album, which they’re already working on, but I missed the chance to say something like “Powerslave”, “Painkiller” or “Reign In Blood”. Well, maybe next time I’ll be quick enough to come up with something like that, right?
Setlist Know Your Place
No More Heroes
Sublime Wartime Voyeurism
Under the Ground
Crushgasm
Crushing Heaven’s Mandate
Showering Teeth
I Don’t Like You
Band members Sam Bean – vocals, bass
Matt Wilcock – guitars
David Haley – drums
After a short break, it was time for Manchester, England-based Slam/Brutal Death Metal/Deathcore outfit INGESTED to crush their fans in Sydney for the first time ever with their infectious brutality and endless energy on stage. I must admit they sounded even tighter in Sydney than the last time I saw them in Toronto, just to prove how excited they were to finally blast their wicked music Down Under. Still promoting their 2022 album Ashes Lie Still, the band spearheaded by the charismatic and lunatic Jay Evans was on fire throughout their entire performance, with songs like I, Despoiler and Skinned and Fucked turning the circle pit at the Factory Theatre into pure madness and devastation.
Jay was by far the most excited for playing in Australia, and it was actually hard to take pictures of him on stage because the guy doesn’t stop moving not even for a single second, as if he was part of the crowd, like a fan who will slam into the pit until the very last second of the last song. By the way, when the band announced their last song, the bloodthirsty aria Echoes of Hate, all hell broke loose inside the pit for the pure delectation of Jay and his crew. It’s a real pleasure seeing a hardworking band like Ingested going places, and based on the rowdy reaction they got from their fans in Sydney I’m sure they’ll return to Australia sooner than you can say “slam”. Hence, don’t forget to also check the band’s furious fusion of extreme styles on BandCamp and on Spotify, and to keep an eye on their tour dates to avoid missing the opportunity to see them crushing your city to pieces live.
Setlist Impending Dominance
Invidious
I, Despoiler
Shadows in Time
Skinned and Fucked
Echoes of Hate
Band members
Jay Evans – vocals
Sean Hynes – guitars, backing vocals
Thomas O’Malley – bass
Lyn Jeffs – drums
It was close to 10:30pm when the main attraction of such fun and entertaining night, Canadian Technical Death Metal masters ARCHSPIRE, kicked off their breathtaking, mesmerizing performance, generating a schizophrenic atmosphere with their flawless fusion of violence, wrath, dexterity and energy on stage. Their flammable frontman Oliver Rae Aleron is not only a superb growler (and I’ll never be able to fully understand how that guy can sing guttural so fast as if he was rapping in the name of evil), but his charisma allowed him to basically control everything the crowd was doing, with his requests for some insane mosh pits being promptly answered by an avid Australian crowd.
Having released the album Bleed the Future in 2021, the band put on a beyond extraordinary show, with songs like Bleed the Future, A Dark Horizontal and Involuntary Doppelgänger sounding perfect live thanks to the undeniable, superb musicianship by all band members, with guitarist Dean Lamb and bassist Jared Smith stealing the spotlight with a lecture in shredding. If you’re curious to know more about one of the fastest and most talented bands of the current Technical Death Metal scene worldwide, you can enjoy all of their wicked albums in full on BandCamp and on Spotify. However, I must warn you that the demented vocals by Oliver will haunt your damned soul for all eternity so insane they are.
And last but not least, I have to say the Canadian humor and jokes the band presented on stage were simply awesome, adding a very welcome touch to their irreprehensible performance. For instance, before playing one of their bestial songs, Oliver asked the crowd to split the pit in the middle, but this time it wasn’t for a traditional wall of death; he threw a Twister game mat to the crowd, and then out of nowhere several sweaty fans were playing Twister instead of doing their regular slamming and headbanging. Then after another couple of songs he invited two fans for a shoe drinking contest named “shoey”, a gross Australian drinking tradition that for some reason Archspire seem to love. Well, it was gross, no doubt about it, but seeing the winner receiving a custom shirt made by one of the guys form the band with some weird drawing of Wolverine and a dingo was a really cool moment of their show. I would never, ever drink beer directly from my shoes, but one thing I’ll certainly do is to attend all concerts I’m able to by Archspire in the future for more awesomeness in the form of Canadian tech death.
Setlist Bleed the Future
Abandon the Linear
A Dark Horizontal
Remote Tumour Seeker
Golden Mouth of Ruin
Human Murmuration
Calamus Will Animate
Involuntary Doppelgänger
Drone Corpse Aviator
Band members Oliver Rae Aleron – vocals
Dean Lamb – guitars
Tobi Morelli – guitars
Jared Smith – bass
Spencer Prewett – drums
The unstoppable Dave Rotten and his crew are back in action with an explosive new EP, an uncompromising and thrilling assault on the senses inviting us all to join the band into the battlefield.
Three years after their breathtaking album Fist to Face, Spanish Thrash Metal juggernauts Holycide are back in action, inviting us all to join them into the battlefield with their relentless new EP titled Bazookiller, a sonic four-track blitzkrieg not recommended for the faint-hearted. Mixed by Nexus 6 at Monsteny Studios, mastered by Davide Billia at Mk2 Recording Studio, and displaying an old school artwork by Daemorph that transpires Thrash Metal, the new EP by frontman Dave Rotten, guitarist Salva Esteban, bassist Vicente Payá and drummer Santi “GoG” Arroyo is an uncompromising and thrilling assault on the senses, offering us all three scorching original compositions by the quartet plus a merciless cover of a classic song by D.R.I. that will certainly put a huge and evil smile on your face, keeping the fires of Spanish Thrash Metal burning brighter than ever.
Dirty, demonic riffs ignite the bestial War Broadcast Live, with Dave growling the song’s contemporary, acid lyrics (“It’s modern times / The media rule it all / Immediacy is required / Hungry for audience / War Broadcast Live / Business is what matters / War Broadcast live / Audience is what matters”) in a classic, no shenanigans Thrash Metal feast made in Spain. Santi’s beats then dictate the pace in the thrashing extravaganza titled Bazookiller, supported by the metallic bass by Vicente. Moreover, it should certainly inspired some decent circle pits and endless headbanging, not to mention the amazing solo blasted by Salva; and let’s keep slamming into the pit to the sound of Modern Day Dictator, where Dave continues to distill his evil roars and gnarls, adding an extra touch of animosity to the music, with Salva and Vicente extracting pure dementia form their stringed axes. Last but not least, we face their cover version for Five Year Plan by D.R.I. (check out the original version HERE from their 1987 classic Crossover), and Holycide make sure the essence of the original song remains intact while they add their own thrashing twist to it, resulting in an excellent choice for some sick, frantic headbanging and, of course, for a wild mosh pit.
In a nutshell, Holycide offer in their new EP an honest and vibrant share of Spanish Thrash Metal without any artificial elements, setting the tone for what’s next in the career of such hardworking band. Hence, you can enjoy the EP in full on YouTube and on Spotify, and of course grab a copy of it from Xtreem Music’s BandCamp page or by clicking HERE, and don’t forget to also start following the unstoppable Dave Rotten and his crew on Facebook and on Instagram for news and tour dates, and to subscribe to their YouTube channel for more of their wicked music. Holycide are bringing their heavy artillery in the 15 infuriated minutes of music found in Bazookiller, and you better be prepared because those Spanish metallers will mercilessly explode you with their thrashing music.
Best moments of the album:War Broadcast Live and Modern Day Dictator.
Worst moments of the album: None.
Released in 2023 Xtreem Music
Track listing 1. War Broadcast Live 3:54
2. Bazookiller 4:19
3. Modern Day Dictator 3:25
4. Five Year Plan (D.R.I. cover) 3:54
Band members
Dave Rotten – vocals
Salva Esteban – guitars
Vicente Payá – bass
Santi “GoG” Arroyo – drums
The unstoppable Jake Oni and his henchmen return with their most dynamic yet cohesive and focused work, representing a means to exorcise personal demons for anyone who listens and connects to the sound, the spirit and the stand taken by each song.
The creative evolution of the multifaceted Windsor, Canada-based Progressive Metalcore/Djent force known as ONI never ends. Always evolving, braving treacherous waters and searching for a distinctive light in the darkness, the band spearheaded by frontman Jake Oni, alongside Brandon White and Martin Andres on the guitars, Johnny DeAngelis on the xylosynth, Chase Bryant on bass and Joe Greulich on drums, is about to release their new full-length beast titled The Silver Line, the follow-up to their 2022 critically acclaimed album Loathing Light. Produced, mixed and mastered by the duo of Spiritbox bassist Josh Gilbert and Joe McQueen (As I Lay Dying, Light The Torch, Bad Wolves), and featuring an array of special guests including Kellin Quinn (Sleeping With Sirens) and Howard Jones (Light the Torch, Devil You Know, Killswitch Engage), The Silver Line is at once the most dynamic yet cohesive and focused work in the band’s burgeoning career, being therefore a must-listen for fans of Allegaeon, Oceans, Monuments, Killer Be Killed, Tallah and Alluvial, among several others.
The atmospheric and futuristic Silhouette will put you to bang your head nonstop to the metallic riffs by Brandon and Martin and the rumbling bass by Chase in a great display of modern-day Metalcore, with Jake leading his crew with his melodic and enraged vocals; followed by Spark, featuring pop-punk-resurgence star Sueco, another blast of ONI’s melodious Metalcore with Joe’s drums dictating the song’s pace while Johnny adds his share of electricity to the music with his xylosynth, with the song’s harsher vocals making it even more exciting. Then we have Underneath My Skin, featuring the aforementioned Kellin Quinn on vocals, where Jake and his ONI continue to blend metal sounds with atmospheric and electronic nuances, not to mention the solid vocal duo between Jake and Kellin, and it’s time to turn up the heat in Silence In A Room Of Lies, a neck-breaking, Djent-infused feast where Jake is joined by guest Jared Dines on vocals, always supported by the sick riffage by Brandon and Martin.
ONI’s modern-day fusion of Metalcore and Djent keeps hammering our heads in Cyanide, with Chase sounding menacing with his bass jabs, being tailored for admirers of the genre; and there’s no sign of Jake & Co. slowing down at all in The Dread, featuring vocalist Justin Hill, where they continue their headbanging feast with another round of their incendiary riffs and metallic bass lines, plus of course the wicked xylosynth by Johnny. Then featuring renowned bassist Josh Gilbert and vocalist Howard Jones, Aura is a born-to-be-a-hit on any rock and metal radio, with Jake and Howard sounding insane on vocals throughout the entire song, boosted by the massive beats by Joe, whereas Armageddon, featuring Michael Lessard on vocals, follows the same pattern as the rest of the album, bringing the band’s Metalcore sound and their undeniable energy. It could have been a little more dynamic and fresher, or different than its predecessors, though. And closing the album we’re treated to Burns My Soul, inspiring us all to jump up and down with Jake while Brandon and Martin fire sheer electricity from their guitars.
In a nutshell, The Silver Line ups the ante once more, adding another full-length chapter to ONI’s ever-expanding songbook, representing a means to exorcise personal demons for anyone who listens and connects to the sound, the spirit and the stand taken by the songs, being as much for the listener as it is for Jake. “Music is such a gift,” said Jake thoughtfully. “If you can make music, and people respond to it? I’ve learned not to take that for granted. Count your blessings because the opportunity to make music is such a great one. We should always be grateful. Because it’s the coolest job anyone could do.” Hence, you can show Jake how much you love the music by ONI by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming all of their creations on Spotify, and by purchasing a copy of The Silver Line by clicking HERE. The Silver Line is undoubtedly ONI’s strongest effort since the band’s inception in 2014, and if you give them a chance I’m sure you’ll get addicted to their music and keep spinning the album while fighting your inner demons alongside one of the rising names of the Canadian Metalcore and Djent scene.
Best moments of the album: Spark, Silence In A Room Of Lies and Aura.
Worst moments of the album:Armageddon.
Released in 2023 Ironshore Records
Track listing 1. Silhouette 3:13
2. Spark 3:07
3. Underneath My Skin 2:53
4. Silence In A Room Of Lies 3:15
5. Cyanide 2:51
6. The Dread 3:11
7. Aura 3:32
8. Armageddon 3:09
9. Burns My Soul 3:47
Band members Jake Oni – vocals
Brandon White – guitars
Martin Andres – guitars
Johnny DeAngelis – xylosynth
Chase Bryant – bass
Joe Greulich – drums
Guest musicians Sueco – vocals on “Spark”
Kellin Quinn – vocals on “Underneath My Skin”
Justin Hill – vocals on “The Dread”
Josh Gilbert – bass on “Aura”
Howard Jones – vocals on “Aura”
Michael Lessard – vocals on “Armageddon”
Jared Dines – vocals on “Silence In A Room Of Lies”
After simmering behind the scenes for quite some time, the multinational Technical Black/Death Metal horde Arborescence of Wrath has finally unleashed their vicious debut album, simply titled Inferno, which promises to be one of the most extreme displays of aggression in the style in recent times. Comprised of a beyond formidable lineup with members from France, Germany and the United States, those being vocalist Jason Keyser (Origin), guitarists Michel Beneventi and JP Battesti, bassist Charles Collette (Benighted), and world renowned drummer Simon Schilling (Marduk), the band offers some superbly composed music with thought out structures and variations in their newborn spawn, only delivered out of pure anger with blistering speed and oppressive intensity. Add to that the incendiary artwork by Santiago Francisco Jaramillo of Triple Seis Design and there you have one of the strongest candidates for Death Metal album of 2023, a must-listen for fans of Hate Eternal, Krisiun, Hour of Penance, Origin, Depravity and Deathfuckingcunt, among other names who definitely know how to blend the most visceral side of metal music with first-class musicianship.
This demonic album of first-class Technical Black and Death Metal can be appreciated in all of its (devilish) glory on YouTube and on Spotify, but you should definitely purchase your favorite version of it from the Transcending Obscurity Records’ BandCamp page or webstore as a digipak CD in the US or in Europe, or as special CD + shirt combo also in the US or in Europe. Don’t forget to also start following this demented creature from the underworld on Facebook for news and more of their music, and hopefully we’ll be able to see this multinational entity live somewhere in the near future. Inferno is not only about pure hatred and aggression, but it also showcases a band that’s beyond focused and sharp, consequently placing the album as one of the best of 2023 and the band as one of the driving forces of the newest generation of Extreme Metal.
THE HEADBANGING MOOSE 