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Album Review – Malignant Aura / Where All of Worth Comes to Wither (2026)

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Prepare your soul for a descent into the depths of human despair, courtesy of a tortured and lumbering Death and Doom Metal creature from Down Under.

Crawling from beneath the bloody earth in 2022, more specifically from our beloved Australia, Death/Doom Metal creature Malignant Aura will consume our souls with their sophomore opus, poetically entitled Where All of Worth Comes to Wither, continuing the dark path which started back in 2022 with Abysmal Misfortune Is Draped upon Me. Comprising concise and powerful 46 minutes spread across five songs, the new offering by vocalist Tim Smith, guitarists Chris Clark and Dalton Quade Wilson, bassist Jonathan Ennis, and drummer Pete Robertson sees the band both expanding and contracting their sound, broadening its sonic possibilities whilst focusing the songwriting for maximum, abyss-ward effect. The esteemed Paolo Girardi lends his signature touch to the album’s cover artwork, completely suiting the dark, dreadful emotion of its contents inspired by a pool as varied as Incantation, Paradise Lost, Virgin Black, Hooded Menace, Mournful Congregation, Candlemass, Disembowelment, Pallbearer, Katatonia, Asphyx, and My Dying Bride.

The title-track Where all of Worth Comes to Wither is actually an extended intro, sounding grim and diabolical from the very first second, dragging us to the band’s Stygian lair in The Pathetic Festival, with Pete hammering his drums in a demolishing fusion of Death and Doom Metal, all boosted by the cadaverous guttural by Tim while the sound of the guitars by Chris and Dalton is utterly evil. After such a demented tune let’s all dive deep into the realms of doom with the 13-minute beast Languishing in the Perpetual Mire, arising from the pits of the underworld to the rumbling sounds blasted by Jonathan and Pete, sounding and feeling like four or five songs in one. Then after an ethereal, cryptic start, Beneath a Crown of Anguish morphs into the most sluggish form of Doom Metal imaginable, with the grim Death Metal vocals by Tim adding an extra touch of insanity to it; whereas lastly, get ready to be smashed like a putrid insect to the sound of An Abhorrent Path to Providence, with their riffs and bass lines walking hand in hand with another visceral vocal performance by Tim.

A full-length descent into the depths of human despair, Where All of Worth Comes to Wither is a harrowing blend of Death and Doom Metal, sounding vicious, somber, and triumphant. Hence, if you have what it takes to face the band’s own brand of tortured and lumbering doom-death, you can find those talented Australian on Facebook and on Instagram, stream their heavy-as-hell creations on Spotify or on any other platform, and above all that, put your damned hands on Where All of Worth Comes to Wither by purchasing it from their own BandCamp, from the Grindhead Records’ BandCamp. from the Primitive Moth’s BandCamp, from Memento Mori, or simply click HERE for all things Malignant Aura. In the end, Where All of Worth Comes to Wither doesn’t just carry a bold and penetrating name; its music is absurdly dense, deep and frightful, exactly the way we love in the always menacing fusion of Death and Doom Metal.

Best moments of the album: Languishing in the Perpetual Mire and An Abhorrent Path to Providence.

Worst moments of the album: None.

Released in 2026 Memento Mori/Grindhead/Primitive Moth

Track listing
1. Where all of Worth Comes to Wither 3:27
2. The Pathetic Festival 6:56
3. Languishing in the Perpetual Mire 13:00
4. Beneath a Crown of Anguish 10:05
5. An Abhorrent Path to Providence 12:08

Band members
Tim Smith – vocals
Chris Clark – guitars
Dalton Quade Wilson – guitar
Jonathan Ennis – bass
Pete Robertson – drums

Album Review – Tjaktjadálvve / Encompassing Nothingness (2026)

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This Sweden-based Australian lone wolf returns with his unique blend of the sorrow of depression-tinged Black Metal with the coldness, thrill and melancholy of its atmospheric kind in his third album.

Brought forth by the Västmanland County, Sweden-based vocalist and multi-instrumentalist M., aka Matthew Bell (originally from Australia), of bands like Aeon Moon, Arboreal Trance, Autumn’s Dawn, Austere, and many others, the bitterly cold Atmospheric/Depressive Black Metal entity Tjaktjadálvve (a Sámi season representing the time when the sun sets and reindeer move to winter pastures, signifying the deep cold and preparation for polar night, translating to something like “Autumn Winter” or “Dark Winter” in concept) returns with its unique blend of the sorrow of depression-tinged Black Metal with the coldness, thrill and melancholy of its atmospheric kind in its third album, titled Encompassing Nothingness, guiding the listener through his low-paced and synth-driven scenarios. Mixed and mastered at Nekkomix, with cover photo by Francesco Del Vecchio and other images and layout by Tryfar, the follow-up to the project’s 2023 sophomore Echoes on a Windswept Plain encloses a musical journey which can’t reward the listener more than so, with its neat production and dreadful vocals elevating the overall coldness and desolation in great fashion.

In The Solitude of Abject Darkness, the name of the song says it all. Prepare for a whimsical journey through cold and dark lands, with M. roaring like a demonic entity, bursting with anguish and pain while the instrumental pieces are simply majestic. Norrsken (pronounced “norr-shen”) is the Swedish word for the Northern Lights (or “Aurora Borealis”), literally meaning “north” (norr) and “light” or “shine” (sken), and that’s exactly what M. offers with his minimalist yet harsh riffs, sluggish beats and all background elements in a true Depressive Black Metal aria; and M.’s deep vociferations will penetrate deep inside your soul in the also bitterly cold Longing, again delivering a classy Atmospheric Black Metal sound with tons of depressive and grim elements. Lastly, let’s embark on a 10-minute voyage through the harshness of the Swedish winter in the title-track Encompassing Nothingness, with M. once again crushing his drums while also delivering ethereal key notes, all boosted by his trademark roars.

In a nutshell, fans of phenomenal atmospheric bands the likes of Woods of Desolation, Austere, Panopticon, and Mesarthim, among others, will have an absolute blast listening to Encompassing Nothingness, and of course if you want to join M. and his Tjaktjadálvve in bitterly cold darkness, you can find his music on Spotify, on Apple Music, and on BandCamp (and no, there’s no social media for Tjaktjadálvve), and purchase his excellent new album from the Flowing Downward’s BandCamp or webstore. Why would anyone move from the warmth and stunning beaches of Australia to face the freezing temperatures of the Swedish winter, one might ask? Well, if M.’s endgame is to craft the enfolding, grim music by Tjaktjadálvve, let’s say Sweden is doing wonders to his creative process, and I’m sure we’ll hear a lot more from this Australian lone wolf and his cold adventures in Svea Rike in the near future.

Best moments of the album: The Solitude of Abject Darkness and Encompassing Nothingness.

Worst moments of the album: None.

Released in 2026 Flowing Downward

Track listing
1. The Solitude of Abject Darkness 7:17
2. Norrsken 9:07
3. Longing 6:09
4. Encompassing Nothingness 9:49

Band members
M. – vocals, all instruments

Album Review – Olde Outlier / From Shallow Lives to Shallow Graves (2025)

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Taking Death Metal deep into the caverns of old(e), this newborn beast from Down Under will consume your soul with its debut opus, a 35-minute spelunk into those caverns.

A continuation of Australia’s late, great Innsmouth, a certifiably cult band whose 2014 debut album Consumed by Elder Sign is considered a classic by the underground-dwelling souls who heard it, Black/Death Metal creature Olde Outlier is unleashing upon humanity their debut opus, titled From Shallow Lives to Shallow Graves, a four-song/35-minute spelunk into those caverns. Formed of the Dyer Brothers, Beau Dyer on the guitar and Neil Dyer on drums, alongside Mark Appleton on vocals, Ben Askew on the guitar, and Greenbank on bass, the band simmers their cauldron with ones both culter and less detectable, from the earthy likes of Amon Goeth, Martyrium, Head of the Demon, and Florida’s Equinox to the more ethereal undercurrents of Ophthalamia and even echoes of early Katatonia and Tiamat in their debut, taking the Death Metal by Innsmouth deeper into the caverns of old(e), but ones totally their own, and suitably extending the sulfurous splendor across epic track lengths.

The Revellers already begins in full force, offering an overdose of raw Death Metal where Mark barks the song’s demented words viciously accompanied by the intricate and hammering beats and fills by Neil, all while Beau and Ben slash their axes manically. Then bringing elements from the most primeval form of Doom Metal to their core deadly sonority, we’re treated to more of their caustic riffs and rhythmic beats in The Pounding of Hooves, also presenting some interesting breaks and variations to give the whole song an extra kick; followed by Swept, presenting eight minutes of hard hitting, ruthless Death Metal from Down Under, with the stylish rockin’ riffs and solos by Beau and Ben sounding thrilling and captivating until the very end. Their last breath of elderly Death Metal comes in the form of All Is Bright, with the raspy vociferations by Mark walking hand in hand with their melodic yet visceral instrumental, resulting in a very detailed and consequently vibrant aria of extreme music.

Altogether, and with keenly timed bits of clean and chorused guitar, From Shallow Lives to Shallow Graves becomes an utterly immersive experience that defies time itself, showing Olde Outlier are simply eternal, existing in a forgotten realm that’s worth the journey a hundredfold. Those metallic cavemen are not easy to find, though, as they’re not present in any type of social media; however, you can still purchase their primeval debut offering from Iron Bonehead’s BandCamp or webstore, letting their cadaverous sounds consume your putrid soul mercilessly. Olde Outlier play the rawest, most primitive form of Death Metal you can think of, and once you start listening to the visceral sounds form their new album, there’s no way back.

Best moments of the album: The Pounding of Hooves and All Is Bright.

Worst moments of the album: None.

Released in 2025 Iron Bonehead

Track listing
1. The Revellers 7:54
2. The Pounding of Hooves 10:55
3. Swept 8:05
4. All Is Bright 7:50

Band members
Mark Appleton – vocals
Beau Dyer – guitar
Ben Askew – guitar
Greenbank – bass
Neil Dyer – drums

Album Review – Depravity / Bestial Possession (2025)

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Emerging from the pits of the underworld after a gap of five long years, this Australian Death Metal creature returns with their edgier and most violent album to date.

Emerging from the pits of the underworld after a gap of five long years since their 2020 opus Grand Malevolence, Perth, , Australia’s own Death Metal creature Depravity picks up from where it left off, ensuring that things remain that way as the band proceeds to add more nuance and color to their brand of music on their latest album, titled Bestial Possession. Maintaining the same line-up of Jamie Kay (The Ritual Aura) on vocals, Jarrod Curley (Pathogen) and Lynton Cessford (Iniquitous Monolith) on the guitars, Ainsley Watkins (Scourge) on bass, and Louis Rando (Impiety, The Furor) on drums, Depravity were able to retain their sound in Bestial Possession while fleshing out their compositions, always rooted in the old school sound but not necessarily sounding old school, with the gradual incorporation of Brutal and Technical Death Metal influences having a slightly contemporary edge. Add to that the demonic artwork by Paolo Girardi (Cryptopsy, Skaphos), and there you have one of the must-listen albums of the past few years for admirers of bands the likes of Morbid Angel, Suffocation, Deicide, Hate Eternal, and Nile.

Get ready for a ruthless onrush of malignancy in the form of the opening tune Engulfed in Agony, with Louis destroying our damned souls with his relentless blast beats accompanied by the scorching riffs by Jarrod and Lynton, followed by Eunuch Maker, portraying a controversial yet charming name for a Death Metal song, with their nonstop riffage providing Jamie with exactly what he needs to vociferate like a rabid beast. In Call to the Fallen a quick intro evolves into a groovy Death Metal sonority where the metallic bass by Ainsley will hammer you right in the head; and Awful Mangulation brings to our avid ears another blast of undisputed animosity and rage by those bastards from Down Under, where the guitar work by Jarrod and Lynton couldn’t have sounded more infuriated.

Rot in the Pit, one of the first singles released, reminds me a lot of some of the more recent creations by Cannibal Corpse, with Louis stealing the spotlight with his demented beats and fills; and they definitely know how to name their compositions like what happens with Aligned With Satan, flirting with Progressive Death Metal the likes of Blood Incantation, and of course it sounds incredible. Blinding Oblivion offers a straightforward, no shenanigans display of classic Death Metal where Jamie’s infernal roars walk hand in hand with the demonic kitchen by Ainsley and Louis, and let’s slam into the pit like true bastards to the sound of Legacy, sounding utterly fast, furious, and evil, with Jamie’s gruesome guttural being nicely supported by some rebellious backing vocals. Lastly, closing the album we face the venomous Catastrophic Contagion, a lecture in Australian Death Metal as the icing on the band’s blood-soaked cake.

Exuding sheer class, confidence, and maturity, Depravity function perfectly as a unit as we can all see in Bestial Possession, offering an avalanche of first-class Death Metal to us all before this tumultuous year ends. Hence, don’t forget to give them a shout, or even a guttural roar, on Facebook and on Instagram, staying up to date with their demented live performances, to stream their incendiary discography on Spotify, and obviously to purchase the excellent Bestial Possession from their own BandCamp, or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Australia might be a country known for its deadly animals, but once you get a taste of the violence crafted by Depravity in their new album Bestial Possession, you’ll then realize there’s something even more dangerous lurking in the shadows Down Under.

Best moments of the album: Eunuch Maker, Awful Mangulation and Aligned With Satan.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Engulfed in Agony 4:44
2. Eunuch Maker 4:43
3. Call to the Fallen 5:13
4. Awful Mangulation 3:31
5. Rot in the Pit 3:52
6. Aligned With Satan 4:47
7. Blinding Oblivion 4:26
8. Legacy 3:14
9. Catastrophic Contagion 4:23

Band members
Jamie Kay – vocals
Jarrod Curley – guitar
Lynton Cessford  – guitar
Ainsley Watkins – bass
Louis Rando – drums

Metal Chick of the Month – Aleks Radmanovich

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Stygian – Abyss – Call – To me!

The month of November has always been cold, rainy and dark in the northern hemisphere, the perfect type of weather for some ass-kicking Extreme Metal. However, this time The Headbanging Moose will travel all the way to the stunning Australia not only to experience a much better weather, but also to enjoy the Black, Death and Thrash Metal attack by our metal lady of the month. She’s the lead guitarist for an amazing thrash squad from Down Under named Thraxas!, as well as for a ruthless Black Metal horde known as Pestilential Shadows. Her name is Aleks Radmanovich, and she will mercilessly shred you to pieces armed with her unstoppable axe. Having said that, do you think you have what it takes to face one of the most badass guitarists from the current Australian metal scene?

Born and raised in the charming city of Sydney, the dauntless Aleks began her career in Heavy Metal back in 2018 when she joined the four-piece thrashing machine named Thraxas!. The band was actually formed a few years prior to her becoming their axe lady, more specifically in 2011, by vocalist Chris “Bull” Woods and drummer Izak Easterbrook (of Divine Carnage), and the only release by the band before Aleks joined their ranks, as well as bassist Dan Andrews, was their 2018 debut demo Slave Wages. As their lead guitarist, she released with Thraxas! the single Cthulhu Rising, in 2019, the 2021 EP Planetary Terrorism (under the moniker Aleks Rad), the 2025 single Blast Shadows, and more recently their first full-length opus, titled Violent Vacation. Not only that, Aleks was also responsible for the layout and design of their debut EP Planetary Terrorism. All of those songs and albums are available on BandCamp and on Spotify, and you can also visit their official YouTube channel to enjoy their official videos including Concrete Cowboy and Ecophagy.

In addition, apart from Facebook and Instagram, you can also stay up to date with all things Thraxas! by clicking HERE, and if you want to know even more about the indomitable Aleks and her scorching axe you can find a few interesting videos and interviews on YouTube, including the highlights of her chat with The Horsemen Podcast earlier this year, her guitar playthrough for the song Exemplary Punishment, and a video named 5 Minute Series – Aleks Rad where she talks about her idols and influences like Alex Webster of Cannibal Corse, Iron Maiden, Candlemass, Slayer, Exodus (mentioning her favorite Thrash Metal album of all time is Tempo of the Damned, by the way), plus her own rig rundown. No idea why the video is named “5 Minute Series” as it’s only one minute and a half long, but that doesn’t really matter as Aleks kicks some ass even in such a short period of time.

In 2024, Aleks joined Sydney, Australia’s own Black Metal veterans Pestilential Shadows, spreading her dark wings over humanity under the Stygian moniker Drekavac. A Drekavac, also called drekalo, krekavac, zdrekavac or zrikavac, is a mythical, monstrous creature from South Slavic folklore, known as “the screamer” or “the screecher” from the verb “drečati” (“to screech”). It is often the spirit of an unbaptized child, though sometimes described as an undead man. Let’s say that’s exactly the sound emanating from her fiery riffs and solos in Pestilential Shadows, sounding as dark, menacing and evil as possible, therefore showcasing a more obscure side of our unstoppable Aleks.

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The band was formed way before Aleks joining them, though, more specifically in 2003 by vocalist and guitarist Balam, who had been playing in local Black Metal bands since 1997, with the goal of creating atmospheric and intense Black Metal and cement its reputation as one of the most innovative bands in the scene. Currently formed of Balam on vocals and guitar and Aleks (or Drekavac, as mentioned) also on the guitar, alongside Lithuz on bass and Basilysk on drums, the band had already released the albums Embrace After Death (The Fate of All That Lives II) (2005), Cursed (2006), In Memoriam, Ill Omen (2009), Depths (2011), Ephemeral (2014), Revenant (2021), and Devil’s Hammer (2024) before Aleks became part of the band, but she was still able to play some live shows in Australia with them before the recordings for their ruthless eighth studio album Wretch started.

Released by the uncanny German label Northern Silence Productions in conspiracy with Brilliant Emperor Records this past September, Wretch continues the band’s progression (or regression) toward uglier, gnarlier expanses, offering more of their trademark ruminations on death and the beyond. The album has already led Pestilential Shadows to tour Europe in late August through September, followed by an October tour in their homeland Australia and in New Zealand, allowing fans from different parts of the world to witness the power of the Stygian riffs by Aleks. The band can be found on Facebook and on Instagram, and you can purchase or stream Wretch (or any of their previous albums) from BandCamp or Spotify. You can also enjoy Wretch in all of its glory on YouTube, and also enjoy the official video for the song DeathKnell, with Aleks shredding her axe while displaying her badass Black Metal attire and corpse painting. She also played live back in 2022 with a Sydney, Australia-based Death Metal outfit named Deiformity, formed back in 2016, and although there’s nothing released by the band with Aleks on the guitar for obvious reasons, you can still enjoy their 2018 debut (and only released to date) titled Corpse Stomper on BandCamp.

It looks like Aleks has recently started her life as a digital influencer by launching her own YouTube channel; however, maybe due to her busy life on the road, there’s only one video online so far, a cover version for Joe Satriani’s A Celebration. Well, who knowns, maybe we’ll get more killer videos like that in the not-so-distant future. Anyway, switching topic a bit, Aleks is endorsed by Blackstar Amplification, Schecter Guitars, and D’addario Strings, currently touring with the Blackstar Amped 3, HT Stage MKIII and HT Metal 100, Schecter Evil Twin V and Hellraiser, and playing D’addario NYXL 10-46 and EXL 11-56, and if you’re able to catch her live with either Thraxas!, Pestilential Shadows, or Deiformity, you’ll see how her equipment makes her sound feel extremely powerful onstage, exactly what we all want in extreme music.

Aleks Radmanovich’s Official Facebook page
Aleks Radmanovich’s Official Instagram
Thraxas!’s Official Facebook page
Thraxas!’s Official Instagram
Thraxas!’s Official YouTube channel
Pestilential Shadows’ Official Facebook page
Pestilential Shadows’ Official Instagram

Album Review – Werewolves / The Ugliest of All (2025)

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The torchbearers of “Caveman Death Metal” strike again with album number six, continuing to annihilate intellects with an increasingly unlistenable barrage of truly hideous music.

By now, everyone knows Melbourne, Australia’s own Werewolves and their insane mission of releasing ten Death Metal albums in ten years. Now in 2025 the torchbearers of “Caveman Death Metal” strike again with album number six, The Ugliest of All, continuing to annihilate intellects with an increasingly unlistenable barrage of truly hideous music. Mixed and mastered by Joe Haley at Crawlspace Productions, and once again displaying a visceral artwork by Mitchell Nolte, the beleaguered artist of the previous albums, the sixth blasphemous offering by Sam Bean on vocals and bass, Matt Wilcock on the guitars, and David Haley on drums is not only a worthy follow-up to their 2024 beast Die For Us, but a lesson in primeval, visceral Death Metal by one of the most (if not THE most) demented bands to ever arise from Down Under.

There’s not a single second of peace in the bludgeoning opener Fools of the Trade, with David already doing what he does best, which is crushing our damned bodies with his inhumane technique; and we gotta love all of their song titles such as I Want to be Offended, with the music being a lecture in ruthless Death Metal led by the scorching riffs by Matt. Skullbattering keeps the level of animosity absurdly high, with Sam barking the song’s violent lyrics nonstop in another lesson in brutality from the stunning Australia. Sam roars like a rabid beast in Unoriginal Sin, offering an overdose of blasphemy flowing from all instruments for our total and depraved delight, whereas more of David’s unstoppable, thunderous beats and fills will shake the foundations of the earth in the demolishing The Enshittification, inviting us all for some quality time inside the pit.

Logorrea sounds like some of their darkest creations from From the Cave to the Grave and My Enemies Look and Sound like Me, which obviously means it’s an awesome onrush of brutality, gore and rage, ending in a truly insane mode and connecting instantly with Rats Versus Snakes, one of the first singles released, showcasing the trio’s trademark fury spearheaded by the deep guttural by Sam. Then adding hints of Punk Rock and Hardcore to their undisputed Death Metal sound, it’s time for a no shenanigans, fast and furious aria titled Slaves to the Blast, again with Matt delivering pure electricity from his maniacal riffage. And last but most definitely not least, ending the album we have the demonic title-track The Ugliest of All, one of their strongest songs to date, sounding simply infuriated form start to finish, with David yet again hammering our cranial skulls mercilessly until our very last drop of blood leaves our frail bodies.

“Why did we call the album The Ugliest Of All?” Sam asks himself, seeing as though there’s no-one actually asking him any questions. “On the one hand, we are turning into a fearsomely hideous old-man band. We’re all grey, I’ve got a gut, it’s like if The Hills Had Amps. Also, I read an interview with Malevolent Creation where Phil Fasciana was bragging about how they were the ugliest band alive, and I thought that was the coolest thing ever. Hi-top sneakers are cool. Denim shorts are cool.” In the end, it doesn’t really matter if you follow those headbanging bastards on Facebook or on Instagram, if you stream their pulverizing, no shenanigans music on YouTube or on Spotify, or if you purchase the indomitable The Ugliest of All from their own website or BandCamp page, from Direct Merch, from Nightshift, or from Plastic Head. Even if no one cares at all about The Ugliest of All, 2026 will see the band returning in full force with album number seven, because that’s what Werewolves are all about. They’re bringing to us this year the ugliest of all albums, aiming at becoming the heaviest of all bands.

Best moments of the album: I Want to be Offended, Skullbattering, Logorrea, Slaves to the Blast and The Ugliest of All.

Worst moments of the album: None.

Released in 2025 Back On Black Records

Track listing
1. Fools of the Trade 4:08
2. I Want to be Offended 3:36
3. Skullbattering 3:15
4. Unoriginal Sin 4:13
5. The Enshittification 3:40
6. Logorrea 3:21
7. Rats Versus Snakes 3:43
8. Slaves to the Blast 3:01
9. The Ugliest of All 3:28

Band members
Sam Bean – vocals, bass
Matt Wilcock – guitars
David Haley – drums

Album Review – Destroy Fear / The Mountain Before Us All (2025)

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A dynamic new force emerging from Melbourne’s vibrant metal scene is ready to strike armed with their debut album, blending crushing heaviness with intricate melodies.

A dynamic new force emerging from Melbourne, Australia’s vibrant metal scene, blending crushing heaviness with intricate melodies heavily inspired by In Flames, Killswitch Engage, Trivium, Parkway Drive, As I Lay Dying, and Heaven Shall Burn, among many others, Melodic Death Metal outfit Destroy Fear is unleashing upon us their debut offering, titled The Mountain Before Us All. Comprised of vocalist Scott Masson (Born Of A Bastard King, Outer Worlds), guitarists Jayden Genuis (War Of One) and Luke Baird (Made From Broken Parts, The Empire), bassist Justin Wong (Tides Collide), and drummer Alex Bull (Outer Worlds), the band offers in The Mountain Before Us All a striking sound defined by soaring guitar riffs, emotionally charged vocals, and a powerful rhythm section, being therefore highly recommended for fans of Melodic Death Metal, Hardcore and Metalcore from the “glory days” of the early 2000’s.

It’s easy to feel that characteristic Gothenburg sound right from the start in Ulterior Motive, with Scott already roaring nonstop while Alex keeps the song’s rhythm flowing smoothly; and the guitars by Jayden and Luke will inspire you to bang your heads nonstop in The Serpent, inviting us all to slam into the pit and have a very good time with our good friends. Sweat Equity is absolutely inspired by the current sound by In Flames, with Scott and Justin kicking some ass on vocals, followed by The Redeemer, another fast and melodic creation by the band where the riffage by Jayden and Luke exhale heaviness while also sounding piercing and harmonious. Then we face another round of anguished roars and razor-edged guitars in Flames of Division, while the song’s clean vocals bring a touch of finesse to the overall sound, and the band then enhances their animosity and fury in Sever, with Scott screaming manically amidst a Hardcore-infused sonority.

The second half of the album begins in full force to the sound of Blue Sky Thinking, which should sound fantastic if played live, led by Alex’s Melodic Death Metal and Metalcore pounding drums. Fade to Obscurity is another exciting tune by the band, with their guitar duo hitting us hard with their fusion of aggressiveness and harmony, all boosted by another killer performance by Scott on vocals, and there’s no sign of the band slowing down at all, as it’s a feast of Melodic Death Metal that goes heavy on all Metalcore elements in Brimstone, in special in their vocals and riffs. Yesterday presents a more introspective side of the band, albeit not as exciting as the rest of the album, whereas in order to properly end the album the band will melt our faces with The Mountain Before Us All, where their caustic riffs and roars match perfectly with Alex’s hard hitting drums.

A super group of sorts made up from members of other bands and projects with a passion for all things metal, Destroy Fear are already deep into writing and actively recording for a second album release projected for the end of 2025 or beginning of 2026, and until then you can have an absolute blast with their debut offering by streaming it on Spotify and purchasing it from BandCamp. Don’t forget to also follow those talented Australians on Facebook, keeping an eye on their live concerts as they’re more than ready to crush the stages Down Under, and to subscribe to their YouTube channel for more of their music and videos. Needless to say, I’m sure we’ll soon hear a lot more from Scott, Jayden, Luke, Justin, and Alex, as they keep destroying fear armed with the best weapon ever to do so, which is high quality music like what they have to offer in their excellent debut album.

Best moments of the album: The Serpent, The Redeemer and Fade to Obscurity.

Worst moments of the album: Yesterday.

Released in 2025 Independent

Track listing
1. Ulterior Motive 4:07
2. The Serpent 4:28
3. Sweat Equity 4:34
4. The Redeemer 3:59
5. Flames of Division 4:13
6. Sever 4:08
7. Blue Sky Thinking 5:05
8. Fade to Obscurity 4:06
9. Brimstone 3:22
10. Yesterday 5:20
11. The Mountain Before Us All 4:23

Band members
Scott Masson – vocals
Jayden Genuis – lead guitar
Luke Baird – rhythm guitar
Justin Wong – bass, vocals
Alex Bull – drums

Album Review – Deciduous Forest / Fields of Yore (2025)

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Behold the debut offering by this Australian lone wolf, guiding listeners on a richly atmospheric journey through memory, emotion, and myth.

As the creative vessel for Brisbane, Australia-based vocalist, multi-instrumentalist and composer Snjór, the stunning Atmospheric Black Metal entity Deciduous Forest guides listeners on a richly atmospheric journey through memory, emotion, and myth, offering deeply captivating immersive soundscapes where melancholy and grandeur coexist, weaving together elements of Atmospheric Black Metal, Neofolk, and cinematic ambient music. Recorded by Adam Merker at Anders Debeerz, mastered by Chris Themelco at Monolith Studios, featuring guest drummer Chris Chapman, and with photography by Snjór, layout by David Mir, and logo by Luke Mills, the enfolding Fields of Yore is the debut album by Snjór’s newborn solo endeavor, offers inspiring and emotionally charged music that stands firmly among the genre’s most evocative storytellers, being therefore perfect for fans of Agalloch, Wolves in the Throne Room, and Midnight Odyssey.

The Formless Dark is undoubtedly an imposing and enfolding tune by Snjór, with his keys adding an extra touch of epicness to the sound while Chris brings sheer heaviness through his beats, whereas Ghost Of Lies continues to pave the album’s darkened path, with Snjór’s visceral riffs and deep vociferations hammering our cranial skulls in the name of Atmospheric Black Metal, sounding even more Stygian than the opening tune. The song that carries the name of the album, Fields Of Yore, lives up to the legacy of Atmospheric Black Metal, sounding impressive from start to finish with its ethereal rhythm and classy keys, a multi-layered, dynamic and charming tune that will beautifully darken the skies for all eternity; followed by Ages Past, the longest song of the album, also offering an array of layers, striking roars and riffs, epic keyboards and Doom Metal-infused drums, dragging us into Snjór’s cryptic lair and embracing us in pitch black darkness. Lastly, Snjór brings some peace to our blackened hearts with Anemoia, starting in a beyond ethereal manner before morphing into a Blackened Doom-inspired aria.

In a nutshell, Fields of Yore is a richly textured and absolutely vibrant journey, sounding at the same time haunting and luminous, with the introspective beauty of the aforementioned Agalloch, the expansive bleakness of Wolves in the Throne Room, and the cosmic scope of Midnight Odyssey being all woven into one evocative sonority. Hence, you can get more details about Snjór and his Deciduous Forest from the project’s official Instagram, and of course grab a copy of such a unique and immersive album from BandCamp. If this is just the debut album by Deciduous Forest, I can’t even imagine what’s next in Snjór’s musical path, leaving us eager for more as we wander through his vast fields of yore.

Best moments of the album: Fields Of Yore and Ages Past.

Worst moments of the album: None.

Released in 2025 Gutter Prince Cabal

Track listing
1. The Formless Dark 6:34
2. Ghost Of Lies 9:24
3. Fields Of Yore 12:16
4. Ages Past 13:25
5. Anemoia 5:08

Band members
Snjór – vocals, guitars, bass, keyboards

Guest musician
Chris Chapman – drums (session)

Album Review – Christ Dismembered / Ov Vampiricy (2025)

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An infernal Black Metal horde from Down Under is ready to ride out into the world once more, bringing with them the heretical gospel that is their sophomore opus.

A tolling bell, a howling wind and chants of dire imprecation announce the return of Black Metal horde Christ Dismembered, Australia’s chief advocates of apostasy and servants of the beast. Forged in the fires of the city of Millicent, South Australia in 2012, the band now formed of Arch Worm on vocals and guitars, Doomsayer on lead guitars, Winter Demon on rhythm guitars, Skorpa on bass, and Plague on drums is ready to ride out into the world once more, bringing with them the heretical gospel that is Ov Vampiricy, the follow-up to their 2017 self-titled debut, their second full-length album of blood hungry Black Metal in their crusade against the light, being tailored for admirers of the music by Nifelheim, Immortal, Dark Funeral and Behexen, among many others.

The howling winds of evil will embrace you in the album’s intro, taking you on a one-way journey to the underworld in Fool’s Gambit, already offering a vibrant fusion of Melodic Black Metal with old school Black Metal, with Plague sounding simply infernal on drums for our total delight. Then the strident riffage by Doomsayer and Winter Demon will mercilessly pierce your damned minds in Mother of Demons, a lecture in Black Metal by the quintet exhaling pure hatred and obscurity, followed by The Numbers Oppose You, offering an extra dosage of sulfurous Black Metal with Arch Worm gnarling like a demonic entity; and there’s no sign of slowing down nor anything like that, as it’s pedal to the metal in an ode to all things Black Metal titled Under the Cross, perfect for some blasphemous action inside the pit.

After that, we have the atmospheric interlude The Banishment, the calm before the storm as this Australian horde will crush your putrid souls in A Ritual Most Foul, where Plague dictates the song’s pace with his intricate yet demolishing blast beats, keeping the album at a high level of blasphemy. Sorcerer of Nazareth is a pure old school Black Metal extravaganza showcasing all the passion for the dark arts by the band, followed by Child Devouring Servants of Satan, one of the most infernal of all tracks of the album, with Doomsayer and Winter Demon stealing the show with their flammable riffage. Their second to last offering from the pits of the netherworld, entitled See You In Hell, showcases another vicious gnarling attack by Arch Worm, whereas last but definitely not least, this horde from Down Under will burn your frail bodies to the sound of the fiery Riddled With Sin, with Skorpa and Plague making the earth tremble with their beyond venomous and rumbling kitchen.

The children of the night will be unbound and their infernal music will echo through the darkness once more to the sound of Ov Vampiricy, and you can join such an amazing horde from Down Under by following them on Facebook and on Instagram, by streaming their vile creations on YouTube and on Spotify, and of course by purchasing a copy of their impious new album from their own BandCamp page or webstore, as well as from MSH Music Group. After all is said and done, simply open your ears to the cries of the children of the night, open your arms to their embrace to the sound of their blasphemous and vile new opus, or grip your crucifix in shaking hands and weep, because Christ Dismembered will take no prisoners in their quest for old school Black Metal armed with their excellent new offering.

Best moments of the album: Mother of Demons, Under the Cross and Child Devouring Servants of Satan.

Worst moments of the album: A Ritual Most Foul.

Released in 2025 Independent

Track listing
1. Intro 1:45
2. Fool’s Gambit 5:21
3. Mother of Demons 4:15
4. The Numbers Oppose You 4:12
5. Under the Cross 4:34
6. The Banishment 2:30
7. A Ritual Most Foul 4:27
8. Sorcerer of Nazareth 6:29
9. Child Devouring Servants of Satan 4:33
10. See You In Hell 5:54
11. Riddled With Sin 5:13

Band members
Arch Worm – vocals, guitars
Doomsayer – lead guitars
Winter Demon – rhythm guitars
Skorpa – bass
Plague – drums

Album Review – Greyember / Blooming in Antarctica EP (2025)

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This talented Australian freelance music and video creator strikes with a three-track extreme music EP that explores some of life’s harshest realities.

Hailing from the beautiful city of Melbourne, the coastal capital of the southeastern Australian state of Victoria, Greyember is the Progressive/Blackened Death Metal alter-ego of metal and dark alternative themes freelance music and video creator Richard Grimm, also known for his contributions to the bands Dracorex, Bentham’s Head, and Dreamworm. Produced, mixed and mastered at Big Vibe Creative, Blooming in Antarctica is the debut EP by Richard and his Greyember, a three-track offering that explores some of life’s harshest realities, from existential fears about climate change to his personal struggles with mental health and identity, all through the lens of metal, while also featuring incredible guest contributions from Richard White (Grim Demise) and Nikki Harrison aka Luna Starchild (With Witch).

Featuring guest vocalist Luna Starchild, Richard delivers an overdose of harsh riffs, deep guttural roars in paradox with Luna’s melodic clean vocals in Reflections, resulting in a killer Blackened Death Metal beast. Then we have the massive title-track Blooming in Antarctica, with guest vocals by Richard White, drawing inspiration from the stark reality of flowers now growing in Antarctica, a harbinger of the climate crisis and its devastating implications (“There is a debt, that we’ve burned through the century / the carbon reaper set free / Consuming all, driving life to extinction / a thriving land now devoid / it will consume, arctic surfaces break down / transforming glaciers to brine / Our heaving lungs choking down poison fumigation / 1 million tonnes to exhaust”). Musically speaking, it reminds me of some of the most recent tunes by Behemoth, which is obviously a good thing. And lastly, Richard transpires darkness and insanity in madness., transforming his inner demons into a fusion of Black and Death Metal through his classic beats, caustic riffs and a beyond grim atmosphere.

Blooming in Antarctica is already available in full on all streaming platforms including YouTube and Spotify, but of course if you want to show Richard your utmost support you can purchase a copy of the album from BandCamp, and don’t forget to also give Richard a shout on Facebook and on Instagram, or simply click HERE for more details on all of his bands and projects. As mentioned by Richard himself in the description of his official video for the title-track, our world is dying and a small handful of people are responsible for it, people with names and addresses, and we must do something to avoid the terrible fate that lurks in the shadows and waits for us all in a not-so-distant future. Let’s spread the music by Greyember all over the world, inspiring other musicians like Richard to fight for our planet, and metalheads like us to use our powerful music to make a positive change in our decaying society.

Best moments of the album: Blooming in Antarctica.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Reflections 4:08
2. Blooming in Antarctica 5:40
3. madness. 4:20

Band members
Richard Grimm – vocals, all instruments

Guest musicians
Nikki Harrison – vocals on “Reflections”
Richard White – vocals on “Blooming in Antarctica”