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Album Review – Skuggor / The Expanse (2026)

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This one-man project based in Northern Sweden returns with its fourth studio album, where deep forests and snow-covered terrain are not merely backdrops, but gateways – spaces where hypnotic states and introspection take hold.

Drawing its essence from the meeting point between the physical and the transcendental, Sweden-based Atmospheric Black Metal entity Skuggor, the Swedish word for “shadows,” is the solo project of Australian-born vocalist and multi-instrumentalist M., known for his work with countless other amazing bands the likes of Aeon Moon, Autumn’s Dawn, Moonlight Drowns, Nihilithic Depths, Rumahoy, Stjärnfält, Tjaktjadálvve, and Wizardthrone, just to name a few. Now in 2026 M. is back in action with the follow-up to his 2025 album Where Sun Resigns, titled The Expanse, where deep forests and snow-covered terrain are not merely backdrops, but gateways – spaces where hypnotic states and introspection take hold. Displaying a serene artwork by Heresie Studio, The Expanse is fluid and instinctive, allowing each composition to emerge as a natural extension of atmosphere rather than rigid structure.

Get ready for a whimsical journey through bitterly cold lands to the sound of the eight-minute aria The Expanse, gradually evolving into an Atmospheric Black Metal beast where M.’s anguished roars will send shivers down our spines; followed by The Fire, just as cryptic and visceral as the opening track, where M. brings forward an avalanche of scorching guitar lines in contrast with the gelid background landscapes. Then again showcasing his passion for Black Metal infused with atmospheric and ethereal elements we have The Trance, and it’s easy to sense the despair transpiring from his harsh vocals, not to mention his sluggish beats also sound thunderous. Hem showcases an imposing and epic sonority, with M. once again blasting sheer melancholy through his vocals and whimsical keys, whereas in The Storm the name of the song says it all, as it’s the most violent, harsh and demonic of all songs, with M. delivering those classic Black Metal blast beats we all love so much intertwined with semi-acoustic soothing passages. Lastly, M. concludes his epic voyage with The Nothing, offering more of his blend of doom-laden Atmospheric Black Metal, bursting his lungs screaming until the very end.

“The Expanse is an album dedicated to a place I hold very dear: Northern Sweden. From the desolate forests to the frozen lakes, with this album I tried to capture the combined feeling of beauty and isolated melancholy one can feel in such an area,” commented M., and if you want to know more about Skkugor you can find the project on Instagram, stream its music on any platform such as Spotify, and grab a copy of the album from BandCamp or from Nordvis Produktion. Written to accompany M.’s journey between his home in Moskosel and Arvidsjaur, a woodland stretch largely untouched by modern intrusions in Swedish Lapland, The Expanse takes shape as a series of impressions formed by both the beauty and the unforgiving nature of the environment. While echoes of Burzum, Agalloch, Urfaust, and Drudkh can be sensed throughout, Skuggor reshapes these influences into something distinctly its own, turning it into a must-listen for admirers of the beautiful fusion between extreme music and the peace and solitude found in nature.

Best moments of the album: The Fire and The Storm.

Worst moments of the album: None.

Released in 2026 Nordvis Produktion

Track listing
1. The Expanse 8:20
2. The Fire 5:27
3. The Trance 5:18
4. Hem 5:38
5. The Storm 5:13
6. The Nothing 4:49

Band members
M. – vocals, all instruments

Album Review – The Absolution Sequence / Dread Cycle (2026)

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Emerging from the isolated, unforgiving wilderness of Tasmania, these Technical Death Metal beasts will attack armed with their their highly-anticipated debut full-length album.

Emerging from the isolated, unforgiving wilderness of Tasmania, Technical Groove/Death Metal outfit The Absolution Sequence has carved out a unique identity within the Australian extreme metal scene. Their sound is a direct reflection of their homeland’s “dark isle” reputation, a place defined by a sinister history and a cold, remote landscape that stands in stark contrast to the Australian mainland. Following a string of EP’s and singles, the band formed of Shawn Wells on vocals, Luke Tucker, Stephen Cusato and Steven Mason on the guitars, Alastair Boon on bass, and Nick Machin on drums is unleashing now in 2026 their highly-anticipated debut full-length album, titled Dread Cycle, which with the crisp production of Chris Themelco, the classy mastering by Jens Bogren at Fascination Street Studios, and the Stygian artwork by Shaun Hyatt, is definitely set to solidify the band’s position as a premier name in contemporary Technical Death Metal.

The opening aria Despotic Ruin (Diet of Worms) is already atmospheric, melodic and bold from the very first notes, with the deep guttural by Shawn walking hand in hand with the riff attack by the band’s guitar triumvirate formed of Luke, Stephen and Steven, followed by Idols of Confraternity, even heavier and more infuriated, with Nick hammering his drums nonstop in a lesson in Groove and Death Metal with a strong technical edge. Then we face Ghost Mantra, blending elements of Deathcore to their core Death Metal essence, where their guitar work is again striking, offering Shawn exactly what he needs to bark like a rabid beast; whereas This Sordid Miasma is as atmospheric as its predecessors, with the groovy, thunderous kitchen by Alastair and Nick making the earth tremble. and The Nightlight Sigil, albeit sounding as heavy as the other songs, is not as exciting. Its drums and all background elements still sound great, though.

Promethean Pilferage might be one of the most technical of all songs, where Alastair extracts sheer electricity, heaviness and groove from his bass supported by the intricate beats and fills by Nick; and their Blackened Death Metal vein arises in A Mire Caked Nativity, clashing with their more technical Groove Metal sounds, all boosted by another bestial performance on vocals by Shawn. The band’s guitar triumvirate once again showcases all their dexterity and passion for the extreme in Grinding the Sphere, not to mention Alastair once again adds his share of insanity to the music with his Djent-infused bass lines, flowing into the closing song Diary of the Emaciated, sounding very detailed, multi-layered and absolutely electrifying, with the wall of sounds crafted by all band members feeling perfect for the scorching vociferations by Shawn.

The Absolution Sequence have developed a signature style of Technical Death Metal that balances high-velocity musical prowess with a deeply immersive, atmospheric undertone in all of their previous releases, and in Dread Cycle those Tasmanian devils have certainly stepped up their game with an even more infuriated and intricate sound. If you have what it takes to face the demolishing music crafted by those amazing musicians from Down Under, you can find them on Facebook and on Instagram, stream their killer creations on Spotify, and above all that, grab a copy of the album from their own BandCamp. Australia has become the place to go when the music in question is Technical Death Metal, and Dread Cycle is undoubtedly one of the must-listen albums of the genre coming from Down Under.

Best moments of the album: Idols of Confraternity, Promethean Pilferage and Diary of the Emaciated.

Worst moments of the album: The Nightlight Sigil.

Released in 2026 Bleeding Art Collective

Track listing
1. Despotic Ruin (Diet of Worms) 4:11
2. Idols of Confraternity 5:01
3. Ghost Mantra 3:45
4. This Sordid Miasma 5:02
5. The Nightlight Sigil 5:13
6. Promethean Pilferage 4:18
7. A Mire Caked Nativity 5:02
8. Grinding the Sphere 4:29
9. Diary of the Emaciated 5:57

Band members
Shawn Wells – lead vocals
Luke Tucker – lead guitar
Stephen Cusato – rhythm guitar, backing vocals
Steven Mason – rhythm guitar
Alastair Boon – bass, backing vocals
Nick Machin – drums

Album Review – Complexant / Apex (2026)

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This vicious Australian entity is unleashing hell with their debut offering, boasting ten tracks of brilliantly violent riffing fueled by percussive intensity and unearthly vocals.

Bringing together members from across Australia to deliver a vicious blend of Death and Black Metal with Deathcore since 2022, drawing influence from bands such as Behemoth, Suffocation, Emperor and Nile, the unrelenting Blackened Deathcore creature Complexant is poised to unleash their first-ever full-length album, simply titled Apex. Mixed and mastered by the unstoppable Christian Donaldson (Cryptopsy, Suffocation, Shadow of Intent, Ingested), with vocals tracked by Joey Marsh at Beyond the Marsh Studios, and guitars and bass tracked by Shannon Zivkovic, and showcasing a grim artwork by Matt Priso, the debut by vocalist Dan Greigsy, guitarists Shannon Zivkovic and Gavin Bradley, bassist Chris Tuckley, and drummer Seb Su boasts ten tracks of brilliantly violent riffing fueled by percussive intensity and unearthly vocals.

The album kicks off with the pulverizing Apex, a nice and sweet welcome card by the band stating the album is definitely not for the faint at heart, flowing into No Angels Weep, with Seb taking the lead with his infuriated, ruthless beats and fills in the name of chaos and savagery while Dan roars and screams like a rabid beats nonstop. Their demented metal attack goes on in full force in Afterlife, where the intricate yet violent riffs by Shannon and Gavin live up to the legacy of modern-day Death Metal, followed by Swing Myself To Sleep, continuing to pulverize everything and everyone that crosses their path, simply perfect for some vigorous headbanging; whereas Critical Mass is as infuriated as its predecessors, albeit lacking the same level of dynamism and heaviness.

Back to their trademark level of insanity and violence we face Heretical Supremacy, with Dan’s demented screams walking hand in hand with the top-notch guitar work by the band’s axe duo, while Cyclops presents a more progressive and technical side of the band, with the thunderous kitchen crafted by Chris and Seb sounding phenomenal. Then again venturing through the realms of Progressive and Technical Death Metal without forgetting their Deathcore essence we have Eye For An Eye, and the final result is beyond infernal for our total delight. Lastly, after the ethereal and grim interlude No Hope For Humanity, we’re treated to their coup-de-grace titled No Hope For Sanctuary, with Dan roaring nonstop supported by the intricate and visceral instrumental pieces blasted by his bandmates, therefore putting a demolishing ending to the album.

With their debut album Apex, Complexant continue to push a sound defined by weight, darkness and unrelenting intensity, and if you want to know more about such a promising name from Down Under you can find those guys on Facebook and on Instagram, stream their music on any available platform such as Spotify, and of course purchase a copy of the excellent Apex from the band’s own BandCamp. In other words, Complexant are unleashing upon us an overdose of heaviness and savagery not recommended for the lighthearted, proving why they’re becoming the apex predator in the extreme music community in their homeland.

Best moments of the album: No Angels Weep, Swing Myself To Sleep and Eye For An Eye.

Worst moments of the album: Critical Mass.

Released in 2026 Bleeding Art Collective/Blood Blast Distribution

Track listing
1. Apex 1:24
2. No Angels Weep 3:58
3. Afterlife 3:19
4. Swing Myself To Sleep 3:30
5. Critical Mass 3:33
6. Heretical Supremacy 4:08
7. Cyclops 4:27
8. Eye For An Eye 4:23
9. No Hope For Humanity 1:09
10. No Hope For Sanctuary 4:38

Band members
Dan Greigsy – vocals
Shannon Zivkovic – guitar
Gavin Bradley – guitar
Chris Tuckley – bass
Seb Su – drums

Interview – Anna Khristenko (ANA)

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Do you know what “Couture Metal” means? The indomitable Anna Khristenko of the up-and-coming Australian metal band ANA explains that and more on this exclusive interview.

Anna Hristenko (ANA)

THM: Hello, and thank you for chatting with The Headbanging Moose today! I always like to start these interviews asking the artist or band to introduce themselves to our audience. Who’s ANA, where do you come from, and where are you headed as a band?

Anna Khristenko: Hi guys, thanks for taking the time to chat with us. I am Anna Khristenko the vocalist of ANA. We are a Metal band who are based in Melbourne, Australia. We have our own unique vision for what metal could be and we’re excited to share it with the whole world.

THM: You explicitly use the phrase “Couture Metal” to describe your style. How do you bridge the gap between high-fashion visual theatricality and punishing, aggressive Symphonic Metal in your music?

AK: The term couture is more of the initial mindset to craft something of high quality and meticulous attention to detail. Of course there is the aesthetic presentation too but that is also a result of this mindset.

THM: Your new album Motivated By Death is described as a philosophical exploration of the human condition. What inspired you to use mortality, vulnerability, and resilience as the driving forces behind the album?

AK: This philosophy is what motivates us to do what we do. Why else would anyone risk everything and go against what is commonly seen as logical? Our art is born from this notion.

THM: Motivated By Death shows massive progress in songwriting compared to your debut EP. What did you intentionally change about your creative approach when sitting down to write the album?

AK: We didn’t really change our approach to writing. We have always believed and thrived when we improvise and that’s what we did here. One big factor is the fact that we have a couple of new members on this record and that we had immediately written this after some extensive touring so the chemistry within the band was at its peak.

Album Review – ANA / Motivated By Death (2026)

THM: It’s not a secret to anyone that your performance anchors the record, effortlessly shifting from atmospheric deliveries on Hate Me to operatic chops on Papa. How did you prepare your voice to navigate such widely diverse styling across the album?

AK: I relied a lot on my opera training, not just for technique but also the discipline. This record also gave me the opportunity to explore new sides to my abilities that I had previously not explored.

THM: Ending the album with a cover of the absolute classic Aerials, by System of a Down, is a bold, nostalgic move. Why did you choose this specific track to close out your debut statement, and how did you approach giving it the signature ANA symphonic spin?

AK: We have actually been playing this cover since our very early days on the local club circuit. A lot of fans have wanted a recorded version and it seemed like the right time to do it.

THM: The aesthetics in your official videos for Hate Me, Shadow of Life and Papa are amazing, but of course Hate Me is by far the song with the most thought-provoking and visually captivating video of all. How was the process to put together such a killer video, and what can we expect from ANA in the near future in terms of your unique blend of heavy music and visual arts?

AK: Hate Me was intended to be controversial from its inception. Therefore, all creative choices were made with that as our guiding principle. We’ve got a lot of plans for future videos. We don’t want to give too much away but I can say that there will be more MV’s from this album. We don’t usually like repeating ourselves so you can expect to be surprised.

ANA

THM: How has the local heavy music scene in Melbourne and in Australia in general influenced your progression from a brand new band to releasing a full-length album on a global scale?

AK: The Melbourne scene is fantastic and incredibly diverse. Travelling overseas has shown us how much bigger the world and the scenes really are. Japan has become a second home to us and so far this year we have performed more shows there than we have back home. We’re a little busy with international dates for now Melbourne but we will return and it will be epic!

THM: What are your main influences in music and arts? What inspires you to write music, perform and play live onstage?

AK: All of us in this band have extremely different influences ranging from Adele, Buddy Guy, X Japan, Oasis, Lara Fabian, WASP, KISS, Daft Punk, Movie Sountracks etc. As you can see it’s a very diverse and unconventional list. What inspires us is being able to take all of that and create something new. To then be able to share it with fans around the world is the greatest gift for us.

THM: Thanks again for your precious time! It means a lot to us when new bands and artists let us know more about their music, their goals and plans for the future. Any final words or considerations you would like to share with our readers?

AK: Thank you for all the love you have shown us. Listen to the album and watch the videos. We will be in your city as soon as we can and we’d love to hear you sing along.

Links
ANA Facebook | Instagram | YouTube | Spotify | Ffm.to

Album Review – Faustian / Parable Of The Sewer (2026)

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The triumvirate of conspirators from Death Metal beast Werewolves returns with the sophomore opus of their even more demonic alter-ego, exploring darker realms in a blaze of blasphemous Black Metal.

A confluence of dire forces, Melbourne, Australia-based ravenous Black Metal horde Faustian brings together perpetrators of horrific sonic assaults, crimes committed under the names of Abramelin, Werewolves, The Berzerker, Psycroptic, The Amenta, The Antichrist Imperium and more. As a matter of fact, they present their music as “unhinged devil-worshipping Black Metal from the members of Death Metal stuporgroup Werewolves,” as the band is formed of the infamous Sam Bean on vocals and bass, Matt Wilcok on the guitars, and David Haley on drums. Having proved time and again their mastery of wildly violent Death Metal as the aforementioned Werewolves, Faustian allow the triumvirate of conspirators to explore darker realms in a blaze of blasphemous Black Metal, culminating now in 2026 with their sophomore beast Parable Of The Sewer, the follow-up to their 2023 debut We Come as Angels, and a must-listen for fans of the demonic savagery blasted by Emperor, Mayhem, Akercocke, and Dark Funeral, just to name a few.

There’s no sign of peace or hope, only absolute chaos and devastation from the very first notes in I Curse You, led by the always demolishing drums by David while Matt fires his most Black Metal riffs of all time. Broken Better, the first single released, brings to our putrid minds and souls a dark, sluggish and sinister sound perfect for Sam’s demonic vociferations, sending shivers down the spines of the faint at heart. Sam continues to roar and bark madly in the poetically titled I Want the Ride to Begin Again, with his primeval bass lines matching perfectly with David’s crushing, unstoppable beats and fills, whereas Immaculate lives up to the legacy of 90’s Black Metal, in special through the scorching riffs by Matt, offering Sam exactly what he needs to deliver his most visceral vocals of the album.

In Cephalophore, the song’s initial cult-like sounds clash with the heaviness blasted by the instrumental parts, evolving into another bestial display of the raw, vile Black Metal insanity; followed by We Do Not Use Names Here, carrying another very poetic and harsh title for a fast and scathing composition by Faustian, hitting us hard in the head while Sam continues to roar manically in the name of violence and darkness. Tenements (Only the Wicked Walk in Circles) is a no shenanigans Black Metal extravaganza spearheaded by Matt’s strident riffs, highly recommended for fans of the mighty Mayhem, while their coup-de-grace comes in the form of The Rot Shall Inherit the Earth, hammering our frail bodies mercilessly, with David sounding like a demented beast behind his drums until the very end.

“If the Werewolves aesthetic is violence, then Faustian’s is fear and horror,” commented Matt Wilcock. Parable Of The Sewer is indeed an album of feral intensity, incendiary violence, unearthly majesty and mystery, fear and temptation. Hence, if you want to join the guys from Faustian is pitch black darkness and show them your total support, you can find them on Facebook and on Instagram, stream their venomous music on Spotify or any other platform, and of course purchase Parable Of The Sewer from their BandCamp or from the Apocalyptic Witchcraft webstore. As Conor Droney, head of Apocalyptic Witchcraft, has neatly offered in succinct summing up, Parable Of The Sewer is a “savage masterpiece from Down Under,” and I bet once you start listening to such a pulverizing album, your mind and soul will be forever doomed.

Best moments of the album: I Curse You, Immaculate and We Do Not Use Names Here.

Worst moments of the album: None.

Released in 2026 Apocalyptic Witchcraft

Track listing
1. I Curse You 4:45
2. Broken Better 5:37
3. I Want the Ride to Begin Again 5:08
4. Immaculate 4:27
5. Cephalophore 5:27
6. We Do Not Use Names Here 6:06
7. Tenements (Only the Wicked Walk in Circles) 4:26
8. The Rot Shall Inherit the Earth 5:46

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

Album Review – Psycroptic / The Pulse of Annihilation (2026)

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These Tasmanian devils reaffirm their status not merely as Technical Death Metal stalwarts in their new album, but as architects actively shaping its future, proving that mastery, sharpened by time, only grows more lethal.

For over two decades, Psycroptic have operated at the vanguard of Technical Death Metal, defined by instrumental precision, structural intelligence and an uncompromising creative ethic. From their Tasmanian origins to commanding stages worldwide, the band have built a reputation on rhythmic complexity, exacting musicianship, and a refusal to plateau. Now in 2026 the band formed of Jason Peppiatt and Jason Keyser on vocals, Joe Haley on the guitars, Todd Stern on bass, and David Haley on drums returns with their ninth studio opus, The Pulse of Annihilation, following up on their critically acclaimed 2022 album Divine Council. Produced once again by Joe Haley at Crawlspace Productions, and showcasing a haunting artwork by Belial NecroArts, the album features once again a formidable dual-vocal assault just like in their previous offering, heightening the record’s impact and presenting layered, confrontational elements that remain tightly synced with the band’s intricate foundation.

Joe’s lugubrious, evil riffs will darken the skies in the opening track Ashes of a New Dawn, quickly accompanied by David with his massive, intricate and ruthless beats and fills, followed by Gathering a Venomous Herd, with both vocalists exhaling hatred through the song’s demonic words (“Venomous tongues in this world now defiled / Fractured souls drown / In our self-proclaimed wisdom / Divided we fall to this new faceless god”) in a lecture in Technical Death Metal. Then a sinister intro evolves into a Stygian display of Progressive Death Metal titled A Sword of Me, with Joe and Todd hammering their strings with tons of anger and dexterity; and No Time for the Weak carries an excellent title for another hard hitting tune by those Australian veterans, with the deep and sharp vociferations by Jason Peppiatt and Jason Keyser reeking of Death Metal, while after an atmospheric intro the venomous Our Pillars Fall turns into a feast of progressiveness and violence, with David once again sounding inhumane behind his drums.

David kicks off the also groovy and technical Annihilation Pulse, with the slashing riffage by Joe cutting our flesh mercilessly; whereas No Blade of Grass brings forward another round of their acid words that will certainly pierce our brains (“Unseat the throne of hypocrisy / Who mourns when chaos dies / Relentless strife and delusion / Feeding fevered dreams of poisoned tribes / Who rise together a rancorous afterthought / Orate the funeral call”) amidst sheer Death Metal devastation. They keep the ambience as dense and brutal as possible to the sound of To Embrace This Curse, with their scorching vocals crushing our souls mercilessly, and lastly we face Forging the Crown, perhaps the most technical of all songs, where Joe and Todd are phenomenal armed with their respective guitar and bass while David dictates the pace with his beyond complex and thrilling beats and fills.

“The Pulse of Annihilation is pretty much the culmination of everything that has come before,” remarked Joe Haley. “As with past releases, we never force anything stylistically and just let the songs manifest of their own accord – maintaining progression while remaining very much Psycroptic. Because of this, I feel this is our most epic, thrashing, technical while grooviest release yet.” Across the excellent The Pulse of Annihilation, Psycroptic sound focused, disciplined, and fully aware of their trajectory. Complexity remains foundational, but it is now guided by compositional restraint and veteran confidence. Hence, you can get in touch with those Australian metallers via Facebook and Instagram, stream their sonic violence on Spotify, and of course purchase their new album from BandCamp, from Metal Blade Records, or from Direct Merch. With The Pulse of Annihilation, the band reaffirm their status not merely as Technical Death Metal stalwarts, but as architects actively shaping its future – proving that mastery, sharpened by time, only grows more lethal.

Best moments of the album: Gathering a Venomous Herd, Our Pillars Fall and Forging the Crown.

Worst moments of the album: None.

Released in 2026 Metal Blade Records

Track listing
1. Ashes of a New Dawn 4:08
2. Gathering a Venomous Herd 3:19
3. A Sword of Me 4:29
4. No Time for the Weak 3:43
5. Our Pillars Fall 6:45
6. Annihilation Pulse 4:03
7. No Blade of Grass 3:24
8. To Embrace This Curse 4:10
9. Forging the Crown 4:43

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

Album Review – Lumen Ad Mortem / A Grave Ascent (2026)

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This ruthless Black Metal entity from Down Under returns with their sophomore beast, offering a sonic landscape of chilling melodic ferocity and suffocating atmosphere.

Following the release of their debut record, Upon the Edge of Darkness, in 2023, Adelaide, Australia-based Black Metal horde Lumen Ad Mortem (or “light unto death” from Latin) returns with their sophomore beast titled A Grave Ascent, a striking dose of ferocious Black Metal that balances perfectly between an energetic drive fueled by lightning-fast tremolo riffs and a mid-paced dirge drenched in atmosphere. Recorded at Fjordrecord Studio C (vocals), at Forest Trees Studio (guitars, keyboards and orchestration), at M/E Studio (bass and percussion), produced and mixed by Patrick Pages Oliver at Blood Wolf Productions, mastered by Owen Gillett at O.G. Mastering, and displaying a sinister artwork titled “Le Devourer” by Leoncio Harmr, the new offering by Gregor Pikl on vocals, Aaron Tuck on the guitars, keyboards and orchestration, Morris Ewings on bass, and Rory Amoy on drums and percussion shines with a harmonious mix, sounding raw, cold and emotional, yet clear and perfectly balanced, a sonic landscape of chilling melodic ferocity and suffocating atmosphere.

What Was Lost is a haunting and evil intro that will send shivers down our spines before the band crushes our hopes and dreams with The Departed, where the devilish gnarls by Gregor match perfectly with the scathing riffs by Aaron, resulting in a lecture in modern-day Melodic Black Metal while Morris and Rory make the earth tremble with their ruthless bass and drums, respectively. The strident guitar lines by Aaron kick off another blast of absolute Black Metal magic titled I Never Ceded, inspiring us all to succumb to absolute darkness; whereas Rory shows no mercy for his drums in Ghost Gums, blasting our minds with total savagery and violence while also presenting Stygian, atmospheric moments.

Then the cryptic piano by Aaron ignites one more round of the band’s trademark obscurity in A Grave Ascent, before exploding into a massive beast led by Gregor’s demonic vociferations, followed by A Stone Shall Come to Rest, presenting a blend of doom-laden Black Metal and with the fierce riffage by Aaron being nicely complemented by Morris’ thunderous bass without a single second of peace. And What is Yet to Lose is another song with a cinematic intro, as suffocating as it can be, and when the music hits get ready to be pulverized into tiny pieces to the venomous roars by Gregor and the killer beats and fills by Rory, resulting in ten minutes of first-class, consuming and vile Black Metal to conclude their black mass.

Retaining a malleable nature, alongside ominous synth lines and drums that relentlessly drive the energy forward, while lyrically drawing from the Australian wellspring of loss, death, and the undying spirit that refuses defeat, driven by an unrelenting force of cold and undeniable vengeance, all set within an ancient landscape where the vastness of time and darkness renders human existence utterly insignificant, A Grave Ascent is a must-listen for admirers of the darkest side of music. Hence, you can get in touch with those Stygian musicians via Facebook and Instagram, stream their music on Spotify or any other platform, and above all, grab a copy of their striking new album from their own BandCamp, or from the Hypnotic Dirge Records’ BandCamp or webstore (as a CD or an LP). Bitterly cold, haunting and ethereal, A Grave Ascent will embrace you in darkness and choke you until you’re no more, exactly the way Black Metal is supposed to sound.

Best moments of the album: The Departed and And What is Yet to Lose.

Worst moments of the album: None.

Released in 2026 Hypnotic Dirge Records

Track listing
1. What Was Lost 2:06
2. The Departed 7:10
3. I Never Ceded 5:22
4. Ghost Gums 4:51
5. A Grave Ascent 6:04
6. A Stone Shall Come to Rest 5:47
7. And What is Yet to Lose 10:13

Band members
Gregor Pikl – vocals
Aaron Tuck – guitars, keyboards, orchestration
Morris Ewings – bass
Rory Amoy – drums, percussion

Guest musicians
Lachlan Odell – keyboards (live)
Lachlan Stopa – guitars (live)

Album Review – ANA / Motivated By Death (2026)

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This up-and-coming “Couture Metal” ensemble from Down Under strikes back with their first ever full-length album, an eight-track odyssey that serves as a philosophical exploration of the human condition.

Melbourne has long been a crucible for heavy music innovation, but Symphonic Metal entity ANA is currently redefining the aesthetic boundaries of the genre. Since their inception in early 2023, the quintet has bypassed standard symphonic tropes to establish “Couture Metal” as a sophisticated, upscale evolution of the craft that prioritizes high-fashion theatricality alongside punishing sonic precision. Led by the enigmatic frontwoman Anna Hristenko, whose vocal range anchors the band’s atmospheric depth, ANA have quickly transitioned from an intriguing newcomer to a formidable force in the international metal community, culminating now with the release of their first full-length album Motivated By Death, following up on their 2024 EP The Art of Letting Go. Engineered and mixed at Monolith Studios, and mastered at The Panicroom Studio, the new album by Anna Khristenko on vocals, Josh Mak on the guitar, Cody Lamb on bass, Mark Shi on keyboards, and Andres Felipe Martinez Osorio on drums is an eight-track odyssey that serves as a philosophical exploration of the human condition.

Like the intro to an epic movie, ethereal sounds permeate the air in Hate Me before morphing into a thrilling fusion of Symphonic and Alternative Metal led by Anna’s hypnotizing vocals, whereas Josh’s striking riffs are boosted by the electrifying keys by Mark in the upbeat Shadow of Life, highly recommended for fans of Within Temptation and Epica. Then Cody’s rumbling bass kicks off the hard hitting Following the Wind, perfect for some wild headbanging while Anna delivers her trademark vocals supported by the again whimsical keys by Mark; and after such an electrifying tune we face the dark ballad You Loved Me More Than I Love Myself, bringing passion and melancholy to the band’s feast of modern-day heavy music.

Andres takes the lead with his ruthless beats and fills in the mesmerizing Eyes of A Child, with their riffs and keys also taking us on a journey to far away lands, always spiced up by Anna’s striking vocals, followed by Sick Love, another enfolding ballad by Anna and her henchmen, with her passionate vocal lines being nicely complemented by the delicate piano and keys by Mark, ending on a strong note when the guitar, bass and drums join him. Papa is a decent song but not as captivating as the rest of the album, lacking an extra kick in the end, albeit Anna still delivers her usual striking vocals, and closing the album we have the band’s very interesting take on System of A Down’s classic Aerials (check the original one HERE if you’re from another dimension and doesn’t know it yet), where Anna and the boys bring passion and tons of symphonic elements to their inspiring rendition.

An invitation to see the birth of a new era in Australian heavy music, Motivated By Death will undoubtedly take ANA to new heights, hopefully meaning we’ll see the band touring on “distant” lands like the United States and Canada in the near future. Having said that, if you want to know more about the band and invite them to hit the stages of your hometown, you can find them on Facebook and on Instagram, subscribe to their YouTube channel, stream their classy music on Spotify, and of course put your hands on their incendiary new album by clicking HERE. ANA stand at the precipice of a new era with the release of Motivated By Death, proving that while life is temporary, great music is immortal.

Best moments of the album: Hate Me, Following the Wind and Eyes of A Child.

Worst moments of the album: Papa.

Released in 2026 Eclipse Records

Track listing
1. Hate Me 4:32
2. Shadow of Life 3:28
3. Following the Wind 3:32
4. You Loved Me More Than I Love Myself 5:42
5. Eyes of A Child 4:13
6. Sick Love 4:17
7. Papa 4:38
8. Aerials (System of A Down cover) 4:19

Band members
Anna Khristenko – vocals
Josh Mak – guitar
Cody Lamb – bass
Mark Shi – keyboards
Andres Felipe Martinez Osorio – drums

Album Review – Tardigrade Inferno / Hush (2026)

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Russia’s own Dark Cabaret Metal outfit returns with their third studio offering, blending their thoughtful songwriting, ironic lyricism, and aesthetic visuals with an authentic sound delivered with studio precision.

Formed in 2016 in Saint Petersburg, Russia (but apparently now located in Melbourne, Australia), the charming Avantgarde/Progressive Dark Metal/Rock known as Tardigrade Inferno, named after the resilient “slow walkers” (tardigrades) and the concept of a fiery hell (inferno), returns with another overdose of their “Dark Cabaret Metal” in their third full-length album, titled Hush. Produced by Vladimir Lehtinen at Blastbear Sound, and with a darkly delicate artwork by Milena Kress, the follow-up to their 2023 sophomore Burn the Circus is a compelling result of the evolving signature style by vocalist Darya Rorria, guitarist Alexander Pavlovich, bassist Maxim Belekhov, and drummer Andrew Drew, and the sheer power of their live performances, blending their thoughtful songwriting, ironic lyricism, and striking, highly aesthetic visuals with an authentic sound delivered with studio precision.

The album kicks off with the circus-like intro The Final Show, a work of madness by the band, hitting us hard in the head before we face Hide’n’Seek, starting in a tribalistic way to the hammering drums by Andrew and, therefore, inspiring us all to headbang like true maniacs while Darya delivers a Stygian vocal performance for our total delight. Deadly Fairytales is kinda like the epitome of “Dark Cabaret Metal”, as if Slipknot decided to hit the dance floor or start their own musical, with Alexander’s riffs adding an extra kick to the music; whereas All In Your Head is a song that should sound incredible live, leaning towards the Alternative Metal played by bands like Butcher Babies and Wednesday 13, followed by Dead Fish Smile, and I’m not sure if it’s a dark ballad or just a slower-than-usual song, but in the end it gets a bit generic.

They get back on track and put the pedal to the metal in the high-octane Subatomic Heist, with the guitars by Alexander walking hand in hand with Maxim’s thunderous bass lines; and their avantgarde and experimental vein pulses harder in I.C.D., while Darya screams the song’s wicked words like a mad queen. Goor keeps the energy flowing with its futuristic background elements and the always heavy artillery crafted by Maxim and Andrew, while the title-track Hush brings to our avid ears a striking fusion of Dark Metal with Metalcore and Alternative Rock and Metal, with Darya’s vocals and Alexander’s eerie guitar lines being in absolute sync. Finally, after the piano interlude Hypograph, we’re treated to six minutes of total metal madness titled I Am Eternal, focusing on Darya’s introspective, deep vocals while her bandmates make sure every single space in the air is filled with their heavy sounds.

Having always paid special attention to the visual side of their art, from stage costumes and characters to their album covers, Tardigrade Inferno are on absolute fire from start to finish in Hush, inviting us all for a wild and whimsical journey together with the band. You can find more information about Tardigrade Inferno, their music, tour dates, and plans for the future on Facebook, on Instagram, and on VKontakte, subscribe to their YouTube channel, stream their discography on any platform such as Spotify, and above all that, grab a copy of the striking Hush from BandCamp. With the release of Hush, it’s also the first time the band’s mascot, the Tardigrade, is absent from the artwork, symbolizing a kind of coming-of-age. The toys have been left behind in the nursery, and you better get ready as the band’s lunatic music found in Hush will mercilessly drag you to hell.

Best moments of the album: Hide’n’Seek, Subatomic Heist and Hush.

Worst moments of the album: Dead Fish Smile.

Released in 2026 Independent

Track listing
1. The Final Show 2:29
2. Hide’n’Seek 3:40
3. Deadly Fairytales 4:16
4. All In Your Head 4:12
5. Dead Fish Smile 5:01
6. Subatomic Heist 2:53
7. I.C.D. 5:29
8. Goor 5:55
9. Hush 3:38
10. Hypograph 0:44
11. I Am Eternal 6:28

Band members
Darya Rorria – vocals
Alexander Pavlovich – guitars
Maxim Belekhov – bass
Andrew Drew – drums

Album Review – Destroy Fear / The Dark Carnival (2026)

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Less than one year after the release of their excellent debut, this melodeath beast from Down Under returns with eleven tracks of undisputed aggression, melody and electricity in their sophomore opus.

Less than one year after the release of their excellent debut album The Mountain Before Us All, the unstoppable Melbourne, Australia-based Melodic Death Metal/Metalcore ensemble Destroy Fear continues to build momentum with their sophomore album, entitled The Dark Carnival. Having recently updated their lineup, the band currently formed of Scott Masson on vocals, Jayden Genuis on lead guitar, Luke Baird on rhythm guitar and bass, and newcomer Ondre Barca on drums offers eleven tracks of undisputed aggression, melody and electricity in The Dark Carnival, inviting us all to slam into the pit while they kick some serious ass both in the studio and onstage.

The cryptic Intro to the Dark Carnival sets the stage for the band to kick our asses with Dark Carnival, where Jayden and Luke shred their axes nonstop, delivering killer riffs and solos and, therefore, offering Scott exactly what he needs to roar like a headbanging maniac. Ondre then showcases his dexterity and fury in Slings and Arrows, hammering his drums while his bandmates deliver a striking fusion of Metalcore and Hardcore; and a darker, more sinister start evolves into another feast of groove and heaviness titled Elusion, showcasing a more introspective side of the band. The incendiary Hypochondriac presents hints of Progressive Metal and even Djent, with Scott sounding truly enraged on vocals while the riffage by Jayden and Luke transpire madness; and the band continues to venture through Groove Metal lands the likes of Machine Head in Overcome, albeit a bit generic in the end.

The second half of the album begins with an explosion of aggression titled All for Nothing, where the metallic guitars and bass by Jayden and Luke walk hand in hand with Ondre’s pounding drums. The quartet still has a lot of fuel to burn in House of Cards, with Scott taking the lead with his visceral growls and clean vocals supported by the wall of sounds built by his crew; whereas it’s time to slam into the pit to the sound of Alpha Omega, with Ondre crushing his drums like there’s no tomorrow in a demented explosion of melodeath with an edgy Hardcore vibe. Their second to last metal attack comes in the form of Without Teeth, again presenting their trademark ferocity and groove through their rebellious vocals, caustic riffs and hammering drums, and last but definitely not least, Scott will vociferate rabidly in our faces one final time in Recreant, accompanied by another striking guitar work by Jayden and Luke.

A must-listen for admirers of the caustic melodeath played by In Flames, Trivium, Parkway Drive, and Heaven Shall Burn, among several others, The Dark Carnival is already available for a full listen on any streaming platform such as Spotify and Audiomack, and you can also check what the band is up to, including their live performances, on Facebook, Instagram, and YouTube, or simply click HERE for all things Destroy Fear. Speaking of their live concerts, Destroy Fear managed to released the album in time for Outcast Festival 2026 in Melbourne alongside Verona Lights, Machine On A Break, ANA, Ion Sky, Jupiter The Giant, and Silent Lakes, proving those guys are all about bringing to the stages the energy found in their studio albums, and I’m sure it won’t take long for their album number three to come to light, and for us fans to have a few more reasons to enjoy a nice mosh pit just like what they have to offer in the excellent The Dark Carnival.

Best moments of the album: Dark Carnival, Hypochondriac and Alpha Omega.

Worst moments of the album: Overcome.

Released in 2026 Independent

Track listing
1. Intro to the Dark Carnival 0:47
2. Dark Carnival 4:40
3. Slings and Arrows 4:31
4. Elusion 4:34
5. Hypochondriac 4:12
6. Overcome 4:36
7. All for Nothing 4:27
8. House of Cards 5:23
9. Alpha Omega 4:10
10. Without Teeth 4:37
11. Recreant 4:06

Band members
Scott Masson – vocals
Jayden Genuis – lead guitar
Luke Baird – rhythm guitar, bass
Ondre Barca – drums