Austria’s own one-man Atmospheric/Post-Black Metal project is back with its sixth opus, portraying the state of being shattered into fragments and the slow, painful process of rebuilding oneself.
Originally conceived as an introverted, misanthropic, and anonymous project by vocalist and multi-instrumentalist L.G. (aka Lukas Gosch) in Graz, Austria back in 2011, the unrelenting Atmospheric/Post-Black Metal entity Ellende, a Middle High German adjective which means “miserable” or “exiled” (as well as “misery” in Dutch), is unleashing upon humanity its sixth full-length offering, titled Zerfall, which translates as “disintegration” or “decay,” portraying the state of being shattered into fragments and the slow, painful process of rebuilding oneself, a confrontation with the void and ultimately a triumph over it. Recorded, mixed and mastered by L.G. and Markus “Schwadorf“ Stock at Klangschmiede Studio E, featuring session drummer P.F., with oil painting by L.G. himself (under the moniker Farbbringer), and shaped also by a tragic event in the life of its mastermind, the follow-up to the project’s critically acclaimed 2024 album Todbringerin continues to fuse raw intensity with profound emotional depth, turning it into a must-listen for fans of Harakiri For The Sky, Wolves In The Throne Room, Alcest, Drudkh, Blut aus Nord, Negura Bunget, Paysage d’Hiver, and Woods of Desolation.
Stygian, introspective sounds set the tone in the intro Nur (or “only” from German), growing in intensity until we face Wahrheit Teil I (“truth part I”), starting with the caustic riffs by L.G. in the most visceral Black Metal style, offering seven minutes of first-class extreme music with L.G.’s venomous gnarls bringing even more anguish to the music, flowing into Wahrheit Teil II (“truth part II”), a darker tune exhaling Depressive Black and Doom Metal, with P.F.’s pounding drums hammering our souls mercilessly. Then the title-track Zerfall starts in a serene, melancholic manner before exploding into majestic Atmospheric Black Metal led by our lone wolf’s devilish riffs and vociferations, alternating between absolute darkness and whimsical, enfolding passages; followed by Übertritt (“transition”), another song that reeks of contemporary Melodic and Atmospheric Black Metal where the strident sound of L.G.’s guitar will pierce our blackened minds in great fashion.
Ode ans Licht (“ode to the light”) brings forward an imposing start to L.G.’s scathing riffage, sounding very melodic albeit not as exciting as the rest of the album while still presenting the project’s trademark melancholy. Zeitenwende Teil I (“turning point part I”), featuring Klara Bachmair from German Black Metal horde Firtan on the violin, is a lecture in extreme music, taking the listener on a one-way journey to absolute darkness together with L.G., with his riffs transpiring epicness; whereas in Zeitenwende Teil II (“turning point part II”), the second piece of such a thrilling Black Metal aria, L.G. keeps gnarling in the most obscure way imaginable supported by the classic beats by P.F., ending with a killer guest guitar solo by Peter Mairhofer from Austrian Melodic Death/Thrash Metal band Norikum. And lastly, we’re treated to the atmospheric, gloomy Reise (“journey”), where its acoustic moments bring peace to our gloomy hearts while its climatic ending sounds as captivating as it is devilish and grim.
Ellende has grown into an internationally recognized live act with session musicians firmly rooted in the Atmospheric Black Metal genre, while also incorporating classical instrumentation such as strings and grand piano, often pushing beyond the boundaries of what is considered traditional within the style, and that’s exactly what makes an album like Zerfall so interesting, detailed and hypnotizing. Hence, you can get in touch with L.G. and his Ellende via Facebook and Instagram, stream his vast and innovative discography on Spotify or any other streaming service, and grab a copy of Zerfall from BandCamp, from AOP Records, from Nuclear Blast or from Napalm Records allowing the music by Ellende to penetrate deep inside your blackened heart and, therefore, letting your deepest emotions arise. Because that’s what high quality Atmospheric Black Metal is all about, and we should always thank L.G. and his Ellende for providing us with such an amazing form of extreme music.
Best moments of the album:Zerfall, Zeitenwende Teil I and Zeitenwende Teil II.
Worst moments of the album:Ode ans Licht.
Released in 2026 AOP Records
Track listing 1. Nur 2:35
2. Wahrheit Teil I 7:03
3. Wahrheit Teil II 5:50
4. Zerfall 7:19
5. Übertritt 6:03
6. Ode ans Licht 4:23
7. Zeitenwende Teil I 6:36
8. Zeitenwende Teil II 5:01
9. Reise 7:14
What killed the dinosaurs? The Ice Age! But do you know what will crush you like an insect here on The Headbanging Moose? If you said it’s a ruthless bass player as our metal lady of this month of January to properly kick off the year of 2026, you’re damn right, my friend. She’s not only a member of one of the must-see names of the current Death Metal scene worldwide, but also a very talented tattoo artist. Her name is Samantha Mobley, also known as Sam Mobley, the badass bassist for Texas-based Death Metal entity Frozen Soul, and the owner and artist at Heavy Metal Tattoo, and after knowing more about such an up-and-coming artist who lives and breathes heavy music, you’ll definitely feel the heat in this always bitterly cold month to kick off another headbanging year in style.
Born and raised in Fort Worth, Texas, Samantha has always loved arts and music, constantly creating art as a child. “I’ve been an artist since I was a little girl, I would draw on anything I could get my hands on. Being a quiet and sensitive child, art was a perfect outlet for me, and it took up most of my time growing up, as well as having a love of music since I was little,” she commented. Always placed in advanced art classes in which she excelled, those were basically the only formal classes that allowed her to have structure and craft her technique. “I have done freelance photography, logos, artwork and graphic design since I was a teenager. I’ve become proficient in digital media, watercolor, oils, graphite, charcoal, acrylic, clay, and now, putting designs on skin,” said Sam, showing how talented she is not only in music, but also in arts in general.
Long before becoming a bassist, she spent around 11 years working as a pet stylist at a veterinary clinic, bathing, brushing, and styling everything from chihuahuas to great danes. “When Frozen Soul started, I was on a completely different career path. I was like a hermit pretty much. I just went to work and came home.” Also, despite the steady income coming form her days as a pet stylist, her decision to leave that stability and pursue her passion for music is a testament to her courage and determination, and all that can be easily noticed when you listen to her ruthless bass in any of the songs composed by Frozen Soul, proving she took the right decision to invest in her career as a musician.
She was gifted her first guitar at the age of 8, and a cherry red electric guitar at age 10, casually playing off and on throughout the years, always trying to teach herself the basics in between her studies. “I would listen to the radio, record it on a tape player, and teach myself how to play.” Sam grew up on 90’s alternative music, but quickly progressed into listening to heavier and heavier music in her teenage years. “The first thing that made me pick up an instrument when trying to learn how to play guitar was the band Kittie. I saw that they were all female and was like, ‘Shit, if they can do it, I can do it!’ I messed around with guitar in my free time when I was younger but as I got older I just really wanted to pursue music as it’s always been a huge passion of mine. When I finally got the opportunity to do so with Frozen Soul, at the time, the bass was the only instrument open. I had to learn it fast and now it’s my first instrument of choice, but I still play guitar passively too I guess.” She mentioned in an interview that she picked up bass at the end of 2018, and started practicing with a Black Metal band called Vermiculated. While short lived, it allowed her to get some experience under her belt. “We broke up right before I started playing with Frozen Soul, and shortly after (about a month or two after recording the Vermiculated demo) we recorded the Frozen Soul demo.”
However, not everything in her life has been as smooth as her career as a musician and as a tattoo artist, mentioning in an interview she struggled from the age of 15 up until about a few years ago with a mental illness misdiagnosis that deeply affected her life. “It caused me so many hardships, damaged relationships, setbacks, trauma, and ultimately, it caused me a lot of grief with the time lost in my late teens and all through my twenties. Now that I am in my early thirties, things have gotten much better for me because, honestly, I stopped being afraid of everything. I was too scared to go out of my comfort zone for too long and that squandered my potential because of it,” she said back then, but fortunately now she’s stronger than ever, kicking ass on and off stage with Frozen Soul, and spreading the beauty of her tattoos to the four corners of the earth.
Speaking of the frostbitten creature known as Frozen Soul, the band got together back in 2018 in Fort Worth, Texas, when vocalist Chad Green (End Times, Vulgar Display) and guitarist Michael Munday (End Times, Wildspeaker, Creeping Death, Disencumbrance, Contusions) set out to revive the primal force of 90’s Death Metal. After laying down initial riffs steeped in themes of winter’s desolation, the duo realized they needed a rhythm section capable of matching their vision. That’s when they recruited Sam, longtime acquaintance of both Chad and Michael. “I knew Michael and Chad, and they’re like, ‘Well, we need a bass player.’ I was like, ‘Fuck it, I’m going to learn how to play bass,’” she said in one of her interviews. Currently formed of our dauntless Sam Mobley on bass, the aforementioned Chad Green on vocals and Michael Munday on the guitars, Chris Bonner (Steel Bearing Hand, Tolar, Distort, Obstruction, Unit 21, Wild//Tribe) also on the guitars and Matt Dennard (End Times, Sage Fortune, Humanerror, High Anxieties, Negaduck, What They Lack) on drums, the band released the demo Encased in Ice, in 2019, followed by the split Live in Chicago 10/23/2019 (with the bands Molder and Coffin Rot), in 2020, their debut full-length album Crypt of Ice, in 2021, and their sophomore beast Glacial Domination (co-produced by Daniel Schmuck and Trivium’s own Matthew K. Heafy), in 2023 (including additional vocals by Sam herself on the song Morbid Effigy, which also features guest vocals by John Gallagher of Dying Fetus), all available on BandCamp and on Spotify.
The cold and ice-theme of the band might not make a lot of sense at first, as Texas is absolutely scorching during most of the year, but Sam perfectly explained why the band decided to move in such a unique direction. “We wanted to incorporate a band theme that was both true to the brutal nature of death metal without being played out . We like to think our theme sets us apart and gives us a different feel than most bands. It may be hot here, but we’re cold blooded,” she commented. Furthermore, if you want to feel the frostbitten Death Metal crafted by Sam and the boys, you can enjoy the official videos for the fantastic, bitterly cold Death Metal bangers Glacial Domination, Crypt of Ice, Arsenal of War, Encased in Ice, and their most recent single, a cover version for White Zombie’s Creature of the Wheel. Not only that, as Frozen Soul are a band that simply kicks ass onstage, you can also check out several videos on YouTube with their live performances, like their demolishing full set at Bloodstock Open Air Metal Festival 2023.
She mentioned in one of her interviews that some of her favorite bands growing up and her biggest influences are, in no particular order, Dissection, Acid Bath, Cannibal Corpse, Dying Fetus, Bolt Thrower, Crowbar, Black Sabbath, Pantera and Type O Negative, and let’s be honest, all of those influences can easily be seen in her playing style and sound. “I basically just try to be as punchy as possible without overpowering the guitars. I try to be as heavy as possible – the nastier the tone the better.” Frozen Soul are actually compared to Bolt Thrower a lot, and Sam is truly proud of it. “Jo Bench (Bolt Thrower) and Alex Webster (Cannibal Corpse) are my two main influences on bass,” she commented. Moreover, although we don’t have her list of top 10 albums of 2025 yet, you can find online her top 10 albums of 2024, a kickass list, by the way, including Mortal Wound’s The Anus of The World (10), Modem’s Megalomania (9), Gost’s Prophecy (8), Undeath’s More Insane (7), Blood Incantation’s Absolute Elsewhere (6), Enforced’s A Leap Into The Dark (5), Fluids’ Reduced Capabilities (4), 200 Stab Wounds’ Manual Manic Procedures (3), Necrot’s Lifeless Birth (2), and Fulci’s Duck Face Killings (1).
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Let’s now switch gears to her career as a tattoo artist. Owner and artist at Heavy Metal Tattoo, she specializes in colorful traditional and neo-traditional tattoos. “I started a tattoo apprenticeship in 2019, and graduated to a full time tattoo artist that same year.” She said that when she was a teenager, she was also big into painting and charcoal arts. “I took a little break from it in my twenties but it’s really what I love to do. Tattooing has always been super cool and at the time was a good way for me to earn a living while still doing art everyday. I did an apprenticeship and then I got really busy with clientele and then the opportunity presented itself for me to open my own shop. I knew nobody was going to let me work at a regular tattoo shop and be gone seven months out of the year on tour so I decided to open my own shop and that’s pretty much how it was all born.”
With Heavy Metal Tattoo, she has put together a solid team of tattoo artists who share a collective vision to make the shop an all-inclusive and safe space for their vast clientele in a male-dominated industry that has often not prioritized inclusion. “I want everyone to feel like they are welcome there and that it’s a safe play to get tattooed where you’re not going to get harassed or feel uncomfortable by male tattooers — which is a pretty big problem in the tattoo industry. Everyone’s welcome and I just want everyone to have a good time. I also want it to be a good environment for everyone who works there to grow in their career.” She also had some nice words to say about how to gain a loyal clientele. “Networking is a newer thing to me as of this past year… I’m pretty introverted. I’ve found Instagram to be the best for showcasing your work and gaining new clientele. Tattooing my friends that are also musicians or heavily involved in the local music scene has been very helpful too,” commented Sam in one of her interviews.
Back to her career as a musician, more specifically to the equipment she uses as a bass player both in the studio and when she’s kicking some serious ass across the stages worldwide, Sam said that she currently alternates between an 87 NJ BC Rich Warlock with DiMarzio pickups in it, and a 5 string Legacy Series Widow with active EMG pickups, while her pedal board consists of a Decimator, the Lone Wolf Audio Caveman pedal, a Metal Muff and her tuner. For her cab, she plays on a 8×10 Ampeg, and for her head she uses an Ampeg SVT4PRO.
Having already scored high-profile tours with Death Metal legends the likes of Cattle Decapitation, Aborted and Gatecreeper, and an arena run with Swedish Melodic Death Metal veterans Amon Amarth, Frozen Soul are already a force to be reckoned with when they hit any stage, but of course as their touring schedule gets busier and busier, all band members, including obviously Sam, have less and less time for other activities outside of the band. “It’s been very busy and very crazy. Last year, I think we toured seven months out of the year but this year has been a constant grind with touring to get our name out there and promote our new record. It’s been awesome though and it’s been nice to see the reception to everything. That tour with Amon Amarth really was an affirmation that we are doing the right thing. For some of the shows, we were playing to six-thousand people a night, so going from 800-cap venues to that was a little bit jarring but also really cool,” she commented.
During such a hectic touring schedule, Sam always finds time for herself. “For self care, on an off day I will do my own thing and take an Uber somewhere to get a pedicure, manicure or maybe a massage. I feel like that is very important for me on tour because I’m always the only woman in the band. It’s very chaotic and hectic every day, so having a little bit of peace, at least once a week is essential,” she said, also commenting about other things that help her calm down, relax and decompress from her touring madness. “Sometimes, I’ll go find a local card store and play Magic: The Gathering or go shopping even if I don’t end up buying anything. I feel like I’m kind of bougie but I bring a massage gun, face masks and satin eye things to help me go to sleep which really helps me. I also bring my Steam Deck so I can play video games. Any little thing helps.”
Moreover, among all concerts ever played by Frozen Soul, there’s one in particular in 2024 that holds a very special place in her heart. “One of the things that I’m super proud of is when we played Red Rocks Amphitheatre last year with Amon Amarth, Cannibal Corpse, and Obituary. All of our families flew out for that. I did special makeup. And I had special stuff on. I had a special bass. And I played what I would consider a perfect set. We were technically the first death metal band to play there. So we have a plaque at Red Rocks. And that means I’m the first female death metal musician to play there as well.” Her first ever concert with Frozen Soul was also a special one for her and the boys, of course. “It was weird for me because I had never toured. Hell, my first live show was with Blood Incantation and Necrot. That was my first time playing live – ever! I still actually get nervous to this day.”
As a proud and strong woman, Sam also had a few beautiful words to say to any girl who wants to start a career in heavy music or in tattooing. “I am in two professions that are male-dominated. My advice is to study hard, work your ass off, and don’t take anyone’s shit. Do everything with your whole heart because anything less is not worth doing. My advice for other women and younger women especially would be to just figure out what means the most to you and just go for your dreams. The worst that can happen is that you fail. And even failure is not an excuse to give up. Keep trying, learn from your setbacks, because sometimes wonderful opportunities will present themselves as a result.”
As expected, our dark diva is also a huge fan of the occult. “I have an entire wall of books that are just occult and astrology stuff. I used to study pagan witchcraft when I was younger and studied it heavily for fifteen years and am still very interested in it. I would say the ‘three of swords’ card is my favorite, I actually wanted to get that tattooed on my chest at one point. I’ve always liked the imagery of it and think it looks sick.” There are lots of excellent interviews online with Sam where she talks about different topics like that, such as episode 55 of the series “She’s with the Band” by Knotfest, where she discusses her passion for Death Metal and tattoos, being the only woman on tour with a lot of men, and more, and you should definitely go check all of those interviews, as well as the music by Frozen Soul. Because Samantha Mobley is an indomitable bassist and tattoo artist that’s getting stronger and more prominent in the world of heavy music year after year, and you better get ready as once she hits you with her devilish music and art, there’s no escape from her ice-cold embrace.
There’s not much to celebrate in rock and metal music in the same year when we lost the one and only John Michael “Ozzy” Osbourne. Nothing will ever be the same without the Prince of Darkness, the Madman, The Wizard of Ozz. There isn’t a single artist or band reviewed in the history of The Headbanging Moose that wasn’t influenced in several ways by Ozzy and, of course, by Black Sabbath. It is a very sad year indeed. However, Ozzy was always in a great mood, always happy, and I’m sure that, wherever he is now, he wants to see us all smiling and laughing, because that’s what life is all about. He also wants us to keep attending rock and metal concerts to have a good time with our loved ones, with our closest friends, just like Keith Ibbitson of Metal Paparazzi and I did so many times this year, covering incredible bands the likes of Blackbraid, Ne Obliviscaris, Cattle Decapitation, Blind Guardian, and so on. I’ve also had the utmost pleasure of seeing the mighty Judas Priest in Dalhalla, Sweden, a dream come true for this fanboy here, and I can’t wait to “run for my life” in 2026. Having said all that, let’s honor the life of Ozzy with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2025, excluding EP’s, best of’s and live albums, and keep on rockin’ like the Madman until our very last breath!
1. Blackbraid – Blackbraid III (REVIEW) Behold the stunning next chapter in the musical and spiritual journey of the witch hawk of Black Metal hailing from the Adirondack Mountains.
Best song of the album: Wardrums At Dawn On The Day Of My Death
2. Werewolves – The Ugliest of All (REVIEW) The torchbearers of “Caveman Death Metal” continuing to annihilate intellects with an unlistenable barrage of truly hideous music.
Best song of the album: The Ugliest of All
3. Testament – Para Bellum (REVIEW) Let’s prepare for war to the sound of the breathtaking fourteenth studio album by California’s own masters of old school Thrash Metal.
Best song of the album: Para Bellum
4. Helloween – Giants & Monsters (REVIEW) These German giants of Heavy Metal and monsters of Rock N’ Roll are back with their ass-kicking seventeenth studio album.
Best song of the album: Majestic
5. An Abstract Illusion – The Sleeping City (REVIEW) This incredible Swedish Progressive Death and Black Metal entity returns with their heaviest and most atmospheric work to date.
Best song of the album: Like a Geyser Ever Erupting
6. Allegaeon – The Ossuary Lens (REVIEW) World domination awaits to the sound of the striking new beast by one of the must-see bands of the current tech death scene worldwide.
Best song of the album: The Swarm
7. 1914 – Viribus Unitis (REVIEW) Trench warfare meets blackened death and doom in 1914’s fourth onslaught of war-torn fury.
Best song of the album: 1918 Pt 3: ADE (A Duty to Escape)
8. Cryptopsy – An Insatiable Violence (REVIEW) Canada’s own Death Metal machine returns with their ruthless ninth studio album.
Best song of the album: Until There’s Nothing Left
9. Baest – Colossal (REVIEW) Back from the fires of Denmark, this unstoppable creature will crush you with their fourth studio album.
Best song of the album: Colossus
10. Diabolizer – Murderous Revelations (REVIEW) The torchbearers of diabolical abomination unite once again to drag us down into the fiery abysses of Turkish Death Metal without warning.
Best song of the album: Deathmarch of the Murderous Tyrant
And here we have the runner-ups, completing the top 20 for the year:
11. Lorna Shore – I Feel The Everblack Festering Within Me (REVIEW)
12. Impureza – Alcázares (REVIEW)
13. Crimson Shadows – Whispers of War (REVIEW)
14. Primal Fear – Domination (REVIEW)
15. Serenity In Murder – Timeless Reverie (REVIEW)
16. Khôra – Ananke (REVIEW)
17. Panzerchrist – Maleficium – Part 2 (REVIEW)
18. Ominous Ruin – Requiem (REVIEW)
19. Wrath of Belial – Embers of Dead Empires (REVIEW)
20. Grima – Nightside (REVIEW)
Not only that, here’s once again our Top 10 EP’s of 2025, proving once and for all that the duration of an album is not that important in the end. As long as the music is great, the whole thing can be only one second long, like the classic “You Suffer” by Napalm Death!
1. When Plagues Collide – Kingmaker (REVIEW)
2. De Profundis – The Gospel Of Rot (REVIEW)
3. Fimbul Winter – What Once Was (REVIEW)
4. NecroticGoreBeast – Brute (REVIEW)
5. Serpent Corpse – Retaliate (REVIEW)
6. Akouphenom – Connections To The Erebus (REVIEW)
7. Necht – The Inevitable Suffering (REVIEW)
8. Discovery Through Torment – Telesynthetic Rebirth (REVIEW)
9. Der Rote Milan – Verlust (REVIEW)
10. Eleine – We Stand United (REVIEW)
Do you agree with our list? What are your top 10 albums of 2025? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show!
Metal Xmas and a Headbanging New Year! See you in 2026!
And of course, as we really don’t like those boring Christmas songs here on The Headbanging Moose, we’ll leave you with what’s perhaps the most emotional and strongest metal hymn of the year, the charity version of “War Pigs”, by Black Sabbath, recorded by Judas Priest and with Ozzy himself sharing the vocal duties with the Metal God Rob Halford! This is the epitome of rock and metal music!
Generals gathered in their masses Just like witches at black masses…
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 Revellersalready 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
Behold the striking debut album by this new Atmospheric Black Metal entity from Texas, a vessel of exploration set adrift in a vibrant storm of metal intensities.
A new musical project by Charlie Anderson, who is a violinist and composer from the United States known for his work with the band Panopticon, Huston, Texas-based Atmospheric Black Metal entity Weft is ready to unleash upon us its debut opus, entitled The Splintered Oar. Recorded and mixed by Charlie himself (with contributions by Austin Lunn, Andrea Morgan and Jordan Day, who are also guest musicians in the album), mastered by Spenser Morris, and displaying a stylish artwork by Austin Lunn, The Splintered Oar is a vessel of exploration set adrift in a vibrant storm of metal intensities, a very adventurous and exciting album that perfectly represents Charlie Anderson’s vision and passion right from its very first notes until its climatic ending.
Leaves sounds absolutely melancholic and delicate from the very first second, with the crying violin by Andrea walking hand in hand with Charlie’s minimalist acoustic guitar, flowing into False Kingdoms, which also begins in a cinematic manner, evolving into a feast of contemporary Atmospheric Black Metal led by Charlie’s anguished gnarls and his flammable, piercing stringed weapons. The striking violin by Andrea returns in full force in The Hull, clashing with the Black Metal blast beats by Austin and, therefore, resulting in a superb aria of darkness where Charlie keeps vociferating like a demonic entity for our total delight. Then Charlie and his crew continue to embellish the airwaves with their blend of Atmospheric Black Metal madness in Red Dawn, with his guitars and synths adding an extra touch of insanity to the overall result; whereas lastly we’re treated to the longest of all songs, entitled Dream of Oaks, an acoustic display of Black and Folk Metal that morphs into some sort of Blackened Doom insanity during its second half, presenting different layers carefully crafted by our multi-talented Charlie and his crew.
They say that it takes a band or musician their entire life to create their first album, and on the weathered, atmospheric, and truly adventurous The Splintered Oar, it sounds like every note has indeed a lifetime of exploration, joy, loss, and growth behind it. Hence, you can put your hands on such a unique, multi-layered album of extreme music via the project’s own BandCamp, as well as from the Bindrune Recordings’ BandCamp or webstore as a CD or an LP, and I’m sure we’ll soon see Charlie and his Weft take other virtual realms by storm such as Facebook, Instagram and Spotify. In the end, Charlie Anderson is Weft, and Weft is Charlie Anderson, with The Splintered Oar beautifully representing the fusion of body, soul and extreme music by such an amazing new entity of the current American scene.
Best moments of the album: False Kingdoms and The Hull.
Worst moments of the album: None.
Released in 2025 Bindrune Recordings
Track listing 1. Leaves 5:04
2. False Kingdoms 9:12
3. The Hull 10:25
4. Red Dawn 6:36
5. Dream of Oaks 12:11
Band members Charlie Anderson – vocals, guitars, bass, strings, electric violin, synth, piano, additional percussion
Guest musicians
Austin Lunn – drums
Andrea Morgan – violin and vocals on “Leaves”, “The Hull” and “Dream of Oaks”
Jordan Day – vocals on “Dream of Oaks”
Let the ambience take you over in the fifth studio album by this up-and-coming Cosmic Black Metal entity from outer space.
Having started back in 2021 as a studio project by vocalist and multi-instrumentalist Aleksandr Medvediev in his hometown of Kherson, Ukraine, but currently located in Szczecin, Poland, the otherworldly Symphonic Black Metal entity known as Morbonoct evolved into a more serious and powerful beast in 2023 when vocalist and lyricist David Welnicki joined the band. Now in 2025, after the releases of Anmet (2021), Chorna bezodnya (2022), Galactic Gloom (2023), and The Highest Purpose (2024), the duo returns in full force with their fifth opus, entitled No One Knows We’re Dying. Recorded, mixed and mastered by Aleksandr himself, who also took care of the album’s cryptic artwork, the album offers more of the project’s blend of Cosmic Black Metal, continuing with their exploration of the captivating space theme while presenting dense atmospheric canvases in the background.
It doesn’t take too long for Aleksandr to go full Black Metal in The Creation, offering us all 11 minutes of visceral passages, breaks and variations, with his beats and fills sounding truly insane while Dawid barks and growls nonstop. Lost also surpasses the ten minute mark, warning the listener the album is not for the lighthearted, blending Atmospheric Black Metal moments with the undisputed, raw aggression of Black Metal; followed by Cold Wind, one of the heaviest songs of the album, if not the heaviest, showcasing an amazing job done by Aleksandr on both the guitars and drums, providing Dawid with exactly what he needs to vociferate sheer Black Metal fury. Drifting Away is more contemporary and melodic, also starting in an ethereal way led by the whimsical keys by Aleksandr, offering elements of Doom Metal to spice things up a bit while Dawid’s vocals exhale anguish, and lastly, an extraterrestrial intro slowly morphs into the Atmospheric Black Metal title-track No One Knows, We’re Dying, with Aleksandr crushing his drums majestically in a lecture in progressiveness, heaviness, intricacy and darkness.
“No One Knows We’re Dying traces the inevitable cycles of life – from the beauty of creation to the weight of existence, and finally, to a cold, inevitable silence. The project embraces raw authenticity, with the mix and master intentionally restrained to preserve the natural texture of the vocals. Minimal post-processing allows every imperfection to speak truthfully, amplifying the emotional resonance of the performance. The instrumental foundation forms a cohesive narrative that evokes deep melancholy and a quiet sense of hopelessness, guiding the listener through a hauntingly introspective experience,” commented Aleksandr, and you can be part of Morbonoct’s cosmic journey by following the project on Instagram, by streaming their unique albums on Spotify, and of course by purchasing No One Knows We’re Dying from BandCamp. Or in other words, relax, take a deep breath, and simply let the ambience take you over in the excellent new album by this up-and-coming Cosmic Black Metal entity from outer space.
Best moments of the album:Cold Wind and No One Knows, We’re Dying.
Worst moments of the album: None.
Released in 2025 Independent
Track listing 1. The Creation 10:55 2. Lost 10:43
3. Cold Wind 11:45
4. Drifting Away 11:16
5. No One Knows, We’re Dying 12:07
Band members Dawid Wełnicki – vocals
Aleksandr Medvediev – guitars, bass, keyboards, drums
Under a pale Colorado moon, this devilish Symphonic and Blackened Death Metal creature attacks with their flammable debut opus.
Under a pale Colorado moon, the devilish Symphonic/Blackened Death Metal creature Pedestal for Leviathan attacks once again with their fusion of Brutal Death Metal riffing with an appreciation for symphonic extreme blackened bands such as Cradle of Filth and Dimmu Borgir in their first full-length opus, poetically titled Enter: Vampyric Manifestation, following up on their 2024 EP Festering Apparition. Written, recorded, and mixed by the band’s own Kendrick Lemke, completed by a spellbinding cover artwork by Australian illustrator Alexander Kemp, and with the preceding EP as bonus tracks, the new offering by Kendrick Lemke on vocals and guitar, Mathew Meyer also on the guitar, Noah Filthen on bass, and Corbin Echtermeyer on drums sounds absolutely huge, with its sound, vision, and execution all forming a symbiosis of grim grandeur and fathomless darkness tailored for admirers of Septicflesh, Fleshgod Apocalypse, Belphegor, Arkhon Infaustus, and Darklord, just to name a few.
A horror movie-like intro evolves into a gruesome beast of Symphonic Black and Death Metal entitled Chalice Bleeds Intoxicant, with Kendrick stealing the show with his deep, devilish roars; whereas the frantic, heavy-as-hell drums by Corbin walk hand in hand with grim background orchestrations in Summoning Sickness, also presenting a demonic riff attack by Kendrick and Mathew. Lycanthropichrist, the first single of the album, offers our metallic ears more of the band’s inhumane sounds, with their guitars exhaling Black Metal magic, followed by Sanctity of Retribution, uniting the epicness of Symphonic Metal with their visceral blackened sounds (albeit a bit generic in the end).
Purgatory Displacement brings forward an avalanche of Symphonic Black Metal madness with Kendrick’s Brutal Death Metal screeches adding even more flavour to an already bestial tune, and again blending the obscurity of Black Metal with the aggressiveness of Death Metal we face Karmic Recollection Mirror, where both Noah and Corbin sound ruthless with their demonic kitchen. Then after the grim, cinematic interlude Snow Covered Monolith, we’re treated to the closing tune, the devilish Warlock Blacksmith, as chaotic and melodic as it can be, led by the visceral riffs by Kendrick and Mathew and matching perfectly with its evil background keys. Furthermore, the bonus tracks from their 2024 EP Festering Apparition are absolutely fantastic, in special Beast Rune, adding even more meat to their blackened banquet.
In the end, Enter: Vampyric Manifestation is undoubtedly a record that has crossover appeal for fans of both Death and Black Metal, from both underground and above, as well as the more-adventurous sorts into Symphonic Metal. You can get more details about the band and the album on Instagram, stream it in full on any platform like Spotify, and of course, above all that, purchase a copy of it from the band’s own BandCamp, from the Personal Records’ BandCamp or webstore, or simply by clicking HERE. Enter: Vampyric Manifestation will certainly take Pedestal for Leviathan places, and if you enjoy the fusion of all elements that make the darkest side of metal even darker and more disturbing, I’m sure you’ll want to join the band and visit those same devilish places with them, always in the name of our beloved extreme music.
Best moments of the album:Summoning Sickness, Purgatory Displacement and Warlock Blacksmith.
Worst moments of the album:Sanctity of Retribution.
Enveloped in shadow, this six-headed German Black Metal beast returns with a new EP encouraging us to sit with the discomfort, with the pain and acknowledge that change is certain, but it is not hopeless.
Enveloped in shadow, Trier, Germany-based sextet Der Rote Milan returns to action with more of their intense, melodic, riff-driven Black Metal in their newborn EP Verlust, the German word for “loss.” Produced by the band itself, recorded, mixed and mastered by Markus Stock at Klangschmiede Studio E, and displaying a suffocating artwork by Matt Prison, the follow-up to their 2019 full-length album Moritat and their the 2023 EP Schlund sees the band formed of III on vocals, I and V on the guitars, VII on bass, II on synths, and VI on drums develop further their Atmospheric Black Metal sound and lyrical depth, all steeped in a deep sense of humanity, of indulging in the human condition, even those parts many may wish to avoid, encouraging us to sit with the discomfort, with the pain and acknowledge that change is certain, but it is not hopeless.
The EP kicks off in great fashion to the strident, piercing riffs by I and V in Aus der Finsternis, or “out of the darkness” from German, evolving into a bestial fusion of old school Black Metal with Post-Black Metal nuances, sounding utterly hypnotizing and vile from start to finish. Où allez-vous, or “where are you going?”, brings forward more of their trademark sonority, with VI sounding ruthless as usual on drums while III vociferates the song’s devilish words majestically; and there’s no time to breathe as such a demonic horde invades our senses with Skepsis der Existenz, or “skepticism of existence” (referring to a philosophical doubt about the nature and reality of existence itself), perhaps the most Black Metal of all songs, with III once again stealing the show with his raspy growling. Verlust, the song that carries the name of the EP, brings forward an overdose of soul crushing riffs by I and V supported by the classy drumming by VI; and they close the EP on a vile and frantic mode with Der letzte Rubin, or “the last ruby.” inspired by a poem by Johann Wolfgang von Goethe. Furthermore, I can imagine the speed and size of the circle pits that can be formed during it, all boosted by another rumbling background crafted by VII, II and VI.
Exploring a strange sense of beauty that emerges from despair through the multi-faceted nature in which loss is experienced, the music by Der Rote Milan draws not only from nature, but also from the darker side of humanity’s acts, notably historical wars in Central Europe, anti-religion and, on an individual level, inner conflict. The combination of those elements with the harshness of Black Metal sounds once again fantastic in the band’s newborn EP, and if you want to put your damned hands on it simply go to BandCamp or to Unholy Conspiracy Deathwork, and don’t forget to also follow the band on Facebook and on Instagram, and stream their austere creations on any platform like Spotify. Because loss exists and purveys through our lives in many forms, one of them being the undisputed Black Metal offered by Der Rote Milan in albums like Verlust, a must-listen for admirers of the darkest side of music and life in general.
Best moments of the album:Où allez-vous and Skepsis der Existenz.
Worst moments of the album: None.
Released in 2025 Unholy Conspiracy Deathwork
Track listing 1. Aus der Finsternis 4:46 2. Où allez-vous 4:40
3. Skepsis der Existenz 4:06
4. Verlust 4:12
5. Der letzte Rubin 5:04
Band members
III – vocals
I – guitar
V – guitar
VII – bass
II – synths
VI – drums
This up-and-coming Deathcore ensemble is ready to attack armed with their newborn EP, telling a video game-inspired story of collapse and replacement.
Blending elements of Brutal Death Metal, Slam, and Black Metal into a sound defined by relentless aggression and technical intensity, Montreal, Quebec’s own Deathcore beast Discovery Through Torment has been building a reputation in the Canadian underground metal scene for uncompromising heaviness, surgical precision, and a clear artistic identity rooted in themes of Sci-Fi, aliens, and existential decay. Now in 2025 the band formed of vocalist Alexandre Desroche, guitarists Samuel Fortin and Frédéric Ricard, bassist Alexis Lafrance, and drummer Charles-Étienne Lafrance returns to the battlefield with a new EP titled Telesynthetic Rebirth, following up on their demented 2022 sophomore opus The Mangled God. Recorded and produced by the band itself, mixed and mastered by Maxime Lacroix of House of Gain Studio, and displaying a sinister artwork by Mark Erskine of Erskine Designs, the EP tells a video game-inspired story of collapse and replacement, following the downfall of a former entity and the rise of a new force that abducts humans, reshapes them into telepathic killing machines, and unleashes them in a genocidal conquest of Earth. The lyrics weave themes of experimentation and domination, closing with a cliffhanger that sets up the next chapter.
Eerie sounds permeate the air in the opening track Dethronement, exploding into a beyond brutal and technical slab of Deathcore led by Charles-Étienne’s demented beats and fills while Alexandre delivers those deep, inhumane growls we all love so much. Their demented feast of Blackened Deathcore goes on in full force in Arcane Inception, showcasing an amazing job done by Samuel and Frédéric on the guitars, being therefore perfect for some action inside the circle pit; and Charles-Étienne doesn’t let the band’s aggressiveness and heaviness go down not even a tiny bit in Veil Unferling, with those insane breakdowns providing Alexandre with exactly what he needs to roar like a demonic entity. Moreover, the song has a nod to the first F.E.A.R. game, with a hidden line straight from Paxton Fettel. Lesions is by far the most infernal (and consequently the most trilling) of all songs from the EP, where Alexis hammers his bass manically accompanied by the thunderous drums by Charles-Étienne; and finally, they add hints of Melodic Death Metal to their core sonority in First Encounter Assault Regiment (a play on the aforementioned game’s acronym), and the final result is obviously incendiary.
As an unsigned and self-produced act, Discovery Through Torment exemplify the raw potential of modern underground metal music, always ambitious, unfiltered, and driven entirely by passion, and their brand new EP is the perfect depiction of all that hard work and focus. Hence, you can show those relentless metallers your total support by following them on Facebook and on Instagram, by streaming their music on any platform like Spotify, and of course by purchasing their excellent new EP from BandCamp or by clicking HERE. It certainly won’t take long for Discovery Through Torment to attack again with the next chapter in their already solid career, and I can’t wait to see what’s next for such an up-and-coming Deathcore ensemble after the striking and incendiary Telesynthetic Rebirth.
Best moments of the album:Arcane Inception and Lesions.
Behold the debut opus by this uncanny duo from Finland, offering a harrowing albeit intriguing sound that’s strangely both alarming and comforting in parts.
Hailing from the darkest and most mysterious corners of Finland, the uncanny duo known as Death Obvious came out of nowhere to release a debut album that coalesces elements of Avantgarde Black, Death and Doom Metal to create a harrowing albeit intriguing sound that’s strangely both alarming and comforting in parts. Showcasing a straightforward, grim artwork by Petri Kiviniemi, the debut offering by Lea LaVey on vocals and Sima Sioux on guitars, bass, keyboards and drums brings to our avid ear eight songs that sound like excursions into pitch-black darkness, not knowing what’s coming next, while the listener remains terrified, haunted by monstrous and spectral voices coming and going, being therefore highly recommended for fans of Thantifaxath, Dodecahedron, Veilburner, Lurk, Blut aus Nord, Hexrot, and Deathspell Omega.
Mercury Off Axis is absolutely dissonant, disturbing and grim from the very first second, gradually adjusting its shape and form to a hammering Sludge Metal beast led by the rumbling bass and riffs by Sima, who keeps pounding his drums until a storm of blackened sounds comes crushing our damned souls in Santuario, with Lea barking and roaring rabidly in the name of total fucking darkness. The Great Gate Theory sounds even more sluggish and introspective, with the bass by Sima once again reverberating beautifully while Lea’s vocals transpire insanity; and it’s pedal to the metal in the Experimental Black Metal attack entitled Total Heavenly Desolation, with Lea sounding demented on vocals while Sima crafts the most caustic sounds imaginable armed with his riffs, bass and drums.
Then leaning towards a more visceral, direct form of Black Metal we face The Third Eye Burning, as primeval as it can be, again offering our putrid ears the absolutely dissonant sounds blasted by the duo, whereas after such an insane display of extreme music the duo brings forward the Stygian tune Suffer The Spectacle, starting in a cryptic manner before Lea begins barking like a venomous beast. Their Sludge and Doom Metal vein pulses harder than ever in As Absence Expands Over Everything, perfect for some vigorous headbanging in absolute obscurity; and lastly, it’s time for the chaotic, ruthless Catechismus For The Plagued, presenting eight and a half minutes of first-class Avantgarde Black and Death Metal spearheaded by the demolishing beats by Sima, ending in utter insanity and violence.
In summary, the Finnish death dealers of Death Obvious are clearly onto something in their first full-length opus, having created an exceptional and mature release right off the bat, one that deserves as much attention as it can possibly get before it gets lost in the annals of history. Hence, you can get to know more about such a promising new entity of the Finnish scene on Facebook and on Instagram, stream their wicked music on Spotify, and of course purchase their caustic album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Because Death Obvious is not a rebirth, but a necessary resuscitation.
Best moments of the album:Total Heavenly Desolation, The Third Eye Burning and Catechismus For The Plagued.
Worst moments of the album:Suffer The Spectacle.
Released in 2025 Transcending Obscurity Records
Track listing 1. Mercury Off Axis 5:38
2. Santuario 5:13
3. The Great Gate Theory 5:16
4. Total Heavenly Desolation 4:45
5. The Third Eye Burning 5:56
6. Suffer The Spectacle 6:51
7. As Absence Expands Over Everything 5:53
8. Catechismus For The Plagued 8:30
Band members Lea LaVey – vocals
Sima Sioux – guitars, bass, keyboards, drums
Originally conceived as an introverted, misanthropic, and anonymous project by vocalist and multi-instrumentalist L.G. (aka Lukas Gosch) in Graz, Austria back in 2011, the unrelenting Atmospheric/Post-Black Metal entity Ellende, a Middle High German adjective which means “miserable” or “exiled” (as well as “misery” in Dutch), is unleashing upon humanity its sixth full-length offering, titled Zerfall, which translates as “disintegration” or “decay,” portraying the state of being shattered into fragments and the slow, painful process of rebuilding oneself, a confrontation with the void and ultimately a triumph over it. Recorded, mixed and mastered by L.G. and Markus “Schwadorf“ Stock at Klangschmiede Studio E, featuring session drummer P.F., with oil painting by L.G. himself (under the moniker Farbbringer), and shaped also by a tragic event in the life of its mastermind, the follow-up to the project’s critically acclaimed 2024 album Todbringerin continues to fuse raw intensity with profound emotional depth, turning it into a must-listen for fans of Harakiri For The Sky, Wolves In The Throne Room, Alcest, Drudkh, Blut aus Nord, Negura Bunget, Paysage d’Hiver, and Woods of Desolation.
Ellende has grown into an internationally recognized live act with session musicians firmly rooted in the Atmospheric Black Metal genre, while also incorporating classical instrumentation such as strings and grand piano, often pushing beyond the boundaries of what is considered traditional within the style, and that’s exactly what makes an album like Zerfall so interesting, detailed and hypnotizing. Hence, you can get in touch with L.G. and his Ellende via Facebook and Instagram, stream his vast and innovative discography on Spotify or any other streaming service, and grab a copy of Zerfall from BandCamp, from AOP Records, from Nuclear Blast or from Napalm Records allowing the music by Ellende to penetrate deep inside your blackened heart and, therefore, letting your deepest emotions arise. Because that’s what high quality Atmospheric Black Metal is all about, and we should always thank L.G. and his Ellende for providing us with such an amazing form of extreme music.
THE HEADBANGING MOOSE 