This the unrelenting Blackened and Atmospheric Death Metal entity from France strikes again with their sophomore album, definitely not one for the faint of heart.
Forged in 2013 in the fires of Chambéry, an Alpine town in southeast France, the unrelenting Blackened/Atmospheric Death Metal entity known as Viande (the French word for “meat”) does more than create scarring, wholesome dark and doomy Death Metal – they delve into the more atmospheric side of things that messes with your consciousness and has potential psychological implications. Adorned by a grim artwork by JB Godefroy, the caustic Monument aux morts, which is French for “war memorial,” is the sophomore studio opus by vocalist J, guitarist B, bassist O, and drummer I, following up on their 2022 full-length L’abime dévore les âmes, offering more of the band’s aggressive, militaristic approach aided by a combination of abyssal growls and tormented screams, and ultimately, a haunting, eerie atmosphere touched by dissonance that wouldn’t be out of place in a horror movie.
After an ominous start the band comes ripping our hearts out in Linceul immense (“immense shroud”), with the vile guttural by J sending shivers down our spines in a lecture in Blackened Doom Metal; then O and I make the earth tremble with their ruthless bass and drums in Sacrifice ardent (“burning sacrifice”), as sluggish, grim and vile as it can be. Germes de mort (“seeds of death”) brings forward another round of the band’s trademark fusion of Black, Death and Doom Metal, led by the cryptic riffs and synths blasted by B, while Monolithe de chagrin (“monolith of sorrow”) alternates between the absolute heaviness of Doom Metal and the visceral sounds of Death Metal.
After such a demented display of deadly sounds the band keeps haunting our souls with Cercueil de vase (“coffin of vase”), a bold, intense display of their Atmospheric Death Metal vein spearheaded by the always gruesome vociferations by J, followed by Une cage d’os (“a cage of bones”), not recommended for the faint at heart, with the dissonant riffs by B piercing our flesh mercilessly. I takes the lead with his slab of brutality on drums in L’esprit cachot (“the dungeon spirit”), making the album sound even more obscure and infuriated, whereas Austérité maximum (“maximum austerity”) is an extensive outro that albeit atmospheric doesn’t add much to the album. And lastly, as a bonus track we have L’homme Brasier (“the brazier man”), as demented as the other songs and, therefore, worth the investment in whatever version it’s available.
When the carefully devised Monument aux morts ends, the feeling is akin to stumbling out of a horrific catacomb in an enhanced spiritual state, with the cries of a thousand dead souls still ringing in your head, being therefore perfect for fans of the obscure music crafted by Incantation, Teitanblood, Cruciamentum, Dwelling Below, and Dead Congregation. Furthermore, if you want to know more about such a dark creature from the French extreme music landscape, you can find the band on Facebook and on Instagram, staying up to date with their live concerts, stream their scorching music on any platform such as Spotify, and above all that, grab a copy of the excellent Monument aux morts from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store (or click HERE for all things Viande). Monument aux morts is an exceptional album in the style and definitely not one for the faint of heart, and we can all rest assured Viande are far from done when it comes to spreading darkness through their Black and Death Metal creations.
Best moments of the album:Linceul immense, Cercueil de vase and Une cage d’os.
Worst moments of the album:Austérité maximum.
Released in 2026 Transcending Obscurity Records
Track listing 1. Linceul immense 6:26
2. Sacrifice ardent 7:07
3. Germes de mort 6:17
4. Monolithe de chagrin 3:58
5. Cercueil de vase 7:07
6. Une cage d’os 6:28
7. L’esprit cachot 6:11
8. Austérité maximum 2:30
Bonus track
9. L’homme Brasier 5:58
Band members J – vocals
B – guitar, synths
O – bass
I – drums
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
This Peruvian Death and Doom Metal entity returns from the underworld with their scorching third offering, exploring the darkest corners of the human species.
Active since 1994, Lima, Peru-based entity Psicorragia (the temporary manifestation of a person’s soul or astral body at a distance from their physical body) has forged a distinctive identity rooted in darkness, combining the weight of Death and Doom Metal with elements and technique from traditional Death Metal, along with Black Metal nuances and influences from other dark genres, establishing themselves as a representative band of the genre in South America. Now in 2026 the band formed of Mario Romanet on vocals and bass, Marco Borra and Alick González on the guitars, Antonio Duncan on keyboards, and Teo Suchero on drums returns from the underworld with their third studio offering, Nekromanthra, ten years after their 2016 sophomore beast Madremuerte. Showcasing a sinister artwork by American artist Thomas G. Anderson (recognized for his Dark Art aesthetic, where cinematic photography and psychological horror converge), the album explores the darkest corners of the human species, immersing itself in landscapes of decay, death, and the deepest horrors of existence.
…Y sus plagas invocaron, or “…and their plagues they invoked” from Spanish, is already bold, imposing and grandiose, with the haunting background keys by Antonio bringing even more epicness to the dark vociferations by Mario; while Abismales (“abyssal”) continues to spread sheer doom and obscurity upon us, with the lugubrious beats by Teo walking hand in hand with the crying, visceral guitars by Marco and Alick. The atmosphere gets darker and more menacing as the music progresses in Lo inexorable (“the inexorable”), with their guitars once again transpiring pure Funeral Doom Metal magic, followed by Sombras luminosas (“luminous shadows”), where a grim intro morphs into a Death and Doom Metal beast led by Teo’s crushing drums, while Mario keeps growling like a demonic entity. La osamenta (“the skeleton”) offers us all nine minutes of despair, melancholy and doom while Mario darkly declaims the song’s venomous words accompanied by the phantasmagorical keys by Antonio; and lastly, a ritualistic start evolves into the most funereal song of the album, titled Nekromanthra, el meditar de los fúnebres (“Nekromanthra, the meditation of the funereal”), putting a vile, soul consuming ending to the album.
With Nekromanthra, the band delves even deeper into their darkest vision, expressed through six tracks infused with Death and Doom Metal, being therefore highly recommended for fans of the obscure music blasted by renowned acts the likes of My Dying Bride, Anathema, Katatonia, Paradise Lost, and Moonspell, as well as more extreme bands such as Varathron, Rotting Christ, Acheron, Edge of Sanity, Mystifier, Abysmal Grief, and Unholy. You can find more details about the band on Facebook and on Instagram, stream their music on any platform such as Spotify, and of course purchase Nekromanthra from their own BandCamp or from the Satanath Records’ BandCamp. It’s time to dive deep into the darkest side of humanity, and there’s nothing better than the new album by Psicorragia as the soundtrack to such a disturbing journey.
Best moments of the album:…Y sus plagas invocaron and Sombras luminosas.
Worst moments of the album: None.
Released in 2026 Satanath Records
Track listing 1. …Y sus plagas invocaron 8:49
2. Abismales 7:19
3. Lo inexorable 6:17
4. Sombras luminosas 7:39
5. La osamenta 8:58
6. Nekromanthra, el meditar de los fúnebres 6:01
Band members Mario Romanet – vocals, bass
Marco Borra – guitars
Alick González – guitars
Antonio Duncan – keyboards
Teo Suchero – drums
As a vast monolith from deep space crashes into Earth, this uncanny horde offers us all a scathing dose of frozen Black Metal, exploring dark mythologies and cosmic evil entities.
When a vast monolith from deep space crashes into Earth and plunges the planet into a new ice age, a fanatical cult devoted to a timeless entity known as the Void Star rises amid the apocalyptic chaos. That’s the plot behind the excellent Cult of the Void Star, the first full-length opus by Milwaukee, Wisconsin-based Black Metal horde Niveous, following up on their 2025 debut EP Endless Snowfall. Recorded, engineered, and mixed by Shane Hochstetler at Electrical Audio, mastered by Arthur Rizk, and showcasing a cryptic artwork by Nortaath and Will Kramer (with logo by Luciferium War Graphics), the new offering by Vokar on vocals and bass, Nortaath on vocals and drums, and Zygrath on the guitars is a scathing, breathtaking dose of frozen Black Metal, exploring dark mythologies and cosmic evil entities.
The band’s cold and Stygian Black Metal attack begins in full force with Harbinger of the Void Star, where Nortaath hammers his drums in the name of darkness while their evil vociferations are simply stunning, followed by Servants of the Monolith, featuring a guest guitar solo by Joe Michaelson, resulting in another cryptic creation by such an uncanny horde, with the visceral riffs and tones blasted by Zygrath’s axe transpiring Black Metal magic. Then with guest vocals by Jake Rogers of Visigoth, Frostborne Resistance already kicks off with endless savagery, obscurity and rage, with Vokar and Nortaath doing a phenomenal job not only with their demonic roars and gnarls, but their rumbling bass and drums also sound inhumane. Then a horror movie-like intro explodes into total insanity in Baptism of Shadows, with Zygrath taking care of the vocal duties; followed by Northbound, presenting elements of caustic Punk Rock and Rock N’ Roll added to their core Black Metal sound, with the strident guitar lines by Zygrath sending shivers down our spines. And lastly, Boreal Stronghold is one final Black Metal attack by the trio, ending the album on a high note to the crushing drums by Nortaath.
As Earth is consumed by black storms and endless blizzards, and as the world is reduced to a frozen wasteland, Niveous are among us all to spread their bitterly cold Black Metal madness and consume our darkened souls with the scathing music found in Cult of the Void Star. Hence, if you want to explore their frostbitten realm you can find those American black metallers on Facebook and on Instagram, stream their venomous creations on Spotify or any other platform, and above all that, purchase their new album from their own BandCamp or from the Hypnotic Dirge Records’ BandCamp or webstore as a CD or an LP. Black Metal is always better when served cold, exactly like what Niveous have to offer in the intense and thrilling Cult of the Void Star, embracing us in absolute, frostbitten darkness for all eternity.
Best moments of the album:Harbinger of the Void Star and Northbound.
Worst moments of the album: None.
Released in 2026 Hypnotic Dirge Records
Track listing 1. Harbinger of the Void Star 7:25
2. Servants of the Monolith 5:57
3. Frostborne Resistance 6:28
4. Baptism of Shadows 6:53
5. Northbound 6:40
6. Boreal Stronghold 5:33
Band members Vokar – vocals, bass
Nortaath – vocals, drums
Zygrath – guitars, vocals on “Baptism of Shadows”
Guest musicians
Joe Michaelson – guitars solo on “Servants of the Monolith”
Jake Rogers – clean and choir vocals on “Frostborne Resistance”
Nicholas Elert – synthesizers and orchestrations on “Baptism of Shadows”
A new band playing Dissonant Death Metal exuding raw, visceral energy and possessing far more expressive range than most bands in this style, this Danish creatures are ready to unleash chaos with their debut studio album.
“Reborn from the bog Caesarean execution of the womb In worship returning to the carbon tomb”
A new band playing Dissonant Death Metal exuding raw, visceral energy and possessing far more expressive range than most bands in this style, Denmark’s own Death Metal/Deathcore creature Carbon Tomb is ready to unleash chaos with their debut studio album, titled Passage to a Neutron Star. Showcasing a dystopian, futuristic artwork by world renowned artist Jon Toussas (Graphic No Jutsu), the debut opus by vocalist and guitarist Richardt (of the also amazing band Dysgnostic), vocalist and bassist Jeppe, and drummer Mikael presents songs that are highly structured and coherent, emphasizing the right moments, and are also comparatively more varied than normal. Without contradicting the sound, they even infuse Black Metal elements into some of the songs, rendering it diverse and interesting.
A sinister piano invades our minds before all hell breaks loose in the opening track Chanting Spells I, with their dissonant riffs and gruesome roars sounding utterly haunting, whereas the visceral guitar lines by Richardt permeate the air in the infuriated A Hidden Creature, while the same Richardt and Jeppe deliver a Mephistophelian dual vocal attack. From the Giant’s Snout sounds even more dissonant and experimental, where their Death Metal and Deathcore sides clash beautifully, offering us all a monstrous sonority; and they continue to crush our damned souls in The Dog Hunter, led by the intricate yet demonic drumming by Mikael. After such an intense song we have Of God’s Neglect, another very experimental and multi-layered tune by the trio, with their harsh vociferations walking hand in hand with the crushing drums by Mikael.
Gogoffmagog is perhaps the most violent and aggressive of all songs, with their Death Metal essence burning brighter than a thousand suns, not to mention the deep roars by Jeppe sound venomous; and Tritons of Ichthyology sounds as detailed as its predecessors, with the scathing guitar work done by Richardt adding a Black Metal touch to their core sound while Mikael keeps hammering his drums nonstop. Reversed Head Renewal is one more good song by the trio, albeit not as exciting as the others (which, if I’m being honest, is a very difficult task). It’s still violent and technical, of course. And lastly, Passage to a Neutron Star is the epitome of their blend of Dissonant, Technical and Progressive Death Metal, demolishing our senses with their ruthless riffs, bass lines and drums, therefore ending the album in a majestic way.
As an interpretation of a style generally considered complex or inscrutable, Passage to a Neutron Star is surprisingly fluid, entertaining, and memorable, therefore appealing to admirers of the insanity blasted by names like Ulcerate, Dysgnostic, Devenial Verdict, Artificial Brain, and Mors Verum, among others torchbearers of Dissonant Death Metal arts. Furthermore, Carbon Tomb might be a new band, but its members are already seasoned musicians of the always exciting Danish scene, and if you want to know more about them you can find the band on Facebook, on Instagram, and on Spotify, and purchase their striking debut from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Having said all that, are you ready to return to the carbon tomb while enjoying the breathtaking Dissonant Death Metal by such an up-and-coming band hailing from stunning Denmark?
Best moments of the album:A Hidden Creature, Gogoffmagog and Passage to a Neutron Star.
Worst moments of the album:Reversed Head Renewal.
Released in 2026 Transcending Obscurity Records
Track listing 1. Chanting Spells I 2:49
2. A Hidden Creature 4:00
3. From the Giant’s Snout 3:21
4. The Dog Hunter 4:21
5. Of God’s Neglect 5:50
6. Gogoffmagog 1:53
7. Tritons of Ichthyology 4:29
8. Reversed Head Renewal 4:31
9. Passage to a Neutron Star 3:10
Band members Richardt – harsh vocals, guitars
Jeppe – harsh vocals, bass
Mikael – drums
“Don’t try to run… Walk away with me… The time is running out… Break into pieces and rise high!”
The month of July might be one of the hottest (if not THE hottest) of the year anywhere above the Equator, and there’s nothing better than travelling all the way to the land of ice and snow, also known as Finland, to turn up the heat even more like in a traditional Finnish sauna with the incendiary vocals by our unstoppable metal lady chosen to make our webzine a much better place this month. Although she has just recently joined Finnish Heavy/Power Metal brigade Dyecrest as their new frontwoman, she’s not a newcomer to the metal community, having already recorded and released several albums and singles with different bands from her homeland in the past two decades. Her name is Heidi Aaltonen, formerly known as Heidi Bergbacka, and she will kick your ass mercilessly with her potent vocals and undeniable charisma, inspiring you to raise your horns together with her in the name of heavy music.
Born and raised “somewhere in Finland”, Heidi began her metal career as the frontwoman for Tampere-based Melodic Heavy Rock band MoonMadness, having established since then her presence in the Finnish heavy music scene through underground classic rock-infused metal music, session collaborations, and live guest work. As the vocalist for MoonMadness between 2001 and 2008, she released in 2008 the band’s one and only full-length album, titled All in Between, alongside guitarist Otto Hallamaa, bassist Juha Leppäharju, keyboardist Turkka Vuorinen, and drummer Antto Nikolai Tuomainen. The single Stroke of Midnight, released in 2007, successfully broke into the Finnish Top 20 singles chart, with her vocal performance being praised by fans and critics for its 70’s and 80’s classic Hard Rock sensibilities. Unfortunately, MoonMadness are no more, but their music is definitely worth checking out if you’re a fan of classic rock and metal.
Heidi also has a solid backing and session work from her early days, having collaborated with distinct bands from the Finnish scene. For instance, she recorded all female vocals (as Lady Heidi von Bergbacka) for the 2020 album Outojen tornien varjoissa (or “in the shadows of the strange towers” in English), by Finnish Black Metal horde Faustian Pact; backing vocals (as Heidi Bergbacka) in the 2016 album Vieraan vallan aurinko (which translates to “the sun of a foreign power”), by Finnish Heavy Metal/Hard Rock band Kotiteollisuus; backing vocals in the 2007 album Sleep and the 2009 album As Days Grow Darker, both by the now defunct Finnish Heavy Metal band Masterstroke; backing vocals in the 2021 album Novus Ordo Mundi, by Progressive Thrash/Heavy Metal band Stam1na; and female, choir and backing vocals in several albums, EPs and singles by Finnish Melodic Heavy Metal (with Schlager influences) band Viikate, such as their 2013 album Kymijoen lautturit, their 2014 album Panosvyö, and their 2024 album Hiljainen, as well as backing vocals while on tour with the band.
In addition, following her early metal foundations, she transitioned to alternative genres with projects like Sound of Divas (an internationally touring, Nordic musical project produced by MagnumLive, a prominent, full-service event production and entertainment programming agency based in Finland, that blends five vocal soloists with a big band and brass section) and WhatFour (an acoustic band from Lappeenranta, Finland). Ultimately, such a diverse vocal background paved her way back into heavy music, culminating in her recruitment to front Dyecrest and spearhead their fifth full-length album, titled Defying Gravity, representing the band’s most focused and mature work to date, a clear statement shaped by experience and artistic vision.
Hailing from Ristiina, located in the province of Eastern Finland and part of the South Savo region, Dyecrest are a Melodic Metal band active since the early 2000’s (having changed their original name Dyecast to the current one) blending Power Metal, traditional Heavy Metal and progressive influences, showcasing a sound defined by strong melodies, energetic riffs and a balanced mix of heaviness and emotion, earning the band a solid international following, and allowing them to share the stage with renowned acts the likes of W.A.S.P., DragonForce, Stratovarius and Sonata Arctica, and appearing at major European festivals. since their inception, the band has released the albums The Way of Pain (2004), This Is My World (2005), Are You Not Entertained? (2018), Once I Had a Heart (2023), and the aforementioned Defying Gravity earlier this year, plus the EP The Stage Is Set in 2019, all available on any platform such as Spotify.
Currently formed of Heidi on vocals alongside Matti Pasanen and Henri Arola on the guitars, Pirkka “Pirkkis” Ohlis on the guitars and keyboards, Jukka “Zoukki” Matilainen on bass, and Niko Takala on drums, Dyecrest had three vocalists prior to Heidi becoming their frontwoman, those being Janne Oksanen, Kimmo Blom (RIP), and Mikael Salo. “Regardless of the singer, sound-wise it’s still the same band,” commented Heidi. For Heidi, joining the band wasn’t about reshaping their identity, but helping them rebuild their foundation. After years of pauses and transitions, Dyecrest found themselves at what she described as “ground zero,” a moment to start building again while preserving the spirit that longtime listeners recognize. The transition turned out to be smoother than expected. Instead of resistance, the band encountered enthusiasm from fans. “I felt at home straight away,” she said, admitting she was surprised by how welcoming audiences were.
On April 26, 2026, Dyecrest released their first album ever with Heidi on vocals, the already mentioned Defying Gravity, after having released the singles Failed One, Unravel Me and Bite the Bullet, in 2025, and the single Forsaken, in 2026. The title of the album captures the band’s renewed confidence. Rather than simply resisting obstacles, Heidi describes it as “standing your ground and taking your place,” reflecting a band pushing forward in a challenging music industry while affirming their worth and identity. “We didn’t have a definite plan on how we were going to sound or what we were going to do. We just did it, and the sound and the songs developed during the process. What this album did was create the sound that we want to be in right now. Regarding the next album, we now know more than we knew while we were making this one,” she commented in one of her interviews.
“The timing was awkward, and for the band the timing was very poor. A very bad time to change lead singers. We managed it very well. I am a learner, I got thrown into the mix and did some live shows, even without singing on the previous album. The range was suitable for me – I could sing those songs, so we didn’t have hard times on learning the songs and trying to fit in those shoes that Mikael left. It all went very naturally, even though the timing wasn’t ideal – releasing an album that didn’t have the same singer as the one that would appear for the live shows. It was different, but we were able to do it,” she said about the change in vocalists in Dyecrest, also explaining how she was involved in the writing process of the album. “I need to feel it so I can have the text,” she explained, describing her process in a very simple way. She listens to the music, and then just follows the emotional direction it suggests.
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One very important detail in Heidi’s involvement with Dyecrest is that she is married to Miitri Aaltonen, who has been mixing all of their albums since 2018, and of course that existing connection with the band made her transition into the role of their new vocalist a lot easier and smoother than expected, even though the band had never thought about having a woman instead of a man taking care of their vocal duties. Furthermore, Heidi’s involvement during the songwriting phase of Defying Gravity definitely changed the way the band works, as she took on a major role in writing both lyrics and vocal melodies.
Regarding her idols and influences in music and life in general, she said she doesn’t like to narrow her list down to only a few names, complementing by saying she listens to music in every category to keep discovering new details and nuances that she can incorporate to her own style. “I listen to a lot of ballad-singers, good range vocal singers. I like different styles of music, not only metal. Of course, most of it is metal music, but I take everything in because I want to explore music. For me to say one or two artists that have influenced me, it’s not possible, it’s all around me.”
As it happens with every single musician on earth, Heidi loves to be onstage and to exchange a lot of energy with the crowd. “When I am on stage, I need people to feel something. I know that they won’t feel it if I don’t feel it. What my goal is in every show, I kind of offer a getaway for an hour. From everything that surrounds you. I want them to see us; I want them to watch us. There are shows that have been like that. There are memories and experiences with the band – a lot of them are good from that point of view,” she commented. “If we can provide people one hour of peacefulness with good live music, then that’s the place I want to take it.”
Although she believes the current scene is really tough not only for Heavy and Power Metal, but for music in general, she still thinks there’s always a place in music for great melodies, and the fact that Finland is the country with the highest number of bands in Melodic Metal compared to any other country in the world gives hope to everyone who lives and breathes heavy music in her homeland. Needless to say, we must all agree with her, because a land that has provided us with the magical music by bands like Nightwish, Amorphis, Children of Bodom and Stratovarius, among many others, will always deserve our full attention and admiration.
Heidi also thinks it’s very important to shoot videos and showcase the band instead of sticking only to the music itself. “We have our brother making the videos for us and all the graphics for the band, Sami. The main thing in the videos is to capture the band, what is expected for example for when you see the band live. I do think the videos still have their importance today, even though we don’t have MTV and all music channels that show all the videos. Maybe someday we will have this happen again. The videos have increased their value at this point – compared to say five years ago. Video making, it takes a lot of money and effort to make these, but it was obvious that we were going to make videos. And you can see through YouTube how many viewers we have had, and it has paid off.”
In one of her interviews, Heidi mentioned that one of the greatest lessons she’s learned so far as the frontwoman for Dyecrest is that what comes around, goes around. “Be nice to people that you meet, because they will be a part of you someday.” In addition, she said that if the people around you feel you don’t have your whole heart into the music you’re making, if you just do the music because you do the music, it’s never going to work. In the case of Heidi and Dyecrest, we most definitely do not need to worry about it, because they put their hearts and souls into crafting their first-class Heavy Metal, and may Defying Gravity be just the first step of the band with Heidi fronting them, as we all certainly want to enjoy her soaring vocals in many other Dyecrest albums in the coming years.
“When I am on stage, I need people to feel something. I know that they won’t feel it if I don’t feel it. What my goal is in every show, I kind of offer a getaway for an hour. From everything that surrounds you. I want them to see us; I want them to watch us.” – Heidi Aaltonen
Born under the gray skies and sea mist of Lima, Peru, this Heavy, Doom and Post-Black Metal brigade will attack your senses with the lumbering heaviness of their debut album.
Born under the gray skies and sea mist of Lima, capital of Peru, with influences ranging from Black Metal to Stoner Rock to Post-Punk, and a clear aim to march towards the darker side of existence, the four-piece Heavy/Doom/Post-Black Metal brigade Illwind is unleashing upon humanity their debut opus, titled The Unfolding at the End of Light, providing five original tracks which paint a somber underworld to dive into, and a closing cover to climb back out of. Recorded at Dragonverde Studios, the first-ever offering by Marcos Coifman (Reino Ermitaño) on vocals and bass, Mauricio Guerrero (Argul) and Andres Rhor (Cobra) on the guitars, and Hokama (Arcada) on drums and guitar sounds at first stridently like a traditional doom record – lumbering heaviness, slow-yet-insistent rhythms, emotively clean vocals – but patience, like much orbiting the wider doom world, yields maximum immersion.
The massive Crimson Skies kicks off the album on a purely Doom Metal mode, with the sluggish beats by Hokama darkening the skies while also presenting Sludge Metal riffs and solos to give it an extra kick. Wanderer takes us back to the glory of 70’s Rock N’ Roll through Marcos’ passionate vocals, supported by a killer solo by Mauricio; while Portal keeps the atmosphere as dark and enfolding as it can be, with Marcos once again declaiming the song’s poetic lyrics accompanied by the striking guitars by Mauricio and Andres. Their Sludge Metal riffs bring forward sheer heaviness in God of Sleep, inspiring us all to bang our heads in pitch black darkness; followed by Lucifer’s Mule, offering our ears thirteen minutes of absolute obscurity crafted by the quartet, with their 70’s Heavy Rock vein pulsing stronger than ever boosted by the Stoner Rock drums by Hokama. And finally, let’s bang our heads to their cover for The Stooges’ masterpiece I Wanna be your Dog, an excellent rendition of one of the coolest songs by such an iconic band (and you can check the original version HERE, from their 1969 self-titled album).
With influences ranging from Neurosis and Swans to Black Sabbath and 70’s Hard Rock to Yob, Windhand, Monolord, Bellwitch, and Warning to Sonic Youth, Depeche Mode, or the aforementioned The Stooges, the band reached a mélange of musical mapwork which has truly given The Unfolding at the End of Light a relatively singular sound – equally ambient and extremely heavy, ominously moving yet dreamlike, and all of it with a surprisingly kaleidoscopic tint of melancholy. The album’s richly analog production heightens this sensation and penetrates the listener to his core, and if you also want to be part of such a unique sonic experience you can purchase the album from the Personal Records’ BandCamp or webstore. In other words, it’s time to begin the trip of The Unfolding at the End of Light, embracing you in darkness, and leaving you eager for more of the music by Illwind in the near future.
Best moments of the album:Portal and Lucifer’s Mule.
Worst moments of the album: None.
Released in 2026 Personal Records
Track listing 1. Crimson Skies 10:43
2. Wanderer 5:29
3. Portal 4:47
4. God of Sleep 8:55
5. Lucifer’s Mule 13:13
6. I Wanna be your Dog (The Stooges cover) 4:25
Band members Marcos Coifman – vocals, bass
Mauricio Guerrero – lead guitar
Andres Rhor – guitar
Hokama – drums, guitar
Delving deeper into their singular vision of Black Metal, this Stygian entity returns with their third offering, inviting us all for our final rest.
Delving deeper into their singular vision of Black Metal, forging a work that resists easy categorization, the uncanny Italian and Swedish entity known as Feralia (named after public religious ceremonies of ancient Rome held in honor of the dead upon the last day of the Parentalia) attacks again with their third studio offering, titled Ultima Requies, a Latin phrase that translates to “the last rest,” following up on their 2022 opus Under Stige / Over Dianam. Showcasing a grim artwork depicting a reinterpretation of the necromantic ritual of Erichto, the Thessalian witch described in “De Bello Civili” by Lucan, while the band’s sound remains anchored in a sense of the sacred, drawing from arcane and occult dimensions tied to the archaic Roman world, the album is neither rooted in old school orthodoxy nor aligned with the polished tendencies of contemporary production. Instead, it stands as a raw and evocative offering, where abrasive textures and ritualistic atmospheres converge into something austere, immersive and profoundly spiritual, all masterfully crafted by Erymanthon Seth on vocals, guitars and synths, Raijinous on the guitars and synths, Krhura on bass, and Summum Algor on drums.
The visceral riffs by Erymanthon Seth and Raijinous transpire classic Black Metal right from the start in Ballata Avernale, while the same Erymanthon Seth vociferates rabidly like a creature form the underworld; whereas Ver Sacrum also starts on a harsh and violent mode, exploding into a modern version of Black Metal not recommended for the lighthearted. Then in the nine-minute aria Pharsalia, we face an ethereal intro that gradually evolves into another bestial sound led by Summum Algor’s demolishing beats and fills, supported by the menacing bass by Krhura, followed by Empireo, with again their background keys embellishing the airwaves in an instrumental tune that sounds like it was taken from an Italian horror movie, warming us up for the scorching Marpiter, where Erymanthon Seth roars and gnarls in anguish and hatred while Summum Algor keeps hammering his drums manically. After that we face Defigere, one of the most detailed, dynamic and diverse songs of the album, with its hints of Doom Metal and Dungeon Synth adding an extra touch of insanity ot their core Black Metal madness, all boosted by the razor-edged guitars by Erymanthon Seth and Raijinous; and lastly, we have a more direct Black Metal extravaganza titled Miasma, where all instruments are breathing fire until all fades into oblivion.
Following the path opened by their previous albums Helios Manifesto and Under Stige / Over Dianam, the band further refined their language in Ultima Requies, balancing raw intensity with a deeply contemplative undercurrent. The result is an album that feels both immediate and timeless, grounded in the physicality of Black Metal yet reaching toward something intangible and eternal, and if you want to know more about such an obscure band you can find them on Facebook and on Instagram, stream their music on Spotify, and of course purchase their scorching new album from their own BandCamp, as well as from ATMF’s BandCamp or from Metal Odissey. This is Black Metal at its most evocative, atmospheric and Stygian form, inviting you for your final rest to the sound of its venomous lullabies.
Best moments of the album:Ballata Avernale and Defigere.
Welcome to the Temple ov Ahriman, and enjoy the debut studio offering of raw, visceral Black Metal by this grim American entity.
Born in 2021 from the creative mind of vocalist and multi-instrumentalist Thornicator (of Triacanthos and Vesperian Sorrow) as the culmination of several years of intense songwriting activity, Austin, Texas-based Black Metal outfit Temple ov Ahriman is unleashing upon us mere mortals a caustic blend of raw, visceral Black Metal in the form of its debut opus, entitled Heretics of Consensual Reality. Mixed by Kfir Gov at Evil Snail Studios (who also played drums on the album), mastered by Jack Control at Enormous Door Mastering, and showcasing a grim artwork by Mitchell Nolte, the album combines elements of Second-Wave Black Metal, contemporary Finnish Black Metal, and D-Beat, resulting in a tour de force that is guaranteed to take the listener on a demonic journey. “It was a little Hell seeing this project through to completion,” Thornicator stated. “Several years, thousands of dollars, and three studios later, I finally have a master recording that I feel does the material justice. It was my unwavering belief in the material that pushed me to continue despite innumerable setbacks.”
As Stygian as it is melodic, War In Heaven, featuring guest vocals by Sekt of Brüka, showcases the rumbling drums by Kfir Gov while Thornicator delivers visceral riffs nonstop, followed by Wrath of Iblis, another fast and grim composition by Thornicator where his striking gnarls sound absolutely demonic. Then investing in a more cadenced sonority we face Infernal Imperium, with the classic drumming by Kfir Gov adding a touch of Black N’ Roll to their music; whereas in SPQB, featuring additional vocals by Misery, Val Rozar and Von Hammerblast of Brüka, we face a demolishing Black Metal attack where Thornicator sounds inhumane on vocals while also armed with his bloodthirsty axe.
The second half of the album begins with the mid-tempo Melodic Black Metal tune White Death, keeping the album at a high level of malignancy; and back to a more infuriated, darker sonority we have the title-track Heretics of Consensual Reality, with the demented screams by Thornicator transpiring Black Metal. Then get ready to be kissed by the Black Metal sounds exhaling from all instruments in Baphomet’s Kiss, a multi-layered, vile composition offering fans of the genre a very good reason to succumb to absolute darkness, before we’re treated to Beyond the Veils of Maya, another detailed song presenting several layers, nuances, cryptic passages and the always infernal vociferations by Thornicator to conclude the album majestically.
Clocking in at a little over 42 minutes, Heretics of Consensual Reality proves Temple ov Ahriman is poised to take the underground by storm. “Years ago, my other band was to record an album, but our studio time was delayed due to the Coronavirus outbreak. Never one to sit idle for too long, I took the opportunity to write music for a follow-up release. What followed was a prolific period unlike anything I’d experienced before or since, and it quickly became apparent that I perhaps had too much material for just one band to learn and record. With the encouragement of a few good friends, I eventually decided to start my own spin-off project and thus Temple ov Ahriman was born.” If you want to experience all the obscurity, heaviness and fury blasted by Thornicator and his Temple ov Ahriman, you can find the project on Facebook, Instagram and Spotify, and don’t forget to purchase Heretics of Consensual Reality from BandCamp or by clicking HERE. In other words, as the great Dark Funeral say, welcome to the Temple of Ahriman. The infernal torture chamber no one survives.
Best moments of the album:War In Heaven, SPQB and Baphomet’s Kiss.
Worst moments of the album:White Death.
Released in 2026 Independent
Track listing 1. War In Heaven 4:25
2. Wrath of Iblis 4:53
3. Infernal Imperium 3:50
4. SPQB 5:00
5. White Death 5:45
6. Heretics of Consensual Reality 5:51
7. Baphomet’s Kiss 6:10
8. Beyond the Veils of Maya 6:42
Band members Thornicator – vocals, guitars, bass, keyboards
Guest musicians
Kfir Gov – drums (session)
Sekt – female vocals on “War In Heaven”
Misery, Val Rozar & Von Hammerblast – additional vocals on “SPQB”
One of the most promising new names to emerge from the Icelandic Black Metal underground is unleashing their pulverizing debut opus, showcasing intricate riffing, shifting dynamics, and a dense atmosphere.
One of the most promising new names to emerge from the Icelandic Black Metal underground, Kópavogur-based horde Forsmán (pronounced “fors-mown”) is ready to attack armed with their debut offering, entitled Brenndar Rústir & Fuðrandi Fjörur, which translates from Icelandic as “burnt ruins & flowing shores,” following up on their 2021 debut EP Dönsum í logans ljóma. Produced by D.G., mastered by Viktor Árni Veigarsson, and showcasing another hypnotizing artwork by the great Paolo Girardi, the debut full-length by V. on bass and vocals, O. on the guitar and vocals, H. also on the guitar, and M. on drums brings forward the band’s trademark intricate riffing, shifting dynamics, and a dense atmosphere, therefore give their own Black Metal sound a demanding, fully formed character.
Drottinn fyrirgefur allt, or “the lord forgives all,” showcases dissonant and grim sounds from the very beginning, with O. and H. attacking us all with their scorching axes, flowing like an arrow in pitch black darkness before we face Svartir svanir, or “black swans,” with the pure Black Metal blast beats by M. giving the song an even heavier vibe, boosted by the visceral screams by V. and O. Andvana, or “death,” one of the first singles released, offers us all mere mortals an avalanche of blackened sounds led by the enfolding yet harsh guitars by O. and H., a no shenanigans, in-your-face explosion of Icelandic Melodic Black Metal spearheaded by the always thunderous beats and fills by M., and the band then delivers four minutes of chaos and fire entitled Valdníðsla, or “power abuse,” where the demonic roars by V. and O. will drag us down to their infernal lair for all eternity.
Kynjamyndir, or “gender images,” is a more introspective, devilish Blackened Death Metal aria by the quartet where their guitars exhale sulfur and hatred, reminding me of some of the more recent songs by the mighty Behemoth, whereas Lof mér líf þitt að taka, or “promise me your life to take,” follows a similar pattern as its predecessor, also sounding ruthless and vile from start to finish, with O. and H. once again consuming our souls with their obscure riffage. Hræ hins almáttuga, or “the corpse of the almighty,” is also blasphemous and sulfurous, showcasing hints of Progressive and even Dissonant Black Metal added to their core sonority; while lastly, get ready for a descent into the underworld to the sound of Barmafylltar fjöldagrafir, or “busty mass graves,” with their demonic vocal lines being effectively complemented by the thunderous drums by M. until all fades into oblivion.
Standing in the line of modern Icelandic Black Metal associated with Svartidauði, Sinmara, and Misþyrming, combining a dense atmosphere with focused, forward-driving songwriting, Forsmán already appear less like followers than a new voice within it with the release of the breathtaking Brenndar Rústir & Fuðrandi Fjörur, paving a very exciting path ahead of those young black metallers. If you want to join them in their quest for extreme music, you can find the boys on Facebook, stream their caustic creations on Spotify, and put your bloodsoaked hands on Brenndar Rústir & Fuðrandi Fjörur via BandCamp, via Metal Blade Records, or by clicking HERE. Iceland is a haunting masterpiece of contrast, a beautiful, primordial purgatory where the earth is violently born and slowly frozen to death, and there’s nothing better than the scathing Black Metal forged by Forsmán in their debut album to turn that violent nature into beautifully scorching sounds.
Best moments of the album:Andvana, Valdníðsla and Barmafylltar fjöldagrafir.
Worst moments of the album: None.
Released in 2026 Metal Blade Records / Vesperian GmbH
Track listing 1. Drottinn fyrirgefur allt 5:20
2. Svartir svanir 6:53
3. Andvana 6:03
4. Valdníðsla 4:23
5. Kynjamyndir 3:31
6. Lof mér líf þitt að taka 3:53
7. Hræ hins almáttuga 6:44
8. Barmafylltar fjöldagrafir 7:34
Band members V. – bass, vocals
O. – guitar, vocals
H. – guitar
M. – drums
Forged in 2013 in the fires of Chambéry, an Alpine town in southeast France, the unrelenting Blackened/Atmospheric Death Metal entity known as Viande (the French word for “meat”) does more than create scarring, wholesome dark and doomy Death Metal – they delve into the more atmospheric side of things that messes with your consciousness and has potential psychological implications. Adorned by a grim artwork by JB Godefroy, the caustic Monument aux morts, which is French for “war memorial,” is the sophomore studio opus by vocalist J, guitarist B, bassist O, and drummer I, following up on their 2022 full-length L’abime dévore les âmes, offering more of the band’s aggressive, militaristic approach aided by a combination of abyssal growls and tormented screams, and ultimately, a haunting, eerie atmosphere touched by dissonance that wouldn’t be out of place in a horror movie.
When the carefully devised Monument aux morts ends, the feeling is akin to stumbling out of a horrific catacomb in an enhanced spiritual state, with the cries of a thousand dead souls still ringing in your head, being therefore perfect for fans of the obscure music crafted by Incantation, Teitanblood, Cruciamentum, Dwelling Below, and Dead Congregation. Furthermore, if you want to know more about such a dark creature from the French extreme music landscape, you can find the band on Facebook and on Instagram, staying up to date with their live concerts, stream their scorching music on any platform such as Spotify, and above all that, grab a copy of the excellent Monument aux morts from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store (or click HERE for all things Viande). Monument aux morts is an exceptional album in the style and definitely not one for the faint of heart, and we can all rest assured Viande are far from done when it comes to spreading darkness through their Black and Death Metal creations.
THE HEADBANGING MOOSE 