Tag Archives: blackened death metal

Album Review – Bras D’Honneur / Hate Speech (2026)

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Behold the debut opus by this veteran duo from Ukraine, a 13-song, 35-minute torrent of primitive Black and Death Metal.

The latest creation of the duo R. (aka Roman Saenko) and V. (aka Vladislav Petrov), who are jointly infamous for bands like Drudkh, Precambrian, Blood of Kingu, and Rattenfänger, among others, Kharkiv, Ukraine-based Blackened Death Metal entity  Bras D’Honneur (an obscene gesture used to express contempt, roughly equivalent in meaning to phrases like “fuck you” or “up yours”) is unleashing upon our rotten society their debut opus, titled Hate Speech. Musically inspired by the likes of Von, Profanatica, Havohej and Belial, the new album by the aforementioned R. on vocals, guitars and bass, and V. on drums and keyboards is a 13-song, 35-minute torrent of primitive Black and Death Metal, adorned by the primeval, ruthless  artwork by Warhead Art to give the whole album an even more menacing and rebellious vibe.

R. and V. seem to be on their most devastating mode in the opening tune Trench Knife, with their devilish vociferations and blast beats sounding inhumane; and it looks like the entire album will be savage, which is the case in Scum of the Earth, where V.’s demented beats and fills match perfectly with R.’s deep guttural. Their violence only grows stronger in Regicide, with R. not only vomiting the song’s evil words, but his riffage is also caustic; followed by Main de Gloire, another ode to classic Black Metal with their primeval Death Metal twist, and they go full Death Metal in the poetically titled Eaten Alive by the Pigs, a lecture in the style led by R.’s venomous riffage. Crown of Nails offers one and a half minute of pure madness, a Black Metal extravaganza where V. shows no mercy for his drums, and in Stench of the Rotten Blood the duo continues to pave their path of absolute chaos and hatred, with V.’s raw beats kicking us hard in the head.

R.’s menacing, razor-edged guitar sets the tone in the bludgeoning tune Poisoning the Hearts with Malice, while his vociferations sound as if they’re coming from a beast that inhabits a sinister cavern, and they continue their metallic storm of Black Metal in Disemboweled, two and a half minutes of absolute obscurity and heaviness led by V.’s unstoppable drums. Goat Rapists continues the same darkened path from its predecessor, with its hybrid of demonic Black and Death Metal sounding as heavy as hell, whereas Judas Cradle also presents their classic visceral sonority, with the duo smashing their instruments like there’s no tomorrow. Bras d’Honneur, the song that carries the name of the band, couldn’t have sounded more hellish and pulverizing, a lecture in vile, unrelenting Blackened Death Metal with R. roaring like an evil creature, before all comes to an end with Sheep in Wolf’s Clothing, one minute of an instrumental devastation that would have been even more powerful with R.’s vocals.

In a nutshell, rough, rude, and unrepentantly so, Hate Speech sonically lives up to its title, stripping the primitivism of bands like Hate Forest down yet further, hammering through approximately two riffs per song, and making “blunt-force trauma” sound fanciful. Hate Speech is the record this modern world deserves, and you can purchase such a harsh and scathing album from the Primitive Reaction’s BandCamp or webstore, keeping the fires of Ukrainian Black and Death Metal burning and, therefore, inspiring R. and V. to continue their craft of darkness under their new project for the delight of everyone who knows how fucked up our world is today.

Best moments of the album: Regicide, Eaten Alive by the Pigs, Disemboweled and Bras d’Honneur.

Worst moments of the album: Sheep in Wolf’s Clothing.

Released in 2026 Primitive Reaction

Track listing
1. Trench Knife 2:55
2. Scum of the Earth 2:15
3. Regicide 3:17
4. Main de Gloire 2:31
5. Eaten Alive by the Pigs 3:04
6. Crown of Nails 1:35
7. Stench of the Rotten Blood 3:17
8. Poisoning the Hearts with Malice 4:28
9. Disemboweled 2:42
10. Goat Rapists 1:36
11. Judas Cradle 2:24
12. Bras d’Honneur 3:06
13. Sheep in Wolf’s Clothing 1:11

Band members
R. – vocals, guitars, bass
V. – drums, keyboards

Album Review – Phasma / Purgatory (2026)

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This Greek and American beast is ready to unleash hell with their third full-length offering, unfurling dimensions within the sound that they have concocted.

Attempting to meld influences ranging from Black Metal to Brutal Death Metal and everything in between, including Technical Death Metal, Blackened Death Metal and even Deathcore, the demonic Greek/American beast known as Phasma is unleashing hell with their third full-length offering, simply titled Purgatory. Displaying a Stygian artwork by George Angelis, the follow-up to their 2022 sophomore effort Epiales effortlessly oscillates from sharp Black Metal riffs to pummeling Death Metal blasts with matching vocal styles, and even toss in a breakdown or two in the middle, with every song feeling like an extension if not an improvisation over the previous one, as vocalist Luis Ferre and guitarist Jason Athanasiadis, with the support of session musicians George Markantonis on bass and Bill Nanos on drums, unfurl dimensions within the sound that they have concocted.

The dirty, devilish guitar by Jason sets the stage in I, quickly exploding into a beyond demented and technical feast of Black and Death Metal with Luis growling like a rabid beast for our total delight, followed by II, where another ethereal start evolves into more of the band’s trademark violence, with Bill’s infernal drums walking hand in hand with George’s thunderous bass lines. III sounds as visceral and ruthless as its predecessors, with Luis stealing the show with his deep guttural and bestial gnarling while Jason extract those Cannibal Corpse-inspired riffs that make Death Metal even deadlier; whereas IV presents hints of Dissonant and Avantgarde Death Metal added to their core brutality, keeping the album as sulfurous as it can be. Their insanity, heaviness and rage are boosted by the rumbling bass by George in V, getting utterly experimental at times while also showcasing a strong Deathcore vibe in its breakdowns; and lastly, they’ll pulverize us all with VI, where their Death Metal side gets even stronger, while Bill once again pounds his drums nonstop.

Bands playing a mix of styles isn’t uncommon but to intermingle influences of such disparate, almost contrasting styles is fascinating and remarkable especially when they have high replay value and lasting appeal. That’s exactly what Phasma have to offer in Purgatory, being highly recommended for admirers of the sonic madness blasted by bands such as Mgla, Dying Fetus, Crypts of Despair, Kriegsmaschine, and Psycroptic, just to name a few. You can get to know more about such a bestial duo from Greece and the United States by following the project on Facebook and on Instagram, staying up to date with their live performances, stream their unique creations on Spotify or any other streaming platform, and above all that, grab a copy of Purgatory from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, where you can also find their incredible merch designed by CVSPE. Like it or not, Phasma are here to stay, and they’ll mercilessly drag us to their own purgatory armed with their visceral new album.

Best moments of the album: I and III.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. I 5:00
2. II 4:13
3. III 4:24
4. IV 3:51
5. V 4:16
6. VI 4:47

Band members
Luis Ferre – vocals
Jason Athanasiadis – guitars

Guest musicians
George Markantonis – bass (session)
Bill Nanos – drums (session)

Album Review – Necronomicon Ex Mortis / Zombie Blood Nightmare EP (2026)

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This zombified Death Metal horde returns from the dead with a cadaverous new EP, boasting a sound as sharp and punishing as its subject matter, showcasing a band at their most chaotic and gleefully grotesque, but also their most ambitious.

Formed in 2023 in Chicago, Illinois, horror-death fiends Necronomicon Ex Mortis return with their most ferocious and unhinged release to date, the six-track EP aptly titled Zombie Blood Nightmare. Produced, recorded, and mixed by Charlie Waymire at Ultimate Studios, mastered by Ernesto Homeyer, and embraced by the sick artwork by Genoicide Artwork, the new EP by John Sawicki on vocals, Michael Nystrom Bala and Manuel Barbara on the guitars, Yusuf Rashid on bass, and Joey Ferretti on drums boasts a sound as sharp and punishing as its subject matter, showcasing a band at their most chaotic and gleefully grotesque, but also their most ambitious, a whirlwind of 90’s Death Metal stomp, 80’s shred obsession, and tongue-in-cheek B-movie gore that cements their identity as both serious riff-worshippers and gleeful purveyors of horror camp.

The EP kicks off in the best Death Metal style with Left To Die, with Michael and Manuel dictating the pace with their frantic, slashing riffage, resulting in a very good excuse for slamming into the pit like a putrid, decaying corpse. And let’s break our necks headbanging to No More Room In Hell, where the band brings forward their darkest mode, almost sounding Blackened Death Metal, in special the evil vociferations by John (not to mention the song’s hellish solos). Chopped Up And Burned carries a Cannibal Corpse-inspired title that lives up to the legacy of venomous Death Metal, spearheaded by Joey’s ruthless drumming while also presenting melodic yet piercing solos; whereas an imposing start gradually morphs into a mid-tempo, devilish feast of Death Metal in Lumbering Blood Sucking Freaks, accelerating its pace as time passes by for our total delight. Hungry For Brains is by far the most “zombified” of all songs, paying homage to all zombie movies we love so much, with John’s raspy gnarls walking hand in hand with their visceral riffage, and there’s no better way to conclude an album of Death Metal than with extreme aggression and savagery like in Démoni, where Yusuf and Joey make the earth tremble with their undisputed kitchen.

With Zombie Blood Nightmare, the band delivers not just another step forward, but a gory leap through the gateway to hell. It’s a record that pays homage to their Death Metal forebears while shamelessly indulging in horror schlock and fretboard excess. It may open new doors, or as the band prefers to put it, “new gateways to hell.” Hence, you can join the band’s army of the dead by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their zombified creations on Spotify, and of course by grabbing a copy of their newborn baby from BandCamp or by clicking HERE. It’s time for the dead to rise once again to the sound of the visceral Death Metal by Necronomicon Ex Mortis, because as the mighty Cannibal Corpse say, there’s no other way – you have to kill or become.

Best moments of the album: Chopped Up And Burned and Hungry For Brains.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Left To Die 4:38
2. No More Room In Hell 5:18
3. Chopped Up And Burned 6:59
4. Lumbering Blood Sucking Freaks 3:41
5. Hungry For Brains 4:41
6. Démoni 3:15

Band members
John Sawicki – vocals
Michael Nystrom Bala – guitars
Manuel Barbara – guitars, orchestration
Yusuf Rashid – bass
Joey Ferretti – drums

Concert Review – Belphegor (Lee’s Palace, Toronto, ON, 02/22/2026)

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Metalheads from all across Toronto gathered this Sunday night to praise the beast together with one of the most influential Blackened Death Metal bands of all time.

OPENING ACTS: Narcotic Wasteland, Hate and Incantation

In the middle of what’s perhaps the harshest winter in the past few decades in Toronto, NARCOTIC WASTELAND, HATE, INCANTATION and BELPHEGOR brought to Lee’s Palace some welcome heat this Sunday night with their infernal Praise the Beast North America Tour 2026, another massive event organized by the mighty Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi and I were there to cover such a feast of heavy sounds. There were also two bands billed to play in “The Cave” (aka the room upstairs at Lee’s Palace), those being Nashville, Tennessee’s own Experimental Folk/Black Metal band Primeval Well, who released back in 2021 the excellent album Talkin’ in Tongues with Mountain Spirits (available on Spotify), and Hamilton, Ontario-based Progressive Death Metal act Cryophilic, who released in 2023 their sophomore opus Damned and Decayed (also available on Spotify). The only issue is that due to some delays they ended up playing pretty much at the same time as Incantation and Belphegor, so I have absolutely no idea if anyone was able to watch their performances.

The night started with the awesome performance by South Carolina-based Death Metal trio NARCOTIC WASTELAND, who kicked some ass onstage with their undisputed energy and heaviness. Mixing songs from their two albums with newer singles like the brutal Barbarian, all available on Spotify, the band formed of Dallas Toler-Wade, Kenji Tsunami (who’s not only a phenomenal bassist, like a Death Metal version of Dream Theater’s own John Myung, but his bass is also a thing of beauty) and Austin Vicars took no prisoners in their quest for pure Death Metal, and after they finished playing the closing song of their short but very sweet set, Introspective Nightmares, we were all left wondering when we’ll be able to see those guys live again, perhaps with a bigger set. You can get more details about such a fun extreme music act by clicking HERE, and if they ever take your city by storm, don’t miss the chance of seeing those excellent musicians live.

Setlist
Morality and the Wasp
Faces of Meth
Barbarian
Delirium Tremens
Keeping Up with the Jones
We Agnostics
Introspective Nightmares

Band members
Dallas Toler-Wade – vocals, guitars
Kenji Tsunami – bass, vocals
Austin Vicars – drums

Poland’s own Blackened Death Metal institution HATE also had a very short set, but that didn’t mean the concert by Adam “ATF Sinner” Buszko, Dominik “Domin” Prykiel, Tomasz “Tiermes” Sadlak, and the stone crusher Daniel “Nar-Sil” Rutkowski (who returned later that night drumming for the mighty Belphegor) was not heavy enough. Quite the contrary, they made sure they used their limited time to deliver a ruthless, no shenanigans performance for our total delight. Having released the excellent Bellum Regiis in 2025, available on both BandCamp and Spotify, the quartet proved once again why Polish extreme music is so marvelous, leaving us completely disoriented after all was said and done. The mosh pits were already getting out of control, the temperature inside the venue was getting scorching, and the horns were being raised high, all thanks to the fires of Black and Death Metal by one of the heaviest bands to ever arise from the stunning Poland. Toronto wants more Hate. We deserve more Hate. And hopefully they won’t take long to return to the city with another pulverizing concert.

Setlist
Intro
Sovereign Sanctity
Erebos
The Wolf Queen
Bellum Regiis
Iphigenia

Band members
Adam “ATF Sinner” Buszko – vocals, rhythm guitar
Dominik “Domin” Prykiel – lead guitar
Tomasz “Tiermes” Sadlak – bass
Daniel “Nar-Sil” Rutkowski – drums

There were a few delays during the entire night, not sure if due to sound issues or something else, which ended up extending the whole event a lot longer than previously planned. Good thing that there’s no curfew at Lee’s Palace, and even better that when the next attraction is Pennsylvania’s Death Metal masters  INCANTATION, it never feels too late to get caught in some of the wildest mosh pits of the entire fest. Their latest releases Unholy Deification, from 2023, and Onward to Golgotha Live, from 2025 (both available on BandCamp and on Spotify) are very good sources if you want to familiarize yourself with their setlist, with songs like Golgotha and Impending Diabolical Conquest sounding sensational live, and of course, it’s always a true pleasure witnessing the talent, passion and charisma of the one and only John McEntee onstage. He’s a true metal warrior, no doubt about it. Furthermore, one very interesting fact about the show in Toronto was the amount of girls doing crowd surfing and stage diving during their concert. I think it was easily over 10 different girls doing those during one of the songs, with one even showing her athleticism and flexibility by doing a few splits onstage, which was pretty badass. Let’s see when Incantation return to Toronto if those girls will have other nice tricks to prove once and for all who runs the world.

Setlist
Golgotha
Carrion Prophecy
Emaciated Holy Figure
Iconoclasm of Catholicism
Concordat (The Pact) I
Blissful Bloodshower
Profanation
Vanquish in Vengeance
The Ibex Moon
Impending Diabolical Conquest

Band members
John McEntee – vocals, guitars
Luke Shively – guitars
Chuck Sherwood – bass
Kyle Severn – drums

BELPHEGOR

Sunday is always a day for regular people to go to the church, but for us metalheads it’s the perfect day to do the exact opposite, and let’s say Austrian Blackened Death Metal beast BELPHEGOR more than helped us succeed in such a blasphemous activity with one of the darkest and heaviest concerts of the past few months in Toronto. Playing a mix of their entire discography with their latest album The Devils, from 2022, plus their two fantastic new singles Sanctus Diaboli Confidimus and Scarlet Beast-Leviathan (a beautifully haunting song, by the way), all available on BandCamp and on Spotify, such a malevolent horde led by the unrelenting Helmuth Lehner was breathing fire and sulfur during their entire show, and if you were on the left side of the stage you would also feel everything tremble to the demented drums by Daniel “Nar-Sil” Rutkowski. It was a really fun experience to be honest, despite the fact the trembling got way too heavy at times.

I wonder what some fervent Catholics would say about Belphegor’s music and live performances. Those guys almost cracked the earth in half with their music, allowing Satan himself to arise from the underworld. The mosh pit was like a cauldron of fire, their demonic vocals and reefs exhaled sulfur and blasphemy, and it was easy to see all faces in awe during their satanic and cathartic mass. After their black mass was over, I noticed one girl that’s in pretty much every extreme music show in Toronto with a busted lip and some blood down her chin, and based on her happy face she was more than fine with that. She’s a total badass, she doesn’t fear any mosh pit, and she’s the perfect depiction of the love of Toronto for Black and Death Metal. Belphegor more than deliver it in both genres, usually at the same time, and if they provde us with half of the darkness and electricity from this Sunday next time they visit Toronto, I bet we’ll see more happy faces and busted lips around the venue. Praise the beast, praise all ladies who make heavy music a much better place, and praise the almighty Belphegor.

Setlist
The Procession
Baphomet
The Devil’s Son
Sanctus Diaboli Confidimus
The Devils
Stigma Diabolicum
Pactum in Aeternum
Lucifer Incestus
Virtus Asinaria – Prayer
Scarlet Beast – Leviathan
Totentanz – Dance Macabre

Encore:
Belphegor – Hell’s Ambassador

Band members
Helmuth Lehner – vocals, guitars
Wolfgang Rothbauer – guitars
Chris Bonos – bass, backing vocals
Daniel “Nar-Sil” Rutkowski – drums

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Album Review – Malefic / Impermanence (2026)

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Drawing influence from Black, Death, and Thrash Metal, this unrelenting Atlanta horde wrestles with themes such as politics, drug use, existentialism, perseverance, and the lasting consequences of one’s choices in their debut opus.

Drawing influence from Black, Death, and Thrash Metal, the unrelenting Atlanta, Georgia-based visionaries Malefic are unleashing upon us their debut offering, entitled Impermanence. Having roared onto the Atlanta metal scene in 2007 with ambitions to modernize the Black Metal genre, the band currently formed of Aaron Baumoel on vocals and drums, Jason Davila and Sam Williams on the guitars, and Andy McGraw on bass wrestles with themes such as politics, drug use, existentialism, perseverance, and the lasting consequences of one’s choices in their debut opus, being therefore highly recommended for fans of bands the likes of Old Man’s Child, Carcass, Testament, Dissection, and Opeth.

Jason and Sam rev up the band’s malefic engine with their scathing riffs in Blood of the Throne, evolving into a blackened feast of Thrash Metal led by Aaron’s raspy roars and unstoppable beats and fills; and he keeps hammering his drums in In Darkest Dreams, accompanied by the caustic riffs and rumbling bass lines by Jason, Sam and Andy, resulting in the perfect excuse for some wild mosh pit action. Of Gods and Man presents a more sinister, introspective start, before exploding into a demented Black Metal extravaganza, and let’s bang our heads nonstop to the sound of Idiocracy, spearheaded by the always rhythmic drumming by Aaron. After that, it’s time for some insane slamming to the sound of Deserter, where their strident riffs give it an even edgier vibe.

The second half of the album kicks off to the sound of acoustic guitars in Disembodiment before all hell breaks loose in another display of caustic Blackened Thrash Metal madness, followed by Obsidian Earth, one of the most detailed and sulfurous songs of the album, with Aaron stealing the show with his demonic gnarls and killer blast beats. After such an infernal display of extreme sounds the band brings forward Echoes of Silence, starting again in an acoustic manner and evolving into a bestial sonic devastation as expected from such a talented and enraged ensemble. Lastly, the album closes with the first single released, It Haunts, blasting our ears with their Skeletonwitch-inspired ferocity and the always venomous roaring by Aaron.

Offering a fresh, modern take on metal that is unrivaled in the United States, Impermanence represents the culmination of many years of hard work and dedication, along with a deep love for music beyond strict genre boundaries, and if you want to know more about such an unstoppable force of extreme music, you can follow Malefic on Facebook and on Instagram, subscribe to their YouTube channel, stream their music on most platforms like Spotify, and of course grab a copy of their flammable debut from Terminus Hate City’s BandCamp or webstore. The year of 2026 is definitely going to be a blast for admirers of Blackened Death and Thrash Metal, and the first full-length album by Malefic will undoubtedly fuel our inner demons to keep slamming into the pits of the underworld, always in the name of the most extreme of extreme music.

Best moments of the album: Blood of the Throne, Deserter and Obsidian Earth.

Worst moments of the album: Of Gods and Man.

Released in 2026 Terminus Hate City

Track listing
1. Blood of the Throne 3:16
2. In Darkest Dreams 3:44
3. Of Gods and Man 3:54
4. Idiocracy 3:56
5. Deserter 3:53
6. Disembodiment 4:39
7. Obsidian Earth 4:14
8. Echoes of Silence 4:45
9. It Haunts 5:33

Band members
Aaron Baumoel – vocals, drums
Jason Davila – guitar
Sam Williams – guitar
Andy McGraw – bass

Album Review – Büddah / Amyotrophy (2026)

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Behold the first full-length opus by this ruthless Polish entity, offering nine anthemic hymns of destruction for admirers of the darkest side of Death and Thrash Metal.

After the releases of their debut EP The Curse of Ferrius, in 2022, and the live album Resurrection Clarity (Live at 2 Koła ’24), in 2024, Gdańsk, Poland-based Blackened Death/Thrash Metal duo Büddah are ready to crush our frail bodies and souls with their first ever full-length installment, entitled Amyotrophy (a progressive wasting of muscle tissues). Recorded by Damian Bednarski (of Unborn Suffer), produced by the same Damian Bednarski alongside Marcin Skowroński (of Fatigue), who was also responsible for the mixing and mastering of the album, and displaying a killer artwork and layout by vocalist Julian Schutta, the new album by Julian Suchtta on vocals and Marek Gross on vocals, guitars and bass, with the support of session drummer Igor Jażdżewski, takes no prisoners in their quest for extreme, ruthless music, offering nine anthemic hymns of destruction for admirers of the darkest side of Death and Thrash Metal.

The duo wastes no time and kick off their demented festivities with Amyotrophy I, with their devilish gnarls and the ruthless blast beats by Igor sounding absolutely explosive; whereas Bowel Fane presents cryptic, vile words vociferated by the duo (“Awakened in the cryptic maze / Helpless cries shove off the walls / My blind soul tries to find the exit”) amidst a devastating Blackened Thrash Metal sonority. Then they invest in a pure Death Metal sound in Waste of Flesh, with the dirty, slashing riffage by Marek walking hand in hand with their raspy guttural; and a song title like Disfigured Ones reeks of Death Metal, and Julian and Marek make sure the music also lives up to the genre with their demolishing roars and riffs, supported by Igor’s demented drumming. After that, Fiend then presents hints of Thrash Metal, Hardcore and Crust, perfect for slamming into the pit like there’s no tomorrow.

The rumbling bass by Marek ignites another display of undisputed Death Metal in Mouth Full of Bones MMXXV, with the old school beats and fills by Igor adding an even more primeval touch to the song. Then we face the dark, sinister interlude Law of the Snake, setting the stage for Büddah to destroy our senses with Serpent’s Scourge, by far the heaviest of all songs, featuring guest vocalists Damian Bednarski and Łukasz Pieszczyński, and with its cryptic lyrics (“I faced the mask of thousand tongues / with eyes surrounding its mouth / It’s lurking voice crawling under my nails / oviposited on my bearing / On my bearing…”) matching perfectly the sonic savagery blasted by Julian and Igor. Finally, they go full circle with the second “part” of the album title, Amyotrophy II, where Marek does an amazing job with both his riffs and solos, going experimental halfway through it before ending on a melodic, introspective manner.

Julian and Marek need a little less than 40 minutes in Amyotrophy to show the entire world of heavy music that the name Büddah is already a reality, blasting our speakers and melting our faces with their undisputed fusion of extreme music genres and subgenres in the best Polish style imaginable. Furthermore, if you want to show such a hardworking duo your admiration and support, you can start following them on Facebook and on Instagram, stream their caustic compositions on any available platform such as Spotify, and above all that, purchase their incendiary debut offering from their own BandCamp, as well as from the Godz ov War Productions’ BandCamp or webstore. Amyotrophy is the strongest effort to date by such an up-and-coming duo hailing from the fires of Poland, and based on the quality of the music found throughout the album, we can rest assured we’ll hear a lot more from them in the foreseeable future.

Best moments of the album: Amyotrophy I, Disfigured Ones and Serpent’s Scourge.

Worst moments of the album: None.

Released in 2026 Godz ov War Productions

Track listing
1. Amyotrophy I 5:33
2. Bowel Fane 2:41
3. Waste of Flesh 3:27
4. Disfigured Ones 4:41
5. Fiend 5:11
6. Mouth Full of Bones MMXXV 4:33
7. Law of the Snake 1:34
8. Serpent’s Scourge 4:26
9. Amyotrophy II 6:58

Band members
Julian Suchtta – vocals, djembe on “Serpent’s Scourge”
Marek Gross – vocals, guitars, bass, shakers on “Serpent’s Scourge”

Guest musicians
Igor Jażdżewski – drums (session)
Damian Bednarski – vocals on “Serpent’s Scourge”
Łukasz Pieszczyński – vocals on “Serpent’s Scourge”

Album Review – Void Monuments / Posthumous Imprecation (2026)

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Behold the debut offering by this ruthless Russian entity, a tour de force of dark, deadly Death Metal of a most 90’s vintage.

Founded in 2020 in Saint Petersburg, Russia, dead in 2022, but reborn in 2024 with a newly sculptured style blasting wicked, old school Death Metal with sinister lyrics, the ruthless entity Void Monuments will decimate your putrid bodies with their debut opus, entitled Posthumous Imprecation. Adorned by a clear and crushing production and a suitably eerie cover artwork, the new album by K. Svart on  vocals and guitar, P. Doom also on the guitar, Ivan on bass, and Bestial Barlog on drums stands tall as a debut declaration, a tour de force of dark, deadly Death Metal of a most 90’s vintage, constructing crushing towers of sound that shoot off into dusty catacombs and primordial slime alike.

Like a demonic creature arising from the pits of the underworld, the album’s Intro will captivate our senses before the band rips our putrid souls in half with Epitome Of Fear, a lecture in Death and Black Metal where Bestial Barlog shows no mercy for our necks with his demonic beats and fills. Then investing in a blood-soaked, vile Doom Metal sonority we face Devilish Prophecies, with K. Svart vomiting the song’s impious words like a rabid beast; followed by Decapitate The Saints, perhaps the song with the most poetic name, a headbanging 90’s-inspired Death Metal attack by the band, with K. Svart and P. Doom showcasing the power of a deadly riff.

Ascent to the Crucifixion is another song with a blasphemous name offering us all an overdose of Blackened Death Metal in the form of six (six six) minutes of pure infernal sounds spearheaded by another gory vocal performance by K. Svart; and Void Monuments go absolutely mental in Invocation, a lesson in Death Metal savagery where Bestial Barlog’s demented drumming is boosted by the metallic, ruthless bass by Ivan and the striking solos by the band’s guitar duo. Their second to last explosion of utter violence is offered in the form of The Sign of Blasphemy, living up to the legacy of 90’s Death Metal, before the band concludes their black mass with Father Of Sin, led by Bestial Barlog’s undisputed hammering drums, putting a beyond demonic ending to the album.

No more but definitely no less, Posthumous Imprecation is undoubtedly a strong release by Death Metal maniacs, for Death Metal maniacs, being highly recommended for admirers of bands the likes of Malevolent Creation, Sinister, The Chasm, Monstrosity, and Cenotaph, among others. You can get in touch with Void Monuments via Instagram, subscribe to their YouTube channel, stream their music on any platform like Spotify, and of course put your damned hands on Posthumous Imprecation from the Blood Harvest’s BandCamp or webstore. Void Monuments are craving fresh blood armed with their newborn spawn, and you better get ready because there’s nowhere to hide from their undisputed Death Metal savagery.

Best moments of the album: Epitome Of Fear, Decapitate The Saints and Invocation.

Worst moments of the album: None.

Released in 2026 Blood Harvest

Track listing
1. Intro 2:14
2. Epitome Of Fear 4:50
3. Devilish Prophecies 5:32
4. Decapitate The Saints 4:50
5. Ascent to the Crucifixion 6:13
6. Invocation 4:58
7. The Sign of Blasphemy 3:30
8. Father Of Sin 4:03

Band members
K. Svart –  vocals, guitar
P. Doom – guitar
Ivan – bass
Bestial Barlog – drums

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2025

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“Who the fuck is Justin Bieber?” – Ozzy Osbourne

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…

Album Review – Pedestal for Leviathan / Enter: Vampyric Manifestation (2025)

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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.

Released in 2025 Personal Records

Track listing
1. Chalice Bleeds Intoxicant 2:51
2. Summoning Sickness 3:18
3. Lycanthropichrist 3:22
4. Sanctity of Retribution 4:14
5. Purgatory Displacement 2:51
6. Karmic Recollection Mirror 2:52
7. Snow Covered Monolith 1:05
8. Warlock Blacksmith 3:02

Special Edition bonus tracks (Festering Apparition 2024 EP)
9. Siphoning of the Liege 3:48
10. Beast Rune 2:43
11. Nightside Familiar 3:52

Band members
Kendrick Lemke – vocals, guitar
Mathew Meyer – guitar
Noah Filthen – bass
Corbin Echtermeyer – drums

Album Review – Withering Soul / Passage of the Arcane (2025)

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A Blackened and Melodic Death Metal entity from Chicago strikes back with their devilish fifth album, a manifestation in the form of chilling soundscapes, foreboding atmospheres, contagious melodies and tortured chants.

Conjured into existence in 1999 in Chicago, Illinois, the uncanny Blackened/Melodic Death Metal entity Withering Soul is unleashing upon us their fifth studio album, entitled Passage of the Arcane, following up on their 2021 beast Last Contact. Mixed and mastered by Dennis Israel at Clintworks Audio, with drums recorded and engineered by Vince Ippolito at Swift Road Studios, and displaying another hypnotizing artwork by the indomitable Adam Burke of Nightjar Illustration, the new album by Christopher Grimes on vocals, guitars and synths, Joel Miller on bass, and Rick Hernandez on drums is a convergence of blackened atmospheres and sweeping song structures, a mystifying journey that exceeds boundaries while remaining fun and exciting, with the overall theme of the album involving human experiences traversing into cursed oblivion where each song explores its own story, ranging from unexplained disappearances to the supernatural.

In the album’s Intro, howling winds warn us all of the storm of heavy music that’s about to come in Attrition Horizon, where Rick sounds absolutely demonic armed with his vicious beats and fills, providing Christopher with exactly what he needs to shine on vocals. The band keeps demolishing our senses in Grievance Eludes the Light, a no shenanigans, in your face Melodic Death Metal beast spearheaded by the striking riffs by Christopher, and let’s then slam into the pit once again together with Withering Soul in The Monolith Embodied, with Rick kicking some serious ass on drums, sounding almost like a pure Death Metal chant. It’s time to face six minutes of dark passages and brutality in Gallery of the End, even presenting elements from Atmospheric Metal without of course forgetting their Black and Death Metal essence; followed by Trajectory, with guest Nick “Exhul” Morgan of Ossilegium providing the song with a sick guitar solo while the music is as infuriated and melodic as possible, albeit not as dynamic. More of their headbanging, visceral sounds penetrates deep inside our minds in Among Covetous Eyes, with Christopher’s roars sounding deep and evil, and last but not least we have Burden of the Valiant, the most progressive of all songs, with all riffs, bass lines and beats complementing each other flawlessly, not to mention its climatic finale.

Fans of Dark Fortress, Windir, Hypocrisy, Dissection, and God Dethroned, among others, will certainly enjoy the new opus by Withering Soul, a manifestation in the form of chilling soundscapes, foreboding atmospheres, contagious melodies and tortured chants echoing above an onslaught of calculated percussion. You can get to know more about such a talented and creative band on Facebook and on Instagram, enjoy their unique creations on Spotify, and purchase their excellent newborn baby from BandCamp. In the end, Withering Soul created a musical elegy that is both majestic and haunting, with Passage of the Arcane representing another phenomenal step in their solid path to darkness.

Best moments of the album: Attrition Horizon, The Monolith Embodied and Burden of the Valiant.

Worst moments of the album: Trajectory.

Released in 2025 Liminal Dread Productions

Track listing
1. Intro 0:51
2. Attrition Horizon 4:50
3. Grievance Eludes the Light 5:00
4. The Monolith Embodied 3:14
5. Gallery of the End 6:37
6. Trajectory 7:10
7. Among Covetous Eyes 5:33
8. Burden of the Valiant 7:50

Band members
Christopher Grimes – vocals, guitars, synths
Joel Miller – bass
Rick Hernandez – drums

Guest musician
Nick “Exhul” Morgan – guitar solo on “Trajectory”