Tag Archives: blackened death metal

Album Review – 1914 / Viribus Unitis (2025)

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Trench warfare meets blackened death and doom in 1914’s fourth onslaught of war-torn fury, tracing a timeline from 1914 to 1919 while painting a grim journey through the war’s rise, climax, and hollow aftermath.

Continuing their warpath forged with the albums Eschatology of War (2015), The Blind Leading the Blind (2018), and Where Fear and Weapons Meet (2021), Ukrainian Blackened Death/Doom Metal formation 1914 returns with unrelenting force on their fourth studio album, Viribus Unitis, which is Latin for “With United Forces,” a phrase chosen as a personal motto by the Austro-Hungarian emperor Franz Joseph (1830-1916), reflecting the band’s resilience through war, loss, and upheaval, a powerful symbol of survival and solidarity. Recorded at Jenny Records, produced, mixed and mastered by Alexander Backlund and Tony Lindgren at Fascination Street Studios, and displaying another obscure artwork by Vladimir ‘Smerdulak’ Chebakov, the new opus by k.u.k. Galizisches IR Nr.15, Gefreiter, Ditmar Kumarberg on vocals, K.K. LIR Czernowitz Nr.22 Oberleutnant, Witaly Wyhovsky and K.K. LIR Stanislau Nr.20 Zugsführer, Oleksa Fisiuk on the guitars, k.u.k. Galizisch-Bukowina’sches IR Nr.24, Feldwebel, Armen Howhannisjan on bass, and K.K. LIR. Lemberg Nr.19 Fähnrich, Rostislaw Potoplacht on drums builds on the band’s acclaimed conceptual approach, pushing even deeper into emotional and musical intensity. Continuing their chronicle of World War I, 1914 shift their focus slightly, from the raw portrayal of death and destruction to themes of camaraderie, endurance, and the emotional landscapes of those who endured the horrors. Told through real events and personal accounts of a Ukrainian soldier in the K.u.K. army, the album traces a timeline from 1914 to 1919, painting a grim journey through the war’s rise, climax, and hollow aftermath.

War In (The Beginning of the Fall) is one of the band’s trademark intros we love so much, taking us to the horrors of war in 1914 (The Siege of Przemyśl), a lecture in Death and Doom Metal led by the demented drums by Potoplacht while Kumarberg roars and screams like a demonic war god. In other words, the album couldn’t have started on a more visceral, demolishing vibe, which is also the case in 1915 (Easter Battle for the Zwinin Ridge), where once again it’s fantastic how the excerpts, samples and songs from World War I added to their music always sound creepy, while the guitars by Wyhovsky and Fisiuk bring the heavy artillery to their already ruthless sonority. The bombs are coming strong in 1916 (The Südtirol Offensive), an explosive, scathing tune by 1914 where their incendiary riffs and blast beats bring sheer doom to our blackened hearts; and they keep hammering our cranial skulls with their Blackened Doom magic in 1917 (The Isonzo Front), led by the pounding drums by Potoplacht.

Then investing in a pure Doom Metal sound we face 1918 Pt 1: WIA (Wounded in Action), and the result is beyond haunting, heavy and grim, with Kumarberg’s deep vociferations sending shivers down our spines, followed by 1918 Pt 2: POW (Prisoner of War), with guest vocals by Christopher Scott of Precious Death, making an infernal duet with Kumarberg while the rumbling bass by Howhannisjan and the drums by Potoplacht sound like a true bombing squad. The third part of such an imposing aria, 1918 Pt 3: ADE (A Duty to Escape), features guest vocals by Aaron Stainthorpe of My Dying Bride and High Parasite, and when you have a guest like that you know you’re in for a treat of absolute Doom Metal madness, with the striking riffage by Wyhovsky and Fisiuk penetrating deep inside our skin; flowing into the very emotional and dark 1919 (The Home Where I Died), overflowing melancholy with the deep clean vocals by guest Jerome Reuter of Rome walking hand in hand with the song’s somber piano, before all comes to an end (or not) in War Out (The End?), as cryptic and obscure as usual, putting a stunning conclusion to the album.

While their previous releases centered on the futility and finality of war, Viribus Unitis explores the human bonds forged under fire and the strength of those who returned, broken, changed, yet still alive, deepening their commitment to historical authenticity, both lyrically and conceptually. You can join 1914’s ranks on Facebook and on Instagram, staying up to date with their unparalleled live performances, subscribe to their YouTube channel, stream their warlike music on Spotify, and above all that, put your blood-soaked hands on Viribus Unitis by clicking HERE. In other words, trench warfare meets blackened death and doom in 1914’s fourth onslaught of war-torn fury, and you better get ready as those unstoppable Ukrainians want you to join them in the battlefield, for victory or death.

Best moments of the album: 1914 (The Siege of Przemyśl), 1916 (The Südtirol Offensive), 1918 Pt 1: WIA (Wounded in Action) and 1918 Pt 3: ADE (A Duty to Escape).

Worst moments of the album: None.

Released in 2025 Napalm Records

Track listing
1. War In (The Beginning of the Fall) 1:30
2. 1914 (The Siege of Przemyśl) 4:48
3. 1915 (Easter Battle for the Zwinin Ridge) 9:14
4. 1916 (The Südtirol Offensive) 6:11
5. 1917 (The Isonzo Front) 6:34
6. 1918 Pt 1: WIA (Wounded in Action) 6:20
7. 1918 Pt 2: POW (Prisoner of War) 6:12
8. 1918 Pt 3: ADE (A Duty to Escape) 5:50
9. 1919 (The Home Where I Died) 7:07
10. War Out (The End?) 3:10

3-LP Gatefold Vinyl Marbled Cristallo/Gold/Deluxe Wooden Box Bonus Vinyl/Welcome to the Trench Club EP
1. War In 1:07
2. Die Karpathenschlacht (Rework 2025) 6:02
3. Die Karpathenschlacht (Ship Her Son RMX) 4:30
4. 8 × 50 mm R. Infanterie Repetiergewehr M.95 (Rework 2025) 7:29
5. 8 × 50 mm R. Infanterie Repetiergewehr M.95 (Kadaitcha RMX) 6:55
6. War Out 1:33

Band members
k.u.k. Galizisches IR Nr.15, Gefreiter, Ditmar Kumarberg – vocals
K.K. LIR Czernowitz Nr.22 Oberleutnant, Witaly Wyhovsky – guitar
K.K. LIR Stanislau Nr.20 Zugsführer, Oleksa Fisiuk – guitar
k.u.k. Galizisch-Bukowina’sches IR Nr.24, Feldwebel, Armen Howhannisjan – bass
K.K. LIR. Lemberg Nr.19 Fähnrich, Rostislaw Potoplacht – drums

Guest musicians
Christopher Scott – vocals on “1918 Pt 2: POW (Prisoner of War)”
Aaron Stainthorpe – vocals on “1918 Pt 3: ADE (A Duty to Escape)”
Jerome Reuter – vocals on “1919 (The Home Where I Died)”

Metal Chick of the Month – Aleks Radmanovich

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Stygian – Abyss – Call – To me!

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

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

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

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

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

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

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

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

Album Review – Naraka / Born In Darkness (2025)

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One of the most promising modern acts emerging from France returns with their hellish, incendiary sophomore offering.

Founded in 2019 by guitarist Jean-Philippe Porteux, French Melodic Death Metal outfit Naraka (a term that generally refers to the realm of hell or a place of torment in Indian religions) is back with their mix of Modern Metal and Death Metal with symphonic and sometimes even electro touches in their sophomore album, titled Born in Darkness. Recorded at Hybreed Studio, Serial Drummer Studio, and At The Gates Ov Hell Studio, mixed and mastered at Darth Vader Studio, produced by Logan Mader, and adorned by a devilish artwork by Andreas Bathory, the follow-up to their 2021 debut In Tenebris continues to pave the path started by the band in their inception, creating a dramatic and atmospheric experience without losing focus on their core instrumentation and, therefore, positioning the band currently formed of vocalist Théodore Rondeau, guitarist Jean-Philippe Porteux, bassist Pierre-André Krauzer, and drummer Franky Costanza as one of the most promising modern acts emerging from France’s always exciting metal scene.

The album kicks off with the cinematic intro Apocalypsis Diem, where the band invites us all to their dark and sinister world before all hell breaks loose in Born In Darkness, offering our avid ears a solid and thrilling fusion of Black, Death and Groove Metal led by the Lamb of God and Machine Head-inspired screams by Théodore. Franky then pounds his drums in great fashion in the heavy-as-hell Something Woke Up, supported by the slashing riffs by Jean-Philippe and all of the song’s wicked background sounds, whereas Jean-Philippe revs up the band’s Blackened Death Metal engine in Blazing Sun, also showing elements from Gothic Rock and Metal. With a title like Hellhound the only thing we could expect was pure doom, and we get it straight from Pierre-André’s bass and the song’s haunting background choir, followed by Tyrants, another hard hitting tune of melodeath with groove and blackened nuances, with Franky taking the lead with his fierce beats.

Then leaning towards Symphonic Black and Death Metal those French metallers fire an adrenaline-fueled beast named Sorcerer, where the harsh vocals by Théodore walk hand in hand with all keys and orchestrations; and like the soundtrack to a horror movie, the climatic interlude Deus Belli sees the band arise from the netherworld in Lost, again venturing through the realms of Gothic Metal, in special in the song’s dark, deep vocals and sluggish beats. The Reign In Red is one more devilish creation by Naraka, evolving into a Symphonic Black Metal aria spearheaded by Franky’s crushing drums, also featuring Sotiris Anunnaki V of SepticFlesh on guest vocals. Parasite is a modern and visceral display of Dark Metal that goes straight into your mind, with Jean-Philippe’s riffs crawling under your skin like a creepy centipede, followed by The Last Day On Earth, a phantasmagorical composition where all background keys add an extra dosage of heaviness to the already vile riffage by Jean-Philippe. Lastly, we face an acoustic version of Lost, not as good as the electrified version, and a bit unnecessary as the album is already grandiose without it.

Although the name Naraka has only been around for less than a decade, the band members are seasoned veterans of the French scene, bringing a powerful and sophisticated sound to the table in their new album Born In Darkness, which is by the way available from the Art Gates Records webstore as a digipak + shirt bundle, a digipak + shirt + hoodie bundle, or a digipak + shirt + hoodie + mug bundle. Don’t forget to also follow such a promising band on Facebook and on Instagram, as I’m sure their live performances are incendiary to say the least, and stream their music on any platform out there like Spotify. If you’re looking for modernity in heavy music while also deeply rooted in classic extreme sounds, Naraka will certainly fulfill your needs with Born In Darkness, keeping the fires of French music burning bright and inspiring those talented musicians to keep melting our faces with album number three in a not-so-distant future.

Best moments of the album: Something Woke Up, Hellhound and Parasite.

Worst moments of the album: Lost (Acoustic Version).

Released in 2025 Art Gates Records

Track listing
1. Apocalypsis Diem 1:41
2. Born In Darkness 5:29
3. Something Woke Up 4:38
4. Blazing Sun 5:08
5. Hellhound 3:57
6. Tyrants 4:12
7. Sorcerer 4:01
8. Deus Belli 3:32
9. Lost 4:25
10. The Reign In Red 5:18
11. Parasite 3:31
12. The Last Day On Earth 5:51
13. Lost (Acoustic Version) 3:55

Band members
Théodore Rondeau – vocals
Jean-Philippe Porteux – guitar
Pierre-André Krauzer – bass
Franky Costanza – drums

Guest musician
Sotiris Anunnaki V – vocals on “The Reign In Red”

Album Review – Thaumaturgy / Pestilential Hymns (2025)

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This cryptic American beast returns from the underworld with its sophomore opus, offering more of its vicious blend of dark, doom-laden, chasmic, and cavernous Death Metal.

Spawned in the American Midwest by an enigmatic musician that goes under the alias KT, driven by the urge to play a vicious blend of dark, doom-laden, chasmic, and cavernous Death Metal, taking influence from a wide range of outsider music, Kansas, United States-based Blackened Death/Doom Metal outfit Thaumaturgy continues to push the boundaries beyond the genre’s forerunners in order to invoke contemplation upon the super-mundane realms that their name implies in their new offering titled Pestilential Hymns, following up on his 2023 vile debut  Tenebrous Oblations. Now a power-trio after the addition of TG and DS to their ranks, the band has morphed into an entity whose new musical offering is crammed with furious, ripping riffs, contrasted by crushing, echoing doom passages, as well as a surprising element of dark melody, all embraced by the suitably ancient cover artwork by Daniel Hermosilla of Nox Fragor Art.

Devilish, visceral riffs ignite the band’s black mass in Neuroticism Triumphant, with KT’s harsh vociferations adding sheer insanity to their already demented sound, blasting our minds and faces mercilessly. The Oncologist’s Hymn carries a weird name for a song, but as the music is what really matters we face an avalanche of primeval Death Metal by the trio, followed by The Shadow Approaches, bringing forward elements from the most hellish form of Doom Metal while still being deeply rooted in Death Metal. Needless to say, KT yet again sounds inhumane on vocals. And Plague Ritual sounds absolutely dissonant, evil and unrelenting from start to finish, with its cryptic, vile vocals, riffs and drums penetrating deep inside our minds while also showcasing haunting background keys and melodies.

Then the guttural by KT gets even deeper and more bestial in Awaken Ares, supported by an overdose of harsh riffage, rumbling bass lines and nonstop beats and fills, or in other words, it’s an ode to the vilest form of Death Metal. It’s pedal to the metal in the sonic attack entitled Entropic Hegemony, with its riffs reeking of Black Metal, therefore adding even more obscurity to the band’s core sound; whereas a melodic yet evil guitar kicks off the Doom Metal-infused interlude An Ignominious End, a bit too long for my taste, warming us up for Forced March, ending the album majestically, a destructive force of Death Metal spearheaded by KT’s grim vocal lines while the music remain as heavy and obscure as possible before all fades into oblivion.

To qualify Thaumaturgy as “blackened” would not be unfair, but Pestilential Hymns as a (w)hole wholly feels like a Death Metal record, just one on the fringes of unorthodoxy and angularity, unbound but never belabored. Still, despite this forward-thinking approach, the band retains a sense of the ancient, of elder days in the underground when diabolism truly began to bloom in Death Metal, and you can join such an uncanny creature form the abyss in its quest for extreme music on Instagram, stream the band’s scorching, visceral creations on Spotify, and of course put your putrid hands on Pestilential Hymns from the band’s own BandCamp, as well as from Memento Mori. Pestilential Hymns brings to our avid ears first-class music to mangle our minds, and you better be warned that once you begin your descent into the underworld together with those evil creatures, there’s no turning back.

Best moments of the album: Neuroticism Triumphant, Plague Ritual and Forced March.

Worst moments of the album: An Ignominious End.

Released in 2025 Memento Mori

Track listing
1. Neuroticism Triumphant 5:20
2. The Oncologist’s Hymn 5:52
3. The Shadow Approaches 5:32
4. Plague Ritual 6:34
5. Awaken Ares 6:26
6. Entropic Hegemony 6:05
7. An Ignominious End 2:28
8. Forced March 7:23

Band members
KT – vocals, guitars, bass
TG – guitars
DS – drums

Album Review – Impermanence / Anicca (2025)

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This five-headed Technical Death and Black Metal beast from Poland will attack armed with their debut offering, portraying the fragility and transience of human life.

Forged in the fires of Kraków, Poland by the end of 2023, the Technical Death and Black Metal beast known as Impermanence is unleashing hell with the release of their debut offering, entitled Anicca. Recorded at Studio Poziom -1, mixed and mastered at Dahaka Productions, and displaying a beyond Stygian yet captivating artwork by Alicja Michalec, the debut opus by Mateusz Bednarz on vocals, Wojciech Wróbel and Paweł Hernik on the guitars, Bartłomiej Fitas on bass, and Konrad Pieczara on drums portrays the fragility and transience of human life, all embraced by the band’s unrelenting blend of extreme music, being therefore highly recommended for fans of renowned acts from the Extreme Metal scene the likes of Behemoth, Belphegor, Nile, and God Dethroned, just to name a few.

The album’s phantasmagorical, eerie Intro will embrace us in pitch black darkness before the band rips our hearts out with Sorrodise, with both Wojciech and Paweł delivering a wild fusion of Black and Death Metal through their flammable riffs accompanied by the rumbling bass by Bartłomiej. In other words, the album couldn’t have started in a more compelling way. From Mirage to Lust brings elements from the current Scandinavian Melodic Death and Black Metal scene, with Mateusz taking the lead with his devilish screams, and the band then goes absolutely mental in the Melodic Black Metal beast entitled Apocalypse, with Konrad bringing forward sheer heaviness with his classic beats and fills, inviting us all to slam into the pits of the netherworld.

There’s no sign of the band slowing down at all; quite the contrary, this five-headed creature of extreme music will pulverize us all with Spiritual War, where the guitars by Wojciech and Paweł exhale madness and sulfur; whereas their metallic sounds continue to darken the skies in Fugitive, with tons of intricacy flowing from their riffs, bass and drums, all enfolded by Mateusz’s venomous roars. As expected, there’s no such thing as “sounding mellow” or “happy music” to those guys, and they invest in their most Behemoth-inspired sonority in Ascension Through Defiance, with their riffage cutting our skin deep while Konrad pounds his drums nonstop in the name of Polish Blackened Death Metal for our absolute delight. And lastly, we face the hard-hitting Crumbling, deviating a bit form their core Black and Death Metal, but still sounding tight and heavy as usual.

“Anicca is a hymn to the fragility that marks our existence. The album’s name is derived from Buddhist terminology and signifies impermanence. The lyrical layer explores themes of transience and the search for purpose in the world around us. Songs begins and ends with the ticking of a clock, clearly marking both the start and the conclusion of the story being told. Each track presents a different narrative, offering a unique perspective on the somber aspects of human nature. This concept extends beyond the lyrics, shaping the band’s overall artistic identity,” commented the band about their amazing newborn baby, and you can get in touch with them and know more about their music, tour dates and plans for the future on Facebook and on Instagram, stream their caustic music on YouTube and on Spotify, and grab a copy of the excellent Anicca from their own BandCamp, from the Satanath Records’ BandCamp or webstore, or simply by clicking HERE. In the end, we are all fragile beings, we are not permanent, and the music found in Anicca perfectly reminds us of how hard it is to face such a harsh truth.

Best moments of the album: Sorrodise, Apocalypse and Ascension Through Defiance.

Worst moments of the album: Crumbling.

Released in 2025 Satanath Records

Track listing
1. Intro 1:24
2. Sorrodise 4:20
3. From Mirage to Lust 5:16
4. Apocalypse 3:23
5. Spiritual War 4:12
6. Fugitive 6:06
7. Ascension Through Defiance 5:03
8. Crumbling 5:56

Band members
Mateusz Bednarz – vocals
Wojciech Wróbel – guitars
Paweł Hernik – guitars
Bartłomiej Fitas – bass
Konrad Pieczara – drums

Album Review – Sothoris / Domus Omnium Mortuorum (2025)

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Enter the house of all the dead to the sound of the scorching newborn spawn by this ruthless Blackened Death Metal horde from Poland.

Forged in the fires of Miłosław, Poland in 2016, the ruthless Blakened Death Metal horde Sothoris arises from their Stygian lair once again to darken the skies to the sound of their newborn spawn, entitled Domus Omnium Mortuorum, or “house of all the dead” in English, following up on their 2022 sophomore album Wpiekłowstąpienie. Recorded, mixed and mastered by Krzysztof Kostencki at Tetra Wave Studio, with artwork by Bartosz Szczepaniak and Maksymilian Krasoń, and band photo session by Maciej “Wuja” Chomik, the new album by vocalist Raven, guitarists Hex and Setrial, bassist Lord Ghash, and drummer Hrist sees the band offer their trademark mixture of Black Metal ferocity and Death Metal power while its lyrical layer showcases a study of human wickedness, being therefore a must-listen for fans of extreme music with a deep and dark meaning.

A wicked intro gradually morphs into a scathing beast named Wieczornica (“evening party”), spearheaded by the hellish riffs by Hex and Setrial, whereas Szkarłat (“scarlet”) offers a more visceral display of Blackened Death Metal, with Raven gnarling rabidly like a demonic entity while the rumbling bass and blast beats by Lord Ghash and Hrist sound utterly demolishing. Then with an incandescent name like Lawa (“lava”) the music had to be absolutely scorching, which is exactly what we get, with the venomous roars by Raven crushing our putrid souls mercilessly, whereas Hrist then hammers his drums in the Behemoth-fueled Byłem Faustem (“I was Faust”), which will surely make their world renowned countrymen proud.

Dzieci Diabła (“the devil’s children”) is another thunderous display of extreme music by Sothoris, with the band’s guitar duo firing pure malignancy through their unstoppable, vile axes, and the band takes no prisoners in their quest for Black and Death Metal in Pro Memoria, or “for the sake of memory” from Latin, led by the inhumane drumming by Hrist. Needless to say, it should sound brilliant if played live. Then presenting elements of progressive music added to their core essence we have Dym (“smoke”), where Hex and Setrial once again steal the show with their heavy-as-hell riffage, and last but not least, we’re treated to one final metallic cult by Sothoris titled Piętno (“stigma”), where the bass lines by Lord Ghash will hammer your cranial skull mercilessly.

“This album uses a certain artistic game. We go back in time to the 19th century. The starting point for this idea, the inspiration is the monument of Karl Robert Lachmann, the only son of a German, aristocratic family, who died in the Franco-Prussian War (1870-1871), vandalized by cemetery robbers, located in the mausoleum in Jałowiec,” commented frontman Raven, and if you have what it takes to enter the band’s house of the all dead, you can find those Stygian beings on Facebook and on Instagram, stream their sulfurous music on Spotify, and purchase Domus Omnium Mortuorum from BandCamp or from the Fetzner Death Records webstore as a CD or a cassette. But you better be warned, once you enter such a vile and cryptic house, your life (and death) will never be the same.

Best moments of the album: Szkarłat, Byłem Faustem and Pro Memoria.

Worst moments of the album: Dym.

Released in 2025 Fetzner Death Records/ADG Records

Track listing
1. Wieczornica 5:31
2. Szkarłat 5:43
3. Lawa 6:39
4. Byłem Faustem 6:03
5. Dzieci Diabła 4:53
6. Pro Memoria 4:52
7. Dym 4:57
8. Piętno 5:25

Band members
Raven – vocals
Hex – lead guitars
Setrial – rhythm guitars
Lord Ghash – bass
Hrist – drums

Album Review – Ofermod / Drakosophia (2025)

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This uncanny Swedish Blackened Death Metal creature returns with its fifth studio offering, a vessel for Theistic Satanism and left-hand-path esotericism in sonic form.

Lepaca Nox Draconis! Ho Drakon Ho Megas!

Steered by guitarist Belfagor (aka Mika Hakola) since 1996, having sewn influence and infamy in equal measure, the uncanny Swedish Blackened Death Metal creature Ofermod, whose name was taken from a 1953 Tolkien essay, used to describe a state of mind characterized by excessive pride, is unleashing upon humanity its highly anticipated new opus, titled Drakosophia. Recorded and produced by Swedish bassist Devo Andersson (Overflash, Marduk) at Endarker Studio, and displaying a sinister artwork by John Albin Hampus Ekberg of Mark of Cain Tattoo, the follow-up to their 2021 album Mysterium Iniquitatis offers an overdose of “Qliphotic Black Metal Magick”, a genuine Orthodox Black Metal album representing a vessel for Theistic Satanism and left-hand-path esotericism in sonic form, all carefully brought into being by Belfagor on the guitars alongside North American vocalist Adeptus, Austrian session drummer Florian Musil (Agrypnie, The Negative Bias, Theotoxin), and the aforementioned Devo Andersson on bass.

It’s a pulverizing feast of scathing Black Metal in the opening tune Aicha Kandisha, with the gnarling vocals by Adeptus transpiring evil accompanied by the ruthless drumming by Florian, whereas Devo and Florian deliver a beyond demonic kitchen in Vineyards of Gomorrah while the Stygian riffage by Belfagor summons all creatures of darkness. Then the title-track Drakosophia brings to our devilish ears a cryptic atmosphere boosted by the song’s background choirs while Adeptus continues to gnarl like a true demon, and Florian hammers his drums mercilessly while Belfagor delivers pure Black Metal from his axe in Malat Atat. After that we face the unique Zazas Zazas Nasatanada Zazas, where the music is as insane and complex as its name, and that’s simply majestic, resulting in one of their best creations to date led by the venomous gnarls by Adeptus.

Belialistic Gra’al Codex is another song with a very distinct name, where once again we see Belfagor and his horde crushing our damned souls with their infernal wall of sounds, with Florian kicking some serious ass behind his drums, followed by Nox Draconis, the most straightforward, in-your-face Black Metal song of all, with Belfagor extracting sheer malignancy from his guitar and, therefore, living up to the legacy of the style while also sounding fresh. Sinister Acolyte is just an average Black Metal tune by Ofermod, still very enjoyable but not as much as the other songs, while the last song of the album, titled The Painful Movers, is a demolishing beast blasted by the band, with the riffs and bass by Belfagor and Devo complementing each other in great fashion.

Invoked right from the beginning, Drakosophia is both classic Ofermod and a continual unfolding of their unique characteristic sound, dynamically sinister and vigorously menacing. You can find more information about Ofermod and their new opus on Facebook and on Instagram, stream their sulfurous creations on Spotify, and of course grab a copy of the album from the Regain Records’ BandCamp or from the Shadow Records’ webstore. Open your third eye and let Lucifer crush all cosmic illusions of time and space, and become born anew in the LVX of Phosphorus to the sound of Drakosophia; embrace this sonic Left Hand Path sorcery and mysticism, or stay far away from the sinister audial art of Ofermod.

Best moments of the album: Vineyards of Gomorrah, Zazas Zazas Nasatanada Zazas and Nox Draconis.

Worst moments of the album: Sinister Acolyte.

Released in 2025 Shadow Records/Regain Records

Track listing
1. Aicha Kandisha 4:03
2. Vineyards of Gomorrah 6:53
3. Drakosophia 3:56
4. Malat Atat 5:54
5. Zazas Zazas Nasatanada Zazas 4:30
6. Belialistic Gra’al Codex 5:14
7. Nox Draconis 5:04
8. Sinister Acolyte 4:51
9. The Painful Movers 4:26

Band members
Adeptus – lead vocals
Belfagor – guitars

Guest musicians
Devo Andersson – bass (session)
Florian Musil – drums (session)
Thomas Eriksson & Lars Broddesson – choir vocals

Metal Chick of the Month – Chelsea Marrow

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Internally, I feel like a cosmic explosion. It’s where the stars are born. It’s where stars die.

In order to properly celebrate 13 years of The Headbanging Moose, our metal lady chosen for this month of October is the ultimate definition of the underground, and I’m sure that after knowing more about her, you’ll get addicted to her ass-kicking music. She’s the frontwoman for a phenomenal new supergroup named Visitant, as well as the vocalist for the also excellent band Voraath, not to mention she’s also an extremely talented voice actress. Call her by her real name Chelsea Strickland, or by her artistic moniker Chelsea Marrow, she will kick your ass with her undisputed Extreme Metal growls, undeniable charisma, and a deep passion for the darkest and most extreme side of music. Having said all that, do you think you have what it takes to enter in the realm of fire and flames ruled by one of the most talented female growlers of the current heavy music scene? Or in other words, get ready to be pulverized by Chelsea’s scathing vocals in our humble tribute to such a multi-talented woman.

Born on February 2, 1988 in Pensacola, Florida, in the United States, Chelsea started her career in heavy music as the vocalist for a Florida-based Blackened/Melodic Death Metal band named Accursed Creator, with whom she recorded the singles All Will Suffer (2016), Prelude of Worms (2016), and Scourge of Tested Flesh (2018), as well as the three-track EP Sins of the Father in 2016, which includes one of the singles, Prelude of Worms, before departing from the band in 2020. Their new vocalist is a guy named Kodiac Jackson, who joined the band in 2023, but they haven’t released any new material yet with him on vocals. You can enjoy their songs with Chelsea on vocals on both BandCamp and Spotify, and enjoy their official videos for songs like Throne of Iron and Scourge of Tested Flesh on YouTube.

A few years after leaving Accursed Creator, our talented she-wolf joined Asheville, North Carolina-based Technical/Experimental Death Metal band Voraath, alongside Daniel Presnell and Tylor Kohl on the guitars, Paul McBride on bass, and Joshua Nassaru Ward on drums, replacing their previous vocalist Brad Parris, having recorded with the band the excellent Vol 1: The Hymn of the Hunters back in 2024, available on BandCamp, Spotify or any other streaming service. In one of her interviews when she joined the band, she explained how everything happened. “I’ve been friends with Joshua Ward, who’s the current drummer for Voraath, for a couple of years, now. In the past, we’ve discussed the possibility of having me feature on a Voraath song. I believe it paved the way to where we are now. There were some recent lineup changes, and Josh reached out to me. He offered the opportunity to be a permanent member of Voraath and I happily accepted with no hesitation.”

Chelsea likes to describe Voraath’s sound as an auditory odyssey both extreme and emotional. “We wanted to keep our roots and extreme metal while still exploring storytelling,” she commented, also explaining what’s behind their masks and costumes. “We built our own multiverse with cosmic entities who have propagated life throughout a biocentric universe. It’s a complex story but we are in a post-apocalyptic future ruled by corporations and interdimensional entities, and we are just a group of hired retrieval experts trying to support our families in this dismal reality when we are hired to retrieve something that’s beyond our understanding, unearthing the body of a otherworldly being which in the lore is how we get our armor and mask, infused with technology not of this world.”

Unfortunately, the ultra talented Joshua Nassaru Ward, of bands like Rapheumets Well, Olkoth and Xael, sadly passed away on December 31, 2024, and that might have been the end of Voraath as well. Joshua, along with his fiancée and two other people, was killed in a car accident when a drunk driver crashed into their car on New Year’s Eve. Not only Chelsea lost a good friend, but her passion for Voraath and the future of the band together with her bandmates was beautiful, and I’m sure her heart and soul might be broken into tiny pieces after what happened with Joshua based on her previous comments about the band. “Everyone in the band is so fucking talented. I love the depth and storyline behind the music. There is a whole visual experience, in addition to the epic soundscape that Voraath creates. Envisioning myself as an outsider, I see this band as something truly to behold. Memorable.”

Although we might not know what’s going to be of Voraath, Chelsea can also be found now as the frontwoman for a newborn Blackened Death Metal beast named Visitant, and let me tell you such an up-and-coming underground supergroup will crush you like a putrid insect so heavy, dark, emotional and visceral they sound. Formed in February 2022 in Pensacola, Florida by our ruthless diva Chelsea on vocals alongside guitarist Taylor Tidwell (Accursed Creator, Unaligned, Withered Throne), bassist Kilian Duarte (Abiotic, Lattermath, Mimesis, Scale the Summit), and drummer Anthony Lusk-Simone (Abiotic, Lattermath, Pathogenic, Shroud of Bereavement, Your Pain Is Endearing, among many others), this powerhouse of a band brings endless savage energy to the metal community armed with their debut offering, entitled Rubidium, a monster of Blackened Death Metal displaying a stunning yet suffocating artwork crafted by Chelsea herself.

All tracks in Rubidium are fantastic, which each one having a special meaning for Chelsea and the boys. For instance, she had a few words to say about the idea and video for the killer single Fodder. “In the dream, I attempted to bring my friend back from the dead against the warnings of my ancestors – and everything went wrong. It felt like a horror short from my subconscious, and the video captures that eerie, ritualistic atmosphere.” Furthermore, in a recent interview to the excellent The Zach Moonshine Show, Chelsea opened up about the band’s journey, the personal grief behind Fodder, and channeling pain into power through music. “I’m just putting every bit of my spirit into it,” she commented, reflecting on the band’s rise and her transition from Voraath to Visitant. She also discussed the haunting inspiration behind Starless, describing it as “the embodiment of shadow work,” and explained the dreamlike vision that drives her lyricism and visuals. “I like to take personal experiences and turn them into ghost stories.” If you’re eager to know more about Visitant and put your hands on Rubidium, you can find the band on Spotify, purchase the album by clicking HERE, or simply access this link for all things Visitant.

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Chelsea can also be found as a guest vocalist for some amazing metal bands from the underground scene. Her first contributions happened back in 2019, when she recorded guest vocals for the songs Black Annis, from the album Fear In Fiction, by American Metalcore/Rap Metal musician and audio engineer Sammy SlamDance, and  Ancient of Days, from the album Dead Gods, by the now defunct American Progressive/Brutal Death Metal band Nekroí Theoí; followed by the song Entity 6, from the 2023 EP Wounded, by American Technical Deathcore piece Fleshbound; and more recently the female vocals for the single Ascended Deliverance, released earlier this year by UK’s Sludge Metal outfit Tigguo Cobauc. She also sang with an American Death Metal band named Seditious Deceit back in 2020, although there isn’t much information about how she contributed to the band’s music at that time. In addition, Chelsea was also responsible for the artwork for the split album Ashes of Dagoth, by American Melodic Death/Black Metal band Ob Nixilis and American Post-Metal act To Keep the Wolves Away, once again showcasing her passion for the darkest side of arts.

When asked about her idols and influences in one of her interviews about Voraath, Chelsea mentioned Sci-Fi movies and video game soundtracks as her main references, while also drawing inspiration from bands such as Dimmu Borgir, Fleshgod Apocalypse, Septicflesh, Cattle Decapitation, Acid Bath, Alkaloid, and Igorr, mentioning in special Fleshgod Apocalypse and Cattle Decapitation as their biggest influences and the top bands she would like to collaborate with either by herself or together with Voraath (and I’m sure with Visitant as well). Moreover, speaking of collaborating with other bands, which leads to also touring with her own band plus other bands, Chelsea also had a few words to say about how anyone can better manage their time and relationships with all band members. “Have a pliable and comprimisable attitude. You’re stuck in a vehicle with four to five other people so developing good coping strategies and having solid communication with each other is important.”

As aforementioned, our she-wolf is also a respectable voice actress, working in the “monster sounds” division of The Monster Factory (or La Fabrique de Monstres), having the ability to craft sounds that resemble zombies, undead creatures, ghouls, vampires, trolls, orcs, goblins, demons, aliens, wizards, humans, animals in general, small creatures, insects, ghosts, whispers, dragons, and robots. For instance, as part of The Monster Factory team, she provided choir vocals for the soundtrack of the 2020 video game Doom Eternal. Not only that, apart from her career as a musician, a voice actress and a visual artist, Chelsea also works as a social media marketing manager and barista at Pacific Kava Bar in Florida, as one of the sponsored artists by CAD Audio, and as a photographer at Metal Purgatory Media and at Chelsea Marrow Photography, proving how relentless and focused she can be.

After all is said and done, I’m sure you perfectly understand now why Chelsea was chosen as our beyond talented metal lady to celebrate another year in the life (and death) of The Headbanging Moose. She lives and breathes heavy music, she never gives up no matter what, and she will keep delivering first-class extreme music for us avid metalheads for many decades to come without a shadow of a doubt. Keep an eye on her social media because we’ll probably see Visitant paying a dark and ruthless visit to several cities and towns in North America anytime soon, hopefully also spreading their blackened wings over Canada, Europe and all other parts of the world, giving us mere mortals the chance to witness live onstage one of the must-see names of the current extreme music scene worldwide. Needless to say, Chelsea will love to see you in the crowd headbanging to her infernal vocals.

Chelsea Marrow’s Official Facebook page
Chelsea Marrow’s Official Instagram
Visitant’s Official Facebook page
Visitant’s Official Instagram
Visitant’s Official YouTube channel

Album Review – Syllogomania / Syllogomania (2025)

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An uncanny Post-Black Metal entity from Poland will attack your senses with its debut opus, a record of the past while also representing the chaos we constantly stumble over in our present and future.

The term “syllogomania” refers to the compulsive hoarding of items, leading to a cluttered living space and significant disruption to social and professional life, often stemming from loneliness, social isolation, and a lack of motivation to maintain order. In the underground of heavy music, Syllogomania is the brand new Post-Black Metal project by the uncanny vocalist and multi-instrumentalist A.I.G., formed in Kraków, Poland between 2021 and 2022 from the ashes of his previous band. Recorded at A.I.G.’s own home studio, mixed and mastered by Przemysław Nowak at Impressive-Art Studio, and displaying a sinister artwork by A.I.G. himself, his debut self-titled album is a record of the past, while also representing the chaos we constantly stumble over in our present and future, the moments we see the lives of our oldest relatives come to an end, and finally our own life that we have already lost from the start, which we lived in vain.

The title-track Syllogomania is very experimental, cryptic and demented, with A.I.G. delivering some circus-inspired sounds that will captivate your senses and drag you to total darkness before he starts distilling his devilish gnarls, followed by Drink The Fire, Fan The Flames, a more straightforward Blackened Death Metal beast by our lone wolf, with all beats and guitar lines reeking of absolute madness. A.I.G. then speeds things up and crushes our damned souls with his harsh and caustic Post-Black Metal in Of Emptiness, alternating between sheer savagery and epic neck-breaking moments; and continuing his path of total devastation and hatred he offers us all Slumber, where his anguished roars will penetrate deep inside your putrid mind like a vile parasite. Lastly, we face Modlitwa, or “prayer” from Polish, featuring guest vocals by Stawrogin (Gruzja, Odraza, Totenmesse), the most apocalyptic ending possible to the album, sounding very dynamic, diverse and full of nuances and layers.

A solitary, heavy, aggressive and rotten Black Metal creature from the dust-choked streets of Krákow, Syllogomania‘s debut record is an unforgiving assault on the senses, an intense dive into the chaos of a mind consumed by its own existence, highly recommended for fans of Shining, MGLA, Forgotten Tomb, Gaerea, Odraza, Aenaon, and Psychonau. You can find more information (but not too much) about the mysterious, grim Syllogomania on Facebook and on Instagram, and purchase the album from the project’s own BandCamp or from the Loudriver Records’ BandCamp or webstore. In a nutshell, Syllogomania is a brutal snapshot of a childhood choked by mould, insects, and an unrelenting pile of dust covered boxes, untouchable, suffocating and the still-coming madness we keep falling into. Dust. Emptiness. Anger. Nothing more, nothing less.

Best moments of the album: Of Emptiness and Slumber.

Worst moments of the album: None.

Released in 2025 Loudriver Records

Track listing
1. Syllogomania 6:04
2. Drink The Fire, Fan The Flames 4:14
3. Of Emptiness 6:27
4. Slumber 7:28
5. Modlitwa 8:22

Band members
A.I.G. – vocals, guitars, bass, drum programming

Guest musician
Stawrogin – vocals on “Modlitwa”

Album Review – Krigsgrav / Stormcaller (2025)

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A storm is brewing in the form of the eight studio album by this phenomenal Blackened Doom band hailing from the United States.

A storm is brewing. Hailing from Dallas, Texas, the unrelenting Black/Death/Doom Metal cult known as Krigsgrav returns two years after their critically acclaimed album Fires in the Fall with a brand new offering of absolute doom titled Stormcaller, the eight studio album in their solid career. Mixed and mastered by Owe Inborr at Wolfthrone Studios, with drums recorded by Sam Paquette at S.A.M. Studios, additional engineering by Cody Daniels, a Stygian cover art by the beyond talented Adam Burke of Nightjar Illustration, and album layout and design by Randi Matejowsky, the new opus by vocalist and guitarist Justin Coleman, guitarist Cody Daniels, bassist Wes Radvansky, and drummer and vocalist David Sikora is another lecture in Blackened Doom by one of the most prominent names of the scene worldwide, bringing sheer darkness and heaviness to our obscure hearts and souls.

Huntress of the Fire Moon, featuring guest vocals by Jens Rydén (of Swedish Viking/Black Metal band Thyrfing), is a very detailed and complex composition from the very first second, with the guitars by Justin and Cody exhaling epicness, whereas the harsh vociferations by Justin sound even darker in Stormcaller, while David keeps blasting his drums in great fashion. The quartet lets their Viking and Folk Metal vein pulse harder than ever in Twilight Fell, spearheaded by the pounding drums by David, and the final result is as epic as it is inspiring. And get ready for over seven minutes of harsh and obscure sounds in None Shall Remember Your Name, led by the always grim roars by Justin while their guitars exhale absolute darkness.

The second half of the album begins with more of their trademark fusion of Black, Death and Doom Metal with epic elements in the form of Bay of the Barghest, where their guitars sound striking and vibrant until the very end; and Cody fires a thrilling solo to kick off the excellent The Tonic of Wilderness, once again morphing into a bestial tune of Blackened Death and Doom Metal supported by the classic beats and fills by David. Ghosts is another six-minute beast of absolute doom, with their riffs and beats walking hand in hand, overflowing epicness and heaviness, and flowing into the grand finale entitled Womb-Death-Dawn, an explosion of Death and Doom Metal where Justin barks and roars like a creature from the abyss, resulting in a sinister, harsh conclusion to such a powerful and compelling album.

“When we started writing the songs that would make up Stormcaller, our intention was to create the most complete Krigsgrav album that took something from every era of the band, while still pushing our sound forward. A culmination of the blackest hues, doomiest of dirges, and most soaring of lead guitars. We think we achieved that, but we also wrote the best album of our career thus far. We trust that when you hear it, you’ll agree,” commented the band, and you can start following those amazing musicians on Facebook and on Instagram, enjoy their fantastic discography in full on Spotify, and of course purchase Stormcaller from BandCamp or from the Willowtip Records webstore, or simply click HERE for all things Krigsgrav. The band’s storm of absolute doom found in their new album is upon us, and once you’re embraced by their heavy sounds, there’s no way out.

Best moments of the album: Huntress of the Fire Moon, Twilight Fell and The Tonic of Wilderness.

Worst moments of the album: None.

Released in 2025 Willowtip Records

Track listing
1. Huntress of the Fire Moon 5:44
2. Stormcaller 5:37
3. Twilight Fell 5:38
4. None Shall Remember Your Name 7:33
5. Bay of the Barghest 6:21
6. The Tonic of Wilderness 6:19
7. Ghosts 6:10
8. Womb-Death-Dawn 8:33

Band members
Justin Coleman – harsh vocals, guitar
Cody Daniels – lead guitar
Wes Radvansky – bass
David Sikora – clean vocals, drums

Guest musician
Jens Rydén – additional vocals on “Huntress of the Fire Moon”