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
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
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.
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.
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
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”
These unrelenting Blackened Death Metal brainiacs return with their fourth studio album, entering a downward spiral into the abyss of the human experience.
Exploring the crossroads of psychology, philosophy, and spirituality while entering a downward spiral into the abyss of the human experience, Germany/Bangladesh’s own Blackened Death Metal brainiacs KHNVM (pronounced as ‘Khaa-nooom’) are unleashing upon us their fourth studio album, titled Cosmocrator. Recorded by the band’s mastermind, vocalist, guitarist, bassist and keyboardist Obliterator at Obliterator Studio (vocals, guitar, bass) and by drummer M. at Studio Usama Siddiqui (drums), with guitars and bass re-amping, mixing and mastering by Ekaitz Garmendia at BlackStorm Studio, and displaying a Stygian artwork by Khaos Diktator Design (with layout by Ulf Binder), the follow-up to their 2023 album Visions of a Plague Ridden Sky draws powerful inspiration from Christopher Hitchens’ scathing account God Is Not Great: How Religion Poisons Everything and Carl Jung’s Mysterium Coniunctionis to explore themes surrounding the tension between rationality and mysticism, while challenging conventional beliefs.
The howling winds of Black Metal kick off the Stygian tune Purgatorial Pyre, with Obliterator delivering his trademark evil vociferations while also building a darkened wall of sounds with his riffs, bass and synths. Fetid Eden is another onrush of blackened sounds by Obliterator supported by the Death and Doom Metal beats by M., perfect for some sick headbanging while he growls like a demonic entity; whereas investing in a more direct Death Metal sonority we have Mercurial Remnants, with Obliterator roaring like a beast while also firing some scorching riffs, followed by the haunting interlude Fathomless Enigma, transporting us to a dark and evil world ruled by Obliterator entitled Cosmocrator, a very experimental and progressive slab of Death Metal showcasing the project’s classic guitar lines and devilish vocals. Then featuring Ekaitz Garmendia (of Sijjin) on a guest guitar solo, Venom Spawn ventures through even more progressive lands, bringing nuances of sounds from Obliterator’s homeland while also melting our faces with his undisputed Death Metal violence, and last but definitely not least, the duo delivers their most Stygian fusion of Death and Doom Metal in Haunting Blight, and the final result is simply phantasmagorical.
With the album title carrying a dual significance, symbolizing the “Ruler of the World” and also standing for “Satan” within religious vocabulary, this reflects its exploration of common phenomena, expressed through an adrenaline-fueled artistic lens. Obliterator and his KHNVM are waiting for you on Facebook and on Instagram with more of their music, news and tour dates (and yes, they do play live, with Chasmist on bass and J. on drums), and you can also stream their music on Spotify, and purchase a copy of Cosmocrator from BandCamp or by clicking HERE, or you can also click HERE for all things KHNVM. With the thought-provoking lyrics and harsh yet to the point musicality of Cosmocrator, KHNVM promise not to just deliver on musical terms, but also to captivate those who are drawn to complex narratives and philosophical depth, all of course embraced by high quality, harsh and obscure heavy music.
Best moments of the album: Fetid Eden, Venom Spawn and Haunting Blight.
This ruthless Danish beast is completing their ambitious double concept album, centering around the theme of witchcraft with a blistering new chapter of Blackened Death Metal brutality.
Rooted in the legacy of the 90’s Scandinavian Death Metal underground, Aarhus, Denmark-based Blackened Death Metal beast Panzerchrist is completing their ambitious double concept album Maleficium with Maleficium – Part 2, the follow-up to their 2024 demolishing opus Maleficium – Part 1 and a blistering new chapter of Blackened Death Metal brutality. Produced, mixed and mastered by Tue Madsen at Antfarm Studios, the newborn spawn by Sonja Rosenlund Ahl on vocals, Frederik O’Carroll and Danny Bo Pedersen on the guitars, Rune V Wasmer on bass, and Ove Lungskov on drums sees the band expand their sonic palette with explosive tempos, melodic synth textures and apocalyptic doom passages, forging a sound that is both savage and cinematic, while its lyrical concept once again centers around the theme of witchcraft, this time diving deeper into narratives of persecution, grief, moral corruption, and their reflection in today’s world.
The second part of their phenomenal concept double album about witch hunts and trials begins in full force with Witchfinder General, with its haunting intro exploding into modern-day, caustic Blackened Death Metal led by the piercing roars by Sonja, whereas in Harmbidder the band continues to kick us hard in the head to the brutal beats and fills by Ove, while Frederik and Danny deliver pure Death Metal from their axes. Needless to say, it should sound fantastic if played live. Sonja sounds even more infuriated in Catalyst Of Chaos, delivering her trademark she-devil roars supported by the thunderous, vicious music blasted by her bandmates, followed by Hex Maleficium Pex, another song that goes absolutely heavy on the blast beats by Ove while Rune fires metallic, ruthless bass lines for our total delight, sounding perfect for breaking our necks headbanging. Or in other words, as Sonja herself says in the song, “the only good witch is a dead witch.”
Then the most cryptic and vile intro of all songs warns us all for the feast of darkness and brutality that’s about to come in Suffer My Fury, the most demented composition of the entire album, with Ove once again demolishing his drums in the name of violence and hatred. The quintet has simply mastered the art of crafting a sinister, visceral hybrid of Black and Death Metal, which is exactly the case in the menacing On Walpurgis Night, again led by the scorching riffs by the band’s unrelenting guitar duo. It’s time to dance with the witches, no doubt about it. The second to last burst of aggression by Panzerchirst is offered in the form of Black Mirror, with the deep gnarls by Sonja walking hand in hand with the demonic riffage by Frederik and Danny; and last but certainly not least, let’s join the band’s demonic coven one last time to the sound of The Descent, putting a climatic and melodic ending to such a magnificent album.
Delivering one of the most extreme and refined statements of their career, a release that marks a new high point for one of Denmark’s most enduring names in Death Metal, Panzerchrist are at the peak of their form with Maleficium – Part 2 (available in full on YouTube and on Spotify). “The songs on Maleficium reach a new level of depth and rawness, which has given me the opportunity to experiment with both lyrics, wordflow and vocal techniques. I am honestly so proud of the result,” commented the ultra talented growler Sonja. “Maleficium – Part 2 completes the work that was started with part one. Together, perhaps the best collection of songs from the band,” complemented Frederik, and if you want to know more about one of the most unrelenting names in the history of Danish metal you can find the band on Facebook and on Instagram, stream their music on Spotify, and of course purchase the phenomenal Maleficium – Part 2 from BandCamp or by clicking HERE. The time of the witches is upon us, and Panzerchrist are among us to make sure it’s going to be a savage and furious era to the sound of their incendiary new album.
Best moments of the album:Witchfinder General, Harmbidder, Suffer My Fury and On Walpurgis Night.
Worst moments of the album: None.
Released in 2025 Emanzipation Productions
Track listing 1. Witchfinder General 4:53
2. Harmbidder 4:10
3. Catalyst Of Chaos 4:03
4. Hex Maleficium Pex 7:19
5. Suffer My Fury 4:01
6. On Walpurgis Night 6:01
7. Black Mirror 3:45
8. The Descent 6:58
Band members Sonja Rosenlund Ahl – vocals
Frederik O’Carroll – guitars
Danny Bo Pedersen – guitars
Rune V Wasmer – bass
Ove Lungskov – drums
A newborn Blackened Death Metal beast from Florida is ready to kill to the sound of their debut offering, embodying the bleakest parts of being human.
Formed in February 2022 in Pensacola, Florida, in the United States by guitarist Taylor Tidwell (Unaligned, Withered Throne) and vocalist Chelsea Marrow (Voraath, The Monster Factory), Visitant are a Blackened Death Metal band that weaves ethereal elements into a soundscape that is as haunting as it is aggressive. Lyrically and musically, the band crafts immersive dreamscapes, ritualistic and unrelenting, that channel the essence of restless, vengeful spirits. Recorded by Taylor Tidwell and Anthony Lusk-Simone, produced and mixed by Anthony Lusk-Simone, mastered by Jason Fisher at Exitus Stratagem Records, and displaying a stylish artwork by Chelsea Marrow (with layout and logo by Maxwell Aston), Rubidiumis the debut album by the aforementioned Taylor Tidwell and Chelsea Marrow alongside bassist Kilian Duarte (Abiotic, Lattermath, Felix Martin, Scale the Summit), and drummer Anthony Lusk-Simone (Abiotic, Lattermath, Pathogenic), embodying the bleakest parts of being human while dealing with the darkest emotions such as grief, loss, betrayal, vengeance, time lost, and regret.
Chelsea already showcases all her vocal depth and rage in the opening tune Unworldly, an imposing Black Metal aria where Anthony’s pounding drums and background orchestrations sound absurdly heavy, followed by Briars, offering another whimsical, atmospheric start to the band’s minimalist sounds before Taylor and Killian fire piercing, monumental sounds from their axes supported by the Black and Death Metal drumming by Anthony. Visitant then bring to our avid years another avalanche of cinematic and obscure sounds in Starless, where Chelsea’s gnarls walk hand in hand with Anthony’s drums, followed by the demolishing Rubidium, keeping the atmosphere as heavy and dense as possible. In Fodder, Chelsea keeps screaming the song’s devilish words (“A cold eclipse / An opening amidst flame / Your being, engulfed / I never thought I’d see your face beyond the light”) while her bandmates generate the most sulfurous and evil Blackened Death Metal sound imaginable. Then blasting a gripping fusion of Symphonic Black Metal with Post-Black Metal elements we have Envies Lament, with the riffage by Taylor sounding acid and vile; and last but not least, we face one final Black Metal attack by the quartet entitled Moon Bathe, with Taylor stealing the spotlight with his infernal, caustic riffage.
In a nutshell, fans of Gojira, Opeth, Naglfar, and Between the Buried and Me will certainly have a blast with the visceral experience that transcends genre boundaries offered by Visitant in Rubidium, placing the band under the radar of most metalheads across the world who enjoy a solid and professional fusion of aggressiveness, violence, harmony, obscurity and rage. You can get more details about this up-and-coming horde hailing from Florida by following them on Facebook and on Instagram, keep an eye on their official videos on their YouTube channel, stream their music on Spotify, and of course purchase a copy of their flammable debut by clicking HERE. Chelsea, Taylor & Co. are summoning a beast from the abyss in their first ever full-length offering, darkening the skies and haunting our souls mercilessly and, therefore, already getting us all hyped for whatever comes next in their exciting career in the upcoming years.
Best moments of the album:Unworldly, Fodder and Envies Lament.
UK’s own acolytes of the very darkest Blackened Death Metal are back after four years with a brand new EP, a work of rare mystery and malevolence.
In Ovid’s Metamorphoses, Phobetor (‘Frightener’), so called by men, or Icelos (‘Like’), so called by the gods, is one of the thousand sons of Somnus (‘Sleep’). He appeared in dreams “in the form of beast or bird or the long serpent”. In heavy music, Phobetor are a London, UK-based Blackened Death Metal band who has been around since 2018, having already released the 2019 EP Burning Memories and their full-length albums When Life Falls Silent (2020) and Through Deepest Fears and Darkest Minds (2021). Now in 2025, the band formed of vocalist Debora Conserva, guitarists Ross White and Ben Ash, bassist Dredgewood, and drummer Marc Dyos is unleashing a new EP, titled A Solitary Vigil, a work of rare mystery and malevolence. Mixed by Ollie Roberts at Kettle Brew Studios, mastered by Lawrence Mackrory at Rory Sound Studios, and displaying a haunting artwork by Ghost Kid and photography by Scott Chalmers, the EP simply leads us deeper into the darkness than ever before.
The piercing riffs by Ross and Ben ignite the band’s detailed, visceral and grim feast of Black and Death Metal titled A Solitary Vigil, while Debora offers our putrid ears an overdose of sulfur and rage through her harsh vociferations, followed by Absence of Light, another bestial blast of Black Metal magic, with Marc smashing his drums in the name of pitch black darkness accompanied by the always thunderous bass by Dredgewood. Debora sounds like a demonic entity, roaring as a true she-demon in Black Fading Winter, while her bandmates fire the most caustic and evil form of Blackened Death Metal; whereas in The Vacant World Within Us we can say that such a poetic name deserved a no shenanigans sound, and that’s exactly what Phobetor bring forward with their infernal roars and demented blast beats. Last but not least, the razor-edged guitar riffs by Ross and Ben will penetrate deep inside your soul in Where Mournful Shadows Dwell, while Debora continues to hypnotize us with her devilish vocals until the very last second.
After all is said and done, you’ll quickly realize A Solitary Vigil is more than just the new EP by these acolytes of the very darkest Blackened Death Metal; as you peer into its impenetrable blackness, an obsidian mirror, it disgorges all the terrors you had forgotten were real, the dream monsters that hide in the deepest recesses of your mind, resulting in an onslaught of blackened death and mind-rending fear highly recommended for fans of Behemoth, Immolation, Belphegor, and Dark Funeral. Hence, don’t forget to join Phobetor in absolute darkness by following them on Facebook and on Instagram, by streaming their sulfurous creations on Spotify, and of course by purchasing A Solitary Vigil from BandCamp or Big Cartel. Phobetor are back from the netherworld sounding darker and more sinister than ever, and I bet you’ll succumb to their obscure powers once you begin your descent into madness to the sound of their Stygian new offering.
Best moments of the album:A Solitary Vigil and Black Fading Winter.
Worst moments of the album: None.
Released in 2025 Independent
Track listing 1. A Solitary Vigil 3:54
2. Absence of Light 5:02
3. Black Fading Winter 2:58
4. The Vacant World Within Us 4:08
5. Where Mournful Shadows Dwell 4:41
Band members Debora Conserva – vocals
Ross White – guitar
Ben Ash – guitar
Dredgewood – bass
Marc Dyos – drums
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.
“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.
THE HEADBANGING MOOSE 