A new entity from the depths of the Chilean Brutal Death Metal underground has emerged, armed with the soul-shaking savagery of their self-titled debut album.
A new entity from the depths of the Death Metal underground has emerged. Formed in 2023 in Concepción, Chile by guitarist and bassist Mauro M. (The Macabre, Esophagus) and drummer Victor Araneda (Disownment, In Asymmetry, Esophagus), with longtime friend Richard Aguayo (In Asymmetry, Esophagus) joining the duo in 2025 as their official vocalist, Sermon To The Lambs focus on the roots and spirit of the golden era of Brutal Death Metal, unleashing now in 2026 the soul-shaking savagery of their self-titled debut album. Adorned in the stunning artwork of Pär Olofsson (Winds Of Plague, Unleashed, Thy Art Is Murder), the album is set to leave its indelible mark, a suppurating wound, on the global Death Metal scene, being highly recommended for fans of Deeds of Flesh, Liturgy, Brodequin, Cinerary, and Enmity.
The trio comes crushing our skulls like a rabid beast in Crowned King Of The Worms, with the primeval beats by Victor bringing that raw flavor we love in Brutal Death Metal, followed by Sermon To The Lambs, the song that carries the name of the band, an absolutely demented tune with Richard basically vomiting the song’s gory, evil words nonstop. Mauro then shows no mercy for his stringed axe in Spitting In The Church Of The Nazarene, accompanied by the inhumane beats and fills by Victor in another killer display of brutality; whereas Maximum Apostasy, the very first single released by the band, starts in an ominous manner before exploding into their trademark savagery. Needless to say, Richard keeps screaming and delivering those putrid screeches that make Brutal Death Metal so great, and to keep the momentum going we face Saints Are The Centurions Of The Aristotelian Christ, presenting two and a half minutes of absolute chaos and violence by the trio.
In Flagrum Taxillatum the band delivers a more cadenced but heavy-as-hell sonority, in special through Richard’s deep, cadaverous guttural, keeping the album at an insane level of gore and aggression, while Scourging At The Pillar is another short and sweet Brutal Death Metal atomic bomb where Victor demolishes his drums in the name of extreme music. The blasphemous God Spat And The Man Was Done is perfect for an overdose of slamming into the mosh pit while Mauro extracts his most caustic, scorching riffs of the entire album, and of course, Richard’s vocals couldn’t have sounded more infernal, before we face Clergy’s Malevolence, one final slab of absurdity and violence by the trio, with Victor stealing the show with his demented drumming. Last but not least, like twin-headed devils, those two songs are reprised as bonus tracks featuring vocalist Jeff Page of Manifestations, and as his vocals are deeper than Richard’s, those alternate versions end up adding even more meat to the album.
Magnificently unforgiving, the debut by Sermon To The Lambs is an eruption of crawling horrors from a tortured, broken earth, and you can put your damned hands on such a gory, violent album by purchasing it from Comatose Music’s BandCamp or webstore. Don’t forget to also follow such a demented entity form the Chilean metallic scene on Facebook and on Instagram, staying up to date with all things Sermon To The Lambs, and stream their wicked creations on Spotify. Sermon To The Lambs are just starting their reign of absolute chaos and destruction with their debut album, and you better get ready because if you ever you cross their path, there will be blood.
Best moments of the album:Sermon To The Lambs, Maximum Apostasy and God Spat And The Man Was Done.
Worst moments of the album: None.
Released in 2026 Comatose Music
Track listing 1. Crowned King Of The Worms 4:06
2. Sermon To The Lambs 3:22
3. Spitting In The Church Of The Nazarene 2:36
4. Maximum Apostasy 3:37
5. Saints Are The Centurions Of The Aristotelian Christ 2:26
6. Flagrum Taxillatum 3:09
7. Scourging At The Pillar 2:34
8. God Spat And The Man Was Done 3:22
9. Clergy’s Malevolence 4:56
Bonus tracks
10. God Spat And The Man Was Done (alternate version) 3:22
11. Clergy’s Malevolence (alternate version) 4:56
Band members Richard Aguayo – vocals
Mauro M. – guitars, bass
Victor Araneda – drums
Guest musician
Jeff Page – vocals on “God Spat And The Man Was Done (alternate version)” and “Clergy’s Malevolence (alternate version)”
This Brutal Death Metal brigade from Russia will crush you with their sophomore album, continuing their apocalyptic storytelling, chronicling humanity’s downfall and the rise of the insectoid race.
Emerging from Chelyabinsk, Russia’s underground scene back in 2017, the ruthless Brutal Death Metal/Deathcore creature known as Insect Inside has carved a reputation for its tight and aggressive sound, blending groove-heavy slam with suffocating atmospherics. Now in 2026 the band formed of Ivan Tyulkin (Nauseating) on vocals, Pavel Pleshkov (Ocean In My Bath) on the guitar, Bogdan Pisavnin (Cold Blooded Murder, Traumatomy) on bass, and Daniel Sementsov (Nauseating, Morphogenetic Malformation) on drums returns with their sophomore effort, titled Reborn in Blight, following up on their 2021 debut The First Shining of New Genus and their 2022 EP Into Impending Apotheosis. Produced by the band itself, mixed and mastered by Sasha Borovykh at TsunTsun Productions, and displaying a vile artwork by Jon Zig, the album showcases the band’s evolution toward a rawer, more visceral tone. Lyrically, the album continues their apocalyptic storytelling, chronicling humanity’s downfall and the rise of the insectoid race.
Human consciousness is definitely a mistake in evolution, and the band presents that disturbing thought through their dark and visceral Death Metal in Echoes Of The Swallowed Sinners, with Ivan’s deep guttural sending shivers down our spines. Then featuring guest vocals by Angel Ochoa of Cephalotripsy, we have the brutal yet melodic and multi-layered Abhorrent Landscape, with the guitars by Pavel cutting our skin deep in the name of gore and violence; and their celebration of bestiality continues in full force in Fragments, with Daniel taking the lead with his demonic beats supported by Bogdan’s ruthless bass. Putrid Lament brings forward another display of modern-day Brutal Death Metal, with their riffs and bass lines boosting Ivan’s gruesome vocals in great fashion, followed by Hiveborn Abomination, featuring guest vocalist Josh Welshman of Defeated Sanity, and the band shows absolutely no mercy for our frail bodies in this first-class, nonstop display of aggression and gore.
There’s still a lot more to come, starting with the groove-infused Brutal Death Metal feast titled Flesh Cathedral, again presenting Daniel’s demented yet intricate beats and fills, and Obscuration Worship, an instrumental piece that, despite its interesting bass lines and rhythmic drums, doesn’t add much to the album, followed by Carnal Ruins, where Ivan reaches the deepest, most inhumane level of his gnarling, sounding like a creature form the abyss while Pavel inspires us all to slam like metalmaniacs to the sound of his vile riffs. Then featuring guest vocals by Lennon O’Donnell of Pestilectomy, Parasite Messiah offers our putrid ears classic Brutal Death Metal spearheaded by another killer performance by Daniel on drums. Their feast of gory, infernal sounds finally ends with the title-track Reborn In Blight, just as demonic, heavy and grim, with Pavel and Bogdan’s axes exhaling savagery.
Drawing inspiration from Brutal Death Metal with hints of Black Metal, citing Disentomb, Relics Of Humanity, Cryptopsy, Defeated Sanity, and Vulvectomy among their top influences, Insect Inside continue to spread their grotesque vision characterized by gloom, disgust, and apocalyptic themes to the four corners of the earth with their new album, and if you want to join them in such a demented quest you can find those Russians on Facebook, on Instagram, and on VKontakte, stream their music on Spotify, and of course purchase Reborn in Blight from the Gore House Productions’ BandCamp and webstore, or by clicking HERE or HERE. The era of the insectoids has begun, and there’s nothing better to celebrate such an important milestone in humanity’s decay than the brutal music blasted by Insect Inside in their new album.
Best moments of the album:Abhorrent Landscape, Hiveborn Abomination and Carnal Ruins.
This Greek and American beast is ready to unleash hell with their third full-length offering, unfurling dimensions within the sound that they have concocted.
Attempting to meld influences ranging from Black Metal to Brutal Death Metal and everything in between, including Technical Death Metal, Blackened Death Metal and even Deathcore, the demonic Greek/American beast known as Phasma is unleashing hell with their third full-length offering, simply titled Purgatory. Displaying a Stygian artwork by George Angelis, the follow-up to their 2022 sophomore effort Epiales effortlessly oscillates from sharp Black Metal riffs to pummeling Death Metal blasts with matching vocal styles, and even toss in a breakdown or two in the middle, with every song feeling like an extension if not an improvisation over the previous one, as vocalist Luis Ferre and guitarist Jason Athanasiadis, with the support of session musicians George Markantonis on bass and Bill Nanos on drums, unfurl dimensions within the sound that they have concocted.
The dirty, devilish guitar by Jason sets the stage in I, quickly exploding into a beyond demented and technical feast of Black and Death Metal with Luis growling like a rabid beast for our total delight, followed by II, where another ethereal start evolves into more of the band’s trademark violence, with Bill’s infernal drums walking hand in hand with George’s thunderous bass lines. III sounds as visceral and ruthless as its predecessors, with Luis stealing the show with his deep guttural and bestial gnarling while Jason extract those Cannibal Corpse-inspired riffs that make Death Metal even deadlier; whereas IV presents hints of Dissonant and Avantgarde Death Metal added to their core brutality, keeping the album as sulfurous as it can be. Their insanity, heaviness and rage are boosted by the rumbling bass by George in V, getting utterly experimental at times while also showcasing a strong Deathcore vibe in its breakdowns; and lastly, they’ll pulverize us all with VI, where their Death Metal side gets even stronger, while Bill once again pounds his drums nonstop.
Bands playing a mix of styles isn’t uncommon but to intermingle influences of such disparate, almost contrasting styles is fascinating and remarkable especially when they have high replay value and lasting appeal. That’s exactly what Phasma have to offer in Purgatory, being highly recommended for admirers of the sonic madness blasted by bands such as Mgla, Dying Fetus, Crypts of Despair, Kriegsmaschine, and Psycroptic, just to name a few. You can get to know more about such a bestial duo from Greece and the United States by following the project on Facebook and on Instagram, staying up to date with their live performances, stream their unique creations on Spotify or any other streaming platform, and above all that, grab a copy of Purgatory from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, where you can also find their incredible merch designed by CVSPE. Like it or not, Phasma are here to stay, and they’ll mercilessly drag us to their own purgatory armed with their visceral new album.
Best moments of the album:I and III.
Worst moments of the album: None.
Released in 2026 Transcending Obscurity Records
Track listing 1. I 5:00
2. II 4:13
3. III 4:24
4. IV 3:51
5. V 4:16
6. VI 4:47
Band members Luis Ferre – vocals
Jason Athanasiadis – guitars
Guest musicians
George Markantonis – bass (session)
Bill Nanos – drums (session)
This uncanny Belarusian Death Metal creature will unleash hell in its third studio opus, offering nine independent compositions united by the idea of searching for inner support in an era of turbulence.
Eximperituserqethhzebibšiptugakkathšulweliarzaxułum, the Minsk, Belarus-based Technical/Brutal Death Metal entity whose name is usually shortened to simply Eximperitus, has acquired quite some attention not only for their 51-letter long name, but also for their austere, no shenanigans blend of extreme music. Famously secretive, with their members using pseudonyms like Dave 1 (guitars), Dave 2 (bass), Dave 3 (drums), and potentially Dave 4 (vocals), as they intentionally keep their identities hidden, making it nearly impossible to find personal details and, therefore, essentially making them “the Daves” of Belarusian metal, Eximperitus are unleashing upon humanity their third studio album, titled Meritoriousness of Equanimity, following up on their 2021 sophomore Šahrartu. Containing nine independent compositions united by the idea of searching for inner support in an era of turbulence, the album offers an acid exposure and scourging of social dogmas and morbid tendencies on the ruins of the old world, continuing to pave the band’s dark path which started in the already distant year of 2009.
The album couldn’t have started in a more demented mode than with One Step Long Infinity, an avalanche of vile riffs and blast beats not recommended for the lighthearted; followed by Contemplation of the Plastic Fibers of Perfection at the Second Level of Reality, carrying a beautiful name for a feast of Brutal Death Metal magic while also offering our avid ears razor-edged riffs and those evil guttural vocals we all love so much. Then after the whimsical interlude Twelve Centuries of Triumph of the Third Kingdom… we face Finding Consistency in the Fourth Quadrant of Eternity, where their Blood Incantation side blends with their core brutality and their guitar riffs and solos penetrate deep inside our souls; followed by the absolutely mental The Untimely Fruit of the Unsaid, bringing forward more of the band’s austere, visceral fusion of extreme music sounds, not to mention how heavy and groovy their bass and drums feel.
Golden Chains for the Construction of Individual Greatness is another ruthless explosion of their Technical and Brutal Death Metal madness, offering those demented blast beats perfect for some good slamming inside the pit; and after another ethereal, cosmic interlude entitled Molecular Disintegration of an Unattainable Solitary Will in a Vessel of Wisdom…, we’re treated to the venomous Chalkionic Wandering Among the Wreckage of the Future, where their crying guitars clash with their deep guttural in a striking metallic paradox. And before all is said and done, those uncanny Belarusian metallers bring forth Standing at the Skirt of the Ruins of Human Nature (…on the Other Side of Man and Time), an extensive outro that could have been a bit shorter, and maybe even less experimental, but that still puts an otherworldly ending to the album.
“In times when despair overflows human hearts… when the chasm of strife between civilizations widens… when loyalty to ideologies tears blood ties apart… when the world stands still, poised for the final leap of prolonged self-destruction… We can draw strength solely from internal sources, which are filled only by the multifaceted power of Death Metal…,” commented the band, as cryptic as their own members, and you can be part of their unique metal cosmos by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their sick creations on Spotify, and of course by ordering their demented new album from BandCamp or from Willowtip Records. Because it doesn’t matter if you have no idea how to pronounce Eximperituserqethhzebibšiptugakkathšulweliarzaxułum – those Belarusian death dealers are among us to crush our damned souls with their music, and their newborn spawn Meritoriousness of Equanimity will surely keep their insanity burning for many years to come, darkly reverberating through the fours corners of the earth.
Best moments of the album:Contemplation of the Plastic Fibers of Perfection at the Second Level of Reality, The Untimely Fruit of the Unsaid and Chalkionic Wandering Among the Wreckage of the Future.
Worst moments of the album:Standing at the Skirt of the Ruins of Human Nature (…on the Other Side of Man and Time).
Released in 2026 Willowtip Records
Track listing 1. One Step Long Infinity 2:26
2. Contemplation of the Plastic Fibers of Perfection at the Second Level of Reality 5:05
3. Twelve Centuries of Triumph of the Third Kingdom… 1:24
4. Finding Consistency in the Fourth Quadrant of Eternity 5:13
5. The Untimely Fruit of the Unsaid 5:41
6. Golden Chains for the Construction of Individual Greatness 4:07
7. Molecular Disintegration of an Unattainable Solitary Will in a Vessel of Wisdom… 1:39
8. Chalkionic Wandering Among the Wreckage of the Future 3:29
9. Standing at the Skirt of the Ruins of Human Nature (…on the Other Side of Man and Time) 4:52
Band members Dave 4 – vocals
Dave 1 – guitars
Dave 2 – bass
Dave 3 – drums
Houston, Texas-based masters of absolute brutality are back with their sophomore beast, out-slamming, out-blasting and utterly eviscerating anyone who crosses their path of gore and destruction.
When Houston, Texas-based Brutal Death Metal brigade Stabbing came together in 2021, the goals were simple. “We were really just having fun and wanted to emulate the style of the bands we really liked,” said frontwoman Bridget Lynch. “Old school 90’s and early 2000’s Brutal Death Metal bands like Disgorge, Deeds of Flesh, stuff like that.” Fast forward to 2026 and the indomitable Bridget alongside Marvin Ruiz on the guitars, Matt Day on bass, and Aron Hetsko on drums are ready to pulverize everything and everyone who dares to cross their path with their sophomore beast, entitled Eon of Obscenity, the follow-up to their 2022 crushing debut Extirpated Mortal Process. Recorded by Ben Gott and mixed and mastered by Chris Kritikos at Southwing Audio, and displaying a brutally classic artwork by Rudi Yanto of Gorging Suicide, the visceral Eon of Obscenity out-slams, out-blasts and utterly eviscerates their debut album and basically their competition, with Bridget taking her spot as one of the genre’s most powerful and distinct voices.
Get ready to be absolutely pulverized by Stabbing right from the very first second in Rotting Eternal, with Bridget proving why she has become a reference in deep guttural. In other words, it’s Brutal Death Metal at its finest (and goriest), which also applies to Inhuman Torture Chamber, where she keeps barking the song’s Stygian lyrics rabidly (“Mercilessly beaten to a wet pulp / Violently reduced into a lesser form / Vehemently smashing and degrading / Deeper fall into a state of catatonia”) while her bandmates crush our spinal cords with their undisputed heaviness. Aron sounds like a machine gun out of control in Masticate the Subdued, adding an extra dosage of total carnage and chaos to the band’s already putrid sounds, whereas the title-track Eon of Obscenity perfectly depicts what Stabbing are all about, a ruthless, demented overdose of sheer brutality where the riffage by Marvin sounds heavy, caustic and demonic. And in Reborn to Kill Once More, as expected, Bridget vomits the song’s infernal words on our damned faces mercilessly in another blast of Brutal Death Metal.
There’s still a lot more fuel to be burned by Stabbing in the name of extreme music, starting with the short and sweet instrumental interlude Ruminations, setting the stage for the band to kill us all with Nauseating Composition, featuring Ricky Myers of Suffocation. Moreover, Aron sounds even more demented on drums, offering Bridget and Ricky exactly what they need to bark like two monstrous entities. If you think Bridget can’t sound even more inhumane, think again, as she reaches a whole new level of dementia with her guttural in Their Melted Remains, accompanied by the venomous axes by Marvin and Matt. Then we have Sonoluminescent Hemoglobinopathy, and if you don’t know, “sonoluminescent” is the emission of light from imploding bubbles in a liquid when excited by sound, while “hemoglobinopathy” is an inherited blood disorder where the body makes abnormal hemoglobin or doesn’t make enough of it. Put these two words together, and there you have the epitome of Brutal Death Metal. When you reach the last part of the album with Symphony of Absurdity, you know you’re in front of something special (aka the revamping of Brutal Death Metal), with Bridget once again stealing the show with her cadaverous guttural madness, flowing into Sinking Into Catatonic Reality, where inspired by all giants of the genre the quartet concludes the album on the most violent note imaginable.
Exceeding the term “Brutal Death Metal” with their undisputed violence and gore, Stabbing have plundered the crypts of claustrophobia and darkness, only to surface with Eon of
Obscenity, a benchmark for modern Death Metal. “It’s just more extreme,” commented Bridget. “It’s everything that’s extreme about death metal, just taken a little bit further. The vocals. The drums. The riffs. It’s just faster and more boundary-pushing.” Having said that, I bet you’re dying to put your hands on Eon of Obscenity, and in order to do that simply go to the band’s own BandCamp, or grab a copy of the album from the Century Media Records webstore as a CD or as a stunning neon-violet LP, and don’t forget to also follow those masters of absolute violence and gore on Facebook and on Instagram, keeping an eye on their breathtaking live concerts, and to stream their putrid creations on Spotify. Bridget and the boys are ready to join the new army of brutality formed of bands like Frozen Soul and PeelingFlesh with their newborn spawn, aiming at global domination and, of course, being more than eager to destroy your frail bodies with their undisputed, first-class Brutal Death Metal magic.
Best moments of the album:Inhuman Torture Chamber, Eon of Obscenity, Their Melted Remains and Symphony of Absurdity.
Worst moments of the album: None.
Released in 2026 Century Media Records
Track listing 1. Rotting Eternal 1:24
2. Inhuman Torture Chamber 2:58
3. Masticate the Subdued 2:41
4. Eon of Obscenity 2:10
5. Reborn to Kill Once More 3:16
6. Ruminations 1:34
7. Nauseating Composition 3:09
8. Their Melted Remains 4:04
9. Sonoluminescent Hemoglobinopathy 1:52
10. Symphony of Absurdity 4:12
11. Sinking Into Catatonic Reality 3:33
Band members Bridget Lynch – vocals
Marvin Ruiz – guitars
Matt Day – bass
Aron Hetsko – drums
Guest musicians Ricky Myers – vocals on “Nauseating Composition”
These unrelenting Texas-based Brutal Death Metal bruisers are out for blood armed with their sophomore beast, serving up a banquet of the band’s inimitable brutality.
Almost six years after the release of their debut offering Cordyceptic Anthropomorph, Houston, Texas-based Brutal Death Metal bruisers Architectural Genocide are finally back in action with their sophomore opus, titled Malignant Cognition. Mixed and mastered at Southwing Audio, and encased in the superb artwork by Rudi Yanto (Devastrosity, E-Force, Perveration) and Den Yudi (Decrepitation, Realm Of Chaos, Rotting Demise), the perfect visual depiction of the soul-eating madness within, the new album by Daniel Brockway on vocals, Tom Savage on the guitar, Matt Day on bass, and Nat Conner on drums serves up a banquet of the band’s inimitable brutality, being therefore perfect for fans of Cannibal Corpse, Skinless, Devourment, and Disentomb, just to name a few.
The band doesn’t waste a single second and begins their putrid fest with the evil intro Precursor To Bloodshed, flowing into the insanely gory Coercion Into Carnality, where Daniel vomits the song’s devilish words with tons of hatred and aggressiveness while Nat delivers those pounding beats we all love in Brutal Death Metal. It’s then pedal to the metal in the slamming tune Leave It To Cleaver, with Tom extracting pure violence from his axe supported by the always ass-kicking drumming by Nat, and there’s no sign of happiness or joy in Trophies For My Murders, an ode to all serial killers led by Daniel’s demented “breeeeeeeeeees” in an overdose of sheer violence.
Malicious Wager is absolutely mental from start to finish, a lesson in brutality by Architectural Genocide where Tom and Matt are savage armed with their stringed axes; and there’s no sign of the band slowing down at all in Decent Deranged, a slab of Brutal Death Metal tailored for admirers of the genre. Zed Requiem features the iconic Damonteal Harris of PeelingFlesh on vocals, who brings the groove to the band’s trademark sound, and the final result is simply demolishing, evil and absurdly fun; whereas a dark, wicked narration sets the tone in Stuffed Under Floorboards, another song inspired by the darkest corners of the human mind, with Nat stealing the spotlight with his pounding beats.
In a nutshell, Architectural Genocide’s long awaited second album is an even more dangerous, vicious creation that adds an unnerving, skin crawling terror to their trademark elixir of darkness and depravity. You can get more details about those ruthless death dealers on Facebook and on Instagram, stream their demented creations on any platform such as Spotify, and of course grab a copy of the venomous Malignant Cognition from Comatose Music’s BandCamp or webstore. In other words, prepare yourself for the fearsome assault of Malignant Cognition, as the year of 2026 is kicking off on a vile and gory mode with the brand new Brutal Death Metal holocaust by those unrelenting Texans.
Best moments of the album:Coercion Into Carnality, Malicious Wager and Zed Requiem.
Worst moments of the album: None.
Released in 2026 Comatose Music
Track listing 1. Precursor To Bloodshed 1:25
2. Coercion Into Carnality 2:56
3. Leave It To Cleaver 2:27
4. Trophies For My Murders 2:39
5. Malicious Wager 2:53
6. Decent Deranged 3:26
7. Zed Requiem 4:01
8. Stuffed Under Floorboards 3:51
Band members Daniel Brockway – vocals
Tom Savage – guitar
Matt Day – bass
Nat Conner – drums
Guest musician
Damonteal Harris – vocals on “Zed Requiem”
A relentless Maltese Death Metal force will attack armed with their debut album, a powerful rediscovery and reinterpretation of the early 2000’s Death Metal vein, blending old school brutality with a modern edge.
Founded in the fall of 2014, and influenced by a wide variety of extreme music subgenres, with each band member bringing their own distinct influences to the songwriting process, Birkirkara, Malta’s relentless Death Metal force Bound To Prevail is unleashing upon humanity their debut full-length album, aptly titled Enthroned in Torment, following up on their 2017 EP Omen of Iniquity. Recorded, mixed and mastered at SpineSplitter Studio, the new offering by Alan Briffa on vocals, Jean Vella (who’s no longer a member of the band) and Keith Fenech on the guitars, Kevin Mifsud on bass, and Mark Farrugia Sant’Angelo on drums is a powerful rediscovery and reinterpretation of the early 2000’s Death Metal vein, blending old school brutality with a modern edge. Drawing on the technical ferocity of old masters like Suffocation and Monstrosity, as well as the more extreme, yet precise, pummeling approaches of Beheaded, Hour of Penance and Inveracity, the album delivers tracks that are simultaneously tense, technical and fluid, giving every riff room to breathe and strike with maximum impact.
Their sonic massacre begins with the devastating The Nevergod, where Mark sounds demented behind his drums, offering Alan exactly what he needs to bark manically, not to mention the caustic riffage by Jean and Keith. Into the Depths is an absolute chaotic, heavy-as-hell Brutal Death Metal tune led by the inhumane growling by Alan, while Kevin and Mark continue to make the earth tremble in the name of extreme music; and another slab of Kevin’s metallic bass is offered to us all in the Death Metal massacre entitled Defier of Empires, perfect for slamming into the pit. Moreover, it’s impressive how they manage to blend Technical and Brutal Death Metal with great balance and energy, exactly like what we get in Consecrated Perdition, keeping the album at an absurdly high level of violence.
Then the band offers the longest, most detailed of all songs from the album, Atone in Blasphemy, a six-minute overdose of brutality and gore where Mark hammers his drums like a stone crusher, opening up the pit for the visceral riffage by Jean and Keith. It’s pedal to the metal in the frantic, no shenanigans Death Metal attack titled Dawn of Emptiness, again presenting that rudimentary, raw drum sound we all love in this type of music; whereas an ominous start gradually evolves into a bestial sonority in Tomb of the Graveless, with Alan once again vomiting the song’s devilish words like a rabid creature. Lastly, we’re treated to the ruthless title-track Enthroned in Torment, ending the album with the same level of violence as it started for our total delight.
Showcasing their core fusion of aggressive, frantic, pounding rhythmic passages with instantly recognizable melodic overtones, Enthroned in Torment beautifully blends the relentless aggression of classic Death Metal with contemporary clarity and production, creating a sound that honors the past while feeling undeniably current, while also exploring the morbid tension between malevolence and benevolence, set in a chaotic realm shaped by false beliefs and deceitful ambitions. Hence, you can get in touch with those talented and hardworking Maltese metallers via Facebook and Instagram, stream their bludgeoning music on Spotify, and of course purchase Enthroned in Torment from the Lethal Scissor Records’ BandCamp or webstore. With their debut, Bound To Prevail stake their claim in European Death Metal, captivating fans of both old school and modern eras and, therefore, leaving us eager for more of their sonic violence in a not-so-distant future.
Best moments of the album:Into the Depths, Consecrated Perdition and Dawn of Emptiness.
Worst moments of the album: None.
Released in 2026 Lethal Scissor Records
Track listing 1. The Nevergod 5:04
2. Into the Depths 5:06
3. Defier of Empires 5:14
4. Consecrated Perdition 3:47
5. Atone in Blasphemy 6:08
6. Dawn of Emptiness 4:59
7. Tomb of the Graveless 5:28
8. Enthroned in Torment 3:41
Band members Alan Briffa – vocals
Jean Vella – guitars
Keith Fenech – guitars
Kevin Mifsud – bass
Mark Farrugia Sant’Angelo – drums
What killed the dinosaurs? The Ice Age! But do you know what will crush you like an insect here on The Headbanging Moose? If you said it’s a ruthless bass player as our metal lady of this month of January to properly kick off the year of 2026, you’re damn right, my friend. She’s not only a member of one of the must-see names of the current Death Metal scene worldwide, but also a very talented tattoo artist. Her name is Samantha Mobley, also known as Sam Mobley, the badass bassist for Texas-based Death Metal entity Frozen Soul, and the owner and artist at Heavy Metal Tattoo, and after knowing more about such an up-and-coming artist who lives and breathes heavy music, you’ll definitely feel the heat in this always bitterly cold month to kick off another headbanging year in style.
Born and raised in Fort Worth, Texas, Samantha has always loved arts and music, constantly creating art as a child. “I’ve been an artist since I was a little girl, I would draw on anything I could get my hands on. Being a quiet and sensitive child, art was a perfect outlet for me, and it took up most of my time growing up, as well as having a love of music since I was little,” she commented. Always placed in advanced art classes in which she excelled, those were basically the only formal classes that allowed her to have structure and craft her technique. “I have done freelance photography, logos, artwork and graphic design since I was a teenager. I’ve become proficient in digital media, watercolor, oils, graphite, charcoal, acrylic, clay, and now, putting designs on skin,” said Sam, showing how talented she is not only in music, but also in arts in general.
Long before becoming a bassist, she spent around 11 years working as a pet stylist at a veterinary clinic, bathing, brushing, and styling everything from chihuahuas to great danes. “When Frozen Soul started, I was on a completely different career path. I was like a hermit pretty much. I just went to work and came home.” Also, despite the steady income coming form her days as a pet stylist, her decision to leave that stability and pursue her passion for music is a testament to her courage and determination, and all that can be easily noticed when you listen to her ruthless bass in any of the songs composed by Frozen Soul, proving she took the right decision to invest in her career as a musician.
She was gifted her first guitar at the age of 8, and a cherry red electric guitar at age 10, casually playing off and on throughout the years, always trying to teach herself the basics in between her studies. “I would listen to the radio, record it on a tape player, and teach myself how to play.” Sam grew up on 90’s alternative music, but quickly progressed into listening to heavier and heavier music in her teenage years. “The first thing that made me pick up an instrument when trying to learn how to play guitar was the band Kittie. I saw that they were all female and was like, ‘Shit, if they can do it, I can do it!’ I messed around with guitar in my free time when I was younger but as I got older I just really wanted to pursue music as it’s always been a huge passion of mine. When I finally got the opportunity to do so with Frozen Soul, at the time, the bass was the only instrument open. I had to learn it fast and now it’s my first instrument of choice, but I still play guitar passively too I guess.” She mentioned in an interview that she picked up bass at the end of 2018, and started practicing with a Black Metal band called Vermiculated. While short lived, it allowed her to get some experience under her belt. “We broke up right before I started playing with Frozen Soul, and shortly after (about a month or two after recording the Vermiculated demo) we recorded the Frozen Soul demo.”
However, not everything in her life has been as smooth as her career as a musician and as a tattoo artist, mentioning in an interview she struggled from the age of 15 up until about a few years ago with a mental illness misdiagnosis that deeply affected her life. “It caused me so many hardships, damaged relationships, setbacks, trauma, and ultimately, it caused me a lot of grief with the time lost in my late teens and all through my twenties. Now that I am in my early thirties, things have gotten much better for me because, honestly, I stopped being afraid of everything. I was too scared to go out of my comfort zone for too long and that squandered my potential because of it,” she said back then, but fortunately now she’s stronger than ever, kicking ass on and off stage with Frozen Soul, and spreading the beauty of her tattoos to the four corners of the earth.
Speaking of the frostbitten creature known as Frozen Soul, the band got together back in 2018 in Fort Worth, Texas, when vocalist Chad Green (End Times, Vulgar Display) and guitarist Michael Munday (End Times, Wildspeaker, Creeping Death, Disencumbrance, Contusions) set out to revive the primal force of 90’s Death Metal. After laying down initial riffs steeped in themes of winter’s desolation, the duo realized they needed a rhythm section capable of matching their vision. That’s when they recruited Sam, longtime acquaintance of both Chad and Michael. “I knew Michael and Chad, and they’re like, ‘Well, we need a bass player.’ I was like, ‘Fuck it, I’m going to learn how to play bass,’” she said in one of her interviews. Currently formed of our dauntless Sam Mobley on bass, the aforementioned Chad Green on vocals and Michael Munday on the guitars, Chris Bonner (Steel Bearing Hand, Tolar, Distort, Obstruction, Unit 21, Wild//Tribe) also on the guitars and Matt Dennard (End Times, Sage Fortune, Humanerror, High Anxieties, Negaduck, What They Lack) on drums, the band released the demo Encased in Ice, in 2019, followed by the split Live in Chicago 10/23/2019 (with the bands Molder and Coffin Rot), in 2020, their debut full-length album Crypt of Ice, in 2021, and their sophomore beast Glacial Domination (co-produced by Daniel Schmuck and Trivium’s own Matthew K. Heafy), in 2023 (including additional vocals by Sam herself on the song Morbid Effigy, which also features guest vocals by John Gallagher of Dying Fetus), all available on BandCamp and on Spotify.
The cold and ice-theme of the band might not make a lot of sense at first, as Texas is absolutely scorching during most of the year, but Sam perfectly explained why the band decided to move in such a unique direction. “We wanted to incorporate a band theme that was both true to the brutal nature of death metal without being played out . We like to think our theme sets us apart and gives us a different feel than most bands. It may be hot here, but we’re cold blooded,” she commented. Furthermore, if you want to feel the frostbitten Death Metal crafted by Sam and the boys, you can enjoy the official videos for the fantastic, bitterly cold Death Metal bangers Glacial Domination, Crypt of Ice, Arsenal of War, Encased in Ice, and their most recent single, a cover version for White Zombie’s Creature of the Wheel. Not only that, as Frozen Soul are a band that simply kicks ass onstage, you can also check out several videos on YouTube with their live performances, like their demolishing full set at Bloodstock Open Air Metal Festival 2023.
She mentioned in one of her interviews that some of her favorite bands growing up and her biggest influences are, in no particular order, Dissection, Acid Bath, Cannibal Corpse, Dying Fetus, Bolt Thrower, Crowbar, Black Sabbath, Pantera and Type O Negative, and let’s be honest, all of those influences can easily be seen in her playing style and sound. “I basically just try to be as punchy as possible without overpowering the guitars. I try to be as heavy as possible – the nastier the tone the better.” Frozen Soul are actually compared to Bolt Thrower a lot, and Sam is truly proud of it. “Jo Bench (Bolt Thrower) and Alex Webster (Cannibal Corpse) are my two main influences on bass,” she commented. Moreover, although we don’t have her list of top 10 albums of 2025 yet, you can find online her top 10 albums of 2024, a kickass list, by the way, including Mortal Wound’s The Anus of The World (10), Modem’s Megalomania (9), Gost’s Prophecy (8), Undeath’s More Insane (7), Blood Incantation’s Absolute Elsewhere (6), Enforced’s A Leap Into The Dark (5), Fluids’ Reduced Capabilities (4), 200 Stab Wounds’ Manual Manic Procedures (3), Necrot’s Lifeless Birth (2), and Fulci’s Duck Face Killings (1).
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Let’s now switch gears to her career as a tattoo artist. Owner and artist at Heavy Metal Tattoo, she specializes in colorful traditional and neo-traditional tattoos. “I started a tattoo apprenticeship in 2019, and graduated to a full time tattoo artist that same year.” She said that when she was a teenager, she was also big into painting and charcoal arts. “I took a little break from it in my twenties but it’s really what I love to do. Tattooing has always been super cool and at the time was a good way for me to earn a living while still doing art everyday. I did an apprenticeship and then I got really busy with clientele and then the opportunity presented itself for me to open my own shop. I knew nobody was going to let me work at a regular tattoo shop and be gone seven months out of the year on tour so I decided to open my own shop and that’s pretty much how it was all born.”
With Heavy Metal Tattoo, she has put together a solid team of tattoo artists who share a collective vision to make the shop an all-inclusive and safe space for their vast clientele in a male-dominated industry that has often not prioritized inclusion. “I want everyone to feel like they are welcome there and that it’s a safe play to get tattooed where you’re not going to get harassed or feel uncomfortable by male tattooers — which is a pretty big problem in the tattoo industry. Everyone’s welcome and I just want everyone to have a good time. I also want it to be a good environment for everyone who works there to grow in their career.” She also had some nice words to say about how to gain a loyal clientele. “Networking is a newer thing to me as of this past year… I’m pretty introverted. I’ve found Instagram to be the best for showcasing your work and gaining new clientele. Tattooing my friends that are also musicians or heavily involved in the local music scene has been very helpful too,” commented Sam in one of her interviews.
Back to her career as a musician, more specifically to the equipment she uses as a bass player both in the studio and when she’s kicking some serious ass across the stages worldwide, Sam said that she currently alternates between an 87 NJ BC Rich Warlock with DiMarzio pickups in it, and a 5 string Legacy Series Widow with active EMG pickups, while her pedal board consists of a Decimator, the Lone Wolf Audio Caveman pedal, a Metal Muff and her tuner. For her cab, she plays on a 8×10 Ampeg, and for her head she uses an Ampeg SVT4PRO.
Having already scored high-profile tours with Death Metal legends the likes of Cattle Decapitation, Aborted and Gatecreeper, and an arena run with Swedish Melodic Death Metal veterans Amon Amarth, Frozen Soul are already a force to be reckoned with when they hit any stage, but of course as their touring schedule gets busier and busier, all band members, including obviously Sam, have less and less time for other activities outside of the band. “It’s been very busy and very crazy. Last year, I think we toured seven months out of the year but this year has been a constant grind with touring to get our name out there and promote our new record. It’s been awesome though and it’s been nice to see the reception to everything. That tour with Amon Amarth really was an affirmation that we are doing the right thing. For some of the shows, we were playing to six-thousand people a night, so going from 800-cap venues to that was a little bit jarring but also really cool,” she commented.
During such a hectic touring schedule, Sam always finds time for herself. “For self care, on an off day I will do my own thing and take an Uber somewhere to get a pedicure, manicure or maybe a massage. I feel like that is very important for me on tour because I’m always the only woman in the band. It’s very chaotic and hectic every day, so having a little bit of peace, at least once a week is essential,” she said, also commenting about other things that help her calm down, relax and decompress from her touring madness. “Sometimes, I’ll go find a local card store and play Magic: The Gathering or go shopping even if I don’t end up buying anything. I feel like I’m kind of bougie but I bring a massage gun, face masks and satin eye things to help me go to sleep which really helps me. I also bring my Steam Deck so I can play video games. Any little thing helps.”
Moreover, among all concerts ever played by Frozen Soul, there’s one in particular in 2024 that holds a very special place in her heart. “One of the things that I’m super proud of is when we played Red Rocks Amphitheatre last year with Amon Amarth, Cannibal Corpse, and Obituary. All of our families flew out for that. I did special makeup. And I had special stuff on. I had a special bass. And I played what I would consider a perfect set. We were technically the first death metal band to play there. So we have a plaque at Red Rocks. And that means I’m the first female death metal musician to play there as well.” Her first ever concert with Frozen Soul was also a special one for her and the boys, of course. “It was weird for me because I had never toured. Hell, my first live show was with Blood Incantation and Necrot. That was my first time playing live – ever! I still actually get nervous to this day.”
As a proud and strong woman, Sam also had a few beautiful words to say to any girl who wants to start a career in heavy music or in tattooing. “I am in two professions that are male-dominated. My advice is to study hard, work your ass off, and don’t take anyone’s shit. Do everything with your whole heart because anything less is not worth doing. My advice for other women and younger women especially would be to just figure out what means the most to you and just go for your dreams. The worst that can happen is that you fail. And even failure is not an excuse to give up. Keep trying, learn from your setbacks, because sometimes wonderful opportunities will present themselves as a result.”
As expected, our dark diva is also a huge fan of the occult. “I have an entire wall of books that are just occult and astrology stuff. I used to study pagan witchcraft when I was younger and studied it heavily for fifteen years and am still very interested in it. I would say the ‘three of swords’ card is my favorite, I actually wanted to get that tattooed on my chest at one point. I’ve always liked the imagery of it and think it looks sick.” There are lots of excellent interviews online with Sam where she talks about different topics like that, such as episode 55 of the series “She’s with the Band” by Knotfest, where she discusses her passion for Death Metal and tattoos, being the only woman on tour with a lot of men, and more, and you should definitely go check all of those interviews, as well as the music by Frozen Soul. Because Samantha Mobley is an indomitable bassist and tattoo artist that’s getting stronger and more prominent in the world of heavy music year after year, and you better get ready as once she hits you with her devilish music and art, there’s no escape from her ice-cold embrace.
Under a pale Colorado moon, this devilish Symphonic and Blackened Death Metal creature attacks with their flammable debut opus.
Under a pale Colorado moon, the devilish Symphonic/Blackened Death Metal creature Pedestal for Leviathan attacks once again with their fusion of Brutal Death Metal riffing with an appreciation for symphonic extreme blackened bands such as Cradle of Filth and Dimmu Borgir in their first full-length opus, poetically titled Enter: Vampyric Manifestation, following up on their 2024 EP Festering Apparition. Written, recorded, and mixed by the band’s own Kendrick Lemke, completed by a spellbinding cover artwork by Australian illustrator Alexander Kemp, and with the preceding EP as bonus tracks, the new offering by Kendrick Lemke on vocals and guitar, Mathew Meyer also on the guitar, Noah Filthen on bass, and Corbin Echtermeyer on drums sounds absolutely huge, with its sound, vision, and execution all forming a symbiosis of grim grandeur and fathomless darkness tailored for admirers of Septicflesh, Fleshgod Apocalypse, Belphegor, Arkhon Infaustus, and Darklord, just to name a few.
A horror movie-like intro evolves into a gruesome beast of Symphonic Black and Death Metal entitled Chalice Bleeds Intoxicant, with Kendrick stealing the show with his deep, devilish roars; whereas the frantic, heavy-as-hell drums by Corbin walk hand in hand with grim background orchestrations in Summoning Sickness, also presenting a demonic riff attack by Kendrick and Mathew. Lycanthropichrist, the first single of the album, offers our metallic ears more of the band’s inhumane sounds, with their guitars exhaling Black Metal magic, followed by Sanctity of Retribution, uniting the epicness of Symphonic Metal with their visceral blackened sounds (albeit a bit generic in the end).
Purgatory Displacement brings forward an avalanche of Symphonic Black Metal madness with Kendrick’s Brutal Death Metal screeches adding even more flavour to an already bestial tune, and again blending the obscurity of Black Metal with the aggressiveness of Death Metal we face Karmic Recollection Mirror, where both Noah and Corbin sound ruthless with their demonic kitchen. Then after the grim, cinematic interlude Snow Covered Monolith, we’re treated to the closing tune, the devilish Warlock Blacksmith, as chaotic and melodic as it can be, led by the visceral riffs by Kendrick and Mathew and matching perfectly with its evil background keys. Furthermore, the bonus tracks from their 2024 EP Festering Apparition are absolutely fantastic, in special Beast Rune, adding even more meat to their blackened banquet.
In the end, Enter: Vampyric Manifestation is undoubtedly a record that has crossover appeal for fans of both Death and Black Metal, from both underground and above, as well as the more-adventurous sorts into Symphonic Metal. You can get more details about the band and the album on Instagram, stream it in full on any platform like Spotify, and of course, above all that, purchase a copy of it from the band’s own BandCamp, from the Personal Records’ BandCamp or webstore, or simply by clicking HERE. Enter: Vampyric Manifestation will certainly take Pedestal for Leviathan places, and if you enjoy the fusion of all elements that make the darkest side of metal even darker and more disturbing, I’m sure you’ll want to join the band and visit those same devilish places with them, always in the name of our beloved extreme music.
Best moments of the album:Summoning Sickness, Purgatory Displacement and Warlock Blacksmith.
Worst moments of the album:Sanctity of Retribution.
Twenty five years since their tale of terror began, the demigods of death return with their long awaited, gory and brutal fourth full-length album.
Twenty five years since their tale of terror began and far too long a time since the release of their last album Purity Through Dismemberment back in 2006, the demigods of death, legends of the underworld, Kings Mountain, North Carolina-based Brutal Death Metal/Grindcore beasts Lust Of Decay have returned, carrying with them in their bloodstained, disease riddled hands something bleak and soul destroying, ten new commandments of depravity and tragedy, new incitements to violence and degradation, their long, long awaited fourth full-length album, Entombed in Sewage. Mixed and mastered by Tony Tipton at Metal Foundry, and displaying a gory, demented artwork by the indomitable Daemorph, the new opus by vocalist Jay Barnes, guitarist Steve Green, bassist Ryan Coulter, and drummer Jordan Varela has a surprisingly bright and vibrant sound that brings every element, every weapon in the Lust Of Decay armory into play to tremendous effect, being therefore perfect for fans of Cannibal Corpse, Psycroptic, Disavowed, and Prostitute Disfigurement.
Prepare your damned bodies for a wild and gruesome ride starting with Parasitic Exsanguination, a demented display of the band’s trademark Death Metal where Jordan sounds absolutely inhumane on drums, and they managed to sound even heavier and more deranged in Hallucinations of the Decrepit, where Jay’s demonic growls are the epitome of madness and violence. The screeching of dirty pigs ignite Nourishing the Swine, another exhibit of pure violence and gore by the quartet where once again Ryan and Jordan make the earth tremble armed with their infernal kitchen; and you’ll be smashed into pieces in the best Cannibal Corpse-style in Fetal Contamination Process, led by Steve’s infuriated, scathing riffage.
Rusty Razor Rimjob requires no comments about its title, while the music is just as gory and depraved, with Jay vomiting its visceral words amidst an overdose of Death Metal insanity. Jay sounds even more demonic in Order 66, inviting us all to crush our damned skulls into the pit, not to mention how fulminating Jordan is once again behind his drums. Put differently, it can’t get any more Death Metal than this, whereas Desiccate the Epithelium sounds beyond perfect for breaking your neck into tiny pieces headbanging like a true maniac to the nonstop riffs by Steve. Finally, they offer our putrid ears the horror movie-like title-track Entombed in Sewage, starting in an cinematic manner before all hell breaks loose to the heavy artillery crafted by Steve, Ryan and Jordan.
Unleashed upon the world like a knife from the dark into the throat of the festive season, Entombed In Sewage is a must-listen for fans of absolute brutality and gore, and you can put your putrid hands on such a precious gem of the extreme scene by grabbing a physical copy of the album and merch by clicking HERE, or from Comatose Music’s BandCamp. Don’t forget to also give those guys a shout on Facebook and on Instagram, keeping an eye on their live concerts, and to stream their sick music on Spotify or any other platform. Needless to say, if you refuse to do so, get ready to be mercilessly entombed in sewage.
Best moments of the album:Hallucinations of the Decrepit, Order 66 and Entombed in Sewage.
Worst moments of the album: None.
Released in 2025 Comatose Music
Track listing 1. Parasitic Exsanguination 4:26
2. Hallucinations of the Decrepit 4:01
3. Nourishing the Swine 4:29
4. Fetal Contamination Process 3:58
5. Rusty Razor Rimjob 3:45
6. Order 66 3:41
7. Desiccate the Epithelium 3:45
8. Entombed in Sewage 5:18
Band members Jay Barnes – vocals
Steve Green – guitars, backing vocals
Ryan Coulter – bass
Jordan Varela – drums
A new entity from the depths of the Death Metal underground has emerged. Formed in 2023 in Concepción, Chile by guitarist and bassist Mauro M. (The Macabre, Esophagus) and drummer Victor Araneda (Disownment, In Asymmetry, Esophagus), with longtime friend Richard Aguayo (In Asymmetry, Esophagus) joining the duo in 2025 as their official vocalist, Sermon To The Lambs focus on the roots and spirit of the golden era of Brutal Death Metal, unleashing now in 2026 the soul-shaking savagery of their self-titled debut album. Adorned in the stunning artwork of Pär Olofsson (Winds Of Plague, Unleashed, Thy Art Is Murder), the album is set to leave its indelible mark, a suppurating wound, on the global Death Metal scene, being highly recommended for fans of Deeds of Flesh, Liturgy, Brodequin, Cinerary, and Enmity.
Magnificently unforgiving, the debut by Sermon To The Lambs is an eruption of crawling horrors from a tortured, broken earth, and you can put your damned hands on such a gory, violent album by purchasing it from Comatose Music’s BandCamp or webstore. Don’t forget to also follow such a demented entity form the Chilean metallic scene on Facebook and on Instagram, staying up to date with all things Sermon To The Lambs, and stream their wicked creations on Spotify. Sermon To The Lambs are just starting their reign of absolute chaos and destruction with their debut album, and you better get ready because if you ever you cross their path, there will be blood.
THE HEADBANGING MOOSE 