Delivering filthy, mold-ridden Death Metal, this Finnish brigade explicitly calls for action in defense of nature and the rights of ethnic, gender and sexual minorities in their breathtaking new album.
Delivering filthy, mold-ridden Death Metal deeply rooted in the muddy sewers of the Finnish DIY Punk Rock and Hardcore scene, Finland’s own horde Unearthly Rites is unleashing another slab of raw old school Death Metal, Grindcore, and Crust in their sophomore album, titled Tortural Symphony of the Flesh. Presenting a total meltdown of nature, humanity, and machine, and of transgression, lust and power, the follow-up to their 2024 album Ecdysis advances the band’s crushing riffs and characteristically moldy grimness toward a more malicious and brutal soundscape, documenting the atrocities of capitalist society while also explicitly calling for action in defense of nature and the rights of ethnic, gender and sexual minorities, all masterfully crafted by Sisli (they/them) on vocals, Simo (he/him) and Santtu (he/him) on the guitars, Jennika (she/her) on bass, and Tapio (he/him) on drums.
The opening track Tuonen tulijat, manan menijät, or “those who come here, those who go there” from Finnish, already presents the trademark low-tuned, evil sounds blasted by the band, blending their core sonority with sheer Doom Metal, followed by Sokli Fields Forever / A Radiative Picnic, a primeval form of Death Metal where Sisli’s guttural is not recommended for the lighthearted so demonic it sounds. Simo and Santtu, supported by the rumbling bass by the she-demon Jennika, offer an overdose of wrath and darkness in Solstice, as doomed and vile as it can be; whereas A Stygian Winterscape is an atmospheric interlude that could have been slightly shorter to keep the vibe of the album more incendiary, setting the stage for the band to kill in Tortural Symphony of the Flesh, with Simo and Santtu giving a lecture in insanity with their caustic riffs and sick solos while Sisli keeps barking in the name of darkness.
Ignis fatuus, the elusive blue flames also known as a “Will-o’-the-Wisp” or “corpse-candle,” a glowing atmospheric phenomenon which has a reputation for causing mischief and even death, is the perfect title for a song by Unearhtly Rites, with the music transpiring the mystery and obscurity of that light, and with Tapio crushing his drums like a true beast in a Finnish Grindcore avalanche. Metalli, liha, kone, or “metal, meat, machine,” showcases another killer blend of Death Metal, Grindcore and other demented sounds, with Jennika and Tapio showing no mercy for our damned souls, followed by Absurd Transgression, as chaotic and dissonant as its predecessors, where their piercing guitars exhale hatred supported by Sisli’s deep roars. Then the quick and eerie interlude Not for the Weak warms us up for their coup-de-grace in The Notion of Emerging Totalitarianism, led by Jennika’s thunderous bass, leaving us completely disoriented after all is said and done while Sisli sounds inhumane, demented and furious on vocals once again.
“Tortural Symphony of the Flesh deepens our critique of capitalist oppression as a force that devastates nature through ecocide, erodes minority rights, and promotes conservationist ideology that ultimately reinforces colonialist power. Nature and humanity are inseparably fused in imagery of metal, roots, mud, flesh, and ice, forming a visceral rejection of fossil-industrial society. Queer BDSM lust and the words of William Blake are offered as an antidote to the christofascist trajectory,” commented the band, and you can join them in such an important mission by following the band on Facebook and on Instagram, by streaming their acid music on Spotify, and by purchasing their excellent new album from BandCamp or from Svart Records. Because the unstoppable Unearthly Rites are not just a Death Metal band. Their music has a deep and important message for all of us, metalheads or non-metalheads, and their new album definitely deserves our total attention in our rotten and decaying society.
Best moments of the album:Sokli Fields Forever / A Radiative Picnic, Tortural Symphony of the Flesh and The Notion of Emerging Totalitarianism.
Worst moments of the album:A Stygian Winterscape.
Released in 2026 Svart Records
Track listing 1. Tuonen tulijat, manan menijät 3:33
2. Sokli Fields Forever / A Radiative Picnic 3:33
3. Solstice 4:04
4. A Stygian Winterscape 2:53
5. Tortural Symphony of the Flesh 3:31
6. Ignis fatuus 7:21
7. Metalli, liha, kone 3:32
8. Absurd Transgression 3:48
9. Not for the Weak 0:35
10. The Notion of Emerging Totalitarianism 7:12
Band members Sisli – vocals
Simo – guitar
Santtu – guitar
Jennika – bass
Tapio – drums
Providing us all with an inspiring creative outlet of their unique-sounding Black Metal, this Lithuanian horde is finally back with their scorching third album.
Providing us all with an inspiring creative outlet of their unique-sounding Black Metal, true to their musical legacy and their history while also open to new inspirations, Vilnius, Lithuania’s own Blackened Death Metal horde Sisyphean is finally back with their third full-length offering, entitled Divergence, following up on their critically acclaimed 2022 sophomore Colours of Faith. Recorded at Hertz Studios, produced, mixed and mastered by Wojtek Wieslawski (Behemoth, Decapitated), and displaying another Stygian artwork by the beyond talented Chris Kiesling of Misanthropic-Art, the new album by Dainius P. on vocals, Kamil U. and Saulius B. on the guitars, Augustinas B. on bass, and Mantas D. on drums exhales aggression and creativity, with its lyrics providing depth that many writers would envy, therefore keeping their music always fresh and timeless.
The sinister, atmospheric intro The Tower will drag us to pitch black darkness before the band destroys our souls with A Point in the Abyss, with the classic blast beats by Mantas enhancing the song’s punch, offering Dainius exactly what he needs to roar like a true demonic entity supported by the cadaverous guitar lines by Kamil and Saulius. The band continues their path of chaos and obscurity in Occultation, where the stringed trio formed of Kamil, Saulius and Augustinas melts our faces with their dissonant and evil Black Metal sounds; and Sisyphean arise from the underworld in full force with Stupor Mundi, a Latin phrase meaning “wonder of the world” or “astonishment of the world,” used to describe the 13th-century Holy Roman Emperor Frederick II (1194-1250), eviscerating our putrid bodies with their cadaverous riffs, bass lines and drums while Dainius keeps haunting us all with his devilish vociferations.
The quintet speeds thigs up and spread sheer animosity and sulfur in Hunting for Answers, led by another galloping performance by Mantas on drums and supported by Augustinas rumbling bass. In Divergence is a lecture in modern-day Black Metal, also presenting the most infuriated elements of Death Metal, with Dainius sounding absolutely rabid and evil on vocals for our absolute delight; followed by Black Bird That Brings No Joy, bringing to our putrid ears an overdose of sharp, caustic words (“There’s little time for snakes / Those bastards suspended in infectious states / Stretching vines, grasping for every throat and wonder / Suddenly, an enemy / Who uses doubt as a potent weapon / Projecting woes and misfortunes”) while the music is a true Blackened Death Metal attack. Lastly, closing such a powerful and captivating album we’re treated to Sangfroid, offering over seven minutes of harsh, scathing sounds where the guitars by Kamil and Saulius transpire darkness.
After listening to Divergence, you’ll quickly realize Sisyphean play Black Metal for the future, perfect for the quietness of the winter forest, but also well suited for a walk through the city centre. You can get to know more about those unrelenting Lithuanian metallers on Facebook and on Instagram, stream their enfolding creations on Spotify, and of course purchase their breathtaking new album from BandCamp or by clicking HERE. Manipulation, narcissism and other similar physic disorders remain a huge part of the darkest corners of the human mind. How can those be exposed, how shall those be revenged and how can we learn from them? You’ll find the answers to those obscure questions in Divergence, but be careful, as the truth might at the same time set you free, and imprison your soul within your own self.
Best moments of the album:Stupor Mundi, In Divergence and Black Bird That Brings No Joy.
Worst moments of the album: None.
Released in 2026 Edged Circle Productions
Track listing 1. The Tower 1:43
2. A Point in the Abyss 5:32
3. Occultation 6:29
4. Stupor Mundi 6:15
5. Hunting for Answers 4:39
6. In Divergence 5:04
7. Black Bird That Brings No Joy 5:29
8. Sangfroid 7:20
Band members Dainius P. – vocals
Kamil U. – guitars
Saulius B. – guitars
Augustinas B. – bass
Mantas D. – drums
Behold the heartfelt, meticulously put together, pristine-sounding debut from a veteran musician that is bound to stand the test of time if only on the basis of the sheer quality of melodies contained within.
Brought into being by former Stortregn vocalist and guitarist Romain Negro as an outlet for him to express his personal vision, Switzerland-based Melodic Black/Death Metal entity Apolaustic (an adjective describing someone or something entirely devoted to enjoyment, pleasure-seeking, or self-indulgence) is ready to unleash hell with their debut offering, titled No Plenitude Without Suffering. Displaying a grim, caustic artwork by Romain Negro himself, and featuring session musicians Merlin Bogado (Dyssebeia) on the guitars and bass, and Nicolas Muller (Akiavel) on drums, No Plenitude Without Suffering is a heartfelt, meticulously put together, pristine-sounding debut from a veteran musician that is bound to stand the test of time if only on the basis of the sheer quality of melodies contained within.
Devouring the Past is absolutely infuriated, grim and vile from the very first second, with Nicolas sounding inhumane on drums, therefore offering Romain exactly what he needs to vociferate like a demonic entity. They keep the atmosphere as dense and devilish as possible in Fragments from a Misty Journey, a lecture in Melodic Black Metal by Romain and his henchmen, followed by Testimony of an Obsolescent World, which starts in a serene, melancholic manner before the trio destroys our souls mercilessly, with Merlin’s riffs and solos exhaling sulfur and hatred. And Romain and his horde go full Black Metal in Shining Amidst the Lights, offering a demonic wall of sounds led by the massive beats and fills by Nicolas, perfect for some wild headbanging in pitch black darkness.
After such a demolishing sonority, the trio offers the nocturnal, doom-ish interlude Smells Like Dead Autumn Fire, setting the tone for Black Flame Reviver, a seven-minute journey through the realms of Melodic Black and Death Metal presenting multiple layers and nuances, spearheaded by Romain’s devilish vociferations. De Feu et de Cendre, which translates to “of fire and ash” (a French phrase describing destruction, rebirth, or remnants left behind by fire) is another bold and detailed aria of extreme music by Apolaustic, with Merlin stealing the spotlight with a flawless guitar performance; before we face Peregrination Towards Childhood Memories, showcasing one final breath of demonic sounds by the band, closing the album on a venomous and climatic mode.
Described as a mix of profound, emotional melodies and “blackened extremity,” Apolaustic’s aesthetic and music aim for a balance of intensity and depth, often featuring intricate, melodic, and atmospheric passages alongside faster, more aggressive Black Metal sections, being therefore perfect for admirers of the classy music blasted by renowned acts the likes of Dissection, Naglfar, Sacramentum, Unanimated, Thulcandra, Stortregn, and Dyssebeia. You can get in touch with Romain and his fantastic new project via Facebook and Instagram, staying up to date with their news, plans for the future and so on, stream their phenomenal creations on Spotify, and put your putrid hands on No Plenitude Without Suffering from their own BandCamp, from Big Cartel (including some superb merch items), or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In the end, it’s safe to say that No Plenitude Without Suffering will feature among the best underground albums of 2026, and I can’t wait for more of the blackened magic crafted by Romain in a not-so-distant future.
Best moments of the album:Fragments from a Misty Journey, Shining Amidst the Lights, Black Flame Reviver and De Feu et de Cendre.
Worst moments of the album: None.
Released in 2026 Transcending Obscurity Records
Track listing 1. Devouring the Past 5:42
2. Fragments from a Misty Journey 5:14
3. Testimony of an Obsolescent World 5:03
4. Shining Amidst the Lights 5:50
5. Smells Like Dead Autumn Fire 0:57
6. Black Flame Reviver 7:02
7. De Feu et de Cendre 6:29
8. Peregrination Towards Childhood Memories 4:35
One of the original vanguards of Death Metal returns with their incendiary twelfth studio album, continuing their journey away from the rejection of Catholicism and further into Gnostic foreboding.
One of the original vanguards of Death Metal, and 37 years into their storied career, New York’s own institution Immolation is back in action with their twelfth studio album, entitled Descent, following up on their critically acclaimed 2022 opus Acts of God. Produced, mixed and mastered by Zack Ohren at Castle Ultimate Productions, with vocals, guitars and bass recorded by Justin Passamonte at Jpass Music, and drums recorded by Noah Buchanan at Mercinary Studios, and displaying a stylish artwork by the iconic Eliran Kantor (with booklet illustrations by Santiago Jaramillo of Triple 6 Design), the new beast by vocalist and bassist Ross Dolan, guitarists Robert Vigna and Alex Bouks, and drummer Steve Shalaty continues the band’s journey away from the rejection of Catholicism and further into Gnostic foreboding. Is Earth actually Hell? Is there any path to salvation? Not only that, the album’s title is self-evident as it chronicles the descent of failed empires, endless wars, and the corruption of the human soul. You will not be disappointed, but you may come away disillusioned.
The Stygian, minimalist guitar lines by Robert and Alex quickly explode into Immolation’s classic Death Metal fury in These Vengeful Winds, kicking off the album on a high and demented mode. And it’s then time to slam into the pit like a true maniac to the sound of The Ephemeral Curse, with Ross barking deeply while Steve crushes our souls with his infernal drums, followed by God’s Last Breath, another song that starts in a doom-ish way before exploding into the band’s undisputed Death Metal, as evil, dark and sinister as it can be, led by the hammering drums by Steve. One more wild adventure inside the circle pit awaits in Adversary, with Ross growling manically while his bandmates deliver a fast and furious blend of Death Metal magic perfect for fans of the style; and Ross’ bass will crush your damned skull in Attrition, while Robert and Alex deliver a striking riff attack that will inspire you to break your neck headbanging.
Let’s all succumb to total darkness to the sound of the deadly hymn Bend Towards the Dark. Needless to say, it should sound incredible live, in special the always phenomenal riffs and solos by Robert and Alex. Steve’s tribal beats kick off another bestial display of violence and savagery entitled Host, where their guitars will once again skin you alive so caustic and sharp they sound. After such a high level of violence, get ready for another vicious riff attack by the band’s ultra talented guitar duo in False Ascent, offering an avalanche of demonic growls by Ross while Steve adds sheer Death Metal madness to the music with his unstoppable beats and fills. Then we face the sinister (yet a bit lengthy) instrumental interlude Banished, setting the stage for the quartet to strike us all one last time with the demented title-track Descent, putting an obscure and demolishing ending to the album to the cadaverous roars by Ross and the always pulverizing drums by Steve, leaving us completely disoriented and eager for more Immolation in the near future.
Once again, longtime fans and unsuspecting newcomers will be confronted with hymns of darkness and fury, invoked by one of the most respected names in the genre. You can get in touch with those torchbearers of classic Death Metal via Facebook and Instagram, check more of their music and videos on YouTube and on Spotify, and of course add Descent to your dark and blasphemous collection by clicking HERE. Often imitated, but never surpassed, Immolation prove again why they remain one of the most enduring names in metal. If you’re already a fan, you know why. If Descent is your first introduction, you will be a convert soon enough, as you descend into the pits of the underworld ruled by those talented and hardworking death dealers.
Best moments of the album:The Ephemeral Curse, Bend Towards the Dark and False Ascent.
Worst moments of the album:Banished.
Released in 2026 Nuclear Blast Records
Track listing 1. These Vengeful Winds 4:04
2. The Ephemeral Curse 3:57
3. God’s Last Breath 4:22
4. Adversary 3:17
5. Attrition 4:44
6. Bend Towards the Dark 3:56
7. Host 4:12
8. False Ascent 3:49
9. Banished 3:17
10. Descent 5:57
Band members Ross Dolan – vocals, bass
Robert Vigna – guitars
Alex Bouks – guitars
Steve Shalaty – drums
Three years after the release of the bludgeoning All Heads Are Gonna Roll, this Swedish Death Metal institution returns with another round of their ruthless, undisputed savagery in the form of their stunning tenth studio album.
Three years after the release of the bludgeoning All Heads Are Gonna Roll, Swedish Death Metal institution Vomitory returns with another round of their ruthless, undisputed savagery in the form of In Death Throes, their tenth studio album and a beyond solid stone in the path of absolute destruction the band started paving back in the distant year of 1989. Recorded by Rikard Löfgren at Leon Music Studio (vocals and drums), with guitars and bass tracked by the band’s own Christian Fredriksson at Goff Studios, mixed and mastered by Lawrence Mackrory at Rorysound Studios, and again displaying a killer artwork by the talented Giannis Nakos of Rem3dy Art Design, the newborn beast by Erik Rundqvist on vocals and bass, Christian Fredriksson (replacing longtime band member Peter Östlund) and Urban Gustafsson on the guitars, and Tobias Gustafsson on drums is a lecture in both old school and contemporary Death Metal, showcasing a band that refuses to die while continuing to spread their pulverizing and vicious music to all four corners of the earth.
It’s total chaos, anarchy and violence from the very first notes in the unrelenting Rapture in Rupture, with Christian and Urban igniting the band’s trademark riff attack for our total delight. In For Gore and Country, Erik vociferates the song’s acid yet absolutely real lyrics (“Blood-soaked banners wave in the ash / The treads of boots grind skulls to dust / Horrifying screams through ruptured throats / A nation baptized in rot”) while his bandmates simply demolish everything and everyone with their ruthless Death Metal madness; followed by Forever Scorned, another fast and furious onrush by the quartet, with Tobias taking the lead with his demolishing Death Metal beats and fills. Wrath Unbound sounds more melodic and headbanging thanks to the combination of Tobias’ massive beats and the striking guitar lines by Christian and Urban, before we face the ominous title-track In Death Throes, reeking of gore and hatred and exploding into another lesson in Death Metal made in Sweden.
The second half of the album begins in full force with the inhumane destructive force of Cataclysmic Fleshfront, spearheaded by another bestial performance by Tobias on drums while Erik not only roars like a rabid creature, but he also slams his bass mercilessly. I have no idea why they named the song Two and a Half Men like the TV show from the 2000’s, but the music is absurdly frantic and fun for admirers of Death Metal, with Tobias once again sounding like a stone crusher from hell; whereas investing in a more cadenced sound the likes of the classic “Evisceration Plague” by Cannibal Corpse we have Erased in Red, and if they play it live I’m sure all necks are gonna break. Then we face The Zombie War General, and one cannot simply NOT enjoy a Death Metal song with such a great title. The boys make sure their sonic weapons transpire violence, gore and the putrid stench of rotting corpses until the very last second of the song, turning it into a must-listen for fans of the genre. And last but definitely not least, let’s head into the battlefield and drink the blood of our enemies to the sound of Oblivion Protocol, a venomous, nonstop onrush of Death Metal insanity where Erik’s barks walk hand in hand with the crushing riffs and solos by the band’s demented guitar duo.
According to Tobias Gustafsson, while the unmistakable Vomitory sound remains, the new album cranks up the intensity. “In Death Throes picks up where All Heads Are Gonna Roll left off, but we’ve turned the intensity up a notch. Christian quickly found his place and even contributed music to four killer tracks. These additions bring a bit of diversity to our sound without straying too far from the formula.” As you listen to In Death Throes you’ll quickly realize the band shows no signs of slowing down at all. Quite the contrary, they sound just as heavy, fast and demented as in their previous album, and you can check what those Sweds are up to on Facebook and on Instagram, stream their wild creations on Spotify, and of course grab a copy of their new album from BandCamp or by clicking HERE. In the end, “in death throes” might refer to the final, intense, and often violent struggles or convulsions of a person or animal in the process of dying, but in Death Metal it means a lot more. It’s a statement by Vomitory proving they are stronger, heavier and more aggressive than ever, and you better be prepared as they will definitely show no mercy for your putrid soul armed with their insane new album.
Best moments of the album:Rapture in Rupture, Forever Scorned, Cataclysmic Fleshfront and The Zombie War General.
Worst moments of the album: None.
Released in 2023 Metal Blade Records
Track listing 1. Rapture in Rupture 2:55
2. For Gore and Country 3:24
3. Forever Scorned 4:11
4. Wrath Unbound 3:42
5. In Death Throes 4:33
6. Cataclysmic Fleshfront 3:39
7. Two and a Half Men 3:27
8. Erased in Red 3:27
9. The Zombie War General 3:56
10. Oblivion Protocol 3:56
Band members Erik Rundqvist – vocals, bass
Christian Fredriksson – lead guitars
Urban Gustafsson – guitars
Tobias Gustafsson – drums
A prolific entity hailing from the always visceral and grim UK Death Metal scene returns with their third studio album, pulling the listener into a sea of absolute disgust and violence.
A prolific entity hailing from the always visceral and grim UK Death Metal scene, Bristol, England-based horde Cryptworm is sinking their teeth into us all with their third studio album Infectious Pathological Waste, following up on their 2023 sophomore Oozing Radioactive Vomition while refining their sound to an unstoppable force of blunt-force trauma. Displaying a beyond gory and vile artwork by Skaðvaldur, the new offering by Tibor Hanyi on vocals and guitars, Joss Farrington on bass, and Jamie Wintle on drums pulls the listener into a sea of absolute disgust and violence, as the convulsing spew of guitars and regurgitating vocals flow like molten rot atop a crushing drum performance, being therefore a must-listen for fans of the sickest form of Death Metal.
It’s a morbid feast of gore and violence from the very first second in Gallons of Molten Hominal Goo, with Tibor’s inhumane guttural adding an extra dosage of insanity to their already vile music, whereas Maimed and Gutted lives up to the legacy of Death Metal giants the likes of Cannibal Corpse, with Jamie delivering sheer heaviness and fury through his pounding drums, being therefore perfect for headbanging and slamming nonstop. Their Death Metal machine keeps demolishing everything in their path in Drowning in Purulent Excrementia, with Joss delivering those primeval bass lines we all love in old school extreme music; and it’s time to slow things down an invest in absolute heaviness and groove in Infectious Pathological Waste, a worthy sound to carry the name of the album.
Embedded with Parasitic Larvae brings to our avid ears five minutes of nonstop savagery by the trio, with the scathing riffage by Tibor matching perfectly with the hammering drums by Jamie in a lecture in Death Metal; followed by Emanations of Corporeal Pyosis, flirting with Brutal Death Metal albeit there’s something missing in the final result, like heavier drums or crazier riffs. The trio gets back on track with the infuriated Gastrointestinal Seepage, inviting us all to dive deep into the circle pit like headbanging bastards, all led by another gruesome vocal performance by Tibor, and lastly, we see the band delivering a striking fusion of Death and Doom Metal in Encephalic Feast, ending the album on a gory, disturbing mode not recommended for the lighthearted.
Powerful drum-fills and autopsy-invoking riffs are something this band has seemingly mastered creating, because there is no shortage of this magnificent mutilating music flowing forth from the speakers to maim you in their ruthless new album, and if you want to be smashed by their music you can find the band on Facebook and on Instagram, where you can stay up to date with everything surrounding the band (including their killer live concerts), stream their putrefying creations on any platform such as Spotify, and of course purchase the venomous Infectious Pathological Waste from the Me Saco Un Ojo Records’ BandCamp or webstore (CD or LP). Because this is how primeval Death Metal should be done. Gory, violent, evil, and above all, relentless.
Best moments of the album:Maimed and Gutted, Embedded with Parasitic Larvae and Gastrointestinal Seepage.
Worst moments of the album:Emanations of Corporeal Pyosis.
Released in 2026 Me Saco Un Ojo Records/Extremely Rotten Productions
Track listing 1. Gallons of Molten Hominal Goo 3:06
2. Maimed and Gutted 4:40
3. Drowning in Purulent Excrementia 5:58
4. Infectious Pathological Waste 4:41
5. Embedded with Parasitic Larvae 5:16
6. Emanations of Corporeal Pyosis 2:57
7. Gastrointestinal Seepage 4:09
8. Encephalic Feast 4:36
Band members Tibor Hanyi – vocals, guitars
Joss Farrington – bass
Jamie Wintle – drums
Ciao, miei cari metallari! Are you ready to embark on a wild journey to the “Bel Paese” together with The Headbanging Moose to know more about our metal lady of this month of April? Not just a metal singer and songwriter, but she’s also a psychologist and psychotherapist, creating a strong connection between heavy music and mental health, or as she prefers to say, she talks to the community where loud music meets deep healing. Bridging metal, psychology, and visual art, shaping a voice and a vision that are both intense and deeply human, she’s the frontwoman for the up-and-coming Italian band 5RAND, and one of the must-see names of the new generation of growlers. Her name is Julia Eleonora, better known by her stage moniker Julia Elenoir, and she will kick your ass mercilessly with her undeniable talent, charisma and passion for all things Heavy Metal.
Born and raised in the beautiful city of Rome, Italy, Julia has been creating music since her childhood, having grown up surrounded by rock and metal. She started playing classical guitar at the age of 13, and formed her first band when she was 17, beginning to compose her earliest songs. Over the years, her musical style evolved naturally from lighter styles like Hard Rock to a heavier, more introspective metal sound, with Death Metal becoming her main style. “Because I love its edge, its rawness, the catharsis it creates. The extreme side lets me explore, push boundaries and channel aggression and vulnerability at the same time. With 5RAND we mix melodic death and deathcore …not to provoke, but to dig deeper,” she said when asked why she decided to follow such an extreme path with Death Metal.
Founded in 2015 in Rome, Italy by Julia on vocals and Pierluigi Carocci on the guitars (who was working on his own solo project), Riccardo Zito on bass, and Francesco Marroni on drums, but currently formed of Julia and Pierluigi alongside bassist Acey Guns and drummer Andrea De Carolis, the up-and-coming Melodic Death/Groove Metal act 5RAND builds on a punishing modern metal foundation layered with the cinematic depth of melodeath, creating an intense and emotionally immersive soundscape and, therefore, carving out a distinctive place in the modern metal scene. “The name 5RAND comes from a South African 5 Rand coin that Pierluigi once received from a shaman as a good-luck charm. It stayed with him and with us,” explained Julia in one of her interviews. “Musically, we live at the crossroads of aggression and melody. We play, we record, we move forward.”
Having since toured extensively across Europe, sharing the stage with iconic acts such as Dark Tranquillity, Vader, Butcher Babies, Infected Rain and many others, 5RAND alredy released their debut album Sacred / Scared in 2017, followed by their 2019 sophomore Dark Mother, and their excellent third installment Ordhalia, from 2025, a sonic evolution in their already solid career, sounding darker, more introspective, and conceptually daring. Furthermore, Julia has written all the lyrics for 5RAND and has co-composed the music for every song released by the band to date, showing how much she’s involved with 5RAND. Not only that, even Julia couldn’t give a precise answer when asked how she would label the music by 5RAND, just to give you an idea of how dynamic, fresh and unique their style can be. “That would be hard to say precisely, since we don’t fit exactly in only one subgenre, like many many modern bands don’t. We’ve got a bit of Thrash and Death Metal, but also Industrial Metal and a lot of melodies too.” And if you want to experience their music in loco you can find their albums on Spotify, and also visit YouTube to enjoy their official videos for songs like Old Angel Midnight, Paint of Pain, Erase, Several Injuries, Cordyceps, live versions of Preacher of Lies and Cordyceps, and many more.
Owner of such a powerful and versatile voice, it was obvious that we would see Julia as a guest vocalist for different bands and projects. For instance, you can find her doing all female vocals for the 2022 album Ex Mortis Gloria, by Bristol, England-based Technical Death Metal band Imperium; as a guest vocalist for the song A New One, from the 2018 album Liberation, by Italian Symphonic Heavy Metal band Infinita Symphonia; and also as a guest vocalist for the 2020 album Phagocity, by Italian Groove Metal outfit South of No North. Moreover, when asked about venturing on a solo project in the near future, she said that’s indeed a possibility. “I’m always open. For now, I’m focused on 5RAND, but I don’t rule out solo work or collaborations in the future. Art is fluid; it transforms. I’d especially like to do something acoustic with my own songs, but for now we’re working on the next release.”
As expected, Julia is highly influenced by some of the most important names in the history of heavy music. “Growing up, we’d say the classics: Iron Maiden, Metallica, Slayer… now the names are slightly different and more recent though, like Slipknot, Gojira, Fear Factory,” she commented. In addition, as one of the most promising female growlers of the current scene, Julia is also a huge admirer of the music by Arch Enemy and Jinjer. “I’ve been inspired by voices like Corey Taylor from Slipknot, and among the women I really admire Cristina Scabbia, Alissa White-Gluz, Tatiana Shmayluk, and other artists who know how to blend intensity and versatility. I admire anyone who can shake me to the core while destroying the stage.”
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Regarding her vocal technique, Julia said that she works a lot on her clean and growl dual-voice style. “It’s not about volume, but control, endurance, and intensity. You have to be able to express emotion even when the voice is rough. I always warm up, focus on breathing, and pay close attention to vocal health. Clean parts and growls require completely different mindsets.” She practices a lot everyday, always focusing on warmups and breathing exercises, saying that singing in a Death Metal and/or Metalcore style has its easy parts, as well as really hard ones. “The hard part is keeping vocal health and expressiveness. The ‘easy’ part or at least what becomes more natural with experience is letting emotion flow once technique is solid.”
If there’s one thing that Julia and the boys from 5RAND enjoy doing, that’s hitting the stages with their live concerts. After signing with Art Gates Records, the band started working on new dates, aiming at expanding their touring and reaching a wider audience. A very good reason why all of us should keep an eye on their social media, because if 5RAND are taking your city by storm anytime soon, you surely don’t want to miss it. Also, when asked which song she likes to sing live the most, she mentioned the excellent Cordyceps. “Cordyceps because the crowd goes particularly crazy with that song, but I love to sing all our songs.” Julia also has her “hobbies” behind the scenes during their tours. The rest of the band said they suspect Julia really enjoys watching people eat. “That’s why everything she cooks is in enormous quantity,” commented her fellow bandmates.
When questioned about the current metal scene in Italy, she said that Death Metal, as well as Progressive and Power Metal, might probably be the most appreciated genres by Italian fans, apart of course form the bigger bands like Iron Maiden, Metallica and so on, but she also said that the majority of the Italian people tend to be a bit “lazy” in their musical taste and aren’t that eager to discover new bands or genres. “People mostly like what they already know,” she commented. Furthermore, she also mentioned she’s proud to see a new generation of women participating in the scene in Italy. “We’re seeing more and more women in metal bands, which is obviously very good! Many of them are very talented, maybe they’re still a bit confined to the symphonic style and to singing (too few women play an instrument on stage), but we hope their number keeps growing; versatility will come eventually.” However, she also believes everyone should be treated equal in heavy music. “I don’t think a band should be considered just for its members’ sex. In a better world, the musicians’ sex shouldn’t be more important than the colour of their hair.”
As mentioned in the beginning of this tribute to our multi-talented Italian diva, Julia is also a professional psychologist, having studied Psychiatry, Psychology and Behavioral Sciences (with a major in Psychology) at Sapienza Università di Roma, graduating in 2013, and having also got a major in Brief Strategic Therapy (BST) from Scuola di Specializzazione in Psicoterapia Breve Strategica, currently running her own initiative named “Harmony of Chaos”, offering a fusion of metal music and insights on mental health. Not only that, Julia seems to be a philomath, having also obtained a Master’s Degree in Web Marketing and ICT and a degree in Marketing, Management and Business Economy, both also at Sapienza Università di Roma. And when she’s not studying, she loves arts, books, and sports, especially outdoors and in nature, as well as cooking a lot and keeping fit. As you can see, Julian never stops, she’s always creating new things, always searching for something new, always broadening and deepening her knowledge, and may she keep condensing all that awesomeness in the music by 5RAND for many years to come, because it’s people like Julia who definitely contribute to a much better world.
“Joining 5RAND in 2015 was a big step. I’m also passionate about psychology… in fact, I’m a psychologist and later specialized as a psychotherapist with a metal soul. I love helping people overcome mental struggles.” – Julia Elenoir
This stormy and wrathful Black and Death Metal duo reveals themselves as a banner as well as an alliance with their long-awaited, scathing third album.
Hailing from the frontiers of southern Chile in a bloody transfixion that decomposes and darkens the veins of everything created under the stormy and wrathful Black and Death Metal that’s been inoculated all along the last decade, Temuco, Araucania-based entity Cenotafio reveals themselves as a banner as well as an alliance with their long-awaited third album, titled La Escisión Acausal: Por La Vía Inversa Hacia La Descarnación, English for “the acausal cleavage: through the inverted way to the fleshing out,” the follow-up to their 2019 sophomore opus Larvae Tedeum Teratos. Across the 43-minute album’s six tracks, the duo formed of Daniel Hermosilla on vocals, guitars and bass, and Patricio Kusnir on drums and vocals lays bare a supremely sepulchral landscape where genre delineations become irrelevant. Black Metal devours Death Metal, then vice-versa, all while a roiling undercurrent of Doom Metal provides the rhythmic sturm under drang that’s seemingly scattershot but eventually reveals its restless genius.
Atrabilis Taenia Solivm carries a cadaverous name for a song, starting in the most Blackened Doom manner imaginable before exploding into a chaotic blend of Black Metal led by their demonic vociferations and the ruthless drums by Patricio. Speaking of sluggish doom, I love it when a band that’s known for long, doomed songs decides to blast our faces with a sharp and shorter-than-usual tune like Osario, with Daniel delivering an overdose of insanity through his riffs and bass lines, resulting in a song not recommended for the faint at heart. And Nigredo Transfixión keeps the atmosphere as grim and unfriendly as possible, another caustic fusion of Black, Death and Doom Metal by the duo where Patricio steals the spotlight with his demented blast beats.
They continue to darken our minds and thoughts with the bludgeoning Acausal Escisión, presenting a caustic, visceral slab of Blackened Death Metal; and it’s time to enter a pit of deadly snakes in Viperidarium, offering our putrid ears a massive wall of sounds which end up boosting their Mephistophelian guttural to a whole new level of obscurity. And as the icing on their dark cake, we have Orbis Coagula, a multi-layered, evil, Stygian and brutal aria presenting the darkest elements of Doom Metal intertwined with the most vicious Black and Death Metal sounds, with Daniel ‘s riffs sounding absolutely disturbing and evil until the song’s climatic, vile end, sending shivers down our spines.
After immersing yourself into the dark and doomed waters of La Escisión Acausal: Por La Vía Inversa Hacia La Descarnación, you’ll quickly notice the wait for a new album by Chile’s monster Cenotafio was absolutely worth it. Buried under miles of Blackened Death and Doom Metal ash, the duo sounds on fire from start to finish, and if you want to show them your utmost support you can find those talented musicians on Facebook and on Instagram, stream their caustic music on Spotify, and purchase their sulfurous new album from their own BandCamp or from the Demoniac Productions’ BandCamp. Cenotafio are among us to spread sheer obscurity, blackening their Death Metal sounds while also turning their Black Metal vein even deadlier, with La Escisión Acausal: Por La Vía Inversa Hacia La Descarnación embracing us all in absolute darkness.
Best moments of the album:Osario and Orbis Coagula.
Erupting from the depths of Denmark with a new onslaught of putrid Death and Doom Metal, this ruthless creature will unleash hell armed with their debut full-length offering.
Erupting from the depths of Kolding, Denmark with a new onslaught of putrid Death and Doom Metal, sounding heavier, darker and more merciless than before with riffs dripping decay, drums pounding like collapsing stone and vocals dredged from the deepest rot, the ruthless creature known as Foetorem (which translates to “stench of decay”) is unleashing hell with their debut full-length opus, poetically titled Incongruous Forms Of Evergrowing Rot. Recorded, mixed and produced by the band’s own Daniel Farre and Claus Andersen, mastered by Dan Lowndes at Resonance Sound Studio, and displaying a sinister artwork by N. Zuki of Belial NecroArts, with logo by Giancarlo Melgar and layout by Alice Mingotti and Giorgio Spewo, the newborn spawn by the aforementioned Claus Andersen and Daniel Farre on vocals and guitars, alongside Ric Broe Goldschmidt on bass and Geistaz on drums, spews psalms of death that drag the listener into miasmic landscapes, conjuring abhorrent visions of human ruination, becoming a must-listen for fans of Spectral Voice, Krypts, Mortiferum, and Hooded Menace, just to name a few.
The quartet shows no mercy for our putrid bodies and kick off their soul devouring feast with Reeks of Moldy Guts, where the vocals by Claus and Daniel are absolutely haunting from start to finish, and their violent Death Metal vein explodes in Escalating Rot, led by the caustic riffage by Claus and Daniel while Geistaz sounds like a stone crusher on drums. In Oozing With Pustulent Fluids the sound is just as carnivorous as the title, with the menacing bass by Ric walking hand in hand with another ruthless drumming by Geistaz in a lecture in extreme music made in the beautiful Denmark; followed by Mors Viaturis – the Death Traveler, perhaps the most Doom Metal of all songs, as sluggish and grim as it can be albeit a bit tiresome in the end.
Then after the cryptic interlude Grotesque Decomposition we face a wall of brutality and hatred in the form of Rebirth in Morbid Disgust, alternating between the sheer savagery of Death Metal and the gloomy heaviness of Doom Metal, all spiced up by another cadaverous vocal performance by Claus and Daniel. After that, it’s time for the skies to go pitch black to the sound of Tapestries of Misery, offering total doom annihilation to our putrid ears while Geistaz dictates the pace with his devilish beats. Claus, Daniel and Ric’s stringed attack bring forward their most deranged, metallic and thunderous sounds in Decay of the Flesh, sounding brutal and relentless from start to finish, followed by Peeled Face Mask, presenting one last blast of their ass-kicking hybrid of Death and Doom Metal, and leaving us completely disoriented after all is said and done.
A suffocating surge of filth sharpened into pure ruin, showcasing no light, no hope, only the stench of inevitable collapse rising, Incongruous Forms Of Evergrowing Rot can be purchased via mailorder or BandCamp, and you can also join Foetorem in absolute darkness on Facebook and on Instagram, and stream their obscure music on any platform like Spotify. Foetorem stand on the verge of their most defining chapter yet, promising to expand their oppressive sonic palette, delving deeper into the putrid atmospheres and melodic decay that have become their signature, and if you nurture a deep passion for extreme music, you’re certainly in for a treat.
Best moments of the album:Escalating Rot, Rebirth in Morbid Disgust and Decay of the Flesh.
Worst moments of the album:Mors Viaturis – the Death Traveler.
Released in 2026 Everlasting Spew Records
Track listing 1. Reeks of Moldy Guts 5:13
2. Escalating Rot 4:44
3. Oozing With Pustulent Fluids 4:26
4. Mors Viaturis – the Death Traveler 5:35
5. Grotesque Decomposition 0:31
6. Rebirth in Morbid Disgust 5:15
7. Tapestries of Misery 5:10
8. Decay of the Flesh 3:55
9. Peeled Face Mask 5:38
Band members Claus Andersen – vocals, guitars
Daniel Farre – vocals, guitars
Ric Broe Goldschmidt – bass
Geistaz – drums
This ruthless Death Metal beast from Brazil is ready to unleash hell once again with their third full-length opus, delivering sharp criticism of religion, world wars, and the darker trajectories of power and authority.
Formed in 2010 in the harshest corners of Salvador, the capital of Brazil’s northeastern state of Bahia, the ruthless Death Metal beast known as Papa Necrose is ready to unleash hell once again with their third full-length opus, poetically entitled Anthropomorphy Execution, following up on their 2021 sophomore Open Infected Body. Recorded, mixed and mastered at Evil Live Studios, with drum editing by Hugo Elias (Infected Cells), and showcasing a sinister cover art by Alex Shadrin of Nether Temple Design, the new album by frontman Alessandro Necrose , guitarists Carlos Silva and Danilo Vagner, bassist Éric Gusmão, and drummer Luquian Silva marks a moment of maturation for the band, keeping their raw, aggressive style intact while also exploring more complex song structures, technical riffing, and layered compositions influenced by the most technical 90’s Death Metal the likes of Death’s Human and Pestilence’s Testimony of the Ancients. Lyrically, the album delivers sharp criticism of religion, focusing on the role of Catholicism in historic humanitarian crises, world wars, and the darker trajectories of power and authority.
Carlos and Danilo begin slashing their axes in great fashion in Fall, Die, and Break, and when Luquian starts hammering his drums it’s absolute hell and chaos, followed by Disenchant Them, another bestial Death Metal extravaganza with a strong Thrash Metal vibe, with Éric pounding his bass while Alessandro roars like a rabid creature. Then after the phantasmagorical, eerie (but not very exciting) interlude Between Voices and Fear, we’re treated to the title-track Anthropomorphy Execution, a ruthless tune where Éric’s bass sounds absolutely metallic, providing the band’s guitar duo with exactly what they need to fire their deadly riffs; and they speed things up and get even more infuriated in the Death Metal attack titled Bleeding Social Membrane, led by another infernal vocal performance by Alessandro.
Hammered in the Mind lives up to the legacy of 90’s Death Metal while also presenting the band’s own technical and even progressive twist, while in Eighteen Years Awake we face pure violence and hatred flowing from all instruments, in special from the nonstop, savage drums by Luquian. Cathedral of Death sounds absolutely fast, furious and demented from start to finish, with Alessandro barking like a rabid entity while his bandmates offer a killer fusion of rage and dexterity; whereas in Silenced by Death all cryptic background sounds and other elements add an extra touch of darkness to their core Death Metal. Finally, we’re invited to one final mosh pit in The Thousand Yard Gaze, featuring a guest guitar solo by James Murphy (Death, Obituary, Cancer), with Éric and Luquian bringing forth their most intricate sounds of the entire album for our total delight.
Delivering scorching riffs, crushing drums, and an atmosphere designed for those who crave the raw edge of the genre since their inception, Papa Necrose tackle human contradictions, religious hypocrisy, war, death, and other societal ills through their music, exposing the underbelly of the world we live in, exactly like what they have to offer in their new album. Having said that, if you want to join such a talented Death Metal army and experience their rebellious music in all of its glory, you can find those Brazilian death dealers on Facebook and on Instagram, stream their demented sounds on Spotify, and above all, purchase the excellent Anthropomorphy Execution from the Awakening Records’ BandCamp and Big Cartel. Religion, war, death and power have always been a dangerous combination, and albums like Anthropomorphy Execution by Papa Necrose are among us to prove once and for all that Death Metal will forever be the best way to channel all that evil in a positive and exciting way.
Best moments of the album:Bleeding Social Membrane, Eighteen Years Awake and Cathedral of Death.
Worst moments of the album:Between Voices and Fear.
Released in 2026 Awakening Records
Track listing 1. Fall, Die, and Break 4:52
2. Disenchant Them 4:31
3. Between Voices and Fear 1:10
4. Anthropomorphy Execution 5:08
5. Bleeding Social Membrane 7:19
6. Hammered in the Mind 3:38
7. Eighteen Years Awake 4:43
8. Cathedral of Death 4:05
9. Silenced by Death 4:09
10. The Thousand Yard Gaze 6:50
Band members Alessandro Necrose – vocals
Carlos Silva – guitar
Danilo Vagner – guitar
Éric Gusmão – bass
Luquian Silva – drums
Guest musician
James Murphy – guitar solo on “The Thousand Yard Gaze”
Delivering filthy, mold-ridden Death Metal deeply rooted in the muddy sewers of the Finnish DIY Punk Rock and Hardcore scene, Finland’s own horde Unearthly Rites is unleashing another slab of raw old school Death Metal, Grindcore, and Crust in their sophomore album, titled Tortural Symphony of the Flesh. Presenting a total meltdown of nature, humanity, and machine, and of transgression, lust and power, the follow-up to their 2024 album Ecdysis advances the band’s crushing riffs and characteristically moldy grimness toward a more malicious and brutal soundscape, documenting the atrocities of capitalist society while also explicitly calling for action in defense of nature and the rights of ethnic, gender and sexual minorities, all masterfully crafted by Sisli (they/them) on vocals, Simo (he/him) and Santtu (he/him) on the guitars, Jennika (she/her) on bass, and Tapio (he/him) on drums.
“Tortural Symphony of the Flesh deepens our critique of capitalist oppression as a force that devastates nature through ecocide, erodes minority rights, and promotes conservationist ideology that ultimately reinforces colonialist power. Nature and humanity are inseparably fused in imagery of metal, roots, mud, flesh, and ice, forming a visceral rejection of fossil-industrial society. Queer BDSM lust and the words of William Blake are offered as an antidote to the christofascist trajectory,” commented the band, and you can join them in such an important mission by following the band on Facebook and on Instagram, by streaming their acid music on Spotify, and by purchasing their excellent new album from BandCamp or from Svart Records. Because the unstoppable Unearthly Rites are not just a Death Metal band. Their music has a deep and important message for all of us, metalheads or non-metalheads, and their new album definitely deserves our total attention in our rotten and decaying society.
THE HEADBANGING MOOSE 