Album Review – Hekatoxen / Obsidian Majesty (2026)

Rooted in the classic language of Finnish Death Metal, this unrelenting quartet is ready to strike armed with their first full-length album.

After introducing their vision with their 2022 debut EP Utter Darkness, Tampere, Finland-based Death Metal horde Hekatoxen is ready to strike with their first full-length album, titled Obsidian Majesty. Rooted in the classic language of Finnish Death Metal, the new album by Jussi Rinta-Kiikka on vocals, guitars and synthesizers, Niko Talpio also on the guitars, Risto Räkköläinen on bass, and Vesa Nikkinen on drums does not rely on mere repetition of familiar formulas, moving through a landscape of razor-edged riffs, where heaviness never comes at the expense of movement. The songs hit hard, but they also breathe, shift direction and reveal a band with a clear understanding of dynamics.

The band wastes no time and kicks off their deadly festivities with Lost Souls Epitome, where Vesa already crushes his drums mercilessly in the best and most primeval Death Metal style, and Jussi and Niko keep delivering sheer animosity through their dirty, scathing riffs in I Am Them, while the same Jussi roars deeply like a creature from the abyss. Spawns of Darkness carries a poetic name for another bestial devastation of absolute Death Metal madness, inviting us all to slam into the pit to the gory, rumbling bass and drums by Risto and Vesa; whereas their strident, visceral guitars will penetrate deep inside your mind in Haunting Ceremony, perfect for some vigorous headbanging.

Domus Vilomaxus, which translates as “House of the Order,” combining a Latin word for home with a fictional term from the cultist language featured in the classic video game Blood, again presents the demonic vociferations by Jussi, followed by Grave Reveries, a solid Death Metal tune albeit a bit generic compared to the other sick creations by the quartet. Then after the obscure interlude At Hellsrivers Pathway we face another blast of sheer destruction by the band titled Vanguard the Dark, where the guitars by Jussi and Niko reek of putrefaction, not to mention the band’s demonic kitchen formed of Risto and Vesa is once again thunderous, putting a venomous ending to such a heavy and evil album.

Avoiding unnecessary complexity, Hekatoxen embrace the power of well-crafted songwriting, and Obsidian Majesty certainly captures a band refining its identity, balancing old school instincts with a contemporary edge and proving that tradition can still cut deep when handled with conviction, being therefore highly recommended for fans of Demigod, Adramelech, Sentenced, and Funebrarum. You can find those Finnish bastards on Facebook and Instagram, stream their sick creations on Spotify, and of course, put your putrid hands on Obsidian Majesty via their own BandCamp, as well as from the Nuclear Winter Records’ BandCamp or webstore. If their first strike in 2022 was deadly, their new onrush now with Obsidian Majesty is even deadlier. There’s nowhere to run, nowhere to hide.

Best moments of the album: Lost Souls Epitome, Spawns of Darkness and Vanguard the Dark.

Worst moments of the album: Grave Reveries.

Released in 2026 Nuclear Winter Records

Track listing
1. Lost Souls Epitome 6:02
2. I Am Them 3:38
3. Spawns of Darkness 4:04
4. Haunting Ceremony 5:44
5. Domus Vilomaxus 4:45
6. Grave Reveries 3:26
7. At Hellsrivers Pathway 1:48
8. Vanguard the Dark 5:43

Band members
Jussi Rinta-Kiikka – vocals, lead & acoustic guitars, synthesizers
Niko Talpio – rhythm guitars
Risto Räkköläinen – bass
Vesa Nikkinen – drums

Album Review – Morbid Stench / Doom Metástasis (2026)

Deeply rooted in Death and Doom Metal, this Central American three-headed beast returns with their third album, following a process of transformation that moves from inner decay to complete propagation.

Deeply rooted in Death and Doom Metal, the Central American three-headed beast Morbid Stench returns from the grave with the follow-up to their 2022 sophomore album The Rotting Ways of Doom, the scorching Doom Metástasis. Conceived as a conceptual work, the new offering by The Master Butcher on “esophagus” (vocals), Morbid on “cosmic chords of doom” (guitars and bass), and Purulent on “barrels full of putrid waste” (drums) follows a process of transformation that moves from inner decay to complete propagation, blending biological imagery with reflections on identity, inevitability and the cyclical nature of existence. This narrative framework gives the album a strong sense of continuity, shaping a journey rather than a simple collection of individual tracks.

Necrotic From Within starts in a sinister, obscure way with the sound of the guitars by Morbid growing in intensity until all hell breaks loose to the visceral roars by The Master Butcher, sounding as sluggish, grim and dark as it can be. Then it’s impossible not to enjoy a song titled The Morbid Waltz, where the slow and steady beats by Purulent will hammer our cranial skulls without a single drop of mercy, all boosted by another razor-edged riff attack by Morbid; and the trio continues to spread total darkness through their Death and Doom Metal onrush in Hyperbolic, with The Master Butcher sending shivers down our spines with his inhumane growls. Bizarre and Beyond offers us all seven devilish minutes with no hope or joy in sight, only the cadaverous sounds blasted by the band, with Morbid being once again ruthless armed with his guitar and bass. The same Morbid extracts haunting riffs form his axe in Narcissistic God, while The Master Butcher darkly vomits the song’s harsh words nonstop; and a utterly visceral narration by The Master Butcher kicks off the closing aria Crawling Out of the Swamps, their most demonic, bold and infernal creation where Purulent is simply demolishing behind his drums, ending the album on a beyond hellish note.

Despite the members now living in different countries, the creative chemistry within them remains intact as seen in their newborn spawn, resulting in a work that continues the band’s exploration of decay, darkness and the oppressive atmosphere of their signature blend of Death and Doom Metal. In case you want to join those talented metallers in absolute darkness, you can find them on Facebook, stream their caustic music on Spotify or any other platform, and purchase their new album from their own BandCamp, from the Nuclear Winter Records’ BandCamp or webstore, or from Putrid Cult’s BandCamp. Having said all that, do you have what it takes to follow the band on a one-way descent into the abyss to the sound of their venomous new album?

Best moments of the album: The Morbid Waltz and Crawling Out of the Swamps.

Worst moments of the album: None.

Released in 2026 Nuclear Winter Records/Putrid Cult/Morbid Skull Records

Track listing
1. Necrotic From Within 7:49
2. The Morbid Waltz 5:04
3. Hyperbolic 6:21
4. Bizarre and Beyond 7:16
5. Narcissistic God 6:08
6. Crawling Out of the Swamps 6:03

Band members
The Master Butcher – vocals
Morbid – guitars, bass
Purulent – drums

Album Review – Endspace / First Contact (2026)

This uncanny Sci-Fi Black Metal duo is ready to attack armed with their debut opus, offering music that is light years ahead of what we’re accustomed to hearing.

Consisting of two anonymous members operating under the numerical aliases 040118180514 (vocals, bass, keyboards and drums) and 102119200914 (guitars and backing vocals), both members of the Canadian Technical Death Metal band Fractal Generator, Sudbury, Ontario-based Sci-Fi Black Metal entity Endspace creates music that is light years ahead of what we’re accustomed to hearing. Using synthesizers and vocoders to make music that sounds as if it’s emanating from beings on some distant planet, drawing thematic and sonic comparisons to acts like Darkspace, Aborym, Thorns, Labyrinthus Stellarum, Midnight Odyssey, and Imperialist, the duo is unleashing upon us their debut opus, titled First Contact, merging heavily structured, futuristic Black Metal elements with Experimental, Industrial and Death Metal influences, all embraced by a sinister artwork by Midge “Mantissa” Sinnaeve. Furthermore, the songs in First Contact are all called “transmissions,” and each one has a different identity and purpose, making the album an utterly fascinating and unique listening experience.

Such an uncanny duo kicks off their Sci-Fi feast with First Transmission, with the guitars by 102119200914 transpiring cosmic insanity, followed by Second Transmission, where 040118180514 embellishes the airwaves with his futuristic keys accompanied by the cryptic guitars by 102119200914. Things get serious in Third Transmission, with the venomous roars by 040118180514 sounding like a creature from outer space, or in other words, it’s the epitome of Experimental Black Metal, whereas Fourth Transmission, follows a similar path of otherworldly insanity, again presenting their deep vociferations and ruthless beats and fills.

Fifth Transmission is a weird one, maybe too experimental at times, not really a song but more like an interlude, whereas Sixth Transmission puts the duo back on track with their haunting Sic-Fi Black Metal, offering us all Stygian vocals and guitars. Then we have Seventh Transmission, getting heavier and heavier as the music progresses, sounding disturbing at times, followed by Eighth Transmission, again delivering an overdose of uncanny riffs and keys, as mechanized yet visceral as it can be. Their last breath of Black Metal insanity comes in the form of Ninth Transmission, a multi-layered feast from another world tat puts a stunning ending to the album.

Tenuously Black Metal, with its elements taken apart and pieced together using unconventional components, First Contact offers a unique exploration of the Sci-Fi side of Black Metal, and if you want to join 040118180514 and 102119200914 in such a dark and otherworldly quest you can find the duo on Facebook and on Instagram, stream their idiosyncratic creations on Spotify, and of course grab a copy of the album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In other words, let the Sci-Fi sounds blasted by Endspace in First Contact take your soul to outer space. End of transmission.

Best moments of the album: Third Transmission, Fourth Transmission and Ninth Transmission.

Worst moments of the album: Fifth Transmission.

Released in 2026 Transcending Obscurity Records

Track listing
1. First Transmission 4:21
2. Second Transmission 4:29
3. Third Transmission 3:24
4. Fourth Transmission 3:56
5. Fifth Transmission 3:56
6. Sixth Transmission 4:51
7. Seventh Transmission 4:46
8. Eighth Transmission 4:44
9. Ninth Transmission 4:38

Band members
040118180514 – vocals, bass, keyboards, drums
102119200914 – guitars, backing vocals

Album Review – Eshtadur / In Darkness All Shadows Gone (2026)

A crow is calling to the sound of the new offering by Colombia’s own Melodic Black and Death Metal entity, a conceptual journey through mysticism, transformation and inner transmutation.

Combining Gothenburg-influenced Death Metal, Black Metal and classical composition with an interest in poetry, mysticism, existence and cosmogony, Pereira, Colombia-based Melodic Black/Death Metal outfit Eshtadur is back with their fifth studio album, titled In Darkness All Shadows Gone, following on their critically acclaimed 2017 album Mother Gray and their 2020 opus From the Abyss. Recorded at RockStar Studios, produced by the band’s mastermind Jorg August, who also wrote the music, lyrics, compositions, and orchestral arrangements, mixed and mastered by Tomasz “Zed” Zalewski, and displaying a Stygian artwork by Vallesia Obscura, the new offering by Jorg August on vocals and guitars, Camilo Barbosa also on the guitars, Andres Gonzalez on bass, and David Lopez on drums follows a conceptual journey through mysticism, transformation and inner transmutation.

The phantasmagorical intro Age of Antumbra will darken the skies and drag us into a deep dark forest to the sound of Into The Woods, kicking off in full force to the ruthless growling by Jorg while Camilo, Andres and David hammer their instruments nonstop. Umbra offers six minutes of first-class Melodic Death Metal where the guitars by Jorg and Camilo transpire obscurity; and David keeps pounding his drums in the name of dark and heavy Melodic Death Metal in August’s Burdens, where all backing vocals boost Jorg’s already killer guttural. Fire Above Mountain Below is one of the most experimental and symphonic of all songs, where the quartet fires a massive wall of sounds that fills every single space in the air majestically, followed by Old Shaman Blind, which starts in a cryptic manner before evolving into a Death and Doom Metal creature, once again led by David’s crushing beats and fills.

Thunderground offers a blend of Scandinavian Melodic Death Metal with the band’s own South American twist, with the riffs and solos by Jorg and Camilo feeling fantastic, and they keep shredding their axes in Ruler of the Lake, sounding heavy and venomous from start to finish. Then a beyond atmospheric start gradually morphs into a bestial display of Death and Doom Metal titled A Black Winged Waltz, again presenting the striking guitar solos by Camilo; and there’s still fuel for another hard hitting tune titled Nebulae (Virgo), led by the classic beats and fills by David. Omen of Millennia lives up to the legacy of traditional Melodic Death Metal, with Jorg sounding infuriated again on vocals for our absolute delight, flowing into Soy Real, a climatic conclusion to the album where Jorg’s deep growls are spiced up by clean vocals in the background amidst a beautiful sonic devastation.

“We worked on this material for four years. It is a long album with twelve tracks, symphonic arrangements, a real orchestra, many vocal layers and Tuvan voices. At times, it felt like a giant puzzle, but everything finally came together. We are proud of the result and grateful to everyone who helped us build it. A crow is calling,” commented Jorg August, who’s waiting for you on Facebook and on Instagram with news, tour dates and so on, and you can also stream their music on Spotify and put your hands on In Darkness All Shadows Gone via BandCamp or Rockshots Records, or by clicking HERE. Fans of Septicflesh, Dissection and At The Gates will surely have a great time listening to the new album by Eshtadur. Or, in other words, can you hear the crow calling?

Best moments of the album: Into The Woods, Fire Above Mountain Below and Omen of Millennia.

Worst moments of the album: None.

Released in 2026 Rockshots Records

Track listing
1. Age of Antumbra 2:00
2. Into The Woods 4:41
3. Umbra 6:22
4. August’s Burdens 4:59
5. Fire Above Mountain Below 5:08
6. Old Shaman Blind 5:08
7. Thunderground 3:40
8. Ruler of the Lake 5:14
9. A Black Winged Waltz 9:23
10. Nebulae (Virgo) 5:09
11. Omen of Millennia 3:56
12. Soy Real 5:11

Band members
Jorg August – vocals, guitars
Camilo Barbosa – lead guitars
Andres Gonzalez – bass
David Lopez – drums

Album Review – Werewolves / You’re Weak and You Know You’re Weak (2026)

Back from the Death Metal pits of Down Under, these Australian cavemen attack once again with their seventh display of absolute savagery and hatred.

Back from the Death Metal pits of Down Under, having sworn to release ten albums in ten years (or commit group suicide if they fail), Melbourne, Australia’s own Technical Black/Death Metal cavemen Werewolves attack once again with their seventh display of absolute savagery and hatred, beautifully titled You’re Weak and You Know You’re Weak, following up on their just as demented albums The Dead Are Screaming (2020), What a Time to Be Alive (2021), From the Cave to the Grave (2022), My Enemies Look and Sound like Me (2023), Die for Us (2024), and The Ugliest of All (2025). Once again mixed and mastered by Joe Haley at Crawlspace Productions, and showcasing a savage artwork by Mitchell Nolte featuring crucifixions, baby kebabs, and a werewolf army, the new offering by Sam Bean on vocals and bass, Matt Wilcock on the guitars, and David Haley on drums beautifully marches against world peace, offering another blast of berserk heavy music not recommended for the lighthearted.

There’s no sign of happiness, hope or sanity on the horizon as the trio begins their infuriated metal attack with Uroboric Fuckwit, where David is as usual absolutely inhumane on drums while Sam growls like a rabid beast; and Matt delivers his trademark Black and Death Metal riffs in Tank Habit, inviting us all to slam into the pit like true headbanging bastards. Burn It To The Ground is even more demented and violent than its predecessors, with Sam sounding pissed off on vocals supported by the heavy artillery brought forth by David, followed by Triple Negative, a very positive name for an Extreme Metal song, with Sam’s deep roars and demented screams piercing our putrid minds mercilessly. And their circle pit extravaganza goes on in full force with So Say All Of Us, where David showcases another round of his unique, visceral drumming skills always in the name of our good old Death Metal.

Fields Of Suicide is another song with a very charming and poetic name, offering our avid ears an avalanche of unfiltered Death and Black Metal insanity led by the scorching riffs by Matt while Sam keeps barking and hammering his bass manically. The trio definitely knows how to offer pure darkness and fear through their slower compositions, which is exactly the case in We March, enhancing the depth of their vocals, and of course the heaviness of their riffs; and it’s pedal to the metal in the infernal aria beautifully titled The Song Of Stupid Men, where David pounds his drums like a true Tasmanian devil, resulting in another lecture in absolute brutality and chaos by those phenomenal musicians. Lastly, their coup-de-grace comes in the form of You’re Weak and You Know You’re Weak, played with endless fury, hatred and venom in their blackened hearts, therefore leaving us eager for more of the uncompromised insanity by Werewolves in about a year or so.

As soon as you start listening to You’re Weak and You Know You’re Weak, you know there will be blood, just like how those amazing guys form Australia have been doing for the past seven years under the Werewolves banner, as well as with their other bands including Psycroptic, Abramelin, and The Antichrist Imperium. In other words, this album is for fans of Marduk, Marduk, fucking Marduk, and getting your teeth kicked right the fuck in. Having said that, once again don’t forget to invite the guys from Werewolves for an afternoon tea while blasting their ravenous Death Metal by following them on Facebook and on Instagram and by streaming the visceral, deadly music on YouTube or on Spotify, and of course to grab their scorching new album from their website or BandCamp page, from Direct Merch, from Nightshift, or from Plastic Head. You’re weak, and you know you’ll always be weak. Unless, of course, you start listening to Werewolves. Then you’ll be Death Metal.

Best moments of the album: Uroboric Fuckwit, Burn It To The Ground, Fields Of Suicide and The Song Of Stupid Men.

Worst moments of the album: None.

Released in 2026 Back On Black Records

Track listing
1. Uroboric Fuckwit 3:22
2. Tank Habit 3:43
3. Burn It To The Ground 3:04
4. Triple Negative 2:55
5. So Say All Of Us 3:25
6. Fields Of Suicide 4:16
7. We March 5:21
8. The Song Of Stupid Men 3:35
9. You’re Weak and You Know You’re Weak 3:28

Band members
Sam Bean – vocals, bass
Matt Wilcock – guitars
David Haley – drums

Metal Chick of the Month – Tanja Kemppainen

So far away, yet held so close… I know you call me, wishing me back…

Let’s kick off the celebrations of the 13th anniversary of The Headbanging Moose, and there’s nothing better to represent over a decade of passion for the underground than paying a tribute to one of the staples of the Finnish extreme music scene as our metal lady of this month of October. If you’re not from another planet, you might have already heard of the name Tanja Kemppainen (sometimes also spelled Tanya Kemppainen), or Tanja Kirsi Tellervo Kemppainen, and who also goes by the darkly beautiful moniker Whisper Lilith or Tanya Whisper Lillith, the frontwoman for the incredible band Soulgrind since the already distant year of 1997, as well as the vocalist for other first-class bands from the land of ice and snow such as Lullacry and Gloomy Grim, always delivering those hypnotizing Stygian vocals we all love so much from one of the best places to be in the entire world when it comes to Heavy Metal. The skies are getting darker, the nights are getting colder and longer, and Whisper Lilith is among us all to remind us that winter might be coming, but there’s always beauty in its frostbitten landscapes.

Born in 1979 in Kajaani, a town of less than 40,000 people in Finland, and the regional capital of Kainuu, Tanja came to public attention as the singer of Melodic Death/Gothic Metal entity Lullacry (a play word with the words “lullaby” and “cry”) from 1998 to 2002, before being replaced by another Finnish singer named Tanja Lainio. The band called it quits in 2014, but their legacy remains with some excellent released with both Tanja Kemppainen and Tanja Lainio on vocals. Our metal lady of the month, Tanja Kemppainen (because as you know, there might be too many Tanjas in Finland), recorded with the band their very first demos in 1998 after changing their name from Coarse (which existed between 1992 and 1998 and played a more direct blend of Melodic Death Metal), those being Weeper’s Aeon and Sweet Desire, and the 1999 demo Alone.

After the release of those successful demos, the band then released their debut full-length studio album, also titled Sweet Desire, but containing 11 tracks instead of only the two original ones from the demo. The band picked up momentum and two years later released their sophomore opus, entitled Be My God, which gained tons of positive reviews from the fans and the media. Curiously enough, the band had a pretty steady lineup through the year with guitarists Sauli Kivilahti and Sami Vauhkonen, bassist Heavy, and drummer Jukka Outinen, with pretty much only Tanya leaving their classic formation and being replaced by the aforementioned Tanja Lainio in 2002, who stayed with the band until the end.

Between 1997 and 1998, she was also the female vocalist for a Helsinki-based Symphonic Black Metal horde named Gloomy Grim, having recorded with them the 1997 demo Friendship Is Friendship, War Is War!, and their 1998 debut full-length offering titled Blood, Monsters, Darkness, already going by the moniker Whisper. As a matter of fact, Tanja was the girlfriend of the band’s mastermind, vocalist and keyboardist Agathon (aka Juha Tapio Hintikka) while she was in the band. She left the band when they broke up (although they played together in Soulgrind after that). Furthermore, the band was put on hold in December 2019 due to Agathon’s deteriorating health, and then disbanded in August 2021. Unfortunately, Agathon died on May 30, 2022 due to complications of a brain cancer, but the legacy of Gloomy Grim lives on.

Another band which Tanja was a member of for a few years was Finnish Gothic Metal band Silentium. She was part of the band for a very brief period in 2003, when the band’s longtime original female vocalist, Tiina Lehvonen, took a temporary leave for personal reasons and Tanja stepped in to help them complete their next studio effort. By the time the band moved on to record their fourth album Seducia, in 2006, they had recruited a new permanent singer named Riina Rinkinen. Tanja and Silentium recorded only one studio album together, titled Sufferion – Hamartia of Prudence, released in 2003, a highly theatrical 16-song, 1-hour long concept album produced by Nightwish mastermind Tuomas Holopainen and featuring Tanja sharing vocal duties alongside Maija Turunen.

Apart from those, Tanja was also involved in two other pure Finnish metal bands. The first one was Symphonic Heavy Metal band Metallimessu. The band’s name is Finnish for “Metal Mass”, a service of worship which follows a Lutheran service patterns but where Finnish hymns are adapted to a Heavy Metal style. The first Metal Mass was held in 2006, becoming a phenomenon in Finland, but the group disbanded a couple of years later, in 2008. Tanja recorded with the band the songs Herra, elämääni, Herra, kädelläsi, and Ken tahtoo käydä Herran askelissa, which should translate to English as “Lord, my life,” “Lord, in Your hand,” and “whoever wishes to walk in the Lord’s footsteps,” from their 2008 self-titled album. She was also involved in the project Raskasta Joulua, which means “Heavy Christmas” in Finnish, delivering traditional Christmas carols and Christmas hits in a Heavy Metal style mostly with Finnish lyrics (although some are also in English and Swedish). In 2004 the project released their debut self-titled album, and Tanja was the vocalist for the song Maa on niin kaunis, or “the earth is so beautiful.”

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Needless to say, her biggest contribution to the world of heavy music will forever be her role as vocalist for Helsinki-based Gothic/Black Metal beast Soulgrind as Tanya Whisper Lillith, fronting the band alongside the excellent vocalist Miika “Azhemin” Niemelä. Tanja joined Soulgrind back in 1997, when the band was the solo project of guitarist Jussi “Lord” Heikkinen and already had a couple of EPs and two full-length albums released. Right after joining the band with other musicians, hence Soulgrind becoming a full-bodied group, she recorded with them a 1997 demo titled Helkavirsiä, Promo 1997, followed by the albums Whitsongs (1997), Kalma (1999), Elixir Mystica (2001), Into the Dark Vales of Death (2002), The Origins of the Paganblood (2005), Pakana (2007), The Tuoni Pathway (2010), and more recently the excellent Ad Pulchram Mortem, as well as an EP in 2010 titled March Butterfly, all available on Spotify, slightly changing her moniker to Ms W. Lilith or Ms Tanya Lilith, depending on the album. You can find most of the songs from all albums also on YouTube, including official videos and lyric videos for songs such as Jylhä metsämies (or “the grim forest-dweller”) and Tears of the Earth.

Our incredible and unstoppable vocalist also participated in several amazing bands and projects as a guest musician through her undisputed career. For instance, she recorded backing vocals for the 2007 album Silent Waters, by Finnish Melodic Heavy Metal/Rock masters Amorphis; additional vocals for the 2010 demo The Space Opera, and the voice as “Princess Celeste” for the 2024 album Legacy of Morfuidra, by Finnish Power Metal act Coventhrall; vocals on the 1997 album Yellow, by Finnish Death/Thrash/Black Metal horde Nomicon; backing vocals on the song Black Lotus, from the 2006 album Fuck the World, by Finnish Stoner Metal/Hard Rock band Stoner Kings; and additional vocals on the Sandra’s cover In the Heat of the Night, from their 2000 single In the Heat of the Night, and backing vocals on the 2001 album Epilogue, both by Finnish Gothic Metal/Rock titans To/Die/For.

Once our metal lady Tanja was interviewed together with the diva Tarja Turunen to talk about women in metal in their homeland, and Tanja made some interesting comments about that. “In Helsinki’s heavy circles tough women are called rude chicks. That means the attitude that combines all heavy women. You can be any size or look anyway as long as you have the right attitude. Although the concept of rude chick started out as a joke, it means not to make trouble with me,” she said. Displaying the same style both onstage and in her personal life, Tanja (and also Tarja) said it’s certainly not hard to be a woman in the world of heavy music. “I’ve never faced hardships because I’m a woman nor have I gotten any concessions. Except for the fact that I rarely have to be a roadie! I pretty much have the same things as the guys, there’s no special position,” she commented.

After all is said and done, it’s crystal clear that there is no Heavy Metal in Finland without Tanja Kemppainen, and there is no Tanja Kemppainen without Heavy Metal. She’s a staple of the metallic scene in the always beautiful land of ice and snow, and I’m sure she’ll keep on rockin’ no matter what until her final breath. She has a Heavy Metal heart and soul, and it’s a true honor to let you readers know more about her stunning career here on The Headbanging Moose. May Whisper Lilith continue to darkly whisper her hypnotizing words to us, mere mortals, through her undisputed music, keeping the fires of Finnish Heavy Metal burning bright for many centuries to come.

Soulgrind’s Official Facebook page

Album Review – Nokturnal Mortum / Біль | Hurt EP (2026)

Behold the new EP by this iconic Ukrainian Symphonic Black Metal horde, offering more than forty minutes of first-class heavy music, and a very good indication of what to expect from their upcoming full-length strike.

Initially a pure Death Metal project under the name of Suppuration formed in 1992 in Kharkiv, Ukraine, Symphonic Black/Folk Metal Nokturnal Mortum started to gain real attention from fans under their new name  in 1994, with the album Twilightfall (1995), Lunar Poetry (1996) and Goat Horns (1997) presented a unique blend of Melodic and Symphonic Black Metal with the heritage of Ukrainian folk music. Now in 2026 the band currently formed of vocalist and multi-instrumentalist Knjaz Varggoth, guitarist Wortherax, keyboardist Surm, bassist Karpath, and drummer Kubrakh returns with a very special EP titled Біль | Hurt, following up on their 2022 opus До лунарної поезії, offering more than forty minutes of first-class heavy music, and a very good indication of what to expect from their upcoming full-length strike.

To Those Who Went Down the Tysyna River is an absolutely atmospheric and cinematic track, working as an extended intro to Eight Days to Spring, one of the most emotionally charged songs the band has ever made, born after protesting people getting shot down by criminal government forces at Maidan in the last days of February 2014, where the band blasts their trademark fusion of Black and Folk Metal spiced up by symphonic and epic elements. Then after the also experimental interlude First Steps of Freedom… The Flavor of Doom in Eight Years, we face Weltanschauung, with the scorching riffs by Knjaz Varggoth and Wortherax, and the massive beats by Kubrakh, exhaling Blackened Folk Metal magic. The Forgotten Ages of Victories offers a more epic vibe, with Knjaz Varggoth declaiming the song’s dark words like a beast from the underworld, followed by Ukraine, a vibrant live take on one of the band’s classics, where the keys by Surm sound striking from start to finish.

The year of 2026 is going to witness two new metal storms by  Nokturnal Mortum, starting with the excellent EP Біль | Hurt, and culminating with their still untitled upcoming full-length album, which doesn’t have a release date confirmed yet. If their new album is just half as good as what they have to offer in this awesome EP, we can rest assured the gods of Black Metal will be extremely happy, just like us mere mortals, fans of extreme music, and you can get in touch with those talented Ukrainians via Facebook and Instagram, and of course, grab a copy of their new EP from Oriana Music. Біль | Hurt is the perfect representation of the past, present and future of such a resilient Ukrainian band, keeping the fires of Black Metal burning bright, and pointing to an even more exciting future ahead of them in the coming years.

Best moments of the album: Eight Days to Spring and The Forgotten Ages of Victories.

Worst moments of the album: None.

Released in 2026 Oriana Music

Track listing
1. To Those Who Went Down the Tysyna River 7:34
2. Eight Days to Spring 4:51
3. First Steps of Freedom… The Flavor of Doom in Eight Years 9:06
4. Weltanschauung 8:42
5. The Forgotten Ages of Victories 6:45
6. Ukraine (live) 7:28

Band members
Knjaz Varggoth – vocals, guitars, keyboards, weellyre, drymba, telynka, kobza, percussion
Wortherax – guitars
Surm – keyboards, dulcimer, pipes
Karpath – bass
Kubrakh – drums

Album Review – Wharflurch / Mycodeath and Rebirth in the Outer Clusters (2026)

Florida’s own Death and Doom Metal entity returns with the sequel to the epic psychedelic saga that started in their debut album, an odyssey for the adventurous listener, and a deathly riff journey into the outer cosmos.

Hailing from Gainesville, Florida, the ruthless Death/Doom Metal entity Wharflurch left the Death Metal world hanging at the end of their 2021 debut Psychedelic Realms ov Hell, with the protagonist of the first album being lost in a fungal haze of disillusionment at the album’s conclusion. They return with the sequel to the epic psychedelic saga, Mycodeath and Rebirth in the Outer Clusters, another concept album continuing the story, placing our “hero” at the precipice of an incredible journey to the furthest regions of our universe. A true Sci-Fi epic of world-building and conceptualization, the new offering by vocalist and guitarist Myk Colby, and vocalist and drummer John Mamo (with guest appearances by Garrett Alvarado, frontman for Maul, on vocals as the voice of the “Sporelords,” and Jamie Stewart, throat shredder for The Abscence, Party Time, and Hot Graves, doing narratives and guest vocals on quite a few songs) places the listener at a vantage point to interpret interplanetary life as ventures of this secret race of mycelial beings who control the life force of galaxies with a hidden hand.

A cosmic intro quickly evolves into a prog death feast led by the scathing riffs by Myk titled Death Toll Horror while John pounds his drums nonstop, resulting in a ruthless start to the sonic voyage crafted by the duo; followed by Forgotten Temple, as intricate as it is demonic, with the duo hammering our heads mercilessly with their gruesome vocals and striking guitar lines, all boosted by an ethereal background. Their old school Death Metal vein pulses harder than ever in Non Zero Expanse, with John dictating the pace with his cadaverous beats and fills, and they continue their otherworldly journey with the Progressive Death Metal attack titled Headless God, again showcasing those Cannibal Corpse-infused riffs we all love so much.

It takes a while for Dimensional Parasite to really take off, but when it does it offers more of the band’s trademark blend of Death Metal. It could have been a little faster, though. Then again presenting a wild blend of progressiveness with harsh, visceral sounds we have The Leaving Orbs, where John is once again flawless behind his drums accompanied by the whimsical guitars by Myk, followed by Revelations ov the Spore Lords, heavy and obscure from the very first second, alternating between doom-laden Death Metal moments and bursts of sheer savagery. And lastly, we’re treated to Mycodeath and Rebirth / Awakening the Emissary, an expansive instrumental outro that feels like the ending scene and credits of a Sci-Fi movie.

Embraced by the sinister, otherworldly artwork by American artist Claw//Eight, Mycodeath and Rebirth in the Outer Clusters is definitely a must-listen for fans of the craziest form of Death and Doom Metal, and you can find more details about such a demented duo on Facebook and on Instagram, stream their music on Spotify, and purchase the album from the Personal Records’ BandCamp or webstore (or click HERE for all things Wharflurch). In the end, Mycodeath and Rebirth in the Outer Clusters is more than just an album of heavy music. It’s an odyssey for the adventurous listener, a deathly riff journey into the outer cosmos, where our destiny has been foretold by beings who treat our planet as a failed.

Best moments of the album: Forgotten Temple, Non Zero Expanse and Revelations ov the Spore Lords.

Worst moments of the album: Dimensional Parasite.

Released in 2026 Personal Records/Gurgling Gore/Dawnbreed

Track listing
1. Death Toll Horror 4:10
2. Forgotten Temple 6:18
3. Non Zero Expanse 4:32
4. Headless God 5:08
5. Dimensional Parasite 5:21
6. The Leaving Orbs 5:42
7. Revelations ov the Spore Lords 6:15
8. Mycodeath and Rebirth / Awakening the Emissary 8:28

Band members
Myk Colby – vocals, guitars, synthesizers
John Mamo – vocals, drums

Guest musicians
Garrett Alvarado – vocals
Jamie Stewart – vocals, narration

Album Review – Slaughtercult / Devoured By Perversion (2026)

These beats from Down Under are back with their sophomore opus, fusing Brutal Death Metal with flashes of Grindcore and Hardcore to create a sound that is both crushing and unmistakably Australian.

In just a few years, the Brutal Death Metal/Grindcore beast known as Slaughtercult has gone from Sydney underground upstarts to one of Australia’s most promising new forces in extreme music. Built around cavernous riffs, relentless blast beats, and an unapologetically savage approach to songwriting, the three piece has steadily earned its place through sheer intensity, both on record and on stage, culminating now in 2026 with the release of their sophomore opus, titled Devoured by Perversion, the follow-up to their visceral 2023 debut Meat Head. Expanding on the unfiltered brutality of its predecessor, the new album by Jeremy McLoughlin on the guitars and vocals (who also recorded, produced and mixed the album), Sean Cartwright on bass and vocals, and Matthew Newling on drums delivers their most focused and devastating material to date, fusing Brutal Death Metal with flashes of Grindcore and Hardcore to create a sound that is both crushing and unmistakably Australian, all embraced by a beyond grim and sinister artwork by Khaos Diktator Design.

The opening attack Birthing Ceremony sounds absolutely chaotic and disruptive from the very beginning, with Matthew showing no mercy for his drums (and consequently for our putrid souls), while Repulsed By Your Haggard Appearance continues with the trio’s trademark violence, with Jeremy slashing his axe like a maniac while also barking deeply and rabidly nonstop. Then we face Perverse Bestial Lactation, featuring vocalist Marvin Ruiz of Devourment, one of the most demented songs of the album where their scathing Death Metal riffs and rumbling bass are exactly what Jeremy and Marvin need to roar like true beasts. Horrible Cunt is another song with a charming name, and their Brutal Death Metal sounds live up to such an inspired title, in special Matthew’s demented drumming; whereas Menstrual Marinade, featuring vocalist Elfi Davis of Kraanium, is perfect to be played at any Sweet 16 celebration, as neck-breaking as it is demonic. And Steeped In Fungal Discharge starts in full force to the hammering drums by Matthew before Jeremy takes the lead with his dirty, colossal riffs, resulting in a lecture in brutality.

Pools Of Bile is another sick blend of Brutal Death Metal with Grindcore violence, with its breakdowns inspiring us to headbang like demented creatures; and those guys certainly know how to mix speed, fury, heaviness and hatred, exactly what they have to offer us all in Intravenous Acuphagia, with Jeremy once again sounding inhumane on vocals. The trio them slams their sonic weapons in Strong Poison, with Jeremy and Sean providing a visceral stringed attack for our total delight, followed by Molotov Cock-Tease which, despite its interesting name, falls flat after a while, sounding a lot less exciting than the other tunes. And closing the album they offer another face melting tune titled Soft Foetal Malformation, with their gurgling vocals walking hand in hand with Matthew’s brutal beats and fills.

With Devoured By Perversion, a growing international fanbase, and a relentless touring schedule ahead, Slaughtercult are proving that Australia’s Brutal Death Metal scene is stronger than ever, and if you want to know more about those purveyors of absolute carnage you can find them on Facebook and on Instagram, subscribe to their YouTube channel, stream their cadaverous music on any platform like Spotify, and of course purchase their demented new offering from the Vicious Instinct Records’ Bandcamp or webstore. These Australian death dealers are on fire throughout their entire new album, eager to bleed you dry, and there’s no escape once their infuriated Brutal Death Metal attack begins.

Best moments of the album: Perverse Bestial Lactation, Steeped In Fungal Discharge and Intravenous Acuphagia.

Worst moments of the album: Molotov Cock-Tease.

Released in 2026 Vicious Instinct Records

Track listing
1. Birthing Ceremony 2:25
2. Repulsed By Your Haggard Appearance 3:26
3. Perverse Bestial Lactation 2:44
4. Horrible Cunt 2:19
5. Menstrual Marinade 2:54
6. Steeped In Fungal Discharge 2:30
7. Pools Of Bile 3:06
8. Intravenous Acuphagia 2:35
9. Strong Poison 2:33
10. Molotov Cock-Tease 2:46
11. Soft Foetal Malformation 3:06

Band members
Jeremy McLoughlin – guitars, vocals
Sean Cartwright – bass, vocals
Matthew Newling – drums

Guest musicians
Marvin Ruiz – vocals on “Perverse Bestial Lactation”
Elfi Davis – vocals on “Menstrual Marinade”

Album Review – Hanging Garden / Dream Death (2026)

Blending multiple sounds to create something highly intricate, varied, and dynamic, this one-man Progressive Death Metal entity returns with its thrilling sophomore album.

The brainchild of vocalist and multi-instrumentalist Dylan Cruz, of bands like Noxis, Scumbag, and Dissonance, Yonkers, New York-based Progressive Death Metal beast Hanging Garden blends multiple sounds to create something highly intricate, varied, and dynamic, just like what it has to offer in its sophomore album, titled Dream Death, following up on its 2024 debut The God That Made Them Bow. Recorded, mixed and mastered by Dylan himself, with a stunning artwork by Hafiz, the album presents Dylan’s trenchant prog and tech death approach expertly tempered by transcendental melodic passages, and all of it bears a blackened touch on top of it.

Dylan wastes no time and begins his prog attack with Arete, delivering an avalanche of intricate riffs and blast beats while he vociferates rabidly until the very end. He then brings forward an even more chaotic yet harmonious sonority in Ondine, sounding absolutely heavy from start to finish while led by his demonic vociferations; whereas Dreamwoven presents an amalgamation of styles from Progressive Metal to Experimental and Dissonant Death Metal, with his riffs and solos sounding utterly electrifying. Carambola carries a very peculiar name for a song, musically while speaking it’s another explosion of Progressive Death Metal where he hammers his drums manically; and shifting his focus from hard hitting drums to classy, melodious guitar lines we have Endymion, whhile still maintaining his core essence intact. It’s impressive how he manages to sound so dynamic and fresh with each song like in Tears of Lustful, Secret Desire, as if Dream Theater had a bastard son addicted to the violence of Death Metal, before we face one last breath of progressiveness and insanity by Dylan titled Suffering Radiant Memories, firing piercing guitar solos for our total delight.

In the world of Death Metal, the unrelenting Hanging Garden has concocted an undeniably refreshing sound that is highly nuanced, textured, and worth delving into, exactly like what’s offered in the excellent Dream Death. Highly recommended for fans of the fusion of intricacy and violence by renowned acts the likes of Death, Sentenced, Goreworm, Xenosis, Opeth, and Krallice, among several others, Dream Death can be purchased from Hanging Garden’s own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, and don’t forget to also follow the project on Facebook, and to stream its music on Spotify. Progressive Death Metal is indeed a subgenre of heavy music with basically no boundaries, and Dylan and his Hanging Garden are among us to keep exploring those new lands with each and every album release, with Dream Death paving a fantastic path ahead of the project.

Best moments of the album: Ondine, Dreamwoven and Tears of Lustful, Secret Desire.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Arete 6:46
2. Ondine 6:51
3. Dreamwoven 6:32
4. Carambola 6:04
5. Endymion 4:16
6. Tears of Lustful, Secret Desire 6:04
7. Suffering Radiant Memories 4:22

Band members
Dylan Cruz – vocals, all instruments