Tag Archives: death metal

Album Review – Soulcarrion / Enthrone Death (2024)

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A ruthless Death Metal entity from Poland will demolish your damned souls with their heavy-as-hell sophomore full-length opus.

Formed in 2019 in the always pleasant city of Warsaw, Poland, the ruthless Death Metal duo comprised of Michał on rhythm guitars and bass and Greg on lead guitars, known as Soulcarrion, will demolish your damned souls with their sophomore full-length opus, titled Enthrone Death. Mixed and mastered by Darek Młody at PanzerStudio, and displaying a sick cover art and layout by Maciej Kamuda Art and an evil logo by Paweł Pawłowski Illustration, the follow-up to their 2023 self-titled EP and their 2022 debut album Infernal Agony offers the listener 30 minutes of intense, undisputed Death Metal for the masses, with the support of session musicians Mateusz Sibila (Imperial Sin) on vocals and Darek Młody (Hellfuck, Embrional, Stillborn) on drums adding an extra touch of heaviness and insanity to the whole album.

Starting in a sinister, doomed manner, the opening tune Cage of Nothingness already invades our minds with a demonic onrush of Death Metal boosted by tons of Brutal Death Metal elements thanks to the inhumane gnarls by Mateusz and the boisterous drums by Darek, whereas Night Ceremony keeps the album at a Stygian, venomous vibe with the riffage by both Greg and Michał sounding utterly infernal, albeit a bit repetitive at times. Then featuring guest vocalist Vesper Locust (Dammnatorum), the title-track Enthrone Death offers pure hatred and darkness to our putrid ears, with the ripping sound of the guitars matching perfectly with the blast beats by Darek, and there’s no sign of peace or hope, as Infernal Agony is an overdose of old school Death Metal tailored for fans of the genre, with Mateusz once again roaring and barking like a beast for our total delight.

Oblivion will hit us hard with its two and a half minutes of brutality blasted by those talented Polish metallers, with Greg and Michał once again demolishing our senses and adding endless heaviness to the music armed with their stringed axes; and enhancing the album’s obscurity and malignancy, the Doom Metal-infused aria Revenge is Mine brings forward another round of Darek’s massive beats accompanied by the sick riffage by the band’s guitar duo. After that we have Deathoskullum, following a similar pattern as the previous song, with the deep, hellish riffs and beats blasted by the band penetrating deep inside our rotten corpses, being therefore perfect for some intense headbanging; and lastly, World of Putridity carries a beautiful name and puts a beyond vicious ending to the album, with Mateusz vociferating rabidly in the name of classic Death Metal until the very last second.

The Polish underground has always been one of the most exciting of all, in special if you’re a fan of extreme music, and of course Soulcarrion offer in their new opus a high dosage of all that sonic awesomeness that’s found in Poland. Hence, don’t forget to show the guys from Soulcarrion your utmost support and admiration by purchasing a copy of the sulfurous and infernal Enthrone Death from the Godz ov War Productions’ BandCamp page or webstore as a CD or as an ass-kicking CD + shirt bundle, keeping the flames of Polish Death Metal burning for many years to come. Soulcarrion are on fire throughout the entire Enthrone Death, and they’re more than eager to burn your soul armed with the caustic compositions from such insane album.

Best moments of the album: Enthrone Death, Oblivion and World of Putridity.

Worst moments of the album: Night Ceremony.

Released in 2024 Godz ov War Productions

Track listing
1. Cage of Nothingness 4:08
2. Night Ceremony 4:17
3. Enthrone Death 5:03
4. Infernal Agony 3:38
5. Oblivion 2:29
6. Revenge is Mine 3:02
7. Deathoskullum 4:56
8. World of Putridity 2:50

Band members
Michał – rhythm guitars, bass
Greg – lead guitars

Guest musicians
Mateusz Sibila – vocals (session)
Darek Młody – drums (session)
Vesper Locust – vocals on “Enthrone Death”

Album Review – Sovereign / Altered Realities (2024)

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This Norway-based Technical Death and Thrash Metal unit will attack our senses with their first full-length offering, a monstrous masterwork of old school extreme music ecstasy.

Formed in Oslo, Norway in 2018, the ruthless yet very technical unit Sovereign is ready to unleash their lethal blend of evil Death and Thrash Metal in their first full-length album, titled Altered Realities, the follow-up to their 2020 debut EP Neurotic. Three years in the making, “Altered Realities is a product of an ever-evolving journey we have taken as a band, from our start in 2018 and culminating in the album’s recording in early 2022,” reflects lead guitarist Tommy Jacobsen, joined in the band by former Nocturnal Breed band-mate Vidar Fineidet also on the guitar alongside drummer Cato Syversrud, and vocalist and bassist Simen “Gravskjender” Grong. “We strive to push ourselves, both in terms of speed and technicality, whilst still keeping a groove and dynamic. Our approach to death/thrash is an interplay between fast-paced aggression and a slower, more groove-oriented feel. The lyrical themes of the album mirror events and unrest that happened during the time of writing and is in itself a journey,” complemented Tommy about the band’s monstrous masterwork of old school extreme music ecstasy, being recommended for fans of Nekromantheon, Sepultura, Pestilence, Dark Angel, Demolition Hammer, and many others.

Atmospheric noises grow in intensity until an avalanche of violence and progressiveness hits us hard in Altered Reality, led by the harsh gnarls by Simen while Cato delivers a fusion of Death, Thrash and Doom Metal through his obscure beats and fills; and Tommy and Vidar dictate the pace with their flammable riffage in Futile Dreams, supported by the always rumbling kitchen by Simen and Cato, being therefore highly recommended for fans of Immolation, flowing into the disruptive, massive Nebular Waves, with its caustic riffs slashing our ears mercilessly while Simen continues to roar in the darkest and most demented way possible. And Counter Tech is another breathtaking hybrid of Death and Thrash Metal exhaling aggression and intricacy where Cato pounds our cranial skulls nonstop with his damned beats.

There’s no time to breathe as the quartet will bring hell on earth with the frantic, insane and demonic The Enigma of Intelligence, a six-minute lecture in both old school and modern-day Thrash Metal perfect for some action inside the circle pit, whereas their second to last onrush of thrashing sounds comes in the form of Synthetic Life, blasting our putrid minds once again to the infernal riffs and striking solos by the band’s guitar duo and the always hammering drums by Cato. Lastly, get ready for ten minutes of top-of-the-line Thrash and Death Metal in Absence of Unity, starting in a rhythmic, groovy manner spearheaded by Cato’s classic beats, offering us all an amalgamation of blackened sounds, cryptic passages and the ruthless growls by Simen, getting darker and darker as the music progresses, and with its climatic ending putting the perfect conclusion to the album as a whole.

In summary, if you love the violence of Death and Thrash Metal, but at the same time you nurture a deep passion for the more technical and intricate side of music, you’ll have an absolute blast listening to Altered Realities, which is available for purchase from the Dark Descent Records’ BandCamp page or webstore as a CD (in the US and Europe), an LP (in the US and Europe) and a pro tape (also in the US and in Europe). In addition, don’t forget to start following the band on Facebook and on Instagram for news, tour dates and so on, and to stream all of their wicked creations on Spotify or any other streaming service. Sovereign are among us to fill all empty spaces in the air with their technical aggression, and I’m sure once you start listening to their new offering you’ll instantly become addicted to their pulverizing music.

Best moments of the album: Futile Dreams, The Enigma of Intelligence and Absence of Unity.

Worst moments of the album: None.

Released in 2024 Dark Descent Records

Track listing
1. Altered Reality 7:01
2. Futile Dreams 4:29
3. Nebular Waves 3:46
4. Counter Tech 5:40
5. The Enigma of Intelligence 6:05
6. Synthetic Life 4:17
7. Absence of Unity 10:16

Band members
Simen “Gravskjender” Grong – vocals, bass
Tommy Jacobsen – lead & rhythm guitars
Vidar Fineidet – rhythm guitars
Cato Syversrud – drums

Album Review – Resin Tomb / Cerebral Purgatory (2024)

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A remarkably cohesive mix of Dissonant Death Metal, gravelly Grindcore and somehow even thick Blackened Sludge crafted by an up-and-coming squad from Down Under.

After releasing their 2020 self-titled debut EP followed by their 2022 EP Unconsecrated // Ascendancy, Brisbane, Australia-based Sludge/Death Metal band Resin Tomb has perfected their sound for their highly awaited debut full-length album, entitled Cerebral Purgatory, and it’s everything you’ve come to expect from them and more. Recorded and mixed by the band’s own Brendan Auld at Black Blood Audio, mastered by Arthur Rizk, and displaying a fantastic artwork by Mitchell Nolte (who’s by the way responsible for all cover arts for Baest and Werewolves), with layout and graphic design by Mitch Long, the new album by vocalist Matt Budge (Consumed), guitarists Brendan Auld (Descent, Feculent) and Matt Gordon, bassist Mitch Long (Consumed), and drummer Perry Vedelago (Siberian Hell Sounds) is highly recommended for fans of Terra Builder, Replicant, and Vermin Womb, just to name a few, offering our avid ears a remarkably cohesive mix of Dissonant Death Metal, gravelly Grindcore and somehow even thick Blackened Sludge.

The opening tune Dysphoria is absolutely devastating and infernal, not recommended for the lighthearted, with Mitch and Perry generating a venomous wall of sounds with their respective bass and drums; and featuring additional vocals by guest Scott Tabone (Burial Pit), Resin Tomb show no mercy for our damned souls in Flesh Brick, a dissonant, violent onrush of Sludge and Death Metal with hints of Grindcore where the guitars by Brendan and Matt will darkly pierce your mind. Then the metallic, sulfurous bass jabs by Mitch will smash your skull in Scalded, a lecture in brutality and insanity by Resin Tomb that should sound amazing if played live on their shows, whereas the title-track Cerebral Purgatory is another heavy bass-infused tune by the band, with the guitars by Brendan and Matt once again cutting our skin deep (albeit a bit too repetitive).

It’s then time for a dark and sinister composition titled Human Confetti, offering the band’s dissonant sounds while Matt vociferates rabidly until the very last second. Needless to say, this song will darken your thoughts without a shadow of a doubt, followed by Purge Fluid, a disruptive, groovy and melodic chant where their guitars and bass sound absolutely heavy and evil, while Perry keeps hammering his drums in a fusion of classic Death Metal and Experimental Death Metal. Their second to last explosion of madness and heaviness is offered to us all under the name of Concrete Crypt, one of the most devastating songs of the album, if not the most, thanks to the visceral screams by Matt and the always thunderous drums by Perry, flowing into the closing extravaganza titled Putrescence, demolishing everything and everyone that’s still standing after all the violence presented in the album, also showcasing an amazing guitar job done by the band’s axe duo as usual.

If high-quality Death Metal is your cup of tea, then you must spend some time Down Under to enjoy the pulverizing new album by Resin Tomb, which is available for purchase from the band’s own BandCamp page of from the Transcending Obscurity Records’ BandCamp page or webstore as a digipak CD, a gatefold LP, a cassette, or a special CD + shirt combo. Furthermore, don’t forget to also give the guys from Resin Tomb a shout on Facebook and on Instagram, to stream all of their sick creations on Spotify, or simply click HERE for all things Resin Tomb. Cerebral Purgatory is an untamed, noisy beast of death, sludge and doom, positioning the band as one of the must-see acts of the year hands down, consequently leaving us eager for more of their wicked sounds in the coming years.

Best moments of the album: Flesh Brick, Scalded and Concrete Crypt.

Worst moments of the album: Cerebral Purgatory.

Released in 2024 Transcending Obscurity Records

Track listing
1. Dysphoria 2:39
2. Flesh Brick 3:09
3. Scalded 4:20
4. Cerebral Purgatory 4:20
5. Human Confetti 4:20
6. Purge Fluid 3:06
7. Concrete Crypt 2:46
8. Putrescence 4:20

Band members
Matt Budge – vocals
Brendan Auld – guitar
Matt Gordon – guitar
Mitch Long – bass
Perry Vedelago – drums

Guest musician
Scott Tabone – additional vocals on “Flesh Brick”

Album Review – Fathomless Ritual / Hymns For The Lesser Gods (2024)

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Behold this one-man project from Canada and his striking debut opus, offering us all a technical and brutal form of Death Metal for sacrifices and caverns fully dedicated to the prehistoric gods.

With manic glee, Newmarket, Ontario, Canada-based Technical/Brutal Death/Doom Metal creature Fathomless Ritual recreates the maddening, unhinged kind of Death Metal created by the likes of Demilich, Chthe’ilist, Dead and Dripping, and Mortiferum, among others, and give its own ugly, grime-ridden twist to it, which is exactly what you’re going to get in the project’s debut opus Hymns For The Lesser Gods. Displaying a stunning artwork and gouache paintings by renowned Brazilian artist Marcio Blasphemator, Hymns For The Lesser Gods offers a darker, murkier, cavernous sound, being labeled as “Death Metal for sacrifices and caverns”, but all the same has a denser quality and a sense of modern urgency about it which livens up the proceedings, with the project’s sole member Brendan Dean (or simply B. Dean), of bands like Gutvoid, Fumes and Pukewraith, making a conscientious effort to make the sound more extreme and relevant in his own way without attempting to dethrone the gods.

Pure insanity and heaviness flow from all instruments from the very first second in Hecatomb for an Unending Madness, where Brendan’s deep, inhumane gnarls add an extra touch of obscurity to the music, also showcasing infernal, demented riffs not recommended for the lighthearted; and our lone wolf keeps hammering all of his instruments in Exiled to the Lower Catacombs, resulting in a Neanderthalic, grim Death Metal attack with the bass sounds reverberating deep inside our heads. Those drums keep pounding our cranial skulls in Gorge of the Nameless, not to mention the acid electricity exhaling from Brendan’s riffs and bass, feeling like he’s dragging us deeper and deeper into his Stygian lair. Then get ready for six minutes of demented groove in the form of Grafted to the Chambers of Mirth, where Brendan follows his own “Cavern Death Metal” formula in great fashion, blasting his stringed axes mercilessly while also barking like a demonic entity.

There’s no limit to the level of insanity and darkness blasted by Brendan and his Fathomless Ritual, resulting in another onrush of brutal, dense and headbanging sounds titled Wielding the Bone Wand, while our ears keep being invaded by his devilish roars. And Brendan shows no sign of slowing down; quite the contrary, he keeps slashing his stringed axe like a beast in Cosmic Reflections from the Basin of Blood, another solid creation venturing through the realms of Experimental Death Metal. It’s then pedal to the metal as Brenda’s Death Metal attack will leave you absolutely disoriented in Gelatinous Being of Countless Forms, where the song’s demented but very intricate drums walk hand in hand with his devilish gnarls and rumbling bass punches, and Gifts for Aranaktu is one final onrush of demonic, ruthless metal sounds that will hit us hard in the face. Furthermore, it’s truly impressive how Brendan managed to keep his guitar and bass work so vibrant throughout the entire album without sounding repetitive or stale.

Be prepared to sacrifice yourself and win the favour of the forgotten ones with Hymns For The Lesser Gods, an album that should delight any fan of underground Death Metal, and that you can purchase from Fathomless Ritual’s own BandCamp page, as well as from the Transcending Obscurity Records’ webstore as an 8-panel digipak in the US or in Europe, and as a very special CD + shirt combo also in Europe. Don’t forget to also give Brendan and his Fathomless Ritual a shout on Facebook and on Instagram, because not only he’s embellishing our lives with an album chock-full of riffs and jangly hooks with escalating song structures culminating in cranial implosions, but it’s also a fierce and pulverizing tribute to the prehistoric gods, all embraced by that murky, twisted and engrossing form of Death Metal we all love so much.

Best moments of the album: Exiled to the Lower Catacombs, Grafted to the Chambers of Mirth and Gelatinous Being of Countless Forms.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Hecatomb for an Unending Madness 2:32
2. Exiled to the Lower Catacombs 4:55
3. Gorge of the Nameless 4:15
4. Grafted to the Chambers of Mirth 6:11
5. Wielding the Bone Wand 4:45
6. Cosmic Reflections from the Basin of Blood 4:01
7. Gelatinous Being of Countless Forms 4:58
8. Gifts for Aranaktu 6:54

Band members
Brendan Dean – vocals, guitars, bass, drum programming

Album Review – Tanin’iver / Dark Evils Desecrate (2024)

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The blind dragon steed of Lilith will breathe fire upon humanity once again to the sound of his fourth full-length opus, an outpouring of blazing hatred and rage in the form of devilish Blackened Death Metal.

“The heavenly serpent is a blind prince with name of Tanin’iver…he is the bond, the accompaniment and the union between Samael and Lilith. If he were created whole in the fullness of his emanation he would have destroyed the world in an instant.” – The Early Kabbalah

A Black and Death Metal embodiment of one man’s creative spirit, forged in the cold flames of tragedy, loss and personal struggle, an outpouring of blazing hatred and rage at a world blighted by sickness, cursed by violence and intolerance, drowning in greed and ignorance, Adelaide, Australia-based Blackened Death Metal outfit Tanin’iver (the blind dragon steed of Lilith in ancient mythology) is unleashing upon humanity its fourth full-length opus, titled Dark Evils Desecrate, the follow-up to the project’s 2021 album The Lucifer Effect. Produced, mixed and mastered by the band’s mastermind, vocalist and guitarist Steve Lillywhite (aka Skorpa), Dark Evils Desecrate sees Steve (alongside once again guitarist and bassist Liam Mohor) turning his coruscating gaze from the poisonous cesspit of religion and delivering a bombardment of scathing, acidic vitriol onto humanity’s obsessions with war, violence, intolerance and the brain-sapping curse of social media, being therefore highly recommended for fans of Dissection, Belphegor, Mayhem and Svart Crown.

Another World’s Hell hits us hard in the face with its infernal lyrics roared by Steve (“Long, the way, to light  / Out of all this dark / To be precise, / The killing of the night /Will be the end, / Of what I failed to be / Your dreams, are dead”) while the music is as bestial as it can be, with his caustic riffage adding an extra touch of evil to the overall result; followed by Disrepair, another pulverizing, devilish tune by the duo, with Liam sounding thunderous with his bass while also delivering a crisp guitar solo for our total delight. Then we’re treated to Separatist, sounding absolutely devastating from the very first second, with its blast beats and venomous screams and riffs generating a truly demonic atmosphere perfect for some vigorous headbanging, whereas a rumbling, massive wall of sounds will crush your soul in Better the Devil, with its mechanized, pounding rhythm matching perfectly with Steve’s devilish gnarls.

It’s time for another feast of Black and Death Metal titled Freedom Is Never Free, with the guitars by both Steve and Liam grinding your mind in the name of absolute evil and darkness, flowing into Soul Thief, offering our putrid ears six minutes of hatred and fury blasted by the duo, with Steve stealing the spotlight with his most Black Metal, infuriated harsh growls, showcasing a very detailed and dense sonority. Get ready for another Blackened Death Metal onrush by Tanin’iver titled The Seer, where Steve vociferates like a demonic entity nonstop supported by the song’s classic riffs, beast and fills; and a cryptic start evolves into more of the band’s hellish sounds in Drowning on Dry Land, this time also presenting subtle elements from Industrial Metal in special in its drums. It drags for a bit too long, though. And lastly, the band offers us all an ode to the pits of hell titled So Was Red, bringing forward more of Steve’s high-pitched growling, demented riffs and brutal drums, consequently spreading a visceral, demonic stench in the air.

Steve’s story has been one of ongoing struggle, fighting against illness and addiction and processing the impact of heart rending loss, but he has harnessed the chaos that has raged around his life and channeled it into music of profound power and impact. Hence, if you want to show Steve how much you love the music by his Tanin’iver, you can start following him on Instagram, stream more of his music on Spotify, and above all that, purchase the sulfurous Dark Evils Desecrate from his own BandCamp page or from the Morning Star Heresy webstore as a CD or a cassette, letting the music by the blind dragon steed of Lilith reach deep inside your blackened heart.

Best moments of the album: Another World’s Hell, Separatist and The Seer.

Worst moments of the album: Drowning on Dry Land.

Released in 2024 Morning Star Heresy

Track listing
1. Another World’s Hell 4:14
2. Disrepair 5:40
3. Separatist 4:41
4. Better the Devil 4:32
5. Freedom Is Never Free 5:26
6. Soul Thief 6:22
7. The Seer 3:50
8. Drowning on Dry Land 4:34
9. So Was Red 5:30

Band members
Steve Lillywhite – vocals, rhythm guitars, sampling
Liam Mohor – lead guitars, bass

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2023

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“Whatever your age may be, when you go to a heavy metal gig, you’re a teenager again.” – Rob Halford

I believe that quote from the Metal God himself perfectly represents the year of 2023 for most of us metalheads, including of course myself and my buddy Keith Ibbitson of Metal Paparazzi as we’ve been to countless metal gigs this year (and you can see detailed reviews with amazing professional photos for each one of them HERE), keeping our inner fires burning during such difficult times for the entire world. A never-ending economic crisis that’s dragging tons and tons of people to poverty everywhere, the Russo-Ukrainian War that persists for almost two years now, the extremely sad and inhumane Gaza–Israel conflict, all environmental disasters that in the end are all mankind’s fault, and so on. On the heavy music side, we witnessed the final concert ever by KISS, the end of great bands like The Agonist and Betraying the Martyrs, and the deaths of Sebastian Marino (former guitarist of Overkill and Anvil), Michael “Majk Moti” Kupper (former guitarist of Running Wild), Jon Kennedy (former bassist of Cradle of Filth and former vocalist of Hecate Enthroned), Hiroshi “Heath” Morie (bassist of X Japan), Charlie Dominici (former vocalist of Dream Theater), and several other talented musicians.

Despite all those losses, it was a very good year for heavy music, as bands kept fighting for rock and metal no matter what, putting on fantastic albums and memorable tours for us fans, with some already voicing their dissatisfaction against Live Nation and Ticketmaster for their sky-rocketing ticket prices, shady fees, and an obscure ticket reselling “mafia” running in the background that inflates those prices even more. In 2024 we’ll surely (and hopefully) see more of this insurgence against their ticket monopoly, and while we wait for that let’s enjoy The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2023, excluding EP’s, best of’s and live albums, offering our avid ears the perfect soundtrack to every single moment in our lives, even if that moment is the apocalypse.

1. UADA – Crepuscule Natura (REVIEW)
One of the rising stars of the current Melodic Black Metal scene returns with their majestic fourth album, unleashing upon us five sonic vessels.
Best song of the album: Retraversing the Void

2. Cattle Decapitation – Terrasite (REVIEW)
Fear the devourer of earth in the form of the brand new and absolutely majestic album by California’s own Deathgrind masters.
Best song of the album: We Eat Our Young

3. Overkill – Scorched (REVIEW)
One of the pillars of old school Thrash Metal will scorch the earth to the sound of their breathtaking new album.
Best song of the album: The Surgeon

4. Hellripper – Warlocks Grim & Withered Hags (REVIEW)
Behold this infernal storm of Blackened Thrash Metal by a one-man army deeply rooted in his Scottish origins.
Best song of the album: Goat Vomit Nightmare

5. Viscera – Carcinogenesis (REVIEW)
UK’s own Technical Death Metal/Deathcore monster returns with their striking sophomore album.
Best song of the album: Sungazer

6. Cannibal Corpse – Chaos Horrific (REVIEW)
The mighty Corpse is back with another pulverizing album of old school, undisputed Death Metal, blasting gore, blood and violence.
Best song of the album: Chaos Horrific

7. Primal Fear – Code Red (REVIEW)
German Power Metal masters are back with their thirteenth opus, a hard-hitting metal lesson and living proof of the healing power of music.
Best song of the album: Play a Song

8. Werewolves – My Enemies Look and Sound like Me (REVIEW)
The most savage Blackened Death Metal band from Australia returns to the battlefield in full force with an even more demented offering.
Best song of the album: I Hate Therefore I Am

9. Vomitory – All Heads Are Gonna Roll (REVIEW)
All heads are gonna roll to the sound of the infuriated new album by one of the most important bands in the history of Death Metal.
Best song of the album: Raped, Strangled, Sodomized, Dead

10. Marduk – Memento Mori (REVIEW)
One of the pillars of Swedish Black Metal is back with a devilish new album, reminding us that we all must die.
Best song of the album: Blood of the Funeral

And here we have the runner-ups, completing the top 20 for the year:

11. Angelus Apatrida – Aftermath (REVIEW)
12. Immortal – War Against All (REVIEW)
13. Blackbraid – Blackbraid II (REVIEW)
14. 4ARM – Pathway to Oblivion (REVIEW)
15. When Plagues Collide – An Unbiblical Paradigm (REVIEW)
16. Hrothgar – Rise of Ragnarök (REVIEW)
17. Mystic Prophecy – Hellriot  (REVIEW)
18. Tsjuder – Helvegr (REVIEW)
19. Hyperia – The Serpent’s Cycle (REVIEW)
20. Sarcoptes – Prayers to Oblivion (REVIEW)

In addition to all that, let’s bang our heads with our Top 10 EP’s of 2023 to prove once and for all that not all great albums of the year have to be so long. The EP’s from this list are simply awesome, showcasing the band’s talent and their ability to sound epic even if the music lasts for only a few minutes.

1. Imperial Demonic – Beneath the Crimson Eclipse (REVIEW)
2. Spectral Lore – 11 Days (REVIEW)
3. Admire the Grim – Rogue Five (REVIEW)
4. Saint Vermin – Together as None (REVIEW)
5. Lost Brethren – Dimensional Rift (REVIEW)
6. Cryptosis – The Silent Call (REVIEW)
7. Nemesism – Nemesism (REVIEW)
8. Decompose To Ashes – In The Eternal Silence (REVIEW)
9. Dysease – Era of Decay (REVIEW)
10. Throat Locust – Dragged Through Glass (REVIEW)

Do you agree with our list? What are your top 10 albums of 2023? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show! And if you lost some of our latest special editions of The Headbanging Moose Show, including our Top 20 Underground Albums of 2023 – Parts I and II, go to our Mixcloud page and there you have hours and hours of the best of the independent scene, sounds good?

Metal Xmas and a Headbanging New Year! See you in 2024!

And before I go, I need to talk once again about Savage Lands, a nonprofit featuring members of Megadeth, Sepultura, Obituary and other legends of metal to support forests in Costa Rica, who released an amazing single titled The Last Howl back in November. The Last Howl is a howling tribute to the howler monkey, which are endangered in Costa Rica. The song features Savage Lands co-founders Sylvain Demercastel and Dirk Verbeuren (Megadeth), as well as support from John Tardy (Obituary), Andreas Kisser (Sepultura), Poun (Black Bomb A) and Etienne Treton (Black Bomb A). 100% of the song royalties will help fund nature sanctuaries, establish green zones and other land preservation projects in Costa Rica. Having said that, why don’t you go and make a nice donation to the cause, and learn more about Savage Lands on their official website? I’m sure Sylvain and Dirk, plus everyone else involved in this magnificent project, will love to receive that Christmas gift from you!

Album Review – Revulsed / Cerebral Contamination (2023)

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Eight years after their critically acclaimed debut album, this venomous Australian Technical/Brutal Death Metal outfit is finally back to unleash worldwide their most brutal effort to date.

Eight years after their critically acclaimed debut Infernal Atrocity, the venomous Melbourne, Australia-based Technical/Brutal Death Metal outfit Revulsed is finally back to unleash worldwide their most brutal effort, titled Cerebral Contamination. Produced and recorded by the band itself, pre-mixed by Sheldon D’Costa at Ears To Hear Studio, mixed and mastered by Jason De Ron and Jayson Sherlock at Studio Vertigo, and displaying a sick artwork by Aditia Wardhana, the album offers our putrid ears a savage collection of Death Metal hymns tailored for fans of Suffocation, Inveracity, Cannibal Corpse and Defeated Sanity, among others, all carefully brought into being by Damien Graves on vocals, Sheldon D’Costa (who has recently departed from the band) on the guitars and bass, and Jayson Sherlock on drums, plus session musician Adam Wilkie on lead guitars.

Eerie, phantasmagorical sounds emerge from the pits of the underworld in the intro Dawn Of Inhuman Savagery, setting the stage for Equitable Sufferance, a demented attack of Brutal Death Metal led by the pulverizing beats by Jayson while Damien wastes no time and begins barking rabidly in our faces; whereas Asomatous Existence leans towards the more technical side of Death Metal, but of course still showcasing the band’s infuriated vein, with Sheldon sounding awesome with his riffs and bass lines, not to mention the sick guitar solo by Adam. There’s no time to breathe as the band hammers our cranial skulls mercilessly in Delusional Servitude, a Brutal Death Metal beast where Jayson sounds inhumane on drums as usual; and a sinister intro evolves into a hurricane of brutality in Beyond The Depths Of The Subconscious, showcasing devilish lyrics roared by Damien (“Boil infested a tongue befouled – churning / necrotic flesh saturates the lips / A voice grotesque and sinister – beckons / from the blighted void”). Then pig-like screeches, visceral riffs and demented drums are the main ingredients in Perditional Enslavement, keeping the album at an insane level of animosity.

Nefarious Devourment is one of the most technical and devastating of all songs, spearheaded by the nonstop drums by Jayson while Damien keeps haunting our damned souls with his venomous growling, whereas Monotheistic Postulation is a more straightforward Death Metal tune perfect for some sick headbanging, with Sheldon shredding his guitar like a maniac form start to finish, also presenting thunderous sounds recommended for some brutal slamming. The band still has a lot of fuel to burn, starting with the crushing Inconceivable Hallucinations, a bit uninspired compared to the rest of the album but still good enough for some circle pit action, also presenting Jayson’s trademark drum insanity; while their second to last blast of dementia in the form of Death Metal, titled Deistic Repudiation, is brutal, diabolical, savage and ruthless all at once, with Damien once again stealing the spotlight with another infernal performance on vocals, all boosted by another wicked solo by Adam. Lastly, the band will smash you like an insect in less than two minutes with the title-track Cerebral Contamination, another gore infested Brutal Death Metal creation that lives up to the legacy of the genre.

In case you want to put your dirty, blood-soaked hands on Cerebral Contamination, you can purchase a copy of the album by clicking HERE (mailorder) or HERE (BandCamp), and also show all your support to Revulsed by following the band on Facebook and on Instagram, and by streaming all of their wicked creations on Spotify. It might have taken eight years for us metalheads to enjoy a new sonic attack by Revulsed, plus the fact they’re only a duo now with the departures of guitarist Sheldon D’Costa and bassist Mark Smith, but that’s not stopping Damien and Jayson from delivering sick and brutal heavy music; quite the contrary, the duo sounds more inspired than ever in Cerebral Contamination, proving once again that if you’re looking for high quality extreme music, you must travel Down Under to get to know countless insane bands like Revulsed.

Best moments of the album: Asomatous Existence, Beyond The Depths Of The Subconscious and Deistic Repudiation.

Worst moments of the album: Inconceivable Hallucinations.

Released in 2023 Everlasting Spew Records

Track listing
1. Dawn Of Inhuman Savagery 1:04
2. Equitable Sufferance 3:56
3. Asomatous Existence 4:11
4. Delusional Servitude 3:01
5. Beyond The Depths Of The Subconscious 3:35
6. Perditional Enslavement 4:48
7. Nefarious Devourment 4:14
8. Monotheistic Postulation 3:20
9. Inconceivable Hallucinations 2:54
10. Deistic Repudiation 3:12
11. Cerebral Contamination 1:44

Band members
Damien Graves – vocals
Sheldon D’Costa – guitars, bass
Jayson Sherlock – drums

Guest musician
Adam Wilkie – lead guitars

Concert Review – Cattle Decapitation (The Opera House, Toronto, ON, 12/02/2023)

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As we’re all going to die one day, why not enjoying our time left on earth with some first-class Death Metal like what the unparalleled Cattle Decapitation offered us this Saturday night in Toronto?

OPENING ACTS: Castrator, Sanguisugabogg and Immolation

Before I start the actual review of the show, I gotta say that although I don’t have anything against Christmas, I do nurture a deep hatred for the Christmas market known as The Distillery Winter Village that happens this time of the year in Toronto. Because of that, it took me almost two hours to get to The Opera House last night to see CASTRATOR, SANGUISUGABOGG and IMMOLATION during their demented The Terrasitic Infestation Tour 2023, brought to the city by the always awesome Noel Peters of Inertia Entertainment, and I had to skip some quality time with my friend Keith Ibbitson of Metal Paparazzi (and some other nice ladies and gents) and simply rush to the venue (after parking way too far from it, of course). And before I forget, the concert was absolutely SOLD OUT, so you can all imagine how demonic the atmosphere was indoors on Saturday, right?

Anyway, at least I made it in time for the opening act of the night, the ruthless New York-based Death Metal entity CASTRATOR, who hit the stage of The Opera House at 7pm sharp and pulverized our senses for intense 30 minutes of Old School Death Metal. I have no idea why their guitarist Kimberly Orellana isn’t playing this tour, but fortunately for all fans of first-class extreme music the awesome Long Island, New York guitarist Kurtis Layne stepped up and made their whole tour possible. Playing seven demolishing songs from their top-notch debut full-length Defiled in Oblivion, released in 2022 (and available for a full listen on BandCamp and on Spotify, or click HERE for all things Castrator), including the fantastic tunes Inquisition Sins and the closer Dawa of Yousafzai, the band formed of the unstoppable growler Clarissa Badini, bassist Robin Mazen, drummer Carolina Perez, and the aforementioned Kurtis Layne on the guitar was vicious form start to finish, igniting some of the wildest mosh pits I’ve ever seen for an opening act in my life. Clarissa was insane on vocals, roaring and headbanging like a maniac nonstop, therefore having the crowd in the palm of her hands all the time. She’s one of the best growlers of the new generation, and I highly recommended seeing Castrator live whenever they take your damned city by storm. When she was announcing the last song of the night, the audience demanded more, and she laughed and said “c’mon guys, we’re just the opener”. Well, hopefully one day we’ll see Castrator as the headliners in Toronto, because we all loved their wicked Death Metal attack, turning several of us (including myself) into a fanboy of the band.

Setlist
Tormented by Atrocities
Forsaken and Deprived
Inquisition Sins
Tyrant’s Verdict
Befoul My Existence
Sinister Mind
Dawa of Yousafzai

Band members
Clarissa Badini – vocals
Kurtis Layne – guitars
Robin Mazen – bass
Carolina Perez – drums

That circle pit madness initiated by Castrator kept moving frantically during the demented 30-minute onrush of Brutal Death Metal by Columbus, Ohio-based horde SANGUISUGABOGG (by the way, the band’s name is a combination of “sanguisuga”, which is Latin for “leech”, and “bog”, a British English slang for “toilet”), demanding a high level of stamina and fitness form everyone who dared to brave the floor section. Playing songs mostly from their latest album Homicidal Ecstasy, such as Black Market Vasectomy and Face Ripped Off, plus the closer Dead as Shit, from their 2021 debut Tortured Whole (all available on Spotify), the band that has one of the most unreadable logos ever and that’s spearheaded by this massive dude named Devin Swank kicked some serious ass on stage, demanding the crowd to keep moving inside the circle pit like crazy, even throwing a football to the fans for some sort of twisted football or even rugby madness. Kudos also to drummer Cody Davidson, who kept hammering our heads with his infernal beats just the way we like it in Brutal Death Metal, and next time the band comes to Toronto I’ll make sure I’m there for some quality slamming.

Setlist
Black Market Vasectomy
Face Ripped Off
Pissed
A Lesson in Savagery
Permanently Fucked
Mortal Admonishment
Dead as Shit

Band members
Devin Swank – vocals
Ced Davis – guitars
Drew Arnold – guitars
Cody Davidson – drums

I don’t think there’s anything I can say about Death Metal institution IMMOLATION at this point that hasn’t been said before. After seeing them quite a few times already, I’m always impressed with the heaviness, the charisma, the vibe and the dexterity those New York death metallers bring to the stage, putting their hearts and souls into each of their shows. Ross Dolan and his henchmen were on fire as usual throughout their entire set, making The Opera House tremble with their thunderous Death Metal for the delight of all concert goers. Furthermore, I have to say Robert Vigna might be one of the most underrated guitarists in heavy music, as not only he’s amazing in the studio, but when he’s on stage his axe sounds even more menacing, piercing and striking, adding an extra touch of heaviness to the band’s performance. As mentioned in other reviews of their previous live concerts, the new songs form Acts of God, those being The Age of No Light and An Act of God, matched perfectly with their older material, proving once again the music by one of the torchbearers of Old School Death Metal is simply timeless. In a nutshell, it was a fulminating headbanging party not recommended for the lighthearted, and I’m sure we’ll see those guys back in Toronto sooner than we can say “Death Metal”.

Setlist
And the Flames Wept
All That Awaits Us
The Age of No Light
Dawn of Possession
Once Ordained
When the Jackals Come
Christ’s Cage
Abandoned
An Act of God
Higher Coward
Epiphany

Band members
Ross Dolan – vocals, bass
Robert Vigna – guitars
Alex Bouks – guitars
Steve Shalaty – drums

CATTLE DECAPITATION

It was close to 10pm when the main attraction of the night, San Diego, California’s own Progressive Death Metal/Grindcore titans CATTLE DECAPITATION, took the stage of The Opera House by storm with one of the most infuriated and captivating concerts they’ve ever done in Toronto, and the fact they were the headliners this time helped boost their energy and impact considerably. One of the best details of their setlist was that they played several songs form their masterpiece Terrasite, by far one of the best albums of 2023, including the infernal songs Terrasitic Adaptation, We Eat Our Young, Scourge of the Offspring, The Storm Upstairs, Solastalgia, and A Photic Doom, and the reaction form each fan at the venue to those new tunes was superb.

The entire band was on total freakin’ sync during their demonic set, but let’s say that two guys ended up stealing the spotlight, drummer David McGraw and obviously their iconic frontman Travis Ryan. David sounded infuriated behind his drums, and you know that when the band’s drummer is insane, the mosh pits also are, enhancing the speed, the fury and the madness going on inside such. Not only that, as the concert was on a Saturday I guess all kids inside the circle pit didn’t have to worry about school or work the next day, and they went mental to the point it was impossible to keep up with their pace. The other name of the night was as mentioned Travis, one of the best, most charismatic frontmen in the history of extreme music, who not only was insane as usual with both his deep guttural and his trademark goblin screeches, but he was also having a lot of fun with the crowd, even using a Dr. Seuss Cat in the Hat top hat (and yes, someone brought it to the concert for a reason beyond my understanding) to wipe up his ass while the audience was laughing a lot of the scene. In other words, Travis is awesome, period.

Most of us were curious to know why there was a disco ball hanging from the ceiling during the band’s performance, and fortunately I have a secret source who explained to me the reason for that. During their sound check, one of the band’s guitarists was checking his sound by playing a slow song (we believe it was “Endless Love”, originally recorded as a duet by Lionel Richie and Diana Ross in 1981), and when the lighting tech turned the disco ball on, Travis saw that and said they had to use it during their set. Well, I personally think that was an AWESOME idea, making their Toronto gig truly unique, with the light coming form the disco ball matching perfectly with their savage music. Everyone loved it, and the city is more than ready for another round of the caustic music by Cattle Decapitation anytime they want to return to the city, if possible with the disco ball back, of course. And lastly, I just want to say one thing about the band’s merch. One of the stickers sold at their merch stand had their classic phrase “We’re All Gonna Die. Have a Nice Day.”, and let’s say that’s exactly how we should face our lives, having a great time at metal concerts with our friends and family like this Saturday at The Opera Hose until our inevitable end. Thank you, Cattle Decapitation. You guys are the best!

Setlist
Terrasitic Adaptation
We Eat Our Young
Scourge of the Offspring
Dead Set on Suicide
The Storm Upstairs
Bring Back the Plague
Finish Them
Solastalgia
A Photic Doom
Vulturous
Time’s Cruel Curtain
Pacific Grim

Encore:
Kingdom of Tyrants

Band members
Travis Ryan – vocals
Josh Elmore – lead guitars
Belisario Dimuzio – rhythm guitars
Olivier Pinard – bass
David McGraw – drums

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Album Review – Dark The Suns / Raven And The Nightsky (2023)

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A three-piece act from Finland will embrace you with their fifth full-length album, taking you on a 50-minute journey through the realms of Death, Gothic and Doom Metal with a strong melodic vein.

Originally founded as a one-man project by Finnish vocalist and multi-instrumentalist Mikko Ojala back in 2005, and after some lineup changes through the years plus a seven-year hiatus from 2013 until 2020, the now three-piece Melodic Death/Gothic Metal entity Dark The Suns has just unleashed upon us their fifth studio album, entitled Raven And The Nightsky, the follow-up to their 2020 effort Suru Raivosi Sydämeni Pimeydessä. Overflowing beautiful piano melodies and dark vocals, all carefully crafted by the aforementioned Mikko Ojala on vocals, guitars and drums, Jani Moilanen on the guitars and clean vocals, and Inka Ojala on bass and keyboards, Raven And The Nightsky will take you on a 50-minute journey through the realms of Death, Gothic and Doom Metal with a strong melodic vein highly recommended for admirers of the music by Insomnium, Draconian and Before the Dawn, just to name a few.

The heaviness of the drums by Mikko make a beautiful paradox with the whimsical keys by Inka in the opening tune Adamantine, sounding very detailed, multi-layered, and alternating between more metallic moments and ethereal passages, whereas in Phoenix they blend the more Gothic, obscure music by bands like HIM and Paradise Lost with their Melodic Death Metal sound, displaying a great job done by Mikko and Jani on the guitars. In Kun Aallot Kallioihin Murtuu, or “when the waves break on the rocks” from Finnish, a pounding, sinister intro gradually evolves into another atmospheric feast by the trio led by the delicate keys by Inka, who also delivers sheer heaviness through her low-tuned bass in an amazing fusion of Melodic Death Metal with contemporary Doom Metal; and they keep embellishing the airwaves in Aurora, with Mikko’s deep, darkened growls adding an extra touch of malignancy to the overall result. Then featuring Paavo Laapotti (Before the Dawn) as a guest vocalist, Raven is another solid creation where the guitars by Mikko and Jani walk hand in hand with Inka’s massive bass lines.

The second half of the album begins in a melancholic, pensive mode with the doomed Shadows Upon the Broken Hearts, showcasing sluggish beats, stylish keys and deep, obscure vocals, albeit a bit too generic if compared to the rest of the album. Swans of the Frozen Waters carries a beautiful name for a song, with Mikko and Jani slashing their guitars with tons of feeling and passion while Mikko hammers his drums nonstop in a fantastic display of Melodic Death and Doom Metal; followed by The Sea of Sorrow, perfect for headbanging alone in the dark, with Inka once again adding her share of finesse to the music through her keys while her bass sounds as heavy as it can be. We then face Under the Northern Lights, in the vein of the latest works by Finnish titans Insomnium, blending Death and Doom Metal with an ethereal atmosphere while Mikko steals the spotlight with his Stygian vocals and classic beats. And closing the album the trio offers us all the most obscure, grim of all songs, titled In Mist of the Night, where Blackened Doom elements invade all empty spaces in the air, not to mention the beauty in the guitars by Mikko and Jani is truly outstanding.

Such powerful, pensive and deep album from the always beautiful Finnish scene is available for a full and detailed listen on YouTube and on Spotify, but in order to show your true support and admiration for Dark The Suns you can purchase a copy of the album from their own BandCamp page or by clicking HERE. Also, don’t forget to follow the band on Facebook and on Instagram for news, tour dates, and other nice-to-know details about the band. Mikko, Jani and Inka did a beyond stunning job in Raven And The Nightsky, from the album title to its cover, from the opening song to the last second of the closing one, and I’m sure as soon as they realize how much fans of Gothic and Doom Metal love all songs found in the album they’ll keep creating great music for our ears, which means we’ll fortunately never see them on a hiatus again.

Best moments of the album: Adamantine, Kun Aallot Kallioihin Murtuu and Swans of the Frozen Waters.

Worst moments of the album: Shadows Upon the Broken Hearts.

Released in 2023 Inverse Records

Track listing
1. Adamantine 4:37
2. Phoenix 5:07
3. Kun Aallot Kallioihin Murtuu 4:37
4. Aurora 5:54
5. Raven 4:42
6. Shadows Upon the Broken Hearts 4:36
7. Swans of the Frozen Waters 4:05
8. The Sea of Sorrow 5:48
9. Under the Northern Lights 5:24
10. In Mist of the Night 5:16

Band members
Mikko Ojala – vocals, guitars, drums
Jani Moilanen – guitar, clean vocals
Inka Ojala – bass, keyboards

Guest musician
Paavo Laapotti – vocals on “Raven”

Album Review – Akouphenom / Death·Chaos·Void (2023)

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A rising force of the Spanish Black and Death Metal scene will destroy your soul with their first full-length album, a hymn to the three ruling powers of existence – death, chaos and the void.

Embodying different influences from Doom Metal to Noise with the ambition to reflect absolute evil in their creations, A Coruña, Spain-based Blackened Death Metal horde Akouphenom (a name that comes from a twist on the word tinnitus, a real consequence of the band’s prolific live activities) is unleashing upon humanity their first full-length opus, titled Death·Chaos·Void. Mixed and mastered by Simón Da Silva at The Empty Hall Studio, Death·Chaos·Void is a hymn to the three ruling powers of existence – death, chaos and the void, leaders, kings and conquerors for all eternity, all carefully brought into being by DraGon on vocals and guitars, Pandemia also on the guitars, Korgüll on bass, and Prgich on drums. Furthemore, Death·Chaos·Void is a concept album divided into six chapters, which Akouphenom explain as a journey to unveil the truths of the Arkhé, the natural law, which is no more than an extension of the chaotic reality of the human condition.

The obscure, atmospheric intro Tritone Descent will drag your soul to the pits of the underworld before the band comes crushing our souls in Devour, offering our damned ears over eight minutes of a first-class fusion of Black and Death Metal where Prgich sounds demolishing with his blast beats accompanied by the demonic riffage by DraGon and Pandemia, flowing into the 12-minute beast titled Upper Cycle of Infinite Tails, a lecture in Blackened Death Metal where DraGon and Pandemia once again extract pure insanity and darkness form their guitars, while DraGon roars and vociferates nonstop for our total delight. And the song will haunt our souls until its very last second, being immediately followed by Flesh Sublimation, where the quartet keeps blasting their devilish sounds mercilessly, with Korgüll and Prgich making the ambience feel truly heavy, dense and grim armed with their heavy-as-hell kitchen, alternating between pounding, infernal moments and sheer Black Metal attack. The title-track Death·Chaos·Void begins in full force with another thrilling display of savagery by the band’s guitar duo, resulting in a hurricane of blackened, demonic sounds not recommended for the lighthearted, not to mention DraGon’s vocals sound insanely heavy and grim; whereas lastly, get ready for one final blast of the band’s infernal sounds in Incorporeal, trapping our minds in pitch black darkness to the sound of the demented drums by Prgich, therefore resulting in a twisted, vile conclusion to the album.

Death·Chaos·Void, which is available for a full listen on YouTube and on Spotify, certainly places Akouphenom as one of the new driving forces of the Spanish underground scene, and you can help the band go even higher (or lower, depending if you consider hell the ultimate place to be for a Black and Death Metal band) by following them on Facebook and on Instagram, and of course by purchasing a copy of their amazing new album from their own BandCamp page, from the Avantgarde Music’s BandCamp page or webstore (as a CD or an LP), or simply by clicking HERE and choosing your favorite version of the album. Akouphenom are among us to bring death, chaos and void to our lives armed with their debut album, and once you listen to their music you better be prepared because there’s no coming back from the dark side.

Best moments of the album: Upper Cycle of Infinite Tails and Death·Chaos·Void.

Worst moments of the album: None.

Released in 2023 Avantgarde Music/Unorthodox Emanations

Track listing
1. Tritone Descent 1:35
2. Devour 8:17
3. Upper Cycle of Infinite Tails 11:57
4. Flesh Sublimation 9:52
5. Death·Chaos·Void 8:07
6. Incorporeal 5:12

Band members
DraGon – vocals, guitars
Pandemia – guitars, backing vocals
Korgüll – bass, backing vocals
Prgich – drums