Tag Archives: death metal

Album Review – Dysentery / Dejection Chrysalis (2025)

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Ten years since their last full-length opus, this American Brutal Death Metal brigade has finally re-emerged into the light, carrying with them a new album of heaviness beyond comprehension.

“The imprisoning cocoon tears beneath my new found claws and I emerge, a beast reborn, from my shattered dejection chrysalis…”

Ten years since their last full-length opus Fragments, Waltham, Massachusetts-based Brutal Death Metal brigade Dysentery has finally re-emerged into the light, carrying with them a new album of heaviness beyond comprehension entitled Dejection Chrysalis, providing us avid metalheads with spine-splitting slams and deep grooves like scars in the surface of the Earth. Mixed and mastered by Randy LeBoeuf at Graphic Nature Audio, engineered by Jared Weed and Joey Ferretti, produced by Peter Spinazola and Joey Ferretti, and displaying a sinister artwork by Hidris, the demented new album by frontman Scott Savaria, guitarist Peter Spinazola, bassist John Cook, and drummer Eric Taranto is a bludgeoning onrush of musical extremity, a must-listen for fans of Putrid Pile, Internal Bleeding, Guttural Secrete, and Pyrexia.

Peter wastes no time and kicks off their depraved party with his cutting riffs in Transference, prepping us all for Enslavement for the Obedient, Agony for the Wayward, accompanied by the ruthless beats by Eric while Scott vomits the song’s vile words in great fashion. Their slamming party goes on in Indignation Unravels, with the metallic bass by John and the pounding drums by Eric making the earth tremble; followed by Exhausted Bliss of Self Loathing, featuring guest vocals by Josh Welshman of Defeated Sanity, where Eric sounds like a machine gun on drums in the best Aborted style. Scott then shows no mercy for our souls with his inhumane guttural in A Bestial Omen, another excellent display of Brutal Death Metal infused with gore and hatred.

Guest vocalist Jared Weed (of bands like Burial, Concrete and Futility) then makes an insane duet with Scott in Shackled by Idolatry while Peter hammers his stringed weapon in the name of extreme music, and they keep blasting their ruthless blend of Brutal Death Metal, therefore inspiring us to slam nonstop, in Transposed Benevolence. More of their share of brutality comes in the form of Fratricidium, featuring guest vocals by JT Knight (of Episiotomectomy and Invoke Thy Wrath), sounding vicious and evil from the very first second, with Peter and John bludgeoning their axes nonstop. Obsidian Womb is simply neck-breaking and heavy-as-hell, with Eric once again showing his passion for sheer violence behind his drums; whereas ending the album we face one final explosion of absolute madness and aggression entitled Ascend This Harrowing Dream, with its slamming moments sounding utterly demented.

Dynamic beyond all expectations, Dejection Chrysalis is sonically formidable and absolutely devastating from start to finish, leaving us completely disoriented after all is said and done, while at the same time eager for more of the music by those American death dealers. Having said that, what are you waiting for to start following Dysentery on Facebook and on Instagram, staying up to date with everything surrounding such an infernal beast of Death Metal, including their ruthless live performances, to stream their sick creations on Spotify, and above all that, to purchase their rabid new album from Comatose Music’s BandCamp or webstore, as well as from other locations like Amazon and Waterloo Records? Because Dejection Chrysalis is how you deliver brutal, slam Death Metal, and make it meaningful and beyond devastating. Period.

Best moments of the album: Enslavement for the Obedient, Agony for the Wayward, Exhausted Bliss of Self Loathing and Fratricidium.

Worst moments of the album: Transposed Benevolence.

Released in 2025 Comatose Music

Track listing
1. Transference 1:58
2. Enslavement for the Obedient, Agony for the Wayward 3:08
3. Indignation Unravels 2:22
4. Exhausted Bliss of Self Loathing 2:50
5. A Bestial Omen 2:02
6. Shackled by Idolatry 2:29
7. Transposed Benevolence 4:13
8. Fratricidium 2:52
9. Obsidian Womb 2:38
10. Ascend This Harrowing Dream 4:24

Band members
Scott Savaria – vocals
Peter Spinazola – guitar
John Cook – bass
Eric Taranto – drums

Guest musicians
Josh Welshman – vocals on “Exhausted Bliss Of Self Loathing”
Jared Weed – vocals on “Shackled By Idolatry”
JT Knight – vocals on “Fratricidium”

Album Review – Novembre / Words of Indigo (2025)

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The newly reinvigorated Italian pioneers of Atmospheric and Progressive Gothic, Doom and Death Metal return with their most elaborately adorned and sonically refined opus to date.

Coinciding with 35 years since the band’s original inception under the Catacomb moniker, and after an extended period of inactivity following the release of their 2016 acclaimed album Ursa, the newly reinvigorated Italian pioneers of Atmospheric and Progressive Gothic/Doom/Death Metal known as Novembre return with their most elaborately adorned and sonically refined opus to date in the shape of their ninth studio album, titled Words of Indigo. Mixed and mastered by Dan Swanö (Opeth, Katatonia, Bloodbath) at Unisound, and displaying a classy artwork by Travis Smith (Opeth, Katatonia) of Seempieces Design Studio, the new album by vocalist Carmelo Orlando, guitarists Alessio Erriu and Federico Albanese, and drummer Yuri Croscenko, with the support of session bassist Fabio Fraschini, will embrace you in a melancholic yet warm darkness, being therefore highly recommended for fans of Sacturnus, Novembers Doom, Shores of Null, Les Discrets, Woods of Ypres, My Dying Bride, and Draconian.

After a whimsical intro the band comes crushing our souls with their share of melancholy and doom in Sun Magenta, spearheaded by the crisp, piercing guitars by Alession and Federico, whereas Statua showcases an even more pensive, darker side of the band, with the clean and harsh vocals by Carmelo sounding amazing from start to finish. The band continues to distill their fusion of Progressive and Doom Metal in Neptunian Hearts, sounding heavy while also bringing tons of melody to our avid ears; whereas Ann-Mari Edvardsen (of The 3rd and the Mortal) makes a stylish vocal duet with Carmelo with her stunning voice in House of Rain, adding even more darkness to their core sound and, therefore, resulting in a beautiful ballad of extreme music, followed by Brontide, keeping the ambience dense, grim and hypnotic thanks to another classy performance by all band members, with Yuri dictating the pace with his doomed beats and fills.

Then after the theatrical interlude simply titled Intervallo we face another blast of their Progressive Doom Metal in the form of Your Holocene, an enfolding, thrilling tune where Carmelo’s deep, nocturnal vocals sound even more powerful, supported by the always incendiary riffs by both Alessio and Federico. Chiesa dell’alba brings forward more of their mix of Paradise Lost-infused doom and the progressiveness of bands like Dream Theater and Allegaeon, again presenting the intricate and fierce drumming by Yuri, followed by Ipernotte, one of the most detailed, multi-layered and vibrant of all songs, where the guitar job by Alessio and Federico is beautifully complemented by the thunderous bass by Fabio Fraschini. And last but not least, the band will darken the skies and consume our minds with Post Poetic, where Carmelo yet again melts our faces alternating between clean, ethereal vocals and the madness of his harsh gnarls, flowing into the climatic outro Onde, putting a pensive, somber ending to the album.

An exquisite and finely-textured display of creative prowess exploring themes of danger and innocence, fear and nostalgia, the latest journey by Novembre takes the listener through the torrents of raging Death Metal and sweeping, uplifting passages of serene poignancy, all woven together as finely crafted and layered melodic epics. You can put your hands on Words of Indigo via BandCamp or by clicking HERE, and don’t forget to also start following the band on Facebook and on Instagram for news, tours dates and more of their music, and to stream the embracing sounds from all of their albums on Spotify. November is undoubtedly a month that transpires doom, and the music offered by Novembre in Words of Indigo will surely work as the perfect soundtrack for your gloomiest, darkest days of such a Stygian month.

Best moments of the album: Statua, Your Holocene and Post Poetic.

Worst moments of the album: Brontide.

Released in 2025 Peaceville Records

Track listing
1. Sun Magenta 7:23
2. Statua 6:05
3. Neptunian Hearts 6:11
4. House of Rain 7:33
5. Brontide 6:21
6. Intervallo 1:14
7. Your Holocene 5:29
8. Chiesa dell’alba 7:26
9. Ipernotte 6:52
10. Post Poetic 6:27
11. Onde 2:29

Band members
Carmelo Orlando – vocals
Alessio Erriu – guitars
Federico Albanese – guitars
Yuri Croscenko – drums

Guest musician
Fabio Fraschini – bass (session)
Ann-Mari Edvardsen – vocals on “House of Rain”

Album Review – Glorious Depravity / Death Never Sleeps (2025)

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This deadly supergroup returns with their sophomore beast, showcasing the best elements of Death Metal, even with its roots in the old school sound and the music tinged with Thrash Metal influences.

With an illustrious lineup featuring members of Pyrrhon, Gravesend, Woe, and Scarcity, among others, New York, United States-based Death Metal brigade Glorious Depravity is ready to pulverize us all with their sophomore beast entitled Death Never Sleeps, following up on their 2020 debut Ageless Violence. Recorded and mixed by Joe Cincotta (Suffocation, Obituary) at Full Force Recording, mastered by Ryan Williams (The Black Dahlia Murder), and showcasing a sinister artwork by Dan Seagrave (Morbid Angel, Malevolent Creation), the newborn spawn by Doug Moore (Pyrrhon, Scarcity, Seputus) on vocals, Matt Mewton (Woe) and George Paul (Gravesend) on the guitars, John McKinney (Woe) on bass, and Chris Grigg (Woe) on drums is an album that showcases the best elements of Death Metal, even with its roots in the old school sound and the music tinged with Thrash Metal influences, being therefore perfect for fans of Cannibal Corpse, Monstrosity, Vader, Deicide, Sinister, Decapitated, and Power Trip.

Get ready to be pulverized like a putrid insect to the sound of Slaughter the Gerontocrats, kicking off the album on a demented mode to the gruesome roars by Doug, and Chris keeps hammering his drums like a true beast in Stripmined Flesh Extractor, offering more of the band’s trademark fusion of Death and Thrash Metal. Freshkills Poltergeist carries an excellent title for a song that reeks of old school Death Metal, led by the visceral, razor-edged riffs by Matt and George; whereas their Death Metal avalanche continues in full force in Sulphrous Winds (Howling Through Christendom), with Doug growling deeply accompanied by the rhythmic, venomous kitchen by John and Chris. The band then shows no mercy for our necks and bodies in the headbanging feast titled Scourged by the Wings of the Fell Destroyer, with their guitars exhaling absolute hatred.

Chris once again takes the lead with his unrelenting beats and fills in The Devouring Dust, living up to the legacy of bands the likes of Immolation, Cannibal Corpse and Morbid Angel; while the riffage by Matt and George will penetrate deep inside your skin in Carnage at the Margins, inviting us all to slam inside the pit like true metalmaniacs, all boosted by the inhumane gnarling by Doug. It’s then time to slow things down a bit and break our necks headbanging to the sound of Necrobotic Enslavement, accelerating its pace closer to the end until a true demonic finale, and lastly we’re treated to the title-track Death Never Sleeps, with their Stygian, vile sounds smashing our cranial skulls while Matt and George also fire some sick guitar solos for our absolute delight.

In comparison to their debut, they have refined and upgraded their music and have left no stone unturned in Death Never Sleeps, sounding  more impactful and powerful than ever before as well as having found more of their identity. You can get to know more about this evil supergroup by visiting them on Facebook and on Instagram, stream their demented creations on Spotify, and of course grab your copy of their new album from their own BandCamp, from the Transcending Obscurity Records’ main store, Bandcamp, Europe store or US store, or by clicking HERE. Death Never Sleeps is undoubtedly a significant release in the style, a top-tier, invigorating Death Metal opus, and I’m sure it will inspire them to keep crafting deadly music for years to come, gifting us with album number three in a not-so-distant but surely dark and demonic future.

Best moments of the album: Slaughter the Gerontocrats, Sulphrous Winds (Howling Through Christendom) and Carnage at the Margins.

Worst moments of the album: Necrobotic Enslavement.

Released in 2025 Transcending Obscurity Records

Track listing
1. Slaughter the Gerontocrats 3:53
2. Stripmined Flesh Extractor 3:09
3. Freshkills Poltergeist 3:17
4. Sulphrous Winds (Howling Through Christendom) 2:26
5. Scourged by the Wings of the Fell Destroyer 4:03
6. The Devouring Dust 3:26
7. Carnage at the Margins 4:39
8. Necrobotic Enslavement 3:25
9. Death Never Sleeps 5:44

Band members
Doug Moore – vocals
Matt Mewton – guitars
George Paul – guitars
John McKinney – bass
Chris Grigg – drums

Metal Chick of the Month – Aleks Radmanovich

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Stygian – Abyss – Call – To me!

The month of November has always been cold, rainy and dark in the northern hemisphere, the perfect type of weather for some ass-kicking Extreme Metal. However, this time The Headbanging Moose will travel all the way to the stunning Australia not only to experience a much better weather, but also to enjoy the Black, Death and Thrash Metal attack by our metal lady of the month. She’s the lead guitarist for an amazing thrash squad from Down Under named Thraxas!, as well as for a ruthless Black Metal horde known as Pestilential Shadows. Her name is Aleks Radmanovich, and she will mercilessly shred you to pieces armed with her unstoppable axe. Having said that, do you think you have what it takes to face one of the most badass guitarists from the current Australian metal scene?

Born and raised in the charming city of Sydney, the dauntless Aleks began her career in Heavy Metal back in 2018 when she joined the four-piece thrashing machine named Thraxas!. The band was actually formed a few years prior to her becoming their axe lady, more specifically in 2011, by vocalist Chris “Bull” Woods and drummer Izak Easterbrook (of Divine Carnage), and the only release by the band before Aleks joined their ranks, as well as bassist Dan Andrews, was their 2018 debut demo Slave Wages. As their lead guitarist, she released with Thraxas! the single Cthulhu Rising, in 2019, the 2021 EP Planetary Terrorism (under the moniker Aleks Rad), the 2025 single Blast Shadows, and more recently their first full-length opus, titled Violent Vacation. Not only that, Aleks was also responsible for the layout and design of their debut EP Planetary Terrorism. All of those songs and albums are available on BandCamp and on Spotify, and you can also visit their official YouTube channel to enjoy their official videos including Concrete Cowboy and Ecophagy.

In addition, apart from Facebook and Instagram, you can also stay up to date with all things Thraxas! by clicking HERE, and if you want to know even more about the indomitable Aleks and her scorching axe you can find a few interesting videos and interviews on YouTube, including the highlights of her chat with The Horsemen Podcast earlier this year, her guitar playthrough for the song Exemplary Punishment, and a video named 5 Minute Series – Aleks Rad where she talks about her idols and influences like Alex Webster of Cannibal Corse, Iron Maiden, Candlemass, Slayer, Exodus (mentioning her favorite Thrash Metal album of all time is Tempo of the Damned, by the way), plus her own rig rundown. No idea why the video is named “5 Minute Series” as it’s only one minute and a half long, but that doesn’t really matter as Aleks kicks some ass even in such a short period of time.

In 2024, Aleks joined Sydney, Australia’s own Black Metal veterans Pestilential Shadows, spreading her dark wings over humanity under the Stygian moniker Drekavac. A Drekavac, also called drekalo, krekavac, zdrekavac or zrikavac, is a mythical, monstrous creature from South Slavic folklore, known as “the screamer” or “the screecher” from the verb “drečati” (“to screech”). It is often the spirit of an unbaptized child, though sometimes described as an undead man. Let’s say that’s exactly the sound emanating from her fiery riffs and solos in Pestilential Shadows, sounding as dark, menacing and evil as possible, therefore showcasing a more obscure side of our unstoppable Aleks.

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The band was formed way before Aleks joining them, though, more specifically in 2003 by vocalist and guitarist Balam, who had been playing in local Black Metal bands since 1997, with the goal of creating atmospheric and intense Black Metal and cement its reputation as one of the most innovative bands in the scene. Currently formed of Balam on vocals and guitar and Aleks (or Drekavac, as mentioned) also on the guitar, alongside Lithuz on bass and Basilysk on drums, the band had already released the albums Embrace After Death (The Fate of All That Lives II) (2005), Cursed (2006), In Memoriam, Ill Omen (2009), Depths (2011), Ephemeral (2014), Revenant (2021), and Devil’s Hammer (2024) before Aleks became part of the band, but she was still able to play some live shows in Australia with them before the recordings for their ruthless eighth studio album Wretch started.

Released by the uncanny German label Northern Silence Productions in conspiracy with Brilliant Emperor Records this past September, Wretch continues the band’s progression (or regression) toward uglier, gnarlier expanses, offering more of their trademark ruminations on death and the beyond. The album has already led Pestilential Shadows to tour Europe in late August through September, followed by an October tour in their homeland Australia and in New Zealand, allowing fans from different parts of the world to witness the power of the Stygian riffs by Aleks. The band can be found on Facebook and on Instagram, and you can purchase or stream Wretch (or any of their previous albums) from BandCamp or Spotify. You can also enjoy Wretch in all of its glory on YouTube, and also enjoy the official video for the song DeathKnell, with Aleks shredding her axe while displaying her badass Black Metal attire and corpse painting. She also played live back in 2022 with a Sydney, Australia-based Death Metal outfit named Deiformity, formed back in 2016, and although there’s nothing released by the band with Aleks on the guitar for obvious reasons, you can still enjoy their 2018 debut (and only released to date) titled Corpse Stomper on BandCamp.

It looks like Aleks has recently started her life as a digital influencer by launching her own YouTube channel; however, maybe due to her busy life on the road, there’s only one video online so far, a cover version for Joe Satriani’s A Celebration. Well, who knowns, maybe we’ll get more killer videos like that in the not-so-distant future. Anyway, switching topic a bit, Aleks is endorsed by Blackstar Amplification, Schecter Guitars, and D’addario Strings, currently touring with the Blackstar Amped 3, HT Stage MKIII and HT Metal 100, Schecter Evil Twin V and Hellraiser, and playing D’addario NYXL 10-46 and EXL 11-56, and if you’re able to catch her live with either Thraxas!, Pestilential Shadows, or Deiformity, you’ll see how her equipment makes her sound feel extremely powerful onstage, exactly what we all want in extreme music.

Aleks Radmanovich’s Official Facebook page
Aleks Radmanovich’s Official Instagram
Thraxas!’s Official Facebook page
Thraxas!’s Official Instagram
Thraxas!’s Official YouTube channel
Pestilential Shadows’ Official Facebook page
Pestilential Shadows’ Official Instagram

Album Review – Burned in Effigy / Tyrannus Aeternum (2025)

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This Chicago-based Neoclassical and Melodic Death Metal beast is ready to attack armed with the 11-track onslaught found in their sophomore offering.

Rising from the heart of the Midwest metal scene, Chicago, Illinois-based Neoclassical/Melodic Death Metal outfit Burned in Effigy is set to unleash their newest razor-edged assault, their sophomore opus titled Tyrannus Aeternum, or “the eternal tyrant” from Latin. Recorded at Beal Audio and Bricktop Recording, with production, engineering and mixing by Jordan Beal, and displaying a classy artwork by Timon Kokott, the follow-up to their 2022 debut Rex Mortem sees the band formed of Mark “Smedy” Smedbron on vocals, Steve Bacakos and Mike Hisson on the guitars, Matt Watkins on bass, and Eddie Dec on drums sharpen their sound to a lethal edge, delivering their most aggressive album to date while remaining loyal to their neoclassical and melodic foundations.

The band wastes no time and begins their metallic attack in Befouled Benefaction, led by the demented vocals by Mark and Eddie’s intricate and heavy-as-hell beats and fills, and the acoustic guitars by Steve and Mike will penetrate deep inside your soul before their absolute heaviness comes crushing in Retribution, a solid display of modern-day melodeath by those guys. Masquerade is a song perfect for slamming into the pit, sounding fast, heavy and caustic just the way we like it thanks to another amazing job done by Eddie on drums; whereas the Flamenco-infused interlude Procession puts us to dance and warms us up for Wage of Exile, a lecture in shredding and violence by the band, with their neoclassical vein clashing beautifully with their Death Metal approach.

The second half of the album kicks off with the hard hitting Sacrificial Seance, with Steve and Mike shredding their stringed axes mercilessly for our total delight while also presenting some dark, sinister passages. Monstrosity Reborn, perhaps the song with the most charming name of the album, again showcases Mark’s rabid vocals amidst a thrilling fusion of neoclassical sounds and pure heaviness. Then the second interlude of the album, titled Gallows Hymn, focuses on a classical music-like vibe, setting the stage for The Racking, a pulverizing tune that transpires Swedish Melodic Death Metal (made in Chicago, of course), with the band’s guitar duo once again sounding brutal yet very melodic. Crown Crusher is slightly generic if compared to the rest of the album, albeit presenting the band’s characteristic sounds, whereas Citadel closes the album on a high and very technical mode, with all band members being on total fire with their mix of intricacy and rage.

An 11-track onslaught that blends the band’s skillful musicianship and technicality with volcanic brutality, Tyrannus Aeternum is a must-listen for fans of extreme music with a strong melodic edge, and if you want to put your hands on such an imposing and vibrant album you can purchase a copy of it from BandCamp or by clicking HERE. Don’t forget to also show your support to those beyond talented musicians by following the band on Facebook and on Instagram, including their tour dates, and to stream their vicious creations on any streaming platform like Spotify. Because the tyrant might be ternal, but so is heavy music, and Burned in Effigy are proudly carrying the flag of a new generation of bands that surely know how to blend violence with the most epic and enfolding sounds you can imagine.

Best moments of the album: Masquerade, Wage of Exile and Citadel.

Worst moments of the album: Crown Crusher.

Released in 2025 Independent

Track listing
1. Befouled Benefaction 4:29
2. Retribution 4:37
3. Masquerade 3:06
4. Procession 1:24
5. Wage of Exile 4:09
6. Sacrificial Seance 4:49
7. Monstrosity Reborn 5:49
8. Gallows Hymn 1:04
9. The Racking 5:05
10. Crown Crusher 5:38
11. Citadel 5:03

Band members
Mark “Smedy” Smedbron – vocals
Steve Bacakos – guitar
Mike Hisson – guitar
Matt Watkins – bass
Eddie Dec – drums

Guest musician
Graham Southern – orchestrations, keyboards

Album Review – Cemican / U k’u’uk’ankil Mayakaaj (2025)

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These unrelenting Mexican metal warriors are back with their breathtaking fourth studio album based on Mayan ideology, worldview, mysticism, and the universe.

Incorporating elements of the legends, mysticism and ideologies of ancient Mexican culture, being compared by Revolver to “Slipknot scoring Mel Gibson’s Apocalypto” by combining the modern instrumentation of a metal band with traditional pre-Hispanic instruments, Guadalajara, Mexico’s own Progressive Power/Thrash/Folk Metal tribe Cemican (or “The Duality of Life and Death” in the Mexican language Nahuatl) brings forth more of their unique music in their fourth studio opus entitled U k’u’uk’ankil Mayakaaj, translated as “the Mayan Resistance”, following up on their 2019 critically acclaimed album In Ohtli Teoyohtica In Miquiztli. Showcasing a stunning artwork by the band’s own Tlipoca (aka Alejandro Guzmán), depicting the great creation of the Mayan universe and the elements of life – water, fire, wind, and earth – by the great supreme Itzamnaaj, raising the great Temple of Kukulkan for the worship of the Mayan people, the new album by vocalist and guitarist Tecuhtli, bassist Ocelotl, drummer Tlipoca, and the tribalistic ensemble of Xaman Ek, Yei Tochtli, Mazatecpatl, and Itzcoatl is based on Mayan ideology, worldview, mysticism, and the universe. It contains various legends and stories of ancestral gods, the duality of life and death, as well as stories based on the band members, transformed with that touch that identifies us.

Kukulkán Wakah Chan (likely combining the Maya deity name Kukulkán, meaning “Plumed Serpent”, with the Nahuatl phrase Wakah Chan, meaning “Sacred Tree” or “Milky Way”) sounds utterly ritualistic and folk from its very first moments, with their wind instruments echoing through the air before exploding into an amalgamation of Thrash, Death and Groove Metal led by Tlipoca’s crushing beats and fills; whereas Tán tí le Xibalba, the second single of the album, speaks of the god of dead in the Mayan culture while keeping their heaviness clashing with the culture of their ancestors in a majestic way, being therefore an excellent choice for their live concerts. In El Niño Que Contemplaba A Las Estrellas (“the boy who gazed at the stars” from Spanish), the guitars by Tecuhtli lean towards classic Heavy Metal, as well as his vocals, followed by Viaje Astral Del Quetzal De Fuego (“astral journey of the fire quetzal”), sounding atmospheric and embracing from start to finish, with the bass by Ocelotl and the drums by Tlipoca being absolutely thunderous. Xaman Ek, Yei Tochtli and Mazatecpatl bring the glory of the past through their wind instruments in the tribal dance Horizonte De Almas (“horizon of souls”), exploding into an epic song that will inspire you to raise your horns for those beyond talented Mexicans, while El Castigo De Los Dioses (“the punishment of the gods”) is another song where the modern, electrified vibe of metal music makes a killer paradox with their cultural and folk sounds.

The howling wind invites us to another journey through Mayan lands in Tak Ti Ulaák Íin, one of the most ritualistic of all songs, where the band delivers their most primeval sounds of the album. Then the massive riffs by Tecuhtli ignite the imposing, multi-layered Los Guardianes De La Tierra (“guardians of the earth”), a lecture in Symphonic and Melodic Death and Black Metal that feels like it was taken from the most climatic moment of a period drama; and the band offers another blast of harsh and pounding sounds in Hun-Came, meaning “One Death”, the name of the senior of the two principal death gods in the Maya underworld Xibalba, with all vocals and backing vocals giving it an extra kick while Tlipoca hammers his drums mercilessly. ¿Donde Estas? (“where are you?) is some sort of power ballad entirely sung in Spanish by a mysterious guest female musician, a bit too generic compared to the other songs; while back to their trademark tribal sonority infused with the power of Heavy Metal we have Yóok’ ol Kaáb Maya, sounding and feeling epic and vibrant until the very end. Lastly, closing the album we’re invited to one final ritual by Cemican entitled Bolom Octé, a stunning sonic voyage back to the glory yet somber days of their ancestors.

Offering a sound that embodies that language of music with ancestral instruments that Cemican have achieved as its own unique and hallucinatory sound, fused with lyrics that blend Spanish with Yucatecan Mayan, U k’u’uk’ankil Mayakaaj is a tribute to their ancestral people, their stories and their customs, giving a valuable message of their language and their ancestral glory. Hence, you can enjoy the dark and aggressive atmosphere found in U k’u’uk’ankil Mayakaaj by purchasing the album from their own BandCamp, from the M-Theory Audio webstore, or by clicking HERE, and don’t forget to also follow the band on Facebook and on Instagram, subscribe to their YouTube channel, and stream their amazing albums on Spotify. Because U k’u’uk’ankil Mayakaaj is a way to revive what their warriors and their Mayan people were, honoring the great Mayan culture and representing the worldview and mysticism of their great ancestral empire.

Best moments of the album: Tán tí le Xibalba, Horizonte De Almas, Los Guardianes De La Tierra and Hun-Came.

Worst moments of the album: ¿Donde Estas?.

Released in 2025 M-Theory Audio

Track listing
1. Kukulkán Wakah Chan 5:45
2. Tán tí le Xibalba 4:01
3. El Niño Que Contemplaba A Las Estrellas 6:44
4. Viaje Astral Del Quetzal De Fuego 8:31
5. Horizonte De Almas 6:31
6. El Castigo De Los Dioses 5:26
7. Tak Ti Ulaák Íin 4:39
8. Los Guardianes De La Tierra 5:13
9. Hun-Came 5:29
10. ¿Donde Estas? 4:23
11. Yóok_ ol Kaáb Maya 5:45
12. Bolom Octé 4:30

Band members
Tecuhtli – vocals, guitars, wind instruments
Ocelotl – bass
Tlipoca – drums, percussion, wind instruments, backing vocals
Xaman Ek – wind instruments, backing vocals
Yei Tochtli – wind instruments, backing vocals
Mazatecpatl – wind instruments
Itzcoatl – choir vocals

Album Review – Aduanten / Apocryphal Verse EP (2025)

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This up-and-coming Melodic Death Metal outfit is unleashing a striking new EP, weaving a narrative of decay and despair driven by a maelstrom of intricate guitar work and a pummeling rhythm section.

An up-and-coming Melodic Death Metal entity based in Austin, Texas, featuring members of Obsequiae, Vex, Panopticon, and Horrendous, Aduanten are unleashing their full power on their new EP, entitled Apocryphal Verse. Recorded in the cities of Austin, Arlington, Boston, Chicago, and Dublin, mixed by Damian Herring at Subterranean Watchtower Studios, and mastered by Adrian Benavides, the follow-up to their 2021 debut EP Sullen Cadence sees the band formed of Ciaran McCloskey and Mike Day on the guitars and synths, and Eoghan McCloskey on drums and synths, with the support of guest musicians Tanner Anderson (Obsequiae, Panopticon) and Damian Herring (Horrendous) on vocals, Joel Miller on bass, and Adrian Benavides on percussion and synths, masterfully blend the searing aggression of classic Death Metal with the atmospheric introspection of Melodic Black Metal, weaving a narrative of decay and despair driven by a maelstrom of intricate guitar work and a pummeling rhythm section.

Cerulean Dream sounds experimental, avantgarde and grim from the very first second, with the devilish vocals by Tanner and Damian matching perfectly with the guitar lines by Ciaran and Mike, whereas they invest in a more progressive blend of Melodic Death Metal in Decameron, with the stylish riffs by the band’s guitar duo walking hand in hand with Eoghan’s melodic yet fierce beats and fills. Then bringing forward elements from the Melodic Death Metal played by giants the likes of Insomnium we have Grace of Departure, while also sounding a bit Melodic Black Metal thanks to all of its Stygian vociferations; and the crushing bass by Joel adds even more energy to The Weakening Sovereign, a galloping, intricate and scorching creation by the band, with their guitars once again breathing fire.

Fans of Dissection, Sacramentum, and Obsequiae will find the new offering by Aduanten to be an phenomenal addition to their collection, as the album is not only extremely heavy just the way we like it, but its lyrical themes of destruction, sorrow, and hopelessness are also perfectly mirrored in its dynamic and emotionally charged soundscapes. Those beyond talented musicians are waiting for you on Facebook, on Instagram, on YouTube, and on Spotify with news, tour dates, and more of their striking music, and of course you can show them your utmost support and purchase their new EP from BandCamp. The Melodic Death Metal presented by Aduanten in Apocryphal Verse is as aggressive and vibrant as it is intricate and detailed, and I’m sure we’ll hear a lot more from those guys in the near future based on the high quality of their music.

Best moments of the album: Grace of Departure and The Weakening Sovereign.

Worst moments of the album: None.

Released in 2025 Nameless Grave Records

Track listing
1. Cerulean Dream 5:16
2. Decameron 4:34
3. Grace of Departure 4:36
4. The Weakening Sovereign 5:00

Band members
Ciaran McCloskey – guitars, synths
Mike Day – guitars, synths
Eoghan McCloskey – drums, synths

Guest musicians
Tanner Anderson – vocals (session)
Damian Herring – vocals (session)
Joel Miller – bass (session)
Adrian Benavides – percussion, synths (session)

Album Review – Naraka / Born In Darkness (2025)

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One of the most promising modern acts emerging from France returns with their hellish, incendiary sophomore offering.

Founded in 2019 by guitarist Jean-Philippe Porteux, French Melodic Death Metal outfit Naraka (a term that generally refers to the realm of hell or a place of torment in Indian religions) is back with their mix of Modern Metal and Death Metal with symphonic and sometimes even electro touches in their sophomore album, titled Born in Darkness. Recorded at Hybreed Studio, Serial Drummer Studio, and At The Gates Ov Hell Studio, mixed and mastered at Darth Vader Studio, produced by Logan Mader, and adorned by a devilish artwork by Andreas Bathory, the follow-up to their 2021 debut In Tenebris continues to pave the path started by the band in their inception, creating a dramatic and atmospheric experience without losing focus on their core instrumentation and, therefore, positioning the band currently formed of vocalist Théodore Rondeau, guitarist Jean-Philippe Porteux, bassist Pierre-André Krauzer, and drummer Franky Costanza as one of the most promising modern acts emerging from France’s always exciting metal scene.

The album kicks off with the cinematic intro Apocalypsis Diem, where the band invites us all to their dark and sinister world before all hell breaks loose in Born In Darkness, offering our avid ears a solid and thrilling fusion of Black, Death and Groove Metal led by the Lamb of God and Machine Head-inspired screams by Théodore. Franky then pounds his drums in great fashion in the heavy-as-hell Something Woke Up, supported by the slashing riffs by Jean-Philippe and all of the song’s wicked background sounds, whereas Jean-Philippe revs up the band’s Blackened Death Metal engine in Blazing Sun, also showing elements from Gothic Rock and Metal. With a title like Hellhound the only thing we could expect was pure doom, and we get it straight from Pierre-André’s bass and the song’s haunting background choir, followed by Tyrants, another hard hitting tune of melodeath with groove and blackened nuances, with Franky taking the lead with his fierce beats.

Then leaning towards Symphonic Black and Death Metal those French metallers fire an adrenaline-fueled beast named Sorcerer, where the harsh vocals by Théodore walk hand in hand with all keys and orchestrations; and like the soundtrack to a horror movie, the climatic interlude Deus Belli sees the band arise from the netherworld in Lost, again venturing through the realms of Gothic Metal, in special in the song’s dark, deep vocals and sluggish beats. The Reign In Red is one more devilish creation by Naraka, evolving into a Symphonic Black Metal aria spearheaded by Franky’s crushing drums, also featuring Sotiris Anunnaki V of SepticFlesh on guest vocals. Parasite is a modern and visceral display of Dark Metal that goes straight into your mind, with Jean-Philippe’s riffs crawling under your skin like a creepy centipede, followed by The Last Day On Earth, a phantasmagorical composition where all background keys add an extra dosage of heaviness to the already vile riffage by Jean-Philippe. Lastly, we face an acoustic version of Lost, not as good as the electrified version, and a bit unnecessary as the album is already grandiose without it.

Although the name Naraka has only been around for less than a decade, the band members are seasoned veterans of the French scene, bringing a powerful and sophisticated sound to the table in their new album Born In Darkness, which is by the way available from the Art Gates Records webstore as a digipak + shirt bundle, a digipak + shirt + hoodie bundle, or a digipak + shirt + hoodie + mug bundle. Don’t forget to also follow such a promising band on Facebook and on Instagram, as I’m sure their live performances are incendiary to say the least, and stream their music on any platform out there like Spotify. If you’re looking for modernity in heavy music while also deeply rooted in classic extreme sounds, Naraka will certainly fulfill your needs with Born In Darkness, keeping the fires of French music burning bright and inspiring those talented musicians to keep melting our faces with album number three in a not-so-distant future.

Best moments of the album: Something Woke Up, Hellhound and Parasite.

Worst moments of the album: Lost (Acoustic Version).

Released in 2025 Art Gates Records

Track listing
1. Apocalypsis Diem 1:41
2. Born In Darkness 5:29
3. Something Woke Up 4:38
4. Blazing Sun 5:08
5. Hellhound 3:57
6. Tyrants 4:12
7. Sorcerer 4:01
8. Deus Belli 3:32
9. Lost 4:25
10. The Reign In Red 5:18
11. Parasite 3:31
12. The Last Day On Earth 5:51
13. Lost (Acoustic Version) 3:55

Band members
Théodore Rondeau – vocals
Jean-Philippe Porteux – guitar
Pierre-André Krauzer – bass
Franky Costanza – drums

Guest musician
Sotiris Anunnaki V – vocals on “The Reign In Red”

Album Review – Centinex / With Guts and Glory (2025)

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These Swedish legends return to their roots with a sound that combines the ferocity of early Death Metal with the urgency of Punk Rock in their new album.

Stripping away atmospheric frills and polished production, Swedish Death Metal legends Centinex return to their roots with a sound that combines the ferocity of early Death Metal with the urgency of Punk Rock and elements from Death N’ Roll in the form of their new album, titled With Guts and Glory, their most ferocious and uncompromising offering yet. Following up on their 2020 album Death in Pieces, the new album by Henrik Andersson on vocals, Jörgen Kristensen on the guitars, Martin Schulman on bass, and Florian Rehn on drums is a raw, high-energy album that ditches the excess and focuses on what matters, blasting our faces with unrelenting riffs, d-beats, and thrash-infused aggression.

The album kicks off in full force with the Death and Thrash Metal extravaganza titled Becoming, with Jörgen slashing his axe while Henrik vomits the song’s words like a true beast, and you gotta love the dirty riffs by Jörgen in the excellent fusion of Death and Thrash Metal with Hardcore and Punk Rock elements titled Your Religion Dies Tonight, always supported by the classic beats and fills by Florian. Then the bass by Martin will crush your skull mercilessly in the hard hitting tune Gods Of Guilt, proving extreme music doesn’t need to be played at the speed of light all the time. And back to a more demolishing sonority we face I Am The Way, inspired by old school Death Metal while also presenting hints of the thrash attack by Slayer and Exodus.

A Masterpiece In Flesh is a Motörhead-infused metal onrush by the quartet where once again Florian dictates the pace armed with his unstoppable beats and fills for our absolute delight, whereas they offer a more direct Death Metal sound in In My Dreams, with Jörgen extracting sheer hatred and violence from his guitar while Henrik screams and roars like a demented creature. Symphony Of Screams carries a charming title for a heavy-as-hell, rumbling tune by Centinex, with Martin pounding his bass like there’s no tomorrow; and in order to properly conclude the album the quartet fires another round of aggressiveness and speed titled Sorrowtears, perfect for slamming inside the pit with your good friends.

Forget atmospheric trends, as Centinex keep it raw, fast, and filthy in their newborn spawn, inviting us all to slam into the pit like there’s no tomorrow to the sound of their frantic and caustic creations. You can find more details about the band, their tour dates and their music on Facebook and on Instagram, or simply by clicking HERE, bang your goddamn heads to their wicked discography on Spotify, and obviously support those hardworking guys by purchasing their excellent new album by clicking HERE. With Guts and Glory is not pretty. It’s not supposed to be. It is pure, raw aggression made in Sweden, and it’s exactly what the underground has been craving.

Best moments of the album: I Am The Way, A Masterpiece In Flesh and Sorrowtears.

Worst moments of the album: None.

Released in 2025 Black Lion Records

Track listing
1. Becoming 3:55
2. Your Religion Dies Tonight 3:27
3. Gods Of Guilt 3:44
4. I Am The Way 3:08
5. A Masterpiece In Flesh 3:14
6. In My Dreams 3:47
7. Symphony Of Screams 4:10
8. Sorrowtears 3:32

Band members
Henrik Andersson – vocals
Jörgen Kristensen – guitar
Martin Schulman – bass
Florian Rehn – drums

Album Review – Scorching Tomb / Ossuary (2025)

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This ruthless Death Metal ensemble from Canada will kill armed with their debut album, a delight for the lovers of bone-crushing rhythms and inhuman gutturals.

A delight for the lovers of bone-crushing rhythms and inhuman gutturals, the hard hitting Ossuary, the debut album by Montreal, Canada-based Death Metal ensemble Scorching Tomb, is an album definitely not for the weak, offering fast, hard and heavy pummeling riffs, punishing mosh parts and skull crushing vocals that follow the path laid down by the 2023 split Primal Tomb (by Primal Horde and Scorching Tomb). Recorded, mixed and mastered by Dominic Grimard, with drums engineered by Christian Donaldson of Cryptopsy, the full-length debut by Vincent Patrick Lajeunesse on vocals, Philippe Leblanc on the guitars, Miguel Lepage (Blind Witness, Obey the Brave) on bass, and Émile Savard (Profane Order, Malebranche) on drums brings the grinding heavy, being highly recommended for fans of both old school and modern-day harsh, scorching Death Metal.

The opening tune Stalagmite Impalement offers a no shenanigans, in your face and ruthless start to the album, with the pounding drums by Émile exhaling of pure old school Death Metal. Then we have the vicious Skullcrush, featuring the demented guest vocals by Devin Swank of Sanguisugabogg, with Miguel’s menacing bass bringing absolute heaviness to their core sound in a lecture in modern-day Death Metal. Émile takes the lead once again in the pulverizing Diminished to Ashes, while Vincent barks and roars like a rabid creature, followed by Sanctum of Bones (Ossuary), another bludgeoning tune by the quartet with the caustic, harsh riffs by Philippe inspiring us all to headbang like true maniacs. Philippe then ignites the hammering Sentenced to Rot, sounding slow and absolutely evil from start to finish, with Vincent’s guttural sounding even more visceral. Feel the Blade, featuring guest vocals by Alex Cloutier of Primal Horde, presents classic Death Metal in the vein of Immolation and Unleashed, keeping the album at a hellish level of heaviness; and get ready to break your damned neck headbanging to Bloodlust Sacrifice, with all riffs, bass lines and beats providing Vincent with exactly what he needs to bark like a beast. And lastly, they showcase a Cannibal Corpse-inspired vibe in Expired Existence, living up to the legacy of such an amazing genre.

Striving to follow in the footsteps of Cryptopsy, Quo Vadis and Despised Icon, Scorching Tomb seek to show the world that Montreal is still to this day an unrelenting force of Death Metal armed with their debut album, available from BandCamp or from the Time To Kill Records webstore. Not only that, go check what those Quebec metallers are up to on Facebook and on Instagram, including of course their demented live performances, and get into the pit to their sick creations by streaming them all on Spotify. Ossuary is Canadian Death Metal at its finest, and I can’t wait to see what’s next in the promising career of Scorching Tomb in a not-so-distant future.

Best moments of the album: Skullcrush, Sanctum of Bones (Ossuary) and Bloodlust Sacrifice.

Worst moments of the album: None.

Released in 2025 Time To Kill Records

Track listing
1. Stalagmite Impalement 2:58
2. Skullcrush 3:46
3. Diminished to Ashes 3:41
4. Sanctum of Bones (Ossuary) 3:53
5. Sentenced to Rot 2:32
6. Feel the Blade 4:08
7. Bloodlust Sacrifice 4:05
8. Expired Existence 3:27

Band members
Vincent Patrick Lajeunesse – vocals
Philippe Leblanc – guitars, backing vocals
Miguel Lepage – bass
Émile Savard – drums

Guest musicians
Devin Swank – vocals on “Skullcrush”
Alex Cloutier – vocals on “Feel the Blade”