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Album Review – Rotten Tomb / Vestiges of Tortured Souls (2026)

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One of the most compelling acts within the South American Extreme Metal scene returns with their deadly third full-length album, refining their sonic identity without sacrificing intensity or authenticity.

Formed in 2016 in Iquique, a coastal city in northern Chile, to the west of the Atacama Desert, the unrelenting Rotten Tomb have steadily risen as one of the most compelling acts within the South American Extreme Metal scene, blending Death Metal with doom-laden atmospheres and occult undertones. Following the strong impact of their 2022 debut Visions of a Dismal Fate and the equally praised 2024 sophomore The Relief of Death, the band formed of Deathbringer on vocals and guitar, C. also on the guitar, Utukku on bass, and A. Prophaner on drums returns with their most ambitious and fully realized work to date, titled Vestiges of Tortured Souls. Recorded and mixed by Pablo Clares at DM6 Recording Studio, the album sees the band refine their sonic identity without sacrificing intensity or authenticity. The riffs are sharper and more cohesive, while the melodies take on a more prominent role, painting soundscapes that feel more sorrowful and evocative than ever before, being therefore highly recommended for fans of Incantation, Paradise Lost, Krypts, and Sonne Adam.

The quartet wastes no time and begin their lecture in violence and hatred in Horror Manifestations, with the demented roars by Deathbringer walking hand in hand with the crushing drums by A. Prophaner, followed by Condemned Reality, as brutal and visceral as the opening track, with the guitars by Deathbringer and C. exhaling sulfur. Then investing an even more infuriated sonority we have Lost Memories, where the pulverizing beats and fills by A. Prophaner are nicely supported by Utukku’s evil bass, while Waiting, Dying is a lecture in 90’s Death Metal with a doomed twist, perfect for some vigorous headbanging in the name of absolute darkness. And A. Prophaner’s crushing drums kick off the infernal Mortified, living up to the legacy of classic Death Metal.

Mind of Chaos blends the obscurity and vileness of Doom Metal with their core deadly sonority, with Deathbringer making sure he doesn’t use that moniker in vain, spreading death and violence through his devilish gnarls and riffs. Here Lies Death is another song highly recommended for admirers of ultimate heaviness without forgetting the much needed melody and intricacy, with the bass by Utukku reverberating like the bellow of a creature from the abyss. They still have a lot of fuel to burn in Vestiges of Tortured Souls, and the venomous sounds from Ancestral Preservation are the perfect depiction of the band’s devotion to doom-laden Death Metal; and last but certainly not last, get ready for the mot obscure and infernal of all songs, entitled Human Pyre, putting a demonic ending to the album with the striking riffs by Deathbringer and C. cutting our flesh mercilessly.

Channeling the oppressive weight of the genre’s darkest pioneers alongside a deeply mournful and introspective atmosphere, while still maintaining a distinct and personal voice, Vestiges of Tortured Souls represents a major step forward for Rotten Tomb, solidifying their position at the forefront of Chile’s increasingly renowned Extreme Metal scene and extending their reach far beyond national borders. Those Chilean death dealers are waiting for you on Facebook and on Spotify, and don’t forget to show them your utmost support by purchasing their new album from their own BandCamp or from the Nuclear Winter Records’ BandCamp or webstore. In other words, Vestiges of Tortured Souls is not just dark and heavy. It’s a statement of the power of Chilean extreme music worldwide, further cementing Rotten Tomb’s commitment to the underground tradition.

Best moments of the album: Horror Manifestations, Waiting, Dying and Human Pyre.

Worst moments of the album: None.

Released in 2026 Nuclear Winter Records

Track listing
1. Horror Manifestations 3:43
2. Condemned Reality 4:32
3. Lost Memories 4:46
4. Waiting, Dying 4:25
5. Mortified 3:43
6. Mind of Chaos 3:52
7. Here Lies Death 4:27
8. Ancestral Preservation 4:19
9. Human Pyre 5:04

Band members
Deathbringer – vocals, guitar
C. – guitar
Utukku – bass
A. Prophaner – drums

Album Review – Hyperia / The Serpent’s Cycle (2023)

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One of the driving forces of the current underground Canadian scene returns with another demented album of caustic, unrelenting Thrash Metal.

Known for their wailing vocals, shredding guitars, and fast, heavy drums, Vancouver, British Columbia-based Melodic Death/Thrash Metal outfit Hyperia is back in action with a newborn beast titled The Serpent’s Cycle, following up on their highly acclaimed albums Insanitorium (2020) and Silhouettes of Horror (2022). Mixed by the band’s own guitarist Colin Ryley at Singularity Sound Studios, mastered by Mika Jussila at Finnvox Studios, and displaying a sinister artwork by Caitlin Delaplace, The Serpent’s Cycle has a wide variety of riffs throughout its 11 demented songs, ones that will remind listeners of the 80’s and also ones that usher in the new era of modern thrash, showcasing all the talent, hard work and passion for heavy music by Marlee Ryley on vocals, the aforementioned Colin Ryley on the guitars, Jon Power on bass, and Ryan Idris on drums.

A sinister intro sets the tone in Ego Trip, exploding into sheer madness led by the sick vocals by Marlee, declaiming the song’s acid words rabidly (“Chest is tight / Hard to breath / Tick like a bomb, don’t wanna explode / You got me in a choke hold”), followed by Automatic Thrash Machine, a wild, metallic ride by Hyperia where the frantic riffage by Colin and the classic beats by Ryan will drag you to a fun, unstoppable circle pit in the name of our good old Thrash Metal. More of the band’s insane thrashing sounds is offered to us all in Prophet of Deceit, where Marlee sounds absolutely demented on vocals while her bandmates keep the music as melodic and heavy as it can be, whereas Psychosomatic is another excellent tune crafted by Hyperia where the riffs and solos by Colin together with the rumbling bass by Jon will punch you hard in the head mercilessly. And even more frantic, caustic and demented than its predecessors, the title-track The Serpent’s Cycle is a lecture in modern-day Melodic Thrash Metal where Marlee continues to roar like a she-beast while Ryan steals the show with his ruthless and very technical drumming.

There’s no time to breathe as the quartet continues their thrashing extravaganza in Trapped in Time, again showcasing their trademark wicked screams, sharp riffs and thunderous bass and drums, whereas Marlee takes her insanity to a whole new level in Spirit Bandit, an explosion of old school Thrash Metal that will please all fans of the genre. Eye for an Eye brings forward another round of their acid lyrics (“A flicker of a person / A victim of arson / Sudden movement of a chair / But nothing’s there”) amidst a neck-breaking sound led by the pounding drums by Ryan, followed by Binge & Surge, offering us all a solid display of Thrash Metal with a strong melodic vein (albeit not as exciting as the rest of the album). Deathbringer, the last original song of the album, will darken the skies in the name of pure evil and hatred, and it’s impressive how the band added elements from Black Metal to their sound, in special the demonic riffs by Colin, resulting in a beyond heavy and thunderous tune. Lastly, we’re treated to Hyperia’s rendition of Heart’s classic Crazy On You (check the original version HERE, from their 1975 album Dreamboat Annie), and their version keeps the core essence of the original intact while adding their own thrashing twist to it.

It’s a real pleasure witnessing the evolution of Hyperia through the years, carving their names in the Canadian scene and becoming one of the driving forces of the current Thrash Metal environment, with The Serpent’s Cycle definitely taking the band to new heights. Hence, don’t forget to check what the band is up to on Facebook and on Instagram, to subscribe to their YouTube channel and to stream all of their amazing albums on Spotify, and above all that, to purchase their sick new album directly from their BandCamp page. Having said all that, it’s time to join the thrashing feast by Hyperia in The Serpent’s Cycle, and you better get ready because their circle pit has no date or time to end.

Best moments of the album: Automatic Thrash Machine, The Serpent’s Cycle, Spirit Bandit and Deathbringer.

Worst moments of the album: Binge & Surge.

Released in 2023 Independent

Track listing
1. Ego Trip 4:41
2. Automatic Thrash Machine 4:02
3. Prophet of Deceit 4:16
4. Psychosomatic 4:29
5. The Serpent’s Cycle 5:04
6. Trapped in Time 3:58
7. Spirit Bandit 4:04
8. Eye for an Eye  4:47
9. Binge & Surge 3:44
10. Deathbringer 5:31
11. Crazy On You (Heart cover) 5:03

Band members
Marlee Ryley – vocals
Colin Ryley – guitars
Jon Power – bass
Ryan Idris – drums

Album Review – The Prophet / Essence (2019)

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A vibrant and demolishing fusion of classic Black and Death Metal with contemporary Melodic Death Metal by a Russian band that’s been on an exciting rise since their inception.

It’s time to return to Siberia, Russia, more specifically to the city of Tomsk, for another round of violence, speed and rage in the form of the Melodic Death and Black Metal blasted by a very talented group of musicians collectively known as The Prophet. After releasing the full-length albums Sunrise (2011), Across the Sphere (2013) and Dying (2015), which by the way I had the pleasure of reviewing here at The Headbanging Moose when it was released, as well as the EP’s Chronos (2013) and Another Damned World (2016), the band comprised of Theodor on bass and vocals, Doctor on the guitar and backing vocals, and Raziel on drums (also featuring now Deathbringer on the guitar) returns now in 2019 with another amazing opus, entitled Essence. Recorded, mixed and mastered at Project Studio Infernal Records, in Tomsk, and featuring a grim artwork by Mark Erskine, from Erskine Designs, Essence will undoubtedly please all fans of both old school Death Metal and contemporary Melodic Death Metal, proving once again why the band is on a constant and exciting rise since their inception in 2010.

Ethereal sounds permeate the air in the beautiful and melancholic intro Essence before the trio begins hammering our minds and hearts in From the Endless Vortex, a brutal Melodic Death Metal tune infused with classic Death Metal elements, with Raziel crushing his drums while Theodor growls and roars like a beast, kicking off the album on a sulfurous note. Then the talented Doctor shreds his chords manically, igniting the also frantic and pulverizing Defeated by the Demons, even more aggressive than its predecessor and showcasing deep and demented growls mixed with unstoppable blast beats and low-tuned bass jabs; and there’s no sign of the band slowing down, as Emerald Eyes is another great song for banging your head vigorously, presenting a solid instrumental with highlights to the perfect sync between Doctor and Raziel.

A lot more introspective and dark, Blackword sounds closer to traditional Swedish Melodic Death Metal, spearheaded by Doctor’s razor-edged riffs while Theodor exhales anger from his harsh gnarls, ending with a smooth piano that builds a classy connection with the instrumental bridge Dreamside Areas, a touch of delicacy added amidst all the havoc blasted by the trio, soothing our souls and preparing our minds for World of Pain, an obscure and absolutely visceral display of Death Metal by The Prophet. Featuring absolutely no shenanigans nor any artificial elements, we’re treated to pure old school Death Metal flowing from all instruments into our avid ears, with the bass lines by Theodor sounding truly violent and metallic, whereas Flying is another straightforward composition that keeps Essence at a very good level of quality and stamina (albeit not as exciting as the rest of the album), with its background orchestral elements bringing an extra dosage of eccentricity to the music.

Back to a full demolishing mode, Time is highly recommended for slamming like an animal into the circle pit while Theodor’s bass and Raziel’s drums smash your senses mercilessly, flowing into an inspiring acoustic finale before another instrumental bridge titled Grand Deliriozo Part I (Imago) brings more peace to our hearts to the sound of stylish piano notes, enfolding us all until The Prophet begins firing their most ambitious and boldest creation to date, the somber and heavy-as-hell In the Dying Sunset. This is undoubtedly an excellent option for breaking your neck headbanging, with all band members delivering sheer aggression from their respective weapons, in special Theodor with his deep guttural roars, putting a dark and at the same time gentle ending to the album.

As I know my simple words are not enough to actually describe the strength and heaviness of the music by The Prophet, I suggest you take a good listen at their new album Essence in full on on YouTube and on Spotify, and in case you’re a diehard fan of this more aggressive version of Swedish Melodic Death Metal you should definitely pay The Prophet a visit on Facebook and on VKontakte, and subscribe to their YouTube channel. Hence, you can purchase Essence from the Soundage Productions’ webstore, from Apple Music, from Google Play, from Amazon or from Discogs. Russian Melodic Death Metal has never been so good, and we have to thank the guys from The Prophet not only for leading that trend, but also for showing a healthy and interesting evolution in their sonority just the way we always like it in heavy music.

Best moments of the album: From the Endless Vortex, Defeated by the Demons and World of Pain.

Worst moments of the album: Flying.

Released in 2019 Soundage Productions

Track listing
1. Essence (Intro) 1:22
2. From the Endless Vortex 3:45
3. Defeated by the Demons 2:49
4. Emerald Eyes 3:44
5. Blackword 4:17
6. Dreamside Areas 1:56
7. World of Pain 2:50
8. Flying 3:23
9. Time 3:32
10. Grand Deliriozo Part I (Imago) 2:06
11. In the Dying Sunset 7:44

Band members
Theodor – bass, vocals
Doctor – guitar, backing vocals
Raziel – drums