Blending multiple sounds to create something highly intricate, varied, and dynamic, this one-man Progressive Death Metal entity returns with its thrilling sophomore album.
The brainchild of vocalist and multi-instrumentalist Dylan Cruz, of bands like Noxis, Scumbag, and Dissonance, Yonkers, New York-based Progressive Death Metal beast Hanging Garden blends multiple sounds to create something highly intricate, varied, and dynamic, just like what it has to offer in its sophomore album, titled Dream Death, following up on its 2024 debut The God That Made Them Bow. Recorded, mixed and mastered by Dylan himself, with a stunning artwork by Hafiz, the album presents Dylan’s trenchant prog and tech death approach expertly tempered by transcendental melodic passages, and all of it bears a blackened touch on top of it.
Dylan wastes no time and begins his prog attack with Arete, delivering an avalanche of intricate riffs and blast beats while he vociferates rabidly until the very end. He then brings forward an even more chaotic yet harmonious sonority in Ondine, sounding absolutely heavy from start to finish while led by his demonic vociferations; whereas Dreamwoven presents an amalgamation of styles from Progressive Metal to Experimental and Dissonant Death Metal, with his riffs and solos sounding utterly electrifying. Carambola carries a very peculiar name for a song, musically while speaking it’s another explosion of Progressive Death Metal where he hammers his drums manically; and shifting his focus from hard hitting drums to classy, melodious guitar lines we have Endymion, whhile still maintaining his core essence intact. It’s impressive how he manages to sound so dynamic and fresh with each song like in Tears of Lustful, Secret Desire, as if Dream Theater had a bastard son addicted to the violence of Death Metal, before we face one last breath of progressiveness and insanity by Dylan titled Suffering Radiant Memories, firing piercing guitar solos for our total delight.
In the world of Death Metal, the unrelenting Hanging Garden has concocted an undeniably refreshing sound that is highly nuanced, textured, and worth delving into, exactly like what’s offered in the excellent Dream Death. Highly recommended for fans of the fusion of intricacy and violence by renowned acts the likes of Death, Sentenced, Goreworm, Xenosis, Opeth, and Krallice, among several others, Dream Death can be purchased from Hanging Garden’s own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, and don’t forget to also follow the project on Facebook, and to stream its music on Spotify. Progressive Death Metal is indeed a subgenre of heavy music with basically no boundaries, and Dylan and his Hanging Garden are among us to keep exploring those new lands with each and every album release, with Dream Death paving a fantastic path ahead of the project.
Best moments of the album:Ondine, Dreamwoven and Tears of Lustful, Secret Desire.
With a sound that embraces the weird and obscure, this American Post-Metal outfit is back with their sophomore opus, sounding heavier and more eclectic then ever.
With a sound that embraces the weird and obscure, Portland, Oregon-based Progressive Deathcore/Death Metal/Post-Metal ensemble Sea Sleeper is unveiling their second full-length opus, titled Burden of Antlers, following up on their 2021 debut Nostophobia. Recorded by Jesse Cooley and Shane Cooley at Sleeping Studio, produced, mixed and mastered by Jesse Cooley, and with a stylish artwork by Johnny P., the new album by Jesse Cooley on vocals and guitars, Tony Spradlin also on the guitars, Nick Kessler on bass, and Shane Cooley on drums sees the band hone further the cohesion across their composition process to produce an offering that is thoroughly eclectic and heavy.
The inspiration for the opening song Machines of the Bombing Runs was drawn from the band’s fascination with history and delves into the incomprehensible enormity of war, while the music sounds absolutely dissonant and harsh thanks to the devilish vociferations by Jesse and the Stygian guitars by the same Jesse alongside Tony. And they let their most visceral Post-Black Metal vein arise in Manifestor, with Shane demolishing his drums until the very last second; followed by Lunar Degenerates, bringing forward the metallic bass lines by Nick and the deep, introspective clean vocals by Jesse. After that, Abysmal Trench explores narcissism and mortality, with the music sounding just as visceral as the topic discussed while the lead guitars by Tony feel hypnotizing.
Then we face the hard hitting title-track Burden of Antlers, where Shane dictates the pace with his pounding drums while their guitars again transpire madness and fury, not to mention how thunderous the bass by Nick sounds and feels. In They’ll Miss You we see the band let their Dissonant and Experimental Death Metal side burn our damned souls, with Jesse’s roars sounding like an angry version of Mastodon, whereas Coma is also very experimental, dynamic and multi-layered, with the devilish sounds extracted from their stringed axes penetrating deep inside your psyche. Finally, Husk concludes the album on a high and demented mode, with the progressiveness and intricacy flowing from all instruments dragging us to the band’s grim lair for all eternity.
You can find the guys from Sea Sleeper on Facebook and Instagram, staying up to date with their news, music, live concerts and other nice to know details about the band, stream their unique, detailed and vibrant music on any platform like YouTube, Spotify and Apple Music, and of course, above all that, grab those talented metallers by the antlers by purchasing their excellent new album from their own BandCamp. Jesse, Tony, Nick and Shane are on fire throughout the entire Burden of Antlers, presenting an amalgamation of styles from Progressive Metal to modern-day Post-Metal that will surely please any fan of good music, inspiring them to keep on rockin’ armed with their extremely heavy yet melodic and enfolding music for many years to come.
Best moments of the album:Machines of the Bombing Runs, Burden of Antlers and Husk.
Worst moments of the album:Lunar Degenerates.
Released in 2026 Metal Assault Records
Track listing 1. Machines of the Bombing Runs 5:15 2. Manifestor 8:14
3. Lunar Degenerates 4:44
4. Abysmal Trench 5:53
5. Burden of Antlers 6:04
6. They’ll Miss You 5:08
7. Coma 5:59
8. Husk 6:46
Band members Jesse Cooley – lead vocals, guitars
Tony Spradlin – lead guitars, backing vocals
Nick Kessler – bass, backing vocals
Shane Cooley – drums, backing vocals
This Avantgarde and Blackened Death Metal beast returns with its fourth studio opus, continuing the exploration of terrifying interior worlds.
Hailing from Kettering, Ohio, Avantgarde/Blackened Death Metal beast Venomous Echoes, the brainchild of vocalist and multi-instrumentalist Ben Vanweelden, returns with Ŋvęŧş: Violator Of Mater, the project’s fourth work of experimental, dissonant extreme music in which he continues the exploration of terrifying interior worlds. Produced, mixed and mastered by Stephen Knapp, who also contributed to the album with additional guitars and drum programming, the follow-up to the scathing 2025 album Dysmor mercilessly (and with immense courage) reveals even deeper and more unspeakable traumas than the fears and anxieties described in the previous albums related to the body dysmorphia that afflicts the band’s mastermind, which have shaped the artist himself into the “creation” at the center of his stories and on the beautiful cover by 0ndes. Musically, Ben does what he does best in his new album, building twisted and schizophrenic songs which oscillate chaotically between ferocious black and death accelerations and doom slowdowns, entrusted to distorted and oppressive sounds. A cathartic nightmare, telling a true story of pain and abuse.
The Stygian, spine-chilling intro Dysmor Opens will drag our putrid souls to Venomous Echoes’ lair in Malcloid, as dissonant and disruptive as it is atmospheric and multi-layered, with Ben roaring manically nonstop while he gets the help of Stephen to deliver truly menacing riffs until the very end. Æhɔɲ starts in a very sinister mode, growing in intensity and madness until all hell breaks loose in a lecture in modern-day Experimental Black and Death Metal; whereas Çịrẹ offers a more direct take on Blackened Death Metal, with its hammering drums and chaotic guitars sounding truly disturbing and, therefore, turning the whole song into a wild and caustic musical journey, sounding grandiose, perturbing, nightmarish and captivating from start to finish.
Then after the phantasmagorical interlude Monolith Of Purity we face another harsh and cryptic tune titled Ẅęrð, where Ben and Stephen deliver an avalanche of scorching riffs for our total delight, keeping the album at a high level of insanity; followed by Mater, the most experimental and atmospheric of all songs, sometimes only sounding like an interlude and lacking an extra kick in the end. L·Lrąç, featuring vocals by Stephen, also kicks off in an atmospheric manner but gradually evolves into another massive Dissonant Black Metal beast, and lastly, the title-track Ŋvęŧş is a lecture in the genre, with Ben melting our faces with his haunting synths, sampling and noises, morphing into a climatic, disruptive and venomous vibe before its ethereal ending.
“In Ŋvęŧş: Violator Of Mater, the creation has been broken down by the wall of Dysmor and has entered the world of Malcloid, the Realm of Despair, where he faces the Pillar of Light and Purity that holds the essence of his own mother,” explained Ben. “This is where he must face his real life abusers that create the beast that is Ŋvęŧş, the violator of the innocent. He was broken to enter the world. Now he must witness the ones he loves become broken and destroyed to progress to the final trial. Each appendage of the beast represents my real life abusers, in a way to cope with the events.” If you’re a fan of bands such as Portal, Altarage, and Thantifaxath, then Ŋvęŧş: Violator Of Mater is a must-listen, which can be done via Spotify or any other platform available, and of course, you can purchase the album from the I, Voidhanger Records’ BandCamp or from Metal Odyssey, and don’t forget to also get in touch with Ben and his Venomous Echoes via Facebook and Instagram. Ben is opening up his heart to us all in Ŋvęŧş: Violator Of Mater, facing his deepest demons with all of his strength, and we metalheads must show him all our support by blasting his music as loud as his traumas are obscure.
Best moments of the album:Æhɔɲ, Çịrẹ and Ŋvęŧş.
Continuing to refine their hypnotic blend of Technical and Dissonant Death Metal, this Danish squad returns with their sophomore album, sounding dense and complex while retaining the cover of darkness.
Continuing to refine their hypnotic blend of Technical and Dissonant Death Metal by adding more nuance and structure to it since their inception in 2021 in Roskilde, a city in Denmark, west of Copenhagen, the venomous beast known as Dysgnostic returns from the underworld with their sophomore offering, titled End Whispers, following up on their 2022 debut opus Scar Echoes. Displaying a hellish artwork by the always amazing Belial NecroArts, the newborn spawn by Thomas Fischer (Elitist, Apparatus, Defilementory) on vocals and bass, Simon Kannegard (Denial of God, Defilementory) and Mads Bertram H Gath (Crocell, Heaven’s Damnation) on the guitars, and Richardt Olsen (Carbon Tomb, Defilementory) on drums is dense and complex while retaining the cover of darkness, inducing a state of pleasurable numbness where you witness an otherwise harrowing maze of constantly shifting tunes and it all seems perfectly logical and in place.
The opening tune The Last Refrain feels like like a dissonant version of the mighty Immolation, with Thomas’ deep guttural walking hand in hand with the intricate, top-of-the-line drumming by Richardt, followed by Into Salvation’s Night, as technical and demolishing as the opening track, with the guitars by Simon and Mads cutting our flesh mercilessly in the name of Death Metal; and their strident riffage will also haunt our damned souls in The Black Sun, while Thomas and Richardt make the earth tremble with their obscure and thunderous kitchen. One of the singles released, the title-track End Whispers, offers more of the inhumane growling by Thomas, darkening our minds and thoughts mercilessly, whereas Ignis Fatuus starts in a serene, melancholic manner before evolving into a massive beast of Experimental and Dissonant Death Metal.
They continue to pulverize our senses with their harsh sounds in Feast of Emptiness, alternating between sheer savagery and very detailed, multi-layered passages, showcasing the band’s focus and passion for the genre; followed by The Shattered Timekeeper, again blending the heaviness of Death Metal with progressive, technical and dissonant elements, led by the massive beats by Richardt. The minimalist guitar lines by Simon and Mads will pierce your minds in Orphaned and Abandoned, exploding into absolute chaos and fury where Richardt once again pounds his drums nonstop, and the quartet concludes their dark festivities with the enfolding and grim Glimpses of a Lost Horizon, where their riffs and solos match flawlessly with the demonic vociferations by Thomas in a lecture in violence, dexterity and intricacy.
In the end, it’s clear that End Whispers is only as impenetrable as it is multifaceted, an album that starts making sense after a few listens and one that will make you keep coming back to it to unravel more of its intricacies, being therefore highly recommended for admirers of the music by Ulcerate, Evilyn, Gorguts, Crown of Madness, and Undersave, just to name a few. If you want to know more about such an amazing band from the always incredible Denmark, you can find those guys on Facebook, Instagram, and Spotify, and of course purchase their ass-kicking sophomore opus from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. The music by Dysgnostic is absurdly technical, dissonant and visceral, not recommended for the lighthearted, and once you let the sounds from End Whispers penetrate deep inside your mind, get ready for one hell of a ride.
Best moments of the album:Into Salvation’s Night, The Black Sun and Glimpses of a Lost Horizon.
Worst moments of the album:The Shattered Timekeeper.
Released in 2026 Transcending Obscurity Records
Track listing 1. The Last Refrain 3:18
2. Into Salvation’s Night 5:13
3. The Black Sun 4:16
4. End Whispers 3:27
5. Ignis Fatuus 6:16
6. Feast of Emptiness 4:31
7. The Shattered Timekeeper 4:40
8. Orphaned and Abandoned 4:05
9. Glimpses of a Lost Horizon 5:44
Band members Thomas Fischer – vocals, bass
Simon Kannegard – lead guitars
Mads Bertram H Gath – guitars
Richardt Olsen – drums
This two-headed Black Metal beast arises from its lair in Italy with a new full-length opus, pushing further into darkness with an unwavering commitment to raw emotion and existential dread, crafting a labyrinth of shadows and pain.
Formed in 2010 in Northeastern Italy as a duo composed of brothers Chimsicrin (on vocals, drums and keyboards) and Droich (on the guitars and bass), the uncanny Black Metal beast known as Gorrch has been carving their niche in the Italian underground with a singular, uncompromising vision of Black Metal, from the feral intensity of their 2013 self-titled EP and the 2015 full-length Nera Estasi, to the more experimental, dissonant, and atmospheric textures of their 2020 EP Introvertere. Now in 2026 such a ruthless two-headed creature returns in full force with Stillamentum, a full-length album steeped in claustrophobic intensity, dissonant chord structures, and relentless sonic tension. Recorded, mixed and mastered by Andrea Petucco and Gorrch, the album sees the duo push further into darkness with an unwavering commitment to raw emotion and existential dread, crafting a labyrinth of shadows and pain.
Nimbus brings forward absolute chaos and darkness from the very first second, with Chimsicrin sounding inhumane on drums while his devilish vociferations will send shivers down your spine. Droich continues to exhale sheer adrenaline and violence from his riffs and bass in Vorago, just as demented and detailed as its predecessor, always in the name of Italian Black Metal; and the duo shows no mercy for our impious souls in Larvæ, crushing us all like insects with their fusion of Experimental, Dissonant and Avantgarde Black Metal. There’s no time to breathe as their sulfurous sounds continue to permeate the air in Cryptæ, with the acrid stench flowing from Droich’s riffage living up to the legacy of the genre; whereas Angor is even more dissonant and visceral, spearheaded by the ruthless Black Metal blast beats by Chimsicrin. Needless to say, the duo is on total fire until the very last note of the song. Finally, they end such a demonic album just like how it started with Phlegma, oozing a vile blend of Black Metal that will melt your face to the scorching riffs by Droich until all that insanity fades into nothingness.
Always carrying an aura of mystery, which have helped them build a cult following among the followers of extreme, chaotic Black Metal, Gorrch channels their own obsession with sound as ritual and catharsis in Stillamentum, something that can be easily noticed from its punishing tremolo riffs and blasting drumming to its cavernous production that evokes suffocating atmospheres. Gorrch are another band that decided to stay away from all types of social media, but of course you can still find their music online available on Spotify, and purchase Stillamentum from their own BandCamp, from Avantgarde Music’s BandCamp, or from Sound Cave as a CD or an LP. Stillamentum is not an album for the lighthearted, nor for the average listener. This is the union of Black Metal and absolute chaos, and you’ll soon find yourself immersed in the turbulent and dark waters ruled by Chimsicrin and Droich in their excruciating new opus.
Behold the scathing debut by this Swedish ensemble, filled to the brim with the self-hatred endemic to the province of Västerbotten from whence they hail.
The grill will fucking rule things. A new ensemble born from the ashes of Refused, with their roots in Hardcore, Punk Rock, Noise and free Jazz, Umeå, Sweden-based Experimental Death/Doom Metal/Punk Rock/Jazz entity Backengrillen is ready to attack your senses with their self-titled debut offering, filled to the brim with the self-hatred endemic to the province of Västerbotten from whence the member’s hail. Blasting an antifascist and antiracist free form of death-jazz in the memory of Swedish musician Lars Lystedt (RIP), the band formed of Dennis Lyxzén on vocals and effects, Mats Gustafsson on saxophone, flute and live electronics, Magnus Flagge on bass, and David Sandström on drums and electronics brings forward a paean to chaos and destruction in their debut opus, inspired by the most distinct acts the likes of The Cramps, Little Richard, Albert Ayler, Polly Bradfield, Entombed, John Zorn, Misfits, Stooges, Lars Gullin, Can and much more.
The album kicks off with ten minutes of absolute sonic insanity entitled A Hate Inferior, starting in the most serene, grim manner before evolving into a deadly Sludge and Doom Metal feast led by the demented sax by Mats; and such a high level of craziness goes on in full force in Dör för långsamt, or “dying too slowly” in English, where Mats’ flute walks hand in hand with the tribal beats by David, all boosted by the bursts of sheer dementia by Dennis on vocals. Then their wicked fusion of metal music with the unique sound of the saxophone sets the tone in Repeater II, where Dennis once again sounds killer on vocals supported by the thunderous kitchen crafted by Magnus and David. Backengrillen, the song that carries the name of the band and of the album, brings to our avid ears a fully Experimental Doom Metal sonority with hints of Noise, sounding utterly sluggish, caustic, and visceral, followed by Socialism or Barbarism, the most dissonant yet melodic of all songs, perfect for dancing inside the mosh pit, with Mats once again stealing the show armed with his infuriated sax.
Backengrillen was written on a Thursday during their first ever rehearsal, performed live on a Friday and recorded on a Saturday, so what you’re hearing is raw, stupid, gut instinct music played by seasoned purveyors of Hardcore Punk, countless forms of metal music, free Jazz, Noise, and so on, positioning the band as one of the most innovative names of the current Swedish rock and metal scene. Backengrillen are such a weird band to the point they don’t have any profiles in any type of social media, giving them an even rawer and unique vibe, but of course you can put your damned hands on their destructive debut by purchasing it from BandCamp or from Svart Records. Backengrillen is Swedish for “back grill,” which makes me wonder if the band is inviting us to enjoy some quality barbeque with them while listening to their album, or if they simply want to throw us in the grill to feel the fire of their demented music. Either way, I’m in.
Best moments of the album:Repeater II and Socialism or Barbarism.
Worst moments of the album: None.
Released in 2026 Svart Records
Track listing 1. A Hate Inferior 10:09
2. Dör för långsamt 12:12
3. Repeater II 6:11
4. Backengrillen 10:18
5. Socialism or Barbarism 9:37
Band members Dennis Lyxzén – vocals, effects
Mats Gustafsson – saxophone, flute, live electronics
Magnus Flagge – bass
David Sandström – drums, electronics
This Minneapolis, Minnesota-based one-man project returns with his excellent sophomore opus based on loss, grief, and a longing to bring back connection via spiritual or even metaphysical reach.
After the dissolution of Feral Light, Minneapolis, Minnesota-based frontman and songwriter A.S. (aka Andy Schoengrund) wasted no time in channeling his artistic flair into a new project, the Experimental Black/Death Metal creature known as Unsouling. The project’s 2024 debut, Vampiric Spiritual Drain, laid the foundation for a new stylistic approach that is now fully realized on Outward Streams of Devotional Woe, its sophomore release. Conceived and recorded by A.S. at The Crypt, mixed by Sanford Parker at Hypercube Studios, mastered by Adam Tucker at Signaturetone Recording, and displaying an eerie artwork by Luciana Nedelea (with layout by Francesco Gemelli, known as Unexpected Specter), Outward Streams Of Devotional Woe is based on loss, grief, and a longing to bring back connection via spiritual or even metaphysical reach, and how this can bring great comfort.
The album starts with the cryptic, obscure Immaterial Entrance, where A.S. delivers minimalist riffs, bass lines and beats before morphing into an Atmospheric Black Metal beast, with its second half turning into sheer chaos and violence. Then investing in a more Doom Metal-inspired sonority it’s time for Your Momentary Passing, showcasing his harsh, anguished roars and sluggish drums, as well as a wall of experimentations. And presenting nuances of the Melodic Death Metal played by bands like Insomnium we have To Come Unbound, sounding utterly chilling and obscure until the end; whereas Grief Reconfigured is a lecture in Black Metal where A.S. puts the pedal to the metal and delivers his heaviest and most demonic side while also bringing forward pensive and visceral Blackened Doom moments. His metallic bass sets the tone in Towering Black Wave, another hybrid of Doom Metal with atmospheric and melodic passages, and it’s then time for the two-minute introspective interlude Passages, where his stylish sounds permeate the air until all comes to an end with Dissolved in Spiritus, crushing our minds and souls to A.S.’s vile gnarls and Post-Black Metal riffs, with its countless layers and tempo changes giving the whole song a hypnotizing vibe.
“The album differs from its predecessor in that the meandering exploration of Vampiric Spiritual Drain has been replaced with a more sure-footed and focused journey,” explained A.S. “The anchor of black metal with its bleed into gothic, dark wave, and death metal influences is still very much present, but it is more reigned in and pointed.” In terms of the themes covered, Unsouling remain faithful to the poetics of its debut, but, if possible, accentuate its existentialist vein, being therefore highly recommended for admirers of Sacramentum, Grave, Morgion, and Feral Light, just to name a few. You can also connect with A.S. and his Unsouling via Instagram, stream his unique music on Spotify, and above all that, grab a copy of Outward Streams of Devotional Woe from the project’s own BandCamp, from the I, Voidhanger Records’ BandCamp, or from Metal Odissey (in the US or in the EU/UK), or simply click HERE for all thing Unsouling. In the end, loss and grief are always extremely difficult to process inside our minds and hearts, and the music blasted by Unsouling in Outward Streams of Devotional Woe perfectly depicts that excruciating challenge, always supported by the dark beauty of extreme music.
Best moments of the album:Immaterial Entrance and Dissolved in Spiritus.
Worst moments of the album: None.
Released in 2025 I, Voidhanger Records
Track listing 1. Immaterial Entrance 6:02
2. Your Momentary Passing 4:58
3. To Come Unbound 5:22
4. Grief Reconfigured 5:18
5. Towering Black Wave 6:23
6. Passages 2:04
7. Dissolved in Spiritus 5:35
Internally, I feel like a cosmic explosion. It’s where the stars are born. It’s where stars die.
In order to properly celebrate 13 years of The Headbanging Moose, our metal lady chosen for this month of October is the ultimate definition of the underground, and I’m sure that after knowing more about her, you’ll get addicted to her ass-kicking music. She’s the frontwoman for a phenomenal new supergroup named Visitant, as well as the vocalist for the also excellent band Voraath, not to mention she’s also an extremely talented voice actress. Call her by her real name Chelsea Strickland, or by her artistic moniker Chelsea Marrow, she will kick your ass with her undisputed Extreme Metal growls, undeniable charisma, and a deep passion for the darkest and most extreme side of music. Having said all that, do you think you have what it takes to enter in the realm of fire and flames ruled by one of the most talented female growlers of the current heavy music scene? Or in other words, get ready to be pulverized by Chelsea’s scathing vocals in our humble tribute to such a multi-talented woman.
Born on February 2, 1988 in Pensacola, Florida, in the United States, Chelsea started her career in heavy music as the vocalist for a Florida-based Blackened/Melodic Death Metal band named Accursed Creator, with whom she recorded the singles All Will Suffer (2016), Prelude of Worms (2016), and Scourge of Tested Flesh (2018), as well as the three-track EP Sins of the Father in 2016, which includes one of the singles, Prelude of Worms, before departing from the band in 2020. Their new vocalist is a guy named Kodiac Jackson, who joined the band in 2023, but they haven’t released any new material yet with him on vocals. You can enjoy their songs with Chelsea on vocals on both BandCamp and Spotify, and enjoy their official videos for songs like Throne of Iron and Scourge of Tested Flesh on YouTube.
A few years after leaving Accursed Creator, our talented she-wolf joined Asheville, North Carolina-based Technical/Experimental Death Metal band Voraath, alongside Daniel Presnell and Tylor Kohl on the guitars, Paul McBride on bass, and Joshua Nassaru Ward on drums, replacing their previous vocalist Brad Parris, having recorded with the band the excellent Vol 1: The Hymn of the Hunters back in 2024, available on BandCamp, Spotify or any other streaming service. In one of her interviews when she joined the band, she explained how everything happened. “I’ve been friends with Joshua Ward, who’s the current drummer for Voraath, for a couple of years, now. In the past, we’ve discussed the possibility of having me feature on a Voraath song. I believe it paved the way to where we are now. There were some recent lineup changes, and Josh reached out to me. He offered the opportunity to be a permanent member of Voraath and I happily accepted with no hesitation.”
Chelsea likes to describe Voraath’s sound as an auditory odyssey both extreme and emotional. “We wanted to keep our roots and extreme metal while still exploring storytelling,” she commented, also explaining what’s behind their masks and costumes. “We built our own multiverse with cosmic entities who have propagated life throughout a biocentric universe. It’s a complex story but we are in a post-apocalyptic future ruled by corporations and interdimensional entities, and we are just a group of hired retrieval experts trying to support our families in this dismal reality when we are hired to retrieve something that’s beyond our understanding, unearthing the body of a otherworldly being which in the lore is how we get our armor and mask, infused with technology not of this world.”
Unfortunately, the ultra talented Joshua Nassaru Ward, of bands like Rapheumets Well, Olkoth and Xael, sadly passed away on December 31, 2024, and that might have been the end of Voraath as well. Joshua, along with his fiancée and two other people, was killed in a car accident when a drunk driver crashed into their car on New Year’s Eve. Not only Chelsea lost a good friend, but her passion for Voraath and the future of the band together with her bandmates was beautiful, and I’m sure her heart and soul might be broken into tiny pieces after what happened with Joshua based on her previous comments about the band. “Everyone in the band is so fucking talented. I love the depth and storyline behind the music. There is a whole visual experience, in addition to the epic soundscape that Voraath creates. Envisioning myself as an outsider, I see this band as something truly to behold. Memorable.”
Although we might not know what’s going to be of Voraath, Chelsea can also be found now as the frontwoman for a newborn Blackened Death Metal beast named Visitant, and let me tell you such an up-and-coming underground supergroup will crush you like a putrid insect so heavy, dark, emotional and visceral they sound. Formed in February 2022 in Pensacola, Florida by our ruthless diva Chelsea on vocals alongside guitarist Taylor Tidwell (Accursed Creator, Unaligned, Withered Throne), bassist Kilian Duarte (Abiotic, Lattermath, Mimesis, Scale the Summit), and drummer Anthony Lusk-Simone (Abiotic, Lattermath, Pathogenic, Shroud of Bereavement, Your Pain Is Endearing, among many others), this powerhouse of a band brings endless savage energy to the metal community armed with their debut offering, entitled Rubidium, a monster of Blackened Death Metal displaying a stunning yet suffocating artwork crafted by Chelsea herself.
All tracks in Rubidium are fantastic, which each one having a special meaning for Chelsea and the boys. For instance, she had a few words to say about the idea and video for the killer single Fodder. “In the dream, I attempted to bring my friend back from the dead against the warnings of my ancestors – and everything went wrong. It felt like a horror short from my subconscious, and the video captures that eerie, ritualistic atmosphere.” Furthermore, in a recent interview to the excellent The Zach Moonshine Show, Chelsea opened up about the band’s journey, the personal grief behind Fodder, and channeling pain into power through music. “I’m just putting every bit of my spirit into it,” she commented, reflecting on the band’s rise and her transition from Voraath to Visitant. She also discussed the haunting inspiration behind Starless, describing it as “the embodiment of shadow work,” and explained the dreamlike vision that drives her lyricism and visuals. “I like to take personal experiences and turn them into ghost stories.” If you’re eager to know more about Visitant and put your hands on Rubidium, you can find the band on Spotify, purchase the album by clicking HERE, or simply access this link for all things Visitant.
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Chelsea can also be found as a guest vocalist for some amazing metal bands from the underground scene. Her first contributions happened back in 2019, when she recorded guest vocals for the songs Black Annis, from the album Fear In Fiction, by American Metalcore/Rap Metal musician and audio engineer Sammy SlamDance, and Ancient of Days, from the album Dead Gods, by the now defunct American Progressive/Brutal Death Metal band Nekroí Theoí; followed by the song Entity 6, from the 2023 EP Wounded, by American Technical Deathcore piece Fleshbound; and more recently the female vocals for the single Ascended Deliverance, released earlier this year by UK’s Sludge Metal outfit Tigguo Cobauc. She also sang with an American Death Metal band named Seditious Deceit back in 2020, although there isn’t much information about how she contributed to the band’s music at that time. In addition, Chelsea was also responsible for the artwork for the split album Ashes of Dagoth, by American Melodic Death/Black Metal band Ob Nixilis and American Post-Metal act To Keep the Wolves Away, once again showcasing her passion for the darkest side of arts.
When asked about her idols and influences in one of her interviews about Voraath, Chelsea mentioned Sci-Fi movies and video game soundtracks as her main references, while also drawing inspiration from bands such as Dimmu Borgir, Fleshgod Apocalypse, Septicflesh, Cattle Decapitation, Acid Bath, Alkaloid, and Igorr, mentioning in special Fleshgod Apocalypse and Cattle Decapitation as their biggest influences and the top bands she would like to collaborate with either by herself or together with Voraath (and I’m sure with Visitant as well). Moreover, speaking of collaborating with other bands, which leads to also touring with her own band plus other bands, Chelsea also had a few words to say about how anyone can better manage their time and relationships with all band members. “Have a pliable and comprimisable attitude. You’re stuck in a vehicle with four to five other people so developing good coping strategies and having solid communication with each other is important.”
As aforementioned, our she-wolf is also a respectable voice actress, working in the “monster sounds” division of The Monster Factory (or La Fabrique de Monstres), having the ability to craft sounds that resemble zombies, undead creatures, ghouls, vampires, trolls, orcs, goblins, demons, aliens, wizards, humans, animals in general, small creatures, insects, ghosts, whispers, dragons, and robots. For instance, as part of The Monster Factory team, she provided choir vocals for the soundtrack of the 2020 video game Doom Eternal. Not only that, apart from her career as a musician, a voice actress and a visual artist, Chelsea also works as a social media marketing manager and barista at Pacific Kava Bar in Florida, as one of the sponsored artists by CAD Audio, and as a photographer at Metal Purgatory Media and at Chelsea Marrow Photography, proving how relentless and focused she can be.
After all is said and done, I’m sure you perfectly understand now why Chelsea was chosen as our beyond talented metal lady to celebrate another year in the life (and death) of The Headbanging Moose. She lives and breathes heavy music, she never gives up no matter what, and she will keep delivering first-class extreme music for us avid metalheads for many decades to come without a shadow of a doubt. Keep an eye on her social media because we’ll probably see Visitant paying a dark and ruthless visit to several cities and towns in North America anytime soon, hopefully also spreading their blackened wings over Canada, Europe and all other parts of the world, giving us mere mortals the chance to witness live onstage one of the must-see names of the current extreme music scene worldwide. Needless to say, Chelsea will love to see you in the crowd headbanging to her infernal vocals.
One of the most innovative names of the Avantgarde Black Metal scene worldwide returns with his tenth opus, a concept album telling the ritual stages in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm.
Often accused of having no sense of measure, French artist Asthâghul churns out a new double album that is grandiose, symphonic, psychedelic, liturgical, and delirious under his Avantgarde Black Metal alter-ego Esoctrilihum. Beautifully titled Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm, his tenth studio album is a prism that reflects every single nuance of the project’s sound, from bombastic Black and Death Metal, to Death and Doom Metal deviations, up to his recent Psych-Folk Metal explorations. Conceptually divided into four chapters, each of which telling a ritual stage in the long journey of dead souls towards the jaws of the eight-eyed psychopomp Abxulöm, who will finally deliver them to eternal nothingness, the new album by Asthâghul on vocals, guitar, bass, drums, synth, organ, theremin, harp, kantele, hammered dulcimer, and nyckelharpa, with “ultra-dimensional high vocals” by guest Esthurïelh, is a must-listen for fans of Leviathan, The Ruins Of Beverast, Inquisition, Xasthur, all adorned by a wicked artwork named “Youth Of The Beast” by Alan Brown (aka Medusawolf), with photography by Aylowenn Aëla, and visual design by Francesco Gemelli.
In the opening track Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather, there’s no intro nor any build up. It goes straight to your jugular with Asthâghul’s demented beats and creepy keyboards sounding fantastic from start to finish; and his fusion of Avantgarde Black Metal with the church-like sounds from his organ result in an imposing wall of sounds in Kneeling Before the Keeper of the Golden Key to the Absolute Void, followed by At the Mercy of the Flaming Spear of the Bestial Hierophant, also presenting Asthâghul’s demented vision in the form of his own blend of Black Metal. His sonic onrush continues in full force in Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, The Giant Fly, leaning towards Atmospheric Black Metal at times thanks to the dark and dense vibe boosted by his deep, desperate roars, and the way he blends the sounds of all instruments in such a cohesive manner in Hypnotic Danse Macabre of the Blind Noctivagants is outstanding, resulting in a ritualistic Black Metal celebration.
Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme presents even elements from Industrial Black Metal, giving the whole song an even harsher vibe, with his demonic vocals and blast beats living up to the legacy of the genre. Then it’s absolute chaos, madness and despair in Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe, bringing forward another blast of scorching riffs and phantasmagorical keys by our multi-talented Asthâghul, who then goes full Experimental Death Metal in The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite, with his deep guttural and screeching riffage hitting us hard in the head. In Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp we see our lone wolf pounding his drums with tons of anger while his vocals lines sound absolutely ritualistic. It’s a weird song, though, maybe a bit too much, but still enjoyable, flowing into the atmospheric and creepy outro Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites where we face one final Black Metal attack to conclude the album on a visceral mode.
A post-mortem ritual that is told in the secret grimoire of the Ghostigmatah, a sort of modern Necronomicon that constitutes another piece in Esoctrilihum’s phantasmagorical visionary world, Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm is a nightmarish, mystical dimension of death beyond time and space, inhabited by an artist who, through his music, fearlessly lets its dark light filter into our reality. And even if nothing of this massive explanation makes any sense to you, you should definitely go check all albums by the multi-talented and unstoppable Asthâghul and his Esoctrilihum on Spotify, and grab a copy of his new nightmare-fueled album from the I, Voidhanger Records’ BandCamp or from Metal Odissey as a CD (EU or US) or as an LP (EU or US). Ghostigmatah – Spiritual Rites of the Psychopomp Abxulöm might not be an album recommended for the average listener or for the lighthearted, but once you dive deep into the experimental realm ruled by Asthâghul like what he has to offer in his new album, you’ll realize you’re in front of one of the leading beasts of the Avantgarde Black Metal movement worldwide.
Best moments of the album: Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather, Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme and Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe.
Worst moments of the album:Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp.
Released in 2025 I, Voidhanger Records
Track listing 1. Hark! The Bewitched Trumpet of the Red Harbinger Is Calling the Dead to Gather 9:47
2. Kneeling Before the Keeper of the Golden Key to the Absolute Void 9:06
3. At the Mercy of the Flaming Spear of the Bestial Hierophant 7:46
4. Flesh Pierced by the Blades of Thritônh, Eyes Devoured by Vulth Suidarl, The Giant Fly 8:39
5. Hypnotic Danse Macabre of the Blind Noctivagants 7:28
6. Orgiastic Sacrificial Mass to Conjur Abxulöm, Psychopomp Supreme 8:34
7. Saturnal Towers of the Mighty Scarlet Moon Upon the Black Universe 9:36
8. The Cosmic Deathbringer Comes, Riding a Bloody Horse of Goshenite 8:36
9. Mauled, Swallowed and Dissolved into Nothingness by the 8-Eyed Psychopomp 9:16
10. Supplication of the Veiled Saint from the Secret Book of the Ghostigmatah Rites 5:04
Band members Asthâghul – vocals, guitar, bass, drums, synth, organ, theremin, harp, kantele, hammered dulcimer, nyckelharpa
An up-and-coming duo from Canada attacks with their first album, unique in the style of Dissonant Death Metal, sounding and feeling deeply personal and palpably emotive.
Port Coquitlam, British Columbia, Canada-based Dissonant Death Metal duo Crown of Madness has put out a slew of short-form releases, improving upon their sound with each one and culminating in their first full-length opus that sees the most evolved version of their music so far, entitled Memories Fragmented. Displaying an apocalyptic artwork by Erskine Designs, the new album by Sunshine Schneider on vocals, guitars and bass, and Connor Gordon on drums happens to be unique in the style of Dissonant Death Metal, sounding and feeling deeply personal and palpably emotive, and that poignant, introspective mood pervades their entire album, being therefore highly recommended for fans of Ulcerate, Devenial Verdict, Dysgnostic, and Gorguts, among others.
The beyond cryptic, devilish intro Visions From A Past Life will penetrate deep inside our psyche before the duo crushes our souls in Sovereign Blood, with Sunshine sounding amazing with her harsh vociferations and dissonant riffs, supported by the demolishing drums by Connor; and the same Connor continues to show his undeniable dexterity in Burdened, offering Sunshine exactly what she needs to shine with her she-demon gnarls. Ashes of Mine is another classy, visceral fusion of Death Metal with Dissonant, Experimental and Avantgarde Death Metal, perfect for some mosh pit action; and Sunshine and Connor sound even more in sync in When I Don’t Remember You, darkening the skies to their gripping riffs and blast beats.
The second half of the album begins in full force with Deafening, bringing forward two and a half minutes of top-of-the-line Dissonant Death Metal, inspiring the duo to sound even more demented in Sea of Fangs, in special Sunshine with her deep, venomous roars. Dreamless Nights No Longer brings to our avid ears an avalanche of Stygian, dissonant sounds by Sunshine and Connor that will invade our deepest thoughts, sounding ruthless form start to finish, and they keep blasting our senses with another cryptic tune entitled Hollow Thresher, which could have been slightly heavier or more dynamic, though. And lastly, we’re treated to The Grand Design, presenting more of their amalgamation of dark, doomed styles with pure insanity.
In a nutshell, Memories Fragmented is a beautifully tempered album underpinned by unforgettable melodies, an ambitious release but one completely devoid of pretence, which is bound to be regarded as one of the standout albums in the style in the years to come. Having said that, don’t forget to go check what the duo is up to on Facebook and on Instagram, to stream their music on Spotify, and of course to purchase a copy of such an incendiary album from the duo’s own BandCamp page, as well as from the Transcending Obscurity Records’ BandCamp, main store, EU store, or US store. This is first-class, unparalleled Death Metal made in Canada by a beyond talented duo, and I bet you’ll fall in love with them once you let the music found in their newborn spawn be the soundtrack to your own fragmented memories.
Best moments of the album:Sovereign Blood, When I Don’t Remember You and Dreamless Nights No Longer.
Worst moments of the album:Hollow Thresher.
Released in 2025 Transcending Obscurity Records
Track listing 1. Visions From A Past Life 2:30
2. Sovereign Blood 3:43
3. Burdened 3:06
4. Ashes of Mine 4:46
5. When I Don’t Remember You 4:32
6. Deafening 2:30
7. Sea of Fangs 3:52
8. Dreamless Nights No Longer 3:53
9. Hollow Thresher 2:56
10. The Grand Design 4:13
Band members Sunshine Schneider – vocals, guitars, bass
Connor Gordon – drums
The brainchild of vocalist and multi-instrumentalist Dylan Cruz, of bands like Noxis, Scumbag, and Dissonance, Yonkers, New York-based Progressive Death Metal beast Hanging Garden blends multiple sounds to create something highly intricate, varied, and dynamic, just like what it has to offer in its sophomore album, titled Dream Death, following up on its 2024 debut The God That Made Them Bow. Recorded, mixed and mastered by Dylan himself, with a stunning artwork by Hafiz, the album presents Dylan’s trenchant prog and tech death approach expertly tempered by transcendental melodic passages, and all of it bears a blackened touch on top of it.
In the world of Death Metal, the unrelenting Hanging Garden has concocted an undeniably refreshing sound that is highly nuanced, textured, and worth delving into, exactly like what’s offered in the excellent Dream Death. Highly recommended for fans of the fusion of intricacy and violence by renowned acts the likes of Death, Sentenced, Goreworm, Xenosis, Opeth, and Krallice, among several others, Dream Death can be purchased from Hanging Garden’s own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, and don’t forget to also follow the project on Facebook, and to stream its music on Spotify. Progressive Death Metal is indeed a subgenre of heavy music with basically no boundaries, and Dylan and his Hanging Garden are among us to keep exploring those new lands with each and every album release, with Dream Death paving a fantastic path ahead of the project.
