The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2025

“Who the fuck is Justin Bieber?” – Ozzy Osbourne

There’s not much to celebrate in rock and metal music in the same year when we lost the one and only John Michael “Ozzy” Osbourne. Nothing will ever be the same without the Prince of Darkness, the Madman, The Wizard of Ozz. There isn’t a single artist or band reviewed in the history of The Headbanging Moose that wasn’t influenced in several ways by Ozzy and, of course, by Black Sabbath. It is a very sad year indeed. However, Ozzy was always in a great mood, always happy, and I’m sure that, wherever he is now, he wants to see us all smiling and laughing, because that’s what life is all about. He also wants us to keep attending rock and metal concerts to have a good time with our loved ones, with our closest friends, just like Keith Ibbitson of Metal Paparazzi and I did so many times this year, covering incredible bands the likes of Blackbraid, Ne Obliviscaris, Cattle Decapitation, Blind Guardian, and so on. I’ve also had the utmost pleasure of seeing the mighty Judas Priest in Dalhalla, Sweden, a dream come true for this fanboy here, and I can’t wait to “run for my life” in 2026. Having said all that, let’s honor the life of Ozzy with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2025, excluding EP’s, best of’s and live albums, and keep on rockin’ like the Madman until our very last breath!

1. Blackbraid – Blackbraid III (REVIEW)
Behold the stunning next chapter in the musical and spiritual journey of the witch hawk of Black Metal hailing from the Adirondack Mountains.
Best song of the album: Wardrums At Dawn On The Day Of My Death

2. Werewolves – The Ugliest of All (REVIEW)
The torchbearers of “Caveman Death Metal” continuing to annihilate intellects with an unlistenable barrage of truly hideous music.
Best song of the album: The Ugliest of All

3. Testament – Para Bellum (REVIEW)
Let’s prepare for war to the sound of the breathtaking fourteenth studio album by California’s own masters of old school Thrash Metal.
Best song of the album: Para Bellum

4. Helloween – Giants & Monsters (REVIEW)
These German giants of Heavy Metal and monsters of Rock N’ Roll are back with their ass-kicking seventeenth studio album.
Best song of the album: Majestic

5. An Abstract Illusion – The Sleeping City (REVIEW)
This incredible Swedish Progressive Death and Black Metal entity returns with their heaviest and most atmospheric work to date.
Best song of the album: Like a Geyser Ever Erupting

6. Allegaeon – The Ossuary Lens (REVIEW)
World domination awaits to the sound of the striking new beast by one of the must-see bands of the current tech death scene worldwide.
Best song of the album: The Swarm

7. 1914 – Viribus Unitis (REVIEW)
Trench warfare meets blackened death and doom in 1914’s fourth onslaught of war-torn fury.
Best song of the album: 1918 Pt 3: ADE (A Duty to Escape)

8. Cryptopsy – An Insatiable Violence (REVIEW)
Canada’s own Death Metal machine returns with their ruthless ninth studio album.
Best song of the album: Until There’s Nothing Left

9. Baest – Colossal (REVIEW)
Back from the fires of Denmark, this unstoppable creature will crush you with their fourth studio album.
Best song of the album: Colossus

10. Diabolizer – Murderous Revelations (REVIEW)
The torchbearers of diabolical abomination unite once again to drag us down into the fiery abysses of Turkish Death Metal without warning.
Best song of the album: Deathmarch of the Murderous Tyrant

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

11. Lorna Shore – I Feel The Everblack Festering Within Me (REVIEW)
12. Impureza – Alcázares (REVIEW)
13. Crimson Shadows – Whispers of War (REVIEW)
14. Primal Fear – Domination (REVIEW)
15. Serenity In Murder – Timeless Reverie (REVIEW)
16. Khôra – Ananke (REVIEW)
17. Panzerchrist – Maleficium – Part 2 (REVIEW)
18. Ominous Ruin – Requiem (REVIEW)
19. Wrath of Belial – Embers of Dead Empires (REVIEW)
20. Grima – Nightside (REVIEW)

Not only that, here’s once again our Top 10 EP’s of 2025, proving once and for all that the duration of an album is not that important in the end. As long as the music is great, the whole thing can be only one second long, like the classic “You Suffer” by Napalm Death!

1. When Plagues Collide – Kingmaker (REVIEW)
2. De Profundis – The Gospel Of Rot (REVIEW)
3. Fimbul Winter – What Once Was (REVIEW)
4. NecroticGoreBeast – Brute (REVIEW)
5. Serpent Corpse – Retaliate (REVIEW)
6. Akouphenom – Connections To The Erebus (REVIEW)
7. Necht – The Inevitable Suffering (REVIEW)
8. Discovery Through Torment – Telesynthetic Rebirth (REVIEW)
9. Der Rote Milan – Verlust (REVIEW)
10. Eleine – We Stand United (REVIEW)

Do you agree with our list? What are your top 10 albums of 2025? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show!

Metal Xmas and a Headbanging New Year! See you in 2026!

And of course, as we really don’t like those boring Christmas songs here on The Headbanging Moose, we’ll leave you with what’s perhaps the most emotional and strongest metal hymn of the year, the charity version of “War Pigs”, by Black Sabbath, recorded by Judas Priest and with Ozzy himself sharing the vocal duties with the Metal God Rob Halford! This is the epitome of rock and metal music!

Generals gathered in their masses
Just like witches at black masses…

Concert Review – Cattle Decapitation (The Concert Hall, Toronto, ON, 12/06/2025)

And Toronto partied like it was 1349 together with the mighty Cattle Decapitation on a emotional, memorable and heavy-as-hell night of extreme music.

OPENING ACTS: Grindmother, Tribal Gaze, Frozen Soul and Aborted

After seeing four albums played in full in the past couple of weeks, those being Rivers of Nihil (by Rivers of Nihil), Citadel and Exul (by Ne Obliviscaris), and Somewhere Far Beyond (by Blind Guardian), it was time for another absolute blast with album number five this Saturday, when the indomitable CATTLE DECAPITATION, with the support of GRINDMOTHER, TRIBAL GAZE, FROZEN SOUL and ABORTED, took the stage of The Concert Hall in Toronto with their No Fear For Tomorrow North American Tour 2025 to melt our faces with the full play of their 2019 bestial opus Death Atlas. That was maybe one of the heaviest and most emotional events brought to the city by Noel Peters of Inertia Entertainment this year, and of course Keith Ibbitson of Metal Paparazzi and I were there to be part of such a phenomenal celebration of extreme music by some of the best bands of the current scene worldwide.

As it was a Saturday I managed to get to the venue just in time for the farewell concert by the mighty GRINDMOTHER, a 77-year old retired social worker from Canada whose footage from a rehearsal in 2016 went viral, having played over 50 times live with her bands across Germany, Japan, Canada and the United States (and you can enjoy all of her songs on BandCamp, by the way). In July 2025, she announced her retirement due to dementia, kicking ass on the stages in Montreal on Friday and in Toronto on Saturday as her way to say “thank you” and “au revoir” to all Canadians who have supported her through the years. In Toronto she had the phenomenal support of the she-wolf Chelsea Marrow of Blackened Death Metal beast Visitant (who I had the pleasure of chatting with for a brief moment) and of the electrifying Elizabeth Selfish of Crossover Hardcore act BRAT, adding even more adrenaline to a very emotional goodbye from the stages. I’m sure her son Rayny Forster, who plays bass with her live, is immensely proud of his mom, a strong and relentless woman who proved once again there’s no age limit when it comes to heavy music. It was an excellent warmup for the other bands of the night, and hopefully Grindmother can now enjoy her retirement in great fashion together with her family while listening to some ass-kicking Extreme Metal. Thank you for your music and for your passion for Heavy Metal, Grindmother!

Band members
Grindmother – vocals
Chelsea Marrow – vocals
Elizabeth Selfish – vocals
Topon Das – guitar
Rayny Forster – bass
Mathieu “Vil” Vilandré – drums

After a quick break it was time for Texas-based Death Metal brigade TRIBAL GAZE to ignite some wild mosh pits in the floor section with their short but extremely violent and heavy performance. Led by the charismatic frontman McKenna Holland, the band has just released the excellent Inveighing Brilliance, available on both BandCamp and on Spotify, which was basically what they played during their entire set. Songs like Smiling From Their Chariots and Emptying the Nest sounded inhumane live, with drummer Cesar De Los Santos dictating the pace of his own band and of the entire crowd, who went mental inside the pit and slammed like there’s no tomorrow. I’m sure we’ll hear more from those talented guys in a not-so-distant future, and I can’t wait to see one of their concerts again as they definitely know how to make our good old Death Metal sound incredible live.

Setlist
Smiling From Their Chariots
Emptying the Nest
To the Spoils of Faith
The Irreversible Sequence
Godless Voyage
Twitching on the Cross
Beyond Recognition

Band members
McKenna Holland – vocals
Quintin Stauts – guitars
Ian Kilmer – guitars
Zachary Denton – bass
Cesar De Los Santos – drums

The next attraction of the night is one of those bands you know they’ll quickly become a reference in the genre. I’m talking about Fort Worth, Texas’ own abominable men (and woman) FROZEN SOUL, bringing absolute chaos, frost and heaviness to the stage with their ruthless blend of old school Death Metal. Playing songs from their two awesome albums Crypt of Ice, form 2021, and Glacial Domination, from 2023 (both available on BandCamp and on Spotify), plus a few new killer tunes like Skinned by the Wind and Invoke War, from their upcoming yet-to-be-titled 2026 album, the band led by the unstoppable Chad Green on vocals (who also gave an emotional speech by dedicating one of the songs to his deceased younger brother, therefore showing a lot of heart) put everyone to slam, stage dive, crowd surf, and even do some push ups during their incredible performance, leaving us completely disoriented after all was said and done. One thing I must say about their concert is that the sound quality was superb, allowing the bass by the fantastic Samantha Mobley to punch us hard in the head for our total delight. Needless to say, she’ll (very) soon be one of our metal ladies of the month. I’m now desperate to listen to their upcoming album, because based on what we were able to witness this Saturday, it’s going to be a real banger. Hell yeah, winter is coming again, courtesy of one of the must-see names of the current Death Metal scene.

Setlist
Skinned by the Wind
Beat to Dust
Chaos Will Reign
Morbid Effigy
Merciless
Absolute Zero
Arsenal of War
Invoke War
Crypt of Ice

Band members
Chad Green – vocals
Chris Bonner – guitars
Michael Munday – guitars
Samantha Mobley – bass
Matt Dennard – drums

After everyone had a short break for having another beer, checking the merch stands, going to the washroom, or simply recovering their energies from the chaotic show by Frozen Soul, it was time to “get do da choppa!” together with the unparalleled Belgian Death Metal machine ABORTED, and oh boy, what an apocalyptic performance it was. Sven De Caluwé was not only on fire with his demented guttural, but he was also in his best comedian mode, impersonating the best action hero of all time, the one and only Arnold Schwarzenegger, multiple times, making jokes with his own mother, and asking fans to do some jumping jacks during one of the songs (after pushups and jumping jacks, I was wondering if Cattle Decapitation were going to ask us to do some abs later). What an amazing frontman, and let’s say their setlist helped him a lot, with several songs form their 2024 masterpiece Vault of Horrors, including Dreadbringer, The Shape of Hate and Death Cult, plus classics the likes of Retrogore and The Saw and the Carnage Done, all available on BandCamp and on Spotify, setting fire to the atmosphere just like what happened during their headlining concert in Toronto in February. The icing on the cake happened when Darude’s pop hit Sandstorm was played over the speakers and Sven invited everyone to dance with him, showing we metalheads are not just anger, hatred and darkness. We can also dance. See you at the party, Sven!

Setlist
Dreadbringer
Retrogore
Brotherhood of Sleep
The Origin of Disease
Infinite Terror
The Shape of Hate
Death Cult
Insect Politics
Threading on Vermillion Deception / The Saw and the Carnage Done
Sandstorm (Darude song)

Band members
Sven De Caluwé – vocals
Daníel Máni Konráðsson – guitar
Ian Jekelis – guitar
????? – bass
Kévin Paradis – drums
Siebe Hermans – drums

CATTLE DECAPITATION

We witnessed an emotional farewell, had fun with two of of the new-ish names in Death Metal, and became part of a Belgian death cult this Saturday night. Was that enough for us avid metalheads? Of course not, because we still wanted to party like it was 1349 together with the almighty Progressive Death Metal/Grindcore creature CATTLE DECAPITATION, playing in full their 2019 opus Death Atlas, plus three songs form their 2023 killer album Terrasite, both available on BandCamp and on Spotify, and both paying “homage” to the putrid, gory and visceral downfall of the human race. It was pure Armageddon on stage, and of course that transpired to the floor section where the mosh pits were simply insane.

Anything I say about Travis Ryan at this point of his career is not enough to represent his importance, talent and passion in extreme music. The guy is unstoppable, ruthless, and his goblin screeches are one of those things you must experience live at least once in your miserable life. Songs like Be Still Our Bleeding Hearts, Vulturous, the phenomenal Bring Back the Plague, Death Atlas, and the humanity-is-doomed trio formed of A Photic Doom, We Eat Our Young and Scourge of the Offspring sounded brilliant live once again, and as Travis himself said they’ll be back in April or May I’m wondering if next time we’ll have Terrasite played in its entirety. I love when bands play their albums in full live, as I believe any album is meant to be listened in full without skipping any songs, so let’s wait and see what they’ll bring to the city in the coming months. I’ll be there for sure, because when Cattle Decapitation invites you to party (like it’s 1349), no is definitely NOT an answer.

Setlist
Death Atlas
Anthropogenic: End Transmission
The Geocide
Be Still Our Bleeding Hearts
Vulturous
The Great Dying, Pt 1
One Day Closer to the End of the World
Bring Back the Plague
Absolute Destitute
The Great Dying, Pt. 2
Finish Them
With All Disrespect
Time’s Cruel Curtain
The Unerasable Past
Death Atlas

Encore:
A Photic Doom
We Eat Our Young
Scourge of the Offspring

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

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Concert Review – Ne Obliviscaris (The Phoenix Concert Theatre, Toronto, ON, 11/21/2025)

Thousands of lucky fans in Toronto experienced a mesmerizing display of Progressive Death Metal this Friday night, courtesy of three of the must-see names of the current extreme music scene worldwide.

OPENING ACTS: Psycroptic and Rivers of Nihil

What a phenomenal night of pure heavy music this Friday in Toronto at The Phoenix Concert Theatre thanks to Noel Peters of Inertia Entertainment, who brought to the city three of the must-see names of the Extreme Metal scene worldwide. I’m talking about PSYCROPTIC, RIVERS OF NIHIL, and NE OBLIVISCARIS with their North American Headline Tour 2025, hypnotizing everyone who attended the concert from start to finish. Keith Ibbitson of Metal Paparazzi and I were obviously there to witness an overdose of heaviness, intricacy, energy and creativity blasted by all three bands, offering us almost six hours of top-of-the-line music that made every penny invested in the tickets worth it. That’s exactly what you should expect from true hardworking and talented bands, who put the music and the happiness of their fans above any type of business or economic requirements. In other words, kudos to all bands, to Inertia Entertainment, and to everyone who was at the show to support heavy music in a city where music concerts are becoming pure cash grabbing opportunities for scalpers.

The first band to hit the stage, precisely at 6:45pm (which is way too early taking into account the nightmare that getting in and out of Toronto has become in recent years) were the ruthless Tasmanian Technical Death Metal devils PSYCROPTIC, who have been bringing extreme violence to our avid ears since the already distant year of 1999. Spearheaded by the Haley Brothers, those being drummer David Haley, of Australian Death Metal beasts Werewolves, as well as other insane bands like Faustian and Abramelin, and his demented brother Joe Haley on the guitar, the band showed zero mercy for our putrid bodies with a no shenanigans, in-your-face metal attack, blending songs from their entire discography, including their latest opus Divine Council, release in 2022, and their infernal 2025 single Architects of Extinction (all available on BandCamp and on Spotify). After their show I had the pleasure of chatting with the talented and super cool David Haley, telling him how much I love his style and that we need a Werewolves concert in Toronto. Who knows, maybe he’ll send the message to Sam Bean and Matt Wilcock, right? And if Pstycroptic visit your city any day, you know what to do.

Setlist
We Were the Keepers
Frozen Gaze
Architects of Extinction
Cold
Ob(Servant)
Carriers of the Plague
The Watcher of All
Enslavement

Band members
Jason Peppiatt – vocals
Joe Haley – guitars
Todd Stern – bass
David Haley – drums

The second band to set foot on the stage at the Phoenix was Reading, Pennsylvania’s own Progressive/Technical Death Metal machine RIVERS OF NIHIL, performing their excellent 2025 self-titled album (available on BandCamp and on Spotify) in full for the delight of everyone at the venue. If their headlining concert was already phenomenal back in June at Lee’s Palace, this time the band formed of Adam Biggs on vocals and bass, Brody Uttley and Andy Thomas on the guitars, Jared Klein on drums, and the unparalleled Patrick Corona on the saxophone offered a very unique experience to their fans, kicking ass from start to finish with their refined technique, undisputed brutality, and of course, the mesmerizing sound of the sax. Songs like the opener The Sub‐Orbital Blues, Water & Time, House of Light, and in special the headbanging American Death ignited some killer mosh pits in a considerably crowded venue, and when you’re able to slam into the pit to the sound of a saxophone, you know it’s going to be an absolute blast. Those guys are becoming fan-favorites in Toronto, and I guess it won’t take long for the Rivers of Nihil to cross our city again in the near future.

Setlist
Rivers of Nihil
The Sub‐Orbital Blues
Dustman
Criminals
Despair Church
Water & Time
House of Light
Evidence
American Death
The Logical End
Rivers of Nihil

Band members
Adam Biggs – vocals, bass
Brody Uttley – guitars
Andy Thomas – guitars, backing vocals
Jared Klein – drums, backing vocals
Patrick Corona – saxophone

NE OBLIVISCARIS

After a quick break it was time for an overdose of awesomeness by Australia’s most innovative metal band to date, Melbourne, Victoria’s one and only Extreme Progressive Metal horde NE OBLIVISCARIS, simply pulverizing our senses with their inspiring, visceral and mesmerizing performance, playing in full their 2014 album Citadel, and their 2023 masterpiece Exul, both available on Spotify, by the way, offering us all over two hours of the best extreme music imaginable. It was a collective catharsis for every single person at the venue, with the crying violin and the melodic clean vocals by Tim Charles making a stunning paradox with the harsh roars by James Dorton, while the rest of the band fired a full-bodied, complex and utterly captivating blend of Progressive Death Metal with an array of different music genres. And what can I say about bassist Martino Garattoni? The guy is a beast armed with his metallic bass, adding endless groove to the band’s already deep sonority.

Let’s say Tim stole the spotlight during the first part of the show when they played Citadel, making it impossible to take our eyes from his performance, specially when he played the violin AND sang at the same time, and I have no idea how he’s capable of doing such difficult things combined to perfection like that. It was brilliant to say the least, and he was also in an excellent mood joking with the fact that they were only one song in, the three-part Painters of the Tempest, but already at 23 minutes of show. Of course, all fans had a blast with the wild mosh pits generated during their most violent song Pyrrhic, but their most magical moments came with those multi-part songs, with Devour Me, Colossus sounding beautifully inhumane.

There was no significant break from Citadel to Exul, just some words from Tim to an already happy crowd, and when they started playing the astonishing Equus I thought the venue was going to collapse due to its power, strength and electricity. The following songs were just as superb, with the crowd even igniting an Amon Amarth-like rowing on the floor to the surprise of the band (and Tim even mentioned that although he couldn’t understand why we were doing that, he loved it and loved the fact we were all having a great time), before all converged into the darkly gorgeous Anhedonia, with Tim once again sounding like an angel on vocals and the violin. After that, when we thought the show was over, the band came back with a very special encore playing the glorious And Plague Flowers the Kaleidoscope, from their 2012 album Portal of I, and if you’re familiar with the band you know the crowd was treated to another ten minutes of first-class metal where, instead of a wall of death, Tim asked everyone to simply grab a partner and dance together with the band. It was one of the coolest moments of the year, and I must say I can’t wait to see those beasts from Down Under live again in a not-so-distant future. To be fair, everyone who enjoys good music must see Ne Obliviscaris live at least once in life. What they do onstage, no other band can. It’s amazing.

Setlist
Citadel
Painters of the Tempest (Part I): Wyrmholes
Painters of the Tempest (Part II): Triptych Lux
Painters of the Tempest (Part III): Reveries from the Stained Glass Womb
Pyrrhic
Devour Me, Colossus (Part I): Blackholes
Devour Me, Colossus (Part II): Contortions

Exul
Equus
Misericorde I – As the Flesh Falls
Misericorde II – Anatomy of Quiescence
Suspyre
Graal
Anhedonia

Encore:
And Plague Flowers the Kaleidoscope

Band members
James Dorton – harsh vocals
Tim Charles – violin, clean vocals
Benjamin Baret – lead guitars
Matt Klavins – guitars
Martino Garattoni – bass
Daniel Presland – drums

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Album Review – Season of The Dead / Zombie Chronicles Vol.1 (2025)

This newborn beast of blood-soaked, horror-infused Death Metal will eat your flesh to the sound of their debut album, a soundscape where zombies, decay, and gore come to life in audio form.

A visceral, cinematic Extreme Metal project born from the twisted minds of Titta Tani (former drummer of Necrophagia and Goblin), Giacomo Anselmi (former Goblin guitarist and current member of Goblin Legacy), and Enrico Giannone, founder and owner of Time To Kill Records, acting as producer and visionary behind the entire concept, United States-based Death Metal brigade Season of The Dead aims at resurrecting the blood-soaked legacy of horror-infused Death Metal, channeling the rotten spirit of bands like Necrophagia, Mortician, and Fulci, while paying tribute to the grotesque imagery and raw energy of cult underground horror films. Formed of the aforementioned Giacomo Anselmi (Goblin Legacy) on the guitars and Titta Tani on drums, alongside John McEntee (Incantation) and Fiore Stravino (Fulci) on vocals, and Dave Neabore (Dog Eat Dog) and Chuck Sherwood (Incantation) on bass, the album delivers a relentless assault of Death Metal brutality, layered with cinematic tension and ritualistic atmospheres, a soundscape where zombies, decay, and gore come to life in audio form.

Just like in a horror movie, the intro Necromancy brings to our putrid ears three unsettling minutes of obscurity, warming us up for Then We’ll Rise, inspired by Romero’s masterpiece Day of the Dead (and featuring related audio contributions), with John vomiting the song’s zombified words mercilessly supported by the crushing beats and fills by Titta. Voodoo Ritual starts in a phantasmagorical way, evolving into another slab of insanity by the band, even sounding Doom Metal at times to make things even creepier, whereas Giacomo fires classic, unrelenting riffs in the pulverizing, demented Events Of Flesh, accompanied by the venomous bass by Dave, again bringing absolute horror to our minds and souls just the way we like it in Death Metal.

In Open The Gates the vocals by Fiore exhale pure gore for our vulgar delectation, not to mention Titta is also ruthless behind his drums, while disturbing sounds ignite one more explosion of Death Metal by such an amazing supergroup entitled The Other Side, with John once again sounding like a zombified vocalist, and with Chuck and Titta making the earth tremble in this ode to insanity. The Stygian riffage by Giacomo kicks off the headbanging beast entitled Burning Moon Sickness, providing John with exactly what he needs to haunt our souls with his visceral growling; and closing such a unique album we have Bloodfreak, with its eerie sounds matching perfectly with the Doom Metal-infused beats by Titta while John continues to attack us all with his demented screams.

With influences ranging from Killjoy to City of the Living Dead, The Beyond, and Cannibal Holocaust, creating a soundscape that feels like a soundtrack to a lost VHS splatter nightmare, Zombie Chronicles Vol. 1 is just the first full-length chapter of Season of The Dead, a macabre journey into the heart of horror-infused Death Metal, and you can get in touch with those anti-heroes of blood and gore via Facebook and Instagram, and feed your excruciating hunger for Death Metal by streaming their music on Spotify and by purchasing their excellent debut album from their own BandCamp, or from the Time To Kill Records webstore. However, do not forget Zombie Chronicles Vol.1 is not just an album. It’s a chronicle of the undead, a sonic descent into rot, fear, and splatter, and you might not come out of it alive, joining their army of the undead for all eternity.

Best moments of the album: Then We’ll Rise, Events Of Flesh and Bloodfreak.

Worst moments of the album: Voodoo Ritual.

Released in 2025 Time To Kill Records

Track listing
1. Necromancy 3:13
2. Then We’ll Rise 4:37
3. Voodoo Ritual 4:03
4. Events Of Flesh 3:57
5. Open The Gates 3:53
6. The Other Side 4:54
7. Burning Moon Sickness 4:20
8. Bloodfreak 5:14

Band members
John McEntee – vocals
Fiore Stravino – vocals
Giacomo Anselmi – guitars
Dave Neabore – bass
Chuck Sherwood – bass
Titta Tani – drums

Album Review – Ildaruni / Divinum Sanguinem (2025)

This Armenian Black Metal beast is back with its sophomore opus, a conceptual work centered on Mithraism, guiding the listener through nine ominous rites meant to transform one into the storm of nomos and burning gnosis.

Blending Epic Black Metal and ancient folk melodies forgotten from times immemorial, Beyond Unseen Gateways, the 2021 debut by Yerevan, Armenia-based Pagan/Atmospheric Black Metal horde Ildaruni explored the Urartian domain’s height and the esoteric knowledge of pagan mysticism. Now on their sophomore opus, titled Divinum Sanguinem, or “divine blood” from Latin, the band enclasps Black Metal’s aggressive and arcane form, steeped in the immersive, murky atmosphere of a desolate, ancient shrine. Recorded by Avet Ghlijyan at Massive Studios (vocals), by Mark Erskine (guitars and bass), by Armen Shaverdian at Guitar Clinic Studio (drums), and by Maria Harutyunyan at Alpha Sound (acoustic instruments and choirs), mixed and mastered by Christoph Brandes at Iguana Studios, showcasing a grim artwork by Khaos Diktator Design, and featuring an array of very special guest musicians, the new album by Narek Avedyan on vocals, Robert Meliksetyan and Mark Erskine on the guitars, Artak Karapetyan on bass, and Arthur Poghosyan on drums and dap is a conceptual work centered on Mithraism, its occult initiations and lesser-known mysteries, guiding the listener through nine ominous rites meant to transform one into the storm of nomos and burning gnosis. A work of mystical upheaval and a sermon to the bestower of creed, it leads through ghastly pathways toward the ladders of Apothanaitismos.

The album begins with the cinematic, ethereal intro Mithras Alone Is My Wreath, featuring the cello by guest Andranik Aghajanyan, setting the stage for Ildaruni to consume our blackened hearts to the sound of The Ascension of Kosmokrator, a no shenanigans, ruthless Black Metal attack spearheaded by the venomous gnarls by Narek and the blast beats by Arthur. Then arising from the pits of the underworld we face Of Nomos and Flaming Flint Stone, featuring the Khazer Choir from Armenia to give it a truly haunting vibe, while Robert and Mark’s riffs transpiring pure darkness; and the bagpipes by Arthur Atayan and the narration by Artak Karapetyan bring sheer epicness to Forged With Glaive and Blood, while the band’s riffs and beats keep the atmosphere as caustic as it can be. And the clean vocals by guest Armen Shahbegian clash with the devilish vociferations by Narek in Zurvan Akrane, another explosion of Melodic Black Metal by Ildaruni.

The Khazer Choir returns in Arcane Sermon, also presenting a heavy-as-hell kitchen by Artak and Arthur, overflowing classic Black Metal while at the same time presenting the band’s epic approach; whereas it’s time for six minutes of Doom Metal-infused obscurity in Immersion Into Empyrean, with Narek roaring nonstop accompanied by the sluggish yet hammering drums by Arthur. The qanun by Mar Margaryan, alongside another phenomenal contribution by the Khazer Choir, make the band’s infernal sounds feel even more imposing in Scorching Pathways to Samachi, the most detailed song of the album, presenting multiple layers that in the end converge into absolute darkness, while closing the album we’re treated to the title-track Divinum Sanguinem, with guest Tamara Mkhitaryan making a “Beauty and the Beast” vocal duet with Narek, a lesson in Melodic Black Metal where the riffage by Robert and Mark will darken the skies for all eternity.

While the Armenian horde has left their earlier folk-driven melodies and riffs behind, grandiose and wickedly melodic passages still lurk amid the oppressive, grim elements found in Divinum Sanguinem, sporadically erupting with blazing fury. Real choir arrangements summon and channel the album’s lyrical mysteries, uniting its thematically entwined tracks into a single, esoteric rite, and you can explore and feel all those details and elements by purchasing a copy of the album from BandCamp or by clicking HERE. Don’t forget to also follow the band on Facebook and on Instagram, and to stream their harsh, embracing Black Metal creations on Spotify. In a nutshell, Divinum Sanguinem marks a new era in the career of Ildaruni, solidifying their name in the current Extreme Metal scene worldwide, and pointing to an even brighter future ahead of one of the best (if not the best) metal bands to ever arise from the beautiful Hayastan.

Best moments of the album: Forged With Glaive and Blood,Scorching Pathways to Samachi and Divinum Sanguinem.

Worst moments of the album: Immersion Into Empyrean.

Released in 2025 Black Lion Records

Track listing
1. Mithras Alone Is My Wreath 2:27
2. The Ascension of Kosmokrator 5:42
3. Of Nomos and Flaming Flint Stone 5:30
4. Forged With Glaive and Blood 5:46
5. Zurvan Akrane 6:33
6. Arcane Sermon 5:50
7. Immersion Into Empyrean 6:00
8. Scorching Pathways to Samachi 6:49
9. Divinum Sanguinem 8:04

Band members
Narek Avedyan – vocals
Robert Meliksetyan – guitars, acoustic guitars, ambience, samples
Mark Erskine – guitars
Artak Karapetyan – bass
Arthur Poghosyan – drums, dap

Guest musicians
Khazer Choir – choirs on “Of Nomos and Flaming Flint Stone”, “Arcane Sermon” and “Scorching Pathways to Samachi”
Arthur Atayan – bagpipes on “Forged with Glaive and Blood”
Mar Margaryan – qanun on “Scorching Pathways to Samachi”
Andranik Aghajanyan – cello on “Mithras Alone is My Wreath”
Tamara Mkhitaryan – female vocals on “Divinum Sanguinem”
Armen Shahbegian – clean vocals on “Arcane Sermon”, “Scorching Pathways to Samachi” and “Zurvan Akrane”
Artak Karapetyan – narrations on “Forged with Glaive and Blood”

Metal Chick of the Month – Aleks Radmanovich

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 – Impermanence / Anicca (2025)

This five-headed Technical Death and Black Metal beast from Poland will attack armed with their debut offering, portraying the fragility and transience of human life.

Forged in the fires of Kraków, Poland by the end of 2023, the Technical Death and Black Metal beast known as Impermanence is unleashing hell with the release of their debut offering, entitled Anicca. Recorded at Studio Poziom -1, mixed and mastered at Dahaka Productions, and displaying a beyond Stygian yet captivating artwork by Alicja Michalec, the debut opus by Mateusz Bednarz on vocals, Wojciech Wróbel and Paweł Hernik on the guitars, Bartłomiej Fitas on bass, and Konrad Pieczara on drums portrays the fragility and transience of human life, all embraced by the band’s unrelenting blend of extreme music, being therefore highly recommended for fans of renowned acts from the Extreme Metal scene the likes of Behemoth, Belphegor, Nile, and God Dethroned, just to name a few.

The album’s phantasmagorical, eerie Intro will embrace us in pitch black darkness before the band rips our hearts out with Sorrodise, with both Wojciech and Paweł delivering a wild fusion of Black and Death Metal through their flammable riffs accompanied by the rumbling bass by Bartłomiej. In other words, the album couldn’t have started in a more compelling way. From Mirage to Lust brings elements from the current Scandinavian Melodic Death and Black Metal scene, with Mateusz taking the lead with his devilish screams, and the band then goes absolutely mental in the Melodic Black Metal beast entitled Apocalypse, with Konrad bringing forward sheer heaviness with his classic beats and fills, inviting us all to slam into the pits of the netherworld.

There’s no sign of the band slowing down at all; quite the contrary, this five-headed creature of extreme music will pulverize us all with Spiritual War, where the guitars by Wojciech and Paweł exhale madness and sulfur; whereas their metallic sounds continue to darken the skies in Fugitive, with tons of intricacy flowing from their riffs, bass and drums, all enfolded by Mateusz’s venomous roars. As expected, there’s no such thing as “sounding mellow” or “happy music” to those guys, and they invest in their most Behemoth-inspired sonority in Ascension Through Defiance, with their riffage cutting our skin deep while Konrad pounds his drums nonstop in the name of Polish Blackened Death Metal for our absolute delight. And lastly, we face the hard-hitting Crumbling, deviating a bit form their core Black and Death Metal, but still sounding tight and heavy as usual.

“Anicca is a hymn to the fragility that marks our existence. The album’s name is derived from Buddhist terminology and signifies impermanence. The lyrical layer explores themes of transience and the search for purpose in the world around us. Songs begins and ends with the ticking of a clock, clearly marking both the start and the conclusion of the story being told. Each track presents a different narrative, offering a unique perspective on the somber aspects of human nature. This concept extends beyond the lyrics, shaping the band’s overall artistic identity,” commented the band about their amazing newborn baby, and you can get in touch with them and know more about their music, tour dates and plans for the future on Facebook and on Instagram, stream their caustic music on YouTube and on Spotify, and grab a copy of the excellent Anicca from their own BandCamp, from the Satanath Records’ BandCamp or webstore, or simply by clicking HERE. In the end, we are all fragile beings, we are not permanent, and the music found in Anicca perfectly reminds us of how hard it is to face such a harsh truth.

Best moments of the album: Sorrodise, Apocalypse and Ascension Through Defiance.

Worst moments of the album: Crumbling.

Released in 2025 Satanath Records

Track listing
1. Intro 1:24
2. Sorrodise 4:20
3. From Mirage to Lust 5:16
4. Apocalypse 3:23
5. Spiritual War 4:12
6. Fugitive 6:06
7. Ascension Through Defiance 5:03
8. Crumbling 5:56

Band members
Mateusz Bednarz – vocals
Wojciech Wróbel – guitars
Paweł Hernik – guitars
Bartłomiej Fitas – bass
Konrad Pieczara – drums

Album Review – Old Machines / The Cycles of Extinction (2025)

This Symphonic Black Metal entity from Portland will attack with their concept debut album, a monolithic fusion of bombastic brutality and cosmic dread.

Astral warlords and celestial leviathans, Portland, Oregon-based  Symphonic Black Metal entity Old Machines emerge from the void with their cataclysmic concept debut album, titled The Cycles of Extinction, a monolithic fusion of bombastic brutality and cosmic dread. Recorded and mixed by the band’s own guitarist Brian Rush, mastered by Stephen Hoffman at Acid Dump Studios, and displaying a futuristic, dystopian cover art by Alexander Preuss, the debut offering by Gary Reavis on vocals, Brian Rush on the guitar and bass (the band was joined by Joel Henigson on bass shortly after the album was recorded), Devon Miller also on the guitar, Jason Stares on keyboards, and Chris Craven on drums heralds a new chapter in Extreme Metal where ancient engines of annihilation awaken once more.

You know a band is always aiming at pushing their boundaries when they kick off an album with an 11-minute song like Twilight of the Old Gods, and the Dawning of the First, sounding utterly atmospheric and whimsical, evolving into a Progressive Death Metal beast led by Gary’s striking vocals; and their symphonic wall of sounds goes on in full force in Cycles of Extinction, with the keys by Jason elevating the song’s epicness to a whole new level. Those guys definitely know how to name their songs, like in Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory), where Brian and Devon deliver an imposing riff attack accompanied by the massive beats and fills by Chris in a complex and vibrant blend of Symphonic and Progressive Black Metal; whereas Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle is a beyond ethereal, enfolding composition, almost venturing through the lands of Shoegaze.

Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) takes the band back to a more metallic and piercing mode, where Chris hammers his drums supported by the always electrifying keys by Jason, offering Gary exactly what he needs to shine on vocals. And it’s pedal to the metal in the infuriated The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague, with the guitars by Brian and Devon penetrating deep inside our rotten minds. Then a cinematic intro explodes into sheer madness, rage and first-class Symphonic Black Metal in They are Legion – The Tragic Exodus of the Veiled Creators, where their guitar lines are absolutely insane and demented. And finally, we face their last metal attack entitled Glory to the Terrans of the First Contact War, even more symphonic than its predecessors while Chris sounds ruthless behind his drums.

In a nutshell, the tales of horror, war, and genocide found in The Cycles of Extinction, spanning eight tracks for one hour of music which can be described as Extreme Cosmic Metal, combining elements of Thrash, Death, Black, and Power Metal, will certainly appeal to fans of heavy music with a strong background storyline, and you can get to know more about Old Machines, their music, tour dates and other details on Facebook and on Instagram, and grab a copy of the album from their own BandCamp, from the Pale Magus Productions webstore, or by clicking HERE. From the darkest depths of the oceans of time and space comes a legend over two billion years old, which has spawned a multitude of harrowing galactic sagas, with The Cycles of Extinction being just the first in a series of concept albums by the band. There will be more of such epics in this fashion because, as you know, extinction is only the beginning.

Best moments of the album: Twilight of the Old Gods, and the Dawning of the First, Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) and The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague.

Worst moments of the album: Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle.

Released in 2025 Pale Magus Productions

Track listing
1. Twilight of the Old Gods, and the Dawning of the First 11:14
2. Cycles of Extinction 6:41
3. Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory) 6:18
4. Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle 8:39
5. Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) 6:51
6. The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague 7:15
7. They are Legion – The Tragic Exodus of the Veiled Creators 6:03
8. Glory to the Terrans of the First Contact War 7:25

Band members
Gary Reavis – vocals
Brian Rush – guitar, bass
Devon Miller – guitar
Jason Stares – keyboards
Chris Craven – drums

Album Review – Baest / Colossal (2025)

Back from the fires of Denmark with a fresh sound and a badass attitude, this unstoppable creature will crush you with their fourth studio album, a thrilling celebration of Heavy Metal played with Extreme Metal intensity.

Back once again from the fires of Aarhus, Denmark with a fresh sound and a badass attitude, the ruthless Death Metal creature known as Baest will crush our damned minds and souls with their fourth full-length opus, entitled Colossal, following up on their fantastic albums Danse Macabre (2018), Venenum (2019) and Necro Sapiens (2021) while also cementing their reputation as Extreme Metal mavericks with an ear for lethal hooks. Produced, recorded, mixed and mastered by Tue Madsen at Antfarm Studio, and featuring a demonic artwork by Solo Macello, the new offering by frontman Simon Olsen, axemen Lasse Revsbech and Svend Karlsson, bassist Mattias “Muddi” Melchiorsen, and drummer Sebastian Abildsten is an absolute monster, bursting at the seams with catchy riffs and classy melodies, with stylistic salutes to everyone from Ozzy Osbourne and Dokken, through to Iron Maiden and Whitesnake, while still rooted in the belligerent Death Metal that informed previous records, resulting in a magnificent Rock N’ Roll rebirth of such a prominent beast from the Danish metal scene.

The AC/DC-infused riffs by Lasse and Svend ignite the opening tune Stormbringer before the music turns into a wild fusion of Death Metal with Progressive Rock and Metal elements, followed by the indomitable Colossus, showcasing heavy-as-hell, Doom Metal-infused lyrics growled by Simon (“Colossus / Breath the air of the deceit / Colossus / Feel the weight of your defeat / Colossus / Never stray from the common line / Colossus / Crushed under the weight of the colossus”) while the sounds blasted by his bandmates are absolutely dark and menacing. The band keeps delivering sheer adrenaline spearheaded by the venomous vocals by Simon in In Loathe and Love, a lesson in modern-day Death Metal, whereas in King of the Sun, featuring Jesper Binzer of Danish rock band D-A-D on guest vocals, we’re treated to a rockin’ sonority led by the classic beats and fills by Sebastian.

Then blending the fury of Death Metal with the heaviness of Doom and Sludge Metal we have Imp of the Perverse, with Mattias and Sebastian hammering their thunderous weapons mercilessly; and featuring additional vocals by Danish black metal band ORM, the band offers another blast of insanity, heaviness and classy Death Metal in Misfortunate Son, with the riffage by Lasse and Svend exhaling pure adrenaline. Then get ready to be crushed into tiny pieces to the sound of Mouth of the River, where Simon’s deranged growls walk hand in hand with Sebastian’s pounding drums; and a guitar-driven instrumental tune titled Light the Beacons, which feels like an ode to all of their idols and influences, sets the stage for Depraved World, a multi-layered, groovy and vibrant composition where the deep roars by Simon match perfectly with all riffs, bass lines and beats, putting a climatic ending to the album.

Colossal never bends to current trends; instead, it is a thrilling celebration of Heavy Metal played with Extreme Metal intensity, representing a wholesale transformation. Inspired by and infused with old school, classic metal riffs, Colossal is an album that delights in the glory of Heavy Metal and the fine art of rocking out, inviting us all to bang our heads and raise our horns together with those beyond talented Danes, and they’re waiting for you on Facebook, InstagramYouTube and Spotify with more of their ass-kicking music, undisputed attitude, and deep passion for all types of rock and metal music. Hence, you can purchase a copy of Colossal by clicking HERE, or you can also click HERE for all things Baest, getting to know more about one of the best bands of the current scene worldwide. As you might have noticed, something colossal is coming, and you better brace for impact as those boys are armed to the teeth with the pulverizing sounds of their incendiary newborn beast.

Best moments of the album: Colossus, In Loathe and Love, Mouth of the River and Depraved World.

Worst moments of the album: None.

Released in 2025 Century Media Records

Track listing
1. Stormbringer 4:32
2. Colossus 4:23
3. In Loathe and Love 5:09
4. King of the Sun 4:09
5. Imp of the Perverse 5:56
6. Misfortunate Son 4:02
7. Mouth of the River 4:24
8. Light the Beacons 3:42
9. Depraved World 6:03

Band members
Simon Olsen – vocals
Lasse Revsbech – guitars
Svend Karlsson – guitars
Mattias “Muddi” Melchiorsen – bass
Sebastian Abildsten – drums, percussion

Guest musicians
Jesper Binzer – vocals on “King of the Sun”
ORM – vocals on “Misfortunate Son”