Rooted in the classic language of Finnish Death Metal, this unrelenting quartet is ready to strike armed with their first full-length album.
After introducing their vision with their 2022 debut EP Utter Darkness, Tampere, Finland-based Death Metal horde Hekatoxen is ready to strike with their first full-length album, titled Obsidian Majesty. Rooted in the classic language of Finnish Death Metal, the new album by Jussi Rinta-Kiikka on vocals, guitars and synthesizers, Niko Talpio also on the guitars, Risto Räkköläinen on bass, and Vesa Nikkinen on drums does not rely on mere repetition of familiar formulas, moving through a landscape of razor-edged riffs, where heaviness never comes at the expense of movement. The songs hit hard, but they also breathe, shift direction and reveal a band with a clear understanding of dynamics.
The band wastes no time and kicks off their deadly festivities with Lost Souls Epitome, where Vesa already crushes his drums mercilessly in the best and most primeval Death Metal style, and Jussi and Niko keep delivering sheer animosity through their dirty, scathing riffs in I Am Them, while the same Jussi roars deeply like a creature from the abyss. Spawns of Darkness carries a poetic name for another bestial devastation of absolute Death Metal madness, inviting us all to slam into the pit to the gory, rumbling bass and drums by Risto and Vesa; whereas their strident, visceral guitars will penetrate deep inside your mind in Haunting Ceremony, perfect for some vigorous headbanging.
Domus Vilomaxus, which translates as “House of the Order,” combining a Latin word for home with a fictional term from the cultist language featured in the classic video game Blood, again presents the demonic vociferations by Jussi, followed by Grave Reveries, a solid Death Metal tune albeit a bit generic compared to the other sick creations by the quartet. Then after the obscure interlude At Hellsrivers Pathway we face another blast of sheer destruction by the band titled Vanguard the Dark, where the guitars by Jussi and Niko reek of putrefaction, not to mention the band’s demonic kitchen formed of Risto and Vesa is once again thunderous, putting a venomous ending to such a heavy and evil album.
Avoiding unnecessary complexity, Hekatoxen embrace the power of well-crafted songwriting, and Obsidian Majesty certainly captures a band refining its identity, balancing old school instincts with a contemporary edge and proving that tradition can still cut deep when handled with conviction, being therefore highly recommended for fans of Demigod, Adramelech, Sentenced, and Funebrarum. You can find those Finnish bastards on Facebook and Instagram, stream their sick creations on Spotify, and of course, put your putrid hands on Obsidian Majesty via their own BandCamp, as well as from the Nuclear Winter Records’ BandCamp or webstore. If their first strike in 2022 was deadly, their new onrush now with Obsidian Majesty is even deadlier. There’s nowhere to run, nowhere to hide.
Best moments of the album:Lost Souls Epitome, Spawns of Darkness and Vanguard the Dark.
Worst moments of the album:Grave Reveries.
Released in 2026 Nuclear Winter Records
Track listing 1. Lost Souls Epitome 6:02
2. I Am Them 3:38
3. Spawns of Darkness 4:04
4. Haunting Ceremony 5:44
5. Domus Vilomaxus 4:45
6. Grave Reveries 3:26
7. At Hellsrivers Pathway 1:48
8. Vanguard the Dark 5:43
Band members Jussi Rinta-Kiikka – vocals, lead & acoustic guitars, synthesizers
Niko Talpio – rhythm guitars
Risto Räkköläinen – bass
Vesa Nikkinen – drums
So far away, yet held so close… I know you call me, wishing me back…
Let’s kick off the celebrations of the 13th anniversary of The Headbanging Moose, and there’s nothing better to represent over a decade of passion for the underground than paying a tribute to one of the staples of the Finnish extreme music scene as our metal lady of this month of October. If you’re not from another planet, you might have already heard of the name Tanja Kemppainen (sometimes also spelled Tanya Kemppainen), or Tanja Kirsi Tellervo Kemppainen, and who also goes by the darkly beautiful moniker Whisper Lilith or Tanya Whisper Lillith, the frontwoman for the incredible band Soulgrind since the already distant year of 1997, as well as the vocalist for other first-class bands from the land of ice and snow such as Lullacry and Gloomy Grim, always delivering those hypnotizing Stygian vocals we all love so much from one of the best places to be in the entire world when it comes to Heavy Metal. The skies are getting darker, the nights are getting colder and longer, and Whisper Lilith is among us all to remind us that winter might be coming, but there’s always beauty in its frostbitten landscapes.
Born in 1979 in Kajaani, a town of less than 40,000 people in Finland, and the regional capital of Kainuu, Tanja came to public attention as the singer of Melodic Death/Gothic Metal entity Lullacry (a play word with the words “lullaby” and “cry”) from 1998 to 2002, before being replaced by another Finnish singer named Tanja Lainio. The band called it quits in 2014, but their legacy remains with some excellent released with both Tanja Kemppainen and Tanja Lainio on vocals. Our metal lady of the month, Tanja Kemppainen (because as you know, there might be too many Tanjas in Finland), recorded with the band their very first demos in 1998 after changing their name from Coarse (which existed between 1992 and 1998 and played a more direct blend of Melodic Death Metal), those being Weeper’s Aeon and Sweet Desire, and the 1999 demo Alone.
After the release of those successful demos, the band then released their debut full-length studio album, also titled Sweet Desire, but containing 11 tracks instead of only the two original ones from the demo. The band picked up momentum and two years later released their sophomore opus, entitled Be My God, which gained tons of positive reviews from the fans and the media. Curiously enough, the band had a pretty steady lineup through the year with guitarists Sauli Kivilahti and Sami Vauhkonen, bassist Heavy, and drummer Jukka Outinen, with pretty much only Tanya leaving their classic formation and being replaced by the aforementioned Tanja Lainio in 2002, who stayed with the band until the end.
Between 1997 and 1998, she was also the female vocalist for a Helsinki-based Symphonic Black Metal horde named Gloomy Grim, having recorded with them the 1997 demo Friendship Is Friendship, War Is War!, and their 1998 debut full-length offering titled Blood, Monsters, Darkness, already going by the moniker Whisper. As a matter of fact, Tanja was the girlfriend of the band’s mastermind, vocalist and keyboardist Agathon (aka Juha Tapio Hintikka) while she was in the band. She left the band when they broke up (although they played together in Soulgrind after that). Furthermore, the band was put on hold in December 2019 due to Agathon’s deteriorating health, and then disbanded in August 2021. Unfortunately, Agathon died on May 30, 2022 due to complications of a brain cancer, but the legacy of Gloomy Grim lives on.
Another band which Tanja was a member of for a few years was Finnish Gothic Metal band Silentium. She was part of the band for a very brief period in 2003, when the band’s longtime original female vocalist, Tiina Lehvonen, took a temporary leave for personal reasons and Tanja stepped in to help them complete their next studio effort. By the time the band moved on to record their fourth album Seducia, in 2006, they had recruited a new permanent singer named Riina Rinkinen. Tanja and Silentium recorded only one studio album together, titled Sufferion – Hamartia of Prudence, released in 2003, a highly theatrical 16-song, 1-hour long concept album produced by Nightwish mastermind Tuomas Holopainen and featuring Tanja sharing vocal duties alongside Maija Turunen.
Apart from those, Tanja was also involved in two other pure Finnish metal bands. The first one was Symphonic Heavy Metal band Metallimessu. The band’s name is Finnish for “Metal Mass”, a service of worship which follows a Lutheran service patterns but where Finnish hymns are adapted to a Heavy Metal style. The first Metal Mass was held in 2006, becoming a phenomenon in Finland, but the group disbanded a couple of years later, in 2008. Tanja recorded with the band the songs Herra, elämääni, Herra, kädelläsi, and Ken tahtoo käydä Herran askelissa, which should translate to English as “Lord, my life,” “Lord, in Your hand,” and “whoever wishes to walk in the Lord’s footsteps,” from their 2008 self-titled album. She was also involved in the project Raskasta Joulua, which means “Heavy Christmas” in Finnish, delivering traditional Christmas carols and Christmas hits in a Heavy Metal style mostly with Finnish lyrics (although some are also in English and Swedish). In 2004 the project released their debut self-titled album, and Tanja was the vocalist for the song Maa on niin kaunis, or “the earth is so beautiful.”
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Needless to say, her biggest contribution to the world of heavy music will forever be her role as vocalist for Helsinki-based Gothic/Black Metal beast Soulgrind as Tanya Whisper Lillith, fronting the band alongside the excellent vocalist Miika “Azhemin” Niemelä. Tanja joined Soulgrind back in 1997, when the band was the solo project of guitarist Jussi “Lord” Heikkinen and already had a couple of EPs and two full-length albums released. Right after joining the band with other musicians, hence Soulgrind becoming a full-bodied group, she recorded with them a 1997 demo titled Helkavirsiä, Promo 1997, followed by the albums Whitsongs (1997), Kalma (1999), Elixir Mystica (2001), Into the Dark Vales of Death (2002), The Origins of the Paganblood (2005), Pakana (2007), The Tuoni Pathway (2010), and more recently the excellent Ad Pulchram Mortem, as well as an EP in 2010 titled March Butterfly, all available on Spotify, slightly changing her moniker to Ms W. Lilith or Ms Tanya Lilith, depending on the album. You can find most of the songs from all albums also on YouTube, including official videos and lyric videos for songs such as Jylhä metsämies (or “the grim forest-dweller”) and Tears of the Earth.
Our incredible and unstoppable vocalist also participated in several amazing bands and projects as a guest musician through her undisputed career. For instance, she recorded backing vocals for the 2007 album Silent Waters, by Finnish Melodic Heavy Metal/Rock masters Amorphis; additional vocals for the 2010 demo The Space Opera, and the voice as “Princess Celeste” for the 2024 album Legacy of Morfuidra, by Finnish Power Metal act Coventhrall; vocals on the 1997 album Yellow, by Finnish Death/Thrash/Black Metal horde Nomicon; backing vocals on the song Black Lotus, from the 2006 album Fuck the World, by Finnish Stoner Metal/Hard Rock band Stoner Kings; and additional vocals on the Sandra’s cover In the Heat of the Night, from their 2000 single In the Heat of the Night, and backing vocals on the 2001 album Epilogue, both by Finnish Gothic Metal/Rock titans To/Die/For.
Once our metal lady Tanja was interviewed together with the diva Tarja Turunen to talk about women in metal in their homeland, and Tanja made some interesting comments about that. “In Helsinki’s heavy circles tough women are called rude chicks. That means the attitude that combines all heavy women. You can be any size or look anyway as long as you have the right attitude. Although the concept of rude chick started out as a joke, it means not to make trouble with me,” she said. Displaying the same style both onstage and in her personal life, Tanja (and also Tarja) said it’s certainly not hard to be a woman in the world of heavy music. “I’ve never faced hardships because I’m a woman nor have I gotten any concessions. Except for the fact that I rarely have to be a roadie! I pretty much have the same things as the guys, there’s no special position,” she commented.
After all is said and done, it’s crystal clear that there is no Heavy Metal in Finland without Tanja Kemppainen, and there is no Tanja Kemppainen without Heavy Metal. She’s a staple of the metallic scene in the always beautiful land of ice and snow, and I’m sure she’ll keep on rockin’ no matter what until her final breath. She has a Heavy Metal heart and soul, and it’s a true honor to let you readers know more about her stunning career here on The Headbanging Moose. May Whisper Lilith continue to darkly whisper her hypnotizing words to us, mere mortals, through her undisputed music, keeping the fires of Finnish Heavy Metal burning bright for many centuries to come.
Delving further into darkness, this Gothic Metal quartet returns with an exploration of disillusionment, fractured identity and the struggle to reclaim clarity in a world saturated with distortion.
Delving further into darkness with a sound situated in Progressive Gothic Metal, the veteran Australian and Finnish quartet known as The Eternal is set to unveil their eighth studio album upon humanity, titled Obscured Horizons, following up on their 2024 opus Skinwalker. Produced by Jan Rechberger and Mark Kelson, and displaying a darkly stunning artwork by Kate Roney, the new album by Mark Kelson on vocals and guitar, Richie Poate on lead guitar, Niclas Etelävuori on bass, and Jan Rechberger on drums and percussion is the band’s most immersive and definitive work to date, an exploration of disillusionment, fractured identity and the struggle to reclaim clarity in a world saturated with distortion, moving through states of emotional collapse, liminal transition and existential unrest, confronting deception – both external and internal – before emerging into renewal and self-awareness.
Mark and Richie start the band’s metallic engine with their melodeath-infused guitars in Lament For The Hollow, already presenting their trademark fusion of Progressive and Gothic Metal. Then bringing elements from Gothic Rock from the 80’s we have Existing To Expire, with Niclas kicking some serious ass with his heavy bass lines, followed by Colours Fade, again showcasing an endless dosage of progressiveness added to their core sound, as if Dream Theater went absolutely goth. And striking background keys bring even more adrenaline to Harmony Breaks, with the melodious vocals by Mark embracing us in a comforting darkness in the name of Gothic Rock and Metal.
I’ve Seen The Dream is a stunning ballad in the vein of Dream Theater from their masterpiece Metropolis Pt. 2: Scenes from a Memory, with Richie stealing the spotlight with his enfolding guitars lines and solos; followed by Liminality, presenting seven minutes of a lecture in Progressive Metal, with Mark’s vocals being flawlessly complemented by the groovy, multi-layered and intricate kitchen crafted by Niclas and Jan. The title-track Obscured Horizons keeps their fires burning bright led by another killer performance by Jan behind his drums; while the incendiary guitars by Mark and Richie keep piercing our minds mercilessly in Yesterday’s Gone, another stylish display of the band’s first-class Heavy Metal. Finally, we face Awaken, again presenting several layers and nuances, with Richie sounding on fire with his axe, breathing piercing riffs and solos nonstop and, therefore, ending the album in great fashion.
A work concerned with the erosion of truth, the masks we inherit, the weight of memory and the courage required to awaken from imposed realities, Obscured Horizons represents both culmination and evolution, a bold statement from a band entering a new creative chapter with their gaze fixed firmly on the unseen. You can get to know more about The Eternal, their new album, their tour dates and other nice to know details via Facebook and Instagram, stream their unique creations on Spotify, and above all that, purchase a copy of the album by clicking HERE. Rather than surrendering to decay, Obscured Horizons charts a defiant ascent, refusing numbness, rejecting illusion, and ultimately reclaiming light from the shadows that threaten to eclipse it.
Best moments of the album:Lament For The Hollow, Liminality and Yesterday’s Gone.
Worst moments of the album: None.
Released in 2026 Reigning Phoenix Music
Track listing 1. Lament For The Hollow 5:04
2. Existing To Expire 4:10
3. Colours Fade 4:58
4. Harmony Breaks 5:05
5. I’ve Seen The Dream 4:14
6. Liminality 6:59
7. Obscured Horizons 5:11
8. Yesterday’s Gone 5:13
9. Awaken 6:07
Band members Mark Kelson – vocals, guitar
Richie Poate – lead guitar
Niclas Etelävuori – bass
Jan Rechberger – drums, percussion
Let’s raise our horns and glasses to a beautiful death to the sound of the striking new offering by these Finnish Gothic and Black Metal veterans.
Forged in the fires of Helsinki, Finland in the distant year of 1992, and known for blending Gothic, Thrash and Black Metal into a dark, melodic atmosphere, Soulgrind continue to explore themes related to the darker aspects of Finnish history and psyche, combining passion, war, and the “dark side of mind” into their lyrical content, reflecting a deep connection to Finland’s cultural and historical roots, in their tenth studio album titled Ad Pulchram Mortem (or “to a beautiful death” from Latin), released 16 years after their last album, The Tuoni Pathway. Currently formed of Micko Hell on vocals and lead guitars, Tanya Lilith on female vocals, Lord Heikkinen also on the guitars, Azhemin on keyboards and harsh vocals, JP on bass, and Suntio on drums, the band is on absolute fire from start to finish in Ad Pulchram Mortem, proving they still have a lot of fuel to burn even after all those decades on the road.
After the atmospheric intro Nousee musta lintu (“a black bird rises” from Finnish), the band comes ripping with the breathtaking The Origin of the White Serpent, where the deep, harsh vocals by Azhemin clash beautifully with the soaring clean vocals by Tanya Lilith, while Suntio hammers his drums nonstop. Jylhä metsämies (“the brave forester”) is also delicate yet visceral, with Micko Hell and Lord Heikkinen extracting sheer heaviness and electricity form their axes; followed by The Last Day of Therinon, offering us all seven minutes of atmospheric passages leaning towards Melodic Gothic Metal where Micko Hell and Tany Lilith make a beautiful vocal duet, while in In the Circus of Tuonela they get back to a darker, more menacing sound, with the haunting keys by Azhemin darkening the skies for our total delight.
Then JP and Suntio craft a thunderous sonority in Dark Water Wide, blending the obscurity of Gothic Metal with the visceral sounds of Black Metal, followed by Tears of the Earth, a doom-laden Gothic Metal feast by the band where Tanya Lilith once again steals the spotlight with her ritualistic clean vocals. A Whispered Curse upon the Gale is by far one of the heaviest (if not THE heaviest) of all songs, where Suntio sounds ruthless on drums while Azhemin keeps vociferating like a demonic entity, whereas As a Narrow Fjord Descends presents seven minutes of first-class Gothic and Black Metal for the masses, again taking us on a journey through the bitterly cold lands of the Finnish winter. Lastly, we have Into the Shadows of Devotion, the most complex and detailed song of the album, offering 11 minutes of the band’s trademark sounds, with Tanya Lilith leading the pack with another striking vocal performance while the instrumental pieces sound stunning from start to finish.
Their sound might have evolved over time as we can see in Ad Pulchram Mortem, but Soulgrind have maintained their core identity rooted in metal with a dark, atmospheric edge, resisting strict genre categorization and embracing musical development freely. If you want to know more about such an important band of the Gothic Metal scene worldwide, you can find them on Facebook, including their tour dates, stream their music on Spotify, and of course, purchase their new album from their own BandCamp. In other words, let’s raise our horns and glasses to a beautiful death to the sound of the striking new offering by these Finnish Gothic and Black Metal veterans, and may they keep darkening the skies for another 30 years at least with more of their Stygian music.
Best moments of the album:The Origin of the White Serpent, A Whispered Curse upon the Gale and Into the Shadows of Devotion.
Worst moments of the album:Jylhä metsämies.
Released in 2026 Inverse Records
Track listing 1. Nousee musta lintu 4:10
2. The Origin of the White Serpent 8:51
3. Jylhä metsämies 6:10
4. The Last Day of Therinon 7:20
5. In the Circus of Tuonela 5:18
6. Dark Water Wide 4:55
7. Tears of the Earth 5:58
8. A Whispered Curse upon the Gale 4:04
9. As a Narrow Fjord Descends 7:40
10. Into the Shadows of Devotion 11:10
Band members Micko Hell – vocals, lead guitars
Tanya Lilith – female vocals
Lord Heikkinen – guitars
Azhemin – harsh vocals, keyboards
JP – bass
Suntio – drums
“Don’t try to run… Walk away with me… The time is running out… Break into pieces and rise high!”
The month of July might be one of the hottest (if not THE hottest) of the year anywhere above the Equator, and there’s nothing better than travelling all the way to the land of ice and snow, also known as Finland, to turn up the heat even more like in a traditional Finnish sauna with the incendiary vocals by our unstoppable metal lady chosen to make our webzine a much better place this month. Although she has just recently joined Finnish Heavy/Power Metal brigade Dyecrest as their new frontwoman, she’s not a newcomer to the metal community, having already recorded and released several albums and singles with different bands from her homeland in the past two decades. Her name is Heidi Aaltonen, formerly known as Heidi Bergbacka, and she will kick your ass mercilessly with her potent vocals and undeniable charisma, inspiring you to raise your horns together with her in the name of heavy music.
Born and raised “somewhere in Finland”, Heidi began her metal career as the frontwoman for Tampere-based Melodic Heavy Rock band MoonMadness, having established since then her presence in the Finnish heavy music scene through underground classic rock-infused metal music, session collaborations, and live guest work. As the vocalist for MoonMadness between 2001 and 2008, she released in 2008 the band’s one and only full-length album, titled All in Between, alongside guitarist Otto Hallamaa, bassist Juha Leppäharju, keyboardist Turkka Vuorinen, and drummer Antto Nikolai Tuomainen. The single Stroke of Midnight, released in 2007, successfully broke into the Finnish Top 20 singles chart, with her vocal performance being praised by fans and critics for its 70’s and 80’s classic Hard Rock sensibilities. Unfortunately, MoonMadness are no more, but their music is definitely worth checking out if you’re a fan of classic rock and metal.
Heidi also has a solid backing and session work from her early days, having collaborated with distinct bands from the Finnish scene. For instance, she recorded all female vocals (as Lady Heidi von Bergbacka) for the 2020 album Outojen tornien varjoissa (or “in the shadows of the strange towers” in English), by Finnish Black Metal horde Faustian Pact; backing vocals (as Heidi Bergbacka) in the 2016 album Vieraan vallan aurinko (which translates to “the sun of a foreign power”), by Finnish Heavy Metal/Hard Rock band Kotiteollisuus; backing vocals in the 2007 album Sleep and the 2009 album As Days Grow Darker, both by the now defunct Finnish Heavy Metal band Masterstroke; backing vocals in the 2021 album Novus Ordo Mundi, by Progressive Thrash/Heavy Metal band Stam1na; and female, choir and backing vocals in several albums, EPs and singles by Finnish Melodic Heavy Metal (with Schlager influences) band Viikate, such as their 2013 album Kymijoen lautturit, their 2014 album Panosvyö, and their 2024 album Hiljainen, as well as backing vocals while on tour with the band.
In addition, following her early metal foundations, she transitioned to alternative genres with projects like Sound of Divas (an internationally touring, Nordic musical project produced by MagnumLive, a prominent, full-service event production and entertainment programming agency based in Finland, that blends five vocal soloists with a big band and brass section) and WhatFour (an acoustic band from Lappeenranta, Finland). Ultimately, such a diverse vocal background paved her way back into heavy music, culminating in her recruitment to front Dyecrest and spearhead their fifth full-length album, titled Defying Gravity, representing the band’s most focused and mature work to date, a clear statement shaped by experience and artistic vision.
Hailing from Ristiina, located in the province of Eastern Finland and part of the South Savo region, Dyecrest are a Melodic Metal band active since the early 2000’s (having changed their original name Dyecast to the current one) blending Power Metal, traditional Heavy Metal and progressive influences, showcasing a sound defined by strong melodies, energetic riffs and a balanced mix of heaviness and emotion, earning the band a solid international following, and allowing them to share the stage with renowned acts the likes of W.A.S.P., DragonForce, Stratovarius and Sonata Arctica, and appearing at major European festivals. since their inception, the band has released the albums The Way of Pain (2004), This Is My World (2005), Are You Not Entertained? (2018), Once I Had a Heart (2023), and the aforementioned Defying Gravity earlier this year, plus the EP The Stage Is Set in 2019, all available on any platform such as Spotify.
Currently formed of Heidi on vocals alongside Matti Pasanen and Henri Arola on the guitars, Pirkka “Pirkkis” Ohlis on the guitars and keyboards, Jukka “Zoukki” Matilainen on bass, and Niko Takala on drums, Dyecrest had three vocalists prior to Heidi becoming their frontwoman, those being Janne Oksanen, Kimmo Blom (RIP), and Mikael Salo. “Regardless of the singer, sound-wise it’s still the same band,” commented Heidi. For Heidi, joining the band wasn’t about reshaping their identity, but helping them rebuild their foundation. After years of pauses and transitions, Dyecrest found themselves at what she described as “ground zero,” a moment to start building again while preserving the spirit that longtime listeners recognize. The transition turned out to be smoother than expected. Instead of resistance, the band encountered enthusiasm from fans. “I felt at home straight away,” she said, admitting she was surprised by how welcoming audiences were.
On April 26, 2026, Dyecrest released their first album ever with Heidi on vocals, the already mentioned Defying Gravity, after having released the singles Failed One, Unravel Me and Bite the Bullet, in 2025, and the single Forsaken, in 2026. The title of the album captures the band’s renewed confidence. Rather than simply resisting obstacles, Heidi describes it as “standing your ground and taking your place,” reflecting a band pushing forward in a challenging music industry while affirming their worth and identity. “We didn’t have a definite plan on how we were going to sound or what we were going to do. We just did it, and the sound and the songs developed during the process. What this album did was create the sound that we want to be in right now. Regarding the next album, we now know more than we knew while we were making this one,” she commented in one of her interviews.
“The timing was awkward, and for the band the timing was very poor. A very bad time to change lead singers. We managed it very well. I am a learner, I got thrown into the mix and did some live shows, even without singing on the previous album. The range was suitable for me – I could sing those songs, so we didn’t have hard times on learning the songs and trying to fit in those shoes that Mikael left. It all went very naturally, even though the timing wasn’t ideal – releasing an album that didn’t have the same singer as the one that would appear for the live shows. It was different, but we were able to do it,” she said about the change in vocalists in Dyecrest, also explaining how she was involved in the writing process of the album. “I need to feel it so I can have the text,” she explained, describing her process in a very simple way. She listens to the music, and then just follows the emotional direction it suggests.
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One very important detail in Heidi’s involvement with Dyecrest is that she is married to Miitri Aaltonen, who has been mixing all of their albums since 2018, and of course that existing connection with the band made her transition into the role of their new vocalist a lot easier and smoother than expected, even though the band had never thought about having a woman instead of a man taking care of their vocal duties. Furthermore, Heidi’s involvement during the songwriting phase of Defying Gravity definitely changed the way the band works, as she took on a major role in writing both lyrics and vocal melodies.
Regarding her idols and influences in music and life in general, she said she doesn’t like to narrow her list down to only a few names, complementing by saying she listens to music in every category to keep discovering new details and nuances that she can incorporate to her own style. “I listen to a lot of ballad-singers, good range vocal singers. I like different styles of music, not only metal. Of course, most of it is metal music, but I take everything in because I want to explore music. For me to say one or two artists that have influenced me, it’s not possible, it’s all around me.”
As it happens with every single musician on earth, Heidi loves to be onstage and to exchange a lot of energy with the crowd. “When I am on stage, I need people to feel something. I know that they won’t feel it if I don’t feel it. What my goal is in every show, I kind of offer a getaway for an hour. From everything that surrounds you. I want them to see us; I want them to watch us. There are shows that have been like that. There are memories and experiences with the band – a lot of them are good from that point of view,” she commented. “If we can provide people one hour of peacefulness with good live music, then that’s the place I want to take it.”
Although she believes the current scene is really tough not only for Heavy and Power Metal, but for music in general, she still thinks there’s always a place in music for great melodies, and the fact that Finland is the country with the highest number of bands in Melodic Metal compared to any other country in the world gives hope to everyone who lives and breathes heavy music in her homeland. Needless to say, we must all agree with her, because a land that has provided us with the magical music by bands like Nightwish, Amorphis, Children of Bodom and Stratovarius, among many others, will always deserve our full attention and admiration.
Heidi also thinks it’s very important to shoot videos and showcase the band instead of sticking only to the music itself. “We have our brother making the videos for us and all the graphics for the band, Sami. The main thing in the videos is to capture the band, what is expected for example for when you see the band live. I do think the videos still have their importance today, even though we don’t have MTV and all music channels that show all the videos. Maybe someday we will have this happen again. The videos have increased their value at this point – compared to say five years ago. Video making, it takes a lot of money and effort to make these, but it was obvious that we were going to make videos. And you can see through YouTube how many viewers we have had, and it has paid off.”
In one of her interviews, Heidi mentioned that one of the greatest lessons she’s learned so far as the frontwoman for Dyecrest is that what comes around, goes around. “Be nice to people that you meet, because they will be a part of you someday.” In addition, she said that if the people around you feel you don’t have your whole heart into the music you’re making, if you just do the music because you do the music, it’s never going to work. In the case of Heidi and Dyecrest, we most definitely do not need to worry about it, because they put their hearts and souls into crafting their first-class Heavy Metal, and may Defying Gravity be just the first step of the band with Heidi fronting them, as we all certainly want to enjoy her soaring vocals in many other Dyecrest albums in the coming years.
“When I am on stage, I need people to feel something. I know that they won’t feel it if I don’t feel it. What my goal is in every show, I kind of offer a getaway for an hour. From everything that surrounds you. I want them to see us; I want them to watch us.” – Heidi Aaltonen
Behold the new opus by this unrelenting Finnish melodeath entity, bringing the band’s storytelling to life through vivid tales of horror, superstition, and doom.
Formed back in 2010 in Tampere, Finland, Torchia have steadily carved out a distinctive identity within the Extreme Metal scene by blending thrash-infused Melodic Death Metal with dark fantasy, gothic horror, and cinematic atmospheres. Produced by Janne Saksa and Villemorte, mixed by Janne Saksa, and mastered by Dan Swanö at Unisound, with killer artwork, illustrations and layout by Caelan Stokkermans Arts, the incendiary They Are Born Under Rules, the fourth full-length opus in their career, represents a defining chapter in the artistic journey by frontman Nox, guitarists Villemorte and Henri von Hardy, bassist Vulkan, and drummer Vincent Oscar Mill. Set against a bleak, 19th century-inspired gothic backdrop, the album brings Torchia’s storytelling to life through vivid tales of horror, superstition, and doom, uniting narrative depth with relentless musical force.
The opening song Nekromanteion is simply cinematic and grim from the very first second, with Nox’s deep, dark vocals walking hand in hand with their striking guitar lines by Villemorte and Henri, kicking off the album with tons of sulfur, insanity and Black and Death Metal energy. The band continues their infernal path with Hellmouth, blending the demented sounds of modern heavy music with old school symphonic and dark elements, resulting in a truly headbanging feast; and Vincent ignites the band’s ruthless engine in Into Hell, pounding his drums while the guitars by Villemorte and Henri exhale rage and fury in another strong contender for their live performances. Guess what? They remain in hell for the also hard hitting melodeath tune Hellstorm, again presenting the demonic vociferations by Nox for our total delight while also displaying some wicked guitar solos.
After such a high level of fire and sulfur, the band will crush our damned skulls with the infuriated Die Amour, perfect for breaking our necks headbanging to the massive beats by Vincent, followed by The Tiamat Machine, carrying a beautiful name for an epic, thrilling creation by those uncanny metallers, offering a clash of distinct sounds that will bring excitement and fear to our hearts, all boosted by the insane roars by Nox and all background cinematic sounds. The band then lets their Thrash Metal vein arise in Black Cat, adding speed and rebelliousness to their core Melodic Death Metal sounds while the guitar work by the band’s axe duo is once again fantastic; and Vulkan and Vincent will shake the foundations of the earth with their thunderous kitchen in Stygian Waters, keeping the album as powerful and aggressive as possible. Lastly, they slow things down a bit while keeping the atmosphere as dense and epic in Sanguine Masquerade, sounding like a dark and devilish waltz led by the grim vociferations by Nox.
“With this record, we wanted to push our sound further into darker and more cinematic territory without losing the immediacy and energy that defined our earlier work,” commented the band, expanding on the album’s direction, and if you’re a fan of the music by renowned acts the likes of Behemoth, Cradle of Filth, and Children of Bodom, you should definitely check what Torchia are up to on Facebook and on Instagram, bang your head to their caustic creations on Spotify, and of course purchase They Are Born Under Rules of the Darkness from BandCamp or from Rockshots Records as a CD or an LP. We’re living truly dark times, and although the music from Torchia’s new album is inspired by the 19th century, it’s beyond perfect for the chaotic state of our world.
Best moments of the album:Into Hell,The Tiamat Machine and Stygian Waters.
Worst moments of the album: None.
Released in 2026 Rockshots Records
Track listing 1. Nekromanteion 4:23
2. Hellmouth 4:08
3. Into Hell 3:38
4. Hellstorm 3:55
5. Die Amour 4:12
6. The Tiamat Machine 5:39
7. Black Cat 3:19
8. Stygian Waters 4:05
9. Sanguine Masquerade 4:46
Band members Nox – vocals
Villemorte – lead guitars, vocals
Henri von Hardy – guitars
Vulkan – bass, backing vocals
Vincent Oscar Mill – drums
Delivering filthy, mold-ridden Death Metal, this Finnish brigade explicitly calls for action in defense of nature and the rights of ethnic, gender and sexual minorities in their breathtaking new album.
Delivering filthy, mold-ridden Death Metal deeply rooted in the muddy sewers of the Finnish DIY Punk Rock and Hardcore scene, Finland’s own horde Unearthly Rites is unleashing another slab of raw old school Death Metal, Grindcore, and Crust in their sophomore album, titled Tortural Symphony of the Flesh. Presenting a total meltdown of nature, humanity, and machine, and of transgression, lust and power, the follow-up to their 2024 album Ecdysis advances the band’s crushing riffs and characteristically moldy grimness toward a more malicious and brutal soundscape, documenting the atrocities of capitalist society while also explicitly calling for action in defense of nature and the rights of ethnic, gender and sexual minorities, all masterfully crafted by Sisli (they/them) on vocals, Simo (he/him) and Santtu (he/him) on the guitars, Jennika (she/her) on bass, and Tapio (he/him) on drums.
The opening track Tuonen tulijat, manan menijät, or “those who come here, those who go there” from Finnish, already presents the trademark low-tuned, evil sounds blasted by the band, blending their core sonority with sheer Doom Metal, followed by Sokli Fields Forever / A Radiative Picnic, a primeval form of Death Metal where Sisli’s guttural is not recommended for the lighthearted so demonic it sounds. Simo and Santtu, supported by the rumbling bass by the she-demon Jennika, offer an overdose of wrath and darkness in Solstice, as doomed and vile as it can be; whereas A Stygian Winterscape is an atmospheric interlude that could have been slightly shorter to keep the vibe of the album more incendiary, setting the stage for the band to kill in Tortural Symphony of the Flesh, with Simo and Santtu giving a lecture in insanity with their caustic riffs and sick solos while Sisli keeps barking in the name of darkness.
Ignis fatuus, the elusive blue flames also known as a “Will-o’-the-Wisp” or “corpse-candle,” a glowing atmospheric phenomenon which has a reputation for causing mischief and even death, is the perfect title for a song by Unearhtly Rites, with the music transpiring the mystery and obscurity of that light, and with Tapio crushing his drums like a true beast in a Finnish Grindcore avalanche. Metalli, liha, kone, or “metal, meat, machine,” showcases another killer blend of Death Metal, Grindcore and other demented sounds, with Jennika and Tapio showing no mercy for our damned souls, followed by Absurd Transgression, as chaotic and dissonant as its predecessors, where their piercing guitars exhale hatred supported by Sisli’s deep roars. Then the quick and eerie interlude Not for the Weak warms us up for their coup-de-grace in The Notion of Emerging Totalitarianism, led by Jennika’s thunderous bass, leaving us completely disoriented after all is said and done while Sisli sounds inhumane, demented and furious on vocals once again.
“Tortural Symphony of the Flesh deepens our critique of capitalist oppression as a force that devastates nature through ecocide, erodes minority rights, and promotes conservationist ideology that ultimately reinforces colonialist power. Nature and humanity are inseparably fused in imagery of metal, roots, mud, flesh, and ice, forming a visceral rejection of fossil-industrial society. Queer BDSM lust and the words of William Blake are offered as an antidote to the christofascist trajectory,” commented the band, and you can join them in such an important mission by following the band on Facebook and on Instagram, by streaming their acid music on Spotify, and by purchasing their excellent new album from BandCamp or from Svart Records. Because the unstoppable Unearthly Rites are not just a Death Metal band. Their music has a deep and important message for all of us, metalheads or non-metalheads, and their new album definitely deserves our total attention in our rotten and decaying society.
Best moments of the album:Sokli Fields Forever / A Radiative Picnic, Tortural Symphony of the Flesh and The Notion of Emerging Totalitarianism.
Worst moments of the album:A Stygian Winterscape.
Released in 2026 Svart Records
Track listing 1. Tuonen tulijat, manan menijät 3:33
2. Sokli Fields Forever / A Radiative Picnic 3:33
3. Solstice 4:04
4. A Stygian Winterscape 2:53
5. Tortural Symphony of the Flesh 3:31
6. Ignis fatuus 7:21
7. Metalli, liha, kone 3:32
8. Absurd Transgression 3:48
9. Not for the Weak 0:35
10. The Notion of Emerging Totalitarianism 7:12
Band members Sisli – vocals
Simo – guitar
Santtu – guitar
Jennika – bass
Tapio – drums
This ruthless Finnish Black Metal horde returns with their third opus, delving into the rottenness of human reality, the abolition of kings and gods, and the bleak, habitual cycle of fraternal violence.
Blood continues to flow as Veri Virtaa Edelleen (or “the blood still flows” in English), the third statement by Oulu, Finland-based Black Metal horde Qwälen, delves into the rottenness of human reality, the abolition of kings and gods, and the bleak, habitual cycle of fraternal violence, concepts that mean nothing to the band, and yet embody everything they express. Tracked and mixed by Mikael Neves at Waiting Room Recording Studio, mastered by Jack Control at Enormous Door, and with a sinister artwork and layout by the always formidable Jussi Pohjanen, the new beast by vocalist Eetu Viita, guitarists Samuli Similä and Antti Kannisto, bassist Ville Jylhä, and drummer Henri Kaarre fully embraces the decay of human reality, turning it into a must-listen for fans of the genre.
The melodic guitars by Samuli and Antti ignite the band’s darkened feast in Hunnutettu maa (“the veiled land” from Finnish), before all hell breaks loose to the demented vociferations by Eetu, whereas Matala hauta huutaa (“the shallow grave screams”) sounds absolutely mental form start to finish, presenting a beyond demonic performance by Henri behind his drums. Eerie sounds ignite the just as dark Kahleet (“the shackles”), venturing through Doom Metal lands while keeping the band’s Black Metal core intact; and Henri then invites us all to slam into the pit in Uusi nahka (“new skin”), where Eetu’s infernal vociferations will penetrate deep inside your skin in the name of violent, no shenanigans extreme music.
The band still has a lot of fuel to burn in Veri Virtaa Edelleen, and Kiviä ja luita (“stones and bones”) is a great example of how they can sound modern yet rooted in classic Black Metal, offering a high dosage of Black N’ Roll led by Henri’s striking beats and fills. Then back to a more traditional Black Metal sonority we have Pirujen illallinen (“the devils’ dinner”), with Samuli and Antti once again firing their trademark scorching riffs nonstop; followed by Veri vastaa (“blood answers”), which takes a bit too long to properly kick off, and it doesn’t offer anything truly outstanding in the end despite the band’s efforts. Fortunately, their last breath of demented Black Metal comes in the form of Kuolleet jumalat (“dead gods”), where Henri sounds out of control on drums, providing Eetu with exactly what he needs to gnarl like a creature from the underworld.
Gods live only if we allow them. Death becomes the final insult, the ultimate raised middle finger when all is reduced to rocks and bones – the black serpent within, the black flame of rebellion, and it’s that exact serpent who becomes the centerpoint in Veri Virtaa Edelleen. You can find more details about those Finnish black metallers on Facebook and on Instagram, including their sulfurous live performances, stream their creations on any platform like Spotify, and of course put your damned hands on their new offering by purchasing it from BandCamp or from Time To Kill Records. Because, in the end, Qwälen are exposing the nasty truth about humanity in their newborn opus, and there’s no escape from such a harsh reality. Hail Satan. Blood continues to flow.
Best moments of the album:Matala hauta huutaa, Uusi nahka and Kiviä ja luita.
Worst moments of the album:Veri vastaa.
Released in 2026 Time To Kill Records
Track listing 1. Hunnutettu maa 5:21
2. Matala hauta huutaa 5:00
3. Kahleet 7:19
4. Uusi nahka 3:31
5. Kiviä ja luita 5:17
6. Pirujen illallinen 5:44
7. Veri vastaa 5:48
8. Kuolleet jumalat 6:57
Band members Eetu Viita -vocals
Samuli Similä – guitars, backing vocals
Antti Kannisto – guitars, backing vocals
Ville Jylhä – bass
Henri Kaarre – drums
Let’s raise the chalice of heavy music to the sophomore offering by this Helsinki, Finland-based Melodic Heavy Metal brigade.
Having quickly become a beacon of esoteric Heavy Metal since their inception in 2016, Helsinki, Finland-based Melodic Heavy Metal brigade Chalice raises their chalice of heavy music once again with their sophomore opus, entitled Divine Spear, the follow-up to their 2020 debut Trembling Crown. Forged in the freezing winds of the Finnish winter, the new offering by vocalist and guitarist Verneri Pouttu, guitarist and keyboardist Mikael Haavisto, bassist Joni Petander, and drummer Olli Törrönen is a carefully crafted, razor-sharp package that nevertheless reveals a bounty of sonic and psychic treasures, painting a picturesque landscape of both light and dark, offering deliverance to those seeking beyond the boundaries of the so-called “New Wave Of Traditional Metal” movement.
The acoustic intro Mare Imbrium gradually grows in intensity until it morphs into the bestial Dwell of a Stellar Trance, where the fast-paced, galloping rhythm crafted by Joni and Olli invites us all to join the band in battle in the best Heavy Metal style. In Hollow Curtain we’re treated to classic lyrics declaimed by Verneri (“Face the fate / Of the darkest pathways of time / Gone the tongues of man / Leave no stone unturned on your quest / The sign burns the skies the sand”) while his bandmates deliver sheer headbanging, horns raising epicness; followed by The Pact, a power ballad that sounds cheesy at times, not as exciting as the previous songs, and Age Ethereal, showcasing a more melodic, heavier and more gripping side of the band, piercing our ears with the striking riffage by Verneri and Mikael.
Divine Spear, the song that carries the name of the album, brings forward sheer adrenaline and harmonious riffs, therefore living up to the legacy of the 80’s, with Olli taking the lead with his stylish beats and fills; whereas another serene start to the sound of a crying flute evolves into a beautiful ballad titled Empyrean Liturgy, bringing an extra dosage of melancholy to the band’s journey through the lands of heavy music. In from the Cold sounds like it was taken from an album recorded in the 80’s, with their riffs and solos piercing our minds in great fashion while also flirting with Progressive Metal, and the album ends with the enfolding ballad Alioth, where the entire band is not only on their darkest mode, but Verneri also takes the lead with his soothing vocal lines.
Completed by a clean and crisp (and yet somehow warm and natural) production, Divine Spear dives into deeper depths than what meets the eye, and you can get to know more about the band and their new album by following them on Facebook and on Instagram, keeping an eye on their live performances, of course. Don’t forget to also stream their music on any platform such as Spotify, and to put your damned hands on Divine Spear by purchasing the album from the Dying Victims Productions’ BandCamp or webstore. In other words, it’s time to raise the chalice of Heavy Metal together with those Finnish warriors armed with the “divine spear” in their new album, ready to pierce the souls of the infidels in the name of good heavy music.
Best moments of the album:Dwell of a Stellar Trance, Divine Spear and Alioth.
Worst moments of the album:The Pact.
Released in 2026 Dying Victims Productions
Track listing 1. Mare Imbrium 1:59
2. Dwell of a Stellar Trance 3:31
3. Hollow Curtain 6:32
4. The Pact 4:50
5. Age Ethereal 8:31
6. Divine Spear 5:05
7. Empyrean Liturgy 6:33
8. In from the Cold 5:08
9. Alioth 6:14
Band members Verneri Pouttu – vocals, lead electric and acoustic guitars
Mikael Haavisto – lead electric and acoustic guitars, keyboards
Joni Petander – bass, backing vocals
Olli Törrönen – drums, percussions
Behold the debut opus by this uncanny duo from Finland, offering a harrowing albeit intriguing sound that’s strangely both alarming and comforting in parts.
Hailing from the darkest and most mysterious corners of Finland, the uncanny duo known as Death Obvious came out of nowhere to release a debut album that coalesces elements of Avantgarde Black, Death and Doom Metal to create a harrowing albeit intriguing sound that’s strangely both alarming and comforting in parts. Showcasing a straightforward, grim artwork by Petri Kiviniemi, the debut offering by Lea LaVey on vocals and Sima Sioux on guitars, bass, keyboards and drums brings to our avid ear eight songs that sound like excursions into pitch-black darkness, not knowing what’s coming next, while the listener remains terrified, haunted by monstrous and spectral voices coming and going, being therefore highly recommended for fans of Thantifaxath, Dodecahedron, Veilburner, Lurk, Blut aus Nord, Hexrot, and Deathspell Omega.
Mercury Off Axis is absolutely dissonant, disturbing and grim from the very first second, gradually adjusting its shape and form to a hammering Sludge Metal beast led by the rumbling bass and riffs by Sima, who keeps pounding his drums until a storm of blackened sounds comes crushing our damned souls in Santuario, with Lea barking and roaring rabidly in the name of total fucking darkness. The Great Gate Theory sounds even more sluggish and introspective, with the bass by Sima once again reverberating beautifully while Lea’s vocals transpire insanity; and it’s pedal to the metal in the Experimental Black Metal attack entitled Total Heavenly Desolation, with Lea sounding demented on vocals while Sima crafts the most caustic sounds imaginable armed with his riffs, bass and drums.
Then leaning towards a more visceral, direct form of Black Metal we face The Third Eye Burning, as primeval as it can be, again offering our putrid ears the absolutely dissonant sounds blasted by the duo, whereas after such an insane display of extreme music the duo brings forward the Stygian tune Suffer The Spectacle, starting in a cryptic manner before Lea begins barking like a venomous beast. Their Sludge and Doom Metal vein pulses harder than ever in As Absence Expands Over Everything, perfect for some vigorous headbanging in absolute obscurity; and lastly, it’s time for the chaotic, ruthless Catechismus For The Plagued, presenting eight and a half minutes of first-class Avantgarde Black and Death Metal spearheaded by the demolishing beats by Sima, ending in utter insanity and violence.
In summary, the Finnish death dealers of Death Obvious are clearly onto something in their first full-length opus, having created an exceptional and mature release right off the bat, one that deserves as much attention as it can possibly get before it gets lost in the annals of history. Hence, you can get to know more about such a promising new entity of the Finnish scene on Facebook and on Instagram, stream their wicked music on Spotify, and of course purchase their caustic album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Because Death Obvious is not a rebirth, but a necessary resuscitation.
Best moments of the album:Total Heavenly Desolation, The Third Eye Burning and Catechismus For The Plagued.
Worst moments of the album:Suffer The Spectacle.
Released in 2025 Transcending Obscurity Records
Track listing 1. Mercury Off Axis 5:38
2. Santuario 5:13
3. The Great Gate Theory 5:16
4. Total Heavenly Desolation 4:45
5. The Third Eye Burning 5:56
6. Suffer The Spectacle 6:51
7. As Absence Expands Over Everything 5:53
8. Catechismus For The Plagued 8:30
Band members Lea LaVey – vocals
Sima Sioux – guitars, bass, keyboards, drums
After introducing their vision with their 2022 debut EP Utter Darkness, Tampere, Finland-based Death Metal horde Hekatoxen is ready to strike with their first full-length album, titled Obsidian Majesty. Rooted in the classic language of Finnish Death Metal, the new album by Jussi Rinta-Kiikka on vocals, guitars and synthesizers, Niko Talpio also on the guitars, Risto Räkköläinen on bass, and Vesa Nikkinen on drums does not rely on mere repetition of familiar formulas, moving through a landscape of razor-edged riffs, where heaviness never comes at the expense of movement. The songs hit hard, but they also breathe, shift direction and reveal a band with a clear understanding of dynamics.
Avoiding unnecessary complexity, Hekatoxen embrace the power of well-crafted songwriting, and Obsidian Majesty certainly captures a band refining its identity, balancing old school instincts with a contemporary edge and proving that tradition can still cut deep when handled with conviction, being therefore highly recommended for fans of Demigod, Adramelech, Sentenced, and Funebrarum. You can find those Finnish bastards on Facebook and Instagram, stream their sick creations on Spotify, and of course, put your putrid hands on Obsidian Majesty via their own BandCamp, as well as from the Nuclear Winter Records’ BandCamp or webstore. If their first strike in 2022 was deadly, their new onrush now with Obsidian Majesty is even deadlier. There’s nowhere to run, nowhere to hide.
