Finish your plate and buckle in, as Finland’s own Brutal Death Metal creature returns with their depraved seventh studio album, their first dive into twisted fairytale territory.
Finish your plate and buckle in, as Turku, Varsinais-Suomi, Finland’s own Brutal Death Metal creature Cumbeast is back with Fairytales Of Filth, their seventh full-length album and the follow-up to their 2019 opus Gore Zoo. Recorded and mixed by Tomi Uusitupa at Oxroad Studios, mastered By Miro Kiiski at Miro Mastering, and embracing new textures without losing sight of their signature groove-heavy and aggressive sound, now enriched by melodic twists, folk influences, and a handful of surprising collaborations the likes of Sami Perttula (Korpiklaani) and John Puig (Phrymerial), the new album by Snoop Rott on vocals and bass, and Rob ‘O Cock on the guitars and additional vocals, plus former drummer Mikko “Fleshpipe Mike” Konki (who left the band after recording the album last year, being replaced by Stinky Minky this year) is their first dive into twisted fairytale territory, pushing their trademark blend of brutal grooves, blast beats, fretless bass, and guttural absurdism into even stranger places.
Cummando sounds and feels heavy-as-hell from the very first second thanks to the scorching riffs by Rob and the venomous beats by Mikko, while Snoop inspires us to slam like true metal beasts; followed by Metham Of Gotham, a first-class Brutal Death Metal extravaganza led by the deep, evil roars by Snoop, perfect for some wild mosh pit action. Then featuring guests Sami Perttula (Korpiklaani) on accordion and John Puig (Phrymerial) on vocals and intro speech we have Captain Cock, where the music sounds as demented as the “story” of its main character; and guest Lukas Swiaczny (Stillbirth) delivers some sick vocal lines in Abacus Of Testicles, with the band’s pounding drums and vicious riffage turning it into a must-listen for fans of the style. Then it’s time for Henri Sorvali (Finntroll, Moonsorrow) to blast some wicked synths in Troll Named Scrot, adding even more insanity to their core heaviness.
Åbomination is another hammering tune by those depraved bastards, with the deep vociferations by Snoop sounding truly inhumane; whereas a lot of groove flows from Snoop’s bass and Mikko’s drums in Forest Fap Frenzy, sounding at the same time perfect for slamming into the pit or for simply enjoying a cold beer in the name of our beloved Brutal Death Metal. In Ghostfuckers I’m not sure if their intention was to add some sort of Rap-like vibe to its core, but it’s by far the weakest of all due to that; and last but definitely not least, Cumbeast still has enough energy to melt our putrid faces with the cryptic, cinematic Spermafrost, sounding like a bulldozer from hell with the guitar by Rob exhaling pure heaviness.
In summary, if you’re a fan of the absurdity and gore crafted by bands such as Dying Fetus, Suffocation, Stillbirth, Aborted, and Party Cannon, you’ll definitely have a very good time listening to the ruthless, visceral Fairytales Of Filth, taking you on a one-way journey into a rotten land where all fairytales end in pure filth. The guys from Cumbeast are waiting for you on Facebook, Instagram, YouTube and Spotify with more of their depraved music, news, tour dates, and an endless dosage of sonic filth, and of course you can show them how demented you are by purchasing a copy of their new album from their own BandCamp. Because although some people might think they live in a fairytale, it’s albums like Fairytales Of Filth by Cumbeast that show those people that the reality is a lot harsher and more gruesome than any type of extreme music.
Best moments of the album:Metham Of Gotham, Abacus Of Testicles and Forest Fap Frenzy.
Band members Snoop Rott – vocals, bass
Rob ‘O Cock – guitars, additional vocals
Mikko “Fleshpipe Mike” Konki – drums*
*Mikko “Fleshpipe Mike” Konki left the band in 2024 after the recordings of the album, being replaced by Stinky Minky in 2025.
Sami Perttula – accordion on “Captain Cock”
John Puig – vocals and speech on “Captain Cock”
Lukas Swiaczny – vocals on “Abacus Of Testicles”
Henri Sorvali – synths on “Troll Named Scrot”
This Finnish Black Metal entity arises once again with a sulfurous new album, a deep plunge into the experimental and avantgarde abyss, where every note is a lament and every silence, an omen.
From the deepness of the eternal night, Finnish Atmospheric Black Metal entity Spiritwood rises from the underworld with a brand new album titled The Apparition of Horns, the project’s sixth studio album delivering an aural ritual of isolation and decay enfolded by an avantgarde fusion of Atmospheric Black Metal with Doom Metal and occult mysticism, all masterfully crafted by the lone wolf known as Mr. Spiritwood. A deep plunge into the experimental and avantgarde abyss, where every note is a lament and every silence, an omen, the album is highly recommended for fans of Burzum, Blut Aus Nord, Shining, Dolorian, Leviathan, Gehenna, and Darkspace, among others, intertwining the coldness of nature with echoes of suffocating anguish.
Mr. Spiritwood wastes no time and fills every single space in the air with his vile gnarls and atmospheric sounds in Woodland Meditation, as raw and phantasmagorical as it can be, followed by the title-track The Apparition of Horns, a lecture in classic Black Metal with atmospheric and doom influences, with the dirty guitars by our lone wolf exhaling sulfur. Harbinger of Scourges sounds even more sluggish, grim and devilish, with the pounding drums by Mr. Spiritwood smashing our souls mercilessly, whereas in The Circle we’re treated to truly cryptic, haunting lyrics (“It accentuates the rotting bodies / And their pervasive aura of death / Eventually tightening the grip like the beast on it’s prey / Call to erase the memories of those already abandoned / Fell whispers that brought you and your kind here / Nothing but carrion under the veil of dusk / Succumbed and quiet empty souls / Haunting in oblivion”) amidst a Stygian wall of sounds. Such a demonic being speeds things up in Ascending Through the Contours of Emptiness, also vociferating with tons of anguish and darkness in his heart, flowing into the obscure and piercing closing tune Diagrams of the Dying Multiverse, with his visceral riffs and drums matching perfectly with his devilish gnarls.
A dreadful atmosphere where philosophy and wilderness collide in pure, unearthly darkness, the follow-up to the project’s 2023 album Plaguescape Dimensions definitely showcases a macabre evolution in the music by Mr. Spiritwood, who’s awaiting for you at his lair on Facebook and on Instagram, and of course you can join him in absolute darkness by purchasing his excellent new album by clicking HERE. Grim, obscure and eerie sounds set the tone throughout The Apparition of Horns, spreading sulfur across the earth and, consequently, inspiring Mr. Spiritwood to drag more and more unbelievers to the darkest side of music with his creations.
Best moments of the album:The Apparition of Horns, The Circle and Diagrams of the Dying Multiverse.
Worst moments of the album: None.
Released in 2025 Loudriver Records
Track listing 1. Woodland Meditation 6:44
2. The Apparition of Horns 7:48
3. Harbinger of Scourges 7:02
4. The Circle 5:32
5. Ascending Through the Contours of Emptiness 8:35
6. Diagrams of the Dying Multiverse 9:24
Band members Mr. Spiritwood – vocals, all instruments
This rotten-to-the-core Death Metal trio from Finland is back with their ruthless third studio album, their best, darkest and most disgusting melding of form and content to date.
A rotten-to-the-core, festering, mouldering and disgusting Death Metal trio (de)formed in the filthy and profaned boneyard of Kitee, Finland in early 2020, featuring Jusa Janhonen on vocals and bass, Olli Väkeväinen on the guitars, and Onni Väkeväinen on drums, Morbific are ready to demolish our putrid souls with their third full-length album, titled Bloom of the Abnormal Flesh, a ruthless display of classic Death Metal that follows up on the horror and insanity of their 2021 debut Ominous Seep of Putridity and their 2022 sophomore album Squirm Beyond the Mortal Realm. Recorded by Jesse Räsänen at Vaskela Metal Forgery, produced by Morbific, mixed by the band’s own Jusa Janhonen, mastered by Mikko Saastamoinen, and displaying a sick cover art by Chase Slaker (with additional art by Martyrdoom Illustrations), Bloom of the Abnormal Flesh is undoubtedly Morbific’s best melding of form and content, conveying its dark, disgusting, and unconventional aura across every element.
A sinister intro quickly explodes into a filthy, raw Death Metal attack titled Smut Club (For the Chosen Scum), with Jusa roaring deeply supported by the bestial drums by Onni, and the trio goes full Death Metal in Panspermic Blight, pounding our putrid souls with their scorching riffs and demented beats and vociferations. Menagerie of Grotesque Trophies carries a beautiful title for a display of pure savagery, with the gore infested guttural by Jusa sending shivers down our spines; followed by Promethean Mutilation, living up to the legacy of 90’s Death Metal, sounding ruthless and vile with Olli extracting sheer aggression from his riffs and solos. And Womb of Deathless Deterioration (Trapped in the Essence of Putrescence) is another slab of brutality by Morbific, exhaling heaviness thanks to the grim roars by Jusa, despite sounding a bit generic if compared to the previous songs.
Then the Stygian, horror movie-like interlude Stifling Stagnant Reek will darken your minds and thoughts before Crusading Necrotization brings forward the trio at their most inhumane shape and form, blending their core Death Metal with the obscurity of Blackened Doom. Hydraulic Slaughter also showcases a “charming” name for a beyond heavy and demonic tune led by the razor-edged riffage by Olli; whereas From Inanimate Dormancy offers our damned ears almost six minutes of violence and gore blasted by the band, or in other words, it’s a headbanging tune led by the infernal growling by Jusa. Bloom of the Abnormal Flesh (A Travesty of Human Anatomy) is yet another six-minute descent into a world of violence and obscurity, with the crushing drums by Onni hammering our cranial skulls nonstop in great fashion, and last but not least, they still have energy left for one final attack titled Slithering Decay, offering two minutes of classic Death Metal spearheaded by Olli’s savage riffs.
The unrelenting, filthy Finnish bastards of Morbific are waiting for you on Facebook and on Instagram with more of their gore infested music, their tour dates and so on, and don’t forget to also stream all of their demented creations on Spotify or on any other platform available out there. Furthermore, in order to show them your utmost support and your deep passion for Death Metal, you can purchase a copy of the infernal Bloom of the Abnormal Flesh from their own BandCamp or from the Me Saco Un Ojo Records’ BandCamp, proving you’re a loyal servant of all things Death Metal. I guess it won’t take long for us to hear from Morbific again in the near future, blasting our faces with another slab of violence and gore like what’s found in their new album, and I bet you’re all eager for more of the depraved music crafted by such an amazing trio from Finland.
Best moments of the album:Panspermic Blight, Promethean Mutilation and Bloom of the Abnormal Flesh (A Travesty of Human Anatomy).
Worst moments of the album:Womb of Deathless Deterioration (Trapped in the Essence of Putrescence).
Released in 2025 Memento Mori/Me Saco Un Ojo
Track listing 1. Smut Club (For the Chosen Scum) 3:48
2. Panspermic Blight 3:51
3. Menagerie of Grotesque Trophies 4:35
4. Promethean Mutilation 3:29
5. Womb of Deathless Deterioration (Trapped in the Essence of Putrescence) 5:04
6. Stifling Stagnant Reek 1:25
7. Crusading Necrotization 4:16
8. Hydraulic Slaughter 3:53
9. From Inanimate Dormancy 5:58
10. Bloom of the Abnormal Flesh (A Travesty of Human Anatomy) 6:01
11. Slithering Decay 2:04
Band members Jusa Janhonen – vocals, bass
Olli Väkeväinen – guitars, backing vocals
Onni Väkeväinen – drums
Miten teillä menee, rakkaat metallipäät? If you have no idea what this means, maybe we could ask our metal lady of the month of April here on The Headbanging Moose to help us with the translation, as not only it’s in her mother tongue, but she also uses this language in one hundred percent of her lyrics. Not only that, she’s more than just a singer, being responsible for all instruments in her one-woman Black Metal project. Owner of a mesmerizing voice, she will stun us all with her undisputed fusion of Pagan Black Metal with Nordic and Scandinavian melodies, offering us all beautiful lyrics in the form of poems about life, death and nature in her native language. Her name is Julia Mattila, usually referred to as her alter-ego Vermilia, a very creative woman and a free soul from the land of ice and snow who has a vision and a deep passion for music inside her head, always ready to let everything out in the form of her unique sounds.
Born and raised in Hämeenlinna, a city in Finland and the regional capital of Kanta-Häme, located in the southern interior of the country and on the shores of Lake Vanajavesi, Vermilia has been crafting music basically since she was born, having done everything from classical music to folk singing to metal and everything between that. She grew up in a very musical family, which means making music has always been very natural to her. Moreover, she is also an audio engineer, always listening to different genres to find new ideas for her own sound and production, therefore keeping her music as fresh and unique as possible with each album released.
Her one-woman project Vermilia was founded back in 2017, blending Pagan Black Metal with Scandinavian and Nordic melodies, clean, harsh and melancholic vocal harmonies, and lyrics in the form of poems about life, death and nature, always singing in her mother tongue Finnish, and always responsible for not only all vocal duties (including some amazing harsh growls), but also for all instruments (including even shaman drums), graphics and videos, recording, producing, mixing and mastering of all of her albums, plus all the artworks and photography. Shortly after forming Vermilia, she released her debut album Kätkyt (which means “cradle” in English), in 2018, which ended up being one of the most best selling metal albums on BandCamp during the weekend of its pre-release announcement, receiving a huge amount of praise from a variety of critics, magazines and webzines, and of course from fans from all over the world.
Right after the enormous success of Kätkyt, she released on March 1, 2019 her cover version for a Finnish classic song called Täällä Pohjantähden Alla, originally released by Petri Laaksonen in 1994 (and you can check the original version HERE). Vermilia’s atmospheric version became a huge success on Spotify, jumping straight to number #1 of the most viral songs in Finland on the official Spotify charts. After such a wild feedback from music lovers from all four corners of the earth, it was more than natural for Vermilia to keep her momentum going with the 2020 four-track EP Keskeneräisiä Tarinoita, which translates as “unfinished stories”, also getting tons of positive feedback from all types of metal and non-metal fans.
Then after reaching almost two million streams on Spotify, it was time for Vermilia to unleash upon humanity her highly anticipated sophomore opus, entitled Ruska, or “autumn foliage”, the process of leaves turning to various shades of yellow, orange, red and brown as the trees get ready for winter. The evolution in her music was beyond clear in Ruska, with her always evolving blend of Atmospheric, Pagan and Black Metal getting more personal, tighter and more compelling, culminating now in 2025 with the release of her strongest album to date, the breathtaking Karsikko, an expression that represents a set of markings made on a tree somewhere between a deceased person’s home and the burial site in the Finnic religion, which was believed to prevent the individual’s spirit from coming back. Her visuals are also a crucial part of her music, and you can savor that in all of her official videos on YouTube, including Veresi, Kansojen Kaipuu, Marras, Tuonen Joki, Hautavajo, Ruska, Hauras, Kuollut, Kaunis, and Äiti Maa. All of them are definitely worth a watch, and all of her albums are certainly worth purchasing from BandCamp, and you can also click HERE for all things Vermilia, including her mesmerizing live performances.
Apart from Vermilia, you can find our she-wolf (under her name Julia Mattila) as part of the bands Duo Julia Mattila & Samuli T. Mäkelä and Seele, and as the vocalist for a now defunct project named The Passion of Our Souls. As a matter of fact, Duo Julia Mattila & Samuli T. Mäkelä and The Passion of Our Souls are basically the same band, with the main difference being the type of music they play. In Duo Julia Mattila & Samuli T. Mäkelä, it looks like Julia and Samuli play (or used to play, who knows) cover songs in a sort of folk style, while in The Passion of Our Souls the style was a fusion of Melodic Death Metal with Metalcore with nuances of symphonic and gothic music, having released back in 2015 their first and only record, the EP Soulmates, as you can see in the song Give Me Your Soul.
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Her other band, named Seele, is an Alternative Rock/Electronic Pop band from Finland with whom Vermilia released the album Jos Vain Kaiken Jättäisin (which means “If Only I Left Everything” in English), in 2016, but that was it. Furthermore, you can also find her doing backing vocals on the song Peikonmieli, from the 2017 album Saatto, and vocals on the song Ikarus, from the 2019 album Valo, both released by the now defunct Finnish Melodic Black/Gothic Metal band Mustan Kuun Lapset, another band from Finland that always used their mother tongue to keep their connection to their roots intact and always present in their music.
In regards to Vermilia’s idols and influences, she always mentions in her interviews that her biggest inspirations are nature, sadness, darkness, autumn rain and mythology. “Everything I compose or write happens without bigger plans. I just let the creativity fly and move forward with the feelings I have in that moment,” she commented, complementing by saying that musically speaking she’s influenced by Atmospheric and Pagan Black Metal, as well as by folk music, which in her opinion represents freedom of art and freedom of mind. Furthermore, although her music is sometimes compared to Myrkur, Ulver and Moonsorrow, all bands she respects and admires, she mentioned she still thinks that their music is different from Vermilia, saying that any similarities might come from her subconscious or something like that.
As mentioned before, Vermilia is a skilled singer who can do both clean and harsh vocals, and she commented already in an interview how much her vocals have evolved with time. “I have studied different vocal techniques, which has helped me find all my voices. I love using my voice in many ways, and it’s my favourite instrument.” On a side note, when playing live of course she ends up needing support from other musicians to be able to bring her creations to life. “I do every single vocal by myself. There is no other vocalists on the album. But for example in the live shows I can’t do all at the same time, so there needs to be some compromises, like someone to double the growls in some parts of the songs when I do the clean vocals.” Furthermore, she also has a very good explanation for singing pretty much all the time in Finnish. “The Finnish language is very rich and there are so many metaphors in my lyrics that it’s kind of hard to translate these songs. I have done some lyrics in English in the past before Vermilia, but I am a so much better writer in Finnish so at this point I will keep doing this in Finnish because it fits perfectly to this, but you know, never say never.”
Vermilia also has a strong opinion about all the discrimination and disrespect towards women, both in the music industry and in everyday life. “I think we are going in a better direction, but we are still very far away from a solution for this.” In addition, she also thinks the new wave of women in Black Metal and other styles of extreme music is awesome, showing a lot of respect for bands like Myrkur and Sylvaine. “I think it is awesome that women are rising and doing their own music in their own way.” And of course, as she was born in Finland, a country considered by many as the epicenter of the best heavy music on the planet, she had some nice words to say about her homeland. “I love Finnish music in many genres, not just metal. I guess it’s so cold and dark here that we have to be creative and keep our brains warm by doing metal. For me Finland is a calming place where my mind is clear and my soul is resting. We have so many forests and lakes that you really don’t have to see other people if you don’t want to. Peace of nature is inspirational. I love to write and compose here.”
There are also countless interviews and videos online with Vermilia, like this nice one for a podcast from Latvia named Metālkāsts LV, where she talks about why she decided to fly solo in her career, her songwriting ritual, the importance of writing and singing in her native Finnish language, her favorite season of the year, and more, showing she’s not just a very talented musician, but also a very down to earth woman who will keep working hard and releasing new albums for our total delight, always following her passion for music, always inspired by nature, and always remaining true to her Finnish roots. And do you know her motto? Well, that’s a very simple yet powerful one that all of us should carry inside our hearts. “Be thankful for what you have right now, and don’t take anything for granted.”
“I love Finnish music in many genres, not just metal. I guess it’s so cold and dark here that we have to be creative and keep our brains warm by doing metal. For me Finland is a calming place where my mind is clear and my soul is resting. We have so many forests and lakes that you really don’t have to see other people if you don’t want to. Peace of nature is inspirational. I love to write and compose here.” – Vermilia
An unpredictable Drone and Doom Metal entity from Finland returns with a beyond unique EP, featuring the raw, repetitive structures that have always been its core while also pushing into a more progressive direction.
Hailing from Lohja, a town in Finland located in the southern interior of the country (and home of a statue of the world’s saddest miner), Experimental/Progressive Drone/Doom Metal project Exhalus, the brainchild of vocalist and multi-instrumentalist Mircea Purdea, will darken your minds with its newborn EP, entitled Inexorable Decay, the follow-up to the 2022 album Failed Rituals to Ascend. Featuring the raw, repetitive structures that have been the core of Exhalus music throughout its 19 years of existence while also pushing into a more progressive direction, the EP is perhaps the project’s most experimental one yet. Furthermore, while it’s not the first one to use synthesized clean vocals, it’s the first that uses them this extensively, giving an extra touch of uniqueness to the whole album when compared to all of its previous releases.
The opening track Erosion sounds utterly sluggish, vile and disturbing from the very first second, with its deep gnarls and sharp riffage working as the soundtrack to a grim horror movie, followed by Vortex, offering a weird, unique fusion of metallic and groovy guitars and bass with eerie vocalizations, or in other words, it’s the epitome of Experimental Drone and Doom Metal. Mircea keeps hammering his guitar and bass in Grinder, again blending the past, present and future of experimental music while also presenting massive beats that add an extra dosage of heaviness to the overall result. Surrender continues from where the previous song ended, bringing to our avid ears wicked guitar lines and a complete sense of lunacy and despair during its three instrumental minutes; and last but not least, the EP ends with Faded, setting a serene mood to the sound of the piano that remains until the very end.
In the end, while at its core the music still had the approach of Drone Metal and the misery of Doom Metal, the structure became more and more progressive, with most songs on the EP not even being considered metal (if there’s a limit to what metal can be). Hence, if you want to know more about this uncanny entity from the land of ice and snow, you can find Exhalus on Facebook, stream more of its music on Spotify, and purchase a copy of Inexorable Decay from BandCamp (keeping in mind the CD digipak version of the album is limited to 50 copies only). No one knows what’s next for Exhalus, and I dare to say not even Mircea Purdea, keeping the project as fresh and vibrant as it’s mysterious and unpredictable, exactly how the fusion of Drone and Doom Metal shall always be.
This ruthless Finnish horde demonstrates their unmatched ferocity and craftmanship in their third studio album, cementing their place at the very zenith of the global Blackened Death Metal scene.
Arriving merely two years after their bold leap forward with Abhorrent Dimensions, Crimson Moon Evocations, the third full-length opus by Turku, Finland-based Death Metal creature Sepulchral Curse, paints a vivid portrait of a band at their creative and productive peak. Recorded and mixed by Tomi Uusitupa at Oxroad Studios, mastered by Are Kangus, and displaying a dark and sinister artwork by Mark Erskine, the new album by vocalist Kari Kankaanpää, guitarists Jaakko Riihimäki and Aleksi Luukka, bassist Niilas Nissilä, and drummer Johannes Rantala demonstrates their unmatched ferocity and craftmanship, cementing their place at the very zenith of the global Blackened Death Metal scene.
The guitars by Jaakko and Aleksi rev up the band’s deadly engine in Wildfires, quickly morphing into a bestial Death Metal extravaganza to the crushing drums by Johannes, who sounds even more infernal in House of The Black Moon, with Kari’s utterly deep guttural adding an extra touch of heaviness to the band’s core Blackened Death Metal. Then the band goes full Death Metal in The Locust Scar, with the guitars by the band’s axed duo exhaling heaviness and hatred, whereas a sluggish, Doom Metal-infused start gradually evolves into another demented beast by Sepulchral Curse entitled Beneath The Dismal Tides, with Niilas and Johannes building the heaviest ambience of all songs armed with their demonic kitchen.
Then investing in a more melodic sonority it’s time for Empress of The Dead, without of course forgetting the band’s trademark bludgeoning sounds; whereas their second to last sonic attack comes in the form of The Currents of Chaos, with Kari roaring deeply like a demonic creature supported by the vile riffs by Jaakko and Aleksi. Finally, the band brings forward Crimson Passages, again blasting our damned souls with their Doom Metal-infused blackened sounds, showcasing crisp, piercing guitar lines in paradox with the inhumane, gruesome gnarls by Kari, resulting in not only one hell of a bestial song, but also putting a beyond phantasmagorical and haunting conclusion to one of the heaviest albums of the year.
“The backbone is death metal,” states vocalist Kari Kankaanpää about their newborn beast, “but we’ve never shied away from exploring new inspirations and influences, which shape the unique edge synonymous with Sepulchral Curse. Music needs to be dark, heavy and furious!” Crimson Moon Evocations indeed takes an even deeper dive into who Sepulchral Curse are and crystallizes the essence of their sound, helping the band to ascend to the pinnacle of Blackened Death Metal. Hence, if you want to “stay cursed” as the band’s frontman likes to say, you can find the band on Facebook and on Instagram, stream their wicked creations on Spotify or any other streaming service, and obviously grab a copy of their new album from the Dark Descent Records’ BandCamp or webstore in the US and the EU, or simply click HERE for all things Sepulchral Curse. In a nutshell, Crimson Moon Evocations is utterly dark, evil and, more important than that, extremely heavy, paving a fantastic path ahead of those Finnish beasts in the years to come.
Best moments of the album:House of The Black Moon, Beneath The Dismal Tides and Crimson Passages.
Worst moments of the album: None.
Released in 2025 Dark Descent Records
Track listing 1. Wildfires 4:58
2. House of The Black Moon 6:09
3. The Locust Scar 5:06
4. Beneath The Dismal Tides 5:29
5. Empress of The Dead 6:39
6. The Currents of Chaos 5:09
7. Crimson Passages 6:11
Band members Kari Kankaanpää – vocals
Jaakko Riihimäki – guitar
Aleksi Luukka – guitar
Niilas Nissilä – bass, backing vocals
Johannes Rantala – drums
A few days after the heaviest snow storm the city of Toronto has seen for quite some time, The Velvet Underground hosted the Shining Over North America Tour 2025 with the bands SNAKES OF RUSSIA, GHOST BATH, HARAKIRI FOR THE SKY and SWALLOW THE SUN, and of course Keith Ibbitson of Metal Paparazzi and I were there to cover such an amazing event. Well, unfortunately due to the insane traffic to get to Toronto AND also inside the city, it was impossible for several concert goers to arrive in time for the performance by United States-based Darkwave/Electronic/Ambient act SNAKES OF RUSSIA, including Keith and I. I honestly have no idea how the show was, if the crowd enjoyed it or not, as while Snakes of Russia was playing I was desperately trying to find a parking lot where most spots were not taken by huge snow banks. At least before the show I had some time to listen to their 2023 album True Surrender, available on BandCamp and on Spotify, and although it’s not my cup of tea I must admit it’s a really cool album for fans of the darkest side of electronic music.
Band members Joseph Holiday – vocals, all instruments
When I weas finally able to get inside the venue, American Depressive/Post-Black Metal entity GHOST BATH had already started their setlist, but at least in this case I had plenty of time to enjoy their harsh and sinister performance, led by the visceral, anguished screams by vocalist and guitarist Nameless. One of the main issues with The Velvet Underground, if not their biggest issue, is the fact the stage is way too low, almost as if it doesn’t really exist, and it’s really tough to see the bands performing there unless you’re two feet from the “stage”. Add to that a few pillars in the middle of the venue, and there you have the perfect atmosphere to mainly listen to the music played without seeing anything. Furthermore, Keith couldn’t make it in time for Ghost Bath, and as my mobile pictures of the show are beyond nasty, there isn’t anything to show about them on this review. You can still enjoy their music on BandCamp and on Spotify, like their 2021 album Self Loather, and I highly recommend seeing those guys live if you enjoy such a caustic type of Black Metal.
Band members Nameless – vocals, guitars
Caleb Cheslock – guitars
Liam Frith – guitars
Josh Jaye – bass
Alec Martin – drums
Then after all that hassle to get to Toronto, the shitty traffic, the excruciating task of finding a parking spot, and so on, I was already getting very tired and ready to go back home to relax a little, but fortunately Austria’s own Post-Black Metal masters HARAKIRI FOR THE SKY hit the stage for the most electrifying performance of the night, waking me up and inspiring me to headbang and raise my horns nonstop to their fantastic music. Playing mostly songs from their 2021 album Mӕre and their newborn masterpiece Scorched Earth, the band led by frontman J.J. and guitarist M.S. kicked some serious ass on stage, investing all of their energy into each song played, and with minimal talk in between songs. I simply loved seeing them live for the first time, and songs like With Autumn I’ll Surrender, Without You I’m Just a Sad Song, Fire, Walk With Me, and Sing for the Damage We’ve Done (all available on Spotify) sounded flawless, superb and touching, and the reaction from every single person to their classy performance was a thing of beauty, which clearly indicated it won’t take long for one of the best bands of the current metal scene worldwide to return to Toronto soon.
Setlist Keep Me Longing
With Autumn I’ll Surrender
Fire, Walk With Me
Without You I’m Just a Sad Song
Sing for the Damage We’ve Done
Calling the Rain
Band members J.J. – vocals
M.S. – guitars
Marrok – guitars, backing vocals
P.G. – bass
Kerim “Krimh” Lechner – drums
The name of the band says it all. After a quick break, it was time for the darkest show of the night, courtesy of Finland’s Melodic Doom/Death Metal titans SWALLOW THE SUN, and it was indeed a dark, pensive, doomed and visceral concert. Vocalist Mikko Kotamaki and his henchmen were on fire during their entire set, blending their old material with their newest albums Moonflowers (2021) and Shining (2024), with the sequence of Woven Into Sorrow, Charcoal Sky, MelancHoly, New Moon and Night Will Forgive Us sounding and feeling as heavy and obscure as possible. The encore was just as doomed, with November Dust and Swallow (Horror, Part 1), and their diehard fans were having an amazing time with their scorching riffs, pounding drums and visceral energy. It was a somewhat late show for most of us, but in the end it was a fantastic night of contemporary heavy music, and I’ll surely be there anytime Swallow The Sun are back in town with their undisputed doom.
Setlist Velvet Chains Innocence Was Long Forgotten
What I Have Become
Firelights
Under the Moon & Sun
Woven Into Sorrow
Charcoal Sky
New Moon
MelancHoly
Night Will Forgive Us
Plague of Butterflies: Pt. I: Losing the Sunsets
Encore:
November Dust
Swallow (Horror, Part 1)
Band members Mikko Kotamaki – vocals
Juha Raivio – guitars, keyboards
Juho Raiha – guitars
Matti Honkonen – bass
Juuso Raatkainen – drums
Swedish hard rock powerhouse H.E.A.T made a triumphant return to Finland at the iconic Tavastia delivering an electrifying performance that left fans exhilarated. With their new album, Welcome to the Future, set to drop in April, the band proved once again why they are one of the most celebrated acts in the modern hard rock scene. Before the main act, Finnish rockers Temple Ballswarmed up the crowd with their high-energy sound. Hailing from Oulu, the band has been making waves by opening for industry legends such as Sonata Arctica and Bruce Dickinson. Promoting their latest album, Avalanche (2023), they set the tone for an unforgettable night.
From the moment the band took the stage, it was clear they were on a mission to captivate the audience. Their setlist was a well-balanced mix of fan favorites: songs like “Lonely Stranger” and “Dead Weight” showcased their signature anthemic choruses and driving guitar work, while “Trap” and “Bad Bad Bad” got the audience singing along. Closing with “Thunder From the North”, Temple Balls left no doubt that they are more than ready to conquer bigger stages everywhere.
Setlist
Strike Like a Cobra
Lonely Stranger
Hell and Feelin’ Fine
Dead Weight
Let’s Get It On
Prisoner in Time
Trap
Bad Bad Bad
Thunder From the North
Band members
Arde Teronen – vocals
Jiri Paavonaho – guitar
Niko Vuorela – guitar
Jimi Välikangas – bass
Antti Hissa – drums
H.E.A.T The anticipation in Tavastia was palpable as the lights dimmed and Glenn Frey’s “The Heat Is On” played through the speakers. The Swedish rockers hit the stage with “Disaster”, one of the two brand-new songs from their upcoming album, instantly igniting the crowd. Vocalist Kenny Leckremo commanded the stage with his amazing vocals and infectious energy, while Dave Dalone’s fiery guitar solos kept the adrenaline pumping. The setlist was a well-curated journey through their discography, featuring powerful renditions of “Emergency”, “Dangerous Ground”, and “Hollywood”.
One of the standout moments came during “Beg Beg Beg”, where the band seamlessly incorporated a snippet of Black Sabbath’s “War Pigs” – a nod to rock legends of the past. Midway through the show, the anthem “Living on the Run” had fans singing at the top of their lungs. The band couldn’t hide the joy of being there, specially Kenny who said a few times how they like to play in Finland and how excited they were to show the new songs, introducing the yet-to-be-released “Bad Time for Love”. Always with high energy, the band made the fans incredibly happy with classics such as “1000 Miles” and “One by One”, before the grand finale with “Tearing Down the Walls”. H.E.A.T’s performance was a masterclass in modern hard rock: passionate, explosive, and engaging from start to finish. With Welcome to the Future on the horizon, this show served as a powerful reminder that the band remains at the forefront of the genre. The very next day, Finnish fans were surprised by the announcement that H.E.A.T will play at Rockfest in Turku this summer. And if they bring their tour to your city, don’t miss out the opportunity to have the best of times with their high-voltage performance!
Setlist Intro: The Heat Is On (Glenn Frey song)
Disaster
Emergency
Dangerous Ground
Hollywood
Rise
Nationwide
Harder to Breathe
In and Out of Trouble
Beg Beg Beg (included snippet from Black Sabbaths War Pigs)
Cry
Back to the Rhythm
Living on the Run
Bad Time for Love
1000 Miles
One by One
Tearing Down the Walls Outro: Sister Christian (Night Ranger song)
Band members
Kenny Leckremo – vocals
Dave Dalone – guitar
Jimy Jay – bass
Jona Tee – keyboards
Don Crash – drums
The horrors of reality are the proof of your existence, and this uncanny Black Metal trio from Finland is going to expose you to that harshness to the sound of their debut album.
A Finnish Black Metal trio born somewhere in time during a recording session that includes members from Moonlight Sorcery and Ondfødt and consider themselves influenced by bands like Gris, Silencer, Lifelover, Coldworld and Austere, Void of Hope are set to unleash their debut album, titled Proof of Existence. Composed and recorded in five days in the studio with -30°, -35° outside and in complete darkness for most of the day (with all screams taking place later and being recorded in two days), Proof Of Existence is a journey through mental health and depression, the outcome of which may be triumph or giving up, having started as Depressive Black Metal, but growing into much more.
The gentle, serene start in Gift of Life quickly morphs into a sluggish and pounding feast of Atmospheric Black Metal, with their riffs and beats sounding truly imposing, not to mention its devilish creature-like vociferations. Then fierce, hammering drums and caustic guitar lines set the tone in the title-track Proof of Existence, offering us all almost seven minutes of first-class, modern and ruthless Black Metal; and it’s now time for the skies to get as dark as a raven with 11 minutes of undisputed Black Metal in The Hollow Hymn, sounding and feeling absolutely haunting, multi-layered and penetrating from the very first second.
Then the delicate yet eerie interlude Inner Peace will prepare your putrid souls for total darkness in T.E.T.L., presenting seven minutes of blast beats, ruthless riffs and hellish gnarls not recommended for the lighthearted, a very detailed and impactful creation by such an uncanny Finnish trio, blending elements from different styles into their core Black Metal magic. The last act in Proof of Existence, entitled Decaying Years, sounds as haunting and mysterious as it can be, with its background piano notes walking hand in hand with its sluggish, Doom Metal-inspired beats, therefore ending the album on a high and devilish note.
Void of Hope are not an anonymous band, yet they do not consider their identities relevant, as regardless of what names are printed in the album, the music is all that matters. Void of Hope can be a place or a state of mind, and their debut album will simply show you that the horrors of reality are the proof of your existence. Although there isn’t much information online about the band apart from their recently created profiles on Facebook and on Instagram, you can put your damned hands on their newborn beast via the Avantgarde Music’s BandCamp page or from Sound Cave, and perhaps we’ll get to know more about those mysterious Finnish metallers as they spread their blackened wings upon humanity to the sound of their austere, grim and, therefore, more than necessary album.
Best moments of the album:Proof of Existence, The Hollow Hymn and T.E.T.L.
Worst moments of the album: None.
Released in 2025 Avantgarde Music
Track listing 1. Gift of Life 06:35
2. Proof of Existence 6:51
3. The Hollow Hymn 11:10
4. Inner Peace 1:55
5. T.E.T.L. 7:20
6. Decaying Years 8:20
This seasoned trio of musicians from Finland will crush you with their first full-length album, one of the most savage, grinding, furious and primordial Death Metal releases you could face this year.
An ageless entity of evil featuring members from Corpsessed, Solothus, Tyranny, Profetus and Cataleptic, drawing musical influences from Death Metal’s first steps into existence, Helsinki/Järvenpää, Finland based Tormentor Tyrant will leave no survivors with their full-frontal assault of sonic devastation to the sound of their first full-length offering, titled Excessive Escalation Of Cruelty. Recorded at Furnace 5034 and Rehearsalucifer Studios, produced by Tormentor Tyrant, mastered by The Hand of Doom at Toxic Basement Studio, and displaying a sick artwork by Roni Ärling (with layout by Giorgio Spevo of Everlasting Spew Records), the new album by vocalist and guitarist S.Envenom, bassist and vocalist M.Malignant, and drummer J.Carnage is perfect for fans of Deicide, Malevolent Creation, Skeletal Remains, and Laceration, among others, resulting in one of the most savage, grinding, furious and primordial Death Metal releases you could face this year.
The Mephistophelean intro Upheaval Of Tyranny will transport you to the ruthless world ruled by Tormentor Tyrant in Capital Of Pain, offering us all a little more than two minutes of pure savagery led by the inhumane, demented roars by S.Envenom, and let’s keep slamming into the mosh pit to the sound of Torture Divine, where J.Carnage doesn’t stop hammering his drums not even for a single second. Their feast of violence has no time to end, with Tartarean Iron Grip presenting their most destructive side thanks to another bestial performance by J.Carnage on drums; and the trio sounds absolutely merciless and possessed in Crueler Tomorrow, with M.Malignant blasting his bass nonstop while also roaring manically.
In Pit of Anguish, there’s nothing else to do but diving into the circle pit like a true metalmaniac to the demonic vocals by S.Envenom and the band’s vile riffs and classic Death Metal solos, followed by Cosmic Wild Hunt, a brutal and demented display of Finnish Death Metal where their riffs, blast beats and infernal guttural roars sound perfect for some action during their live performances. Then it feels like they’re even more infuriated in Terminal Revelation, with the ruthless drums by J.Carnage providing S.Envenom with the exact level of violence needed to distill his visceral growls; whereas Heavy Death Bombardment, the last song of the album, is just as insane as all previous tracks, where S.Envenom and M.Malignant are beasts incarnate with their riffs and solos.
There’s no extreme down-tuning, no mysticality, nor anything like that in Excessive Escalation Of Cruelty, just sheer unrelenting evil violence in the old way, and the guys from Tormentor Tyrant would simply love to hear what you have to say about their demolishing creations on Facebook and on Instagram, and you can also stream their music on Spotify and, above all that, purchase their fulminating opus by clicking HERE (mailorder) or HERE (BandCamp). The beyond talented and savage musicians from Tormentor Tyrant are not fooling around; they’re out for blood, armed with the ass-kicking Death Metal found in their new album, and you better watch out because once you’re caught into their hurricane of sonic violence, there’s absolutely no way out.
Best moments of the album:Tartarean Iron Grip, Cosmic Wild Hunt and Terminal Revelation.
Worst moments of the album: None.
Released in 2025 Everlasting Spew Records
Track listing 1. Intro – Upheaval Of Tyranny 1:16
2. Capital Of Pain 2:20
3. Torture Divine 2:17
4. Tartarean Iron Grip 3:13
5. Crueler Tomorrow 3:20
6. Pit of Anguish 2:36
7. Cosmic Wild Hunt 4:20
8. Terminal Revelation 2:33
9. Heavy Death Bombardment 4:59
Band members S.Envenom – vocals, rhythm guitars
M.Malignant – bass, lead guitars, vocals
J.Carnage – drums
Finish your plate and buckle in, as Turku, Varsinais-Suomi, Finland’s own Brutal Death Metal creature Cumbeast is back with Fairytales Of Filth, their seventh full-length album and the follow-up to their 2019 opus Gore Zoo. Recorded and mixed by Tomi Uusitupa at Oxroad Studios, mastered By Miro Kiiski at Miro Mastering, and embracing new textures without losing sight of their signature groove-heavy and aggressive sound, now enriched by melodic twists, folk influences, and a handful of surprising collaborations the likes of Sami Perttula (Korpiklaani) and John Puig (Phrymerial), the new album by Snoop Rott on vocals and bass, and Rob ‘O Cock on the guitars and additional vocals, plus former drummer Mikko “Fleshpipe Mike” Konki (who left the band after recording the album last year, being replaced by Stinky Minky this year) is their first dive into twisted fairytale territory, pushing their trademark blend of brutal grooves, blast beats, fretless bass, and guttural absurdism into even stranger places.
In summary, if you’re a fan of the absurdity and gore crafted by bands such as Dying Fetus, Suffocation, Stillbirth, Aborted, and Party Cannon, you’ll definitely have a very good time listening to the ruthless, visceral Fairytales Of Filth, taking you on a one-way journey into a rotten land where all fairytales end in pure filth. The guys from Cumbeast are waiting for you on Facebook, Instagram, YouTube and Spotify with more of their depraved music, news, tour dates, and an endless dosage of sonic filth, and of course you can show them how demented you are by purchasing a copy of their new album from their own BandCamp. Because although some people might think they live in a fairytale, it’s albums like Fairytales Of Filth by Cumbeast that show those people that the reality is a lot harsher and more gruesome than any type of extreme music.
THE HEADBANGING MOOSE 