One of the most interesting acts of the Scottish metal scene returns with an evocative tribute to the history, the folklore, and the unique magic of their homeland in the form of their third album.
“Let warlocks grim an’ wither’d hags Tell how wi’ you on ragweed nags They skim the muirs an’ dizzy crags Wi’ wicked speed; And in kirk-yards renew their leagues, Owre howket dead.” – Robert Burns – Address To The Devil
Eight years on from their last album, titled The Forty Five, Falkirk, Scotland’s own Blackened Folk Metal warriors Cnoc An Tursa (or “Hill of the Standing Stone” in Scottish Gaelic) returns with an evocative tribute to the history, the folklore, and the unique magic of their homeland in the form of their third album, entitled A Cry For The Slain. With the intuitive mastering of Jaime Gomez Arellano at Orgone Studios bringing depth and vigor to every note, and with all the emotion and secrets of its narrative captured in the evocative artwork of the unstoppable Olga Kann, the newborn opus by Alan Buchan on vocals, Rene McDonald Hill on the guitars and keyboards, and Bryan Hamilton on drums is a breathtaking album for fans of Primordial, Winterfylleth, Saor and Forefather, a beacon burning in the night of mundane modernity, calling to those of us who want more than we’ve been sold.
Na Fir Ghorma, which translates from Scottish Gaelic as “the blue men,” referring to mythical, human-sized, blue-skinned creatures in Scottish folklore, is a mysterious, atmospheric intro that warms us up for The Caoineag, a female spirit in Scottish Highland folklore, acting as a “weeper” or specialized banshee that foretells violent death, with Bryan hammering his drums mercilessly in a lecture in Scottish extreme music. Cailleach And The Guardians Of The Seven Stones refers to a deeply rooted Scottish and Irish mythological tradition centered on the Cailleach (the “Veiled One” or “Queen of Winter”) and a ritualistic, seasonal relationship with sacred stones that represent her family, while the music showcases Rene’s striking, primeval riffage matching perfectly with Alan’s soaring vocals; followed by Baobhan Sith, a malevolent, vampiric fairy from Scottish Highlands folklore, often described as a “fairy witch” or “fairy woman,” while the music leans towards classic Folk Metal, with its mysterious female backing vocals sounding simply stunning.
Rene and Bryan build a dancing atmosphere in Am Fear Liath Mòr, translated from Scottish Gaelic as “big grey man”, referring to a legendary, cryptid creature said to haunt the summit and passes of Ben Macdui in the Cairngorms, Scotland’s second-highest peak. Musically speaking, it reminds me of some of the thrilling songs by the mighty UADA; whereas in Alba In My Heart (where “Alba” is the Scottish Gaelic name for Scotland) the band makes sure they add all their admiration and love for their country to the music, with their riffs, drums and roars exhaling pride and power. Address To The Devil – 1786, a satirical poem that mocks the Calvinistic, fear-based religious teachings of 18th-century Scotland by treating the Devil (“Auld Hornie”) as a familiar, almost comedic figure rather than a terrifying entity, presents a more straightforward fusion of Black and Folk Metal led by Alan’s demonic growling, also displaying an ethereal passage with the same mysterious woman back on vocals; flowing into the piano-driven outro The Nine Maidens Of Dundee, a Scottish legend about a farmer’s nine daughters killed by a dragon near Pitempton, subsequently avenged by a hero named Martin.
“With this new album we feel like we are going back to our roots with a more guitar driven style and bringing back some of the folk elements musically and lyrically which was the original inspiration for the band,” commented the guys from Cnoc An Tursa, and by looking back they have found their way forward, reigniting their fire and forging an album that will resonate through the years to come. Alan, Rene and Bryan are waiting for you with their striking fusion of Scottish folklore and heavy music on Facebook and on Instagram, and don’t forget to also stream their unique creations on Spotify and, above all that, to purchase the excellent A Cry For The Slain from the Apocalyptic Witchcraft’s BandCamp or webstore. Cnoc An Tursa undoubtedly have Alba in their hearts, translating that passion for their homeland into first-class extreme music in their new album and, therefore, keeping the fires of their unparalleled culture burning bright for many decades to come.
Best moments of the album:The Caoineag, Baobhan Sith and Alba In My Heart.
Worst moments of the album: None.
Released in 2026 Apocalyptic Witchcraft
Track listing 1. Na Fir Ghorma 2:28
2. The Caoineag 7:40
3. Cailleach And The Guardians Of The Seven Stones 4:58
4. Baobhan Sith 6:39
5. Am Fear Liath Mòr 4:42
6. Alba In My Heart 7:20
7. Address To The Devil 7:32
8. The Nine Maidens Of Dundee 3:00
Band members Alan Buchan – vocals
Rene McDonald Hill – guitars, keyboards
Bryan Hamilton – drums
The “Kings of Fire” of Blackened Death Metal return after over a decade with a scorching new EP, burning with the tension between chaos and sacred order, ruin and restoration, mortal defiance and divine decree.
The indomitable Melechesh, the “Kings of Fire” of Blackened Death Metal with Middle-Eastern and Folk Metal influences, who also label themselves as “Sumerian Thrashing Black Metal Pioneers,” are finally back into the battlefield over ten years after their last opus Enki with a fulminating three-track EP entitled Sentinels Of Shamash. Recorded and mixed by Kristian Kohlmannslehner at Kohlekeller Studio, with vocals recorded at Neverworld Recordings and Kingsize Soundlabs, with additional sessions at Forneus Studio, and displaying a classy artwork by Néstor Ávalos, the newborn spawn by Melechesh Ashmedi on vocals, guitars, keyboards, piano and folk instruments, Lord Curse on drums and percussion, Moloch on the guitars, backing vocals and folk instruments, and featuring the iconic Rob Caggiano as a guest bassist bass, Sentinels Of Shamash sees the band enter a ceremonial descent into ancient law, fire, and cosmic vigilance. Rooted in the solar authority of Shamash, god of truth and justice in Mesopotamian cosmology, the EP burns with the tension between chaos and sacred order, ruin and restoration, mortal defiance and divine decree.
Sharp, metallic guitar riffs set fire to the atmosphere in The Seventh Verdict, featuring guest Jessica Pimentel on vocals, boosted by hard hitting drums and Ashmedi’s infernal vociferations, inspiring us to headbang like true metalmaniacs in an overdose of Middle-Eastern Black Metal magic. The rumbling bass by Rob and the massive beats by Lord Curse offer Ashmedi and Moloch exactly what they need to cut our skin deep with their infuriated riffs in In Shadows, In Light, a rebellious and visceral Black Metal extravaganza by the band; and it’s pedal to the metal in the closing song Raptors of Anzu, offering our avid ears over six minutes of darkness, chaos, heavy-as-hell guitars, and the always piercing, hellish gnarls by Ashmedi, ending the EP on a beyond atmospheric, tribal and venomous mode.
In the end, Sentinels of Shamash stands as a mythological statement shaped in flame and discipline, a work of vigilance, a declaration that truth remains luminous even in eras of shadow. You can get to know more about the mighty Melechesh and show the band your utmost support by following the project on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their unique creations on most platforms such as Spotify, and of course by purchasing the EP from the Reigning Phoenix Music webstore (EU, US or UK), or simply by clicking HERE. The sentinels do not sleep. The sun does not close its eye. And through relentless sonic force, Melechesh remind us that judgment is eternal, and order, though challenged, will rise again in fire. All hail Melechesh and the Sentinels Of Shamash, and may their Extreme Metal fire keep burning for many centuries to come.
Best moments of the album:In Shadows, In Light.
Worst moments of the album: The fact that it’s only a three-song EP.
Released in 2026 Reigning Phoenix Music
Track listing 1. The Seventh Verdict 6:23
2. In Shadows, In Light 8:26
3. Raptors of Anzu 6:12
Band members Melechesh Ashmedi – vocals, guitar, keyboards, piano, folk instruments
Lord Curse – drums, percussion
Moloch – guitars, backing vocals, folk instruments
Guest musicians
Jessica Pimentel – vocals on “The Seventh Verdict”
Rob Caggiano – bass (session)
This up-and-coming Portland, Oregon-based five-piece Post-Black Metal band will stun us all with their “musical tribute” to the lore of The Elder Scrolls IV: Oblivion.
An up-and-coming five-piece Post-Black Metal band from Portland, Oregon, the thrilling Velothian, the brainchild of multi-instrumentalist Daren Walker, blends elements of Post-Metal, Folk Metal and Shoegaze (often with the inclusion of instruments like horns, synth, cello, and hand drums) in their music, drawing inspiration from nature, science fiction and fantasy. After the release of their 2024 debut EP Path of the Incarnate, the band currently formed of the aforementioned Daren Walker on the guitars alongside Juniper Ashford on vocals, Shawn Brannon on the guitar, Ethan Miller on bass, and Ryan Chappell on drums in unleashing upon humanity their first full-length opus, titled Mythic Dawn. Mixed and mastered by Daren Walker himself, the album is a “musical tribute” to the lore of The Elder Scrolls IV: Oblivion, following Path of the Incarnate, which focused on Morrowind. Moreover, the album title refers to the Mythic Dawn, a secretive Daedric cult in The Elder Scrolls universe that worships Mehrunes Dagon and instigated the Oblivion Crisis.
Their epic battle begins in full force with The One From My Dreams, where Juniper’s devilish gnarls are properly boosted by the scathing riffs by Daren and Shawn, also presenting ethereal passages to give the song even more depth. In Forgotten Ruins, Juniper roars the song’s dark words (“Keepers of the fire / Sigils of ancient glass / Guardians of this mortal plane / Now a scattered memory / Eyes of pale fire / The Children of the sky”) amidst a doom-ish and enfolding blend of Symphonic Black Metal; while the journey continues with The Great Forest, venturing through the realms of Atmospheric Black Metal, with the guitars by Daren and Shawn exhaling obscurity. Night Mother is another sinister and Stygian creation by Daren and his henchmen, with the massive beats by Ryan adding an extra dosage of heaviness to their music; and Ryan keeps pounding his drums supported by the rumbling bass by Ethan in Deadlands, keeping the album at a demonic level of darkness. The band then goes full Symphonic Black Metal in Mania, led by the vile vociferations by Juniper, flowing into the incendiary and intricate closing song Dragonfires, where Daren and Shawn breathe fire from their axes in the name of extreme music.
With songs focusing on both nostalgia from the game itself while also dealing with original stories and scenarios from the role playing experience, Mythic Dawn offers the listener epic, triumphant, and adventurous blackened extreme music, and if you want to join Daren and his horde in such a heavy and dark adventure, you can start following Velothian on Facebook, and of course grab a copy of the excellent Mythic Dawn from the project’s own BandCamp. Extreme Metal has always been the perfect type of music to represent the passion and perils found in role playing games like The Elder Scrolls IV: Oblivion, even more than the usual Power Metal bands, and I’m sure Velothian will soon return with another exciting and utterly metallic journey the likes of Mythic Dawn for our absolute delight.
Best moments of the album:Forgotten Ruins, Night Mother and Dragonfires.
Worst moments of the album: None.
Released in 2026 Independent
Track listing 1. The One From My Dreams 4:19
2. Forgotten Ruins 5:05
3. The Great Forest 6:16
4. Night Mother 6:19
5. Deadlands 5:53
6. Mania 4:51
7. Dragonfires 6:51
Band members Juniper Ashford – vocals
Daren Walker – guitar
Shawn Brannon – guitar
Ethan Miller – bass
Ryan Chappell – drums
Hailing from the Netherlands, this up-and-coming Symphonic Metal band continues their path to stardom with their striking sophomore album.
Hailing from the Netherlands, former athletes Renate de Boer and Robert Tangerman initially started an ambitious project to write a rock opera album, the Epic and Symphonic Metal band Epinikion, or “ἐπινίκιον,” which means “hymne for the winner” in Greek (in Ancient Greece, the heroic stories of athletes were sung in an epinikion after their victories at major events, a fitting band name for musicians rising from the ashes of their former sports careers, as reflected by the phoenix in the band’s logo). With no musical background to speak of, but with incredible talent, inspiration, and sheer will, the critically acclaimed debut Inquisition came to life in 2022. Now in 2026 the band currently formed of the aforementioned Robert Tangerman on the guitar and Renate de Boer on keyboards, alongside vocalist Kimberley Jongen, guitarist Maarten Jungschläger, bassist Rutger Klijn, and drummer Michal Gis, is unleashing upon us their sophomore opus, titled The Force of Nature. Mixed and mastered by Jacob Hansen at Hansen Studios, with vocals recorded by Erwin Hermsen at Toneshed Music Production, and displaying a stylish artwork by Giannis Nakos of Remedy Art Design, the album reflects the band’s conscious decision to commit and go big, and it promises to be a blast of a successor to their debut.
The cinematic intro The Moon, the Sun and the Stars transports us all to the ethereal realm ruled by Epinikion, setting the stage for the band to shine brighter than the sun in the title-track The Force of Nature, where Michal’s beats clash beautifully with Renate’s whimsical keys, generating the perfect Symphonic Power Metal ambience for Kimberley to hypnotize us with her striking vocals. In Lessons in Life (Are for Free) we see the band venturing through more modern lands, with the guitars by Robert and Maarten bringing sheer electricity to their core sound; and such a talented guitar duo continues to spread their metallic riffs across the sky in Come into My World, while Kimberley declaims the song’s lyrics in great fashion. Then the low-tuned, dark bass by Rutger kicks off the also enfolding Your Ultimate Joy, evolving into a powerful feast of Symphonic Metal with an epic touch, followed by I Thought You Were on My Side, a charming ballad where the entire band still sounds heavy while also keeping the atmosphere as delicate as possible.
Don’t Wake Up the Dead carries a poetic name for a song, working more like an interlude albeit it feels like a ballad at times, flowing into the hard hitting, epic Monsters in My Head, with Michal crushing his drums in great fashion while the keys by Renate add even more fuel to the incendiary riffage by Robert and Maarten in over nine minute of symphonic awesomeness. The band then brings forward their most passionate ballad of all, entitled Two Hearts, with Kimberley stealing the spotlight with her deep, melodic vocals; and it’s time to bring a Folk Metal vibe to their core symphonic sounds in Run with the Wolves, led by the galloping rhythm crafted by Rutger and Michal. Despite it’s weird title, What Goes Up Must Come Down lives up to the legacy of the style, with Renate once again hitting us in the face with her stylish keys, whereas lastly, let’s embark on an Epic Metal journey one final time to the sound of Eyes Will Glow, where Kimberley’s gentle vocals walk hand in hand with the song’s melodious riffs and pounding drums.
With The Force of Nature, such an up-and-coming Dutch Symphonic Metal band takes their music a step further compared to their 2022 debut, blending the musical influences and creativity from each member of the band into a unique and refreshing sound that will certainly appeal to fans of renowned acts the likes of Epica, Kamelot, Nightwish, Delain, After Forever, Within Temptation, Serenity, Xandria, Rhapsody of Fire, Two Steps From Hell, Fleshgod Apocalypse, Symphony X, and many more. You can find those unstoppable metallers from the Netherlands on Facebook and on Instagram, subscribe to their YouTube channel, stream their music on Spotify, and of course purchase the excellent The Force of Nature from BandCamp, from their own webstore, or simply click HERE for all things Epinikion. In summary, the band has all it takes to make it to the big stages of the world, and their new album The Force of Nature is definitely turning them into a force to be reckoned with in the Symphonic Metal realm.
Best moments of the album:The Force of Nature, Monsters in My Head and Run with the Wolves.
Worst moments of the album:Don’t Wake Up the Dead.
Released in 2026 Independent
Track listing 1. The Moon, the Sun and the Stars 2:09
2. The Force of Nature 4:22
3. Lessons in Life (Are for Free) 3:58
4. Come into My World 4:09
5. Your Ultimate Joy 4:42
6. I Thought You Were on My Side 5:18
7. Don’t Wake Up the Dead 5:54
8. Monsters in My Head 9:19
9. Two Hearts 4:33
10. Run with the Wolves 4:35
11. What Goes Up Must Come Down 5:36
12. Eyes Will Glow 3:59
Band members Kimberley Jongen – vocals
Robert Tangerman – guitar
Maarten Jungschläger – guitar
Rutger Klijn – bass
Renate de Boer – keyboards
Michal Gis – drums
Behold the striking debut album by this new Atmospheric Black Metal entity from Texas, a vessel of exploration set adrift in a vibrant storm of metal intensities.
A new musical project by Charlie Anderson, who is a violinist and composer from the United States known for his work with the band Panopticon, Huston, Texas-based Atmospheric Black Metal entity Weft is ready to unleash upon us its debut opus, entitled The Splintered Oar. Recorded and mixed by Charlie himself (with contributions by Austin Lunn, Andrea Morgan and Jordan Day, who are also guest musicians in the album), mastered by Spenser Morris, and displaying a stylish artwork by Austin Lunn, The Splintered Oar is a vessel of exploration set adrift in a vibrant storm of metal intensities, a very adventurous and exciting album that perfectly represents Charlie Anderson’s vision and passion right from its very first notes until its climatic ending.
Leaves sounds absolutely melancholic and delicate from the very first second, with the crying violin by Andrea walking hand in hand with Charlie’s minimalist acoustic guitar, flowing into False Kingdoms, which also begins in a cinematic manner, evolving into a feast of contemporary Atmospheric Black Metal led by Charlie’s anguished gnarls and his flammable, piercing stringed weapons. The striking violin by Andrea returns in full force in The Hull, clashing with the Black Metal blast beats by Austin and, therefore, resulting in a superb aria of darkness where Charlie keeps vociferating like a demonic entity for our total delight. Then Charlie and his crew continue to embellish the airwaves with their blend of Atmospheric Black Metal madness in Red Dawn, with his guitars and synths adding an extra touch of insanity to the overall result; whereas lastly we’re treated to the longest of all songs, entitled Dream of Oaks, an acoustic display of Black and Folk Metal that morphs into some sort of Blackened Doom insanity during its second half, presenting different layers carefully crafted by our multi-talented Charlie and his crew.
They say that it takes a band or musician their entire life to create their first album, and on the weathered, atmospheric, and truly adventurous The Splintered Oar, it sounds like every note has indeed a lifetime of exploration, joy, loss, and growth behind it. Hence, you can put your hands on such a unique, multi-layered album of extreme music via the project’s own BandCamp, as well as from the Bindrune Recordings’ BandCamp or webstore as a CD or an LP, and I’m sure we’ll soon see Charlie and his Weft take other virtual realms by storm such as Facebook, Instagram and Spotify. In the end, Charlie Anderson is Weft, and Weft is Charlie Anderson, with The Splintered Oar beautifully representing the fusion of body, soul and extreme music by such an amazing new entity of the current American scene.
Best moments of the album: False Kingdoms and The Hull.
Worst moments of the album: None.
Released in 2025 Bindrune Recordings
Track listing 1. Leaves 5:04
2. False Kingdoms 9:12
3. The Hull 10:25
4. Red Dawn 6:36
5. Dream of Oaks 12:11
Band members Charlie Anderson – vocals, guitars, bass, strings, electric violin, synth, piano, additional percussion
Guest musicians
Austin Lunn – drums
Andrea Morgan – violin and vocals on “Leaves”, “The Hull” and “Dream of Oaks”
Jordan Day – vocals on “Dream of Oaks”
These unrelenting Mexican metal warriors are back with their breathtaking fourth studio album based on Mayan ideology, worldview, mysticism, and the universe.
Incorporating elements of the legends, mysticism and ideologies of ancient Mexican culture, being compared by Revolver to “Slipknot scoring Mel Gibson’s Apocalypto” by combining the modern instrumentation of a metal band with traditional pre-Hispanic instruments, Guadalajara, Mexico’s own Progressive Power/Thrash/Folk Metal tribe Cemican (or “The Duality of Life and Death” in the Mexican language Nahuatl) brings forth more of their unique music in their fourth studio opus entitled U k’u’uk’ankil Mayakaaj, translated as “the Mayan Resistance”, following up on their 2019 critically acclaimed album In Ohtli Teoyohtica In Miquiztli. Showcasing a stunning artwork by the band’s own Tlipoca (aka Alejandro Guzmán), depicting the great creation of the Mayan universe and the elements of life – water, fire, wind, and earth – by the great supreme Itzamnaaj, raising the great Temple of Kukulkan for the worship of the Mayan people, the new album by vocalist and guitarist Tecuhtli, bassist Ocelotl, drummer Tlipoca, and the tribalistic ensemble of Xaman Ek, Yei Tochtli, Mazatecpatl, and Itzcoatl is based on Mayan ideology, worldview, mysticism, and the universe. It contains various legends and stories of ancestral gods, the duality of life and death, as well as stories based on the band members, transformed with that touch that identifies us.
Kukulkán Wakah Chan (likely combining the Maya deity name Kukulkán, meaning “Plumed Serpent”, with the Nahuatl phrase Wakah Chan, meaning “Sacred Tree” or “Milky Way”) sounds utterly ritualistic and folk from its very first moments, with their wind instruments echoing through the air before exploding into an amalgamation of Thrash, Death and Groove Metal led by Tlipoca’s crushing beats and fills; whereas Tán tí le Xibalba, the second single of the album, speaks of the god of dead in the Mayan culture while keeping their heaviness clashing with the culture of their ancestors in a majestic way, being therefore an excellent choice for their live concerts. In El Niño Que Contemplaba A Las Estrellas (“the boy who gazed at the stars” from Spanish), the guitars by Tecuhtli lean towards classic Heavy Metal, as well as his vocals, followed by Viaje Astral Del Quetzal De Fuego (“astral journey of the fire quetzal”), sounding atmospheric and embracing from start to finish, with the bass by Ocelotl and the drums by Tlipoca being absolutely thunderous. Xaman Ek, Yei Tochtli and Mazatecpatl bring the glory of the past through their wind instruments in the tribal dance Horizonte De Almas (“horizon of souls”), exploding into an epic song that will inspire you to raise your horns for those beyond talented Mexicans, while El Castigo De Los Dioses (“the punishment of the gods”) is another song where the modern, electrified vibe of metal music makes a killer paradox with their cultural and folk sounds.
The howling wind invites us to another journey through Mayan lands in Tak Ti Ulaák Íin, one of the most ritualistic of all songs, where the band delivers their most primeval sounds of the album. Then the massive riffs by Tecuhtli ignite the imposing, multi-layered Los Guardianes De La Tierra (“guardians of the earth”), a lecture in Symphonic and Melodic Death and Black Metal that feels like it was taken from the most climatic moment of a period drama; and the band offers another blast of harsh and pounding sounds in Hun-Came, meaning “One Death”, the name of the senior of the two principal death gods in the Maya underworld Xibalba, with all vocals and backing vocals giving it an extra kick while Tlipoca hammers his drums mercilessly. ¿Donde Estas? (“where are you?) is some sort of power ballad entirely sung in Spanish by a mysterious guest female musician, a bit too generic compared to the other songs; while back to their trademark tribal sonority infused with the power of Heavy Metal we have Yóok’ ol Kaáb Maya, sounding and feeling epic and vibrant until the very end. Lastly, closing the album we’re invited to one final ritual by Cemican entitled Bolom Octé, a stunning sonic voyage back to the glory yet somber days of their ancestors.
Offering a sound that embodies that language of music with ancestral instruments that Cemican have achieved as its own unique and hallucinatory sound, fused with lyrics that blend Spanish with Yucatecan Mayan, U k’u’uk’ankil Mayakaaj is a tribute to their ancestral people, their stories and their customs, giving a valuable message of their language and their ancestral glory. Hence, you can enjoy the dark and aggressive atmosphere found in U k’u’uk’ankil Mayakaaj by purchasing the album from their own BandCamp, from the M-Theory Audio webstore, or by clicking HERE, and don’t forget to also follow the band on Facebook and on Instagram, subscribe to their YouTube channel, and stream their amazing albums on Spotify. Because U k’u’uk’ankil Mayakaaj is a way to revive what their warriors and their Mayan people were, honoring the great Mayan culture and representing the worldview and mysticism of their great ancestral empire.
Best moments of the album:Tán tí le Xibalba, Horizonte De Almas, Los Guardianes De La Tierra and Hun-Came.
Worst moments of the album:¿Donde Estas?.
Released in 2025 M-Theory Audio
Track listing 1. Kukulkán Wakah Chan 5:45
2. Tán tí le Xibalba 4:01
3. El Niño Que Contemplaba A Las Estrellas 6:44
4. Viaje Astral Del Quetzal De Fuego 8:31
5. Horizonte De Almas 6:31
6. El Castigo De Los Dioses 5:26
7. Tak Ti Ulaák Íin 4:39
8. Los Guardianes De La Tierra 5:13
9. Hun-Came 5:29
10. ¿Donde Estas? 4:23
11. Yóok_ ol Kaáb Maya 5:45
12. Bolom Octé 4:30
The new EP by this up-and-coming Italian band captures the essence of classic Power Metal while pushing their sound into exciting new territories.
Further cementing the band’s place among the most promising names in the new wave of European Power Metal, Stormrageis the brand new EP by Italian Symphonic/Melodic Power Metal warriors Alterium, a powerful chapter that bridges their acclaimed 2024 debut Of War And Flames and their upcoming full-length album. Formed of Nicoletta Rosellini on vocals, Paolo Campitelli on the guitars and keyboards, Alessandro Mammola also on the guitars, Luca Scalabrin on bass, and Dario Gozzi on drums, the band continues their tradition of blending agile riffs, epic atmospheres, and battle-hardened energy in Stormrage, capturing the essence of classic Power Metal while pushing the band’s sound into exciting new territories.
The whimsical, epic keys by Paolo will embellish the airwaves and invite you on a symphonic journey in the title-track Stormrage, accompanied by the classic drumming by Dario and the melodic and powerful vocals by Nicoletta; whereas Sui starts in a more melodic manner, sounding almost like a Folk Metal ballad, before Paolo and Alessandro strike us all with their scorching Heavy Metal riffs in a very detailed, imposing and electrifying feast of Symphonic and Melodic Power Metal. The CD version of the EP comes with two amazing bonus, the first one being their cover version for the classic by Symphony X titled Paradise Lost (check the original version from their 2007 album Paradise Lost), and Alterium’s version is just as magical and enfolding, with Nicoletta’s powerful vocal lines being flawlessly supported by Paolo’s keys and the low-tuned, groovy kitchen crafted by Luca and Dario. And closing the CD version of the EP we have the orchestral version of Of War and Flames, a cinematic rendition of the original version from their own 2024 album Of War and Flames, where all orchestrations walk hand in hand with Nicoletta’s epic, soaring vocals.
In summary, this new chapter sees the band sharpen their songwriting and deliver a fresh burst of adrenaline that both longtime fans and newcomers will appreciate, reaffirming their mission to carry the torch of European metal with pride and power. Hence, you can get in touch with those Italian metallers via Facebook and Instagram, subscribe to their YouTube channel, stream their music on Spotify, and of course purchase their new EP from Big Cartel. As aforementioned, Stormrage works as a bridge between their 2024 album and their future endeavor, and based on the high energy and quality of the music found in their new EP, we can rest assured the future looks extremely promising for such an amazing up-and-coming band.
Best moments of the album:Sui and Paradise Lost.
Worst moments of the album: None.
Released in 2025 Independent
Track listing 1. Stormrage 4:16
2. Sui 5:27
CD Version bonus tracks
3. Paradise Lost (Symphony X cover) 6:45
4. Of War and Flames (Orchestral version) 3:40
Band members Nicoletta Rosellini – vocals
Paolo Campitelli – guitars, keyboards
Alessandro Mammola – guitars
Luca Scalabrin – bass
Dario Gozzi – drums
A storm is brewing in the form of the eight studio album by this phenomenal Blackened Doom band hailing from the United States.
A storm is brewing. Hailing from Dallas, Texas, the unrelenting Black/Death/Doom Metal cult known as Krigsgrav returns two years after their critically acclaimed album Fires in the Fall with a brand new offering of absolute doom titled Stormcaller, the eight studio album in their solid career. Mixed and mastered by Owe Inborr at Wolfthrone Studios, with drums recorded by Sam Paquette at S.A.M. Studios, additional engineering by Cody Daniels, a Stygian cover art by the beyond talented Adam Burke of Nightjar Illustration, and album layout and design by Randi Matejowsky, the new opus by vocalist and guitarist Justin Coleman, guitarist Cody Daniels, bassist Wes Radvansky, and drummer and vocalist David Sikora is another lecture in Blackened Doom by one of the most prominent names of the scene worldwide, bringing sheer darkness and heaviness to our obscure hearts and souls.
Huntress of the Fire Moon, featuring guest vocals by Jens Rydén (of Swedish Viking/Black Metal band Thyrfing), is a very detailed and complex composition from the very first second, with the guitars by Justin and Cody exhaling epicness, whereas the harsh vociferations by Justin sound even darker in Stormcaller, while David keeps blasting his drums in great fashion. The quartet lets their Viking and Folk Metal vein pulse harder than ever in Twilight Fell, spearheaded by the pounding drums by David, and the final result is as epic as it is inspiring. And get ready for over seven minutes of harsh and obscure sounds in None Shall Remember Your Name, led by the always grim roars by Justin while their guitars exhale absolute darkness.
The second half of the album begins with more of their trademark fusion of Black, Death and Doom Metal with epic elements in the form of Bay of the Barghest, where their guitars sound striking and vibrant until the very end; and Cody fires a thrilling solo to kick off the excellent The Tonic of Wilderness, once again morphing into a bestial tune of Blackened Death and Doom Metal supported by the classic beats and fills by David. Ghosts is another six-minute beast of absolute doom, with their riffs and beats walking hand in hand, overflowing epicness and heaviness, and flowing into the grand finale entitled Womb-Death-Dawn, an explosion of Death and Doom Metal where Justin barks and roars like a creature from the abyss, resulting in a sinister, harsh conclusion to such a powerful and compelling album.
“When we started writing the songs that would make up Stormcaller, our intention was to create the most complete Krigsgrav album that took something from every era of the band, while still pushing our sound forward. A culmination of the blackest hues, doomiest of dirges, and most soaring of lead guitars. We think we achieved that, but we also wrote the best album of our career thus far. We trust that when you hear it, you’ll agree,” commented the band, and you can start following those amazing musicians on Facebook and on Instagram, enjoy their fantastic discography in full on Spotify, and of course purchase Stormcaller from BandCamp or from the Willowtip Records webstore, or simply click HERE for all things Krigsgrav. The band’s storm of absolute doom found in their new album is upon us, and once you’re embraced by their heavy sounds, there’s no way out.
Best moments of the album:Huntress of the Fire Moon, Twilight Fell and The Tonic of Wilderness.
Worst moments of the album: None.
Released in 2025 Willowtip Records
Track listing 1. Huntress of the Fire Moon 5:44
2. Stormcaller 5:37
3. Twilight Fell 5:38
4. None Shall Remember Your Name 7:33
5. Bay of the Barghest 6:21
6. The Tonic of Wilderness 6:19
7. Ghosts 6:10
8. Womb-Death-Dawn 8:33
Band members Justin Coleman – harsh vocals, guitar
Cody Daniels – lead guitar
Wes Radvansky – bass
David Sikora – clean vocals, drums
Guest musician
Jens Rydén – additional vocals on “Huntress of the Fire Moon”
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
Behold the triumphant return to action by this Italian horde armed with their third full-length album, continuing their journey into the world of Folk and Symphonic Metal.
Forged in 2010 in the city of Venice, Italy, Folk Metal horde Vallorch, a name taken from a small Cimbrian village on the Cansiglio plateau, continues their journey into the world of Folk and Symphonic Metal with their third full-length installment, entitled The Circle, the follow-up to their 2015 album Until Our Tale Is Told, and a triumphant return to action by the band. Reborn from the ashes of their former selves, frontwoman Sara Tacchetto, vocalist and bassist Leonardo Dalla Via, guitarist Mattia Buggin, vocalist and keyboardist Marco Povolo, and drummer Massimo Benetazzo, supported by guest violinist Serena Zucco (of Adgarios) are ready to take the world by storm once again, inviting us all to join them in the battlefield or to simply party at a cozy and loud inn.
It’s a prancing Folk Metal party right from the start in To the Silver Summit, with Leonardo and Massimo dictating the song’s galloping pace while Sara distills her mesmerizing vocals nonstop, whereas Hellpath continues to showcase their upbeat folk sounds, with the bouzouki by Marco adding an extra touch of finesse to the overall result. Circle of the Moon is one of those songs born to be played live, where all riffs, bass lines and drums match perfectly with the uniqueness of the bouzouki, bagpipe and violin, followed by Drink Some More!, a raucous celebration of music, camaraderie, and revelry, where Mattia kicks some ass armed with his stringed axe; and the Celtic harp by guest Glorya Lyr (of Eard) brings a charming aura to the delicate ballad Antermoia, led by the always passionate vocals by Sara (not to mention the striking, soulful guitar solo by Mattia).
Their metallic party goes on in Röte Löon, which should translate as “red lion” from German, another captivating tune by such an amazing Italian horde, with Sara and Leonardo making an absolutely stunning vocal duet. Then back to a more Heavy Metal inspired sound, it’s time for the fierce battle hymn Salbanéo, recommended for fans of Folk Metal masters Korpiklaani, with Leonardo sounding amazing with his harsh vocals; whereas The Wild One is by far the most generic of all songs, not as captivating as the rest of the album, albeit the vocals by Sara still sound powerful. And lastly, we face Dyssomnia, the most epic and detailed of all songs (thanks in part to its duration), with the entire band sounding sharp, in special Marco armed with his keyboards and bouzouki, all spiced up by a thunderous performance by Massimo on drums.
Fans of Eluveitie, Alestorm, Wind Rose, and Korpiklaani, among others, will find much to love in the vibrant fusion of folk instrumentation and symphonic power found in The Circle, and you can be part of their sonic celebration by following them on Facebook and on Instagram, by streaming their inebriate creations on Spotify, and of course by grabbing a copy of The Circle from Rockshots Records, or by clicking HERE or HERE. In other words, it’s time to raise our glasses, let the music by Vallorch take over, and drink some more with those Italian metallers as they unleash their most refined and exhilarating work to date upon us all.
Best moments of the album:Circle of the Moon, Drink Some More! and Salbanéo.
Worst moments of the album:The Wild One.
Released in 2025 Rockshots Records
Track listing 1. To the Silver Summit 3:53
2. Hellpath 3:52
3. Circle of the Moon 3:34
4. Drink Some More! 3:42
5. Antermoia 5:00
6. Röte Löon 4:39
7. Salbanéo 3:59
8. The Wild One 4:10
9. Dyssomnia 9:08
Band members Sara Tacchetto – vocals, choirs, tin whistle, bagpipe
Leonardo Dalla Via – vocals, harsh vocals, choirs, bass, programming
Mattia Buggin – electric and acoustic guitars
Marco Povolo – vocals, choirs, keyboards, bouzouki, programming
Massimo Benetazzo – drums
Guest musicians Serena Zucco – violin
Glorya Lyr – Celtic harp in “Antermoia”
“Let warlocks grim an’ wither’d hags
“With this new album we feel like we are going back to our roots with a more guitar driven style and bringing back some of the folk elements musically and lyrically which was the original inspiration for the band,” commented the guys from Cnoc An Tursa, and by looking back they have found their way forward, reigniting their fire and forging an album that will resonate through the years to come. Alan, Rene and Bryan are waiting for you with their striking fusion of Scottish folklore and heavy music on Facebook and on Instagram, and don’t forget to also stream their unique creations on Spotify and, above all that, to purchase the excellent A Cry For The Slain from the Apocalyptic Witchcraft’s BandCamp or webstore. Cnoc An Tursa undoubtedly have Alba in their hearts, translating that passion for their homeland into first-class extreme music in their new album and, therefore, keeping the fires of their unparalleled culture burning bright for many decades to come.
THE HEADBANGING MOOSE 