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Metal Chick of the Month – Sofia Bortoluzzi

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I feel, I live… I breathe, I’ve grown…

In this month of August, let’s all travel through the realms of cinematic heavy music, blending the aggressiveness of Progressive Metal and Rock with elements from Jazz, Soul, Hip-Hop, and Rap, courtesy of our multi-talented metal lady of the month. Better known as the striking frontwoman for French Cinematic Metal band No Terror In The Bang, her vocal range allows her to sing pretty much any music style you can think of, and I’m sure after listening to her incredible voice you’ll get simply addicted to any project she’s involved with. Not only that, she complements her phenomenal voice with a lot of charisma, stunning looks, and an amazing attitude onstage, giving her music a lot of depth thanks to her theatrical vibe and moves. Her name is Sofia Bortoluzzi, an extremely talented and promising singer, author, composer and performer, and you better get ready as once you get to know more about such a fantastic musician from the current rock and metal scene worldwide, there’s no turning back as you’ll be forever trapped under her spell.

Born and raised in Le Havre, a major port city in the Seine-Maritime department in the Normandy region of northern France, but currently residing in Rouen, capital of that same region, due to her studies and due to her work as a professional musician, Sofia  has been into music at a very early age. “My mother often tells me that I used to sing to sleep. I’ve always been encouraged to pursue a musical education. I started playing the piano at the age of 8 in a small music school.” Having been introduced to jazz, which she particularly loved, she said that it was at the age of 13 that she started taking singing lessons with singer, composer, actor and vocal coach Baptiste Famery, who was her mentor and literally immersed her in the world of music. Having started her studies at Conservatoire Arthur Honegger in Le Havre, and currently in a Professional Orientation Cycle in contemporary music singing at the Conservatoire à Rayonnement Départemental Max Pinchard in Grand-Couronne, France, Sofia is aiming to obtain the Diploma of Musical Studies (DEM), while at the same time she’s also pursuing further training at the Conservatoire de Rouen.

Since 2019, Sofia has been collaborating with drummer and composer Alexis Damien (Pin-up Went Down, Void Paradigm) on alternative metal music with cinematic atmospheres, founding then in Rouen the stunning Cinematic Metal beast No Terror In The Bang. By the way, the name of the band comes from a famous quote from world renowned filmmaker Alfred Hitchcock, who said “there’s no terror in the bang, only the anticipation of it,” comparing an impending thunderstorm to his vast body of work (as he directed over 50 films), and the band thought this described their style of music perfectly. Currently formed of Sofia Bortoluzzi on vocals, Clément Bernard and Etienne Cochin on the guitars, Brice Bouchard on bass, and Alexis Damien on drums, and Romain Greffe on keyboards, No Terror In The Bang play a majestic fusion of Progressive Metal with cinematic and alternative nuances, crafting a chiaroscuro world that balances fragility and fury.

It was back in 2021 when the band released their debut opus, entitled Eclosion, offering fans of heavy music a strong blend of primal energy and sophisticated cinematic orchestration. Three years later, it was time for their sophomore opus to see the light of day. Simply titled Heal, it’s a conceptual album pushing their dynamics further with tracks that are by turns turbulent, touching, and powerful, embracing diverse influences that amplify the album’s intensity. Sounding more brutal and progressive, yet still cinematic, resolutely modern and original, Heal engulfs the listener in the depths of tortuous worlds. You can enjoy several amazing official videos from both albums on their YouTube channel, including Lulled by the Waves, Retch, Another Kind of Violence, a live version of Warrior recorded at Café de la Danse in Paris in 2023, their full set recorded live at La Gare aux Musiques in 2022, as well as stream both albums in all of their glory on BandCamp or on Spotify.

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In 2023, No Terror In The Bang won an award in the emerging category of a French music competition, leading them to perform at several festivals and venues such as Le Normandy, Chien à Plumes, Chauffer Dans la Noirceur, and many others. And as their Cinematic Metal began taking them places, Sofia was asked in one of her interviews how she would define such a unique subgenre of heavy usic. “It’s an alternative genre that combines both metal and film music ambiances. It aims to immerse the listener in a chiaroscuro universe with this contrast between a dark, violent world and another dreamlike one that borders on dreams,” commented our phenomenal diva.

Part of a collective of local artists named La Charbonnerie, Sofia is also involved in other very interesting projects apart form her career with No Terror In The Bang. For instance, she’s a member of a duo with French beatmaker and rapper Mine Sale with influences from Jazz, Soul, Hip-Hop, and Rap. Their first EP, titled Diseases, was released in December 2020, including songs like I Can Fly. “This project, which I started a year ago, is a 7-track EP composed primarily in English. Its influences include Jazz, Soul, Hip-Hop, and Rap. Mine Sale is the beatmaker and initiator of this project. He’s a Rouen-based artist who is a rapper and heads a collective called La Charbonnerie, of which I’m an active member,” said Sofia. “Vocally, I come from a jazz background. It’s a great experience for me, allowing me to broaden my musical palette.” Furthermore, you can also find her making another duo with Pierre-Louis Le Port in a project called Gin Bee, as you can see in this acoustic version for Judas, by Lady Gaga.

Having won the second place in 2020 in the Les Etoiles de nos Régions competition, where she represented Normandy, Sofia had an interesting answer when asked about her vocal range. “People usually say I’m more of an alto, but I’d rather say I’m a mezzo, because I can sing very low as well as high. Recently, I’ve been able to master distorted singing, such as growls and screams.” Furthermore, as a writer and composer of all of her lyrics and melodies, she mentioned she usually starts her creative process with instrumental pieces, playing them on repeat until finding inspiration and the right flow, while also sometimes writing lyrics without music.

Having given vocal technique classes at Ecole de Musique de Quincampoix in addition to her professional training, saying by the way she had never progressed as much regarding her vocals before she started teaching, Sofia grew up with the internet and YouTube, as well as the first streaming platforms, having the opportunity to discover many artists such as the great divas of R&B like Beyoncé and Rihanna, American rappers including Lil Wayne and Eminem, Bob Marley and so on. Also, when asked to name a few artists from the Le Havre region that she would recommend, Sofia mentioned Brav, Tiers Monde (formerly known as Bouchées Doubles), and Médine, all from the French rap scene, showing how much the style has influenced her in her life and career.

There are also some very interesting interviews, most of the time in her mother tongue French, available online if you want to know more about Sofia and her No Terror in The Bang, including this one to France 3 Normandie where the band talks about the release of their second album Heal, and this 30-minute one to Loud TV to also talk about Heal. Sofia and of course her bandmates are going places with the uniqueness and energy of their music, and may her R&B soul keep getting intertwined with her metal heart for many decades to come, bringing to our avid ears an overdose of first-class, emotional heavy music, always enfolded by her unique vocals.

Sofia Bortoluzzi’s Official Facebook page
Sofia Bortoluzzi’s Official Instagram
No Terror In The Bang’s Official Facebook page
No Terror In The Bang’s Official Instagram
No Terror In The Bang’s Official YouTube channel

Album Review – Impureza / Alcázares (2025)

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The trailblazers of Hispanic Extreme Metal return with a fantastic new album, once again exploring the duality between extreme music and Spanish sounds inspired by Andalusian culture and flamenco.

Formed in 2004 by guitarist Lionel Cano Muñoz, Franco-Spanish Brutal Flamenco Death Metal entity Impureza offers a unique fusion of extreme music and Spanish sounds inspired by Andalusian culture and Flamenco, creating an atypical style known as “Hispanic Extreme Metal,” therefore turning them into the pioneers of the genre. Recorded and mixed by Sébastien Camhi at Studio Artmusic, mastered by Jacob Hansen at Hansen Studios, and displaying a stylish artwork by Johann Bodin and Xavier Ribeiro, Alcázares is the brand new offering by the band currently formed of Esteban Martín on vocals, Lionel Cano Muñoz on the guitars, Florian Saillard on fretless bass, and Guilhem Auge on drums, supported by Xavier Hamon on percussion and Louis Viallet on orchestrations, once again revolving around the voluptuousness of Latin atmospheres, the ferocity of metal music, and Spanish culture and history, explored through a fictional and esoteric aspect.

The pure Flamenco intro Verdiales will transport our minds to the world of Impureza before they attack with Bajo las Tizonas de Toledo, with Lionel delivering striking riffs and solos infused with Spanish sounds while Guilhem hammers his drums and Esteban roars deeply until the very end. Covadonga keeps the album at a high level of violence and epicness, with Lionel once again stealing the spotlight with his riffage supported by Florian’s puissant bass; and simply let their Spanish sounds penetrate deep inside your soul in Pestilencia, or “pestilence”, where the Spanish guitars by Lionel are effectively boosted by the percussion by Xavier before all explodes into another feast of Progressive Death Metal. And Reconquistar Al-Ándalus, or “reconquering Al-Ándalus”, is another perfect fusion of extreme music and the Andalusian culture, not to mention how infernal Guilhem sounds on drums.

Impureza will then put you to dance to the sound of Murallas, or “walls”, a fantastic interlude that will set the tone for La Orden del Yelmo Negro, which translates as “the order of the black helmet”, carrying a poetic name for an overdose of harsh vociferations by Esteban, all boosted by another visceral, flawless stringed attack by Lionel and Florian. After such a beautiful song, the band offers six minutes of dark, atmospheric sounds infused with the whimsical touch of the Spanish guitar by Lionel in Castigos Eclesiásticos, or “ecclesiastical punishments”; whereas in El Ejército de los Fallecidos de Alarcos, or “the army of the dead of Alarcos”, all backing vocals add an extra kick to Esteban’s harsh growls while Florian and Guilhem make the earth tremble with their progressive and ruthless kitchen. Then another Andalusian-infused instrumental interlude titled Ruina del Alcázar, or “ruin of the Alcázar”, warms us up for their final onrush entitled Santa Inquisición, or “holy inquisition”, where all band members set the ambience on absolute fire, led by the always demonic vociferations by Esteban in a lecture in extreme music.

Often nicknamed the “French Nile” due to their primary influences, which obviously include Nile, as well as Hate Eternal, Behemoth, and Fleshgod Apocalypse, among many others, plus several Spanish artists such as Flamenco guitarist Paco de Lucía and gypsy singer Camarón de la Isla, Impureza, which by the way means “impurity” in English, beautifully united traditional Hispanic folklore and Extreme Metal in their new album, presenting the duality between those two seemingly opposed musical genres in a beyond compelling way. Hence, you can get to know more about the band on Facebook and on Instagram, subscribe to their YouTube channel, stream their music on Spotify, and grab a copy of their fiery new opus from BandCamp or by clicking HERE. In a nutshell, not only Impureza are the undisputed trailblazers of Hispanic Extreme Metal, but Alcázares will certainly help them carve their name in the history of heavy music, leaving us eager for more in a not-so-distant future.

Best moments of the album: Bajo las Tizonas de Toledo, Reconquistar Al-Ándalus, La Orden del Yelmo Negro and Santa Inquisición.

Worst moments of the album: None.

Released in 2025 Season of Mist

Track listing
1. Verdiales 1:15
2. Bajo las Tizonas de Toledo 6:25
3. Covadonga 4:01
4. Pestilencia 4:44
5. Reconquistar Al-Ándalus 5:25
6. Murallas 2:24
7. La Orden del Yelmo Negro 4:57
8. Castigos Eclesiásticos 6:06
9. El Ejército de los Fallecidos de Alarcos 5:18
10. Ruina del Alcázar 1:37
11. Santa Inquisición 6:26

Band members
Esteban Martín – vocals
Lionel Cano Muñoz – rhythm, lead & Spanish guitars
Florian Saillard – fretless bass
Guilhem Auge – drums

Guest musicians
Xavier Hamon – percussion (session)
Louis Viallet – orchestrations (session)

Album Review – Eminentia Tenebris / Whispers of the Undying (2025)

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This French Black Metal entity returns with its fourth studio album, formed of eight epic and melodic pieces centered around the exaltation of heroism and bravery within an ancient and mythical war-torn universe.

Founded in Le Mans, Pays de la Loire, France in 2020 as a one-man band by Cryo, Atmospheric/Melodic Black Metal entity Eminentia Tenebris is unleashing its highly anticipated fourth album, Whispers of the Undying, following up on its 2023 album Rise of a New Kingdom. Whispers of the Undying, which marks the arrival of Erroiak on vocals and Daeris as the lyricist, as well as Septev handling all mixing, mastering, and layout, and displaying a classy artwork by Rein Van Oyen, is formed of epic and melodic pieces centered around the exaltation of heroism and bravery within an ancient and mythical war-torn universe. The album title should be interpreted as a metaphor for a timeless force that endures through eternity (via “whispers”), representing the survival of heroic deeds in collective memory over time (and thus never dying, or “undying”).

The duo’s cryptic Black Metal attack begins in full force in Forever Etched, an extended intro that works majestically, warming us all up for Echoes of Triumph, where Cryo delivers striking riffs, bass lines and blast beats nonstop, therefore boosting Erroiak’s visceral roars to a whole new level, sounding vile while at the same time absolutely epic. The galloping pace crafted by Cryo sounds and feels truly inspiring in The Great Betrayal, with all background elements adding an extra touch of obscurity to the music, and after such a demonic metal attack the duo offers a delicate start in Beneath the Moon, gradually morphing into another Black Metal extravaganza led by Cryo’s venomous riffage.

Through Chaos and Shadow is a first-class explosion of Melodic and Atmospheric Black Metal by Eminentia Tenebris, with Erroiak proving why he was chosen by Cryo to be the new voice of the band; followed by Embers of Glory, presenting another gentle, serene intro that will embrace our blackened souls, an ode to heroism and glory, with Erroiak roaring amidst a fusion of Epic and Black Metal. Then we have Marching as One, bringing forward another round of their darkened, epic sounds, with Cryo’s riffs and blast beats walking hand in hand with Erroiak’s desperate gnarls; and lastly, the duo will head into the battlefield one final time to the sound of Time’s Cruel Reign, with Cryo’s Black Metal beats enhancing the song’s heaviness to a whole new level.

Ultimately, Whispers of the Undying questions the legacy one wishes to leave behind and pays tribute both to heroic figures and to the power of nature, before which humankind must remember to remain humble. Hence, if you want to experience such a harsh, detailed and multi-layered album of extreme music in all of its glory, you can purchase a copy of it from the project’s own BandCamp or from the Antiq Records webstore, and don’t forget to also check what Cryo and his Eminentia Tenebris are up to on Facebook and on Instagram, and to stream more of the project’s idiosyncratic creations on YouTube and on Spotify, or simply click HERE for all things Eminentia Tenebris. As the album progresses, the narrator transforms from a triumphant protector to a tormented soul, whose powerlessness in the face of time’s ravages leads him to self-reflection at the moment of death, and there’s nothing better than the first-class fusion of Atmospheric and Melodic Black Metal by Eminentia Tenebris to support his dark and infernal path.

Best moments of the album: Echoes of Triumph, Through Chaos and Shadow and Marching as One.

Worst moments of the album: None.

Released in 2025 Antiq Records

Track listing
1. Forever Etched 1:43
2. Echoes of Triumph 4:26
3. The Great Betrayal 4:20
4. Beneath the Moon 5:21
5. Through Chaos and Shadow 4:35
6. Embers of Glory 5:05
7. Marching as One 4:44
8. Time’s Cruel Reign 5:04

Band members
Erroiak – vocals
Cryo – guitars, bass, drums

Album Review – Primal Age / Until The Last Breath (2025)

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Combining power and commitment, the striking new album by the trailblazers of French Hardcore and Metalcore marks a new chapter for the band, remaining true to their identity and original values.

The unstoppable pioneers of French Hardcore and Metalcore, Évreux, Normandy-based veterans Primal Age, are back in action after their successful 2021 album Masked Enemy with a brand new offering titled Until The Last Breath, the fourth studio album in their solid career. Recorded and mixed by Guillaume Doussaud at Swan Sound Studio, mastered by Alan Douches at West West Side Music, and displaying a classy cover art by Greg of Visual Injuries, the new album by frontman Didier, guitarists Benoit and Florian, bassist Dimitri, and drummer Rudy marks a new chapter for the band who, over 30 years after their debut, remains true to their identity and original values.

The album’s eerie Intro sounds as the calm before the storm, as Didier and his crew are ready to attack in Empire Will Always Fail, with Benoit and Florian showing no mercy for their axes (nor for our necks, of course). Didier also screams manically in False Pretense, supported by the always demented drums by Rudy, whereas in Voiceless Ones we face rebellious lyrics barked by all band members (“In cages small, they live their last and only days / Their freedom gone, in dismal ways / Their cries unheard, their pain unseen / A fucking world of suffering, a silent scream / WE ARE, WE ARE / We are the voice for the voiceless ones / WE ARE, WE ARE / End the cruelty, let love be our course / WE ARE, WE ARE / Their lives matter, / WE ARE, WE ARE / Just like ours”) amidst a lesson in Hardcore. And No Regrets offers another round of frantic, no shenanigans Hardcore made in France, led by the hammering drums by Rudy.

The second half of the album begins in a serene, melancholic manner with Madness, a whimsical interlude that once again brings some peace to our blackened hearts before Shadows Of Intolerance presents the band’s guitar duo formed of Benoit and Florian delivering an overdose of electricity, rage and melody through their energetic riffage. Then we’re treated to Walls Of Stone, bringing forward hints of classic Death Metal in their core sonority while Didier roars like a beast and his bandmates deliver a huge dosage of insanity armed with their incendiary sonic weapons; followed by The Meaning Of Life, their second to last breath of Hardcore infused with Metalcore elements, yet again bringing to our avid ears pure adrenaline flowing from their riffs, bass lines and unstoppable beats. Finally, it’s time for one more dive into the circle pit to the sound of Undisguised Shame, sounding as fast, electrifying and ruthless as we all love in the band’s more metallic version of Hardcore.

Combining power and commitment, Until The Last Breath is a must-listen for admirers of Hardcore infused with Metalcore elements with a strong and meaningful message in the background. Hence, you can get in touch with those French rockers on Facebook and Instagram, staying up to date with all things Primal Age including their frantic and electrifying live concerts, stream their awesome creations on Spotify, and of course purchase the excellent Until The Last Breath from Primal Age’s Big Cartel or from the WTF Records’ webstore. Even after three decades on the road, Primal Age are still alive and kicking, sounding as fresh as in their early days in their new album, which means they’ll keep kicking our asses mercilessly for years and years until their very last breath.

Best moments of the album: Empire Will Always Fail, Voiceless Ones and Walls Of Stone.

Worst moments of the album: False Pretense.

Released in 2025 WTF Records

Track listing
1. Intro 1:00
2. Empire Will Always Fail 3:51
3. False Pretense 3:16
4. Voiceless Ones 3:57
5. No Regrets 3:12
6. Madness 2:01
7. Shadows Of Intolerance 3:58
8. Walls Of Stone 3:46
9. The Meaning Of Life 4:01
10. Undisguised Shame 3:56

Band members
Didier – vocals
Benoit – guitars
Florian – guitars
Dimitri – bass
Rudy – drums

Album Review – Disfuneral / In Horror, Reborn (2025)

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This Archaic Death Metal entity from France will crush your souls armed with their sophomore album, delving deeper into themes of death, gore, and horror.

Formed in 2015 in Nancy, France, Disfuneral emerged from the remnants of the band Herpes, embracing a raw and unfiltered approach to Death Metal. Crafting a sound that pays homage to the early days of Death Metal while infusing their unique sense of humor and personality, calling their style as “Archaic Death Metal”, the band formed of Renaud Mann on vocals, Florian Brabant on the guitar, Clément Favre on bass and Nicolas Bauer on drums is set to unleash hell with their sophomore opus, entitled In Horror, Reborn. Recorded by the band itself (vocals, guitars, bass) and by Fabien Cruzille (drums), mixed and mastered by Robert Pehrsson at Studio Humbucker, and displaying a monstrous artwork by Jon Whiplash, the follow-up to their 2022 album Blood Red Tentacle delves deeper into themes of death, gore, and horror, encapsulating the band’s signature sound by blending ferocious riffs, guttural vocals and pounding rhythms, reflecting their strict dedication to the genre’s roots.

Simply hit play and a massive wall of sounds will crush you like an insect in Catacomb Dwellers, with Florian and Clément slashing their stringed axes in the name of classic Death Metal, and it’s pedal to the metal in the infuriated Tombs Vomiting the Dead, led by the hammering drums by Nicolas while Renaud barks and roars manically nonstop. The lancinating, visceral riffs by Florian will pierce your soul in Ripped from Within, a Death Metal beast that sounds and feels as dark and heavy as it can be, whereas Crypt of Demented lives up to its “charming” name, offering an overdose of heaviness and guttural vociferations, with the metallic bass by Clément walking hand in hand with Nicolas’ pounding drums.

Then adding a bit of Crust to their core Death Metal we have Extremity in Morbidity, a fast and furious tune spearheaded by Renaud’s demented roars, and investing in a much more somber, cadenced sound presenting hints of Doom Metal the band brings forward Dark Ages Ritual, with Clément’s bass sounding beyond heavy. Blessed by Decay is another slab of brutality and savagery by those French bastards, with Nicolas dictating the song’s frantic pace with his unstoppable beats, followed by the title-track In Horror, Reborn, presenting everything we love in Death Metal and more, sounding ruthless from start to finish and inviting us all for some wild mosh pit action. The band then closes the album on a high and demolishing note with Call from the Void, again showcasing Florian’s caustic riffage and Renaud’s deranged vocals.

In a nutshell, fans of bands the likes of Autopsy, Entombed, Necrot and Death Breath will certainly have an excellent time listening to In Horror, Reborn, and you can join those ruthless death metallers by following them on Facebook and on Instagram, by streaming their music on Spotify, and above all that, by purchasing their demented new album from Bandcamp or from the Redefining Darkness’ webstore (in the United States or in the EU and rest of the world). Disfuneral are definitely among us to spread gore, violence and death armed with their unrelenting music, with In Horror, Reborn representing a solid step further in their career and, consequently, a very good reason for us all to dive into the pit to the sound of our beloved Death Metal.

Best moments of the album: Tombs Vomiting the Dead, Extremity in Morbidity and In Horror, Reborn.

Worst moments of the album: Dark Ages Ritual.

Released in 2025 Redefining Darkness Records

Track listing
1. Catacomb Dwellers 4:19
2. Tombs Vomiting the Dead 3:59
3. Ripped from Within 3:34
4. Crypt of Demented 4:52
5. Extremity in Morbidity 2:37
6. Dark Ages Ritual 3:50
7. Blessed by Decay 4:16
8. In Horror, Reborn 3:22
9. Call from the Void 4:30

Band members
Renaud Mann – vocals
Florian Brabant – guitar
Clément Favre – bass
Nicolas Bauer – drums

Album Review – Usquam / Ex Nihilo (2025)

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One of the most promising hordes hailing from France attacks with a beyond stunning fusion of Black, Death, Doom and Post-Metal, exploring the depths of the human soul.

Since their inception back in 2018, Paris, France-based horde Usquam (also stylized in capital letters as USQUAM, a Latin adverb that means “anywhere” or “in any place”) has been shaping their own version of “blackened metal music” by combining Black, Death, Doom and Post-Metal, always with endless violence and melancholy. Now in 2025 the band formed of newcomer Jessy “Christ” Vignolle on vocals alongside guitarists Etienne “Eithenn” Gonin and Jonathan “Draugr”, and bassist Alain “Alwan” Nicolle has just unleashed upon us their first full-length opus, entitled Ex Nihilo, following up on their 2021 EP Reborn. Produced, mixed and mastered by Fred Gervais at Studio Henosis, the album showcases a central concept related to the ”Primordial Tradition”, a fundamental human experience that some believe contains all truths of all religions. Add to that the fact their lyrics explore the depths of the human soul in French, English and Latin, and there you have a bold, dense, detailed and captivating album of extreme music that’s at the same time meaningful and haunting.

Altar Ego sounds utterly atmospheric and enfolding from the very first second, with the band’s Post-Black Metal vein pulsing majestically, led by the deep, anguished roars by Jessy; whereas Etienne and Jonathan sound inhumane armed with their caustic riffs in Axis Mundi, offering us all a crushing, scorching fusion of Black and Death Metal. Then we’re treated to Athanor with its over six minutes of absolute darkness, sending shivers down our spines in the best Blackened Death Metal way possible while Alain pounds his bass with endless fury and dexterity; and a sinister, ritualistic intro explodes into an overdose of violence and obscurity led by the demented harsh screams by Jessy in Ego Sum (Qui Sum), while Alain once again destroys his bass, all spiced up by a striking solo by Etienne. And investing in a more lugubrious Doom Metal sonority we have Arcana Nox, with the cryptic sounds of Post-Black Metal adding a welcome extra dosage of heaviness to the overall result.

Their venomous sounds keep permeating the air in Egocide, with its more symphonic background enhancing its epicness, all while Jessy continue to growl like a true she-demon, followed by the thunderous The Mast, the most complex, intricate and multi-layered of all songs, a lecture in Blackened Death, Doom and Post-Metal with a melancholic, atmospheric start morphing into a pulverizing attack by the band. Moreover, whoever played drums in this album is indeed a headbanging beast. There’s still time for another melodic yet vile creation by Usquam titled Symbol, with the metallic, in-your-face bass lines by Alain hitting our cranial skulls mercilessly, and closing the album it’s time for a full Post-Black Metal aria entitled Persévérance, a majestic composition where Jessy sounds so anguished and desperate on vocals it’s beautiful and disturbing at the same time.

A melodic, symphonic and modern feast of Black Metal embraced by careful arrangements in which spirituality and philosophy are expressed, Ex Nihilo will certainly appeal to fans of bands the likes of Naglfar, Dimmu Borgir, Dark Funeral, and Gaerea, among many others, positioning Usquam as a force to be reckoned with in the underworld of extreme music. You can enjoy Ex Nihilo in all of its glory on YouTube and on Spotify, as well as on other streaming platforms, get to know more about such a unique band of the French scene by following them on Facebook and on Instagram, subscribe to their YouTube channel, and of course purchase a copy of this precious gem of heavy music from the Source Atone Records’ webstore as a digipak CD + booklet or as a very special digipak CD + booklet + shirt combo (or simply click HERE for all things Usquam). “Ex nihilo” is a Latin phrase meaning “out of nothing”, referring to “creatio ex nihilo”, the belief that matter is not eternal, but had to be divinely created; having said that, what are you waiting for to join one of the most promising names of the metal scene worldwide in their metallic studies of the human soul?

Best moments of the album: Axis Mundi, Ego Sum (Qui Sum), The Mast and Persévérance.

Worst moments of the album: None.

Released in 2025 Source Atone Records

Track listing
1. Altar Ego 5:07
2. Axis Mundi 4:32
3. Athanor 6:06
4. Ego Sum (Qui Sum) 3:28
5. Arcana Nox 4:19
6. Egocide 3:04
7. The Mast 5:31
8. Symbol 4:20
9. Persévérance 5:38

Band members
Jessy “Christ” Vignolle – vocals
Etienne “Eithenn” Gonin – lead guitars
Jonathan “Draugr” – guitars
Alain “Alwan” Nicolle – bass

Album Review – Fractal Universe / The Great Filters (2025)

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This Progressive Death Metal outfit strikes again with their thrilling fourth studio album, a sonic journey like no other blending progressive tendencies with Jazz elements.

Having self-released their debut EP Boundaries of Reality in 2015, followed by the full-length albums Engram of Decline (2017), Rhizomes of Insanity (2019), and The Impassable Horizon (2021), Nancy, Grand Est, France-based Progressive/Technical Death Metal outfit Fractal Universe returns to action now in 2025 with their fourth studio effort, entitled The Great Filters. Once again blending progressive tendencies with Jazz elements, philosophical topics such as existentialism and the fragmented nature of human consciousness, innovative songwriting and high production quality, the new album by Vince Wilquin on vocals, guitars and saxophone, Yohan Dully on the guitars, Valentin Pelletier on bass, and Clément Denys on drums invites the listener to embark on a sonic journey like no other, helping those French metallers in reaching the peak of the Progressive Metal mountain worldwide.

Their progressive and metallic vein arises from the very first second in The Void Above, with the enraged roars by Vince walking hand in hand with the beyond intricate bass and drums by Valentin and Clément, respectively. Then continuing to experiment with different sounds and nuances we have The Great Filter, while staying true to their core Death Metal essence; whereas the Djent-infused bass by Valentin will hammer our heads in Causality’s Grip, accompanied by the whimsical guitar lines by Vince and Yohan, sounding like a Progressive Death Metal version of Dream Theater. And The Seed of Singularity is another song that goes heavy on bass, with a futuristic background providing Vince with all he needs to shine on vocals.

After that we’re treated to The Equation of Abundance, a smooth and charming ballad by the band, with the harsh vociferations by Vince bringing an extra touch of anguish and melancholy to the overall result; then investing in a heavier, more thunderous sound the band blasts our faces with Specific Obsolescence, with all of its breaks and variations, boosted by Clément’s spot-on drumming and Vince’s melancholic saxophone, turning it into a must-listen for fans of the genre. Dissecting the Real is another complex, vibrant and multi-layered creation by the band, offering more of the stylish riffs by Vince and Yohan, plus the endless heaviness flowing from Clément’s drums, followed by Concealed, a six-minute explosion of Progressive Death Metal led by the striking riffage by Vince and Yohan. Finally, the album ends on a strong note with A New Cycle, where the classy sound of the saxophone by Vince beautifully clashes with their visceral Death Metal sounds.

If their previous albums like their latest opus The Impassable Horizon already exhaled progressiveness and rage, it’s with The Great Filters that the quartet takes a huge step forward in their career, solidifying their core sound without repeating themselves or getting stale, always working towards innovation, and always with a lot of energy, passion and focus on their music. You can get more information about the band by following them on Facebook and on Instagram, stream more of their music on their YouTube channel or on Spotify, and above all that, show them your utmost support by purchasing a copy of The Great Filters by clicking HERE. In other words, if you love the complexity of Progressive Metal, but at the same time you’re an admirer of the visceral sound of Death Metal, then Fractal Universe might be exactly what you’re looking for in the underground, with their newborn opus sounding and feeling absolutely sharp and exciting for our total delight.

Best moments of the album: The Void Above, Specific Obsolescence and Dissecting the Real.

Worst moments of the album: The Great Filter.

Released in 2025 M-Theory Audio

Track listing
1. The Void Above 4:26
2. The Great Filter 3:41
3. Causality’s Grip 3:35
4. The Seed of Singularity 4:08
5. The Equation of Abundance 6:25
6. Specific Obsolescence 6:49
7. Dissecting the Real 5:23
8. Concealed 6:05
9. A New Cycle 5:04

Band members
Vince Wilquin – vocals, guitars, saxophone
Yohan Dully – guitars
Valentin Pelletier – bass
Clément Denys – drums

Album Review – March Of Scylla / Andromeda (2025)

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Behold the debut full-length opus by this excellent French Post-Metal act, delving into the vastness of space and humanity’s intricate relationship with science, the cosmos, and the afterlife.

A dark Progressive and Post-Metal project that explores through ancient myths all the afflictions that humanity encounters, Amiens, France-based March Of Scylla are unleashing upon us their debut full-length album, entitled Andromeda, the follow-up to their previous EPs Archives and Dark Myth. Recorded, mixed, and mastered by Francis Caste at the renowned Studio Sainte-Marthe, the newborn spawn by vocalist Florian Vasseur, guitarist Christofer Fraisier, bassist Robert Desbiendras and drummer Gilles Masson delves into the vastness of space and humanity’s intricate relationship with science, the cosmos, and the afterlife, being highly recommended for admirers of the music by Gojira, Tesseract, Sleep Token, and Architects.

Elements from Djent are intertwined with the band’s core Progressive Metal sounds in Ulysses’ Lies, led by the classic drums by Gilles, whereas futuristic sounds permeate the air in the hammering Death Experience, with the metallic bass by Robert hitting us hard mercilessly while Florian declaims the song’s lyrics in great fashion. They keep blasting a wild fusion of Progressive and Post-Metal with Djent and Groove Metal in The Royal Way, perfect for some vigorous headbanging, followed by To Cassiopeia, an atmospheric, eerie and lengthy interlude that sets the tone for Dark Matter, where Florian growls and screams with tons of anguish while also firing delicate yet piercing clean vocals.

The band continues to blast our ears with their melodic and heavy hitting music in Storm Dancer, with Robert’s bass and Gilles’ beats making our heads tremble, instantly merging with BlaAst, bringing forward over six minutes of atmospheric and groovy passages, with the heaviness flowing from all instruments supporting Florian’s powerful vocals. Gilles puts the pedal to the metal and hammers his drums nonstop in Achilles’ Choice, an overdose of Progressive Post-Metal with the bass by Robert sounding utterly metallic; and Florian bursts his lungs screaming in the beyond melodic Myrrha, accompanied by the scorching riffs by Christopher in a lesson in Post-Metal. And last but not least, March of Scylla will smash us all with their Post-Metal onrush in Cosmogony, again showcasing all their energy, versatility and heaviness.

Themes of existential anxiety, social injustice, and deep emotional struggles intertwine with personal storytelling, universal mythology, and historical context throughout the entire album, offering a powerful and thought-provoking musical journey that’s definitely worth a good and detailed listen, and you can show your support to the band by following them on Facebook and on Instagram, by streaming their music on YouTube, Spotify or any other streaming service, and above all that, by purchasing Andromeda from BandCamp or by clicking HERE. After all is said and done, there’s a clear evolution in the music by March Of Scylla in Andromeda compared to their previous efforts, paving a bright future ahead of them while they keep delivering sheer sonic awesomeness in the near future, both with other striking albums like their debut one and with their undisputed focus, hardwork and passion for heavy music.

Best moments of the album: Death Experience, BlaAst and Myrrha.

Worst moments of the album: To Cassiopeia.

Released in 2025 Klonosphere Records/Season of Mist

Track listing
1. Ulysses’ Lies 5:00
2. Death Experience 6:44
3. The Royal Way 4:48
4. To Cassiopeia 2:45
5. Dark Matter 4:17
6. Storm Dancer 4:51
7. BlaAst 6:19
8. Achilles’ Choice 4:49
9. Myrrha 4:20
10. Cosmogony 6:07

Band members
Florian Vasseur – vocals
Christofer Fraisier – guitars
Robert Desbiendras – bass
Gilles Masson – drums

Metal Chick of the Month – Lorena Moraes

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Depuis les lumières… Vers les ténèbres… La République est en marche!

March might still be a very cold month, maybe not as cold as January and February, but absolutely freakin’ cold if you live in the Northern Hemisphere in places like Canada, Finland, Russia and Belgium. And why did I mention Belgium instead of other colder countries, one might ask? Well, let’s say our metal lady of the month of March might have been born in a warm country, but she currently resides in Belgium, bringing some very welcome heat to “the Battlefield of Europe” with her powerful growls and badass attitude. Her name is Lorena Moraes, the frontwoman for an amazing Belgian Technical Death Metal entity known as Triagone, and I’m sure after this short and sweet tribute to her career in heavy music you’ll develop a strong craving for more of her music.

As aforementioned, Lorena wasn’t born in Belgium, but in the sunny and warm country of Brazil, more specifically in the capital city of Brasília, located in the Brazilian highlands in the country’s Central-West region, and the seat of government of the Federal District. A former photographer at Escola do Futuro de Goiás em Artes Basileu França, located in Goiânia, the capital of Goiás state in central Brazil, Lorena studied at Faculdade Cambury in Brazil, before relocating to Brussels, Belgium’s capital and home to the European Union headquarters, expanding her photography skills by studying at Ecole de Photographie et de techniques visuelles – Ville de Bruxelles while also taking her first steps through the vast lands of Extreme Metal.

It was back in 2019 when Lorena, alongside vocalist and guitarist Lou-Indigo Caspar, guitarist Lucas Lembert, bassist Leonard Ivanciu and drummer Lorenzo Vissol formed the Technical Death Metal beast that goes by the stylish name of Triagone, with roots in Brazil, Italy, France and Belgium, and the explanation to the name chosen is indeed very interesting. According to the band itself, the word “triagone” is a hybrid word inspired by the ancient Greek word “agôn” (ἀγών), which means contest, competition, or disputation (and can refer to a physical or mental contest, or to a dramatic conflict in literature), and a direct reference to the Greek name “trigone”, which means three angles, or the triangle, in parallel with the band’s inspiration by the connection between mathematics and music, like certain demonstrations of trigonometric relations that can be found in the circle of fifths, the demonstration of the C major scale granted to Pythagoras and his demonstrations on triangles, among others. In the end, the fusion of those two Greek words gives the band’s name a third way of understanding the music played by Lorena and the boys. Furthermore, another topic mentioned by the band regarding their name is their message against the pyramid structure our society adopted, an analogy where we’re pretty much slaves building a pyramid stone by stone, trying to climb the ranks of society, with all inequality bringing a lot of disadvantage for the oppressed against the oppressor.

It was in the beginning of 2023 when Triagone released their debut effort, a six-track EP titled Sem Papyrvs, a play on words between Latin and Portuguese, as “sem” means without and “papyrvs” means paper, referring to anyone in a difficult or precarious situation, anyone without an identity, without wealth, without history, or without a diploma, with its 26 minutes of Brutal and Technical Death Metal inspired by classic metal music, baroque, and even Mesopotamian music, also featuring hints of Latin American music rhythms, and all sprinkled with a blend of male and female guttural voices in ancient Greek and Latin and modern Latin and Germanic languages. The names of the songs in Sem Papyrvs are a thing of beauty, starting with Novvs Ordo Seclorvm (“The New Order of the Ages”), followed by Abyssvs Abyssvm Invocat (“The Abyss Calls the Abyss”), Ad Mortem Sem Papyrvs (“To Death Without Paper”), Nvlla Regvla Sine Exceptione (“The New Rules Without Exception”), De Beata Vita (“The Blessed Life”), and Imperivm in Imperio (“Empire in Empire”).

One of the most compelling features in Triagone is the electrifying vocal duet comprised of Lorena and Lou-Indigo, which allows the band to explore new patterns and nuances, as well as the aforementioned lyrics in multiple languages, thanks to the undisputed combined talent of the duo. They can sound at the same time visceral and melodic, dissonant and cryptic, captivating and menacing, purely mathematical and extremely violent, and you can enjoy all that on most streaming services, like Spotify. As a matter of fact, Lou-Indigo explained in an interview that the band had to rework some of the rhythms, textures and timbres (mainly because he mocks up everything with his own voice) after Lorena joined the band, as they wanted her voice to be more present in the final product. Also, although she’s not responsible for all vocal parts nor for all lyrics, this is something Lou-Indigo wants to change in the near future, giving her more singing time, more flexibility, and therefore let her be the main vocalist of the band.

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Before joining Triagone, Lorena was the vocalist for a Brazilian Death/Thrash Metal band named Suttura, and another one named Erinyes, both from the city of Goiânia. Suttura was formed back in 2010 by Lorena alongside drummer Sílvio, bassist Thiago and guitarist Rildo, and although there isn’t a lot of information online about the band, you can stream some of their creations on YouTube, including the excellent songs Need of War, Overlook, and Villas Boas Incident. Furthermore, back in 2015 the band played at the 21st edition of a Brazilian rock and metal festival named Goiânia Noise Festival, at a venue named Centro Cultural Martim Cererê, together with renowned acts the likes of Nervochaos and Ratos de Porão, and countless amazing underground bands from Brazil and other parts of the world, and before that in 2013 they played at the 11th edition of Headbanger’s Attack Festival, held at Círculo Operário do Cruzeiro Velho in Brasília, with each of the eight bands from that specific festival having at least one woman in their lineup as a tribute to the bands Valhalla and Flammea. Apart form Suttura, the festival also featured the bands Soror, Sound’n’Rage, Gulag, Armum, Decimator, Roasting and No Sense. On the other hand, unfortunately there isn’t much online about her previous band Erinyes, except for this nice cover version of AC/DC’s all-time classic TNT live back in 2007, but it’s enough to see she has been developing her vocals in great fashion through the years.

It was when Lorena was still a member of Suttura that she and Lou-Indigo met for the first time, when Lou-Indigo’s former band Dehuman was touring in Brazil, as Lorena was playing with Suttura at the same festival as them. After Lorena moved to Belgium together with Lou-Indigo, they did some Cannibal Corpse covers together, and after he showed those to Lorenzo and Leonard they decided to recruit her to be their frontwoman, as they loved her voice and charisma. Speaking of her relocation to Belgium, Lorena mentioned in one of her interviews that she believes there are more possibilities in Belgium to make a musical project live and grow, that music is taken more seriously there if compared with the metal scene in Brazil, her native country. “In Brazil,” she explains, “each band needs a lot of financial investment and a lot of time, and I think there is more openness here in this regard.”

Apart from her work with Triagone, as well as with the previously mentioned bands Suttura and Erinyes, Lorena was a guest vocalist in the song Arterial Red, from the album Crusher of Souls, released in 2024 by Belgian Brutal Death Metal act Storm Upon the Masses. It’s a great album of sheer brutality and rage, by the way, and Lorena’s contribution to the aforementioned song only makes the whole experience of listening to it even more compelling, proving she a beyond versatile vocalist with a wide arsenal of vocal styles, always ready to stun us all in the name of extreme music. I personally can’t wait to see what’s next for Lorena as a metal vocalist, and for Triagone as a band, again proving how badass women can be in heavy music.

Lorena Moraes’ Official Facebook page
Lorena Moraes’ Official Instagram
Triagone’s Official Facebook page
Triagone’s Official Instagram
Triagone’s Official YouTube channel

““Everyone in the band is very talented and committed to making the band evolve. I have a lot of admiration for them. My goal is to continue singing, improve my vocal technique and establish more contact with the audience. I hope that Triagone will record an album soon and that we can show our music to more people.” – Lorena Moraes

Album Review – Infernalivm / Conquering the Most High EP (2024)

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Get ready for the debut EP by a new and vile horde hailing from France, pointing to a new reign of dark Death Metal terror.

Formed in 2022 as a studio-only project by Melek Dlth Aton (Novae Militiae) on vocals and guirtars, Raph Daethorn (Merrimack, Ritualization) on bass, and Kevin Paradis (Benighted, Svart Crown) on drums, a Paris, France-based Death Metal legion that goes by the stylish name of Infernalivm spawned straight out of the French “Orthodox Satanic Death Metal Movement”, with their background lying the foundations for a Death Metal band heavily rooted in Satanism (in the vein of Deicide, Profanatica, and Incantation), but musically versed in a highly technical and complex strain of ultra-violent, abysmal, and dissonant Death Metal in the vein of Immolation, Nile, and Morbid Angel. Now it’s time for their debut EP, entitled Conquering the Most High, to see the light of day (or the dark of night), an inaugural and demonstrative twenty one-minute, four-track onslaught of inescapable dark Technical/Brutal Death Metal crafted in the sanguinary jaws of the Antichrist.

Kevin kicks off their infernal feast in the best Krisiun style in the title-track Conquering the Most High, hammering his drums like a demonic beast while Melek roars and barks deeply nonstop. In other words, it’s a beyond demolishing welcome card by those French metallers, who also show absolutely zero mercy for our putrid souls and rotten bodies, decimating us all in Temple of a Destroying Sun, with the thunderous bass by Raph adding even more energy to the blast beats by Kevin. Ashes of the Saints offers four minutes of undisputed Black and Death Metal tailored for admirers of the genre, with the harsh roars and sharp, caustic guitar by Melek inviting us all to slam into the circle pit frantically; and the last song of the EP, titled The Maze of Havoc, definitely leaves us eager for more Infernalivm, as its riffs, bass lines and blast beats are a stunning fusion of the music by Cannibal Corpse, Marduk and Krisiun.

In a nutshell, the band’s debut EP is a dissonant, bludgeoning beast seething with all the might and power of the Antichrist, a dark and violent abomination with an immensely evil and antihuman atmosphere and an infernal aura casting massive, ominous shadows across the face of European Death Metal and sending a clear message on the magnitude of things to come, pointing to a new reign of dark Death Metal terror. Furthermore, you can join them in their quest for all things dark and evil by following them on Facebook, and by purchasing their EP from their own BandCamp or from the Sentient Ruin Laboratories’ BandCamp or webstore, and I honestly can’t wait to see what’s next in the career of this promising horde hailing from France.

Best moments of the album: Conquering the Most High and Ashes of the Saints.

Worst moments of the album: None.

Released in 2024 Sentient Ruin Laboratories

Track listing
1. Conquering the Most High 5:23
2. Temple of a Destroying Sun 5:39
3. Ashes of the Saints 4:00
4. The Maze of Havoc 6:44

Band members
Melek Dlth Aton – vocals, guitars
Raph Daethorn – bass
Kevin Paradis – drums