The Cult of the Snake returns to action with their incendiary third studio offering, bringing Heavy Metal back to its unpolished, rough, and weird roots.
Formed in 2008 in Gelsenkirchen, Germany, the unrelenting Heavy Metal squad known as Iron Kobra began with a noble mission – to bring Heavy Metal back to its unpolished, rough, and weird roots, influenced by heroes of old like Iron Maiden, Cirith Ungol, Living Death, Manowar, and Tank with a sprinkle of punk. Produced, recorded and mixed by Stefan Castevet (with drums recorded by Konrad aka Goat Primator), mastered by Patrick W. Engel at Temple of Disharmony, and showcasing an old school artwork by by Mario Lopez, Eternal Dagger is the third studio album by Iron Kobra, following up on their 2015 sophomore Might & Magic and exploding with excitement at every turn of its nine songs of raging Speed Metal, all carefully brought into being by Ela on vocals and guitars, Steffen also on the guitars, Matze on bass, and Björn on drums.
The band doesn’t waste a single second and takes us on a wild metal journey right from the start in Trembling Dungeons, with the Thrash Metal beats by Björn adding an extra dosage of rebelliousness to their sound. Then the Iron Maiden-infused guitars by Ela and Steffen will invite you to slam into the pit in Forbidden Fruits, followed by Fliehen, another classic Speed and Heavy Metal feast by the quartet, with Ela’s vocals taking us back to the glory of the 80’s. And adding elements of old school Hard Rock to their core insanity we’re treated to Shibuya Nights, where the guitars by Ela and Steffen transpire electricity; whereas with a name like Silver Strings and Iron Wings it was obvious it was going to be an overdose of pure Heavy Metal madness, led by Björn’s unrelenting drums.
It’s time to hit the dance floor, but of course holding your sword and shield, in the inspiring title-track Eternal Dagger, with the rumbling sounds crafted by Matze and Björn clashing beautifully with the strident riffage by Ela and Steffen. Unchained & Untamed is even faster and sharper, like a razor blade of Heavy and Speed Metal cutting through our headbanging minds, with their riffs and solos once again breathing fire; and the band still has a lot of fuel to burn as you can see in the high-octane beast titled Treacherous Tyrant, with Björn again stealing the spotlight behind his drums. Last but not least, Ela’s soaring vocals will invite you for an epic voyage through metallic lands in Mountains of Madness, ending the album on a killer NWOBHM style.
It goes without saying that the band’s arsenal throughout the entire album offers a wide variety of pure Heavy Metal gold, evoking the likes of Exciter, Brocas Helm, Diamond Head, and early Running Wild but, of course, with their undeniable personality and panache. If you want to join those amazing German metallers in the battlefield, you can find them on Facebook, stream their music on any platform such as Spotify, and of course purchase a copy of the incendiary Eternal Dagger from their own BandCamp, from the Dying Victims Productions’ BandCamp, or simply by clicking HERE. In summary, at very long last, Iron Kobra return to stake their claim as kings of swords and sorcery metal music with Eternal Dagger, so strap yourselves to your seats as the Cult of the Snake is back, bringing you heavy hymns that will pierce your eardrums like a Heavy Metal drill.
Best moments of the album:Trembling Dungeons, Eternal Dagger and Unchained & Untamed.
Band members Ela – vocals, guitars
Steffen – guitars
Matze – bass
Björn – drums
Guest musicians
Stefan Castevet – additional guitar solos on “Eternal Dagger” and “Shibuya Nights”, additional vocals on “Treacherous Tyrant” and “Trembling Dungeons”, additional electronic soundscapes
Rike – additional vocals on “Treacherous Tyrant” and “Trembling Dungeons”
Chantal – additional vocals on “Treacherous Tyrant” and “Trembling Dungeons”
These ruthless Death Metal veterans will satiate your hunger for thunderous extreme music with their demolishing tenth full-length opus.
Founded in the spring of 1987 in Illertissen, Germany, by Stefan Hanus and Bastian Herzog, the ruthless Death Metal brigade known as Fleshcrawl will satiate your hunger for thunderous Death Metal with their forthcoming full-length opus, entitled Epitome of Carnage, following up on their 2019 offering Into the Catacombs of Flesh. Recorded at Scumlight Studio, produced and mixed by the band itself, and mastered by Peter In de Betou at Tailor Maid Production, the newborn spawn by Borisz Sarafutgyinov on vocals, Apu Justin Reisch and Christian Kalbrecht on the guitars, Manu Markowski on bass, and Bastian Herzog on drums will please all fans of rotten, old school Death Metal, decimating everything and everyone that crosses the path of a band that has been living and breathing pure extreme music for almost 40 years.
Their level of brutality already goes through the roof in the opening track Blood Dominion, led by the demented blast beats by Bastian while their guitars transpire Death Metal, followed by Chapel Of Guts, as gruesome as it can be thanks to the deep vociferations by Borisz, supported by another round of Stygian riffs by Apu and Christian. They keep shredding their axes in Grave Messiah while Bastian goes full Brutal Death Metal on drums; whereas in Embers Of Wrath the band continues to make everything tremble with their groove-infused Death Metal attack, with Borisz’s guttural reaching a new slab of vileness. Committed To Suffer offers pure 90’s Death Metal magic flowing from all instruments, in special from the devilish riffs by Apu and Christian, while Reign Forever lives up to the legacy of European Death Metal the likes of Vomitory, with Bastian once again stealing the show with his inhumane beats and fills.
The second part of the album kicks off with the Stygian interlude Chronicles Of Bloodshed, warming us up for the demolishing Rebuilt From Flesh, where their slashing riffage will cut our flesh into pieces. It’s absolutely harsh, brutal and heavy, with Borisz barking like a demonic entity until the very end, and there’s no time to breathe to the frantic riffs blasted by the band in Orphan God, again offering an overdose of their deep, visceral sounds. Then get ready to break your neck headbanging with Path Of Thorns, as evil as it can be due to another demonic vocal performance by Borisz, followed by Heralds Of Death, not as exciting as its predecessors albeit still showcasing a solid guitar work by Apu and Christian. Lastly, there’s no better way to end a Death Metal album than with a slamming tune like Of Fire And Flesh, bringing forward the band’s characteristic guttural roars, vile riffs and demented bass and drums.
After listening to each and every track from Epitome of Carnage, you’ll easily realize why Fleshcrawl refuse to die, continuing to spread their Death Metal madness to all four corners of the earth with the same intensity and rage from their early days. And if Death Metal is your business, and business is good, you can find those deadly German creatures on Facebook and on Instagram, including their killer live concerts, stream their visceral tunes on Spotify, and of course grab a copy of their new album from the Reigning Phoenix Music’s webstore in the EU, US or UK, or simply click HERE for all available versions of the album. But you better be warned as once you hit play on the new album by Fleshcrawl, there will be carnage.
Best moments of the album:Chapel of Guts, Grave Messiah, Reign Forever and Of Fire And Flesh.
Worst moments of the album:Heralds Of Death.
Released in 2026 Distortion Music Group (DMG)
Track listing 1. Blood Dominion 3:49
2. Chapel Of Guts 5:44
3. Grave Messiah 4:01
4. Embers Of Wrath 3:26
5. Committed To Suffer 3:55
6. Reign Forever 3:50
7. Chronicles Of Bloodshed 1:08
8. Rebuilt From Flesh 3:54
9. Orphan God 3:51
10. Path Of Thorns 5:22
11. Heralds Of Death 4:08
12. Of Fire And Flesh 4:44
Band members Borisz Sarafutgyinov – vocals
Apu Justin Reisch – guitars
Christian Kalbrecht – guitars
Manu Markowski – bass
Bastian Herzog – drums, additional vocals
The leaders of Heavy Psychedelic Rock take their years of experience and form their most engaging record to date, allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework.
Consisting of frontman and lead guitarist Nick DiSalvo, bassist Jack Donovan, guitarist and keyboardist Michael Risberg, and drummer Georg Edert, formed in Massachusetts, in the United States, but currently located in Berlin, Germany, Heavy Psychedelic Rock band Elder is back with their seventh studio album, titled Through Zero, the follow-up to their 2022 opus Innate Passage. Two decades into their existence, Elder remain an anomaly in the underground rock scene, a rare band with the ability to absorb and shed influences from a myriad of genres without falling into pastiche or losing their own identity, and their new record is a strong reaffirmation of a commitment to pushing boundaries in the world of Heavy Rock and cements the group’s status as leaders of the pack in Heavy Psychedelic Rock. Recorded in Berlin across several months between tours in 2025, and the first album which the band not only produced but also co-mixed together with longtime collaborator Richard Behrens, Through Zero sounds more like a full extension of the band’s creative intentions than ever before.
It’s always a bold move to kick off an album with a ten-minute song like Sigil To Ruin, I mean, will the listener stay hooked? Well, in this case I can guarantee you won’t get bored at all, with the bass by Jack hammering your heads mercilessly while Nick delivers delicate yet piercing vocals nonstop. Capture & Release is another very detailed and enfolding aria by those guys, with its whimsical start morphing into a feast of Progressive Rock and Metal led by the intricate beats and fills by Georg; while the title-track Through Zero brings to our avid ears an overdose of psychedelia flowing from the riffs by Nick and Mike, alternating between atmospheric passages and sheer progressive madness. Strata, the longest song of the album, kicks off to the classy bass by Jack while also presenting multiple layers and nuances, with Nick’s vocals overflowing energy and passion; and it’s time for the most psychedelic of all songs, titled Sight Unseen, while still presenting their Heavy Metal vein. Furthermore, Jack and Georg are relentless with their respective bass and drums. And lastly, we’re treated to the introspective outro Blighted Age, turning the ambience into fields of serenity thanks to the song’s soothing guitars and minimalist beats.
In their new album, Elder takes their years of experience and forms possibly their most immediate and engaging record to date, while allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework, being therefore highly recommended for fans of Earthless, Truckfighters, Electric Wizard, The Sword, Sleep, Kylesa, Pallbearer, Monolord, and YOB, among several others. If you want to join them in their unique journey through the lands of psychedelia and progressiveness, you can find them on Facebook and on Instagram, stream their music on Spotify, and put your hands on their new album via BandCamp or by clicking HERE. Rock N’ Roll has never been heavier and crazier, and we must thank bands like Elder for releasing albums like Through Zero and, therefore, for making our world a much more pleasant place.
Best moments of the album:Sigil To Ruin and Strata.
Worst moments of the album: None.
Released in 2026 Blues Funeral Recordings
Track listing 1. Sigil To Ruin 10:34
2. Capture & Release 8:48
3. Through Zero 9:06
4. Strata 10:48
5. Sight Unseen 8:51
6. Blighted Age 5:49
Band members Nick DiSalvo – vocals, guitars
Mike Risberg – guitars, keyboards
Jack Donovan – bass
Georg Edert – drums
These unstoppable German rockers will put you to dance with their debut album, a metallic party that is Metalcore at the core, then EDMcore and Hardstyle pushed right up front.
Having spent the past year moving fast, dropping a new single every month while building their sound live and letting their audiences grow with it, Hemer, Germany’s Neoncore outfit Caught In A Mirror is ready to get the party started with their debut album, titled Neoncore. Handling the project with a hands-on, DIY mindset and a clear focus on impact, with a big visual setup built around lights and crowd reaction during their live concerts, the band formed of Giu on vocals, Fabi and Kristian on the guitars, Dario on bass, and Julian on drums delivers a thrilling album that is Metalcore at the core, then EDMcore and Hardstyle pushed right up front, being therefore recommended for fans of Electric Callboy, Bring Me The Horizon, 100 gecs, and Yungblud, among others.
Let’s get this party started with the upbeat opening tune C.I.A.M., where Giu’s smooth clean vocals quickly explode into his harsh growls supported by the mechanized drums by Julian, whereas in I’m Okay we see the band add elements of electronic and rap music to their Neoncore while Fabi and Kristian make sure there’s enough heaviness flowing from their instruments. Immer Schneller (Speeding German Version) is a Metalcore tune made for hitting the dance floor together with Caught In A Mirror, with its background keys bringing even more electricity to their sound; and Julian dictates the pace in the hard hitting core feast entitled Party Ganze Nacht, with Giu’s vocals transpiring rebelliousness, in special his devilish breakdowns. On the other hand, So Sorry is by far the weakest of all songs, a bit too bland and generic compared to the rest of the album.
Speeding brings the band back to a heavier, more festive sonority led by the massive riffs by Fabi and Kristian, presenting elements from classic Metalcore while also keeping the band’s party vibe intact, while Summer Vibes // Neon Lights continues from where the previous song left off, offering a well balanced fusion of Metalcore with neon sounds, again presenting the pounding drums by Julian. Tornado might the most catchy song of the entire album, hence it should sound fantastic live, with Giu delivering his strongest, deadliest vocals of all while his bandmates generate a true tornado of upbeat Metalcore. Then featuring guest vocalist Ben Zimmermann, Down is a radio-friendly Metalcore song showcasing more of their killer fusion of heavy riffs and background electronic sounds; and last but not least, let’s slam into the “neon pit” to the sound of Club Night, featuring guest Morgana on vocals, putting a beyond electrifying end to the album.
“Neoncore is like a hall of mirrors. You recognize yourself, but distorted. That’s exactly what we wanted. We didn’t just want to deliver, we wanted to challenge”, says vocalist Giu, while bassist Dario also had a few nice words to say about the band’s unique style. “We make music for everyone who wants to scream, laugh, and dance. Ideally all at the same time.” If you want to join the band’s undisputed, metallic and colorful party, you can find those Teutonic rockers on Facebook and on Instagram, staying up to date with their breathtaking live performances, stream their electric madness on any platform like Spotify, and of course purchase the thrilling Neoncore by clicking HERE or HERE. Furthermore, don’t forget to get in really good shape for when you start listening to Neoncore, because you WILL dance like there’s no tomorrow together with Caught In A Mirror, a band that definitely knows how to unite the words “Metalcore” and “party” with tons of passion, energy, and neon.
Best moments of the album:Immer Schneller (Speeding German Version), Party Ganze Nacht and Tornado.
Worst moments of the album:So Sorry.
Released in 2026 Independent
Track listing 1. C.I.A.M. 3:44
2. I’m Okay 3:09
3. Immer Schneller (Speeding German Version) 3:19
4. Party Ganze Nacht 3:00
5. So Sorry 3:17
6. Speeding 3:21
7. Summer Vibes // Neon Lights 3:16
8. Tornado 3:26
8. Down 3:15
10. Club Night 3:02
Band members Giu – vocals
Fabi – guitar
Kristian – guitar
Dario – bass
Julian – drums
Guest musicians
Ben Zimmermann – vocals on “Down”
Morgana – vocals on “Club Night”
This powerful German Symphonic Metal ensemble is back with their sophomore album, revolving around the major themes of power, freedom, rebellion, love, guilt, war, and the cycle of life and death.
Having carved out their own niche with an unmistakable blend of catchy Power Metal, detailed Melodic Metal, symphonic influences, and dark, mystical tones since their inception in 2012, Villingen-Schwenningen, Germany-based Symphonic Power Metal ensemble Timeless Rage is back with their sophomore effort My Kingdom Come, the follow-up to their 2022 album Untold. Currently formed of vocalist Nicolaj Ruhnow, guitarists Christian Pirch and Michael Benk, bassist Daniel Wengle, keyboardist Anna Keil, and drummer Klaus Buchfink, Timeless Rage have created an album with five chapters that range from orchestral opulence to uncompromising metal power, with its content revolving around the major themes of power, freedom, rebellion, love, guilt, war, and the cycle of life and death. Theological, mythological, and human perspectives are interwoven, questioning moral certainties as well as religious and social structures.
My Kingdom Come is simply epic and imposing from the very beginning, with Nicolaj stealing the spotlight with a powerful vocal performance while Christian and Michael deliver sheer adrenaline from their axes. Then Daniel’s bass and Klaus’ drums are boosted by the striking keys by Anna in The Seed Of Fear, resulting in a bold, multi-layered Symphonic Metal aria tailored for admirers of the genre; whereas investing in a more direct Power Metal sound led by the hammering drums by Klaus we have The Devil’s Masquerade, perfect for their live concerts. Conquistadores feels like an epic adventure on unruly waters, alternating between fast and heavy Power Metal moments and ethereal passages; and Moonbite Serenade offers us all six minutes of absolute heaviness in the form of Symphonic Metal led by the crushing drums by Klaus while Anna’s keys add an extra touch of epicness to their music.
A Vampire’s Legacy continues their symphonic adventure, perfect for admirers of the music by Kamelot, with Nicolaj once again delivering a striking vocal performance for our total delight. After the serene interlude Regrets, we’re treated to The Enemy Is You, where the band puts the pedal to the metal and brings forward the heaviest sound of all songs, in special the demolishing beats and fills by Klaus supported by Daniel’s rumbling bass, followed by We All Shall Fall, which despite its nice atmosphere and the haunting keys by Anna sounds a bit generic in the end compared to the rest of the album. Lastly, blending elements from Melodic Rock and AOR to their core sonority the band fires The Pale Death, also presenting another excellent riff attack by Christian and Michael to properly conclude the album.
In a nutshell, Timeless Rage deliver in My Kingdom Come a work that appeals to genre fans as well as listeners who value storytelling, atmosphere, and musical class, and you can join those talented Teutonic metal warriors on Facebook and Instagram (or simply by clicking HERE), staying up to date with all things surrounding the band, including their breathtaking live performances, as well as stream their music on Spotify, and purchase a copy of their thrilling new album from BandCamp or from Metalapolis Records. In a sea of never-ending gimmicks, Timeless Rage focus on what really matters, which is first-class heavy music with a strong background story, and I’m sure My Kingdom Come will be featured among the top Symphonic Metal albums of the year all across the world.
Best moments of the album:The Seed of Fear, Moonbite Serenade and The Enemy Is You.
Worst moments of the album:We All Shall Fall.
Released in 2026 Metalapolis Records
Track listing 1. My Kingdom Come 5:09
2. The Seed Of Fear 5:19
3. The Devil’s Masquerade 3:54
4. Conquistadores 4:56
5. Moonbite Serenade 6:16
6. A Vampire’s Legacy 4:20
7. Regrets 1:07
8. The Enemy Is You 5:06
9. We All Shall Fall 5:24
10. The Pale Death 4:21
Band members Nicolaj Ruhnow – vocals
Christian Pirch – guitars
Michael Benk – guitars, backing vocals
Daniel Wengle – bass, backing vocals
Anna Keil – keyboards, backing vocals
Klaus Buchfink – drums
Germany’s own Blackened Thrash Metal horde returns with their striking new opus, taking us on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond.
Truest of the true, Germany’s own Blackened Thrash/Speed Metal horde Cruel Force storms back with swords gleaming high on their fourth full-length opus, entitled Haneda, which translates to “feather field” or “wing rice paddy,” derived from the Japanese kanji for hane (羽, wing or feather) and ta/da (田, rice field), the worthy follow-up to their 2023 critically acclaimed album Dawn of the Axe. Recorded by Marco Brinkmann at Hellforge Studio, Bauer Studios and The Parchment Studios, and showcasing an old school artwork by Maegan LeMay, the newborn spawn by Carnivore on vocals, Slaughter on the guitars, Spider on bass, and GG Alex on drums further proves that the band is more so an old-style Speed Metal band, largely bereft of that blackened edge during their First Era. The tradeoff is that there’s a prominent mysticism coursing through that speed, and the blue-collared aspect of Dawn of the Axe is now spit-shined to a lethal slickness that makes Haneda hit that much harder, taking the listener on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond.
The epic, battle-driven intro The Cross sets the stage for Cruel Force to kick our asses in Whips-A-Swinging, with the frantic, insane riffing by Slaughter adding an extra dosage of adrenaline to the band’s already demented Thrash Metal, accompanied by the crushing beats by GG Alex. There’s no time to breathe as the quartet continue their path of chaos and rebelliousness with Savage Gods, with Carnivore’s deranged vocals living up to the legacy of old school Speed Metal; whereas in Sword of Iron the name of the song says it all, transpiring classic Heavy Metal while Spider’s demonic bass walks hand in hand with GG Alex’s nonstop drums. Then we have Crystal Skull, where its 80’s action movie-like intro gradually morphs into a headbanging sound led by Slaughter’s guitar, albeit it would have been a lot better with vocals.
Warlords presents hints of the metal music made famous by Manowar, but without forgetting their core savagery and speed, alternating between sheer heaviness and the metallic madness of the riffage by Slaughter; and it’s time to put your elbows up and slam into the pit to the sound of Black Talon, with its Punk Rock attitude and its Thrash Metal vibe elevating Carnivore’s vocals to new heights. Titan’s Awakening is another song where the band wastes no time and begins distilling their frantic insanity right from the very first second, with Slaughter’s demented riffs being nicely boosted by the thunderous kitchen by Spider and GG Alex. And how about a nine-minute Thrash and Speed Metal song? That’s exactly what you’ll get in the breathtaking title-track Haneda, with their riffs and beats matching flawlessly with Carnivore’s vicious vocals, inspiring the band (and their fans) to march into the battlefield until the song’s epic and melodic grand finale.
“To us, it often feels like what Rainbow / Dio would have sounded if they’d played speed metal,” commented the band, and with its neoclassical moments plus tasteful references to Eastern European metal, Haneda locates that unique melting-pot of the thrashing rage of classic Kreator, Deathrow, Razor, Piledriver, and Powerlord meeting the grandeur of equally-classic Rainbow, Iron Maiden, and Virgin Steele. You can enjoy all that power, speed and rage from Haneda by grabbing a copy of the album from the Shadow Kingdom Records’ BandCamp or webstore, and don’t forget to also follow the band on Facebook and on Instagram, and to stream their striking creations on Spotify. Having said all that, do you have what it takes to venture into Haneda and disturb the Savage Gods on the way to the Crystal Skull?
Best moments of the album:Whips-A-Swinging, Sword of Iron and Haneda.
Worst moments of the album:Crystal Skull.
Released in 2026 Shadow Kingdom Records
Track listing 1. The Cross 1:19
2. Whips-A-Swinging 4:01
3. Savage Gods 4:28
4. Sword of Iron 4:03
5. Crystal Skull 4:52
6. Warlords 6:23
7. Black Talon 4:04
8. Titan’s Awakening 4:15
9. Haneda 9:11
Band members Carnivore – vocals
Slaughter – guitars
Spider – bass
GG Alex – drums
This German lone-wolf of Symphonic Black Metal returns with a thrilling reinterpretation of the Divine Comedy, where doubt, despair and revelation intertwine.
The brainchild of German composer, vocalist and multi-instrumentalist Tobias Püschner, founded in 2020 as a creative outlet merging Black Metal, orchestration and conceptual storytelling, Brunswick, Germany-based Symphonic Black Metal entity Daidalos (also spelled Daedalus, a legendary Athenian craftsman, inventor, and architect in Greek mythology) returns with a brilliant conceptual album, titled Dante, following up on the project’s 2022 debut The Expedition. Recorded and produced by Tobias himself, with guitars and bass recorded by Nahuel Lozano of Mental Cruelty (who also took care of the album’s mixing and mastering), and displaying a dark, devilish artwork by Bérénice Tulliez of Noirs Dessins, Dante is a reinterpretation of the Divine Comedy, where doubt, despair and revelation intertwine. Yet the core remains the same, the search for meaning in darkness, expressed through meticulous orchestration, intense vocal delivery and the balance between aggression and melancholy that defines Daidalos. Each track represents a fragment of this descent, from the intro in the forest, through the gates of hell, to the final escape, from storm to silence, from fire to frost.
Cryptic sounds ignite the opening tune Dante, with Tobias beautifully gnarling the song’s dark lyrics (“Straying in the Darkwoods / Raging Demons frighten me / In a Forest, on a Hill / Our Poem has begun / Shadows of a Poet who has lost his Way of Life / Leading down the Underworld / Where withering Sunlight dies”), exploding into Inferno, with his blast beats being boosted by all background orchestrations and the striking riffage by Nahuel in a lecture in Symphonic Black Metal. Ashes continues with Tobias’ incandescent feast of Black and Death Metal, with his haunting keys adding an extra touch of insanity to the music, followed by Storm, and the name of the song says it all. It’s an overdose of pure adrenaline, darkness, heaviness and epicness by Tobias, with his deep guttural bringing even more fury to his already violent Black Metal. Then featuring guest vocals by Erik Püschner (most probably Tobias’ own son) we have Minos, a phantasmagorical interlude that sets the tone for King, attacking us relentlessly with his Dimmu Borgir-like vociferations and keys, always supported by the killer riffs by Nahuel.
Polish brass metal duo :wisielec: (D.Rudzinski and T.Grzyb) brings the power of the mighty gongs to another enfolding interlude Styx, whereas Gate showcases a more cinematic side by Daidalos, both warming us up for Dis, where Tobias goes absolutely mental on drums and orchestrations, generating a grandiose wall of sounds perfect for slamming inside the circle pit (of fire). Phlegethon might be the coolest of all interludes thanks to its church-like organ, flowing into the also cryptic Malebolge, which sounds like it was taken from a movie score, exploding into Euphobia, a song that sounds inspired by some of the more recent creations by Cradle of Filth while also presenting devilish lyrics roared by Tobias (“Far above your faith are laws of sinful rotten Dreams / Flowers grow on / Mirrors and their Roots consume / Suddenly: Clashing Dew, Blossoms fall to Snow / In this loveless Pleasure-fauna / Sins have grown like Thorns”). Finally, Ultimatum closes the album on an apocalyptic, hellish mode, with Tobias firing his undisputed growls, blast beats and epic keys nonstop for our total delight.
For devotees of the Symphonic and Atmospheric Black Metal, Dante undoubtedly resonates with the monumental orchestrations of Fleshgod Apocalypse, the dark theatricality of Dimmu Borgir, and the apocalyptic scope of Septicflesh, and if you want to put your hands on such an amazing album from the always exciting German underground, you can grab a copy of it from the Rockshots Records’ webstore as a CD or an LP, or simply click HERE for all digital versions available of the album. Don’t forget to also give Tobias Püschner and his Daidalos a shout on Facebook and on Instagram, staying up to date with all things Daidalos, and of course to stream his creations on Spotify or any other platform. The reinterpretation of the Divine Comedy by Daidalos turns Dante into a must-listen for fans not only of extreme music, but also of good storytelling with endless darkness, passion and despair, and if that’s an indication of the path Tobias will follow with his future releases, we can rest assured Symphonic Black Metal will remain strong for many years to come.
Best moments of the album:Inferno, Storm and Euphobia.
I’m always on my own… Even in my dreams I die alone… Loneliness is a garment… Made of shadows hanging above…
There’s nothing better than kicking off the short but always freezing cold month of February than with an ultra talented vocalist and multi-instrumentalist who personifies the underground like our metal lady of this month, setting fire to the atmosphere with her undisputed blend of Extreme Metal. Known for her involvement with some amazing underground bands the likes of Zion Code and Cordiscord Elysium, and more recently for her undisputed solo career, releasing an array of first-class albums, she brings the noise directly from Germany to The Headbanging Moose, taking no prisoners in her quest for heavy music. Her name is Vanessa Funke, and after knowing more about her life and her career, I’m sure you’ll get addicted to her fusion of Melodic Death and Gothic Metal with an overdose of raw emotions and, therefore, feel beyond eager to get caught in a mosh while she kicks some serious ass both in the studio and onstage.
Hailing from Finnentrop, a municipality in Olpe district in North Rhine-Westphalia, Germany, Vanessa said in one of her interviews that music has been all around her basically her entire life, mentioning she remembers hearing the intro to Thin Lizzy‘s version of Whiskey In The Jar as a child and imagining that she would play it herself. “It took a while for me to pick up an instrument though, which was about 2009. I was absolutely fascinated with Mike Oldfield around that time, especially that he can play all those different instruments and basically creates albums almost on his own. That really was the impulse that led me to playing guitar and later keyboards. When I got into metal about two years later, I started to play it myself too.”
She believes the first ever metal song she learned on the guitar was Weather The Storm, by Finnish melodeath masters Insomnium, becoming the rhythm guitarist shortly after for a band named Storm Unleashed, which was basically her first step into the music business, naturally evolving more and more even after she decided to pursue her solo career. Clearly a huge fan of the Melodic Death Metal from the 90’s and 2000’s, she also started incorporating elements from Gothic Metal into her music, giving it even more depth, which consequently allowed her to explore darker emotions in her compositions.
Speaking of her solo career, it all began in 2017 when she started recording a few demos, which only came to light in 2022 as a compilation encompassing those demos from 2017 until 2021. After that, she kept firing her own blend of Melodic Death and Gothic Metal through the 2022 EPs Sorted Out and Broken, followed by the split Ode to Hopelessness (alongside French Depressive Black Metal act Angel of Suicide), her first full-length album Solitude, plus the splits Nothing Left… (with UK-based Black Metal outfit Black Apathy) and Anthems of Gomorrah / Vanessa Funke (with Pinellas County, Florida-based Black/Death Metal horde Anthems of Gomorrah), all also in 2022.
Then in 2023 she released the EP Reflections, the splits Lonely Suicide (with American Atmospheric Black Metal creature Nymphrenia), In the Shadow of the Lights (with a band named Luroga), A Road to Nowhere (with Panama’s own Black Metal entity The Last Weapon), and Barely Living on the Edge… (with the bands Nymphrenia, Black Apathy, Shallow Existence, and Have a Nice Life…), and her sophomore full-length opus entitled Dawn. In 2024, the EP Lament and the full-length Void saw the light of day, while in 2025 she brought into being the split Locomotion of Escape (with a band called Tachanka), and her fourth full-length installment, titled Requiem. All of those releases can be found on BandCamp and on Spotify, and on her official YouTube channel you can also find her official videos for songs such as Worthless, Broken Ground, Infelicity, and I Need You Tonight, among several others. Not only that, her music is also featured in a few interesting compilations, including the songs Solitude on the LDP Smörgåsbord Series #2 (released by Liminal Dread Productions in December 2023), Sorrow on Mind Over Metal 4: Volume 1 (released by Cave Dweller Music in May 2024), Buried on Black Metal Against Blackout (released in January 2024), and Dead Souls on Heavy for the Hollers (released by Liminal Dread Productions in November 2024).
One very interesting fact about her solo albums is that all of them have just one word in the title (Solitude, Dawn, Void, and Requiem), not to mention she keeps an impressive streak of one album per year. “I actually try to keep up the pace with one full length release every year. I’ve written so many songs that I have enough material for at least another album right now and several rough sketches and demos. When I get into this certain creative flow, I try to let it all out. Later I come back to these ideas and refine them. Having just one word as the title wasn’t something I planned. I released an EP called Broken in 2022, after that my first album Solitude followed and I basically just stayed with those one word titles since then. Fun fact: the album title never appears as a song title on the same album, but I do tend to use it later. For example, Solitude is the title of my first album, but also the title of the first song on Requiem,” explained our unstoppable metal diva.
Furthermore, she also explained the reason why the song titles in her latest album Requiem also have just one word, like Useless, Worthless, Sorrow, Death, and Buried, but that doesn’t mean her music should be labeled as Depressive Black Metal. “On this album I came up with the song names before I had the music. I wanted to be inspired by those simple words, like what do I feel when thinking about them and translate that feeling to music. Of course reading those titles can definitely imply something depressive, which is partially true because of the story behind it. But the music isn’t depressive black metal in my opinion, more a mixture between atmospheric black metal and funeral doom. The melodic death and gothic influence isn’t that strong here.”
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Apart form her undisputed solo career, Vanessa is (or was) also part of an interesting music project assembled to celebrate the 36th birthday of Alicia Cordisco (of Arizona’s own Thrash Metal beast Transgressive), with its collaborators spanning countries across three continents, including Canada, Germany, the Netherlands, Singapore, the United Kingdom, and the United States. The name of such a unique project is Cordiscord Elysium, a Melodic Death and Power Metal outfit with several guest musicians from different underground bands, and that released their debut EP titled Alicia Cordisco’s Amazing Birthday, in 2025, followed by the EP Alicia Cordiscord Autumnal Ball, and the single All Carols are Bangers, both also from 2025, and all available on BandCamp. From all songs recorded so far by the project, the most interesting one is hands down their cover version for Eagle Fly Free, by Helloween.
Prior to flying solo, Vanessa was a member of a Zanesville, Ohio-based Progressive Melodic Death Metal/Metalcore band named Zion Code, taking care of their vocal duties from 2022 to 2024, plus playing guitars, bass and keyboards for the band between 2023 and 2024. Formed in 2021 by vocalist and multi-instrumentalist Brandon Mitchell, the band has already released seven full-length albums and two EPs, with Vanessa being part of the 2023 albums Zion Code and Festung, and the 2024 albums Apocrypha and New Dawn Rising. Curiously enough, nothing is available on BandCamp nor on Spotify anymore for reasons beyond our knowledge. Anyway, apart from recording vocals, guitars, bass, keyboards and drums in those albums, Vanessa was also responsible for the production, mixing and mastering, and even the artwork for the 2023 album Festung. I’m curious to listen to Zion Code as I haven’t had a chance yet, but apparently there’s nothing available anywhere, not even unofficial videos uploaded on YouTube by random users.
She can also be found as a guest musician for some very interesting bands and projects. For instance, she recorded vocals for the 2025 album The Burden of I, by Tucson, Arizona’s own Melodic Black/Death Metal musician Alicia Cordisco; vocals for the 2023 single We Can Win, by California-based Avantgarde Black/Power Metal act Black Stag Rising; the dialogue on the song Lebenssinn, from the 2023 EP Die Welt schläft ein, by French Black Metal entity Myrkyttää; additional vocals on the song Remember Me, from the 2025 album Down the Drain, by American Depressive/Atmospheric Black Metal act Nymphrenia; and additional vocals on the song Writhing in Agony I: Reopening Wounds I Have Once Forgotten, from the 2023 EP Writhing in Agony, by UK’s Depressive Black Metal act Shallow Existence. Not only that, Vanessa was also responsible for the artwork for the 2023 album Broken Cleansing and the 2023 EP Afuckt Up Mess, both by American Metalcore/Technical Death Metal act A Karmic Gray, and for the artwork for the 2023 EP Chaos Undivided, by Ohio’s own Death Metal brigade Bloodthirster.
When asked about how she feels having the drum arrangements (as well as the mixing and mastering) done by Michael Easley for her latest album Requiem, she said that it was an exception under her one-woman band project. “I usually do everything myself. This one album is actually the exception. I used a pretty old drum plugin initially, which lacked some human feel. As Michael is a drummer, he offered me to change it a bit and put a bit more life into it, which I gladly accepted. But nothing was done without my approval of course. Also a lot of the music was recorded at a time where my mixing skills weren’t that good. So Michael basically polished it to make it sound similar to my previous albums. For the next album I already have a higher standard I set for myself, so I’m pretty sure right now that if I get it right the way I imagine it, there’s no need for changes afterwards.” Furthermore, she also shared a few words about her writing and composing style. “When I start to write a song, I only have one chords progression or a melody from which I build up the whole song. So most things actually just happen during the recording process. There’s not much planning ahead usually.”
One very interesting thing about her album Requiem is that it is based on her own experiences as a teenager. “If you look at the album in two different sides (songs 1-5 and songs 6-8), there are two different things I wrote about: the first side deals with the feeling of spiraling deeper into depression, while the second side deals with intrusive thoughts. I couldn’t be completely neutral, but I still tried to keep things vague enough so others can find their own story in this. For me personally this story is deeply tied to dysphoria, something that was really strong when I was younger, the fear of coming out and not being able to live as myself. Even if I’ve come a long way since then and it isn’t that bad anymore, I still felt the need to have an outlet for all these emotions.”
Last but not least, Vanessa is not the type of person that’s very active in social media. “I do use Instagram and Bluesky apart from Bandcamp, but generally I’m not that good in this social media game, so my accounts there are definitely not as professional as bands often have them. But I generally don’t feel the need to change that, as it feels more comfortable for me like this,” she commented, and we must all agree she’s doing the right thing. Focusing on her music, on the quality of her final product, is way more important to us listeners than having an active Facebook or Instagram account. And don’t worry, Vanessa, because your music is so good we can take care of the social media posting on your behalf, spreading your emotional music to the four corners of the earth. Because, in the end, that’s what good music is all about.
The sophomore opus by this German Black Metal and Punk Rock beast sounds moodier and murkier than their debut offering, while also portending a deeper doom and gloom.
Hailing from Germany, Black Metal/Punk Rock brigade Karloff was formed in 2018 initially as a means for erstwhile Graveyard Ghoul member Tom Horrified to blow off some punk-oriented steam with a couple close comrades. Three years after the release of their 2022 debut The Appearing, the band currently formed of Tom Horrified on vocals and guitar, 733 on bass, and H. T. Steinbrecher on drums and percussion returns in full force with their sophomore installment, the incendiary Revered by Death. Following logically from The Appearing, Revered by Death sounds moodier and murkier, living up to its lofty title while its songwriting definitely feels punchier, portending a deeper doom and gloom.
The scorching, visceral riffage by Tom kicks off the trio’s beyond devilish festivities in Pessimistic Soaring, presenting a deep Punk Rock rebelliousness intertwined with the raw, obscure sounds of Black Metal, whereas the relentless bass by 733 and the pounding drums by H. T. will smash your skull in Die Wiederkehr der Dunkelei, or “the return of the dark egg” (if that makes any sense). The band then blends elements from Doom and Post-Metal to their core sound in When the Flames Devour You All, with Tom once again delivering absolutely caustic vocals and riffs.
Then the atmospheric (yet a bit too lengthy) interlude On Weathered Altar sets the tone for Prince of Parasites, where we’re treated to a caustic, electrifying fusion of Black Metal and Punk Rock, in special through the rebellious riffs by Tom and the classic beats by H. T. The band then ventures through the vast realms of Death Metal in Regicide, with the song’s vicious, deep riffage matching perfectly with its bass lines and crushing beats; and it’s pedal to the metal in the slamming tune Crown Cvlt Fate, perfect for some wild action inside a hot and humid circle pit at one of those infernal metal pubs, while Elisabetha’s Revenge, their last blast of insanity and rage, will simply demolish your soul, again presenting the raspy, harsh vociferations by Tom.
Ghouls and ghosts, thugs and thieves, Karloff are back and calling upon you to be Revered by Death, and if you believe you have what it takes to face such a harsh and visceral album of Black Metal and Punk Rock you can find those talented guys on Facebook and on Instagram, stream their acid creations on Spotify, and above all that, grab a copy of Revered by Death from the Dying Victims Productions’ BandCamp or webstore as a CD, an LP or a special edition LP on oxblood vinyl including an insert, a poster, a sticker, a post card, a woven patch, and a download code. Because Revered by Death is not just Black Metal, nor only Punk Rock; it’s everything at once, offering an amalgamation of violent and obscure sounds that will certainly haunt your souls for all eternity.
Best moments of the album:A Pessimistic Soaring, Prince of Parasites and Crown Cvlt Fate.
Worst moments of the album:On Weathered Altar.
Released in 2026 Dying Victims Productions
Track listing 1. A Pessimistic Soaring 2:52
2. Die Wiederkehr der Dunkelei 3:05
3. When the Flames Devour You All 5:53
4. On Weathered Altar 4:08
5. Prince of Parasites 2:47
6. Regicide 3:52
7. Crown Cvlt Fate 2:30
8. Elisabetha’s Revenge 4:52
Band members Tom Horrified – vocals, electric rhythm & lead guitar
733 – electric bass guitar
H. T. Steinbrecher – drums & percussion
Germany’s own Thrash Metal titans continue their tale of humble beginnings, ambitious visions and unbreakable will with their krushing new album, an expression of pride and self-awareness knowing how long and hard the band’s path has been.
Having celebrated in 2025 two outstanding achievements by releasing vocalist and guitarist Miland “Mille” Petrozza’s book Your Heaven, My Hell with co-writer Torsten Gross, and hitting German cinemas with Hate & Hope, Essen, North Rhine-Westphalia, Germany’s own Thrash Metal titans Kreator continue in 2026 their tale of humble beginnings, ambitious visions and unbreakable will with their much-anticipated sixteenth chapter, the ruthless Krushers Of The World, following up on their critically acclaimed 2022 album Hate Über Alles. Produced and mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, and showcasing a classy, thrashing-as-hell artwork by Zbigniew M. Bielak, the new opus by the aforementioned iconic frontman Miland “Mille” Petrozza alongside guitarist Sami Yli-Sirniö, bassist Frédéric Leclercq, and drummer Jürgen “Ventor” Reil shows a band that has lost none of its bite, with the album title working as a statement, an expression of pride and self-awareness knowing how long and hard the band’s path has been and knowing what they still have to say and share with their ever growing following.
The album kicks off on a flammable mode with the first single released, the phenomenal Seven Serpents, with the guitars by Mille and Sami exhaling a melodious blend of undisputed aggression, whereas Satanic Anarchy is a thrashing beast showcasing rebellious lyrics rabidly vociferated by Mille (“Are you among the chosen? / The ones who’ll always reign / They’ve killed the singers / But not the songs they sang / And in this dying Endzeit / Not all that melts is gold / Keep your bread and circuses / And learn this is divine revolt!”). Then we face the ominous title-track Krushers of the World, where Ventor hammers his drums mercilessly for our absolute delight; and featuring the indomitable Britta Görtz of German melodeath beasts Hiraes on vocals (making an incendiary duet with Mille) we have Tränenpalast, while the music is a beautiful fusion of Kreator’s trademark anarchy and the more modern approach by Hiraes. And let’s open up the circle pit and enjoy a venomous wall of death to the sound of Barbarian, where their riffs, bass and drums are the epitome of Thrash Metal.
The second half of the album kicks off with the also fast-paced, violent Blood of Our Blood, a classic Kreator extravaganza with Mille and Sami firing their trademark solos nonstop, followed by Combatants, perfect for some wild headbanging, with the ruthless bass by Frédéric supporting Ventor’s pounding drums from start to finish. Then an eerie intro morphs into another battle hymn by those Teutonic thrashing masters titled Psychotic Imperator, offering us all a straightforward, no shenanigans sonic attack, and their undisputed energy keeps flowing in Death Scream, where its desperate backing vocals walk hand in hand with Mille’s raspy roars. Lastly, their coup-de-grace comes in the form of the rhythmic, hard hitting Loyal to the Grave, one of those songs perfect for raising our fists in the air together with the band.
Kreator Krushers of the World Deluxe Boxset
In a nutshell, although Krushers Of The World is not a throwback to Kreator’s past, it is still furious, massive sounding and creative in its own right, gifted with a songwriting quality honed over years, and of course displaying a hardworking and ultra talented band which earned their spot among the giants of the genre. You can stay up to date with all things Kreator on Facebook, Instagram and YouTube, including their must-see live concerts, stream their breathtaking thrashing madness on any platform such as Spotify, and of course put your blood-soaked hands on Krushers Of The World by purchasing it from BandCamp, or by clicking HERE or HERE. Kreator return to the battlefield in perfect shape armed with their thrilling new album, appearing more mindful of their early days while simultaneously progressing uncompromisingly, unstoppable in their search for new realms to conquer and new worlds to krush. And hell yeah, they will definitely keep krushing us all with their unique blend of visceral and electrifying Thrash Metal.
Best moments of the album:Seven Serpents, Tränenpalast, Barbarian, Psychotic Imperator and Death Scream.
Worst moments of the album: None.
Released in 2026 Nuclear Blast Records
Track listing 1. Seven Serpents 4:40
2. Satanic Anarchy 3:33
3. Krushers of the World 4:20
4. Tränenpalast 4:43
5. Barbarian 4:40
6. Blood of Our Blood 4:31
7. Combatants 4:01
8. Psychotic Imperator 5:05
9. Death Scream 3:52
10. Loyal to the Grave 4:58
Band members Miland “Mille” Petrozza – vocals, guitar
Sami Yli-Sirniö – guitar
Frédéric Leclercq – bass
Jürgen “Ventor” Reil – drums
Guest musician Britta Görtz – vocals on “Tränenpalast”
Formed in 2008 in Gelsenkirchen, Germany, the unrelenting Heavy Metal squad known as Iron Kobra began with a noble mission – to bring Heavy Metal back to its unpolished, rough, and weird roots, influenced by heroes of old like Iron Maiden, Cirith Ungol, Living Death, Manowar, and Tank with a sprinkle of punk. Produced, recorded and mixed by Stefan Castevet (with drums recorded by Konrad aka Goat Primator), mastered by Patrick W. Engel at Temple of Disharmony, and showcasing an old school artwork by by Mario Lopez, Eternal Dagger is the third studio album by Iron Kobra, following up on their 2015 sophomore Might & Magic and exploding with excitement at every turn of its nine songs of raging Speed Metal, all carefully brought into being by Ela on vocals and guitars, Steffen also on the guitars, Matze on bass, and Björn on drums.
It goes without saying that the band’s arsenal throughout the entire album offers a wide variety of pure Heavy Metal gold, evoking the likes of Exciter, Brocas Helm, Diamond Head, and early Running Wild but, of course, with their undeniable personality and panache. If you want to join those amazing German metallers in the battlefield, you can find them on Facebook, stream their music on any platform such as Spotify, and of course purchase a copy of the incendiary Eternal Dagger from their own BandCamp, from the Dying Victims Productions’ BandCamp, or simply by clicking HERE. In summary, at very long last, Iron Kobra return to stake their claim as kings of swords and sorcery metal music with Eternal Dagger, so strap yourselves to your seats as the Cult of the Snake is back, bringing you heavy hymns that will pierce your eardrums like a Heavy Metal drill.
THE HEADBANGING MOOSE 