Album Review – Kinetic / Liminal (2026)

Witness the rise, fall and infinite loop of human civilization throughout the cosmos in the form of the striking debut album by this up-and-coming Danish Progressive Metal ensemble.

Emerging with a sound that bridges technical precision, atmospheric depth, and cinematic storytelling, Kolding, Denmark-based Progressive Metal ensemble Kinetic was built on a shared ambition to create music that moves beyond convention, both musically and conceptually, drawing inspiration from progressive heavyweights while carving out a distinct sonic identity. Following the release of their well received debut EP Sentience in 2025, which offered a first glimpse into the band’s evolving sound, the band formed of vocalist René Hougaard, guitarist David Thing, bassist Christian F. Heitmann, keyboardinst Marcus Levin, and drummer Rune Görlitz returns with their first full-length opus, titled Liminal, a concept album produced by Frederik Uglebjerg (Galge, MØL, Trold, Isbjörg) and shaped by contrast – tension and release, chaos and control, the vastness of space and the intimacy of human thought – while the band refines their musical identity by pushing into both heavier and more ambient territories.

Beginnings is as atmospheric and eerie as it can be, slowly growing into an enfolding sound led by René’s deep vocal lines while Rune dictates the pace with his heavy-as-hell beats and fills, while in Evolution initial acoustic, ethereal moments evolve into another Progressive Rock and Metal extravaganza, feeling like five or six songs in one. New Frontiers sounds like Dream Theater on steroids, with the guitars by David breathing fire while Marcus makes sure the atmosphere remains cryptic with his spot-on keys; followed by Type 0.75, showcasing a more cadenced side of the band as if Meshuggah decided to go full progressive, with Marcus again delivering sheer electricity from his keys. Half of the following tune, Fermi, is almost like a dark ballad, with everything switching to a heavier and groovier sound led by the intricate riffs by David and the low-tuned bass by Christian, repeating everything all over again, and the same Christian kicks off the obscure Progress to One, inviting us to bang our heads nonstop in absolute darkness, with Rune crushing his drums with endless power.

Dyson is not a bad song, but not as electrifying as the rest of the album, although the riffs and solos by David sound majestic; whereas they bring elements from 80’s Gothic Rock and Metal to their core Progressive Metal essence in Journey to the Stars, and the final result is truly entertaining, spearheaded by the groovy bass by Christian. Digital Mind offers more of their futuristic take on Progressive Metal, with René’s vocals sounding again flawless, adding passion and darkness to the overall result, all boosted by another classy solo by David; while 2 to Five also alternates between absolute heaviness and delicate, passionate moments, not to mention the electricity flowing from their axes is insane. Lastly, composing a 20-minute song is always a bold move, but a band like Kinetic definitely knows how to do that to perfection like in Omega, kicking it off with serene and atmospheric elements before blasting their trademark Progressive Metal sounds, resulting in a wild metallic journey where David is on fire armed with his axe while René keeps telling the story majestically until the song’s climatic ending.

A massive Progressive Metal concept album bound together by a coherent, overarching storyline that connects the first note of the opening track to the final fading echoes of the grand finale, drawing inspiration from the Kardashev Scale (a theoretical framework proposed by astrophysicist Nikolai Kardashev that measures the technological advancement of a civilization based on the amount of energy it can harness), Liminal will surely help the band establish themselves as a notable force within the modern Progressive Metal landscape, and you can get to know more about them on Facebook and on Instagram, stream their music on Spotify, and of course, grab a copy of the album by clicking HERE. Spanning more than 115 minutes in length, the album uses dynamic songwriting and deep narrative storytelling to track the rise, fall and infinite loop of human civilization throughout the cosmos, and I’m sure you’ll have an amazing time traversing the universe together with Kinetic to the sound of their striking new album.

Best moments of the album: New Frontiers, Progress to One and Omega.

Worst moments of the album: Dyson.

Released in 2026 Eclipse Records

Track listing
1. Beginnings 8:40
2. Evolution 11:13
3. New Frontiers 12:58
4. Type 0.75 8:26
5. Fermi 8:11
6. Progress to One 5:35
7. Dyson 6:15
8. Journey to the Stars 8:27
9. Digital Mind 7:18
10. 2 to Five 9:13
11. Omega 20:09

Band members
René Hougaard – vocals
David Thing – guitars
Christian F. Heitmann – bass
Marcus Levin – synthesizers
Rune Görlitz – drums

Album Review – Cultus Sanguine / Tears Painted Sky (2026)

These Italian veterans are back with their fourth opus, immersing us all in dark, powerful sounds that take us on a slow, relentless journey into the depths of the soul, a place where pain and darkness take shape.

Formed in 1993 in Milan, Italy, Cultus Sanguine are one of the most influential and genre defining bands in the history of dark, devilish Blackened Gothic and Doom Metal, having already release the cult albums Shadows’ Blood (1997), The Sum of All Fears (1999), and Dust Once Alive (2023). Written and composed by the band itself, recorded, mixed and mastered by Danilo Dilorenzo at MoonHouse Studio,  and displaying a sinister artwork and layout by Federico Rebusso, Tears Painted Sky is the fourth studio album by Joe Ferrero on vocals, Federico Rebusso on the guitars, Luca Difato on bass, Daniele Bovo on keyboards, and Fabrizio Cislaghi on drums, immersing us all in dark, powerful sounds that take us on a slow, relentless journey into the depths of the soul, a place where pain and darkness take shape.

The quintet wastes no time and fills up every single space in the air with their dark and atmospheric sounds in Tears Painted Sky, led by the striking keys by Daniele and the massive beats by Fabrizio; and the deep vociferations by Joe set the tone in the also obscure Inner Solitude, with their Gothic Metal vein pulsing harder than ever. In When Silence Devours we see the band blend the heaviness of Doom Metal with the delicate sounds of Gothic Rock and Metal, with Daniele being once again on fire behind his drums, followed by My Wounds Are Eternal, a pensive tune that carries a beautiful title, with Federico bringing sheer heaviness through his axe. And then we face Le tue ossa sono fredde, or “your bones are cold” from Italian, featuring guest Luca Difato on the violin, evolving into a visceral display of Doom Metal with atmospheric elements.

Pale Presence offers a more generic version of their own blend of Atmospheric Gothic and Doom Metal. It’s still a solid effort by the boys, but it lacks the same intensity of the previous tunes, whereas Grey, Cold and Unforgiving showcases a more theatrical side of the band, with the reverberating bass by Lucas adding even more obscurity to Daniele’s phantasmagorical keys. Rise to Nowhere continues with their theatre of doom, with Joe again delivering absolute anguish and heaviness through his vocals lines, supported by the minimalist, caustic guitars by Federico, flowing into the closing tune Funeral Farewells, as heavy as it is dynamic, multi-layered and grim, where Joe’s vocals are effectively boosted by the song’s background vocals (not to mention the scathing riffs by Federico), therefore putting a climatic ending to the album.

With the release of Tears Painted Sky, Cultus Sanguine are pushing beyond the already fragile boundaries of their poetic vision, exploring painful territories and surrendering completely to the aesthetics of the end. There is no consolation, no hope, no catharsis; just an elegant and decadent representation of the inner twilight. In case you want to follow the band into such harsh territories, you can find them on Facebook and on Instagram, stream their music on any platform like Spotify, and of course purchase their new album from their own BandCamp or from My Kingdom Music’s BandCamp or webstore (or click HERE for all things Cultus Sanguine). The cult is alive, the sky is painted with tears, and the new album by these Italian veterans is the perfect soundtrack for such darkness and melancholy.

Best moments of the album: Tears Painted Sky, My Wounds Are Eternal and Funeral Farewells.

Worst moments of the album: Pale Presence.

Released in 2026 My Kingdom Music

Track listing
1. Tears Painted Sky 6:06
2. Inner Solitude 5:32
3. When Silence Devours 4:30
4. My Wounds Are Eternal5:20
5. Le tue ossa sono fredde 4:39
6. Pale Presence 5:31
7. Grey, Cold and Unforgiving 5:06
8. Rise to Nowhere 5:38
9. Funeral Farewells 6:55

Band members
Joe Ferrero – vocals
Federico Rebusso – guitars
Luca Difato – bass
Daniele Bovo – keyboards
Fabrizio Cislaghi – drums

Guest musician
Luca Difato – violin on “Le tue ossa sono fredde”

Album Review – Insomnium / Netherworlds (2026)

Joensuu’s own Melodic Death Metal masters return from the underworld with their tenth studio album, a journey deeper into the shadows, steeped in the unmistakable spirit of Finnish melancholy.

Ever since emerging from the mist-shrouded city of Joensuu in the heart of North Karelia, Melodic Death Metal masters Insomnium have stood as a beacon for those drawn to melancholy, introspection, and the beauty found within darkness. Now, for the tenth time, the band currently formed of Niilo Sevänen on lead vocals and bass, Ville Friman, Markus Vanhala and Tomy Laisto on the guitars and clean vocals, and Markus Hirvonen on drums opens the door to a new chapter, titled Netherworlds. Recorded and engineered by Miiro Varjus at Sonic Pump Studios, mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, featuring guest musician Aleksi Munter on keyboards, and displaying a somber artwork by Travis Smith of Seempieces, the follow-up to their 2023 opus Anno 1696 is a journey deeper into the shadows, steeped in the unmistakable spirit of Finnish melancholy and enriched by the band’s most nuanced and emotionally resonant songwriting to date. Sweeping atmospheres, poignant melodies, and crushing heaviness intertwine to create a work that is both deeply personal and universally affecting.

Originally composed by Henry Purcell for the semi-opera King Arthur (1691), The Cold Song is an epic intro to the also epic Shadowlife, with their guitars breathing fire and, therefore, offering Niilo exactly what he needs to vociferate in a dark and captivating way. Remembrance presents the band’s trademark melodeath sound, feeling obscure and grim while at the same time electrifying and vibrant, whereas in Gleam in the Black the band brings elements of 80’s Gothic Rock and Metal to their core sound, led by the striking beats and fills by Markus Hirvonen, while Markus Vanhala, Ville and Tomy deliver sheer adrenaline form their axes. And featuring guests Santerii Kalio on keyboards, and Tomi Joutsen and Tomi Koivusaari on vocals, The Hour Grows Late reminds me of some of their classic tunes from Shadows of a Dying Sun, overflowing melancholy and darkness.

Arch of the Sky offers our avid ears six minutes of a top-of-the-line fusion of Finnish Melodic Death Metal with gothic nuances, where Niilo once again fires his unparalleled harsh vocals supported by the rumbling drums by Markus Hirvonen; followed by Pathways of the Night, another classic, no shenanigans onrush of pure Insomnium, with the background keys by Aleksi Munter adding a touch of finesse to their already stylish sound. Ethereal Sleep is a slow and steady dark ballad by the quintet, delivering sheer doom to our hearts, while The Banished brings the album back to a more ferocious sonority led by the scorching riffs by the band’s guitar triumvirate. Finally, Journey’s End feels more like an extended outro than a song per se, maybe a bit too long and too atmospheric for the album, but nothing to really worry about.

Sounding both majestic and intimate, perfectly capturing the emotional weight and dynamic range that define the band’s music evolution, Netherworlds is an album that feels both fresh and timeless, a bold step forward that remains unmistakably Insomnium at its core. You can find more details about the band and their new album on Facebook and on Instagram, including their amazing tour dates, stream their vast discography on any platform like Spotify, and of course purchase Netherworlds from the Century Media’s BandCamp or webstore as a standard CD jewelcase, a gatefold black 2LP, or a a limited deluxe 2CD artbook. After all, Insomnium are back from the Finnish underworld with another killer album, exploring new emotional and sonic territories and, therefore, making the world of Melodic Death Metal a much better place.

Best moments of the album: Gleam in the Black, Arch of the Sky and The Banished.

Worst moments of the album: Ethereal Sleep.

Released in 2026 Century Media

Track listing
1. The Cold Song 2:20
2. Shadowlife 4:41
3. Remembrance 5:01
4. Gleam in the Black 4:32
5. The Hour Grows Late 8:01
6. Arch of the Sky 6:14
7. Pathways of the Night 4:56
8. Ethereal Sleep 5:42
9. The Banished 5:25
10. Journey’s End 6:57

Band members
Niilo Sevänen – lead vocals, bass
Ville Friman – guitars, clean vocals
Markus Vanhala – guitars, clean vocals
Tomy Laisto – guitars, clean vocals
Markus Hirvonen – drums

Guest musicians
Aleksi Munter – keyboards (session)
Santeri Kallio  – keyboards on “The Hour Grows Late”
Tomi Joutsen – vocals on “The Hour Grows Late”
Tomi Koivusaari – vocals on “The Hour Grows Late”

Metal Chick of the Month – Tanja Kemppainen

So far away, yet held so close… I know you call me, wishing me back…

Let’s kick off the celebrations of the 13th anniversary of The Headbanging Moose, and there’s nothing better to represent over a decade of passion for the underground than paying a tribute to one of the staples of the Finnish extreme music scene as our metal lady of this month of October. If you’re not from another planet, you might have already heard of the name Tanja Kemppainen (sometimes also spelled Tanya Kemppainen), or Tanja Kirsi Tellervo Kemppainen, and who also goes by the darkly beautiful moniker Whisper Lilith or Tanya Whisper Lillith, the frontwoman for the incredible band Soulgrind since the already distant year of 1997, as well as the vocalist for other first-class bands from the land of ice and snow such as Lullacry and Gloomy Grim, always delivering those hypnotizing Stygian vocals we all love so much from one of the best places to be in the entire world when it comes to Heavy Metal. The skies are getting darker, the nights are getting colder and longer, and Whisper Lilith is among us all to remind us that winter might be coming, but there’s always beauty in its frostbitten landscapes.

Born in 1979 in Kajaani, a town of less than 40,000 people in Finland, and the regional capital of Kainuu, Tanja came to public attention as the singer of Melodic Death/Gothic Metal entity Lullacry (a play word with the words “lullaby” and “cry”) from 1998 to 2002, before being replaced by another Finnish singer named Tanja Lainio. The band called it quits in 2014, but their legacy remains with some excellent released with both Tanja Kemppainen and Tanja Lainio on vocals. Our metal lady of the month, Tanja Kemppainen (because as you know, there might be too many Tanjas in Finland), recorded with the band their very first demos in 1998 after changing their name from Coarse (which existed between 1992 and 1998 and played a more direct blend of Melodic Death Metal), those being Weeper’s Aeon and Sweet Desire, and the 1999 demo Alone.

After the release of those successful demos, the band then released their debut full-length studio album, also titled Sweet Desire, but containing 11 tracks instead of only the two original ones from the demo. The band picked up momentum and two years later released their sophomore opus, entitled Be My God, which gained tons of positive reviews from the fans and the media. Curiously enough, the band had a pretty steady lineup through the year with guitarists Sauli Kivilahti and Sami Vauhkonen, bassist Heavy, and drummer Jukka Outinen, with pretty much only Tanya leaving their classic formation and being replaced by the aforementioned Tanja Lainio in 2002, who stayed with the band until the end.

Between 1997 and 1998, she was also the female vocalist for a Helsinki-based Symphonic Black Metal horde named Gloomy Grim, having recorded with them the 1997 demo Friendship Is Friendship, War Is War!, and their 1998 debut full-length offering titled Blood, Monsters, Darkness, already going by the moniker Whisper. As a matter of fact, Tanja was the girlfriend of the band’s mastermind, vocalist and keyboardist Agathon (aka Juha Tapio Hintikka) while she was in the band. She left the band when they broke up (although they played together in Soulgrind after that). Furthermore, the band was put on hold in December 2019 due to Agathon’s deteriorating health, and then disbanded in August 2021. Unfortunately, Agathon died on May 30, 2022 due to complications of a brain cancer, but the legacy of Gloomy Grim lives on.

Another band which Tanja was a member of for a few years was Finnish Gothic Metal band Silentium. She was part of the band for a very brief period in 2003, when the band’s longtime original female vocalist, Tiina Lehvonen, took a temporary leave for personal reasons and Tanja stepped in to help them complete their next studio effort. By the time the band moved on to record their fourth album Seducia, in 2006, they had recruited a new permanent singer named Riina Rinkinen. Tanja and Silentium recorded only one studio album together, titled Sufferion – Hamartia of Prudence, released in 2003, a highly theatrical 16-song, 1-hour long concept album produced by Nightwish mastermind Tuomas Holopainen and featuring Tanja sharing vocal duties alongside Maija Turunen.

Apart from those, Tanja was also involved in two other pure Finnish metal bands. The first one was Symphonic Heavy Metal band Metallimessu. The band’s name is Finnish for “Metal Mass”, a service of worship which follows a Lutheran service patterns but where Finnish hymns are adapted to a Heavy Metal style. The first Metal Mass was held in 2006, becoming a phenomenon in Finland, but the group disbanded a couple of years later, in 2008. Tanja recorded with the band the songs Herra, elämääni, Herra, kädelläsi, and Ken tahtoo käydä Herran askelissa, which should translate to English as “Lord, my life,” “Lord, in Your hand,” and “whoever wishes to walk in the Lord’s footsteps,” from their 2008 self-titled album. She was also involved in the project Raskasta Joulua, which means “Heavy Christmas” in Finnish, delivering traditional Christmas carols and Christmas hits in a Heavy Metal style mostly with Finnish lyrics (although some are also in English and Swedish). In 2004 the project released their debut self-titled album, and Tanja was the vocalist for the song Maa on niin kaunis, or “the earth is so beautiful.”

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Needless to say, her biggest contribution to the world of heavy music will forever be her role as vocalist for Helsinki-based Gothic/Black Metal beast Soulgrind as Tanya Whisper Lillith, fronting the band alongside the excellent vocalist Miika “Azhemin” Niemelä. Tanja joined Soulgrind back in 1997, when the band was the solo project of guitarist Jussi “Lord” Heikkinen and already had a couple of EPs and two full-length albums released. Right after joining the band with other musicians, hence Soulgrind becoming a full-bodied group, she recorded with them a 1997 demo titled Helkavirsiä, Promo 1997, followed by the albums Whitsongs (1997), Kalma (1999), Elixir Mystica (2001), Into the Dark Vales of Death (2002), The Origins of the Paganblood (2005), Pakana (2007), The Tuoni Pathway (2010), and more recently the excellent Ad Pulchram Mortem, as well as an EP in 2010 titled March Butterfly, all available on Spotify, slightly changing her moniker to Ms W. Lilith or Ms Tanya Lilith, depending on the album. You can find most of the songs from all albums also on YouTube, including official videos and lyric videos for songs such as Jylhä metsämies (or “the grim forest-dweller”) and Tears of the Earth.

Our incredible and unstoppable vocalist also participated in several amazing bands and projects as a guest musician through her undisputed career. For instance, she recorded backing vocals for the 2007 album Silent Waters, by Finnish Melodic Heavy Metal/Rock masters Amorphis; additional vocals for the 2010 demo The Space Opera, and the voice as “Princess Celeste” for the 2024 album Legacy of Morfuidra, by Finnish Power Metal act Coventhrall; vocals on the 1997 album Yellow, by Finnish Death/Thrash/Black Metal horde Nomicon; backing vocals on the song Black Lotus, from the 2006 album Fuck the World, by Finnish Stoner Metal/Hard Rock band Stoner Kings; and additional vocals on the Sandra’s cover In the Heat of the Night, from their 2000 single In the Heat of the Night, and backing vocals on the 2001 album Epilogue, both by Finnish Gothic Metal/Rock titans To/Die/For.

Once our metal lady Tanja was interviewed together with the diva Tarja Turunen to talk about women in metal in their homeland, and Tanja made some interesting comments about that. “In Helsinki’s heavy circles tough women are called rude chicks. That means the attitude that combines all heavy women. You can be any size or look anyway as long as you have the right attitude. Although the concept of rude chick started out as a joke, it means not to make trouble with me,” she said. Displaying the same style both onstage and in her personal life, Tanja (and also Tarja) said it’s certainly not hard to be a woman in the world of heavy music. “I’ve never faced hardships because I’m a woman nor have I gotten any concessions. Except for the fact that I rarely have to be a roadie! I pretty much have the same things as the guys, there’s no special position,” she commented.

After all is said and done, it’s crystal clear that there is no Heavy Metal in Finland without Tanja Kemppainen, and there is no Tanja Kemppainen without Heavy Metal. She’s a staple of the metallic scene in the always beautiful land of ice and snow, and I’m sure she’ll keep on rockin’ no matter what until her final breath. She has a Heavy Metal heart and soul, and it’s a true honor to let you readers know more about her stunning career here on The Headbanging Moose. May Whisper Lilith continue to darkly whisper her hypnotizing words to us, mere mortals, through her undisputed music, keeping the fires of Finnish Heavy Metal burning bright for many centuries to come.

Soulgrind’s Official Facebook page

Album Review – The Eternal / Obscured Horizons (2026)

Delving further into darkness, this Gothic Metal quartet returns with an exploration of disillusionment, fractured identity and the struggle to reclaim clarity in a world saturated with distortion.

Delving further into darkness with a sound situated in Progressive Gothic Metal, the veteran Australian and Finnish quartet known as The Eternal is set to unveil their eighth studio album upon humanity, titled Obscured Horizons, following up on their 2024 opus Skinwalker. Produced by Jan Rechberger and Mark Kelson, and displaying a darkly stunning artwork by Kate Roney, the new album by Mark Kelson on vocals and guitar, Richie Poate on lead guitar, Niclas Etelävuori on bass, and Jan Rechberger on drums and percussion is the band’s most immersive and definitive work to date, an exploration of disillusionment, fractured identity and the struggle to reclaim clarity in a world saturated with distortion, moving through states of emotional collapse, liminal transition and existential unrest, confronting deception – both external and internal – before emerging into renewal and self-awareness.

Mark and Richie start the band’s metallic engine with their melodeath-infused guitars in Lament For The Hollow, already presenting their trademark fusion of Progressive and Gothic Metal. Then bringing elements from Gothic Rock from the 80’s we have Existing To Expire, with Niclas kicking some serious ass with his heavy bass lines, followed by Colours Fade, again showcasing an endless dosage of progressiveness added to their core sound, as if Dream Theater went absolutely goth. And striking background keys bring even more adrenaline to Harmony Breaks, with the melodious vocals by Mark embracing us in a comforting darkness in the name of Gothic Rock and Metal.

I’ve Seen The Dream is a stunning ballad in the vein of Dream Theater from their masterpiece Metropolis Pt. 2: Scenes from a Memory, with Richie stealing the spotlight with his enfolding guitars lines and solos; followed by Liminality, presenting seven minutes of a lecture in Progressive Metal, with Mark’s vocals being flawlessly complemented by the groovy, multi-layered and intricate kitchen crafted by Niclas and Jan. The title-track Obscured Horizons keeps their fires burning bright led by another killer performance by Jan behind his drums; while the incendiary guitars by Mark and Richie keep piercing our minds mercilessly in Yesterday’s Gone, another stylish display of the band’s first-class Heavy Metal. Finally, we face Awaken, again presenting several layers and nuances, with Richie sounding on fire with his axe, breathing piercing riffs and solos nonstop and, therefore, ending the album in great fashion.

A work concerned with the erosion of truth, the masks we inherit, the weight of memory and the courage required to awaken from imposed realities, Obscured Horizons represents both culmination and evolution, a bold statement from a band entering a new creative chapter with their gaze fixed firmly on the unseen. You can get to know more about The Eternal, their new album, their tour dates and other nice to know details via Facebook and Instagram, stream their unique creations on Spotify, and above all that, purchase a copy of the album by clicking HERE. Rather than surrendering to decay, Obscured Horizons charts a defiant ascent, refusing numbness, rejecting illusion, and ultimately reclaiming light from the shadows that threaten to eclipse it.

Best moments of the album: Lament For The Hollow, Liminality and Yesterday’s Gone.

Worst moments of the album: None.

Released in 2026 Reigning Phoenix Music

Track listing
1. Lament For The Hollow 5:04
2. Existing To Expire 4:10
3. Colours Fade 4:58
4. Harmony Breaks 5:05
5. I’ve Seen The Dream 4:14
6. Liminality 6:59
7. Obscured Horizons 5:11
8. Yesterday’s Gone 5:13
9. Awaken 6:07

Band members
Mark Kelson – vocals, guitar
Richie Poate – lead guitar
Niclas Etelävuori – bass
Jan Rechberger – drums, percussion

Album Review – Duncan Evans And The Weeping Starlight / The World is a War Zone (2026)

Led by songwriter and multi-instrumentalist Duncan Evans, this three-piece Dark Folk and Post-Punk outfit explores faith, doubt, suffering, transcendence and the search for meaning in a fractured world in their new album.

The collaborative evolution of songwriter and multi-instrumentalist Duncan Evans, built around a committed three-piece lineup that transforms intimate compositions into expansive, emotionally charged performances, Leeds, England’s own Dark Folk/Post-Punk/Gothic Rock outfit Duncan Evans And The Weeping Starlight is back in action with a brand new album, titled The World is a War Zone. Recorded between The Nave and Duncan Evans’ home studio in Leeds, produced and mixed by Duncan Evans himself, engineered by Tom Orrell and Duncan Evans, and mastered by James Plotkin, the new album by Duncan Evans on vocals, guitars, synths and software instruments, Ol Jessop on bass, and Kev Reid on drums, with additional percussion by Gareth Hodgson of A Forest of Stars and Darkher, unfolds across nine tracks and 45 minutes of intense, cathartic Post-Punk melancholia rooted in the dark and primal spirit of folk music, exploring faith, doubt, suffering, transcendence and the search for meaning in a fractured world.

Working as an extended theatrical, captivating intro, The Starlight Weeps showcases all three musicians revving up their rockin’ engines for The Path, offering a Blues Rock-infused blend of their core sound led by the melodic vocal lines by Duncan, as if Jethro Tull and Nick Cave decided to jam together while watching the night sky. Kev and Ol then bring the groove to the band’s music armed with their respective bass and drums in The World is a War Zone (a fitting title for a song in 2026, by the way), while Duncan extracts whimsical sounds from his guitar; followed by Loss, which feels like the soundtrack to an Oscar-nominated movie. Furthermore, it gets trippy after a while, obviously in a very good way, keeping the album as captivating as it can be.

Sierra Delta might be a bit too slow compared to the rest of the album, and maybe some extra heaviness from Duncan’s guitar would have added more taste to the overall result; whereas Waiting for Rain is the epitome of their trademark fusion of Dark Folk with Post-Rock elements, with Duncan once again declaiming the song’s words like a Rock N’ Roll poet. Deathless is a beautiful, dark ballad by the trio, with Kev hitting his drums just hard enough to bring that kick to the music; and Duncan’s classic guitar lines walk hand in hand with the bass by Ol in River of Milk, alternating between ethereal moments and the heaviness of modern-day Gothic Rock. Lastly we have Suffer, led by the pounding beats by Kev, putting a striking ending to the album. Needless to say, it should sound very enfolding if played live.

Listeners drawn to the emotional depth of Nick Cave & The Bad Seeds, Emma Ruth Rundle, Swans and Richard Thompson will surely find resonance in The World is a War Zone, yet the album ultimately stands as its own statement, burning with conviction and carrying a persistent belief in redemption amid turmoil. The result is a sound that feels somber, mournful and fiercely committed, grounded in the traditions of Post-Punk and folk music yet shaped by a distinctly personal vision. The indomitable Duncan Evans and his henchmen can be found on Facebook and on Instagram, and don’t forget to also stream their music on Spotify, and to purchase their new album from their BandCamp or webstore. The world is indeed a war zone, but fear not, my dear friends, as Duncan Evans will protect us all with the power of our good old Rock N’ Roll.

Best moments of the album: The Path, River of Milk and Suffer.

Worst moments of the album: Sierra Delta.

Released in 2026 Widowbird Records

Track listing
1. The Starlight Weeps 3:39
2. The Path 4:23
3. The World is a War Zone 6:46
4. Loss 6:23
5. Sierra Delta 5:10
6. Waiting for Rain 4:54
7. Deathless 4:56
8. River of Milk 4:04
9. Suffer 5:14

Band members
Duncan Evans – vocals, guitars, synths, software instruments
Ol Jessop – bass
Kev Reid – drums

Guest musician
Gareth Hodgson – additional percussion

Metal Chick of the Month – Jessy “Christ” Vignolle

Ego sum (qui sum)!

Are you ready to burn in the fires of extreme music together with our metal lady of this month of February here on The Headbanging Moose? I’m sure you are, and get ready as her incendiary vocals will melt not only any snow left from this harsh winter, but also your faces, leaving you completely disoriented after all is said and done. She’s an Extreme Metal vocalist, an opera singer, a soprano, a singing teacher, an actress, and a vocal coach, making the whole world of heavy music a much better place for us fans of hypnotizing and powerful vocals. Her name is Jessy Vignolle, sometimes referred to as Jessy “Christ” Vignolle, or simply Jessy Christ, the frontwoman for French metal sensation Usquam, and once you know more about her life, her career and her music, you’ll certainly get addicted to her distinct voice, charisma, and aggression.

Hailing from Paris, France, Jessy has been a curious child from the early age of eleven, discovering her passion for music through the guitar, piano, and singing without a defined direction, exploring everything from classical to rock. All that passion led to her first ever concert as a singer and guitarist at the age of 13, joining her first band a year later. Exploring multiple musical styles including Pop, Jazz, Indian music, Celtic music, and many more, while also drawing inspiration from all their unique characteristics (which she sees as future strengths), Jessy enrolled in musicology and earned a bachelor’s degree in musicology, a master’s degree in artistic supervision, and a master’s degree in artistic engineering. At the same time, she pursued a professional career in classical music, studying operatic singing at the Savigny-le-Temple Conservatory in Paris under Véronique Laguerre and joining the Che Calda Voce opera company led by Laura Marin. Not only that, she also made her mark in the rock and metal music scene, performing on numerous French stages such as La Cigale, La Boule Noire, and La Machine du Moulin Rouge, among others, as well as at festivals.

It was not too long ago, in the not-so-distant year of 2024, when Jessy joined Usquam as their new vocalist replacing Lucas Henry. Formed in 2018, this Paris, France-based Melodic Black Metal band released in 2021 their debut EP Reborn, followed by their fantastic first full-length opus Ex Nihilo, in 2025, already with Jessy stealing the spotlight with her undisputed vocals. Exploring the secrets of dark music, inspired by the observation of a world oscillating between decline and progress, the band currently formed of our metal lady Jessy on vocals alongside Eithenn and Draugr on the guitars, and Alwan on bass aims at spreading their dark philosophy all across the world, and you can get a very good taste of their music on YouTube, BandCamp, and Spotify, enjoy their official videos for the songs Arcana Nox, Altar Ego and Ego Sum (Qui Sum), and keep an eye on their social media for their live performances, in special if you live in France.

Apart from her promising career with Usquam, Jessy can also be found as a guest and as a live vocalist (under the moniker J.V.) for French Black Metal entity NZGL, founded by vocalist, guitarists and bassist Gaël Liger, recording vocals and having also written some of the lyrics for their 2025 album Tales from the Pale Moon… And Other Stories, available on both BandCamp and on Spotify. In addition, she’s also involved with an Industrial/Gothic Rock band named Syndro-syS since 2013, having released with the band the 2015 album Corporation, available on BandCamp. The band doesn’t seem to be active anymore, as they’ve been dead silent since around 2020, but the music is still great and definitely deserves our attention. Who knows, maybe we can all inspire Jessy and Syndro-syS to get back in action if we listen to their music enough, right?

Anyway, Jessy can also be seen as a guest musician to a few very interesting bands and projects since the beginning of her undisputed career. For instance, she recorded all female vocals for the 2022 EP Exist in Ruin, by American Symphonic Black/Death Metal project Exist in Ruin; vocals for the songs Kimi Ga Yo, Seducing Dementia and Whispering Clouds, from the 2013 album Les 12 vertiges, and for the song Hate Me, from the 2019 album Le festin du lion, by French Electronic Industrial Metal act Herrschaft; vocals for the song L’étranger, from the 2018 album Standalone Episodes, by French Progressive Heavy Metal band Seasons; and vocals for the song The Edge of Time, from the 2015 album Symbiosis, by French Melodic Death/Groove Metal act T.A.N.K. Not only that, she also worked as a vocal coach for French Black Metal horde Houle in their 2022 self-titled EP, and their 2024 album Ciel cendre et misère noire.

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An opera singer, soprano and vocal coach, , as already mentioned, Jessy is more than a passionate musician, offering an array of services to accompany most types of celebrations including baptisms, weddings, funerals and tributes, as well as private events, supported by a varied repertoire of sacred music, operas and popular music, such as Ave Maria (Franz Schubert), Voi che Sapete (Wolfgang A. Mozart), When I am Laid (Henry Purcell), La Vie en Rose (Edith Piaf), Someone Like You (Adele), S’il Suffisait d’Aimer (Celine Dion), and many more, always delivering every piece with a ton of emotion to retrace your most beautiful memories. Not only that, she also lends her voice, composes and also collaborates with many international musical projects, just like her guest contributions to the aforementioned metal bands.

As a vocal coach and singing teacher, she will help you understand vocal technique and discover your voice, whether you are a beginner, an artist, or a professional speaker, using a personalized teaching approach that adapts to your needs, mastering several techniques that intertwine theoretical knowledge of the instrument and live practice. Jessy teaches artists and private individuals, always keeping in mind that each student is a unique individual with their own aspirations and energy. Since 2022, she coaches magistrates at the Paris, Angers, and Rennes Courts of Appeal to help them develop their voices as a professional tool. Furthermore, she incorporates elements of the Alexander Technique (a psycho-physical re-education method that improves posture, reduces tension, and enhances performance by teaching musicians to move with more awareness and ease) into her practice to give her students the tools to understand the fundamental mechanisms of their instrument and develop their autonomy.

If you think that’s not enough, Jessy is also an actress, embodying the voice that will bring your audiovisual production to life through voice-over or dubbing, for example, and she participates in some classical concerts within the network of conservatories in the Grand Paris Sud region. Moreover, apart from her private lessons as already mentioned, she also organizes and hosts conferences, masterclasses and workshops. You can enjoy several of her works on the Productions page on her own website, from video clips to short stories and TV ads. But wait, as there’s still more. Jessy has also embarked on a new endeavor, creating her own herbal tea intended for singers, voice professionals and all food lovers, having selected herbs with virtues recognized by voice specialists and entrusted the preparation of the recipe to Happy Plantes, a company of passionate herbalists, very involved in ethical production. The final product is named Élixir du chanteur, and you can get your own package from Jessy’s Big Cartel. The tea can be enjoyed as a snack or as a treatment for those who wish to prevent issues like vocal fatigue, respiratory tract, gastric protection, hoarseness, and so on,  all certified from organic farming.

I told you that after knowing more about the indomitable Jessy “Christ” Vignolle you would get more than addicted to her voice, her music, her charisma, and maybe even to her herbal tea), and as long as she keeps firing her whimsical and hypnotizing vocals together with Usquam or any other band or project, we can rest assured the entire world of music will be a much better place. Would it be too much to ask Jessy and Usquam for a US and Canada tour? I’m beyond certain the fans on this side of the pond would go mental with their music. Thank you, Jessy, for your amazing contributions to music in general, and for making heavy music a much better place with your badass attitude. À plus tard!

Jessy “Christ” Vignolle’s Official Facebook page
Jessy “Christ” Vignolle’s Official Instagram
Jessy “Christ” Vignolle’s Official YouTube channel
Usquam’s Official Facebook page
Usquam’s Official Instagram
Usquam’s Official YouTube channel

Concert Review – Lord of the Lost & The Birthday Massacre (The Danforth Music Hall, Toronto, ON, 01/27/2026)

***Review and photos by Keith Ibbitson of Metal Paparazzi***

OPENING ACT: Wednesday 13

Not even the worst snow storm of the past 180 years in Toronto (with over 50cm of snow falling within hours) was capable of stopping LORD OF THE LOST and THE BIRTHDAY MASSACRE, with very special guests WEDNESDAY 13, to bring their Dark Winter Tour US + Canada 2026 to The Danforth Music Hall this Tuesday night. Well, the concert was rescheduled from Monday to Tuesday, and because of that I couldn’t make it to the show, plus the city is still a big fuckin’ mess with the snow blocking pretty much all parking lots, sidewalks and even some roads, but fortunately our buddy Keith Ibbitson of Metal Paparazzi was there not only to take some amazing photos of the show, but to also take care of the review this time. Even if I was able to attend the show I would have missed the first two bands, so it was going to be Keith anyway.

The Danforth Music Hall didn’t just host a concert on a cold Tuesday night – it became a gothic metal sanctuary, and Lord of the Lost stood at the altar, ready to convert anyone who walked through the doors. Before the headliners even hit the stage, the night was already stacked with atmosphere. Having released the album Mid Death Crisis in 2025 (available on any platform like BandCamp and Spotify), Wednesday 13 (aka Joseph Poole) and his henchmen, collectively known as United States-based Heavy Metal/Horror Punk outfit WEDNESDAY 13, came out swinging, bringing horror-punk swagger and full-throttle attitude. There’s something timeless about watching a crowd bounce, shout, and throw horns to songs that feel like they crawled straight out of a midnight movie marathon. It was raw, loud, and unapologetically fun – exactly the kind of chaos a metal crowd thrives on. It was the kind of opener that doesn’t warm a room up – it haunts it into readiness.

Setlist
When the Devil Commands
Rotting Away
197666 (Frankenstein Drag Queens From Planet 13 cover)
In Misery
Summertime Suicide (Murderdolls cover)
Haunt Me
I Walked With a Zombie
Bad Things
I Love to Say Fuck (Frankenstein Drag Queens From Planet 13 cover)

Band members
Wednesday 13 (Joseph Poole) – lead vocals
Roman Surman – lead guitar
Jack Tankersley – rhythm guitar
Ashes – guitars
Troy Doebbler – bass
Mike Dupke – drums

THE BIRTHDAY MASSACRE

After a quick break, one of the co-headliners of the tour, London, Ontario’s own Electronic Rock/Darkwave ensemble THE BIRTHDAY MASSACRE, kept the energy flowing onstage with a highly entertaining performance as well, bringing the Canadian pride to The Danforth Music Hall. Spearheaded by frontwoman Sara “Chibi” Taylor, and armed with their 2025 new album Pathways (available on both BandCamp and Spotify, as well as on any other streaming platform), the band set the tone with their signature blend of darkwave shimmer and industrial edge, bathing the crowd in glowing synths and shadowy melodies that felt both nostalgic and futuristic. By the time the lights finally dropped for Lord of the Lost, the room was primed and restless.

Setlist
Counterpane
Blue
Stars and Satellites
Superstition
The Vanishing Game
One
Sleep Tonight
All of Nothing
Dead
Crush
Destroyer
Video Kid
Happy Birthday
In the Dark
Pins and Needles
Red Stars

Band members
Sara “Chibi” Taylor – lead vocals
Michael Falcore – lead guitar, programming
Michael Rainbow – rhythm guitar, programming, backing vocals
Brett Carruthers – bass, backing vocals
Owen Mackinder – keyboards, keytar
Philip Elliott – drums

LORD OF THE LOST

And last but certainly not least, Hamburg, Germany’s own LORD OF THE LOST returned to Toronto after two long years with their fusion of Neue Deutsche Härte, Gothic Rock and Metal, Industrial Rock and Metal, and even Glam Rock and Metal for the delight of everyone who braved the nasty roads of the city this Tuesday night. Blending songs form their entire discography with their latest albums Opvs Noir Vol. 1 and Opvs Noir Vol. 1, both released in 2025 (and stay tuned for Opvs Noir Vol. 3 in 2026, plus you can check their full discography on BandCamp and on Spotify), Chris “The Lord” Harms, Pi “π” Stoffers, Benjamin “Benji” Mundigler, Gerrit “Gared Dirge” Heinemann, and Niklas Kahl were phenomenal as expected, deliveribg exactly what their fans were waiting for.

Chris Harms stepped onto the stage like a ringmaster for the beautifully damned, dressed in a way that blurred the line between metal frontman and dark cabaret icon. From the first note, the band didn’t just play – they commanded. This wasn’t a run-through of a setlist. It was a full production, a carefully crafted ritual of sound, light, and emotion. Musically, the band delivered a powerful balance of industrial grit, gothic atmosphere, and modern metal punch. Guitars cut through with cold precision while the rhythm section drove everything forward like a mechanical heartbeat. Harms’ vocals moved effortlessly between commanding growls and soaring, emotional cleans, giving the songs a depth that hit as hard in the chest as it did in the ears.

From behind the lens, what stood out most was the connection. This wasn’t a passive crowd. Fans reached toward the stage, screamed every word back, and locked eyes with the band like they were part of the show itself. Faces flashed in red and white strobes, sweat and smiles catching the light in moments you can’t plan – only capture. The Danforth Music Hall proved to be the perfect setting: intimate enough to feel personal, but big enough to let the spectacle breathe. The lighting turned the stage into a shifting cathedral of shadow, steel, and romance – a visual extension of Lord of the Lost’s dark, theatrical identity and a dream scenario for any concert photographer chasing that one perfect frame. By the final song, voices were wrecked, the floor was soaked in sweat, and nobody in the room wanted it to end. Lord of the Lost didn’t just leave Toronto entertained – they left it marked. This was metal as theater. Metal as a community. Metal as something you carry with you long after the house lights come back on.

Setlist
Bazaar Bizarre
I Will Die in It
Drag Me to Hell
Prison
Raining Stars
Loreley
Priest
On This Rock I Will Build My Church
I Hate People (with Wednesday 13)
Blood for Blood
Damage
Light Can Only Shine in the Darkness
Blood & Glitter
The Look (Roxette cover)
The Things We Do for Love
Heaven is a Place on Earth

Band members
Chris “The Lord” Harms – lead vocals, guitars, cello
Pi “π” Stoffers – guitars, backing vocals
Benjamin “Benji” Mundigler – guitars, keyboards, backing vocals
Gerrit “Gared Dirge” Heinemann – piano, keyboards, percussion, guitars, theremin
Niklas Kahl – drums

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Album Review – Naraka / Born In Darkness (2025)

One of the most promising modern acts emerging from France returns with their hellish, incendiary sophomore offering.

Founded in 2019 by guitarist Jean-Philippe Porteux, French Melodic Death Metal outfit Naraka (a term that generally refers to the realm of hell or a place of torment in Indian religions) is back with their mix of Modern Metal and Death Metal with symphonic and sometimes even electro touches in their sophomore album, titled Born in Darkness. Recorded at Hybreed Studio, Serial Drummer Studio, and At The Gates Ov Hell Studio, mixed and mastered at Darth Vader Studio, produced by Logan Mader, and adorned by a devilish artwork by Andreas Bathory, the follow-up to their 2021 debut In Tenebris continues to pave the path started by the band in their inception, creating a dramatic and atmospheric experience without losing focus on their core instrumentation and, therefore, positioning the band currently formed of vocalist Théodore Rondeau, guitarist Jean-Philippe Porteux, bassist Pierre-André Krauzer, and drummer Franky Costanza as one of the most promising modern acts emerging from France’s always exciting metal scene.

The album kicks off with the cinematic intro Apocalypsis Diem, where the band invites us all to their dark and sinister world before all hell breaks loose in Born In Darkness, offering our avid ears a solid and thrilling fusion of Black, Death and Groove Metal led by the Lamb of God and Machine Head-inspired screams by Théodore. Franky then pounds his drums in great fashion in the heavy-as-hell Something Woke Up, supported by the slashing riffs by Jean-Philippe and all of the song’s wicked background sounds, whereas Jean-Philippe revs up the band’s Blackened Death Metal engine in Blazing Sun, also showing elements from Gothic Rock and Metal. With a title like Hellhound the only thing we could expect was pure doom, and we get it straight from Pierre-André’s bass and the song’s haunting background choir, followed by Tyrants, another hard hitting tune of melodeath with groove and blackened nuances, with Franky taking the lead with his fierce beats.

Then leaning towards Symphonic Black and Death Metal those French metallers fire an adrenaline-fueled beast named Sorcerer, where the harsh vocals by Théodore walk hand in hand with all keys and orchestrations; and like the soundtrack to a horror movie, the climatic interlude Deus Belli sees the band arise from the netherworld in Lost, again venturing through the realms of Gothic Metal, in special in the song’s dark, deep vocals and sluggish beats. The Reign In Red is one more devilish creation by Naraka, evolving into a Symphonic Black Metal aria spearheaded by Franky’s crushing drums, also featuring Sotiris Anunnaki V of SepticFlesh on guest vocals. Parasite is a modern and visceral display of Dark Metal that goes straight into your mind, with Jean-Philippe’s riffs crawling under your skin like a creepy centipede, followed by The Last Day On Earth, a phantasmagorical composition where all background keys add an extra dosage of heaviness to the already vile riffage by Jean-Philippe. Lastly, we face an acoustic version of Lost, not as good as the electrified version, and a bit unnecessary as the album is already grandiose without it.

Although the name Naraka has only been around for less than a decade, the band members are seasoned veterans of the French scene, bringing a powerful and sophisticated sound to the table in their new album Born In Darkness, which is by the way available from the Art Gates Records webstore as a digipak + shirt bundle, a digipak + shirt + hoodie bundle, or a digipak + shirt + hoodie + mug bundle. Don’t forget to also follow such a promising band on Facebook and on Instagram, as I’m sure their live performances are incendiary to say the least, and stream their music on any platform out there like Spotify. If you’re looking for modernity in heavy music while also deeply rooted in classic extreme sounds, Naraka will certainly fulfill your needs with Born In Darkness, keeping the fires of French music burning bright and inspiring those talented musicians to keep melting our faces with album number three in a not-so-distant future.

Best moments of the album: Something Woke Up, Hellhound and Parasite.

Worst moments of the album: Lost (Acoustic Version).

Released in 2025 Art Gates Records

Track listing
1. Apocalypsis Diem 1:41
2. Born In Darkness 5:29
3. Something Woke Up 4:38
4. Blazing Sun 5:08
5. Hellhound 3:57
6. Tyrants 4:12
7. Sorcerer 4:01
8. Deus Belli 3:32
9. Lost 4:25
10. The Reign In Red 5:18
11. Parasite 3:31
12. The Last Day On Earth 5:51
13. Lost (Acoustic Version) 3:55

Band members
Théodore Rondeau – vocals
Jean-Philippe Porteux – guitar
Pierre-André Krauzer – bass
Franky Costanza – drums

Guest musician
Sotiris Anunnaki V – vocals on “The Reign In Red”