These four UK Progressive Death Metal veterans are unleashing upon us their self-titled debut EP, combining technical precision with a strong focus on songwriting and dynamics.
Featuring four experienced musicians brought together by a shared desire to create new music, UK’s own Progressive Death Metal outfit Lifeswallower is unleashing upon us their self-titled debut EP, drawing from Progressive, Death, Thrash Metal and other corners of heavy music, combining technical precision with a strong focus on songwriting and dynamics. Recorded by each band member at their home studios (vocals, guitars, bass) and by Joe Clayton at No Studio (drums), mixed by Ben Ottridge and Benedict Harris-Hayes, and mastered by Benedict Harris-Hayes at Ethereal Tantrum Studios, the EP sees vocalist James Moffatt, guitarist Tom Humphrey, bassist Ben Ottridge and drummer Benedict Harris-Hayes move between blast-driven intensity, complex arrangements and heavier groove-based sections, allowing each song to develop its own identity while remaining part of a coherent whole.
James’ inhumane guttural is the main ingredient in the ruthless opening track Defy My World, with the Sludge and Doom Metal-infused riffs by Tom bringing even more insanity to their music. The Trees Hide Their Bodies is another hard hitting tune by those UK metallers, with the song’s haunting background sounds sending shivers down our spines while Benedict hammers his drums nonstop, followed by Abandon The Body Of Rot, presenting elements of Thrash and Groove Metal in their core Death Metal sounds, in special through Tom’s killer riffage, being therefore perfect for some action inside the pit (not to mention their clean vocals are also electrifying). And lastly, we face Compound Fears, with the band again blasting our faces with an overdose of progressiveness without forgetting to sound heavy and devilish. Furthermore, Tom and Ben make an amazing stringed duo with their cutting riffs and rumbling bass, respectively, adding even more adrenaline to their music.
Reflecting the chemistry of four musicians pushing each other creatively and exploring new musical territory together, the EP is highly recommended for admirers of the music blasted by renowned acts the likes of Burnt By The Sun, Gojira, Morbid Angel, The Black Dahlia Murder, Sikth, Tool, and Katatonia, among several others, and you can get to know more about those veterans via Facebook and Instagram, and of course, purchase a copy of their striking debut from their own BandCamp. Lifeswallower are setting the bar high with their debut EP, leaving us eager for their first ever full-length opus in a not-so-distant future, and I bet it will be even heavier and more dynamic for our absolute delight.
Best moments of the album:Abandon The Body Of Rot and Compound Fears.
Worst moments of the album: None.
Released in 2026 Prog On! Recordings
Track listing 1. Defy My World 6:30
2. The Trees Hide Their Bodies 5:59
3. Abandon The Body Of Rot 4:47
4. Compound Fears 6:09
Band members James Moffatt – lead vocals
Tom Humphrey – guitar, vocals
Ben Ottridge – bass, vocals
Benedict Harris-Hayes – drums, vocals
A sonic response to a world in transition, this Belgian Melodic Death Metal outfit is unleashing upon us their new five-track EP, offering more of their powerful blend of aggressive energy and atmospheric depth.
Not just a band, but a sonic response to a world in transition, Mol, Belgium-based Melodic Death Metal outfit Echoes of a Dying World is unleashing upon humanity their new five-track EP, titled Revelations, following up on their 2022 debut EP Before The Fall and their 2023 full-length album Tribulation. Currently formed of frontwoman Tine Vanmuysen, guitarists Michiel Debie and Wim Melis, bassist Gert Cools, and drummer Jasper Vreys, the band offers an overdose of their signature sound, a powerful blend of aggressive energy and atmospheric depth led by the versatile and commanding vocals of Tine Vanmuysen, and the fact the album is self-released by the band makes things even more organic, visceral and captivating.
Featuring guest vocals by Tijs Vanneste (of Oceans of Sadness), the opening track Iskariot presents a melancholic, serene intro that suddenly explodes into a vicious melodeath attack by the band led by the she-demon gnarls by Tine, while the guitars by Michiel and Wim transpire aggression. And Gert and Jasper craft a thunderous atmosphere armed with their respective bass and drums in The Rupture, bringing elements from the Groove Metal played by Lamb of God to their sound; whereas the band continues to spread violence and groove in Generational Curses, with the scorching riffs blasted by the band’s guitar duo offering Tine exactly what she needs to roar like a beast. Mathematical Design is perfect for some vigorous headbanging, with Michiel, Wim and Gert hammering their strings nonstop; while lastly we face Systems in the Dark, presenting nuances of Southern and Sludge Metal added to their core sonority. Furthermore, Tine beautifully alternates between deep clean vocals and devilish gnarls, adding even more depth to their music.
Having carved out a unique space within the Melodic Death Metal scene by embracing total musical freedom and refusing to be bound by genre tropes, Echoes of a Dying World are paving an exciting path ahead of them with the release of Revelations. Having said that, you can get to know more about those talented Belgians, their tour dates, plans for the future and so on by following them on Facebook and on Instagram, stream their first-class melodeath on any platform such as Spotify, and of course, purchase a copy of their killer new EP from their own BandCamp. In summary, fans of the classic sound blasted by renowned acts like In Flames, Dark Tranquillity, and Paradise Lost will certainly have an amazing time listening to the five tracks in Revelations, inspiring Echoes of a Dying World to keep echoing their dark and heavy music to all four corners of the earth in the coming years.
Best moments of the album:Iskariot and Generational Curses.
Worst moments of the album: None.
Released in 2026 Independent
Track listing 1. Iskariot 6:03
2. The Rupture 4:59
3. Generational Curses 5:08
4. Mathematical Design 4:40
5. Systems in the Dark 7:11
Band members Tine Vanmuysen – vocals
Michiel Debie – guitar
Wim Melis – guitar
Gert Cools – bass
Jasper Vreys – drums
Guest musician
Tijs Vanneste – vocals on “Iskariot”
Emerging from the isolated, unforgiving wilderness of Tasmania, these Technical Death Metal beasts will attack armed with their their highly-anticipated debut full-length album.
Emerging from the isolated, unforgiving wilderness of Tasmania, Technical Groove/Death Metal outfit The Absolution Sequence has carved out a unique identity within the Australian extreme metal scene. Their sound is a direct reflection of their homeland’s “dark isle” reputation, a place defined by a sinister history and a cold, remote landscape that stands in stark contrast to the Australian mainland. Following a string of EP’s and singles, the band formed of Shawn Wells on vocals, Luke Tucker, Stephen Cusato and Steven Mason on the guitars, Alastair Boon on bass, and Nick Machin on drums is unleashing now in 2026 their highly-anticipated debut full-length album, titled Dread Cycle, which with the crisp production of Chris Themelco, the classy mastering by Jens Bogren at Fascination Street Studios, and the Stygian artwork by Shaun Hyatt, is definitely set to solidify the band’s position as a premier name in contemporary Technical Death Metal.
The opening aria Despotic Ruin (Diet of Worms) is already atmospheric, melodic and bold from the very first notes, with the deep guttural by Shawn walking hand in hand with the riff attack by the band’s guitar triumvirate formed of Luke, Stephen and Steven, followed by Idols of Confraternity, even heavier and more infuriated, with Nick hammering his drums nonstop in a lesson in Groove and Death Metal with a strong technical edge. Then we face Ghost Mantra, blending elements of Deathcore to their core Death Metal essence, where their guitar work is again striking, offering Shawn exactly what he needs to bark like a rabid beast; whereas This Sordid Miasma is as atmospheric as its predecessors, with the groovy, thunderous kitchen by Alastair and Nick making the earth tremble. and The Nightlight Sigil, albeit sounding as heavy as the other songs, is not as exciting. Its drums and all background elements still sound great, though.
Promethean Pilferage might be one of the most technical of all songs, where Alastair extracts sheer electricity, heaviness and groove from his bass supported by the intricate beats and fills by Nick; and their Blackened Death Metal vein arises in A Mire Caked Nativity, clashing with their more technical Groove Metal sounds, all boosted by another bestial performance on vocals by Shawn. The band’s guitar triumvirate once again showcases all their dexterity and passion for the extreme in Grinding the Sphere, not to mention Alastair once again adds his share of insanity to the music with his Djent-infused bass lines, flowing into the closing song Diary of the Emaciated, sounding very detailed, multi-layered and absolutely electrifying, with the wall of sounds crafted by all band members feeling perfect for the scorching vociferations by Shawn.
The Absolution Sequence have developed a signature style of Technical Death Metal that balances high-velocity musical prowess with a deeply immersive, atmospheric undertone in all of their previous releases, and in Dread Cycle those Tasmanian devils have certainly stepped up their game with an even more infuriated and intricate sound. If you have what it takes to face the demolishing music crafted by those amazing musicians from Down Under, you can find them on Facebook and on Instagram, stream their killer creations on Spotify, and above all that, grab a copy of the album from their own BandCamp. Australia has become the place to go when the music in question is Technical Death Metal, and Dread Cycle is undoubtedly one of the must-listen albums of the genre coming from Down Under.
Best moments of the album:Idols of Confraternity, Promethean Pilferage and Diary of the Emaciated.
Worst moments of the album:The Nightlight Sigil.
Released in 2026 Bleeding Art Collective
Track listing 1. Despotic Ruin (Diet of Worms) 4:11
2. Idols of Confraternity 5:01
3. Ghost Mantra 3:45
4. This Sordid Miasma 5:02
5. The Nightlight Sigil 5:13
6. Promethean Pilferage 4:18
7. A Mire Caked Nativity 5:02
8. Grinding the Sphere 4:29
9. Diary of the Emaciated 5:57
Band members Shawn Wells – lead vocals
Luke Tucker – lead guitar
Stephen Cusato – rhythm guitar, backing vocals
Steven Mason – rhythm guitar
Alastair Boon – bass, backing vocals
Nick Machin – drums
This UK-based lethal, technical Heavy and Groove Metal machine is back in action with a new EP, a pure demonstration of resilience and the start of a much heavier, more honest era for the band.
Having shed their Hard Rock veneer to emerge as a lethal, technical Heavy and Groove Metal machine, London, UK-based quintet Metasoma is back in action with a brand new offering titled Core, a sharper, heavier new EP that pairs Pantera-sized groove with Architects/Parkway Drive-style modern precision. Recorded between BaRock Entertainment Studio in Poland and Es Studio in London, the new EP by vocalist Vlad Iancu, guitarists Michal Sedzielewski and Artur Wojcik, bassist Bolo, and drummer Joe Patterson is a pure demonstration of resilience and the start of a much heavier, more honest era for the band, marking the first statement from a solidified international unit where they pit British rhythmic weight against the uncompromising metal heritage of the Polish and Romanian underground.
The striking guitar lines by Michal and Artur will transport us all to the band’s Groove Metal and Metalcore world in Downfall, offering a great option for having some fun inside the pit, followed by the also electrifying Attic, where Vlad focuses on his piercing clean vocals, giving the song a more modern vibe accompanied by the classic beats by Joe. Omen kicks off in a dark, ominous manner, with Vlad delivering enraged and demented vocals in another well-balanced hybrid of Metalcore with classic and modern heavy elements. The crushing riffs by Michal and Artur are boosted by Bolo’s thunderous bass in Shock, crafting a metallic atmosphere that will inspire you to headbang like there’s no tomorrow; and they close the EP with their most direct Metalcore tune, titled Horizon, where their Djent-infused guitars and bass are perfect for the demented vocals by Vlad.
Conceptually, Core is a pessimistic hellscape, a sonic mirror held up to war, propaganda, and the false righteousness of modern reality where high-velocity energy is tempered by a discordant, playful homage to System of a Down, proving Metasoma can be cerebral without sacrificing their low-end groove. “There is a specific kind of numbness that comes when unfortunate events happen in quick succession; these songs are our way of fighting that anaesthesia. Whether we are digging through the attic of mixed childhood memories or scattering the ashes of a toxic relationship, the goal is the same: to learn from the mistakes of our forefathers and do better. We’ve turned these struggles into sonic paintings, but we leave the final interpretation to the listener’s own sensitivity,” commented the band, and you can get in touch with them via Facebook and Instagram, subscribe to their YouTube channel, stream their music on Spotify, and of course purchase their new EP from Bandcamp. Core is a very good indication of what the future holds for Metasoma, and you better get ready as that future will be absolutely heavy.
These Spanish Melodic Death Metal beasts are out for blood with their fourth studio album, shifting the focus inward to explore identity, vulnerability, personal struggle and the cost of pursuing one’s own path.
Having steadily carved their name into the international metal scene through relentless touring, uncompromising sound and a clear artistic vision, blending Extreme Metal aggression with melodic depth, groove and narrative ambition, forging a sound that is both ferocious and emotionally charged, Spanish Melodic Death Metal beast Bloodhunter is ready to unleash hell armed with their fourth studio offering, titled Sons of the Abandoned, following up on their excellent 2022 album Knowledge Was the Price. Their most personal and honest album so far, the new opus by the unrelenting frontwoman Diva Satanica, guitarists Dani Arcos and Guillermo Starless, bassist Fabian Tejeda, and drummer Adrian Perales shifts the focus inward to explore identity, vulnerability, personal struggle and the cost of pursuing one’s own path. For the first time, the lyrics speak directly from the heart, addressing inner demons, toxic environments, generational disconnection and the feeling of being lost in a world driven by individuality and superficial values.
The boys waste no time and begin firing their ravenous melodeath perfect for the she-demon vocals by Diva Satanica in The Devil’s Own, inviting us all for some good slamming into the pit, and they keep hammering their sonic weapons mercilessly in The Outspoken, with Adrian sounding like a stone crusher on drums. Then featuring the iconic Fernando Ribeiro of Moonspell as a guest vocalist, the band fires a lecture in modern-day Melodic Death Metal entitled The Threshold Of Hell, where Diva Satanica and Fernando make a “Beast and the Beast” vocal duet. Fabian and Adrian show no mercy for our necks and bodies in Ephemeral Youth, another harsh and visceral creation by those Spanish rockers; while the title-track Sons Of The Abandoned sounds like one of the most recent songs by Arch Enemy, with Diva Satanica once again delivering her trademark incendiary vocals. And adding elements form the hard hitting Groove Metal by Lamb of God to their core sound we have No One Beats Death, with Dani and Guillermo being once again flawless with their axes.
Code Aeternam is more rhythmic and groovy thanks to the classy drumming by Adrian, while their guitars continue to exhale fire and electricity nonstop; whereas it’s time for absolute chaos in the form of The Path That Never Ends, featuring the indomitable vocalist Laura Guldemond of Burning Witches, with her operatic, soaring vocals bringing even more adrenaline to the band’s core insanity, not to mention Dani and Guillermo are also on fire with their riffs and solos. Then after the lengthy interlude The Night Is Darker Before Dawn, which could have been a minute shorter to be honest, we face Masters Of Deceive, offering more of the band’s modern take on Melodic Death Metal led by Diva Satanica’s enraged roars and vociferations, ending in a serene mode and flowing into the closing tune Human Insecticide, a cover version for the mighty Annihilator, from their 1989 masterpiece Alice in Hell (check the original HERE), which drags us all to the circle pit to the ruthless drums by Adrian. In other words, it’s fast, infuriated, detailed and dense for our absolute delight, with Diva Satanica once again roaring in our faces without a single drop of mercy for our impious souls.
With Sons of the Abandoned, Bloodhunter solidify themselves as a band unafraid to evolve, challenge expectations and expose their own scars. It is a statement of identity, resistance and survival in a world that constantly demands compromise, and if you want to join them in their quest for extreme music in our rotten and decaying society you can find those Spanish headbangers on Facebook and on Instagram, stream their already striking discography on any platform like Spotify, and grab your copy of their awesome new album by clicking HERE. As long as Bloodhunter are alive and out for blood, you can rest assured you won’t be abandoned by society. You’ll always be welcome in their black embrace, with albums like Sons of the Abandoned giving you a very good reason to keep headbanging and raising your horns until your very last breath.
Best moments of the album:The Devil’s Own, The Threshold Of Hell, The Path That Never Ends and Human Insecticide.
Worst moments of the album:The Night Is Darker Before Dawn.
Released in 2026 ROAR! Rock of Angels Records
Track listing 1. The Devil’s Own 4:39
2. The Outspoken 3:56
3. The Threshold Of Hell 4:54
4. Ephemeral Youth 4:05
5. Sons Of The Abandoned 3:14
6. No One Beats Death 5:04
7. Code Aeternam 3:43
8. The Path That Never Ends 3:20
9. The Night Is Darker Before Dawn 3:28
10. Masters Of Deceive 3:46
11. Human Insecticide (Annihilator cover) 4:58
Band members Diva Satanica – vocals
Dani Arcos – guitar
Guillermo Starless – guitar
Fabian Tejeda – bass
Adrian Perales – drums
Guest musicians
Fernando Ribeiro – vocals on “The Threshold Of Hell”
Laura Guldemond – vocals on “The Path That Never Ends”
Crafting a heavy, story-driven sound rooted in some of the biggest names of the genre, this Heavy Metal ensemble attacks again with their electrifying sophomore album.
Crafting a heavy, story-driven sound rooted in influences like Black Sabbath, Iron Maiden, Metallica, Alice in Chains, and Tool, New Jersey’s own Heavy Metal/Hard Rock ensemble Who On Earth are ready to rock our world once again with their sophomore opus It Takes The Village, following up on their 2022 debut Blame. Currently formed of vocalist Coosh, guitarists Johnny James Barone and Jimmy Kocha, bassist Pete Rizzi, and drummer Howie Fallon, such an electrifying American rock and metal band is on fire throughout the entire It Takes The Village, honoring the legacy of former guitarist Bruce Gatewood (RIP), and re-energizing those five talented musicians to keep moving forward in the name of our good old Rock N’ Roll.
Their Southern Metal vein arises in the opening tune Vigilance, where the massive riffs by Johnny and Jimmy provide Coosh with exactly what he needs to shine on vocals, and their Rock N’ Roll groove keeps flowing in Any Other Way, reminding me of old school Soundgarden, with Howie kicking some ass behind his drums. Shadows is a solid rockin’ tune where the backing vocals by Coosh’s bandmates add a lot of power to his classic vocal lines, while the massive bass by Pete dictates the pace in the mid-tempo Hard Rock feast Good Man Down, excellent for enjoying a beer at a rock pub anywhere in the world. Closer is a weird interlude that doesn’t add much to the album, followed by Too Close, starting with the 70’s-inspired bass by Pete and accompanied by the always striking riffs by Johnny and Jimmy, flirting with Alternative and Groove Metal and Rock.
There’s no time to breathe as Who On Earth continue to fight the unfaithful in Double Or Nothing, a song that should be added to the playlists of all rock stations around the globe, not to mention how electrifying their guitar solos sound. Then we have Monster!, a journey back in time without sounding outdated where Coosh once again leads his crew with a killer vocal performance, highly recommended for hitting the highway with your loved ones, followed by Oh, Set Me Free, another very melodic display of Hard Rock that reminds me of some creations by the mighty Armored Saint. It’s time to open up the pit and slam together with your buddies to the sound of We Don’t Belong Here, led by the pounding drums by Howie; and Ascension is a cinematic interlude that feels like it was taken from a Power Metal album, warming us up for The Unbeaten, a delicate ballad by the boys to put an enfolding ending to the album. Well, there are still the bonus tracks left, all offering the band’s trademark fusion of Hard Rock with Southern and Groove Metal, just like in the thrilling extended version of Vigilance, with Mike Orlando and Jason Bittner as guest vocalists.
Heavy riffs, classic bass, galloping drums, and an endless amount of sheer energy. That’s exactly what will hit you as you listen to the excellent It Takes The Village, proving that despite some bumps on the way, the guys from Who On Earth are inspired and focused to keep moving forward no matter what. Having said that, don’t waste your time and go show your support to those guys by following them on Facebook and on Instagram, by subscribing to their Youtube channel, by streaming their rockin’ creations on Spotify and on Apple Music, and of course by purchasing their new album from Bandcamp. Because Who On Earth live and breathe Heavy Metal and Rock N’ Roll, and in the end, who on earth doesn’t enjoy some high-quality heavy music, right?
Best moments of the album:Vigilance, Too Close, Monster! and We Don’t Belong Here.
Worst moments of the album:Closer.
Released in 2026 Independent
Track listing 1. Vigilance 4:15
2. Any Other Way 3:07
3. Shadows 4:00
4. Good Man Down 3:13
5. Closer 1:00
6. Too Close 3:39
7. Double Or Nothing 4:09
8. Monster! 4:08
9. Oh, Set Me Free 4:28
10. We Don’t Belong Here 3:51
11. Ascension 1:47
12. The Unbeaten 4:15
Bonus tracks
13. Jane 4:17
14. Down And Out – Dvrko Remix 3:41
15. Vigilance [Extended] 5:08
Band members Coosh – vocals
Johnny James Barone – guitar
Jimmy Kocha – guitar
Pete Rizzi – bass
Howie Fallon – drums
Guest musicians
Mike Orlando – vocals on “Vigilance [Extended]”
Jason Bittner – vocals on “Vigilance [Extended]”
The Canadian city of London witnessed for the very first (and last) time ever the undisputed power of “Sepultura do Brasil” on an unforgettable night of first-class heavy music.
After back to back nights of pure heavy music with bands like Archspire, Amon Amarth and Dethklok kicking my ass in Toronto on Thursday and Friday, it was time for a nice drive to the city of London for night number 3 of absolute metal magic to enjoy TRIBAL GAZE, BIOHAZARD, EXODUS and SEPULTURA take the cozy London Music Hall by storm this Saturday night as part of their Celebrating Life Through Death Final North American Tour 2026, another killer event organized by our local hero Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi was there with me to register such a great celebration of Thrash, Death and Groove Metal, as well as some first-class Hardcore, and I guess because the show was on a Saturday, and due to the size of the bands playing, it was scheduled for an early start, with doors opening at 5:30pm and the first band hitting the stage at 6:30pm. Fortunately, as mentioned, it was on a Saturday, so it was just a matter of planning the drive beforehand to get there in time to enjoy all attractions (and brave the long merch line if you were up to that), and believe me, they were all absolutely worth the ticket.
The opening slot of this tour was given to Texan Death Metal outfit TRIBAL GAZE, and just like when I saw them opening for Cattle Decapitation they were ruthless onstage. Once again playing songs exclusively from their 2025 sophomore Inveighing Brilliance, available on both BandCamp and Spotify, including the venomous Twitching on the Cross, Guarding the Illusion, and Beyond Recognition, the band formed of McKenna Holland on vocals, Quintin Stauts and Ian Kilmer on the guitars, Zachary Denton on bass, and Cesar De Los Santos on drums inspired everyone already at the venue to start a sick circle pit, properly warming up the crowd for the other attractions of the night. Those guys are very young and looked extremely excited for opening for some of their metal heroes, as I’m sure they grew up listening to Sepultura, Exodus and Biohazard, so their level of energy onstage was insanely high. As I always say, new bands like Tribal Gaze need our support to keep metal alive, which means if they ever play in your city, you know what to do.
Setlist Emptying the Nest
Smiling From Their Chariots
To the Spoils of Faith
The Irreversible Sequence
Twitching on the Cross
Guarding the Illusion
Beyond Recognition
Band members McKenna Holland – vocals
Quintin Stauts – guitars
Ian Kilmer – guitars
Zachary Denton – bass
Cesar De Los Santos – drums
After Tribal Gaze finished their unrelenting performance, we were treated to the incendiary Hardcore by Brooklyn, New York’s most famous squad, the indomitable BIOHAZARD. It was only my second time in life seeing those guys live, the first back in the late 90’s when they were one of the must-see bands on MTV, and I must say they looked a lot sharper and more infuriated this Saturday night. Evan Seinfeld is in fantastic shape, way better than his early days or when he was one of the prisoners in the revolutionary TV series Oz, and if I ever have a chance to talk to him in person I’ll certainly ask him for some health tips as he looks awesome. Billy Graziadei, Bobby Hambel and Danny Schuler were also on fire, and their short but sweet setlist, blending classics with new songs from their 2025 album Divided We Fall (all available on Spotify), was heavy, flammable, violent and fun from start to finish, igniting a demonic circle pit that turned up the heat considerably at the venue. Biohazard still got it, no doubt about it, and I’m happy I was able to see those legends live again after almost 30 years.
Setlist Urban Discipline
Shades of Grey
Fuck the System
Wrong Side of the Tracks
Tales From the Hard Side
Forsaken
Punishment
Band members Evan Seinfeld – vocals, bass
Billy Graziadei – vocals, rhythm guitar
Bobby Hambel – lead guitar
Danny Schuler – drums
Then it was time for another blast of absolute thrashing madness onstage with the mighty Thrash Metal titans EXODUS, who after the return of the furious Rob Dukes are sounding even heavier than before. I saw them opening for Megadeth also in London in February, when they kicked off their tour to promote their new album Goliath (also available on Spotify), but this time opening for Sepultura sounded a lot heavier (and louder, as the sound at the London Concert Hall was turned up to 11). The setlist wasn’t too different from last time, but the fact they added the magnificent Deathamphetamine to it made their show more violent and vibrant. It’s always a pleasure seeing Gary Holt, Lee Altus, Jack Gibson and Tom Hunting onstage, as well as the aforementioned Rob Dukes, of course, but the show was so intense we all had to share our attention with the hurricane happening inside the circle pit. Well, when the last three songs of a setlist are A Lesson in Violence, The Toxic Waltz, and Strike of the Beast, you know you can’t simply stand and watch the show. You need to get into the action, and the fans in London understood the message maybe even more than what anyone could have predicted. Yes, it was a true lesson in violence, and we must thank the one and only Exodus for such a fun time.
Setlist We Will Rock You (Queen song)
3111
Bonded by Blood
Deathamphetamine
Blacklist
Goliath
A Lesson in Violence
The Toxic Waltz
Strike of the Beast
Band members Rob Dukes – vocals
Gary Holt – guitar
Lee Altus – guitar
Jack Gibson – bass
Tom Hunting – drums
It was already past 9pm when the main band of the night, Brazilian Thrash/Groove Metal institution SEPULTURA, kicked off their very first, and most probably their very last (as this is supposed to be their farewell tour), concert in the city of London, and the fans made sure it was an unforgettable night for Derrick Green, Andreas Kisser, Paulo Jr., and Greyson Nekrutman, as the crowd was rowdy and wild during their entire setlist, even when they played slower or newer songs like The Place (from their brand new EP The Cloud of Unknowing, already available in any platform such as Spotify) and Agony of Defeat. The crowd got louder of course during their classics from the 90’s, but the synchronicity between Sepultura and the fans in London was a thing of beauty during the entire concert.
Speaking of classics, I simply loved the fact they kicked off the show with Beneath the Remains and Inner Self, two of my all-time favorite Sepultura songs, and the quartet sounded utterly heavy during those masterpieces. The action inside the pit got out of control, the fans began smashing each other on the front rows to the point some people had to move to the back to be able to breathe and enjoy the rest of the show, and the fact they kept playing heavy and visceral tunes the likes of Attitude, Choke and Escape to the Void turned the venue into a cauldron of violence. The excellent tribal hymn Kaiowas brought some moments of peace to London, but of course all hell broke loose again once they played in a row the majestic Orgasmatron, Territory, Refuse/Resist and Arise. It was way crazier than their show in Toronto in 2024, I must admit.
Then after a quick drum solo by the ultra talented Greyson Nekrutman, who fells absolutely at home with Sepultura, the band put everyone to jump up and down, dance, slam into the pit, and therefore have the time of their lives with Ratamahatta, and of course with one of the best metal songs of all time, the incendiary Roots Bloody Roots. If that was indeed the first and last time Sepultura played in London, let’s say they did a phenomenal job, carving their place in the hearts of a lot of newcomers to their Sepulnation as countless fans were seeing them live for the very first time ever. I’ve seen them live already way too many times to remember, but I’ll never forget the energy in London. I had a long drive back home by myself in the middle of the night, but the adrenaline from the show was still flowing through my veins, making the drive a lot easier. Thank you for your music, Sepultura do Brasil, and if you want to somehow “cancel” your retirement and go back to London for another killer show, we will all be there for you.
Setlist War Pigs (Black Sabbath song)
PolĂcia (TitĂŁs song)
Beneath the Remains
Inner Self
Desperate Cry
Kairos
Means to an End
Attitude
Choke
The Place
Escape to the Void
Kaiowas
Dead Embryonic Cells
Agony of Defeat
Orgasmatron
Territory
Refuse/Resist
Arise
Drum Solo
Ratamahatta
Roots Bloody Roots
Band members Derrick Green – lead vocals
Andreas Kisser – guitars, backing vocals
Paulo Jr. – bass
Greyson Nekrutman – drums
France’s must-see Progressive and Cinematic Metal band returns with their striking third EP, exploring humanity’s collapse across cosmic, social, environmental, and mortal planes.
Each track in Existence exposes a distinct layer of collapse, interrogating destiny, purpose, and the deeply rooted self-destructive impulses that define the human condition. With its dark atmospheres and strong narrative depth, the EP expands No Terror in The Bang’s musical language, reinforcing a sound that is both captivating and relentlessly powerful. Hence, if you’re a fan of the music by renowned acts the likes of Jinjer, Deftones, Gojira, and Devin Townsend, among others, you should check what the band is up to on Facebook and on Instagram, subscribe to their YouTube channel, stream their music on Spotify, and of course purchase Existence from BandCamp or from Klonosphere Records. Existence is not just bold and multi-layered, but also unsettling and thought provoking, leaving us eager for more of the music by those talented French metallers in the near future.
Best moments of the album:Moon and Human Race Kills.
Ciao, miei cari metallari! Are you ready to embark on a wild journey to the “Bel Paese” together with The Headbanging Moose to know more about our metal lady of this month of April? Not just a metal singer and songwriter, but she’s also a psychologist and psychotherapist, creating a strong connection between heavy music and mental health, or as she prefers to say, she talks to the community where loud music meets deep healing. Bridging metal, psychology, and visual art, shaping a voice and a vision that are both intense and deeply human, she’s the frontwoman for the up-and-coming Italian band 5RAND, and one of the must-see names of the new generation of growlers. Her name is Julia Eleonora, better known by her stage moniker Julia Elenoir, and she will kick your ass mercilessly with her undeniable talent, charisma and passion for all things Heavy Metal.
Born and raised in the beautiful city of Rome, Italy, Julia has been creating music since her childhood, having grown up surrounded by rock and metal. She started playing classical guitar at the age of 13, and formed her first band when she was 17, beginning to compose her earliest songs. Over the years, her musical style evolved naturally from lighter styles like Hard Rock to a heavier, more introspective metal sound, with Death Metal becoming her main style. “Because I love its edge, its rawness, the catharsis it creates. The extreme side lets me explore, push boundaries and channel aggression and vulnerability at the same time. With 5RAND we mix melodic death and deathcore …not to provoke, but to dig deeper,” she said when asked why she decided to follow such an extreme path with Death Metal.
Founded in 2015 in Rome, Italy by Julia on vocals and Pierluigi Carocci on the guitars (who was working on his own solo project), Riccardo Zito on bass, and Francesco Marroni on drums, but currently formed of Julia and Pierluigi alongside bassist Acey Guns and drummer Andrea De Carolis, the up-and-coming Melodic Death/Groove Metal act 5RAND builds on a punishing modern metal foundation layered with the cinematic depth of melodeath, creating an intense and emotionally immersive soundscape and, therefore, carving out a distinctive place in the modern metal scene. “The name 5RAND comes from a South African 5 Rand coin that Pierluigi once received from a shaman as a good-luck charm. It stayed with him and with us,” explained Julia in one of her interviews. “Musically, we live at the crossroads of aggression and melody. We play, we record, we move forward.”
Having since toured extensively across Europe, sharing the stage with iconic acts such as Dark Tranquillity, Vader, Butcher Babies, Infected Rain and many others, 5RAND alredy released their debut album Sacred / Scared in 2017, followed by their 2019 sophomore Dark Mother, and their excellent third installment Ordhalia, from 2025, a sonic evolution in their already solid career, sounding darker, more introspective, and conceptually daring. Furthermore, Julia has written all the lyrics for 5RAND and has co-composed the music for every song released by the band to date, showing how much she’s involved with 5RAND. Not only that, even Julia couldn’t give a precise answer when asked how she would label the music by 5RAND, just to give you an idea of how dynamic, fresh and unique their style can be. “That would be hard to say precisely, since we don’t fit exactly in only one subgenre, like many many modern bands don’t. We’ve got a bit of Thrash and Death Metal, but also Industrial Metal and a lot of melodies too.” And if you want to experience their music in loco you can find their albums on Spotify, and also visit YouTube to enjoy their official videos for songs like Old Angel Midnight, Paint of Pain, Erase, Several Injuries, Cordyceps, live versions of Preacher of Lies and Cordyceps, and many more.
Owner of such a powerful and versatile voice, it was obvious that we would see Julia as a guest vocalist for different bands and projects. For instance, you can find her doing all female vocals for the 2022 album Ex Mortis Gloria, by Bristol, England-based Technical Death Metal band Imperium; as a guest vocalist for the song A New One, from the 2018 album Liberation, by Italian Symphonic Heavy Metal band Infinita Symphonia; and also as a guest vocalist for the 2020 album Phagocity, by Italian Groove Metal outfit South of No North. Moreover, when asked about venturing on a solo project in the near future, she said that’s indeed a possibility. “I’m always open. For now, I’m focused on 5RAND, but I don’t rule out solo work or collaborations in the future. Art is fluid; it transforms. I’d especially like to do something acoustic with my own songs, but for now we’re working on the next release.”
As expected, Julia is highly influenced by some of the most important names in the history of heavy music. “Growing up, we’d say the classics: Iron Maiden, Metallica, Slayer… now the names are slightly different and more recent though, like Slipknot, Gojira, Fear Factory,” she commented. In addition, as one of the most promising female growlers of the current scene, Julia is also a huge admirer of the music by Arch Enemy and Jinjer. “I’ve been inspired by voices like Corey Taylor from Slipknot, and among the women I really admire Cristina Scabbia, Alissa White-Gluz, Tatiana Shmayluk, and other artists who know how to blend intensity and versatility. I admire anyone who can shake me to the core while destroying the stage.”
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Regarding her vocal technique, Julia said that she works a lot on her clean and growl dual-voice style. “It’s not about volume, but control, endurance, and intensity. You have to be able to express emotion even when the voice is rough. I always warm up, focus on breathing, and pay close attention to vocal health. Clean parts and growls require completely different mindsets.” She practices a lot everyday, always focusing on warmups and breathing exercises, saying that singing in a Death Metal and/or Metalcore style has its easy parts, as well as really hard ones. “The hard part is keeping vocal health and expressiveness. The ‘easy’ part or at least what becomes more natural with experience is letting emotion flow once technique is solid.”
If there’s one thing that Julia and the boys from 5RAND enjoy doing, that’s hitting the stages with their live concerts. After signing with Art Gates Records, the band started working on new dates, aiming at expanding their touring and reaching a wider audience. A very good reason why all of us should keep an eye on their social media, because if 5RAND are taking your city by storm anytime soon, you surely don’t want to miss it. Also, when asked which song she likes to sing live the most, she mentioned the excellent Cordyceps. “Cordyceps because the crowd goes particularly crazy with that song, but I love to sing all our songs.” Julia also has her “hobbies” behind the scenes during their tours. The rest of the band said they suspect Julia really enjoys watching people eat. “That’s why everything she cooks is in enormous quantity,” commented her fellow bandmates.
When questioned about the current metal scene in Italy, she said that Death Metal, as well as Progressive and Power Metal, might probably be the most appreciated genres by Italian fans, apart of course form the bigger bands like Iron Maiden, Metallica and so on, but she also said that the majority of the Italian people tend to be a bit “lazy” in their musical taste and aren’t that eager to discover new bands or genres. “People mostly like what they already know,” she commented. Furthermore, she also mentioned she’s proud to see a new generation of women participating in the scene in Italy. “We’re seeing more and more women in metal bands, which is obviously very good! Many of them are very talented, maybe they’re still a bit confined to the symphonic style and to singing (too few women play an instrument on stage), but we hope their number keeps growing; versatility will come eventually.” However, she also believes everyone should be treated equal in heavy music. “I don’t think a band should be considered just for its members’ sex. In a better world, the musicians’ sex shouldn’t be more important than the colour of their hair.”
As mentioned in the beginning of this tribute to our multi-talented Italian diva, Julia is also a professional psychologist, having studied Psychiatry, Psychology and Behavioral Sciences (with a major in Psychology) at Sapienza UniversitĂ di Roma, graduating in 2013, and having also got a major in Brief Strategic Therapy (BST) from Scuola di Specializzazione in Psicoterapia Breve Strategica, currently running her own initiative named “Harmony of Chaos”, offering a fusion of metal music and insights on mental health. Not only that, Julia seems to be a philomath, having also obtained a Master’s Degree in Web Marketing and ICT and a degree in Marketing, Management and Business Economy, both also at Sapienza UniversitĂ di Roma. And when she’s not studying, she loves arts, books, and sports, especially outdoors and in nature, as well as cooking a lot and keeping fit. As you can see, Julian never stops, she’s always creating new things, always searching for something new, always broadening and deepening her knowledge, and may she keep condensing all that awesomeness in the music by 5RAND for many years to come, because it’s people like Julia who definitely contribute to a much better world.
“Joining 5RAND in 2015 was a big step. I’m also passionate about psychology… in fact, I’m a psychologist and later specialized as a psychotherapist with a metal soul. I love helping people overcome mental struggles.” – Julia Elenoir
After a full day of rain in Toronto and vicinities, the weather finally settled down closer to the evening, and it was only slightly cold (for Canadian standards, of course, as it was still very cold for anyone else) when the almighty LAMB OF GOD took the always welcoming Great Canadian Toronto by storm with their undisputed North America 2026 Tour, featuring the more than special guests SANGUISUGABOGG, FIT FOR AN AUTOPSY and KUBLAI KHAN TX, on a night of pure adrenaline and a celebration of heavy music. It was a true honor for Keith Ibbitson of Metal Paparazzi and I to cover such an amazing night, and as the show at the casino was one hundred percent SOLD OUT, you can imagine how much fun everyone who attended the show had inside the massive circle pits formed during all four concerts.
It was around 7pm when Columbus, Ohio’s own Brutal Death Metal/Deathcore entity SANGUISUGABOGG kicked off the party with their vicious attack. Having released the excellent Hideous Aftermath in 2025, available on both BandCamp and Spotify, the band formed of the unstoppable frontman Devin Swank, guitarist Drew Arnold, bassist Ced Davis, and drummer Cody Davidson put on a phenomenal performance onstage, already inspiring the crowd to headbang and slam like true metalmaniacs until the very last second. What a wild kickoff, with the very romantic songs Face Ripped Off and Dead as Shit making the entire casino shake. I’m sure Sanguisugabogg will return to Toronto with their undisputed violence sooner than you can say their name, spell their name, or read their logo. Any of these work.
Setlist Rotted Entanglement
Face Ripped Off
Felony Abuse of a Corpse
Abhorrent Contraception
Dead as Shit
Band members Devin Swank – vocals
Drew Arnold – guitars
Ced Davis – bass
Cody Davidson – drums
The bar was set super high with Sanguisugabogg, but of course nothing that New Jersey’s own Death Metal/Deathcore beast FIT FOR AN AUTOPSY couldn’t take care of armed with their venomous and melodic brutality. Frontman Joe Badolato was having an amazing time onstage “managing” the vicious circle pit going, and the crowd roared back at him during their incendiary performance. Playing songs from their already solid discography (available on Spotify), including some killer tunes from their latest opus The Nothing That Is, from 2024, those being Lower Purpose, Hostage, and Savior of None / Ashes of All, the band delivered everything their fans were expecting and more, with the intense crowd surfing getting to a point I lost count of how many of the “banana boys” crossed my path after letting their peels being touched by all fans inside the pit. Maybe I should say the entire venue went bananas during Fit For An Autopsy, right?
Setlist Lower Purpose
It Comes for You
The Wretch
Black Mammoth
Hostage
Savior of None / Ashes of All
Warfare
Pandora
Far From Heaven
Band members Joe Badolato – lead vocals
Pat Sheridan – guitars, backing vocals
Tim Howley – guitars
Will Putney – guitars
Peter “Blue” Spinazola – bass
Josean Orta – drums
Although I’m familiar with the music by Texan Metalcore ensemble KUBLAI KHAN TX, I didn’t know they were so famous and loved by the Toronto fans. Every single person in the room was having an amazing time during their performance, singing all songs along with the band led by the charismatic Matt Honeycutt. The guy didn’t stop a single second onstage, and that obviously translated into a lot of action inside the pit. In addition, it’s impressive how heavy their kitchen formed of bassist Eric English and drummer Isaac Lamb sounds, in special the utterly thunderous bass by Eric. The guy was making my chest tremble with his jabs. If you know nothing about those talented and humble guys, you can check their ass-kicking music on Spotify, like their 2024 album Exhibition of Prowess, but get ready as they will smash your cranial skull mercilessly.
Setlist Darwinism
Supreme Ruler
Low Tech
Antpile
Boomslang
The Hammer
The Mountain of Corsicana
Antpile 2
Self-Destruct
Mud
Swan Song
Theory of Mind
Band members Matt Honeycutt – vocals
Nicholas Adams – guitar, backing vocals
Eric English – bass, backing vocals
Isaac Lamb – drums
At long last, it was time to walk with Richmond, Virginia’s own Groove Metal masters LAMB OF GOD in hell during their absolutely heavy, vibrant and flammable performance. Having released the phenomenal Into Oblivion just a week before the show (available on Spotify and also on the special Into Oblivion website), the band fronted by the iconic D. Randall “Randy” Blythe showed no mercy for our necks and bodies with another killer performance in Canadian lands. It’s so cool how Lamb of God moved from a small venue like The Opera House when they first played in Toronto years and years ago, to selling out such a massive venue like the casino. To be fair, that’s expected when the music in question is so good, catchy and electrifying.
Randy was on fire during their entire show, as well as his bandmates, with Mark Morton and Willie Adler showing why they’re two of the best metal guitarists of the current scene. John Campbell and his trademark headbanging were also excellent, not to mention Art Cruz delivered a striking drum solo for our total delight. Before the show, he hid a few drumsticks around the venue for fans to try to find them, an initiative that I personally considered very cool (despite the fact I couldn’t find any of them). All that talent made their already amazing songs like Ruin, Laid to Rest and 11th Hour sound even stronger live, driving fans wild during their entire set, and maybe because it was a Friday night at a venue with no curfew we were also treated to a classic that hadn’t been played before Friday, the awesome Omerta.
Their new songs also sounded incredible, in special the infuriated Parasocial Christ, making the circle pit move even faster. There were some tunes that were screamed by the entire crowd together with the band, like 512, Walk With Me in Hell, and Memento Mori, three of my favorite Lamb of God songs, and you can imagine how happy I was seeing so many fans from all ages having such a great time with Randy and his henchmen. And as the icing on the cake, we could all scream, raise our fists, headbanging and jump up and down together with the boys during their metal masterpiece Redneck, putting a beyond epic and climatic ending to the show.
I wish I could have stayed longer at the casino after the show to eat something and maybe even try my luck, but the lines to get into the casino were insane. I’m not complaining, as I love the fact a metal concert can make a casino so busy and vibrant, and I can’t wait to enjoy one of the best venues in the GTA again in a few weeks. Anyway, back to the concert, it’s more than obvious that it won’t take long for Lamb of God to return to the city as they’re undoubtedly one of Toronto’s favorite metal acts. I dare to say they’re THE favorite metal band of a huge chunk of the new-ish generation of metalheads, and as Randy himself said in a recent interview, just like he wants to keep playing with Lamb of God until his last breath, we also want to headbang with Lamb of God until ours.
Setlist Ruin
Laid to Rest
Blood Junkie
Into Oblivion
Resurrection Man
Grace
Desolation
512
Walk With Me in Hell
Parasocial Christ
Omerta
11th Hour
Encore:
Memento Mori
Sepsis
Redneck
Band members D. Randall “Randy” Blythe – vocals
Mark Morton – guitar
Willie Adler – guitar
John Campbell – bass
Art Cruz – drums
Featuring four experienced musicians brought together by a shared desire to create new music, UK’s own Progressive Death Metal outfit Lifeswallower is unleashing upon us their self-titled debut EP, drawing from Progressive, Death, Thrash Metal and other corners of heavy music, combining technical precision with a strong focus on songwriting and dynamics. Recorded by each band member at their home studios (vocals, guitars, bass) and by Joe Clayton at No Studio (drums), mixed by Ben Ottridge and Benedict Harris-Hayes, and mastered by Benedict Harris-Hayes at Ethereal Tantrum Studios, the EP sees vocalist James Moffatt, guitarist Tom Humphrey, bassist Ben Ottridge and drummer Benedict Harris-Hayes move between blast-driven intensity, complex arrangements and heavier groove-based sections, allowing each song to develop its own identity while remaining part of a coherent whole.
THE HEADBANGING MOOSE 