Delving deeper into their singular vision of Black Metal, this Stygian entity returns with their third offering, inviting us all for our final rest.
Delving deeper into their singular vision of Black Metal, forging a work that resists easy categorization, the uncanny Italian and Swedish entity known as Feralia (named after public religious ceremonies of ancient Rome held in honor of the dead upon the last day of the Parentalia) attacks again with their third studio offering, titled Ultima Requies, a Latin phrase that translates to “the last rest,” following up on their 2022 opus Under Stige / Over Dianam. Showcasing a grim artwork depicting a reinterpretation of the necromantic ritual of Erichto, the Thessalian witch described in “De Bello Civili” by Lucan, while the band’s sound remains anchored in a sense of the sacred, drawing from arcane and occult dimensions tied to the archaic Roman world, the album is neither rooted in old school orthodoxy nor aligned with the polished tendencies of contemporary production. Instead, it stands as a raw and evocative offering, where abrasive textures and ritualistic atmospheres converge into something austere, immersive and profoundly spiritual, all masterfully crafted by Erymanthon Seth on vocals, guitars and synths, Raijinous on the guitars and synths, Krhura on bass, and Summum Algor on drums.
The visceral riffs by Erymanthon Seth and Raijinous transpire classic Black Metal right from the start in Ballata Avernale, while the same Erymanthon Seth vociferates rabidly like a creature form the underworld; whereas Ver Sacrum also starts on a harsh and violent mode, exploding into a modern version of Black Metal not recommended for the lighthearted. Then in the nine-minute aria Pharsalia, we face an ethereal intro that gradually evolves into another bestial sound led by Summum Algor’s demolishing beats and fills, supported by the menacing bass by Krhura, followed by Empireo, with again their background keys embellishing the airwaves in an instrumental tune that sounds like it was taken from an Italian horror movie, warming us up for the scorching Marpiter, where Erymanthon Seth roars and gnarls in anguish and hatred while Summum Algor keeps hammering his drums manically. After that we face Defigere, one of the most detailed, dynamic and diverse songs of the album, with its hints of Doom Metal and Dungeon Synth adding an extra touch of insanity ot their core Black Metal madness, all boosted by the razor-edged guitars by Erymanthon Seth and Raijinous; and lastly, we have a more direct Black Metal extravaganza titled Miasma, where all instruments are breathing fire until all fades into oblivion.
Following the path opened by their previous albums Helios Manifesto and Under Stige / Over Dianam, the band further refined their language in Ultima Requies, balancing raw intensity with a deeply contemplative undercurrent. The result is an album that feels both immediate and timeless, grounded in the physicality of Black Metal yet reaching toward something intangible and eternal, and if you want to know more about such an obscure band you can find them on Facebook and on Instagram, stream their music on Spotify, and of course purchase their scorching new album from their own BandCamp, as well as from ATMF’s BandCamp or from Metal Odissey. This is Black Metal at its most evocative, atmospheric and Stygian form, inviting you for your final rest to the sound of its venomous lullabies.
Best moments of the album:Ballata Avernale and Defigere.
Behold the sophomore album by this uncanny Italian Atmospheric Folk and Black Metal entity, guiding listeners on a cathartic journey where history becomes emotion and memory turns into sound.
An Atmospheric Folk and Black Metal band formed in 2013 by guitarist MK, aiming to blend personal influences with Folk and Black Metal elements, Verona, Italy-based horde Duir, whose moniker comes from the Celtic word for “oak,” a symbol of longevity and wisdom, returns with the follow-up to their 2022 debut T.S.N.R.I. – Impermanenza, entitled Catarsi. Recorded by Alberto Spaziani and the band itself, edited by MK at Void Sounds Studio, mixed and mastered by P.G. of Groza at Ad Nauseam Sounds, and displaying a stylish artwork by Silvia Luppi of The Veil of Arda (with logo by Moonroot), the new opus by Vox in Umbra on vocals, MK and Skryer on the guitars, TZ. on flute, bagpipe and hurdy gurdy, and P. on drums, and featuring guest bassist Andrea Privato, the album represents the band’s most ambitious work yet. Set during the First World War, it follows a young soldier caught between pride, despair, and oblivion, guiding listeners on a cathartic journey where history becomes emotion and memory turns into sound.
The band kicks off the album with the multi-layered, atmospheric and ritualistic Manifesto, where the venomous gnarling by Vox in Umbra walks hand in hand with their caustic riffs by MK and Skryer, not to mention the background sounds blasted by TZ. are a thing of beauty. After such a detailed and captivating aria, the band brings forward their most Black Metal side in Di nessuno (“of no one”), without forgetting to add their share of folk music to the overall result; and Impeto, featuring L.G. of Ellende, is a modern-day Post-Black Metal extravaganza with tons of atmospheric and folk elements where P. steals the spotlight with his demonic drumming. Then we have what feels like a trilogy inspired by the paradox between night and day, starting with Della notte (“of the night”), where MK and Skryer embellish the airwaves with another killer riff attack, flowing into Del giorno (“of the day”), with its ethereal intro being boosted by the devilish vociferations by Vox in Umbra, again presenting an amalgamation of styles such as Post-Metal, Black Metal and folk music. And they conclude such trilogy and the album as a whole on a high and emotional note with Oltre l’alba (“beyond the dawn”), where Vox in Umbra and P. are in absolute sync, as well as the multi-talented TZ. and his stunning folk sounds, before the song’s climatic, whimsical finale.
Through Atmospheric Black Metal intertwined with evocative folk elements, Catarsi showcases the band’s signature blend of haunting melodies and visceral intensity, positioning them as one of the must-see names not only of the current Italian Extreme Metal scene, but also anywhere else in the world where first-class heavy music is truly appreciated. Those uncanny creatures from Italy can be found on Facebook and on Instagram, including their breathtaking live concerts, and don’t forget to also stream their music on Spotify, and above all, to purchase Catarsi from their own BandCamp or from the AOP Records’ BandCamp. Having said all that, do you think you have what it takes to follow Duir on their Stygian, purifying voyage to the sound of their caustic new album?
Best moments of the album:Manifesto, Impeto and Oltre l’alba.
Worst moments of the album: None.
Released in 2026 AOP Records
Track listing 1. Manifesto 10:02
2. Di nessuno 6:54
3. Impeto 7:59
4. Della notte 4:38
5. Del giorno 7:20
6. Oltre l’alba 9:40
Band members Vox in Umbra – vocals
MK – guitar
Skryer – guitar
TZ. – flute, bagpipe, hurdy gurdy
P. – drums
Guest musician
Andrea Privato – bass (session)
L.G. – vocals on “Impeto”
Making their way straight out of a grave and crawling into the human-known world, this Italian Death Metal beast keeps the past alive and undead in their striking debut EP.
Making their way straight out of a grave and crawling into the human-known world close to the end of 2025, Italian Death Metal creature Tombal is ready to unleash absolute hell upon humanity armed with their striking debut EP, a 16-minute assault of bestial violence and savagery titled Grave of the Damned. Heavily inspired by the HM-2’s fierce and sharp tones, the band formed of Luigi Cara on vocals and guitar, Mario Tamponi also on the guitar, Massimiliano Falchi on bass, and Luca Barone on drums channels the tradition of Swedish Death Metal in their debut offering, finding their identity in a violent, ferocious sound with no compromises, therefore resulting in a swift and satisfying display of classic 90’s extreme music for admirers of the genre.
After the short and bitter intro Cryptic Invocations, the band begins their feast of caustic, no shenanigans Death Metal in the title-track Grave of the Damned, led by the pulverizing roars by Luigi and the crushing drums by Luca, proving the band is not fooling around in their quest for violent, gory and brutal extreme music. Then the metallic bass by Massimiliano sets the tone in the also fast and ruthless Cemeterial Death Worship, with Mario bringing his share of melodic yet visceral riffs to the band’s core sonority, whereas in Funebral Furnace they invite us all to slam into the circle pit as if our lives depended on it, with Luigi once again barking and growling deeply in the name of our good old Death Metal. Lastly, we’re treated to Cathedrals of Rot, a first-class metal attack by the band without a single second of peace, destroying us all and leaving us eager for more of their demonic music in the near future.
Tombal’s opening statement is so impressive that the band is already working on their first ever full-length album, which is slated to be recorded before year’s end, keeping us pumped for the new carnage that’s about to come from beautiful Italy. In the meantime, you can start following those talented and promising musicians on Facebook and on Instagram, including their ferocious live concerts, stream their bludgeoning music on any streaming service like Spotify, and of course grab a copy of their debut EP from Blood Harvest’s BandCamp or webstore. Because the past is not just alive through the music by Tombal, but also undead.
Best moments of the album:Grave of the Damned and Cathedrals of Rot.
Worst moments of the album: None.
Released in 2026 Blood Harvest
Track listing 1. Cryptic Invocations (Intro) 1:01
2. Grave of the Damned 4:00
3. Cemeterial Death Worship 3:59
4. Funebral Furnace 3:46
5. Cathedrals of Rot 3:01
Band members Luigi Cara – vocals, guitar
Mario Tamponi – guitar
Massimiliano Falchi – bass
Luca Barone – drums
Let’s use the new album by this ruthless Italian Death Metal entity as our weapon to defeat the concept of death as a total cessation of consciousness and existence.
Formed in 2001 in Northeast Italy, the unrelenting Death Metal outfit known as Chronic Hate has been building a strong presence in the European metal scene, performing alongside bands such as Obituary, Suffocation, Fleshgod Apocalypse, Pungent Stench, and many more, always combining many influences in the Extreme Metal genres, from the old school vibes of the early 90’s sound to the more contemporary blasting acts. Now in 2026 the band formed of Andrea on vocals, Daniele and Massimo on the guitars, Marco on bass, and Nicolas on drums strikes again with their third full-length opus, entitled Defeating the Oblivion of Life. Recorded by Daniele Tollon at Black Swamp Studio (vocals, guitars an bass) and by Ivan Moni Bidin at Artesonika Studio (drums), reamped, mixed and mastered by Greg Chandler at Priory Recording Studios, and adorned by a sinister artwork by Colin Marks of Rain Song Design, the album inaugurates a new, significant chapter for Chronic Hate, railing against a generational void through crude and direct lyrics, alternated with more intimate, lacerating and personal passages, resulting in undeniable emotional power and authenticity.
It’s pedal to the metal in the inhumane, demonic The Wrong, led by the ferocious beats and fills by Nicolas in a lesson in Black and Death Metal. With such a cool name it was obvious we were going to be pulverized by the band in Blastphemy, where Daniele and Massimo deliver pure Death Metal madness from their Immolation-inspired riffs, whereas a sinister intro quickly explodes into absolute chaos in Mass Distraction Program, with Andrea roaring and barking nonstop in the name of putrid, vile and grim extreme music. Let’s all feel the power of the riff in Regurgitated Brains before we have our faces melted by the band’s ruthless sounds led by Nicolas’ demonic beats and fills; and there’s no sign of the quintet slowing down at all in Despair… in Sorrow, with the bludgeoning kitchen by Marco and Nicolas bringing thunder to their sound.
Subjugated Minds sounds as metallic and heavy as it can be, with the guitars by Daniele and Massimo exhaling absolute aggression and fury, therefore living up to the legacy of 90’s Death Metal, while Born to Appear kicks off in an ominous manner before the boys pulverize us all with their multi-layered wall of Death Metal, spearheaded by another slab of the monstrous vocals by Andrea. The breathtaking Handcuffed invites us all to dive deep into a ferocious mosh pit, with their dark and deep vocals and riffs embracing us all in pitch black obscurity, and finally, we’re treated to the song that carries the name of the band, the crushing Chronic Hate, where Andrea’s guttural is boosted by another demented performance by Nicolas on drums.
The guys from Chronic Hate are definitely not fooling around when it comes to crafting deadly and visceral heavy music, and as you listen to each and every track from Defeating the Oblivion of Life you’ll feel all their rage, violence and passion for the extreme flowing through your veins. Those talented Italians are waiting for you with news, tour dates and more of their music on Facebook and on Instagram, and don’t forget to also stream their wicked music on Spotify, and to purchase their pulverizing new album from their own BandCamp or from Time To Kill Records. Defeating the concept of death as a total cessation of consciousness and existence, a “deep, dreamless sleep” without a post-mortem afterlife, can only be achieved with a lot of noise, and only first-class Death Metal like what Chronic Hate have to offer us in their new album can help us with such a difficult task.
Best moments of the album:The Wrong, Regurgitated Brains and Handcuffed.
Worst moments of the album: None.
Released in 2026 Time To Kill Records
Track listing 1. The Wrong 3:35
2. Blastphemy 3:20
3. Mass Distraction Program 3:05
4. Regurgitated Brains 2:45
5. Despair… in Sorrow 9:45
6. Subjugated Minds 4:31
7. Born to Appear 4:02
8. Handcuffed 3:31
9. Chronic Hate 5:04
Band members Andrea – vocals
Daniele – guitars, backing vocals
Massimo – guitars
Marco – bass
Nicolas – drums
The wolf beast is once again unleashed, blending full-force Thrash Metal with Crossover adrenaline in their breathtaking new album.
Since 2010, the Turin, Italy-based wolves of Ural have been blending full-force Thrash Metal with Crossover adrenaline and a willingness to step outside the confining boundaries of genre. Mixed and mastered by Davide Billia, and showcasing a killer artwork by Luca SoloMacello, the fulminating Anthropic Genetic Involution is the fourth full-length beast by the band currently formed of vocalist Andrea Calviello, guitarists Alex Gervasoni and Luca Caci, bassist Stefano Cipriano Moliner, and drummer Filippo Torno, a worthy follow-up to their 2023 album Psychoverse, a must-listen for fans of Death Angel, Nuclear Assault, Voivod and Forbidden, among others, and their most ferocious and far reaching opus to date.
Get ready to be caught in a feral mosh to the sound of Extreme Paranoia, led by Andrea’s demented screams and the crushing drums by Filippo, perfect for slamming into the pit like a true beast. Alex and Luca continue to slash their axes in the frantic Break the Fall, inviting us for a Toxic Waltz-like dance in a lesson in Thrash Metal by the boys; followed by God of Lies, again alternating between more melodic moments and sheer thrashing adrenaline, led by Filippo’s killer drumming. Let’s keep this party moving with Wrong Children, where Stefano and Filippo make the earth tremble while Andrea fires his inebriate, rebellious vocals nonstop, and they show no sign of slowing down at all in Open Scars, presenting more of their blend of old school Thrash Metal.
Andrea sounds even more demented in Rat in a Cage, accompanied by the unstoppable riffage by Alex and Luca in a well balanced mix of classic Thrash Metal with Crossover Thrash. Flat Black, originally a jazz composition by renowned trombonist and composer J.J. Johnson featured on his 1961 album A Touch of Satin (and you can check the original version HERE), gets a thrashing twist with Ural, as chaotic as it is classy; and it’s time to get back to their core Thrash Metal insanity in Terror Eyes, inspiring us all to dive deep into the circle pit to the visceral beats and fills by Filippo, flowing into the hard hitting closing tune …to Change Your Vision, with the music fading into oblivion after the band’s striking Thrash Metal feast is over.
Ural have been carving their name into the hearts of thrashers everywhere album after album, and of course the demolishing Anthropic Genetic Involution will continue to pave the band’s path of absolute chaos, rebellion and destruction, always in the name of our beloved Thrash Metal. If you want to show the boys from Ural your absolute respect and admiration, you can start following them on Facebook and on Instagram, stream their demented creations on any available platform like Spotify, and above all that, purchase a copy of the excellent Anthropic Genetic Involution from the Xtreem Music’s BandCamp or webstore. The wolf beast is about to be unleashed, and there’s no place to run or hide from its blood-soaked claws. All you need to do is take a deep breath, get into the mosh pit to the sound of its bestial new album, and get ready to be dilacerated by its infernal thrashing sounds.
Best moments of the album:Extreme Paranoia, Wrong Children and Terror Eyes.
Worst moments of the album:Flat Black.
Released in 2026 Xtreem Music
Track listing 1. Extreme Paranoia 3:17
2. Break the Fall 4:43
3. God of Lies 3:31
4. Wrong Children 4:05
5. Open Scars 3:58
6. Rat in a Cage 3:00
7. Flat Black (J.J. Johnson cover) 3:27
8. Terror Eyes 4:17
9. …to Change Your Vision 2:50
Band members Andrea Calviello – vocals
Alex Gervasoni – guitars
Luca Caci – guitars
Stefano Cipriano Moliner – bass
Filippo Torno – drums
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 Università 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 Università 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
These Modena-based melodeath masters explore the psychological and existential void behind real acts of Italian murder and madness in their obscure sophomore opus.
With a career stretching from their early beginnings in 2005 to their present incarnation, Modena-based act Karmian has become one of the most distinctive voices of Italian Melodic Death Metal, known for merging aggression, drama, and conceptual storytelling. Their musical evolution culminates now in 2026 in their most ambitious work to date, their sophomore opus Horror Vacui, following up on their critically acclaimed 2018 debut Surgere et Cadere. Recorded, mixed and mastered by Luca “Cocco” Cocconi and Simone Sighinolfi at Audiocore Studio, and displaying a stunning artwork by Sheila Franco, the newborn spawn by vocalist Andrea Bertolazzi, guitarists Andrea Baraldi and
Michele Perla, bassist Luca Marmi, and drummer Nicholas Badiali explores the psychological and existential void behind real acts of Italian murder and madness, transforming nine true-crime cases into allegorical portraits of emptiness, collapse, and human frailty, being therefore a must-listen for admirers of the music by Kataklysm, Heaven Shall Burn, At The Gates, Dark Tranquillity, and In Flames.
It doesn’t take long for the band to crush our skulls with their violent blend of melodeath in One Thousand Shining Bubbles, featuring guest Nicole Pisani on the talharpa (a traditional, ancient Northern European bowed lyre), with Andrea Baraldi and Michele delivering a striking axe duet for our total delight. Beastmaster of the Void sounds even more infuriated thanks to the ruthless beats and fills by Nicholas while Andrea Bertolazzi growls and roars like a rabid beast; followed by Gott mit Uns nicht, where “Gott mit uns” (“God [is] with us”) is a phrase commonly used in heraldry in Prussia (from 1701) and later by the German military, but their version “God is not with us” exhales pure melodeath led by their caustic riffs and relentless drums. And after a doom-ish intro the band blasts more of their trademark sonority in The Call of the Abyssal Bell, with their guitars walking hand in hand with Andrea Bertolazzi’s guttural.
Black Magical Soap Opera has a very cool name for a metal song, offering more of our beloved Gothenburg sound (but made in Italy, of course), sounding heavy-as-hell and even presenting elements from classic Death Metal; while Temple of the Fleshless Goddess is an excellent option for headbanging like a maniac during their live performances, with Luca and Nicholas generating a metal earthquake armed with their respective bass and drums. Libido et Mors, or “lust and death” from Latin, sees Andrea Baraldi and Michele once again shred their axes in great fashion, resulting in a lesson in modern-day Melodic Death Metal, whereas Beyond the Dream Gate of Fear keeps the album at a high level of aggression without forgetting the band’s trademark harmony. Furthermore, Andrea Bertolazzi sounds inhumane as usual on vocals, bringing an extra dosage of rage to their music. And lastly, Maker of Angels reminds me of Amon Amarth at times, which is obviously great, closing the album with an overdose of evil roars, visceral riffs, and hammering drums.
Whether navigating historical epics or psychological abysses, the work by Karmian is defined by a commitment to exploring the deeper forces that drive human behavior, such as resistance, decline, obsession, and the void within, and Horror Vacui stands as the culmination of this journey, a mature, uncompromising statement of artistic vision, philosophy, and Melodic Death Metal identity. If you want to know more about the band, their music, and obviously their incendiary live concerts, you can find them on Facebook and on Instagram, get caught in a mosh by listening to their high-octane songs on Spotify, and purchase the excellent Horror Vacui from Rockshots Records. Karmian definitely know how to transform the cases of murder, insanity and violence from their homeland into first-class heavy music, and their new opus is there to prove how precise they are in such a unique and devilish art.
Best moments of the album:Beastmaster of the Void, Black Magical Soap Opera and Libido et Mors.
Worst moments of the album: None.
Released in 2026 Rockshots Records
Track listing 1. One Thousand Shining Bubbles 6:38
2. Beastmaster of the Void 3:21
3. Gott mit Uns nicht 4:38
4. The Call of the Abyssal Bell 6:17
5. Black Magical Soap Opera 3:54
6. Temple of the Fleshless Goddess 3:23
7. Libido et mors 3:40
8. Beyond the Dream Gate of Fear 4:16
9. Maker of Angels 4:43
Band members Andrea Bertolazzi – vocals
Andrea Baraldi – guitars
Michele Perla – guitars
Luca Marmi – bass
Nicholas Badiali – drums
Guest musicians
Nicola Pisani – talharpa on “One Thousand Shining Bubbles”
Luca “Cocco” Cocconi – keyboards on “One Thousand Shining Bubbles” and “The Call of the Abyssal Bell”
Simone Sighinolfi – keyboards on “One Thousand Shining Bubbles” and “The Call of the Abyssal Bell”
This Italian Groove Metal entity returns with their thrilling first full-length offering, a concept piece centered on Voodoo, its mysteries, rituals, and symbolic icons.
Born near Rome, Italy around 2012 with the idea to blend heavy and groovy music textures alongside various influences, rhythms, and instruments from all over the world, the unique Groove Metal entity known as Novomundo is unleashing upon us their first full-length opus, titled The Cursed Cult, following up on their 2024 EP Echoes of Ego. A concept piece centered on Voodoo, its mysteries, rituals, and symbolic icons, the new offering by vocalist Valerio Cristiani, guitarists Carlo Ridolfi and Fabio Ciccone, and drummer Fausto Idini is a darker and more crushing take on their renewed sound, showcasing fourteen tracks of ferocity and raw energy blending dark ambient passages with a rotten edge, fusing death-groove and 2000’s metal influences enriched by modern tones and crust-core elements.
Their fusion of heavy music and tribal elements kicks off in full force with Son of Mawu, where Fausto’s primeval drums elevate Valerio’s screams to a whole new level, whereas Carlo and Fabio keep extracting darkly piercing riffs from their axes in Deathless, a heavy hitting tune perfect for slamming into the pit. Then after the short interlude Erzulie we face another ritualistic tune titled Bokor, with the venomous roars by Valerio exhaling Death and Groove Metal amidst a haunting sonority. The quartet continues to hammer their sonic weapons in The Coven, living up to the legacy of the genre, sounding at times like modern-day Machine Head; and we’re treated to another atmospheric interlude named Mojo, flowing into Vodun, a metallic ode to Voodoo where Fausto takes the lead with his pounding, bludgeoning beats and fills.
OSFTG continues where the previous song left off, perfect for some brutal headbanging to the grim roars by Valerio, while Le Marriage de Brigitte carries a weird name for another cinematic interlude before we’re crushed to pieces in Warlord, where Carlo and Fabio bring forward their most austere riffs of the album, this time reminding us of the glorious sound from Roots, by Sepultura. Despite its heaviness, the changes in God’s Violence end up making it a bit confusing to the listener; whereas they get back on track with the multi-layered extravaganza Maitresse La-Sirene, where modern and old school Groove Metal collide. Papa Legba is another tribute to the vile rituals of Voodoo, with Valerio and Fausto making a dynamic duo with their respective screams and beats, ending with the sinister outro Orishas, perfect for wrapping up the whole idea behind the album.
Touching on slavery, prejudice, and death as a way to give value to life, among other themes, The Cursed Cult guides the listener through the pantheon of Voodoo deities, called Loa, exploring their stories and traits as metaphors to convey the album’s core messages, while evoking emotional instability and a sense of unease, symbolizing the fear stemming from ignorance and unfamiliarity. Such a detailed and deep album of heavy music can be purchased from the band’s own BandCamp (or simply by clicking HERE), and you can get in touch with those talented Italians via Facebook and Instagram to know more about the band and their music, and also enjoy their idiosyncratic creations on YouTube and on Spotify. If Voodoo was a metal style, it would definitely be the music played by Novomundo, as their haunting new album is indeed a thrilling sonic ritual that will take the band places. Maybe some really dark ones.
Best moments of the album:Son of Mawu, Bokor, Vodun and Warlord.
Worst moments of the album:God’s Violence.
Released in 2026 Independent
Track listing 1. Son of Mawu 3:29
2. Deathless 3:47
3. Erzulie 0:33
4. Bokor 5:33
5. The Coven 4:10
6. Mojo 1:25
7. Vodun 3:53
8. OSFTG 4:09
9. Le Marriage de Brigitte 1:19
10. Warlord 3:32
11. God’s Violence 3:31
12. Maitresse La-Sirene 5:20
13. Papa Legba 4:39
14. Orishas 2:35
Band members Valerio Cristiani – vocals
Carlo Ridolfi – guitar
Fabio Ciccone – guitar
Fausto Idini – drums
This uncanny Italian creature is back with the poison of nature, taking their potent potion of Blackened Doom and Post-Metal to strange new heights.
Fresh off appearances at Roadburn and Inferno, the daring and devilishly talented Turin, Italy-based creatures known as Ponte Del Diavolo (Italian for “Devil’s Bridge,” a name applied to dozens of ancient or medieval bridges across Europe, particularly in Italy, due to their impressive or unusual architectural design for their time, which led to popular myths and folklore) have taken their potent potion of Blackened Doom and Post-Metal to strange new heights in their sophomore full-length offering, entitled De Venom Natura, Latin for “the poison of nature.” Recorded, produced, engineered and mixed by Danilo Battocchio at The Deepest Sea, mastered by Magnus Lindberg at Redmount Studios, and displaying a Stygian artwork by Francesco Dossena, the follow-up to their critically acclaimed 2024 album Fire Blades from the Tomb sees the band formed of frontwoman Erba del Diavolo, guitarist Nerium, bassists Khrura Abro and Kratom, and drummer Segale Cornuta deliver a record that extends and refines their musical boundaries, being recommended for admirers of the music by Messa, Chelsea Wolfe, Esben and the Witch, Dead Can Dance, Dool, Electric Wizard, and Darkthrone.
Haunting sounds permeate the air in the horror movie-like opening track Every Tongue Has Its Thorns, featuring guests Andrea l’Abbate on programming and Sergio Bertani (Lucynine) on theremin, exploding into pure Post-Black Metal where Erba del Diavolo is hypnotizing with both her clean vocals and devilish vociferations. Lunga vita alla necrosi, or “long live necrosis” from Italian, is another fantastic song where Nerium slashes his axe supported by the double bass attack by Khrura Abro and Kratom; followed by Spirit, Blood, Poison, Ferment!, featuring Francesco Bucci (Ottone Pesante) on trombone, a massive, hard hitting creation by those Italians with Segale Cornuta taking the lead with his pounding drums while Erba del Diavolo declaims the song’s dark lyrics with tons of passion (“Nature, I notice you! / And I secretly observe / your eroic mutation, possessing me too, / Having me too! / Spirit, blood, poison, ferment! / Spirit, blood, poison, torment!”).
Sergio Bertani then lends his synths to Il veleno della Natura, or “the poison of nature” from Italian, an amazing tune that’s fast, chaotic, melodic and visceral, with all instruments matching perfectly with the Italian words vociferated by Erba del Diavolo, whereas despite all of its layers and nuances (plus guests Andrea l’Abbate on synths and Vittorio Sabelli on bass clarinet), Delta-9 (161) gets a bit too experimental at times, although the band’s core sound is still intact. Silence Walk With Me presents guest Gionata Potenti (aka Omega of the band Nubivagant) on vocals and acoustic guitar, making a sensational vocal duet with Erba del Diabolo while Segale Cornuta brings an overdose of Black Metal insanity to their sound, not to mention the killer bass lines by Khrura Abro and Kratom. And last but not least, the band goes back to the glory of the 80’s in In the Flat Field, blending their Post-Black Metal sonority with elements from Gothic Rock to give the song an even more thrilling vibe, led by Nerium’s strident riffs.
Like a curious scent, De Venom Natura wafts around the idea that Mother Nature is a double-edged sword, at once beautiful and intoxicating while also lethal in its seduction, and Ponte Del Diavolo make sure the listener also sees Gaia that same way while listening to the album. You can get in touch with one of the most interesting names of the current Italian rock and metal scene by following the band on Facebook and on Instagram, staying up to date with their breathtaking live concerts, stream their unique music on Spotify, and of course, show them your utmost support by purchasing De Venom Natura from their own BandCamp, from Season of Mist, or by clicking HERE. Building a dark and sinister bridge between metal and Mother Nature, Ponte Del Diavolo are carving their name in the history of heavy music, leaving us eager for more of their caustic sounds in the near future while we’re all seduced and hypnotized by the powers of nature.
Best moments of the album:Every Tongue Has Its Thorns, Il veleno della Natura and Silence Walk With Me.
Worst moments of the album:Delta-9 (161).
Released in 2026 Season of Mist
Track listing 1. Every Tongue Has Its Thorns 6:25
2. Lunga vita alla necrosi 4:01
3. Spirit, Blood, Poison, Ferment! 4:36
4. Il veleno della Natura 4:58
5. Delta-9 (161) 8:52
6. Silence Walk With Me 6:17
7. In the Flat Field 4:54
Band members Erba del Diavolo – vocals
Nerium – guitar
Khrura Abro – bass
Kratom – bass
Segale Cornuta – drums
Guest musicians
Francesco Bucci – trombone on “Spirit, Blood, Poison, Ferment!”
Andrea l’Abbate – programming on “Every Tongue Has Its Thorns”, additional synths on “Delta-9 (161)” Sergio Bertani – theremin on “Every Tongue Has Its Thorns”, synths on “Il veleno della Natura” Vittorio Sabelli – bass clarinet on “Delta-9 (161)”
Gionata Potenti – vocals & acoustic guitar on “Silence Walk With Me”
A seasoned duo hailing from Italy will darken your soul armed with their debut offering of arcane, devilish and dramatic Atmospheric Black Metal.
Led by vocalist, guitarist and bassist Max Havler (Ophidian, Shrivel), with Davide Billia (Antropofagus, Beheaded, Vomit the Soul) taking care of additional vocals, drums and keyboards, Milan, Italy-based Atmospheric Black Metal entity Evoked Eclipse has its sound closely tied to the Scandinavian Black and Death Metal scene, primarily Swedish, with references to Dissection and Naglfar, but also the Melodic Death Metal of Dark Tranquillity and Opeth and the melancholic Doom and Gothic Metal elements of early Katatonia. Recorded and mixed by Davide Billia at MK2 Recording Studio, mastered by Jens Bogren at Fascination Street Studios, showcasing a cryptic artwork by the beyond talented Gogo Melone (presenting the album’s visual representation in its most arcane, dark and dramatic essence), and with layout by Francesco Palumbo of MKM Graphix, their debut effort The Cries Of Evil represents a new vision of extreme music, positioning the project as one of the must-see names of the new scene worldwide.
The ethereal intro Enchantment will transport us all to the Stygian realm ruled by Evoked Eclipe, flowing into the title-track The Cries Of Evil, where Max roars with tons of anger in his blackened heart while Davide delivers a mix of Black Metal blast beats and sluggish Doom Metal sounds. After that we have Land Of The White Spirit Lady, featuring guest vocals by Kyrah Aylin (of Aresea and Elegy of Madness), a beautiful, dark ballad of Blackened Doom, with their riffs and drums matching perfectly with Kyrah’s stunning vocal lines; and then we face the melancholic, grim interlude Mournishments, setting the stage for The Watch Of Spirits, with Max delivering sharp, crisp riffs and bass lines while Davide continues to hammer his drums mercilessly. In Drops Of Blood we see the band adding hints of Progressive Metal to their core Atmospheric Black Metal sonority, showcasing more of their fiery riffage, followed by Illusions Of The Life, another classic blast of atmospheric madness, sounding as dark and visceral as it can be, morphing into the outro Ascension, feeling utterly epic and leaving us eager for more of their stylish music in the near future.
Max and Davide are waiting for you with their Evoked Eclipse on Facebook and on Instagram, including news, more of their music, and who knows, maybe some live performances in a not-so-distant future, stream the album in full on Spotify, and of course you can put your hands on the excellent The Cries Of Evil from Club Inferno’s BandCamp, from My Kingdom Music, by clicking HERE, as well as from several other online retailers such as MDV Shop, Waterloo Records, and Groovespin.com. The fusion of Atmospheric and Melodic Black Metal with Death, Doom and Gothic Metal nuances found in The Cries Of Evil will certainly darken your already blackened heart even more, fueling the duo to keep blasting their undisputed extreme music for many years to come under their sinister, grim Black Metal eclipse.
Best moments of the album:The Cries Of Evil, The Watch Of Spirits and Illusions Of The Life.
Worst moments of the album: None.
Released in 2026 Club Inferno Ent./My Kingdom Music
Track listing 1. Enchantment 1:11
2. The Cries Of Evil 4:17
3. Land Of The White Spirit Lady 5:58
4. Mournishments 1:25
5. The Watch Of Spirits 7:01
6. Drops Of Blood 5:48
7. Illusions Of The Life 5:17
8. Ascension 2:15
Band members Max Havler – vocals, guitars, bass
Davide Billia – vocals, drums, keyboards
Guest musician
Kyrah Aylin – female vocals on “Land Of The White Spirit Lady”
Delving deeper into their singular vision of Black Metal, forging a work that resists easy categorization, the uncanny Italian and Swedish entity known as Feralia (named after public religious ceremonies of ancient Rome held in honor of the dead upon the last day of the Parentalia) attacks again with their third studio offering, titled Ultima Requies, a Latin phrase that translates to “the last rest,” following up on their 2022 opus Under Stige / Over Dianam. Showcasing a grim artwork depicting a reinterpretation of the necromantic ritual of Erichto, the Thessalian witch described in “De Bello Civili” by Lucan, while the band’s sound remains anchored in a sense of the sacred, drawing from arcane and occult dimensions tied to the archaic Roman world, the album is neither rooted in old school orthodoxy nor aligned with the polished tendencies of contemporary production. Instead, it stands as a raw and evocative offering, where abrasive textures and ritualistic atmospheres converge into something austere, immersive and profoundly spiritual, all masterfully crafted by Erymanthon Seth on vocals, guitars and synths, Raijinous on the guitars and synths, Krhura on bass, and Summum Algor on drums.
THE HEADBANGING MOOSE 