It’s time for a nice and fun chat with the unstoppable frontman for Texas-based Metalcore band Semper Acerbus, talking about their new album, touring and more.
Nelson Acerbus (Semper Acerbus)
The Headbanging Moose: Thanks for your time, guys! Could you please start by introducing yourselves to our readers? Who are Semper Acerbus, when did the band start, and what’s the main goal with your music?
Nelson Acerbus: Hello all, this is Nelson, vocalist for Semper Acerbus, we are a metalcore band from Texas and we started in December of 2016. Our man goal is expressing ourselves in our own creative musical way and if we get followers along this journey, that a big plus!
THM: You new album Following Omens is a wild metal journey across deserts, dunes, mountains, and woodlands. Could you give u more details about the album, the whole idea behind it etc.?
NA: This album represents everything that we have embodied along our music journey, kinda letting it all out plus using things that we have not explored more in the past. More clean singing, more intricate guitar parts, odd time signatures, fun stuff like that.
THM: Some of my favorite songs of the album are Suffering Awaits, The Gallows and District Coward, and coincidentally all three are very Death Metal. Was that the intention? It feels like Semper Acerbus can be considered a Metalcore band with a strong Death Metal vein. Do you agree with that?
NA: You are absolutely right, specially Suffering Awaits, its a straight death metal song, myself and Jaime, one of our guitar players grew up listening to death metal so we love doing stuff like that.
THM: Who are your biggest idols and influences in music and in life in general, and what’s their impact on your creative process and your music?
NA: First names that comes to mind musically, Jesse Leach, Max Cavalera, Chuck Schuldiner, Michael Sweet and many more, helped shape the way I saw music, helped me embrace what I wanted to do in life.
THM: The artwork by Federico Bossinga of Abstract Chaos Design feels absolutely dark and apocalyptic, matching perfectly with your music. How did you get in touch with the artist, and how was the process to get to the final artwork?
NA: We have worked together for a long time, he always brings my ideas to life, he is a great talent. As we always do, I send him an idea, he sends back my idea as an image and then it’s a yay or nay or changes here and there.
Album Review – Semper Acerbus / Following Omens (2026)
THM: How’s the metalcore (or any other type of heavy music) scene nowadays in Del Rio, Texas? Are there any other bands from your area you would recommend to our readers?
NA: There’s no other metalcore band in Del Rio TX, we are a very small town in the middle of nowhere with a big tastes for tex-mex music and culture. We are the sore thumb lol!
THM: Now that Following Omens is out, what does the future hold for Semper Acerbus? Any plans for touring outside of the United States, like in Canada or at any European summer festival? You guys need to bring your music to Toronto for sure!
NA: We want to tour as much as possible, we have offers overseas and nationally that we want to definitely make it happen. We had a run in Canada last year that fell through so, HEY PROMOTERS! Come book us!!
Semper Acerbus
THM: Speaking of touring, which other bands would be part of your “dream tour”? And which bands have you guys had an amazing experience touring with so far?
NA: The most fun we had was touring with ASESINO and Skinlab, great dudes and we had lots of fun. Dream tour would be Killswitch Engage, Trivium, Bleed from Within and Semper Acerbus.
THM: Let’s play an easy and fun game now. Which ten songs would you add to a time capsule for future generations? It can be metal or non-metal, no problem at all.
NA:
1. Fur Elise – Betoven
2. Nessun Dorma – Pavarotti
3. Crystal Mountain – Death
4. Yahweh – By Stryper
5. Lifting Shadow of a Dream – Dream Theater
6. Arise – Sepultura
7. The Element of One – Killswitch Engage
8. Rainbow in the Dark – Dio
9. Cemetery Gates – Pantera
10. Separate Ways – Journey
THM: Thanks again for your time! Feel free to send your final considerations to our readers, and hopefully we’ll see you hitting the stages of Toronto anytime soon!
NA: Thanks for this opportunity, if you haven’t checked our music and our new album, “Following Omens” go check it out! Give us a chance! Keep it metal!
Fans in Toronto witnessed a night of absolute heaviness and electricity at a jam packed The Opera House together with some of the must-see bands of the current scene.
Temperatures are finally starting to rise in Toronto after one of the coldest and harshest winters in decades, and this Tuesday the mighty ORBIT CULTURE, supported by guests OV SULFUR and ATLAS, brought the heat to the cozy The Opera House during their North America 2026 tour. The venue was absolutely packed, and if I’m not mistaken my sources told me the whole event was around 16 tickets of being absolutely sold out, so we’re talking about almost 900 people taking every single space at the venue with no room for much movement. Not only that, Keith Ibbitson of Metal Paparazzi had to “fight” for space with other 11 photographers also covering the event in a tight area (with five security guys, by the way), and the merch line went from the bar next to the entrance all the way to the floor section. I have no idea when exactly merch became more important than the show itself, as I’m tired of seeing lots of people missing one or more attractions just to grab a shirt. Anyway, it is what it is. Event shirts are super cool, and buying them is extremely helpful for the musicians, so maybe we could all find a better or faster way for the merch line to move as we want to keep supporting all bands.
The first attraction of the night was Tampere, Finland-based Metalcore band ATLAS, often stylized in all caps, who self-describe their sound as “Northcore,” which is basically a mix of heavy, melodic Metalcore with atmospheric, immersive soundscapes. Having recently released the album Sunder, available on Spotify or any other streaming service, the band formed of vocalist Patrik Nuorteva, vocalist and bassist Leevi Luoto, guitarists Kevin Apostol and Tuomas Kurikka, and drummer Aku Karjalainen put on a solid performance for an already packed venue, working as a more-than-effective warmup for Ov Sulfur and Orbit Culture. Well, as I like to say, wake me up when a metal band from Finland sounds boring or tiresome onstage. They always kick ass, ATLAS included, and I’m sure we’ll hear a lot more from those guys in the near future.
Setlist Sermon of the Dying Light
Tower
Coven of Two
Anodyne
I Whisper Your Name Like a Curse
Uni
Ukko
Salt and Sulfur Outro
Band members Patrik Nuorteva – vocals
Leevi Luoto – vocals, bass
Kevin Apostol – guitar
Tuomas Kurikka – guitar
Aku Karjalainen – drums
The whole place was already swarming with fans when Las Vegas, Nevada’s own Blackened Deathcore beast OV SULFUR hit the stage with their pulverizing performance, making The Opera House tremble to their undisputed heaviness. Spearheaded by the unstoppable frontman Ricky Hoover, the band has just started touring to promote their fresh out of the oven album Endless (available on BandCamp and on Spotify), and let me tell you that the new songs from the album worked extremely well live. Ricky and his henchmen Christian Becker and Chase Wilson on the guitars, Josh Bearden on bass, and Leviathvn on drums were on fire from start to finish; however, the fact the venue was jam packed made it a bit hard for fans to start any circle pits. There was a lot of headbanging and horns raising, of course, and the lights also helped turn their show into a multi-sensorial experience. It’s really nice to see Ov Sulfur hitting bigger stages every single time they visit Toronto, not only because they’re awesome, but also because Toronto loves that type of Deathcore, blending sheer savagery with tons of different emotions.
Setlist Endless//Godless
Seed
Stained in Rot
Befouler
Death Ov Circumstance
Wither
Forlorn
Vast Eternal
Evermore
Band members Ricky Hoover – vocals
Christian Becker – guitars
Chase Wilson – guitars
Josh Bearden – bass
Leviathvn – drums
Another quick break (while countless fans were still braving the massive merch lines), and it was time for Eksjö, Sweden-based Melodic Death/Groove Metal titans ORBIT CULTURE to crush our souls with their breathtaking performance. Having recently released the excellent Death Above Life, which you can find on BandCamp and on Spotify, the indomitable Niklas Karlsson, Richard Hansson, Fredrik Lennartsson and Christopher Wallerstedt put a huge smile on the faces of their avid Toronto fans, with absolutely no room to breathe during their entire concert. Songs like Death Above Life, Bloodhound, Hydra and While We Serve sounded insane onstage, and after the closing song Vultures of North was over the happiness on everyone’s faces was outstanding. This was not only the band’s first ever headlining concert in the city, but by far their strongest and most dynamic one as well, proving they’re becoming a reference in the style and, therefore, gaining more and more attention from fans worldwide. I doubt it will take long for those Swedish rockers to return to Toronto, and I bet next time their concert will be even bigger, heavier and more electrifying.
Setlist Death Above Life
The Storm
The Tales of War
North Star of Nija
Saw
From the Inside
Bloodhound
The Shadowing
Open Eye
While We Serve
Hydra
Vultures of North
Band members Niklas Karlsson – vocals, guitars
Richard Hansson – lead guitars
Fredrik Lennartsson – bass
Christopher Wallerstedt – drums
Are you ready to burn in the fires of extreme music together with our metal lady of this month of February here on The Headbanging Moose? I’m sure you are, and get ready as her incendiary vocals will melt not only any snow left from this harsh winter, but also your faces, leaving you completely disoriented after all is said and done. She’s an Extreme Metal vocalist, an opera singer, a soprano, a singing teacher, an actress, and a vocal coach, making the whole world of heavy music a much better place for us fans of hypnotizing and powerful vocals. Her name is Jessy Vignolle, sometimes referred to as Jessy “Christ” Vignolle, or simply Jessy Christ, the frontwoman for French metal sensation Usquam, and once you know more about her life, her career and her music, you’ll certainly get addicted to her distinct voice, charisma, and aggression.
Hailing from Paris, France, Jessy has been a curious child from the early age of eleven, discovering her passion for music through the guitar, piano, and singing without a defined direction, exploring everything from classical to rock. All that passion led to her first ever concert as a singer and guitarist at the age of 13, joining her first band a year later. Exploring multiple musical styles including Pop, Jazz, Indian music, Celtic music, and many more, while also drawing inspiration from all their unique characteristics (which she sees as future strengths), Jessy enrolled in musicology and earned a bachelor’s degree in musicology, a master’s degree in artistic supervision, and a master’s degree in artistic engineering. At the same time, she pursued a professional career in classical music, studying operatic singing at the Savigny-le-Temple Conservatory in Paris under Véronique Laguerre and joining the Che Calda Voce opera company led by Laura Marin. Not only that, she also made her mark in the rock and metal music scene, performing on numerous French stages such as La Cigale, La Boule Noire, and La Machine du Moulin Rouge, among others, as well as at festivals.
It was not too long ago, in the not-so-distant year of 2024, when Jessy joined Usquam as their new vocalist replacing Lucas Henry. Formed in 2018, this Paris, France-based Melodic Black Metal band released in 2021 their debut EP Reborn, followed by their fantastic first full-length opus Ex Nihilo, in 2025, already with Jessy stealing the spotlight with her undisputed vocals. Exploring the secrets of dark music, inspired by the observation of a world oscillating between decline and progress, the band currently formed of our metal lady Jessy on vocals alongside Eithenn and Draugr on the guitars, and Alwan on bass aims at spreading their dark philosophy all across the world, and you can get a very good taste of their music on YouTube, BandCamp, and Spotify, enjoy their official videos for the songs Arcana Nox, Altar Ego and Ego Sum (Qui Sum), and keep an eye on their social media for their live performances, in special if you live in France.
Apart from her promising career with Usquam, Jessy can also be found as a guest and as a live vocalist (under the moniker J.V.) for French Black Metal entity NZGL, founded by vocalist, guitarists and bassist Gaël Liger, recording vocals and having also written some of the lyrics for their 2025 album Tales from the Pale Moon… And Other Stories, available on both BandCamp and on Spotify. In addition, she’s also involved with an Industrial/Gothic Rock band named Syndro-syS since 2013, having released with the band the 2015 album Corporation, available on BandCamp. The band doesn’t seem to be active anymore, as they’ve been dead silent since around 2020, but the music is still great and definitely deserves our attention. Who knows, maybe we can all inspire Jessy and Syndro-syS to get back in action if we listen to their music enough, right?
Anyway, Jessy can also be seen as a guest musician to a few very interesting bands and projects since the beginning of her undisputed career. For instance, she recorded all female vocals for the 2022 EP Exist in Ruin, by American Symphonic Black/Death Metal project Exist in Ruin; vocals for the songs Kimi Ga Yo, Seducing Dementia and Whispering Clouds, from the 2013 album Les 12 vertiges, and for the song Hate Me, from the 2019 album Le festin du lion, by French Electronic Industrial Metal act Herrschaft; vocals for the song L’étranger, from the 2018 album Standalone Episodes, by French Progressive Heavy Metal band Seasons; and vocals for the song The Edge of Time, from the 2015 album Symbiosis, by French Melodic Death/Groove Metal act T.A.N.K. Not only that, she also worked as a vocal coach for French Black Metal horde Houle in their 2022 self-titled EP, and their 2024 album Ciel cendre et misère noire.
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An opera singer, soprano and vocal coach, , as already mentioned, Jessy is more than a passionate musician, offering an array of services to accompany most types of celebrations including baptisms, weddings, funerals and tributes, as well as private events, supported by a varied repertoire of sacred music, operas and popular music, such as Ave Maria (Franz Schubert), Voi che Sapete (Wolfgang A. Mozart), When I am Laid (Henry Purcell), La Vie en Rose (Edith Piaf), Someone Like You (Adele), S’il Suffisait d’Aimer (Celine Dion), and many more, always delivering every piece with a ton of emotion to retrace your most beautiful memories. Not only that, she also lends her voice, composes and also collaborates with many international musical projects, just like her guest contributions to the aforementioned metal bands.
As a vocal coach and singing teacher, she will help you understand vocal technique and discover your voice, whether you are a beginner, an artist, or a professional speaker, using a personalized teaching approach that adapts to your needs, mastering several techniques that intertwine theoretical knowledge of the instrument and live practice. Jessy teaches artists and private individuals, always keeping in mind that each student is a unique individual with their own aspirations and energy. Since 2022, she coaches magistrates at the Paris, Angers, and Rennes Courts of Appeal to help them develop their voices as a professional tool. Furthermore, she incorporates elements of the Alexander Technique (a psycho-physical re-education method that improves posture, reduces tension, and enhances performance by teaching musicians to move with more awareness and ease) into her practice to give her students the tools to understand the fundamental mechanisms of their instrument and develop their autonomy.
If you think that’s not enough, Jessy is also an actress, embodying the voice that will bring your audiovisual production to life through voice-over or dubbing, for example, and she participates in some classical concerts within the network of conservatories in the Grand Paris Sud region. Moreover, apart from her private lessons as already mentioned, she also organizes and hosts conferences, masterclasses and workshops. You can enjoy several of her works on the Productions page on her own website, from video clips to short stories and TV ads. But wait, as there’s still more. Jessy has also embarked on a new endeavor, creating her own herbal tea intended for singers, voice professionals and all food lovers, having selected herbs with virtues recognized by voice specialists and entrusted the preparation of the recipe to Happy Plantes, a company of passionate herbalists, very involved in ethical production. The final product is named Élixir du chanteur, and you can get your own package from Jessy’s Big Cartel. The tea can be enjoyed as a snack or as a treatment for those who wish to prevent issues like vocal fatigue, respiratory tract, gastric protection, hoarseness, and so on, all certified from organic farming.
I told you that after knowing more about the indomitable Jessy “Christ” Vignolle you would get more than addicted to her voice, her music, her charisma, and maybe even to her herbal tea), and as long as she keeps firing her whimsical and hypnotizing vocals together with Usquam or any other band or project, we can rest assured the entire world of music will be a much better place. Would it be too much to ask Jessy and Usquam for a US and Canada tour? I’m beyond certain the fans on this side of the pond would go mental with their music. Thank you, Jessy, for your amazing contributions to music in general, and for making heavy music a much better place with your badass attitude. À plus tard!
These monsters of Melodic Thrash and Death Metal are back with a ruthless new offering, a four-track concept EP that fuses cinematic horror, crushing riffs, and lyrical dread into a singular apocalyptic vision.
Hailing from Bethlehem, Pennsylvania, Melodic Thrash/Death Metal unit Dissentience returns with their most conceptually ambitious and sonically punishing release to date, the EP Kaiju, following up on their 2022 full-length Empire Anatomy. Produced by Corey Pierce and Dissentience, engineered by Matt Menafro at Peach Pie Sound, mixed by Zeuss, mastered by Alan Douches at West West Side Music, and displaying an apocalyptic artwork by Matt Stikker, the new offering by Connor Valentin on vocals and guitar, James Vitale also on the guitar, Sean Langer on bass, and Nick Scherden on drums is a four-track concept EP that fuses cinematic horror, crushing riffs, and lyrical dread into a singular apocalyptic vision. Drawing inspiration from classic Japanese monster films and the unknowable terrors of Lovecraftian mythology, the record explores the narrative of a colossal, nameless beast as it decimates a city, and rather than paying tribute to kaiju lore in name alone, the band builds a world where riffs, lyrics, and production align to place the listener in the path of annihilation.
The opener Obsidian Tomb captures the initial moments of catastrophe, and just like in an apocalyptic movie the song starts in a serene, dark manner before turning into a pulverizing Thrash and Death Metal attack, with Connor’s vocals exhaling hatred and fury. Then we have Chaos Absolute, focusing on the political and social collapse that follows the attack, transpiring progressiveness and intricacy while also showcasing an overdose of violence flowing from all instruments. In addition, Nick’s drumming is a thing of beauty throughout the entire song. The title-track Kaiju then represents the climax of the EP, unleashing a relentless barrage of violence and devastation while the metallic bass by Sean crushes our damned souls accompanied by the ultra sharp riffs by James in a lecture in Progressive Death Metal; whereas Death Shroud transitions into the aftermath, a landscape of ash, grief, and existential dread, and that dreadful vibe is perfectly depicted in the grim riffage by James and the hammering drums by Nick, before a killer solo by James concludes the EP on a visceral mode.
With Kaiju, Dissentience have crafted a fully realized conceptual journey that pushes their sound further into new territory, refusing to imitate the past by forging a sound that avoids the trappings of nostalgia, drawing from influences like Trivium, Revocation and Lamb of God. You can get in touch with such an amazing new name of the current metal scene via Facebook and Instagram, subscribe to their YouTube channel, listen to their music on Spotify, and put your monster-like hands on Kaiju from the band’s BandCamp or webstore. Where others nod to monsters, Dissentience gives them voice, weight, and consequence like in Kaiju, sounding and feeling as heavy and thunderous as the giant creatures depicted throughout the entire album.
Best moments of the album:Chaos Absolute and Kaiju.
Less than one year after the release of their excellent debut, this melodeath beast from Down Under returns with eleven tracks of undisputed aggression, melody and electricity in their sophomore opus.
Less than one year after the release of their excellent debut album The Mountain Before Us All, the unstoppable Melbourne, Australia-based Melodic Death Metal/Metalcore ensemble Destroy Fear continues to build momentum with their sophomore album, entitled The Dark Carnival. Having recently updated their lineup, the band currently formed of Scott Masson on vocals, Jayden Genuis on lead guitar, Luke Baird on rhythm guitar and bass, and newcomer Ondre Barca on drums offers eleven tracks of undisputed aggression, melody and electricity in The Dark Carnival, inviting us all to slam into the pit while they kick some serious ass both in the studio and onstage.
The cryptic Intro to the Dark Carnival sets the stage for the band to kick our asses with Dark Carnival, where Jayden and Luke shred their axes nonstop, delivering killer riffs and solos and, therefore, offering Scott exactly what he needs to roar like a headbanging maniac. Ondre then showcases his dexterity and fury in Slings and Arrows, hammering his drums while his bandmates deliver a striking fusion of Metalcore and Hardcore; and a darker, more sinister start evolves into another feast of groove and heaviness titled Elusion, showcasing a more introspective side of the band. The incendiary Hypochondriac presents hints of Progressive Metal and even Djent, with Scott sounding truly enraged on vocals while the riffage by Jayden and Luke transpire madness; and the band continues to venture through Groove Metal lands the likes of Machine Head in Overcome, albeit a bit generic in the end.
The second half of the album begins with an explosion of aggression titled All for Nothing, where the metallic guitars and bass by Jayden and Luke walk hand in hand with Ondre’s pounding drums. The quartet still has a lot of fuel to burn in House of Cards, with Scott taking the lead with his visceral growls and clean vocals supported by the wall of sounds built by his crew; whereas it’s time to slam into the pit to the sound of Alpha Omega, with Ondre crushing his drums like there’s no tomorrow in a demented explosion of melodeath with an edgy Hardcore vibe. Their second to last metal attack comes in the form of Without Teeth, again presenting their trademark ferocity and groove through their rebellious vocals, caustic riffs and hammering drums, and last but definitely not least, Scott will vociferate rabidly in our faces one final time in Recreant, accompanied by another striking guitar work by Jayden and Luke.
A must-listen for admirers of the caustic melodeath played by In Flames, Trivium, Parkway Drive, and Heaven Shall Burn, among several others, The Dark Carnival is already available for a full listen on any streaming platform such as Spotify and Audiomack, and you can also check what the band is up to, including their live performances, on Facebook, Instagram, and YouTube, or simply click HERE for all things Destroy Fear. Speaking of their live concerts, Destroy Fear managed to released the album in time for Outcast Festival 2026 in Melbourne alongside Verona Lights, Machine On A Break, ANA, Ion Sky, Jupiter The Giant, and Silent Lakes, proving those guys are all about bringing to the stages the energy found in their studio albums, and I’m sure it won’t take long for their album number three to come to light, and for us fans to have a few more reasons to enjoy a nice mosh pit just like what they have to offer in the excellent The Dark Carnival.
Best moments of the album:Dark Carnival, Hypochondriac and Alpha Omega.
Worst moments of the album:Overcome.
Released in 2026 Independent
Track listing 1. Intro to the Dark Carnival 0:47
2. Dark Carnival 4:40
3. Slings and Arrows 4:31
4. Elusion 4:34
5. Hypochondriac 4:12
6. Overcome 4:36
7. All for Nothing 4:27
8. House of Cards 5:23
9. Alpha Omega 4:10
10. Without Teeth 4:37
11. Recreant 4:06
Band members Scott Masson – vocals
Jayden Genuis – lead guitar
Luke Baird – rhythm guitar, bass
Ondre Barca – drums
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”
I’m always on my own… Even in my dreams I die alone… Loneliness is a garment… Made of shadows hanging above…
There’s nothing better than kicking off the short but always freezing cold month of February than with an ultra talented vocalist and multi-instrumentalist who personifies the underground like our metal lady of this month, setting fire to the atmosphere with her undisputed blend of Extreme Metal. Known for her involvement with some amazing underground bands the likes of Zion Code and Cordiscord Elysium, and more recently for her undisputed solo career, releasing an array of first-class albums, she brings the noise directly from Germany to The Headbanging Moose, taking no prisoners in her quest for heavy music. Her name is Vanessa Funke, and after knowing more about her life and her career, I’m sure you’ll get addicted to her fusion of Melodic Death and Gothic Metal with an overdose of raw emotions and, therefore, feel beyond eager to get caught in a mosh while she kicks some serious ass both in the studio and onstage.
Hailing from Finnentrop, a municipality in Olpe district in North Rhine-Westphalia, Germany, Vanessa said in one of her interviews that music has been all around her basically her entire life, mentioning she remembers hearing the intro to Thin Lizzy‘s version of Whiskey In The Jar as a child and imagining that she would play it herself. “It took a while for me to pick up an instrument though, which was about 2009. I was absolutely fascinated with Mike Oldfield around that time, especially that he can play all those different instruments and basically creates albums almost on his own. That really was the impulse that led me to playing guitar and later keyboards. When I got into metal about two years later, I started to play it myself too.”
She believes the first ever metal song she learned on the guitar was Weather The Storm, by Finnish melodeath masters Insomnium, becoming the rhythm guitarist shortly after for a band named Storm Unleashed, which was basically her first step into the music business, naturally evolving more and more even after she decided to pursue her solo career. Clearly a huge fan of the Melodic Death Metal from the 90’s and 2000’s, she also started incorporating elements from Gothic Metal into her music, giving it even more depth, which consequently allowed her to explore darker emotions in her compositions.
Speaking of her solo career, it all began in 2017 when she started recording a few demos, which only came to light in 2022 as a compilation encompassing those demos from 2017 until 2021. After that, she kept firing her own blend of Melodic Death and Gothic Metal through the 2022 EPs Sorted Out and Broken, followed by the split Ode to Hopelessness (alongside French Depressive Black Metal act Angel of Suicide), her first full-length album Solitude, plus the splits Nothing Left… (with UK-based Black Metal outfit Black Apathy) and Anthems of Gomorrah / Vanessa Funke (with Pinellas County, Florida-based Black/Death Metal horde Anthems of Gomorrah), all also in 2022.
Then in 2023 she released the EP Reflections, the splits Lonely Suicide (with American Atmospheric Black Metal creature Nymphrenia), In the Shadow of the Lights (with a band named Luroga), A Road to Nowhere (with Panama’s own Black Metal entity The Last Weapon), and Barely Living on the Edge… (with the bands Nymphrenia, Black Apathy, Shallow Existence, and Have a Nice Life…), and her sophomore full-length opus entitled Dawn. In 2024, the EP Lament and the full-length Void saw the light of day, while in 2025 she brought into being the split Locomotion of Escape (with a band called Tachanka), and her fourth full-length installment, titled Requiem. All of those releases can be found on BandCamp and on Spotify, and on her official YouTube channel you can also find her official videos for songs such as Worthless, Broken Ground, Infelicity, and I Need You Tonight, among several others. Not only that, her music is also featured in a few interesting compilations, including the songs Solitude on the LDP Smörgåsbord Series #2 (released by Liminal Dread Productions in December 2023), Sorrow on Mind Over Metal 4: Volume 1 (released by Cave Dweller Music in May 2024), Buried on Black Metal Against Blackout (released in January 2024), and Dead Souls on Heavy for the Hollers (released by Liminal Dread Productions in November 2024).
One very interesting fact about her solo albums is that all of them have just one word in the title (Solitude, Dawn, Void, and Requiem), not to mention she keeps an impressive streak of one album per year. “I actually try to keep up the pace with one full length release every year. I’ve written so many songs that I have enough material for at least another album right now and several rough sketches and demos. When I get into this certain creative flow, I try to let it all out. Later I come back to these ideas and refine them. Having just one word as the title wasn’t something I planned. I released an EP called Broken in 2022, after that my first album Solitude followed and I basically just stayed with those one word titles since then. Fun fact: the album title never appears as a song title on the same album, but I do tend to use it later. For example, Solitude is the title of my first album, but also the title of the first song on Requiem,” explained our unstoppable metal diva.
Furthermore, she also explained the reason why the song titles in her latest album Requiem also have just one word, like Useless, Worthless, Sorrow, Death, and Buried, but that doesn’t mean her music should be labeled as Depressive Black Metal. “On this album I came up with the song names before I had the music. I wanted to be inspired by those simple words, like what do I feel when thinking about them and translate that feeling to music. Of course reading those titles can definitely imply something depressive, which is partially true because of the story behind it. But the music isn’t depressive black metal in my opinion, more a mixture between atmospheric black metal and funeral doom. The melodic death and gothic influence isn’t that strong here.”
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Apart form her undisputed solo career, Vanessa is (or was) also part of an interesting music project assembled to celebrate the 36th birthday of Alicia Cordisco (of Arizona’s own Thrash Metal beast Transgressive), with its collaborators spanning countries across three continents, including Canada, Germany, the Netherlands, Singapore, the United Kingdom, and the United States. The name of such a unique project is Cordiscord Elysium, a Melodic Death and Power Metal outfit with several guest musicians from different underground bands, and that released their debut EP titled Alicia Cordisco’s Amazing Birthday, in 2025, followed by the EP Alicia Cordiscord Autumnal Ball, and the single All Carols are Bangers, both also from 2025, and all available on BandCamp. From all songs recorded so far by the project, the most interesting one is hands down their cover version for Eagle Fly Free, by Helloween.
Prior to flying solo, Vanessa was a member of a Zanesville, Ohio-based Progressive Melodic Death Metal/Metalcore band named Zion Code, taking care of their vocal duties from 2022 to 2024, plus playing guitars, bass and keyboards for the band between 2023 and 2024. Formed in 2021 by vocalist and multi-instrumentalist Brandon Mitchell, the band has already released seven full-length albums and two EPs, with Vanessa being part of the 2023 albums Zion Code and Festung, and the 2024 albums Apocrypha and New Dawn Rising. Curiously enough, nothing is available on BandCamp nor on Spotify anymore for reasons beyond our knowledge. Anyway, apart from recording vocals, guitars, bass, keyboards and drums in those albums, Vanessa was also responsible for the production, mixing and mastering, and even the artwork for the 2023 album Festung. I’m curious to listen to Zion Code as I haven’t had a chance yet, but apparently there’s nothing available anywhere, not even unofficial videos uploaded on YouTube by random users.
She can also be found as a guest musician for some very interesting bands and projects. For instance, she recorded vocals for the 2025 album The Burden of I, by Tucson, Arizona’s own Melodic Black/Death Metal musician Alicia Cordisco; vocals for the 2023 single We Can Win, by California-based Avantgarde Black/Power Metal act Black Stag Rising; the dialogue on the song Lebenssinn, from the 2023 EP Die Welt schläft ein, by French Black Metal entity Myrkyttää; additional vocals on the song Remember Me, from the 2025 album Down the Drain, by American Depressive/Atmospheric Black Metal act Nymphrenia; and additional vocals on the song Writhing in Agony I: Reopening Wounds I Have Once Forgotten, from the 2023 EP Writhing in Agony, by UK’s Depressive Black Metal act Shallow Existence. Not only that, Vanessa was also responsible for the artwork for the 2023 album Broken Cleansing and the 2023 EP Afuckt Up Mess, both by American Metalcore/Technical Death Metal act A Karmic Gray, and for the artwork for the 2023 EP Chaos Undivided, by Ohio’s own Death Metal brigade Bloodthirster.
When asked about how she feels having the drum arrangements (as well as the mixing and mastering) done by Michael Easley for her latest album Requiem, she said that it was an exception under her one-woman band project. “I usually do everything myself. This one album is actually the exception. I used a pretty old drum plugin initially, which lacked some human feel. As Michael is a drummer, he offered me to change it a bit and put a bit more life into it, which I gladly accepted. But nothing was done without my approval of course. Also a lot of the music was recorded at a time where my mixing skills weren’t that good. So Michael basically polished it to make it sound similar to my previous albums. For the next album I already have a higher standard I set for myself, so I’m pretty sure right now that if I get it right the way I imagine it, there’s no need for changes afterwards.” Furthermore, she also shared a few words about her writing and composing style. “When I start to write a song, I only have one chords progression or a melody from which I build up the whole song. So most things actually just happen during the recording process. There’s not much planning ahead usually.”
One very interesting thing about her album Requiem is that it is based on her own experiences as a teenager. “If you look at the album in two different sides (songs 1-5 and songs 6-8), there are two different things I wrote about: the first side deals with the feeling of spiraling deeper into depression, while the second side deals with intrusive thoughts. I couldn’t be completely neutral, but I still tried to keep things vague enough so others can find their own story in this. For me personally this story is deeply tied to dysphoria, something that was really strong when I was younger, the fear of coming out and not being able to live as myself. Even if I’ve come a long way since then and it isn’t that bad anymore, I still felt the need to have an outlet for all these emotions.”
Last but not least, Vanessa is not the type of person that’s very active in social media. “I do use Instagram and Bluesky apart from Bandcamp, but generally I’m not that good in this social media game, so my accounts there are definitely not as professional as bands often have them. But I generally don’t feel the need to change that, as it feels more comfortable for me like this,” she commented, and we must all agree she’s doing the right thing. Focusing on her music, on the quality of her final product, is way more important to us listeners than having an active Facebook or Instagram account. And don’t worry, Vanessa, because your music is so good we can take care of the social media posting on your behalf, spreading your emotional music to the four corners of the earth. Because, in the end, that’s what good music is all about.
Blasting us across deserts, dunes, mountains, and woodlands, the first full-length offering by this blazing hot Texas-based Metalcore outfit goes deep and dark into the pit of our hearts.
Hailing from from the heart of Del Rio, Texas, the blazing hot Metalcore act known as Semper Acerbus (a Latin phrase that translates to “always bitter” or “always harsh”) goes straight for the jugular with their blistering third full-length album, titled Following Omens. Produced, mixed and mastered by Chris Mora (Upon a Burning Body, Kingdom Collapse), and showcasing a classy artwork by Federico Bossinga of Abstract Chaos Design (Dark Funeral, Dimmu Borgir, Old Man’s Child), the follow-up to their 2021 album Ouroboros sees the band formed of vocalist Nelson Acerbus, guitarists Jaime Vargas and Joe Dragich, bassist Sammy Farhat, and drummer Tyler Thomas deliver an explosion of sonic heaviness that thematically covers the whole of the psychological super spectrum, oftentimes all the way to the fringes where the darkness is the deepest and despair is thick as fog on old cobblestone. Lyrically, the band explores all types of toxic relationships leading to destructive aftermaths that teach us the hard lessons, the ones that change us forever.
A very Metalcore intro ignites the opening tune Suffering Awaits, exploding into a well-balanced mix of their core sound and nuances of Death Metal led by the venomous roars by Nelson. After such a demented start the band offers our avid ears Unwanted, with Tyler stealing the spotlight with his progressive, intricate drumming, whereas in One Day At A Time the title carries a deep meaning to all of us, and the band makes sure the music reflects that with its Melodic Death Metal and Metalcore riffs, background keys and anguished screams. And Jaime and Joe rev up the band’s metallic engine with their razor-edged riffs in The Gallows, inspiring us all to bang our heads nonstop to their scathing, electrifying extravaganza.
The second part of the album begins with the cinematic interlude Alluring Vendetta, warming us up for the hard hitting Archangel, where Nelson keeps vociferating rabidly from the bottom of his blackened heart accompanied by another rumbling performance by Sammy and Tyler armed with their respective bass and drums. Wounded sounds a bit generic compared to the other songs, as it doesn’t offer the same level of intricacy nor dynamism; fortunately, Torn Inside gets the band back on track with a striking blend of Progressive Metalcore spearheaded by the demolishing yet very technical drumming by Tyler, not to mention the guitars by Jaime and Joe are breathing fire. And their coup-de-grace comes in the form of District Coward, again presenting a truly menacing kitchen by Sammy and Tyler, as heavy and headbanging as it can be.
Blasting us across deserts, dunes, mountains, and woodlands, Following Omens goes deep and dark into the pit of our hearts while the band entertains themes of isolation, addiction, vendettas, and death, religion and romance, omens and ghosts. Such a must-see name of the current Metalcore scene is waiting for you on Facebook and on Instagram with news, tour dates and other nice-to-know details, and you can also stream their acid creations on YouTube and on Spotify, and purchase your copy of their excellent newborn spawn by clicking HERE or HERE. In the end, the new album by Semper Acerbus is perfect for those who want to rock out, while simultaneously important for those who need to engage in a search of the self. We dig them. We play them loud as all hell, and we’re one of them.
Best moments of the album:Suffering Awaits, The Gallows and District Coward.
Worst moments of the album:Wounded.
Released in 2026 Eclipse Records
Track listing 1. Suffering Awaits 4:11
2. Unwanted 3:22
3. One Day At A Time 4:05
4. The Gallows 3:40
5. Alluring Vendetta 1:00
6. Archangel 3:41
7. Wounded 3:37
8. Torn Inside 3:29
9. District Coward 3:51
Band members Nelson Acerbus – vocals
Jaime Vargas – guitar
Joe Dragich – guitar
Sammy Farhat – bass
Tyler Thomas – drums
What killed the dinosaurs? The Ice Age! But do you know what will crush you like an insect here on The Headbanging Moose? If you said it’s a ruthless bass player as our metal lady of this month of January to properly kick off the year of 2026, you’re damn right, my friend. She’s not only a member of one of the must-see names of the current Death Metal scene worldwide, but also a very talented tattoo artist. Her name is Samantha Mobley, also known as Sam Mobley, the badass bassist for Texas-based Death Metal entity Frozen Soul, and the owner and artist at Heavy Metal Tattoo, and after knowing more about such an up-and-coming artist who lives and breathes heavy music, you’ll definitely feel the heat in this always bitterly cold month to kick off another headbanging year in style.
Born and raised in Fort Worth, Texas, Samantha has always loved arts and music, constantly creating art as a child. “I’ve been an artist since I was a little girl, I would draw on anything I could get my hands on. Being a quiet and sensitive child, art was a perfect outlet for me, and it took up most of my time growing up, as well as having a love of music since I was little,” she commented. Always placed in advanced art classes in which she excelled, those were basically the only formal classes that allowed her to have structure and craft her technique. “I have done freelance photography, logos, artwork and graphic design since I was a teenager. I’ve become proficient in digital media, watercolor, oils, graphite, charcoal, acrylic, clay, and now, putting designs on skin,” said Sam, showing how talented she is not only in music, but also in arts in general.
Long before becoming a bassist, she spent around 11 years working as a pet stylist at a veterinary clinic, bathing, brushing, and styling everything from chihuahuas to great danes. “When Frozen Soul started, I was on a completely different career path. I was like a hermit pretty much. I just went to work and came home.” Also, despite the steady income coming form her days as a pet stylist, her decision to leave that stability and pursue her passion for music is a testament to her courage and determination, and all that can be easily noticed when you listen to her ruthless bass in any of the songs composed by Frozen Soul, proving she took the right decision to invest in her career as a musician.
She was gifted her first guitar at the age of 8, and a cherry red electric guitar at age 10, casually playing off and on throughout the years, always trying to teach herself the basics in between her studies. “I would listen to the radio, record it on a tape player, and teach myself how to play.” Sam grew up on 90’s alternative music, but quickly progressed into listening to heavier and heavier music in her teenage years. “The first thing that made me pick up an instrument when trying to learn how to play guitar was the band Kittie. I saw that they were all female and was like, ‘Shit, if they can do it, I can do it!’ I messed around with guitar in my free time when I was younger but as I got older I just really wanted to pursue music as it’s always been a huge passion of mine. When I finally got the opportunity to do so with Frozen Soul, at the time, the bass was the only instrument open. I had to learn it fast and now it’s my first instrument of choice, but I still play guitar passively too I guess.” She mentioned in an interview that she picked up bass at the end of 2018, and started practicing with a Black Metal band called Vermiculated. While short lived, it allowed her to get some experience under her belt. “We broke up right before I started playing with Frozen Soul, and shortly after (about a month or two after recording the Vermiculated demo) we recorded the Frozen Soul demo.”
However, not everything in her life has been as smooth as her career as a musician and as a tattoo artist, mentioning in an interview she struggled from the age of 15 up until about a few years ago with a mental illness misdiagnosis that deeply affected her life. “It caused me so many hardships, damaged relationships, setbacks, trauma, and ultimately, it caused me a lot of grief with the time lost in my late teens and all through my twenties. Now that I am in my early thirties, things have gotten much better for me because, honestly, I stopped being afraid of everything. I was too scared to go out of my comfort zone for too long and that squandered my potential because of it,” she said back then, but fortunately now she’s stronger than ever, kicking ass on and off stage with Frozen Soul, and spreading the beauty of her tattoos to the four corners of the earth.
Speaking of the frostbitten creature known as Frozen Soul, the band got together back in 2018 in Fort Worth, Texas, when vocalist Chad Green (End Times, Vulgar Display) and guitarist Michael Munday (End Times, Wildspeaker, Creeping Death, Disencumbrance, Contusions) set out to revive the primal force of 90’s Death Metal. After laying down initial riffs steeped in themes of winter’s desolation, the duo realized they needed a rhythm section capable of matching their vision. That’s when they recruited Sam, longtime acquaintance of both Chad and Michael. “I knew Michael and Chad, and they’re like, ‘Well, we need a bass player.’ I was like, ‘Fuck it, I’m going to learn how to play bass,’” she said in one of her interviews. Currently formed of our dauntless Sam Mobley on bass, the aforementioned Chad Green on vocals and Michael Munday on the guitars, Chris Bonner (Steel Bearing Hand, Tolar, Distort, Obstruction, Unit 21, Wild//Tribe) also on the guitars and Matt Dennard (End Times, Sage Fortune, Humanerror, High Anxieties, Negaduck, What They Lack) on drums, the band released the demo Encased in Ice, in 2019, followed by the split Live in Chicago 10/23/2019 (with the bands Molder and Coffin Rot), in 2020, their debut full-length album Crypt of Ice, in 2021, and their sophomore beast Glacial Domination (co-produced by Daniel Schmuck and Trivium’s own Matthew K. Heafy), in 2023 (including additional vocals by Sam herself on the song Morbid Effigy, which also features guest vocals by John Gallagher of Dying Fetus), all available on BandCamp and on Spotify.
The cold and ice-theme of the band might not make a lot of sense at first, as Texas is absolutely scorching during most of the year, but Sam perfectly explained why the band decided to move in such a unique direction. “We wanted to incorporate a band theme that was both true to the brutal nature of death metal without being played out . We like to think our theme sets us apart and gives us a different feel than most bands. It may be hot here, but we’re cold blooded,” she commented. Furthermore, if you want to feel the frostbitten Death Metal crafted by Sam and the boys, you can enjoy the official videos for the fantastic, bitterly cold Death Metal bangers Glacial Domination, Crypt of Ice, Arsenal of War, Encased in Ice, and their most recent single, a cover version for White Zombie’s Creature of the Wheel. Not only that, as Frozen Soul are a band that simply kicks ass onstage, you can also check out several videos on YouTube with their live performances, like their demolishing full set at Bloodstock Open Air Metal Festival 2023.
She mentioned in one of her interviews that some of her favorite bands growing up and her biggest influences are, in no particular order, Dissection, Acid Bath, Cannibal Corpse, Dying Fetus, Bolt Thrower, Crowbar, Black Sabbath, Pantera and Type O Negative, and let’s be honest, all of those influences can easily be seen in her playing style and sound. “I basically just try to be as punchy as possible without overpowering the guitars. I try to be as heavy as possible – the nastier the tone the better.” Frozen Soul are actually compared to Bolt Thrower a lot, and Sam is truly proud of it. “Jo Bench (Bolt Thrower) and Alex Webster (Cannibal Corpse) are my two main influences on bass,” she commented. Moreover, although we don’t have her list of top 10 albums of 2025 yet, you can find online her top 10 albums of 2024, a kickass list, by the way, including Mortal Wound’s The Anus of The World (10), Modem’s Megalomania (9), Gost’s Prophecy (8), Undeath’s More Insane (7), Blood Incantation’s Absolute Elsewhere (6), Enforced’s A Leap Into The Dark (5), Fluids’ Reduced Capabilities (4), 200 Stab Wounds’ Manual Manic Procedures (3), Necrot’s Lifeless Birth (2), and Fulci’s Duck Face Killings (1).
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Let’s now switch gears to her career as a tattoo artist. Owner and artist at Heavy Metal Tattoo, she specializes in colorful traditional and neo-traditional tattoos. “I started a tattoo apprenticeship in 2019, and graduated to a full time tattoo artist that same year.” She said that when she was a teenager, she was also big into painting and charcoal arts. “I took a little break from it in my twenties but it’s really what I love to do. Tattooing has always been super cool and at the time was a good way for me to earn a living while still doing art everyday. I did an apprenticeship and then I got really busy with clientele and then the opportunity presented itself for me to open my own shop. I knew nobody was going to let me work at a regular tattoo shop and be gone seven months out of the year on tour so I decided to open my own shop and that’s pretty much how it was all born.”
With Heavy Metal Tattoo, she has put together a solid team of tattoo artists who share a collective vision to make the shop an all-inclusive and safe space for their vast clientele in a male-dominated industry that has often not prioritized inclusion. “I want everyone to feel like they are welcome there and that it’s a safe play to get tattooed where you’re not going to get harassed or feel uncomfortable by male tattooers — which is a pretty big problem in the tattoo industry. Everyone’s welcome and I just want everyone to have a good time. I also want it to be a good environment for everyone who works there to grow in their career.” She also had some nice words to say about how to gain a loyal clientele. “Networking is a newer thing to me as of this past year… I’m pretty introverted. I’ve found Instagram to be the best for showcasing your work and gaining new clientele. Tattooing my friends that are also musicians or heavily involved in the local music scene has been very helpful too,” commented Sam in one of her interviews.
Back to her career as a musician, more specifically to the equipment she uses as a bass player both in the studio and when she’s kicking some serious ass across the stages worldwide, Sam said that she currently alternates between an 87 NJ BC Rich Warlock with DiMarzio pickups in it, and a 5 string Legacy Series Widow with active EMG pickups, while her pedal board consists of a Decimator, the Lone Wolf Audio Caveman pedal, a Metal Muff and her tuner. For her cab, she plays on a 8×10 Ampeg, and for her head she uses an Ampeg SVT4PRO.
Having already scored high-profile tours with Death Metal legends the likes of Cattle Decapitation, Aborted and Gatecreeper, and an arena run with Swedish Melodic Death Metal veterans Amon Amarth, Frozen Soul are already a force to be reckoned with when they hit any stage, but of course as their touring schedule gets busier and busier, all band members, including obviously Sam, have less and less time for other activities outside of the band. “It’s been very busy and very crazy. Last year, I think we toured seven months out of the year but this year has been a constant grind with touring to get our name out there and promote our new record. It’s been awesome though and it’s been nice to see the reception to everything. That tour with Amon Amarth really was an affirmation that we are doing the right thing. For some of the shows, we were playing to six-thousand people a night, so going from 800-cap venues to that was a little bit jarring but also really cool,” she commented.
During such a hectic touring schedule, Sam always finds time for herself. “For self care, on an off day I will do my own thing and take an Uber somewhere to get a pedicure, manicure or maybe a massage. I feel like that is very important for me on tour because I’m always the only woman in the band. It’s very chaotic and hectic every day, so having a little bit of peace, at least once a week is essential,” she said, also commenting about other things that help her calm down, relax and decompress from her touring madness. “Sometimes, I’ll go find a local card store and play Magic: The Gathering or go shopping even if I don’t end up buying anything. I feel like I’m kind of bougie but I bring a massage gun, face masks and satin eye things to help me go to sleep which really helps me. I also bring my Steam Deck so I can play video games. Any little thing helps.”
Moreover, among all concerts ever played by Frozen Soul, there’s one in particular in 2024 that holds a very special place in her heart. “One of the things that I’m super proud of is when we played Red Rocks Amphitheatre last year with Amon Amarth, Cannibal Corpse, and Obituary. All of our families flew out for that. I did special makeup. And I had special stuff on. I had a special bass. And I played what I would consider a perfect set. We were technically the first death metal band to play there. So we have a plaque at Red Rocks. And that means I’m the first female death metal musician to play there as well.” Her first ever concert with Frozen Soul was also a special one for her and the boys, of course. “It was weird for me because I had never toured. Hell, my first live show was with Blood Incantation and Necrot. That was my first time playing live – ever! I still actually get nervous to this day.”
As a proud and strong woman, Sam also had a few beautiful words to say to any girl who wants to start a career in heavy music or in tattooing. “I am in two professions that are male-dominated. My advice is to study hard, work your ass off, and don’t take anyone’s shit. Do everything with your whole heart because anything less is not worth doing. My advice for other women and younger women especially would be to just figure out what means the most to you and just go for your dreams. The worst that can happen is that you fail. And even failure is not an excuse to give up. Keep trying, learn from your setbacks, because sometimes wonderful opportunities will present themselves as a result.”
As expected, our dark diva is also a huge fan of the occult. “I have an entire wall of books that are just occult and astrology stuff. I used to study pagan witchcraft when I was younger and studied it heavily for fifteen years and am still very interested in it. I would say the ‘three of swords’ card is my favorite, I actually wanted to get that tattooed on my chest at one point. I’ve always liked the imagery of it and think it looks sick.” There are lots of excellent interviews online with Sam where she talks about different topics like that, such as episode 55 of the series “She’s with the Band” by Knotfest, where she discusses her passion for Death Metal and tattoos, being the only woman on tour with a lot of men, and more, and you should definitely go check all of those interviews, as well as the music by Frozen Soul. Because Samantha Mobley is an indomitable bassist and tattoo artist that’s getting stronger and more prominent in the world of heavy music year after year, and you better get ready as once she hits you with her devilish music and art, there’s no escape from her ice-cold embrace.
There’s not much to celebrate in rock and metal music in the same year when we lost the one and only John Michael “Ozzy” Osbourne. Nothing will ever be the same without the Prince of Darkness, the Madman, The Wizard of Ozz. There isn’t a single artist or band reviewed in the history of The Headbanging Moose that wasn’t influenced in several ways by Ozzy and, of course, by Black Sabbath. It is a very sad year indeed. However, Ozzy was always in a great mood, always happy, and I’m sure that, wherever he is now, he wants to see us all smiling and laughing, because that’s what life is all about. He also wants us to keep attending rock and metal concerts to have a good time with our loved ones, with our closest friends, just like Keith Ibbitson of Metal Paparazzi and I did so many times this year, covering incredible bands the likes of Blackbraid, Ne Obliviscaris, Cattle Decapitation, Blind Guardian, and so on. I’ve also had the utmost pleasure of seeing the mighty Judas Priest in Dalhalla, Sweden, a dream come true for this fanboy here, and I can’t wait to “run for my life” in 2026. Having said all that, let’s honor the life of Ozzy with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2025, excluding EP’s, best of’s and live albums, and keep on rockin’ like the Madman until our very last breath!
1. Blackbraid – Blackbraid III (REVIEW) Behold the stunning next chapter in the musical and spiritual journey of the witch hawk of Black Metal hailing from the Adirondack Mountains.
Best song of the album: Wardrums At Dawn On The Day Of My Death
2. Werewolves – The Ugliest of All (REVIEW) The torchbearers of “Caveman Death Metal” continuing to annihilate intellects with an unlistenable barrage of truly hideous music.
Best song of the album: The Ugliest of All
3. Testament – Para Bellum (REVIEW) Let’s prepare for war to the sound of the breathtaking fourteenth studio album by California’s own masters of old school Thrash Metal.
Best song of the album: Para Bellum
4. Helloween – Giants & Monsters (REVIEW) These German giants of Heavy Metal and monsters of Rock N’ Roll are back with their ass-kicking seventeenth studio album.
Best song of the album: Majestic
5. An Abstract Illusion – The Sleeping City (REVIEW) This incredible Swedish Progressive Death and Black Metal entity returns with their heaviest and most atmospheric work to date.
Best song of the album: Like a Geyser Ever Erupting
6. Allegaeon – The Ossuary Lens (REVIEW) World domination awaits to the sound of the striking new beast by one of the must-see bands of the current tech death scene worldwide.
Best song of the album: The Swarm
7. 1914 – Viribus Unitis (REVIEW) Trench warfare meets blackened death and doom in 1914’s fourth onslaught of war-torn fury.
Best song of the album: 1918 Pt 3: ADE (A Duty to Escape)
8. Cryptopsy – An Insatiable Violence (REVIEW) Canada’s own Death Metal machine returns with their ruthless ninth studio album.
Best song of the album: Until There’s Nothing Left
9. Baest – Colossal (REVIEW) Back from the fires of Denmark, this unstoppable creature will crush you with their fourth studio album.
Best song of the album: Colossus
10. Diabolizer – Murderous Revelations (REVIEW) The torchbearers of diabolical abomination unite once again to drag us down into the fiery abysses of Turkish Death Metal without warning.
Best song of the album: Deathmarch of the Murderous Tyrant
And here we have the runner-ups, completing the top 20 for the year:
11. Lorna Shore – I Feel The Everblack Festering Within Me (REVIEW)
12. Impureza – Alcázares (REVIEW)
13. Crimson Shadows – Whispers of War (REVIEW)
14. Primal Fear – Domination (REVIEW)
15. Serenity In Murder – Timeless Reverie (REVIEW)
16. Khôra – Ananke (REVIEW)
17. Panzerchrist – Maleficium – Part 2 (REVIEW)
18. Ominous Ruin – Requiem (REVIEW)
19. Wrath of Belial – Embers of Dead Empires (REVIEW)
20. Grima – Nightside (REVIEW)
Not only that, here’s once again our Top 10 EP’s of 2025, proving once and for all that the duration of an album is not that important in the end. As long as the music is great, the whole thing can be only one second long, like the classic “You Suffer” by Napalm Death!
1. When Plagues Collide – Kingmaker (REVIEW)
2. De Profundis – The Gospel Of Rot (REVIEW)
3. Fimbul Winter – What Once Was (REVIEW)
4. NecroticGoreBeast – Brute (REVIEW)
5. Serpent Corpse – Retaliate (REVIEW)
6. Akouphenom – Connections To The Erebus (REVIEW)
7. Necht – The Inevitable Suffering (REVIEW)
8. Discovery Through Torment – Telesynthetic Rebirth (REVIEW)
9. Der Rote Milan – Verlust (REVIEW)
10. Eleine – We Stand United (REVIEW)
Do you agree with our list? What are your top 10 albums of 2025? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show!
Metal Xmas and a Headbanging New Year! See you in 2026!
And of course, as we really don’t like those boring Christmas songs here on The Headbanging Moose, we’ll leave you with what’s perhaps the most emotional and strongest metal hymn of the year, the charity version of “War Pigs”, by Black Sabbath, recorded by Judas Priest and with Ozzy himself sharing the vocal duties with the Metal God Rob Halford! This is the epitome of rock and metal music!
Generals gathered in their masses Just like witches at black masses…