Tag Archives: melodic death metal

Album Review – Hyperion / Elysia (2026)

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After a decade since the release of their critically acclaimed debut album, this Swedish Melodic Death and Black Metal horde returns with their incendiary sophomore opus.

After a decade since the release of their critically acclaimed debut album Seraphical Euphony, Stockholm, Sweden-based Melodic Black/Death Metal band Hyperion is back in action with their sophomore opus, titled Elysia. Recorded between 2020  and 2023 at Wing Studios, Studio Forlorn Halls and in various private locations, mixed and mastered by Sverker Widgren between 2023 and 2024 at Wing Studios, and showcasing a sinister artwork by the always great Khaos Diktator Design, the new album by Erik Molnar on the guitars, synthesizer programming and spoken words, Joel Hagroth on the guitars and spoken words, Mikael Malm on the guitars, Raul Vicente on bass, and Mauritz Flodin on drums and orchestrations offers a barrage of guitars and symphonies of a kind that is rarely seen, but great care has been taken to make them complement each other and draw you in to discover more the deeper you get.

The beyond atmospheric and cinematic intro Rapturous Overture sets the stage for Hyperion to crush our souls in Nefarious Sacrament of the Immorals, featuring guest Johan Nephente on vocals, kicking things off with endless fury to the blast beats by Mauritz and the scathing riffage by Erik, Joel and Mikael. Fides Novem, featuring guest vocalist Elias Lyxell, keeps their Black Metal magic burning to the killer riffs and solos by the band’s guitar triumvirate, followed by Iliou Persis, with the one and only Atterigner on vocals, not to mention the battle choir brings an overdose of epicness to the music, as well as Mauritz’s infernal drums. And Paraphrosynia, featuring Karin Eriksson on vocals, brings forward 12 minutes of absolute chaos and insanity, with Karin’s vocals reminding me of old school creations by Cradle of Filth, with all guitars, bass, keys and drums sounding stunning until the very end.

Then investing in an even more demented sonority we have Perennial Transcendence, with all grim vociferations matching perfectly with the thunderous kitchen by Raul and Mauritz; and after the acoustic interlude Vigil of Longing we face the second longest song of the album, titled Epic of Tribulation, starting in a phantasmagorical manner before morphing into a grandiose Symphonic Black Metal aria led by Mauritz’s crushing drums. Furthermore, the despair and obscurity flowing from all vocals is stunning. Epoch’s Eventide also alternates between darker, doom-ish moments and the sheer aggression of Black Metal, with the synths by Erik bringing an extra kick to the overall result, before we face The Primordial Wellspring, where despite its climatic vibe, it doesn’t know if it’s a ballad, an acoustic song or a classic Symphonic Black Metal tune.

“Elysia is an explosion of intensity in all kinds of directions. To call it an ambitious album would be an understatement. Hyperion never creates music with half measures and this is the ultimate statement of that. It is different from Seraphical Euphony, but still contains the vital elements that make us what we are. To make this album a reality has been a titanic effort and we are beyond excited to finally have it released to the world,” commented the band about their incendiary newborn spawn, and if you want to know more about such a talented horde hailing from Sweden you can find those guys on Facebook and on Instagram, stream their caustic music on any platform such as Spotify, and of course, above all that, show them your total support and admiration by purchasing their new album from their own BandCamp, as well as from the Willowtip Records’ BandCamp. This is Swedish Melodic Death and Black Metal at its finest, and let’s hope it doesn’t take another ten years for Hyperion to kick our asses once again with a new album just as great as Elysia.

Best moments of the album: Nefarious Sacrament of the Immorals, Paraphrosynia and Epic of Tribulation.

Worst moments of the album: The Primordial Wellspring.

Released in 2026 Willowtip Records

Track listing
1. Rapturous Overture 2:41
2. Nefarious Sacrament of the Immorals 6:52
3. Fides Novem 8:52
4. Iliou Persis 6:39
5. Paraphrosynia 12:41
6. Perennial Transcendence 6:52
7. Vigil of Longing 1:20
8. Epic of Tribulation 10:58
9. Epoch’s Eventide 9:18
10. The Primordial Wellspring 7:22

Band members
Erik Molnar – guitars, synthesizer programming, spoken words
Joel Hagroth – guitars, spoken words
Mikael Malm – guitars
Raul Vicente – bass
Mauritz Flodin – drums, orchestrations

Guest musicians
Johan Nephente – vocals on “Nefarious Sacrament of the Immorals”
Elias Lyxell – vocals on “Fides Novem”
Atterigner – vocals on “Iliou Persis”
Karin Eriksson – vocals on “Paraphrosynia”
Erik Molnar, Joel Hagroth, Mikael Malm, Mortuz Denatus, Johan Camling & Henrik Edman – battle choir on “Iliou Persis”

Album Review – Ereboros / From Oblivion to the Grave (2026)

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Behold the debut full-length by this Brazilian Death Metal squad, transforming personal pain into something honest, confrontational, and deeply expressive.

Formed in Rio de Janeiro, Brazil in 2023, the ruthless four-piece squad known as Ereboros combines aggressive Death Metal with dark atmospheres, culminating now in 2026 with the release of their debut offering, titled From Oblivion to the Grave. Recorded, mixed and mastered throughout 2025 in Brazil, and self-produced by Ereboros under the direction of Victor Mendonça, the debut by Thiago Barbosa on vocals and guitar, Juan Carlos also on the guitar, Paulo Doc on bass, and Victor Mendonça on drums was born from real-life experiences, diving into suffering, anxiety, disillusionment, and the struggle to find meaning in the middle of chaos. Many of the lyrics were shaped by difficult moments faced by Thiago Barbosa and Victor Mendonça, transforming personal pain into something honest, confrontational, and deeply expressive.

The cinematic intro From Oblivion to the Grave opens the gates of the underworld for the band to kill in Distorted Man-made Concept, with Thiago roaring and barking in great Death Metal fashion, supported by the pulverizing drums by Victor. Thiago and Juan deliver killer riffs and solos in the Melodic Death Metal-infused tune The Agony of Existence, followed by Salute to Disorder, blending the heaviness of Amon Amarth with the visceral sounds from Cannibal Corpse, with Victor once again sounding inhumane behind his drums. And they keep slashing their axes in the name of Death Metal in Dissonant Soul, with Thiago once again roaring the song’s devilish words nonstop.

Their modern take on old school Death Metal again works majestically in Nocturnal Paranoia, flirting with Technical and Progressive Death Metal at times thanks to the phenomenal job done by Victor on drums. We then face the epic interlude One Last Pulse, warming up our souls for another venomous attack titled In the Depths of Misery, alternating between sheer savagery and more technical and melodic moments where Paulo and Victor make the earth tremble as usual. Progenies of the Unseen is by far one of the most detailed songs of the entire album, with their guitars breathing fire from start to finish in an ode to Death Metal; and they close the album with the doom-laden Death Metal tune At the Gallows of Doom, sounding heavy-as-hell but not as detailed as the other songs. It’s still infernal as expected, of course.

Bringing together crushing riffs, relentless aggression, and suffocating atmospheres, balanced by melodic passages that give the songs greater emotional weight without taking away from their intensity, From Oblivion to the Grave is highly recommended for fans of Hypocrisy, Septicflesh, Morbid Angel, Carcass, and Dissection, among many others, and if you want to give the band a shout and enjoy more of their music you can find them on Facebook, on Instagram, on YouTube, on Spotify, and on Apple Music, and of course purchase their killer new album from BandCamp. In summary, finding any type of meaning in absolute chaos is never easy. Quite the contrary, it’s an excruciating task, and the guys from Ereboros more than succeeded in turning all that frustration into high quality Death Metal in their awesome debut album.

Best moments of the album: Distorted Man-made Concept, Nocturnal Paranoia and Progenies of the Unseen.

Worst moments of the album: At the Gallows of Doom.

Released in 2026 Independent

Track listing
1. From Oblivion to the Grave 1:16
2. Distorted Man-made Concept 4:05
3. The Agony of Existence 4:47
4. Salute to Disorder 3:15
5. Dissonant Soul 3:53
6. Nocturnal Paranoia 4:51
7. One Last Pulse 1:05
8. In the Depths of Misery 4:22
9. Progenies of the Unseen 3:55
10. At the Gallows of Doom 5:31

Band members
Thiago Barbosa – vocals, guitar
Juan Carlos – guitar
Paulo Doc – bass
Victor Mendonça – drums

Concert Review – Arch Enemy & The Black Dahlia Murder (The Danforth Music Hall, Toronto, ON, 11/01/2026)

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It was absolute wrath over Toronto on a stunning night of Melodic Death Metal magic, courtesy of five of the must-see names of the current scene worldwide.

OPENING ACTS: Thrown Into Exile, Crypta and Septicflesh

We definitely cannot complain about the stunning weather that’s been over Toronto for weeks already, with no rain nor any major cold events at all. Quite the contrary, we’ve been experiencing a lot of sunshine, warm temperatures sometimes above +20oC, and no strong winds. That perfect combo made this Sunday night even more enjoyable when THROWN INTO EXILE, CRYPTA, SEPTICFLESH, THE BLACK DAHLIA MURDER and ARCH ENEMY destroyed us all with their undisputed Wrath Across North America 2026 Tour at The Danforth Music Hall, another first-class event brought to the city by Noel Peters of Inertia Entertainment. My buddy Blair Burch and I once again had a lot of fun covering the entire night, and in my case it was even more memorable since I’m a huge fan of both Crypta and Arch Enemy (to be fair, I’m a fan of all bands from such an incredible lineup), with all bands kicking our asses mercilessly and putting a huge smile on the faces of everyone who could not only enjoy a night of killer heavy music, but also do that without having to carry their heavy fall or winter coats.

After doors opened at 5pm, everyone who was already at the venue had basically one hour to chat with their friends, have a few beers, and grab some merch (and all bands had some top-of-the-line items, by the way) before Los Angeles, California’s own Metalcore act THROWN INTO EXILE kicked off the night with another electrifying performance, coincidentally again opening for Arch Enemy. And just like Arch Enemy, the band has a new vocalist, Joshua Santos (as well as new drummer, Hank Lin), not to mention their bassist couldn’t join them on this tour and was replaced by two of the tech guys from the other bands if I’m not mistaken. The band has been releasing a few interesting single in the past year (all available on Spotify), and two of those are part of their setlist, Nihilist and Behind the Veil, both igniting some serious mosh pits in Toronto, and if that’s an indication of what to expect from their next album, it’s going to be a banger.

Setlist
Send Me Below
Nihilist
Behind The Veil
Remorse
You’ve Fallen so Far

Band members
Joshua Santos – vocals
Mario Rubio – guitars
Austin Monzon – guitars
Javier Quinto – bass
Hank Lin – drums

The next band to hit the stage at The Danforth Music Hall were the unrelenting girls from Brazilian Death Metal brigade CRYPTA, and as expected they simply dpulverized us all and melted our faces with another demonic (yet short) performance in Toronto. Fernanda Lira, Tainá Bergamaschi, Victoria Villarreal and Luana Dametto showed no mercy for our putrid souls with a lecture in Death Metal, playing songs from their two albums Echoes of the Soul and Shades of Sorrow, plus their insanely dark, Black Metal-infused single A Portrait of Decay, all available on BandCamp and on Spotify, leaving us all completely disoriented and eager for more of their music in a not-so-distant future. Fernanda’s vocals were beyond devilish from start to finish, proving why she’s one of the best growlers of the new generation, and the next time Crypta pay a visit to Toronto I’m sure it will be a sold out show. And of course, the mosh pits will be brutal.

Setlist
The Other Side of Anger
Lord of Ruins
The Outsider
A Portrait of Decay
From the Ashes

Band members
Fernanda Lira – vocals, bass
Tainá Bergamaschi – guitars
Victoria Villarreal – guitars
Luana Dametto – drums

The lineup for this Wrath Across North America 2026 Tour is so fantastic to the point one of the special guests is already a headliner. I’m talking about the mighty Greek Atmospheric/Symphonic Death Metal institution SEPTICFLESH, one of those bands that you must see live (and listen to their discography anywhere like Spotify) if you consider yourself a true metalhead. Songs like Martyr, Anubis and Dark Art are always a treat, played to perfection by Spiros Antoniou, Psychon and Kerim “Krimh” Lechner. As you might have noticed, I left Christos Antoniou out of the list because, as explained by Spiros, he injured his ribs a couple of days before the tour started, but the band decided to still do the tour as a trio. Their sound was still massive, bold and hypnotizing, and the fans inside the pit were having a great time enjoying the band’s crushing heavy music. We all wish a speedy recovery for Christos Antoniou, and of course, as soon as he’s ready to rock again, we demand another Septicflesh concert in Toronto.

Setlist
Communion
The Vampire From Nazareth
Martyr
Coming Storm
Anubis
Dark Art

Band members
Spiros Antoniou – harsh vocals, bass
Psychon – guitars
Kerim “Krimh” Lechner – drums

THE BLACK DAHLIA MURDER

It was around 8:20pm when the first co-headliner of the night, Detroit, Michigan’s own Melodic Death Metal beast THE BLACK DAHLIA MURDER, brought another round of absolute violence, groove and hatred to the city of Toronto. Their setlist was once again a well-balanced mix of old school songs with newer material from their 2024 album Servitude, all available on BandCamp and on Spotify, and Brian Eschbach, Ryan Knight, Wes Hauch, Max Lavelle and Alan Cassidy made sure the intensity and fury of each song was multiplied by a thousand live. Those guys were on fire from the very beginning, absolutely happy to see their Torontonian fans kicking ass inside the mosh pit the entire show, and that connection between band and crowd was one of those things I love to witness at metal shows.

Not only the mosh pits were wild, but there was endless crowd surfing happening too, and some of those crowd surfers were the Toronto banana guys, a staple in the local music scene. And do you know who loves bananas? The band’s own Statutory Ape, who got into the stage jumping like a maniac during such an incendiary song, and was so excited he even went down to the mosh pit and then back to the stage crowd surfing. It was excellent, and proof that only metal concerts can provide you with pure, organic and no shenanigans fun. If you don’t like The Black Dahlia Murder, I’m sorry, but you’re bananas. Pun intended. And before I forget, happy birthday to their bassist Max Lavelle! It must have been really cool celebrating his birthday on tour in a city like Toronto, who sang a nice and loud Happy Birthday to the guy, and I’m sure he’ll want to come back to the city with his band sooner than his next birthday for another demolishing concert.

Setlist
Necropolis
Contagion
Mammoth’s Hand
Moonlight Equilibrium
Panic Hysteric
Nightbringers
Everything Went Black
Cursed Creator
A Vulgar Picture
Miscarriage
Statutory Ape
Christ Deformed
Utopia Black
What a Horrible Night to Have a Curse

Band members
Brian Eschbach – vocals
Ryan Knight – guitars
Wes Hauch – guitars
Max Lavelle – bass
Alan Cassidy – drums

ARCH ENEMY

Finally, after waiting years and years to see American-born-but-raised-in-Australia vocalist Lauren Hart live (as I’m already a fan of her vocals since her work with Once Human), I had the pleasure of witnessing such a beautiful lady simply pulverizing our souls with a breathtaking performance as the new voice of Swedish Melodic Death Metal institution ARCH ENEMY. After Sunday night I must say Lauren is not just a good fit for the band after the departure of Alissa White-Gluz, but a more-than-perfect choice for the job, injecting a humongous amount of adrenaline to the band’s already venomous music. She was unstoppable onstage, always smiling, always headbanging, always raising her horns, and the crowd was simply loving all that energy and passion, with the intense circle pit and crowd surfing turning up the heat considerably inside the venue. It was one of the wildest Arch Enemy concerts of the past few years in the city hands down.

So far, there’s only one song recorded with Lauren on vocals, the excellent To the Last Breath (available on both Bandcamp and Spotify), but that doesn’t mean she didn’t nail it while singing all other songs form their setlist. Quite the contrary, her screams were insane, supported by the classy riffs and solos blasted by the iconic Michael Amott, as well as Joey Concepcion, Sharlee D’Angelo, and the beast Daniel Erlandsson. Also, although Lauren mentioned Ravenous was the song that inspired her to scream while introducing herself to Toronto, she was simply phenomenal in Taking Back My Soul, in Dead Bury Their Dead, and in special in Bury Me an Angel, where she did an almost perfect impersonation of Johan Liiva singing. Don’t get fooled, my friends. Lauren might be all smiles, but when she’s screaming she’s absolute evil (in the best way possible, of course). After the all-time classic Nemesis, followed by Fields of Desolation (and a bunch of black and red balloons), the band said their farewells to the crowd, and I bet we’ll see them back sooner than you can scream “ravenous.” Hopefully already with a new album with Lauren on vocals, because with her fronting the band now, Arch Enemy sound deadlier than ever.

Setlist
Ace of Spades (Motörhead song)
Khaos Overture
The World Is Yours
Ravenous
War Eternal
Blood Dynasty
My Apocalypse
To the Last Breath
Taking Back My Soul
The Eagle Flies Alone
Bury Me an Angel
Dead Bury Their Dead
No Gods, No Masters
Nemesis
Fields of Desolation (Outro)
Enter the Machine

Band members
Lauren Hart – vocals
Michael Amott – lead guitars, backing vocals
Joey Concepcion – lead guitars, backing vocals
Sharlee D’Angelo – bass
Daniel Erlandsson – drums

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Album Review – Insolitus / The Monumental Fall (2026)

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An up-and-coming Belgian Melodic Death Metal collective is ready to strike armed with their incendiary debut offering.

A Belgian Melodic Death Metal collective utterly determined to forge something epic and memorable without following fleeting trends, Insolitus are ready to unleash hell armed with their debut offering, titled The Monumental Fall. With a sound built on a foundation of crushing riffage and articulate, driving percussion, layered with catchy and intricately intertwining melodies, the debut opus by Leslie Stroobant on vocals, Floren Van Stichel, Fré Clement and Kaatje Desmet on the guitars, and Dries Claeys on drums presents 11 original tracks inspired by the classic melodeath sound blasted by bands the likes of Amorphis, Nevermore, The Halo Effect and Soilwork, while at the same time offering a fresh twist added to their core sound by each band member.

The opening track Crossing Voyage sounds modern while remaining loyal to the foundations of Melodic Death Metal, with Floren, Fré and Kaatje already offering a triple riff attack tailored for fans of the genre; and their guitars kick off the electrifying A Dream Resonance, also presenting a Progressive Metal vibe while Leslie roars in great fashion, followed by Reclaim the Flame, as incendiary as its title, with Dries stealing the spotlight with his hammering drums. In Search For reminds me of some of the more modern creations by In Flames, with Leslie once again delivering sheer adrenaline through his harsh vocals, while Leap of Life presents another traditional take on Scandinavian Melodic Death Metal with a Belgian twist, and of course, their guitars re again breathing fire. And after such a solid tune we have Beneath a Thousand Eyes, showcasing the hammering drums by Dries accompanied by the slashing riffs by Floren, Fré and Kaatje.

Whisperbox is not as vibrant as the other songs despite bringing forward another striking, intricate guitar attack by the band’s trio. It could have been more ferocious and a little less melodic. Then back to a more aggressive sonority we face The Dying Light of Day, with Leslie’s vocals transpiring rage and fury until the very end; whereas Soar has a very cool and epic vibe, inviting us all to raise our fists together with the band in the name of melodeath. Of Time and Change sounds and feels just as epic as the previous song, with Leslie’s harsh vocals being nicely boosted by all clean and backing vocals. Lastly, the title-track The Monumental Fall puts an end to the album with its imposing wall of sounds, feeling like a climatic conclusion to an adventure movie.

Bringing melody-driven heavy music with both clean vocals and harsh vocals, and lyrics rooted in themes of authenticity, empowerment and emotional honesty, Insolitus are on fire throughout their debut offering, and you can give those talented Belgians a shout on Facebook and on Instagram, keeping an eye on their tour dates, stream their music on Spotify, and of course purchase a copy of The Monumental Fall from BandCamp or by clicking HERE. The Monumental Fall is just the first step for Insolitus, and based on the quality of the music found in the entire album we can rest assured we’ll hear a lot more form those Belgians in a not-so-distant future.

Best moments of the album: A Dream Resonance, In Search For and Of Time and Change.

Worst moments of the album: Whisperbox.

Released in 2026 Independent

Track listing
1. Crossing Voyage 6:36
2. A Dream Resonance 4:17
3. Reclaim the Flame 4:55
4. In Search For 3:41
5. Leap of Life 6:12
6. Beneath a Thousand Eyes 5:10
7. Whisperbox 6:16
8. The Dying Light of Day 5:48
9. Soar 4:48
10. Of Time and Change 5:28
11. The Monumental Fall 4:40

Band members
Leslie Stroobant – vocals
Floren Van Stichel – guitars, backing vocals
Fré Clement – guitars
Kaatje Desmet – guitars
Dries Claeys – drums

Album Review – Shores of Null / Homesick (2026)

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This Italian Melodic Death and Doom Metal outfit is back with their striking fifth full-length offering, combining their trademark melancholy with a renewed sense of identity and purpose.

Following their acclaimed 2023 album The Loss Of Beauty, Italian Melodic Death/Doom Metal act Shores of Null continues to expand their emotional and sonic universe with their fifth full-length opus, titled Homesick, a record that combines their trademark melancholy with a renewed sense of identity and purpose. Recorded at Bloom Recording Studios, the new opus by vocalist Davide Straccione, guitarists Gabriele Giaccari and Raffaele Colace, bassist Matteo Capozucca, and drummer Emiliano Cantiano sees the band continue to broaden the expressive range of their sound, moving beyond genre boundaries while preserving the melancholic intensity and refined songwriting that have become the hallmark of one of the most distinctive voices in today’s melodic death and doom landscape. Conceived as a complete listening experience rather than a simple collection of individual songs, Homesick moves through a wide range of emotional states – longing, loss, anger, vulnerability and the search for a place to belong. Each track offers its own identity and emotional weight, but the full picture only emerges when the album is experienced from beginning to end.

Allies Before Defeat already kicks off with an overdose of Doom Metal riffs by Gabriele and Raffaele while the vocals by Davide sound deep, intense and dark; whereas Two Mountains sounds even more captivating, as if Insomnium decided to go full Doom and Gothic Metal, and when Davide fires his deep guttural things get even more exciting and incendiary. Matteo and Emiliano make the earth tremble in the Doom Metal aria Bleed to Life, accompanied by the crying guitars by the band’s axe duo, whereas the title-track Homesick leans towards the melancholic, obscure sounds blasted by the mighty Paradise Lost, dragging our souls to oblivion. And Son of the Tide is another stunning creation by those Italians, with Emiliano delivering a solid fusion of darkness and intricacy through his beats and fills.

Then featuring Shaun MacGowan of My Dying Bride on the violin, Dreaming of a Scar offers a killer fusion of the heaviness of extreme music with the finesse of the violin, while Davide continues to alternate between his devilish gnarls and anguished clean vocals, followed by Society Is the Murderer, perfect for headbanging in pitch black darkness, sounding very emotional and dark with Davide delivering passionate clean vocals. The Numbing Void, showcasing Natalie Koskinen of Shape Of Despair on vocals and Shaun MacGowan again on the violin, is perhaps the most Doom Metal of all songs, where Gabriele and Raffaele are once again on fire armed with their axes, while Another Breath is an excellent song musically speaking, despite lacking the darker vein of the other songs in the album. And lastly, Disappear brings the band back to their core doom-laden sounds, presenting a striking ending to the album to the hammering drums by Emiliano.

“I’m fascinated by themes such as nostalgia, loss, belonging, and the ways in which the past continues to shape who we are. Sometimes inspiration simply comes from observing the world around me. Other times it starts with a question I can’t answer, and writing becomes a way to explore it. With Homesick, I found myself reflecting on the idea of ‘home’ as something much deeper than a place. Many of the lyrics revolve around that tension between longing and pain, between the desire to return and the fear of what might still be waiting for us there,” commented Davide, inviting us on a sonic journey for fans of Paradise Lost, Amorphis, Swallow The Sun, Katatonia, and Borknagar. Don’t forget to follow the band on Facebook and on Instagram, to stream their music on Spotify, and of course to purchase Homesick from Dusktone’s BandCamp (please note the vinyl edition will include a short intro created specifically for the format, designed to enhance the Side A / Side B listening experience without altering the essence of the album). Homesick is undoubtedly one of the strongest statements of their career, a deeply emotional, carefully crafted and immersive record that confirms their place among the leading forces of Melodic Death and Doom Metal, transpiring an array of emotions that only the heaviest and darkest of the subgenres of heavy music can provide to our suffering souls.

Best moments of the album: Two Mountains, Son of the Tide and The Numbing Void.

Worst moments of the album: Another Breath.

Released in 2026 Dusktone

Track listing
1. Allies Before Defeat 4:35
2. Two Mountains 4:34
3. Bleed to Life 4:09
4. Homesick 5:31
5. Son of the Tide 4:18
6. Dreaming of a Scar 5:08
7. Society Is the Murderer 4:30
8. The Numbing Void 6:18
9. Another Breath 3:52
10. Disappear 4:33

Band members
Davide Straccione – vocals
Gabriele Giaccari – guitars
Raffaele Colace – guitars
Matteo Capozucca – bass
Emiliano Cantiano – drums

Guest musicians
Natalie Koskinen – vocals on “The Numbing Void”
Shaun MacGowan – violin on “Dreaming Of A Scar” and “The Numbing Void”

Album Review – Spheres / Dyson (2026)

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This striking French Progressive Metal collective concludes their visual and thematic trilogy with a challenging yet deeply emotional journey through the massive structures of both human nature and the infinite universe.

Formed in 2018 in Paris, Spheres are a French modern Progressive Metal band blending the intensity of Melodic Death Metal with the depth and complexity of progressive music, combining crushing riffs, atmospheric textures, and a dynamic interplay of clean and harsh vocals, therefore creating a powerful and immersive listening experience. Produced by the band’s own mastermind Jonathan Lino, recorded at JL Studio, mixed by Chris Edrich, mastered by Pierrick Noel, and showcasing a striking artwork by French artist Julien Grelet, the multi-layered Dyson is the new album by the aforementioned Jonathan Lino on vocals, guitars and keyboards together with Marc-Antoine Walczak also on the guitars and keyboards, Clemence Santé on bass, and Jesses Haddad on drums, successfully closing the visual and thematic trilogy that started with the albums Iono and Helios, offering a challenging yet deeply emotional journey through the massive structures of both human nature and the infinite universe.

The band’s cinematic and metallic party kicks off with the groovy Underworld, where the bass lines by Clemence bring sheer heaviness to their music while Jonathan alternates between savage growls and emotional clean vocals. Clemence and Jesses make the earth tremble in Kemper, offering an overdose of progressiveness mixed with heavier and darker sounds, followed by We Are Not Alone, inspired by the melodic sounds by renowned acts the likes of Dream Theater and Symphony X, with the guitars and keys by Jonathan and Marc-Antoine sounding ethereal. Drive Me To The Dawn offers more of their striking blend of Progressive Rock and Metal, with Jesses’ beats walking hand in hand with all background keys and sounds in a lesson in the genre; and I Like To Comment keeps the atmosphere as groovy as it can be, with all breaks and variations adding an extra punch to the music. Then we face Shadows Of Despair, alternating between heavy and progressive moments, and whimsical, soothing passages, with Jonathan taking the lead with his passionate vocals, before they conclude their journey with Virtual Prison, absolutely multi-layered, vibrant and captivating, not to mention their riffs and solos sound electrifying, flowing majestically until its climatic finale.

Driven by themes of introspection, human evolution, technology, and dystopian futures, Spheres craft music that is as thought-provoking as it is impactful, inviting listeners into richly layered sonic landscapes, exactly like what they have to offer in their newborn spawn Dyson. If you want to know more about such an interesting name of the current rock and metal scene in France and show them your total support, you can find the band on Facebook and on Instagram, stream their music on any platform like Spotify, and purchase Dyson from their own BandCamp or by clicking HERE or HERE. In the end, Dyson is more than just an album of heavy music, but an invitation to explore the universe alongside one of the most creative bands of the current French scene.

Best moments of the album: Drive Me To The Dawn and Virtual Prison.

Worst moments of the album: None.

Released in 2026 Art Gates Records

Track listing
1. Underworld 4:45
2. Kemper 6:44
3. We Are Not Alone 5:32
4. Drive Me To The Dawn 4:36
5. I Like To Comment 4:29
6. Shadows Of Despair 7:48
7. Virtual Prison 8:02

Band members
Jonathan Lino – vocals, guitars, keyboards
Marc-Antoine Walczak – guitars, keyboards
Clemence Santé – bass
Jesses Haddad – drums

Album Review – Insomnium / Netherworlds (2026)

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

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

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

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

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

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

Worst moments of the album: Ethereal Sleep.

Released in 2026 Century Media

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

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

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

Album Review – Iapetus / The Mother Void (2026)

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These Melodic and Progressive Death Metal innovators are back with the third part of their cosmic trilogy, a story of a mother and a son, of mankind and the cosmos, of feeling destined to failure in a world designed to destroy.

Following on their critically acclaimed full-length albums The Long Road Home, released in 2017, and The Body Cosmic, released in 2019, Long Island, New York- based Melodic/Progressive Death Metal innovators Iapetus (which means “the piercer” or “the one who pierces” in ancient Greek, describing a mythological Titan, a moon of Saturn, and a prehistoric ocean) return with the third part of their phenomenal trilogy, The Mother Void. Recorded by Alexander Backlund, mixed by Jens Bogren, and mastered Tony Lindgren at Fascination Street Studios, and displaying a cosmic artwork by Vanessa Lemen, the stunning new offering by Matthew Cerami on vocals, guitars, bass and arrangements, and Jordan Navarro on the guitars, keyboards and drum arrangements sees the duo be joined by Fabienne Erni (Eluveitie, Illumishade) on vocals, along with several notable guest musicians including drummer Brody Taylor Smith (Invent Animate), guitarist Benjamin Baret (Ne Obliviscaris), and vocalist Frank Harper (Caelestra), resulting in a bold, multi-layered nd flawless metal voyage highly recommended for admirers of bands the likes of Ne Obliviscaris, An Abstract Illusion, Persefone, and Insomnium.

After the atmospheric, ethereal intro Parturition we’re dragged into the world of prog death madness ruled by Iapetus in The Mother Void, an embracing title-track that sets the tone for the rest of the album, with the guitars by Matthew and Jordan exhaling heaviness and cosmic energy. After such a killer tune, we face Aniara, presenting 17 minutes of first-class, no shenanigans Progressive Death Metal where the all harsh vocals clash beautifully with the penetrating, hypnotizing clean vocals by Fabienne, sounding like multiple songs in one; whereas Red Giant keeps the momentum going, with Brody crushing his drums with endless rage and intricacy while the song’s background keys give it a truly whimsical vibe. Needless to say, Fabienne’s vocals take the song, which is already majestic, to a whole new level of awesomeness.

Then after the enfolding interlude Énouement we face the most detailed and soul consuming song of the entire album, TON, featuring guests Benjamin Baret of Ne Obliviscaris on a guitar solo and Frank Harper of Caelestra on vocals. It’s an 18-minute Progressive Death Metal beast where Matthew and Jordan slash their guitars nonstop, accompanied by the thunderous beats and fills by Brody, not to mention Matthew delivers sheer awesomeness through his bass. Furthermore, its ethereal passages will bring some peace to our hearts while at the same time they demolish our hopes and dreams once again with their massive wall of extreme sounds, before all comes to an end with The World Be Undone, where its delicate keys and Fabienne’s minimalist vocals bring hope to our darkened hearts.

“The Mother Void is the story of a mother and a son; of mankind and the cosmos; of feeling destined to failure in a world designed to destroy. It is a conceptual record, meant to be digested in whole; the conclusion to a trilogy of albums dedicated to the tension between mortal existence and immortal space. It is our most personal record to date, and its scope is mirrored in size only by the passion that accompanied its creation. We claw from The Mother Void,” commented the duo, who are waiting for you on Facebook and on Instagram with news and more of their amazing music. Don’t forget to also stream their unique creations on Spotify, and to put your hands on such a masterpiece by purchasing it from BandCamp or by clicking HERE. The Mother Void is more than just a metal album; it’s a cosmic journey, and you’re invited to join Matthew and Jordan on this breathtaking mission.

Best moments of the album: Aniara, Red Giant and TON.

Worst moments of the album: None.

Released in 2026 Willowtip Records

Track listing
1. Parturition 1:40
2. The Mother Void 12:54
3. Aniara 17:12
4. Red Giant 11:58
5. Énouement 1:51
6. TON 18:43
7. The World Be Undone 4:54

Band members
Matthew Cerami – vocals, guitars, bass, arrangements
Jordan Navarro – guitars, keyboards, drum arrangements

Guest musicians
Brody Taylor Smith – drums (session)
Fabienne Erni – vocals (session)
Ethan Navarro – vocals (session)
Mark Lazeski – additional synths & SFX (session)
Benjamin Baret – guitar solo on “TON”
Frank Harper – vocals on “TON”

Album Review – Eshtadur / In Darkness All Shadows Gone (2026)

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A crow is calling to the sound of the new offering by Colombia’s own Melodic Black and Death Metal entity, a conceptual journey through mysticism, transformation and inner transmutation.

Combining Gothenburg-influenced Death Metal, Black Metal and classical composition with an interest in poetry, mysticism, existence and cosmogony, Pereira, Colombia-based Melodic Black/Death Metal outfit Eshtadur is back with their fifth studio album, titled In Darkness All Shadows Gone, following on their critically acclaimed 2017 album Mother Gray and their 2020 opus From the Abyss. Recorded at RockStar Studios, produced by the band’s mastermind Jorg August, who also wrote the music, lyrics, compositions, and orchestral arrangements, mixed and mastered by Tomasz “Zed” Zalewski, and displaying a Stygian artwork by Vallesia Obscura, the new offering by Jorg August on vocals and guitars, Camilo Barbosa also on the guitars, Andres Gonzalez on bass, and David Lopez on drums follows a conceptual journey through mysticism, transformation and inner transmutation.

The phantasmagorical intro Age of Antumbra will darken the skies and drag us into a deep dark forest to the sound of Into The Woods, kicking off in full force to the ruthless growling by Jorg while Camilo, Andres and David hammer their instruments nonstop. Umbra offers six minutes of first-class Melodic Death Metal where the guitars by Jorg and Camilo transpire obscurity; and David keeps pounding his drums in the name of dark and heavy Melodic Death Metal in August’s Burdens, where all backing vocals boost Jorg’s already killer guttural. Fire Above Mountain Below is one of the most experimental and symphonic of all songs, where the quartet fires a massive wall of sounds that fills every single space in the air majestically, followed by Old Shaman Blind, which starts in a cryptic manner before evolving into a Death and Doom Metal creature, once again led by David’s crushing beats and fills.

Thunderground offers a blend of Scandinavian Melodic Death Metal with the band’s own South American twist, with the riffs and solos by Jorg and Camilo feeling fantastic, and they keep shredding their axes in Ruler of the Lake, sounding heavy and venomous from start to finish. Then a beyond atmospheric start gradually morphs into a bestial display of Death and Doom Metal titled A Black Winged Waltz, again presenting the striking guitar solos by Camilo; and there’s still fuel for another hard hitting tune titled Nebulae (Virgo), led by the classic beats and fills by David. Omen of Millennia lives up to the legacy of traditional Melodic Death Metal, with Jorg sounding infuriated again on vocals for our absolute delight, flowing into Soy Real, a climatic conclusion to the album where Jorg’s deep growls are spiced up by clean vocals in the background amidst a beautiful sonic devastation.

“We worked on this material for four years. It is a long album with twelve tracks, symphonic arrangements, a real orchestra, many vocal layers and Tuvan voices. At times, it felt like a giant puzzle, but everything finally came together. We are proud of the result and grateful to everyone who helped us build it. A crow is calling,” commented Jorg August, who’s waiting for you on Facebook and on Instagram with news, tour dates and so on, and you can also stream their music on Spotify and put your hands on In Darkness All Shadows Gone via BandCamp or Rockshots Records, or by clicking HERE. Fans of Septicflesh, Dissection and At The Gates will surely have a great time listening to the new album by Eshtadur. Or, in other words, can you hear the crow calling?

Best moments of the album: Into The Woods, Fire Above Mountain Below and Omen of Millennia.

Worst moments of the album: None.

Released in 2026 Rockshots Records

Track listing
1. Age of Antumbra 2:00
2. Into The Woods 4:41
3. Umbra 6:22
4. August’s Burdens 4:59
5. Fire Above Mountain Below 5:08
6. Old Shaman Blind 5:08
7. Thunderground 3:40
8. Ruler of the Lake 5:14
9. A Black Winged Waltz 9:23
10. Nebulae (Virgo) 5:09
11. Omen of Millennia 3:56
12. Soy Real 5:11

Band members
Jorg August – vocals, guitars
Camilo Barbosa – lead guitars
Andres Gonzalez – bass
David Lopez – drums

Metal Chick of the Month – Tanja Kemppainen

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

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

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

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

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

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

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

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

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

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

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

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