Continuing to carry the torch of rebellion, this Post-Black and Doom Metal entity is taking a quantum leap with their fourth studio album, revolving around the concept of “Belarusian ethno-astronomy.”
Continuing to carry the torch of rebellion, which is only natural as the founding members had to flee their native Belarus due to political persecution and continued attempts by the Lukashenka regime to censor and suppress their art, Warsaw, Poland-based Post-Black/Doom Metal act Dymna Lotva (which translates from Belarusian as “swamp in smoke,” referencing the devastating atrocities and burned villages of Polesia, a deeply distinct geographic and cultural region that extends across southern Belarus into Ukraine and Poland) is taking a quantum leap in their rapid musical evolution with their fourth studio album, titled Vyraj. Recorded at Everest Studio (vocals), at Hata Studio (guitars and bass), and at Studio Młyn (drums), the new album by Katsiaryna “Nokt Aeon” Mankevich on vocals and traditional flutes, Jauhien Charkasau on the guitars, bass and keyboards, Mikita Stankevich also on the guitars, and Wojciech “Bocian” Muchowicz on drums revolves around a main concept that could be described as “Belarusian ethno-astronomy.” In Slavonic legends, the starry sky is associated both with the afterlife and with journeys, which becomes closely intertwined with the musicians’ personal experience of forced emigration. This idea is captured in the album title, which is a mythical realm to where birds migrate for the winter, and where the souls of the departed find their final rest.
Zory sounds and feels darkly captivating from the very first second, with Jauhien, Mikita and Wojciech crafting the perfect atmosphere for the she-devil screams by Katsiaryna, evolving into a dark and wild beast of Post-Black Metal; and the band then showcases their ritualistic side in Veha, offering cryptic vocalizations while Wojciech dictates the pace with his thunderous beats and fills, also boosted by the Stygian harp by guest Deanna F. and the child vocals by Miraslava Palynskaya and Jan Palynski. The Boat of Despair brings forward another brilliant fusion of tribal sounds and the electricity of Black and Doom Metal, with the haunting vocals by the one and only Aaron Stainthorpe (High Parasite, My Dying Bride) clashing majestically with Katsiaryna’s desperate roars; whereas Viedmieragina will pierce our minds with its scorching Black and Folk Metal elements, not to mention Jauhien and Mikita are ruthless with their Melodic Death Metal-inspired riffs.
Niama Darohi showcases a more atmospheric side of the band, inviting our souls to wonder through the vast Stygian lands rules by Dymna Lotva while the keys by Jauhien sound absolutely enfolding. Then we have Bu Samoje (featuring Andrii “Deicider” Sovgar, Jan Mačuĺski, Aliaksandr Čarnuha, Jauhien and Mikita as the “Balbuta Choir”), their most Folk Metal song of all, as if the band and their guests were united around the fire for a sacrifice; followed by Usta Za Mianie, the most generic of all songs, lacking the same dynamism and energy of its predecessors. Last but not least we face Return My Coffin Home, featuring guests Ingvarr (Schreigarm) on vocals, Déhà (Wolvennest, Silver Knife, Slow) on fretless bass, and Velzevul on backing vocals and FX, a stunning Melodic Black Metal aria to conclude their ritualistic feast, with all harsh and clean vocals sounding stunning.
Although Vyraj is still based on a solid foundation of Black and Post-Black Metal, the band moves far beyond any easy labelling by also drawing inspiration from Doom, Heavy, and Progressive Metal, while venturing even deeper by incorporating elements from electronic music, goth, and folklore. The album is a cornucopia of great songs that are atmospherically dense and invite the listener onto an emotional roller-coaster ride from the darkest depth of depression and fear, via raw anger and defiance, to heights of ecstatic exhilaration, and if you want to know more about those rebellious Belarusian dissidents and their music, you can find them on Facebook, Instagram, YouTube, and Spotify, and purchase their new album from BandCamp, from Prophecy Productions, or by clicking HERE. In a nutshell, Vyraj is a musical kaleidoscope with ever changing patterns and sonic colours of remarkable beauty that often dissolves into captivating melodies that at times even achieve a pop-like appeal, and once you start listening to the album, get ready to be consumed by its beauty and energy.
Best moments of the album:Zory, The Boat of Despair and Return My Coffin Home.
Worst moments of the album:Usta Za Mianie.
Released in 2026 Prophecy Productions
Track listing 1. Zory 4:48
2. Veha 7:01
3. The Boat of Despair 5:31
4. Viedmieragina 5:36
5. Niama Darohi 4:29
6. Bu Samoje 4:38
7. Usta Za Mianie 4:35
8. Return My Coffin Home 8:10
Band members Katsiaryna “Nokt Aeon” Mankevich – vocals, traditional flutes
Jauhien Charkasau – guitars, bass, keyboards
Mikita Stankevich – guitars, backing vocals
Wojciech “Bocian” Muchowicz – drums
Guest musicians
Aaron Stainthorpe – vocals on “The Boat of Despair”
Ingvarr – vocals on “Return My Coffin Home”
Déhà – fretless bass on “Return My Coffin Home”
Deanna F. – harp on “Veha”
Andrii “Deicider” Sovgar – backing vocals on “Bu Samoje”
Miraslava Palynskaya & Jan Palynski – child vocals on “Veha”
Velzevul – backing vocals & FX on “Return My Coffin Home”
Andrii “Deicider” Sovgar, Jan Mačuĺski, Aliaksandr Čarnuha, Jauhien & Mikita – Balbuta Choir on “Bu Samoje”
As the fires of summer continue to burn in the Northern Hemisphere, there’s nothing better than dedicating an entire article to one of our beloved Burning Witches, more specifically the one responsible for turning the band’s lyrics into sheer power and energy through her soaring, undisputed vocals. Not only a classy vocalist and frontwoman, she’s also a diehard metalhead, always ready to show her love for old school Heavy Metal, and always ready to rock our world with her incredible voice and charisma. Her name is Laura Guldemond, a crazy wild child and frontwoman for one of the must-see names of the current metallic scene, and once you know more about her career, her personal life, and her passion for heavy music, there’s certainly no turning back, as you’ll be under the spell of one of the most talented “witches” of the worldwide metal community. Having said all that, are you ready to be locked in the tower by the phenomenal Laura Guldemond here on The Headbanging Moose?
Born on July 31, 1988 in Zoetermeer, a city in the Western Netherlands, in the province of South Holland, Laura doesn’t exactly come from a family of musicians, but there was still a lot of music surrounding her in her early days. “It’s funny, because my parents weren’t into music, but my grandparents were musicians – they played the double bass and the violin. They travelled around playing music, and I guess the next generation was fed up with that, so it had to continue with me! My mum’s half-sister still plays the flute, too.” Although she could sing a little bit and was comfortable with some notes, she had to learn the high notes by taking singing lessons, and at one point she decided she wanted to become a professional singer. Then she went to a conservatory in Eindhoven called The Metal Factory to continue with her studies. “When I was about twenty years old, I decided to take things a little more seriously, and that’s when I started taking singing lessons. Later on, I decided that I had to study music somehow. I auditioned for the Haarlem conservatory and ended up in the preparatory course for it, but then I came across the Metal Factory, and I was part of the first batch of students there.”
Laura has been immersing herself in Heavy Metal and Hard Rock for most of her life, saying it was a big discovery for her when she was younger. “My parents never really went any heavier than Queen. Which I like, but then I discovered Within Temptation, and I loved it. That was probably mainly because it sounds a little mysterious. That’s what I liked about it, at least. When the time came that I had enough allowance to buy albums, I found W.A.S.P.’s Dying for the World right next to Within Temptation. I really like W.A.S.P. as well. From then on, I started listening to more and more different things. Quite quickly after that, I decided that I wanted to play guitar. And I did have a guitar, so I did try to play it, but I had no lessons, and I ended up giving up. I did already sing, and that’s what I kept doing,” she commented.
It was in 2019 when Laura joined the amazing Burning Witches, replacing the band’s original vocalist Seraina Telli, and she fit the blank spot perfectly with her undisputed vocal potency, being immediately embraced by the band’s diehard fanbase. That same year, she released her first song with the band, the excellent Wings of Steel, following by the EP Wings of Steel, also in 2019, and her first-ever full-length opus with the girls, Dance with the Devil, in 2020. That same year, the band released an EP titled Acoustic Sessions, followed by their full-length albums The Witch of the North (2021), The Dark Tower (2023), and more recently Inquisition (2025), all available on Spotify or any other streaming platform. Furthermore, you can also check Laura and the girls kicking ass on the official videos for songs like High Priestess of the Night, The Dark Tower, The Witch of the North, and Unleash the Beast, or check their official YouTube channel for those videos, full playlists and other content including interviews and live footage of all of their tours.
When Laura joined Burning Witches, she said they were all very welcoming, helping her overcome any initial challenges as she said she’s the type of person that needs a lot of time to get used to other people. There was of course a lot of rehearsal time required in the beginning until they all got used to Laura’s vocal style and vice-versa, but as expected there’s also a lot of fun involved in the overall process. “We go out to dinner sometimes, we hang out after rehearsals, so that is nice,” she commented, also having some nice words to say about the freedom she has while writing material for the band. “When it comes to writing my melodies and lyrics, I have a fairly large amount of freedom. Sometimes they come up with something they like, but even then, I am free to try something else, or we can discuss various ideas. It’s always fairly open. It kind of depends on how attached they are to the ideas they already have. There are plenty of times when there is no idea at all yet, and I can just make up whatever I like.”
Needless to say, the band’s diehard fans were all very welcoming when Laura became a member of Burning Witches, even when you take into account they already had two very solid albums released prior to her joining the band. Laura was actually more prepared for the feedback from the audiences than her bandmates in the end. “To be completely honest, I think it had been a much more emotional process for the rest of the band than it has for me. In a way, I had kind of already prepared myself for such reactions. The stories are out there. Like Tarja and Nightwish, for example. You still hear people complaining about that these days, which makes me think: guys, seriously, still? You know it is going to happen, and you know it is going to keep happening. So I was mentally prepared for that. Some of those people have returned, others haven’t. That’s just how things go.”
Before becoming the frontwoman for the indomitable Burning Witches, Laura was the vocalist for an array of very interesting bands and projects. It looks like her first Heavy Metal band was Utrecht, Netherlands-based Progressive Metal act Synergy Protocol, having played with them from 2013 until 2015, and having recorded their 2014 debut three-track demo. Around the same time, from 2014 to 2015, she was also the vocalist for Epic Rock Choir, a Netherlands-based group of singers specialized in major rock and metal opera projects like Arjen Anthony Lucassen’s The Theater Equation, and founded an Experimental and Electronic Rock and Metal project named Generation Lost together with Marco van der Hoorn, but nothing has ever been released under that flag.
The other two bands that Laura was a member of were Dordrecht, Netherlands-based Progressive Metal/Rock project Magoria, working as one of their vocalists between 2017 and 2018, and of course her main band before she joined Burning Witches, the excellent Eindhoven, Netherlands-based Symphonic Power Metal band Shadowrise, fronting the band from their inception back in 2009 until they split up in 2019 (one of the reasons being of course her full-time commitment with Burning Witches), having recorded with them the 2016 EP Escape from Shadow Island, and their 2018 self-titled full-length, both available on BandCamp and on Spotify.
Not only that, Laura can also be found as a guest musician in several different bands and projects, showcasing her absolute energy, dynamism and versatility, allowing her to sing basically any music genre you can think of. For instance, she was a guest vocalist on the song Valkyries in the Sky, from the 2024 album Gods of Metal (Year of the Dragon), by German/Italian Heavy Metal band All for Metal; choir vocals on the official video recording of the 2016 album The Theater Equation, by Dutch Progressive Metal/Rock icons Ayreon; vocals on the song Schwestern aus Stahl, from the 2025 Damokles, by German Heavy Metal/Hard Rock band Blindgänger; vocals on the song The Path That Never Ends, from the 2026 album Sons of the Abandoned, by Spanish Melodic Death Metal outfit Bloodhunter; vocals on the song Back on the Streets, from the 2022 album Back on the Streets, by UK Power Metal band Chrysalïd; and vocals on the 2025 single Fierce, by Swiss Symphonic Metal band Deep Sun.
If you think this is it, you’ve got another thing coming, as Laura was also a guest vocalist on the song Receptor, from the 2025 album Receptor, by American Progressive Metal act Dissona; vocals on the song Poison Tears, from the 2025 album Unbreakable, by the indomitable Heavy Metal/Hard Rock duo Ellefson-Soto; vocals on the song False Faced Demon, from the 2022 album Inquisition, by Dutch Symphonic Metal band Epinikion; female vocals on the song Blind Souls, from the 2017 album The Endless River, by Jordanian Melodic Death Metal band Eternal Insomnia; vocals on the 2022 album Malleus Maleficarum, and on the Avatarium cover The Fire I Long For, from the 2023 album Ventus Metallum, by German Heavy/Power/Progressive Metal project FB1964; and vocals on the song For Blood & Glory, from the 2021 album Serpent Chariot, by Austrian Blackened Thrash Metal band Golden Blood.
Do you want some more? Well, Laura was also featured as a guest vocalist on the song Stand United, from the 2022 album Dealer of Souls, by Swiss Heavy/Power Metal band Gomorra; on the song All Women in Me, from the 2023 self-titled album by Dutch Progressive/Symphonic Metal band Heavenqueen; on the song Sleeper, from the 2025 album Gilgamesh, by Ukrainian Progressive Metal/Rock act Korypheus; vocals on the song The Great Masquerade, from the 2025 album Remnants of Rapture, by Canadian Heavy Metal outfit Lycanthro; on the song Alone, from the 2024 album Shadow Empress, by Progressive Metal warrior Nino Helfrich; backing vocals on the 2015 album Wayward Sanctuary, by the now defunct Dutch Progressive Metal/Rock project ReSolve; vocals on the song Your Time Has Come, from the 2024 album Blood of the Witches, by German Heavy Metal/Hard Rock guitarist Stephan Georg; choirs on the 2015 album The Diary, by Dutch Symphonic/Progressive Metal/Rock duo The Gentle Storm; vocals on the song Neverealm, from the 2026 album Neverealm, by Greek Heavy Metal band Valiant Sentinel; and vocals as one of the “Pirate Queens” on the song The Pirate Queens, from the 2022 album Lost, by Dutch Symphonic Power Metal project Woods of Wonders.
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As you can see, Laura is one of the best vocalist of the current Heavy Metal scene worldwide, with countless bands recruiting her as a special guest in their new albums, and of course with her career with the striking Burning Witches being the icing on the cake. However, it’s important to say that before being such an accomplished vocalist, she’s also a true metalhead, nurturing deep passion for the same rock and metal icons as any of us, as well as some of the most interesting names of the non-metal scene. “Lots of awesome metal bands have influenced me during the years. To name a few I listened to a lot as a teenager; Within Temptation, W.A.S.P., Judas Priest, Iron Maiden, Halestorm, Eluveitie, Death Angel and Kamelot. But also great contemporary singers like Sia, Christina Aguilera and Beyonce. This is reflected in the versatility of my voice,” she commented.
When asked which song she loves the most in her life, her answer was the purest, most incendiary form of Heavy Metal you can think of. “I love Painkiller by Judas Priest because the drums start playing and you immediately feel the energy.” Moreover, she considers the one and only Metal God Rob Halford as a role model, saying he’s one of the people who’ve inspired her the most in terms of how she sings with Burning Witches now, as well as the indomitable Bruce Dickinson. “What I love is that he has so many songs with a lot of vocal dynamics. So I would say both he and Bruce Dickinson inspired me. I’ve heard Bruce a few times when people are listening from a bit further away and it sounds hyper-laden. I think it’s because I have a bit of memorization there too.” Dio is also a huge influence in her life, and the fact Burning Witches recorded a cover version for the all-time classic Holy Diver also shows how much she loves his unique voice.
Speaking of cover songs, Laura also maintains a really entertaining YouTube channel as her “solo project” (which you can also find alongside all of her other links and social media by clicking HERE), recording multiple cover songs with very special guests the likes of Courtney Cox and Sara Jolís as her support band, among other interesting videos. For example, you can enjoy Laura’s soaring vocals in killer cover songs including W.A.S.P.’s Wild Child (which is by the way one of the bands she used to listen to the most when she began listening to metal music), Iron Maiden’s The Trooper, Cradle of Filth’s Nymphetamine Fix, AC/DC’s Highway to Hell, Slayer’s Raining Blood, Pantera’s Walk, and Judas Priest’s Painkiller, among several other incredible videos where she will melt your faces with her scorching, sharp vocals.
Speaking of her vocal technique and how she prepares for the intense life on the road, Laura, who currently uses a Neumann U 87 Ai (a legendary large-diaphragm FET condenser microphone, featuring cardioid, omnidirectional, and figure-8 polar patterns), mentioned in one of her interviews how difficult it is to bring to stage what’s recorded in the studio. “Recording a song is one thing, but singing it at the same level every night is a different matter.” Owner of very versatile and dynamic vocals, as already mentioned, she said she always enjoys trying new things with her voice. “The others in Burning Witches like it when my voice sounds relatively deep, so we have been playing around with lower keys in recent years,” she commented. “These days, I have been trying to learn to use vocal fry better than I could before. So who knows? Maybe I will be doing something with that in the future. But it has to get better first. Singing clean with a bit of distortion on it is something I know I can do well at this point. If I add something that doesn’t sound quite as good, and you can actually hear that difference in quality, it will just end up sounding weird.”
She also commented about the importance of maintaining a good health, in special when your voice is your instrument of work. “I am often afraid of getting a sore throat, so my main priority is keeping nice and warm. During summers, I hardly ever have a sore throat, but once winter rears its head, I have to be careful. And to be fair, during spring and autumn as well. Also, when I work out too hard, and my body gets tired, I get a sore throat as well. That is something to watch out for.” She also mentioned it’s extremely important to build up her stamina before a headlining tour starts, alternating between singing and resting until she’s warm enough for the band’s longer-than-usual sets. “Especially if I have just been on vacation, and I haven’t sung for a while. Then it truly is important to build up my stamina, as I’m really going to feel the difference once I have to do a longer set.”
This might sound repetitive, but Laura is not only an extremely talented vocalist; she’s also a vocal coach ready to help any newcomers to the world of singing with her professional and dynamic approach. You can find more details about Laura’s services as a vocal coach (in Dutch, English or German) on her official website, including the subtypes of services available such as singing lessons, workshops, and growling. “I always try to find ways to make them practice things step by step. There are certain techniques that require you to use a little more power, which means they are potentially more dangerous, as more power is a bigger burden on your vocal cords if you do it wrong. That’s why I try to explain things step by step, so they can actually warm up to it step by step, allowing them to do things properly from the moment they start to add more power to it.”
In the end, after witnessing Laura kicking some serous ass live for the first time earlier this year in Toronto, I felt the urge to write this tribute to such a phenomenal vocalist, and after knowing more about her and her focus and hard work to keep delivering high-quality Heavy Metal for the masses, we must all agree she’s more than just another frontwoman. She’s the epitome of heavy music, a woman that puts her heart and soul into her music, delivering breathtaking vocals with endless charisma it doesn’t matter if she’s singing with Burning Witches, if it’s recording a cover song for her YouTube channel, or if it’s as a guest for another rock and metal band. Laura will most certainly hypnotize you with her stunning vocals and screams, lock you inside her tower of Heavy Metal, as I warned you in the beginning of this tribute, and throw the key away. Well, I bet you’ll be more than happy when that happens.
“Lots of awesome metal bands have influenced me during the years. To name a few I listened to a lot as a teenager; Within Temptation, W.A.S.P., Judas Priest, Iron Maiden, Halestorm, Eluveitie, Death Angel and Kamelot. But also great contemporary singers like Sia, Christina Aguilera and Beyonce. This is reflected in the versatility of my voice.” – Laura Guldemond
Lets embark on a journey through the Swedish mythology and nature in this frostbitten interview with the up-and-coming Melodic Death Metal beast Northborn.
Northborn
The Headbanging Moose: First of all, thanks a lot for your time to chat with us. Can you please begin by introducing Northborn to our readers? When and how did the band start, and what changed since your inception?
Northborn: A frosted thanks that you gave us the opportunity to do this interview. Northborn is a passion project that aims to capture both the world mythos, no matter from what corner of the world the inspiration comes from, and to combine this with the blistering melodic death metal that ruled Finland during the early 2000s. Every song’s goal is to capture the feeling it’s written around to create something majestic and unique.
The band started when Björn had a writer’s frenzy and didn’t know what to do with all his ideas. Hence, he took contact with skilled musicians that looked for similar music he wrote and quickly he founded a burning core that became the frozen force that stands before you today.
And what has changed? Well, the concept of the band has evolved at record pace since we have such a great dynamic within the group. We all have honed our vision with the band, yet there’s room to grow. A band is never finished in its evolution.
THM: You have just released your debut self-titled album this year. What’s the general concept behind the album, and is it exactly the way the band was expecting it to be, or are there any elements you wish you could have done differently?
Northborn: The concept behind the album is partly to show the world that a new melodeath force has been born, hence the name of the album. We present ourselves at the same time that our debut now is “borned”. The concept grew with the songs, I’d say, but every song was chosen carefully to fit in a greater theme of myths and epic melodeath history. We had no clear view on what to expect when the album was released, but since it’s self-made, we’re incredibly proud of what we’ve accomplished. And as for the future, we now have an ever clearer vision of what we want to evolve and try out. I cannot reveal it yet, but things are already moving in the shadows.
THM: The opening track Hymn of the North Star spans over six minutes and sets a majestic tone for the album. What went into the composition of this specific track to make it the definitive introduction to Northborn?
Northborn: We all decided that the listener would be introduced to a wall of symphonic melodeath the second they played the album, and we also saw that this particular track was a great representation of what Northborn has to offer. Björn spent a great deal to make all the parts flow seamless throughout the song, and the result speaks for itself in grandeur and epicness. Other songs were discussed, but Hymn of the North Star spoke strongest towards our vision when the song list was created.
THM: Songs like Yokai of the Lake hint at distinct cultural folklore. What drew you to include a Japanese mythological entity (Yōkai) alongside the otherwise heavily Nordic, winter-focused themes of the record?
Northborn: Since Northborn is founded with the world mythos as a vital core to its sound, it was only natural to expand the sound beyond the Scandinavian melodeath scene. Björn is a huge fan of eastern mythology and its richness and variety from the Nordic tales he grew up with. Japanese melodies and stories blended perfectly together towards Yokai of the Lake. It just came natural to him. When the rest of the band heard it, it was a given that it needed to be included on the album. We’re glad it did since it shows a variety we want to incorporate in the future. So rest assured that this is not the last song that derives from the Nordic melodeath sound.
Album Review – Northborn / Northborn (2026)
THM: You signed with Art Gates Records to release this debut. How did this partnership come about, and how have they helped you bring your vision of heavy Nordic music to a global audience?
Northborn: Björn is already a member of the Art Gates Records family due to his other band, Havamal. He knows the CEO and the crew well from before, and he spoke highly about the label with the rest of the members from an early stage. It was a given to speak to them when the band was in its early stages, and it has been a great cooperation since then. We cannot thank them enough for unleashing us onto the world.
THM: One of the main characteristics of your musicare the heavy influences from early 2000’s titans like Children of Bodom, Norther, and Ensiferum. How do you balance paying homage to these legends while establishing a unique voice for Northborn?
Northborn: All three of them are a huge inspiration to us, so we’re humbled that you mention them when speaking about our music. What’s important for us is to carve our own legacy in both melodies, stories, and variety while maintaining the core elements these legends brought to the scene. Our sound is both inspired and evolved, so to say. We want the audience to have that foundation when listening to us, while at the same time seeing the evolution towards the future our music does and will represent.
THM: Björn’s role handles both vocals and keyboards. How do you approach arranging the symphonic and keyboard layers so they amplify the aggression of the guitars without overpowering them, and how do the vocals are added into the mix?
Northborn: A song is written with a melody in mind, and while we iron out the song, we find the places where the instruments need to amplify the feeling that song is based around. Every section and instrument has a purpose, and that purpose needs to be clear through the dominant instrument in that section. It’s a thin line to balance, but our own studio master Tobey proved to be a musical wizard in this subject. The vocals have the same purpose as the instruments. But at the same time I think the vocals have an added role since they tell the verbal story to the listener. The music and the vocals enhance each other towards the end goal of the song. Usually the vocals grow from the melodies, yet a general concept of the song already exists from the first tones.
THM: How has the local Swedish metal heritage shaped your specific musical identity? I mean, coming from the land where Melodic Death Metal was born, it’s quite obvious such a unique style has a strong influence on your music, but are there any other elements from the Swedish culture that have a huge impact on your sound?
Northborn: Swedish melodeath and the Swedish metal scene are a great foundation for all of us. And since we all come from different musical backgrounds it just enhances the uniqueness of the sound Northborn presents. I’d also say that the majesty of our Scandinavian nature and mythological history have impacted the foundations of the band greatly since it gives a natural feeling of somber glory you hardly find anywhere else on Earth.
Northborn
THM: Any new bands worth listening to from the Swedish scene apart of course from Northborn? How’s your relationship with those bands or any other Swedish band?
Northborn: We have many friends in the Swedish scene since it’s a close community when starting out. It’s often passionate persons that you encounter, and since you have a common ground in metal it’s easy to kick off a conversation. And as for Swedish bands I’d recommend Riket, Eternal Evil, Zornheym and of course Havamal. We have a great relationship with all the bands mentioned here.
THM: Thanks again for your time! Please feel free to send your final message to our readers, and hopefully we’ll see you guys crossing the pond in the near future for some live performances in Canada and the United States!
Northborn: Thank you for having us! We would love to meet you guys after an awesome concert one day. Motherfrosters! Follow The Headbanging Moose, listen to our new album until your ears bleed frosted fire, and prepare for the musical darkness to come. Stay frosty!
This Florida-based Extreme Metal beasts are ready to attack with their sophomore album, plunging headfirst into the emotional and psychological aftermath of death.
Inspired by the burgeoning local metal scene of Tampa, Florida, Melodic Death/Thrash Metal beasts Blood of Angelsare making their mark on the genre that has guided them through the darkest of times. With local town heroes such as Cannibal Corpse and Nasty Savage inspiring down that path, the band formed of vocalist Randy Reyes, guitarist Aaron Robinson, bassist The Maggot, and drummer Jonathan Rushford blends Death, Black, Thrash and lashings of Power Metal into a high-octane frenzy, combining their musical prowess and instrumental talents to make social commentary on public mistruths and the atrocities committed against humanity. Now in 2026 the quartet is unleashing their sophomore opus, entitled Les Agnst ov Thanatous (which refers to the existential dread, anxiety, and deep-seated fear surrounding the inevitability of death, with “Thanatos” being the Greek mythological personification of death and “Angst,” German for anxiety or dread, representing the psychological weight of this realization), plunging headfirst into the emotional and psychological aftermath of death while presenting a cohesive narrative that traces the human response to grief through violence, ritual, memory, and reflection.
After the cryptic, horror movie-like intro Transitional Portal, the band comes crushing our souls with Beating You, where Jonathan hammers his drums in the best Death Metal style while Randy delivers deep, enraged vociferations for our total delight, supported by the always caustic guitar lines by Aaron. Then investing in a more Melodic Death Metal sonority the band offers our ears the hard hitting The Last Rites, perfect for some wild headbanging to the demolishing drums by Jonathan; and the quartet sounds absolutely on fire in Red River Death, a massive Death and Thrash Metal extravaganza led by the infuriated, grim roaring by Randy while his bandmates don’t stop pounding their sonic weapons.
The Pain Inside starts as a ballad, then morphs into a not-so-inspired metal aria, losing its grip after a while, albeit the crying guitar by Aaron still sounds great in the end; whereas back to the sound the band truly thrives we face Spillage, a Death Metal onrush where The Maggot and Jonathan make the earth tremble with their demented kitchen. Aaron’s riffage then revs up the band’s ruthless engine in Minds of the Broken, inviting us all for some action inside the pit. Nevermore presents elements from Sludge and Stoner Metal added to their core, a seven-minute feast of riff after riff, as heavy and groovy as it can be, with The Maggot once again kicking ass on bass, before all fades into the outro Eulogy, as enigmatic and cryptic as the intro, making the album go full circle.
Through its cohesive narrative and emotional intensity, Les Agnst ov Thanatou stands as the band’s most immersive conceptual work to date, inviting listeners to confront fear, loss, and mortality directly, offering an experience that remains long after the final sound fades. And you can also be part of such a unique experience by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their caustic creations on any platform like Spotify, and of course by grabbing a copy of Les Agnst ov Thanatous by clicking HERE. Death has always walked hand in hand with Extreme Metal, and Blood Of Angels definitely know how to turn all that fear, violence and darkness into ass-kicking heavy music as what they have to show us all in their new album.
Best moments of the album:Red River Death, Spillage and Minds of the Broken.
Worst moments of the album:The Pain Inside.
Released in 2026 Independent
Track listing 1. Transitional Portal 2:37
2. Beating You 4:05
3. The Last Rites 5:19
4. Red River Death 5:54
5. The Pain Inside 7:29
6. Spillage 3:26
7. Minds of the Broken 3:46
8. Nevermore 7:45
9. Eulogy 1:35
Band members Randy Reyes – vocals, acoustic guitars
Aaron Robinson – guitars
The Maggot – bass, backing vocals
Jonathan Rushford – drums, keyboards
After twenty years, these veterans of the Calgary metal scene are going out with a bang with their third and final album, featuring ten songs about ten of the band’s favorite horror movies.
Veterans of the Calgary metal scene, Blackened Death Metal horde Gales of Avalon is unleashing their third and final full-length release, titled Terror Vision, following up on their 2017 album Hope and their 2022 EP Oblivion. You read it correctly. Unfortunately, after twenty years, countless shows, three EPs, and three full-length albums, the band has decided to bring their adventure to an end. Mixed by James Neill, with help from Mark Dillon and Gavin Szentner, and mastered by Roland Rodas at Cavern of Echoes, the new album by vocalist and bassist James Neill, vocalist and guitarist Mark Dillon, guitarist Collin Wo, and drummer Jamie Gallo features ten songs about ten of the band’s favorite horror movies, offering their trademark mix of catchy heavy songs and soaring guitar harmonies, and their brand of genre bending metal songs.
Your body and soul are doomed if you don’t enjoy the opening track Camp Crystal Lake, from its eerie intro until the very end, with their Death Metal riffs matching perfectly with James’ deep guttural. Mark and Collin then bring the badass Rock N’ Roll vibe from the mighty Motörhead through their sharp riffs in Return of the Living Dead, perfect for some wild headbanging; followed by Lifeforce, another blast of Death N’ Roll led by the classic beats by Jamie, supported by the rumbling bass by James. The Town that Dreaded Sundown invites us all to bang our heads together with the quartet, with James once again barking and roaring nonstop, whereas 100 Pieces of Gold explodes into a wild mix of 70’s Rock N’ Roll, Stoner Metal and their core Death Metal after its cryptic intro.
The deep vociferations by James are nicely complemented by the always heavy-as-hell riffs by Mark and Collin in Always You, offering more of the band’s trademark blend of savagery and melodious sounds, and the dual vocal attack by James and Mark works really well in C.H.U.D., while Jamie keeps blasting his drums in great fashion. After such a bold tune, Dead by Dawn presents another round of the band’s scathing riffage, albeit a bit repetitive in the end; while in My Bloody Valentine they get back to a more electrifying sonority, with the riffs and solos by Mark and Collin living up to the legacy of Melodic Death Metal. Finally, we face a unique take on one of the biggest slasher films of all time, Texas Chainsaw Massacre, featuring Amanda Marie Bourdon of the bands Caveat and Greybeard, mixing rap music with their core deadly sounds.
“We had a lot of time to write and record this album. We played the songs live for a few years, working them out, and we are very proud and happy with the final product. We knew, going into the recording, that this was gonna be the last one. So, we wanted to put in an effort that was heavy and fun for the fans,” said James Neill, and if you want to know more about Gales of Avalon, their very last album, as well as their previous ones, you can find those guys on Facebook, stream their music on Spotify, and of course purchase the album from BandCamp. Not only that, the band will be playing an album release party on June 13 at Vern’s Tavern in Calgary, with support from The Bodies of Everest, Armifera, Oklahoma, and BlackSpirit, which means if you’re around that area you know what to do. Gales of Avalon are going out with a bang with Terror Vision, and hopefully we’ll hear from the guys with other bands and projects. Gales of Avalon will surely be missed, but not before leaving us with a banger of an album.
Best moments of the album:Return of the Living Dead, Always You and My Bloody Valentine.
Worst moments of the album:Dead by Dawn.
Released in 2026 Independent
Track listing 1. Camp Crystal Lake 4:56
2. Return of the Living Dead 4:33
3. Lifeforce 5:27
4. The Town that Dreaded Sundown 4:15
5. 100 Pieces of Gold 4:18
6. Always You 5:25
7. C.H.U.D. 3:45
8. Dead by Dawn 4:52
9. My Bloody Valentine 3:45
10.Texas Chainsaw Massacre 4:12
Band members
James Neill – vocals, bass
Mark Dillon – vocals, guitars
Collin Wo – guitars
Jamie Gallo – drums
Guest musician
Amanda Marie Bourdon – vocals on “Texas Chainsaw Massacre”
These Spanish Melodic Death Metal beasts are out for blood with their fourth studio album, shifting the focus inward to explore identity, vulnerability, personal struggle and the cost of pursuing one’s own path.
Having steadily carved their name into the international metal scene through relentless touring, uncompromising sound and a clear artistic vision, blending Extreme Metal aggression with melodic depth, groove and narrative ambition, forging a sound that is both ferocious and emotionally charged, Spanish Melodic Death Metal beast Bloodhunter is ready to unleash hell armed with their fourth studio offering, titled Sons of the Abandoned, following up on their excellent 2022 album Knowledge Was the Price. Their most personal and honest album so far, the new opus by the unrelenting frontwoman Diva Satanica, guitarists Dani Arcos and Guillermo Starless, bassist Fabian Tejeda, and drummer Adrian Perales shifts the focus inward to explore identity, vulnerability, personal struggle and the cost of pursuing one’s own path. For the first time, the lyrics speak directly from the heart, addressing inner demons, toxic environments, generational disconnection and the feeling of being lost in a world driven by individuality and superficial values.
The boys waste no time and begin firing their ravenous melodeath perfect for the she-demon vocals by Diva Satanica in The Devil’s Own, inviting us all for some good slamming into the pit, and they keep hammering their sonic weapons mercilessly in The Outspoken, with Adrian sounding like a stone crusher on drums. Then featuring the iconic Fernando Ribeiro of Moonspell as a guest vocalist, the band fires a lecture in modern-day Melodic Death Metal entitled The Threshold Of Hell, where Diva Satanica and Fernando make a “Beast and the Beast” vocal duet. Fabian and Adrian show no mercy for our necks and bodies in Ephemeral Youth, another harsh and visceral creation by those Spanish rockers; while the title-track Sons Of The Abandoned sounds like one of the most recent songs by Arch Enemy, with Diva Satanica once again delivering her trademark incendiary vocals. And adding elements form the hard hitting Groove Metal by Lamb of God to their core sound we have No One Beats Death, with Dani and Guillermo being once again flawless with their axes.
Code Aeternam is more rhythmic and groovy thanks to the classy drumming by Adrian, while their guitars continue to exhale fire and electricity nonstop; whereas it’s time for absolute chaos in the form of The Path That Never Ends, featuring the indomitable vocalist Laura Guldemond of Burning Witches, with her operatic, soaring vocals bringing even more adrenaline to the band’s core insanity, not to mention Dani and Guillermo are also on fire with their riffs and solos. Then after the lengthy interlude The Night Is Darker Before Dawn, which could have been a minute shorter to be honest, we face Masters Of Deceive, offering more of the band’s modern take on Melodic Death Metal led by Diva Satanica’s enraged roars and vociferations, ending in a serene mode and flowing into the closing tune Human Insecticide, a cover version for the mighty Annihilator, from their 1989 masterpiece Alice in Hell (check the original HERE), which drags us all to the circle pit to the ruthless drums by Adrian. In other words, it’s fast, infuriated, detailed and dense for our absolute delight, with Diva Satanica once again roaring in our faces without a single drop of mercy for our impious souls.
With Sons of the Abandoned, Bloodhunter solidify themselves as a band unafraid to evolve, challenge expectations and expose their own scars. It is a statement of identity, resistance and survival in a world that constantly demands compromise, and if you want to join them in their quest for extreme music in our rotten and decaying society you can find those Spanish headbangers on Facebook and on Instagram, stream their already striking discography on any platform like Spotify, and grab your copy of their awesome new album by clicking HERE. As long as Bloodhunter are alive and out for blood, you can rest assured you won’t be abandoned by society. You’ll always be welcome in their black embrace, with albums like Sons of the Abandoned giving you a very good reason to keep headbanging and raising your horns until your very last breath.
Best moments of the album:The Devil’s Own, The Threshold Of Hell, The Path That Never Ends and Human Insecticide.
Worst moments of the album:The Night Is Darker Before Dawn.
Released in 2026 ROAR! Rock of Angels Records
Track listing 1. The Devil’s Own 4:39
2. The Outspoken 3:56
3. The Threshold Of Hell 4:54
4. Ephemeral Youth 4:05
5. Sons Of The Abandoned 3:14
6. No One Beats Death 5:04
7. Code Aeternam 3:43
8. The Path That Never Ends 3:20
9. The Night Is Darker Before Dawn 3:28
10. Masters Of Deceive 3:46
11. Human Insecticide (Annihilator cover) 4:58
Band members Diva Satanica – vocals
Dani Arcos – guitar
Guillermo Starless – guitar
Fabian Tejeda – bass
Adrian Perales – drums
Guest musicians
Fernando Ribeiro – vocals on “The Threshold Of Hell”
Laura Guldemond – vocals on “The Path That Never Ends”
Meshing different Death Metal styles in a way that’s both confounding and challenging, this Canadian ensemble returns with their sophomore beast, their most evolved creation to date.
Meshing different Death Metal styles in a way that’s both confounding and challenging, throwing Technical, Melodic, and Brutal Death Metal elements into a high-speed blender, Brantford, Ontario-based ensemble Goreworm have been on a roll since their inception back in 2017, culminating now in 2026 with the release of their sophomore album Miasmic Solitude, following up on their 2020 debut Prodigy of the Grotesque. Displaying a grim, barren artwork by Leanna TenEycke, and featuring guest drummer Robin Stone (of bands like Ashen Horde, Norse and Chestcrush), the new album by Robert Miller on vocals, Jordan Estrela on the guitars, and Brent Moerschfelder on the guitars and bass is their most evolved creation to date, and it must be celebrated for its passionate and innovative take on the Technical Death Metal style.
It’s pedal to the metal from the very first notes in the infuriated Conjuring, with its background epicness elevating the band’s heaviness to a whole new level, not to mention Robin simply demolishes his drums in an ode to tech death. The following tune Monuments to Murdering brings forward a crazy fusion of Progressive and Technical Death Metal where Robert’s enraged roars match perfectly with the intricate riffs by Jordan and Brent; whereas The Enthralling Grave, the first single of the album, offers an onrush of violence and dexterity, with Robin once again hammering his drums in the name of extreme music. The band then delivers a somber, grim sonority in Orbweaver, evolving into another slab of brutal insanity spearheaded by the inhumane riffage by the band’s guitar duo, and it’s time to headbang like a maniac to the sound of Amor Vincit Omnia, a Latin phrase meaning “love conquers all,” coined by the Roman poet Virgil around 37 B.C., another solid Technical Death Metal beast crafted by the boys.
The band goes berserk in the Death Metal extravaganza No Reprieve, with Robert barking and growling rabidly for our absolute delight in a lecture in Technical Death Metal made in Canada; while Eve of Flagellation feels a bit uninspired in the end despite its heaviness and fury, even with Robert roaring like a demonic entity nonstop. Then back to a more creative and demented sonority we face Jarrell, as infernal as it is technical, with Robin stealing the spotlight with perhaps his most demolishing performance of the entire album; whereas adding epic elements to their core savagery, the band destroys everything and everyone with Strelly, where Brent sounds ruthless with both his guitar and bass for our total delight. And lastly we have the title-track Miasmic Solitude, putting a beyond pulverizing ending to the album to the sound of the band’s undisputed screams, riffs and beats.
After all is said and done, the new offering by the unrelenting Goreworm will undoubtedly appeal to fans of the most intricate yet demolishing form of Death Metal crafted by bands the likes of Arsis, Gorod, Xenosis, Fleshbore, and Obscura, just to name a few. You can get to know more about such a talented band from Canada by following the band on Facebook and on Instagram, blow your speakers by streaming their music on Spotify, and of course grab a copy of their incendiary new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Goreworm offer classic Death Metal, Technical Death Metal, Brutal Death Metal and more in Miasmic Solitude, and you better get ready as once their music strikes you, it will be deadly.
Best moments of the album:Monuments to Murdering, No Reprieve and Jarrell.
Worst moments of the album:Eve of Flagellation.
Released in 2026 Transcending Obscurity Records
Track listing 1 Conjuring 4:10
2 Monuments to Murdering 3:04
3 The Enthralling Grave 3:04
4 Orbweaver 4:34
5 Amor Vincit Omnia 5:02
6 No Reprieve 4:13
7 Eve of Flagellation 4:11
8 Jarrell 4:10
9 Strelly 3:29
10 Miasmic Solitude 4:09
Band members Robert Miller – vocals
Jordan Estrela – guitars
Brent Moerschfelder – guitars, bass
Behold the new opus by this unrelenting Finnish melodeath entity, bringing the band’s storytelling to life through vivid tales of horror, superstition, and doom.
Formed back in 2010 in Tampere, Finland, Torchia have steadily carved out a distinctive identity within the Extreme Metal scene by blending thrash-infused Melodic Death Metal with dark fantasy, gothic horror, and cinematic atmospheres. Produced by Janne Saksa and Villemorte, mixed by Janne Saksa, and mastered by Dan Swanö at Unisound, with killer artwork, illustrations and layout by Caelan Stokkermans Arts, the incendiary They Are Born Under Rules, the fourth full-length opus in their career, represents a defining chapter in the artistic journey by frontman Nox, guitarists Villemorte and Henri von Hardy, bassist Vulkan, and drummer Vincent Oscar Mill. Set against a bleak, 19th century-inspired gothic backdrop, the album brings Torchia’s storytelling to life through vivid tales of horror, superstition, and doom, uniting narrative depth with relentless musical force.
The opening song Nekromanteion is simply cinematic and grim from the very first second, with Nox’s deep, dark vocals walking hand in hand with their striking guitar lines by Villemorte and Henri, kicking off the album with tons of sulfur, insanity and Black and Death Metal energy. The band continues their infernal path with Hellmouth, blending the demented sounds of modern heavy music with old school symphonic and dark elements, resulting in a truly headbanging feast; and Vincent ignites the band’s ruthless engine in Into Hell, pounding his drums while the guitars by Villemorte and Henri exhale rage and fury in another strong contender for their live performances. Guess what? They remain in hell for the also hard hitting melodeath tune Hellstorm, again presenting the demonic vociferations by Nox for our total delight while also displaying some wicked guitar solos.
After such a high level of fire and sulfur, the band will crush our damned skulls with the infuriated Die Amour, perfect for breaking our necks headbanging to the massive beats by Vincent, followed by The Tiamat Machine, carrying a beautiful name for an epic, thrilling creation by those uncanny metallers, offering a clash of distinct sounds that will bring excitement and fear to our hearts, all boosted by the insane roars by Nox and all background cinematic sounds. The band then lets their Thrash Metal vein arise in Black Cat, adding speed and rebelliousness to their core Melodic Death Metal sounds while the guitar work by the band’s axe duo is once again fantastic; and Vulkan and Vincent will shake the foundations of the earth with their thunderous kitchen in Stygian Waters, keeping the album as powerful and aggressive as possible. Lastly, they slow things down a bit while keeping the atmosphere as dense and epic in Sanguine Masquerade, sounding like a dark and devilish waltz led by the grim vociferations by Nox.
“With this record, we wanted to push our sound further into darker and more cinematic territory without losing the immediacy and energy that defined our earlier work,” commented the band, expanding on the album’s direction, and if you’re a fan of the music by renowned acts the likes of Behemoth, Cradle of Filth, and Children of Bodom, you should definitely check what Torchia are up to on Facebook and on Instagram, bang your head to their caustic creations on Spotify, and of course purchase They Are Born Under Rules of the Darkness from BandCamp or from Rockshots Records as a CD or an LP. We’re living truly dark times, and although the music from Torchia’s new album is inspired by the 19th century, it’s beyond perfect for the chaotic state of our world.
Best moments of the album:Into Hell,The Tiamat Machine and Stygian Waters.
Worst moments of the album: None.
Released in 2026 Rockshots Records
Track listing 1. Nekromanteion 4:23
2. Hellmouth 4:08
3. Into Hell 3:38
4. Hellstorm 3:55
5. Die Amour 4:12
6. The Tiamat Machine 5:39
7. Black Cat 3:19
8. Stygian Waters 4:05
9. Sanguine Masquerade 4:46
Band members Nox – vocals
Villemorte – lead guitars, vocals
Henri von Hardy – guitars
Vulkan – bass, backing vocals
Vincent Oscar Mill – drums
Rooted in mythology, nature and epic storytelling, this Swedish horde attacks armed with their debut album, blending the aggression of modern metal with a deep Nordic folk spirit.
Uncompromising and frostbitten in spirit, and drawing strong inspiration from the Finnish scene of the early 2000’s, blending the aggression of modern metal with a deep Nordic folk spirit, Stockholm, Sweden-based Symphonic/Melodic Death Metal horde Northborn is unleashing upon humanity their self-titled debut offering, marking the beginning of a powerful new chapter for the band formed of Björn Larsson on vocals and keyboards, Ture Aspelin and Tobey Lagerqvist on the guitars, Andreas Lundgren on bass, and Felix Wahlund on drums, inviting listeners worldwide to step into their frozen realm while combining technical intensity with powerful melodic hooks and cinematic depth.
Get ready for an inspiring adventures through bitterly cold lands in Hymn of the North Star, with Felix already taking the lead with his fast-paced melodeath beats, offering Björn exactly what he needs to roar like a Viking. And Björn delivers a striking keyboard attack in Tale of Lies, supported by the Melodic Death Metal extravaganza blasted by Ture and Tobey on the guitars, followed by Fireborn, again presenting a fantasy and adventure vibe, with the rumbling bass by Andreas walking hand in hand with the galloping drums by Felix. The 80’s-inspired keyboards by Björn and the metallic bass by Andreas kick off the high-octane Children of the Frost, generating a hurricane of melodeath sounds perfect for admirers of the genre; whereas despite the epic intro in Helldamned, the music becomes way too generic after a while. Nothing to worry about in the end, though.
Then back to a much more ferocious mode we have The Wolf’s Curse, with their Symphonic and Melodic Death Metal sounds clashing in great fashion led by the always ruthless Felix on drums. The band invests in a Folk Metal sonority in Dreamhaunter, with the guitars by Ture and Tobey taking us back in time to the age of Vikings, whereas inspired by the massive sounds crafted by their countrymen Amon Amarth while also adding their own symphonic touch to the music we face the battle hymn The Fimbul Scourge, followed by the mysterious Yokai of the Lake, dedicated to the kappa, the aquatic, reptilian humanoids who inhabit the rivers and streams flowing over Japan, and you can feel that vibe from the East in their music. Lastly, closing the album they offer the melodic and epic A Warrior’s Fate, inviting us all to raise our fists in the air to the infernal growls by Björn, as well as the striking riffage by the band’s unstoppable guitar duo.
Rooted in mythology, nature and epic storytelling while channeling the legacy of bands like Children of Bodom, Norther and Ensiferum, Northborn craft songs that transport listeners into cold, majestic landscapes shaped by frost, battle and legend, and their debut is an amazing indication that their quest for heavy music has only just begun. You can join their army of ice giants by following the band on Facebook and on Instagram, by streaming their striking music on any platform such as Spotify, and of course, by purchasing their debut album from Art Gates Records. Bitterly cold, sharp and electrifying, it’s an album made for true Nordic warriors at heart, and I bet you’ll proudly raise your sword in the winds of the north while listening to such a precious gem of the current Swedish scene.
Best moments of the album:Hymn of the North Star, Children of the Frost and The Wolf’s Curse.
Worst moments of the album:Helldamned.
Released in 2026 Art Gates Records
Track listing 1. Hymn of the North Star 6:04
2. Tale of Lies 5:09
3. Fireborn 5:03
4. Children of the Frost 4:23
5. Helldamned 6:16
6. The Wolf’s Curse 4:04
7. Dreamhaunter 5:03
8. The Fimbul Scourge 5:32
9. Yokai of the Lake 5:31
10. A Warrior’s Fate 5:26
Band members Björn Larsson – vocals, keyboards
Ture Aspelin – guitars
Tobey Lagerqvist – guitars
Andreas Lundgren – bass
Felix Wahlund – drums
Standing at the intersection of ferocity and history, this Swedish Death and Thrash Metal brigade is unleashing hell with their debut opus, with each song portraying small historic tales of catastrophe, blunder, and human downfall.
Standing at the intersection of ferocity and history, channeling the raw aggression of Death Metal while weaving in the relentless drive of Thrash Metal and the defiance of Punk Rock, Stockholm, Sweden-based brigade Riket is unleashing hell armed with their debut opus, simply titled 2026. Recorded and produced by Sverker Widgren at Wing Studios, and displaying a haunting artwork by Axel Torvenius, mirroring the album’s thematic depths, the debut offering by vocalist Johan “Flid” Fridell, guitarists Tobias Jakobsson and Jussi Niiranen, bassist Micke André, and drummer Felix Wahlund balances crushing heaviness with an eerie sense of narrative, with every song being performed in Swedish and rooted in the darker corners of a shared past, portraying small historic tales of catastrophe, blunder, and human downfall.
Tobias and Jussi take the lead from the very first second with their acid riffage in 1868: Sommar Vid Vinterviken (or “1868: Summer at Winter Bay” from Swedish), while Johan barks and roars in the best Swedish style. 1867: Storsvagaret (“1867: The Great Weakness”) is even more infuriated and groovy than the opening tune, presenting elements of Death and Thrash Metal spiced up by an overdose of brutality and sick guitar solos; and it’s time to head into the circle pit and keep moving relentlessly in 1965: Hoghus Och Kultur (“1965: The Court and Culture”), with Felix sounding like a machine gun on drums. Then leaning towards the Melodic Death Metal by their countrymen such as In Flames and Soilwork we have 1948: Att Doda Ett Barn (“1948: Killing a Child”),showcasing a truly edgy vibe; and what starts in a calm way in 1885: Dodsdansen (I Manskensnatten) (“1885: The Dance of Death (In the Night of Man)”) suddenly morphs into another bestial melodeath attack.
1897: Mot Polen (“1897: Towards Poland”) is absolutely heavy but not as dynamic nor as exciting as the rest of the album, albeit the Amon Amarth-like riffs by Tobias and Jussi are still a thing of beauty. Micke keeps hammering his bass in 1991: 2000 Ar (Saliga Aro De Talmodiga) (“1991: 2000 Years (Blessed Are the Wise Men)”), adding a groovier vibe to the song while Johan’s deep guttural bring endless fury to the overall result; whereas 1937: Lagor Vid Portarna (“1937: Laws at the Gates”) is more rhythmic and vibrant thanks to another ass-kicking performance by Felix on drums, while the trio formed of Tobias, Jussi and Micke delivers a first-class stringed onrush. Lastly, we’re treated to a cover version for Stefan Sundström’s 2009: Alla Ska I Jorden (“2009: All Shall Be in the World”) (and you can enjoy the original version HERE), an interesting rendition presenting a darker, more introspective approach compared to the original.
A vessel of memory, a grim messenger bridging today’s world with the chilling truths of yesteryears, 2026 does not simply revisit history. Riket force you to confront it, challenging their audience to face uncomfortable truths, both personal and societal. If you want to know more about Riket and their dark relationship with history, you can start following the band on Facebook and on Instagram, stream their wicked creations on Spotify, and purchase their excellent debut from BandCamp or from several online retailers such as Doomed Records and Record Store Day. 2026 is an album that lingers long after the final note fades, a stark, resonant journey through memory, identity and the lingering shadows of time, leaving us eager for more from those Swedish metallers as our society progresses to its inevitable doom.
Best moments of the album:1867: Storsvagaret, 1965: Hoghus Och Kultur and 1937: Lagor Vid Portarna.
Worst moments of the album:1897: Mot Polen.
Released in 2026 Black Lion Records
Track listing 1. 1868: Sommar Vid Vinterviken 4:27
2. 1867: Storsvagaret 3:04
3. 1965: Hoghus Och Kultur 5:15
4. 1948: Att Doda Ett Barn 3:42
5. 1885: Dodsdansen (I Manskensnatten) 4:48
6. 1897: Mot Polen 3:56
7. 1991: 2000 Ar (Saliga Aro De Talmodiga) 4:11
8. 1937: Lagor Vid Portarna 4:18
9. 2009: Alla Ska I Jorden (Stefan Sundström cover) 5:06
Band members Johan “Flid” Fridell – vocals
Tobias Jakobsson – guitars
Jussi Niiranen – guitars
Micke André – bass, backing vocals
Felix Wahlund – drums
Continuing to carry the torch of rebellion, which is only natural as the founding members had to flee their native Belarus due to political persecution and continued attempts by the Lukashenka regime to censor and suppress their art, Warsaw, Poland-based Post-Black/Doom Metal act Dymna Lotva (which translates from Belarusian as “swamp in smoke,” referencing the devastating atrocities and burned villages of Polesia, a deeply distinct geographic and cultural region that extends across southern Belarus into Ukraine and Poland) is taking a quantum leap in their rapid musical evolution with their fourth studio album, titled Vyraj. Recorded at Everest Studio (vocals), at Hata Studio (guitars and bass), and at Studio Młyn (drums), the new album by Katsiaryna “Nokt Aeon” Mankevich on vocals and traditional flutes, Jauhien Charkasau on the guitars, bass and keyboards, Mikita Stankevich also on the guitars, and Wojciech “Bocian” Muchowicz on drums revolves around a main concept that could be described as “Belarusian ethno-astronomy.” In Slavonic legends, the starry sky is associated both with the afterlife and with journeys, which becomes closely intertwined with the musicians’ personal experience of forced emigration. This idea is captured in the album title, which is a mythical realm to where birds migrate for the winter, and where the souls of the departed find their final rest.
Although Vyraj is still based on a solid foundation of Black and Post-Black Metal, the band moves far beyond any easy labelling by also drawing inspiration from Doom, Heavy, and Progressive Metal, while venturing even deeper by incorporating elements from electronic music, goth, and folklore. The album is a cornucopia of great songs that are atmospherically dense and invite the listener onto an emotional roller-coaster ride from the darkest depth of depression and fear, via raw anger and defiance, to heights of ecstatic exhilaration, and if you want to know more about those rebellious Belarusian dissidents and their music, you can find them on Facebook, Instagram, YouTube, and Spotify, and purchase their new album from BandCamp, from Prophecy Productions, or by clicking HERE. In a nutshell, Vyraj is a musical kaleidoscope with ever changing patterns and sonic colours of remarkable beauty that often dissolves into captivating melodies that at times even achieve a pop-like appeal, and once you start listening to the album, get ready to be consumed by its beauty and energy.
THE HEADBANGING MOOSE 