Album Review – Shores of Null / Homesick (2026)

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)

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)

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)

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)

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

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.

Soulgrind’s Official Facebook page

Album Review – Amon Amarth / The Allfather Awakens (2026)

These relentless Swedish Vikings return with their thirteenth studio album, showcasing ten songs of absolute power and might historically inspired by epic tales of conflict and sacrifice for a greater good.

A ten-song masterwork that further cements the legacy of the band’s spectacularly memorable riffs and unflinching aural power, The Allfather Awakens is the thirteenth studio opus by Swedish Melodic Death Metal warriors Amon Amarth, following on their 2022 beast The Great Heathen Army. Recorded across two recording sessions, months apart, at Hansen Studios, and displaying a dark artwork by German artist Tom Thiel, who created seven of the quintet’s album covers, portraying the mighty Oden, the Norse “all father” who is a deity of war, wisdom, death, magic, and poetry, the new album by frontman Johan Hegg, guitarists Olavi Mikkonen and Johan Söderberg, bassist Ted Lundström, and drummer Jocke Wallgren once again presents Oden as the through-line in their lyrics and music. However, despite Oden being their inspiration as usual, The Allfather Awakens is not a concept album, rather historically inspired epic tales of conflict and sacrifice for a greater good.

Get ready for a wild battle alongside Amon Amarth in Gjallarhorn, with its epic lyrics (“Through Nifelheim’s eternal night / A trek of fear and dread / The keeper of the well to find / The wanderer walks ahead”) walking hand in hand with the band’s heavy and vibrant instrumental, followed by Eight Legs of Thunder, another song perfect for some wild headbanging to the hammering drums by Jocke. Kvasir’s Blood is a horns raising metallic tune by those Swedish Vikings where the guitars by Olavi and Johan breathe melody and fire; whereas We Rule the Waves is a song from the band to their diehard fans, with Johan roars the song’s catchy chorus majestically (“We are / We are Vikings / From cradle until the grave / As long as the sun sets in the west / We rule the waves”), inviting us all to row with them. And the acoustic tune Upphaf, despite its decent Folk Metal vibe, is a weird addition to the album in the end.

Then back to a hammering, no shenanigans melodeath sonority we have Die with a War Cry, where the thunderous bass by Ted matches perfectly with the pounding drums by Jocke from start to finish, followed by Raven God, another song perfect to be played live (or on one of those countless Viking TV shows), with the guitar work by Olavi and Johan sounding very melodic and bringing even more epicness to their music. The Allfather Awakens reeks of classic Amon Amarth, with all instruments supporting Johan and his Viking roars, and I’m sure we’ll hear this song played live on their upcoming tours; and it’s then time to grab our swords and shields and head into the battlefield alongside Amon Amarth in Oden’s Hunt, a fast and furious display of their trademark sound, with Jocke punishing his drums in the best way imaginable. Lastly, after an imposing intro, the music explodes into Swedish melodeath fire in Ascending like an Eagle, a song about overcoming obstacles with persistence and power, and the continuation of “Serpent’s Trail” from The Great Heathen Army, with their guitars and bass creating a dense atmosphere perfect for Johan’s warrior-like guttural.

Introducing previously untried efforts, an impressive and conscious musical and lyrical feat after 30 years of band-dom, The Allfather Awakens is yet another strong album by those Norsemen. For Amon Amarth, a new album has always meant more than a collection of songs, it marks the beginning of a new world, and you can join the band in such an exciting quest by following them on Facebook and on Instagram, by streaming their music on Spotify, and of course, by purchasing The Allfather Awakens from BandCamp or from Metal Blade Records. In other words, as Oden hears our call, it’s time to go to war to the sound of the incendiary new opus by the most beloved Vikings in the history of heavy music.

Best moments of the album: Gjallarhorn, We Rule the Waves and Oden’s Hunt.

Worst moments of the album: Upphaf.

Released in 2026 Metal Blade Records

Track listing
1. Gjallarhorn 5:14
2. Eight Legs of Thunder 4:20
3. Kvasir’s Blood 4:26
4. We Rule the Waves 3:50
5. Upphaf 4:32
6. Die with a War Cry 3:29
7. Raven God 4:30
8. The Allfather Awakens 4:36
9. Oden’s Hunt 4:23
10. Ascending like an Eagle 6:44

Band members
Johan Hegg – vocals
Olavi Mikkonen – guitars
Johan Söderberg – guitars
Ted Lundström – bass
Jocke Wallgren – drums

Album Review – Old Ruins / Mount Arreat (2026)

This German horde continues their darkened path by offering their own blend of Heavy, Black, Doom and Melodic Metal in their sophomore studio album.

Having created their own highly distinctive style by drawing on numerous influences from Heavy, Black, Doom and Melodic Metal, Gelsenkirchen, Germany’s own Post-Black Metal outfit Old Ruins is back with their sophomore full-length offering, entitled Mount Arreat (a major fictional location in the Diablo video game franchise), following up on their 2023 debut full-length album Always Heading East. Displaying a dystopian artwork by Timon Kokott, the new album by Christian Krajewski on vocals and guitars, Ersin Kara also on the guitars, Oliver Krajewski on bass, and Mike Gelnar on drums sees the band continue the darkened path which stated with their self-titled debut EP from 2020, sounding tighter, heavier and more dynamic than ever.

The strident guitars by Christian and Ersin ignite the band’s dark and heavy feast in Once There Was Light, with Christian’s deep vociferations sounding haunting yet captivating, followed by Gates Of Harrogath, even heavier and more dynamic, offering a wild fusion of Melodic Death and Doom Metal led by Mike’s thunderous beats and fills, always supported by Oliver’s rumbling bass. Call To Arms is a more cadenced and sluggish tune, with its Sludge Metal elements adding a visceral vibe to their core sound before their classic Heavy Metal vein pulses through their dual guitar attack; and a serene intro morphs into another massive metal onrush by the quartet titled Uileloscadh Mor, with the guitars by Christian and Ersin once again cutting our flesh mercilessly.

Nihlathak flirts with old school Black Metal, hence its dirtier, rawer and more aggressive sound, while Mike dictates the song’s pace with his spot-on beats and fills, whereas Mount Arreat, the song that carries the name of the album, is just as grandiose as the location that inspired it, offering a solid fusion of Death and Doom Metal with the epicness of Heavy Metal. Then we’re treated to Lord Of Destruction, the heaviest and darkest of all songs, where Mike’s drums sound immense while Christian roars like a demonic creature until the song’s very last second; and they conclude the album with an overdose of epicness and rage in the form of Tyrael’s Despair, with their guitars once again breathing fire.

In a nutshell, Old Ruins offer in the excellent Mount Arreat their unique blend of melodic, catchy and gripping Black and Death Metal for fans of In Flames, Children Of Bodom, Arch Enemy, and Tribulation, inspiring us all to join them in their darkened quest, while also fueling the band to continue fighting for extreme music in their upcoming releases. Those talented German metallers are waiting for you on Facebook and on Instagram, and don’t forget to also stream their music on Spotify and to purchase Mount Arreat from their own BandCamp or from Sick Taste Music. In other words, it’s time to climb the mount of extreme music together with Old Ruins while listening to their new album, keeping your blood running wild through your veins as you face such a demanding and exciting challenge.

Best moments of the album: Gates Of Harrogath, Uileloscadh Mor and Lord Of Destruction.

Worst moments of the album: Call To Arms.

Released in 2026 Sick Taste Music

Track listing
1. Once There Was Light 5:48
2. Gates Of Harrogath 4:52
3. Call To Arms 5:02
4. Uileloscadh Mor 7:27
5. Nihlathak 5:15
6. Mount Arreat 6:25
7. Lord Of Destruction 5:37
8. Tyrael’s Despair 6:16

Band members
Christian Krajewski – vocals, lead guitars
Ersin Kara – guitars
Oliver Krajewski – bass
Mike Gelnar – drums

Album Review – Jasmeno / Assemblage of Cinematic Idioms (2026)

After nearly four years, Poland’s own Avantgarde Metal act returns with a work that not only expands on its existing language, but also redefines it in an almost sculptural spirit.

After nearly four years, Poland’s own Avantgarde Metal act Jasmeno returns with a work that not only expands on its existing language, but also redefines it in an almost sculptural spirit, titled Assemblage of Cinematic Idioms, offering us all six extensive tracks totaling nearly 50 minutes, creating a cohesive, thoughtful structure. Featuring the band’s mastermind Slavomir Nietupski on orchestrations, synthesizers, grand piano and programming, alongside vocalist Brian Gawaski, guitarist Michal Grall (Sinister, Unblessed Divine), and bassist Artur Olkowicz (Art of Illusion, Mechanism), as well as an array of guest musicians including Bartlomiej Krysiuk (Patriarkh, Batushka), Marc Grewe (Morgoth, Insidious Desease), Snorre Ruch (Thorns, Satyricon), and Yusaf Parvez (DHG, Dødheimsgard), among many others, Assemblage of Cinematic Idioms is a musical assemblage in its purest form – fragmented yet coherent, multi–layered yet subordinated to a single vision without the use of artificial intelligence solutions. Produced by Slavomir Nietupski and Tangled Records, mixed and mastered by Jakub Mankowski at Sounds Great Promotion Studio, and with all graphic design, hand paintings and layout by Slavomir NietupskiIn (in memory of Wladyslaw Hasior), the album is not about being an easily digestible beauty, but about the intensity of experiences and the recurring desire to commune with the Jasmeno universe.

The opening track Synesthesia Imperialis offers a cinematic intro that gradually evolves into a bestial display of the band’s core avantgarde and experimental sounds, with the powerful vocals by Brian walking hand in hand with all riffs, bass lines and imposing orchestrations by Michal, Artur and Slamovir; followed by A Code of Equivocation, another beautiful, bold and captivating creation by the quartet, alternating between heavier moments and pure atmospheric, introspective passages, with their guitars exhaling fire. Then venturing through the realms of Epic and Melodic Death Metal we have His Rebirth, again presenting an imposing ambience that will embrace our souls in darkness; and their riffs and solos will pierce our minds in The Void, while Brian’s vocals are back to their more epic vibe, like the soundtrack to a futuristic thriller, not to mention how charming the piano sounds. The Provocation ov Fate is as intense and vibrant as its predecessors, with the band once again delivering an overdose of Avantgarde Metal magic, Needless to say, it should sound incredible if played live, whereas lastly we face Seduced by Ambiguity, a more introspective, grim creation that concludes the album on a Stygian mode, with all guitars sounding menacing.

Emerging as a complete work both conceptually and in terms of execution, Assemblage of Cinematic Idioms offers a sonic matrix that resembles an assembly line more than a classic album – a space in which each element has its own name, but only when fully assembled does it reveal its full meaning, based on the principles of collaboration and openness. Not only that, the diversity of personalities found in the album gives the entire piece additional depth and a distinctive character among contemporary productions, with each guest bringing their own idiom – a distinct, yet unique language of emotion and sophisticated experiences. Having said all that, you should definitely give Slavomir and his Jasmeno a shout on Facebook and on Instagram, stream their music on YouTube and on Spotify, and of course purchase their striking new album from BandCamp. Assemblage of Cinematic Idioms might not be an easy listen at first, but once the music hits you, get ready for a wild ride together with one of the most interesting bands of the Polish music scene.

Best moments of the album: Synesthesia Imperialis and The Provocation ov Fate.

Worst moments of the album: None.

Released in 2026 Tangled Records

Track listing
1. Synesthesia Imperialis 10:12
2. A Code of Equivocation 8:03
3. His Rebirth 5:19
4. The Void 8:08
5. The Provocation ov Fate 7:55
6. Seduced by Ambiguity 8:15

Band members
Brian Gawaski – vocals
Michal Grall – guitars
Artur Olkowicz – electric & fretless bass
Slavomir Nietupski – orchestrations, synthesizers, grand piano & programming

Guest musicians
Bartlomiej Krysiuk – vocals
Marc Grewe – vocals
Slawomir Slavo Maryniewski – vocals
Snorre Ruch – vocals
Joanna Zondlowska – vocals
Sasha Janowicz – vocals
Yusaf Parvez – vocals, electric guitars
Lecia Louise – electric & acoustic guitars
Piotr Filonowicz – electric guitars
Mariusz Domaradzki – electric guitars
Marek Depa – electric guitars
Tomasz Andrzejewski – electric guitars
Jakub Wagner – flamenco guitars
Lukasz Kowalski – electric guitars
Robert Kolakowski – synthesizers
Ryszard Kramarski – synthesizers

Album Review – Echoes of a Dying World / Revelations EP (2026)

A sonic response to a world in transition, this Belgian Melodic Death Metal outfit is unleashing upon us their new five-track EP, offering more of their powerful blend of aggressive energy and atmospheric depth.

Not just a band, but a sonic response to a world in transition, Mol, Belgium-based Melodic Death Metal outfit Echoes of a Dying World is unleashing upon humanity their new five-track EP, titled Revelations, following up on their 2022 debut EP Before The Fall and their 2023 full-length album Tribulation. Currently formed of frontwoman Tine Vanmuysen, guitarists Michiel Debie and Wim Melis, bassist Gert Cools, and drummer Jasper Vreys, the band offers an overdose of their signature sound, a powerful blend of aggressive energy and atmospheric depth led by the versatile and commanding vocals of Tine Vanmuysen, and the fact the album is self-released by the band makes things even more organic, visceral and captivating.

Featuring guest vocals by Tijs Vanneste (of Oceans of Sadness), the opening track Iskariot presents a melancholic, serene intro that suddenly explodes into a vicious melodeath attack by the band led by the she-demon gnarls by Tine, while the guitars by Michiel and Wim transpire aggression. And Gert and Jasper craft a thunderous atmosphere armed with their respective bass and drums in The Rupture, bringing elements from the Groove Metal played by Lamb of God to their sound; whereas the band continues to spread violence and groove in Generational Curses, with the scorching riffs blasted by the band’s guitar duo offering Tine exactly what she needs to roar like a beast. Mathematical Design is perfect for some vigorous headbanging, with Michiel, Wim and Gert hammering their strings nonstop; while lastly we face Systems in the Dark, presenting nuances of Southern and Sludge Metal added to their core sonority. Furthermore, Tine beautifully alternates between deep clean vocals and devilish gnarls, adding even more depth to their music.

Having carved out a unique space within the Melodic Death Metal scene by embracing total musical freedom and refusing to be bound by genre tropes, Echoes of a Dying World are paving an exciting path ahead of them with the release of Revelations. Having said that, you can get to know more about those talented Belgians, their tour dates, plans for the future and so on by following them on Facebook and on Instagram, stream their first-class melodeath on any platform such as Spotify, and of course, purchase a copy of their killer new EP from their own BandCamp. In summary, fans of the classic sound blasted by renowned acts like In Flames, Dark Tranquillity, and Paradise Lost will certainly have an amazing time listening to the five tracks in Revelations, inspiring Echoes of a Dying World to keep echoing their dark and heavy music to all four corners of the earth in the coming years.

Best moments of the album: Iskariot and Generational Curses.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Iskariot 6:03
2. The Rupture 4:59
3. Generational Curses 5:08
4. Mathematical Design 4:40
5. Systems in the Dark 7:11

Band members
Tine Vanmuysen – vocals
Michiel Debie – guitar
Wim Melis – guitar
Gert Cools – bass
Jasper Vreys – drums

Guest musician
Tijs Vanneste – vocals on “Iskariot”