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Metal Chick of the Month – Laura Guldemond

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Lock, lock, lock her in the tower!

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.

Laura Guldemond’s Official Facebook page
Laura Guldemond’s Official Instagram
Laura Guldemond’s Official YouTube channel
Burning Witches’ Official Facebook page
Burning Witches’ Official Instagram
Burning Witches’ Official YouTube channel

“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

Album Review – The Fifth Alliance / Stenahoria (2026)

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This uncanny Dutch collective returns with their suffocating fourth studio album, a dark and compelling work that once again pushes the boundaries between Black, Doom and Post-Metal.

Hailing from Breda, a city and municipality in the southern part of the Netherlands, located in the province of North Brabant, the uncanny Sludge/Post-Metal/Post-Hardcore entity The Fifth Alliance returns with their fourth studio album, titled Stenahoria, a dark and compelling work that once again pushes the boundaries between Black, Doom and Post-Metal. Recorded by Lander Cluyse at Hearse Studio, and mixed and mastered by Mendel bij de Leij, the follow-up to their 2019 album The Depth of the Darkness sees the band currently formed of Natalya Thelen (aka Thalos Sacritas) on vocals, Niels Termote and Matthijs Keuvelaar on the guitars, Puck Wildschut on bass, and Peter Scheffer on drums push into even more expressive territory, shifting between fragile, almost ethereal passages and massive, crushing moments, emerging from shared human experiences of sorrow, fear, and confinement, and therefore drawing the listener into an intense sonic journey through distress and introspection.

The album simply explodes in darkness from the very first second in Phoenix, with Natalya roaring in anger and hatred like a true she-demon while Peter hammers his drums like there’s no tomorrow in a lecture in Post-Black Metal madness. Then the minimalist but caustic and piercing guitars by Niels and Matthijs will put you in a trance in Benandanti, offering a grim fusion of Post-Metal with blackened, sluggish and visceral sounds, with Natalya stealing the show with her deep clean vocals. Fool on the Hill is as atmospheric as it is obscure and hypnotizing, with their Black Metal vein pulsing harder than ever thanks to the massive blast beats by Peter and the Stygian riffage by the band’s guitar duo; whereas in Battle of Barnet the band adds progressive and experimental elements to their core sound, providing Natalya with exactly what she needs to penetrate deep inside our souls with her flawless vocal performance. And closing the album we’re treated to the even more introspective and vile Jakob, where their Blackened Sludge Metal sonority erupts like a ruthless volcano, delivering metallic lava to our avid ears spearheaded by the scorching bass and drums by Puck and Peter before flowing into an absolute void.

A deliberate confrontation with discomfort, Stenahoria is a cathartic listening experience where intensity and fragility collide, creating a sound that lingers long after the final note fades, truly unfolding the more you sit with it, somewhere between the emotional intensity of Amenra, the atmosphere of Wolves in the Throne Room, and the dynamics of Cult of Luna, with those darker edges of Year of No Light and early Katatonia running throughout. Hence, you can get to know more about such a talented Dutch ensemble by following them on Facebook and on Instagram, stream their unique creations on Spotify, and of course purchase their striking new album from their own BandCamp, from the Tartarus Records’ BandCamp, from Ardua Music, or from Breathe Plastic’s BandCamp or webstore. The word “stenahoria” refers to a deep sense of emotional distress, anguish, sadness, or anxiety, derived from words meaning “narrow space,” and metaphorically signifying feeling suffocated, confined, or troubled. In other words, that’s exactly what you’ll feel while listening to the new album by The Fifth Alliance, with their dark music suffocating you until you can’t breathe anymore.

Best moments of the album: Phoenix and Fool on the Hill.

Worst moments of the album: None.

Released in 2026 Tartarus Records/Breathe Plastic/Ardua Music

Track listing
1. Phoenix 8:11
2. Benandanti 7:33
3. Fool on the Hill 7:35
4. Battle of Barnet 6:59
5. Jakob 7:28

Band members
Natalya Thelen – vocals
Niels Termote – guitars
Matthijs Keuvelaar – guitars
Puck Wildschut – bass
Peter Scheffer – drums

Album Review – Epinikion / The Force of Nature (2026)

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Hailing from the Netherlands, this up-and-coming Symphonic Metal band continues their path to stardom with their striking sophomore album.

Hailing from the Netherlands, former athletes Renate de Boer and Robert Tangerman initially started an ambitious project to write a rock opera album, the Epic and Symphonic Metal band Epinikion, or “ἐπινίκιον,” which means “hymne for the winner” in Greek (in Ancient Greece, the heroic stories of athletes were sung in an epinikion after their victories at major events, a fitting band name for musicians rising from the ashes of their former sports careers, as reflected by the phoenix in the band’s logo). With no musical background to speak of, but with incredible talent, inspiration, and sheer will, the critically acclaimed debut Inquisition came to life in 2022. Now in 2026 the band currently formed of the aforementioned Robert Tangerman on the guitar and Renate de Boer on keyboards, alongside vocalist Kimberley Jongen, guitarist Maarten Jungschläger, bassist Rutger Klijn, and drummer Michal Gis, is unleashing upon us their sophomore opus, titled The Force of Nature. Mixed and mastered by Jacob Hansen at Hansen Studios, with vocals recorded by Erwin Hermsen at Toneshed Music Production, and displaying a stylish artwork by Giannis Nakos of Remedy Art Design, the album reflects the band’s conscious decision to commit and go big, and it promises to be a blast of a successor to their debut.

The cinematic intro The Moon, the Sun and the Stars transports us all to the ethereal realm ruled by Epinikion, setting the stage for the band to shine brighter than the sun in the title-track The Force of Nature, where Michal’s beats clash beautifully with Renate’s whimsical keys, generating the perfect Symphonic Power Metal ambience for Kimberley to hypnotize us with her striking vocals. In Lessons in Life (Are for Free) we see the band venturing through more modern lands, with the guitars by Robert and Maarten bringing sheer electricity to their core sound; and such a talented guitar duo continues to spread their metallic riffs across the sky in Come into My World, while Kimberley declaims the song’s lyrics in great fashion. Then the low-tuned, dark bass by Rutger kicks off the also enfolding Your Ultimate Joy, evolving into a powerful feast of Symphonic Metal with an epic touch, followed by I Thought You Were on My Side, a charming ballad where the entire band still sounds heavy while also keeping the atmosphere as delicate as possible.

Don’t Wake Up the Dead carries a poetic name for a song, working more like an interlude albeit it feels like a ballad at times, flowing into the hard hitting, epic Monsters in My Head, with Michal crushing his drums in great fashion while the keys by Renate add even more fuel to the incendiary riffage by Robert and Maarten in over nine minute of symphonic awesomeness. The band then brings forward their most passionate ballad of all, entitled Two Hearts, with Kimberley stealing the spotlight with her deep, melodic vocals; and it’s time to bring a Folk Metal vibe to their core symphonic sounds in Run with the Wolves, led by the galloping rhythm crafted by Rutger and Michal. Despite it’s weird title, What Goes Up Must Come Down lives up to the legacy of the style, with Renate once again hitting us in the face with her stylish keys, whereas lastly, let’s embark on an Epic Metal journey one final time to the sound of Eyes Will Glow, where Kimberley’s gentle vocals walk hand in hand with the song’s melodious riffs and pounding drums.

With The Force of Nature, such an up-and-coming Dutch Symphonic Metal band takes their music a step further compared to their 2022 debut, blending the musical influences and creativity from each member of the band into a unique and refreshing sound that will certainly appeal to fans of  renowned acts the likes of Epica, Kamelot, Nightwish, Delain, After Forever, Within Temptation, Serenity, Xandria, Rhapsody of Fire, Two Steps From Hell, Fleshgod Apocalypse, Symphony X, and many more. You can find those unstoppable metallers from the Netherlands on Facebook and on Instagram, subscribe to their YouTube channel, stream their music on Spotify, and of course purchase the excellent The Force of Nature from BandCamp, from their own webstore, or simply click HERE for all things Epinikion. In summary, the band has all it takes to make it to the big stages of the world, and their new album The Force of Nature is definitely turning them into a force to be reckoned with in the Symphonic Metal realm.

Best moments of the album: The Force of Nature, Monsters in My Head and Run with the Wolves.

Worst moments of the album: Don’t Wake Up the Dead.

Released in 2026 Independent

Track listing
1. The Moon, the Sun and the Stars 2:09
2. The Force of Nature 4:22
3. Lessons in Life (Are for Free) 3:58
4. Come into My World 4:09
5. Your Ultimate Joy 4:42
6. I Thought You Were on My Side 5:18
7. Don’t Wake Up the Dead 5:54
8. Monsters in My Head 9:19
9. Two Hearts 4:33
10. Run with the Wolves 4:35
11. What Goes Up Must Come Down 5:36
12. Eyes Will Glow 3:59

Band members
Kimberley Jongen – vocals
Robert Tangerman – guitar
Maarten Jungschläger – guitar
Rutger Klijn – bass
Renate de Boer – keyboards
Michal Gis – drums

Album Review – Eight Lives Down / Fates (2025)

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This multinational Progressive/Groove Metal four-headed creature is back with its sophomore opus, looking at forces beyond human control and how we respond in the face of helplessness.

Looking at forces beyond human control and how we respond in the face of helplessness, building and exploring tensions created from a sense of unease, Fates, the sophomore album by the multinational Progressive/Groove Metal four-headed creature Eight Lives Down, is a journey into the shadows of mortality. Recorded and mixed by Dan Baune at Tectonic Tone, mastered by Rasmus Andersen at Raw Sound Studio, and with a classy artwork by Diana Sawicka of What the Moon Brings, the follow-up to their 2020 debut Humans turns inward and downward, fixating on death, decay, and forces beyond human control. It’s a gaze into the abyss, and a study in how we respond when all sense of agency is stripped away, all masterfully brought into being by Aliki Katriou on vocals, Paul Allain on the guitar, Marcin Orczyk on bass, and Rodrigo Moraes Cruz on drums.

Dark and sluggish sounds kick off the opening tune Void before exploding into a modern-day blend of Groove and Progressive Metal, all embraced by Aliki’s vicious, raspy vociferations, who also declaims the words to the next song, titled Dog’s Breakfast, with tons of passion (“Everything changed seemingly overnight / Everything messed up and suddenly felt so right / Everyone covered eyes and ears / And climbed inside the anthill / Of despair and death / To practice learned helplessness”) amidst an overdose of heaviness. Fishbones sounds less violent while also leaning towards more melodic and experimental sounds, with Paul’s guitar transpiring electricity; and Aliki’s dark and pensive vocals are perfect for Phobia, again exploding into a feast of heavy and groovy sounds with Rodrigo dictating the song’s frantic pace with his classic beats and fills. Deicide brings forward more of the band’s caustic riffs supported by Marcin’s heavy-as-hell bass and Rodrigo’s killer beats; and Aliki sometimes sounds like a Death Metal version of the iconic Mike Patton, which is obviously awesome, like in the visceral tune The Point.

Then the band switches gears to a more melancholic, darker sonority in Green Light in the Distance without forgetting to blast our faces with their harsh sounds and tones; and the quartet still has a lot of fuel to burn, with Left Behind being a very good example of how they can mix harsher metal sounds with nuances from several non-metal styles. Marcin then blasts his bass, extracting pure metallic sounds in Storm, while Aliki keeps declaiming the song’s Stygian words nonstop (“It starts like liquid, water / One and the same / And I find comfort in the shelter / Hiding from the blame / I feed off you every day / And you infect my mind / In this race of coming out ahead / I’ve already fallen behind”). Constantinople is a bit disappointing compared to the rest of the album, sounding generic at times, but the band gets back on track in The Process of Dying, one of the most diverse, dynamic and vibrant of all songs, with Aliki kicking some serious ass on vocals. Furthermore, the bonus track (available on Spotify) featuring the iconic metal choir Hellscore, directed by Noa Gruman, sounds even more powerful.

Musically, Eight Lives Down maintained their progressive spin, with raw thrash foundations audibly peaking through in Fates (available in full on  Spotify), while the album weaves Greek Zeibekiko, snotty Punk, Black Metal, NWOBHM, and even Brazilian Forró rhythms into a dynamic sonic landscape, being therefore highly recommended for fans of System of a Down, Rage Against the Machine, Sepultura, Carcass, Pantera, Prong, Faith No More, Lamb of God, and Jinjer. you can find those unstoppable metallers on Facebook and on Instagram, subscribe to their YouTube channel, and purchase Fates from their own BandCamp page, from their webstore, or by clicking HERE. In other words, simply sit down, relax, and descend into the abyss of heavy music crafted by Eight Lives Down. You won’t regret the experience at all.

Best moments of the album: Void, Phobia, Storm and The Process of Dying.

Worst moments of the album: Constantinople.

Released in 2020 Independent

Track listing
1. Void 4:51
2. Dog’s Breakfast 5:39
3. Fishbones 4:35
4. Phobia 4:28
5. Deicide 4:20
6. The Point 3:17
7. Green Light in the Distance 7:16
8. Left Behind 4:48
9. Storm 7:33
10. Constantinople 4:56
11. The Process of Dying 7:17

Spotify bonus track
12. The Process of Dying (Hellscore version) 7:14

Band members
Aliki Katriou – vocals
Paul Allain – guitar
Marcin Orczyk – bass
Rodrigo Moraes Cruz – drums

Guest musicians
Hellscore – metal choir on “The Process of Dying”

Album Review – Mass Deception / Resurrections (2025)

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The final chapter of the trilogy by this ruthless Dutch Thrash Metal outfit offers a powerhouse fusion of NWOBHM, Heavy, and Thrash Metal, packed with technical precision and explosive songwriting.

Founded in 2015 in The Netherlands with a bold vision to craft a trilogy of albums, Thrash Metal brigade Mass Deception laid the foundation with Revelations (2016) and Redemptions (2019), followed by the EP Halls of Amenti (2022). Now, with Resurrections, the final chapter arrives and it’s heavier, sharper, and more energized than ever before. Produced by Mass Deception and Jörg Uken, mixed and mastered by the same Jörg Uken at Soundlodge Studios, and displaying a sinister cover art by the band’s own guitarist Bänziger, the new album by Klaus on vocals, Waltmans and Bänziger on the guitars, Van Den Beuken on bass, and Sanders on drums is a powerhouse fusion of NWOBHM, Heavy, and Thrash Metal, packed with technical precision and explosive songwriting, drawing influence from genre-defining acts such as Flotsam and Jetsam, Meliah Rage, Laaz Rockit, Nocturnus, Testament, King Diamond and Judas Priest, all while forging a sound distinctly their own.

Rev up your engines as it’s total anarchy and violence in Gain of Function, a fun thrashing feast perfect for banging our heads like there’s no tomorrow, followed by Selling Souls! Buying Lies!, exhaling pure Thrash Metal from the Anthrax-inspired riffs by Waltmans and Bänziger while Klaus declaims the song’s acid lyrics in great fashion. Then after two hard hitting songs in a row, the band offers a more introspective mid-tempo tune titled Menticide, led by the intricate drumming by Sanders, followed by the futuristic interlude Metropolis, before the band attacks once again with 1984, putting the pedal to the metal with their infuriated riffs and classic Thrash Metal beats and fills. And The Road to Hell leads to Rome carries one of the most poetic names out there, offering more of the razor sharp riffs by the band’s guitar duo for our total delight.

Then we face another heavy interlude, entitled Saturn, setting the stage for the band to kick some ass in Ruins of Dominion, where the thunderous bass by Van Den Beuken transpires our good old Thrash Metal. Blue Flame of Anger is another explosion of thrashing madness led by the striking beats and fills by Sanders, putting us all to slam into the mosh pit manically, whereas Passenger of Time and V are two instrumental pieces that despite not being bad tunes, they end up taking away some of the album’s punch. On the other hand, Dark Matter brings back their fury and rage, with Sanders sounding demented behind his drums while his bandmates make sure the circle pit doesn’t stop moving as fast as possible. We’re then treated to the “calm before the storm” in the form of the semi acoustic Druids Descendants, warming us up for Reveal, Redeem & Resurrect, where Klaus takes the lead with his harsh storytelling vocals supported by the crushing drums by Sanders and the always striking riffage by Waltmans and Bänziger.

For the purists, there’s no AI, no MIDI drum computers, no shortcuts in Resurrections. Just raw, honest, and thunderous Heavy Metal, and you can experience all that and get to know more about Mass Deception by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their incendiary creations on Spotify, and of course by purchasing a copy of Resurrections from the Gruesome Records’ BandCamp. As aforementioned, Mass Deception are sounding tighter and more ruthless than ever in their new album, putting a beyond striking and climatic conclusion to their killer trilogy for the delight of all fans of our good old Thrash Metal.

Best moments of the album: Selling Souls! Buying Lies!, Ruins of Dominion, Blue Flame of Anger and Dark Matter.

Worst moments of the album: Passenger of Time and V.

Released in 2025 Gruesome Records

Track listing
1. Gain of Function 2:41
2. Selling Souls! Buying Lies! 2:33
3. Menticide 4:00
4. Metropolis 1:15
5. 1984 4:37
6. The Road to Hell leads to Rome 4:13
7. Saturn 2:05
8. Ruins of Dominion 2:56
9. Blue Flame of Anger 4:32
10. Passenger of Time 1:48
11. V 1:46
12. Dark Matter 3:21
13. Druids Descendants 3:03
14. Reveal, Redeem & Resurrect 6:36

Band members
Klaus – vocals
Waltmans – guitars
Bänziger – guitars
Van Den Beuken – bass
Sanders – drums

Album Review – Antropomporphia / Devoid of Light (2025)

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These Dutch death deallers return from the underworld with their newborn beast, combining a wide variety of harsh musical textures and emotions into dark and oppressive soundscapes.

Six years after their 2019 acclaimed studio album Merciless Savagery, the ruthless Tilburg, Netherlands-based death dealers Antropomporphia return with their darkest and most brutal record so far, aptly entitled Devoid of Light. Recorded and mixed by the band’s own drummer Marco Stubbe at Aftermath Studio, with further recording by Daan Janzing at Pitchfork Studio, mastered by Dan Swanö at Unisound, and showcasing a Stygian cover art by Richard Schouten, the new beast by Ferry Damen on vocals and guitar, Jos van den Brand also on the guitar, Jeroen Pleunis on bass, and Marco Stubbe on drums combines a wide variety of harsh musical textures including fanatical, white-eyed aggression, misanthropic and nihilistic lyrics, and dark emotions such as anger, despair, and pain among many others into dark and oppressive soundscapes.

The gates of the underworld are wide open to the sound of the evil guitars by Ferry and Jos in The Withering Stench of Hope, igniting a headbanging beast of Black and Death Metal followed by the title-track Devoid of Light, sounding and feeling even more obscure than the opening track, with the unstoppable drums by Marco matching perfectly with Ferry’s hellish Death Metal roars. Funeral Throne is another sulfurous, unrelenting attack by the quartet where their pulverizing riffage walks hand in hand with the pounding bass by Jeroen; and then adding elements from Doom Metal to their acid essence, the band fires the even heavier and more menacing In Writhing Rapture, led by the steady and vile beats by Marco in an ode to obscurity.

The second half of the album begins in full force with a demented Blackened Death Metal creature named Cancerous Bane, spearheaded by the always demonic guttural by Ferry; and the band continues to haunt our damned souls with their blend of Death and Black Metal in Unending Hunt, with Jeroen’s bass lines sounding utterly brutal, all boosted by a striking guitar solo. After that, the crushing drums by Marco kick off the venomous Ash Drapes the Earth, accompanied by the blackened riffs by Ferry and Jos, resulting in a lesson in extreme music; whereas In the Shade of the Devils Horns carries a beautiful name for another explosion of infernal Death Metal by such an amazing Dutch horde. And last but not least, the band goes full Doom Metal in Triumphant Death, sounding haunting, evil and melodic, albeit lacking the same punch as the rest of the album.

In a nutshell, Devoid of Light shows the world that Antropomporphia are still hungry to push the limits of both themselves and of the Death Metal scene to new frontiers, inviting us all to crank the volume up to 10 and simply let the album rip, which is quite easy to do as you can grab a copy of this sulfurous opus from BandCamp or by clicking HERE. You can also join such an amazing Dutch horde in total darkness by following them on Facebook and on Instagram, keeping an eye on their tour dates, and staying loyal to the foundations of extreme music while also renouncing all light, exactly like what the band wants you to achieve to the sound of their excellent newborn spawn. And if you have what it takes to face Devoid of Light, you’ll certainly have a very good time together with those bringers of Dutch darkness.

Best moments of the album: Devoid of Light, Cancerous Bane and Ash Drapes the Earth.

Worst moments of the album: Triumphant Death.

Released in 2025 Testimony Records

Track listing
1. The Withering Stench of Hope 5:05
2. Devoid of Light 5:17
3. Funeral Throne 3:28
4. In Writhing Rapture 5:04
5. Cancerous Bane 3:37
6. Unending Hunt 5:32
7. Ash Drapes the Earth 3:47
8. In the Shade of the Devils Horns 4:53
9. Triumphant Death 5:58

Band members
Ferry Damen – vocals, guitar
Jos van den Brand – guitar
Jeroen Pleunis – bass
Marco Stubbe – drums

Album Review – Cryptosis / Celestial Death (2025)

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Netherland’s own Progressive Thrash Metal beast is back with their sophomore opus, expanding their reign of cerebral terror while drawing a red line between the horrors of the present day and the limitless chaos of the future.

Playing what they like to label as “futuristic multi-metal eruption”, Enschede, Netherlands-based Progressive Thrash Metal beast Cryptosis is back after their critically acclaimed debut Bionic Swarm and their 2023 EP The Silent Call with their sophomore offering, titled Celestial Death, expanding their reign of cerebral terror while maintaining their core policy of making epic music that refuses to be pigeonholed. Once again recorded by Olaf Skoreng at The Moon, mixed by Fredrik Folkare, mastered by Tony Lindgren at Fascination Street Studios, and showcasing a classy artwork by the always amazing Eliran Kantor, the new opus by vocalist and guitarist Laurens Houvast, bassist Frank te Riet, and drummer Marco Prij is a more nuanced and complex affair than their debut album, with lyrics that draw a red line between the horrors of the present day and the limitless chaos of the future.

The futuristic intro Prologue – Awakening will transport us to the metallic realm ruled by Cryptosis in Faceless Matter, with Marco already stealing the spotlight with his unparalleled drumming, offering Laurens all he needs to vociferate rabidly for our total delight in a killer display of Progressive and Technical Thrash Metal. Then the mellotron and synths by Frank will destroy your senses in Static Horizon, another blast of futuristic violence by the trio, followed by their 2024 version for The Silent Call, from their 2023 EP, sounding sharper and more dynamic, with Frank and Marco crafting a thunderous atmosphere perfect for Laurens’ riffs and roars. And in Ascending we face a fast, heavy, in-your-face blend of Thrash Metal and modern, otherworldly elements, sounding utterly vibrant form start to finish.

After the ethereal interlude Motionless Balance, the trio comes ripping once again with Reign Of Infinite, starting in an epic mode thanks to the visceral riffs by Laurens, striking us hard with their cryptic Thrash Metal attack; whereas slowing things down considerably we have Absent Presence, a more pensive, atmospheric tune albeit not as thrilling as the rest of the album. Then back to a more vicious sonority we have In Between Realities, with Laurens screaming manically supported by the metallic bass by Frank and the always demolishing beats by Marco; and Laurens continues to shred his axe mercilessly in Cryptosphere, offering more of the band’s extremely technical blend of Thrash Metal, resulting in by far one of the strongest songs of the album. Finally, we face Coda – Wander Into The Light, a captivating, eerie outro that puts a climatic conclusion to the band’s journey through an unknown dimension.

“We wrote a lot of different material. We had so many ideas, which eventually ended up on a slightly different path – a more cinematic path, I would say. This new record has a much darker atmosphere,” commented Frank, while Laurens also had some remarks about the album compared to their debut. “We learned a lot from our debut album. The biggest lesson we learned was how to create songs that really come together as complete pieces, rather than just combining riffs.” In other words, get ready for the second chapter of Cryptosis by following them on Facebook and on Instagram, by streaming their music on Spotify, and of course by purchasing Celestial Death from their own webstore, from BandCamp, or by clicking HERE or HERE. The hour is upon us, or maybe I should say the future of extreme music is upon us, led by those Dutch metallers armed with their technical yet always visceral music.

Best moments of the album: Ascending, Reign Of Infinite and Cryptosphere.

Worst moments of the album: Absent Presence.

Released in 2025 Century Media Records

Track listing
1. Prologue – Awakening 1:16
2. Faceless Matter 3:52
3. Static Horizon 5:10
4. The Silent Call 5:02
5. Ascending 3:38
6. Motionless Balance 1:48
7. Reign Of Infinite 5:44
8. Absent Presence 4:15
9. In Between Realities 3:47
10. Cryptosphere 4:22
11. Coda – Wander Into The Light 3:11

Limited Edition bonus track
12. Geometry Of A Digital Thought 6:36

Band members
Laurens Houvast – vocals, guitars
Frank te Riet – bass, mellotron, synths, backing vocals
Marco Prij – drums

Album Review – Nephylim / Circuition (2025)

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This Dutch Melodic Death Metal brigade is ready to strike again with their sophomore album, exploring the concepts of “the cycle of life” and “the wheel of fate”.

Founded back in 2015 by friends Kevin van Geffen and Rens van de Ven in ‘s-Hertogenbosch, colloquially known as Den Bosch, a city and municipality in the province of North Brabant, in the Netherlands, Melodic Death Metal outfit Nephylim is ready to strike again with their sophomore opus Circuition, the long-awaited follow-up to their 2020 debut album Severance of Serenity. Produced by Joost van den Broek, Yarne Heylen and Nephylim, with guitars, bass and vocals recorded at Project Zero Studio and drums recorded at Sandlane Recording Facilities, mixed by Joost van den Broek at Sandlane Recording Facilities, mastered by Darius van Helfteren at Amsterdam Mastering, and displaying a captivating artwork by Giannis Nakos of Remedy Art Design, the new album by frontman Tijn Bosters, guitarists Kevin van Geffen and Ralph Lentink, bassist Rens van de Ven, and drummer Martijn Paauwe is a conceptual album that explores the concepts of “the cycle of life” and “the wheel of fate”, with each song being connected to a meaning or state of being such as the origin of life or birth, the consequences of old age, or everyone’s perception of the circle of life, always supported by the world famous Gothenburg Melodic Death Metal sound.

The first half of a two-part song is actually an intro, Travail Pt. I – Anima, a futuristic, whimsical composition that works as the calm before the storm that is the second half, titled Travail Pt. II – Animus, with all background elements elevating the band’s Melodic Death Metal to new heights, not to mention the guitars by Kevin and Ralph transpire melody and rage in the best Gothenburg-inspired style, connecting with Amaranth, where Martijn dictates the song’s rhythm with his classic beats, blending the best of bands like Dark Tranquillity, Insomnium and The Halo Effect. Grand Denial is another lengthy, intricate and energetic aria by Nephylim, with Tijn’s deep, enraged roars walking hand in hand with their boisterous instrumental pieces; followed by the title-track Circuition, which sounds even more melodic and epic, with the stylish riffs and solos by Kevin an Ralph embellishing the airwaves in great fashion. In Withered we face lyrics that reek of Melodic Death Metal (“Glimpse upon a tainted mind, Entangled by the heart of man / Reaching deeper and beyond, As the void smothers whole”) amidst a high-octane, metallic sonority, before all comes to an end with Inner Paradigm, presenting some welcome elements from other genres like Groove Metal and Djent, in special in the rumbling bass by Rens.

By pushing the boundaries in terms of overall production and quality, music and lyrical compositions, Circuition (which is by the way available in full on YouTube and on Spotify) is undoubtedly the band’s strongest effort to date, and will surely elevate the band to new heights in the world of heavy music. You can get to know more about those Dutch metallers on Facebook and on Instagram, stream their music on YouTube and on Spotify, and obviously support such a talented band by purchasing Circuition from BandCamp or Big Cartel, or by clicking HERE. Nephylim are surely one of the torchbearers of the Melodic Death Metal movement in their homeland, and it’s armed with albums like Circuition that they’re going places, ready to conquer new territories while blasting their undisputed music to metalheads worldwide.

Best moments of the album: Amaranth, Circuition and Withered.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Travail Pt. I – Anima 2:24
2. Travail Pt. II – Animus 6:13
3. Amaranth 5:31
4. Grand Denial 6:22
5. Circuition 5:19
6. Withered 6:18
7. Inner Paradigm 6:08

Band members
Tijn Bosters – lead vocals
Kevin van Geffen – guitars, clean & backing vocals
Ralph Lentink – guitars
Rens van de Ven – bass
Martijn Paauwe – drums

Guest musicians
Kevin van Geffen & Yannick Maris – orchestrations

Album Review – Misanthropia / Envy The Dead (2024)

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These Dutch Black Metal veterans are back with a concept album that conjures a dark, gritty atmosphere inspired by historical horrors like Jack The Ripper and necromancy.

For over 20 years, Nijmegen, Netherlands-based Melodic Black Metal horde Misanthropia has been carving a path through the metal scene with their unique blend of blackened fury and Death Metal aggression, and that grim path continues now in 2024 with their fifth full-length offering, entitled Envy The Dead. Engineered, mixed and mastered by Mike Wead (Mercyful Fate, King Diamond), Envy The Dead is a concept album that conjures a dark, gritty atmosphere inspired by historical horrors like Jack The Ripper and necromancy. Moving away from symphonic elements, it embraces a Progressive Death and Thrash Metal vibe with influences from Dimmu Borgir, Cradle of Filth, Necrophobic, Mayhem, and Death, all carefully brought into being by Bram Koller on vocals and guitars, Dennis Schoenmaker also on the guitars, Pepijn Heilbron on bass, and Hugo de Waal on drums.

The cryptic, cinematic intro Envy the Dead will drag you to the world of horrors ruled by Misanthopia before they crush your soul in Malediction and Laughter, where Bram leads his horde with his austere, sulfurous gnarls supported by the violent yet intricate beats and fills by Hugo. Bram and Dennis showcase their passion for the riff in Organs, for a Fair Price, evolving into a bestial fusion of Death and Black Metal; followed by Prosperity by Cocaïne, presenting over five minutes of Melodic Black Metal for the masses spearheaded by the rumbling drums by Hugo with the help of Pepijn’s massive bass lines. And Hugo continues his path of devastation in Maze of Madness, enhancing the visceral reach of the riffage blasted by Bram and Dennis.

River Dumplings reminds me of some old school creations by Dimmu Borgir with the bands own Melodic Death and Black Metal twist, in special the harsh, piercing vociferations by Bram, whereas the quartet delivers another round of their flammable, caustic sounds in Coughing in the Coffin House, led by the classic beats by Hugo and supported by Pepijn’s devilish bass. Fade into the Abyss, the second single of the album, brings forward the band’s most aggressive side, resulting in a feast of Black and Death Metal where Bram’s vocals sound and feel truly haunting; and their last breath of obscurity and fear, entitled A Deadly Embrace, a Sinister Grace, will pierce our minds with it Melodic Black Metal vocalizations and riffs, not to mention how thrilling the drums sound and feel throughout the entire song.

The incendiary, harsh and devilish Envy The Dead is already available in full on YouTube and on Spotify, but of course you can join Misanthropia in their darkened path by purchasing your favorite version of the album by clicking HERE. Don’t forget to also follow those talented Dutch metallers on Facebook, Instagram and YouTube, helping them keep the spirit of both old school and present-day Black Metal alive, therefore inspiring the band to keep moving forward in the name of extreme music for at least another 20 years.

Best moments of the album: Malediction and Laughter, Prosperity by Cocaïne and Fade into the Abyss.

Worst moments of the album: Maze of Madness.

Released in 2024 WormHoleDeath

Track listing
1. Envy the Dead 2:23
2. Malediction and Laughter 6:12
3. Organs, for a Fair Price 5:47
4. Prosperity by Cocaïne 5:37
5. Maze of Madness 6:25
6. River Dumplings 4:21
7. Coughing in the Coffin House 5:10
8. Fade into the Abyss 4:15
9. A Deadly Embrace, a Sinister Grace 0:41

Band members
Bram Koller – vocals, rhythm guitars
Dennis Schoenmaker – lead & rhythm guitars
Pepijn Heilbron – bass
Hugo de Waal – drums

Album Review – Zen Disdain / Inanition (2024)

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An up-and-coming Netherlands-based Blackened Doom/Death Metal outfit will reach deep inside your soul with their incendiary first full-length opus.

Formed in 2021 by the creative minds behind the Symphonic Extreme Metal band Esperoza, Enschede, Netherlands-based Blackened Doom/Death Metal outfit Zen Disdain has quickly expanded into a full-bodied act, drawing talented musicians from different bands, having already released their debut EP Premonition in 2023. Now the band formed of Zoya Belous (Zoya, Esperoza) on vocals, Dmitrii Prihodko (Esperoza) on the guitars, Ivo Bijker (Krijs, Dimensional Psychosis) on bass, and Ronny Meinders (Diseased Brains, Death Squad) on drums will unleash their highly anticipated debut album, Inanition, an album that will surely captivate new audiences and solidify their place in the metal world.

The scorching, strident riffs by Dmitrii ignite the venomous opener Everpresent, with its deep guttural vocals sounding haunting and absolutely impressive throughout its almost seven minutes of a first-class hybrid of Death and Doom Metal; whereas a tempest-infused intro explodes into a feast of Blackened Doom in The Shore, also presenting elements from old school Black Metal, in special in the riffage by Dmitrii, with Zoya also delivering classy operatic vocals. It’s truly interesting how the band managed to add hints of an amalgamation of styles to their music, like in The Woods, where we can sense some Gothic and Symphonic Metal nuances thanks to the dynamic vocals by Zoya.

The title-track Inanition will darken your minds and thoughts in the name of extreme music, with the metallic, reverberating bass by Ivo and the pounding drums by Ronny hitting us hard until the very last second; and then investing in a much heavier, more electrifying sonority led by the hammering drums by Ronny we face Spiritual Desert, while Zoya continues to hypnotize us all with her powerful vocals. Symbols again presents a strong and hammering Doom Metal vibe, with the piercing riffs by Dmitrii walking hand in hand with the blast beats by Ronny, and the closing tune What Remains of Us is sluggish and pensive from the very first second, with Zoya delivering her most melancholic, somber vocals lines of the whole album, sounding and feeling like a classic by Paradise Lost and My Dying Bride.

Blending diverse influences to craft a style that’s as haunting as it is dynamic, Zen Disdain are on fire throughout their entire first full-length opus, which you can grab a copy from their own BandCamp page. Don’t forget to also follow the band on Facebook and on Instagram, subscribe to their YouTube channel, and stream their music on Spotify, letting the dark and mesmerizing music by those Dutch metallers reach deep inside your soul while they conquer the world of heavy music with more excellent albums like Inanition, setting the bar high for any other band hailing from their stunning homeland and, of course, darkening the skies with a huge dosage of high quality doom for our total delight.

Best moments of the album: Everpresent, Spiritual Desert and Symbols.

Worst moments of the album: Inanition.

Released in 2024 Independent

Track listing
1. Everpresent 6:48
2. The Shore 6:07
3. The Woods 6:01
4. Inanition 5:57
5. Spiritual Desert 6:37
6. Symbols 7:30
7. What Remains of Us 8:42

Band members
Zoya Belous – vocals
Dmitrii Prihodko – guitars, harsh vocals
Ivo Bijker – bass
Ronny Meinders – drums