Boasting of a celebrated lineup, this Florida, United States-based beast is ready to kill armed with their first full-length album, an exemplary display of Progressive and Technical Death and Black Metal.
Boasting of a celebrated lineup featuring members of Withered Throne, Demon King, Fleshbore and others, Florida, United States-based beast Unaligned offers a blackened and comparatively more atmospheric take on the Technical Death Metal style. Mixed and mastered by Mike Low, edited and mixed by Erik Johnson at Dark Prophet Audio, and displaying another sick artwork by the amazing Adam Burke of Nightjar Illustration, the band’s first full-length opus, titled A Form Beyond, is an exemplary Progressive and Technical Death and Black Metal album that only gets better with more listens, showcasing all the talent and dexterity by Andrew Guia (Withered Throne) on vocals, Taylor Tidwell (Withered Throne) and Shane Dreher (Nightspake) on the guitars, Cole Daniels (Demon King, Fleshbore) on bass, and Jack Blackburn (Killitorous, Inferi) on drums.
Eerie, atmospheric sounds permeate the air in the opening track Entities of Ash, until all hell breaks loose to the venomous gnarling by Andrew, supported by the demented beats and fills by Jack; and the visceral riffage by Taylor and Shane exhale Technical Death Metal in Unbecoming of I, accompanied by the intricate and heavy-as-hell bass by Cole. Then the harsh vociferations by Andrew reek of venomous and infuriated Deathcore in Ruins of Lunacy, while the music is as bestial, savage and technical as possible, followed by the title-track A Form Beyond, a lesson in Technical Death Metal with a blackened approach, with Jack stealing the spotlight with his demonic beats and fills.
Then after a streak of hard hitting songs, the band offers the more cadenced and not so dynamic Essence Erased, which is still very technical, though, showcasing their trademark heavy sounds. Again presenting a more obscure, pensive atmosphere we have Spirit Dysmorphia; however, in this case the band gets back on track with a slab of dexterity and aggression led by the pulverizing drums by Jack. Death Entwines Us All presents a phantasmagorical, melancholic start to the minimalist guitars by Taylor and Shane, warming us up for another metallic attack of Death and Black Metal by the band, resulting in a must-listen for fans of the genre. Finally, the album ends with the also infernal Dreaming in Decay, where the ruthless bass lines by Cole add tons of thunder to the extremely intricate riffage by Taylor and Shane.
Meticulously written and impeccably executed, A Form Beyond undoubtedly positions Unaligned as a force to be reckoned with in the extreme music scene worldwide, being therefore highly recommended for fans of Demon King, Withered Throne, Inferi, Enfold Darkness, Warforged, and Vale of Pnath, among others. As usual, you can find more details about the band on Facebook and on Instagram, stream their demented creations on Spotify, and of course purchase A Form Beyond from their BandCamp or from the Transcending Obscurity Records’ main store, Bandcamp, Europe store or US store. A Form Beyond is not only technical, but visceral and dark, and once you get a taste of what Unaligned are capable of by listening to the album, you’ll certainly get addicted to their infuriated sounds.
Best moments of the album:Entities of Ash, A Form Beyond and Death Entwines Us All.
Worst moments of the album:Essence Erased.
Released in 2025 Transcending Obscurity Records
Track listing 1. Entities of Ash 5:11
2. Unbecoming of I 4:35
3. Ruins of Lunacy 4:33
4. A Form Beyond 4:30
5. Essence Erased 4:32
6. Spirit Dysmorphia 4:47
7. Death Entwines Us All 5:01
8. Dreaming in Decay 5:04
Band members Andrew Guia – vocals
Taylor Tidwell – guitars
Shane Dreher – guitars
Cole Daniels – bass
Jack Blackburn – drums
Let’s embark on a cinematic metal journey to the sophomore opus by this UK blackened entity, set centuries into a dystopian future on a dying earth.
Forging Symphonic and Melodic Death and Black metal with a strong cinematic scope, Berkshire, UK-based entity Hades Descent is back from the underworld with its sophomore opus, entitled The Monolith, a dystopian concept album offering a dark fusion of symphonic atmosphere, blackened aggression, and melodic precision, marking the project’s most ambitious work to date. Fully composed, orchestrated, recorded, mixed, and mastered by the band’s mastermind Hades at Titan Studios, underscoring the project’s uncompromising DIY spirit and singular vision, anchored by the beyond versatile vocals by D.M., and featuring the more-than-special guests Karl Sanders (Nile), Brian Kingsland (Nile, Imperishable), Björn “Speed” Strid (Soilwork, The Night Flight Orchestra), and Tim Goodson, The Monolith is set centuries into a dystopian future, on a dying earth, where mankind has embraced cybernetics in pursuit of perpetual enhancement, until humans no longer know where they end and the machine begins. “This is a concept album, based on an idea I had about 5 years ago,” explains Hades. “It’s taken that long to come to fruition! I hired an author, Tony Martucci, to turn the concept into a proper short story, which helped me flesh out the idea fully and turn it into the beautiful album you see here.”
The album kicks off with six minutes of Symphonic Black Metal madness in the form of Tomorrow Is Dead!, featuring guests Brian Kingsland, Karl Sanders and Tim Goodson, all on the guitars, with Hades’ and his henchmen’s striking, melodic riffs and solos walking hand in hand with the demented roars by D.M., whereas in Through Savage Seas they bring forward elements of Progressive Black and Death Metal, with all beats and fills adding endless heaviness to the song. Then the poetically titled Forged In Darkness (And Fire) starts in a cinematic manner before evolving into a symphonic and headbanging feast of vicious riffs and whimsical keys; and we face another round of phantasmagorical keys in Path of The Seeker, providing D.M. with all he needs to deliver his trademark harsh gnarls. Hades continues to bring forth sheer adrenaline in The Oncoming Storm, where his riffs and keys will yet again pierce your mind like an arrow in flames.
Veiled Ambitions is not as exciting as the rest of the album, although it still presents the characteristic fusion of symphonic and extreme sounds blasted by Hades. Then back on track, Hades and his Hades Descent continue their descent (and sorry for all repetition in this case) to the underworld in Sentinels of Time (Illium’s Demise), with the song’s hammering drums complementing D.M.’s desperate screams flawlessly. The Sea of Silent Warriors sounds very intricate and complex throughout its almost five minutes, in special its Dream Theater-like keys and drums, all embraced by the devilish growls by D.M., and finally, we face the seven-minute beast of darkness titled The Monolith, where guest Björn “Speed” Strid proves why he’s one of the best vocalists to ever arise from Sweden, clashing majestically with the Black Metal gnarls by D.M. in an explosion of first-class extreme music.
A cinematic concept album bringing to us all a dystopian cybernetic future, time travel, destiny, and downfall, The Monolith represents the band’s most complete artistic statement yet, set to establish Hades Descent as one of UK’s most ambitious forces in modern extreme music, being therefore highly recommended for fans of Septicflesh, Fleshgod Apocalypse, Dimmu Borgir, Ex Deo, and Nile, just to name a few. Hence, you can get to know more about this excellent project and its mysterious master, and obviously show him your total support, by checking what Hades is up to on Instagram, by streaming his music on Spotify, and by purchasing The Monolith from BandCamp. It’s time to embark on a metal journey to the dystopian future from The Monolith, and I’m sure you’ll have a great time with the multi-talented Hades as your devilish guide.
Best moments of the album:Tomorrow Is Dead!, Path of The Seeker and The Monolith.
Worst moments of the album:Veiled Ambitions.
Released in 2025 Independent
Track listing 1. Tomorrow Is Dead! 6:52
2. Through Savage Seas 5:46
3. Forged In Darkness (And Fire) 5:56
4. Path of The Seeker 4:30
5. The Oncoming Storm 4:57
6. Veiled Ambitions 5:38
7. Sentinels of Time (Illium’s Demise) 5:02
8. The Sea of Silent Warriors 4:48
9. The Monolith 7:41
Band members D.M. – vocals
Hades – guitars, bass, drums
Guest musicians
Brian Kingsland – chorus vocals and guitar solo on “Tomorrow Is Dead!”
Karl Sanders – guitar solo on “Tomorrow Is Dead!”
Björn Strid – vocals on “The Monolith”
Tim Goodson – rhythm guitar on “Tomorrow Is Dead!”
Demons from the war now lives… Rain down explosions upon us… Terror in the air!
As we’re heading to the end of another hot and humid summer, let’s keep the temperatures as warm as possible with our metal lady of this month of September, and you better be prepared as she will breathe fire into your damned soul with her scorching guttural. She’s the unrelenting frontwoman for an amazing Italian Technical Death Metal band named Mechanical God Creation, and since mid-2024 she has also become a vocalist for a ruthless Italian Black Metal band named Stormcrow. As you can see, she takes no prisoners in her quest for extreme music, and I’m sure you’ll have an absolute blast listening to the amazing music crafted by her bands. Her name is Luciana Catananti, a talented she-wolf that will kick your ass mercilessly, keeping the fires of Death and Black Metal burning brighter than a thousand suns in her beautiful homeland.
Born on May 2, 1985 in Bergamo, an Italian city northeast of Milan, in the Lombardy region, Luciana was part of a band named Art of Mutilation when she lived in the UK, and also a member of a band called The Anger back then, but there isn’t much information about The Anger anywhere. Well, at least we know that Art of Mutilation was a Melodic Death/Thrash Metal band based in Birkenhead, England in its early days, then moving to Wrexham, Wales, and the band lasted between 2002 and 2011 before splitting up. Luciana was only part of the band in the year of 2005, having recorded with them the demo Mortality that same year. The demo had only three songs, those being Eviscerated, Blackened Sculpture, and Cabal, and as you can see by the only two songs available on YouTube, Luciana and the boys were a really promising band (which unfortunately is no more), and her vocals were already ruthless.
It was then in 2006 in the charming Italian city of Milan when Luciana founded Mechanical God Creation alongside guitarist Simo, and quickly adding bassist Andrea “Veon” Marini, guitarist Andrea “Runza” Galdi, and drummer Mattia Jay “Jambra” Giambini to their lineup; however, as all four already left the band after a few years, she remains as the only member of the original lineup. Their music also morphed from Melodic Death Metal the likes of Arch Enemy in their early days, hence the name of the band (taken from their 2005 masterpiece Doomsday Machine), to a more visceral, brutal and infernal form of Technical Death Metal, even adding hints of modern-day Death Metal and Progressive Death Metal to their core sound, as you can se in the evolution of their music from their 2007 demo …and the Battle Becomes War, to their 2010 debut Cell XIII, followed by their 2013 sophomore Artifact of Annihilation, and finally their 2019 album The New Chapter, all available for streaming in most streaming services like BandCamp, YouTube and Spotify, except for their demo, and you can also enjoy a lot of official videos like Terror In The Air and I Am The Godless Man, and lots of cool live footage including Walking Dead live in Russia in 2014, on their official YouTube channel.
Although Mechanical God Creation haven’t released any new material since 2019, we can also enjoy our dauntless growler as the new frontwoman for an Italian Black Metal band named Stormcrow since July 2024, under the moniker Vexa (maybe taken from a half-troll from Dungeons & Dragons, who knows). Playing what they like to label as “Alpine Black Metal”, the band currently formed of our beloved Luciana, or if you prefer, Vexa on vocals alongside Vastis also on vocals, Astaroth and Tohrus on the guitars, Zedar on bass, and Wraith on drums has been making a name for themselves since 1997, having already released the demo Hell on Earth (2000), the EP Wounded Skies (2004), and the full-length albums Disposition to Tyranny (2012), Face the Giant (2019), and more recently Path to Ascension (2024), all available on BandCamp and on Spotify. Furthermore, although Luciana has only been playing live with the band for now, with no participation in any of the band’s albums, not only you should still listen to all of their discography as their music is awesome, but it will also give you a very good taste of what Luciana has to offer when hitting the stages together with her new horde (and stay tuned as their 2026 European dates are coming soon).
Apart from Mechanical God Creation, Stormcrow, The Anger, and Art of Mutilation, you can also find Luciana as a guest vocalist for the song Urban Massacre, from the 2019 album 1996, by an Italian Death Metal/Grindcore band named Abbinormal. It’s a one-minute song, which might be very short for us metalheads eager for more of Luciana’s vocals, but enough already to show how violent she can sound. She has also recently contributed with her powerful vocals to a track titled Portals, on the new album by legendary Dutch Death Metal band Pestilence that should see the light of day sometime still in 2025 (or maybe only in 2026). In addition, you can also find on YouTube a cover version for Lamb of God’s Walk With Me In Hell by Luciana alongside Italian guitarist and bassist Francesca Mancini, of bands like Chaos Rising, Necrosy, and Sudden Death, and let me tell you that such an incredible female duo kicked some serious ass with their rendition of one of the best songs by Randy Blythe and his crew.
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Highly influenced by bands the likes of Morbid Angel, Behemoth, Cannibal Corpse and Deicide, just to name a few, Luciana enjoys writing caustic, harsh lyrics that reflect the daily reality and the problems we all face in the time we’re living that is so full of very important and sudden changes from the cultural, political and technological point of view. Moreover, apart from heavy music, Luciana also enjoys listening to bands and artists like David Bowie, Adele, Coldplay, and Amy Winehouse, showing her eclectic music taste, and when asked which was her first ever live concert and the very first album she bought, she mentioned the always controversial Marilyn Manson (saying it was a great show and that he is a good frontman, but also pointing out she doesn’t listen to him anymore), and probably a Metallica album as far as she remembers.
Having already played at some of the biggest festivals in Europe with heavy music giants including Ozzy Osbourne, Korn, Megadeth, Graveworm, Meshuggah, and Amon Amarth, just to name a few, Luciana also mentioned in one of her interviews that she really enjoys a festival in Slovenia named Metalcamp, saying that although it’s not as big as Wacken Open Air, it’s a very nice festival in the midst of nature. I really wish both Mechanical God Creation and Stormcrow would cross the pond and come play a few shows in Canada and in the United States, but I understand it’s not easy nowadays to tour the world due to the high touring costs. Well, maybe I can catch them at an European festival next year, right?
Despite being a proud Italian, while at the same time of course having her own constructive feedback about the current political and social landscapes in her homeland, Luciana is not very involved with the Italian underground scene. She mentioned in one of her interviews that she obviously knows bands like Fleshgod Apocalypse are proudly carrying the Italian flag everywhere they go, and she feels very happy for them despite not being a true fan of their music.
Currently working in the A&R (Artists and Repertoire) department of WormHoleDeath and Epictronic, Luciana mentioned in an interview that one of her biggest mistakes in music was having stopped to play the piano after years playing it, as it certainly helped her to feel calm. However, if you think she enjoys movies that would also make her calm down and relax, you’ve got another thing coming as her favorite flicks are horror movies with zombies or exorcisms, with her favorite one being the classic Dawn of the Dead. Maybe one day we’ll see Luciana joining the cast of a horror movie, playing some sort of she-demon, screaming at our faces, and sending shivers down the spines of the lighthearted. Because she’s a true extreme music diva, and she will show no mercy for your soul armed with her phenomenal vocals and badass attitude.
The first full-length opus by this American duo flows continuously across seven tracks, maintaining a constant tension between the harmony and dissonance of its ever-shifting web of musical ideas.
Combining a dense stylistic mélange of Death, Black, and Thrash Metal with inventive electronic experimentation and a keen sense of structure, Formless Ruin of Oblivion is the brand new offering by Massachusetts, United States-based Avantgarde Death/Black/Thrash Metal duo Hexrot, following up on their 2022 debut EP Gloomwrought. Mastered by Colin Marston at Menegroth – The Thousand Caves, and displaying a stunning artwork from The Garden of Earthly Delights by Hieronymous Bosch, with logo by Nat Lacuna, the 35-minute first full-length opus by Arkain on vocals, guitars and bass, and Melmoth on vocals, drums and electronics flows continuously across seven tracks, maintaining a constant tension between the harmony and dissonance of its ever-shifting web of musical ideas. Seamlessly interwoven, a bed of modular synthesizer and other digital flourishes run the gamut from clangorous and industrial to warm and ethereal, being therefore recommended for fans of Felgrave, Construct of Lethe, Deathspell Omega, Blut aus Nord, Death, Ulcerate, and Veilburner.
What Lies Veiled is simply ethereal and enigmatic from the very first second, gradually morphing into an experimental beast led by the intricate drumming by Melmoth while Arkain shreds his axe in the name of insanity, flowing into Heavenward, a lecture in Avantgarde and Progressive Death Metal where their experimentations reach a whole new level, all boosted by the the duo’s demented vociferations; again seamlessly connecting with Consecrating Luminous Conflagration, where they keep blasting their demented sounds led by the wicked riffage by Arkain. Then we have the otherworldly interlude Ghostly Retrograde I, setting the stage for Hexrot to crush our souls and dreams with Clandestine Haunt, with Arkain’s caustic guitars matching perfectly with Melmoth’s frantic beats and fills in another explosion of demented Death Metal, once again changing its shape and form into the interlude Ghostly Retrograde II, another atmospheric and embracing instrumental piece that works perfectly as the warmup for the title-track Formless Ruin of Oblivion, a 15-minute creature from the abyss of extreme music, starting in the most phantasmagorical manner before the duo begins peeling our flesh mercilessly with their chaotic and visceral sounds, exhaling madness to their wicked riffs, bass lines and cryptic drums, as if there were three or four songs clashing in great fashion inside of it, consequently setting fire to the ambience until its climatic yet vile finale.
In addition to all that, the immediacy of a live studio recording gives Formless Ruin of Oblivion a high level of authenticity and power, but careful production ensures you’ll still be discovering new things multiple listens in. Hence, you can get to know more about such a promising duo hailing from the United States through their official Facebook and Instagram, stream their debut EP and soon their newborn opus on Spotify or any other streaming service, and purchase a copy of the album from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. It’s truly impressive how only two musicians were capable of putting together such a detailed, bold and complex album, sounding like a multi-headed beast of extreme music while remaining loyal to their foundations and absolutely humble, working hard to keep crafting high quality music for us avid metalheads. No idea what’s next for those two beyond talented guys, but if their next album is just as half as good as Formless Ruin of Oblivion, we’ll have a very good reason to keep a huge smile on our faces while headbanging manically.
Best moments of the album:Heavenward, Clandestine Haunt and Formless Ruin of Oblivion.
Worst moments of the album: None.
Released in 2025 Transcending Obscurity Records
Track listing 1. What Lies Veiled 3:49
2. Heavenward 5:26
3. Consecrating Luminous Conflagration 4:05
4. Ghostly Retrograde I 1:10
5. Clandestine Haunt 3:06
6. Ghostly Retrograde II 1:52
7. Formless Ruin of Oblivion 15:53
Band members Arkain – vocals, guitars, bass
Melmoth – vocals, drums, electronics
This Symphonic Black Metal entity from Portland will attack with their concept debut album, a monolithic fusion of bombastic brutality and cosmic dread.
Astral warlords and celestial leviathans, Portland, Oregon-based Symphonic Black Metal entity Old Machines emerge from the void with their cataclysmic concept debut album, titled The Cycles of Extinction, a monolithic fusion of bombastic brutality and cosmic dread. Recorded and mixed by the band’s own guitarist Brian Rush, mastered by Stephen Hoffman at Acid Dump Studios, and displaying a futuristic, dystopian cover art by Alexander Preuss, the debut offering by Gary Reavis on vocals, Brian Rush on the guitar and bass (the band was joined by Joel Henigson on bass shortly after the album was recorded), Devon Miller also on the guitar, Jason Stares on keyboards, and Chris Craven on drums heralds a new chapter in Extreme Metal where ancient engines of annihilation awaken once more.
You know a band is always aiming at pushing their boundaries when they kick off an album with an 11-minute song like Twilight of the Old Gods, and the Dawning of the First, sounding utterly atmospheric and whimsical, evolving into a Progressive Death Metal beast led by Gary’s striking vocals; and their symphonic wall of sounds goes on in full force in Cycles of Extinction, with the keys by Jason elevating the song’s epicness to a whole new level. Those guys definitely know how to name their songs, like in Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory), where Brian and Devon deliver an imposing riff attack accompanied by the massive beats and fills by Chris in a complex and vibrant blend of Symphonic and Progressive Black Metal; whereas Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle is a beyond ethereal, enfolding composition, almost venturing through the lands of Shoegaze.
Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) takes the band back to a more metallic and piercing mode, where Chris hammers his drums supported by the always electrifying keys by Jason, offering Gary exactly what he needs to shine on vocals. And it’s pedal to the metal in the infuriated The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague, with the guitars by Brian and Devon penetrating deep inside our rotten minds. Then a cinematic intro explodes into sheer madness, rage and first-class Symphonic Black Metal in They are Legion – The Tragic Exodus of the Veiled Creators, where their guitar lines are absolutely insane and demented. And finally, we face their last metal attack entitled Glory to the Terrans of the First Contact War, even more symphonic than its predecessors while Chris sounds ruthless behind his drums.
In a nutshell, the tales of horror, war, and genocide found in The Cycles of Extinction, spanning eight tracks for one hour of music which can be described as Extreme Cosmic Metal, combining elements of Thrash, Death, Black, and Power Metal, will certainly appeal to fans of heavy music with a strong background storyline, and you can get to know more about Old Machines, their music, tour dates and other details on Facebook and on Instagram, and grab a copy of the album from their own BandCamp, from the Pale Magus Productions webstore, or by clicking HERE. From the darkest depths of the oceans of time and space comes a legend over two billion years old, which has spawned a multitude of harrowing galactic sagas, with The Cycles of Extinction being just the first in a series of concept albums by the band. There will be more of such epics in this fashion because, as you know, extinction is only the beginning.
Best moments of the album:Twilight of the Old Gods, and the Dawning of the First, Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) and The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague.
Worst moments of the album:Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle.
Released in 2025 Pale Magus Productions
Track listing 1. Twilight of the Old Gods, and the Dawning of the First 11:14
2. Cycles of Extinction 6:41
3. Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory) 6:18
4. Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle 8:39
5. Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) 6:51
6. The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague 7:15
7. They are Legion – The Tragic Exodus of the Veiled Creators 6:03
8. Glory to the Terrans of the First Contact War 7:25
Band members Gary Reavis – vocals
Brian Rush – guitar, bass
Devon Miller – guitar
Jason Stares – keyboards
Chris Craven – drums
Behold the debut album by this Phoenix, Arizona-based Progressive Thrash/Death Metal one-man act, progressing with intense aggression, passages of amazing, atmospheric, melodious reflection and a staggering array of riffs.
Solo projects are not the rare entity that they once were in the multitude of metal genres, and an album can simply pass us by as just another barely noted scrap of information. However, when the songs are so individual, complex and emotionally charged it can still take your breath away. That’s exactly the case with The Final Witness, the debut album by Phoenix, Arizona-based Progressive Thrash/Death Metal act The Final Witness, the brainchild of vocalist and multi-instrumentalist Josh Henderson. Produced by Jason Wisdom of Becoming The Archetype, Beneath The Altar offers no gradual immersion into its turbulent waters, no gradual revealing of its unpredictable nature, progressing with intense aggression, incredible guitar solos, passages of amazing, atmospheric, melodious reflection and a staggering array of riffs.
Josh’s incendiary riffs set fire to the atmosphere in Principalities, also presenting crushing beats and fills, and his trademark demonic roars, resulting in a great start to the album, followed by Coronation, even more melodic than the opening track, with Josh shredding his axe in the name of Progressive Death Metal. The title-track Beneath The Altar also brings to our avid ears Josh’s share of aggressiveness mixed with pure melody and intricacy, not to mention his work on the guitars and drums is fantastic; and he keeps roaring and barking nonstop in Sanctum of the Holy, offering more of his Progressive Death Metal blend, with his scorching riffs adding intricacy and rage to the music. Our lone wolf then puts the pedal to the metal in the infuriated Negative World, offering a high dosage of Death and Thrash Metal violence armed with his blast beats and visceral growling. Testimony, the second to last song from the album, is a burst of pure energy, keeping the fun inside the pit flowing until we face The Blood, another complex and long composition presenting his piercing riffage and progressive beats and fills, resulting in a multi-layered tune recommended for fans of the genre.
Highly recommended for fans of bands the likes of Sadus, White Stones, Coroner, and Moonloop, among others, Beneath The Altar definitely deserves a listen by any fan of high quality extreme music with a strong progressive and melodic vein, and you can get to know more about Josh and his The Final Witness on Facebook and on Instagram, stream the album in full sooner than later on Spotify, and of course, grab a copy of it from the Rottweiler Records’ BandCamp or webstore, as well as from DistroKid, or simply click HERE for all things The Final Witness. It’s time for Beneath The Altar to be unleashed, positioning The Final Witness as a force to be reckoned with in the current American scene, therefore inspiring the multi-talented Josh to keep venturing through the wild and unpredictable lands of progressiveness as a true lone wolf, always putting a huge smile on our faces with more excellent releases like Beneath The Altar.
Best moments of the album:Coronation, Beneath The Altar and Negative World.
Worst moments of the album: None.
Released in 2025 Rottweiler Records
Track listing 1. Principalities 5:13
2. Coronation 3:56
3. Beneath The Altar 5:14
4. Sanctum of the Holy 4:27
5. Negative World 4:59
6. Testimony 6:13
7. The Blood 6:40
Band members Josh Henderson – vocals, all instruments
Playing incredibly heavy Death Metal music, this American group will attack with their sophomore album, sounding relentless in its barrage of gargantuan otherworldly riffs.
Playing incredibly heavy Death Metal music, leaden, thick and dark, while also somehow attempting to go progressive wielding that sound, like Morbid Angel covering The Chasm songs under the influence of Blood Incantation, Jacksonville, Florida-based Progressive Thrash/Death Metal brigade Haxprocess in unleashing upon humanity their sophomore beast, entitled Beyond What Eyes Can See, following up on their critically acclaimed 2023 debut The Caverns of Duat. Displaying another sick artwork by Juanjo Castellano (Ritual Fog, Typhonian), the new album by Lothar Mallea on vocals and guitar, Shane Williamson also on the guitar, Davis Leader on bass, and Adam Robinson on drums once again brings to our avid ears an overdose of epic songs averaging 10 minutes, sounding relentless in its barrage of gargantuan otherworldly riffs, what with the ever-changing patterns and combinations, albeit delivered in a comfortable pace so that everything can be registered for posterity, being therefore recommended for fans of Morbid Angel, Blood Incantation, The Chasm, Immolation, Opeth, Atvm, Atheist, Felgrave, and Typhonian, just to name a few.
Just like in their debut offering, the album begins in an atmospheric manner with the ethereal 11-minute beast titled Where Even Stars Die, with the deep, visceral growls and the slashing riffage by Lothar, alongside Shane also on the guitar, turning it into a must-listen song for admirers of Progressive Death Metal. The Confines of the Flesh is yet another complex, multi-layered and incandescent composition by the quartet, with Adam taking the lead with his intricate beats and fills while also presenting the raw and gory sounds of classic Death Metal the likes of Morbid Angel and Cannibal Corpse; and the band continues to embrace us in darkness and insanity with Thy Inner Demon Seed, with Davis firing absolutely mental bass lines while Adam keeps pounding his drums nonstop, all of course spiced up by another vile vocal performance by Lothar. Finally, after a beyond technical and melodic start we’re treated to an overdose of progressiveness and demented sounds in Sepulchral Void, with Lothar and Shane sounding brilliant armed with their axes, offering our avid ears several breaks, variations and tempo changes. In other words, it’s hard to describe the whole song in words due to its endless layers, an amalgamation of styles rooted in first-class Progressive Death Metal.
In summary, Beyond What Eyes Can See is an album that can withstand endless listens, offer everything a Death Metal fan would want, and yet do so much more than an average album would because of their constantly evolving music that manages to remain engrossing as well. Hence, don’t forget to give the band a shout on Facebook and on Instagram, stream their music on Spotify, and of course purchase such a multi-layered, captivating album from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Beyond What Eyes Can See is as epic as a Death Metal album can possibly get without letting go of any of the heaviness that’s an inherent part of the band’s sound, and if you think you have what it takes to face this metallic voyage blasted by Haxprocess, simply hit play and you’ll definitely have an amazing time.
Best moments of the album:Where Even Stars Die and Sepulchral Void.
Worst moments of the album: None.
Released in 2025 Transcending Obscurity Records
Track listing 1. Where Even Stars Die 11:28
2. The Confines of the Flesh 9:28
3. Thy Inner Demon Seed 10:43
4. Sepulchral Void 13:12
Band members Lothar Mallea – vocals, guitar
Shane Williamson – guitar
Davis Leader – bass
Adam Robinson – drums
The trailblazers of Hispanic Extreme Metal return with a fantastic new album, once again exploring the duality between extreme music and Spanish sounds inspired by Andalusian culture and flamenco.
Formed in 2004 by guitarist Lionel Cano Muñoz, Franco-Spanish Brutal Flamenco Death Metal entity Impureza offers a unique fusion of extreme music and Spanish sounds inspired by Andalusian culture and Flamenco, creating an atypical style known as “Hispanic Extreme Metal,” therefore turning them into the pioneers of the genre. Recorded and mixed by Sébastien Camhi at Studio Artmusic, mastered by Jacob Hansen at Hansen Studios, and displaying a stylish artwork by Johann Bodin and Xavier Ribeiro, Alcázaresis the brand new offering by the band currently formed of Esteban Martín on vocals, Lionel Cano Muñoz on the guitars, Florian Saillard on fretless bass, and Guilhem Auge on drums, supported by Xavier Hamon on percussion and Louis Viallet on orchestrations, once again revolving around the voluptuousness of Latin atmospheres, the ferocity of metal music, and Spanish culture and history, explored through a fictional and esoteric aspect.
The pure Flamenco intro Verdiales will transport our minds to the world of Impureza before they attack with Bajo las Tizonas de Toledo, with Lionel delivering striking riffs and solos infused with Spanish sounds while Guilhem hammers his drums and Esteban roars deeply until the very end. Covadonga keeps the album at a high level of violence and epicness, with Lionel once again stealing the spotlight with his riffage supported by Florian’s puissant bass; and simply let their Spanish sounds penetrate deep inside your soul in Pestilencia, or “pestilence”, where the Spanish guitars by Lionel are effectively boosted by the percussion by Xavier before all explodes into another feast of Progressive Death Metal. And Reconquistar Al-Ándalus, or “reconquering Al-Ándalus”, is another perfect fusion of extreme music and the Andalusian culture, not to mention how infernal Guilhem sounds on drums.
Impureza will then put you to dance to the sound of Murallas, or “walls”, a fantastic interlude that will set the tone for La Orden del Yelmo Negro, which translates as “the order of the black helmet”, carrying a poetic name for an overdose of harsh vociferations by Esteban, all boosted by another visceral, flawless stringed attack by Lionel and Florian. After such a beautiful song, the band offers six minutes of dark, atmospheric sounds infused with the whimsical touch of the Spanish guitar by Lionel in Castigos Eclesiásticos, or “ecclesiastical punishments”; whereas in El Ejército de los Fallecidos de Alarcos, or “the army of the dead of Alarcos”, all backing vocals add an extra kick to Esteban’s harsh growls while Florian and Guilhem make the earth tremble with their progressive and ruthless kitchen. Then another Andalusian-infused instrumental interlude titled Ruina del Alcázar, or “ruin of the Alcázar”, warms us up for their final onrush entitled Santa Inquisición, or “holy inquisition”, where all band members set the ambience on absolute fire, led by the always demonic vociferations by Esteban in a lecture in extreme music.
Often nicknamed the “French Nile” due to their primary influences, which obviously include Nile, as well as Hate Eternal, Behemoth, and Fleshgod Apocalypse, among many others, plus several Spanish artists such as Flamenco guitarist Paco de Lucía and gypsy singer Camarón de la Isla, Impureza, which by the way means “impurity” in English, beautifully united traditional Hispanic folklore and Extreme Metal in their new album, presenting the duality between those two seemingly opposed musical genres in a beyond compelling way. Hence, you can get to know more about the band on Facebook and on Instagram, subscribe to their YouTube channel, stream their music on Spotify, and grab a copy of their fiery new opus from BandCamp or by clicking HERE. In a nutshell, not only Impureza are the undisputed trailblazers of Hispanic Extreme Metal, but Alcázares will certainly help them carve their name in the history of heavy music, leaving us eager for more in a not-so-distant future.
Best moments of the album:Bajo las Tizonas de Toledo, Reconquistar Al-Ándalus, La Orden del Yelmo Negro and Santa Inquisición.
Worst moments of the album: None.
Released in 2025 Season of Mist
Track listing 1. Verdiales 1:15
2. Bajo las Tizonas de Toledo 6:25
3. Covadonga 4:01
4. Pestilencia 4:44
5. Reconquistar Al-Ándalus 5:25
6. Murallas 2:24
7. La Orden del Yelmo Negro 4:57
8. Castigos Eclesiásticos 6:06
9. El Ejército de los Fallecidos de Alarcos 5:18
10. Ruina del Alcázar 1:37
11. Santa Inquisición 6:26
Band members Esteban Martín – vocals
Lionel Cano Muñoz – rhythm, lead & Spanish guitars
Florian Saillard – fretless bass
Guilhem Auge – drums
Guest musicians
Xavier Hamon – percussion (session)
Louis Viallet – orchestrations (session)
A scorching night of sheer progressiveness and aggressiveness in Toronto, courtesy of some of the must-see names of the current American rock and metal scene.
This Sunday night in Toronto was one of those days that felt like you were at an open air sauna, and GLACIAL TOMB, INTER ARMA, HOLY FAWN and RIVERS OF NIHIL made sure Lee’s Palace got even hotter and more humid during their The Aggressive Progressive Tour2025, their last stop of the tour, and another excellent event brought to the city by the one and only Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi coundn’t be there, unfortunately, but not only I was there inside the rock and metal sauna called Lee’s Palace to cover such a great night of heavy music, but I was also lucky enough to get some wild shots from our brother Ryan Miles Leblanc to add to this review. Furthermore, if you take into account almost every single band on this planet is playing at all of those awesome European summer festivals (just check the lineup for Graspop Metal Meeting this year, for example), it’s actually a miracle Toronto got this show during what’s in my humble opinion one of the biggest “metal concert draughts” in the history of the city. In all seriousness, I’m starting to get worried about the future of heavy music in Toronto, as we’re getting less and less concerts, and even being left out of tours scheduled for multiple Canadian location, but Toronto.
Done with the rant about the lack of metal concerts in Toronto. Let’s get back to the show, and what an amazing show by Denver, Colorado’s own Sludge/Death/Black Metal beast GLACIAL TOMB, kicking ass hard in the ass with their heavier-than-hell sounds. Having released the excellent Lightless Expanse last year, available on both BandCamp and on Spotify, the band formed of Ben Hutcherson, Kevin Berstler, David Small and Joey Spates took no prisoners in their quest for heaviness and obscurity, crushing our damned souls with violent yet melodic and grim songs like Abyssal Host and Stygian Abattoir. Those guys were by far one of the most solid opening bands I’ve ever seen live, raising the bar high for the upcoming attractions of the night, and if you’ve never seen Glacial Tomb live or if you’ve never heard anything from them, I highly recommend you go check their discography and keep an eye on their tour dates, because they’re definitely a must-see band of the current underground scene.
Setlist Abyssal Host
Voidwomb
Stygian Abattoir
Wound of Existence
The Lightless Expanse
Enshrined in Concrete
Band members Ben Hutcherson – vocals, guitars
Kevin Berstler – guitars
David Small – bass
Joey Spates – drums
After a short and necessary break, where everyone took the time to cool off with some beer and water (and one of the concert goers even said the air outdoor felt like “butternut squash soup,” just to give you an idea of how hot and humid it was), it was time for Richmond, Virginia-based Sludge/Black/Death/Post-Metal outfit INTER ARMA (and hell yeah, I love their name!) to bring sheer doom to the venue with their noisy and apocalyptic performance. Their ruthless setlist was comprised basically of songs from their latest album New Heaven, released in 2024 (also available on BandCamp and on Spotify), those being New Heaven, Violet Seizures, and Concrete Cliffs, and oh boy, those songs sounded heavier than a thousand thunders. Frontman Mike Paparo was on fire throughout their entire concert, as well as a tiny bit drunk (which was actually fun), supported by the unrelenting guitarists Steven “Dirt” Russell and Trey Dalton, and just like I said for Glacial Tomb, if you know nothing about Inter Arma simply go after their discography because those guys play amazing metal music.
Setlist New Heaven
Citadel
Violet Seizures
Concrete Cliffs
An Archer in the Emptiness
Band members Mike Paparo – vocals
Steven “Dirt” Russell – guitars
Trey Dalton – guitars
Joel Moore – bass
Alex Tomlin – drums
The venue got really packed (and consequently even hotter) when Phoenix, Arizona’s cult Post-Black Metal/Rock act HOLY FAWN took the stage for the total delight of their fans, blasting a dark and gripping setlist including songs from all of their albums, like their 2022 opus Dimensional Bleed, plus their brand new single Beneath a Lightless Star, all available on BandCamp and on Spotify. Literally everyone at Lee’s Palace was having an absolute blast with those American rockers, getting louder and louder as they kept delivering total heaviness armed with their sonic weapons. It was indeed a phenomenal concert by Holy Fawn, proving why they’ve become legends in the underground scene, and even the guys from Rivers of Nihil were enjoying their show a lot from backstage. I guess it won’t take long for the band to return to Toronto, maybe as the headliners next time, and I’m beyond certain it will be a sold out event.
Setlist Candy
Dark Stone
Blood Pact
Beneath a Lightless Star
New song (SVR)
Void of Light
Seer
Band members Ryan Osterman – vocals, guitar
Evan Phelps – guitar
Alexander Rieth – bass
Austin Reinholz – drums
It wasn’t even 9:30pm, which is amazing as that usually means we can all enjoy the show to the fullest without worrying about the time and go home earlier than expected, when the main attraction of the night, Reading, Pennsylvania’s unstoppable Progressive/Technical Death Metal masters RIVERS OF NIHIL took the stage by storm with a brilliant performance, igniting a beautiful “hurricane” on the floor section. Currently promoting their 2025 self-titled new album, which you can enjoy in full on BandCamp and on Spotify, the band formed of Adam Biggs, Brody Uttley, Andy Thomas and Jared Klei, with the support of the awesome saxophonist Patrick Corona (of the excellent Progressive Metalcore band Cyborg Octopus), delivered a powerful, captivating, heavy-as-hell and extremely dynamic show, with songs like The Silent Life, American Death and Water & Time sounding even better live than in the studio, which is always a delight for me, by the way. The band was tight, there was zero room for error, and the reaction of their fans to each song played was a thing of beauty. We even got a wall of death to the sound of Patrick’s saxophone. Thank you, Rivers of Nihil, for bringing some quality heavy music to the city during this boring period of musical draught, and whenever you guys decide to pay the city of Toronto a visit again, rest assured we’ll all be here waiting for you.
Setlist The Sub‐Orbital Blues
The Silent Life
American Death
A Home
The Void From Which No Sound Escapes
Water & Time
House of Light
Death Is Real
Episode
Where Owls Know My Name
Encore:
Clean
Band members Adam Biggs – vocals, bass
Brody Uttley – guitars
Andy Thomas – guitars, backing vocals
Jared Klein – drums, backing vocals
Patrick Corona – saxophone
Arising from a previous band out of the ashes of the Covid-19 pandemic, this five-piece Progressive/Blackened Death Metal act is ready to kill armed with their debut offering.
Arising from a previous band named Locisteller, out of the ashes of the Covid-19 pandemic, Seattle, Washington-based Progressive/Blackened Death Metal act Lacabra is ready to kill armed with their self-titled debut offering, showcasing an array of eclectic influences from traditional Heavy Metal, Dark Wave, Black Metal as well as 90’s Melodic Death Metal. Produced by Gwen Kerjan at Slab Sound Studio, mastered by Andy LaRocque at Sonic Train Studios, and displaying a sinister artwork by world renowned illustrator Néstor Ávalos, the album is a must-listen for fans of Goatwhore, Crypta, Nervosa, Blood Incantation, and Amorphis, effectively depicting all the dexterity and passion for heavy music by Lance Neatherlin on vocals, Michael Anthony and Eric Snyder on the guitars, Eric Weber on bass, and Richie Sather on drums.
A darkly atmospheric intro sets the stage for Lacabra to summon the dark forces in Blood Of The Goat 1876, offering a solid blend of Blackened and Melodic Death Metal led by the striking riffs and solos by Michael and Eric Snyder. Lance’s enraged vocal lines are the main ingredient in the striking Fallacy, where the progressiveness flowing from their guitars, bass and drums is amazing; and it’s time to bang our heads nonstop together with Lacabra in Human Quilt, where the metallic sound of their guitars walk hand in hand with the massive beats by Richie. And another shot of eerie sounds ignite Nothing, where the band fires an even darker sonority led by the devilish gnarling by Lance.
The band then enhances their animosity and delivers an overdose of aggressive sounds in Reprobate, leaning towards a more classic version of Black Metal, with Richie stealing the show with his intricate yet demented drumming; whereas Enemy (Feeding The Flames) is indeed a flammable display of blackened music, with Lance roaring manically supported by the unstoppable riffs by Michael and Eric Snyder. Such an evil horde shows no sign of slowing down at all in I Am Thee, crushing our frail bodies with their Blackened Death Metal attack mercilessly, while a more cadenced side of the band arises in The Devil’s Mechanic, with their Melodic Death Metal riffs and beats reminding me of In Flames and Dark Tranquillity. They end the album with Fractured, which is in my opinion the most electrifying of all songs, delivering sheer adrenaline and heaviness and, therefore, inviting us all to slam into the pit like there’s no tomorrow.
The guys from Lacabra are not fooling around when it comes to crafting heavy, enraged, dark and melodic music, and you can give them a shout and show them all your respect by following them on Facebook and on Instagram, as well as by streaming their music on Spotify, and put your dirty hands on their infernal debut opus by purchasing it from their own BandCamp or from the M-Theory Audio’s webstore. I’m sure Lacabra will soon spread their blackened wings and horns to all four corners of the earth with their live performances, and if the energy flowing from the stage is just as half as good as the music found in their new album, you better be prepared to be crushed like an insect inside the pit, because there will be blood.
Best moments of the album:Reprobate, The Devil’s Mechanic and Fractured.
Worst moments of the album:Nothing.
Released in 2025 M-Theory Audio
Track listing 1. Blood Of The Goat 1876 6:15
2. Fallacy 4:39
3. Human Quilt 3:35
4. Nothing 5:32
5. Reprobate 4:18
6. Enemy (Feeding The Flames) 3:53
7. I Am Thee 5:49
8. The Devil’s Mechanic 3:37
9. Fractured 5:32
Band members Lance Neatherlin – vocals
Michael Anthony – guitars
Eric Snyder – guitars
Eric Weber – bass
Richie Sather – drums
Boasting of a celebrated lineup featuring members of Withered Throne, Demon King, Fleshbore and others, Florida, United States-based beast Unaligned offers a blackened and comparatively more atmospheric take on the Technical Death Metal style. Mixed and mastered by Mike Low, edited and mixed by Erik Johnson at Dark Prophet Audio, and displaying another sick artwork by the amazing Adam Burke of Nightjar Illustration, the band’s first full-length opus, titled A Form Beyond, is an exemplary Progressive and Technical Death and Black Metal album that only gets better with more listens, showcasing all the talent and dexterity by Andrew Guia (Withered Throne) on vocals, Taylor Tidwell (Withered Throne) and Shane Dreher (Nightspake) on the guitars, Cole Daniels (Demon King, Fleshbore) on bass, and Jack Blackburn (Killitorous, Inferi) on drums.
Meticulously written and impeccably executed, A Form Beyond undoubtedly positions Unaligned as a force to be reckoned with in the extreme music scene worldwide, being therefore highly recommended for fans of Demon King, Withered Throne, Inferi, Enfold Darkness, Warforged, and Vale of Pnath, among others. As usual, you can find more details about the band on Facebook and on Instagram, stream their demented creations on Spotify, and of course purchase A Form Beyond from their BandCamp or from the Transcending Obscurity Records’ main store, Bandcamp, Europe store or US store. A Form Beyond is not only technical, but visceral and dark, and once you get a taste of what Unaligned are capable of by listening to the album, you’ll certainly get addicted to their infuriated sounds.
THE HEADBANGING MOOSE 