Blending multiple sounds to create something highly intricate, varied, and dynamic, this one-man Progressive Death Metal entity returns with its thrilling sophomore album.
The brainchild of vocalist and multi-instrumentalist Dylan Cruz, of bands like Noxis, Scumbag, and Dissonance, Yonkers, New York-based Progressive Death Metal beast Hanging Garden blends multiple sounds to create something highly intricate, varied, and dynamic, just like what it has to offer in its sophomore album, titled Dream Death, following up on its 2024 debut The God That Made Them Bow. Recorded, mixed and mastered by Dylan himself, with a stunning artwork by Hafiz, the album presents Dylan’s trenchant prog and tech death approach expertly tempered by transcendental melodic passages, and all of it bears a blackened touch on top of it.
Dylan wastes no time and begins his prog attack with Arete, delivering an avalanche of intricate riffs and blast beats while he vociferates rabidly until the very end. He then brings forward an even more chaotic yet harmonious sonority in Ondine, sounding absolutely heavy from start to finish while led by his demonic vociferations; whereas Dreamwoven presents an amalgamation of styles from Progressive Metal to Experimental and Dissonant Death Metal, with his riffs and solos sounding utterly electrifying. Carambola carries a very peculiar name for a song, musically while speaking it’s another explosion of Progressive Death Metal where he hammers his drums manically; and shifting his focus from hard hitting drums to classy, melodious guitar lines we have Endymion, whhile still maintaining his core essence intact. It’s impressive how he manages to sound so dynamic and fresh with each song like in Tears of Lustful, Secret Desire, as if Dream Theater had a bastard son addicted to the violence of Death Metal, before we face one last breath of progressiveness and insanity by Dylan titled Suffering Radiant Memories, firing piercing guitar solos for our total delight.
In the world of Death Metal, the unrelenting Hanging Garden has concocted an undeniably refreshing sound that is highly nuanced, textured, and worth delving into, exactly like what’s offered in the excellent Dream Death. Highly recommended for fans of the fusion of intricacy and violence by renowned acts the likes of Death, Sentenced, Goreworm, Xenosis, Opeth, and Krallice, among several others, Dream Death can be purchased from Hanging Garden’s own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, and don’t forget to also follow the project on Facebook, and to stream its music on Spotify. Progressive Death Metal is indeed a subgenre of heavy music with basically no boundaries, and Dylan and his Hanging Garden are among us to keep exploring those new lands with each and every album release, with Dream Death paving a fantastic path ahead of the project.
Best moments of the album:Ondine, Dreamwoven and Tears of Lustful, Secret Desire.
Delving further into darkness, this Gothic Metal quartet returns with an exploration of disillusionment, fractured identity and the struggle to reclaim clarity in a world saturated with distortion.
Delving further into darkness with a sound situated in Progressive Gothic Metal, the veteran Australian and Finnish quartet known as The Eternal is set to unveil their eighth studio album upon humanity, titled Obscured Horizons, following up on their 2024 opus Skinwalker. Produced by Jan Rechberger and Mark Kelson, and displaying a darkly stunning artwork by Kate Roney, the new album by Mark Kelson on vocals and guitar, Richie Poate on lead guitar, Niclas Etelävuori on bass, and Jan Rechberger on drums and percussion is the band’s most immersive and definitive work to date, an exploration of disillusionment, fractured identity and the struggle to reclaim clarity in a world saturated with distortion, moving through states of emotional collapse, liminal transition and existential unrest, confronting deception – both external and internal – before emerging into renewal and self-awareness.
Mark and Richie start the band’s metallic engine with their melodeath-infused guitars in Lament For The Hollow, already presenting their trademark fusion of Progressive and Gothic Metal. Then bringing elements from Gothic Rock from the 80’s we have Existing To Expire, with Niclas kicking some serious ass with his heavy bass lines, followed by Colours Fade, again showcasing an endless dosage of progressiveness added to their core sound, as if Dream Theater went absolutely goth. And striking background keys bring even more adrenaline to Harmony Breaks, with the melodious vocals by Mark embracing us in a comforting darkness in the name of Gothic Rock and Metal.
I’ve Seen The Dream is a stunning ballad in the vein of Dream Theater from their masterpiece Metropolis Pt. 2: Scenes from a Memory, with Richie stealing the spotlight with his enfolding guitars lines and solos; followed by Liminality, presenting seven minutes of a lecture in Progressive Metal, with Mark’s vocals being flawlessly complemented by the groovy, multi-layered and intricate kitchen crafted by Niclas and Jan. The title-track Obscured Horizons keeps their fires burning bright led by another killer performance by Jan behind his drums; while the incendiary guitars by Mark and Richie keep piercing our minds mercilessly in Yesterday’s Gone, another stylish display of the band’s first-class Heavy Metal. Finally, we face Awaken, again presenting several layers and nuances, with Richie sounding on fire with his axe, breathing piercing riffs and solos nonstop and, therefore, ending the album in great fashion.
A work concerned with the erosion of truth, the masks we inherit, the weight of memory and the courage required to awaken from imposed realities, Obscured Horizons represents both culmination and evolution, a bold statement from a band entering a new creative chapter with their gaze fixed firmly on the unseen. You can get to know more about The Eternal, their new album, their tour dates and other nice to know details via Facebook and Instagram, stream their unique creations on Spotify, and above all that, purchase a copy of the album by clicking HERE. Rather than surrendering to decay, Obscured Horizons charts a defiant ascent, refusing numbness, rejecting illusion, and ultimately reclaiming light from the shadows that threaten to eclipse it.
Best moments of the album:Lament For The Hollow, Liminality and Yesterday’s Gone.
Worst moments of the album: None.
Released in 2026 Reigning Phoenix Music
Track listing 1. Lament For The Hollow 5:04
2. Existing To Expire 4:10
3. Colours Fade 4:58
4. Harmony Breaks 5:05
5. I’ve Seen The Dream 4:14
6. Liminality 6:59
7. Obscured Horizons 5:11
8. Yesterday’s Gone 5:13
9. Awaken 6:07
Band members Mark Kelson – vocals, guitar
Richie Poate – lead guitar
Niclas Etelävuori – bass
Jan Rechberger – drums, percussion
With a sound that embraces the weird and obscure, this American Post-Metal outfit is back with their sophomore opus, sounding heavier and more eclectic then ever.
With a sound that embraces the weird and obscure, Portland, Oregon-based Progressive Deathcore/Death Metal/Post-Metal ensemble Sea Sleeper is unveiling their second full-length opus, titled Burden of Antlers, following up on their 2021 debut Nostophobia. Recorded by Jesse Cooley and Shane Cooley at Sleeping Studio, produced, mixed and mastered by Jesse Cooley, and with a stylish artwork by Johnny P., the new album by Jesse Cooley on vocals and guitars, Tony Spradlin also on the guitars, Nick Kessler on bass, and Shane Cooley on drums sees the band hone further the cohesion across their composition process to produce an offering that is thoroughly eclectic and heavy.
The inspiration for the opening song Machines of the Bombing Runs was drawn from the band’s fascination with history and delves into the incomprehensible enormity of war, while the music sounds absolutely dissonant and harsh thanks to the devilish vociferations by Jesse and the Stygian guitars by the same Jesse alongside Tony. And they let their most visceral Post-Black Metal vein arise in Manifestor, with Shane demolishing his drums until the very last second; followed by Lunar Degenerates, bringing forward the metallic bass lines by Nick and the deep, introspective clean vocals by Jesse. After that, Abysmal Trench explores narcissism and mortality, with the music sounding just as visceral as the topic discussed while the lead guitars by Tony feel hypnotizing.
Then we face the hard hitting title-track Burden of Antlers, where Shane dictates the pace with his pounding drums while their guitars again transpire madness and fury, not to mention how thunderous the bass by Nick sounds and feels. In They’ll Miss You we see the band let their Dissonant and Experimental Death Metal side burn our damned souls, with Jesse’s roars sounding like an angry version of Mastodon, whereas Coma is also very experimental, dynamic and multi-layered, with the devilish sounds extracted from their stringed axes penetrating deep inside your psyche. Finally, Husk concludes the album on a high and demented mode, with the progressiveness and intricacy flowing from all instruments dragging us to the band’s grim lair for all eternity.
You can find the guys from Sea Sleeper on Facebook and Instagram, staying up to date with their news, music, live concerts and other nice to know details about the band, stream their unique, detailed and vibrant music on any platform like YouTube, Spotify and Apple Music, and of course, above all that, grab those talented metallers by the antlers by purchasing their excellent new album from their own BandCamp. Jesse, Tony, Nick and Shane are on fire throughout the entire Burden of Antlers, presenting an amalgamation of styles from Progressive Metal to modern-day Post-Metal that will surely please any fan of good music, inspiring them to keep on rockin’ armed with their extremely heavy yet melodic and enfolding music for many years to come.
Best moments of the album:Machines of the Bombing Runs, Burden of Antlers and Husk.
Worst moments of the album:Lunar Degenerates.
Released in 2026 Metal Assault Records
Track listing 1. Machines of the Bombing Runs 5:15 2. Manifestor 8:14
3. Lunar Degenerates 4:44
4. Abysmal Trench 5:53
5. Burden of Antlers 6:04
6. They’ll Miss You 5:08
7. Coma 5:59
8. Husk 6:46
Band members Jesse Cooley – lead vocals, guitars
Tony Spradlin – lead guitars, backing vocals
Nick Kessler – bass, backing vocals
Shane Cooley – drums, backing vocals
These Avantgarde Black Metal masters from Japan are back with a breathtaking new album, openly showing the harsh reality that no matter how beautiful you are, you’ll be dead and rot sooner or later.
A new highlight of atmosphere, technical mastery, and meticulously arranged epics of metallic grandeur, Goh-ka, a title with a triple meaning (業火 infernal fire scorching sinners, 劫火 a huge fire that burns down the world at the end of time, and 業果 karma), is the new opus by the mighty Tokyo, Japan-based Avantgarde/Experimental Black Metal institution Sigh, the follow-up to their 2022 album Shiki. Recorded across multiple studios, once again mixed and mastered by Lasse Lammert at LSD Studios, and displaying a stunning artwork by Maciej Kamuda, the new offering by Mirai Kawashima on vocals, Dr. Mikannibal on vocals and saxophone, Nozomu Wakai on the guitars, and with the support of session musicians Frédéric Leclercq (Kreator) on bass and Mike Heller (Raven, Malignancy) on drums, has as its primary theme the Kuso-zu, a series of Buddhist paintings or illustrations depicting the nine stages of a human body’s decomposition after death, created to encourage meditation on the impermanence of life, the inevitability of death, and the detachment from physical beauty and worldly attachment. It openly shows the harsh reality that no matter how beautiful you are, you’ll be dead and rot sooner or later.
Kuso-shi 1, 2, and 3 is utterly ethereal and cinematic from the very first second, evolving into an experimental beast led by the dual vocal attack by Mirai and Dr. Mikannibal; while the guitar lines by Nozomu will pierce our minds in Jigoku-Zoshi 1: Unkamusho, with the thunderous kitchen crafted by Frédéric and Mike making the earth tremble. Then we face the ritualistic Anzenshokon, morphing into a sluggish beast infused with Doom and Sludge Metal elements, followed by Kuso-shi 4, 5, and 6, another song that sounds like three distinct tunes in one, with its epic last part being boosted by the demonic gnarls by Mirai. And after the cryptic interlude Shoso we’re treated to the infernal and captivating Unputenpu, featuring a guest guitar solo by the one and only Mikael Åkerfeldt of Opeth. The riffs by Nozomu transpire Progressive Rock and Metal, supported by the always solid beats and fills by Mike, not to mention its background keys are beautifully haunting.
Jinmenjushin brings to our avid ears another blast of their trademark blend of Avantgarde and Experimental Black Metal, alternating between more progressive moments and ethereal vocalization passages; and Mike then hammers his drums in the best Black, Thrash and Death Metal style in Jigoku-Zoshi 2: Tokatsujigoku, offering Mirai and Dr. Mikannibal exactly what they need to growl like rabid creatures. Kushukankyo is by far one of the most Japanese culture-infused tracks in the history of heavy music, flowing into the (unnecessary) atmospheric track Kuso-shi 7, setting the stage for the band to kill again with Kuso-shi 8 and 9 / Mettaijakujo, bringing forward 11 minutes of insanity, darkness, fury and progressiveness, feeling almost like the score for a Japanese horror flick, therefore putting a wild ending to the album.
From a musical perspective, if you were to place the main ingredients of Celtic Frost, Voivod, Black Sabbath, horror movies and Japan into a cauldron and stir it, you will get Goh-ka. Numerous additional spices such as Psychedelic and Progressive Rock, as well as classical music, are also evident over the album’s close to one-hour duration, resulting in a must-listen for admirers of the insanity blasted by renowned acts the likes of Arcturus, Dødheimsgard, Imperial Triumphant, Enslaved, Ved Buens Ende, Dir En Grey, and Ningen Isu. Moreover, Sigh are waiting for you on Facebook and on Instagram with news, tour dates and more of their unique music, and you can stream their vast discography on Spotify or Apple Music. Don’t forget to also grab a copy of Goh-ka from the Peaceville Records’ Bandcamp, letting their weird and captivating sounds penetrate deep inside your rotten soul. We’ll all be dead sooner or later anyway.
Best moments of the album:Jigoku-Zoshi 1: Unkamusho, Unputenpu and Kuso-shi 8 and 9 / Mettaijakujo.
These four UK Progressive Death Metal veterans are unleashing upon us their self-titled debut EP, combining technical precision with a strong focus on songwriting and dynamics.
Featuring four experienced musicians brought together by a shared desire to create new music, UK’s own Progressive Death Metal outfit Lifeswallower is unleashing upon us their self-titled debut EP, drawing from Progressive, Death, Thrash Metal and other corners of heavy music, combining technical precision with a strong focus on songwriting and dynamics. Recorded by each band member at their home studios (vocals, guitars, bass) and by Joe Clayton at No Studio (drums), mixed by Ben Ottridge and Benedict Harris-Hayes, and mastered by Benedict Harris-Hayes at Ethereal Tantrum Studios, the EP sees vocalist James Moffatt, guitarist Tom Humphrey, bassist Ben Ottridge and drummer Benedict Harris-Hayes move between blast-driven intensity, complex arrangements and heavier groove-based sections, allowing each song to develop its own identity while remaining part of a coherent whole.
James’ inhumane guttural is the main ingredient in the ruthless opening track Defy My World, with the Sludge and Doom Metal-infused riffs by Tom bringing even more insanity to their music. The Trees Hide Their Bodies is another hard hitting tune by those UK metallers, with the song’s haunting background sounds sending shivers down our spines while Benedict hammers his drums nonstop, followed by Abandon The Body Of Rot, presenting elements of Thrash and Groove Metal in their core Death Metal sounds, in special through Tom’s killer riffage, being therefore perfect for some action inside the pit (not to mention their clean vocals are also electrifying). And lastly, we face Compound Fears, with the band again blasting our faces with an overdose of progressiveness without forgetting to sound heavy and devilish. Furthermore, Tom and Ben make an amazing stringed duo with their cutting riffs and rumbling bass, respectively, adding even more adrenaline to their music.
Reflecting the chemistry of four musicians pushing each other creatively and exploring new musical territory together, the EP is highly recommended for admirers of the music blasted by renowned acts the likes of Burnt By The Sun, Gojira, Morbid Angel, The Black Dahlia Murder, Sikth, Tool, and Katatonia, among several others, and you can get to know more about those veterans via Facebook and Instagram, and of course, purchase a copy of their striking debut from their own BandCamp. Lifeswallower are setting the bar high with their debut EP, leaving us eager for their first ever full-length opus in a not-so-distant future, and I bet it will be even heavier and more dynamic for our absolute delight.
Best moments of the album:Abandon The Body Of Rot and Compound Fears.
Worst moments of the album: None.
Released in 2026 Prog On! Recordings
Track listing 1. Defy My World 6:30
2. The Trees Hide Their Bodies 5:59
3. Abandon The Body Of Rot 4:47
4. Compound Fears 6:09
Band members James Moffatt – lead vocals
Tom Humphrey – guitar, vocals
Ben Ottridge – bass, vocals
Benedict Harris-Hayes – drums, vocals
Continuing to carry the torch of rebellion, this Post-Black and Doom Metal entity is taking a quantum leap with their fourth studio album, revolving around the concept of “Belarusian ethno-astronomy.”
Continuing to carry the torch of rebellion, which is only natural as the founding members had to flee their native Belarus due to political persecution and continued attempts by the Lukashenka regime to censor and suppress their art, Warsaw, Poland-based Post-Black/Doom Metal act Dymna Lotva (which translates from Belarusian as “swamp in smoke,” referencing the devastating atrocities and burned villages of Polesia, a deeply distinct geographic and cultural region that extends across southern Belarus into Ukraine and Poland) is taking a quantum leap in their rapid musical evolution with their fourth studio album, titled Vyraj. Recorded at Everest Studio (vocals), at Hata Studio (guitars and bass), and at Studio Młyn (drums), the new album by Katsiaryna “Nokt Aeon” Mankevich on vocals and traditional flutes, Jauhien Charkasau on the guitars, bass and keyboards, Mikita Stankevich also on the guitars, and Wojciech “Bocian” Muchowicz on drums revolves around a main concept that could be described as “Belarusian ethno-astronomy.” In Slavonic legends, the starry sky is associated both with the afterlife and with journeys, which becomes closely intertwined with the musicians’ personal experience of forced emigration. This idea is captured in the album title, which is a mythical realm to where birds migrate for the winter, and where the souls of the departed find their final rest.
Zory sounds and feels darkly captivating from the very first second, with Jauhien, Mikita and Wojciech crafting the perfect atmosphere for the she-devil screams by Katsiaryna, evolving into a dark and wild beast of Post-Black Metal; and the band then showcases their ritualistic side in Veha, offering cryptic vocalizations while Wojciech dictates the pace with his thunderous beats and fills, also boosted by the Stygian harp by guest Deanna F. and the child vocals by Miraslava Palynskaya and Jan Palynski. The Boat of Despair brings forward another brilliant fusion of tribal sounds and the electricity of Black and Doom Metal, with the haunting vocals by the one and only Aaron Stainthorpe (High Parasite, My Dying Bride) clashing majestically with Katsiaryna’s desperate roars; whereas Viedmieragina will pierce our minds with its scorching Black and Folk Metal elements, not to mention Jauhien and Mikita are ruthless with their Melodic Death Metal-inspired riffs.
Niama Darohi showcases a more atmospheric side of the band, inviting our souls to wonder through the vast Stygian lands rules by Dymna Lotva while the keys by Jauhien sound absolutely enfolding. Then we have Bu Samoje (featuring Andrii “Deicider” Sovgar, Jan Mačuĺski, Aliaksandr Čarnuha, Jauhien and Mikita as the “Balbuta Choir”), their most Folk Metal song of all, as if the band and their guests were united around the fire for a sacrifice; followed by Usta Za Mianie, the most generic of all songs, lacking the same dynamism and energy of its predecessors. Last but not least we face Return My Coffin Home, featuring guests Ingvarr (Schreigarm) on vocals, Déhà (Wolvennest, Silver Knife, Slow) on fretless bass, and Velzevul on backing vocals and FX, a stunning Melodic Black Metal aria to conclude their ritualistic feast, with all harsh and clean vocals sounding stunning.
Although Vyraj is still based on a solid foundation of Black and Post-Black Metal, the band moves far beyond any easy labelling by also drawing inspiration from Doom, Heavy, and Progressive Metal, while venturing even deeper by incorporating elements from electronic music, goth, and folklore. The album is a cornucopia of great songs that are atmospherically dense and invite the listener onto an emotional roller-coaster ride from the darkest depth of depression and fear, via raw anger and defiance, to heights of ecstatic exhilaration, and if you want to know more about those rebellious Belarusian dissidents and their music, you can find them on Facebook, Instagram, YouTube, and Spotify, and purchase their new album from BandCamp, from Prophecy Productions, or by clicking HERE. In a nutshell, Vyraj is a musical kaleidoscope with ever changing patterns and sonic colours of remarkable beauty that often dissolves into captivating melodies that at times even achieve a pop-like appeal, and once you start listening to the album, get ready to be consumed by its beauty and energy.
Best moments of the album:Zory, The Boat of Despair and Return My Coffin Home.
Worst moments of the album:Usta Za Mianie.
Released in 2026 Prophecy Productions
Track listing 1. Zory 4:48
2. Veha 7:01
3. The Boat of Despair 5:31
4. Viedmieragina 5:36
5. Niama Darohi 4:29
6. Bu Samoje 4:38
7. Usta Za Mianie 4:35
8. Return My Coffin Home 8:10
Band members Katsiaryna “Nokt Aeon” Mankevich – vocals, traditional flutes
Jauhien Charkasau – guitars, bass, keyboards
Mikita Stankevich – guitars, backing vocals
Wojciech “Bocian” Muchowicz – drums
Guest musicians
Aaron Stainthorpe – vocals on “The Boat of Despair”
Ingvarr – vocals on “Return My Coffin Home”
Déhà – fretless bass on “Return My Coffin Home”
Deanna F. – harp on “Veha”
Andrii “Deicider” Sovgar – backing vocals on “Bu Samoje”
Miraslava Palynskaya & Jan Palynski – child vocals on “Veha”
Velzevul – backing vocals & FX on “Return My Coffin Home”
Andrii “Deicider” Sovgar, Jan Mačuĺski, Aliaksandr Čarnuha, Jauhien & Mikita – Balbuta Choir on “Bu Samoje”
The desecrator of extreme music is back with his twelfth studio album, unleashing terror worldwide by combining a raw, high impact attack with a stark clarity of sound.
The solo project of Belarusian multi-instrumentalist Denis Tereschenko, brought into being in 2007 after his relocation to northern Israel, Die Entweihung has been on a constant evolution, changing as its creator changed both as a man and a musician, from its early days as a Black Metal entity to its current Blackened and Progressive Thrash Metal sound, culminating now in 2026 with the release of Worldwide Terror, the project’s twelfth studio album and the follow-up to the 2021 album Kings & Pawns and the 2022 album Strict Regime Country. Produced and mixed by Denis himself, mastered by Sondre Solberg at Lakeside Studio, featuring Czech vocalist Alena 7 (also known as Alena Krákorová), with saxophone, violin and cello parts performed by different session musicians, and completed by the distinctive imagery of Belarusian artist Olga Kann, Worldwide Terror combines a raw, high impact attack with a stark clarity of sound that allows each element of the music to speak and be heard, becoming a must-listen for fans of Orphaned Land, Détente, Holy Moses, and Confessor.
Denis and Alena already present the band’s updated sound in the title-track Worldwide Terror, sounding a lot more Heavy Metal than the project’s previous more extreme sonority; whereas more of Denis’ razor-edged riffs are offered in Warriors Of The Lie, feeling like the soundtrack to a war movie, or in other words, it’s an excellent battle hymn where his galloping bass and drums bring sheer adrenaline to the music. Generation Of Pawns blends extreme music with progressive sounds from the 70’s, and despite not being a bad song, it lacks the energy of Alena’s vocals. And venturing through the realms of Folk Rock and Metal with a more epic edge we have Newborn, where Alena’s vocals are nicely boosted by Denis’ crying guitars.
It’s pedal to the metal in the Rock N’ Roll extravaganza titled Really Your Life, with the scorching riffs by Denis blending in great fashion with Alena’s soaring vocals and she-demon vociferations; followed by Eight Billion Headed Whore, showcasing a crazy name for a song (but I guess that whore is Mother Earth in the end), once again presenting a wild fusion of Progressive Metal with folk and extreme elements. Denis then delivers a bold sound through his riffs, bass and drums in The Brightest Night, a truly entertaining instrumental piece that sets the stage for The Darkest Morning, featuring guest vocals by Israeli artist N.Khaos, presenting another blast of epic vocals lines and the electrifying energy of the riff.
It’s time to confront the horrors of reality, to stand up and be counted with Die Entweihung to the sound of his newborn spawn Worldwide Terror, and if you want to be part of the project’s army of darkness you can find all information about it on Facebook and on Instagram, enjoy Denis’ wild creations on any platform like YouTube and Spotify, and of course purchase the album from BandCamp, from Morbid and Miserable Records, from Southern Soundclash Records, or from Tikoes Kecemploeng Productions. Worldwide Terror is about to be unleashed, and you better get ready because there will be blood.
Best moments of the album:Warriors Of The Lie, Really Your Life and The Darkest Morning.
Worst moments of the album:Generation Of Pawns.
Released in 2026 Orbid and Miserable Records/Southern Soundclash Records/Tikoes Kecemploeng Productions
Track listing 1. Worldwide Terror 5:02
2. Warriors Of The Lie 6:29
3. Generation Of Pawns 4:41
4. Newborn 8:07
5. Really Your Life 6:31
6. Eight Billion Headed Whore 5:14
7. The Brightest Night 5:04
8. The Darkest Morning 7:15
Band members Alena 7 – vocals
Denis Tereschenko – all instruments
Guest musicians
N.Khaos – additional vocals on “The Darkest Morning”
As the fires of summer continue to burn in the Northern Hemisphere, there’s nothing better than dedicating an entire article to one of our beloved Burning Witches, more specifically the one responsible for turning the band’s lyrics into sheer power and energy through her soaring, undisputed vocals. Not only a classy vocalist and frontwoman, she’s also a diehard metalhead, always ready to show her love for old school Heavy Metal, and always ready to rock our world with her incredible voice and charisma. Her name is Laura Guldemond, a crazy wild child and frontwoman for one of the must-see names of the current metallic scene, and once you know more about her career, her personal life, and her passion for heavy music, there’s certainly no turning back, as you’ll be under the spell of one of the most talented “witches” of the worldwide metal community. Having said all that, are you ready to be locked in the tower by the phenomenal Laura Guldemond here on The Headbanging Moose?
Born on July 31, 1988 in Zoetermeer, a city in the Western Netherlands, in the province of South Holland, Laura doesn’t exactly come from a family of musicians, but there was still a lot of music surrounding her in her early days. “It’s funny, because my parents weren’t into music, but my grandparents were musicians – they played the double bass and the violin. They travelled around playing music, and I guess the next generation was fed up with that, so it had to continue with me! My mum’s half-sister still plays the flute, too.” Although she could sing a little bit and was comfortable with some notes, she had to learn the high notes by taking singing lessons, and at one point she decided she wanted to become a professional singer. Then she went to a conservatory in Eindhoven called The Metal Factory to continue with her studies. “When I was about twenty years old, I decided to take things a little more seriously, and that’s when I started taking singing lessons. Later on, I decided that I had to study music somehow. I auditioned for the Haarlem conservatory and ended up in the preparatory course for it, but then I came across the Metal Factory, and I was part of the first batch of students there.”
Laura has been immersing herself in Heavy Metal and Hard Rock for most of her life, saying it was a big discovery for her when she was younger. “My parents never really went any heavier than Queen. Which I like, but then I discovered Within Temptation, and I loved it. That was probably mainly because it sounds a little mysterious. That’s what I liked about it, at least. When the time came that I had enough allowance to buy albums, I found W.A.S.P.’s Dying for the World right next to Within Temptation. I really like W.A.S.P. as well. From then on, I started listening to more and more different things. Quite quickly after that, I decided that I wanted to play guitar. And I did have a guitar, so I did try to play it, but I had no lessons, and I ended up giving up. I did already sing, and that’s what I kept doing,” she commented.
It was in 2019 when Laura joined the amazing Burning Witches, replacing the band’s original vocalist Seraina Telli, and she fit the blank spot perfectly with her undisputed vocal potency, being immediately embraced by the band’s diehard fanbase. That same year, she released her first song with the band, the excellent Wings of Steel, following by the EP Wings of Steel, also in 2019, and her first-ever full-length opus with the girls, Dance with the Devil, in 2020. That same year, the band released an EP titled Acoustic Sessions, followed by their full-length albums The Witch of the North (2021), The Dark Tower (2023), and more recently Inquisition (2025), all available on Spotify or any other streaming platform. Furthermore, you can also check Laura and the girls kicking ass on the official videos for songs like High Priestess of the Night, The Dark Tower, The Witch of the North, and Unleash the Beast, or check their official YouTube channel for those videos, full playlists and other content including interviews and live footage of all of their tours.
When Laura joined Burning Witches, she said they were all very welcoming, helping her overcome any initial challenges as she said she’s the type of person that needs a lot of time to get used to other people. There was of course a lot of rehearsal time required in the beginning until they all got used to Laura’s vocal style and vice-versa, but as expected there’s also a lot of fun involved in the overall process. “We go out to dinner sometimes, we hang out after rehearsals, so that is nice,” she commented, also having some nice words to say about the freedom she has while writing material for the band. “When it comes to writing my melodies and lyrics, I have a fairly large amount of freedom. Sometimes they come up with something they like, but even then, I am free to try something else, or we can discuss various ideas. It’s always fairly open. It kind of depends on how attached they are to the ideas they already have. There are plenty of times when there is no idea at all yet, and I can just make up whatever I like.”
Needless to say, the band’s diehard fans were all very welcoming when Laura became a member of Burning Witches, even when you take into account they already had two very solid albums released prior to her joining the band. Laura was actually more prepared for the feedback from the audiences than her bandmates in the end. “To be completely honest, I think it had been a much more emotional process for the rest of the band than it has for me. In a way, I had kind of already prepared myself for such reactions. The stories are out there. Like Tarja and Nightwish, for example. You still hear people complaining about that these days, which makes me think: guys, seriously, still? You know it is going to happen, and you know it is going to keep happening. So I was mentally prepared for that. Some of those people have returned, others haven’t. That’s just how things go.”
Before becoming the frontwoman for the indomitable Burning Witches, Laura was the vocalist for an array of very interesting bands and projects. It looks like her first Heavy Metal band was Utrecht, Netherlands-based Progressive Metal act Synergy Protocol, having played with them from 2013 until 2015, and having recorded their 2014 debut three-track demo. Around the same time, from 2014 to 2015, she was also the vocalist for Epic Rock Choir, a Netherlands-based group of singers specialized in major rock and metal opera projects like Arjen Anthony Lucassen’s The Theater Equation, and founded an Experimental and Electronic Rock and Metal project named Generation Lost together with Marco van der Hoorn, but nothing has ever been released under that flag.
The other two bands that Laura was a member of were Dordrecht, Netherlands-based Progressive Metal/Rock project Magoria, working as one of their vocalists between 2017 and 2018, and of course her main band before she joined Burning Witches, the excellent Eindhoven, Netherlands-based Symphonic Power Metal band Shadowrise, fronting the band from their inception back in 2009 until they split up in 2019 (one of the reasons being of course her full-time commitment with Burning Witches), having recorded with them the 2016 EP Escape from Shadow Island, and their 2018 self-titled full-length, both available on BandCamp and on Spotify.
Not only that, Laura can also be found as a guest musician in several different bands and projects, showcasing her absolute energy, dynamism and versatility, allowing her to sing basically any music genre you can think of. For instance, she was a guest vocalist on the song Valkyries in the Sky, from the 2024 album Gods of Metal (Year of the Dragon), by German/Italian Heavy Metal band All for Metal; choir vocals on the official video recording of the 2016 album The Theater Equation, by Dutch Progressive Metal/Rock icons Ayreon; vocals on the song Schwestern aus Stahl, from the 2025 Damokles, by German Heavy Metal/Hard Rock band Blindgänger; vocals on the song The Path That Never Ends, from the 2026 album Sons of the Abandoned, by Spanish Melodic Death Metal outfit Bloodhunter; vocals on the song Back on the Streets, from the 2022 album Back on the Streets, by UK Power Metal band Chrysalïd; and vocals on the 2025 single Fierce, by Swiss Symphonic Metal band Deep Sun.
If you think this is it, you’ve got another thing coming, as Laura was also a guest vocalist on the song Receptor, from the 2025 album Receptor, by American Progressive Metal act Dissona; vocals on the song Poison Tears, from the 2025 album Unbreakable, by the indomitable Heavy Metal/Hard Rock duo Ellefson-Soto; vocals on the song False Faced Demon, from the 2022 album Inquisition, by Dutch Symphonic Metal band Epinikion; female vocals on the song Blind Souls, from the 2017 album The Endless River, by Jordanian Melodic Death Metal band Eternal Insomnia; vocals on the 2022 album Malleus Maleficarum, and on the Avatarium cover The Fire I Long For, from the 2023 album Ventus Metallum, by German Heavy/Power/Progressive Metal project FB1964; and vocals on the song For Blood & Glory, from the 2021 album Serpent Chariot, by Austrian Blackened Thrash Metal band Golden Blood.
Do you want some more? Well, Laura was also featured as a guest vocalist on the song Stand United, from the 2022 album Dealer of Souls, by Swiss Heavy/Power Metal band Gomorra; on the song All Women in Me, from the 2023 self-titled album by Dutch Progressive/Symphonic Metal band Heavenqueen; on the song Sleeper, from the 2025 album Gilgamesh, by Ukrainian Progressive Metal/Rock act Korypheus; vocals on the song The Great Masquerade, from the 2025 album Remnants of Rapture, by Canadian Heavy Metal outfit Lycanthro; on the song Alone, from the 2024 album Shadow Empress, by Progressive Metal warrior Nino Helfrich; backing vocals on the 2015 album Wayward Sanctuary, by the now defunct Dutch Progressive Metal/Rock project ReSolve; vocals on the song Your Time Has Come, from the 2024 album Blood of the Witches, by German Heavy Metal/Hard Rock guitarist Stephan Georg; choirs on the 2015 album The Diary, by Dutch Symphonic/Progressive Metal/Rock duo The Gentle Storm; vocals on the song Neverealm, from the 2026 album Neverealm, by Greek Heavy Metal band Valiant Sentinel; and vocals as one of the “Pirate Queens” on the song The Pirate Queens, from the 2022 album Lost, by Dutch Symphonic Power Metal project Woods of Wonders.
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As you can see, Laura is one of the best vocalist of the current Heavy Metal scene worldwide, with countless bands recruiting her as a special guest in their new albums, and of course with her career with the striking Burning Witches being the icing on the cake. However, it’s important to say that before being such an accomplished vocalist, she’s also a true metalhead, nurturing deep passion for the same rock and metal icons as any of us, as well as some of the most interesting names of the non-metal scene. “Lots of awesome metal bands have influenced me during the years. To name a few I listened to a lot as a teenager; Within Temptation, W.A.S.P., Judas Priest, Iron Maiden, Halestorm, Eluveitie, Death Angel and Kamelot. But also great contemporary singers like Sia, Christina Aguilera and Beyonce. This is reflected in the versatility of my voice,” she commented.
When asked which song she loves the most in her life, her answer was the purest, most incendiary form of Heavy Metal you can think of. “I love Painkiller by Judas Priest because the drums start playing and you immediately feel the energy.” Moreover, she considers the one and only Metal God Rob Halford as a role model, saying he’s one of the people who’ve inspired her the most in terms of how she sings with Burning Witches now, as well as the indomitable Bruce Dickinson. “What I love is that he has so many songs with a lot of vocal dynamics. So I would say both he and Bruce Dickinson inspired me. I’ve heard Bruce a few times when people are listening from a bit further away and it sounds hyper-laden. I think it’s because I have a bit of memorization there too.” Dio is also a huge influence in her life, and the fact Burning Witches recorded a cover version for the all-time classic Holy Diver also shows how much she loves his unique voice.
Speaking of cover songs, Laura also maintains a really entertaining YouTube channel as her “solo project” (which you can also find alongside all of her other links and social media by clicking HERE), recording multiple cover songs with very special guests the likes of Courtney Cox and Sara Jolís as her support band, among other interesting videos. For example, you can enjoy Laura’s soaring vocals in killer cover songs including W.A.S.P.’s Wild Child (which is by the way one of the bands she used to listen to the most when she began listening to metal music), Iron Maiden’s The Trooper, Cradle of Filth’s Nymphetamine Fix, AC/DC’s Highway to Hell, Slayer’s Raining Blood, Pantera’s Walk, and Judas Priest’s Painkiller, among several other incredible videos where she will melt your faces with her scorching, sharp vocals.
Speaking of her vocal technique and how she prepares for the intense life on the road, Laura, who currently uses a Neumann U 87 Ai (a legendary large-diaphragm FET condenser microphone, featuring cardioid, omnidirectional, and figure-8 polar patterns), mentioned in one of her interviews how difficult it is to bring to stage what’s recorded in the studio. “Recording a song is one thing, but singing it at the same level every night is a different matter.” Owner of very versatile and dynamic vocals, as already mentioned, she said she always enjoys trying new things with her voice. “The others in Burning Witches like it when my voice sounds relatively deep, so we have been playing around with lower keys in recent years,” she commented. “These days, I have been trying to learn to use vocal fry better than I could before. So who knows? Maybe I will be doing something with that in the future. But it has to get better first. Singing clean with a bit of distortion on it is something I know I can do well at this point. If I add something that doesn’t sound quite as good, and you can actually hear that difference in quality, it will just end up sounding weird.”
She also commented about the importance of maintaining a good health, in special when your voice is your instrument of work. “I am often afraid of getting a sore throat, so my main priority is keeping nice and warm. During summers, I hardly ever have a sore throat, but once winter rears its head, I have to be careful. And to be fair, during spring and autumn as well. Also, when I work out too hard, and my body gets tired, I get a sore throat as well. That is something to watch out for.” She also mentioned it’s extremely important to build up her stamina before a headlining tour starts, alternating between singing and resting until she’s warm enough for the band’s longer-than-usual sets. “Especially if I have just been on vacation, and I haven’t sung for a while. Then it truly is important to build up my stamina, as I’m really going to feel the difference once I have to do a longer set.”
This might sound repetitive, but Laura is not only an extremely talented vocalist; she’s also a vocal coach ready to help any newcomers to the world of singing with her professional and dynamic approach. You can find more details about Laura’s services as a vocal coach (in Dutch, English or German) on her official website, including the subtypes of services available such as singing lessons, workshops, and growling. “I always try to find ways to make them practice things step by step. There are certain techniques that require you to use a little more power, which means they are potentially more dangerous, as more power is a bigger burden on your vocal cords if you do it wrong. That’s why I try to explain things step by step, so they can actually warm up to it step by step, allowing them to do things properly from the moment they start to add more power to it.”
In the end, after witnessing Laura kicking some serous ass live for the first time earlier this year in Toronto, I felt the urge to write this tribute to such a phenomenal vocalist, and after knowing more about her and her focus and hard work to keep delivering high-quality Heavy Metal for the masses, we must all agree she’s more than just another frontwoman. She’s the epitome of heavy music, a woman that puts her heart and soul into her music, delivering breathtaking vocals with endless charisma it doesn’t matter if she’s singing with Burning Witches, if it’s recording a cover song for her YouTube channel, or if it’s as a guest for another rock and metal band. Laura will most certainly hypnotize you with her stunning vocals and screams, lock you inside her tower of Heavy Metal, as I warned you in the beginning of this tribute, and throw the key away. Well, I bet you’ll be more than happy when that happens.
“Lots of awesome metal bands have influenced me during the years. To name a few I listened to a lot as a teenager; Within Temptation, W.A.S.P., Judas Priest, Iron Maiden, Halestorm, Eluveitie, Death Angel and Kamelot. But also great contemporary singers like Sia, Christina Aguilera and Beyonce. This is reflected in the versatility of my voice.” – Laura Guldemond
This American Progressive Thrash and Heavy Metal quartet is stepping into their next chapter with the release of their rockin’ fifth full-length offering.
Founded in 2016 initially as a studio project, but having evolved into a full-bodied band based out of Chicago, Illinois, the excellent Progressive Thrash/Heavy Metal quartet Black Sites is stepping into their next chapter now in 2026 with the release of their fifth full-length offering, titled For Eternity, following up on The Promised Land?, released in 2024. Produced by the band’s own vocalist and guitarist Mark Sugar and new drummer Chris Black, recorded at I Can’t Believe It’s Not Mace Street Studios (with drums recorded by Vladimir Ružičić at Kebac Recording Studio), and mixed and mastered by Dan Swanö at Unisound, the new album by the aforementioned Mark Sugar and Chris Black alongside newcomers Lee Smith on the guitar and Jose Salazar on bass showcases a development in the band’s sound and sees the new members’ contributions enhance the music’s sonic quality, always inspired by traditional Heavy Metal.
When It Calls sounds epic and captivating from the very first notes, with Mark showcasing all his vocal potency while his bandmates craft a strong Iced Earth-like sound, while Aquarius Betrayed reflects the frustration at the contradiction towards previous generations who reaped the benefits of the most socially liberated and progressive era in history, and then quickly turned their back on those values when they became inconvenient, with their guitars exhaling that frustration while Chris hammers his drums with anger and dexterity. Then their Progressive Metal feast goes on in full force with Above Soil, Beneath Sky, with Jose and Chris crafting a reverberating, massive kitchen; followed by Giving Up The Ghost, a song about the faltering of one’s belief, venturing through Stoner Rock and Metal lands while again showcasing a classy guitar work by Mark and Lee.
Blades (For The Chosen Ones) presents elements from the music by renowned acts the likes of Armored Saint and Iced Earth while keeping their core progressiveness intact; whereas Silent Wars, which concept derives from a quote by Robin Williams that says “everyone you meet is fighting a battle you know nothing about,” offers classic Hard Rock straight in your face. When Prophecy Fails, taken from a book of the same name, which describes a UFO cult that existed in Chicago in the 1950’s, is by far the most Heavy Metal of all songs thanks to the kickass riffs by Mark and Lee. Lastly, we face Unanswered For Eternity, a dark, gloomy and pensive ballad, ending the album on a high note, with the melodic vocals by Mark matching perfectly with their soulful solos.
Combining old school heavy music with guitar harmonies, melodic and clean vocals, and progressive elements, primarily drawing inspiration from the likes of Voivod, Black Sabbath, and King’s X, the indomitable rockers of Black Sites are on absolute fire from start to finish in their new album For Eternity, which can be purchased from their BandCamp. Don’t forget to also give them a shout on Facebook and on Instagram, staying up to date with all things Black Sites, to subscribe to their YouTube channel, and to stream their rockin’ tunes on any available platform like Spotify. Because heavy music is eternal, and it’s bands like Black Sites who are among us all to make sure it will never die.
Best moments of the album:Aquarius Betrayed, Blades (For The Chosen Ones) and When Prophecy Fails.
Worst moments of the album:Silent Wars.
Released in 2026 Independent
Track listing 1. When It Calls 5:09
2. Aquarius Betrayed 5:05
3. Above Soil, Beneath Sky 4:47
4. Giving Up The Ghost 6:43
5. Blades (For The Chosen Ones) 4:51
6. Silent Wars 4:51
7. When Prophecy Fails 5:49
8. Unanswered For Eternity 6:54
Band members Mark Sugar – vocals, guitar
Lee Smith – guitar
Jose Salazar – bass
Chris Black – drums
Behold the debut EP by this striking new Symphonic Metal project, crafted around the belief that the human touch of live performance remains essential, especially in an era increasingly shaped by artificial intelligence.
Led by composer, vocalist and multi-instrumentalist Alex Luke, Chicago, Illinois-based Symphonic Metal project Eternal Recurrence offers an alternative take on the genre with orchestral arrangements that draw from chamber music. This deviation away from grand scale orchestration commonly associated with Symphonic Metal instead produces a more intimate take on the genre. That’s exactly what you’ll get in their forthcoming self-titled debut EP, prioritizing a focus on the sound of real musicians performing real orchestral instruments, preserving nuance, texture, and human imperfection in an increasingly digital landscape. Drawing influence from bands such as Opeth, Kamelot and Dream Theater, among others, and featuring guests Maciek Szczyciński on double bass, Steven Schumann on cello, German Dmitriev on violin, and Mordian and James Dorton on vocals alongside Alex, the music by Eternal Recurrence was crafted around the belief that the human touch of live performance remains essential, especially in an era increasingly shaped by artificial intelligence.
Mordian of Diamorte and Shield of Wings delivers a powerful alto performance during the chorus and bridge in the opening track Precious Stones, while James Dorton of Ne Obliviscaris contributes with his trademark harsh vocals, resulting in a metal aria that is as inspiring as it is vibrant, with the piano by Alex clashing beautifully with all guitars and drums. Then we face 8 by 8 and its poetic lyrics (“His forces lined up rank and file / My tactics, strategy: futile / My understanding’s like a child / I know not how to play”), written from the perspective of AlphaZero, a neural-network based chess-playing computer program that taught itself to play chess by playing against itself, while the music leans towards Progressive Rock and Metal; followed by Amor Fati, directly based on Friedrich Nietzsche’s concept of “Eternal Recurrence,” the inspiration for the EP’s concept, where the dark yet delicate sounds of the bass, cello and violin bring a touch of finesse to the overall result.
The also breathtaking Relativity explores the perspective of one of the figures that inhabits Escher’s impossible, looping structures, questioning their motives and understanding of their unending path, while musically speaking the violin by German adds even more depth to Alex’s already powerful vocal lines. Then we have the title-track Eternal Recurrence, which features a reference to the credit music from “Star Wars: Ashoka” in the second part of its extended introduction. Moreover, Mordian returns in full force, bringing an ethereal quality as well as contributing to powerful harmonized duets, and an emotive lament in the song’s bridge, while Alex is on fire with his guitar and piano, resulting in a multi-layered, melancholic and touching composition that puts a stunning ending to the album.
Serving as both an introduction and a mission statement, presenting Symphonic Metal that values realism, restraint, and emotional detail without sacrificing heaviness or intensity, the EP looks to chamber music for inspiration rather than emulating 19th and 20th century symphonic traditions. This philosophy defines the sound of Eternal Recurrence, and if you’re curious to know more about such a unique endeavor in the world of heavy music you can find the project on Facebook and on Instagram, subscribe to their YouTube channel or stream their music on any platform like Spotify, and of course grab a copy of their excellent debut EP from BandCamp or by clicking HERE. Artificial intelligence might be useful for some specific things in life, but definitely not for heavy music, and Eternal Recurrence is among us armed with its debut EP to prove once and for all there’s nothing better than human emotions to make music excellent, and to give life to it.
Best moments of the album:Precious Stones and Eternal Recurrence.
The brainchild of vocalist and multi-instrumentalist Dylan Cruz, of bands like Noxis, Scumbag, and Dissonance, Yonkers, New York-based Progressive Death Metal beast Hanging Garden blends multiple sounds to create something highly intricate, varied, and dynamic, just like what it has to offer in its sophomore album, titled Dream Death, following up on its 2024 debut The God That Made Them Bow. Recorded, mixed and mastered by Dylan himself, with a stunning artwork by Hafiz, the album presents Dylan’s trenchant prog and tech death approach expertly tempered by transcendental melodic passages, and all of it bears a blackened touch on top of it.
In the world of Death Metal, the unrelenting Hanging Garden has concocted an undeniably refreshing sound that is highly nuanced, textured, and worth delving into, exactly like what’s offered in the excellent Dream Death. Highly recommended for fans of the fusion of intricacy and violence by renowned acts the likes of Death, Sentenced, Goreworm, Xenosis, Opeth, and Krallice, among several others, Dream Death can be purchased from Hanging Garden’s own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, and don’t forget to also follow the project on Facebook, and to stream its music on Spotify. Progressive Death Metal is indeed a subgenre of heavy music with basically no boundaries, and Dylan and his Hanging Garden are among us to keep exploring those new lands with each and every album release, with Dream Death paving a fantastic path ahead of the project.
