Album Review – Black Sites / For Eternity (2026)

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

Metal Chick of the Month – Heidi Aaltonen

“Don’t try to run… Walk away with me… The time is running out… Break into pieces and rise high!”

The month of July might be one of the hottest (if not THE hottest) of the year anywhere above the Equator, and there’s nothing better than travelling all the way to the land of ice and snow, also known as Finland, to turn up the heat even more like in a traditional Finnish sauna with the incendiary vocals by our unstoppable metal lady chosen to make our webzine a much better place this month. Although she has just recently joined Finnish Heavy/Power Metal brigade Dyecrest as their new frontwoman, she’s not a newcomer to the metal community, having already recorded and released several albums and singles with different bands from her homeland in the past two decades. Her name is Heidi Aaltonen, formerly known as Heidi Bergbacka, and she will kick your ass mercilessly with her potent vocals and undeniable charisma, inspiring you to raise your horns together with her in the name of heavy music.

Born and raised “somewhere in Finland”, Heidi began her metal career as the frontwoman for Tampere-based Melodic Heavy Rock band MoonMadness, having established since then her presence in the Finnish heavy music scene through underground classic rock-infused metal music, session collaborations, and live guest work. As the vocalist for MoonMadness between 2001 and 2008, she released in 2008 the band’s one and only full-length album, titled All in Between, alongside guitarist Otto Hallamaa, bassist Juha Leppäharju, keyboardist Turkka Vuorinen, and drummer Antto Nikolai Tuomainen. The single Stroke of Midnight, released in 2007, successfully broke into the Finnish Top 20 singles chart, with her vocal performance being praised by fans and critics for its 70’s and 80’s classic Hard Rock sensibilities. Unfortunately, MoonMadness are no more, but their music is definitely worth checking out if you’re a fan of classic rock and metal.

Heidi also has a solid backing and session work from her early days, having collaborated with distinct bands from the Finnish scene. For instance, she recorded all female vocals (as Lady Heidi von Bergbacka) for the 2020 album Outojen tornien varjoissa (or  “in the shadows of the strange towers” in English), by Finnish Black Metal horde Faustian Pact; backing vocals (as Heidi Bergbacka) in the 2016 album Vieraan vallan aurinko (which translates to “the sun of a foreign power”), by Finnish Heavy Metal/Hard Rock band Kotiteollisuus; backing vocals in the 2007 album Sleep and the 2009 album As Days Grow Darker, both by the now defunct Finnish Heavy Metal band Masterstroke; backing vocals in the 2021 album Novus Ordo Mundi, by Progressive Thrash/Heavy Metal band Stam1na; and female, choir and backing vocals in several albums, EPs and singles by Finnish Melodic Heavy Metal (with Schlager influences) band Viikate, such as their 2013 album Kymijoen lautturit, their 2014 album Panosvyö, and their 2024 album Hiljainen, as well as backing vocals while on tour with the band.

In addition, following her early metal foundations, she transitioned to alternative genres with projects like Sound of Divas (an internationally touring, Nordic musical project produced by MagnumLive, a prominent, full-service event production and entertainment programming agency based in Finland, that blends five vocal soloists with a big band and brass section) and WhatFour (an acoustic band from Lappeenranta, Finland). Ultimately, such a diverse vocal background paved her way back into heavy music, culminating in her recruitment to front Dyecrest and spearhead their fifth full-length album, titled Defying Gravity, representing the band’s most focused and mature work to date, a clear statement shaped by experience and artistic vision.

Hailing from Ristiina, located in the province of Eastern Finland and part of the South Savo region, Dyecrest are a Melodic Metal band active since the early 2000’s (having changed their original name Dyecast to the current one) blending Power Metal, traditional Heavy Metal and progressive influences, showcasing a sound defined by strong melodies, energetic riffs and a balanced mix of heaviness and emotion, earning the band a solid international following, and allowing them to share the stage with renowned acts the likes of W.A.S.P., DragonForce, Stratovarius and Sonata Arctica, and appearing at major European festivals. since their inception, the band has released the albums The Way of Pain (2004), This Is My World (2005), Are You Not Entertained? (2018), Once I Had a Heart (2023), and the aforementioned Defying Gravity earlier this year, plus the EP The Stage Is Set in 2019, all available on any platform such as Spotify.

Currently formed of Heidi on vocals alongside Matti Pasanen and Henri Arola on the guitars, Pirkka “Pirkkis” Ohlis on the guitars and keyboards, Jukka “Zoukki” Matilainen on bass, and Niko Takala on drums, Dyecrest had three vocalists prior to Heidi becoming their frontwoman, those being Janne Oksanen, Kimmo Blom (RIP), and Mikael Salo. “Regardless of the singer, sound-wise it’s still the same band,” commented Heidi. For Heidi, joining the band wasn’t about reshaping their identity, but helping them rebuild their foundation. After years of pauses and transitions, Dyecrest found themselves at what she described as “ground zero,” a moment to start building again while preserving the spirit that longtime listeners recognize. The transition turned out to be smoother than expected. Instead of resistance, the band encountered enthusiasm from fans. “I felt at home straight away,” she said, admitting she was surprised by how welcoming audiences were.

On April 26, 2026, Dyecrest released their first album ever with Heidi on vocals, the already mentioned Defying Gravity, after having released the singles Failed One, Unravel Me and Bite the Bullet, in 2025, and the single Forsaken, in 2026. The title of the album captures the band’s renewed confidence. Rather than simply resisting obstacles, Heidi describes it as “standing your ground and taking your place,” reflecting a band pushing forward in a challenging music industry while affirming their worth and identity. “We didn’t have a definite plan on how we were going to sound or what we were going to do. We just did it, and the sound and the songs developed during the process. What this album did was create the sound that we want to be in right now. Regarding the next album, we now know more than we knew while we were making this one,” she commented in one of her interviews.

“The timing was awkward, and for the band the timing was very poor. A very bad time to change lead singers. We managed it very well. I am a learner, I got thrown into the mix and did some live shows, even without singing on the previous album. The range was suitable for me – I could sing those songs, so we didn’t have hard times on learning the songs and trying to fit in those shoes that Mikael left. It all went very naturally, even though the timing wasn’t ideal – releasing an album that didn’t have the same singer as the one that would appear for the live shows. It was different, but we were able to do it,” she said about the change in vocalists in Dyecrest, also explaining how she was involved in the writing process of the album. “I need to feel it so I can have the text,” she explained, describing her process in a very simple way. She listens to the music, and then just follows the emotional direction it suggests.

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One very important detail in Heidi’s involvement with Dyecrest is that she is married to Miitri Aaltonen, who has been mixing all of their albums since 2018, and of course that existing connection with the band made her transition into the role of their new vocalist a lot easier and smoother than expected, even though the band had never thought about having a woman instead of a man taking care of their vocal duties. Furthermore, Heidi’s involvement during the songwriting phase of Defying Gravity definitely changed the way the band works, as she took on a major role in writing both lyrics and vocal melodies.

Regarding her idols and influences in music and life in general, she said she doesn’t like to narrow her list down to only a few names, complementing by saying she listens to music in every category to keep discovering new details and nuances that she can incorporate to her own style. “I listen to a lot of ballad-singers, good range vocal singers. I like different styles of music, not only metal. Of course, most of it is metal music, but I take everything in because I want to explore music. For me to say one or two artists that have influenced me, it’s not possible, it’s all around me.”

As it happens with every single musician on earth, Heidi loves to be onstage and to exchange a lot of energy with the crowd. “When I am on stage, I need people to feel something. I know that they won’t feel it if I don’t feel it. What my goal is in every show, I kind of offer a getaway for an hour. From everything that surrounds you. I want them to see us; I want them to watch us. There are shows that have been like that. There are memories and experiences with the band – a lot of them are good from that point of view,” she commented. “If we can provide people one hour of peacefulness with good live music, then that’s the place I want to take it.”

Although she believes the current scene is really tough not only for Heavy and Power Metal, but for music in general, she still thinks there’s always a place in music for great melodies, and the fact that Finland is the country with the highest number of bands in Melodic Metal compared to any other country in the world gives hope to everyone who lives and breathes heavy music in her homeland. Needless to say, we must all agree with her, because a land that has provided us with the magical music by bands like Nightwish, Amorphis, Children of Bodom and Stratovarius, among many others, will always deserve our full attention and admiration.

Heidi also thinks it’s very important to shoot videos and showcase the band instead of sticking only to the music itself. “We have our brother making the videos for us and all the graphics for the band, Sami. The main thing in the videos is to capture the band, what is expected for example for when you see the band live. I do think the videos still have their importance today, even though we don’t have MTV and all music channels that show all the videos. Maybe someday we will have this happen again. The videos have increased their value at this point – compared to say five years ago. Video making, it takes a lot of money and effort to make these, but it was obvious that we were going to make videos. And you can see through YouTube how many viewers we have had, and it has paid off.”

In one of her interviews, Heidi mentioned that one of the greatest lessons she’s learned so far as the frontwoman for Dyecrest is that what comes around, goes around. “Be nice to people that you meet, because they will be a part of you someday.” In addition, she said that if the people around you feel you don’t have your whole heart into the music you’re making, if you just do the music because you do the music, it’s never going to work. In the case of Heidi and Dyecrest, we most definitely do not need to worry about it, because they put their hearts and souls into crafting their first-class Heavy Metal, and may Defying Gravity be just the first step of the band with Heidi fronting them, as we all certainly want to enjoy her soaring vocals in many other Dyecrest albums in the coming years.

Heidi Aaltonen’s Official Instagram
Dyecrest’s Official Facebook page
Dyecrest’s Official Instagram

“When I am on stage, I need people to feel something. I know that they won’t feel it if I don’t feel it. What my goal is in every show, I kind of offer a getaway for an hour. From everything that surrounds you. I want them to see us; I want them to watch us.” – Heidi Aaltonen

Album Review – Nuclear Tomb / Epoch Inhumane (2026)

These Progressive Thrash/Death Metal stalwarts are back with their sophomore full-length album, delivering faster speeds, deeper hooks, and even more dynamic twists than their fans have already come to expect.

Delivering a unique fusion of tight Thrash Metal riffing, noisy Punk Rock aggression, Progressive Rock ambition, and classic Heavy Metal grandeur, Baltimore, Maryland’s own Progressive Thrash/Death Metal stalwarts Nuclear Tomb are back as twisted and vicious as ever with their sophomore full-length album, titled Epoch Inhumane, following up on their 2024 opus Terror Labyrinthian. Engineered and mixed by Matt Michel at Viva Studio, mastered by Brad Boatright at Audiosiege, and showcasing a thrashing, apocalyptic artwork by Brad Moore, the new offering by Michael Brown on vocals and guitar, Matt Ibach also on the guitar, Amelia Morris on bass, and JD Lookabill on drums brings forward faster speeds, deeper hooks, and even more dynamic twists than their fans have already come to expect, being therefore perfect for fans of the music by Voivod, Pestilence, Coroner, and Atheist, just to name a few.

A cryptic warning sets the stage for the band’s maniacal thrashing feast titled Watch The Skies, with the harsh roars by Michael bringing even more adrenaline to their sound, followed by Falling Out The World Of Lies, a lesson in underground Progressive Thrash Metal by those American marauders with the rumbling bass and drums by Amelia and JD sounding absurdly heavy and vibrant. Unbowed / Averse is undoubtedly more experimental than its predecessors, led by the caustic and groovy riffs by Michael and Matt, whereas Faithless Continuum keeps the atmosphere as dark and visceral as possible, with JD once again sounding inhumane behind his drums. And they definitely know how to bring the intricacy of Progressive Metal to their core Thrash Metal insanity without slowing it down not even a bit, which is exactly the case in Broken Promise, Barren Essence.

Get ready to be caught in a nuclear mosh by Nuclear Tomb to the sound of Lifeless Transformation, where they speed things up and offer our avid ears their passion for the 80’s and 90’s infused with their progressive vein; followed by Butcher’s Lament, not their best effort to date, as it sounds a bit dissonant and out of place when compared to all other songs of the album. They get back on track with the razor-edged Terminally Emboldened, where their riffs and solos are effectively supported by the gigantic kitchen sounds crafted by Amelia and JD. The Coward’s Curse is another tune where they experiment with different sounds and tones while keeping blasting their killer thrashing core nonstop, whereas finally we face the multi-layered, rockin’ title-track Epoch Inhumane, showcasing the band’s undisputed dexterity until its eerie, grim finale.

Presenting songs that fearlessly rip and tear through warped tales of real world society’s impending collapse, Epoch Inhumane is a must-listen for fans of the weirdest side of Thrash Metal without forgetting the genre’s core aggression and speed, and if you want to know more about those American thrashers you can find them on Facebook and on Instagram, stream their caustic music on any platform like Spotify, and of course put your hands on such a striking album by purchasing it from the band’s own BandCamp or from Rotted Life Records. In other words, be prepared for the horror of the mind thrashing sonic nightmares blasted by Nuclear Tomb. You’ll never be able to sleep again after such a wild ride.

Best moments of the album: Falling Out The World Of Lies, Lifeless Transformation and Terminally Emboldened.

Worst moments of the album: Butcher’s Lament.

Released in 2026 Rotted Life Records

Track listing
1. Watch The Skies 3:17
2. Falling Out The World Of Lies 3:47
3. Unbowed / Averse 3:35
4. Faithless Continuum 3:56
5. Broken Promise, Barren Essence 3:58
6. Lifeless Transformation 3:02
7. Butcher’s Lament 3:30
8. Terminally Emboldened 2:25
9. The Coward’s Curse 3:53
10. Epoch Inhumane 5:02

Band members
Michael Brown – vocals, guitar
Matt Ibach – guitar
Amelia Morris – bass
JD Lookabill – drums

Guest musician
Demir Soyer – additional lead guitars

Album Review – Overtoun / Death Drive Anthropology (2026)

This Chilean unrelenting outfit offers in their third album a true Book of Death forged in sound, channeling the death drive into a relentless exploration of human rituals, mortality, and cultural collapse.

Expanding their fierce Chilean/American identity, channeling the death drive (Thanatos) into a relentless exploration of human rituals, mortality, and cultural collapse – a true Book of Death forged in sound – Santiago, Chile and Boston, Massachusetts-based Progressive/Technical Death/Thrash Metal beast Overtoun returns in full force with their third offering, entitled Death Drive Anthropology, the follow-up to their 2021 sophomore This Darkness Feels Alive. Recorded at Estudio del Sur, and produced, engineered, mixed and mastered by Martín Furia at Somma Productions, the new album by Yoav Ruiz-Feingold on vocals, Matias Bahamondes on the guitar, Matias Salas on bass, and Agustin Lobo on drums further cements the band as one of the most compelling and forward-thinking forces emerging from the Latin American metal landscape. Rooted in the primal force of 90’s death-thrash yet sharpened by a modern, incisive edge, the album fuses Latin rhythms, folk-tinged guitars, and razor-tight riffs, being therefore a must-listen for admirers of the music by Carcass, Atheist, and Revocation, among others.

The album couldn’t have started in a better and more demented way than with What Unites All, featuring guest vocalist Max Phelps (Cynic, Death to All), with Matias Salas and Agustin sounding absolutely mental with their heavy-as-hell, groovy kitchen. Yoav keeps roaring like a beast in the very technical, melodic yet brutal The Final Beat, blending the most caustic elements from Death and Thrash Metal, and after a cryptic intro the music evolves into another feast of progressive violence in Memento Mori, featuring guest vocalist Enrico H. Di Lorenzo (Hideous Divinity), where Agustin once again dictates the pace while Matias Bahamondes slashes his axe nonstop. Their wicked riffs and pounding drums are the main ingredients in the electrifying Dur Khrod, inviting us all to slam into the pit in the name of our good old Death and Thrash Metal; whereas their progressive vein pulses even harder in Jade, Gold, Obsidian, led by the intricate and flammable riffage by Matias Bahamondes. And in Yūrei they offer a more modern side of their core musicality, alternating between groovy moments and extreme aggression.

Matias Salas  beautifully steals the spotlight with his metallic bass in Weeping, as if Sepultura, Dream Theater and Machine Head had a bastard son (who loves Death Metal), which of course translates into total sonic brilliance. Guest Shantanu Vyas (Hazing Over) lends his desperate vocals to the band in Wind and Water, keeping the album at an extreme level of violence and progressiveness; and we then face a killer three-part extravaganza, starting with the 30-second intro The Waves Suite: Siren, setting the stage for The Waves Suite: Ocean, where the band goes almost full tribal with their ruthless sounds, flowing like an arrow on fire in the dark until The Waves Suite: Caleuche puts a very melodic ending to such an interesting aria. The band still has the icing on the cake to offer in the album, the title-track Death Drive Anthropology, inviting us all to slam one last time with them to the sound of the demonic roars by Yoav.

As mentioned, Death Drive Anthropology aims at channeling the death drive into a sonic Book of Death that examines how different cultures confront mortality, violence, collapse, and rebirth through ritual and art, and if you want to feel part of such an exciting metallic ritual, you can start following the band on Facebook and on Instagram, stream their amazing music on YouTube or on Spotify, and above all that, grab a copy of the album from the band’s own BandCamp, as well as from the Time To Kill Records’ webstore. In other words, simply open the Book of Death written by these talented Chilean metallers, and let their sounds bring to your soul the always exciting duality between life and death.

Best moments of the album: What Unites All, Weeping and Death Drive Anthropology.

Worst moments of the album: Wind and Water.

Released in 2026 Time To Kill Records

Track listing
1. What Unites All 5:23
2. The Final Beat 4:46
3. Memento Mori 6:38
4. Dur Khrod 3:54
5. Jade, Gold, Obsidian 4:00
6. Yūrei 5:25
7. Weeping 5:28
8. Wind and Water 4:05
9. The Waves Suite: Siren 0:23
10. The Waves Suite: Ocean 4:11
11. The Waves Suite: Caleuche 1:42
12. Death Drive Anthropology 4:23

Band members
Yoav Ruiz-Feingold – vocals
Matias Bahamondes – guitar
Matias Salas – bass
Agustin Lobo – drums

Guest musicians
Max Phelps – vocals on “What Unites All”
Enrico H. Di Lorenzo – vocals on “Memento Mori”
Shantanu Vyas – vocals on “Wind And Water”

Album Review – Cemican / U k’u’uk’ankil Mayakaaj (2025)

These unrelenting Mexican metal warriors are back with their breathtaking fourth studio album based on Mayan ideology, worldview, mysticism, and the universe.

Incorporating elements of the legends, mysticism and ideologies of ancient Mexican culture, being compared by Revolver to “Slipknot scoring Mel Gibson’s Apocalypto” by combining the modern instrumentation of a metal band with traditional pre-Hispanic instruments, Guadalajara, Mexico’s own Progressive Power/Thrash/Folk Metal tribe Cemican (or “The Duality of Life and Death” in the Mexican language Nahuatl) brings forth more of their unique music in their fourth studio opus entitled U k’u’uk’ankil Mayakaaj, translated as “the Mayan Resistance”, following up on their 2019 critically acclaimed album In Ohtli Teoyohtica In Miquiztli. Showcasing a stunning artwork by the band’s own Tlipoca (aka Alejandro Guzmán), depicting the great creation of the Mayan universe and the elements of life – water, fire, wind, and earth – by the great supreme Itzamnaaj, raising the great Temple of Kukulkan for the worship of the Mayan people, the new album by vocalist and guitarist Tecuhtli, bassist Ocelotl, drummer Tlipoca, and the tribalistic ensemble of Xaman Ek, Yei Tochtli, Mazatecpatl, and Itzcoatl is based on Mayan ideology, worldview, mysticism, and the universe. It contains various legends and stories of ancestral gods, the duality of life and death, as well as stories based on the band members, transformed with that touch that identifies us.

Kukulkán Wakah Chan (likely combining the Maya deity name Kukulkán, meaning “Plumed Serpent”, with the Nahuatl phrase Wakah Chan, meaning “Sacred Tree” or “Milky Way”) sounds utterly ritualistic and folk from its very first moments, with their wind instruments echoing through the air before exploding into an amalgamation of Thrash, Death and Groove Metal led by Tlipoca’s crushing beats and fills; whereas Tán tí le Xibalba, the second single of the album, speaks of the god of dead in the Mayan culture while keeping their heaviness clashing with the culture of their ancestors in a majestic way, being therefore an excellent choice for their live concerts. In El Niño Que Contemplaba A Las Estrellas (“the boy who gazed at the stars” from Spanish), the guitars by Tecuhtli lean towards classic Heavy Metal, as well as his vocals, followed by Viaje Astral Del Quetzal De Fuego (“astral journey of the fire quetzal”), sounding atmospheric and embracing from start to finish, with the bass by Ocelotl and the drums by Tlipoca being absolutely thunderous. Xaman Ek, Yei Tochtli and Mazatecpatl bring the glory of the past through their wind instruments in the tribal dance Horizonte De Almas (“horizon of souls”), exploding into an epic song that will inspire you to raise your horns for those beyond talented Mexicans, while El Castigo De Los Dioses (“the punishment of the gods”) is another song where the modern, electrified vibe of metal music makes a killer paradox with their cultural and folk sounds.

The howling wind invites us to another journey through Mayan lands in Tak Ti Ulaák Íin, one of the most ritualistic of all songs, where the band delivers their most primeval sounds of the album. Then the massive riffs by Tecuhtli ignite the imposing, multi-layered Los Guardianes De La Tierra (“guardians of the earth”), a lecture in Symphonic and Melodic Death and Black Metal that feels like it was taken from the most climatic moment of a period drama; and the band offers another blast of harsh and pounding sounds in Hun-Came, meaning “One Death”, the name of the senior of the two principal death gods in the Maya underworld Xibalba, with all vocals and backing vocals giving it an extra kick while Tlipoca hammers his drums mercilessly. ¿Donde Estas? (“where are you?) is some sort of power ballad entirely sung in Spanish by a mysterious guest female musician, a bit too generic compared to the other songs; while back to their trademark tribal sonority infused with the power of Heavy Metal we have Yóok’ ol Kaáb Maya, sounding and feeling epic and vibrant until the very end. Lastly, closing the album we’re invited to one final ritual by Cemican entitled Bolom Octé, a stunning sonic voyage back to the glory yet somber days of their ancestors.

Offering a sound that embodies that language of music with ancestral instruments that Cemican have achieved as its own unique and hallucinatory sound, fused with lyrics that blend Spanish with Yucatecan Mayan, U k’u’uk’ankil Mayakaaj is a tribute to their ancestral people, their stories and their customs, giving a valuable message of their language and their ancestral glory. Hence, you can enjoy the dark and aggressive atmosphere found in U k’u’uk’ankil Mayakaaj by purchasing the album from their own BandCamp, from the M-Theory Audio webstore, or by clicking HERE, and don’t forget to also follow the band on Facebook and on Instagram, subscribe to their YouTube channel, and stream their amazing albums on Spotify. Because U k’u’uk’ankil Mayakaaj is a way to revive what their warriors and their Mayan people were, honoring the great Mayan culture and representing the worldview and mysticism of their great ancestral empire.

Best moments of the album: Tán tí le Xibalba, Horizonte De Almas, Los Guardianes De La Tierra and Hun-Came.

Worst moments of the album: ¿Donde Estas?.

Released in 2025 M-Theory Audio

Track listing
1. Kukulkán Wakah Chan 5:45
2. Tán tí le Xibalba 4:01
3. El Niño Que Contemplaba A Las Estrellas 6:44
4. Viaje Astral Del Quetzal De Fuego 8:31
5. Horizonte De Almas 6:31
6. El Castigo De Los Dioses 5:26
7. Tak Ti Ulaák Íin 4:39
8. Los Guardianes De La Tierra 5:13
9. Hun-Came 5:29
10. ¿Donde Estas? 4:23
11. Yóok_ ol Kaáb Maya 5:45
12. Bolom Octé 4:30

Band members
Tecuhtli – vocals, guitars, wind instruments
Ocelotl – bass
Tlipoca – drums, percussion, wind instruments, backing vocals
Xaman Ek – wind instruments, backing vocals
Yei Tochtli – wind instruments, backing vocals
Mazatecpatl – wind instruments
Itzcoatl – choir vocals

Album Review – The Final Witness / Beneath The Altar (2025)

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

Album Review – Haxprocess / Beyond What Eyes Can See (2025)

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

Album Review – Cryptosis / Celestial Death (2025)

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

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

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

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

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

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

Worst moments of the album: Absent Presence.

Released in 2025 Century Media Records

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

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

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

Album Review – Misanthropia / Envy The Dead (2024)

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

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

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

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

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

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

Worst moments of the album: Maze of Madness.

Released in 2024 WormHoleDeath

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

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

Metal Chick of the Month – Marlene Muñoz, Elizabeth Castillo & Caro Saturni

Ruling the night of women’s rites with their dark lullabies!

I think the month of May needs an extra kick, and there’s nothing better than some first-class Mexican spices to turn up the heat considerably, right? That’s exactly why we’re not going to have only one metal lady this month, nor even two. We’re going to feast your eyes and ears with nothing more, nothing less that THREE metal ladies hailing from Mexico, a country known for the passion their metalheads nurture for all types of heavy music. Our three breathtaking metal divas are vocalist Marlene Muñoz, bassist Elizabeth Castillo, and guitarist Caro Saturni, who together with drummer Nicolás Garza form the ruthless Death Metal squad known as Spit On Your Grave, and I’m sure you’ll have a very good time knowing a bit about this triumvirate of absolute female power in Heavy Metal.

Before talking about each one of our chosen metal ladies, let’s do a quick introduction on their amazing band Spit On Your Grave. Formed in 2012 in Monterrey, the capital and largest city of the northeastern state of Nuevo León, Mexico, Spit on Your Grave are a no shenanigans, visceral Death Metal entity with three full-length albums and one EP released to date, always dealing with topics such as madness, serial killers, death and isolation, among others, having already shared the stage with metal titans the likes of Carcass, Sepultura, Nervosa, Cattle Decapitation, Cannibal Corpse, Brujeria and Dark Tranquility, just to name a few. All the information you need about the band is available HERE, and don’t forget to also stream their creations on Spotify, on YouTube, and other streaming services.

Furthermore, although we’re paying our humble tribute to the three girls that are currently part of the band (there are other women who are former members of Spit On Your Grave, but those might be our metal ladies in the future as part of their current bands), only Elizabeth is featured in all of their albums. As a matter of fact, she’s the only remaining member of the original formation of the band, and therefore she deserves to be the first one we’re going to talk about here on The Headbanging Moose. It’s all about seniority, right? But before that, how about a short and sweet overview of each of the albums released by Spit On Your Grave?

Released in 2014, their debut full-length album Existential Murderer consists of ten tracks that refer to raw old school Death Metal, basing its lyrics on situations of revenge, perversions, death, and only Elizabeth from our three metal ladies played in that album as aforementioned, while vocals and guitars were done by two other great female musicians, Zitlalic Gómez and Cecilia Cárdenas, respectively. Then in 2015 the band introduced a more melodic sound to their core essence with the EP Unblessed, the watershed that led the band to a variety of events and concerts making their way to the big stages with international bands, showcasing the same lineup from their 2014 album.

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In 2018, after a few lineup changes, those being newcomers Kharen Guardiola on vocals, Aldo Guerra on drums, and one of our metal ladies Caro Saturni (aka Carolina Ampersand) on the guitar, the band released their sophomore opus The Night Of The Women’s Rites, incorporating a more melodic sound where guitar solos stand out, while the album’s lyrics talk about goddesses and female deities from different cultures that somehow changed the course of history, including for example The Whore Queen (Cleopatra), Aphrodite and Cihuacóatl (these three song also released in 2018 as a single named Cihuacóatl), showing the courage, personality, attitude and the leadership of those women.

In between The Night Of The Women’s Rites and their newest opus Arkanum, the band released the single Ixik Uh in June 2022, which actually serves as a connection link between The Night Of The Women’s Rites and Arkanum, talking about an ancient Mayan ritual to Ixchel, a Mayan deity known as the Goddess of the Moon, in addition to fertility, childbirth, pregnancy, medicine, rain, womanly crafts, and war. The single was already recorded by the current lineup, including not only Elizabeth but also Marlene and Caro, making it the first ever song to feature all of our three metal ladies of the month.

And lastly, on the second week of April, Spit On Your Grave returned with their third studio album, the pulverizing Arkanum, a conceptual album that tells the process of a mental detox, which draws thematically on mystical elements, and with each track inspired by a different tarot card.“It talks about an internal struggle to restore your inner self,” the band said, “where your demons surface, and everything you believed in is questioned. That moment when you realize that for years you have followed someone else’s lead. You’ve had enough and decide to leave everything behind. It’s about losing yourself by being influenced by someone else and the struggle to wake up from that reality. Centering the lyrics in this inner fight with yourself, involving depression, anxiety, mistrust, feeling unfairly judged by everyone and having no help around.” Moreover, there’s a nice interview (in Spanish) to a YouTube channel called The Chill Dude On A Couch, where they talk about the album.

Elizabeth Castillo

Having said all that about the band’s discography, it’s time to focus on each of their amazing women, starting with the remaining founding member of the band, Elizabeth Castillo. Born and raised in Mexico, she’s not only the bassist for Spit On Your Grave, having recorded all of their albums, EP and singles, as already mentioned, but she’s also responsible for the bass duties with Mexican Black/Doom Metal band Hagel since their reactivation in 2014, having recorded with them the album Veneration of the Black Light back in 2021, featuring some insane songs such as Decalogue of Misery. Not only that, you can also find Elizabeth in a distinct folk band named Sandunga, playing traditional Mexican and Latin American music while also dealing with the Mexican folklore; however, Elizabeth is not the bassist for Sandunga, but their guitarist, and she also plays an instrument called “requinto jarocho” or “guitarra de son”, a four- or five-stringed instrument that has originated from Veracruz, Mexico, played usually with a special pick. If you want to know more about the band, simply click HERE, and don’t forget to also enjoy their official video for the song Maclovia, as it’s an amazing song outside of the metal realm. and how about watching her blast her bass in great fashion in the official YouTube channel for Spit On Your Grave, playing the classic Hammer Smashed Face, by the almighty Cannibal Corpse? That’s a really cool video, my friends!

Caro Saturni

The next metal lady of this month of May is the band’s guitarist Caro Saturni. Born on January 18, 1996 in Mexico, she joined Spit On Your Grave back in 2016 and released with the band so far their 2018 album The Night of Women’s Rites (as Caro Ampersand) and their 2024 album Arkanum (already as Caro Saturni), becoming the lead guitarist of the band, and you can check all her dexterity in a video from the band’s official YouTube channel where she plays the song Adjusting the Sun, by Hypocrisy. She’s also the guitarist for an all-female rock and metal band from Monterrey named Sister Sinyster, and although there isn’t much online about the band (as they just started in November 2023), you can enjoy this recent interview to Metalhead Inter Radio, and keep an eye on their Instagram for news as I’m sure we’ll hear a lot about those girls soon.

Marlene Muñoz

And last but definitely not least, we get to the she-wolf Marlene Muñoz, who joined Spit On Your Grave back in 2020 and has recorded with them so far their breathtaking new album Arkanum. Her harsh screams and guttural gnarls are fantastic, adding an insane dosage of brutality to the band’s core Death Metal, therefore elevating the band’s status in the local Mexican scene as well as worldwide. Apart from Spit On Your Grave, you can find Marlene as the vocalist for a Monterrey-based Melodic/Progressive Thrash Metal band called Judgment since 2019, having released with them a self-titled three-track single back in 2019, plus a standalone song named All I Have, in 2022, and let me tell you that all four songs released so far are amazing, leaving us eager for a full-length album by those Mexican metallers in the near future.

In summary, fi you’re looking for some fresh metal music with a powerful feminine touch, you must check the creations by all bands featuring Marlene Muñoz, Elizabeth Castillo and Caro Saturni, because those three multi-talented women definitely put their hearts and souls into making high quality music for us fans, and if you’re near them in Monterrey keep an eye on their social media because you don’t want to miss the metal attack provided by their bands live, in special the fulminating Spit On Your Grave. Hopefully the band will keep growing and reaching new horizons, playing all across the US and Canada, participating in multiple European festivals, bringing their music to places like Brazil, Japan, Australia and so on, because they play ass-kicking Death Metal, and we always need ass-kicking Death Metal with a feminine touch to make our lives way better, right?

Elizabeth Castillo’s Official Instagram
Caro Saturni’s Official Instagram
Marlene Muñoz’s Official Instagram
Spit On Your Grave’s Official Facebook page
Spit On Your Grave’s Official Instagram
Spit On Your Grave’s Official YouTube channel
Spit On Your Grave’s Official TikTok
Spit On Your Grave’s Spotify
Spit On Your Grave’s Linktree