Rooted in mythology, nature and epic storytelling, this Swedish horde attacks armed with their debut album, blending the aggression of modern metal with a deep Nordic folk spirit.
Uncompromising and frostbitten in spirit, and drawing strong inspiration from the Finnish scene of the early 2000’s, blending the aggression of modern metal with a deep Nordic folk spirit, Stockholm, Sweden-based Symphonic/Melodic Death Metal horde Northborn is unleashing upon humanity their self-titled debut offering, marking the beginning of a powerful new chapter for the band formed of Björn Larsson on vocals and keyboards, Ture Aspelin and Tobey Lagerqvist on the guitars, Andreas Lundgren on bass, and Felix Wahlund on drums, inviting listeners worldwide to step into their frozen realm while combining technical intensity with powerful melodic hooks and cinematic depth.
Get ready for an inspiring adventures through bitterly cold lands in Hymn of the North Star, with Felix already taking the lead with his fast-paced melodeath beats, offering Björn exactly what he needs to roar like a Viking. And Björn delivers a striking keyboard attack in Tale of Lies, supported by the Melodic Death Metal extravaganza blasted by Ture and Tobey on the guitars, followed by Fireborn, again presenting a fantasy and adventure vibe, with the rumbling bass by Andreas walking hand in hand with the galloping drums by Felix. The 80’s-inspired keyboards by Björn and the metallic bass by Andreas kick off the high-octane Children of the Frost, generating a hurricane of melodeath sounds perfect for admirers of the genre; whereas despite the epic intro in Helldamned, the music becomes way too generic after a while. Nothing to worry about in the end, though.
Then back to a much more ferocious mode we have The Wolf’s Curse, with their Symphonic and Melodic Death Metal sounds clashing in great fashion led by the always ruthless Felix on drums. The band invests in a Folk Metal sonority in Dreamhaunter, with the guitars by Ture and Tobey taking us back in time to the age of Vikings, whereas inspired by the massive sounds crafted by their countrymen Amon Amarth while also adding their own symphonic touch to the music we face the battle hymn The Fimbul Scourge, followed by the mysterious Yokai of the Lake, dedicated to the kappa, the aquatic, reptilian humanoids who inhabit the rivers and streams flowing over Japan, and you can feel that vibe from the East in their music. Lastly, closing the album they offer the melodic and epic A Warrior’s Fate, inviting us all to raise our fists in the air to the infernal growls by Björn, as well as the striking riffage by the band’s unstoppable guitar duo.
Rooted in mythology, nature and epic storytelling while channeling the legacy of bands like Children of Bodom, Norther and Ensiferum, Northborn craft songs that transport listeners into cold, majestic landscapes shaped by frost, battle and legend, and their debut is an amazing indication that their quest for heavy music has only just begun. You can join their army of ice giants by following the band on Facebook and on Instagram, by streaming their striking music on any platform such as Spotify, and of course, by purchasing their debut album from Art Gates Records. Bitterly cold, sharp and electrifying, it’s an album made for true Nordic warriors at heart, and I bet you’ll proudly raise your sword in the winds of the north while listening to such a precious gem of the current Swedish scene.
Best moments of the album:Hymn of the North Star, Children of the Frost and The Wolf’s Curse.
Worst moments of the album:Helldamned.
Released in 2026 Art Gates Records
Track listing 1. Hymn of the North Star 6:04
2. Tale of Lies 5:09
3. Fireborn 5:03
4. Children of the Frost 4:23
5. Helldamned 6:16
6. The Wolf’s Curse 4:04
7. Dreamhaunter 5:03
8. The Fimbul Scourge 5:32
9. Yokai of the Lake 5:31
10. A Warrior’s Fate 5:26
Band members Björn Larsson – vocals, keyboards
Ture Aspelin – guitars
Tobey Lagerqvist – guitars
Andreas Lundgren – bass
Felix Wahlund – drums
Standing at the intersection of ferocity and history, this Swedish Death and Thrash Metal brigade is unleashing hell with their debut opus, with each song portraying small historic tales of catastrophe, blunder, and human downfall.
Standing at the intersection of ferocity and history, channeling the raw aggression of Death Metal while weaving in the relentless drive of Thrash Metal and the defiance of Punk Rock, Stockholm, Sweden-based brigade Riket is unleashing hell armed with their debut opus, simply titled 2026. Recorded and produced by Sverker Widgren at Wing Studios, and displaying a haunting artwork by Axel Torvenius, mirroring the album’s thematic depths, the debut offering by vocalist Johan “Flid” Fridell, guitarists Tobias Jakobsson and Jussi Niiranen, bassist Micke André, and drummer Felix Wahlund balances crushing heaviness with an eerie sense of narrative, with every song being performed in Swedish and rooted in the darker corners of a shared past, portraying small historic tales of catastrophe, blunder, and human downfall.
Tobias and Jussi take the lead from the very first second with their acid riffage in 1868: Sommar Vid Vinterviken (or “1868: Summer at Winter Bay” from Swedish), while Johan barks and roars in the best Swedish style. 1867: Storsvagaret (“1867: The Great Weakness”) is even more infuriated and groovy than the opening tune, presenting elements of Death and Thrash Metal spiced up by an overdose of brutality and sick guitar solos; and it’s time to head into the circle pit and keep moving relentlessly in 1965: Hoghus Och Kultur (“1965: The Court and Culture”), with Felix sounding like a machine gun on drums. Then leaning towards the Melodic Death Metal by their countrymen such as In Flames and Soilwork we have 1948: Att Doda Ett Barn (“1948: Killing a Child”),showcasing a truly edgy vibe; and what starts in a calm way in 1885: Dodsdansen (I Manskensnatten) (“1885: The Dance of Death (In the Night of Man)”) suddenly morphs into another bestial melodeath attack.
1897: Mot Polen (“1897: Towards Poland”) is absolutely heavy but not as dynamic nor as exciting as the rest of the album, albeit the Amon Amarth-like riffs by Tobias and Jussi are still a thing of beauty. Micke keeps hammering his bass in 1991: 2000 Ar (Saliga Aro De Talmodiga) (“1991: 2000 Years (Blessed Are the Wise Men)”), adding a groovier vibe to the song while Johan’s deep guttural bring endless fury to the overall result; whereas 1937: Lagor Vid Portarna (“1937: Laws at the Gates”) is more rhythmic and vibrant thanks to another ass-kicking performance by Felix on drums, while the trio formed of Tobias, Jussi and Micke delivers a first-class stringed onrush. Lastly, we’re treated to a cover version for Stefan Sundström’s 2009: Alla Ska I Jorden (“2009: All Shall Be in the World”) (and you can enjoy the original version HERE), an interesting rendition presenting a darker, more introspective approach compared to the original.
A vessel of memory, a grim messenger bridging today’s world with the chilling truths of yesteryears, 2026 does not simply revisit history. Riket force you to confront it, challenging their audience to face uncomfortable truths, both personal and societal. If you want to know more about Riket and their dark relationship with history, you can start following the band on Facebook and on Instagram, stream their wicked creations on Spotify, and purchase their excellent debut from BandCamp or from several online retailers such as Doomed Records and Record Store Day. 2026 is an album that lingers long after the final note fades, a stark, resonant journey through memory, identity and the lingering shadows of time, leaving us eager for more from those Swedish metallers as our society progresses to its inevitable doom.
Best moments of the album:1867: Storsvagaret, 1965: Hoghus Och Kultur and 1937: Lagor Vid Portarna.
Worst moments of the album:1897: Mot Polen.
Released in 2026 Black Lion Records
Track listing 1. 1868: Sommar Vid Vinterviken 4:27
2. 1867: Storsvagaret 3:04
3. 1965: Hoghus Och Kultur 5:15
4. 1948: Att Doda Ett Barn 3:42
5. 1885: Dodsdansen (I Manskensnatten) 4:48
6. 1897: Mot Polen 3:56
7. 1991: 2000 Ar (Saliga Aro De Talmodiga) 4:11
8. 1937: Lagor Vid Portarna 4:18
9. 2009: Alla Ska I Jorden (Stefan Sundström cover) 5:06
Band members Johan “Flid” Fridell – vocals
Tobias Jakobsson – guitars
Jussi Niiranen – guitars
Micke André – bass, backing vocals
Felix Wahlund – drums
Let the demons enter your soul to the suffocating, ominous debut solo album by this multi-talented veteran hailing from Sweden.
Ominous, somber, and foreboding, Stockholm, Sweden-based Black/Doom Metal creature Daemonium Regni, which translates as “demon kingdom” from Latin, is the new solo-project by Micke Broberg of Unanimated, a dark and epic Black Metal feast for fans of Root, Bathory, and Ancient Wisdom. Mastered by Dan Swanö at Unisound Studios, and with layout by Daniele Valeriani (Mysticum, Mayhem, Triumph of Death, Unanimated), the album not only marks Daemonium Regni’s first full-length offering; as a matter of fact, it is the project’s very first sign of existence. Showcasing proficient arrangements with different layers added on top of repetitive riffs, and Latin lyrics performed as demonic growls as well as in the form of somber chanting, the album is absolutely dark from start to finish, leaving a mark on your soul after all is said and done.
Micke wastes no time and begin distilling his devilish, grim Black Metal in Mater Daemonium (or “mother of demons” from Latin), with its malignant vibe being driven by his sluggish Doom Metal beats and Stygian vocal lines. Then presenting a more demonic old school Black Metal sonority we’re treated to Ascendens Tenebrae (“ascending darkness”), where his guitar riffs transpire evil, not to mention his blast beats sound demented; and again offering a cryptic hybrid of Black and Doom Metal we face Silentium (Mors Itinerarum), or “silence (death of the paths),” with its background elements sounding absolutely haunting. However, it’s when Micke goes full Black Metal that he truly thrives, exactly like what we see in Luna Sanguinea (“blood moon”), presenting a well-balanced and demolishing fusion of scathing riffs, blast beats and evil vociferations for our absolute delight.
In Spiritus In Flammo (“spirit in flames”), Micke will destroy your frail soul with his demonic gnarls and phantasmagorical guitars and drums; followed by Sacrificium (“sacrifice”), a more introspective track working like an atmospheric interlude, albeit taking away some of the fury and darkness from all previous songs. After that, Micke slashes his axe mercilessly in the also Doom Metal-infused aria Magica Cultus (“magical cult”), one of the heaviest songs of the album boosted by his deep, infernal guttural; while ending his debut ceremony he offers our putrid ears a visceral Blackened Doom feast entitled Damnationem (“damnation”), and let’s be honest, he couldn’t have concluded his first solo endeavor in a more obscure and suffocating manner.
In summary, the eight tracks which together constitute Daemonium Regni’s eponymous debut album feel like a liturgy charged with foul energy held in the service of darkness and perdition, and in case you want to join Micke in absolute obscurity you can find the project on Facebook, and of course, purchase a copy of such a venomous album from the Darkness Shall Rise Productions’ BandCamp or webstore. In other words, it’s time to let the demons enter your impious soul to the sound of the debut by Daemonium Regni, and if the album is a sign of the path that Micke will follow in his future solo albums, we can rest assured that his darkness is among us all to stay.
Best moments of the album:Ascendens Tenebrae, Luna Sanguinea and Magica Cultus.
Transcending their previous sound and rising with the full might of Asgard at their back, these Swedish Melodic Death Metal warriors are unleashing upon humanity their most ambitious work to date.
Transcending their previous sound and rising with the full might of Asgard at their back, Stockholm, Sweden-based Melodic Death Metal warriors Hamaval are set to unleash their most ambitious work to date, entitled Age of the Gods, following up on their 2021 sophomore opus The Shadow Chapter. More aggressive, forceful, and diverse than ever, Age of the Gods is a pinnacle in the band’s evolution, where symphonic grandeur collides with ferocious riffs, thunderous drums and growls echoing with the wrath of the Nine Worlds, all masterfully crafted by vocalist Björn Larsson, guitarists Lennie Spetze and Kjell Gilliusson, bassist Tino Vesanen, and drummer Stefan Peltonen.
The war of the gods is about to begin to the sound of The Pagan Path, with its imposing tribal sounds inviting us all to join the band in the battlefield before Stefan begins smashing his drums in the name of Melodic Death and Viking Metal, whereas Wolfraiders carries an excellent title for an even more excellent sound, with the guitars and keys by Lennie and Kjell transpiring of Amon Amarth while their guitar solos also sound utterly captivating. Stefan then dictates the pace in the ruthless The Day Of Reckoning, with all background elements giving it an extra touch of epicness led by Björn’s deep warrior roars, followed by Sigmund Fafnirsbane, a song about a legendary dragon slayer, with the band inviting us all to slam into the pit to their visceral riffs and harsh screams.
Then investing in an almost Symphonic Black Metal sound we’re treated to The Shaman, where once again Lennie’s keys bring sheer electricity to their music, being therefore perfect for prancing around the firepit while enjoying a pint of mead. The skies will get dark and the atmosphere pensive and somber in Hymns Of The Fallen, an inspiring chant dedicated to the ones who lost their lives in battle, sounding absolutely epic from start to finish; and the band blasts one of the fastest and heaviest of all songs, the thrilling Lokis Damnation, also presenting some welcome melodic passages and the always vibrant guttural by Björn. Finally, ending the album it’s time for absolute fury and violence in the form of Ashwalker, spearheaded by the crushing beats and fills by Stefan in a lesson in contemporary Melodic Death Metal.
Offering a distinctive musical identity characterized by powerful orchestration, elegant yet captivating riffs, and an eclectic fusion of Viking, Black, Power, and Death Metal influences, Age Of The Gods will undoubtedly carve Havamal’s place in Valhalla, and you can grab a copy of such an excellent album from the Art Gates Records’ webstore in three amazing bundles (pack I, pack II, and superpack). Don’t forget to also follow the band on Facebook and on Instagram, and to stream their music on Spotify, proving you’re also worthy of joining Havamal and the metal gods at the magnificent hall of the slain are you prepare for Ragnarök.
Best moments of the album:Wolfraiders, The Shaman and Ashwalker.
Worst moments of the album: None.
Released in 2025 Art Gates Records
Track listing 1. The Pagan Path 6:01
2. Wolfraiders 4:59
3. The Day Of Reckoning 5:53
4. Sigmund Fafnirsbane 5:14
5. The Shaman 5:36
6. Hymns Of The Fallen 5:44
7. Lokis Damnation 5:33
8. Ashwalker 4:56
Band members
Björn Larsson – vocals
Lennie Spetze – guitars, keyboards
Kjell Gilliusson – guitars
Tino Vesanen – bass
Stefan Peltonen – drums
This uncanny Swedish Blackened Death Metal creature returns with its fifth studio offering, a vessel for Theistic Satanism and left-hand-path esotericism in sonic form.
Lepaca Nox Draconis! Ho Drakon Ho Megas!
Steered by guitarist Belfagor (aka Mika Hakola) since 1996, having sewn influence and infamy in equal measure, the uncanny Swedish Blackened Death Metal creature Ofermod, whose name was taken from a 1953 Tolkien essay, used to describe a state of mind characterized by excessive pride, is unleashing upon humanity its highly anticipated new opus, titled Drakosophia. Recorded and produced by Swedish bassist Devo Andersson (Overflash, Marduk) at Endarker Studio, and displaying a sinister artwork by John Albin Hampus Ekberg of Mark of Cain Tattoo, the follow-up to their 2021 album Mysterium Iniquitatis offers an overdose of “Qliphotic Black Metal Magick”, a genuine Orthodox Black Metal album representing a vessel for Theistic Satanism and left-hand-path esotericism in sonic form, all carefully brought into being by Belfagor on the guitars alongside North American vocalist Adeptus, Austrian session drummer Florian Musil (Agrypnie, The Negative Bias, Theotoxin), and the aforementioned Devo Andersson on bass.
It’s a pulverizing feast of scathing Black Metal in the opening tune Aicha Kandisha, with the gnarling vocals by Adeptus transpiring evil accompanied by the ruthless drumming by Florian, whereas Devo and Florian deliver a beyond demonic kitchen in Vineyards of Gomorrah while the Stygian riffage by Belfagor summons all creatures of darkness. Then the title-track Drakosophia brings to our devilish ears a cryptic atmosphere boosted by the song’s background choirs while Adeptus continues to gnarl like a true demon, and Florian hammers his drums mercilessly while Belfagor delivers pure Black Metal from his axe in Malat Atat. After that we face the unique Zazas Zazas Nasatanada Zazas, where the music is as insane and complex as its name, and that’s simply majestic, resulting in one of their best creations to date led by the venomous gnarls by Adeptus.
Belialistic Gra’al Codex is another song with a very distinct name, where once again we see Belfagor and his horde crushing our damned souls with their infernal wall of sounds, with Florian kicking some serious ass behind his drums, followed by Nox Draconis, the most straightforward, in-your-face Black Metal song of all, with Belfagor extracting sheer malignancy from his guitar and, therefore, living up to the legacy of the style while also sounding fresh. Sinister Acolyte is just an average Black Metal tune by Ofermod, still very enjoyable but not as much as the other songs, while the last song of the album, titled The Painful Movers, is a demolishing beast blasted by the band, with the riffs and bass by Belfagor and Devo complementing each other in great fashion.
Invoked right from the beginning, Drakosophia is both classic Ofermod and a continual unfolding of their unique characteristic sound, dynamically sinister and vigorously menacing. You can find more information about Ofermod and their new opus on Facebook and on Instagram, stream their sulfurous creations on Spotify, and of course grab a copy of the album from the Regain Records’ BandCamp or from the Shadow Records’ webstore. Open your third eye and let Lucifer crush all cosmic illusions of time and space, and become born anew in the LVX of Phosphorus to the sound of Drakosophia; embrace this sonic Left Hand Path sorcery and mysticism, or stay far away from the sinister audial art of Ofermod.
Best moments of the album:Vineyards of Gomorrah, Zazas Zazas Nasatanada Zazas and Nox Draconis.
The modern-day purveyors of classic Swedish Death Metal strike again with their fourth studio album, the musical equivalent of a classic shock-horror movie drenched in blood and gore.
Considered by many as the modern-day purveyors of classic Swedish Death Metal, Stockholm’s own unrelenting beast Lik (which means “corpse” or “corpses” in Swedish) gloriously returns to action with their fourth studio album, simply titled Necro. Recorded at NBS Studio (aka Necromorbus Studio), produced by Lawrence Mackrory at Rorysound Studios, and displaying a zombified cover art by Stockholm-based tattooist and artist Jens Olsson of Ink Fanatics, Necro is the musical equivalent of a classic shock-horror movie that’s drenched in blood and gore and packed with over-the-top extremities masterfully crafted by Tomas Åkvik on vocals and guitar, Niklas “Nille” Sandin also on the guitar, Joakim Antman on bass, and Chris Barkensjö on drums, standing loud and proud over so many imitators.
The dirty riffs by Tomas and Niklas will kick you in the nuts in the opener Deceased, with the band distilling their undisputed Death Metal with tons of rage and insanity, followed by War Praise, a ruthless sonic attack where the visceral growls by Tomas walk hand in hand with the pulverizing beats by Chris in a lecture in Swedish Death Metal. They is another beast of a song showcasing a dual guitar attack boosted by the rumbling bass by Joakim, and it’s pedal to the metal with the unrelenting extravaganza Worms Inside, with Chris taking the lead with his demented beats and fills for our total delight. Then the bass lines by Joakim will smash your cranial skull in Morgue Rat, offering more of the band’s trademark violence, gore and obscurity.
In Shred into Pieces the name of the song says it all, as you’ll be pulverized into micro pieces to their venomous slab of Death Metal bringing forward the fuming riffs by Tomas and Niklas, and Tomas keeps vociferating rabidly in In Ruins, a horror movie-like tune where the entire band shows no mercy for our putrid souls. Inspired by a trial that led to a series of executions in Stockholm between November 7 and 9, 1520, after the coronation of Christian II as the new king of Sweden, The Stockholm Massacre beautifully depicts that savagery in the name of old school Death Metal; and there’s still time for more heaviness and aggression in Fields of Death, where their core Death Metal is boosted by Chris’ demented drumming. Last but not least, the guitars by Tomas and Niklas transpire savagery in Rotten Inferno, putting a gruesome, evil conclusion to such an incendiary album.
Continuing to fly the Swedish Death Metal flag across the global stage, Necro was born out of pure love and respect for the genre and its creators’ artistic visions to keep pushing their own musical boundaries. “The ambition with Necro was to make an even better record than the previous albums,” says Tomas. “I think this one is really tied together. As it started growing and the songs got put together we were 100% focused on making that Lik album. I really think we made a really good death metal album, we found the right ingredients to make this one work.” Hence, you can experience all of their gore, violence and metallic sounds by following the band on Facebook and on Instagram, by streaming their sick creations on Spotify, and of course by purchasing the fulminating Necro from BandCamp or from Metal Blade Records as a CD or as a violet with purple splatter vinyl 12″, or simply click HERE for all available options. The new blood-soaked opus by Lik will certainly inspire all Death Metal fans around the world to slam into the pit like true metalmaniacs, solidifying the band’s army of zombies on all four corners of the earth, and consequently, prepping our rotten and decaying world for more Lik in the coming years, even if we face its inevitable end sooner than later.
Best moments of the album:War Praise, Worms Inside and The Stockholm Massacre.
Worst moments of the album: None.
Released in 2025 Metal Blade Records
Track listing 1. Deceased 4:21
2. War Praise 3:40
3. They 4:02
4. Worms Inside 3:08
5. Morgue Rat 4:58
6. Shred into Pieces 2:18
7. In Ruins 4:40
8. The Stockholm Massacre 2:42
9. Fields of Death 4:02
10. Rotten Inferno 5:41
Band members
Tomas Åkvik – vocals, guitar
Niklas “Nille” Sandin – guitar
Joakim Antman – bass
Chris Barkensjö – drums, backing vocals
After a very long wait, Sweden’s own Heavy and Doom Metal institution is back with a new collection of battle hymns inspired by the tale of Beowulf and Grendel.
In their over 20 years of career, Stockholm, Sweden’s own Heavy/Doom Metal institution Grand Magus has been eternalized in the music history and looks back on a treasury full of all-time Heavy Metal anthems. Now in 2024 the band formed of Janne “JB” Christoffersson on vocals and guitars, Mats “Fox” Skinner on bass, and Ludwig “Ludde” Witt on drums is back with a new blast of memorable battle hymns entitled Sunraven, a concept album about Beowulf and Grendel, a worthy follow-up to their 2019 album Wolf God, and a lecture in heavy doom that will certainly feature among the best metal albums of the year on any list that worships the power of the mighty riff.
And the riffs by Janne sound beautifully heavy and doomed in Skybound, setting the tone in a lesson in Epic Doom Metal by the trio, with the deep, passionate vocals by Janne adding even more epicness to the overall result. Yes, I guess I’ll overuse the word “epic” on this review as you might have already notice. Then investing in a more direct Doom Metal sound we have The Wheel of Pain, with the pounding drums by Ludwig and the low-tuned bass by Mats bringing sheer heaviness to the music, followed by the title-track Sunraven, where the trio keeps delivering sonic awesomeness with their crisp, sharp riffs and blasting beats sounding majestic. It’s time to darken the skies with the melodic and heavy Winter Storms, as cold as it’s vibrant and grim, in line with their Swedish roots and loyal to their foundations; whereas The Black Lake is perhaps the most Black Sabbath-ish song of the entire album (and even of their entire career), to the point we can imagine the almighty Dio singing it. Needless to say, Janne is once again spot-on with his vocals and riffs.
The second half of the album begins with the utterly epic, electrifying Hour of the Wolf, with the guitars by Janne and the rumbling kitchen by Mats and Ludwig inviting us all to head into the battlefield together with Grand Magus, followed by Grendel, another blast of their classic fusion of Heavy, Epic and Doom Metal, offering more of their trademark riffs and beats as well as the low-tuned bass by Mats. To Heorot sounds utterly stunning form start to finish, inspiring us all to raise our fists in the air to the classic vocals by Janne while Ludwig hammers his drums in great fashion, sounding also perfect for some vigorous headbanging in the name of doom; and the power of the riff is also outstanding in the closing tune The End Belongs to You, putting a classy ending to the album and leaving us all more than eager for more (as the album has only 35 minutes of music in total).
I would have simply loved if the album had an extra 10 or 15 minutes of music, mainly because we’ve all been waiting for a new Grand Magus opus for quite some time, but let’s say the band kept Sunraven tight and sharp from start to finish without sounding cheesy, tiresome or anything like that, which means it might have only 35 minutes in duration, but those are damn intense 35 minutes for our total delight. Hence, don’t forget to stream the album in full on YouTube and on Spotify, to follow the band on Facebook and on Instagram for news, tour dates and so on, and above all that, to grab a copy of the hammering Sunraven by clicking HERE. “The album is about Beowulf and Grendel. In essence, Sunraven is Beowulf, and that’s my own invention,” Janne explains. “But some of the songs are written about and from the perspective of Beowulf, and some of the songs are written about and from the perspective of Grendel, the monster he faces in Denmark. That kind of steered me and carried me through the lyrical process this time. I’ve never done anything like this before. I’ve always been fascinated by that tale. These myths and legends are about all the basic things that we sing about – life, death, glory, dishonour, love, hate, overcoming difficulties, facing impossible opposition and so on.” In other words, what can sound more Heavy Metal than such a strong tale, right? And of course, only Grand Magus could bring all that to life with so much passion, epicness and glory.
Best moments of the album:Skybound, Sunraven, Hour of the Wolf and To Heorot.
Worst moments of the album: None.
Released in 2024 Nuclear Blast
Track listing 1. Skybound 3:28
2. The Wheel of Pain 3:23
3. Sunraven 3:37
4. Winter Storms 5:15
5. The Black Lake 5:34
6. Hour of the Wolf 4:03
7. Grendel 3:32
8. To Heorot 3:00
9. The End Belongs to You 3:21
Band members Janne “JB” Christoffersson – lead vocals, guitars
Mats “Fox” Skinner – bass, backing vocals
Ludwig “Ludde” Witt – drums
There’s nothing better than celebrating Thanksgiving in Canada than with an ass-kicking metal concert, don’t you agree? That’s exactly what we got in Toronto this Monday when OPETH and TRIBULATION paid a visit to the city during their North American Tour 2024 at the Queen Elizabeth Theatre, in another event organized by the awesome Noel Peters of Inertia Entertainment. And if you think the venue was empty due to one of the biggest holidays in Canada, you’re absolutely wrong, as fans simply took the venue by storm in a sold out (or almost sold out) night of sheer progressiveness and heaviness. Keith Ibbitson of Metal Paparazzi and I were there to cover such a unique display of heavy music made in Sweden, and I guess both bands will surely return to Toronto sooner than later with a new show as not only both have new albums coming out in the next few weeks, but the reception of the crowd to them was also fantastic during the whole night.
Precisely at 7:30pm, Stockholm’s own Death/Gothic Metal outfit TRIBULATION hit the stage for a dynamic and diverse performance, and I say diverse because their sound has evolved and changed so much through the years it feels like every song is a different band playing on stage, plus the fact each band member looks like they belong to a different music style. That doesn’t mean the show was bad or boring; quite the contrary, the quartet was on fire during their entire show, with their new songs Tainted Skies, Hungry Waters and Saturn Coming Down, from their new album Sub Rosa in Aeternum (to be released on November 1) sounding really strong and vibrant live. I personally prefer their older material when they were more inclined to Death Metal, but any of their phases work really well on stage, and the crowd’s reaction to each song played proved that. Now let’s wait and see what their new album will bring to us all, and next time they visit Toronto I’m sure a lot of people that were at the Queen Elizabeth Theatre to see only Opeth will feel more than excited to see Tribulation headlining a concert in the city.
Setlist Tainted Skies
Nightbound
Suspiria de Profundis
Hungry Waters
Saturn Coming Down
Strange Gateways Beckon
Melancholia
Band members Johannes Andersson – vocals, bass
Adam Zaars – guitars
Joseph Tholl – guitars
Oscar Leander – drums
As Stockholm’s iconic Progressive Death Metal/Rock institution OPETH was scheduled to start their performance at 8:45pm, I honestly thought the show was going to end earlier than most shows in the city, maybe even earlier than 10:30pm, but when the band in question is Opeth you can rest assured they’ll provide you with a long and detailed concert, to the point I only got back home close to midnight. The charismatic Mikael Åkerfeldt and his henchmen did a fantastic job on stage not only with their unique blend of progressiveness and heavy music, but also with the bonus “stand up comedy show” by Mikael in between songs. Seriously, the guy was on fire, and as I love that type of dark humor that only made the concert even more fun for my personal taste.
Their new songs §1 and §3, of their upcoming new album The Last Will and Testament (to be released on November 22), plus classics the likes of Ghost of Perdition, Sorceress and Deliverance, drove their fans crazy during their entire set, and as mentioned, Mikael’s jokes about only getting the munchies and eating an entire package of ham and one of cheese after trying marijuana for the first time, or saying that they’re not a pop band to accept requests for songs unless it’s the next song in their setlist, put an even bigger smile on the faces of everyone at the venue. I’m not a diehard Opeth fan but I believe there’s a recurring joke with the song “You Suffer”, by Napalm Death, and Opeth ended up playing it four or five times demanding us to “sing” its lyrics along with them. If you know that specific song, you can imagine how funny that was.
This was my third time only seeing Opeth, the latest one being my first (or second) show after the pandemic was over, when they played alongside Mastodon, and I don’t know why, maybe because I was more prepared this time, Opeth sounded way cooler to me, putting on a very entertaining and vibrant show exactly the way their Torontonian fans were asking for. The sound quality was excellent, the visuals were stunning, and the band sounded sharp and tight from start to finish. Having said that, I won’t be surprised if they visit Toronto again next year with a full tour focused on their new album due to the amazing reception from all fans this Monday, and I’m sure the venue will be pretty much sold out again as Opeth are becoming one of the most beloved bands by metalheads (and even non-metalheads) from Toronto and surroundings.
Setlist §1
The Leper Affinity
The Grand Conjuration
The Devil’s Orchard
Eternal Rains Will Come
In My Time of Need
Face of Melinda
Heir Apparent
§3
Ghost of Perdition
Encore:
Sorceress
Deliverance
Band members Mikael Åkerfeldt – vocals, guitars, cittra, mellotron, percussion
Martín Méndez – bass, backing vocals
Fredrik Åkesson – guitars, backing vocals
Joakim Svalberg – keyboards, Hammond organ, mellotron, piano, synthesizers, backing vocals
Waltteri Väyrynen – drums, percussion, backing vocals
It’s time to start melting the snow that covers a good part of the Northern Hemisphere with endless fire and heat emanating from our metal lady of this month of February, and I’m sure after listening to her incredible voice your heart will be forever warm even during the harshest of the winters. The frontwoman for Swedish Progressive and Symphonic Heavy Metal band Hexed, she’s the owner a powerful voice that will pierce your mind mercilessly, while her undeniable charisma will mesmerize you whenever she hits the stage. Her name is Tina Gunnarsson, and after reading more about such Swedish diva here on The Headbanging Moose I’m sure you’ll become a diehard fan of her music, getting beyond excited to raise your horns together with her whenever Hexed take your city by storm with their amazing live concerts.
Born on January 6, 1974 in Uppsala, a city near Stockholm, in Sweden, Tina started to sing and perform as a child along with her father, who according to Tina herself was an excellent songwriter. She remembers going up on stage and perform two of his songs when she was about six years old, saying that she already knew from that moment that music was going to be her life. By the way, she’s the sister of Teddy Möller, vocalist and multi-instrumentalist for several Swedish underground bands the likes of Loch Vostok, Gauntlet Rule and One Hour Hell, among others, and she’s married to vocalist and guitarist Stellan Gunnarsson, who founded Hexed together with her almost ten years ago, proving that Tina definitely lives and breathes music. In addition, she mentioned that despite being married to Stellan for many years, they only started writing music together after the creation of Hexed, saying that before that they used to focus on their other bands and projects.
Speaking about Hexed, the Swedish Symphonic and Progressive Metal brigade fronted by Tina has been making a lot of noise among metalheads all over the world since their inception back in 2015, with Tina, Stellan and bassist Daniel Håkansson being the three original members who are still part of Hexed, plus guitarist David Nyman and drummer Patrick Wahlberg. Curiously enough, the other original member of the band was Tina’s brother Teddy, who played on all their releases, except for their latest album released in 2022. So far, Hexed released their debut single titled Dreams, in 2016, followed by the three-track EP Exhaling Life, in 2017, and the full-length albums Netherworld, in 2018, and Pagans Rising (which was by the way inspired by Sweden’s witch-hunting hysteria in the late 17th century), in 2022, all available on their own BandCamp page, on YouTube and/or on Spotify (as well as on other streaming platforms).
When asked about how she would describe her music to someone who’d never listened to Hexed before, Tina said that she used to label it as “heavy and melodic with some dark vibes”, and if you visit their official YouTube channel you’ll be able to experience that by listening (and watching) to fantastic songs such as Blasphemy, Pagans Rising, Symphony of Tragedy, Exhaling Life, Stigma Diaboli, Resurrection, Repentance, Oceans, and Obedience. Moreover, when asked to choose a couple of songs with a very special meaning for her, Tina mentioned the title-track of their 2018 album Netherworld, as it really helped her to create a vision and to build something more creative out of all the feelings she had during that time, and Moorfield, from their 2022 album Pagans Rising, because of the feelings she got when she read about the trials and execution while writing about the destiny of the three women that the lyrics are about.
A seasoned veteran in the realm of rock and metal music, Tina was also part of some other very interesting bands prior to forming Hexed back in 2015. For instance, she’s also the vocalist for a Swedish Melodic Heavy Metal band named Detained, formed in 2010 and that released a five-track self-titled EP back in 2011, but that hasn’t done anything (nor even any type of communication) after 2012. I think we can say this project is now defunct, right? Anyway, apart from Detained, she was also the vocalist for an unknown period of time for a Swedish Progressive Metal band named Mellow Poetry (which after a few years changed their name to Mayadome) together with her brother Teddy Möller, but apparently nothing was officially released with her on vocals under that specific name. That’s also the case with a band named Nebraska, which was most probably also from Sweden, but basically nothing can be found online about the band nor about Tina’s involvement with them. On the other hand, back to the now very distant year of 1987, Tina was the lead singer for an Uppsala-based Heavy Metal band named Tradore, also with her brother Teddy, with whom she released a demo that same year titled Beyond the Shadows, still under her birthname of Tina Möller. The band later changed their name to Rue Morgue, but Tina was no longer a member of the band after that.
As a guest vocalist, you can enjoy Tina’s soaring vocals in some amazing bands and projects that surely helped her shape her current vocal style and technique. One of the most interesting of those bands is undoubtedly Uppsala-based Extreme Progressive Metal band Loch Vostok, another band led by her brother Teddy, singing in the song Rebound, from their 2006 album Destruction Time Again!, and doing the female vocals in their entire 2009 album Reveal No Secrets. Apart from Loch Vostok, she also lent her amazing voice to the song (I’ll Never Be) Maria Magdalena, from the 2022 album Trial by Fire, by Norwegian Power Metal duo Mantric Momentum; did all female vocals in the 1996 album Paranormal Activity, and was a guest vocalist in the song Able to Feel, from the 1999 album Near Life Experience, both released by her brother’s old Progressive Rock/Metal band Mayadome (as already mentioned, originally known as Mellow Poetry); did guest vocals in the song Queen of the Sea, from the album In Hoc Signo Vinces, released in 2007 by Swedish Heavy Metal band Wasteland; and also did backing vocals in the 2006 album The Shadow Cabinet, by Danish Progressive/Power/Folk Metal band Wuthering Heights.
As any rock and metal musician, Tina has an array of sensational idols who had a strong influence on how her voice sounds today. Among her music heroes, you’ll find renowned acts the likes of Queensrÿche, Fates Warning, Kamelot and Pagans Mind, also mentioning the 80’s as an amazing source of music, saying she used to listen to ABBA and Supertramp a lot at home, and Queen as her first ever live concert. In one of her interviews, she said that she would love to do a collaboration with Queensrÿche or King Diamond, saying she loves the music by Queensrÿche and of course the voice by Todd La Torre, and that the music by King Diamond and Mercyful Fate has always been with her since the 80’s, nurturing a deep passion for its vibe, stories, theatrical shows, and so on. In addition, she mentioned that if she could go back in time and be part of the recording sessions for any album in history, she would gladly have been a part of Dream Theater’s Images and Words, one of the best records in history in her opinion. “When I listened to When Dream and Day Unite I began to really listen to them with their special sound, later on James LaBrie came in on lead vocals and this album Images and Words really inspired me as a musician.” She also said that she prefers leaving people alone if they’re having a private moment or if they’re outside of a concert or event, but of course she likes to be close to her idols and other talented musicians if that’s not going to disturb their peace. “I really enjoyed being at the same place as anyone must have been to see Sharon den Adel from Within Temptation, having dinner at the table next to us in our special VIP area at Sweden Rock Festival, where our both bands were performing,” Commented Tina.
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Not only passionate about rock and heavy music, Tina also has a great love for nature, saying that she can easily notice a lack of energy of some kind, and where it’s missing based on the four elements. “I often visit the woods when I need to contemplate and understand ongoing things. I often dig the soil when my thoughts become dark and heavy and it helps me to stay grounded,” also saying that “we should use the capacity that our brain has to pick up energies, vibes and to trust our intuition more. That’s where the magic is. My favorite place is viewing a big lake with mountains surrounding it, that’s where I find peace of mind and can feel the real synchronicity with everything. I love the smell of each seasons beginning and how lucky I am to have four seasons in Sweden.” By the away, Tina is not just grateful for having all seasons in her homeland, but she’s also grateful for her family and friends, and to be able to create music, sing, dance and having good times while she’s still alive, and of course for everyone who listens to her music and who attends her live concerts.
According to Tina, the best part of being a musician is to have the ability and possibility to be creative in many ways, from the lyric writing, planning, scheduling, to bringing out all the visions for how she wants her music to be seen and heard, also saying that it would be a dream for her to be independent, but still earning enough money to live a decent life. “Music is the everyday life for us! With that said, we always work hard with all the stuff that has to be done as an active band. We all are employed as well and most of our spare time goes to music related things. No rest for the wicked.” And regarding the life of a musician on the road and travelling in general, apart from playing in major festivals like Wacken Open Air, she would also love to visit the lands where the native people in North America live, something she’s been dreaming about since she was a child. “Nowadays I understand more about all the native populations even in our own country and love Lapland as well. Maybe it is the genes in my blood talking and the lifestyle in harmony with nature.” Furthermore, although she’s not a religious person, she considers herself a spiritual person who believes in synchronicity, the wheel of life and the human mind. “The power of energies are not to be underestimated, things can really move and change with the right persons energies together. The forces we deal with in everyday life is the 4 elements as Earth, Fire, Water & Wind. All these elements create energy. It´s just that simple.”
A while ago, award winning film producer Bruce Moore released a documentary about women in metal, titled “Crushing Stereotypes One Riff At A Time”, where Bruce was able to catch up with a number of musicians, including our diva Tina, to find out what attracted them to the hard and heavy music world and if they had a story of how they took the plunge, what challenges they faced, and how things have changed, or if they have at all. Unfortunately, it looks like the movie is not available for streaming online anymore, but I would keep searching for it if I were you because all reviews of the movie are awesome and say it is a must-watch production for any type of metalhead.
When not in the studio or not on tour, Tina said that she likes to spend her time in her garden, in a forest, or going fishing. “This makes me unwind and it gets me some new energy. I’m also enjoying tarot and that kind of stuff,” she complemented, also saying that when she’s together with the other members of Hexed, she loves to cook and prepare dinner for her bandmates, while the others are responsible for the drinks, the music and the jokes. On a more serious note, Tina fears mankind hasn’t fully learned with all mistakes done during the Middle Ages, a time when religion (in that case Christianity) was responsible for the persecution and murder of people who thought differently and believed differently. “With all the power religion has over humanity I am afraid it will repeat itself if we don’t speak of it or fight against it. The children must learn from our own history and I really dislike when new generations are indoctrinated in a certain religion, let them choose when they are mature enough to have own thoughts and opinions.” Having said all that, it’s time to join Tina in her quest for heavy music, for freedom of speech, for freedom of religion, and so on, blasting her music to all four corners of the earth, until all pagans rise together with our multi-talented metal lady.
Sweden’s own Heavy and Doom Metal coven will drag you to their Stygian lair to the sound of their breathtaking fifth full-length offering.
Three years after the release of their critically acclaimed album Lucifer IV, Stockholm, Sweden’s own Heavy/Doom Metal/Rock coven Lucifer returns from the depths of the underworld with a new and breathtaking offering, simply titled Lucifer V, blasting our ears with their characteristic doomed sounds in the name of darkness and evil. Highly recommended for fans of Ghost, Black Sabbath, Blue Öyster Cult, Witch Mountain, Coven, Kadavar and Fleetwood Mac, among others, the new album by the talented witch Johanna Platow Andersson on vocals, Linus Björklund and Martin Nordin on the guitars, Harald Göthblad on bass and Nicke Andersson on drums will put you in a fantastic trance with its sharp and enfolding fusion of Heavy and Doom Metal with Rock N’ Roll, proving why the band has become a reference in the genre worldwide.
The Black Sabbath-inspired riffs by Linus and Martin ignite the thrilling opening tune Fallen Angel, showcasing the band’s trademark groove and darkness, with Johanna stealing the spotlight already with her mesmerizing vocals; whereas a Doom Metal start gradually morphs into the rockin’ extravaganza At the Mortuary, where once again Nicke showcases all his talent behind his drums dictating the song’s charming pace in great fashion. Then investing in a more direct Rock N’ Roll sound, get ready to dance in the dark together with Lucifer in Riding Reaper, with the riffs by the band’s guitar duo exhaling electricity and feeling, and the cabaret-inspired sound of the piano sets the tone for Johanna to deliver her passionate, devilish vocals in Slow Dance in a Crypt, a beautiful ballad that should sound amazing if played live, not to mention the song’s fiery guitar solos. Right after that we have A Coffin Has No Silver Lining, a true Rock N’ Roll anthem played to perfection by Johanna and the boys, bringing to our ears an addictive chorus and the striking riffs and solos by Linus and Martin.
It’s then time for another ass-kicking creation by Lucifer titled Maculate Heart, starting in an introspective way before exploding into a feast of Heavy Metal and Hard Rock led by the hammering drums by Nicke, followed by The Dead Don’t Speak, bringing forward four minutes of the band’s classic sonority with hints of Blues Rock added to their core essence, in special to the awesome guitar solo by Linus. Let’s now hit the road with Lucifer to the sound of Strange Sister, with Johanna having another soaring, sensational vocal performance supported by the rumbling bass by Harald and the classy beats by Nicke; followed by the straightforward tune Nothing Left to Lose but My Life, which despite being a solid song and having its dark charm it’s below the rest of the album in terms of energy and creativity. And lastly, there’s still time for two alternate versions of At the Mortuary (Halloween edit) and Maculate Heart (radio edit) as bonus tracks, and both are just as incendiary as the original ones.
Johanna and her henchmen are waiting for you on Facebook and on Instagram with more of their music, news, and their tour dates (and you should never miss a Lucifer concert as it’s simply brilliant, like the one I had the pleasure to witness in Toronto in November), and don’t forget to also subscribe to their official YouTube channel and stream all of their stylish compositions on Spotify. And above all that, go grab a copy of the incendiary Lucifer V by clicking HERE or HERE, adding to your grim album collection one of the coolest albums of another dark and sinister year ahead of us.
Best moments of the album:Fallen Angel, Slow Dance in a Crypt, A Coffin Has No Silver Lining and Maculate Heart.
Worst moments of the album:Nothing Left to Lose but My Life.
Released in 2024 Nuclear Blast
Track listing 1. Fallen Angel 3:15
2. At the Mortuary 6:07
3. Riding Reaper 4:19
4. Slow Dance in a Crypt 4:28
5. A Coffin Has No Silver Lining 4:25
6. Maculate Heart 4:09
7. The Dead Don’t Speak 3:58
8. Strange Sister 4:20
9. Nothing Left to Lose but My Life 4:40
Bonus tracks 10. At the Mortuary (Halloween edit) 4:56
11. Maculate Heart (radio edit) 3:37
Band members Johanna Platow Andersson – vocals
Linus Björklund – lead guitars
Martin Nordin – rhythm guitars
Harald Göthblad – bass
Nicke Andersson – drums
Uncompromising and frostbitten in spirit, and drawing strong inspiration from the Finnish scene of the early 2000’s, blending the aggression of modern metal with a deep Nordic folk spirit, Stockholm, Sweden-based Symphonic/Melodic Death Metal horde Northborn is unleashing upon humanity their self-titled debut offering, marking the beginning of a powerful new chapter for the band formed of Björn Larsson on vocals and keyboards, Ture Aspelin and Tobey Lagerqvist on the guitars, Andreas Lundgren on bass, and Felix Wahlund on drums, inviting listeners worldwide to step into their frozen realm while combining technical intensity with powerful melodic hooks and cinematic depth.
Rooted in mythology, nature and epic storytelling while channeling the legacy of bands like Children of Bodom, Norther and Ensiferum, Northborn craft songs that transport listeners into cold, majestic landscapes shaped by frost, battle and legend, and their debut is an amazing indication that their quest for heavy music has only just begun. You can join their army of ice giants by following the band on Facebook and on Instagram, by streaming their striking music on any platform such as Spotify, and of course, by purchasing their debut album from Art Gates Records. Bitterly cold, sharp and electrifying, it’s an album made for true Nordic warriors at heart, and I bet you’ll proudly raise your sword in the winds of the north while listening to such a precious gem of the current Swedish scene.
THE HEADBANGING MOOSE 