Going the distance in punishing the body and tormenting the mind, this Swedish Death Metal trio returns from the grave with their filthy and barbaric sophomore album.
Having a knack for fitting artworks, always capturing the album’s psychedically putrid contents perfectly, Göthenburg, Sweden-based Death Metal brigade Filth attacks once again with their sophomore album, titled Death Exhibiton, the follow-up to their 2025 debut Time to Rot. Going the distance in punishing the body and tormenting the mind, the trio formed of Per on vocals and drums, Sebastian on lead guitars and bass, and Ismael on rhythm guitars sounds both more finessed and more barbaric than their debut offering. The formula has hardly changed, thankfully, but the foundations of their sound are expanded further in Death Exhibition, whether it’s the crude, tank-rolling crush of Grave, or the sooty angularity of Immolation.
After the album’s short horror-infused Intro, all hell breaks loose to the sound of Split Casket, offering our putrid ears an overdose of doom-laden Death Metal where Per’s deep, inhumane guttural match perfectly with the apocalyptic guitar lines by Sebastian and Ismael; and their cadaverous, primeval sounds keep permeating the air in Buried Alive, with Sebastian not only delivering killer riffs, but his bass lines are also absolutely thunderous. Born A Corpse carries an old school name for another song where their visceral fusion of Death and Doom Metal works majestically, in special the deep vociferations by Per; and he continues to smash his drums in the name of darkness and gore in Mental Butchery, living up to the legacy of the genre.
…Inhumed… sounds and feels as dark and evil and it is groovy thanks to the caustic riffs and bass lines by Sebastian and Ismael, bringing total obscurity to our rotten hearts, while Sadistic Ways continues where the previous song left off, with its cadaverous Doom Metal vibe bringing even more hatred to their core Death Metal. The title-track Death Exhibition presents an overdose of primeval Death Metal not recommended for the lighthearted, with Per’s deep roars sounding utterly demonic. Then the ruthless bass by Sebastian will then crush your cranial skull in …Exhumed…, sounding slow, grim and visceral, flowing into the bludgeoning and evil closing tune Rotted Life, with the trio blasting their sonic weapons with endless hatred until the very end.
Other similarly old school influences can be spotted in Death Exhibition, such as Demilich, Autopsy, Incantation, and Abhorrence, but rest assured that Filth inject their own personality (and just a slight bit of weirdness) into the bubbling cauldron to remain authentic rather than ripping off someone else’s past. Those guys don’t seem to enjoy social media at all, as they’re not on Facebook nor on Instagram, but you can still find their music on Spotify, and grab a copy of their new album from Me Saco Un Ojo’s BandCamp or from Rotted Life’s BandCamp. This is Swedish Death Metal at its filthiest, and there’s no escape once you’re trapped in the cauldron of violence and gore found in their fulminating new album.
Best moments of the album:Split Casket, …Inhumed… and Death Exhibition.
Worst moments of the album: None.
Released in 2026 Me Saco Un Ojo/Rotted Life
Track listing 1. Intro 0:30
2. Split Casket 3:35
3. Buried Alive 3:39
4. Born A Corpse 3:21
5. Mental Butchery 4:06
6. …Inhumed… 4:07
7. Sadistic Ways 3:39
8. Death Exhibition 4:13
9. …Exhumed… 2:45
10. Rotted Life 4:26
Band members Per – vocals, drums
Sebastian – lead guitars, bass
Ismael – rhythm guitars
This one-man project based in Northern Sweden returns with its fourth studio album, where deep forests and snow-covered terrain are not merely backdrops, but gateways – spaces where hypnotic states and introspection take hold.
Drawing its essence from the meeting point between the physical and the transcendental, Sweden-based Atmospheric Black Metal entity Skuggor, the Swedish word for “shadows,” is the solo project of Australian-born vocalist and multi-instrumentalist M., known for his work with countless other amazing bands the likes of Aeon Moon, Autumn’s Dawn, Moonlight Drowns, Nihilithic Depths, Rumahoy, Stjärnfält, Tjaktjadálvve, and Wizardthrone, just to name a few. Now in 2026 M. is back in action with the follow-up to his 2025 album Where Sun Resigns, titled The Expanse, where deep forests and snow-covered terrain are not merely backdrops, but gateways – spaces where hypnotic states and introspection take hold. Displaying a serene artwork by Heresie Studio, The Expanse is fluid and instinctive, allowing each composition to emerge as a natural extension of atmosphere rather than rigid structure.
Get ready for a whimsical journey through bitterly cold lands to the sound of the eight-minute aria The Expanse, gradually evolving into an Atmospheric Black Metal beast where M.’s anguished roars will send shivers down our spines; followed by The Fire, just as cryptic and visceral as the opening track, where M. brings forward an avalanche of scorching guitar lines in contrast with the gelid background landscapes. Then again showcasing his passion for Black Metal infused with atmospheric and ethereal elements we have The Trance, and it’s easy to sense the despair transpiring from his harsh vocals, not to mention his sluggish beats also sound thunderous. Hem showcases an imposing and epic sonority, with M. once again blasting sheer melancholy through his vocals and whimsical keys, whereas in The Storm the name of the song says it all, as it’s the most violent, harsh and demonic of all songs, with M. delivering those classic Black Metal blast beats we all love so much intertwined with semi-acoustic soothing passages. Lastly, M. concludes his epic voyage with The Nothing, offering more of his blend of doom-laden Atmospheric Black Metal, bursting his lungs screaming until the very end.
“The Expanse is an album dedicated to a place I hold very dear: Northern Sweden. From the desolate forests to the frozen lakes, with this album I tried to capture the combined feeling of beauty and isolated melancholy one can feel in such an area,” commented M., and if you want to know more about Skkugor you can find the project on Instagram, stream its music on any platform such as Spotify, and grab a copy of the album from BandCamp or from Nordvis Produktion. Written to accompany M.’s journey between his home in Moskosel and Arvidsjaur, a woodland stretch largely untouched by modern intrusions in Swedish Lapland, The Expanse takes shape as a series of impressions formed by both the beauty and the unforgiving nature of the environment. While echoes of Burzum, Agalloch, Urfaust, and Drudkh can be sensed throughout, Skuggor reshapes these influences into something distinctly its own, turning it into a must-listen for admirers of the beautiful fusion between extreme music and the peace and solitude found in nature.
Best moments of the album:The Fire and The Storm.
Worst moments of the album: None.
Released in 2026 Nordvis Produktion
Track listing 1. The Expanse 8:20
2. The Fire 5:27
3. The Trance 5:18
4. Hem 5:38
5. The Storm 5:13
6. The Nothing 4:49
The ancient Roman and Etruscan god of purification, cleansing, and the underworld is back with its sophomore album, sounding just as fascinating and eccentric as one would expect it to be.
After releasing an astounding debut in Surveillance Orgy in 2023, Höör, Sweden-based Progressive Death Metal entity Februus (the ancient Roman and Etruscan god of purification, cleansing, and the underworld) returns with a sophomore album that is more mature and consistent, yet just as fascinating and eccentric as one would expect it to be, entitled Construction of Conflict. Mixed by the band’s sole member, vocalist and multi-instrumentalist Andreas Karlsson, mastered by Mattias Persson, and showcasing a wicked, striking artwork by Daniel Karlsson, the album is more compact and effective without losing its expressive power. There are no 15-minute songs on this one. Most of them in fact happen to last for just around five minutes, and Andreas and his Februus make sure that they’re nonetheless packed with plenty of deviations and surprises that are of more varied textures and moods than before.
Andreas kicks off his demented extravaganza with sheer force and insanity in Genocide by Default, offering wicked riffs and blast beats with tons of progressiveness and heaviness, followed by Measures of Escalation, keeping the momentum going with the striking Progressive Death Metal riffs and vociferations by Andreas sounding piercing, demented and vibrant from start to finish. Then an ethereal, enfolding start morphs into sheer madness and experimentations in Suicide by Proxy, with Andreas delivering his trademark scorching riffs nonstop for our total delight; while The First Limb Is Cut carries a poetically harsh title for another blast of Progressive Death Metal by Andreas, with his killer riffs and blast beats punching us hard in the head.
The Misery That Awaits the World is another song with a caustic, powerful title that offers a more introspective side of Andreas, warming us up for Fueled by Narcissism, exploding into absolute chaos, insanity and violence to his demonic guttural and crushing drums, presenting an amalgamation of sounds, tones, breaks and passages not recommended for the lighthearted. Andreas then showcases his own blend of Dissonant and Progressive Death Metal in Scavengers of the Forgotten Poor, firing nonstop scathing riffs while his roars sound absolutely evil; and ending the album we face the multi-layered Suppressing the Future, which kicks off in total violence before morphing into a whimsical sonority, and finally morphing again, this time into sheer doom.
With the release of the dynamic and multi-layered Construction of Conflict, Februus remains as one of the most interesting Swedish Death Metal bands today, always having a trick or three up its sleeves, while maintaining a deceptively rough, clamorous demeanour. In other words, if you’re a fan of the fusion of heavy music and sheer insanity blasted by bands the likes of Edge of Sanity, Pan.Thy.Monium, Demilich, Disharmonic Orchestra, and Defect Designer, just to name a few, you should definitely give Februus a try by streaming its idiosyncratic music on any platform like Spotify, and by purchasing Construction of Conflict from the project’s own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Don’t forget to also follow Februus on Facebook and on Instagram, and who knows, maybe after such an amazing album the project will morph from a studio project into a live beast, taking your city by storm sooner than you can say “Februus.” Construction of Conflict is certainly not an album for the average listener, but a venomous creature ready to penetrate deep inside your skin, consuming your mind and soul, and leaving you in a cathartic state just the way we like it in Progressive Death Metal.
Best moments of the album:Genocide by Default, The First Limb Is Cut and Fueled by Narcissism.
Worst moments of the album:The Misery That Awaits the World.
Released in 2026 Transcending Obscurity Records
Track listing 1. Genocide by Default 5:25
2. Measures of Escalation 5:11
3. Suicide by Proxy 5:45
4. The First Limb Is Cut 5:02
5. The Misery That Awaits the World 2:07
6. Fueled by Narcissism 5:50
7. Scavengers of the Forgotten Poor 5:47
8. Suppressing the Future 5:27
Band members Andreas Karlsson – vocals, guitars, bass, drum programming, synthesizers
This renowned Heavy Metal and Hard Rock outfit from Sweden is back in action and ready to rock with their first major release in eight years.
Formed in early 2010 in Gothenburg, Sweden by guitarist Oscar “Oz” Hawe Petersson, the unrelenting Melodic Heavy Metal/Hard Rock outfit Osukaru (the Japanese phonetic transliteration of the name of the band’s founder Oscar) returns with their first major release in years, the hard rockin’ Tall Tales, following up on their 2021 album Starbound. Produced by Oz himself together with longtime singer and band partner Fredrik Werner (Daytona, Air Raid), mixed by Svein Jensen (Alicate, Sister Sin), mastered by Mats Eriksson (Degreed), and displaying a classy artwork by Oz and actress and model Eliza Sica, carrying a subtle sense of both unease and wonder that mirrors the album’s mysterious lyrical themes, the new offering by the aforementioned Fredrik on vocals and guitars, Oz also on the guitars, Marcus Zerath on bass, and C.D on drums and percussion is a clear statement of how far the project’s original vision has come, offering us fans that melodic yet visceral Swedish sound we all love so much.
The band’s striking riffs rev up their rockin’ engine in the opening tune Exceeder, with the classic Hard Rock vocals by Fredrik adding even more electricity to their music, while the sound of the harmonica brings an eccentric touch to Wendigo before the music evolves into another solid hybrid of Heavy Metal and AOR. Blood On the Rocks is a hard hitting tune by the band offering the classic riffs by Fredrik and Oz boosted by the heavy kitchen by Marcus and C.D; and it’s then time for the smooth power ballad The Outer Side Within, with Fredrik showcasing passionate vocals while his bandmates spread love and harmony in the air, before they speed things up and kick some ass with their heaviest song of the album, titled Ronin, led by the classic beats and fills by C.D.
Who Do You Love takes us back to the glory of the 90’s with their Sunset Strip inspired Hard Rock and Glam Metal, adding even more adrenaline to the album, while Split is as groovy as it can be thanks to the amazing job done by Marcus and C.D on bass and drums, respectively. Only Moments Left is one of those strip tease-like Hard Rock and Rock N’ Roll tunes by Osukaru which could be played on any radio station worldwide, followed by When It’s Over, a decent ballad with a cool solo by Oz, albeit a bit too mellow after all is said and done. Lastly, we face C’est Dans Ta Tête, or “it’s in your head” from French, a solid Hard Rock and AOR song that concludes the album with Fredrik once again kicking ass on vocals.
Oz and his Osukaru have been on a roll since their inception over 15 years ago, and the striking Tall Tales will certainly inspire the quartet to keep moving forward and delivering high quality heavy music no matter what for many years to come. Having said that, what are you waiting for to give the guys from Osukaru a shout on Facebook and on Instagram, stream their rockin’ tunes on any platform like Spotify, and of course, purchase Tall Tales from several locations such as Monuments in Ruin, Streetlight Records, and Park Ave CDs? This is what our good old heavy music is all about, bringing to us exciting music with a beautiful and deep background story, and hopefully it won’t take a long time again for Osukaru to unleash another blast of their music upon us.
Best moments of the album:Blood On the Rocks, Ronin and Split.
Worst moments of the album:When It’s Over.
Released in 2026 Pride & Joy Music
Track listing 1. Exceeder 3:24
2. Wendigo 4:36
3. Blood On the Rocks 3:17
4. The Outer Side Within 3:59
5. Ronin 3:09
6. Who Do You Love 3:43
7. Split 3:36
8. Only Moments Left 3:52
9. When It’s Over 4:02
10. C’est Dans Ta Tête 6:00
Band members Fredrik Werner – lead vocals, guitar
Oz Hawe Petersson – guitar, backing vocals
Marcus Zerath – bass, backing vocals
C.D – drums, percussion
After years of anticipation, these Folk Metal warriors are back in action with their striking fifth studio album, appealing to both longtime fans and new listeners alike.
Highly respected within the Folk Metal genre, cementing their position as influential and reliable artists worldwide, Lilla Edet, Sweden-based horde Fejd (which is Swedish for “feud”) is set to release their fifth studio offering, titled Nifelheim, following up on their critically acclaimed album Trolldom, released ten years ago. Formed in 2001 through a unique fusion of the folk duo Rimmerfors and members of the metal bands Pathos and Nostradameus, the band currently comprised of Patrik Rimmerfors on vocals and bouzouki, Niklas Rimmerfors on the moraharpa (a keyed fiddle), Thomas Antonsson on bass, Lennart Specht on keyboards, and Esko Salow on drums creates a sound that bridges two worlds with each of their albums, blending the power of Heavy Metal with the rich melodies and melancholic spirit of Nordic folk music, exactly like what they have to offer in Nifelheim.
The album starts with the battle hymn Nifelheim, inviting us to join the band on a journey to such a primordial realm of absolute darkness, fog, cold, and ice, with Esko leading the horde with his classic drums, followed by Nidhögg, a fearsome dragon in Norse mythology, with the eccentric sounds of the bouzouki and moraharpa exhaling Folk Metal magic. Edsvuren, a Swedish word that translates to “sworn” in English, used to describe someone that is bound by an oath, showcases the entire band on fire, with Patrik’s vocals sounding epic; while in Älvagrimmar, a term from Swedish folklore referring to ancient river spirits, Esko hammers his drums accompanied by the rumbling bass by Thomas, sounding heavy, folky and majestic.
Then all instruments and percussion will prepare us all for battle side by side with Fejd in Sköldborg, or “shield wall” in Old Norse, where Patrik and Niklas are once again spot-on with their respective bouzouki and moraharpa; whereas in Einar Blå, which translates as “blue warrior,” the band again showcases their trademark Folk Metal sonority, a decent instrumental piece despite lacking the band’s vocal punch. It’s time to dance around the fire pit and enjoy a good pint of mead to the sound of Strilja, with Esko’s beats adding even more fuel to their incendiary sounds, before Svarta Tjärn, or “the black tarn” from Swedish, puts a thrilling ending to the album, where the sounds from a glorious past are crafted by a band that has just reignited their fire by looking into the future.
After years of anticipation, Fejd are not only back in action with Nifelheim, but the album will also certainly appeal to both longtime fans and new listeners alike. From the very first note, listeners are drawn into a world of ancient legends, carried by powerful arrangements and the evocative language of Nordic melancholy, once again affirming their place as one of the leading names in Folk Metal. If you want to join such a talented horde, you can find Fejd on Facebook, stream their classy music on Spotify, and of course grab a copy of Nifelheim from BandCamp or by clicking HERE. Because this is first-class Folk Metal made by Norse warriors, inspiring us to keep moving forward and face our own battles no matter what to the sound of their unique and captivating music.
Best moments of the album:Nifelheim, Älvagrimmar and Svarta Tjärn.
Band members Patrik Rimmerfors – lead vocals, bouzouki
Niklas Rimmerfors – moraharpa
Thomas Antonsson – bass
Lennart Specht – keyboards
Esko Salow – drums
Sweden’s own Doom and Stoner Metal brigade is back with a (light-bearing) monster of an album, drifting through deep space with the same Sci-Fi, horror, and fantasy obsessions that have always fueled the band.
Once again pummeling the world into oblivion, delving deep into existential dread and dark lore, Västerås, Sweden’s own Doom/Stoner Metal brigade 10,000 Years returns with their eagerly awaited fourth studio album, titled Esox Lucifer (a metaphorical representation of a fierce, dark “light-bearing monster,” chosen by the band to represent their heavy, riff-centric music, which often delves into Sci-Fi and horror-inspired lore), the follow-up to their 2024 opus All Quiet on the Final Frontier. Recorded at Pine Hill Studios (with drums recorded at Studio Fluff), engineered by Erik Palm, mixed by Robert Lamu at Doomhead Productions, mastered by Magnus “Devo” Andersson at Endarker Studio, and displaying a Stygian artwork by Ryan T. Hancock, the new album by Alex Risberg on vocals and bass, Erik Palm on the guitars, and Alvin Risberg on drums drifts through deep space with the same Sci-Fi, horror, and fantasy obsessions that have always fueled the band, resulting result is their most ambitious work to date, one that will easily win over fans of Torche, High On Fire, The Sword and Kylesa.
Alvis kicks off the band’s melodic yet heavy and visceral journey in Beasts of the Northern Wild, a groovy intro that sets the stage for Pursuit Special, where Erik keeps slashing his axe nonstop, offering Alex exactly what he needs to deliver his high-pitched rockin’ vocals. The trio once again brings forward a wild fusion of Doom, Stoner and Sludge Metal in Fleur de Sledgehammer, flowing smoothly yet exhaling electricity until the very end; and Alex’s rumbling bass walks hand in hand with the mighty riffs by Erik in Church of the Red Museum, a hard hitting rock and metal feast perfect for their live concerts, with Alvin hammering his drums nonstop for our absolute delectation.
The same Alvin kicks off the also groovy and melodic Alien Tactics, alternating between heavier moments and faster Rock N’ Roll passages led by the striking riffs and solos by Erik. After such a wild metallic ride, the band slows things down a bit and invests in a more cadenced riff-oriented sound in Two Million Stones, followed by Paranoidium, where they get back to a more visceral sonority showcasing another blast of the killer riffs and thrilling solos by Erik. Finally, the massive bass lines by Alex ignite the title-track Esox Lucifer, a seven-minute beast where their heaviness goes through the roof, not to mention his vocals also exhale despair and insanity, darkening the skies and leaving us eager for more of their music in a not-so-distant future.
In a nutshell, 10,000 Years nailed it once again with Esox Lucifer, smashing our cranial skulls riff after riff without forgetting to add a high dosage of horror and fantasy as the background of each and every song from the album. If you’re curious to know more about such an amazing trio hailing from Sweden, you can find those guys on Facebook and on Instagram, including their awesome live performances, stream their bold, reverberating creations on YouTube and on Spotify, and above all that, purchase Esox Lucifer from their own BandCamp, as well as from Ripple Music’s BandCamp or official site (or simply click HERE for all things 10,000 Years). Put differently, simply sit down, relax, and let your soul be consumed by the band’s brand new (light-bearing) monster of an album.
Best moments of the album:Pursuit Special, Church of the Red Museum and Esox Lucifer.
Worst moments of the album:Two Million Stones.
Released in 2026 Ripple Music
Track listing 1. Beasts of the Northern Wild 2:03
2. Pursuit Special 3:53
3. Fleur de Sledgehammer 5:50
4. Church of the Red Museum 4:59
5. Alien Tactics 4:14
6. Two Million Stones 3:23
7. Paranoidium 3:38
8. Esox Lucifer 7:12
Band members Alex Risberg – vocals, bass
Erik Palm – guitars
Alvin Risberg – drums
This collaborative Atmospheric Death and Funeral Doom Metal project is ready to embrace you with their debut opus until you see your last glimpse of daylight.
A collaborative Atmospheric Death and Funeral Doom Metal project formed in Cardiff, Wales in 2022 by guitarist John Courage, featuring musicians from the UK and Sweden, God Unknown are finally unleashing upon humanity their debut offering, beautifully titled Last Glimpse of Daylight. Produced by the band itself, engineered by John Courage and Daniel Tjernberg, mastered by Dan Swanö at Unisound, and showcasing a darkly serene artwork by Manino Linic, the debut album by Daniel Tjernberg on vocals (with additional vocals by Camilla Tjernberg on the song “Stay with Me”), John Courage on the guitars, Adam West on bass and additional guitars, Michael Lang also on bass, Kostas Panagiotou on keyboards, and Tats McGee on drums will embrace you in absolute grief and melancholy, darkening the skies with the sheer power of funereal and grim Doom Metal.
The thunderous, low-tuned bass lines by Adam set the tone in the Stygian intro MMMMDXIV, before all hell breaks loose in Embraced by the Moonlight, with the deep, devilish vocals by Daniel walking hand in hand with the sluggish Doom Metal riffs by John and Adam. Then we face the massive, embracing title-track Last Glimpse of Daylight, as slow and hammering as its predecessor, where Tats pounds his drums with tons of hatred and darkness in his heart; and it’s Kostas who takes the lead with his church-like keys in the phantasmagorical interlude Passage, darkening the skies for the band to attack us with Fallow Land, led by another crushing performance by Tats on drums, offering Daniel exactly what he needs to vociferate like a demonic entity. It’s then time for Camilla to embellish the airwaves with her melodic vocals in Stay with Me, a lecture in passionate and somber Funeral Doom Metal by God Unknown, flowing into the obscure outro Frost on the Windowpane, again led by Adam and his doomed bass lines.
Inspired by the love of somber, funeral doom and atmospheric themes, God Unknown are ready to crush our minds and souls with the absolute heaviness and obscurity flowing from their excellent debut Last Glimpse of Daylight, and if you want to join such a promising band in gloom and darkness you can find them on Instagram, stream their music on any platform such as Spotify, and of course, above all that, purchase a copy of their striking debut from their own BandCamp or by clicking HERE. In other words, let the lugubrious and grim Doom Metal by God Unknown embrace you, until you see your last glimpse of daylight.
Best moments of the album:Embraced by the Moonlight and Stay with Me.
Worst moments of the album: None.
Released in 2026 TM Productions
Track listing 1. MMMMDXIV 1:11
2. Embraced by the Moonlight 2:46
3. Last Glimpse of Daylight 6:09
4. Passage (Interlude) 2:16
5. Fallow Land 6:36
6. Stay with Me 5:11
7. Frost on the Windowpane 2:51
Band members Daniel Tjernberg – vocals
Camilla Tjernberg – vocals on “Stay with Me”
John Courage – guitars
Adam West – bass, additional guitars
Michael Lang – bass
Kostas Panagiotou – keyboards
Tats McGee – drums
Lets embark on a journey through the Swedish mythology and nature in this frostbitten interview with the up-and-coming Melodic Death Metal beast Northborn.
Northborn
The Headbanging Moose: First of all, thanks a lot for your time to chat with us. Can you please begin by introducing Northborn to our readers? When and how did the band start, and what changed since your inception?
Northborn: A frosted thanks that you gave us the opportunity to do this interview. Northborn is a passion project that aims to capture both the world mythos, no matter from what corner of the world the inspiration comes from, and to combine this with the blistering melodic death metal that ruled Finland during the early 2000s. Every song’s goal is to capture the feeling it’s written around to create something majestic and unique.
The band started when Björn had a writer’s frenzy and didn’t know what to do with all his ideas. Hence, he took contact with skilled musicians that looked for similar music he wrote and quickly he founded a burning core that became the frozen force that stands before you today.
And what has changed? Well, the concept of the band has evolved at record pace since we have such a great dynamic within the group. We all have honed our vision with the band, yet there’s room to grow. A band is never finished in its evolution.
THM: You have just released your debut self-titled album this year. What’s the general concept behind the album, and is it exactly the way the band was expecting it to be, or are there any elements you wish you could have done differently?
Northborn: The concept behind the album is partly to show the world that a new melodeath force has been born, hence the name of the album. We present ourselves at the same time that our debut now is “borned”. The concept grew with the songs, I’d say, but every song was chosen carefully to fit in a greater theme of myths and epic melodeath history. We had no clear view on what to expect when the album was released, but since it’s self-made, we’re incredibly proud of what we’ve accomplished. And as for the future, we now have an ever clearer vision of what we want to evolve and try out. I cannot reveal it yet, but things are already moving in the shadows.
THM: The opening track Hymn of the North Star spans over six minutes and sets a majestic tone for the album. What went into the composition of this specific track to make it the definitive introduction to Northborn?
Northborn: We all decided that the listener would be introduced to a wall of symphonic melodeath the second they played the album, and we also saw that this particular track was a great representation of what Northborn has to offer. Björn spent a great deal to make all the parts flow seamless throughout the song, and the result speaks for itself in grandeur and epicness. Other songs were discussed, but Hymn of the North Star spoke strongest towards our vision when the song list was created.
THM: Songs like Yokai of the Lake hint at distinct cultural folklore. What drew you to include a Japanese mythological entity (Yōkai) alongside the otherwise heavily Nordic, winter-focused themes of the record?
Northborn: Since Northborn is founded with the world mythos as a vital core to its sound, it was only natural to expand the sound beyond the Scandinavian melodeath scene. Björn is a huge fan of eastern mythology and its richness and variety from the Nordic tales he grew up with. Japanese melodies and stories blended perfectly together towards Yokai of the Lake. It just came natural to him. When the rest of the band heard it, it was a given that it needed to be included on the album. We’re glad it did since it shows a variety we want to incorporate in the future. So rest assured that this is not the last song that derives from the Nordic melodeath sound.
Album Review – Northborn / Northborn (2026)
THM: You signed with Art Gates Records to release this debut. How did this partnership come about, and how have they helped you bring your vision of heavy Nordic music to a global audience?
Northborn: Björn is already a member of the Art Gates Records family due to his other band, Havamal. He knows the CEO and the crew well from before, and he spoke highly about the label with the rest of the members from an early stage. It was a given to speak to them when the band was in its early stages, and it has been a great cooperation since then. We cannot thank them enough for unleashing us onto the world.
THM: One of the main characteristics of your musicare the heavy influences from early 2000’s titans like Children of Bodom, Norther, and Ensiferum. How do you balance paying homage to these legends while establishing a unique voice for Northborn?
Northborn: All three of them are a huge inspiration to us, so we’re humbled that you mention them when speaking about our music. What’s important for us is to carve our own legacy in both melodies, stories, and variety while maintaining the core elements these legends brought to the scene. Our sound is both inspired and evolved, so to say. We want the audience to have that foundation when listening to us, while at the same time seeing the evolution towards the future our music does and will represent.
THM: Björn’s role handles both vocals and keyboards. How do you approach arranging the symphonic and keyboard layers so they amplify the aggression of the guitars without overpowering them, and how do the vocals are added into the mix?
Northborn: A song is written with a melody in mind, and while we iron out the song, we find the places where the instruments need to amplify the feeling that song is based around. Every section and instrument has a purpose, and that purpose needs to be clear through the dominant instrument in that section. It’s a thin line to balance, but our own studio master Tobey proved to be a musical wizard in this subject. The vocals have the same purpose as the instruments. But at the same time I think the vocals have an added role since they tell the verbal story to the listener. The music and the vocals enhance each other towards the end goal of the song. Usually the vocals grow from the melodies, yet a general concept of the song already exists from the first tones.
THM: How has the local Swedish metal heritage shaped your specific musical identity? I mean, coming from the land where Melodic Death Metal was born, it’s quite obvious such a unique style has a strong influence on your music, but are there any other elements from the Swedish culture that have a huge impact on your sound?
Northborn: Swedish melodeath and the Swedish metal scene are a great foundation for all of us. And since we all come from different musical backgrounds it just enhances the uniqueness of the sound Northborn presents. I’d also say that the majesty of our Scandinavian nature and mythological history have impacted the foundations of the band greatly since it gives a natural feeling of somber glory you hardly find anywhere else on Earth.
Northborn
THM: Any new bands worth listening to from the Swedish scene apart of course from Northborn? How’s your relationship with those bands or any other Swedish band?
Northborn: We have many friends in the Swedish scene since it’s a close community when starting out. It’s often passionate persons that you encounter, and since you have a common ground in metal it’s easy to kick off a conversation. And as for Swedish bands I’d recommend Riket, Eternal Evil, Zornheym and of course Havamal. We have a great relationship with all the bands mentioned here.
THM: Thanks again for your time! Please feel free to send your final message to our readers, and hopefully we’ll see you guys crossing the pond in the near future for some live performances in Canada and the United States!
Northborn: Thank you for having us! We would love to meet you guys after an awesome concert one day. Motherfrosters! Follow The Headbanging Moose, listen to our new album until your ears bleed frosted fire, and prepare for the musical darkness to come. Stay frosty!
Delving deeper into their singular vision of Black Metal, this Stygian entity returns with their third offering, inviting us all for our final rest.
Delving deeper into their singular vision of Black Metal, forging a work that resists easy categorization, the uncanny Italian and Swedish entity known as Feralia (named after public religious ceremonies of ancient Rome held in honor of the dead upon the last day of the Parentalia) attacks again with their third studio offering, titled Ultima Requies, a Latin phrase that translates to “the last rest,” following up on their 2022 opus Under Stige / Over Dianam. Showcasing a grim artwork depicting a reinterpretation of the necromantic ritual of Erichto, the Thessalian witch described in “De Bello Civili” by Lucan, while the band’s sound remains anchored in a sense of the sacred, drawing from arcane and occult dimensions tied to the archaic Roman world, the album is neither rooted in old school orthodoxy nor aligned with the polished tendencies of contemporary production. Instead, it stands as a raw and evocative offering, where abrasive textures and ritualistic atmospheres converge into something austere, immersive and profoundly spiritual, all masterfully crafted by Erymanthon Seth on vocals, guitars and synths, Raijinous on the guitars and synths, Krhura on bass, and Summum Algor on drums.
The visceral riffs by Erymanthon Seth and Raijinous transpire classic Black Metal right from the start in Ballata Avernale, while the same Erymanthon Seth vociferates rabidly like a creature form the underworld; whereas Ver Sacrum also starts on a harsh and violent mode, exploding into a modern version of Black Metal not recommended for the lighthearted. Then in the nine-minute aria Pharsalia, we face an ethereal intro that gradually evolves into another bestial sound led by Summum Algor’s demolishing beats and fills, supported by the menacing bass by Krhura, followed by Empireo, with again their background keys embellishing the airwaves in an instrumental tune that sounds like it was taken from an Italian horror movie, warming us up for the scorching Marpiter, where Erymanthon Seth roars and gnarls in anguish and hatred while Summum Algor keeps hammering his drums manically. After that we face Defigere, one of the most detailed, dynamic and diverse songs of the album, with its hints of Doom Metal and Dungeon Synth adding an extra touch of insanity ot their core Black Metal madness, all boosted by the razor-edged guitars by Erymanthon Seth and Raijinous; and lastly, we have a more direct Black Metal extravaganza titled Miasma, where all instruments are breathing fire until all fades into oblivion.
Following the path opened by their previous albums Helios Manifesto and Under Stige / Over Dianam, the band further refined their language in Ultima Requies, balancing raw intensity with a deeply contemplative undercurrent. The result is an album that feels both immediate and timeless, grounded in the physicality of Black Metal yet reaching toward something intangible and eternal, and if you want to know more about such an obscure band you can find them on Facebook and on Instagram, stream their music on Spotify, and of course purchase their scorching new album from their own BandCamp, as well as from ATMF’s BandCamp or from Metal Odissey. This is Black Metal at its most evocative, atmospheric and Stygian form, inviting you for your final rest to the sound of its venomous lullabies.
Best moments of the album:Ballata Avernale and Defigere.
This talented Swedish brigade returns with their fourth studio album, once again delivering their own blend of modern, hard-driving and melodic Heavy Metal.
Arising from the ashes of Power Metal band Morifade in early 2015, Linköping, Sweden-based act Prime Creation is ready to unveil their fourth studio album, titled Souls of the Fallen, following up on their 2023 album Tell Freedom I Said Hello. Consisting of skilled and experienced musicians, those being Esa Englund ($ilverdollar, Hellshaker) on vocals, Robin Arnell (Los Sin Nombre, Morifade) and Rami Tainamo on the guitars, Henrik Weimedal (Devil’s Crown, Morifade) on bass, and Kim Arnell (Zornheym, Devil’s Crown, Morifade, Nephenzy Chaos Order) on drums, Prime Creation deliver their own blend of modern, hard-driving and melodic Heavy Metal in Souls Of The Fallen, being therefore recommended for admirers of the music by renowned acts from the Power Metal scene worldwide the likes of Nocturnal Rites, HammerFall, Brainstorm and Firewind, among several others.
Futuristic sounds ignite the band’s modern-day Power Metal voyage in Galactic Rebirth, led by the classic drums by Kim while Robin and Rami deliver classy, no shenanigans riffs nonstop, followed by Ghosts, presenting one hundred percent European Power Metal magic flowing from all instruments, being therefore highly recommended for fans of the genre. It looks like their riff-making machine is working at full power in the entire album, as in Blood Harvest they keep slashing our minds with their scorching guitars while Esa fires his trademark raspy vocals; and the pounding drums by Kim kick off the title-track Souls of the Fallen, accompanied by the low-tuned, metallic bass by Henrik in a hard hitting blend of Heavy and Power Metal.
Alliance is a solid power ballad that keeps the momentum going, although it could have been slightly shorter in duration. The vocals by Esa are once again impeccable, though, as well as their melodious riffs and solos, whereas the band offers more of their high-octane Power Metal magic in Lost Legacy, with its Iron Maiden-inspired rhythm offering us all a very good reason to raise our fists together with the band. Legends Never Die is another epic composition by the band, with their Swedish Melodic Metal roots arising from the underworld, being perfect for playing our good old “air guitar;” before Kim kicks off the closing tune Ashes of Trust while Robin, Rami and Henrik bring forward a massive stringed attack armed with their incendiary axes for our total delight.
After all is said and done, if Power Metal with a melodic Swedish twist is your cup of tea, Souls Of The Fallen will certainly satisfy your cravings, inspiring Prime Creation to keep delivering top-of-the-line heavy music for many years to come. Furthermore, if you want to know more about the band, their music, tour dates and plans for the future, you can find those talented heavy metallers from beautiful Sweden on Facebook and on Instagram, subscribe to their YouTube channel, stream their full discography on Spotify, and of course put your metallic hands on Souls Of The Fallen by purchasing it from the ROAR! Rock of Angels Records’ BandCamp or webstore, or from other online stores like Sonic Age Records. Having said all that, as true metalheads we can all rest assured that as long as Prime Creation keep releasing high quality albums like their new one, the souls of the fallen will remain alive inside our hearts.
Best moments of the album:Galactic Rebirth, Blood Harvest and Ashes of Trust.
Worst moments of the album:Alliance.
Released in 2026 ROAR! Rock of Angels Records
Track listing 1. Galactic Rebirth 3:28
2. Ghosts 4:35
3. Blood Harvest 3:09
4. Souls of the Fallen 5:07
5. Alliance 6:07
6. Lost Legacy 3:40
7. Legends Never Die 5:22
8. Ashes of Trust 4:51
Band members Esa Englund – vocals
Robin Arnell – lead guitar
Rami Tainamo – rhythm guitar
Henrik Weimedal – bass
Kim Arnell – drums
Having a knack for fitting artworks, always capturing the album’s psychedically putrid contents perfectly, Göthenburg, Sweden-based Death Metal brigade Filth attacks once again with their sophomore album, titled Death Exhibiton, the follow-up to their 2025 debut Time to Rot. Going the distance in punishing the body and tormenting the mind, the trio formed of Per on vocals and drums, Sebastian on lead guitars and bass, and Ismael on rhythm guitars sounds both more finessed and more barbaric than their debut offering. The formula has hardly changed, thankfully, but the foundations of their sound are expanded further in Death Exhibition, whether it’s the crude, tank-rolling crush of Grave, or the sooty angularity of Immolation.
Other similarly old school influences can be spotted in Death Exhibition, such as Demilich, Autopsy, Incantation, and Abhorrence, but rest assured that Filth inject their own personality (and just a slight bit of weirdness) into the bubbling cauldron to remain authentic rather than ripping off someone else’s past. Those guys don’t seem to enjoy social media at all, as they’re not on Facebook nor on Instagram, but you can still find their music on Spotify, and grab a copy of their new album from Me Saco Un Ojo’s BandCamp or from Rotted Life’s BandCamp. This is Swedish Death Metal at its filthiest, and there’s no escape once you’re trapped in the cauldron of violence and gore found in their fulminating new album.
THE HEADBANGING MOOSE 