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Concert Review – UADA & Mortiis (Lee’s Palace, Toronto, ON, 04/24/2026)

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The city of Toronto was taken by storm by the Witches of Dystopia this Friday night in a celebration of darkness, spirituality and witchcraft.

OPENING ACTS: Wraith Knight and Jerome Reuter’s Rome

After a Heavy Metal night on Thursday with the Burning Witches, it was time to join the Witches of Dystopia on Friday night as WRAITH NIGHT, JEROME REUTER’S ROME, MORTIIS and UADA took the city of Toronto by storm with their The Witches of Dystopia Tour MMXXVI, another massive event brought to the city by Noel Peters of Inertia Entertainment. The venue chosen for such a unique experience was Lee’s Palace (and it looks like it’s the only place UADA play in the city, by the way, as it was their third time there out of three shows), and of course Keith Ibbitson of Metal Paparazzi and I were there to enjoy such a dark celebration encompassing countless music styles, from Black Metal and Dungeon Synth to Darkwave and Melodic Black Metal. It was a night of ups and downs as expected when you have so many different styles billed together, but that’s fine. You only need to open your mind and let the music flow through your soul, it doesn’t matter if it’s heavy as hell, or smooth and atmospheric.

It was 7:30pm, only 30 minutes after the doors were open, when Camas, Washington-based Black Metal/Ambient/Dungeon Synth entity WRAITH KNIGHT ignited the festivities with its fusion of dark music and fantasy. The project is basically Nick Superchi (the brother of UADA’s own frontman Jake Superchi, with whom he has also co-founded Dark Forest Productions) on synthesizers, and you can enjoy its two album Deep in the Dungeons of the Dragonlord, from 2022, and Of Arcane Magic & Forbidden Knowledge: The Necromantical Passage, from 2026, on BandCamp and on Spotify. It was a bit weird seeing just one guy on the corner of the stage playing synths for 30 minutes, but it is what it is. Nick hasn’t joined this tour in vain, and all would make sense after UADA hit the stage later that night.

Band members
Nick Superchi – synthesizers

Then after a short break it was time for another one-man project to entertain everyone who beats traffic and was already at Lee’s Palace, Luxembourg’s own Neofolk act JEROME REUTER’S ROME. And again, it was only one guy onstage, this time playing an acoustic set on the guitar. Known for his time with Street Punk band The Skinflicks, and for his collaborations with Nergal in his Dark Folk/Blues project Me And That Man, Jerome is now putting a lot of focus and effort on Rome, and if you enjoy Neofolk you can go check his music on Spotify. I would have preferred a regular Black Metal band instead, fully electrified and loud, but again, nothing that could make the night less enjoyable.

Band members
Jerome Reuter – vocals, guitar

MORTIIS

The first main attraction of the night was Oslo, Norway-based Darkwave/Dungeon Synth/Electronic/Industrial Rock entity MORTIIS, and yes, all of those music genres and subgenres can be applied to the most famous troll in the music industry. I don’t know if he was the best option to tour alongside such a heavy band like UADA, but the crowd seemed to be enjoying his electronic music more than what I expected. Basing his setlist on his 2001 cult album The Smell of Rain, plus the new song Ghosts of Europa, from his upcoming album of the same name (to be released on June 21), all available on BandCamp and on Spotify, Mortiis and his henchmen Mike Neely (from the band Primitive Brutality) on the guitar, and Troy Fullerton (from the band Severed Savior) on drums put a lot of people to dance at Lee’s Palace, including Mortiis himself onstage, of course.

The only thing that REALLY bothered me during his entire concert was the excessive use of backing tracks, in special all keyboards and synths. I read somewhere that the reason for such was to maintain the atmospheric complexity of his studio recordings that cannot be fully replicated by a standard live band (and it also gave Mortiis more freedom to move around the stage, I must admit that), but when over 90% of the instrumental is based on keyboards and synths, that gets truly annoying. No idea what was going on inside the minds of the fans at the venue, as the ones dancing didn’t seem to care about it, while others were simply not moving at all. When Smell the Witch was over, I noticed some people leaving the floor section. Maybe they were there just for Mortiis, maybe they were afraid of being caught in a mosh during UADA, which proves again the lineup for this tour was very weird. It worked, but it was still weird.

Setlist
Ghosts of Europa
Marshland
You Put a Hex on Me
Mental Maelstrom
Spirit in a Vacuum
Monolith
Parasite God
Tundra
Demons Are Back
Doppelganger
Smell the Witch

Band members
Mortiis – vocals
Mike Neely – guitars
Troy Fullerton – drums

UADA

Finally when the clock was about to hit 11pm it was time for one of the best, if not THE best, Melodic Black Metal band of the current scene, Portland, Oregon’s own UADA, to crush our damned souls with another spiritual, hypnotizing and absolutely dark performance, almost three years after their demolishing 2023 concert at the same venue, but this time their concert was absolutely unique, playing in full their 2016 debut Devoid of Light (available on any platform like BandCamp and Spotify), in celebration of the album’s 10th anniversary, plus songs from Symphonic Black/Death Metal band Ceremonial Castings, formed by brothers Jake “Lord Serpent” Superchi and Nick “OldNick” Superchi, celebrating 30 years of the band. It was a very bold move as I’m not sure if everyone at the venue knew Ceremonial Castings, but the final result was majestic to say the least.

When Jake Superchi, Rob Shaffer, Nate Verschoor and Pierce Williams hit the stage and kicked off their venomous feast of Black Metal with the excellent Natus Eclipsim, followed by the massive title-track Devoid of Light, the heaviness and loudness at Lee’s Palace were turned up to 11, inspiring everyone to raise their horns, bang their heads nonstop, and slam into the circle pit, all while joining the band on their spiritual journey. As a huge fan of all UADA albums, it was a pleasure seeing Devoid of Light in full (and I think this was the 10th album played in full by different bands in the city in the past year or so, a very cool trend if you ask me), with Black Autumn, White Spring being the icing on the cake as usual. Superb performance by this must-see band from the metal underworld.

Then after the instrumental interlude comprised of The Wanderer, from their 2018 masterpiece Cult of a Dying Sun, Nick Superchi of Wraith Knight joined the band onstage for a special set based on the “Bewitching Black Metal” crafted by Ceremonial Castings. With its lyrics based on the art of black magic, witchcraft and rituals, the band seems to have been resurrected by Jake and Nick in 2020, and I must say I’m really happy they decided to bring such an amazing project back from the dead. The songs chosen for their special ceremony were Immortal Black Art, Into the Black Forest of Witchery, Barbaric Is The Beast, Come Forth Damnation, Damned Be Those of the Craft, and Midnight Deathcult Phenomena, all available on BandCamp and on Spotify, and I highly recommend you go after the music by Ceremonial Castings as it’s simply phenomenal. All fans loved every single second of the show, and I bet whoever was not familiar with Ceremonial Castings was certainly impressed with their killer music. In addition, they ended their set with an incendiary version of Emperor’s all-time classic I Am the Black Wizards. Do I need to say more?

There was only one issue with UADA’s classy performance involving one of the girls at the concert, but I guess both the girl and Jake regret their actions this Friday night. The same girl who went onstage to do splits at the Incantation concert (opening for Belphegor) earlier this year thought it was a good idea to do the same at UADA, but she clearly didn’t have a clue of what a UADA concert means. It’s not Thrash Metal, it’s not Death Metal, sometimes not even Black Metal. It’s a spiritual event, and the stage is sacred ground for the band. After doing her splits, Jake simply booted her out of the stage, and although her fall wasn’t that harsh, it was still a considerable fall. Jake apologized to her after the show, of course. I guess he was in his usual trance onstage and didn’t think properly before kicking her in the ass, but that also shows you cannot simply go to a concert and do whatever you want, like invading the stage, because depending on the band that’s not cool at all. In the end, it didn’t really matter, because UADA were beauifully insane, and I can’t wait to see them live again sooner than later. Without anyone going onstage to do splits, please.

Setlist
Devoid of Light (10-Year Anniversary)
Natus Eclipsim
Devoid of Light
S.N.M.
Our Pale Departure
Black Autumn, White Spring

Interlude:
The Wanderer

Ceremonial Castings (30-Year Anniversary)
Immortal Black Art
Into the Black Forest of Witchery
Barbaric Is The Beast
Come Forth Damnation
Damned Be Those of the Craft
Midnight Deathcult Phenomena

Encore:
I Am the Black Wizards (Emperor cover)

Band members
Jake Superchi – vocals, rhythm guitars
Rob Shaffer – lead guitars
Nate Verschoor – bass
Pierce Williams – drums

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Metal Chick of the Month – Jessy “Christ” Vignolle

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Ego sum (qui sum)!

Are you ready to burn in the fires of extreme music together with our metal lady of this month of February here on The Headbanging Moose? I’m sure you are, and get ready as her incendiary vocals will melt not only any snow left from this harsh winter, but also your faces, leaving you completely disoriented after all is said and done. She’s an Extreme Metal vocalist, an opera singer, a soprano, a singing teacher, an actress, and a vocal coach, making the whole world of heavy music a much better place for us fans of hypnotizing and powerful vocals. Her name is Jessy Vignolle, sometimes referred to as Jessy “Christ” Vignolle, or simply Jessy Christ, the frontwoman for French metal sensation Usquam, and once you know more about her life, her career and her music, you’ll certainly get addicted to her distinct voice, charisma, and aggression.

Hailing from Paris, France, Jessy has been a curious child from the early age of eleven, discovering her passion for music through the guitar, piano, and singing without a defined direction, exploring everything from classical to rock. All that passion led to her first ever concert as a singer and guitarist at the age of 13, joining her first band a year later. Exploring multiple musical styles including Pop, Jazz, Indian music, Celtic music, and many more, while also drawing inspiration from all their unique characteristics (which she sees as future strengths), Jessy enrolled in musicology and earned a bachelor’s degree in musicology, a master’s degree in artistic supervision, and a master’s degree in artistic engineering. At the same time, she pursued a professional career in classical music, studying operatic singing at the Savigny-le-Temple Conservatory in Paris under Véronique Laguerre and joining the Che Calda Voce opera company led by Laura Marin. Not only that, she also made her mark in the rock and metal music scene, performing on numerous French stages such as La Cigale, La Boule Noire, and La Machine du Moulin Rouge, among others, as well as at festivals.

It was not too long ago, in the not-so-distant year of 2024, when Jessy joined Usquam as their new vocalist replacing Lucas Henry. Formed in 2018, this Paris, France-based Melodic Black Metal band released in 2021 their debut EP Reborn, followed by their fantastic first full-length opus Ex Nihilo, in 2025, already with Jessy stealing the spotlight with her undisputed vocals. Exploring the secrets of dark music, inspired by the observation of a world oscillating between decline and progress, the band currently formed of our metal lady Jessy on vocals alongside Eithenn and Draugr on the guitars, and Alwan on bass aims at spreading their dark philosophy all across the world, and you can get a very good taste of their music on YouTube, BandCamp, and Spotify, enjoy their official videos for the songs Arcana Nox, Altar Ego and Ego Sum (Qui Sum), and keep an eye on their social media for their live performances, in special if you live in France.

Apart from her promising career with Usquam, Jessy can also be found as a guest and as a live vocalist (under the moniker J.V.) for French Black Metal entity NZGL, founded by vocalist, guitarists and bassist Gaël Liger, recording vocals and having also written some of the lyrics for their 2025 album Tales from the Pale Moon… And Other Stories, available on both BandCamp and on Spotify. In addition, she’s also involved with an Industrial/Gothic Rock band named Syndro-syS since 2013, having released with the band the 2015 album Corporation, available on BandCamp. The band doesn’t seem to be active anymore, as they’ve been dead silent since around 2020, but the music is still great and definitely deserves our attention. Who knows, maybe we can all inspire Jessy and Syndro-syS to get back in action if we listen to their music enough, right?

Anyway, Jessy can also be seen as a guest musician to a few very interesting bands and projects since the beginning of her undisputed career. For instance, she recorded all female vocals for the 2022 EP Exist in Ruin, by American Symphonic Black/Death Metal project Exist in Ruin; vocals for the songs Kimi Ga Yo, Seducing Dementia and Whispering Clouds, from the 2013 album Les 12 vertiges, and for the song Hate Me, from the 2019 album Le festin du lion, by French Electronic Industrial Metal act Herrschaft; vocals for the song L’étranger, from the 2018 album Standalone Episodes, by French Progressive Heavy Metal band Seasons; and vocals for the song The Edge of Time, from the 2015 album Symbiosis, by French Melodic Death/Groove Metal act T.A.N.K. Not only that, she also worked as a vocal coach for French Black Metal horde Houle in their 2022 self-titled EP, and their 2024 album Ciel cendre et misère noire.

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An opera singer, soprano and vocal coach, , as already mentioned, Jessy is more than a passionate musician, offering an array of services to accompany most types of celebrations including baptisms, weddings, funerals and tributes, as well as private events, supported by a varied repertoire of sacred music, operas and popular music, such as Ave Maria (Franz Schubert), Voi che Sapete (Wolfgang A. Mozart), When I am Laid (Henry Purcell), La Vie en Rose (Edith Piaf), Someone Like You (Adele), S’il Suffisait d’Aimer (Celine Dion), and many more, always delivering every piece with a ton of emotion to retrace your most beautiful memories. Not only that, she also lends her voice, composes and also collaborates with many international musical projects, just like her guest contributions to the aforementioned metal bands.

As a vocal coach and singing teacher, she will help you understand vocal technique and discover your voice, whether you are a beginner, an artist, or a professional speaker, using a personalized teaching approach that adapts to your needs, mastering several techniques that intertwine theoretical knowledge of the instrument and live practice. Jessy teaches artists and private individuals, always keeping in mind that each student is a unique individual with their own aspirations and energy. Since 2022, she coaches magistrates at the Paris, Angers, and Rennes Courts of Appeal to help them develop their voices as a professional tool. Furthermore, she incorporates elements of the Alexander Technique (a psycho-physical re-education method that improves posture, reduces tension, and enhances performance by teaching musicians to move with more awareness and ease) into her practice to give her students the tools to understand the fundamental mechanisms of their instrument and develop their autonomy.

If you think that’s not enough, Jessy is also an actress, embodying the voice that will bring your audiovisual production to life through voice-over or dubbing, for example, and she participates in some classical concerts within the network of conservatories in the Grand Paris Sud region. Moreover, apart from her private lessons as already mentioned, she also organizes and hosts conferences, masterclasses and workshops. You can enjoy several of her works on the Productions page on her own website, from video clips to short stories and TV ads. But wait, as there’s still more. Jessy has also embarked on a new endeavor, creating her own herbal tea intended for singers, voice professionals and all food lovers, having selected herbs with virtues recognized by voice specialists and entrusted the preparation of the recipe to Happy Plantes, a company of passionate herbalists, very involved in ethical production. The final product is named Élixir du chanteur, and you can get your own package from Jessy’s Big Cartel. The tea can be enjoyed as a snack or as a treatment for those who wish to prevent issues like vocal fatigue, respiratory tract, gastric protection, hoarseness, and so on,  all certified from organic farming.

I told you that after knowing more about the indomitable Jessy “Christ” Vignolle you would get more than addicted to her voice, her music, her charisma, and maybe even to her herbal tea), and as long as she keeps firing her whimsical and hypnotizing vocals together with Usquam or any other band or project, we can rest assured the entire world of music will be a much better place. Would it be too much to ask Jessy and Usquam for a US and Canada tour? I’m beyond certain the fans on this side of the pond would go mental with their music. Thank you, Jessy, for your amazing contributions to music in general, and for making heavy music a much better place with your badass attitude. À plus tard!

Jessy “Christ” Vignolle’s Official Facebook page
Jessy “Christ” Vignolle’s Official Instagram
Jessy “Christ” Vignolle’s Official YouTube channel
Usquam’s Official Facebook page
Usquam’s Official Instagram
Usquam’s Official YouTube channel

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2025

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“Who the fuck is Justin Bieber?” – Ozzy Osbourne

There’s not much to celebrate in rock and metal music in the same year when we lost the one and only John Michael “Ozzy” Osbourne. Nothing will ever be the same without the Prince of Darkness, the Madman, The Wizard of Ozz. There isn’t a single artist or band reviewed in the history of The Headbanging Moose that wasn’t influenced in several ways by Ozzy and, of course, by Black Sabbath. It is a very sad year indeed. However, Ozzy was always in a great mood, always happy, and I’m sure that, wherever he is now, he wants to see us all smiling and laughing, because that’s what life is all about. He also wants us to keep attending rock and metal concerts to have a good time with our loved ones, with our closest friends, just like Keith Ibbitson of Metal Paparazzi and I did so many times this year, covering incredible bands the likes of Blackbraid, Ne Obliviscaris, Cattle Decapitation, Blind Guardian, and so on. I’ve also had the utmost pleasure of seeing the mighty Judas Priest in Dalhalla, Sweden, a dream come true for this fanboy here, and I can’t wait to “run for my life” in 2026. Having said all that, let’s honor the life of Ozzy with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2025, excluding EP’s, best of’s and live albums, and keep on rockin’ like the Madman until our very last breath!

1. Blackbraid – Blackbraid III (REVIEW)
Behold the stunning next chapter in the musical and spiritual journey of the witch hawk of Black Metal hailing from the Adirondack Mountains.
Best song of the album: Wardrums At Dawn On The Day Of My Death

2. Werewolves – The Ugliest of All (REVIEW)
The torchbearers of “Caveman Death Metal” continuing to annihilate intellects with an unlistenable barrage of truly hideous music.
Best song of the album: The Ugliest of All

3. Testament – Para Bellum (REVIEW)
Let’s prepare for war to the sound of the breathtaking fourteenth studio album by California’s own masters of old school Thrash Metal.
Best song of the album: Para Bellum

4. Helloween – Giants & Monsters (REVIEW)
These German giants of Heavy Metal and monsters of Rock N’ Roll are back with their ass-kicking seventeenth studio album.
Best song of the album: Majestic

5. An Abstract Illusion – The Sleeping City (REVIEW)
This incredible Swedish Progressive Death and Black Metal entity returns with their heaviest and most atmospheric work to date.
Best song of the album: Like a Geyser Ever Erupting

6. Allegaeon – The Ossuary Lens (REVIEW)
World domination awaits to the sound of the striking new beast by one of the must-see bands of the current tech death scene worldwide.
Best song of the album: The Swarm

7. 1914 – Viribus Unitis (REVIEW)
Trench warfare meets blackened death and doom in 1914’s fourth onslaught of war-torn fury.
Best song of the album: 1918 Pt 3: ADE (A Duty to Escape)

8. Cryptopsy – An Insatiable Violence (REVIEW)
Canada’s own Death Metal machine returns with their ruthless ninth studio album.
Best song of the album: Until There’s Nothing Left

9. Baest – Colossal (REVIEW)
Back from the fires of Denmark, this unstoppable creature will crush you with their fourth studio album.
Best song of the album: Colossus

10. Diabolizer – Murderous Revelations (REVIEW)
The torchbearers of diabolical abomination unite once again to drag us down into the fiery abysses of Turkish Death Metal without warning.
Best song of the album: Deathmarch of the Murderous Tyrant

And here we have the runner-ups, completing the top 20 for the year:

11. Lorna Shore – I Feel The Everblack Festering Within Me (REVIEW)
12. Impureza – Alcázares (REVIEW)
13. Crimson Shadows – Whispers of War (REVIEW)
14. Primal Fear – Domination (REVIEW)
15. Serenity In Murder – Timeless Reverie (REVIEW)
16. Khôra – Ananke (REVIEW)
17. Panzerchrist – Maleficium – Part 2 (REVIEW)
18. Ominous Ruin – Requiem (REVIEW)
19. Wrath of Belial – Embers of Dead Empires (REVIEW)
20. Grima – Nightside (REVIEW)

Not only that, here’s once again our Top 10 EP’s of 2025, proving once and for all that the duration of an album is not that important in the end. As long as the music is great, the whole thing can be only one second long, like the classic “You Suffer” by Napalm Death!

1. When Plagues Collide – Kingmaker (REVIEW)
2. De Profundis – The Gospel Of Rot (REVIEW)
3. Fimbul Winter – What Once Was (REVIEW)
4. NecroticGoreBeast – Brute (REVIEW)
5. Serpent Corpse – Retaliate (REVIEW)
6. Akouphenom – Connections To The Erebus (REVIEW)
7. Necht – The Inevitable Suffering (REVIEW)
8. Discovery Through Torment – Telesynthetic Rebirth (REVIEW)
9. Der Rote Milan – Verlust (REVIEW)
10. Eleine – We Stand United (REVIEW)

Do you agree with our list? What are your top 10 albums of 2025? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show!

Metal Xmas and a Headbanging New Year! See you in 2026!

And of course, as we really don’t like those boring Christmas songs here on The Headbanging Moose, we’ll leave you with what’s perhaps the most emotional and strongest metal hymn of the year, the charity version of “War Pigs”, by Black Sabbath, recorded by Judas Priest and with Ozzy himself sharing the vocal duties with the Metal God Rob Halford! This is the epitome of rock and metal music!

Generals gathered in their masses
Just like witches at black masses…

Album Review – Pedestal for Leviathan / Enter: Vampyric Manifestation (2025)

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Under a pale Colorado moon, this devilish Symphonic and Blackened Death Metal creature attacks with their flammable debut opus.

Under a pale Colorado moon, the devilish Symphonic/Blackened Death Metal creature Pedestal for Leviathan attacks once again with their fusion of Brutal Death Metal riffing with an appreciation for symphonic extreme blackened bands such as Cradle of Filth and Dimmu Borgir in their first full-length opus, poetically titled Enter: Vampyric Manifestation, following up on their 2024 EP Festering Apparition. Written, recorded, and mixed by the band’s own Kendrick Lemke, completed by a spellbinding cover artwork by Australian illustrator Alexander Kemp, and with the preceding EP as bonus tracks, the new offering by Kendrick Lemke on vocals and guitar, Mathew Meyer also on the guitar, Noah Filthen on bass, and Corbin Echtermeyer on drums sounds absolutely huge, with its sound, vision, and execution all forming a symbiosis of grim grandeur and fathomless darkness tailored for admirers of Septicflesh, Fleshgod Apocalypse, Belphegor, Arkhon Infaustus, and Darklord, just to name a few.

A horror movie-like intro evolves into a gruesome beast of Symphonic Black and Death Metal entitled Chalice Bleeds Intoxicant, with Kendrick stealing the show with his deep, devilish roars; whereas the frantic, heavy-as-hell drums by Corbin walk hand in hand with grim background orchestrations in Summoning Sickness, also presenting a demonic riff attack by Kendrick and Mathew. Lycanthropichrist, the first single of the album, offers our metallic ears more of the band’s inhumane sounds, with their guitars exhaling Black Metal magic, followed by Sanctity of Retribution, uniting the epicness of Symphonic Metal with their visceral blackened sounds (albeit a bit generic in the end).

Purgatory Displacement brings forward an avalanche of Symphonic Black Metal madness with Kendrick’s Brutal Death Metal screeches adding even more flavour to an already bestial tune, and again blending the obscurity of Black Metal with the aggressiveness of Death Metal we face Karmic Recollection Mirror, where both Noah and Corbin sound ruthless with their demonic kitchen. Then after the grim, cinematic interlude Snow Covered Monolith, we’re treated to the closing tune, the devilish Warlock Blacksmith, as chaotic and melodic as it can be, led by the visceral riffs by Kendrick and Mathew and matching perfectly with its evil background keys. Furthermore, the bonus tracks from their 2024 EP Festering Apparition are absolutely fantastic, in special Beast Rune, adding even more meat to their blackened banquet.

In the end, Enter: Vampyric Manifestation is undoubtedly a record that has crossover appeal for fans of both Death and Black Metal, from both underground and above, as well as the more-adventurous sorts into Symphonic Metal. You can get more details about the band and the album on Instagram, stream it in full on any platform like Spotify, and of course, above all that, purchase a copy of it from the band’s own BandCamp, from the Personal Records’ BandCamp or webstore, or simply by clicking HERE. Enter: Vampyric Manifestation will certainly take Pedestal for Leviathan places, and if you enjoy the fusion of all elements that make the darkest side of metal even darker and more disturbing, I’m sure you’ll want to join the band and visit those same devilish places with them, always in the name of our beloved extreme music.

Best moments of the album: Summoning Sickness, Purgatory Displacement and Warlock Blacksmith.

Worst moments of the album: Sanctity of Retribution.

Released in 2025 Personal Records

Track listing
1. Chalice Bleeds Intoxicant 2:51
2. Summoning Sickness 3:18
3. Lycanthropichrist 3:22
4. Sanctity of Retribution 4:14
5. Purgatory Displacement 2:51
6. Karmic Recollection Mirror 2:52
7. Snow Covered Monolith 1:05
8. Warlock Blacksmith 3:02

Special Edition bonus tracks (Festering Apparition 2024 EP)
9. Siphoning of the Liege 3:48
10. Beast Rune 2:43
11. Nightside Familiar 3:52

Band members
Kendrick Lemke – vocals, guitar
Mathew Meyer – guitar
Noah Filthen – bass
Corbin Echtermeyer – drums

Album Review – Aephanemer / Utopie (2025)

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France’s own Symphonic and Melodic Death Metal powerhouse strikes back with their fourth studio offering, an ambitious, razor-sharp assault of epic melodies, relentless speed, and philosophical depth.

Following the roaring success of their previous albums Memento Mori (2016), Prokopton (2019), and A Dream Of Wilderness (2021), Toulouse, France-based Symphonic/Melodic Death Metal powerhouse Aephanemer strikes back with their fourth studio offering, entitled Utopie, or “utopia” in English, an ambitious, razor-sharp assault of epic melodies, relentless speed, and philosophical depth. Mixed by Dan Swanö at Unisound, mastered by Mika Jussila at Finnvox Studios, with vocals recorded by Yannick Tournier at Waïti Studios, and displaying a stylish artwork by Niklas Sundin, the newborn beast by Marion Bascoul on vocals, Martin Hamiche on the guitars, bass and orchestrations, and Mickaël Bonnevialle on drums surges with heavier classical influences, blistering riffage, Slavic folk undertones, and majestic orchestrations, shaping a sound that feels both ancient and forward-looking while engaging with the concept of utopia not as escape, but confrontation, questioning ideals through the sheer force of sonic precision, and the quest for a world of harmony between living beings.

The album starts in a serene manner with Échos d’un Monde Perdu, or “echoes of a lost world” in English, a cinematic intro that warms us up for Le Cimetière Marin (which title and a couple of verses were borrowed from a poem by Paul Valéry), or “the graveyard by the sea”, with Marion’s harsh vocals walking hand in hand with the striking riffs, keys and orchestrations by Martin. Then Mickaël sounds ruthless behind his drums in La Règle du Jeu, or “the rules of the game”, offering Marion exactly what she needs to kick some ass on vocals in a lecture in Symphonic Death Metal; and their metallic feast goes on in full force in Par-delà le Mur des Siècles, or “beyond the wall of ages”, again presenting intricate, melodic and absolutely electrifying guitar lines and orchestrations by Martin. After such a magnificent tune we have Chimère, the French word for “chimera”, another epic, no shenanigans tune by those French metallers, with Mickaël stealing the spotlight again with his unstoppable beats and fills.

The band shows no sign of slowing down at all in Contrepoint, or “counterpoint”, delivering a breathtaking fusion of Melodic and Symphonic Death Metal led by the venomous roars by Marion and the always incendiary riffs by Martin, whereas La Rivière Souterraine, or “the underground river”, starts like the score to an epic movie thanks to the amazing job done by Martin with his orchestrations, before exploding into eight minutes of sheer instrumental brilliance. Lastly, we’re treated to the album’s phenomenal two-part title-track, starting with Utopie (Partie I), where their cinematic vein pulses harder than ever before Marion comes ripping with her deep, inhumane harsh vociferations, flowing majestically into Utopie (Partie II), where the imposing wall of sounds crafted by Martin and Mickaël surpass all barriers of epicness, all of course spiced up by another thrilling performance by Marion on vocals, ending the album on an atmospheric, climatic and beautiful way.

In a nutshell, Aephanemer continue to carve their own path in the Symphonic and Melodic Death Metal landscape with Utopie, sounding faster, more epic, brutal and classical than ever, and you can join those beyond talented French metallers in their quest for heavy music via Facebook and Instagram, stream their awesome discography on Spotify, and of course purchase Utopie from their own BandCamp or webstore, as well as from Napalm Records or by clicking HERE or HERE. Utopie is more than just an album, it’s a storm of sound, a philosophical reckoning, and a powerful new chapter from one of Europe’s most vital and visionary metal bands, and I can’t wait to see what’s next in their striking career after such an amazing lecture in modern-day Melodic Death Metal.

Best moments of the album: La Règle du Jeu, Par-delà le Mur des Siècles, Contrepoint and Utopie (Partie II).

Worst moments of the album: None.

Released in 2025 Napalm Records

Track listing
1. Échos d’un Monde Perdu 1:16
2. Le Cimetière Marin 5:30
3. La Règle du Jeu 3:53
4. Par-delà le Mur des Siècles 5:14
5. Chimère 4:22
6. Contrepoint 4:31
7. La Rivière Souterraine 8:29
8. Utopie (Partie I) 7:55
9. Utopie (Partie II) 9:38

Band members
Marion Bascoul – vocals
Martin Hamiche – guitars, bass, orchestrations
Mickaël Bonnevialle – drums

Album Review – Naraka / Born In Darkness (2025)

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One of the most promising modern acts emerging from France returns with their hellish, incendiary sophomore offering.

Founded in 2019 by guitarist Jean-Philippe Porteux, French Melodic Death Metal outfit Naraka (a term that generally refers to the realm of hell or a place of torment in Indian religions) is back with their mix of Modern Metal and Death Metal with symphonic and sometimes even electro touches in their sophomore album, titled Born in Darkness. Recorded at Hybreed Studio, Serial Drummer Studio, and At The Gates Ov Hell Studio, mixed and mastered at Darth Vader Studio, produced by Logan Mader, and adorned by a devilish artwork by Andreas Bathory, the follow-up to their 2021 debut In Tenebris continues to pave the path started by the band in their inception, creating a dramatic and atmospheric experience without losing focus on their core instrumentation and, therefore, positioning the band currently formed of vocalist Théodore Rondeau, guitarist Jean-Philippe Porteux, bassist Pierre-André Krauzer, and drummer Franky Costanza as one of the most promising modern acts emerging from France’s always exciting metal scene.

The album kicks off with the cinematic intro Apocalypsis Diem, where the band invites us all to their dark and sinister world before all hell breaks loose in Born In Darkness, offering our avid ears a solid and thrilling fusion of Black, Death and Groove Metal led by the Lamb of God and Machine Head-inspired screams by Théodore. Franky then pounds his drums in great fashion in the heavy-as-hell Something Woke Up, supported by the slashing riffs by Jean-Philippe and all of the song’s wicked background sounds, whereas Jean-Philippe revs up the band’s Blackened Death Metal engine in Blazing Sun, also showing elements from Gothic Rock and Metal. With a title like Hellhound the only thing we could expect was pure doom, and we get it straight from Pierre-André’s bass and the song’s haunting background choir, followed by Tyrants, another hard hitting tune of melodeath with groove and blackened nuances, with Franky taking the lead with his fierce beats.

Then leaning towards Symphonic Black and Death Metal those French metallers fire an adrenaline-fueled beast named Sorcerer, where the harsh vocals by Théodore walk hand in hand with all keys and orchestrations; and like the soundtrack to a horror movie, the climatic interlude Deus Belli sees the band arise from the netherworld in Lost, again venturing through the realms of Gothic Metal, in special in the song’s dark, deep vocals and sluggish beats. The Reign In Red is one more devilish creation by Naraka, evolving into a Symphonic Black Metal aria spearheaded by Franky’s crushing drums, also featuring Sotiris Anunnaki V of SepticFlesh on guest vocals. Parasite is a modern and visceral display of Dark Metal that goes straight into your mind, with Jean-Philippe’s riffs crawling under your skin like a creepy centipede, followed by The Last Day On Earth, a phantasmagorical composition where all background keys add an extra dosage of heaviness to the already vile riffage by Jean-Philippe. Lastly, we face an acoustic version of Lost, not as good as the electrified version, and a bit unnecessary as the album is already grandiose without it.

Although the name Naraka has only been around for less than a decade, the band members are seasoned veterans of the French scene, bringing a powerful and sophisticated sound to the table in their new album Born In Darkness, which is by the way available from the Art Gates Records webstore as a digipak + shirt bundle, a digipak + shirt + hoodie bundle, or a digipak + shirt + hoodie + mug bundle. Don’t forget to also follow such a promising band on Facebook and on Instagram, as I’m sure their live performances are incendiary to say the least, and stream their music on any platform out there like Spotify. If you’re looking for modernity in heavy music while also deeply rooted in classic extreme sounds, Naraka will certainly fulfill your needs with Born In Darkness, keeping the fires of French music burning bright and inspiring those talented musicians to keep melting our faces with album number three in a not-so-distant future.

Best moments of the album: Something Woke Up, Hellhound and Parasite.

Worst moments of the album: Lost (Acoustic Version).

Released in 2025 Art Gates Records

Track listing
1. Apocalypsis Diem 1:41
2. Born In Darkness 5:29
3. Something Woke Up 4:38
4. Blazing Sun 5:08
5. Hellhound 3:57
6. Tyrants 4:12
7. Sorcerer 4:01
8. Deus Belli 3:32
9. Lost 4:25
10. The Reign In Red 5:18
11. Parasite 3:31
12. The Last Day On Earth 5:51
13. Lost (Acoustic Version) 3:55

Band members
Théodore Rondeau – vocals
Jean-Philippe Porteux – guitar
Pierre-André Krauzer – bass
Franky Costanza – drums

Guest musician
Sotiris Anunnaki V – vocals on “The Reign In Red”

Album Review – Mors Principium Est / Darkness Invisible (2025)

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One of the torchbearers of Finnish melodeath is back with their excellent ninth opus, expanding their horizons while retaining the sonic quality that has seen the band gain such a steadfast appeal.

Once again delivering their beloved melodic death embrace instilled with razor-sharp riffing, sweeping orchestration, melancholic harmonies, and relentless rhythmic precision, Pori, Finland’s own Melodic Death Metal entity Mors Principium Est is among us to remind us all that death is only the beginning to the sound of their ninth studio offering, entitled Darkness Invisible. Recorded at Ansa Studio, mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, and displaying a Stygian artwork by Alvaro Valverde Fernandez, the follow-up to their 2022 album Liberate the Unborn Inhumanity sees the band formed of vocalist Ville Viljanen, guitarists Jori Haukio and Jarkko Kokko, bassist Teemu Heinola, and drummer Marko Tommila expanding their horizons while retaining the sonic quality that has seen the band gain such a steadfast appeal.

Arising from the pits of the underworld, the band delivers a Stygian, ruthless wall of sounds in Of Death, led by the hammering drums by Marko in a stunning fusion of melodeath with symphonic elements. Then investing in a faster and heavier sonority we have Venator, where Ville roars manically accompanied by the striking riffs by Jori and Jarkko, and after that it’s time for six minutes of Symphonic and Melodic Death Metal magic entitled Monuments, reminding me of some of the best creations by Dark Tranquillity. The introspective, haunting interlude Tenebrae Latebra sets the stage for the menacing Summoning the Dark, the epitome of the music by Mors Principium Est, with its metallic riffs and crushing beats matching perfectly with all background orchestrations, whereas a cryptic intro quickly explodes into another feast of Finnish melodeath entitled Beyond the Horizon, with Ville’s vocals getting even more demonic than before.

The Rivers of Avernus is by far one of the most technical and intricate of all songs, uniting the stylish riffs and keys by Children of Bodom with the heaviness of the famous Gothenburg sound, followed by In Sleep There Is Peace, another fast and vibrant tune spearheaded by the unstoppable drums by Marko. The beautifully titled interlude An Aria of the Damned will hypnotize you and drag you to the band’s cryptic lair in All Life Is Evil, a first-class, delicate yet devilish creation with a mysterious female vocalist making a classic paradox with Ville’s deep guttural, putting us on a dark embrace in the name of Melodic Death Metal. And finally, there’s time for a cover version for Makso Mitä Makso, or “No Matter the Cost” in English, originally released by Finnish-Swedish singer Isac Elliot and Finnish rapper Sexmane (check out the original version HERE); needless to say, the band’s version is way heavier and more melodic.

Offering compelling arrangements which convey greater cinematic soundscapes, ambient passages bringing dynamic intrigue and textural layers providing, be it often subtle, enhancements of power, Darkness Invisible will certainly appeal to both diehard fans of the band and newcomers to their refined melodeath world, and you can get in touch with Mors Principium Est via Facebook and Instagram to stay updated with all news and surrounding the band, including their live shows, go through their discography on Spotify or on any other streaming service, and purchase their new album from Reigning Phoenix Music, from Season of Mist, or from Sonic Age Records. Darkness Invisible beautifully represents another step forward in the career of Mors Principium Est, one of the current torchbearers of Finnish melodeath, and I’m sure we’ll hear more from those guys sooner than later as their new album will indeed keep reverberating through all four corners of the earth until they return with the next chapter in their exciting history.

Best moments of the album: Venator, Summoning the Dark and All Life Is Evil.

Worst moments of the album: None.

Released in 2025 Perception

Track listing
1. Of Death 5:34
2. Venator 3:45
3. Monuments 5:59
4. Tenebrae Latebra 1:49
5. Summoning the Dark 5:56
6. Beyond the Horizon 5:45
7. The Rivers of Avernus 4:57
8. In Sleep There Is Peace 4:21
9. An Aria of the Damned 2:29
10. All Life Is Evil 6:22

CD/Digital Edition bonus track
11. Makso Mitä Makso (Isac Elliot cover) 2:49

Band members
Ville Viljanen – vocals
Jori Haukio – guitars, programming
Jarkko Kokko – guitars
Teemu Heinola – bass
Marko Tommila – drums

Album Review – Hades Descent / The Monolith (2025)

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Let’s embark on a cinematic metal journey to the sophomore opus by this UK blackened entity, set centuries into a dystopian future on a dying earth.

Forging Symphonic and Melodic Death and Black metal with a strong cinematic scope, Berkshire, UK-based entity Hades Descent is back from the underworld with its sophomore opus, entitled The Monolith, a dystopian concept album offering a dark fusion of symphonic atmosphere, blackened aggression, and melodic precision, marking the project’s most ambitious work to date. Fully composed, orchestrated, recorded, mixed, and mastered by the band’s mastermind Hades at Titan Studios, underscoring the project’s uncompromising DIY spirit and singular vision, anchored by the beyond versatile vocals by D.M., and featuring the more-than-special guests Karl Sanders (Nile), Brian Kingsland (Nile, Imperishable), Björn “Speed” Strid (Soilwork, The Night Flight Orchestra), and Tim Goodson, The Monolith is set centuries into a dystopian future, on a dying earth, where mankind has embraced cybernetics in pursuit of perpetual enhancement, until humans no longer know where they end and the machine begins. “This is a concept album, based on an idea I had about 5 years ago,” explains Hades. “It’s taken that long to come to fruition! I hired an author, Tony Martucci, to turn the concept into a proper short story, which helped me flesh out the idea fully and turn it into the beautiful album you see here.”

The album kicks off with six minutes of Symphonic Black Metal madness in the form of Tomorrow Is Dead!, featuring guests Brian Kingsland, Karl Sanders and Tim Goodson, all on the guitars, with Hades’ and his henchmen’s striking, melodic riffs and solos walking hand in hand with the demented roars by D.M., whereas in Through Savage Seas they bring forward elements of Progressive Black and Death Metal, with all beats and fills adding endless heaviness to the song. Then the poetically titled Forged In Darkness (And Fire) starts in a cinematic manner before evolving into a symphonic and headbanging feast of vicious riffs and whimsical keys; and we face another round of phantasmagorical keys in Path of The Seeker, providing D.M. with all he needs to deliver his trademark harsh gnarls. Hades continues to bring forth sheer adrenaline in The Oncoming Storm, where his riffs and keys will yet again pierce your mind like an arrow in flames.

Veiled Ambitions is not as exciting as the rest of the album, although it still presents the characteristic fusion of symphonic and extreme sounds blasted by Hades. Then back on track, Hades and his Hades Descent continue their descent (and sorry for all repetition in this case) to the underworld in Sentinels of Time (Illium’s Demise), with the song’s hammering drums complementing D.M.’s desperate screams flawlessly. The Sea of Silent Warriors sounds very intricate and complex throughout its almost five minutes, in special its Dream Theater-like keys and drums, all embraced by the devilish growls by D.M., and finally,  we face the seven-minute beast of darkness titled The Monolith, where guest Björn “Speed” Strid proves why he’s one of the best vocalists to ever arise from Sweden, clashing majestically with the Black Metal gnarls by D.M. in an explosion of first-class extreme music.

A cinematic concept album bringing to us all a dystopian cybernetic future, time travel, destiny, and downfall, The Monolith represents the band’s most complete artistic statement yet, set to establish Hades Descent as one of UK’s most ambitious forces in modern extreme music, being therefore highly recommended for fans of Septicflesh, Fleshgod Apocalypse, Dimmu Borgir, Ex Deo, and Nile, just to name a few. Hence, you can get to know more about this excellent project and its mysterious master, and obviously show him your total support, by checking what Hades is up to on Instagram, by streaming his music on Spotify, and by purchasing The Monolith from BandCamp. It’s time to embark on a metal journey to the dystopian future from The Monolith, and I’m sure you’ll have a great time with the multi-talented Hades as your devilish guide.

Best moments of the album: Tomorrow Is Dead!, Path of The Seeker and The Monolith.

Worst moments of the album: Veiled Ambitions.

Released in 2025 Independent

Track listing
1. Tomorrow Is Dead! 6:52
2. Through Savage Seas 5:46
3. Forged In Darkness (And Fire) 5:56
4. Path of The Seeker 4:30
5. The Oncoming Storm 4:57
6. Veiled Ambitions 5:38
7. Sentinels of Time (Illium’s Demise) 5:02
8. The Sea of Silent Warriors 4:48
9. The Monolith 7:41

Band members
D.M. – vocals
Hades – guitars, bass, drums

Guest musicians
Brian Kingsland – chorus vocals and guitar solo on “Tomorrow Is Dead!”
Karl Sanders – guitar solo on “Tomorrow Is Dead!”
Björn Strid – vocals on “The Monolith”
Tim Goodson – rhythm guitar on “Tomorrow Is Dead!”

Album Review – Tine / A Winter Horrorscape (2025)

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This unrelenting entity returns from the bowels of Appalachia with its third studio album, featuring eight crushing songs of pure Symphonic Black and Death Metal.

Forged of cold, wrought iron from the bowels of Appalachia back in 2011 by vocalist, multi-instrumentalist, songwriter and composer Count Murmur, combining the sinister aggression of Black Metal, the power and ferocity of Death Metal, and the sweeping passion of orchestra and symphony to create a truly unique sound, one-man Symphonic Black/Death Metal entity Tine is unleashing upon humanity its third full-length opus, titled A Winter Horrorscape, following up on its 2022 sophomore Mergae Maris Profundi. Produced, mixed and mastered by session drummer Nikola Dušmanić alongside Count Murmur at Ezoterik Studio, with guitar Tones and re-amping by Rodoljub Raičković at Vortex Studio, showcasing a chilly, despondent artwork by James Hutton, and featuring guests Samantha Bounkeua on piano, strings and choir vocals, Peter Ferguson on guitar solos on a few of the songs, and Mark DiAngelo with wind sounds on the title-track, A Winter Horrorscape features eight crushing songs of pure Symphonic Black and Death Metal, proving why the uncanny Count Murmur has already become a reference in the genre.

Guest musician Samantha Bounkeua creates an enfolding, whimsical ambience in Winter Comes, captivating our senses before Count Murmur crushes our souls with A Feather from Lucifer’s Wing, melting our faces and burning our hearts with his visceral gnarls, offering a beautiful and austere explosion of classic Black Metal for lovers of the genre; followed by A Path Through Frozen Woods, which also presents Count Murmur’s trademark roars and Stygian riffage, always supported by the crushing drums by Nikola. And featuring a guest guitar solo by Peter Ferguson, Count Murmur ignites another darkened mass with his devilish vocals entitled Ex Cathedra, bring forward eight minutes of bitterly acid Black Metal madness.

Return to the Black Forest in Winter is a beyond cinematic composition, with all background elements and choir adding an extra touch of obscurity to its vibe. It’s not the most exciting of all songs, though, but still very enjoyable; and continuing with the album’s phantasmagorical energy we have The Scathing Blizzard, this time with Count murmur vociferating rabidly nonstop while also firing scathing riffs, supported by another guest solo by Peter Ferguson. Then our lone wolf keeps blackening the atmosphere with another eight-minute aria titled Triumph at Nineveh, where both his clean and harsh vocals add even more depth to his already multi-layered music; and lastly, the title-track Winter Horrorscape, featuring Peter Ferguson on a guitar solo and Mark DiAngelo on wind sounds, will embrace you in pitch black darkness, putting a stunning and climatic ending to the album like the soundtrack to a horror movie.

As the songs began to take on a wintry and cold feel in A Winter Horrorscape, Count Murmur decided this would be the theme of the album, with the enlisting of the skills of all aforementioned session musicians broadening the breadth and scope of the music considerably. In the end, Count Murmur and his Tine were capable of crafting a piercing, frostbitten piece of extreme music that deserves to be listened to on all four corner of the earth, and you can show your support to such a talented and hardworking metaller by following Tine on Facebook and on Instagram, by subscribing to the project’s YouTube channel, by streaming its music on any streaming platform such as Spotify, and above all that, by purchasing a copy of A Winter Horrorscape from BandCamp. The blend of Symphonic Black and Death Metal by Tine is undoubtedly a thing of beauty, with A Winter Horrorscape representing another fantastic step in the career of the unstoppable Count Murmur, a loyal servant of the darkest of arts.

Best moments of the album: A Feather from Lucifer’s Wing, Ex Cathedra and Triumph at Nineveh.

Worst moments of the album: Return to the Black Forest in Winter.

Released in 2025 Independent

Track listing
1. Winter Comes 2:20
2. A Feather from Lucifer’s Wing 5:11
3. A Path Through Frozen Woods 4:23
4. Ex Cathedra 8:05
5. Return to the Black Forest in Winter 3:41
6. The Scathing Blizzard 3:44
7. Triumph at Nineveh 7:58
8. Winter Horrorscape 6:42

Band members
Count Murmur – vocals, guitars, bass

Guest musicians
Nikola Dušmanić – drums (session)
Samantha Bounkeua – piano, strings, choir vocals, everything on “Winter Comes”
Peter Ferguson – guitar solos on “Ex Cathedra”, “The Scathing Blizzard” and “Winter Horrorscape”
Mark DiAngelo – wind sounds on “Winter Horrorscape”

Album Review – Necht / The Inevitable Suffering EP (2025)

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This mysterious Symphonic Black/Death Metal cult returns with a scorching new EP presenting five “sermons” conjuring both the epic power of a cosmic battle and the grim reality of its earthly implications.

Following on quickly from their 2024 debut album The Prophecy of Karnifor, the mysterious Calgary, Alberta-based Symphonic Black/Death Metal cult Necht returns with a brand new EP, entitled The Inevitable Suffering. Operating jointly from the frozen wastelands of Canada and the damp gloom of Northern Ireland, the cult formed of Zenith Maharg on vocals, Ascendant Zhargor on the guitars, Ascendant демон on bass, and Ascendant Vlasfimos on drums presents in The Inevitable Suffering five “sermons” of Atmospheric Black Metal conjuring both the epic power of a cosmic battle and the grim reality of its earthly implications, each based on the myths and history of the Enkari – the early civilization from which the cult arose – as told in the controversial Enkari-B’ahn Scolls.

Like a creature arising from the underworld, the imposing, epic intro Over Ten Thousand Spears, B’ahn Rises Red kicks off Necht’s black mass before we face The Night That Knows No Dawn, starting in a cinematic manner and quickly exploding into the band’s trademark darkness led by the demented drumming by Ascendant Vlasfimos and the haunting gnarls by Zenith Maharg. Dread Is the Consort of the Dark is another harsh and infuriated display of Symphonic and Melodic Black Metal spearheaded by the Stygian riffage by Ascendant Zhargor, sounding perfect for a ceremonial black mass; and the visceral guitar lines by Ascendant Zhargor are boosted by the rumbling bass and drums by Ascendant демон and Ascendant Vlasfimos in As Oars Through Blood, offering Zenith Maharg exactly what he needs to darkly declaims the song’s impious words, morphing into the phantasmagorical outro …and so Across the Bloody Lake We Did Sail in Silence, putting a beyond obscure ending to one more successful gathering of the cult of the sun.

Such an amazing cult from the underground nailed it once again with The Inevitable Suffering, which is available for purchase from BandCamp or by clicking HERE, and for streaming on Spotify, and you can always join Necht and worship the sun together with them by following the cult on Facebook and on Instagram. “The Cult believed themselves to be spiritually bound to their sun-god, B’ahn, who was locked in a ceaseless battle for survival against His all-powerful mother, the Dragon Karnifor, as She sought to swallow Him and the world. The souls of dead Cultists could rise to join B’ahn in His struggle on the cosmic plains – and thus hold the Dragon back for just a little longer – but only if those Cultists died in battle. Thus, to the Cult, the only means to prevent the Apocalypse of the Dragon was, ironically, to prosecute an endless war on earth, which of course resulted in great misery for their people,” explained Zenith Maharg, leader of the Temple. “Thus, The Inevitable Suffering – for the Cult believed the suffering of war was fundamentally to be embraced as the only means of saving humanity.”

Best moments of the album: The Night That Knows No Dawn and Dread Is the Consort of the Dark.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Over Ten Thousand Spears, B’ahn Rises Red 2:04
2. The Night That Knows No Dawn 6:08
3. Dread Is the Consort of the Dark 6:12
4. As Oars Through Blood 4:18
5. …and so Across the Bloody Lake We Did Sail in Silence 1:18

Band members
Zenith Maharg – vocals
Ascendant Zhargor – guitars, choir
Ascendant демон – bass, choir
Ascendant Vlasfimos – drums