Tag Archives: symphonic death metal

Album Review – Northborn / Northborn (2026)

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Rooted in mythology, nature and epic storytelling, this Swedish horde attacks armed with their debut album, blending the aggression of modern metal with a deep Nordic folk spirit.

Uncompromising and frostbitten in spirit, and drawing strong inspiration from the Finnish scene of the early 2000’s, blending the aggression of modern metal with a deep Nordic folk spirit, Stockholm, Sweden-based Symphonic/Melodic Death Metal horde Northborn is unleashing upon humanity their self-titled debut offering, marking the beginning of a powerful new chapter for the band formed of Björn Larsson on vocals and keyboards, Ture Aspelin and Tobey Lagerqvist on the guitars, Andreas Lundgren on bass, and Felix Wahlund on drums, inviting listeners worldwide to step into their frozen realm while combining technical intensity with powerful melodic hooks and cinematic depth.

Get ready for an inspiring adventures through bitterly cold lands in Hymn of the North Star, with Felix already taking the lead with his fast-paced melodeath beats, offering Björn exactly what he needs to roar like a Viking. And Björn delivers a striking keyboard attack in Tale of Lies, supported by the Melodic Death Metal extravaganza blasted by Ture and Tobey on the guitars, followed by Fireborn, again presenting a fantasy and adventure vibe, with the rumbling bass by Andreas walking hand in hand with the galloping drums by Felix. The 80’s-inspired keyboards by Björn and the metallic bass by Andreas kick off the high-octane Children of the Frost, generating a hurricane of melodeath sounds perfect for admirers of the genre; whereas despite the epic intro in Helldamned, the music becomes way too generic after a while. Nothing to worry about in the end, though.

Then back to a much more ferocious mode we have The Wolf’s Curse, with their Symphonic and Melodic Death Metal sounds clashing in great fashion led by the always ruthless Felix on drums. The band invests in a Folk Metal sonority in Dreamhaunter, with the guitars by Ture and Tobey taking us back in time to the age of Vikings, whereas inspired by the massive sounds crafted by their countrymen Amon Amarth while also adding their own symphonic touch to the music we face the battle hymn The Fimbul Scourge, followed by the mysterious Yokai of the Lake, dedicated to the kappa, the aquatic, reptilian humanoids who inhabit the rivers and streams flowing over Japan, and you can feel that vibe from the East in their music. Lastly, closing the album they offer the melodic and epic A Warrior’s Fate, inviting us all to raise our fists in the air to the infernal growls by Björn, as well as the striking riffage by the band’s unstoppable guitar duo.

Rooted in mythology, nature and epic storytelling while channeling the legacy of bands like Children of Bodom, Norther and Ensiferum, Northborn craft songs that transport listeners into cold, majestic landscapes shaped by frost, battle and legend, and their debut is an amazing indication that their quest for heavy music has only just begun. You can join their army of ice giants by following the band on Facebook and on Instagram, by streaming their striking music on any platform such as Spotify, and of course, by purchasing their debut album from Art Gates Records. Bitterly cold, sharp and electrifying, it’s an album made for true Nordic warriors at heart, and I bet you’ll proudly raise your sword in the winds of the north while listening to such a precious gem of the current Swedish scene.

Best moments of the album: Hymn of the North Star, Children of the Frost and The Wolf’s Curse.

Worst moments of the album: Helldamned.

Released in 2026 Art Gates Records

Track listing
1. Hymn of the North Star 6:04
2. Tale of Lies 5:09
3. Fireborn 5:03
4. Children of the Frost 4:23
5. Helldamned 6:16
6. The Wolf’s Curse 4:04
7. Dreamhaunter 5:03
8. The Fimbul Scourge 5:32
9. Yokai of the Lake 5:31
10. A Warrior’s Fate 5:26

Band members
Björn Larsson – vocals, keyboards
Ture Aspelin – guitars
Tobey Lagerqvist – guitars
Andreas Lundgren – bass
Felix Wahlund – drums

Album Review – Chronicler Of Ardul / Sounds of Ardul (2026)

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Let’s embark on a sweeping orchestral journey into the dark fantasy realm of Ardul, embracing cinematic storytelling through rich symphonic textures, intimate folk tunes, and atmospheric worldbuilding.

A sweeping orchestral journey into the dark fantasy realm of Ardul, the breathtaking Sounds of Ardul, the first full-length album by Richland, Washington-based Symphonic and Blackened Death Metal outfit Chronicler of Ardul (the brainchild of composer, vocalist and multi-instrumentalist David Williams) embraces cinematic storytelling through rich symphonic textures, intimate folk tunes, and atmospheric worldbuilding, instead of relying on metal elements. With David himself handling all writing, recording, mixing, and artwork, giving the project a distinct voice anchored in emotional honesty and narrative purpose, the follow-up to the 2023 EP Myrewood and the 2024 EP Sword of Virné showcases 17 tracks which individually feel like a moment from a larger adventure, guiding listeners through taverns, shadowed forests, ancient mists, and violent clashes, inviting audiences to step directly into the world itself, experiencing its wonder, danger, and humanity firsthand.

Featuring the awesome vocalist Sofia Frasz of Exiled Hope, Watch Over Me is a bardic folk song carried by clean guitar, violin, hand percussion, resulting in a charming acoustic intro to the world of Ardul, followed by Watch Over Me (Village Version), a melancholic rendition of the same song with its crying violin sounding stunning. Then we have You’re Gone, featuring vocalist Aaron Johnson III of Syyn, presenting the emotional weight of loss, a somber tavern ballad about love that feels like a classic by Johnny Cash; whereas stomps, claps, and bottle taps set the tone in Oh Me Oh My, providing us with a view inside David’s creative mind. The first version of Woodlands offers the striking sounds of strings, harp, clarinet, piano, and choir, while Woodlands (Alternate Version) displays a cleaner sound with cello, piano, and harp only, and Woodlands (Battle Theme) brings forward the uniqueness of brass, percussion, and rhythmic urgency as hidden threats reveal themselves, like the score to an epic movie. After such an inspiring trio of songs, we have In the Mists of the Myrewood (Remastered), a classic piano aria by David to bring some peace to our hearts.

The sounds of strings, piano, choir, and guitar keep embellishing the airwaves in the sinister tune Veiled Truth, while Unwelcomed Guests continues the rising tension with timpani heartbeats, clacking percussion, unsettling strings, and a divided choir in another serene tune by David. His passion for classical music gets even clearer in To Arms! (String Quintet), where it’s quite easy to visualize a full orchestra playing it; whereas Temporary Respite pulls the listener back into calmness with soft piano and choir, offering a resting place after turmoil. Moments From Disaster offers our avid ears heavy drums, tense strings, rumbling voices, and pounding piano, the most haunting chapter of the album, while Underground again ventures through movie score lands, sounding imposing and whimsical, and Underground (Alternate Version) is a quieter but more claustrophobic passage where you can feel David’s anguish. To Arms! then showcases a bold symphonic battle full on orchestrations in the most imposing version of the song; and lastly, Zarek the Bloody offers us all the sounds of accordion, bass, percussion, and vocals by David, feeling delicate and gloomy while also dark and visceral. Needless to say, David should do more singing on his albums for sure.

Influenced by renowned acts the likes of Shadow of Intent, Mental Cruelty, Nobuo Uematsu, and Yasunori Nishiki, David and his Choricler of Ardul approach concept music with the depth of a novel and the drama of a film score. Not only that, the album also includes extended ten-minute looping versions of twelve tracks, crafted for worldbuilders, tabletop players, writers, and listeners who want to immerse themselves even further. As the third pillar of the project’s overarching project, Sounds of Ardul expands the world’s scope while maintaining musical motifs that connect past works to future stories, and you can join David in such a unique quest by following the project on Facebook and on Instagram, by streaming his music on YouTube, Spotify or Apple Music, and of course by purchasing the album from BandCamp or by clicking HERE. It’s time to embark on a journey to Ardul alongside David Williams, and there’s nothing better than his new album to provide us with the perfect soundtrack for such a thrilling adventure.

Best moments of the album: You’re Gone, Woodlands (Battle Theme) and Zarek the Bloody.

Worst moments of the album: Woodlands (Alternate Version).

Released in 2026 Independent

Track listing
1. Watch Over Me 3:50
2. Watch Over Me (Village Version) 2:04
3. You’re Gone 4:32
4. Oh Me Oh My 1:43
5. Woodlands 2:28
6. Woodlands (Alternate Version) 2:28
7. Woodlands (Battle Theme) 2:28
8. In the Mists of the Myrewood (Remastered) 3:31
9. Veiled Truth 2:45
10. Unwelcomed Guests 3:04
11. To Arms! (String Quintet) 2:28
12. Temporary Respite 2:41
13. Moments From Disaster 2:31
14. Underground 2:24
15. Underground (Alternate Version) 2:24
16. To Arms! 2:28
17. Zarek the Bloody 2:42

Band members
David Williams – vocals, all instruments

Guest musicians
Sofia Frasz – vocals on “Watch Over Me”
Aaron Johnson III – vocals on “You’re Gone”

Album Review – IATT / Etheric Realms of the Night (2026)

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This American blackened band returns with their most immersive and conceptually daring work to date, unveiling a descent into dream consciousness.

Hailing from the pits of Philadelphia, Pennsylvania, Progressive/Melodic Black/Death Metal entity IATT (which stands for “I Am The Trireme,” an ancient maritime vessel, representing a shift in their musical style from their early Metalcore days) returns with their most immersive and conceptually daring work to date, entitled Etheric Realms of the Night. Mixed and mastered by Marcos Cerutti (co-founder of Black Lion Productions), the newborn spawn by Jay Briscoe on vocals and bass, Joe Cantamessa on lead guitars, Alec Pezzano on rhythm guitars and orchestral arrangements, and Paul Cole on drums and percussion is a worthy follow-up to their 2022 album Magnum Opus, unfolding as a continuous narrative that explores the fragile boundary between sleep and oblivion, consciousness and illusion, life and whatever waits beyond it, unveiling a descent into dream consciousness.

In the opening tune Drift Away the music gradually builds into a wall of Progressive Death Metal sounds led by Jay’s visceral screams, while Paul delivers an overdose of crushing beats and fills that transpire Black Metal; followed by To Lie Beneath, a nine-minute aria of darkness where the guitars by Joe and Alec breathe fire, supported by the always thunderous drums by Paul. Put differently, it’s like Opeth on steroids. Somniphobia already begins in full force, with all of its progressiveness clashing beautifully with its fury, not to mention its melodeath and dissonant riffs sounds amazing, whereas Pavor Nocturnus is one of the most Black Metal songs of the entire album, where its haunting atmosphere and intricate riffage and drums bring sheer joy to our blackened hearts. In the cryptic Quietus, the symphonic elements bring an avalanche of epicness to the overall result, with Jay once again barking and roaring nonstop, and their metallic dreams go on in Walk Amongst, another very detailed and multi-layered aria of Symphonic and Melodic Death Metal where Joe and Alec are again flawless on the guitars, before all fades into nothingness in the ethereal outro Hypnos.

With Etheric Realms of the Night, IATT venture deeper into psychological and conceptual territory, shaping a work that feels immersive, unsettling, and profoundly human, tracing the path from surrender to transformation, where dreams deepen into realms that no longer fade with morning light. Across its 48 minute runtime, the album unfolds with cinematic scope, guided by atmosphere, symbolism, and emotional momentum, and if you want to join IATT on such a unique voyage you can find those guys on Facebook, Instagram, YouTube, and Spotify, and of course purchase Etheric Realms of the Night from BandCamp, from their merch store, or by clicking HERE. Orchestral elements, unusual instrumentation, constantly shifting sonic landscapes, and the sense of a single story told in seven movements. That’s what IATT offer in their new album, inviting you to dream together with them while fully awake.

Best moments of the album: To Lie Beneath, Pavor Nocturnus and Walk Amongst.

Worst moments of the album: None.

Released in 2026 Black Lion Records

Track listing
1. Drift Away 6:39
2. To Lie Beneath 9:12
3. Somniphobia 6:04
4. Pavor Nocturnus 7:23
5. Quietus 7:18
6. Walk Amongst 8:06
7. Hypnos 3:38

Band members
Jay Briscoe – vocals, bass
Joe Cantamessa – lead guitars
Alec Pezzano – rhythm guitars, orchestral arrangements
Paul Cole – drums, percussion

Guest musicians
Didier Malherbe – flute
Valček – violin

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 Ashes on the guitar, and Jon Siren 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
Ashes – guitars
Jon Siren – 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