This Chilean unrelenting outfit offers in their third album a true Book of Death forged in sound, channeling the death drive into a relentless exploration of human rituals, mortality, and cultural collapse.
Expanding their fierce Chilean/American identity, channeling the death drive (Thanatos) into a relentless exploration of human rituals, mortality, and cultural collapse – a true Book of Death forged in sound – Santiago, Chile and Boston, Massachusetts-based Progressive/Technical Death/Thrash Metal beast Overtoun returns in full force with their third offering, entitled Death Drive Anthropology, the follow-up to their 2021 sophomore This Darkness Feels Alive. Recorded at Estudio del Sur, and produced, engineered, mixed and mastered by Martín Furia at Somma Productions, the new album by Yoav Ruiz-Feingold on vocals, Matias Bahamondes on the guitar, Matias Salas on bass, and Agustin Lobo on drums further cements the band as one of the most compelling and forward-thinking forces emerging from the Latin American metal landscape. Rooted in the primal force of 90’s death-thrash yet sharpened by a modern, incisive edge, the album fuses Latin rhythms, folk-tinged guitars, and razor-tight riffs, being therefore a must-listen for admirers of the music by Carcass, Atheist, and Revocation, among others.
The album couldn’t have started in a better and more demented way than with What Unites All, featuring guest vocalist Max Phelps (Cynic, Death to All), with Matias Salas and Agustin sounding absolutely mental with their heavy-as-hell, groovy kitchen. Yoav keeps roaring like a beast in the very technical, melodic yet brutal The Final Beat, blending the most caustic elements from Death and Thrash Metal, and after a cryptic intro the music evolves into another feast of progressive violence in Memento Mori, featuring guest vocalist Enrico H. Di Lorenzo (Hideous Divinity), where Agustin once again dictates the pace while Matias Bahamondes slashes his axe nonstop. Their wicked riffs and pounding drums are the main ingredients in the electrifying Dur Khrod, inviting us all to slam into the pit in the name of our good old Death and Thrash Metal; whereas their progressive vein pulses even harder in Jade, Gold, Obsidian, led by the intricate and flammable riffage by Matias Bahamondes. And in Yūrei they offer a more modern side of their core musicality, alternating between groovy moments and extreme aggression.
Matias Salas beautifully steals the spotlight with his metallic bass in Weeping, as if Sepultura, Dream Theater and Machine Head had a bastard son (who loves Death Metal), which of course translates into total sonic brilliance. Guest Shantanu Vyas (Hazing Over) lends his desperate vocals to the band in Wind and Water, keeping the album at an extreme level of violence and progressiveness; and we then face a killer three-part extravaganza, starting with the 30-second intro The Waves Suite: Siren, setting the stage for The Waves Suite: Ocean, where the band goes almost full tribal with their ruthless sounds, flowing like an arrow on fire in the dark until The Waves Suite: Caleuche puts a very melodic ending to such an interesting aria. The band still has the icing on the cake to offer in the album, the title-track Death Drive Anthropology, inviting us all to slam one last time with them to the sound of the demonic roars by Yoav.
As mentioned, Death Drive Anthropology aims at channeling the death drive into a sonic Book of Death that examines how different cultures confront mortality, violence, collapse, and rebirth through ritual and art, and if you want to feel part of such an exciting metallic ritual, you can start following the band on Facebook and on Instagram, stream their amazing music on YouTube or on Spotify, and above all that, grab a copy of the album from the band’s own BandCamp, as well as from the Time To Kill Records’ webstore. In other words, simply open the Book of Death written by these talented Chilean metallers, and let their sounds bring to your soul the always exciting duality between life and death.
Best moments of the album:What Unites All, Weeping and Death Drive Anthropology.
Worst moments of the album:Wind and Water.
Released in 2026 Time To Kill Records
Track listing 1. What Unites All 5:23
2. The Final Beat 4:46
3. Memento Mori 6:38
4. Dur Khrod 3:54
5. Jade, Gold, Obsidian 4:00
6. Yūrei 5:25
7. Weeping 5:28
8. Wind and Water 4:05
9. The Waves Suite: Siren 0:23
10. The Waves Suite: Ocean 4:11
11. The Waves Suite: Caleuche 1:42
12. Death Drive Anthropology 4:23
Band members Yoav Ruiz-Feingold – vocals
Matias Bahamondes – guitar
Matias Salas – bass
Agustin Lobo – drums
Guest musicians
Max Phelps – vocals on “What Unites All”
Enrico H. Di Lorenzo – vocals on “Memento Mori”
Shantanu Vyas – vocals on “Wind And Water”
I’m always on my own… Even in my dreams I die alone… Loneliness is a garment… Made of shadows hanging above…
There’s nothing better than kicking off the short but always freezing cold month of February than with an ultra talented vocalist and multi-instrumentalist who personifies the underground like our metal lady of this month, setting fire to the atmosphere with her undisputed blend of Extreme Metal. Known for her involvement with some amazing underground bands the likes of Zion Code and Cordiscord Elysium, and more recently for her undisputed solo career, releasing an array of first-class albums, she brings the noise directly from Germany to The Headbanging Moose, taking no prisoners in her quest for heavy music. Her name is Vanessa Funke, and after knowing more about her life and her career, I’m sure you’ll get addicted to her fusion of Melodic Death and Gothic Metal with an overdose of raw emotions and, therefore, feel beyond eager to get caught in a mosh while she kicks some serious ass both in the studio and onstage.
Hailing from Finnentrop, a municipality in Olpe district in North Rhine-Westphalia, Germany, Vanessa said in one of her interviews that music has been all around her basically her entire life, mentioning she remembers hearing the intro to Thin Lizzy‘s version of Whiskey In The Jar as a child and imagining that she would play it herself. “It took a while for me to pick up an instrument though, which was about 2009. I was absolutely fascinated with Mike Oldfield around that time, especially that he can play all those different instruments and basically creates albums almost on his own. That really was the impulse that led me to playing guitar and later keyboards. When I got into metal about two years later, I started to play it myself too.”
She believes the first ever metal song she learned on the guitar was Weather The Storm, by Finnish melodeath masters Insomnium, becoming the rhythm guitarist shortly after for a band named Storm Unleashed, which was basically her first step into the music business, naturally evolving more and more even after she decided to pursue her solo career. Clearly a huge fan of the Melodic Death Metal from the 90’s and 2000’s, she also started incorporating elements from Gothic Metal into her music, giving it even more depth, which consequently allowed her to explore darker emotions in her compositions.
Speaking of her solo career, it all began in 2017 when she started recording a few demos, which only came to light in 2022 as a compilation encompassing those demos from 2017 until 2021. After that, she kept firing her own blend of Melodic Death and Gothic Metal through the 2022 EPs Sorted Out and Broken, followed by the split Ode to Hopelessness (alongside French Depressive Black Metal act Angel of Suicide), her first full-length album Solitude, plus the splits Nothing Left… (with UK-based Black Metal outfit Black Apathy) and Anthems of Gomorrah / Vanessa Funke (with Pinellas County, Florida-based Black/Death Metal horde Anthems of Gomorrah), all also in 2022.
Then in 2023 she released the EP Reflections, the splits Lonely Suicide (with American Atmospheric Black Metal creature Nymphrenia), In the Shadow of the Lights (with a band named Luroga), A Road to Nowhere (with Panama’s own Black Metal entity The Last Weapon), and Barely Living on the Edge… (with the bands Nymphrenia, Black Apathy, Shallow Existence, and Have a Nice Life…), and her sophomore full-length opus entitled Dawn. In 2024, the EP Lament and the full-length Void saw the light of day, while in 2025 she brought into being the split Locomotion of Escape (with a band called Tachanka), and her fourth full-length installment, titled Requiem. All of those releases can be found on BandCamp and on Spotify, and on her official YouTube channel you can also find her official videos for songs such as Worthless, Broken Ground, Infelicity, and I Need You Tonight, among several others. Not only that, her music is also featured in a few interesting compilations, including the songs Solitude on the LDP Smörgåsbord Series #2 (released by Liminal Dread Productions in December 2023), Sorrow on Mind Over Metal 4: Volume 1 (released by Cave Dweller Music in May 2024), Buried on Black Metal Against Blackout (released in January 2024), and Dead Souls on Heavy for the Hollers (released by Liminal Dread Productions in November 2024).
One very interesting fact about her solo albums is that all of them have just one word in the title (Solitude, Dawn, Void, and Requiem), not to mention she keeps an impressive streak of one album per year. “I actually try to keep up the pace with one full length release every year. I’ve written so many songs that I have enough material for at least another album right now and several rough sketches and demos. When I get into this certain creative flow, I try to let it all out. Later I come back to these ideas and refine them. Having just one word as the title wasn’t something I planned. I released an EP called Broken in 2022, after that my first album Solitude followed and I basically just stayed with those one word titles since then. Fun fact: the album title never appears as a song title on the same album, but I do tend to use it later. For example, Solitude is the title of my first album, but also the title of the first song on Requiem,” explained our unstoppable metal diva.
Furthermore, she also explained the reason why the song titles in her latest album Requiem also have just one word, like Useless, Worthless, Sorrow, Death, and Buried, but that doesn’t mean her music should be labeled as Depressive Black Metal. “On this album I came up with the song names before I had the music. I wanted to be inspired by those simple words, like what do I feel when thinking about them and translate that feeling to music. Of course reading those titles can definitely imply something depressive, which is partially true because of the story behind it. But the music isn’t depressive black metal in my opinion, more a mixture between atmospheric black metal and funeral doom. The melodic death and gothic influence isn’t that strong here.”
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Apart form her undisputed solo career, Vanessa is (or was) also part of an interesting music project assembled to celebrate the 36th birthday of Alicia Cordisco (of Arizona’s own Thrash Metal beast Transgressive), with its collaborators spanning countries across three continents, including Canada, Germany, the Netherlands, Singapore, the United Kingdom, and the United States. The name of such a unique project is Cordiscord Elysium, a Melodic Death and Power Metal outfit with several guest musicians from different underground bands, and that released their debut EP titled Alicia Cordisco’s Amazing Birthday, in 2025, followed by the EP Alicia Cordiscord Autumnal Ball, and the single All Carols are Bangers, both also from 2025, and all available on BandCamp. From all songs recorded so far by the project, the most interesting one is hands down their cover version for Eagle Fly Free, by Helloween.
Prior to flying solo, Vanessa was a member of a Zanesville, Ohio-based Progressive Melodic Death Metal/Metalcore band named Zion Code, taking care of their vocal duties from 2022 to 2024, plus playing guitars, bass and keyboards for the band between 2023 and 2024. Formed in 2021 by vocalist and multi-instrumentalist Brandon Mitchell, the band has already released seven full-length albums and two EPs, with Vanessa being part of the 2023 albums Zion Code and Festung, and the 2024 albums Apocrypha and New Dawn Rising. Curiously enough, nothing is available on BandCamp nor on Spotify anymore for reasons beyond our knowledge. Anyway, apart from recording vocals, guitars, bass, keyboards and drums in those albums, Vanessa was also responsible for the production, mixing and mastering, and even the artwork for the 2023 album Festung. I’m curious to listen to Zion Code as I haven’t had a chance yet, but apparently there’s nothing available anywhere, not even unofficial videos uploaded on YouTube by random users.
She can also be found as a guest musician for some very interesting bands and projects. For instance, she recorded vocals for the 2025 album The Burden of I, by Tucson, Arizona’s own Melodic Black/Death Metal musician Alicia Cordisco; vocals for the 2023 single We Can Win, by California-based Avantgarde Black/Power Metal act Black Stag Rising; the dialogue on the song Lebenssinn, from the 2023 EP Die Welt schläft ein, by French Black Metal entity Myrkyttää; additional vocals on the song Remember Me, from the 2025 album Down the Drain, by American Depressive/Atmospheric Black Metal act Nymphrenia; and additional vocals on the song Writhing in Agony I: Reopening Wounds I Have Once Forgotten, from the 2023 EP Writhing in Agony, by UK’s Depressive Black Metal act Shallow Existence. Not only that, Vanessa was also responsible for the artwork for the 2023 album Broken Cleansing and the 2023 EP Afuckt Up Mess, both by American Metalcore/Technical Death Metal act A Karmic Gray, and for the artwork for the 2023 EP Chaos Undivided, by Ohio’s own Death Metal brigade Bloodthirster.
When asked about how she feels having the drum arrangements (as well as the mixing and mastering) done by Michael Easley for her latest album Requiem, she said that it was an exception under her one-woman band project. “I usually do everything myself. This one album is actually the exception. I used a pretty old drum plugin initially, which lacked some human feel. As Michael is a drummer, he offered me to change it a bit and put a bit more life into it, which I gladly accepted. But nothing was done without my approval of course. Also a lot of the music was recorded at a time where my mixing skills weren’t that good. So Michael basically polished it to make it sound similar to my previous albums. For the next album I already have a higher standard I set for myself, so I’m pretty sure right now that if I get it right the way I imagine it, there’s no need for changes afterwards.” Furthermore, she also shared a few words about her writing and composing style. “When I start to write a song, I only have one chords progression or a melody from which I build up the whole song. So most things actually just happen during the recording process. There’s not much planning ahead usually.”
One very interesting thing about her album Requiem is that it is based on her own experiences as a teenager. “If you look at the album in two different sides (songs 1-5 and songs 6-8), there are two different things I wrote about: the first side deals with the feeling of spiraling deeper into depression, while the second side deals with intrusive thoughts. I couldn’t be completely neutral, but I still tried to keep things vague enough so others can find their own story in this. For me personally this story is deeply tied to dysphoria, something that was really strong when I was younger, the fear of coming out and not being able to live as myself. Even if I’ve come a long way since then and it isn’t that bad anymore, I still felt the need to have an outlet for all these emotions.”
Last but not least, Vanessa is not the type of person that’s very active in social media. “I do use Instagram and Bluesky apart from Bandcamp, but generally I’m not that good in this social media game, so my accounts there are definitely not as professional as bands often have them. But I generally don’t feel the need to change that, as it feels more comfortable for me like this,” she commented, and we must all agree she’s doing the right thing. Focusing on her music, on the quality of her final product, is way more important to us listeners than having an active Facebook or Instagram account. And don’t worry, Vanessa, because your music is so good we can take care of the social media posting on your behalf, spreading your emotional music to the four corners of the earth. Because, in the end, that’s what good music is all about.
This uncanny Belarusian Death Metal creature will unleash hell in its third studio opus, offering nine independent compositions united by the idea of searching for inner support in an era of turbulence.
Eximperituserqethhzebibšiptugakkathšulweliarzaxułum, the Minsk, Belarus-based Technical/Brutal Death Metal entity whose name is usually shortened to simply Eximperitus, has acquired quite some attention not only for their 51-letter long name, but also for their austere, no shenanigans blend of extreme music. Famously secretive, with their members using pseudonyms like Dave 1 (guitars), Dave 2 (bass), Dave 3 (drums), and potentially Dave 4 (vocals), as they intentionally keep their identities hidden, making it nearly impossible to find personal details and, therefore, essentially making them “the Daves” of Belarusian metal, Eximperitus are unleashing upon humanity their third studio album, titled Meritoriousness of Equanimity, following up on their 2021 sophomore Šahrartu. Containing nine independent compositions united by the idea of searching for inner support in an era of turbulence, the album offers an acid exposure and scourging of social dogmas and morbid tendencies on the ruins of the old world, continuing to pave the band’s dark path which started in the already distant year of 2009.
The album couldn’t have started in a more demented mode than with One Step Long Infinity, an avalanche of vile riffs and blast beats not recommended for the lighthearted; followed by Contemplation of the Plastic Fibers of Perfection at the Second Level of Reality, carrying a beautiful name for a feast of Brutal Death Metal magic while also offering our avid ears razor-edged riffs and those evil guttural vocals we all love so much. Then after the whimsical interlude Twelve Centuries of Triumph of the Third Kingdom… we face Finding Consistency in the Fourth Quadrant of Eternity, where their Blood Incantation side blends with their core brutality and their guitar riffs and solos penetrate deep inside our souls; followed by the absolutely mental The Untimely Fruit of the Unsaid, bringing forward more of the band’s austere, visceral fusion of extreme music sounds, not to mention how heavy and groovy their bass and drums feel.
Golden Chains for the Construction of Individual Greatness is another ruthless explosion of their Technical and Brutal Death Metal madness, offering those demented blast beats perfect for some good slamming inside the pit; and after another ethereal, cosmic interlude entitled Molecular Disintegration of an Unattainable Solitary Will in a Vessel of Wisdom…, we’re treated to the venomous Chalkionic Wandering Among the Wreckage of the Future, where their crying guitars clash with their deep guttural in a striking metallic paradox. And before all is said and done, those uncanny Belarusian metallers bring forth Standing at the Skirt of the Ruins of Human Nature (…on the Other Side of Man and Time), an extensive outro that could have been a bit shorter, and maybe even less experimental, but that still puts an otherworldly ending to the album.
“In times when despair overflows human hearts… when the chasm of strife between civilizations widens… when loyalty to ideologies tears blood ties apart… when the world stands still, poised for the final leap of prolonged self-destruction… We can draw strength solely from internal sources, which are filled only by the multifaceted power of Death Metal…,” commented the band, as cryptic as their own members, and you can be part of their unique metal cosmos by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their sick creations on Spotify, and of course by ordering their demented new album from BandCamp or from Willowtip Records. Because it doesn’t matter if you have no idea how to pronounce Eximperituserqethhzebibšiptugakkathšulweliarzaxułum – those Belarusian death dealers are among us to crush our damned souls with their music, and their newborn spawn Meritoriousness of Equanimity will surely keep their insanity burning for many years to come, darkly reverberating through the fours corners of the earth.
Best moments of the album:Contemplation of the Plastic Fibers of Perfection at the Second Level of Reality, The Untimely Fruit of the Unsaid and Chalkionic Wandering Among the Wreckage of the Future.
Worst moments of the album:Standing at the Skirt of the Ruins of Human Nature (…on the Other Side of Man and Time).
Released in 2026 Willowtip Records
Track listing 1. One Step Long Infinity 2:26
2. Contemplation of the Plastic Fibers of Perfection at the Second Level of Reality 5:05
3. Twelve Centuries of Triumph of the Third Kingdom… 1:24
4. Finding Consistency in the Fourth Quadrant of Eternity 5:13
5. The Untimely Fruit of the Unsaid 5:41
6. Golden Chains for the Construction of Individual Greatness 4:07
7. Molecular Disintegration of an Unattainable Solitary Will in a Vessel of Wisdom… 1:39
8. Chalkionic Wandering Among the Wreckage of the Future 3:29
9. Standing at the Skirt of the Ruins of Human Nature (…on the Other Side of Man and Time) 4:52
Band members Dave 4 – vocals
Dave 1 – guitars
Dave 2 – bass
Dave 3 – drums
A relentless Maltese Death Metal force will attack armed with their debut album, a powerful rediscovery and reinterpretation of the early 2000’s Death Metal vein, blending old school brutality with a modern edge.
Founded in the fall of 2014, and influenced by a wide variety of extreme music subgenres, with each band member bringing their own distinct influences to the songwriting process, Birkirkara, Malta’s relentless Death Metal force Bound To Prevail is unleashing upon humanity their debut full-length album, aptly titled Enthroned in Torment, following up on their 2017 EP Omen of Iniquity. Recorded, mixed and mastered at SpineSplitter Studio, the new offering by Alan Briffa on vocals, Jean Vella (who’s no longer a member of the band) and Keith Fenech on the guitars, Kevin Mifsud on bass, and Mark Farrugia Sant’Angelo on drums is a powerful rediscovery and reinterpretation of the early 2000’s Death Metal vein, blending old school brutality with a modern edge. Drawing on the technical ferocity of old masters like Suffocation and Monstrosity, as well as the more extreme, yet precise, pummeling approaches of Beheaded, Hour of Penance and Inveracity, the album delivers tracks that are simultaneously tense, technical and fluid, giving every riff room to breathe and strike with maximum impact.
Their sonic massacre begins with the devastating The Nevergod, where Mark sounds demented behind his drums, offering Alan exactly what he needs to bark manically, not to mention the caustic riffage by Jean and Keith. Into the Depths is an absolute chaotic, heavy-as-hell Brutal Death Metal tune led by the inhumane growling by Alan, while Kevin and Mark continue to make the earth tremble in the name of extreme music; and another slab of Kevin’s metallic bass is offered to us all in the Death Metal massacre entitled Defier of Empires, perfect for slamming into the pit. Moreover, it’s impressive how they manage to blend Technical and Brutal Death Metal with great balance and energy, exactly like what we get in Consecrated Perdition, keeping the album at an absurdly high level of violence.
Then the band offers the longest, most detailed of all songs from the album, Atone in Blasphemy, a six-minute overdose of brutality and gore where Mark hammers his drums like a stone crusher, opening up the pit for the visceral riffage by Jean and Keith. It’s pedal to the metal in the frantic, no shenanigans Death Metal attack titled Dawn of Emptiness, again presenting that rudimentary, raw drum sound we all love in this type of music; whereas an ominous start gradually evolves into a bestial sonority in Tomb of the Graveless, with Alan once again vomiting the song’s devilish words like a rabid creature. Lastly, we’re treated to the ruthless title-track Enthroned in Torment, ending the album with the same level of violence as it started for our total delight.
Showcasing their core fusion of aggressive, frantic, pounding rhythmic passages with instantly recognizable melodic overtones, Enthroned in Torment beautifully blends the relentless aggression of classic Death Metal with contemporary clarity and production, creating a sound that honors the past while feeling undeniably current, while also exploring the morbid tension between malevolence and benevolence, set in a chaotic realm shaped by false beliefs and deceitful ambitions. Hence, you can get in touch with those talented and hardworking Maltese metallers via Facebook and Instagram, stream their bludgeoning music on Spotify, and of course purchase Enthroned in Torment from the Lethal Scissor Records’ BandCamp or webstore. With their debut, Bound To Prevail stake their claim in European Death Metal, captivating fans of both old school and modern eras and, therefore, leaving us eager for more of their sonic violence in a not-so-distant future.
Best moments of the album:Into the Depths, Consecrated Perdition and Dawn of Emptiness.
Worst moments of the album: None.
Released in 2026 Lethal Scissor Records
Track listing 1. The Nevergod 5:04
2. Into the Depths 5:06
3. Defier of Empires 5:14
4. Consecrated Perdition 3:47
5. Atone in Blasphemy 6:08
6. Dawn of Emptiness 4:59
7. Tomb of the Graveless 5:28
8. Enthroned in Torment 3:41
Band members Alan Briffa – vocals
Jean Vella – guitars
Keith Fenech – guitars
Kevin Mifsud – bass
Mark Farrugia Sant’Angelo – drums
It’s time to make Deathcore angry again with the incendiary new EP by these unstoppable Canadian bruisers.
Make Deathcore Angry Again. That’s the ruthless motto by Montreal, Quebec’s own Deathcore bruisers Deadwood, who uniquely blend elements from Death Metal and Hardcore to create their own blend of modern Deathcore. Aiming to evoke terror and fear through their music, ensuring their performances are unforgettable, the band currently formed of Derek Heynekemp on vocals (note: the vocals in the EP were recorded by Martin Demontigny), Stephane Filion and Fred Element on the guitars, and Charles Etienne Lafrance on drums returns with a new EP entitled Rituals of a Dying Light, following up on their vicious 2023 EP Inhuman. Recorded at EMNT Studio, and produced mixed and mastered by the band’s own guitarist Fred Element, the EP caters to enthusiastic metalheads who crave pure brutality and violence, positioning the band as one of the must-see acts of the current scene.
In Tales of Massacre the band blends Deathcore with Technical Death Metal to give the song an even more insane vibe, with Stephane and Fred sounding ruthless armed with their axes, therefore offering Martin all he needs to growl like a rabid beast. Heretic is an even heavier, more dynamic and bestial tune by the quartet, with the deep guttural by Martin matching perfectly with the rumbling drums by Charles, not to mention the song’s background haunting sounds; whereas another demented roar by Martin kicks things off in Thirst for Blood, offering more of the band’s trademark Deathcore violence. Whispers of Death is a song made for being played live, as it will surely ignite some sick, infernal mosh pits to the metallic, thunderous riffs by Stephane and Fred; and the EP ends just like it started, on a vile and demented mode with Echoes of The Fallen thanks to the hammering drums by Charles in a beyond cryptic instrumental tune.
Drawing from the ferocity of Meshuggah, the brutality of Whitechapel, and the groove-driven power of Pantera, Deadwood deliver crushing riffs and haunting atmospheres steeped in true dark histories, from the Salem witch trials to the reign of Jack the Ripper, translating into a no shenanigans, vicious EP that will surely please all fans of extreme music. You can get to know more about Deadwood on Facebook, including their upcoming tour dates across Canada and Europe, stream their wicked music on Spotify, and purchase the excellent Rituals of a Dying Light from BandCamp or by clicking HERE. In other words, it’s time to make Deathcore angry again, and the incendiary new EP by these unstoppable Canadian beasts is exactly what’s needed to achieve such a fun objective.
Best moments of the album:Heretic and Whispers of Death.
Worst moments of the album: None.
Released in 2026 Innerstrength Records
Track listing 1. Tales of Massacre 2:48
2. Heretic 4:23
3. Thirst for Blood 2:54
4. Whispers of Death 4:26
5. Echoes of The Fallen 3:36
Band members Martin Demontigny – vocals
Stephane Filion – lead guitars
Fred Element – guitars
Charles Etienne Lafrance – drums
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…
Thousands of lucky fans in Toronto experienced a mesmerizing display of Progressive Death Metal this Friday night, courtesy of three of the must-see names of the current extreme music scene worldwide.
What a phenomenal night of pure heavy music this Friday in Toronto at The Phoenix Concert Theatre thanks to Noel Peters of Inertia Entertainment, who brought to the city three of the must-see names of the Extreme Metal scene worldwide. I’m talking about PSYCROPTIC, RIVERS OF NIHIL,and NE OBLIVISCARIS with their North American Headline Tour 2025, hypnotizing everyone who attended the concert from start to finish. Keith Ibbitson of Metal Paparazzi and I were obviously there to witness an overdose of heaviness, intricacy, energy and creativity blasted by all three bands, offering us almost six hours of top-of-the-line music that made every penny invested in the tickets worth it. That’s exactly what you should expect from true hardworking and talented bands, who put the music and the happiness of their fans above any type of business or economic requirements. In other words, kudos to all bands, to Inertia Entertainment, and to everyone who was at the show to support heavy music in a city where music concerts are becoming pure cash grabbing opportunities for scalpers.
The first band to hit the stage, precisely at 6:45pm (which is way too early taking into account the nightmare that getting in and out of Toronto has become in recent years) were the ruthless Tasmanian Technical Death Metal devils PSYCROPTIC, who have been bringing extreme violence to our avid ears since the already distant year of 1999. Spearheaded by the Haley Brothers, those being drummer David Haley, of Australian Death Metal beasts Werewolves, as well as other insane bands like Faustian and Abramelin, and his demented brother Joe Haley on the guitar, the band showed zero mercy for our putrid bodies with a no shenanigans, in-your-face metal attack, blending songs from their entire discography, including their latest opus Divine Council, release in 2022, and their infernal 2025 single Architects of Extinction (all available on BandCamp and on Spotify). After their show I had the pleasure of chatting with the talented and super cool David Haley, telling him how much I love his style and that we need a Werewolves concert in Toronto. Who knows, maybe he’ll send the message to Sam Bean and Matt Wilcock, right? And if Pstycroptic visit your city any day, you know what to do.
Setlist We Were the Keepers
Frozen Gaze
Architects of Extinction
Cold
Ob(Servant)
Carriers of the Plague
The Watcher of All
Enslavement
Band members Jason Peppiatt – vocals
Joe Haley – guitars
Todd Stern – bass
David Haley – drums
The second band to set foot on the stage at the Phoenix was Reading, Pennsylvania’s own Progressive/Technical Death Metal machine RIVERS OF NIHIL, performing their excellent 2025 self-titled album (available on BandCamp and on Spotify) in full for the delight of everyone at the venue. If their headlining concert was already phenomenal back in June at Lee’s Palace, this time the band formed of Adam Biggs on vocals and bass, Brody Uttley and Andy Thomas on the guitars, Jared Klein on drums, and the unparalleled Patrick Corona on the saxophone offered a very unique experience to their fans, kicking ass from start to finish with their refined technique, undisputed brutality, and of course, the mesmerizing sound of the sax. Songs like the opener The Sub‐Orbital Blues, Water & Time, House of Light, and in special the headbanging American Death ignited some killer mosh pits in a considerably crowded venue, and when you’re able to slam into the pit to the sound of a saxophone, you know it’s going to be an absolute blast. Those guys are becoming fan-favorites in Toronto, and I guess it won’t take long for the Rivers of Nihil to cross our city again in the near future.
Setlist Rivers of Nihil
The Sub‐Orbital Blues
Dustman
Criminals
Despair Church
Water & Time
House of Light
Evidence
American Death
The Logical End
Rivers of Nihil
Band members Adam Biggs – vocals, bass
Brody Uttley – guitars
Andy Thomas – guitars, backing vocals
Jared Klein – drums, backing vocals
Patrick Corona – saxophone
After a quick break it was time for an overdose of awesomeness by Australia’s most innovative metal band to date, Melbourne, Victoria’s one and only Extreme Progressive Metal horde NE OBLIVISCARIS, simply pulverizing our senses with their inspiring, visceral and mesmerizing performance, playing in full their 2014 album Citadel, and their 2023 masterpiece Exul, both available on Spotify, by the way, offering us all over two hours of the best extreme music imaginable. It was a collective catharsis for every single person at the venue, with the crying violin and the melodic clean vocals by Tim Charles making a stunning paradox with the harsh roars by James Dorton, while the rest of the band fired a full-bodied, complex and utterly captivating blend of Progressive Death Metal with an array of different music genres. And what can I say about bassist Martino Garattoni? The guy is a beast armed with his metallic bass, adding endless groove to the band’s already deep sonority.
Let’s say Tim stole the spotlight during the first part of the show when they played Citadel, making it impossible to take our eyes from his performance, specially when he played the violin AND sang at the same time, and I have no idea how he’s capable of doing such difficult things combined to perfection like that. It was brilliant to say the least, and he was also in an excellent mood joking with the fact that they were only one song in, the three-part Painters of the Tempest, but already at 23 minutes of show. Of course, all fans had a blast with the wild mosh pits generated during their most violent song Pyrrhic, but their most magical moments came with those multi-part songs, with Devour Me, Colossus sounding beautifully inhumane.
There was no significant break from Citadel to Exul, just some words from Tim to an already happy crowd, and when they started playing the astonishing Equus I thought the venue was going to collapse due to its power, strength and electricity. The following songs were just as superb, with the crowd even igniting an Amon Amarth-like rowing on the floor to the surprise of the band (and Tim even mentioned that although he couldn’t understand why we were doing that, he loved it and loved the fact we were all having a great time), before all converged into the darkly gorgeous Anhedonia, with Tim once again sounding like an angel on vocals and the violin. After that, when we thought the show was over, the band came back with a very special encore playing the glorious And Plague Flowers the Kaleidoscope, from their 2012 album Portal of I, and if you’re familiar with the band you know the crowd was treated to another ten minutes of first-class metal where, instead of a wall of death, Tim asked everyone to simply grab a partner and dance together with the band. It was one of the coolest moments of the year, and I must say I can’t wait to see those beasts from Down Under live again in a not-so-distant future. To be fair, everyone who enjoys good music must see Ne Obliviscaris live at least once in life. What they do onstage, no other band can. It’s amazing.
Setlist Citadel
Painters of the Tempest (Part I): Wyrmholes
Painters of the Tempest (Part II): Triptych Lux
Painters of the Tempest (Part III): Reveries from the Stained Glass Womb
Pyrrhic
Devour Me, Colossus (Part I): Blackholes
Devour Me, Colossus (Part II): Contortions
Exul
Equus
Misericorde I – As the Flesh Falls
Misericorde II – Anatomy of Quiescence
Suspyre
Graal
Anhedonia
Encore:
And Plague Flowers the Kaleidoscope
Band members James Dorton – harsh vocals
Tim Charles – violin, clean vocals
Benjamin Baret – lead guitars
Matt Klavins – guitars
Martino Garattoni – bass
Daniel Presland – drums
Emerging from the pits of the underworld after a gap of five long years, this Australian Death Metal creature returns with their edgier and most violent album to date.
Emerging from the pits of the underworld after a gap of five long years since their 2020 opus Grand Malevolence, Perth, , Australia’s own Death Metal creature Depravity picks up from where it left off, ensuring that things remain that way as the band proceeds to add more nuance and color to their brand of music on their latest album, titled Bestial Possession. Maintaining the same line-up of Jamie Kay (The Ritual Aura) on vocals, Jarrod Curley (Pathogen) and Lynton Cessford (Iniquitous Monolith) on the guitars, Ainsley Watkins (Scourge) on bass, and Louis Rando (Impiety, The Furor) on drums, Depravity were able to retain their sound in Bestial Possession while fleshing out their compositions, always rooted in the old school sound but not necessarily sounding old school, with the gradual incorporation of Brutal and Technical Death Metal influences having a slightly contemporary edge. Add to that the demonic artwork by Paolo Girardi (Cryptopsy, Skaphos), and there you have one of the must-listen albums of the past few years for admirers of bands the likes of Morbid Angel, Suffocation, Deicide, Hate Eternal, and Nile.
Get ready for a ruthless onrush of malignancy in the form of the opening tune Engulfed in Agony, with Louis destroying our damned souls with his relentless blast beats accompanied by the scorching riffs by Jarrod and Lynton, followed by Eunuch Maker, portraying a controversial yet charming name for a Death Metal song, with their nonstop riffage providing Jamie with exactly what he needs to vociferate like a rabid beast. In Call to the Fallen a quick intro evolves into a groovy Death Metal sonority where the metallic bass by Ainsley will hammer you right in the head; and Awful Mangulation brings to our avid ears another blast of undisputed animosity and rage by those bastards from Down Under, where the guitar work by Jarrod and Lynton couldn’t have sounded more infuriated.
Rot in the Pit, one of the first singles released, reminds me a lot of some of the more recent creations by Cannibal Corpse, with Louis stealing the spotlight with his demented beats and fills; and they definitely know how to name their compositions like what happens with Aligned With Satan, flirting with Progressive Death Metal the likes of Blood Incantation, and of course it sounds incredible. Blinding Oblivion offers a straightforward, no shenanigans display of classic Death Metal where Jamie’s infernal roars walk hand in hand with the demonic kitchen by Ainsley and Louis, and let’s slam into the pit like true bastards to the sound of Legacy, sounding utterly fast, furious, and evil, with Jamie’s gruesome guttural being nicely supported by some rebellious backing vocals. Lastly, closing the album we face the venomous Catastrophic Contagion, a lecture in Australian Death Metal as the icing on the band’s blood-soaked cake.
Exuding sheer class, confidence, and maturity, Depravity function perfectly as a unit as we can all see in Bestial Possession, offering an avalanche of first-class Death Metal to us all before this tumultuous year ends. Hence, don’t forget to give them a shout, or even a guttural roar, on Facebook and on Instagram, staying up to date with their demented live performances, to stream their incendiary discography on Spotify, and obviously to purchase the excellent Bestial Possession from their own BandCamp, or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Australia might be a country known for its deadly animals, but once you get a taste of the violence crafted by Depravity in their new album Bestial Possession, you’ll then realize there’s something even more dangerous lurking in the shadows Down Under.
Best moments of the album:Eunuch Maker, Awful Mangulation and Aligned With Satan.
Worst moments of the album: None.
Released in 2025 Transcending Obscurity Records
Track listing 1. Engulfed in Agony 4:44
2. Eunuch Maker 4:43
3. Call to the Fallen 5:13
4. Awful Mangulation 3:31
5. Rot in the Pit 3:52
6. Aligned With Satan 4:47
7. Blinding Oblivion 4:26
8. Legacy 3:14
9. Catastrophic Contagion 4:23
Band members Jamie Kay – vocals
Jarrod Curley – guitar
Lynton Cessford – guitar
Ainsley Watkins – bass
Louis Rando – drums
This five-headed Technical Death and Black Metal beast from Poland will attack armed with their debut offering, portraying the fragility and transience of human life.
Forged in the fires of Kraków, Poland by the end of 2023, the Technical Death and Black Metal beast known as Impermanence is unleashing hell with the release of their debut offering, entitled Anicca. Recorded at Studio Poziom -1, mixed and mastered at Dahaka Productions, and displaying a beyond Stygian yet captivating artwork by Alicja Michalec, the debut opus by Mateusz Bednarz on vocals, Wojciech Wróbel and Paweł Hernik on the guitars, Bartłomiej Fitas on bass, and Konrad Pieczara on drums portrays the fragility and transience of human life, all embraced by the band’s unrelenting blend of extreme music, being therefore highly recommended for fans of renowned acts from the Extreme Metal scene the likes of Behemoth, Belphegor, Nile, and God Dethroned, just to name a few.
The album’s phantasmagorical, eerie Intro will embrace us in pitch black darkness before the band rips our hearts out with Sorrodise, with both Wojciech and Paweł delivering a wild fusion of Black and Death Metal through their flammable riffs accompanied by the rumbling bass by Bartłomiej. In other words, the album couldn’t have started in a more compelling way. From Mirage to Lust brings elements from the current Scandinavian Melodic Death and Black Metal scene, with Mateusz taking the lead with his devilish screams, and the band then goes absolutely mental in the Melodic Black Metal beast entitled Apocalypse, with Konrad bringing forward sheer heaviness with his classic beats and fills, inviting us all to slam into the pits of the netherworld.
There’s no sign of the band slowing down at all; quite the contrary, this five-headed creature of extreme music will pulverize us all with Spiritual War, where the guitars by Wojciech and Paweł exhale madness and sulfur; whereas their metallic sounds continue to darken the skies in Fugitive, with tons of intricacy flowing from their riffs, bass and drums, all enfolded by Mateusz’s venomous roars. As expected, there’s no such thing as “sounding mellow” or “happy music” to those guys, and they invest in their most Behemoth-inspired sonority in Ascension Through Defiance, with their riffage cutting our skin deep while Konrad pounds his drums nonstop in the name of Polish Blackened Death Metal for our absolute delight. And lastly, we face the hard-hitting Crumbling, deviating a bit form their core Black and Death Metal, but still sounding tight and heavy as usual.
“Anicca is a hymn to the fragility that marks our existence. The album’s name is derived from Buddhist terminology and signifies impermanence. The lyrical layer explores themes of transience and the search for purpose in the world around us. Songs begins and ends with the ticking of a clock, clearly marking both the start and the conclusion of the story being told. Each track presents a different narrative, offering a unique perspective on the somber aspects of human nature. This concept extends beyond the lyrics, shaping the band’s overall artistic identity,” commented the band about their amazing newborn baby, and you can get in touch with them and know more about their music, tour dates and plans for the future on Facebook and on Instagram, stream their caustic music on YouTube and on Spotify, and grab a copy of the excellent Anicca from their own BandCamp, from the Satanath Records’ BandCamp or webstore, or simply by clicking HERE. In the end, we are all fragile beings, we are not permanent, and the music found in Anicca perfectly reminds us of how hard it is to face such a harsh truth.
Best moments of the album:Sorrodise, Apocalypse and Ascension Through Defiance.
Worst moments of the album:Crumbling.
Released in 2025 Satanath Records
Track listing 1. Intro 1:24
2. Sorrodise 4:20
3. From Mirage to Lust 5:16
4. Apocalypse 3:23
5. Spiritual War 4:12
6. Fugitive 6:06
7. Ascension Through Defiance 5:03
8. Crumbling 5:56
Band members Mateusz Bednarz – vocals
Wojciech Wróbel – guitars
Paweł Hernik – guitars
Bartłomiej Fitas – bass
Konrad Pieczara – drums
Playing their own blend of Technical and Brutal Death Metal, this Finnish entity will extinguish all existence to the sound of their invigorating and powerful new album.
Playing their own blend of Technical and Brutal Death Metal that’s insanely heavy and yet incredibly varied, Helsinki, Finland-based entity Enragement returns with their fourth full-length beast, an invigorating, powerful expression that ticks all the boxes entitled Extinguish All Existence. Following up on their 2022 album Atrocities, and showcasing a sinister artwork by Daemorph Art, the new album by Atte Ojanne and Tuomas Iivanainen on vocals and guitars, Juhana Korkka Heinonen on vocals and bass, and Lasse Sannikka on drums is a striking depiction of the band’s raw power, aggression and versatility, cementing their name not only in the local Finnish scene, but also everywhere else in the world where the fusion of violence and dexterity is truly appreciated.
Lasse shows no mercy for our souls and begins blasting his drums in Vorarephilia, a demented onrush of Technical Death Metal boosted by the band’s deranged growls and screeches, and things get even more serious and intricate in Abyssal Hellscapes, with the strident guitar lines by Atte and Tuomas bringing an extra dosage of violence to the band’s already demonic sounds. Then a Doom Metal-infused intro morphs into another killer attack by Enragement titled Pathogenesis, where their sulfurous vociferations match perfectly with the finesse and rage flowing from their riffs and solos; whereas the quartet keeps smashing our frail bodies with their blend of Death Metal in Parasitic Ingress, with Lasse once again sounding inhumane behind his drums, followed by Harbingers of Degradation, one of the heaviest, most infuriated songs of the album while also presenting extremely detailed and complex lines, with Lasse stealing the spotlight with his ruthless drumming.
Vesuvius is perhaps the “weakest” of all songs, although it’s still a pulverizing display of the band’s core Technical Death Metal, and it’s pedal to the metal in the technical yet venomous Hypercarnivorous, with the guitar duel by Atte and Tuomas exhaling heaviness and intricacy in an overdose of sonic madness by those talented Finnish metallers. After that, an infuriated attack of harsh growls, blast beats and razor-edged riffs will penetrate deep inside your soul in Insectiferous Abomination, living up to the legacy of complex and violent extreme music, and it’s time to break our necks headbanging to the utterly heavy Natural Mass Asphyxiation, with Juhana and Lasse making sure the earth trembles to the sound of their vicious kitchen. Then we have the title-track Extinguish All Existence closing the album on the most demented note you can think of, where the entire band sounds infernally awesome and with Atte, Tuomas and Juhana bursting their lungs screaming in the name of Death Metal.
In a nutshell, Enragement have struck the right balance with Extinguish All Existence, making their album satisfying, interesting, and also hugely enjoyable, in special for admirers of the bestial music crafted by Cutterred Flesh, Devourment, Abominable Putridity, Blood Red Throne, Katalepsy, Benighted, and Aborted, just to name a few. You can find more details about such an amazing Finnish band on Facebook and on Instagram, stream their awesome music on Spotify, and above all that, show them your utmost support by purchasing their new album from their BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. It’s time to extinguish all existence, and the music found in the new album by Enragement will most definitely work as a great soundtrack for the cleansing of our putrid and decaying world.
Best moments of the album:Abyssal Hellscapes, Harbingers of Degradation and Extinguish All Existence.
Expanding their fierce Chilean/American identity, channeling the death drive (Thanatos) into a relentless exploration of human rituals, mortality, and cultural collapse – a true Book of Death forged in sound – Santiago, Chile and Boston, Massachusetts-based Progressive/Technical Death/Thrash Metal beast Overtoun returns in full force with their third offering, entitled Death Drive Anthropology, the follow-up to their 2021 sophomore This Darkness Feels Alive. Recorded at Estudio del Sur, and produced, engineered, mixed and mastered by Martín Furia at Somma Productions, the new album by Yoav Ruiz-Feingold on vocals, Matias Bahamondes on the guitar, Matias Salas on bass, and Agustin Lobo on drums further cements the band as one of the most compelling and forward-thinking forces emerging from the Latin American metal landscape. Rooted in the primal force of 90’s death-thrash yet sharpened by a modern, incisive edge, the album fuses Latin rhythms, folk-tinged guitars, and razor-tight riffs, being therefore a must-listen for admirers of the music by Carcass, Atheist, and Revocation, among others.
THE HEADBANGING MOOSE 