Tag Archives: thrash metal

Metal Chick of the Month – Julia Elenoir

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I see your faces… Bleeding from within…

Ciao, miei cari metallari! Are you ready to embark on a wild journey to the “Bel Paese” together with The Headbanging Moose to know more about our metal lady of this month of April? Not just a metal singer and songwriter, but she’s also a psychologist and psychotherapist, creating a strong connection between heavy music and mental health, or as she prefers to say, she talks to the community where loud music meets deep healing. Bridging metal, psychology, and visual art, shaping a voice and a vision that are both intense and deeply human, she’s the frontwoman for the up-and-coming Italian band 5RAND, and one of the must-see names of the new generation of growlers. Her name is Julia Eleonora, better known by her stage moniker Julia Elenoir, and she will kick your ass mercilessly with her undeniable talent, charisma and passion for all things Heavy Metal.

Born and raised in the beautiful city of Rome, Italy, Julia has been creating music since her childhood, having grown up surrounded by rock and metal. She started playing classical guitar at the age of 13, and formed her first band when she was 17, beginning to compose her earliest songs. Over the years, her musical style evolved naturally from lighter styles like Hard Rock to a heavier, more introspective metal sound, with Death Metal becoming her main style. “Because I love its edge, its rawness, the catharsis it creates. The extreme side lets me explore, push boundaries and channel aggression and vulnerability at the same time. With 5RAND we mix melodic death and deathcore …not to provoke, but to dig deeper,” she said when asked why she decided to follow such an extreme path with Death Metal.

Founded in 2015 in Rome, Italy by Julia on vocals and Pierluigi Carocci on the guitars (who was working on his own solo project), Riccardo Zito on bass, and Francesco Marroni on drums, but currently formed of Julia and Pierluigi alongside bassist Acey Guns and drummer Andrea De Carolis, the up-and-coming Melodic Death/Groove Metal act 5RAND builds on a punishing modern metal foundation layered with the cinematic depth of melodeath, creating an intense and emotionally immersive soundscape and, therefore, carving out a distinctive place in the modern metal scene. “The name 5RAND comes from a South African 5 Rand coin that Pierluigi once received from a shaman as a good-luck charm. It stayed with him and with us,” explained Julia in one of her interviews. “Musically, we live at the crossroads of aggression and melody. We play, we record, we move forward.”

Having since toured extensively across Europe, sharing the stage with iconic acts such as Dark Tranquillity, Vader, Butcher Babies, Infected Rain and many others, 5RAND alredy released their debut album Sacred / Scared in 2017, followed by their 2019 sophomore Dark Mother, and their excellent third installment Ordhalia, from 2025, a sonic evolution in their already solid career, sounding darker, more introspective, and conceptually daring. Furthermore, Julia has written all the lyrics for 5RAND and has co-composed the music for every song released by the band to date, showing how much she’s involved with 5RAND. Not only that, even Julia couldn’t give a precise answer when asked how she would label the music by 5RAND, just to give you an idea of how dynamic, fresh and unique their style can be. “That would be hard to say precisely, since we don’t fit exactly in only one subgenre, like many many modern bands don’t. We’ve got a bit of Thrash and Death Metal, but also Industrial Metal and a lot of melodies too.” And if you want to experience their music in loco you can find their albums on Spotify, and also visit YouTube to enjoy their official videos for songs like Old Angel Midnight, Paint of Pain, Erase, Several Injuries, Cordyceps, live versions of Preacher of Lies and Cordyceps, and many more.

Owner of such a powerful and versatile voice, it was obvious that we would see Julia as a guest vocalist for different bands and projects. For instance, you can find her doing all female vocals for the 2022 album Ex Mortis Gloria, by Bristol, England-based Technical Death Metal band Imperium; as a guest vocalist for the song A New One, from the 2018 album Liberation, by Italian Symphonic Heavy Metal band Infinita Symphonia; and also as a guest vocalist for the 2020 album Phagocity, by Italian Groove Metal outfit South of No North. Moreover, when asked about venturing on a solo project in the near future, she said that’s indeed a possibility. “I’m always open. For now, I’m focused on 5RAND, but I don’t rule out solo work or collaborations in the future. Art is fluid; it transforms. I’d especially like to do something acoustic with my own songs, but for now we’re working on the next release.”

As expected, Julia is highly influenced by some of the most important names in the history of heavy music. “Growing up, we’d say the classics: Iron Maiden, Metallica, Slayer… now the names are slightly different and more recent though, like Slipknot, Gojira, Fear Factory,” she commented. In addition, as one of the most promising female growlers of the current scene, Julia is also a huge admirer of the music by Arch Enemy and Jinjer. “I’ve been inspired by voices like Corey Taylor from Slipknot, and among the women I really admire Cristina Scabbia, Alissa White-Gluz, Tatiana Shmayluk, and other artists who know how to blend intensity and versatility. I admire anyone who can shake me to the core while destroying the stage.”

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Regarding her vocal technique, Julia said that she works a lot on her clean and growl dual-voice style. “It’s not about volume, but control, endurance, and intensity. You have to be able to express emotion even when the voice is rough. I always warm up, focus on breathing, and pay close attention to vocal health. Clean parts and growls require completely different mindsets.” She practices a lot everyday, always focusing on warmups and breathing exercises, saying that singing in a Death Metal and/or Metalcore style has its easy parts, as well as really hard ones. “The hard part is keeping vocal health and expressiveness. The ‘easy’ part or at least what becomes more natural with experience is letting emotion flow once technique is solid.”

If there’s one thing that Julia and the boys from 5RAND enjoy doing, that’s hitting the stages with their live concerts. After signing with Art Gates Records, the band started working on new dates, aiming at expanding their touring and reaching a wider audience. A very good reason why all of us should keep an eye on their social media, because if 5RAND are taking your city by storm anytime soon, you surely don’t want to miss it. Also, when asked which song she likes to sing live the most, she mentioned the excellent Cordyceps. “Cordyceps because the crowd goes particularly crazy with that song, but I love to sing all our songs.” Julia also has her “hobbies” behind the scenes during their tours. The rest of the band said they suspect Julia really enjoys watching people eat. “That’s why everything she cooks is in enormous quantity,” commented her fellow bandmates.

When questioned about the current metal scene in Italy, she said that Death Metal, as well as Progressive and Power Metal, might probably be the most appreciated genres by Italian fans, apart of course form the bigger bands like Iron Maiden, Metallica and so on, but she also said that the majority of the Italian people tend to be a bit “lazy” in their musical taste and aren’t that eager to discover new bands or genres. “People mostly like what they already know,” she commented. Furthermore, she also mentioned she’s proud to see a new generation of women participating in the scene in Italy. “We’re seeing more and more women in metal bands, which is obviously very good! Many of them are very talented, maybe they’re still a bit confined to the symphonic style and to singing (too few women play an instrument on stage), but we hope their number keeps growing; versatility will come eventually.” However, she also believes everyone should be treated equal in heavy music. “I don’t think a band should be considered just for its members’ sex. In a better world, the musicians’ sex shouldn’t be more important than the colour of their hair.”

As mentioned in the beginning of this tribute to our multi-talented Italian diva, Julia is also a professional psychologist, having studied Psychiatry, Psychology and Behavioral Sciences (with a major in Psychology) at Sapienza Università di Roma, graduating in 2013, and having also got a major in Brief Strategic Therapy (BST) from Scuola di Specializzazione in Psicoterapia Breve Strategica, currently running her own initiative named “Harmony of Chaos”, offering a fusion of metal music and insights on mental health. Not only that, Julia seems to be a philomath, having also obtained a Master’s Degree in Web Marketing and ICT and a degree in Marketing, Management and Business Economy, both also at Sapienza Università di Roma. And when she’s not studying, she loves arts, books, and sports, especially outdoors and in nature, as well as cooking a lot and keeping fit. As you can see, Julian never stops, she’s always creating new things, always searching for something new, always broadening and deepening her knowledge, and may she keep condensing all that awesomeness in the music by 5RAND for many years to come, because it’s people like Julia who definitely contribute to a much better world.

Julia Elenoir’s Official Facebook page
Julia Elenoir’s Official Instagram
Julia Elenoir’s Official YouTube channel
5RAND’s Official Facebook page
5RAND’s Official Instagram
5RAND’s Official YouTube channel

“Joining 5RAND in 2015 was a big step. I’m also passionate about psychology… in fact, I’m a psychologist and later specialized as a psychotherapist with a metal soul. I love helping people overcome mental struggles.” – Julia Elenoir

Album Review – Papa Necrose / Anthropomorphy Execution (2026)

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This ruthless Death Metal beast from Brazil is ready to unleash hell once again with their third full-length opus, delivering sharp criticism of religion, world wars, and the darker trajectories of power and authority.

Formed in 2010 in the harshest corners of Salvador, the capital of Brazil’s northeastern state of Bahia, the ruthless Death Metal beast known as Papa Necrose is ready to unleash hell once again with their third full-length opus, poetically entitled Anthropomorphy Execution, following up on their 2021 sophomore Open Infected Body. Recorded, mixed and mastered at Evil Live Studios, with drum editing by Hugo Elias (Infected Cells), and showcasing a sinister cover art by Alex Shadrin of Nether Temple Design, the new album by frontman Alessandro Necrose , guitarists Carlos Silva and Danilo Vagner, bassist Éric Gusmão, and drummer Luquian Silva marks a moment of maturation for the band, keeping their raw, aggressive style intact while also exploring more complex song structures, technical riffing, and layered compositions influenced by the most technical 90’s Death Metal the likes of Death’s Human and Pestilence’s Testimony of the Ancients. Lyrically, the album delivers sharp criticism of religion, focusing on the role of Catholicism in historic humanitarian crises, world wars, and the darker trajectories of power and authority.

Carlos and Danilo begin slashing their axes in great fashion in Fall, Die, and Break, and when Luquian starts hammering his drums it’s absolute hell and chaos, followed by Disenchant Them, another bestial Death Metal extravaganza with a strong Thrash Metal vibe, with Éric pounding his bass while Alessandro roars like a rabid creature. Then after the phantasmagorical, eerie (but not very exciting) interlude Between Voices and Fear, we’re treated to the title-track Anthropomorphy Execution, a ruthless tune where Éric’s bass sounds absolutely metallic, providing the band’s guitar duo with exactly what they need to fire their deadly riffs; and they speed things up and get even more infuriated in the Death Metal attack titled Bleeding Social Membrane, led by another infernal vocal performance by Alessandro.

Hammered in the Mind lives up to the legacy of 90’s Death Metal while also presenting the band’s own technical and even progressive twist, while in Eighteen Years Awake we face pure violence and hatred flowing from all instruments, in special from the nonstop, savage drums by Luquian. Cathedral of Death sounds absolutely fast, furious and demented from start to finish, with Alessandro barking like a rabid entity while his bandmates offer a killer fusion of rage and dexterity; whereas in Silenced by Death all cryptic background sounds and other elements add an extra touch of darkness to their core Death Metal. Finally, we’re invited to one final mosh pit in The Thousand Yard Gaze, featuring a guest guitar solo by James Murphy (Death, Obituary, Cancer), with Éric and Luquian bringing forth their most intricate sounds of the entire album for our total delight.

Delivering scorching riffs, crushing drums, and an atmosphere designed for those who crave the raw edge of the genre since their inception, Papa Necrose tackle human contradictions, religious hypocrisy, war, death, and other societal ills through their music, exposing the underbelly of the world we live in, exactly like what they have to offer in their new album. Having said that, if you want to join such a talented Death Metal army and experience their rebellious music in all of its glory, you can find those Brazilian death dealers on Facebook and on Instagram, stream their demented sounds on Spotify, and above all, purchase the excellent Anthropomorphy Execution from the Awakening Records’ BandCamp and Big Cartel. Religion, war, death and power have always been a dangerous combination, and albums like Anthropomorphy Execution by Papa Necrose are among us to prove once and for all that Death Metal will forever be the best way to channel all that evil in a positive and exciting way.

Best moments of the album: Bleeding Social Membrane, Eighteen Years Awake and Cathedral of Death.

Worst moments of the album: Between Voices and Fear.

Released in 2026 Awakening Records

Track listing
1. Fall, Die, and Break 4:52
2. Disenchant Them 4:31
3. Between Voices and Fear 1:10
4. Anthropomorphy Execution 5:08
5. Bleeding Social Membrane 7:19
6. Hammered in the Mind 3:38
7. Eighteen Years Awake 4:43
8. Cathedral of Death 4:05
9. Silenced by Death 4:09
10. The Thousand Yard Gaze 6:50

Band members
Alessandro Necrose – vocals
Carlos Silva – guitar
Danilo Vagner – guitar
Éric Gusmão – bass
Luquian Silva – drums

Guest musician
James Murphy – guitar solo on “The Thousand Yard Gaze”

Album Review – Türböwitch / Under Haunted Skies (2026)

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Budapest, Hungary’s own  Speed and Thrash Metal machine channels the spirit of 80’s extreme music in their third full-length album, a full-scale, post-apocalyptic metal experience.

Faithful to their no-compromise ethos, Budapest, Hungary’s own  Speed/Thrash Metal machine Türböwitch channels the spirit of 80’s Extreme Metal through a modern sense of immediacy, delivering songs that are fast, filthy and built for maximum impact. Recorded at Spezial Hell Studio, and produced, mixed and mastered in by Gravel Shores at Spiritside Studio, the third full-length offering by vocalist Zsolt “Zslöd” Lédeczi, guitarists Zsolt “Kommandante Klit” Harsányi and Péter “Mr. Fireball” Tóth, bassist Valdemár “Välde” Volcsánszky, and drummer Botond “Khäosz Bringer” Kasper, entitled Under Haunted Skies, is a ten-track journey through a world collapsing into darkness and clawing its way toward resilience, a full-scale, post-apocalyptic metal experience – dark, fast, atmospheric, and unforgiving, marking a decisive step forward for the band while further refining the uncompromising attitude and relentless live energy that have earned them a strong reputation within the European underground.

Just like in an 80’s horror movie, the intro Evoker of the Twilight drags us to absolute darkness before we’re crushed to pieces in Markoláb, with the thunderous beats and fills by Khäosz Bringer inspiring us all to slam into the pit while Zslöd growls like a demented beast from the abyss, all boosted by Välde’s metallic bass jabs. The title-track Under Haunted Skies is just as deranged and rebellious, with the striking riffage by Kommandante Klit and Mr. Fireball cutting our skin deep mercilessly; whereas venturing through the badass lands rules by Motörhead, the band offers the melodic yet visceral Cult Mastery, the perfect depiction of Black N’ Roll. And it’s pedal to the metal in the high-octane extravaganza Ashbringer, with Zslöd’s vile roars being nicely complemented by the band’s thrashing backing vocals.

They keep firing their unrelenting blend of Blackened Thrash Metal in Highways of Death, with the electrifying, venomous sound of their guitars penetrating deep inside our rotten souls. Then Välde’s ruthless bass kicks off the heavy, infuriated and maniacal Ultimate Failure of Will, another excellent choice to dive into the pit like a headbanging bastard, while delivering the most melodic riffs of the whole album, it’s time for When the World Crumbled, keeping the atmosphere as chaotic and fun as possible. In Moshpit at the End of the Day the name says it all. Get ready to be caught in an absolutely wild mosh pit of Black and Thrash Metal, with Khäosz Bringer literally bringing chaos to the band’s already incendiary music; and lastly, we have Road to Resilience, the most Rock N’ Roll song of all, and also the least exciting one, although when they speed things up they sound great as usual.

Rooted in Blackened Speed and Thrash Metal, Under Haunted Skies draws from the raw savagery and punk-fueled aggression of acts like Midnight, the razor-sharp thrash precision of The Crown, and the dark melodic drive of Hellripper, while maintaining a clearly identifiable personality. In case you want to know more about Türböwitch, their music, tour dates and plans for the future, you can find those headbanging bastards on Facebook and on Instagram, stream their sick music on Spotify, and above all, purchase the electrifying Under Haunted Skies from BandCamp, from Time To Kill Records, or by clicking HERE. Hopelessly addicted to fast riffs, unholy noise, and loud parties, Türböwitch continue to thrive in the filth and fury of the underground, and you better get ready because once they catch you, there’s absolutely no escape from their sonic anarchy.

Best moments of the album: Markoláb, Ashbringer and Moshpit at the End of the Day.

Worst moments of the album: Road to Resilience.

Released in 2026 Time To Kill Records

Track listing
1. Evoker of the Twilight 1:13
2. Markoláb 3:31
3. Under Haunted Skies 4:05
4. Cult Mastery 3:27
5. Ashbringer 3:40
6. Highways of Death 4:00
7. Ultimate Failure of Will 2:12
8. When the World Crumbled 4:40
9. Moshpit at the End of the Day 3:12
10. Road to Resilience 3:52

Band members
Zsolt “Zslöd” Lédeczi – lead vocals
Zsolt “Kommandante Klit” Harsányi – lead guitars, backing vocals
Péter “Mr. Fireball” Tóth – rhythm guitars, backing vocals
Valdemár “Välde” Volcsánszky – bass
Botond “Khäosz Bringer” Kasper – drums, backing vocals

Album Review – Hellripper / Coronach (2026)

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Let the carnage commence to the incendiary new offering by the chief standard bearer for Blackened Thrash and Speed Metal worldwide.

From the moment that Aberdeen, Scotland-based Hellripper burst into the metal world’s simmering consciousness back in 2014, the Blackened Speed and Thrash Metal throne was destined to be conquered. Recorded and mixed by the band’s own mastermind, vocalist and multi-instrumentalist James McBain at Coronach Studios, mastered by Damian Herring at Subterranean Watchtower Studios, and showcasing a stunning artwork by the always phenomenal Adam Burke of Nightjar Illustration, the breathtaking Coronach, the fourth studio album by James and his Hellripper, named after the improvised communal singing that is a tradition at funerals and wakes in Scotland and Ireland, is the band’s visceral but vital sound rendered in eye-frying, widescreen thrash-o-vision, a dazzling display of nefarious militancy with huge, skull-slicing, unforgettable tunes (digging deep into the hazy past while also drawing ghostly parallels between ancient rites and the challenges and conflicts of the present day), and a worthy follow-up to the project’s 2023 masterpiece Warlocks Grim & Withered Hags.

The opening tune Hunderprest, featuring the James’ partners in crime Joseph Quinlan on lead and additional guitars and Marianne on additional vocals, continues the feast of blackened sounds from their 2023 album, with James delivering his trademark harsh roars nonstop. Marianne is also featured in Kinchyle (Goatkraft and Granite), with its poetic lyrics being nicely vociferated by James (“Salt water fills the wounds of time / Grey Palisades fade into endless fucking, pure soul-sucking night / Born of thunder, wind and rain / Vultures on jagged wings usurp the kings, and call upon my name”) while the music is as rebellious and vibrant as it can be; and the serene sounds of a piano kick off The Art of Resurrection before morphing into a frantic feast of Thrash and Speed Metal, with James’ riffs and pounding drums walking hand in hand with his visceral growls. Then we face Baobhan Sith (Waltz of the Damned), featuring guest Jess Townsend on the violin, and the music is just as demolishing and captivating as the rest of the album, again showcasing a phenomenal guitar work by James, flawlessly clashing with Jess’ crying violin.

Joseph and Marianne are back in Blakk Satanik Fvkkstorm, portraying the perfect name for a Hellripper song, and of course it’s highly recommended for some action inside a wild circle pit, offering the high-octane vibe of Speed Metal and James’ devilish Black Metal gnarls. James keeps delivering sheer violence and speed mixed with the culture and folklore of his beautiful homeland in Sculptor’s Cave, firing some of his fastest riffs and blast beats; followed by Mortercheyn, featuring Max Southall on additional percussion, one of those songs that will put you to dance, or in other words, a chaotic hurricane of Blackened Thrash Metal led by James’ trademark caustic vocals and riffage. Last but certainly not least, we have the title-track Coronach, with guest Antonio Rodriguez bringing even more epicness to the music with his bagpipes. With the title and some of the lyrics coming from Coronach, a poem by Sir Walter Scott (“He is gone on the mountain, / He is lost to the forest, / Like a summer-dried fountain, / When our need was the sorest. / The font reappearing / From the raindrops shall borrow, / But to us comes no cheering, / To Duncan no morrow!”), while the music is simply majestic, the album ends on a beyond climatic and epic mode.

“I think this album sounds ‘colder’ than the previous one,” notes James. “With each album I create, I feel the overall sound is more diverse than before, but also more cohesive in tone and atmosphere. You’ll find influence from anything and everything from Venom and Mercyful Fate, to Watain, Opeth and Manic Street Preachers, all wrapped up in a nice speed metal package! I wanted each track to include something that I had never done previously, whether that be the inclusion of a different instrument, or the way a song starts, for example. I think each track will offer some sort of surprise.” Hellripper is already considered a chief standard bearer for Blackened Thrash and Speed Metal worldwide, and Coronach will undoubtedly inspire James to keep howling into the future with more of his sensational music. You can start following Scotland’s best metal band ever on Facebook and on Instagram, subscribe to their YouTube channel, stream all of their scathing creations on Spotify, and of course purchase a copy of the incendiary Coronach from BandCamp or by clicking HERE or HERE. In other words, simply hit play, feel the music found in Coronach embrace your rebellious soul, and let the carnage commence.

Best moments of the album: Kinchyle (Goatkraft and Granite), Baobhan Sith (Waltz of the Damned), Blakk Satanik Fvkkstorm and Mortercheyn.

Worst moments of the album: None.

Released in 2026 Century Media Records

Track listing
1. Hunderprest 5:49
2. Kinchyle (Goatkraft and Granite) 4:33
3. The Art of Resurrection 5:44
4. Baobhan Sith (Waltz of the Damned) 6:24
5. Blakk Satanik Fvkkstorm 3:53
6. Sculptor’s Cave 4:35
7. Mortercheyn 4:18
8. Coronach 8:48

Band members
James McBain – vocals, all instruments

Guest musicians
Joseph Quinlan – lead & additional guitars on “Hunderprest” and “Blakk Satanik Fvkkstorm”
Marianne – additional vocals on “Hunderprest”, “Kinchyle (Goatkraft and Granite)” and “Blakk Satanik Fvkkstorm”
Jess Townsend – violin on “Baobhan Sith (Waltz of the Damned)”
Max Southall – additional percussion on “Mortercheyn”
Antonio Rodriguez – bagpipes on “Coronach”

Album Review – Lamb of God / Into Oblivion (2026)

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Beholden to no one, and with nothing left to prove, these Groove Metal titans are unleashing upon us all their tenth studio album, as we all head into oblivion.

Beholden to no one, and with nothing left to prove, Richmond, Virginia’s own Groove Metal titans Lamb of God are back with album number ten in their undisputed career, the hard hitting Into Oblivion, following up on their critically acclaimed VII: Sturm und Drang (2015), Lamb of God (2020), and Omens (2022). Produced and mixed by longtime studio collaborator Josh Wilbur, and recorded across multiple locations tied closely to the band’s identity, the new opus by the iconic frontman D. Randall “Randy” Blythe, guitarists Mark Morton and Willie Adler, bassist John Campbell, and drummer Art Cruz finds the band embracing their position as modern metal veterans. The ten-song collection references the band’s roots, doubles down on their signature groove, and expands their approach, resulting in an album that feels both deliberate and untethered.

In the opening track Into Oblivion we already see Randy deliver his trademark acid lyrics (“I – I am the chaos / I am the voice you can’t unhear / Strife and betrayal / I am the war re-engineered / In a life far worse than death / I am the thief that steals your breath”) while the music is heavy, atmospheric and enfolding thanks to the hammering drums by Art and the always sharp riffs by Mark and Will; and it’s then pedal to the metal in the best Thrash and Death Metal style in Parasocial Christ, with Randy vociferating rabidly as usual accompanied by the metallic riffs and solos by the band’s unstoppable guitar duo. The rumbling bass by John sets the stage for another vicious attack by Lamb of God entitled Sepsis, a neck breaking aria of first-class Groove Metal, followed by The Killing Floor, a demented song perfect for igniting a maniacal circle pit, with Art crushing his drums like there’s no tomorrow. And after such a thunderous tune it’s time for the dark ballad El Vacío, where Randy delivers deep, passionate clean and harsh vocals.

St. Catherine’s Wheel offers more of their trademark (and utterly headbanging) sonority led by the visceral riffs by Mark and Will, supported by John’s menacing bass, whereas Blunt Force Blues brings to our avid ears another round of their acid words growled by Randy (“Here comes another enemy / A goddess standing on the wall / For all the men doomed to die / An alabaster beauty sweats / Paints the currents black, they must ride / Last breath decays / Do you hear?”) while Art’s drums dictate the song’s bludgeoning pace and vibe. The band continues to hammer their sonic weapons of mass destruction in Bully, also presenting elements from Southern Metal added to their core groove madness, followed by A Thousand Years, a mid-tempo aria as grim and obscure as it can be, with Randy declaiming the song’s devilish lyrics rabidly from start to finish. Lastly, they invite us for one final slam into the pit to the sound of Devise / Destroy, a venomous beast of Groove Metal where their scathing riffs and pounding drums match perfectly with Randy’s enraged roars.

“For me, the album is about having the space to breathe creatively and not feeling like we have to keep up with any trend or expectation,” said Mark Morton. “It feels nice to be untethered from any agenda beyond rallying around the notion of, ‘Let’s just make music that we think is cool,’ which is really where it all started.” Randy Blythe also explained why the band decided to name the album Into Oblivion. “Because that’s where we’re heading. In general, the album is about the ongoing and rapid breakdown of the social contract, particularly here in America. Things are acceptable now that would’ve horrified people just 20 years ago.” We’re living dark times indeed, and you can join Lamb of God in their daily fight against all that’s wrong in our rotten society by following them on Facebook and on Instagram, by checking their acid videos on YouTube, by streaming their incendiary discography on Spotify, and of course by purchasing their first-class new album from their own webstore or from the special Into Oblivion website. In the end, as we’re all heading into oblivion like Randy said, at least let’s go down in style, raising our horns to one of the best metal albums of the year.

Best moments of the album: Parasocial Christ, The Killing Floor, Blunt Force Blues and Devise / Destroy.

Worst moments of the album: None.

Released in 2026 Century Media Records/Epic Records

Track listing
1. Into Oblivion 3:34
2. Parasocial Christ 3:20
3. Sepsis 3:38
4. The Killing Floor 4:16
5. El Vacío 4:17
6. St. Catherine’s Wheel 4:05
7. Blunt Force Blues 4:11
8. Bully 4:13
9. A Thousand Years 3:53
10. Devise / Destroy 3:49

Band members
D. Randall “Randy” Blythe – vocals
Mark Morton – guitar
Willie Adler – guitar
John Campbell – bass
Art Cruz – drums

Album Review – Rob Zombie / The Great Satan (2026)

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The Great Rob Zombie is back in action with his incendiary eighth studio album, featuring 15 tracks with a sound described as a return to his “Hellbilly” roots.

As a rock icon and filmmaker with a unique vision, the indomitable Rob Zombie has continuously challenged audiences as he stretches the boundaries of both music and film. Four years after his excellent 2021 album The Lunar Injection Kool Aid Eclipse Conspiracy, Rob Zombie and his henchmen Mike Riggs on the guitars, Rob “Blasko” Nicholson on bass, and Ginger Fish on drums are back with another blast of Punk Rock, Heavy Metal, rebelliousness, blood and horror in The Great Satan, the eighth studio album in his undisputed career, featuring 15 tracks with a sound described as a return to his “Hellbilly” roots, overflowing his trademark sound and his always interesting way of interpreting love, life, death, blasphemy, and of course, Satan.

F.T.W. 84 feels like a journey back in time, more specifically to the glory of the late 90’s and early 2000’s, and it’s fantastic how after all these years Rob can still deliver crushing heavy music, with his vocals sounding truly demonic. Moreover, is it “Fuck the World” or “For the Win”? Well, it’s up to you to decide. Anyway, Mike delivers his old school trademark riffs nonstop in Tarantula while Ginger proves why he’s been hammering the drums with the band since 2011 in another hard hitting feast of heavy music. (I’m a) Rock ‘N’ Roller has a similar energy and vibe as his ultimate classic “Dragula”, blending Alternative and Industrial Metal with his passion for horror movies; followed by Heathen Days, another song inspired by his early days where Mike once again fires sheer adrenaline from his axe for our absolute delectation. Then, after the weird interlude Who Am I, it’s time for the Rock N’ Roll party titled Black Rat Coffin, offering an amalgamation of all phases and albums released by the band, with Rob’s vocals sounding haunting as usual. And how not to enjoy a song with such a stylish title like Sir Lord Acid Wolfman? It’s absolutely experimental, cryptic and phantasmagorical.

It’s pedal to the metal in the industrialized and mechanized attack entitled Punks and Demons, reminding me of the classic sound by the mighty Ministry, with Blasko and Ginger making sure the earth cracks in half to their demented kitchen; and everyone will get wet with Rob’s venomous vociferations in The Devilman, while the music once again presents a strong Industrial Rock and Metal vibe. Out of Sight is a bit generic compared to the rest of the album, albeit Mike’s riffs still exhale electricity nonstop; whereas Revolution Motherfuckers is perfect for raising our horns and breaking our necks, a true metallic anthem dedicated to our rotten and decaying world. Then after another horror movie-like interlude, titled Welcome to the Electric Age, it’s time for total anarchy with The Black Scorpion, offering an incendiary hybrid of Punk Rock and Thrash Metal led by Ginger’s killer drums boosted by the song’s wicked background sounds. Rob and his crew slow things down and deliver a strip tease tune titled Unclean Animals, as cryptic and dark as it can be, before all fades into absolute fear and obscurity in the outro Grave Discontent, ending the album on a vile, grim mode.

It’s always amazing to witness how talented, hardworking and passionate Rob Zombie is about his music, movies, and every other artistic expression in his undisputed career, and all those decades of experience didn’t make him sound mellower or softer; quite the contrary, it feels like he’s getting heavier, darker and more violent album after album, with The Great Satan representing another display of pure excellence by such a unique, multi-talented artist. You can find more information about him and all of his projects on Facebook and on Instagram (or simply click HERE for all things Rob Zombie), stream his pulverizing rockin’ anthems on any platform like YouTube and Spotify, and of course, put your dirty hands on The Great Satan by clicking HERE. A lot of people might consider the title of his new album blasphemous, satanic, impure, or controversial, but let’s he couldn’t care less about that. He’s the Great Rob Zombie, he lives and breathes our Great Rock N’ Roll, and that’s what really matters in the end.

Best moments of the album: F.T.W. 84, Heathen Days, Punks and Demons and The Black Scorpion.

Worst moments of the album: Out of Sight.

Released in 2026 Nuclear Blast Records

Track listing
1. F.T.W. 84 3:55
2. Tarantula 3:02
3. (I’m a) Rock ‘N’ Roller 3:32
4. Heathen Days 2:17
5. Who Am I 0:34
6. Black Rat Coffin 3:04
7. Sir Lord Acid Wolfman 3:45
8. Punks and Demons 2:38
9. The Devilman 3:26
10. Out of Sight 2:47
11. Revolution Motherfuckers 2:33
12. Welcome to the Electric Age 0:54
13. The Black Scorpion 1:33
14. Unclean Animals 3:33
15. Grave Discontent 1:00

Band members
Rob Zombie – vocals
Mike Riggs – guitars
Rob “Blasko” Nicholson – bass
Ginger Fish – drums

Album Review – Dissentience / Kaiju EP (2026)

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These monsters of Melodic Thrash and Death Metal are back with a ruthless new offering, a four-track concept EP that fuses cinematic horror, crushing riffs, and lyrical dread into a singular apocalyptic vision.

Hailing from Bethlehem, Pennsylvania, Melodic Thrash/Death Metal unit Dissentience returns with their most conceptually ambitious and sonically punishing release to date, the EP Kaiju, following up on their 2022 full-length Empire Anatomy. Produced by Corey Pierce and Dissentience, engineered by Matt Menafro at Peach Pie Sound, mixed by Zeuss, mastered by Alan Douches at West West Side Music, and displaying an apocalyptic artwork by Matt Stikker, the new offering by Connor Valentin on vocals and guitar, James Vitale also on the guitar, Sean Langer on bass, and Nick Scherden on drums is a four-track concept EP that fuses cinematic horror, crushing riffs, and lyrical dread into a singular apocalyptic vision. Drawing inspiration from classic Japanese monster films and the unknowable terrors of Lovecraftian mythology, the record explores the narrative of a colossal, nameless beast as it decimates a city, and rather than paying tribute to kaiju lore in name alone, the band builds a world where riffs, lyrics, and production align to place the listener in the path of annihilation.

The opener Obsidian Tomb captures the initial moments of catastrophe, and just like in an apocalyptic movie the song starts in a serene, dark manner before turning into a pulverizing Thrash and Death Metal attack, with Connor’s vocals exhaling hatred and fury. Then we have Chaos Absolute, focusing on the political and social collapse that follows the attack, transpiring progressiveness and intricacy while also showcasing an overdose of violence flowing from all instruments. In addition, Nick’s drumming is a thing of beauty throughout the entire song. The title-track Kaiju then represents the climax of the EP, unleashing a relentless barrage of violence and devastation while the metallic bass by Sean crushes our damned souls accompanied by the ultra sharp riffs by James in a lecture in Progressive Death Metal; whereas Death Shroud transitions into the aftermath, a landscape of ash, grief, and existential dread, and that dreadful vibe is perfectly depicted in the grim riffage by James and the hammering drums by Nick, before a killer solo by James concludes the EP on a visceral mode.

With Kaiju, Dissentience have crafted a fully realized conceptual journey that pushes their sound further into new territory, refusing to imitate the past by forging a sound that avoids the trappings of nostalgia, drawing from influences like Trivium, Revocation and Lamb of God. You can get in touch with such an amazing new name of the current metal scene via Facebook and Instagram, subscribe to their YouTube channel, listen to their music on Spotify, and put your monster-like hands on Kaiju from the band’s BandCamp or webstore. Where others nod to monsters, Dissentience gives them voice, weight, and consequence like in Kaiju, sounding and feeling as heavy and thunderous as the giant creatures depicted throughout the entire album.

Best moments of the album: Chaos Absolute and Kaiju.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Obsidian Tomb 6:09
2. Chaos Absolute 5:24
3. Kaiju 4:42
4. Death Shroud 7:23

Band members
Connor Valentin – vocals, guitar
James Vitale – guitar
Sean Langer – bass
Nick Scherden – drums

Album Review – Soul of Anubis / Ritual (2026)

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This Portuguese duo returns with their fourth full-length opus, capturing the full scope of their signature sound, a visceral blend of aggression and dynamic shifts that refuses to be confined to a single genre.

Formed in 2010 in Northern Portugal, Sludge/Doom Metal creature Soul of Anubis has carved out a distinct place within the European underground thanks to their explosive fusion of Thrash, Sludge, Doom and Post-Metal, channeling the raw urgency of Mantar, the primal energy of early Mastodon, and the relentless drive of High On Fire and Black Cobra. Now in 2026 the duo formed of Hugo Ferrão on vocals and guitars, and Rui Silva on drums returns with their fourth full-length opus, titled Ritual, following up on their 2019 album The Last Journey. Recorded, mixed and mastered at Studio Lote 71 in Portugal, Ritual captures the full scope of the band’s signature sound, a visceral blend of aggression and dynamic shifts that refuses to be confined to a single genre.

The duo wastes no time and kicks off their groovy and visceral attack with the title-track Ritual, where Hugo screams with tons of anguish while Rui crushes his drums in the name of sludge and doom. Then featuring guest vocalist Keijo Niinimaa from Rotten Sound, it’s pedal to the metal in the demented Mind Crusher, bringing elements of Hardcore, Punk Rock and Crust to their trademark insanity, followed by Incarnation, the first single of the album, keeping the fires of Doom Metal burning, with Hugo not only roaring manically but his riffs also exhale aggression. And Vermin is by far the least dynamic and exciting of all songs, although it still presents the band’s core essence (but not as strong as the other songs).

Death Cult carries the perfect name for a song by any band in the heavy music spectrum, and Soul of Anubis crush our spinal cords with their undisputed blend of absolute doom, as heavy as a thousand riffs in their “version” of it. Let’s keep headbanging like true maniacs to the sound of God’s Burial, where the duo builds a rumbling atmosphere with their caustic riffs and beats; and it’s then time to put the pedal to the metal and speed things up in Human Torch, with Hugo once again bursting his lungs screaming. Last but not least, we face the longest and most obscure of all songs, Unholy Tomb, with Hugo’s riffage and Rui’s drums making the earth tremble until the very last second of such a groovy-as-hell aria.

Pushing the sonic boundaries by Soul of Anubis even further, expanding upon their trademark blend of massive riffs, dark groove, and emotional gravity, while highlighting a newfound sense of urgency and compositional versatility, Ritual is undoubtedly their strongest effort to date, and you can put your damned hands on such an incendiary album by purchasing it from BandCamp, from the Time To Kill Records’ webstore, or simply by clicking HERE. Don’t forget to also follow the duo on Facebook and on Instagram, and to stream their austere creations on Spotify. With their new album, Hugo and Rui have crafted a true metallic ritual, pointing to an even brighter future ahead of them and, consequently, keeping us metalheads as happy as we can be with another demolishing underground band.

Best moments of the album: Mind Crusher, Dead Cult and Human Torch.

Worst moments of the album: Vermin.

Released in 2026 Time To Kill Records

Track listing
1. Ritual 6:17
2. Mind Crusher 4:46
3. Incarnation 4:49
4. Vermin 3:29
5. Death Cult 5:20
6. God’s Burial 4:32
7. Human Torch 3:41
8. Unholy Tomb 8:30

Band members
Hugo Ferrão – vocals, guitars
Rui Silva – drums

Guest musician
Keijo Niinimaa – vocals on “Mind Crusher”

Album Review – Overtoun / Death Drive Anthropology (2026)

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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”

Album Review – Malefic / Impermanence (2026)

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Drawing influence from Black, Death, and Thrash Metal, this unrelenting Atlanta horde wrestles with themes such as politics, drug use, existentialism, perseverance, and the lasting consequences of one’s choices in their debut opus.

Drawing influence from Black, Death, and Thrash Metal, the unrelenting Atlanta, Georgia-based visionaries Malefic are unleashing upon us their debut offering, entitled Impermanence. Having roared onto the Atlanta metal scene in 2007 with ambitions to modernize the Black Metal genre, the band currently formed of Aaron Baumoel on vocals and drums, Jason Davila and Sam Williams on the guitars, and Andy McGraw on bass wrestles with themes such as politics, drug use, existentialism, perseverance, and the lasting consequences of one’s choices in their debut opus, being therefore highly recommended for fans of bands the likes of Old Man’s Child, Carcass, Testament, Dissection, and Opeth.

Jason and Sam rev up the band’s malefic engine with their scathing riffs in Blood of the Throne, evolving into a blackened feast of Thrash Metal led by Aaron’s raspy roars and unstoppable beats and fills; and he keeps hammering his drums in In Darkest Dreams, accompanied by the caustic riffs and rumbling bass lines by Jason, Sam and Andy, resulting in the perfect excuse for some wild mosh pit action. Of Gods and Man presents a more sinister, introspective start, before exploding into a demented Black Metal extravaganza, and let’s bang our heads nonstop to the sound of Idiocracy, spearheaded by the always rhythmic drumming by Aaron. After that, it’s time for some insane slamming to the sound of Deserter, where their strident riffs give it an even edgier vibe.

The second half of the album kicks off to the sound of acoustic guitars in Disembodiment before all hell breaks loose in another display of caustic Blackened Thrash Metal madness, followed by Obsidian Earth, one of the most detailed and sulfurous songs of the album, with Aaron stealing the show with his demonic gnarls and killer blast beats. After such an infernal display of extreme sounds the band brings forward Echoes of Silence, starting again in an acoustic manner and evolving into a bestial sonic devastation as expected from such a talented and enraged ensemble. Lastly, the album closes with the first single released, It Haunts, blasting our ears with their Skeletonwitch-inspired ferocity and the always venomous roaring by Aaron.

Offering a fresh, modern take on metal that is unrivaled in the United States, Impermanence represents the culmination of many years of hard work and dedication, along with a deep love for music beyond strict genre boundaries, and if you want to know more about such an unstoppable force of extreme music, you can follow Malefic on Facebook and on Instagram, subscribe to their YouTube channel, stream their music on most platforms like Spotify, and of course grab a copy of their flammable debut from Terminus Hate City’s BandCamp or webstore. The year of 2026 is definitely going to be a blast for admirers of Blackened Death and Thrash Metal, and the first full-length album by Malefic will undoubtedly fuel our inner demons to keep slamming into the pits of the underworld, always in the name of the most extreme of extreme music.

Best moments of the album: Blood of the Throne, Deserter and Obsidian Earth.

Worst moments of the album: Of Gods and Man.

Released in 2026 Terminus Hate City

Track listing
1. Blood of the Throne 3:16
2. In Darkest Dreams 3:44
3. Of Gods and Man 3:54
4. Idiocracy 3:56
5. Deserter 3:53
6. Disembodiment 4:39
7. Obsidian Earth 4:14
8. Echoes of Silence 4:45
9. It Haunts 5:33

Band members
Aaron Baumoel – vocals, drums
Jason Davila – guitar
Sam Williams – guitar
Andy McGraw – bass