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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Metal Chick of the Month – Aleksandra Stamenković

Hear what I say… There’s no time for prayer!

Lionesses are the primary hunters in a pride, working together to bring down prey, and are faster and more agile than males. And in this cold and dark month of December our lioness Aleksandra “Lioness” Stamenković, guitarist for an array of awesome metal bands including Jenner, Frozen Crown, Chaos Rising, and Sigma Epsilon, will shred her prey to pieces armed with her scorching riffs and solos, as our metal lady of the month. Having said all that, get ready for a wild ride together with Aleksandra and her unstoppable axe, bringing absolute fire to The Headbanging Moose and, therefore, leaving you completely disoriented and eager for more of her first-class music. The days might be getting shorter, and the nights are surely getting longer this time of the year but, in the end, that’s the perfect environment for Aleksandra to hunt us down and to crush our damned souls with her electrifying blend of Heavy Metal magic.

Born on August 5, 1996 in Belgrade, the capital of the southeast European country of Serbia, Aleksandra is the younger sister of Marija Dragićević, the drummer for one of her bands Jenner, showing the talent and passion for heavy music runs wild in their family’s DNA. She was first interested in music back in 2011 when she was 13 years old, saying she wanted to play bass guitar, but as she couldn’t afford one she used to borrow it from one of her sister’s friends. However, she said that “destiny” decided she was going to become primarily a guitarist in 2013, having bought her first guitar back then, therefore starting her journey in heavy music.

Although she’s a renowned musician in the world of Heavy, Power, Thrash and Speed Metal, Aleksandra also nurtures a deep passion for  medicine and graphic design, having graduated from the Faculty of Medicine from the University of Belgrade in September 2021, and becoming a certified nutrition coach, combining her artistic passion with a commitment to promoting healthier lifestyles. And yes, she’s THAT smart and intelligent. In addition, although she mainly writes original songs, she started a YouTube channel back in 2020 where she posts covers of her favorite songs, like for example Into the Lungs of Hell, by Megadeth, Abigail, by King Diamond, and Coma of Souls, by Kreator, among several others, and apart from the usual social media you can also find her on Linktree, Patreon, and Big Cartel.

It was in December 2013 when the indomitable Stamenković Sisters founded in Belgrade the ruthless Speed/Thrash Metal beast known as Jenner, from the ashes of a Glam Metal band they had named Cat O’ Nine Tailz, in which she played bass, and that disbanded after two years. Aleksandra started playing the guitar back then, and with the support of Marija they started searching for two guys to play with them to form a band in the vein of Madam X, but they ended up meeting two girls instead, vocalist Anđelina Mitić and bassist Jana Bacić, and so Jenner was born. Named by Aleksandra after Dr. Edward Jenner (1749 – 1823), an English physician and scientist known as the “father of immunology” for creating the world’s first vaccine, which was for smallpox, the girls started playing covers of their favorite bands including Warlock, Judas Priest, Grim Reaper, and Saxon, and as a year later they became more interested in Thrash Metal they started playing covers of Agent Steel, Exodus, and Anthrax, just to name a few, as well as they started writing their own songs.

After a few lineup changes, the band is now a trio formed of Aleksandra on vocals and guitar, Marija on drums, and Anja Mirković on bass. Under different lineups, but always with Aleksandra and Marija in their formation, Jenner released a demo back in 2015, their debut full-length album To Live Is to Suffer, in 2017, the EP The Test of Time, in 2020, and their sophomore opus Prove Them Wrong, in 2024, with Aleksandra becoming responsible for the band’s vocal duties starting in 2019, as you can see in their 2020 EP and their 2024 release. Not only that, she also took care of the design and logo of their 2017 debut, and of their 2020 EP, expanding her skills even further as a musician and as an artist. You can enjoy basically their entire discography in places such as YouTubeSpotify, and BandCamp, and of course have an absolute blast with their official videos for songs like Night Without DawnThe Test of TimeNever Say Die, and No Time for Prayer, among others. Moreover, don’t forget to check Beacons for all things Jenner.

Aleksandra has also been part of two other amazing bands for a few years, those being Sigma Epsilon and Chaos Rising. Regarding Belgrade-based Sigma Epsilon, the band has been delivering a more straightforward, no shenanigans blend of Thrash Metal since its inception back in 2014, when a few members of a Serbian band named Prisoner, those being her boyfriend Emil Ivošević on vocals, Stefan Tomić on the guitar, and Nikola Simonović on drums, left the band and started creating their own music. It was only after Aleksandra joined them that they released their first offering, the 2019 EP Svi putevi vode do smrti (or “all roads lead to death” in English), followed by the 2021 single Ruka koja mrda usta, or “the hand that moves the mouth.” She mentioned in one of her interviews that the band is working on a new conceptual album, but until then simply go to BandCamp or Spotify to enjoy their existing songs, and also go check the official videos for the songs Svi putevi vode do smrti, Kap, and Trofej.

The metal machine Chaos Rising is a collaborative international metal project formed back in 2019 open to every female artist interested in metal music, with the project’s participants and guests offering an amalgamation of styles from Groove and Thrash Metal to traditional Heavy Metal and also Melodic Death Metal. It’s indeed a phenomenal initiative showcasing the power of women in heavy music, and if you don’t have enough time to check all of their songs on BandCamp or Spotify, you must at least listen to the song with our dauntless diva on the guitars, the excellent Prisoner, also featuring Miss ScarRed (Germany) on vocals, Catherine Fearns (Switzerland) on the guitar, and Stéphanie Nolf (France) on bass and drum programming.

Furthermore, starting now in 2025 she has also become one of the guitarists for Italian Power Metal warriors Frozen Crown, joining the also indomitable girls Giada Etro on vocals and Alessia Lanzone on the guitar, as well as Federico Mondelli on guitars, keyboards and vocals, Francesco Zof on bass, and Niso Tomasini on drums. Having already played with Frozen Crown during the summer festivals this year, Aleksandra is already fired up to start working with the band on their future releases, and the band is also extremely excited to have her as a permanent member. “Some may question our decision to include in the band someone who was born so far away from us, in a non-EU country, even! Truth is, you don’t choose your family – you build your own. Aleksandra appeared in a pretty challenging situation, and helped us go through both the shocking realization of Jade’s health conditions and the sudden line-up shake, motivating us and gracing us with her enthusiasm. Her incredible dedication, humility, and constant positivity proved we have just found the perfect fit, and after working together for a while, it just ‘feels right’ to start this new chapter with her, and to entrust her with the Crown and the Sword,” commented the band.

If that’s not enough for you, you can also find Aleksandra as the guitarist for Slovenian Heavy Metal beasts Hellcats from 2017 to 2022. “In 2017 Hellcats needed a female guitarist to play with them in Arena Stožice where they would be supporting Slovenian punk band Pankrti on their 40-year band anniversary. They couldn’t find someone closer, so they asked me. At first I thought that it will be only for that concert, but we got along nicely, and I really liked them as people and as musicians,” commented the lioness. In addition, Aleksandra also played bass live with Serbian Melodic Death Metal band Nemesis a couple of years ago, and with the aforementioned Serbian Speed/Thrash Metal band Prisoner back in 2017.

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Not only that, you can also find Aleksandra shredding her guitar as a guest musician in the song Open Your Eyes, from the 2025 album Retribution, by Hungarian Heavy/Power/Speed Metal band Burning Sun; in the song Cimmeria, from the 2023 compilation By This Sword We Rule: A Decade of Steel, by Serbian Epic Heavy/Power/Doom Metal band Claymorean; in the songs We Fight Like Lions and Fear and Regret, from the 20187 EP II/III/IV by Serbian Stoner/Sludge/Southern Metal band Superhammer; and in the song Creatures from the Depth, from the 2019 album Monuments of Fallacy, by Croatian Thrash/Death Metal band War-Head. She has also played with other bands including Realma and Black Widow Conspiracy, has collaborated with several brands such as Harley Benton, Blackfire Pickups and Safari Pedals, and she is a proud partner with Guitar Pro, Guyker, Drop Strap, Playtronica, Ordyh, and Enya Music, aligning with companies that support her music and gear choices.

Her idols and influences are what anyone would except from an avid thrasher like Aleksandra, including some of the most important names in the history of Thrash Metal like Megadeth, Anthrax, and Testament, all playing a crucial role in her style and career, of course. Moreover, when asked which attributes a brand new Speed or Thrash Metal band should have in order to become unique and successful, her answer was exactly what we all want to hear from hardworking metal musicians like her. “People need to make music the way they feel. It doesn’t matter what genre it is, because listeners can recognize energy and sincerity, even when it comes to metal,” she said, and when asked what would be her ideal live show when performing as a band, she also focused on the importance of feeling you’re doing things right. “I’m not sure there’s an ideal performance. What is important is the feeling on stage. And for that to happen I just need to have no technical problems on stage. I’m not asking much.”

As a huge supporter of the underground, and of course as a proud Serbian, Aleksandra was asked not too long ago about the current scene in her homeland, including bands, fanzines, webzines and anything else connected with heavy music. She said that, unfortunately, the situation looks “complicated” as despite the fact there are tons of excellent bands in Serbia, very few webzines promote them, and therefore very few people attend their concerts. Well, let’s say that’s not an issue exclusive to Serbia, as everywhere you go you’ll face the same lack of proper support, with very few kids these days getting into heavy music and succumbing to to the most generic playlists shoved down their throats via all types of social media.

Aleksandra also proved to be an old school metalhead, maybe like Accept would say, an “analog woman”, as she simply loves when an album is released as a vinyl and/or cassette, supporting the revival of those formats (although she said she prefers CDs because they’re more practical). “I’m not a collector myself, but I have some old vinyl and cassettes which I inherited from my mother and I’m really happy that I had an opportunity to have my music on vinyl and tapes,” she commented. Furthermore, when asked about the impact of digital platforms on the careers of bands and artists, she said that Bandcamp for instance helps a lot, but it shouldn’t be the only way of promoting and selling music. “I still haven’t tried other platforms, but I can notice that they’re widespread. I think the ideal way I promote bands is combining all the available methods,” said our unstoppable lioness.

She was also asked in one of her interviews about the greatest satisfaction that music has brought her, and her answer was once again beyond awesome. “The fact that I achieved my goal. My goal was to have at least one physical release of my music, a CD that I’ll be able to show to my children and grandchildren one day. To have something behind me that other people will be able to see and hear and maybe find themselves in it. To inspire others.” Aleksandra also prefers working with a label instead of going full DIY because she believes there are several things she couldn’t do on her own, like a full-bodied promotion of her albums and tours, which makes sense as she can put all her focus on making music, and that’s what really matters in the end.

Lastly, when asked about what a band should sacrifice in order to be successful, and if she has ever sacrificed anything in her life for a better future of her bands, she mentioned she had to reconsider many times what she wanted with the band and whether it was worth it. “In the end, I decided to dedicate myself to education and family, and for the band to be my hobby. Because of that decision, we often have to sacrifice the time we would spend with the family or learning to have a rehearsal or a gig.” To be fair, at least it looks like she’s been able to balance everything quite well in recent years, managing multiple bands, projects and other aspects of her life, always delivering to us avid fans high quality heavy music, and may our unrelenting lioness keep roaring for many decades to come for our absolute delight.

Aleksandra Stamenković’s Official Facebook page
Aleksandra Stamenković’s Official Instagram
Aleksandra Stamenković’s Official YouTube channel
Jenner’s Official Facebook page
Jenner’s Official Instagram
Jenner’s Official YouTube channel

Album Review – Phenomy / Phantasmagoria (2025)

This unrelenting Lebanese outfit is back with their their distinctive fusion of Melodic Thrash, Groove, and Heavy Metal in their fourth studio album.

Formed in 2014 in Beirut, Lebanon, the unrelenting Thrash Metal squad known as Phenomy is ready to kill armed with their their distinctive fusion of Melodic Thrash, Groove, and Heavy Metal in their new offering, titled Phantasmagoria, the fourth studio album in their career, and the follow-up to their 2022 opus Syndicate of Pain. Produced, mixed and mastered by Jaroslav Celujko and Loïc El Haddad at Jaro Sound, recorded at Ontune Studio (vocals and bass), at Grotesque Productions (guitars), and at Sound Pressure Studios (drums), and displaying a modern yet dark artwork by Stefan Koidl, the new album by vocalist and guitarist Sam Felfy, guitarist Loïc El Haddad, bassist Peter Aoun, and drummer Rudy Bejjani sees the band take a solid step further in their career, positioning them as a driving force hailing from the Lebanese metal community.

The cinematic intro Prologue invites us to Phenomy’s dark and venomous realm in Hush, where they put the pedal to the metal and fire a striking fusion of Melodic Death, Thrash and Groove Metal led by the thunderous drums by Rudy. Then the bass by Peter sounds utterly metallic in Sins Of The Father, featuring vocalists Ricardo A. Haila and Léa Wardini, while Loïc keeps firing his trademark thrashing riffs. Shellshock Paradise starts in a melancholic vibe before evolving into a dark ballad by the band led by Sam’s deep, anguished vocals, whereas Gambit brings hints of the music from their homeland mixed with traditional Groove Metal, with the riffs and solos by Sam and Loïc exhaling passion. Then in Mad Man’s Waltz they tried to sound too much like Avatar, but the final result is not compelling nor vibrant at all.

Back to a much heavier, more exciting sound we face Swallow The Fear, with their riffs and beats walking hand in hand with the Machine Head-like vocals by Sam, and it’s time to jump up and down with the quartet in the Groove Metal extravaganza Sacrilège, once again showcasing nuances of the music form their own country, in special in its riffs. Phantasmagoria is another song with a cryptic intro that evolves into a progressive version of their Groove Metal, all embraced by Rudy’s classic drumming, followed by the seven-minute instrumental piece A Dream Within A Dream, and although I’m not a big fan of long instrumental songs, this one is quite entertaining. There’s still time for the sinister interlude Abel and The Frail, where the serene vocals by Sam warm up our hearts and souls before I, Witness concludes the album on a high and violent mode, undoubtedly the most thrilling song of all, with Sam’s guttural matching perfectly with the hurricane of sounds blasted by Loïc, Peter and Rudy.

Exploring themes ranging from personal struggles to societal and existential conflicts, Phenomy are on absolute fire throughout their newborn spawn, bringing their trademark heaviness, groove and melodic sounds to our avid ears in great fashion. Hence, you can get to know more about those talented metallers by following them on Facebook and on Instagram, including their live performances, stream all of their albums on any available platform such as Spotify, and of course grab a copy of the album from the Art Gates Records webstore as a CD + shirt bundle or as a CD + shirt + hoodie bundle or you can also click HERE. Phantasmagoria is undoubtedly the band’s strongest effort to date, and based on the quality of the music found in it I believe it won’t take long for such an excellent band to strike us once again with an incendiary album number five.

Best moments of the album: Sins Of The Father, Swallow The Fear and I, Witness.

Worst moments of the album: Mad Man’s Waltz.

Released in 2025 Art Gates Records

Track listing
1. Prologue 1:12
2. Hush 3:23
3. Sins Of The Father 4:20
4. Shellshock Paradise 4:57
5. Gambit 7:18
6. Mad Man’s Waltz 3:28
7. Swallow The Fear 4:42
8. Sacrilège 3:54
9. Phantasmagoria 4:46
10. A Dream Within A Dream 7:11
11. Abel and The Frail 3:55
12. I, Witness 4:35

Band members
Sam Felfy – vocals, guitar
Loïc El Haddad – guitar
Peter Aoun – bass
Rudy Bejjani – drums

Guest musicians
Ricardo A. Haila – vocals on “Sins Of The Father”
Léa Wardini – vocals on “Sins Of The Father”

Album Review – Glorious Depravity / Death Never Sleeps (2025)

This deadly supergroup returns with their sophomore beast, showcasing the best elements of Death Metal, even with its roots in the old school sound and the music tinged with Thrash Metal influences.

With an illustrious lineup featuring members of Pyrrhon, Gravesend, Woe, and Scarcity, among others, New York, United States-based Death Metal brigade Glorious Depravity is ready to pulverize us all with their sophomore beast entitled Death Never Sleeps, following up on their 2020 debut Ageless Violence. Recorded and mixed by Joe Cincotta (Suffocation, Obituary) at Full Force Recording, mastered by Ryan Williams (The Black Dahlia Murder), and showcasing a sinister artwork by Dan Seagrave (Morbid Angel, Malevolent Creation), the newborn spawn by Doug Moore (Pyrrhon, Scarcity, Seputus) on vocals, Matt Mewton (Woe) and George Paul (Gravesend) on the guitars, John McKinney (Woe) on bass, and Chris Grigg (Woe) on drums is an album that showcases the best elements of Death Metal, even with its roots in the old school sound and the music tinged with Thrash Metal influences, being therefore perfect for fans of Cannibal Corpse, Monstrosity, Vader, Deicide, Sinister, Decapitated, and Power Trip.

Get ready to be pulverized like a putrid insect to the sound of Slaughter the Gerontocrats, kicking off the album on a demented mode to the gruesome roars by Doug, and Chris keeps hammering his drums like a true beast in Stripmined Flesh Extractor, offering more of the band’s trademark fusion of Death and Thrash Metal. Freshkills Poltergeist carries an excellent title for a song that reeks of old school Death Metal, led by the visceral, razor-edged riffs by Matt and George; whereas their Death Metal avalanche continues in full force in Sulphrous Winds (Howling Through Christendom), with Doug growling deeply accompanied by the rhythmic, venomous kitchen by John and Chris. The band then shows no mercy for our necks and bodies in the headbanging feast titled Scourged by the Wings of the Fell Destroyer, with their guitars exhaling absolute hatred.

Chris once again takes the lead with his unrelenting beats and fills in The Devouring Dust, living up to the legacy of bands the likes of Immolation, Cannibal Corpse and Morbid Angel; while the riffage by Matt and George will penetrate deep inside your skin in Carnage at the Margins, inviting us all to slam inside the pit like true metalmaniacs, all boosted by the inhumane gnarling by Doug. It’s then time to slow things down a bit and break our necks headbanging to the sound of Necrobotic Enslavement, accelerating its pace closer to the end until a true demonic finale, and lastly we’re treated to the title-track Death Never Sleeps, with their Stygian, vile sounds smashing our cranial skulls while Matt and George also fire some sick guitar solos for our absolute delight.

In comparison to their debut, they have refined and upgraded their music and have left no stone unturned in Death Never Sleeps, sounding  more impactful and powerful than ever before as well as having found more of their identity. You can get to know more about this evil supergroup by visiting them on Facebook and on Instagram, stream their demented creations on Spotify, and of course grab your copy of their new album from their own BandCamp, from the Transcending Obscurity Records’ main store, Bandcamp, Europe store or US store, or by clicking HERE. Death Never Sleeps is undoubtedly a significant release in the style, a top-tier, invigorating Death Metal opus, and I’m sure it will inspire them to keep crafting deadly music for years to come, gifting us with album number three in a not-so-distant but surely dark and demonic future.

Best moments of the album: Slaughter the Gerontocrats, Sulphrous Winds (Howling Through Christendom) and Carnage at the Margins.

Worst moments of the album: Necrobotic Enslavement.

Released in 2025 Transcending Obscurity Records

Track listing
1. Slaughter the Gerontocrats 3:53
2. Stripmined Flesh Extractor 3:09
3. Freshkills Poltergeist 3:17
4. Sulphrous Winds (Howling Through Christendom) 2:26
5. Scourged by the Wings of the Fell Destroyer 4:03
6. The Devouring Dust 3:26
7. Carnage at the Margins 4:39
8. Necrobotic Enslavement 3:25
9. Death Never Sleeps 5:44

Band members
Doug Moore – vocals
Matt Mewton – guitars
George Paul – guitars
John McKinney – bass
Chris Grigg – drums

Metal Chick of the Month – Aleks Radmanovich

Stygian – Abyss – Call – To me!

The month of November has always been cold, rainy and dark in the northern hemisphere, the perfect type of weather for some ass-kicking Extreme Metal. However, this time The Headbanging Moose will travel all the way to the stunning Australia not only to experience a much better weather, but also to enjoy the Black, Death and Thrash Metal attack by our metal lady of the month. She’s the lead guitarist for an amazing thrash squad from Down Under named Thraxas!, as well as for a ruthless Black Metal horde known as Pestilential Shadows. Her name is Aleks Radmanovich, and she will mercilessly shred you to pieces armed with her unstoppable axe. Having said that, do you think you have what it takes to face one of the most badass guitarists from the current Australian metal scene?

Born and raised in the charming city of Sydney, the dauntless Aleks began her career in Heavy Metal back in 2018 when she joined the four-piece thrashing machine named Thraxas!. The band was actually formed a few years prior to her becoming their axe lady, more specifically in 2011, by vocalist Chris “Bull” Woods and drummer Izak Easterbrook (of Divine Carnage), and the only release by the band before Aleks joined their ranks, as well as bassist Dan Andrews, was their 2018 debut demo Slave Wages. As their lead guitarist, she released with Thraxas! the single Cthulhu Rising, in 2019, the 2021 EP Planetary Terrorism (under the moniker Aleks Rad), the 2025 single Blast Shadows, and more recently their first full-length opus, titled Violent Vacation. Not only that, Aleks was also responsible for the layout and design of their debut EP Planetary Terrorism. All of those songs and albums are available on BandCamp and on Spotify, and you can also visit their official YouTube channel to enjoy their official videos including Concrete Cowboy and Ecophagy.

In addition, apart from Facebook and Instagram, you can also stay up to date with all things Thraxas! by clicking HERE, and if you want to know even more about the indomitable Aleks and her scorching axe you can find a few interesting videos and interviews on YouTube, including the highlights of her chat with The Horsemen Podcast earlier this year, her guitar playthrough for the song Exemplary Punishment, and a video named 5 Minute Series – Aleks Rad where she talks about her idols and influences like Alex Webster of Cannibal Corse, Iron Maiden, Candlemass, Slayer, Exodus (mentioning her favorite Thrash Metal album of all time is Tempo of the Damned, by the way), plus her own rig rundown. No idea why the video is named “5 Minute Series” as it’s only one minute and a half long, but that doesn’t really matter as Aleks kicks some ass even in such a short period of time.

In 2024, Aleks joined Sydney, Australia’s own Black Metal veterans Pestilential Shadows, spreading her dark wings over humanity under the Stygian moniker Drekavac. A Drekavac, also called drekalo, krekavac, zdrekavac or zrikavac, is a mythical, monstrous creature from South Slavic folklore, known as “the screamer” or “the screecher” from the verb “drečati” (“to screech”). It is often the spirit of an unbaptized child, though sometimes described as an undead man. Let’s say that’s exactly the sound emanating from her fiery riffs and solos in Pestilential Shadows, sounding as dark, menacing and evil as possible, therefore showcasing a more obscure side of our unstoppable Aleks.

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The band was formed way before Aleks joining them, though, more specifically in 2003 by vocalist and guitarist Balam, who had been playing in local Black Metal bands since 1997, with the goal of creating atmospheric and intense Black Metal and cement its reputation as one of the most innovative bands in the scene. Currently formed of Balam on vocals and guitar and Aleks (or Drekavac, as mentioned) also on the guitar, alongside Lithuz on bass and Basilysk on drums, the band had already released the albums Embrace After Death (The Fate of All That Lives II) (2005), Cursed (2006), In Memoriam, Ill Omen (2009), Depths (2011), Ephemeral (2014), Revenant (2021), and Devil’s Hammer (2024) before Aleks became part of the band, but she was still able to play some live shows in Australia with them before the recordings for their ruthless eighth studio album Wretch started.

Released by the uncanny German label Northern Silence Productions in conspiracy with Brilliant Emperor Records this past September, Wretch continues the band’s progression (or regression) toward uglier, gnarlier expanses, offering more of their trademark ruminations on death and the beyond. The album has already led Pestilential Shadows to tour Europe in late August through September, followed by an October tour in their homeland Australia and in New Zealand, allowing fans from different parts of the world to witness the power of the Stygian riffs by Aleks. The band can be found on Facebook and on Instagram, and you can purchase or stream Wretch (or any of their previous albums) from BandCamp or Spotify. You can also enjoy Wretch in all of its glory on YouTube, and also enjoy the official video for the song DeathKnell, with Aleks shredding her axe while displaying her badass Black Metal attire and corpse painting. She also played live back in 2022 with a Sydney, Australia-based Death Metal outfit named Deiformity, formed back in 2016, and although there’s nothing released by the band with Aleks on the guitar for obvious reasons, you can still enjoy their 2018 debut (and only released to date) titled Corpse Stomper on BandCamp.

It looks like Aleks has recently started her life as a digital influencer by launching her own YouTube channel; however, maybe due to her busy life on the road, there’s only one video online so far, a cover version for Joe Satriani’s A Celebration. Well, who knowns, maybe we’ll get more killer videos like that in the not-so-distant future. Anyway, switching topic a bit, Aleks is endorsed by Blackstar Amplification, Schecter Guitars, and D’addario Strings, currently touring with the Blackstar Amped 3, HT Stage MKIII and HT Metal 100, Schecter Evil Twin V and Hellraiser, and playing D’addario NYXL 10-46 and EXL 11-56, and if you’re able to catch her live with either Thraxas!, Pestilential Shadows, or Deiformity, you’ll see how her equipment makes her sound feel extremely powerful onstage, exactly what we all want in extreme music.

Aleks Radmanovich’s Official Facebook page
Aleks Radmanovich’s Official Instagram
Thraxas!’s Official Facebook page
Thraxas!’s Official Instagram
Thraxas!’s Official YouTube channel
Pestilential Shadows’ Official Facebook page
Pestilential Shadows’ Official Instagram

Album Review – Cemican / U k’u’uk’ankil Mayakaaj (2025)

These unrelenting Mexican metal warriors are back with their breathtaking fourth studio album based on Mayan ideology, worldview, mysticism, and the universe.

Incorporating elements of the legends, mysticism and ideologies of ancient Mexican culture, being compared by Revolver to “Slipknot scoring Mel Gibson’s Apocalypto” by combining the modern instrumentation of a metal band with traditional pre-Hispanic instruments, Guadalajara, Mexico’s own Progressive Power/Thrash/Folk Metal tribe Cemican (or “The Duality of Life and Death” in the Mexican language Nahuatl) brings forth more of their unique music in their fourth studio opus entitled U k’u’uk’ankil Mayakaaj, translated as “the Mayan Resistance”, following up on their 2019 critically acclaimed album In Ohtli Teoyohtica In Miquiztli. Showcasing a stunning artwork by the band’s own Tlipoca (aka Alejandro Guzmán), depicting the great creation of the Mayan universe and the elements of life – water, fire, wind, and earth – by the great supreme Itzamnaaj, raising the great Temple of Kukulkan for the worship of the Mayan people, the new album by vocalist and guitarist Tecuhtli, bassist Ocelotl, drummer Tlipoca, and the tribalistic ensemble of Xaman Ek, Yei Tochtli, Mazatecpatl, and Itzcoatl is based on Mayan ideology, worldview, mysticism, and the universe. It contains various legends and stories of ancestral gods, the duality of life and death, as well as stories based on the band members, transformed with that touch that identifies us.

Kukulkán Wakah Chan (likely combining the Maya deity name Kukulkán, meaning “Plumed Serpent”, with the Nahuatl phrase Wakah Chan, meaning “Sacred Tree” or “Milky Way”) sounds utterly ritualistic and folk from its very first moments, with their wind instruments echoing through the air before exploding into an amalgamation of Thrash, Death and Groove Metal led by Tlipoca’s crushing beats and fills; whereas Tán tí le Xibalba, the second single of the album, speaks of the god of dead in the Mayan culture while keeping their heaviness clashing with the culture of their ancestors in a majestic way, being therefore an excellent choice for their live concerts. In El Niño Que Contemplaba A Las Estrellas (“the boy who gazed at the stars” from Spanish), the guitars by Tecuhtli lean towards classic Heavy Metal, as well as his vocals, followed by Viaje Astral Del Quetzal De Fuego (“astral journey of the fire quetzal”), sounding atmospheric and embracing from start to finish, with the bass by Ocelotl and the drums by Tlipoca being absolutely thunderous. Xaman Ek, Yei Tochtli and Mazatecpatl bring the glory of the past through their wind instruments in the tribal dance Horizonte De Almas (“horizon of souls”), exploding into an epic song that will inspire you to raise your horns for those beyond talented Mexicans, while El Castigo De Los Dioses (“the punishment of the gods”) is another song where the modern, electrified vibe of metal music makes a killer paradox with their cultural and folk sounds.

The howling wind invites us to another journey through Mayan lands in Tak Ti Ulaák Íin, one of the most ritualistic of all songs, where the band delivers their most primeval sounds of the album. Then the massive riffs by Tecuhtli ignite the imposing, multi-layered Los Guardianes De La Tierra (“guardians of the earth”), a lecture in Symphonic and Melodic Death and Black Metal that feels like it was taken from the most climatic moment of a period drama; and the band offers another blast of harsh and pounding sounds in Hun-Came, meaning “One Death”, the name of the senior of the two principal death gods in the Maya underworld Xibalba, with all vocals and backing vocals giving it an extra kick while Tlipoca hammers his drums mercilessly. ¿Donde Estas? (“where are you?) is some sort of power ballad entirely sung in Spanish by a mysterious guest female musician, a bit too generic compared to the other songs; while back to their trademark tribal sonority infused with the power of Heavy Metal we have Yóok’ ol Kaáb Maya, sounding and feeling epic and vibrant until the very end. Lastly, closing the album we’re invited to one final ritual by Cemican entitled Bolom Octé, a stunning sonic voyage back to the glory yet somber days of their ancestors.

Offering a sound that embodies that language of music with ancestral instruments that Cemican have achieved as its own unique and hallucinatory sound, fused with lyrics that blend Spanish with Yucatecan Mayan, U k’u’uk’ankil Mayakaaj is a tribute to their ancestral people, their stories and their customs, giving a valuable message of their language and their ancestral glory. Hence, you can enjoy the dark and aggressive atmosphere found in U k’u’uk’ankil Mayakaaj by purchasing the album from their own BandCamp, from the M-Theory Audio webstore, or by clicking HERE, and don’t forget to also follow the band on Facebook and on Instagram, subscribe to their YouTube channel, and stream their amazing albums on Spotify. Because U k’u’uk’ankil Mayakaaj is a way to revive what their warriors and their Mayan people were, honoring the great Mayan culture and representing the worldview and mysticism of their great ancestral empire.

Best moments of the album: Tán tí le Xibalba, Horizonte De Almas, Los Guardianes De La Tierra and Hun-Came.

Worst moments of the album: ¿Donde Estas?.

Released in 2025 M-Theory Audio

Track listing
1. Kukulkán Wakah Chan 5:45
2. Tán tí le Xibalba 4:01
3. El Niño Que Contemplaba A Las Estrellas 6:44
4. Viaje Astral Del Quetzal De Fuego 8:31
5. Horizonte De Almas 6:31
6. El Castigo De Los Dioses 5:26
7. Tak Ti Ulaák Íin 4:39
8. Los Guardianes De La Tierra 5:13
9. Hun-Came 5:29
10. ¿Donde Estas? 4:23
11. Yóok_ ol Kaáb Maya 5:45
12. Bolom Octé 4:30

Band members
Tecuhtli – vocals, guitars, wind instruments
Ocelotl – bass
Tlipoca – drums, percussion, wind instruments, backing vocals
Xaman Ek – wind instruments, backing vocals
Yei Tochtli – wind instruments, backing vocals
Mazatecpatl – wind instruments
Itzcoatl – choir vocals

Album Review – Centinex / With Guts and Glory (2025)

These Swedish legends return to their roots with a sound that combines the ferocity of early Death Metal with the urgency of Punk Rock in their new album.

Stripping away atmospheric frills and polished production, Swedish Death Metal legends Centinex return to their roots with a sound that combines the ferocity of early Death Metal with the urgency of Punk Rock and elements from Death N’ Roll in the form of their new album, titled With Guts and Glory, their most ferocious and uncompromising offering yet. Following up on their 2020 album Death in Pieces, the new album by Henrik Andersson on vocals, Jörgen Kristensen on the guitars, Martin Schulman on bass, and Florian Rehn on drums is a raw, high-energy album that ditches the excess and focuses on what matters, blasting our faces with unrelenting riffs, d-beats, and thrash-infused aggression.

The album kicks off in full force with the Death and Thrash Metal extravaganza titled Becoming, with Jörgen slashing his axe while Henrik vomits the song’s words like a true beast, and you gotta love the dirty riffs by Jörgen in the excellent fusion of Death and Thrash Metal with Hardcore and Punk Rock elements titled Your Religion Dies Tonight, always supported by the classic beats and fills by Florian. Then the bass by Martin will crush your skull mercilessly in the hard hitting tune Gods Of Guilt, proving extreme music doesn’t need to be played at the speed of light all the time. And back to a more demolishing sonority we face I Am The Way, inspired by old school Death Metal while also presenting hints of the thrash attack by Slayer and Exodus.

A Masterpiece In Flesh is a Motörhead-infused metal onrush by the quartet where once again Florian dictates the pace armed with his unstoppable beats and fills for our absolute delight, whereas they offer a more direct Death Metal sound in In My Dreams, with Jörgen extracting sheer hatred and violence from his guitar while Henrik screams and roars like a demented creature. Symphony Of Screams carries a charming title for a heavy-as-hell, rumbling tune by Centinex, with Martin pounding his bass like there’s no tomorrow; and in order to properly conclude the album the quartet fires another round of aggressiveness and speed titled Sorrowtears, perfect for slamming inside the pit with your good friends.

Forget atmospheric trends, as Centinex keep it raw, fast, and filthy in their newborn spawn, inviting us all to slam into the pit like there’s no tomorrow to the sound of their frantic and caustic creations. You can find more details about the band, their tour dates and their music on Facebook and on Instagram, or simply by clicking HERE, bang your goddamn heads to their wicked discography on Spotify, and obviously support those hardworking guys by purchasing their excellent new album by clicking HERE. With Guts and Glory is not pretty. It’s not supposed to be. It is pure, raw aggression made in Sweden, and it’s exactly what the underground has been craving.

Best moments of the album: I Am The Way, A Masterpiece In Flesh and Sorrowtears.

Worst moments of the album: None.

Released in 2025 Black Lion Records

Track listing
1. Becoming 3:55
2. Your Religion Dies Tonight 3:27
3. Gods Of Guilt 3:44
4. I Am The Way 3:08
5. A Masterpiece In Flesh 3:14
6. In My Dreams 3:47
7. Symphony Of Screams 4:10
8. Sorrowtears 3:32

Band members
Henrik Andersson – vocals
Jörgen Kristensen – guitar
Martin Schulman – bass
Florian Rehn – drums

Album Review – Orbit Culture / Death Above Life (2025)

Sweden’s own Melodic Death and Groove Metal titans return from the frozen north with their incendiary fifth full-length album.

Beware of the antlers, as Eksjö, Sweden’s own Melodic Death/Groove Metal titans Orbit Culture return from the frozen north with their fifth full-length album aptly titled Death Above Life, following up on their critically acclaimed 2023 opus Descent. Produced, mixed and mastered by Buster Odeholm at Odeholm Audio, and adorned by a Stygian artwork by Miroslav Pecho, the new offering by vocalist and guitarist Niklas Karlsson, guitarist Richard Hansson, bassist Fredrik Lennartsson, and drummer Christopher Wallerstedt offers more of their trademark fusion of Thrash, Death, Groove and Industrial Metal with arresting hooks and a layered atmosphere that invites comparison to Gojira, Metallica and Static-X, while carving out something that is uniquely their own.

The band wastes no time and kick off the album on a violent mode with Inferna, where Niklas and Richard steal the show with their utterly metallic riffage in its almost seven minutes of first-class Swedish melodeath. Christopher then sounds like an out-of-control stone crusher in Bloodhound, adding endless aggressiveness to their sound while also matching perfectly with Niklas demented roars; whereas Inside the Waves offers a more modernized version of American Metalcore, an excellent option for setting fire to their live performances. In The Tales of War we face poetic lyrics declaimed by Niklas (“Chasing a dark storm, no reason to be here / Escaping the temple of fear / I forfeit, the summoning time, the chasing of healing shrines / Through darkness I was led through the lanes”) amidst a pure headbanging extravaganza, and again venturing through contemporary Groove Metal we’re treated to Hydra, while of course staying true to their roots. Furthermore, the bass by Fredrik will hammer your skull mercilessly.

It’s pedal to the metal in the high-octane melodeath feast entitled Nerve, led by the striking vocals by Niklas and the band’s spot-on backing vocals, all spiced up by the killer guitar solos by Richard. Death Above Life brings forward another round of their pensive yet acid words (“Alternation / Stuck in a war / No path to follow / Through chaos made up / My mind is done / In this cave of black dust, kill / It aims for the heart”), a neck-breaking tune that flirts with modern Death Metal at times; and get ready to be caught in a mosh pit storm to the sound of The Storm, where their riffs sound brutally awesome supported by the pounding drums by Christopher. More of their ass-kicking guitar lines will penetrate your mind in Neural Collapse, all boosted by Niklas’ vicious guttural, whereas lastly we have The Path I Walk, and I have no idea what their goal was with this tune. They sound like the more modern version of Metallica, which is never a good choice to be fair.

“The album represents change, a new beginning,” says guitarist, vocalist and songwriter Niklas Karlsson. “It brings up a lot of good and bad emotions but it’s a big change for the better. It feels like a rebirth.” Hence, if just like the guys from Orbit Culture you also want to experience such a metallic rebirth you can follow the band on Facebook and on Instagram, staying up to date with their news and tour dates, stream their already dense discography on Spotify, and of course grab your copy of the excellent Death Above Life from their own BandCamp, as well as from the album’s special website, or by clicking HERE or HERE. There’s a thin line between life and death, but in the end death always prevail, in special when the soundtrack to it is as exciting and heavy as the new album by one of the torchbearers of the new Swedish melodeath scene.

Best moments of the album: Bloodhound, The Tales of War and The Storm.

Worst moments of the album: The Path I Walk.

Released in 2025 Century Media Records

Track listing
1. Inferna 6:45
2. Bloodhound 5:04
3. Inside the Waves 4:39
4. The Tales of War 5:10
5. Hydra 4:49
6. Nerve 5:54
7. Death Above Life 5:31
8. The Storm 4:16
9. Neural Collapse 6:21
10. The Path I Walk 4:55

Band members
Niklas Karlsson – vocals, guitars
Richard Hansson – lead guitars
Fredrik Lennartsson – bass
Christopher Wallerstedt – drums

Album Review – Ültra Raptör / Fossilized (2025)

The fast and furious Cadillac driving dinosaurs hailing from Canada will rock your world to the sound of their incendiary sophomore full-length album.

Formed in 2015 in the charming Quebec City, and having already released their self-titled debut EP in 2018 and their first ever full-length album Tyrants in 2021, Heavy/Speed Metal antediluvian creatures Ültra Raptör are back with album number two, the incendiary Fossilized. Recorded, mixed and mastered by David Lizotte, and displaying an insane artwork by Mario López, the new beast by Phil T. Lung on vocals, Criss Raptör and Zoltan Saurus on the guitars, Dick Van Heuß on bass, and Tony Bronco on drums offers another round of the band’s blend of primeval speed and savagery with meticulous, precision playing, or in other words, everything a metal hungry headbanger could ask for and more.

Those prehistorical Québécois warriors already put the pedal to the metal in the title-track Fossilized, with the frantic, sharp riffs by Criss and Zoltan bringing even more adrenaline to their striking Speed Metal sound. Then the glory of the 80’s, or maybe I should say from “metal’s prehistoric age”, comes in full force in Spinosaurus, led by the hammering drums by Tony in a headbanging feast of heavy music. In Hard ‘N Fast that’s exactly what you’ll get, with Phil T. Lung stealing the show with his old school, passionate vocals, sounding perfect for some action on the dance floor; and Criss and Zoltan show no mercy for their stringed axes in Livin’ for the Riff, delivering nonstop incendiary riffs and solos just the way we love it in Thrash Metal, followed by Bitter Leaf, which starts in a weird way before morphing into a decent thrashing tune, despite still lacking an extra kick.

They get back on track with an 80’s-inspired rock and metal train titled X-Celerator, offering more of the band’s trademark riffs and the raspy vocals by Phil T. Lung, and the band keeps speeding things up and invading our senses with their Thrash Metal-infused sounds in Pterö-Ranger, living up to the legacy of the genre. Those Canadian bastards will invite us to slam into the circle pit once again and shake our bodies to the sound of Down the Drain, where Criss and Zoltan will cut your skin deep with their caustic riffage. Then in the interlude Le voyageur d’Oort, melodious guitar lines will transport you to the whimsical world ruled by Ültra Raptör before facing the closing tune Face the Challenge, a pure Hard Rock and Rock N’ Roll feast inspired by giants the likes of Scorpions, perfect for heading out to the highway with your beloved ones.

In summary, the impact of the new opus by the Cadillac driving dinosaurs from Canada on the metal scene will be seismic. Fossilized is the epitome of energized, exhilarating metal, and you can join the band in their quest for fast and heavy music by following them on Facebook and on Instagram, by streaming their thrilling creations on Spotify, and of course by purchasing Fossilized from the Fighter Records’ BandCamp or from the Xtreem Music’s webstore. The Raptör is back, baby! And if you don’t want to be fossilized as a dull and prehistorical being, you better jump inside your Cadillac and rock to the sound of this newborn beast made in the icy cold Great White North.

Best moments of the album: Fossilized, Hard ‘N Fast and X-Celerator.

Worst moments of the album: Bitter Leaf.

Released in 2025 Fighter Records

Track listing
1. Fossilized 4:08
2. Spinosaurus 3:55
3. Hard ‘N Fast 4:19
4. Livin’ for the Riff 4:14
5. Bitter Leaf 4:40
6. X-Celerator 3:58
7. Pterö-Ranger 4:09
8. Down the Drain 4:54
9. Le voyageur d’Oort 1:10
10. Face the Challenge 5:11

Band members
Phil T. Lung – vocals
Criss Raptör – lead guitar
Zoltan Saurus – rhythm guitar
Dick Van Heuß – bass
Tony Bronco – drums

Album Review – Testament / Para Bellum (2025)

Let’s prepare for war to the sound of the breathtaking fourteenth studio album by Oakland, California’s own masters of old school, crushing Thrash Metal.

“Parabellum” is the second half of the Latin phrase “si vis pacem, para bellum”, which translates to “if you want peace, prepare for war”. That’s exactly what Oakland, California’s own Thrash Metal masters Testament are offering us all now in 2025 with their infernal fourteenth studio album, titled Para Bellum, a worthy follow-up to their 2020 beast Titans of Creation. Produced by Chuck Billy and Eric Peterson alongside Juan Urteaga at Trident Studios, who also recorded vocals, bass, drums, and acoustic guitars, with guitars recorded at Dragon Lair Studio and Skol Productions Studio, mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, and showcasing an apocalyptic artwork by the majestic Eliran Kantor, the new opus by the iconic  frontman Chuck Billy, the unparalleled guitarists Eric Peterson and Alex Skolnick, the ruthless bassist Steve Di Giorgio, and the beyond talented newcomer Chris Dovas (Evulsion, Unflesh, Aversed) on drums is a lecture in both old school and modern-day Thrash Metal, sounding as heavy, infuriated, intricate and explosive as a real war, leaving us absolutely disoriented after all is said and done.

Chris already showcases his welcome card in the opening beast titled For the Love of Pain while Eric and Alex hypnotized us all as expected with their undisputed riff attack, with Chuck’s ruthless roars being the icing on their thrashing cake. Their sonic devastation goes on in full force in Infanticide A.I., where Chuck’s deep, enraged gnarls walk hand in hand with the striking riffs and solos by the band’s guitar duo in a lesson in Thrash Metal, followed by Shadow People, utterly tribal, dark and heavy, a more melodic display of the band’s core sonority led once again by Eric’s and Alex’s flawless guitar work. Meant to Be follows a similar pattern as their own song “Dark Roots of Earth”, a somber, pensive ballad including some acoustic moments; whereas back to a much more ferocious, progressive and ruthless sonority we have High Noon, perfect for breaking our necks headbanging to Chris’ intricate beats and fills.

It’s time to go hunt some witches in the name of old school Thrash Metal with Witch Hunt, another avalanche of metallic riffs and blast beats for our total delight where Chuck sounds inhumane as usual on vocals; and I also love when he sounds less demented like in Nature of the Beast, delivering those raspy, deep and almost “clean” vocal lines that give the whole song an even edgier vibe, as melodic as it is groovy. Room 117 offers the band’s more contemporary sonority from their latest decade, with Steve hammering his bass mercilessly accompanied by the pounding drums by Chris; whereas Eric and Alex will crush your damned minds and souls with their electrifying axes in Havana Syndrome, an explosion of first-class Testament for the masses. Finally, ending the album we face the Stygian, imposing title-track Para Bellum, one of their most detailed, multi-layered songs of the past few years, with Chuck’s demonic growls sounding phenomenal from start to finish in an ode to war before all fades into the void.

Readiness to fight is necessary to maintain peace and defend oneself or one’s country, and the undisputed Thrash Metal blasted by Testament in Para Bellum is also necessary in the life of any decent human being. You can follow the band on Facebook and on Instagram for news, tour dates and other nice-to-know details about one of the torchbearers of classic thrash, stream their demonic creations on Spotify, and above all that, grab a copy of their incendiary newborn spawn from Nuclear Blast or by clicking HERE. In other words, it’s time to prepare for war, and there’s nothing better than Testament’s new album to inspire us all to head into the battlefield alongside one of the most important bands in the history of heavy music.

Best moments of the album: For the Love of Pain, Infanticide A.I., Witch Hunt, Nature of the Beast and Para Bellum.

Worst moments of the album: Meant to Be.

Released in 2020 Nuclear Blast

Track listing
1. For the Love of Pain 5:35
2. Infanticide A.I. 3:27
3. Shadow People 5:45
4. Meant to Be 7:33
5. High Noon 3:52
6. Witch Hunt 4:16
7. Nature of the Beast 4:28
8. Room 117 4:18
9. Havana Syndrome 4:40
10. Para Bellum 6:30

Band members
Chuck Billy – vocals
Eric Peterson – guitar
Alex Skolnick – guitar
Steve Di Giorgio – bass
Chris Dovas – drums

Guest musicians
Dave Eggar – cello, violin, viola, orchestrations, strings arrangements
Chuck Palmer – orchestrations, strings arrangements
Xavi Morató – violin