Behold the new opus by this unrelenting Finnish melodeath entity, bringing the band’s storytelling to life through vivid tales of horror, superstition, and doom.
Formed back in 2010 in Tampere, Finland, Torchia have steadily carved out a distinctive identity within the Extreme Metal scene by blending thrash-infused Melodic Death Metal with dark fantasy, gothic horror, and cinematic atmospheres. Produced by Janne Saksa and Villemorte, mixed by Janne Saksa, and mastered by Dan Swanö at Unisound, with killer artwork, illustrations and layout by Caelan Stokkermans Arts, the incendiary They Are Born Under Rules, the fourth full-length opus in their career, represents a defining chapter in the artistic journey by frontman Nox, guitarists Villemorte and Henri von Hardy, bassist Vulkan, and drummer Vincent Oscar Mill. Set against a bleak, 19th century-inspired gothic backdrop, the album brings Torchia’s storytelling to life through vivid tales of horror, superstition, and doom, uniting narrative depth with relentless musical force.
The opening song Nekromanteion is simply cinematic and grim from the very first second, with Nox’s deep, dark vocals walking hand in hand with their striking guitar lines by Villemorte and Henri, kicking off the album with tons of sulfur, insanity and Black and Death Metal energy. The band continues their infernal path with Hellmouth, blending the demented sounds of modern heavy music with old school symphonic and dark elements, resulting in a truly headbanging feast; and Vincent ignites the band’s ruthless engine in Into Hell, pounding his drums while the guitars by Villemorte and Henri exhale rage and fury in another strong contender for their live performances. Guess what? They remain in hell for the also hard hitting melodeath tune Hellstorm, again presenting the demonic vociferations by Nox for our total delight while also displaying some wicked guitar solos.
After such a high level of fire and sulfur, the band will crush our damned skulls with the infuriated Die Amour, perfect for breaking our necks headbanging to the massive beats by Vincent, followed by The Tiamat Machine, carrying a beautiful name for an epic, thrilling creation by those uncanny metallers, offering a clash of distinct sounds that will bring excitement and fear to our hearts, all boosted by the insane roars by Nox and all background cinematic sounds. The band then lets their Thrash Metal vein arise in Black Cat, adding speed and rebelliousness to their core Melodic Death Metal sounds while the guitar work by the band’s axe duo is once again fantastic; and Vulkan and Vincent will shake the foundations of the earth with their thunderous kitchen in Stygian Waters, keeping the album as powerful and aggressive as possible. Lastly, they slow things down a bit while keeping the atmosphere as dense and epic in Sanguine Masquerade, sounding like a dark and devilish waltz led by the grim vociferations by Nox.
“With this record, we wanted to push our sound further into darker and more cinematic territory without losing the immediacy and energy that defined our earlier work,” commented the band, expanding on the album’s direction, and if you’re a fan of the music by renowned acts the likes of Behemoth, Cradle of Filth, and Children of Bodom, you should definitely check what Torchia are up to on Facebook and on Instagram, bang your head to their caustic creations on Spotify, and of course purchase They Are Born Under Rules of the Darkness from BandCamp or from Rockshots Records as a CD or an LP. We’re living truly dark times, and although the music from Torchia’s new album is inspired by the 19th century, it’s beyond perfect for the chaotic state of our world.
Best moments of the album:Into Hell,The Tiamat Machine and Stygian Waters.
Worst moments of the album: None.
Released in 2026 Rockshots Records
Track listing 1. Nekromanteion 4:23
2. Hellmouth 4:08
3. Into Hell 3:38
4. Hellstorm 3:55
5. Die Amour 4:12
6. The Tiamat Machine 5:39
7. Black Cat 3:19
8. Stygian Waters 4:05
9. Sanguine Masquerade 4:46
Band members Nox – vocals
Villemorte – lead guitars, vocals
Henri von Hardy – guitars
Vulkan – bass, backing vocals
Vincent Oscar Mill – drums
Standing at the intersection of ferocity and history, this Swedish Death and Thrash Metal brigade is unleashing hell with their debut opus, with each song portraying small historic tales of catastrophe, blunder, and human downfall.
Standing at the intersection of ferocity and history, channeling the raw aggression of Death Metal while weaving in the relentless drive of Thrash Metal and the defiance of Punk Rock, Stockholm, Sweden-based brigade Riket is unleashing hell armed with their debut opus, simply titled 2026. Recorded and produced by Sverker Widgren at Wing Studios, and displaying a haunting artwork by Axel Torvenius, mirroring the album’s thematic depths, the debut offering by vocalist Johan “Flid” Fridell, guitarists Tobias Jakobsson and Jussi Niiranen, bassist Micke André, and drummer Felix Wahlund balances crushing heaviness with an eerie sense of narrative, with every song being performed in Swedish and rooted in the darker corners of a shared past, portraying small historic tales of catastrophe, blunder, and human downfall.
Tobias and Jussi take the lead from the very first second with their acid riffage in 1868: Sommar Vid Vinterviken (or “1868: Summer at Winter Bay” from Swedish), while Johan barks and roars in the best Swedish style. 1867: Storsvagaret (“1867: The Great Weakness”) is even more infuriated and groovy than the opening tune, presenting elements of Death and Thrash Metal spiced up by an overdose of brutality and sick guitar solos; and it’s time to head into the circle pit and keep moving relentlessly in 1965: Hoghus Och Kultur (“1965: The Court and Culture”), with Felix sounding like a machine gun on drums. Then leaning towards the Melodic Death Metal by their countrymen such as In Flames and Soilwork we have 1948: Att Doda Ett Barn (“1948: Killing a Child”),showcasing a truly edgy vibe; and what starts in a calm way in 1885: Dodsdansen (I Manskensnatten) (“1885: The Dance of Death (In the Night of Man)”) suddenly morphs into another bestial melodeath attack.
1897: Mot Polen (“1897: Towards Poland”) is absolutely heavy but not as dynamic nor as exciting as the rest of the album, albeit the Amon Amarth-like riffs by Tobias and Jussi are still a thing of beauty. Micke keeps hammering his bass in 1991: 2000 Ar (Saliga Aro De Talmodiga) (“1991: 2000 Years (Blessed Are the Wise Men)”), adding a groovier vibe to the song while Johan’s deep guttural bring endless fury to the overall result; whereas 1937: Lagor Vid Portarna (“1937: Laws at the Gates”) is more rhythmic and vibrant thanks to another ass-kicking performance by Felix on drums, while the trio formed of Tobias, Jussi and Micke delivers a first-class stringed onrush. Lastly, we’re treated to a cover version for Stefan Sundström’s 2009: Alla Ska I Jorden (“2009: All Shall Be in the World”) (and you can enjoy the original version HERE), an interesting rendition presenting a darker, more introspective approach compared to the original.
A vessel of memory, a grim messenger bridging today’s world with the chilling truths of yesteryears, 2026 does not simply revisit history. Riket force you to confront it, challenging their audience to face uncomfortable truths, both personal and societal. If you want to know more about Riket and their dark relationship with history, you can start following the band on Facebook and on Instagram, stream their wicked creations on Spotify, and purchase their excellent debut from BandCamp or from several online retailers such as Doomed Records and Record Store Day. 2026 is an album that lingers long after the final note fades, a stark, resonant journey through memory, identity and the lingering shadows of time, leaving us eager for more from those Swedish metallers as our society progresses to its inevitable doom.
Best moments of the album:1867: Storsvagaret, 1965: Hoghus Och Kultur and 1937: Lagor Vid Portarna.
Worst moments of the album:1897: Mot Polen.
Released in 2026 Black Lion Records
Track listing 1. 1868: Sommar Vid Vinterviken 4:27
2. 1867: Storsvagaret 3:04
3. 1965: Hoghus Och Kultur 5:15
4. 1948: Att Doda Ett Barn 3:42
5. 1885: Dodsdansen (I Manskensnatten) 4:48
6. 1897: Mot Polen 3:56
7. 1991: 2000 Ar (Saliga Aro De Talmodiga) 4:11
8. 1937: Lagor Vid Portarna 4:18
9. 2009: Alla Ska I Jorden (Stefan Sundström cover) 5:06
Band members Johan “Flid” Fridell – vocals
Tobias Jakobsson – guitars
Jussi Niiranen – guitars
Micke André – bass, backing vocals
Felix Wahlund – drums
The Canadian city of London witnessed for the very first (and last) time ever the undisputed power of “Sepultura do Brasil” on an unforgettable night of first-class heavy music.
After back to back nights of pure heavy music with bands like Archspire, Amon Amarth and Dethklok kicking my ass in Toronto on Thursday and Friday, it was time for a nice drive to the city of London for night number 3 of absolute metal magic to enjoy TRIBAL GAZE, BIOHAZARD, EXODUS and SEPULTURA take the cozy London Music Hall by storm this Saturday night as part of their Celebrating Life Through Death Final North American Tour 2026, another killer event organized by our local hero Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi was there with me to register such a great celebration of Thrash, Death and Groove Metal, as well as some first-class Hardcore, and I guess because the show was on a Saturday, and due to the size of the bands playing, it was scheduled for an early start, with doors opening at 5:30pm and the first band hitting the stage at 6:30pm. Fortunately, as mentioned, it was on a Saturday, so it was just a matter of planning the drive beforehand to get there in time to enjoy all attractions (and brave the long merch line if you were up to that), and believe me, they were all absolutely worth the ticket.
The opening slot of this tour was given to Texan Death Metal outfit TRIBAL GAZE, and just like when I saw them opening for Cattle Decapitation they were ruthless onstage. Once again playing songs exclusively from their 2025 sophomore Inveighing Brilliance, available on both BandCamp and Spotify, including the venomous Twitching on the Cross, Guarding the Illusion, and Beyond Recognition, the band formed of McKenna Holland on vocals, Quintin Stauts and Ian Kilmer on the guitars, Zachary Denton on bass, and Cesar De Los Santos on drums inspired everyone already at the venue to start a sick circle pit, properly warming up the crowd for the other attractions of the night. Those guys are very young and looked extremely excited for opening for some of their metal heroes, as I’m sure they grew up listening to Sepultura, Exodus and Biohazard, so their level of energy onstage was insanely high. As I always say, new bands like Tribal Gaze need our support to keep metal alive, which means if they ever play in your city, you know what to do.
Setlist Emptying the Nest
Smiling From Their Chariots
To the Spoils of Faith
The Irreversible Sequence
Twitching on the Cross
Guarding the Illusion
Beyond Recognition
Band members McKenna Holland – vocals
Quintin Stauts – guitars
Ian Kilmer – guitars
Zachary Denton – bass
Cesar De Los Santos – drums
After Tribal Gaze finished their unrelenting performance, we were treated to the incendiary Hardcore by Brooklyn, New York’s most famous squad, the indomitable BIOHAZARD. It was only my second time in life seeing those guys live, the first back in the late 90’s when they were one of the must-see bands on MTV, and I must say they looked a lot sharper and more infuriated this Saturday night. Evan Seinfeld is in fantastic shape, way better than his early days or when he was one of the prisoners in the revolutionary TV series Oz, and if I ever have a chance to talk to him in person I’ll certainly ask him for some health tips as he looks awesome. Billy Graziadei, Bobby Hambel and Danny Schuler were also on fire, and their short but sweet setlist, blending classics with new songs from their 2025 album Divided We Fall (all available on Spotify), was heavy, flammable, violent and fun from start to finish, igniting a demonic circle pit that turned up the heat considerably at the venue. Biohazard still got it, no doubt about it, and I’m happy I was able to see those legends live again after almost 30 years.
Setlist Urban Discipline
Shades of Grey
Fuck the System
Wrong Side of the Tracks
Tales From the Hard Side
Forsaken
Punishment
Band members Evan Seinfeld – vocals, bass
Billy Graziadei – vocals, rhythm guitar
Bobby Hambel – lead guitar
Danny Schuler – drums
Then it was time for another blast of absolute thrashing madness onstage with the mighty Thrash Metal titans EXODUS, who after the return of the furious Rob Dukes are sounding even heavier than before. I saw them opening for Megadeth also in London in February, when they kicked off their tour to promote their new album Goliath (also available on Spotify), but this time opening for Sepultura sounded a lot heavier (and louder, as the sound at the London Concert Hall was turned up to 11). The setlist wasn’t too different from last time, but the fact they added the magnificent Deathamphetamine to it made their show more violent and vibrant. It’s always a pleasure seeing Gary Holt, Lee Altus, Jack Gibson and Tom Hunting onstage, as well as the aforementioned Rob Dukes, of course, but the show was so intense we all had to share our attention with the hurricane happening inside the circle pit. Well, when the last three songs of a setlist are A Lesson in Violence, The Toxic Waltz, and Strike of the Beast, you know you can’t simply stand and watch the show. You need to get into the action, and the fans in London understood the message maybe even more than what anyone could have predicted. Yes, it was a true lesson in violence, and we must thank the one and only Exodus for such a fun time.
Setlist We Will Rock You (Queen song)
3111
Bonded by Blood
Deathamphetamine
Blacklist
Goliath
A Lesson in Violence
The Toxic Waltz
Strike of the Beast
Band members Rob Dukes – vocals
Gary Holt – guitar
Lee Altus – guitar
Jack Gibson – bass
Tom Hunting – drums
It was already past 9pm when the main band of the night, Brazilian Thrash/Groove Metal institution SEPULTURA, kicked off their very first, and most probably their very last (as this is supposed to be their farewell tour), concert in the city of London, and the fans made sure it was an unforgettable night for Derrick Green, Andreas Kisser, Paulo Jr., and Greyson Nekrutman, as the crowd was rowdy and wild during their entire setlist, even when they played slower or newer songs like The Place (from their brand new EP The Cloud of Unknowing, already available in any platform such as Spotify) and Agony of Defeat. The crowd got louder of course during their classics from the 90’s, but the synchronicity between Sepultura and the fans in London was a thing of beauty during the entire concert.
Speaking of classics, I simply loved the fact they kicked off the show with Beneath the Remains and Inner Self, two of my all-time favorite Sepultura songs, and the quartet sounded utterly heavy during those masterpieces. The action inside the pit got out of control, the fans began smashing each other on the front rows to the point some people had to move to the back to be able to breathe and enjoy the rest of the show, and the fact they kept playing heavy and visceral tunes the likes of Attitude, Choke and Escape to the Void turned the venue into a cauldron of violence. The excellent tribal hymn Kaiowas brought some moments of peace to London, but of course all hell broke loose again once they played in a row the majestic Orgasmatron, Territory, Refuse/Resist and Arise. It was way crazier than their show in Toronto in 2024, I must admit.
Then after a quick drum solo by the ultra talented Greyson Nekrutman, who fells absolutely at home with Sepultura, the band put everyone to jump up and down, dance, slam into the pit, and therefore have the time of their lives with Ratamahatta, and of course with one of the best metal songs of all time, the incendiary Roots Bloody Roots. If that was indeed the first and last time Sepultura played in London, let’s say they did a phenomenal job, carving their place in the hearts of a lot of newcomers to their Sepulnation as countless fans were seeing them live for the very first time ever. I’ve seen them live already way too many times to remember, but I’ll never forget the energy in London. I had a long drive back home by myself in the middle of the night, but the adrenaline from the show was still flowing through my veins, making the drive a lot easier. Thank you for your music, Sepultura do Brasil, and if you want to somehow “cancel” your retirement and go back to London for another killer show, we will all be there for you.
Setlist War Pigs (Black Sabbath song)
Polícia (Titãs song)
Beneath the Remains
Inner Self
Desperate Cry
Kairos
Means to an End
Attitude
Choke
The Place
Escape to the Void
Kaiowas
Dead Embryonic Cells
Agony of Defeat
Orgasmatron
Territory
Refuse/Resist
Arise
Drum Solo
Ratamahatta
Roots Bloody Roots
Band members Derrick Green – lead vocals
Andreas Kisser – guitars, backing vocals
Paulo Jr. – bass
Greyson Nekrutman – drums
The wolf beast is once again unleashed, blending full-force Thrash Metal with Crossover adrenaline in their breathtaking new album.
Since 2010, the Turin, Italy-based wolves of Ural have been blending full-force Thrash Metal with Crossover adrenaline and a willingness to step outside the confining boundaries of genre. Mixed and mastered by Davide Billia, and showcasing a killer artwork by Luca SoloMacello, the fulminating Anthropic Genetic Involution is the fourth full-length beast by the band currently formed of vocalist Andrea Calviello, guitarists Alex Gervasoni and Luca Caci, bassist Stefano Cipriano Moliner, and drummer Filippo Torno, a worthy follow-up to their 2023 album Psychoverse, a must-listen for fans of Death Angel, Nuclear Assault, Voivod and Forbidden, among others, and their most ferocious and far reaching opus to date.
Get ready to be caught in a feral mosh to the sound of Extreme Paranoia, led by Andrea’s demented screams and the crushing drums by Filippo, perfect for slamming into the pit like a true beast. Alex and Luca continue to slash their axes in the frantic Break the Fall, inviting us for a Toxic Waltz-like dance in a lesson in Thrash Metal by the boys; followed by God of Lies, again alternating between more melodic moments and sheer thrashing adrenaline, led by Filippo’s killer drumming. Let’s keep this party moving with Wrong Children, where Stefano and Filippo make the earth tremble while Andrea fires his inebriate, rebellious vocals nonstop, and they show no sign of slowing down at all in Open Scars, presenting more of their blend of old school Thrash Metal.
Andrea sounds even more demented in Rat in a Cage, accompanied by the unstoppable riffage by Alex and Luca in a well balanced mix of classic Thrash Metal with Crossover Thrash. Flat Black, originally a jazz composition by renowned trombonist and composer J.J. Johnson featured on his 1961 album A Touch of Satin (and you can check the original version HERE), gets a thrashing twist with Ural, as chaotic as it is classy; and it’s time to get back to their core Thrash Metal insanity in Terror Eyes, inspiring us all to dive deep into the circle pit to the visceral beats and fills by Filippo, flowing into the hard hitting closing tune …to Change Your Vision, with the music fading into oblivion after the band’s striking Thrash Metal feast is over.
Ural have been carving their name into the hearts of thrashers everywhere album after album, and of course the demolishing Anthropic Genetic Involution will continue to pave the band’s path of absolute chaos, rebellion and destruction, always in the name of our beloved Thrash Metal. If you want to show the boys from Ural your absolute respect and admiration, you can start following them on Facebook and on Instagram, stream their demented creations on any available platform like Spotify, and above all that, purchase a copy of the excellent Anthropic Genetic Involution from the Xtreem Music’s BandCamp or webstore. The wolf beast is about to be unleashed, and there’s no place to run or hide from its blood-soaked claws. All you need to do is take a deep breath, get into the mosh pit to the sound of its bestial new album, and get ready to be dilacerated by its infernal thrashing sounds.
Best moments of the album:Extreme Paranoia, Wrong Children and Terror Eyes.
Worst moments of the album:Flat Black.
Released in 2026 Xtreem Music
Track listing 1. Extreme Paranoia 3:17
2. Break the Fall 4:43
3. God of Lies 3:31
4. Wrong Children 4:05
5. Open Scars 3:58
6. Rat in a Cage 3:00
7. Flat Black (J.J. Johnson cover) 3:27
8. Terror Eyes 4:17
9. …to Change Your Vision 2:50
Band members Andrea Calviello – vocals
Alex Gervasoni – guitars
Luca Caci – guitars
Stefano Cipriano Moliner – bass
Filippo Torno – drums
Toronto’s own arena-rock Heavy Metal trio returns with their ambitious sophomore album, igniting the next chapter of their high‑flying saga.
Hailing from Toronto, Canada, Heavy Meta/Hard Rock power trio Thunderor ignites the next chapter of their high‑flying saga with the release of their sophomore opus, entitled Bleed For It, following up on their critically acclaimed 2022 debut Fire It Up. Produced by the band’s own JJ Tartaglia, mixed by Chris Snow, mastered by Kristian Montano, and featuring guest musicians Oscar Anesetti on bass, Anthony Pannozzo on keyboards, and Colin Grant on the fiddler, the new album by the aforementioned JJ Tartaglia on vocals, drums and keyboards alongside Jonny Nesta on the guitars, and Brycen Gunn on bass serves as the official soundtrack to “Thunderor The Musical”, the band’s ambitious rock opera production that debuted at the Toronto Fringe Festival in 2025. Its artwork captures scenes from the stage show, setting the mood for a sweeping tale of adventure, danger, and heart. Set in an alternate 1992, the story follows Bowen, a washed‑up musician and biker, who finds renewed purpose through romance and one last grasp at glory.
The trio wastes no time and kicks off their rockin’ adventure with Pump Up the Volume, bringing forward JJ’s trademark soaring vocals and classic beats and fills, followed by the title-track Bleed For It, another round of their striking fusion of 70’s and 80’s Hard Rock, with Jonny stealing the spotlight with his electrifying riffs and solos. As a huge fan of live concerts I simply love the title of the song Take Me to the Show, offering us all more of their killer Rock N’ Roll sounds. The band then fires a Thrash and Speed Metal-infused tune titled Get ‘Em Counted, inspiring us to start a nice mosh pit to the nonstop beats by JJ, and get ready to prance around the fire pit together with Thunderor in Cape Breton Home, featuring guest Colin Grant on the fiddler, also presenting pure Hard Rock flowing from Jonny’s axe.
In Streets of Fire we see Thunderor again deliver a high-octane amalgamation of rock and metal, setting fire to the atmosphere to the crushing drums by JJ and Oscar’s rumbling bass, sounding as upbeat as it is heavy. One Chance is another song that sounds as if was taken from a classic album from the 80’s, showcasing those awesome soulful riffs we all love so much; and we then face the cinematic interlude DreamQuest, which also feels it’s from a movie or TV show from the 80’s, before their quest comes to an end with In the Fire O’ the Heat, where they also bring to our avid ears elements from Progressive Rock and Metal (exactly what a Rock Opera needs to become truly fun). Not only that, JJ’s vocals and Jonny’s guitars are in total sync, keeping the energy flowing majestically until the song’s horns raising finale.
With improved vocals, bigger choruses, and a cinematic concept, Bleed For It promises to be the band’s most ambitious and emotionally charged release yet, recommended for fans of The Darkness, Skull Fist, Ghost, and Night Flight Orchestra. If you crave escape, adventure, romance, and danger, the band invites you to ride with them into the storm, and you can do so by following them on Facebook and on Instagram, sby streaming their music on Spotify, and of course by purchasing the album from BandCamp, from Boonsdale Records (Canada and worldwide), from Cruz del Sur Music (Europe), or simply by clicking HERE. Having said all that, what are you waiting for to bleed together with Thunderor to the sound of their newborn electrifying album?
Best moments of the album:Bleed For It, Get ‘Em Counted and Streets of Fire.
Worst moments of the album: None.
Released in 2026 Boonsdale Records
Track listing 1. Pump Up the Volume 3:42
2. Bleed For It 4:04
3. Take Me to the Show 4:09
4. Get ‘Em Counted 3:19
5. Cape Breton Home 3:33
6. Streets of Fire 4:16
7. One Chance 3:40
8. DreamQuest 1:29
9. In the Fire O’ the Heat 4:19
Band members JJ Tartaglia – vocals, drums, keyboards
Jonny Nesta – guitars
Brycen Gunn – bass
Guest musicians
Oscar Anesetti – bass on “Take Me to the Show”, “Get ‘Em Counted”, “Cape Breton Home”, “Streets of Fire” and “One Chance”
Anthony Pannozzo – additional keyboards on “Take Me to the Show”, “Get ‘Em Counted” and “One Chance”
Colin Grant – fiddler on “Cape Breton Home”
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.
“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
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”
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
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”
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
Formed back in 2010 in Tampere, Finland, Torchia have steadily carved out a distinctive identity within the Extreme Metal scene by blending thrash-infused Melodic Death Metal with dark fantasy, gothic horror, and cinematic atmospheres. Produced by Janne Saksa and Villemorte, mixed by Janne Saksa, and mastered by Dan Swanö at Unisound, with killer artwork, illustrations and layout by Caelan Stokkermans Arts, the incendiary They Are Born Under Rules, the fourth full-length opus in their career, represents a defining chapter in the artistic journey by frontman Nox, guitarists Villemorte and Henri von Hardy, bassist Vulkan, and drummer Vincent Oscar Mill. Set against a bleak, 19th century-inspired gothic backdrop, the album brings Torchia’s storytelling to life through vivid tales of horror, superstition, and doom, uniting narrative depth with relentless musical force.
“With this record, we wanted to push our sound further into darker and more cinematic territory without losing the immediacy and energy that defined our earlier work,” commented the band, expanding on the album’s direction, and if you’re a fan of the music by renowned acts the likes of Behemoth, Cradle of Filth, and Children of Bodom, you should definitely check what Torchia are up to on Facebook and on Instagram, bang your head to their caustic creations on Spotify, and of course purchase They Are Born Under Rules of the Darkness from BandCamp or from Rockshots Records as a CD or an LP. We’re living truly dark times, and although the music from Torchia’s new album is inspired by the 19th century, it’s beyond perfect for the chaotic state of our world.
THE HEADBANGING MOOSE 