This Brazilian Death and Thrash Metal squad from the 90’s is finally unleashing their debut offering, an astonishing collection of 11 unrelenting songs.
Originally active in the mid 90’s underground music scene in Porto Alegre, in the state of Rio Grande do Sul, Brazil, where they quickly established a place for themselves with their fierce live performances, intense, intriguing music and uncompromising attitude, Death/Thrash Metal outfit Vertebra is finally unleashing upon humanity their first ever full-length album, titled The Same. Their long overdue debut is an astonishing collection of 11 unrelenting songs, demonstrating fantastic technical dexterity, but also exquisite songcraft and melodic awareness, all masterfully brought into being by vocalist and guitarist Arildo Leal, guitarist Fernando Luzardo, bassist Tiago Vargas, and drummer Cristiano Hulk.
The band wastes no time and kick off their vicious metal attack with Oblivion, with Arildo sounding ruthless on both vocals and guitar; and Arildo and Fernando show no mercy for their stringed axes in Behavior in the Eyes, inviting us all to slam into the pit in the name of Thrash Metal. Humanity brings forward hints of the galloping rhythm that was made eternal by giants like Iron Maiden, spearheaded by Tiago’s ruthless bass and Cristiano’s hammering drums, whereas Arildo’s caustic vociferations keep penetrating deep inside our psyche in Behind the World, offering a well balanced hybrid of Death and Thrash Metal, followed by Overcoming the Void, another solid display of Death Metal made in Brazil, with their riffage sounding as melodic as it is demonic.
Then after the instrumental interlude 10.000 and One Nights we face the title-track The Same, offering another round of their harsh yet melodic and potent sounds led by Cristiano’s intricate beats and fills. Architecture of Perspective is perhaps the most progressive of all songs while also sounding absolutely heavy and infernal, with the riffs by the band’s guitar duo being boosted by another demented performance by Cristiano on drums; whereas 95 Eyes is not a very exciting tune, albeit still showcasing the band’s trademark fusion of extreme music and more progressive sounds. Then back to a more puissant sonority we face Fanatic and Picturesque, with Tiago’s thunderous bass lines bringing sheer heaviness to their music, also inspiring us to keep slamming into the circle pit like true metalmaniacs; and ending the album the band offers a demented, groovy and sinister tune titled Blessed are the Forgetful, where once again Arildo’s vocals sound utterly devilish.
In a nutshell, The Same will undoubtedly place Vertebra in the place they should have occupied in the mid-90’s, with their melodic and technical blend of Death Metal heavily influenced by Death, with touches of bands like Kreator and Carcass, and of course classic Heavy Metal, appealing to all fans of extreme music. Those guys are waiting for you on Facebook and on Instagram to share the news about their newborn baby, and you can already find the full album on Spotify. Also, above all that, go grab a copy of The Same from BandCamp, or simply by clicking HERE. Let the first album by Vertebra take you to the glory of the 90’s while also looking into the future, keeping the flames of Death and Thrash Metal burning bright in the always interesting Brazilian underground scene.
Best moments of the album:Behavior in the Eyes, Architecture of Perspective and Fanatic and Picturesque.
Worst moments of the album:95 Eyes.
Released in 2025 Xtreem Music
Track listing 1. Oblivion 5:10
2. Behavior in the Eyes 4:04
3. Humanity 3:53
4. Behind the World 3:34
5. Overcoming the Void 5:28
6. 10.000 and One Nights 1:03
7. The Same 3:57
8. Architecture of Perspective 5:15
9. 95 Eyes 3:41
10. Fanatic and Picturesque 4:20
11. Blessed are the Forgetful 4:56
Band members Arildo Leal – vocals, guitars
Fernando Luzardo – guitars
Tiago Vargas – bass, backing vocals
Cristiano Hulk – drums
Call them heroes or hell-bringers, the torchbearers of modern-day Deathcore are inviting us all to be part of their own movie to the sound of their the declarative and breathtaking fifth album.
Call them heroes or hell-bringers, it doesn’t matter to the men of New Jersey, United States-based Symphonic Deathcore beast Lorna Shore. Produced and engineered by Josh Schroeder, and displaying a sinister artwork by Zac Shiffer, I Feel The Everblack Festering Within Me, the declarative fifth album in their career, and the follow-up to their 2022 masterpiece Pain Remains, sees the band currently formed of Will Ramos on vocals, Adam De Micco and Andrew O’Connor on the guitars, Michael Yager on bass, and Austin Archey on drums putting all of metal’s subgenres on notice. Because after one listen, you’ll wonder what motivates them and what took metal so long to evolve. You also might wonder whose truck may have hit you while you were listening to the album.
Like the soundtrack to a horror movie, the opening track Prison of Flesh grows in intensity until all hell breaks loose to the visceral beats and fills by Austin in a demented display of brutal and vile Deathcore, while Oblivion follows a similar pattern, with Will’s deep, inhumane growls and screeches sounding like a creature form the abyss, being therefore perfect for some insane action inside the circle pit to the wicked riffs by Adam and Andrew. In the infuriated In Darkness, the background orchestrations and choir elevate the song’s epicness to a whole new level, with once again Will growling manically while the sound of their guitars exhales harmony and electricity; and they continue to fill every single space in the air with their striking fusion of Deathcore and symphonic elements in Unbreakable, leaning towards the sound from Pain Remains. Then a serene start ignites Glenwood, another epic and atmospheric creation by the band overflowing melancholy and darkness, albeit a bit generic in the end.
Will keeps roaring like a true lion in Lionheart, where Austin makes sure his beats and fills are not only heavy-as-hell, but also complex enough to keep the music as vibrant and fresh as possible, followed by Death Can Take Me, another pulverizing display of Symphonic Deathcore where the crushing drums by Austin walk hand in hand with Will’s desperate screams. Then presenting elements from traditional metal styles like Heavy and Thrash Metal we have War Machine, with its background keys elevating its punch, not to mention the excellent job done by Adam and Andrew armed with their axes. Their second to last metallic attack is offered in the form of A Nameless Hymn, with Michael and Austin sounding ruthless with their heavy-as-hell kitchen; and last but definitely not least, Lorna Shore bring forth a masterpiece of darkness entitled Forevermore, starting in an almost Atmospheric Black Metal manner before morphing into a grandiose feast of symphonic elements intertwined with the sheer heaviness of Deathcore, or in other words, it’s definitely a beautiful conclusion to such an epic album.
Lorna Shore are neither dire misery goats, nor flower-picking pollyannas and definitely not lapdogs currying favor from those who would exalt the ordinary, inviting us all to embrace I Feel The Everblack Festering Inside Of Me and, therefore, become part of the band’s own movie. “I think a lot of bands – especially in deathcore – they write stuff that they think is cool, but they’re not necessarily writing stuff that’s true to them,” commented Will Ramos. “I think between everything that we’ve been through over the last couple years, those things have helped push the band to think bigger. We’re putting our heart and soul into it. I think it’s those little experiences that we’ve been through that help shape that. It doesn’t necessarily work for everybody, but it works for us.” Furthermore, you can get in touch with one of the torchbearers of modern-day Deathcore via Facebook and Instagram, stream their vicious, down-tempo creations on Spotify, and of course grab your copy of the poetically titled I Feel the Everblack Festering Within Me by clicking HERE or HERE. When heroes are hard to find, try looking inside yourself first. and when good heavy music is hard to find, simply enjoy the phenomenal new album by Lorna Shore.
Best moments of the album:Prison of Flesh, Unbreakable, Lionheart and Forevermore.
Worst moments of the album:Glenwood.
Released in 2025 Century Media Records
Track listing 1. Prison of Flesh 7:00
2. Oblivion 8:19
3. In Darkness 6:43
4. Unbreakable 4:49
5. Glenwood 6:43
6. Lionheart 5:44
7. Death Can Take Me 7:16
8. War Machine 4:53
9. A Nameless Hymn 5:14
10. Forevermore 9:47
Band members
Will Ramos – vocals
Adam De Micco – guitar
Andrew O’Connor – guitar
Michael Yager – bass
Austin Archey – drums
Demons from the war now lives… Rain down explosions upon us… Terror in the air!
As we’re heading to the end of another hot and humid summer, let’s keep the temperatures as warm as possible with our metal lady of this month of September, and you better be prepared as she will breathe fire into your damned soul with her scorching guttural. She’s the unrelenting frontwoman for an amazing Italian Technical Death Metal band named Mechanical God Creation, and since mid-2024 she has also become a vocalist for a ruthless Italian Black Metal band named Stormcrow. As you can see, she takes no prisoners in her quest for extreme music, and I’m sure you’ll have an absolute blast listening to the amazing music crafted by her bands. Her name is Luciana Catananti, a talented she-wolf that will kick your ass mercilessly, keeping the fires of Death and Black Metal burning brighter than a thousand suns in her beautiful homeland.
Born on May 2, 1985 in Bergamo, an Italian city northeast of Milan, in the Lombardy region, Luciana was part of a band named Art of Mutilation when she lived in the UK, and also a member of a band called The Anger back then, but there isn’t much information about The Anger anywhere. Well, at least we know that Art of Mutilation was a Melodic Death/Thrash Metal band based in Birkenhead, England in its early days, then moving to Wrexham, Wales, and the band lasted between 2002 and 2011 before splitting up. Luciana was only part of the band in the year of 2005, having recorded with them the demo Mortality that same year. The demo had only three songs, those being Eviscerated, Blackened Sculpture, and Cabal, and as you can see by the only two songs available on YouTube, Luciana and the boys were a really promising band (which unfortunately is no more), and her vocals were already ruthless.
It was then in 2006 in the charming Italian city of Milan when Luciana founded Mechanical God Creation alongside guitarist Simo, and quickly adding bassist Andrea “Veon” Marini, guitarist Andrea “Runza” Galdi, and drummer Mattia Jay “Jambra” Giambini to their lineup; however, as all four already left the band after a few years, she remains as the only member of the original lineup. Their music also morphed from Melodic Death Metal the likes of Arch Enemy in their early days, hence the name of the band (taken from their 2005 masterpiece Doomsday Machine), to a more visceral, brutal and infernal form of Technical Death Metal, even adding hints of modern-day Death Metal and Progressive Death Metal to their core sound, as you can se in the evolution of their music from their 2007 demo …and the Battle Becomes War, to their 2010 debut Cell XIII, followed by their 2013 sophomore Artifact of Annihilation, and finally their 2019 album The New Chapter, all available for streaming in most streaming services like BandCamp, YouTube and Spotify, except for their demo, and you can also enjoy a lot of official videos like Terror In The Air and I Am The Godless Man, and lots of cool live footage including Walking Dead live in Russia in 2014, on their official YouTube channel.
Although Mechanical God Creation haven’t released any new material since 2019, we can also enjoy our dauntless growler as the new frontwoman for an Italian Black Metal band named Stormcrow since July 2024, under the moniker Vexa (maybe taken from a half-troll from Dungeons & Dragons, who knows). Playing what they like to label as “Alpine Black Metal”, the band currently formed of our beloved Luciana, or if you prefer, Vexa on vocals alongside Vastis also on vocals, Astaroth and Tohrus on the guitars, Zedar on bass, and Wraith on drums has been making a name for themselves since 1997, having already released the demo Hell on Earth (2000), the EP Wounded Skies (2004), and the full-length albums Disposition to Tyranny (2012), Face the Giant (2019), and more recently Path to Ascension (2024), all available on BandCamp and on Spotify. Furthermore, although Luciana has only been playing live with the band for now, with no participation in any of the band’s albums, not only you should still listen to all of their discography as their music is awesome, but it will also give you a very good taste of what Luciana has to offer when hitting the stages together with her new horde (and stay tuned as their 2026 European dates are coming soon).
Apart from Mechanical God Creation, Stormcrow, The Anger, and Art of Mutilation, you can also find Luciana as a guest vocalist for the song Urban Massacre, from the 2019 album 1996, by an Italian Death Metal/Grindcore band named Abbinormal. It’s a one-minute song, which might be very short for us metalheads eager for more of Luciana’s vocals, but enough already to show how violent she can sound. She has also recently contributed with her powerful vocals to a track titled Portals, on the new album by legendary Dutch Death Metal band Pestilence that should see the light of day sometime still in 2025 (or maybe only in 2026). In addition, you can also find on YouTube a cover version for Lamb of God’s Walk With Me In Hell by Luciana alongside Italian guitarist and bassist Francesca Mancini, of bands like Chaos Rising, Necrosy, and Sudden Death, and let me tell you that such an incredible female duo kicked some serious ass with their rendition of one of the best songs by Randy Blythe and his crew.
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Highly influenced by bands the likes of Morbid Angel, Behemoth, Cannibal Corpse and Deicide, just to name a few, Luciana enjoys writing caustic, harsh lyrics that reflect the daily reality and the problems we all face in the time we’re living that is so full of very important and sudden changes from the cultural, political and technological point of view. Moreover, apart from heavy music, Luciana also enjoys listening to bands and artists like David Bowie, Adele, Coldplay, and Amy Winehouse, showing her eclectic music taste, and when asked which was her first ever live concert and the very first album she bought, she mentioned the always controversial Marilyn Manson (saying it was a great show and that he is a good frontman, but also pointing out she doesn’t listen to him anymore), and probably a Metallica album as far as she remembers.
Having already played at some of the biggest festivals in Europe with heavy music giants including Ozzy Osbourne, Korn, Megadeth, Graveworm, Meshuggah, and Amon Amarth, just to name a few, Luciana also mentioned in one of her interviews that she really enjoys a festival in Slovenia named Metalcamp, saying that although it’s not as big as Wacken Open Air, it’s a very nice festival in the midst of nature. I really wish both Mechanical God Creation and Stormcrow would cross the pond and come play a few shows in Canada and in the United States, but I understand it’s not easy nowadays to tour the world due to the high touring costs. Well, maybe I can catch them at an European festival next year, right?
Despite being a proud Italian, while at the same time of course having her own constructive feedback about the current political and social landscapes in her homeland, Luciana is not very involved with the Italian underground scene. She mentioned in one of her interviews that she obviously knows bands like Fleshgod Apocalypse are proudly carrying the Italian flag everywhere they go, and she feels very happy for them despite not being a true fan of their music.
Currently working in the A&R (Artists and Repertoire) department of WormHoleDeath and Epictronic, Luciana mentioned in an interview that one of her biggest mistakes in music was having stopped to play the piano after years playing it, as it certainly helped her to feel calm. However, if you think she enjoys movies that would also make her calm down and relax, you’ve got another thing coming as her favorite flicks are horror movies with zombies or exorcisms, with her favorite one being the classic Dawn of the Dead. Maybe one day we’ll see Luciana joining the cast of a horror movie, playing some sort of she-demon, screaming at our faces, and sending shivers down the spines of the lighthearted. Because she’s a true extreme music diva, and she will show no mercy for your soul armed with her phenomenal vocals and badass attitude.
Sounding tighter and more intricate than ever before, this American Sci-Fi Black Metal beast will take you on a journey to outer space to the sound of their breathtaking new album.
Having spent the years honing their craft while keeping their Death Metal-touched Sci-Fi Black Metal sound intact, Monrovia, California’s own beast Imperialist returns with their long awaited third studio album Prime, the follow-up to their critically acclaimed 2021 sophomore offering Zenit and their 2023 EP Quantum. Recorded by Charles Elliott at Tastemaker Audio, mixed and mastered by Dan Swanö at Unisound, and displaying a stylish artwork by Eliran Kantor, the new album by vocalist and guitarist Sergio Soto, guitarist Bryant Quinones, bassist Joshua Alvarez, and drummer Rod Quinones sounds tighter and more intricate than ever before, reinforced further with Thrash Metal elements while also showcasing the darkness and menace displayed on the previous EP but also the maturity in songwriting, being highly recommended for fans of Dissection, Emperor, Valdrin, Vektor, Frozen Dawn, Abigor, and Immortal.
The album kicks off in full force with Starstorm, a demonic display of Technical Black Metal where the guitars by Sergio and Bryant sound as heavy and electrified as imaginable, followed by Beneath The Sands Of Titan, and as a poetic song name deserves a true metallic, no shenanigans sound, that’s exactly what the band delivers, with Rod crushing his drums in great fashion. Their flammable riffs, accompanied by the pure Black Metal bass by Joshua, will darken the skies in Depravity Beheld, while Sergio continues to gnarl like an evil creature; and in I A.M. the dauntless Sergio darkly gnarls the song’s devilish words (“They were naive to think / I would be the one / The prevent their world’s decay / I think therefore I am / Artificially intellegant / Disdain for flesh and blood / Now dominates my world”) amidst a furious Melodic Black Metal sonority for our total delight.
Then after such an insane metal attack we’re treated to the ethereal interlude Heavens Sunder, setting the tone for Final Hours, a ruthless and extremely vile Black Metal extravaganza where Sergio and Bryant deliver some of their most melodic riffs of the whole album, while Rod makes sure the humongous level of heaviness in the song remains intact. Union Of The Swarm sounds as strident and piercing as its predecessors thanks to the caustic riffage by the band’s guitar duo once again, while Rod’s drums sound at the same time rhythmic and apocalyptic, whereas the same Rod speeds things up in the sulfurous Nocturnal Eon, a lesson in contemporary Black Metal where Sergio’s vocals live up to the glory of such an important music genre created in Norway in the 90’s. Last but definitely not least, let’s enjoy seven minutes of first-class Melodic Black Metal in A Ghost Abandoned, led by the rhythmic drums by Rod and the always venomous growls by Sergio.
The music found in Prime oozes passion and dedication at every level, and every listen will prove to be a testament to that. This could very well be the best Imperialist album to date and given their faultless discography to date, that is saying something. You can experience all that by purchasing the album from their own BandCamp, as well as from the Transcending Obscurity Records’ main store, Bandcamp, Europe store or US store, and don’t forget to also follow the band on Facebook and on Instagram, stream their music on Spotify, or click HERE for all things Imperialist. In other words, as their sci-fi obsession has been taken to the next level in Prime, Imperialist are inciting us all to a wild and thrilling metal journey to outer space to the sound of their breathtaking new album, a one-way trip that will surely crush your minds and thoughts in the name of heavy music.
Best moments of the album:Beneath The Sands Of Titan, Final Hours and Nocturnal Eon.
Worst moments of the album: None.
Released in 2025 Transcending Obscurity Records
Track listing 1. Starstorm 5:09
2. Beneath The Sands Of Titan 5:47
3. Depravity Beheld 5:14
4. I A.M. 4:30
5. Heavens Sunder 1:56
6. Final Hours 4:46
7. Union Of The Swarm 5:27
8. Nocturnal Eon 4:39
9. A Ghost Abandoned 7:22
Band members Sergio Soto – vocals, guitar
Bryant Quinones – guitar
Joshua Alvarez – bass
Rod Quinones – drums
The first full-length opus by this American duo flows continuously across seven tracks, maintaining a constant tension between the harmony and dissonance of its ever-shifting web of musical ideas.
Combining a dense stylistic mélange of Death, Black, and Thrash Metal with inventive electronic experimentation and a keen sense of structure, Formless Ruin of Oblivion is the brand new offering by Massachusetts, United States-based Avantgarde Death/Black/Thrash Metal duo Hexrot, following up on their 2022 debut EP Gloomwrought. Mastered by Colin Marston at Menegroth – The Thousand Caves, and displaying a stunning artwork from The Garden of Earthly Delights by Hieronymous Bosch, with logo by Nat Lacuna, the 35-minute first full-length opus by Arkain on vocals, guitars and bass, and Melmoth on vocals, drums and electronics flows continuously across seven tracks, maintaining a constant tension between the harmony and dissonance of its ever-shifting web of musical ideas. Seamlessly interwoven, a bed of modular synthesizer and other digital flourishes run the gamut from clangorous and industrial to warm and ethereal, being therefore recommended for fans of Felgrave, Construct of Lethe, Deathspell Omega, Blut aus Nord, Death, Ulcerate, and Veilburner.
What Lies Veiled is simply ethereal and enigmatic from the very first second, gradually morphing into an experimental beast led by the intricate drumming by Melmoth while Arkain shreds his axe in the name of insanity, flowing into Heavenward, a lecture in Avantgarde and Progressive Death Metal where their experimentations reach a whole new level, all boosted by the the duo’s demented vociferations; again seamlessly connecting with Consecrating Luminous Conflagration, where they keep blasting their demented sounds led by the wicked riffage by Arkain. Then we have the otherworldly interlude Ghostly Retrograde I, setting the stage for Hexrot to crush our souls and dreams with Clandestine Haunt, with Arkain’s caustic guitars matching perfectly with Melmoth’s frantic beats and fills in another explosion of demented Death Metal, once again changing its shape and form into the interlude Ghostly Retrograde II, another atmospheric and embracing instrumental piece that works perfectly as the warmup for the title-track Formless Ruin of Oblivion, a 15-minute creature from the abyss of extreme music, starting in the most phantasmagorical manner before the duo begins peeling our flesh mercilessly with their chaotic and visceral sounds, exhaling madness to their wicked riffs, bass lines and cryptic drums, as if there were three or four songs clashing in great fashion inside of it, consequently setting fire to the ambience until its climatic yet vile finale.
In addition to all that, the immediacy of a live studio recording gives Formless Ruin of Oblivion a high level of authenticity and power, but careful production ensures you’ll still be discovering new things multiple listens in. Hence, you can get to know more about such a promising duo hailing from the United States through their official Facebook and Instagram, stream their debut EP and soon their newborn opus on Spotify or any other streaming service, and purchase a copy of the album from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. It’s truly impressive how only two musicians were capable of putting together such a detailed, bold and complex album, sounding like a multi-headed beast of extreme music while remaining loyal to their foundations and absolutely humble, working hard to keep crafting high quality music for us avid metalheads. No idea what’s next for those two beyond talented guys, but if their next album is just as half as good as Formless Ruin of Oblivion, we’ll have a very good reason to keep a huge smile on our faces while headbanging manically.
Best moments of the album:Heavenward, Clandestine Haunt and Formless Ruin of Oblivion.
Worst moments of the album: None.
Released in 2025 Transcending Obscurity Records
Track listing 1. What Lies Veiled 3:49
2. Heavenward 5:26
3. Consecrating Luminous Conflagration 4:05
4. Ghostly Retrograde I 1:10
5. Clandestine Haunt 3:06
6. Ghostly Retrograde II 1:52
7. Formless Ruin of Oblivion 15:53
Band members Arkain – vocals, guitars, bass
Melmoth – vocals, drums, electronics
It’s thrash or be thrashed to the sound of the new album by these Cleveland, Ohio-based Thrash Metal torchbearers.
Known for their firebranded approach to songwriting and relentless energy, Cleveland, Ohio-based Thrash Metal torchbearers Vindicator are gearing up for the release of Whispers of Death, the band’s fifth and most destructive full-length album, following up on their 2021 opus Communal Decay. Produced, engineered and mastered by Ben Bennett at Chop Daddy Ranch, and displaying a thrashing artwork by Frank Walls, the new offering by M. Law on vocals, B. Zahn and V. Stown on the guitars, E. Stephens on bass, and G. Monturi on drums is an album that’s definitely true to the band’s roots, being highly recommended for admirers of the violence blasted by bands the likes of Havok, Lich King, Violator, and Megadeth.
The caustic riffs by B. Zahn and V. Stown will drag you to the circle pit in Whispers of Death… Anxiety’s Grip, a pure old school Thrash Metal feast tailored for diehard fans of the genre, and G. Monturi puts the pedal to the metal in Charnel Pastures, turning the song into a hurricane of blast beats, rage and sheer aggression. Then a name like Thirst For Violence demands absolute hatred and animosity, and that’s exactly what the band offers us all, with the demented gnarls by M. Law exhaling Thrash Metal. Then B. Zahn kicks some serious ass with his incendiary riffs and solos in Your World Dies In Flames, another frantic creation by those headbanging bastards, and the band shows no sign of slowing down at all in Exhaustion, with G. Monturi crushing his drums without a single drop of mercy until the very last second.
After that, the instrumental piece Novocain warms us up for Bleed Between The Lines, where the band offers an overdose of pure Thrash Metal led by the venomous gnarls and barks by M. Law. Then in Merry Evenings Make Sad Mournings the entire band is on absolute fire, putting the pedal to the metal and inviting us all to slam like true beasts; whereas M. Law’s vocals sound even more inebriate in Battle Box, while the stringed trio formed of B. Zahn, V. Stown and E. Stephens pound their axes mercilessly. Abominable Intelligence is by far the weakest song of the album, never really taking off nor getting truly heavy or exciting; but they quickly get back on track in style with a fulminating Thrash Metal onrush titled Ripper Attack, spearheaded by M. Law’s devilish roars supported by his bandmates’ spot-on backing vocals, flowing into the apocalyptic and melancholic outro Obsoletion Complete, ending the album on a truly dark vibe.
After all is said and done, you’ll realize Whispers of Death is raw, aggressive thrash – no filler, no compromise and no bullshit – as Vindicator continue to unleash their signature brand of Thrash Metal to diehard fans of the genre and the unsuspecting alike. Hence, you can be caught in their frantic mosh by following the band on Facebook and on Instagram, by streaming their sick creations on Spotify, and of course by purchasing the incendiary Whispers of Death by clicking HERE. It’s thrash or be thrashed, and if you have what it takes to face Vindicator’s newborn beast, I’m sure you’ll thrash majestically.
Best moments of the album:Thirst For Violence, Your World Dies In Flames and Ripper Attack.
Worst moments of the album:Abominable Intelligence.
Released in 2025 Independent
Track listing 1. Whispers of Death… Anxiety’s Grip 5:37
2. Charnel Pastures 3:42
3. Thirst For Violence 6:31
4. Your World Dies In Flames 4:46
5. Exhaustion 3:05
6. Novocain 1:29
7. Bleed Between The Lines 4:59
8. Merry Evenings Make Sad Mournings 4:26
9. Battle Box 2:37
10. Abominable Intelligence 2:45
11. Ripper Attack 4:07
12. Obsoletion Complete 1:07
Band members M. Law – vocals
B. Zahn – lead guitar, backing vocals
V. Stown – rhythm guitar, backing vocals
E. Stephens – bass
G. Monturi – drums
This Symphonic Black Metal entity from Portland will attack with their concept debut album, a monolithic fusion of bombastic brutality and cosmic dread.
Astral warlords and celestial leviathans, Portland, Oregon-based Symphonic Black Metal entity Old Machines emerge from the void with their cataclysmic concept debut album, titled The Cycles of Extinction, a monolithic fusion of bombastic brutality and cosmic dread. Recorded and mixed by the band’s own guitarist Brian Rush, mastered by Stephen Hoffman at Acid Dump Studios, and displaying a futuristic, dystopian cover art by Alexander Preuss, the debut offering by Gary Reavis on vocals, Brian Rush on the guitar and bass (the band was joined by Joel Henigson on bass shortly after the album was recorded), Devon Miller also on the guitar, Jason Stares on keyboards, and Chris Craven on drums heralds a new chapter in Extreme Metal where ancient engines of annihilation awaken once more.
You know a band is always aiming at pushing their boundaries when they kick off an album with an 11-minute song like Twilight of the Old Gods, and the Dawning of the First, sounding utterly atmospheric and whimsical, evolving into a Progressive Death Metal beast led by Gary’s striking vocals; and their symphonic wall of sounds goes on in full force in Cycles of Extinction, with the keys by Jason elevating the song’s epicness to a whole new level. Those guys definitely know how to name their songs, like in Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory), where Brian and Devon deliver an imposing riff attack accompanied by the massive beats and fills by Chris in a complex and vibrant blend of Symphonic and Progressive Black Metal; whereas Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle is a beyond ethereal, enfolding composition, almost venturing through the lands of Shoegaze.
Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) takes the band back to a more metallic and piercing mode, where Chris hammers his drums supported by the always electrifying keys by Jason, offering Gary exactly what he needs to shine on vocals. And it’s pedal to the metal in the infuriated The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague, with the guitars by Brian and Devon penetrating deep inside our rotten minds. Then a cinematic intro explodes into sheer madness, rage and first-class Symphonic Black Metal in They are Legion – The Tragic Exodus of the Veiled Creators, where their guitar lines are absolutely insane and demented. And finally, we face their last metal attack entitled Glory to the Terrans of the First Contact War, even more symphonic than its predecessors while Chris sounds ruthless behind his drums.
In a nutshell, the tales of horror, war, and genocide found in The Cycles of Extinction, spanning eight tracks for one hour of music which can be described as Extreme Cosmic Metal, combining elements of Thrash, Death, Black, and Power Metal, will certainly appeal to fans of heavy music with a strong background storyline, and you can get to know more about Old Machines, their music, tour dates and other details on Facebook and on Instagram, and grab a copy of the album from their own BandCamp, from the Pale Magus Productions webstore, or by clicking HERE. From the darkest depths of the oceans of time and space comes a legend over two billion years old, which has spawned a multitude of harrowing galactic sagas, with The Cycles of Extinction being just the first in a series of concept albums by the band. There will be more of such epics in this fashion because, as you know, extinction is only the beginning.
Best moments of the album:Twilight of the Old Gods, and the Dawning of the First, Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) and The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague.
Worst moments of the album:Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle.
Released in 2025 Pale Magus Productions
Track listing 1. Twilight of the Old Gods, and the Dawning of the First 11:14
2. Cycles of Extinction 6:41
3. Extinguishing the Light of the Preludian Empire (Upon the Apex of their Glory) 6:18
4. Dark Space and Beyond – The Continuing of the Evolution of the Final Cycle 8:39
5. Crescendo of Carnage – Warsong of the Singing Swarm (Swarm Wars I) 6:51
6. The Sundering of the Irradiated Suns, and the Rebellion Sparked by the Gene-Plague 7:15
7. They are Legion – The Tragic Exodus of the Veiled Creators 6:03
8. Glory to the Terrans of the First Contact War 7:25
Band members Gary Reavis – vocals
Brian Rush – guitar, bass
Devon Miller – guitar
Jason Stares – keyboards
Chris Craven – drums
Behold the debut album by this Phoenix, Arizona-based Progressive Thrash/Death Metal one-man act, progressing with intense aggression, passages of amazing, atmospheric, melodious reflection and a staggering array of riffs.
Solo projects are not the rare entity that they once were in the multitude of metal genres, and an album can simply pass us by as just another barely noted scrap of information. However, when the songs are so individual, complex and emotionally charged it can still take your breath away. That’s exactly the case with The Final Witness, the debut album by Phoenix, Arizona-based Progressive Thrash/Death Metal act The Final Witness, the brainchild of vocalist and multi-instrumentalist Josh Henderson. Produced by Jason Wisdom of Becoming The Archetype, Beneath The Altar offers no gradual immersion into its turbulent waters, no gradual revealing of its unpredictable nature, progressing with intense aggression, incredible guitar solos, passages of amazing, atmospheric, melodious reflection and a staggering array of riffs.
Josh’s incendiary riffs set fire to the atmosphere in Principalities, also presenting crushing beats and fills, and his trademark demonic roars, resulting in a great start to the album, followed by Coronation, even more melodic than the opening track, with Josh shredding his axe in the name of Progressive Death Metal. The title-track Beneath The Altar also brings to our avid ears Josh’s share of aggressiveness mixed with pure melody and intricacy, not to mention his work on the guitars and drums is fantastic; and he keeps roaring and barking nonstop in Sanctum of the Holy, offering more of his Progressive Death Metal blend, with his scorching riffs adding intricacy and rage to the music. Our lone wolf then puts the pedal to the metal in the infuriated Negative World, offering a high dosage of Death and Thrash Metal violence armed with his blast beats and visceral growling. Testimony, the second to last song from the album, is a burst of pure energy, keeping the fun inside the pit flowing until we face The Blood, another complex and long composition presenting his piercing riffage and progressive beats and fills, resulting in a multi-layered tune recommended for fans of the genre.
Highly recommended for fans of bands the likes of Sadus, White Stones, Coroner, and Moonloop, among others, Beneath The Altar definitely deserves a listen by any fan of high quality extreme music with a strong progressive and melodic vein, and you can get to know more about Josh and his The Final Witness on Facebook and on Instagram, stream the album in full sooner than later on Spotify, and of course, grab a copy of it from the Rottweiler Records’ BandCamp or webstore, as well as from DistroKid, or simply click HERE for all things The Final Witness. It’s time for Beneath The Altar to be unleashed, positioning The Final Witness as a force to be reckoned with in the current American scene, therefore inspiring the multi-talented Josh to keep venturing through the wild and unpredictable lands of progressiveness as a true lone wolf, always putting a huge smile on our faces with more excellent releases like Beneath The Altar.
Best moments of the album:Coronation, Beneath The Altar and Negative World.
Worst moments of the album: None.
Released in 2025 Rottweiler Records
Track listing 1. Principalities 5:13
2. Coronation 3:56
3. Beneath The Altar 5:14
4. Sanctum of the Holy 4:27
5. Negative World 4:59
6. Testimony 6:13
7. The Blood 6:40
Band members Josh Henderson – vocals, all instruments
This Phoenix, Arizona brigade is back with a new powerhouse of modern Thrash Metal, encapsulating the pure nature of the band instilled with their unyielding drive and years of dedication to honing their sound.
Ever since their beginnings, Phoenix, Arizona’s own Thrash/Groove Metal brigade Incite has been fiercely devoted to crafting their distinctive sound, making their mark since their 2009 debut The Slaughter. Now in 2025 the band formed of Richie Cavalera on vocals, Layne Richardson on the guitars, Christopher “EL” on bass, and Lennon Lopez on drums presents their most ferocious incarnation in the form of Savage New Times, the follow-up to their 2022 album Wake Up Dead. Recorded by Steve Evetts at Bell House Studios, mixed by Arthur Rizk, and displaying a dystopian artwork by Marcelo Vasco, Savage New Times is a powerhouse of modern Thrash Metal, encapsulating the pure nature of the band instilled with their unyielding drive and years of dedication to honing their sound.
Eli, Christopher and Lennon begin hammering their sonic weapons in the name of Thrash Metal in Lies, being quickly joined by the visceral vocals by Richie; followed by Feel This Shit (I’m Fired Up), another feast of Thrash and Groove Metal where Richie screams like a demented beast while Lennon invites us all to slam into the pit to the sound of his unstoppable beats and fills. Then the scorching riffs by Eli keep burning our skin in Just a Rat, offering more of the band’s trademark fusion of Groove Metal and heavier sounds, whereas Chucked Off is also heavy as hell, albeit a bit confusing compared to the other songs, with Eli still showcasing a good performance armed with his axe. And Doubts and the Fear lives up to the legacy of modern-day Thrash and Groove Metal, with Richie once again bursting his lungs roaring.
A sinister intro gradually morphs into a harsh and obscure metal attack titled Dolores, showcasing the band’s darkest, most introspective side, with Lennon dictating the pace with his hammering beats, and the quartet then offers an overdose of groove and violence in the form of No Mercy No Forgiveness, with Eli and Christopher extracting sheer aggression form their stringed weapons. Richie declaims pensive, dark words with tons of hatred in Used and Abused, resulting in a vile and infernal metal attack by the band, while Never Die Once reminds me of some of the creations by Soulfly, offering a strong Groove Metal sound boosted by Lennon’s pounding drums. Finally, closing the album we’re treated to two minutes of violence and animosity in the form of the title-track Savage New Times, inspiring us all for some wild, neck-breaking headbanging together with the boys.
With sheer determination and raw talent, Incite have carved out a place in modern thrash, dominating every stage with their unbreakable, unforgiving sound, and their new opus Savage New Times represents a true coronation of their focus, hard work and passion for heavy music. Hence, you can get in touch with those Phoenix thrashers via Facebook and Instagram, stream their wicked music on Spotify, and above all that, show them your utmost support by purchasing Savage New Times by clicking HERE or HERE. Our rotten and decaying society is definitely living its most savage, evil times in history, and in order to survive that there’s nothing better than our good old Thrash Metal, just like what Incite are offering in their scathing new album.
Best moments of the album:Feel This Shit (I’m Fired Up), No Mercy No Forgiveness and Savage New Times.
Worst moments of the album:Chucked Off.
Released in 2025 Reigning Phoenix Music
Track listing 1. Lies 3:27
2. Feel This Shit (I’m Fired Up) 2:33
3. Just a Rat 2:40
4. Chucked Off 2:48
5. Doubts and the Fear 3:15
6. Dolores 5:42
7. No Mercy No Forgiveness 2:46
8. Used and Abused 3:11
9. Never Die Once 3:22
10. Savage New Times 2:28
Band members Richie Cavalera – vocals
Layne Richardson – guitars
Christopher “EL” – bass
Lennon Lopez – drums
The final chapter of the trilogy by this ruthless Dutch Thrash Metal outfit offers a powerhouse fusion of NWOBHM, Heavy, and Thrash Metal, packed with technical precision and explosive songwriting.
Founded in 2015 in The Netherlands with a bold vision to craft a trilogy of albums, Thrash Metal brigade Mass Deception laid the foundation with Revelations (2016) and Redemptions (2019), followed by the EP Halls of Amenti (2022). Now, with Resurrections, the final chapter arrives and it’s heavier, sharper, and more energized than ever before. Produced by Mass Deception and Jörg Uken, mixed and mastered by the same Jörg Uken at Soundlodge Studios, and displaying a sinister cover art by the band’s own guitarist Bänziger, the new album by Klaus on vocals, Waltmans and Bänziger on the guitars, Van Den Beuken on bass, and Sanders on drums is a powerhouse fusion of NWOBHM, Heavy, and Thrash Metal, packed with technical precision and explosive songwriting, drawing influence from genre-defining acts such as Flotsam and Jetsam, Meliah Rage, Laaz Rockit, Nocturnus, Testament, King Diamond and Judas Priest, all while forging a sound distinctly their own.
Rev up your engines as it’s total anarchy and violence in Gain of Function, a fun thrashing feast perfect for banging our heads like there’s no tomorrow, followed by Selling Souls! Buying Lies!, exhaling pure Thrash Metal from the Anthrax-inspired riffs by Waltmans and Bänziger while Klaus declaims the song’s acid lyrics in great fashion. Then after two hard hitting songs in a row, the band offers a more introspective mid-tempo tune titled Menticide, led by the intricate drumming by Sanders, followed by the futuristic interlude Metropolis, before the band attacks once again with 1984, putting the pedal to the metal with their infuriated riffs and classic Thrash Metal beats and fills. And The Road to Hell leads to Rome carries one of the most poetic names out there, offering more of the razor sharp riffs by the band’s guitar duo for our total delight.
Then we face another heavy interlude, entitled Saturn, setting the stage for the band to kick some ass in Ruins of Dominion, where the thunderous bass by Van Den Beuken transpires our good old Thrash Metal. Blue Flame of Anger is another explosion of thrashing madness led by the striking beats and fills by Sanders, putting us all to slam into the mosh pit manically, whereas Passenger of Time and V are two instrumental pieces that despite not being bad tunes, they end up taking away some of the album’s punch. On the other hand, Dark Matter brings back their fury and rage, with Sanders sounding demented behind his drums while his bandmates make sure the circle pit doesn’t stop moving as fast as possible. We’re then treated to the “calm before the storm” in the form of the semi acoustic Druids Descendants, warming us up for Reveal, Redeem & Resurrect, where Klaus takes the lead with his harsh storytelling vocals supported by the crushing drums by Sanders and the always striking riffage by Waltmans and Bänziger.
For the purists, there’s no AI, no MIDI drum computers, no shortcuts in Resurrections. Just raw, honest, and thunderous Heavy Metal, and you can experience all that and get to know more about Mass Deception by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their incendiary creations on Spotify, and of course by purchasing a copy of Resurrections from the Gruesome Records’ BandCamp. As aforementioned, Mass Deception are sounding tighter and more ruthless than ever in their new album, putting a beyond striking and climatic conclusion to their killer trilogy for the delight of all fans of our good old Thrash Metal.
Best moments of the album:Selling Souls! Buying Lies!, Ruins of Dominion, Blue Flame of Anger and Dark Matter.
Worst moments of the album:Passenger of Time and V.
Released in 2025 Gruesome Records
Track listing 1. Gain of Function 2:41
2. Selling Souls! Buying Lies! 2:33
3. Menticide 4:00
4. Metropolis 1:15
5. 1984 4:37
6. The Road to Hell leads to Rome 4:13
7. Saturn 2:05
8. Ruins of Dominion 2:56
9. Blue Flame of Anger 4:32
10. Passenger of Time 1:48
11. V 1:46
12. Dark Matter 3:21
13. Druids Descendants 3:03
14. Reveal, Redeem & Resurrect 6:36
Band members Klaus – vocals
Waltmans – guitars
Bänziger – guitars
Van Den Beuken – bass
Sanders – drums
Originally active in the mid 90’s underground music scene in Porto Alegre, in the state of Rio Grande do Sul, Brazil, where they quickly established a place for themselves with their fierce live performances, intense, intriguing music and uncompromising attitude, Death/Thrash Metal outfit Vertebra is finally unleashing upon humanity their first ever full-length album, titled The Same. Their long overdue debut is an astonishing collection of 11 unrelenting songs, demonstrating fantastic technical dexterity, but also exquisite songcraft and melodic awareness, all masterfully brought into being by vocalist and guitarist Arildo Leal, guitarist Fernando Luzardo, bassist Tiago Vargas, and drummer Cristiano Hulk.
In a nutshell, The Same will undoubtedly place Vertebra in the place they should have occupied in the mid-90’s, with their melodic and technical blend of Death Metal heavily influenced by Death, with touches of bands like Kreator and Carcass, and of course classic Heavy Metal, appealing to all fans of extreme music. Those guys are waiting for you on Facebook and on Instagram to share the news about their newborn baby, and you can already find the full album on Spotify. Also, above all that, go grab a copy of The Same from BandCamp, or simply by clicking HERE. Let the first album by Vertebra take you to the glory of the 90’s while also looking into the future, keeping the flames of Death and Thrash Metal burning bright in the always interesting Brazilian underground scene.
THE HEADBANGING MOOSE 