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Interview – Nelson Acerbus (Semper Acerbus)

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It’s time for a nice and fun chat with the unstoppable frontman for Texas-based Metalcore band Semper Acerbus, talking about their new album, touring and more.

Nelson Acerbus (Semper Acerbus)

The Headbanging Moose: Thanks for your time, guys! Could you please start by introducing yourselves to our readers? Who are Semper Acerbus, when did the band start, and what’s the main goal with your music?

Nelson Acerbus: Hello all, this is Nelson, vocalist for Semper Acerbus, we are a metalcore band from Texas and we started in December of 2016. Our man goal is expressing ourselves in our own creative musical way and if we get followers along this journey, that a big plus!

THM: You new album Following Omens is a wild metal journey across deserts, dunes, mountains, and woodlands. Could you give u more details about the album, the whole idea behind it etc.?

NA: This album represents everything that we have embodied along our music journey, kinda letting it all out plus using things that we have not explored more in the past. More clean singing, more intricate guitar parts, odd time signatures, fun stuff like that.

THM: Some of my favorite songs of the album are Suffering Awaits, The Gallows and District Coward, and coincidentally all three are very Death Metal. Was that the intention? It feels like Semper Acerbus can be considered a Metalcore band with a strong Death Metal vein. Do you agree with that?

NA: You are absolutely right, specially Suffering Awaits, its a straight death metal song, myself and Jaime, one of our guitar players grew up listening to death metal so we love doing stuff like that.

THM: Who are your biggest idols and influences in music and in life in general, and what’s their impact on your creative process and your music?

NA: First names that comes to mind musically, Jesse Leach, Max Cavalera, Chuck Schuldiner, Michael Sweet and many more, helped shape the way I saw music, helped me embrace what I wanted to do in life.

THM: The artwork by Federico Bossinga of Abstract Chaos Design feels absolutely dark and apocalyptic, matching perfectly with your music. How did you get in touch with the artist, and how was the process to get to the final artwork?

NA: We have worked together for a long time, he always brings my ideas to life, he is a great talent. As we always do, I send him an idea, he sends back my idea as an image and then it’s a yay or nay or changes here and there.

Album Review – Semper Acerbus / Following Omens (2026)

THM: How’s the metalcore (or any other type of heavy music) scene nowadays in Del Rio, Texas? Are there any other bands from your area you would recommend to our readers?

NA: There’s no other metalcore band in Del Rio TX, we are a very small town in the middle of nowhere with a big tastes for tex-mex music and culture. We are the sore thumb lol!

THM: Now that Following Omens is out, what does the future hold for Semper Acerbus? Any plans for touring outside of the United States, like in Canada or at any European summer festival? You guys need to bring your music to Toronto for sure!

NA: We want to tour as much as possible, we have offers overseas and nationally that we want to definitely make it happen. We had a run in Canada last year that fell through so, HEY PROMOTERS! Come book us!!

Semper Acerbus

THM: Speaking of touring, which other bands would be part of your “dream tour”? And which bands have you guys had an amazing experience touring with so far?

NA: The most fun we had was touring with ASESINO and Skinlab, great dudes and we had lots of fun. Dream tour would be Killswitch Engage, Trivium, Bleed from Within and Semper Acerbus.

THM: Let’s play an easy and fun game now. Which ten songs would you add to a time capsule for future generations? It can be metal or non-metal, no problem at all.

NA:
1. Fur Elise – Betoven
2. Nessun Dorma – Pavarotti
3. Crystal Mountain – Death
4. Yahweh – By Stryper
5. Lifting Shadow of a Dream – Dream Theater
6. Arise – Sepultura
7. The Element of One – Killswitch Engage
8. Rainbow in the Dark – Dio
9. Cemetery Gates – Pantera
10. Separate Ways – Journey

THM: Thanks again for your time! Feel free to send your final considerations to our readers, and hopefully we’ll see you hitting the stages of Toronto anytime soon!

NA: Thanks for this opportunity, if you haven’t checked our music and our new album, “Following Omens” go check it out! Give us a chance! Keep it metal!

Links
Semper Acerbus Facebook | Instagram | YouTube | Spotify | Linktree

Album Review – Exodus / Goliath (2026)

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Emerging hungrier than ever from San Francisco, California, these Bay Area Thrash legends welcome back frontman Rob Dukes and unleash upon us ten of their most diverse, anthemic emissions to date.

Emerging hungrier than ever from the thrashing city of San Francisco, California, Bay Area Thrash Metal legends Exodus welcome back the unrelenting frontman Rob Dukes, who had previously recorded with the band the albums Shovel Headed Kill Machine (2005), The Atrocity Exhibition: Exhibit A (2007), Let There Be Blood (2008), and Exhibit B: The Human Condition (2010), to continue their path of devastation 16 years later with the thunderous Goliath, their twelfth studio album and the follow-up to the critically acclaimed Blood In, Blood Out (2014) and Persona Non Grata (2021). Produced by the band itself, recorded by Juan Urteaga, Mark Lewis and Jesse Fioren, mixed and mastered by Mark Lewis, and displaying a classic thrashing artwork by Pär Olofsson, the newborn beast by Rob Dukes on vocals, Gary Holt and Lee Altus on the guitars, Jack Gibson on bass, and Tom Hunting on drums reinforces the band’s eternal foothold at the top of the Thrash Metal hierarchy with ten of their most diverse, anthemic emissions to date.

You know the album will be insanely dark and heavy after listening to the initial riff in 3111 (and don’t forget to check the uncensored version of the official video), with Rob delivering his trademark demented vocals, adding endless rage and violence to its already visceral lyrics (“Plazas of carnage, bloody rewards / Fields of poppies, gifts from the lord / Act with the Devil, piling dead / Ransom slaying, payment in lead”). It’s then time to open up the pit and get your position for a killer wall of death in Hostis Humani Generis, a Latin legal phrase meaning “enemy of mankind,” with Gary and Lee sounding ruthless with their scorching riffage; and featuring the iconic Peter Tägtgren (Hypocrisy, Pain) on guest vocals, Tom dictates the pace with his hammering beats and fills in The Changing Me, offering over six minutes of pure thrashing heaviness. The band then fires sheer electricity in Promise You This, perfect for some action inside the circle pit while Jack pounds his bass nonstop, followed by the title-track Goliath, just as massive as its name, with Rob once again vociferating the song’s devilish words manically (“Enormous entity / Who feeds on doubts and fears / Colossal creature / Lying dormant all these years / His slumber now disturbed / He begins to rise / He’s here to end our suffering / To see us euthanized”) while guest Katie Jacoby and her strings bring a touch of dark beauty to the overall result.

It’s then pedal to the metal in the venomous Thrash Metal onrush entitled Beyond the Event Horizon, with Tom’s rumbling beats and fills walking hand in hand with another demented riff-attack by Gary and Lee, who also fire their usual striking solos for the absolute delectation of us thrashers from all over the world. 2 Minutes Hate is another song perfect for headbanging like a metalmaniac, with Rob barking rabidly while his bandmates deliver a melodic and classic Thrash Metal extravaganza; and it’s impressive how the band can easily incorporate elements of modern heavy music into their old school Thrash Metal just like in Violence Works, with its beautiful title being complemented by the piercing and thunderous stringed attack by Gary, Lee and Jack. Summon of the God Unknown is a cadenced tune by the band offering their scathing sonority and rebellious lyrics and vibe, with its second half blending Thrash Metal with elements of Southern Rock and Metal, and let’s close the album with a massive circle pit fueled by the band’s unstoppable thrashing riffs in The Dirtiest of the Dozen, also presenting Tom’s undisputed, classic drumming and the always visceral roars by Rob until the song’s devastating ending.

In the end, Goliath beams with the explosive authenticity that has set Exodus eons apart from their peers since the release of their 1985 groundbreaking debut Bonded By Blood and, 40 years later, they’re steadfast in their refusal to settle for the safety of mediocrity, fearing nothing and no one and continuing to forge their trademark just as resolutely as they did in their fruition. I honestly don’t believe there’s a single metalhead out there who doesn’t know Exodus, but just in case don’t forget to check what those thrashers are up to on Facebook and on Instagram, to stream their masterful creations on Spotify, and to grab a copy of the colossal Goliath from BandCamp or by clicking HERE. Welcome back, Mr. Rob Dukes, and thank you for inspiring us to slam into the pit like maniacs together with Exodus. You guys are the undisputed Goliaths of Thrash Metal, no questions asked.

Best moments of the album: Hostis Humani Generis, Beyond the Event Horizon, 2 Minutes Hate and The Dirtiest of the Dozen.

Worst moments of the album: None.

Released in 2026 Napalm Records

Track listing
1. 3111 4:08
2. Hostis Humani Generis 5:21
3. The Changing Me 6:14
4. Promise You This 5:19
5. Goliath 5:04
6. Beyond the Event Horizon 5:16
7. 2 Minutes Hate 4:55
8. Violence Works 4:49
9. Summon of the God Unknown 7:54
10. The Dirtiest of the Dozen 5:09

Band members
Rob Dukes – lead vocals
Gary Holt – guitars
Lee Altus – guitars
Jack Gibson – bass, backing vocals
Tom Hunting – drums

Guest musicians
Peter Tägtgren – vocals on “The Changing Me”
Katie Jacoby – strings on “Goliath”

Album Review – Axe Dragger / Axe Dragger (2026)

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The axe of Heavy Metal is about to strike to the sound of the debut album by this American supergroup, a timeless, earth-shaking beast of a record and an instant classic.

An American Heavy Metal supergroup featuring former Pantera vocalist Terry Glaze, guitarist Bob Balch (Fu Manchu, Slower), bassist Fredrik Isaksson (Dark Funeral), and former Pentagram drummer Pete Campbell, Axe Dragger are unleashing upon us all metalheads, heshers and headbangers their self-titled debut album, delivering old school, 80’s-inspired heavy music in the vein of Judas Priest, Dio, Armored Saint, and Iron Maiden. Mixed by Brian Scheuble (Mötley Crüe, Whitesnake, Stone Temple Pilots, Nine Inch Nails) mastered by Dave Collins (Metallica, Soundgarden), and displaying a killer artwork by Seldon Hunt, Axe Dragger is a timeless, earth-shaking beast of a record and an instant classic, adorned with a modern weight and grit.

Terry doesn’t waste any time and begin distilling his raspy, soaring vocals in Axe Dragger, and the song that carries the name of the band is indeed a metallic beast perfect for some wild headbanging. Then Fredrik and Pete rev up the band’s thunderous machine in Give You The Rope, a Judas Priest-infused tune spiced up by a striking solo by Bob, followed by Fight Another Day, a strong candidate for their live performances (if they start touring, of course), with elements of the Southern Rock and Metal by Pantera giving it a badass vibe. Iron Rider is (surprise, surprise) a song for lovers of the fast lane, as if Iron Maiden and Motley Crüe had a bastard son, with Bob taking the lead with his caustic riffage supported by Pete’s hammering drums; whereas Eat Me From The Inside is by far the most generic of all songs, falling flat after a while despite the visceral riffs by Bob.

Then back to a more ferocious mode the quartet fires Shock ‘Em Dead, with the bass lines by Fredrik punching us hard in the head while Terry keeps delivering his unparalleled vocals, and they truly thrive when they go full 80’s Heavy Metal, which is the case in El Toro, a no shenanigans, in-your-face aria showcasing another excellent performance by Terry while Pete dictates the song’s horns raising pace. The band invests in a massive Southern and Sludge Metal sonority in The Damned Will Cry, as heavy and melodic as it can be, and if you love the guitar attack by Iron Maiden and Judas Priest you’ll have a great time listening to Fire In The Madhouse, with Pete showing no mercy for his drums. Lastly, the band closes the album with an overdose of epic sounds in the form of Death Is Calling My Name, an ode to our beloved Rock N’ Roll.

“I’d been in touch with Pete Campbell for a while about trading riffs, drum beats, and ideas. I’ve also been teaching a student over FaceTime for a couple of years who wants to learn old Riot, Judas Priest, and DIO – and that really lit a fire under me to start writing an old-school heavy metal project. So Pete and I started sending riffs and beats back and forth, and once we had a few solid tunes, we brought in Terry Glaze and Fredrik Isaksson. The first song Terry sent back was Axe Dragger and Pete and I completely lost our minds. From there, we were all fired up, and over the course of a year, we put together this record. It’s a pure reflection of early ’80s heavy metal – and I hope you dig it. For the guitar geeks out there, this record is loaded with harmonic minor modes à la Powerslave-era Iron Maiden,” commented Bob Balch about the genesis of the supergroup, and if you want to know more about those talented veterans you can find them on Facebook, Instagram and Spotify, and grab your copy of their incendiary debut from Ripper Music’s Big Cartel (on CD or vinyl for US customers), webstore (for EU customers), or BandCamp (digital and physical worldwide). The axe of Heavy Metal is about to strike hard and fast with the debut by Axe Dragger, and you better get ready because those guys will take no prisoners in their quest for heavy music.

Best moments of the album: Iron Rider, El Toro and Fire In The Madhouse.

Worst moments of the album: Eat Me From The Inside.

Released in 2026 Ripple Music

Track listing
1. Axe Dragger 3:27
2. Give You The Rope 3:21
3. Fight Another Day 3:53
4. Iron Rider 3:52
5. Eat Me From The Inside 5:01
6. Shock ‘Em Dead 4:11
7. El Toro 3:06
8. The Damned Will Cry 4:22
9. Fire In The Madhouse 4:29
10. Death Is Calling My Name 4:48

Band members
Terry Glaze – vocals
Bob Balch – guitar
Fredrik Isaksson – bass
Pete Campbell – drums

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

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2026 Century Media Records/Epic Records

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

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

Album Review – Oathbound / Colors In Grey (2026)

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This up-and-coming Progressive Metalcore unity returns with their first full-length album, a forceful, profoundly human document that reminds us why metal, at its best, is the ultimate vehicle for spiritual connection and catharsis.

Hailing from the rain-soaked streets of Seattle, Washington, the electrifying Progressive Metalcore unity Oathbound channels the raw, unfiltered emotion that defines the human condition, including heartbreak, loss, addiction, and trauma. No subject is off-limits. Mixed and mastered by Aaron Chaparian (As I Lay Dying, Bleeding Through, Chimaira) at Iron Audio, the excellent Colors In Grey is the follow-up to their 2024 debut EP Until it’s Gone, representing the sound of a band formed of Chris Fox on vocals, Taylor Harper and Viktor Schultz on the guitars, Steve Schwarz on bass, and Travis Morlan on drums operating at an undeniable peak, a forceful, profoundly human document that reminds us why metal, at its best, is the ultimate vehicle for spiritual connection and catharsis.

In the dark intro Origins, the band crafts a melancholic ambience perfect for enfolding our souls before we face the title-track Colors in Grey, already exploding into sheer aggressiveness to the desperate roars by Chris supported by the melodious riffage by Taylor and Viktor, kicking off the album on a high note. Then in the hard hitting Set Adrift, Travis smashes his drums nonstop while his bandmates make sure there’s first-class Metalcore for everyone; and featuring Patrick Franiuk of Metalcore band Mémoire, Misunderstood is one of the most visceral and obscure of all songs from the album, with their clean and harsh vocals bringing to the music a stylish paradox, followed by The Masks We Wear, a decent song albeit a bit confusing at times, despite showcasing their excellent Djent-infused riffs.

Back to a more traditional Metalcore approach, it’s time for the band to invite us all to jump up and down with them in Insomniac, with Chris once again taking the lead with his raspy roars; whereas Searching For An Answer reminds me of some of the creations by Swedish Metalcore band My Dear Addiction, in special the pounding drums by Travis and its overall vibe. They put the pedal to the metal and bring forward the type of Metalcore we old school metalheads love the most in Hold On, feeling very aggressive while still showcasing their more melodic side, before they end the album with an overdose of progressiveness flowing from the axes by Taylor, Viktor and Steve in False Ideals, leaving us eager for more of their music in a not-so-distant future.

For Oathbound, Colors In Grey is only the beginning. With eyes set on nationwide touring and continued creative evolution, their mission remains the same, to offer catharsis, hope, and connection through music that speaks from (and to) the soul. Hence, you can join them in such a unique exploration of emotions through heavy music by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their music on Spotify, and of course by purchasing their caustic new album by clicking HERE or HERE. With Colors In Grey, their message is clear. Even in life’s darkest moments, there’s a silver lining – and a life still worth living.

Best moments of the album: Colors in Grey, Misunderstood and Hold On.

Worst moments of the album: The Masks We Wear.

Released in 2026 Eclipse Records

Track listing
1. Origins 1:31
2. Colors in Grey 3:23
3. Set Adrift 3:50
4. Misunderstood 3:57
5. The Masks We Wear 3:28
6. Insomniac 3:40
7. Searching For An Answer 3:26
8. Hold On 4:50
9. False Ideals 3:55

Band members
Chris Fox – vocals
Taylor Harper – guitar
Viktor Schultz – guitar
Steve Schwarz – bass
Travis Morlan – drums

Guest musician
Patrick Franiuk – vocals on “Misunderstood”

Album Review – Phasma / Purgatory (2026)

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This Greek and American beast is ready to unleash hell with their third full-length offering, unfurling dimensions within the sound that they have concocted.

Attempting to meld influences ranging from Black Metal to Brutal Death Metal and everything in between, including Technical Death Metal, Blackened Death Metal and even Deathcore, the demonic Greek/American beast known as Phasma is unleashing hell with their third full-length offering, simply titled Purgatory. Displaying a Stygian artwork by George Angelis, the follow-up to their 2022 sophomore effort Epiales effortlessly oscillates from sharp Black Metal riffs to pummeling Death Metal blasts with matching vocal styles, and even toss in a breakdown or two in the middle, with every song feeling like an extension if not an improvisation over the previous one, as vocalist Luis Ferre and guitarist Jason Athanasiadis, with the support of session musicians George Markantonis on bass and Bill Nanos on drums, unfurl dimensions within the sound that they have concocted.

The dirty, devilish guitar by Jason sets the stage in I, quickly exploding into a beyond demented and technical feast of Black and Death Metal with Luis growling like a rabid beast for our total delight, followed by II, where another ethereal start evolves into more of the band’s trademark violence, with Bill’s infernal drums walking hand in hand with George’s thunderous bass lines. III sounds as visceral and ruthless as its predecessors, with Luis stealing the show with his deep guttural and bestial gnarling while Jason extract those Cannibal Corpse-inspired riffs that make Death Metal even deadlier; whereas IV presents hints of Dissonant and Avantgarde Death Metal added to their core brutality, keeping the album as sulfurous as it can be. Their insanity, heaviness and rage are boosted by the rumbling bass by George in V, getting utterly experimental at times while also showcasing a strong Deathcore vibe in its breakdowns; and lastly, they’ll pulverize us all with VI, where their Death Metal side gets even stronger, while Bill once again pounds his drums nonstop.

Bands playing a mix of styles isn’t uncommon but to intermingle influences of such disparate, almost contrasting styles is fascinating and remarkable especially when they have high replay value and lasting appeal. That’s exactly what Phasma have to offer in Purgatory, being highly recommended for admirers of the sonic madness blasted by bands such as Mgla, Dying Fetus, Crypts of Despair, Kriegsmaschine, and Psycroptic, just to name a few. You can get to know more about such a bestial duo from Greece and the United States by following the project on Facebook and on Instagram, staying up to date with their live performances, stream their unique creations on Spotify or any other streaming platform, and above all that, grab a copy of Purgatory from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, where you can also find their incredible merch designed by CVSPE. Like it or not, Phasma are here to stay, and they’ll mercilessly drag us to their own purgatory armed with their visceral new album.

Best moments of the album: I and III.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. I 5:00
2. II 4:13
3. III 4:24
4. IV 3:51
5. V 4:16
6. VI 4:47

Band members
Luis Ferre – vocals
Jason Athanasiadis – guitars

Guest musicians
George Markantonis – bass (session)
Bill Nanos – drums (session)

Album Review – Necronomicon Ex Mortis / Zombie Blood Nightmare EP (2026)

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This zombified Death Metal horde returns from the dead with a cadaverous new EP, boasting a sound as sharp and punishing as its subject matter, showcasing a band at their most chaotic and gleefully grotesque, but also their most ambitious.

Formed in 2023 in Chicago, Illinois, horror-death fiends Necronomicon Ex Mortis return with their most ferocious and unhinged release to date, the six-track EP aptly titled Zombie Blood Nightmare. Produced, recorded, and mixed by Charlie Waymire at Ultimate Studios, mastered by Ernesto Homeyer, and embraced by the sick artwork by Genoicide Artwork, the new EP by John Sawicki on vocals, Michael Nystrom Bala and Manuel Barbara on the guitars, Yusuf Rashid on bass, and Joey Ferretti on drums boasts a sound as sharp and punishing as its subject matter, showcasing a band at their most chaotic and gleefully grotesque, but also their most ambitious, a whirlwind of 90’s Death Metal stomp, 80’s shred obsession, and tongue-in-cheek B-movie gore that cements their identity as both serious riff-worshippers and gleeful purveyors of horror camp.

The EP kicks off in the best Death Metal style with Left To Die, with Michael and Manuel dictating the pace with their frantic, slashing riffage, resulting in a very good excuse for slamming into the pit like a putrid, decaying corpse. And let’s break our necks headbanging to No More Room In Hell, where the band brings forward their darkest mode, almost sounding Blackened Death Metal, in special the evil vociferations by John (not to mention the song’s hellish solos). Chopped Up And Burned carries a Cannibal Corpse-inspired title that lives up to the legacy of venomous Death Metal, spearheaded by Joey’s ruthless drumming while also presenting melodic yet piercing solos; whereas an imposing start gradually morphs into a mid-tempo, devilish feast of Death Metal in Lumbering Blood Sucking Freaks, accelerating its pace as time passes by for our total delight. Hungry For Brains is by far the most “zombified” of all songs, paying homage to all zombie movies we love so much, with John’s raspy gnarls walking hand in hand with their visceral riffage, and there’s no better way to conclude an album of Death Metal than with extreme aggression and savagery like in Démoni, where Yusuf and Joey make the earth tremble with their undisputed kitchen.

With Zombie Blood Nightmare, the band delivers not just another step forward, but a gory leap through the gateway to hell. It’s a record that pays homage to their Death Metal forebears while shamelessly indulging in horror schlock and fretboard excess. It may open new doors, or as the band prefers to put it, “new gateways to hell.” Hence, you can join the band’s army of the dead by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their zombified creations on Spotify, and of course by grabbing a copy of their newborn baby from BandCamp or by clicking HERE. It’s time for the dead to rise once again to the sound of the visceral Death Metal by Necronomicon Ex Mortis, because as the mighty Cannibal Corpse say, there’s no other way – you have to kill or become.

Best moments of the album: Chopped Up And Burned and Hungry For Brains.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Left To Die 4:38
2. No More Room In Hell 5:18
3. Chopped Up And Burned 6:59
4. Lumbering Blood Sucking Freaks 3:41
5. Hungry For Brains 4:41
6. Démoni 3:15

Band members
John Sawicki – vocals
Michael Nystrom Bala – guitars
Manuel Barbara – guitars, orchestration
Yusuf Rashid – bass
Joey Ferretti – drums

Album Review – Dissentience / Kaiju EP (2026)

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

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

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

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

Best moments of the album: Chaos Absolute and Kaiju.

Worst moments of the album: None.

Released in 2026 Independent

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

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

Album Review – Overtoun / Death Drive Anthropology (2026)

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This Chilean unrelenting outfit offers in their third album a true Book of Death forged in sound, channeling the death drive into a relentless exploration of human rituals, mortality, and cultural collapse.

Expanding their fierce Chilean/American identity, channeling the death drive (Thanatos) into a relentless exploration of human rituals, mortality, and cultural collapse – a true Book of Death forged in sound – Santiago, Chile and Boston, Massachusetts-based Progressive/Technical Death/Thrash Metal beast Overtoun returns in full force with their third offering, entitled Death Drive Anthropology, the follow-up to their 2021 sophomore This Darkness Feels Alive. Recorded at Estudio del Sur, and produced, engineered, mixed and mastered by Martín Furia at Somma Productions, the new album by Yoav Ruiz-Feingold on vocals, Matias Bahamondes on the guitar, Matias Salas on bass, and Agustin Lobo on drums further cements the band as one of the most compelling and forward-thinking forces emerging from the Latin American metal landscape. Rooted in the primal force of 90’s death-thrash yet sharpened by a modern, incisive edge, the album fuses Latin rhythms, folk-tinged guitars, and razor-tight riffs, being therefore a must-listen for admirers of the music by Carcass, Atheist, and Revocation, among others.

The album couldn’t have started in a better and more demented way than with What Unites All, featuring guest vocalist Max Phelps (Cynic, Death to All), with Matias Salas and Agustin sounding absolutely mental with their heavy-as-hell, groovy kitchen. Yoav keeps roaring like a beast in the very technical, melodic yet brutal The Final Beat, blending the most caustic elements from Death and Thrash Metal, and after a cryptic intro the music evolves into another feast of progressive violence in Memento Mori, featuring guest vocalist Enrico H. Di Lorenzo (Hideous Divinity), where Agustin once again dictates the pace while Matias Bahamondes slashes his axe nonstop. Their wicked riffs and pounding drums are the main ingredients in the electrifying Dur Khrod, inviting us all to slam into the pit in the name of our good old Death and Thrash Metal; whereas their progressive vein pulses even harder in Jade, Gold, Obsidian, led by the intricate and flammable riffage by Matias Bahamondes. And in Yūrei they offer a more modern side of their core musicality, alternating between groovy moments and extreme aggression.

Matias Salas  beautifully steals the spotlight with his metallic bass in Weeping, as if Sepultura, Dream Theater and Machine Head had a bastard son (who loves Death Metal), which of course translates into total sonic brilliance. Guest Shantanu Vyas (Hazing Over) lends his desperate vocals to the band in Wind and Water, keeping the album at an extreme level of violence and progressiveness; and we then face a killer three-part extravaganza, starting with the 30-second intro The Waves Suite: Siren, setting the stage for The Waves Suite: Ocean, where the band goes almost full tribal with their ruthless sounds, flowing like an arrow on fire in the dark until The Waves Suite: Caleuche puts a very melodic ending to such an interesting aria. The band still has the icing on the cake to offer in the album, the title-track Death Drive Anthropology, inviting us all to slam one last time with them to the sound of the demonic roars by Yoav.

As mentioned, Death Drive Anthropology aims at channeling the death drive into a sonic Book of Death that examines how different cultures confront mortality, violence, collapse, and rebirth through ritual and art, and if you want to feel part of such an exciting metallic ritual, you can start following the band on Facebook and on Instagram, stream their amazing music on YouTube or on Spotify, and above all that, grab a copy of the album from the band’s own BandCamp, as well as from the Time To Kill Records’ webstore. In other words, simply open the Book of Death written by these talented Chilean metallers, and let their sounds bring to your soul the always exciting duality between life and death.

Best moments of the album: What Unites All, Weeping and Death Drive Anthropology.

Worst moments of the album: Wind and Water.

Released in 2026 Time To Kill Records

Track listing
1. What Unites All 5:23
2. The Final Beat 4:46
3. Memento Mori 6:38
4. Dur Khrod 3:54
5. Jade, Gold, Obsidian 4:00
6. Yūrei 5:25
7. Weeping 5:28
8. Wind and Water 4:05
9. The Waves Suite: Siren 0:23
10. The Waves Suite: Ocean 4:11
11. The Waves Suite: Caleuche 1:42
12. Death Drive Anthropology 4:23

Band members
Yoav Ruiz-Feingold – vocals
Matias Bahamondes – guitar
Matias Salas – bass
Agustin Lobo – drums

Guest musicians
Max Phelps – vocals on “What Unites All”
Enrico H. Di Lorenzo – vocals on “Memento Mori”
Shantanu Vyas – vocals on “Wind And Water”

Album Review – Malefic / Impermanence (2026)

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

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

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

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

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

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

Worst moments of the album: Of Gods and Man.

Released in 2026 Terminus Hate City

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

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