Album Review – Semper Acerbus / Following Omens (2026)

Blasting us across deserts, dunes, mountains, and woodlands, the first full-length offering by this blazing hot Texas-based Metalcore outfit goes deep and dark into the pit of our hearts.

Hailing from from the heart of Del Rio, Texas, the blazing hot Metalcore act known as Semper Acerbus (a Latin phrase that translates to “always bitter” or “always harsh”) goes straight for the jugular with their blistering third full-length album, titled Following Omens. Produced, mixed and mastered by Chris Mora (Upon a Burning Body, Kingdom Collapse), and showcasing a classy artwork by Federico Bossinga of Abstract Chaos Design (Dark Funeral, Dimmu Borgir, Old Man’s Child), the follow-up to their 2021 album Ouroboros sees the band formed of vocalist Nelson Acerbus, guitarists Jaime Vargas and Joe Dragich, bassist Sammy Farhat, and drummer Tyler Thomas deliver an explosion of sonic heaviness that thematically covers the whole of the psychological super spectrum, oftentimes all the way to the fringes where the darkness is the deepest and despair is thick as fog on old cobblestone. Lyrically, the band explores all types of toxic relationships leading to destructive aftermaths that teach us the hard lessons, the ones that change us forever.

A very Metalcore intro ignites the opening tune Suffering Awaits, exploding into a well-balanced mix of their core sound and nuances of Death Metal led by the venomous roars by Nelson. After such a demented start the band offers our avid ears Unwanted, with Tyler stealing the spotlight with his progressive, intricate drumming, whereas in One Day At A Time the title carries a deep meaning to all of us, and the band makes sure the music reflects that with its Melodic Death Metal and Metalcore riffs, background keys and anguished screams. And Jaime and Joe rev up the band’s metallic engine with their razor-edged riffs in The Gallows, inspiring us all to bang our heads nonstop to their scathing, electrifying extravaganza.

The second part of the album begins with the cinematic interlude Alluring Vendetta, warming us up for the hard hitting Archangel, where Nelson keeps vociferating rabidly from the bottom of his blackened heart accompanied by another rumbling performance by Sammy and Tyler armed with their respective bass and drums. Wounded sounds a bit generic compared to the other songs, as it doesn’t offer the same level of intricacy nor dynamism; fortunately, Torn Inside gets the band back on track with a striking blend of Progressive Metalcore spearheaded by the demolishing yet very technical drumming by Tyler, not to mention the guitars by Jaime and Joe are breathing fire. And their coup-de-grace comes in the form of District Coward, again presenting a truly menacing kitchen by Sammy and Tyler, as heavy and headbanging as it can be.

Blasting us across deserts, dunes, mountains, and woodlands, Following Omens goes deep and dark into the pit of our hearts while the band entertains themes of isolation, addiction, vendettas, and death, religion and romance, omens and ghosts. Such a must-see name of the current Metalcore scene is waiting for you on Facebook and on Instagram with news, tour dates and other nice-to-know details, and you can also stream their acid creations on YouTube and on Spotify, and purchase your copy of their excellent newborn spawn by clicking HERE or HERE. In the end, the new album by Semper Acerbus is perfect for those who want to rock out, while simultaneously important for those who need to engage in a search of the self. We dig them. We play them loud as all hell, and we’re one of them.

Best moments of the album: Suffering Awaits, The Gallows and District Coward.

Worst moments of the album: Wounded.

Released in 2026 Eclipse Records

Track listing
1. Suffering Awaits 4:11
2. Unwanted 3:22
3. One Day At A Time 4:05
4. The Gallows 3:40
5. Alluring Vendetta 1:00
6. Archangel 3:41
7. Wounded 3:37
8. Torn Inside 3:29
9. District Coward 3:51

Band members
Nelson Acerbus – vocals
Jaime Vargas – guitar
Joe Dragich – guitar
Sammy Farhat – bass
Tyler Thomas – drums

Album Review – Ectovoid / In Unreality’s Coffin (2026)

From the abyssal and blistering depths of Alabama, this vile creature returns with its third studio album, an exhumation of Death Metal’s spectral essence and a relentless pulse of putrefaction.

From the abyssal and blistering depths of Alabama and featuring members from Seraphic Entombment and Father Befouled, the destructive Death Metal force known as Ectovoid returns in full force with their third full-length opus, titled In Unreality’s Coffin, the follow-up to their 2015 sophomore Dark Abstraction. Recorded, mixed and engineered by Alex Parra at Second Sight Sound, mastered by Dan Lowndes at Resonance Sound Studio, and showcasing another killer artwork by Italian master Paulo Girardi, the new offering by C.B. on vocals and guitars, C.S. also on the guitars, R.S. on bass, and C.M. on drums is an exhumation of Death Metal’s spectral essence and a relentless pulse of putrefaction, summoning shadows into eternal decay and entombing listeners in cavernous pummeling riffs.

Those American death dealers begin their infuriated feast of venomous sounds in Dissonance Corporeum, with C.B. already vomiting the song’s devilish words accompanied by the unstoppable beats and fills by C.M., whereas Collapsing Spiritual Nebula sounds even more dynamic and vibrant, with the Crust-infused riffs by C.B. and C.S. transpiring a violent blend of Death Metal. R.S. and C.M. continue to shake the foundations of earth in Intrusive Illusions (Echoes from a Distant Plane), perfect for some insane “dancing” inside the circle pit; and investing in a ruthless 90’s Death Metal sonority we face Formless Seeking Form, with C.B.’s gruesome roars being nicely complemented by C.S.’s grim backing vocals. And if that’s not heavy enough for you, Irradiated Self manages to get even more demented, infernal and visceral than its predecessors, with C.M. once again stealing the show with his deadly beats and fills.

The guitars by C.B. and C.S. keep breathing fire in the title-track In Unreality’s Coffin, inviting us all to bang our fucking heads nonstop in the name of primeval Death Metal, supported by the rumbling bass by R.S.; and the quartet shows no mercy for our putrid souls in Erroneous Birth, melting our faces with their undisputed violence and hatred, with C.B. barking and roaring manically for our total delight. Their second to last explosion of old school Death Metal comes in the form of It Is Without Shape, an instrumental interlude that could have had some vocals to give it an extra taste, flowing into In Anguished Levitation, a lecture in absolute brutality and insanity where their caustic riffs, demonic guttural and demolishing bass and drums turn it into a must-listen for fans of the genre.

Across three full-length albums and various other releases, Ectovoid have fiercely honed their craft, carving out a distinct identity in the broader Death Metal landscape while continuing to pursue higher plateaus of dark Death Metal artistry, with In Unreality’s Coffin flawlessly representing the band’s evolution in the extreme arts, being therefore tailored for admirers of the just as heavy sounds by Autopsy, Necrot, Incantation, and Acephalix, among others. The guys from Ectovoid are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and don’t forget to also stream their vicious creations on Spotify, and to put your bloody hands on In Unreality’s Coffin by clicking HERE (BandCamp) or HERE (mailorder). In other words, it’s time to summon total darkness to the sound of the new opus by Ectovoid, feeding you inner demons with their ruthless and primeval blend of Death Metal insanity.

Best moments of the album: Collapsing Spiritual Nebula, Irradiated Self and In Anguished Levitation.

Worst moments of the album: It Is Without Shape.

Released in 2026 Everlasting Spew Records

Track listing
1. Dissonance Corporeum 4:24
2. Collapsing Spiritual Nebula 5:42
3. Intrusive Illusions (Echoes from a Distant Plane) 3:55
4. Formless Seeking Form 6:02
5. Irradiated Self 3:55
6. In Unreality’s Coffin 4:06
7. Erroneous Birth 5:42
8. It Is Without Shape 3:22
9. In Anguished Levitation 7:26

Band members
C.B. – vocals, guitars
C.S. – guitars, backing vocals
R.S. – bass
C.M. – drums

Album Review – Redivider / Sounds Of Malice (2026)

This up-and-coming Death Metal outfit will destroy our putrid bodies with their debut album, a conceptually rich, sonically punishing record that blends fantasy-driven storytelling with crushing heaviness.

Formed in early 2021 in Louisville, Kentucky by vocalist Jacob Spencer and guitarist Paul Nunavath, the ruthless Death Metal squad known as Redivider is ready to attack armed with their debut album, entitled Sounds Of Malice. Recorded at Round Table Recording Company and Michael Kent O’Bryan Studio, mixed by the band’s own Paul Nunavath, and mastered by Dan Swano at Unisound, the debut opus by the aforementioned Jacob Spencer on vocals and Paul Nunavath on the guitar, alongside Jake Atha also on the guitar, Alexander Farrington on bass, and James Goetz on drums is a conceptually rich, sonically punishing record that blends fantasy-driven storytelling with crushing heaviness, always thriving on tension, rhythm, and unapologetic intensity, or in other words, it’s Death Metal built to be felt as much as heard.

It’s time to slam into the circle pit like a true bastard to the sound of Quartered & Devoured, opening the album on a demented note thanks to the gruesome roars by Jacob and James’ unstoppable beats and fills. Paul and Jake continue to feed Jacob’s roars with their visceral riffage in the title-track Sounds of Malice, resulting in a brutal and intricate display of old school Death Metal; whereas Alexander’s bass couldn’t have sounded more metallic in Shackled to Existence, accompanied by the once again demented drumming by James. Apocalyptic Waste is another bestial song perfect for some wild headbanging, with Jacob vociferating rabidly in the name of Death Metal, followed by Fratricide, a no shenanigans, in-your-face Death Metal extravaganza where Paul and Jake slash their stringed axes ruthlessly. After that, James kicks off the just as heavy and evil Bask in the Rot, an excellent option for their live performances, before we face the bludgeoning Left to Rot, ending the album on a demonic mode to the inhumane growls by Jacob.

In a nutshell, Redivider have crafted a debut that is punishing, articulate, and unflinchingly true to the spirit of Death Metal, a concentrated expression of aggression, narrative depth, and old school brutality fused with modern execution that will surely please the most diehard fans of the style. Those talented and unrelenting American death dealers are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and you can also enjoy their demented creations on Spotify and of course purchase Sounds Of Malice from BandCamp or by clicking HERE or HERE. Sounds of Malice brings forward the sounds of the glory of 90’s Death Metal, and we can rest assured Redivider will keep destroying our putrid bodies with their undisputed blend of savagery for many years to come.

Best moments of the album: Quartered & Devoured, Apocalyptic Waste and Left to Rot.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Quartered & Devoured 4:04
2. Sounds of Malice 3:10
3. Shackled to Existence 5:21
4. Apocalyptic Waste 4:40
5. Fratricide 4:34
6. Bask in the Rot 3:46
7. Left to Rot 4:01

Band members
Jacob Spencer – vocals
Paul Nunavath – guitar
Jake Atha – guitar
Alexander Farrington – bass
James Goetz – drums

Guest musician
Mike Hargrave – drums (live)

Metal Chick of the Month – Samantha Mobley

Set free, released… The frozen soul I see!

What killed the dinosaurs? The Ice Age! But do you know what will crush you like an insect here on The Headbanging Moose? If you said it’s a ruthless bass player as our metal lady of this month of January to properly kick off the year of 2026, you’re damn right, my friend. She’s not only a member of one of the must-see names of the current Death Metal scene worldwide, but also a very talented tattoo artist. Her name is Samantha Mobley, also known as Sam Mobley, the badass bassist for Texas-based Death Metal entity Frozen Soul, and the owner and artist at Heavy Metal Tattoo, and after knowing more about such an up-and-coming artist who lives and breathes heavy music, you’ll definitely feel the heat in this always bitterly cold month to kick off another headbanging year in style.

Born and raised in Fort Worth, Texas, Samantha has always loved arts and music, constantly creating art as a child. “I’ve been an artist since I was a little girl, I would draw on anything I could get my hands on. Being a quiet and sensitive child, art was a perfect outlet for me, and it took up most of my time growing up, as well as having a love of music since I was little,” she commented. Always placed in advanced art classes in which she excelled, those were basically the only formal classes that allowed her to have structure and craft her technique. “I have done freelance photography, logos, artwork and graphic design since I was a teenager. I’ve become proficient in digital media, watercolor, oils, graphite, charcoal, acrylic, clay, and now, putting designs on skin,” said Sam, showing how talented she is not only in music, but also in arts in general.

Long before becoming a bassist, she spent around 11 years working as a pet stylist at a veterinary clinic, bathing, brushing, and styling everything from chihuahuas to great danes. “When Frozen Soul started, I was on a completely different career path. I was like a hermit pretty much. I just went to work and came home.” Also, despite the steady income coming form her days as a pet stylist, her decision to leave that stability and pursue her passion for music is a testament to her courage and determination, and all that can be easily noticed when you listen to her ruthless bass in any of the songs composed by Frozen Soul, proving she took the right decision to invest in her career as a musician.

She was gifted her first guitar at the age of 8, and a cherry red electric guitar at age 10, casually playing off and on throughout the years, always trying to teach herself the basics in between her studies. “I would listen to the radio, record it on a tape player, and teach myself how to play.” Sam grew up on 90’s alternative music, but quickly progressed into listening to heavier and heavier music in her teenage years. “The first thing that made me pick up an instrument when trying to learn how to play guitar was the band Kittie. I saw that they were all female and was like, ‘Shit, if they can do it, I can do it!’ I messed around with guitar in my free time when I was younger but as I got older I just really wanted to pursue music as it’s always been a huge passion of mine. When I finally got the opportunity to do so with Frozen Soul, at the time, the bass was the only instrument open. I had to learn it fast and now it’s my first instrument of choice, but I still play guitar passively too I guess.” She mentioned in an interview that she picked up bass at the end of 2018, and started practicing with a Black Metal band called Vermiculated. While short lived, it allowed her to get some experience under her belt. “We broke up right before I started playing with Frozen Soul, and shortly after (about a month or two after recording the Vermiculated demo) we recorded the Frozen Soul demo.”

However, not everything in her life has been as smooth as her career as a musician and as a tattoo artist, mentioning in an interview she struggled from the age of 15 up until about a few years ago with a mental illness misdiagnosis that deeply affected her life. “It caused me so many hardships, damaged relationships, setbacks, trauma, and ultimately, it caused me a lot of grief with the time lost in my late teens and all through my twenties. Now that I am in my early thirties, things have gotten much better for me because, honestly, I stopped being afraid of everything. I was too scared to go out of my comfort zone for too long and that squandered my potential because of it,” she said back then, but fortunately now she’s stronger than ever, kicking ass on and off stage with Frozen Soul, and spreading the beauty of her tattoos to the four corners of the earth.

Speaking of the frostbitten creature known as Frozen Soul, the band got together back in 2018 in Fort Worth, Texas, when vocalist Chad Green (End Times, Vulgar Display) and guitarist Michael Munday (End Times, Wildspeaker, Creeping Death, Disencumbrance, Contusions) set out to revive the primal force of 90’s Death Metal. After laying down initial riffs steeped in themes of winter’s desolation, the duo realized they needed a rhythm section capable of matching their vision. That’s when they recruited Sam, longtime acquaintance of both Chad and Michael. “I knew Michael and Chad, and they’re like, ‘Well, we need a bass player.’ I was like, ‘Fuck it, I’m going to learn how to play bass,’” she said in one of her interviews. Currently formed of our dauntless Sam Mobley on bass, the aforementioned Chad Green on vocals and Michael Munday on the guitars, Chris Bonner (Steel Bearing Hand, Tolar, Distort, Obstruction, Unit 21, Wild//Tribe) also on the guitars and Matt Dennard (End Times, Sage Fortune, Humanerror, High Anxieties, Negaduck, What They Lack) on drums, the band released the demo Encased in Ice, in 2019, followed by the split Live in Chicago 10/23/2019 (with the bands Molder and Coffin Rot), in 2020, their debut full-length album Crypt of Ice, in 2021, and their sophomore beast Glacial Domination (co-produced by Daniel Schmuck and Trivium’s own Matthew K. Heafy), in 2023 (including additional vocals by Sam herself on the song Morbid Effigy, which also features guest vocals by John Gallagher of Dying Fetus), all available on BandCamp and on Spotify.

The cold and ice-theme of the band might not make a lot of sense at first, as Texas is absolutely scorching during most of the year, but Sam perfectly explained why the band decided to move in such a unique direction. “We wanted to incorporate a band theme that was both true to the brutal nature of death metal without being played out . We like to think our theme sets us apart and gives us a different feel than most bands. It may be hot here, but we’re cold blooded,” she commented. Furthermore, if you want to feel the frostbitten Death Metal crafted by Sam and the boys, you can enjoy the official videos for the fantastic, bitterly cold Death Metal bangers Glacial Domination, Crypt of Ice, Arsenal of War, Encased in Ice, and their most recent single, a cover version for White Zombie’s Creature of the Wheel. Not only that, as Frozen Soul are a band that simply kicks ass onstage, you can also check out several videos on YouTube with their live performances, like their demolishing full set at Bloodstock Open Air Metal Festival 2023.

Apart from her already beautiful career with Frozen Soul, Sam can also be found as a guest musician for Phoenix, Arizona-based Brutal Death Metal/Grindcore band Fluids, having recorded with them vocals for the song A More Comfortable Place to Bleed, from their 2024 split called Spored & Gored (together with Florida’s own Death/Doom Metal beasts Wharflurch). She also performed guest bass on the Two Minutes to Late Night covers for Judas Priest’s Turbo Lover and Toto’s Hold The Line, as well as guest vocals on the track Introduction: The Disgusting Stench of Burning Feces That Is Being Prepared to be Catapulted into the Castle as the Siege Commences, by Denton, Texas-based Noisecore band Infernal Legions of Mordor. Not only that, before joining frozen Soul, as aforementioned she was the bassist for a Forth Worth-based Black Metal band named Vermiculated, having recorded with them their self-titled demo.

She mentioned in one of her interviews that some of her favorite bands growing up and her biggest influences are, in no particular order, Dissection, Acid Bath, Cannibal Corpse, Dying Fetus, Bolt Thrower, Crowbar, Black Sabbath, Pantera and Type O Negative, and let’s be honest, all of those influences can easily be seen in her playing style and sound. “I basically just try to be as punchy as possible without overpowering the guitars. I try to be as heavy as possible – the nastier the tone the better.” Frozen Soul are actually compared to Bolt Thrower a lot, and Sam is truly proud of it. “Jo Bench (Bolt Thrower) and Alex Webster (Cannibal Corpse) are my two main influences on bass,” she commented. Moreover, although we don’t have her list of top 10 albums of 2025 yet, you can find online her top 10 albums of 2024, a kickass list, by the way, including Mortal Wound’s The Anus of The World (10), Modem’s Megalomania (9), Gost’s Prophecy (8), Undeath’s More Insane (7), Blood Incantation’s Absolute Elsewhere (6), Enforced’s A Leap Into The Dark (5), Fluids’ Reduced Capabilities (4), 200 Stab Wounds’ Manual Manic Procedures (3), Necrot’s Lifeless Birth (2), and Fulci’s Duck Face Killings (1).

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Let’s now switch gears to her career as a tattoo artist. Owner and artist at Heavy Metal Tattoo, she specializes in colorful traditional and neo-traditional tattoos. “I started a tattoo apprenticeship in 2019, and graduated to a full time tattoo artist that same year.” She said that when she was a teenager, she was also big into painting and charcoal arts. “I took a little break from it in my twenties but it’s really what I love to do. Tattooing has always been super cool and at the time was a good way for me to earn a living while still doing art everyday. I did an apprenticeship and then I got really busy with clientele and then the opportunity presented itself for me to open my own shop. I knew nobody was going to let me work at a regular tattoo shop and be gone seven months out of the year on tour so I decided to open my own shop and that’s pretty much how it was all born.”

With Heavy Metal Tattoo, she has put together a solid team of tattoo artists who share a collective vision to make the shop an all-inclusive and safe space for their vast clientele in a male-dominated industry that has often not prioritized inclusion. “I want everyone to feel like they are welcome there and that it’s a safe play to get tattooed where you’re not going to get harassed or feel uncomfortable by male tattooers — which is a pretty big problem in the tattoo industry. Everyone’s welcome and I just want everyone to have a good time. I also want it to be a good environment for everyone who works there to grow in their career.” She also had some nice words to say about how to gain a loyal clientele. “Networking is a newer thing to me as of this past year… I’m pretty introverted. I’ve found Instagram to be the best for showcasing your work and gaining new clientele. Tattooing my friends that are also musicians or heavily involved in the local music scene has been very helpful too,” commented Sam in one of her interviews.

Back to her career as a musician, more specifically to the equipment she uses as a bass player both in the studio and when she’s kicking some serious ass across the stages worldwide, Sam said that she currently alternates between an 87 NJ BC Rich Warlock with DiMarzio pickups in it, and a 5 string Legacy Series Widow with active EMG pickups, while her pedal board consists of a Decimator, the Lone Wolf Audio Caveman pedal, a Metal Muff and her tuner. For her cab, she plays on a 8×10 Ampeg, and for her head she uses an Ampeg SVT4PRO.

Having already scored high-profile tours with Death Metal legends the likes of Cattle Decapitation, Aborted and Gatecreeper, and an arena run with Swedish Melodic Death Metal veterans Amon Amarth, Frozen Soul are already a force to be reckoned with when they hit any stage, but of course as their touring schedule gets busier and busier, all band members, including obviously Sam, have less and less time for other activities outside of the band. “It’s been very busy and very crazy. Last year, I think we toured seven months out of the year but this year has been a constant grind with touring to get our name out there and promote our new record. It’s been awesome though and it’s been nice to see the reception to everything. That tour with Amon Amarth really was an affirmation that we are doing the right thing. For some of the shows, we were playing to six-thousand people a night, so going from 800-cap venues to that was a little bit jarring but also really cool,” she commented.

 During such a hectic touring schedule, Sam always finds time for herself. “For self care, on an off day I will do my own thing and take an Uber somewhere to get a pedicure, manicure or maybe a massage. I feel like that is very important for me on tour because I’m always the only woman in the band. It’s very chaotic and hectic every day, so having a little bit of peace, at least once a week is essential,” she said, also commenting about other things that help her calm down, relax and decompress from her touring madness. “Sometimes, I’ll go find a local card store and play Magic: The Gathering or go shopping even if I don’t end up buying anything. I feel like I’m kind of bougie but I bring a massage gun, face masks and satin eye things to help me go to sleep which really helps me. I also bring my Steam Deck so I can play video games. Any little thing helps.”

Moreover, among all concerts ever played by Frozen Soul, there’s one in particular in 2024 that holds a very special place in her heart. “One of the things that I’m super proud of is when we played Red Rocks Amphitheatre last year with Amon Amarth, Cannibal Corpse, and Obituary. All of our families flew out for that. I did special makeup. And I had special stuff on. I had a special bass. And I played what I would consider a perfect set. We were technically the first death metal band to play there. So we have a plaque at Red Rocks. And that means I’m the first female death metal musician to play there as well.” Her first ever concert with Frozen Soul was also a special one for her and the boys, of course. “It was weird for me because I had never toured. Hell, my first live show was with Blood Incantation and Necrot. That was my first time playing live – ever! I still actually get nervous to this day.”

As a proud and strong woman, Sam also had a few beautiful words to say to any girl who wants to start a career in heavy music or in tattooing. “I am in two professions that are male-dominated. My advice is to study hard, work your ass off, and don’t take anyone’s shit. Do everything with your whole heart because anything less is not worth doing. My advice for other women and younger women especially would be to just figure out what means the most to you and just go for your dreams. The worst that can happen is that you fail. And even failure is not an excuse to give up. Keep trying, learn from your setbacks, because sometimes wonderful opportunities will present themselves as a result.”

As expected, our dark diva is also a huge fan of the occult. “I have an entire wall of books that are just occult and astrology stuff. I used to study pagan witchcraft when I was younger and studied it heavily for fifteen years and am still very interested in it. I would say the ‘three of swords’ card is my favorite, I actually wanted to get that tattooed on my chest at one point. I’ve always liked the imagery of it and think it looks sick.” There are lots of excellent interviews online with Sam where she talks about different topics like that, such as episode 55 of the series “She’s with the Band” by Knotfest, where she discusses her passion for Death Metal and tattoos, being the only woman on tour with a lot of men, and more, and you should definitely go check all of those interviews, as well as the music by Frozen Soul. Because Samantha Mobley is an indomitable bassist and tattoo artist that’s getting stronger and more prominent in the world of heavy music year after year, and you better get ready as once she hits you with her devilish music and art, there’s no escape from her ice-cold embrace.

Samantha Mobley’s Official Facebook page
Samantha Mobley’s Official Instagram
Samantha Mobley’s Official YouTube channel
Frozen Soul’s Official Facebook page
Frozen Soul’s Official Instagram

Album Review – Weft / The Splintered Oar (2025)

Behold the striking debut album by this new Atmospheric Black Metal entity from Texas, a vessel of exploration set adrift in a vibrant storm of metal intensities.

A new musical project by Charlie Anderson, who is a violinist and composer from the United States known for his work with the band Panopticon, Huston, Texas-based Atmospheric Black Metal entity Weft is ready to unleash upon us its debut opus, entitled The Splintered Oar. Recorded and mixed by Charlie himself (with contributions by Austin Lunn, Andrea Morgan and Jordan Day, who are also guest musicians in the album), mastered by Spenser Morris, and displaying a stylish artwork by Austin Lunn, The Splintered Oar is a vessel of exploration set adrift in a vibrant storm of metal intensities, a very adventurous and exciting album that perfectly represents Charlie Anderson’s vision and passion right from its very first notes until its climatic ending.

Leaves sounds absolutely melancholic and delicate from the very first second, with the crying violin by Andrea walking hand in hand with Charlie’s minimalist acoustic guitar, flowing into False Kingdoms, which also begins in a cinematic manner, evolving into a feast of contemporary Atmospheric Black Metal led by Charlie’s anguished gnarls and his flammable, piercing stringed weapons. The striking violin by Andrea returns in full force in The Hull, clashing with the Black Metal blast beats by Austin and, therefore, resulting in a superb aria of darkness where Charlie keeps vociferating like a demonic entity for our total delight. Then Charlie and his crew continue to embellish the airwaves with their blend of Atmospheric Black Metal madness in Red Dawn, with his guitars and synths adding an extra touch of insanity to the overall result; whereas lastly we’re treated to the longest of all songs, entitled Dream of Oaks, an acoustic display of Black and Folk Metal that morphs into some sort of Blackened Doom insanity during its second half, presenting different layers carefully crafted by our multi-talented Charlie and his crew.

They say that it takes a band or musician their entire life to create their first album, and on the weathered, atmospheric, and truly adventurous The Splintered Oar, it sounds like every note has indeed a lifetime of exploration, joy, loss, and growth behind it. Hence, you can put your hands on such a unique, multi-layered album of extreme music via the project’s own BandCamp, as well as from the Bindrune Recordings’ BandCamp or webstore as a CD or an LP, and I’m sure we’ll soon see Charlie and his Weft take other virtual realms by storm such as Facebook, Instagram and Spotify. In the end, Charlie Anderson is Weft, and Weft is Charlie Anderson, with The Splintered Oar beautifully representing the fusion of body, soul and extreme music by such an amazing new entity of the current American scene.

Best moments of the album: False Kingdoms and The Hull.

Worst moments of the album: None.

Released in 2025 Bindrune Recordings

Track listing
1. Leaves 5:04
2. False Kingdoms 9:12
3. The Hull 10:25
4. Red Dawn 6:36
5. Dream of Oaks 12:11

Band members
Charlie Anderson – vocals, guitars, bass, strings, electric violin, synth, piano, additional percussion

Guest musicians
Austin Lunn – drums
Andrea Morgan – violin and vocals on “Leaves”, “The Hull” and “Dream of Oaks”
Jordan Day – vocals on “Dream of Oaks”

Album Review – Pedestal for Leviathan / Enter: Vampyric Manifestation (2025)

Under a pale Colorado moon, this devilish Symphonic and Blackened Death Metal creature attacks with their flammable debut opus.

Under a pale Colorado moon, the devilish Symphonic/Blackened Death Metal creature Pedestal for Leviathan attacks once again with their fusion of Brutal Death Metal riffing with an appreciation for symphonic extreme blackened bands such as Cradle of Filth and Dimmu Borgir in their first full-length opus, poetically titled Enter: Vampyric Manifestation, following up on their 2024 EP Festering Apparition. Written, recorded, and mixed by the band’s own Kendrick Lemke, completed by a spellbinding cover artwork by Australian illustrator Alexander Kemp, and with the preceding EP as bonus tracks, the new offering by Kendrick Lemke on vocals and guitar, Mathew Meyer also on the guitar, Noah Filthen on bass, and Corbin Echtermeyer on drums sounds absolutely huge, with its sound, vision, and execution all forming a symbiosis of grim grandeur and fathomless darkness tailored for admirers of Septicflesh, Fleshgod Apocalypse, Belphegor, Arkhon Infaustus, and Darklord, just to name a few.

A horror movie-like intro evolves into a gruesome beast of Symphonic Black and Death Metal entitled Chalice Bleeds Intoxicant, with Kendrick stealing the show with his deep, devilish roars; whereas the frantic, heavy-as-hell drums by Corbin walk hand in hand with grim background orchestrations in Summoning Sickness, also presenting a demonic riff attack by Kendrick and Mathew. Lycanthropichrist, the first single of the album, offers our metallic ears more of the band’s inhumane sounds, with their guitars exhaling Black Metal magic, followed by Sanctity of Retribution, uniting the epicness of Symphonic Metal with their visceral blackened sounds (albeit a bit generic in the end).

Purgatory Displacement brings forward an avalanche of Symphonic Black Metal madness with Kendrick’s Brutal Death Metal screeches adding even more flavour to an already bestial tune, and again blending the obscurity of Black Metal with the aggressiveness of Death Metal we face Karmic Recollection Mirror, where both Noah and Corbin sound ruthless with their demonic kitchen. Then after the grim, cinematic interlude Snow Covered Monolith, we’re treated to the closing tune, the devilish Warlock Blacksmith, as chaotic and melodic as it can be, led by the visceral riffs by Kendrick and Mathew and matching perfectly with its evil background keys. Furthermore, the bonus tracks from their 2024 EP Festering Apparition are absolutely fantastic, in special Beast Rune, adding even more meat to their blackened banquet.

In the end, Enter: Vampyric Manifestation is undoubtedly a record that has crossover appeal for fans of both Death and Black Metal, from both underground and above, as well as the more-adventurous sorts into Symphonic Metal. You can get more details about the band and the album on Instagram, stream it in full on any platform like Spotify, and of course, above all that, purchase a copy of it from the band’s own BandCamp, from the Personal Records’ BandCamp or webstore, or simply by clicking HERE. Enter: Vampyric Manifestation will certainly take Pedestal for Leviathan places, and if you enjoy the fusion of all elements that make the darkest side of metal even darker and more disturbing, I’m sure you’ll want to join the band and visit those same devilish places with them, always in the name of our beloved extreme music.

Best moments of the album: Summoning Sickness, Purgatory Displacement and Warlock Blacksmith.

Worst moments of the album: Sanctity of Retribution.

Released in 2025 Personal Records

Track listing
1. Chalice Bleeds Intoxicant 2:51
2. Summoning Sickness 3:18
3. Lycanthropichrist 3:22
4. Sanctity of Retribution 4:14
5. Purgatory Displacement 2:51
6. Karmic Recollection Mirror 2:52
7. Snow Covered Monolith 1:05
8. Warlock Blacksmith 3:02

Special Edition bonus tracks (Festering Apparition 2024 EP)
9. Siphoning of the Liege 3:48
10. Beast Rune 2:43
11. Nightside Familiar 3:52

Band members
Kendrick Lemke – vocals, guitar
Mathew Meyer – guitar
Noah Filthen – bass
Corbin Echtermeyer – drums

Album Review – Lust Of Decay / Entombed In Sewage (2025)

Twenty five years since their tale of terror began, the demigods of death return with their long awaited, gory and brutal fourth full-length album.

Twenty five years since their tale of terror began and far too long a time since the release of their last album Purity Through Dismemberment back in 2006, the demigods of death, legends of the underworld, Kings Mountain, North Carolina-based Brutal Death Metal/Grindcore beasts Lust Of Decay have returned, carrying with them in their bloodstained, disease riddled hands something bleak and soul destroying, ten new commandments of depravity and tragedy, new incitements to violence and degradation, their long, long awaited fourth full-length album, Entombed in Sewage. Mixed and mastered by Tony Tipton at Metal Foundry, and displaying a gory, demented artwork by the indomitable Daemorph, the new opus by vocalist Jay Barnes, guitarist Steve Green, bassist Ryan Coulter, and drummer Jordan Varela has a surprisingly bright and vibrant sound that brings every element, every weapon in the Lust Of Decay armory into play to tremendous effect, being therefore perfect for fans of Cannibal Corpse, Psycroptic, Disavowed, and Prostitute Disfigurement.

Prepare your damned bodies for a wild and gruesome ride starting with Parasitic Exsanguination, a demented display of the band’s trademark Death Metal where Jordan sounds absolutely inhumane on drums, and they managed to sound even heavier and more deranged in Hallucinations of the Decrepit, where Jay’s demonic growls are the epitome of madness and violence. The screeching of dirty pigs ignite Nourishing the Swine, another exhibit of pure violence and gore by the quartet where once again Ryan and Jordan make the earth tremble armed with their infernal kitchen; and you’ll be smashed into pieces in the best Cannibal Corpse-style in Fetal Contamination Process, led by Steve’s infuriated, scathing riffage.

Rusty Razor Rimjob requires no comments about its title, while the music is just as gory and depraved, with Jay vomiting its visceral words amidst an overdose of Death Metal insanity. Jay sounds even more demonic in Order 66, inviting us all to crush our damned skulls into the pit, not to mention how fulminating Jordan is once again behind his drums. Put differently, it can’t get any more Death Metal than this, whereas Desiccate the Epithelium sounds beyond perfect for breaking your neck into tiny pieces headbanging like a true maniac to the nonstop riffs by Steve. Finally, they offer our putrid ears the horror movie-like title-track Entombed in Sewage, starting in an cinematic manner before all hell breaks loose to the heavy artillery crafted by Steve, Ryan and Jordan.

Unleashed upon the world like a knife from the dark into the throat of the festive season, Entombed In Sewage is a must-listen for fans of absolute brutality and gore, and you can put your putrid hands on such a precious gem of the extreme scene by grabbing a physical copy of the album and merch by clicking HERE, or from Comatose Music’s BandCamp. Don’t forget to also give those guys a shout on Facebook and on Instagram, keeping an eye on their live concerts, and to stream their sick music on Spotify or any other platform. Needless to say, if you refuse to do so, get ready to be mercilessly entombed in sewage.

Best moments of the album: Hallucinations of the Decrepit, Order 66 and Entombed in Sewage.

Worst moments of the album: None.

Released in 2025 Comatose Music

Track listing
1. Parasitic Exsanguination 4:26
2. Hallucinations of the Decrepit 4:01
3. Nourishing the Swine 4:29
4. Fetal Contamination Process 3:58
5. Rusty Razor Rimjob 3:45
6. Order 66 3:41
7. Desiccate the Epithelium 3:45
8. Entombed in Sewage 5:18

Band members
Jay Barnes – vocals
Steve Green – guitars, backing vocals
Ryan Coulter – bass
Jordan Varela – drums

Album Review – Veilburner / Longing for Triumph, Reeking of Tragedy (2025)

The eighth opus by this uncanny Death and Black Metal creature sees the duo continue to suffer like two dragons consuming one another in a serpentine-like fashion until one can no longer consume the other, frozen in the shape of infinity.

Only one year after the release of their critically acclaimed album The Duality of Decapitation and Wisdom, Pennsylvania, United States-based Avantgarde Death/Black Metal creature Veilburner returns with their eighth full-length album, poetically titled Longing for Triumph, Reeking of Tragedy. Displaying another Stygian artwork by Luciana Nedelea, the new opus by Chrisom Infernium on vocals, lyrics and design, and Mephisto Deleterio on all instruments and production sees the duo continue to suffer like two dragons consuming one another in a serpentine-like fashion until one can no longer consume the other, frozen in the shape of infinity (∞) and numerologically represented by the digit eight (8). Samael (the “poison of god” and the eighth sphere of the Qlippoth), as well as Choronzon (the dweller of the threshold) and the Ouroboros all correlate with this symbol of infinity and exist in Veilburner’s lore as the antagonistic and immutable eternity, which if confronted can lead to self-destruction and the finality of manifestation, permanently breaking the loop.

Like the beginning of a black mass, the duo ignites their festivities with Longing for Triumph…, with the marching drums by Mephisto suddenly evolving into pure Black Metal madness while Chrisom roars like a demented entity from the abyss; and Mephisto keeps slashing his scorching axe in Pestilent Niche, delivering fierce, metallic riffs for our total delight, as experimental as it is progressive, sounding like two or three songs in one. Then venturing through Atmospheric Black Metal lands with a pinch of Doom Metal we face Rigor & Wraith, with the cryptic vociferations by Chrisom sounding truly haunting, whereas back to a ferocious Black Metal sonority they offer us That Which Crypts Howls Grandeur, where all instruments by Mephisto sound absolutely demonic, adding an extra dosage of insanity and sulfur to the overall result. Da’ath Ye Shadow Portrait is another excellent display of Avantgarde Death and Black Metal by the duo, with Chrisom once again barking rabidly nonstop, followed by Ouroboreal Whorl, the least Black Metal of all songs, maybe a bit too experimental for my taste, never sounding truly heavy. They get back on track with Matter o’ the Most Awful of Martyrs, blasting their trademark blend of demented Black and Death Metal sounds, with Mephisto sounding ruthless armed with his riffs, solos and blast beats until the very last second; and lastly, we have …Reeking of Tragedy, the “conclusion” of the opening track, therefore forming the title of the album, which couldn’t have sounded more inhumane and sinister, with the duo firing their devilish roars and eerie riffs nonstop.

In the spirit of striking while the iron is hot, this eighth evolution of the Veilburner story capitalizes on momentum while simultaneously achieving new heights in their song-crafting and story-telling, leading their characters on a journey in which they cannot recognize triumph without tragedy, and sees them residing somewhere between the abyss and their devotion to mortal re-occurrence, that which seems to attract death, being therefore highly recommended for fans of Blut aus Nord, Imperial Triumphant, Deathspell Omega, Hexrot, Oranssi Pazuzu, Akhyls, and Akercocke. You can dive into the dark realms ruled by Veilburner by following them on Facebook and on Instagram, by streaming their unique creations on Spotify, and of course by purchasing their new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In Longing for Triumph, Reeking of Tragedy, Chrisom Infernium and Mephisto Deleterio face not just any death, but the kind in which they are bound to an infinite loop of reincarnation, and destined to repeat the same traumas and failures as before.

Best moments of the album: Pestilent Niche, That Which Crypts Howls Grandeur and Matter o’ the Most Awful of Martyrs.

Worst moments of the album: Ouroboreal Whorl.

Released in 2025 Transcending Obscurity Records

Track listing
1. Longing for Triumph… 7:00
2. Pestilent Niche 6:19
3. Rigor & Wraith 5:26
4. That Which Crypts Howls Grandeur 6:19
5. Da’ath Ye Shadow Portrait 7:04
6. Ouroboreal Whorl 6:29
7. Matter o’ the Most Awful of Martyrs 6:00
8. …Reeking of Tragedy 7:14

Band members
Chrisom Infernium – vocals
Mephisto Deleterio – all instruments

Album Review – Lamp of Murmuur / The Dreaming Prince in Ecstasy (2025)

This uncanny Los Angeles, California-based Black Metal entity once again raises the chalice of victory for the masses with a new beckoning of devotion and elegance.

“And you’ll come back to me
Bathed in the tears of countless full moons
My heart will beat
Like a wardrum of rebellion
On this black night, oh! So evil, so pure
Once again
In the heat of your spasms
And the light of my passion
My heart will beat…”

Two years since the release of Saturnian Bloodstorm, Los Angeles, California-based Black Metal entity Lamp of Murmuur has once again raised the chalice of victory for the masses with a new beckoning of devotion and elegance, titled The Dreaming Prince in Ecstasy. Recorded while engulfed in the caustic summer winds of 2023 with the guidance of the Seven Spears, the Circle of Gold Feathers and the always recurrent Crimson Agony, and showcasing a stunning artwork by Batdog (with layout by Eduardo Mora), the fourth studio album by vocalist and multi-instrumentalist M., or the Mythical Archduke of all Rebellion, of bands like Silent Thunder, Magus Lord and Fuinäehot, stands as the synergy of both sides of a bloodstained coin – triumph and grief, transcendence and torment.

The album starts with the cryptic, eerie intro The Fires of Seduction, dragging us all to Lamp of Murmuur’s Stygian lair in Forest of Hallucinations, exploding into an imposing wall of Symphonic Black Metal where M.’s striking keys and visceral roars clash majestically during the song’s over nine minutes of absolute darkness. Then investing in a more traditional Black Metal sonority, he hammers his drums and extracts sheer sulfur from his axes in Hategate (The Dream-Master’s Realm), followed by the also infuriated Reincarnation of a Witch, showcasing an amazing job done by M. with his demented riffs and beats, therefore living up to the legacy of Melodic Black Metal in an overdose of darkness by our lone wolf that sounds captivating from start to finish.

After the instrumental (and lengthy) interlude Angelic Vortex, we’re treated to the three-part title-track, starting with The Dreaming Prince in Ecstasy Part I – Moondance, evolving into an epic onrush of darkened sounds by M. with his thrilling riffage exhaling of fury and rage, while its last moments venture through more symphonic lands before The Dreaming Prince in Ecstasy Part II – Twilight Orgasm brings forward a sinister fusion of Doom and Black Metal, flowing into The Dreaming Prince in Ecstasy Part III – The Fall, a nine-minute aria of obscurity where M.’s cadaverous vocals will haunt your soul for all eternity, ending in a truly climatic manner. Lastly, featuring guest vocals by Crying Orc (Këkht Aräkh) and Xofrnk, we have A Brute Angel’s Sorrow, where instead of fast and furious Black Metal we face a delicate, grim display of melancholy.

Inspired by the primordial majesty of Black Metal yet unbound by its limitations, Lamp of Murmuur has gradually ascended these past years as one of the furthermost esteemed and sought luminaries within the new wave of Black Metal, with The Dreaming Prince in Ecstasy standing as another testament to the project’s unwavering pursuit of vision and freedom. Such an uncanny creature from the netherworld can be found on Instagram with news, tour dates and so on, and you can also stream all of its wicked creations on Spotify and, above all that, purchase the venomous The Dreaming Prince in Ecstasy from the project’s BandCamp or from Wolves of Hades, or simply click HERE for all things Lamp of Murmuur. Because The Dreaming Prince in Ecstasy is an offering of intoxicating grandeur, a hymn to the eternal dream of a soul yearning to be unchained, and I can’t wait to see what’s next in the career of one of the must-see names of the current Black Metal scene worldwide.

Best moments of the album: Forest of Hallucinations, Reincarnation of a Witch and The Dreaming Prince in Ecstasy Part III – The Fall.

Worst moments of the album: Angelic Vortex.

Released in 2025 Wolves of Hades

Track listing
1. The Fires of Seduction 1:48
2. Forest of Hallucinations 9:13
3. Hategate (The Dream-Master’s Realm) 7:38
4. Reincarnation of a Witch 5:25
5. Angelic Vortex 2:15
6. The Dreaming Prince in Ecstasy Part I – Moondance 7:08
7. The Dreaming Prince in Ecstasy Part II – Twilight Orgasm 6:18
8. The Dreaming Prince in Ecstasy Part III – The Fall 9:10
9. A Brute Angel’s Sorrow 4:21

Band members
M. – vocals, all instruments

Guest musicians
Crying Orc – vocals on “A Brute Angel’s Sorrow”
Xofrnk – vocals on “A Brute Angel’s Sorrow”

Album Review – Season of The Dead / Zombie Chronicles Vol.1 (2025)

This newborn beast of blood-soaked, horror-infused Death Metal will eat your flesh to the sound of their debut album, a soundscape where zombies, decay, and gore come to life in audio form.

A visceral, cinematic Extreme Metal project born from the twisted minds of Titta Tani (former drummer of Necrophagia and Goblin), Giacomo Anselmi (former Goblin guitarist and current member of Goblin Legacy), and Enrico Giannone, founder and owner of Time To Kill Records, acting as producer and visionary behind the entire concept, United States-based Death Metal brigade Season of The Dead aims at resurrecting the blood-soaked legacy of horror-infused Death Metal, channeling the rotten spirit of bands like Necrophagia, Mortician, and Fulci, while paying tribute to the grotesque imagery and raw energy of cult underground horror films. Formed of the aforementioned Giacomo Anselmi (Goblin Legacy) on the guitars and Titta Tani on drums, alongside John McEntee (Incantation) and Fiore Stravino (Fulci) on vocals, and Dave Neabore (Dog Eat Dog) and Chuck Sherwood (Incantation) on bass, the album delivers a relentless assault of Death Metal brutality, layered with cinematic tension and ritualistic atmospheres, a soundscape where zombies, decay, and gore come to life in audio form.

Just like in a horror movie, the intro Necromancy brings to our putrid ears three unsettling minutes of obscurity, warming us up for Then We’ll Rise, inspired by Romero’s masterpiece Day of the Dead (and featuring related audio contributions), with John vomiting the song’s zombified words mercilessly supported by the crushing beats and fills by Titta. Voodoo Ritual starts in a phantasmagorical way, evolving into another slab of insanity by the band, even sounding Doom Metal at times to make things even creepier, whereas Giacomo fires classic, unrelenting riffs in the pulverizing, demented Events Of Flesh, accompanied by the venomous bass by Dave, again bringing absolute horror to our minds and souls just the way we like it in Death Metal.

In Open The Gates the vocals by Fiore exhale pure gore for our vulgar delectation, not to mention Titta is also ruthless behind his drums, while disturbing sounds ignite one more explosion of Death Metal by such an amazing supergroup entitled The Other Side, with John once again sounding like a zombified vocalist, and with Chuck and Titta making the earth tremble in this ode to insanity. The Stygian riffage by Giacomo kicks off the headbanging beast entitled Burning Moon Sickness, providing John with exactly what he needs to haunt our souls with his visceral growling; and closing such a unique album we have Bloodfreak, with its eerie sounds matching perfectly with the Doom Metal-infused beats by Titta while John continues to attack us all with his demented screams.

With influences ranging from Killjoy to City of the Living Dead, The Beyond, and Cannibal Holocaust, creating a soundscape that feels like a soundtrack to a lost VHS splatter nightmare, Zombie Chronicles Vol. 1 is just the first full-length chapter of Season of The Dead, a macabre journey into the heart of horror-infused Death Metal, and you can get in touch with those anti-heroes of blood and gore via Facebook and Instagram, and feed your excruciating hunger for Death Metal by streaming their music on Spotify and by purchasing their excellent debut album from their own BandCamp, or from the Time To Kill Records webstore. However, do not forget Zombie Chronicles Vol.1 is not just an album. It’s a chronicle of the undead, a sonic descent into rot, fear, and splatter, and you might not come out of it alive, joining their army of the undead for all eternity.

Best moments of the album: Then We’ll Rise, Events Of Flesh and Bloodfreak.

Worst moments of the album: Voodoo Ritual.

Released in 2025 Time To Kill Records

Track listing
1. Necromancy 3:13
2. Then We’ll Rise 4:37
3. Voodoo Ritual 4:03
4. Events Of Flesh 3:57
5. Open The Gates 3:53
6. The Other Side 4:54
7. Burning Moon Sickness 4:20
8. Bloodfreak 5:14

Band members
John McEntee – vocals
Fiore Stravino – vocals
Giacomo Anselmi – guitars
Dave Neabore – bass
Chuck Sherwood – bass
Titta Tani – drums