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Interview – Anna Khristenko (ANA)

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Do you know what “Couture Metal” means? The indomitable Anna Khristenko of the up-and-coming Australian metal band ANA explains that and more on this exclusive interview.

Anna Hristenko (ANA)

THM: Hello, and thank you for chatting with The Headbanging Moose today! I always like to start these interviews asking the artist or band to introduce themselves to our audience. Who’s ANA, where do you come from, and where are you headed as a band?

Anna Khristenko: Hi guys, thanks for taking the time to chat with us. I am Anna Khristenko the vocalist of ANA. We are a Metal band who are based in Melbourne, Australia. We have our own unique vision for what metal could be and we’re excited to share it with the whole world.

THM: You explicitly use the phrase “Couture Metal” to describe your style. How do you bridge the gap between high-fashion visual theatricality and punishing, aggressive Symphonic Metal in your music?

AK: The term couture is more of the initial mindset to craft something of high quality and meticulous attention to detail. Of course there is the aesthetic presentation too but that is also a result of this mindset.

THM: Your new album Motivated By Death is described as a philosophical exploration of the human condition. What inspired you to use mortality, vulnerability, and resilience as the driving forces behind the album?

AK: This philosophy is what motivates us to do what we do. Why else would anyone risk everything and go against what is commonly seen as logical? Our art is born from this notion.

THM: Motivated By Death shows massive progress in songwriting compared to your debut EP. What did you intentionally change about your creative approach when sitting down to write the album?

AK: We didn’t really change our approach to writing. We have always believed and thrived when we improvise and that’s what we did here. One big factor is the fact that we have a couple of new members on this record and that we had immediately written this after some extensive touring so the chemistry within the band was at its peak.

Album Review – ANA / Motivated By Death (2026)

THM: It’s not a secret to anyone that your performance anchors the record, effortlessly shifting from atmospheric deliveries on Hate Me to operatic chops on Papa. How did you prepare your voice to navigate such widely diverse styling across the album?

AK: I relied a lot on my opera training, not just for technique but also the discipline. This record also gave me the opportunity to explore new sides to my abilities that I had previously not explored.

THM: Ending the album with a cover of the absolute classic Aerials, by System of a Down, is a bold, nostalgic move. Why did you choose this specific track to close out your debut statement, and how did you approach giving it the signature ANA symphonic spin?

AK: We have actually been playing this cover since our very early days on the local club circuit. A lot of fans have wanted a recorded version and it seemed like the right time to do it.

THM: The aesthetics in your official videos for Hate Me, Shadow of Life and Papa are amazing, but of course Hate Me is by far the song with the most thought-provoking and visually captivating video of all. How was the process to put together such a killer video, and what can we expect from ANA in the near future in terms of your unique blend of heavy music and visual arts?

AK: Hate Me was intended to be controversial from its inception. Therefore, all creative choices were made with that as our guiding principle. We’ve got a lot of plans for future videos. We don’t want to give too much away but I can say that there will be more MV’s from this album. We don’t usually like repeating ourselves so you can expect to be surprised.

ANA

THM: How has the local heavy music scene in Melbourne and in Australia in general influenced your progression from a brand new band to releasing a full-length album on a global scale?

AK: The Melbourne scene is fantastic and incredibly diverse. Travelling overseas has shown us how much bigger the world and the scenes really are. Japan has become a second home to us and so far this year we have performed more shows there than we have back home. We’re a little busy with international dates for now Melbourne but we will return and it will be epic!

THM: What are your main influences in music and arts? What inspires you to write music, perform and play live onstage?

AK: All of us in this band have extremely different influences ranging from Adele, Buddy Guy, X Japan, Oasis, Lara Fabian, WASP, KISS, Daft Punk, Movie Sountracks etc. As you can see it’s a very diverse and unconventional list. What inspires us is being able to take all of that and create something new. To then be able to share it with fans around the world is the greatest gift for us.

THM: Thanks again for your precious time! It means a lot to us when new bands and artists let us know more about their music, their goals and plans for the future. Any final words or considerations you would like to share with our readers?

AK: Thank you for all the love you have shown us. Listen to the album and watch the videos. We will be in your city as soon as we can and we’d love to hear you sing along.

Links
ANA Facebook | Instagram | YouTube | Spotify | Ffm.to

Album Review – Faustian / Parable Of The Sewer (2026)

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The triumvirate of conspirators from Death Metal beast Werewolves returns with the sophomore opus of their even more demonic alter-ego, exploring darker realms in a blaze of blasphemous Black Metal.

A confluence of dire forces, Melbourne, Australia-based ravenous Black Metal horde Faustian brings together perpetrators of horrific sonic assaults, crimes committed under the names of Abramelin, Werewolves, The Berzerker, Psycroptic, The Amenta, The Antichrist Imperium and more. As a matter of fact, they present their music as “unhinged devil-worshipping Black Metal from the members of Death Metal stuporgroup Werewolves,” as the band is formed of the infamous Sam Bean on vocals and bass, Matt Wilcok on the guitars, and David Haley on drums. Having proved time and again their mastery of wildly violent Death Metal as the aforementioned Werewolves, Faustian allow the triumvirate of conspirators to explore darker realms in a blaze of blasphemous Black Metal, culminating now in 2026 with their sophomore beast Parable Of The Sewer, the follow-up to their 2023 debut We Come as Angels, and a must-listen for fans of the demonic savagery blasted by Emperor, Mayhem, Akercocke, and Dark Funeral, just to name a few.

There’s no sign of peace or hope, only absolute chaos and devastation from the very first notes in I Curse You, led by the always demolishing drums by David while Matt fires his most Black Metal riffs of all time. Broken Better, the first single released, brings to our putrid minds and souls a dark, sluggish and sinister sound perfect for Sam’s demonic vociferations, sending shivers down the spines of the faint at heart. Sam continues to roar and bark madly in the poetically titled I Want the Ride to Begin Again, with his primeval bass lines matching perfectly with David’s crushing, unstoppable beats and fills, whereas Immaculate lives up to the legacy of 90’s Black Metal, in special through the scorching riffs by Matt, offering Sam exactly what he needs to deliver his most visceral vocals of the album.

In Cephalophore, the song’s initial cult-like sounds clash with the heaviness blasted by the instrumental parts, evolving into another bestial display of the raw, vile Black Metal insanity; followed by We Do Not Use Names Here, carrying another very poetic and harsh title for a fast and scathing composition by Faustian, hitting us hard in the head while Sam continues to roar manically in the name of violence and darkness. Tenements (Only the Wicked Walk in Circles) is a no shenanigans Black Metal extravaganza spearheaded by Matt’s strident riffs, highly recommended for fans of the mighty Mayhem, while their coup-de-grace comes in the form of The Rot Shall Inherit the Earth, hammering our frail bodies mercilessly, with David sounding like a demented beast behind his drums until the very end.

“If the Werewolves aesthetic is violence, then Faustian’s is fear and horror,” commented Matt Wilcock. Parable Of The Sewer is indeed an album of feral intensity, incendiary violence, unearthly majesty and mystery, fear and temptation. Hence, if you want to join the guys from Faustian is pitch black darkness and show them your total support, you can find them on Facebook and on Instagram, stream their venomous music on Spotify or any other platform, and of course purchase Parable Of The Sewer from their BandCamp or from the Apocalyptic Witchcraft webstore. As Conor Droney, head of Apocalyptic Witchcraft, has neatly offered in succinct summing up, Parable Of The Sewer is a “savage masterpiece from Down Under,” and I bet once you start listening to such a pulverizing album, your mind and soul will be forever doomed.

Best moments of the album: I Curse You, Immaculate and We Do Not Use Names Here.

Worst moments of the album: None.

Released in 2026 Apocalyptic Witchcraft

Track listing
1. I Curse You 4:45
2. Broken Better 5:37
3. I Want the Ride to Begin Again 5:08
4. Immaculate 4:27
5. Cephalophore 5:27
6. We Do Not Use Names Here 6:06
7. Tenements (Only the Wicked Walk in Circles) 4:26
8. The Rot Shall Inherit the Earth 5:46

Band members
Sam Bean – vocals, bass
Matt Wilcock – guitars
David Haley – drums

Album Review – ANA / Motivated By Death (2026)

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This up-and-coming “Couture Metal” ensemble from Down Under strikes back with their first ever full-length album, an eight-track odyssey that serves as a philosophical exploration of the human condition.

Melbourne has long been a crucible for heavy music innovation, but Symphonic Metal entity ANA is currently redefining the aesthetic boundaries of the genre. Since their inception in early 2023, the quintet has bypassed standard symphonic tropes to establish “Couture Metal” as a sophisticated, upscale evolution of the craft that prioritizes high-fashion theatricality alongside punishing sonic precision. Led by the enigmatic frontwoman Anna Hristenko, whose vocal range anchors the band’s atmospheric depth, ANA have quickly transitioned from an intriguing newcomer to a formidable force in the international metal community, culminating now with the release of their first full-length album Motivated By Death, following up on their 2024 EP The Art of Letting Go. Engineered and mixed at Monolith Studios, and mastered at The Panicroom Studio, the new album by Anna Khristenko on vocals, Josh Mak on the guitar, Cody Lamb on bass, Mark Shi on keyboards, and Andres Felipe Martinez Osorio on drums is an eight-track odyssey that serves as a philosophical exploration of the human condition.

Like the intro to an epic movie, ethereal sounds permeate the air in Hate Me before morphing into a thrilling fusion of Symphonic and Alternative Metal led by Anna’s hypnotizing vocals, whereas Josh’s striking riffs are boosted by the electrifying keys by Mark in the upbeat Shadow of Life, highly recommended for fans of Within Temptation and Epica. Then Cody’s rumbling bass kicks off the hard hitting Following the Wind, perfect for some wild headbanging while Anna delivers her trademark vocals supported by the again whimsical keys by Mark; and after such an electrifying tune we face the dark ballad You Loved Me More Than I Love Myself, bringing passion and melancholy to the band’s feast of modern-day heavy music.

Andres takes the lead with his ruthless beats and fills in the mesmerizing Eyes of A Child, with their riffs and keys also taking us on a journey to far away lands, always spiced up by Anna’s striking vocals, followed by Sick Love, another enfolding ballad by Anna and her henchmen, with her passionate vocal lines being nicely complemented by the delicate piano and keys by Mark, ending on a strong note when the guitar, bass and drums join him. Papa is a decent song but not as captivating as the rest of the album, lacking an extra kick in the end, albeit Anna still delivers her usual striking vocals, and closing the album we have the band’s very interesting take on System of A Down’s classic Aerials (check the original one HERE if you’re from another dimension and doesn’t know it yet), where Anna and the boys bring passion and tons of symphonic elements to their inspiring rendition.

An invitation to see the birth of a new era in Australian heavy music, Motivated By Death will undoubtedly take ANA to new heights, hopefully meaning we’ll see the band touring on “distant” lands like the United States and Canada in the near future. Having said that, if you want to know more about the band and invite them to hit the stages of your hometown, you can find them on Facebook and on Instagram, subscribe to their YouTube channel, stream their classy music on Spotify, and of course put your hands on their incendiary new album by clicking HERE. ANA stand at the precipice of a new era with the release of Motivated By Death, proving that while life is temporary, great music is immortal.

Best moments of the album: Hate Me, Following the Wind and Eyes of A Child.

Worst moments of the album: Papa.

Released in 2026 Eclipse Records

Track listing
1. Hate Me 4:32
2. Shadow of Life 3:28
3. Following the Wind 3:32
4. You Loved Me More Than I Love Myself 5:42
5. Eyes of A Child 4:13
6. Sick Love 4:17
7. Papa 4:38
8. Aerials (System of A Down cover) 4:19

Band members
Anna Khristenko – vocals
Josh Mak – guitar
Cody Lamb – bass
Mark Shi – keyboards
Andres Felipe Martinez Osorio – drums

Album Review – Destroy Fear / The Dark Carnival (2026)

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Less than one year after the release of their excellent debut, this melodeath beast from Down Under returns with eleven tracks of undisputed aggression, melody and electricity in their sophomore opus.

Less than one year after the release of their excellent debut album The Mountain Before Us All, the unstoppable Melbourne, Australia-based Melodic Death Metal/Metalcore ensemble Destroy Fear continues to build momentum with their sophomore album, entitled The Dark Carnival. Having recently updated their lineup, the band currently formed of Scott Masson on vocals, Jayden Genuis on lead guitar, Luke Baird on rhythm guitar and bass, and newcomer Ondre Barca on drums offers eleven tracks of undisputed aggression, melody and electricity in The Dark Carnival, inviting us all to slam into the pit while they kick some serious ass both in the studio and onstage.

The cryptic Intro to the Dark Carnival sets the stage for the band to kick our asses with Dark Carnival, where Jayden and Luke shred their axes nonstop, delivering killer riffs and solos and, therefore, offering Scott exactly what he needs to roar like a headbanging maniac. Ondre then showcases his dexterity and fury in Slings and Arrows, hammering his drums while his bandmates deliver a striking fusion of Metalcore and Hardcore; and a darker, more sinister start evolves into another feast of groove and heaviness titled Elusion, showcasing a more introspective side of the band. The incendiary Hypochondriac presents hints of Progressive Metal and even Djent, with Scott sounding truly enraged on vocals while the riffage by Jayden and Luke transpire madness; and the band continues to venture through Groove Metal lands the likes of Machine Head in Overcome, albeit a bit generic in the end.

The second half of the album begins with an explosion of aggression titled All for Nothing, where the metallic guitars and bass by Jayden and Luke walk hand in hand with Ondre’s pounding drums. The quartet still has a lot of fuel to burn in House of Cards, with Scott taking the lead with his visceral growls and clean vocals supported by the wall of sounds built by his crew; whereas it’s time to slam into the pit to the sound of Alpha Omega, with Ondre crushing his drums like there’s no tomorrow in a demented explosion of melodeath with an edgy Hardcore vibe. Their second to last metal attack comes in the form of Without Teeth, again presenting their trademark ferocity and groove through their rebellious vocals, caustic riffs and hammering drums, and last but definitely not least, Scott will vociferate rabidly in our faces one final time in Recreant, accompanied by another striking guitar work by Jayden and Luke.

A must-listen for admirers of the caustic melodeath played by In Flames, Trivium, Parkway Drive, and Heaven Shall Burn, among several others, The Dark Carnival is already available for a full listen on any streaming platform such as Spotify and Audiomack, and you can also check what the band is up to, including their live performances, on Facebook, Instagram, and YouTube, or simply click HERE for all things Destroy Fear. Speaking of their live concerts, Destroy Fear managed to released the album in time for Outcast Festival 2026 in Melbourne alongside Verona Lights, Machine On A Break, ANA, Ion Sky, Jupiter The Giant, and Silent Lakes, proving those guys are all about bringing to the stages the energy found in their studio albums, and I’m sure it won’t take long for their album number three to come to light, and for us fans to have a few more reasons to enjoy a nice mosh pit just like what they have to offer in the excellent The Dark Carnival.

Best moments of the album: Dark Carnival, Hypochondriac and Alpha Omega.

Worst moments of the album: Overcome.

Released in 2026 Independent

Track listing
1. Intro to the Dark Carnival 0:47
2. Dark Carnival 4:40
3. Slings and Arrows 4:31
4. Elusion 4:34
5. Hypochondriac 4:12
6. Overcome 4:36
7. All for Nothing 4:27
8. House of Cards 5:23
9. Alpha Omega 4:10
10. Without Teeth 4:37
11. Recreant 4:06

Band members
Scott Masson – vocals
Jayden Genuis – lead guitar
Luke Baird – rhythm guitar, bass
Ondre Barca – drums

Album Review – Malignant Aura / Where All of Worth Comes to Wither (2026)

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Prepare your soul for a descent into the depths of human despair, courtesy of a tortured and lumbering Death and Doom Metal creature from Down Under.

Crawling from beneath the bloody earth in 2022, more specifically from our beloved Australia, Death/Doom Metal creature Malignant Aura will consume our souls with their sophomore opus, poetically entitled Where All of Worth Comes to Wither, continuing the dark path which started back in 2022 with Abysmal Misfortune Is Draped upon Me. Comprising concise and powerful 46 minutes spread across five songs, the new offering by vocalist Tim Smith, guitarists Chris Clark and Dalton Quade Wilson, bassist Jonathan Ennis, and drummer Pete Robertson sees the band both expanding and contracting their sound, broadening its sonic possibilities whilst focusing the songwriting for maximum, abyss-ward effect. The esteemed Paolo Girardi lends his signature touch to the album’s cover artwork, completely suiting the dark, dreadful emotion of its contents inspired by a pool as varied as Incantation, Paradise Lost, Virgin Black, Hooded Menace, Mournful Congregation, Candlemass, Disembowelment, Pallbearer, Katatonia, Asphyx, and My Dying Bride.

The title-track Where all of Worth Comes to Wither is actually an extended intro, sounding grim and diabolical from the very first second, dragging us to the band’s Stygian lair in The Pathetic Festival, with Pete hammering his drums in a demolishing fusion of Death and Doom Metal, all boosted by the cadaverous guttural by Tim while the sound of the guitars by Chris and Dalton is utterly evil. After such a demented tune let’s all dive deep into the realms of doom with the 13-minute beast Languishing in the Perpetual Mire, arising from the pits of the underworld to the rumbling sounds blasted by Jonathan and Pete, sounding and feeling like four or five songs in one. Then after an ethereal, cryptic start, Beneath a Crown of Anguish morphs into the most sluggish form of Doom Metal imaginable, with the grim Death Metal vocals by Tim adding an extra touch of insanity to it; whereas lastly, get ready to be smashed like a putrid insect to the sound of An Abhorrent Path to Providence, with their riffs and bass lines walking hand in hand with another visceral vocal performance by Tim.

A full-length descent into the depths of human despair, Where All of Worth Comes to Wither is a harrowing blend of Death and Doom Metal, sounding vicious, somber, and triumphant. Hence, if you have what it takes to face the band’s own brand of tortured and lumbering doom-death, you can find those talented Australian on Facebook and on Instagram, stream their heavy-as-hell creations on Spotify or on any other platform, and above all that, put your damned hands on Where All of Worth Comes to Wither by purchasing it from their own BandCamp, from the Grindhead Records’ BandCamp. from the Primitive Moth’s BandCamp, from Memento Mori, or simply click HERE for all things Malignant Aura. In the end, Where All of Worth Comes to Wither doesn’t just carry a bold and penetrating name; its music is absurdly dense, deep and frightful, exactly the way we love in the always menacing fusion of Death and Doom Metal.

Best moments of the album: Languishing in the Perpetual Mire and An Abhorrent Path to Providence.

Worst moments of the album: None.

Released in 2026 Memento Mori/Grindhead/Primitive Moth

Track listing
1. Where all of Worth Comes to Wither 3:27
2. The Pathetic Festival 6:56
3. Languishing in the Perpetual Mire 13:00
4. Beneath a Crown of Anguish 10:05
5. An Abhorrent Path to Providence 12:08

Band members
Tim Smith – vocals
Chris Clark – guitars
Dalton Quade Wilson – guitar
Jonathan Ennis – bass
Pete Robertson – drums

Album Review – Werewolves / The Ugliest of All (2025)

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The torchbearers of “Caveman Death Metal” strike again with album number six, continuing to annihilate intellects with an increasingly unlistenable barrage of truly hideous music.

By now, everyone knows Melbourne, Australia’s own Werewolves and their insane mission of releasing ten Death Metal albums in ten years. Now in 2025 the torchbearers of “Caveman Death Metal” strike again with album number six, The Ugliest of All, continuing to annihilate intellects with an increasingly unlistenable barrage of truly hideous music. Mixed and mastered by Joe Haley at Crawlspace Productions, and once again displaying a visceral artwork by Mitchell Nolte, the beleaguered artist of the previous albums, the sixth blasphemous offering by Sam Bean on vocals and bass, Matt Wilcock on the guitars, and David Haley on drums is not only a worthy follow-up to their 2024 beast Die For Us, but a lesson in primeval, visceral Death Metal by one of the most (if not THE most) demented bands to ever arise from Down Under.

There’s not a single second of peace in the bludgeoning opener Fools of the Trade, with David already doing what he does best, which is crushing our damned bodies with his inhumane technique; and we gotta love all of their song titles such as I Want to be Offended, with the music being a lecture in ruthless Death Metal led by the scorching riffs by Matt. Skullbattering keeps the level of animosity absurdly high, with Sam barking the song’s violent lyrics nonstop in another lesson in brutality from the stunning Australia. Sam roars like a rabid beast in Unoriginal Sin, offering an overdose of blasphemy flowing from all instruments for our total and depraved delight, whereas more of David’s unstoppable, thunderous beats and fills will shake the foundations of the earth in the demolishing The Enshittification, inviting us all for some quality time inside the pit.

Logorrea sounds like some of their darkest creations from From the Cave to the Grave and My Enemies Look and Sound like Me, which obviously means it’s an awesome onrush of brutality, gore and rage, ending in a truly insane mode and connecting instantly with Rats Versus Snakes, one of the first singles released, showcasing the trio’s trademark fury spearheaded by the deep guttural by Sam. Then adding hints of Punk Rock and Hardcore to their undisputed Death Metal sound, it’s time for a no shenanigans, fast and furious aria titled Slaves to the Blast, again with Matt delivering pure electricity from his maniacal riffage. And last but most definitely not least, ending the album we have the demonic title-track The Ugliest of All, one of their strongest songs to date, sounding simply infuriated form start to finish, with David yet again hammering our cranial skulls mercilessly until our very last drop of blood leaves our frail bodies.

“Why did we call the album The Ugliest Of All?” Sam asks himself, seeing as though there’s no-one actually asking him any questions. “On the one hand, we are turning into a fearsomely hideous old-man band. We’re all grey, I’ve got a gut, it’s like if The Hills Had Amps. Also, I read an interview with Malevolent Creation where Phil Fasciana was bragging about how they were the ugliest band alive, and I thought that was the coolest thing ever. Hi-top sneakers are cool. Denim shorts are cool.” In the end, it doesn’t really matter if you follow those headbanging bastards on Facebook or on Instagram, if you stream their pulverizing, no shenanigans music on YouTube or on Spotify, or if you purchase the indomitable The Ugliest of All from their own website or BandCamp page, from Direct Merch, from Nightshift, or from Plastic Head. Even if no one cares at all about The Ugliest of All, 2026 will see the band returning in full force with album number seven, because that’s what Werewolves are all about. They’re bringing to us this year the ugliest of all albums, aiming at becoming the heaviest of all bands.

Best moments of the album: I Want to be Offended, Skullbattering, Logorrea, Slaves to the Blast and The Ugliest of All.

Worst moments of the album: None.

Released in 2025 Back On Black Records

Track listing
1. Fools of the Trade 4:08
2. I Want to be Offended 3:36
3. Skullbattering 3:15
4. Unoriginal Sin 4:13
5. The Enshittification 3:40
6. Logorrea 3:21
7. Rats Versus Snakes 3:43
8. Slaves to the Blast 3:01
9. The Ugliest of All 3:28

Band members
Sam Bean – vocals, bass
Matt Wilcock – guitars
David Haley – drums

Album Review – Destroy Fear / The Mountain Before Us All (2025)

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A dynamic new force emerging from Melbourne’s vibrant metal scene is ready to strike armed with their debut album, blending crushing heaviness with intricate melodies.

A dynamic new force emerging from Melbourne, Australia’s vibrant metal scene, blending crushing heaviness with intricate melodies heavily inspired by In Flames, Killswitch Engage, Trivium, Parkway Drive, As I Lay Dying, and Heaven Shall Burn, among many others, Melodic Death Metal outfit Destroy Fear is unleashing upon us their debut offering, titled The Mountain Before Us All. Comprised of vocalist Scott Masson (Born Of A Bastard King, Outer Worlds), guitarists Jayden Genuis (War Of One) and Luke Baird (Made From Broken Parts, The Empire), bassist Justin Wong (Tides Collide), and drummer Alex Bull (Outer Worlds), the band offers in The Mountain Before Us All a striking sound defined by soaring guitar riffs, emotionally charged vocals, and a powerful rhythm section, being therefore highly recommended for fans of Melodic Death Metal, Hardcore and Metalcore from the “glory days” of the early 2000’s.

It’s easy to feel that characteristic Gothenburg sound right from the start in Ulterior Motive, with Scott already roaring nonstop while Alex keeps the song’s rhythm flowing smoothly; and the guitars by Jayden and Luke will inspire you to bang your heads nonstop in The Serpent, inviting us all to slam into the pit and have a very good time with our good friends. Sweat Equity is absolutely inspired by the current sound by In Flames, with Scott and Justin kicking some ass on vocals, followed by The Redeemer, another fast and melodic creation by the band where the riffage by Jayden and Luke exhale heaviness while also sounding piercing and harmonious. Then we face another round of anguished roars and razor-edged guitars in Flames of Division, while the song’s clean vocals bring a touch of finesse to the overall sound, and the band then enhances their animosity and fury in Sever, with Scott screaming manically amidst a Hardcore-infused sonority.

The second half of the album begins in full force to the sound of Blue Sky Thinking, which should sound fantastic if played live, led by Alex’s Melodic Death Metal and Metalcore pounding drums. Fade to Obscurity is another exciting tune by the band, with their guitar duo hitting us hard with their fusion of aggressiveness and harmony, all boosted by another killer performance by Scott on vocals, and there’s no sign of the band slowing down at all, as it’s a feast of Melodic Death Metal that goes heavy on all Metalcore elements in Brimstone, in special in their vocals and riffs. Yesterday presents a more introspective side of the band, albeit not as exciting as the rest of the album, whereas in order to properly end the album the band will melt our faces with The Mountain Before Us All, where their caustic riffs and roars match perfectly with Alex’s hard hitting drums.

A super group of sorts made up from members of other bands and projects with a passion for all things metal, Destroy Fear are already deep into writing and actively recording for a second album release projected for the end of 2025 or beginning of 2026, and until then you can have an absolute blast with their debut offering by streaming it on Spotify and purchasing it from BandCamp. Don’t forget to also follow those talented Australians on Facebook, keeping an eye on their live concerts as they’re more than ready to crush the stages Down Under, and to subscribe to their YouTube channel for more of their music and videos. Needless to say, I’m sure we’ll soon hear a lot more from Scott, Jayden, Luke, Justin, and Alex, as they keep destroying fear armed with the best weapon ever to do so, which is high quality music like what they have to offer in their excellent debut album.

Best moments of the album: The Serpent, The Redeemer and Fade to Obscurity.

Worst moments of the album: Yesterday.

Released in 2025 Independent

Track listing
1. Ulterior Motive 4:07
2. The Serpent 4:28
3. Sweat Equity 4:34
4. The Redeemer 3:59
5. Flames of Division 4:13
6. Sever 4:08
7. Blue Sky Thinking 5:05
8. Fade to Obscurity 4:06
9. Brimstone 3:22
10. Yesterday 5:20
11. The Mountain Before Us All 4:23

Band members
Scott Masson – vocals
Jayden Genuis – lead guitar
Luke Baird – rhythm guitar
Justin Wong – bass, vocals
Alex Bull – drums

Album Review – Listless / Listless (2025)

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Behold the debut opus by this one-man Depressive Black Metal project from Canada, aiming to capture an isolated sense of solitude through melancholic introspection.

A solo Depressive Black Metal project based in Victoria, British Columbia, Canada, from the mind of vocalist and multi-instrumentalist Aidan Crossley, the vocalist and guitarist for the excellent Atmospheric Black Metal band Liminal Shroud, Listless aims to capture an isolated sense of solitude through melancholic introspection. Recorded and mixed by Aidan himself, who was also responsible for all visual design, mastered by Cody Baresich at Circle A Studios, and with photography by Rob Hehr, the project’s self-titled debut aims to hypnotize listeners into a dark, endless oblivion with its emotionally resonant guitars, desperate howls, and sorrowful keys, being highly recommended for fans of Austere, Woods of Desolation, Coldworld, None, and Gris, among others.

Devoid starts in a lugubrious, grim manner to the minimalist guitar lines by Aidan, gradually evolving into a dense display of Depressive Black Metal while at the same time exploding into his anguished gnarls; and Aidan speeds things up in Burning Sky, blending his core Depressive Black Metal with Post-Metal elements, and the final result is simply amazing. Then we have Bloodstained Memories, back to a more introspective mode, with Aidan extracting minimalist sounds from his guitar, sounding caustic and despondent until the end. Aidan keeps dragging us down to his Stygian lair in Futility, an interlude that sounds bitterly harsh before we face Absence, one of the darkest, most depressive of all songs, with Aidan once again extracting unsettling sounds from his instruments while also gnarling deeply. Passerine, the longest song of the album, also brings to our avid ears a harsh onrush of Depressive and Atmospheric Black Metal, with his guitar lines and drums exhaling melancholy, whereas lastly, Aidan brings forward A Final Yearning Breath, a serene, grim outro that will darken our hearts for all eternity.

In summary, Listless channels the songwriting, intensity, and surging expansiveness of Liminal Shroud while focusing more on emotive aspects of musical expression in its debut album, resulting in a must-listen opus for admirers of contemporary Depressive Black Metal. You can check what Aidan and his Listless are up to on Facebook and on Instagram, stream their music on Spotify, and grab a copy of its caustic debut offering from the Hypnotic Dirge Records’  BandCamp, worldwide store or Canada/US store (CD only), letting the project’s harsh and atmospheric music penetrate deep inside your soul. There’s always some controversy surrounding Depressive Black Metal as a whole, but when the artist is question is as talented and focused as Aidan, bringing to us the striking sounds of Listless, any type of preconception should be ignored, simply letting the music do its wonderful job.

Best moments of the album: Burning Sky and Absence.

Worst moments of the album: None.

Released in 2025 Hypnotic Dirge Records

Track listing
1. Devoid 5:41
2. Burning Sky 4:00
3. Bloodstained Memories 6:21
4. Futility 3:31
5. Absence 7:41
6. Passerine 8:29
7. A Final Yearning Breath 3:12

Band members
Aidan Crossley – vocals, all instruments

Album Review – Greyember / Blooming in Antarctica EP (2025)

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This talented Australian freelance music and video creator strikes with a three-track extreme music EP that explores some of life’s harshest realities.

Hailing from the beautiful city of Melbourne, the coastal capital of the southeastern Australian state of Victoria, Greyember is the Progressive/Blackened Death Metal alter-ego of metal and dark alternative themes freelance music and video creator Richard Grimm, also known for his contributions to the bands Dracorex, Bentham’s Head, and Dreamworm. Produced, mixed and mastered at Big Vibe Creative, Blooming in Antarctica is the debut EP by Richard and his Greyember, a three-track offering that explores some of life’s harshest realities, from existential fears about climate change to his personal struggles with mental health and identity, all through the lens of metal, while also featuring incredible guest contributions from Richard White (Grim Demise) and Nikki Harrison aka Luna Starchild (With Witch).

Featuring guest vocalist Luna Starchild, Richard delivers an overdose of harsh riffs, deep guttural roars in paradox with Luna’s melodic clean vocals in Reflections, resulting in a killer Blackened Death Metal beast. Then we have the massive title-track Blooming in Antarctica, with guest vocals by Richard White, drawing inspiration from the stark reality of flowers now growing in Antarctica, a harbinger of the climate crisis and its devastating implications (“There is a debt, that we’ve burned through the century / the carbon reaper set free / Consuming all, driving life to extinction / a thriving land now devoid / it will consume, arctic surfaces break down / transforming glaciers to brine / Our heaving lungs choking down poison fumigation / 1 million tonnes to exhaust”). Musically speaking, it reminds me of some of the most recent tunes by Behemoth, which is obviously a good thing. And lastly, Richard transpires darkness and insanity in madness., transforming his inner demons into a fusion of Black and Death Metal through his classic beats, caustic riffs and a beyond grim atmosphere.

Blooming in Antarctica is already available in full on all streaming platforms including YouTube and Spotify, but of course if you want to show Richard your utmost support you can purchase a copy of the album from BandCamp, and don’t forget to also give Richard a shout on Facebook and on Instagram, or simply click HERE for more details on all of his bands and projects. As mentioned by Richard himself in the description of his official video for the title-track, our world is dying and a small handful of people are responsible for it, people with names and addresses, and we must do something to avoid the terrible fate that lurks in the shadows and waits for us all in a not-so-distant future. Let’s spread the music by Greyember all over the world, inspiring other musicians like Richard to fight for our planet, and metalheads like us to use our powerful music to make a positive change in our decaying society.

Best moments of the album: Blooming in Antarctica.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Reflections 4:08
2. Blooming in Antarctica 5:40
3. madness. 4:20

Band members
Richard Grimm – vocals, all instruments

Guest musicians
Nikki Harrison – vocals on “Reflections”
Richard White – vocals on “Blooming in Antarctica”

Album Review – Torrefy / Necronomisongs (2024)

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This Canadian horde is offering us all the Songs of the Dead in their new opus, a fusion of ripping Thrash Metal and abrasive Black Metal.

Formed in 2011 in Victoria, British Columbia, Canada, the unrelenting Blackened Thrash Metal horde known as Torrefy has just unleashed upon humanity their fourth full-length beast, titled Necronomisongs, following up on their 2020 album Life Is Bad. Recorded by Torrefy and Cody Baresich at Circle A Studios, mixed by Cody Baresich, mastered by Brad Boatright at Audiosiege, and displaying a cadaverous artwork by Blackstory, the new album by John Ferguson on vocals, Adam Henry and Ben Gerencser on the guitars, Simon Smith on bass, and Daniel Laughy on drums brings to our avid ears ripping Thrash Metal and abrasive Black Metal as its prime elements, yet the band’s self-described unorthodox approach to composition has paid big dividends, as the album slashes, burns, and genre-bends with unhinged ferocity, all without sacrificing an ounce of memorability.

Of Wind and Worm offers a ruthless attack from the very first second, with a demonic roar by John already welcoming everyone to the band’s thrashing extravaganza while the wicked solos by Adam bring an extra dosage of fury to their sound. Adam and Ben put the pedal to the metal in Street Reaper, with the support of the rumbling bass and drums by Simon and Daniel, respectively, resulting in a sulfurous display of Thrash Metal by the band, followed by Corpseback Rider, portraying a beautiful name for a heavy and grim creation by Torrefy, with the deep gnarls by John sounding inhumane. And Arachnomancer starts in an eerie way, kinda jazzy to the low-tuned bass by Simon, exploding into a Skeletonwitch-like sound to the massive, venomous beats by Daniel.

Back to a more infernal sonority, the band will crush our damned souls to pieces in Enslaved New World, a true Blackened Thrash Metal beast where John’s demented vociferations are nicely supported by the riff, bass and drum hurricane crafted by his bandmates, whereas Nature Vs Torture is another song with a very peculiar name surpassing the six-minute mark, with the strident and piercing riffs by Adam and Ben sounding absolutely thrashy and vile. Those guys certainly know how to name their songs in a fun way, which is the case with Apex Shredatorr, and the song’s epic, somber intro once again evolves into a metallic party by the band, showcasing their love for the riff and sheer violence. And last but not least, the band ventures through more melodic lands in Total Perspective Vortex without forgetting their usual rage and heaviness, and the final result is perfect for some action inside the pit with Daniel dictating the pace with his intricate beats and fills.

You can join the dark side of Thrash Metal by listening to Necronomisongs in full on YouTube and on Spotify, by following the band on Facebook and on Instagram to stay updated with all of their news and tour dates, and of course, by purchasing their sulfurous new opus from their own BandCamp page, from the Witches Brew webstore, or by clicking HERE. The Necronomicon might be the Book of the Dead, but let’s say Torrefy are bringing to our putrid ears the Songs of the Dead with their caustic new album, and you better be ready because once you start listening to it, you’ll begin your one-way descent into the underworld.

Best moments of the album: Of Wind and Worm, Enslaved New World and Total Perspective Vortex.

Worst moments of the album: Arachnomancer.

Released in 2024 Witches Brew

Track listing
1. Of Wind and Worm 5:34
2. Street Reaper 4:18
3. Corpseback Rider 4:38
4. Arachnomancer 5:49
5. Enslaved New World 5:48
6. Nature Vs Torture 6:20
7. Apex Shredatorr 6:06
8. Total Perspective Vortex 6:25

Band members
John Ferguson – vocals
Adam Henry – lead guitar
Ben Gerencser – rhythm guitar
Simon Smith – bass
Daniel Laughy – drums