It’s time to rumble with THE HEADBANGING MOOSE SHOW every Thursday @ 20:00 UTC+2 (with a reprise on Saturdays @ 19:00 UTC+2) exclusively at Midnight Madness Metal e-Radio, your Greece-based web radio blasting the best of heavy music nonstop 24/7!
Presented by Gustavo Scuderi, The Headbanging Moose Show will bring to you the cream of underground metal music, giving you a short and sweet background on every band played on the show. No silly jokes, no shenanigans… THIS IS PURE F****N’ METAL!
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Denmark’s own Death and Doom Metal witches return from the grave with their third opus, serving as both the atmospheric journey into the darkest depths of the soul and the guide out of the abyss.
Fiercely sinister and heavy as ever, Copenhagen, Denmark’s own Death/Doom Metal witches Konvent return from the grave with their third album, titled Firesky, following up on their critically acclaimed 2020 debut Puritan Masochism, and their scorching 2022 sophomore beast Call Down the Sun. Produced and recorded by Jacob Bredahl at Antfarm Studios, mixed by Jacob Bredahl at Dead Rat Studio, mastered by Brad Boatright at Audiosiege, and displaying a devilish artwork by the witch Nona Limmen, the new offering by Rikke Emilie List on vocals, Amira Liv Hernan on the guitars, Heidi Withington Brink on bass, and Julie Simonsen on drums is their bravest album yet. Constructed carefully, the record serves as both the atmospheric journey into the darkest depths of the soul and the guide out of the abyss. The Danish band goes to great lengths – literally and figuratively – to reshape the strong footprint they have already left in the scene. Five songs is all it takes the four-piece this time around to prove how incomparably weighty their sonic soundscapes can be, expanding on their influences and experiments significantly with Black Metal.
Exorcise is utterly heavy, dark and gloomy form the very first second, with Julie dictating the song’s lugubrious pace while Rikke delivers her deep, visceral roars nonstop for our absolute delight, with Amira’s Black Metal riffs also sounding haunting. Then we face Scorning, offering us all over nine minutes of sheer Doom Metal, also presenting delicate moments amidst the trademark heaviness blasted by the quartet, not to mention Amira and Heidi sound scorching armed with their axes. There’s nothing better than 11 minutes of undisputed, visceral doom like what they have to offer in In the Unknown, again presenting Rikke’s venomous gnarls supported by another overdose of scathing riffs by Amira while the amazing Julie keeps hammering her drums mercilessly, growing in intensity and darkness until its climatic, crushing and suffocating finale. Firesky, featuring guest vocals by Mai Soon Young Øvlisen (a Danish-Korean musician, composer, and vocalist for Experimental Post-Rock band Meejah), is absolutely melancholic and delicate yet still obscure and cryptic, with their vocals, guitars, bass and drums representing the epitome of modern-day Atmospheric Doom Metal, flowing into the touching, grim outro Postludium, putting a beyond embracing and emotional ending to the album.
“After four years, we are finally ready to release our third album, Firesky, as our most ambitious album yet. On this album we have experimented more with black metal, as it is a genre we are all very inspired by. Lyrically it has been impossible for us to ignore the political state of the world, and we have found it imperative to comment on the active decisions to withdraw basic human rights for women and LGBTQ people. Firesky is a screaming desire to burn everything down and to create a more solidary and empathic world,” commented the band, and you can start following those witches of doom on Facebook and Instagram, stream their music on Spotify, and put your blood-soaked hands on Firesky via BandCamp, via Napalm Records, or by clicking HERE. As aforementioned, get ready for an atmospheric journey into the darkest depths of the soul to the sound of the incendiary new opus by Konvent, and then arising from the abyss to the sheer power of their Doom Metal magic.
Best moments of the album:Exorcise, In the Unknown and Firesky.
Worst moments of the album: None.
Released in 2026 Napalm Records
Track listing 1. Exorcise 8:59
2. Scorning 9:20
3. In the Unknown 11:57
4. Firesky 7:53
5. Postludium 2:56
Band members Rikke Emilie List – vocals
Amira Liv Hernan – guitars, backing vocals
Heidi Withington Brink – bass
Julie Simonsen – drums
Guest musician
Mai Soon Young Øvlisen – vocals on “Firesky”
After a decade since the release of their critically acclaimed debut album, this Swedish Melodic Death and Black Metal horde returns with their incendiary sophomore opus.
After a decade since the release of their critically acclaimed debut album Seraphical Euphony, Stockholm, Sweden-based Melodic Black/Death Metal band Hyperionis back in action with their sophomore opus, titled Elysia. Recorded between 2020 and 2023 at Wing Studios, Studio Forlorn Halls and in various private locations, mixed and mastered by Sverker Widgren between 2023 and 2024 at Wing Studios, and showcasing a sinister artwork by the always great Khaos Diktator Design, the new album by Erik Molnar on the guitars, synthesizer programming and spoken words, Joel Hagroth on the guitars and spoken words, Mikael Malm on the guitars, Raul Vicente on bass, and Mauritz Flodin on drums and orchestrations offers a barrage of guitars and symphonies of a kind that is rarely seen, but great care has been taken to make them complement each other and draw you in to discover more the deeper you get.
The beyond atmospheric and cinematic intro Rapturous Overture sets the stage for Hyperion to crush our souls in Nefarious Sacrament of the Immorals, featuring guest Johan Nephente on vocals, kicking things off with endless fury to the blast beats by Mauritz and the scathing riffage by Erik, Joel and Mikael. Fides Novem, featuring guest vocalist Elias Lyxell, keeps their Black Metal magic burning to the killer riffs and solos by the band’s guitar triumvirate, followed by Iliou Persis, with the one and only Atterigner on vocals, not to mention the battle choir brings an overdose of epicness to the music, as well as Mauritz’s infernal drums. And Paraphrosynia, featuring Karin Eriksson on vocals, brings forward 12 minutes of absolute chaos and insanity, with Karin’s vocals reminding me of old school creations by Cradle of Filth, with all guitars, bass, keys and drums sounding stunning until the very end.
Then investing in an even more demented sonority we have Perennial Transcendence, with all grim vociferations matching perfectly with the thunderous kitchen by Raul and Mauritz; and after the acoustic interlude Vigil of Longing we face the second longest song of the album, titled Epic of Tribulation, starting in a phantasmagorical manner before morphing into a grandiose Symphonic Black Metal aria led by Mauritz’s crushing drums. Furthermore, the despair and obscurity flowing from all vocals is stunning. Epoch’s Eventide also alternates between darker, doom-ish moments and the sheer aggression of Black Metal, with the synths by Erik bringing an extra kick to the overall result, before we face The Primordial Wellspring, where despite its climatic vibe, it doesn’t know if it’s a ballad, an acoustic song or a classic Symphonic Black Metal tune.
“Elysia is an explosion of intensity in all kinds of directions. To call it an ambitious album would be an understatement. Hyperion never creates music with half measures and this is the ultimate statement of that. It is different from Seraphical Euphony, but still contains the vital elements that make us what we are. To make this album a reality has been a titanic effort and we are beyond excited to finally have it released to the world,” commented the band about their incendiary newborn spawn, and if you want to know more about such a talented horde hailing from Sweden you can find those guys on Facebook and on Instagram, stream their caustic music on any platform such as Spotify, and of course, above all that, show them your total support and admiration by purchasing their new album from their own BandCamp, as well as from the Willowtip Records’ BandCamp. This is Swedish Melodic Death and Black Metal at its finest, and let’s hope it doesn’t take another ten years for Hyperion to kick our asses once again with a new album just as great as Elysia.
Best moments of the album:Nefarious Sacrament of the Immorals, Paraphrosynia and Epic of Tribulation.
Worst moments of the album:The Primordial Wellspring.
Released in 2026 Willowtip Records
Track listing 1. Rapturous Overture 2:41
2. Nefarious Sacrament of the Immorals 6:52
3. Fides Novem 8:52
4. Iliou Persis 6:39
5. Paraphrosynia 12:41
6. Perennial Transcendence 6:52
7. Vigil of Longing 1:20
8. Epic of Tribulation 10:58
9. Epoch’s Eventide 9:18
10. The Primordial Wellspring 7:22
Band members Erik Molnar – guitars, synthesizer programming, spoken words
Joel Hagroth – guitars, spoken words
Mikael Malm – guitars
Raul Vicente – bass
Mauritz Flodin – drums, orchestrations
Guest musicians
Johan Nephente – vocals on “Nefarious Sacrament of the Immorals”
Elias Lyxell – vocals on “Fides Novem”
Atterigner – vocals on “Iliou Persis”
Karin Eriksson – vocals on “Paraphrosynia”
Erik Molnar, Joel Hagroth, Mikael Malm, Mortuz Denatus, Johan Camling & Henrik Edman – battle choir on “Iliou Persis”
Behold the crushing debut EP by this American horde, showcasing a band that’s intimately familiar with the essential essence of absolute brutality.
There was no reason beyond the satisfaction derived from the impact of steel on flesh and bone. That’s the feeling of what United States-based Brutal Death Metal newcomers Violence Only have to offer in their debut self-titled EP, a beast of a release that delivers exactly what the band have always promised it would. No gimmicks, no trends, no compromises, just pure Brutal Death Metal. Mixed and mastered by Jeremiah Tuck, and displaying a gory artwork by Rudi Yanto, the debut by frontman Braxton Keyser, guitarist Andrew Mathews, bassist Mark Chandler, and drummer Rene Martinez showcases a band that’s intimately familiar with the essential essence of absolute brutality, being therefore highly recommended for fans of Stabbing, Between The Killings, Devangelic, and Brodequin, among several other torchbearers of pure violence.
There isn’t a single second of peace or hope in Strong Arm Beatdown, already smashing our cranial skulls with the demented growls by Braxton while Rene simply hammers his drums nonstop, followed by Facial Deconstruction, a charming and friendly title for a Brutal Death Metal song, with the riffage by Andrew transpiring evil and fury while Braxton fires his trademark BREEEEEEEs. Warm Dissection continues with the band’s sonic assault, with Andrew and Mark once again pounding their axes in the name of brutality, whereas Victimized And Laughing is perhaps the most infernal of all five tracks, with the screeches and roars by Braxton sounding inhumane supported by the demented instrumental by his bandmates. And finally, Hatred For Humanity closes the EP on a high and violent mode, with Rene once again stealing the show with hi cadaverous beats and fills.
Featuring members of Between The Killings, Stabbing, Flesh Hoarder, Horrific Visions, Embodied Torment and Enfrenzied, taking elements from all the band members’ previous experiences and binding them in barbed wire creativity, Violence Only have captured something new, something wild yet tightly controlled, a pulverizing paradox with skull shattering impact in their debut EP, waging war on our so-called civilized society. You can find more information about the band on Facebook and on Instagram, stream their music on any platform like Spotify, and of course, put your blood soaked hands on their debut EP from Comatose Music’s BandCamp or webstore. But remember, no artificial elements nor any sign of peace or hope are accepted in this case. It’s violence, and violence only.
Best moments of the album:Facial Deconstruction and Victimized And Laughing.
Worst moments of the album: None.
Released in 2026 Comatose Music
Track listing 1. Strong Arm Beatdown 3:13
2. Facial Deconstruction 3:31
3. Warm Dissection 3:15
4. Victimized And Laughing 2:51
5. Hatred For Humanity 3:14
Band members Braxton Keyser – vocals
Andrew Mathews – guitars
Mark Chandler – bass
Rene Martinez – drums
The Eye of the Monolithicrypt is watching us all, ready to drag us to the Stygian realm ruled by this talented American Death and Doom Metal band.
After releasing a well-received demo and a split, Portland, Oregon-based Death/Doom Metal outfit Besotten (an alternative or older form of the adjective “besotted,” meaning completely infatuated, foolishly in love, or intoxicated), who labels their music as a hybrid of “psyxhix death” and “existential doom,” is unleashing hell armed with their debut full-length album, entitled Eye of the Monolithicrypt, which they have meticulously worked on for the past few years. Mixed and mastered by Leon Del Muerte (who also took care of the vocal and guitar engineering), with drums engineered by Charlie Koryn, and displaying a demented artwork by Lord Serus, the new offering by Garth Purkett on vocals and bass, Patrick Sinn-Movilla on the guitars and synthesizers, and Andy Osborn on drums presents five songs which are a mix of short ones as well as those exceeding 10 minutes, and are rather diverse with each song having its own identity while maintaining an overall cohesive sound.
Mist of Decay already offers our putrid ears a striking fusion of Death and Doom Metal, as evil and harsh as it can be, with Garth stealing the spotlight with his demonic, deep gnarls, setting the stage for the bludgeoning Bathed in Insufferable Light, a ten-minute beast from the abyss showcasing the scathing riffs by Patrick and the slow and doomed beats by Andy, also presenting cryptic passages and a strong sense of hopelessness and despair. Their demented Death Metal side arises again in Cruentation, with the bass by Garth reverberating like the scream of a demonic entity, accompanied by another ruthless performance by Andy on drums; and the same Andy shows no mercy for his drums in Storming the Cerebral Citadel, sounding deadly and vile from start to finish, with the band’s Doom Metal soul burning majestically. Their longest songs are obviously their best, which is the case in Bloodcairn, where the striking riffs and solos by Patrick add layers of insanity to their already devilish sounds before all fades into the unknown.
In comparison to the other bands out there, the music by Besotten is more structured and fleshed out, amplifying all the best elements of this style, and remaining delectably crushing and foul, exactly like what they have to offer in Eye of the Monolithicrypt. Highly recommended for admirers of the music by Worm, Disembowelment, Hooded Menace, Abyssal Rift, and Undergang, just to name a few, Eye of the Monolithicrypt can be purchased from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Don’t forget to also follow the band on Instagram, stream their music on Spotify, or you can click HERE for all things Besotten. In other words, the Eye of the Monolithicrypt is watching us all, ready to drag us to the Stygian realm ruled by Besotten, and to trap us forever in eternal doom.
Best moments of the album:Bathed in Insufferable Light and Bloodcairn.
Worst moments of the album: None.
Released in 2026 Transcending Obscurity Records
Track listing 1. Mist of Decay 5:52
2. Bathed in Insufferable Light 10:00
3. Cruentation 4:39
4. Storming the Cerebral Citadel 4:07
5. Bloodcairn 11:37
Band members Garth Purkett – vocals, bass
Patrick Sinn-Movilla – guitars, synthesizers
Andy Osborn – drums
Let these Dutch Progressive and Technical Death Metal purveyors lead you to places unknown to the sound of their scorching new album.
Formed in early 2024 in the always stunning Amsterdam, Dutch Progressive and Technical Death Metal purveyors Mystical Death are ready to unveil their second release, their first full-length album, the staggering Across, following up on their 2024 debut EP Carnation. With all the music being written, performed, mixed and mastered by the band’s central figure, multi-instrumentalist Mystic, who also created the album’s cover artwork and wrote the lyrics to every song, and featuring vocalists David Diefenderfer and Vixi Fox, Across is an album that never releases its hold on its Death Metal roots and yet manages to push the boundaries of the genre, sculpting its essence into quite beautifully bewildering new forms.
Apophenia already kicks off in full force to the infernal riffs and beats by Mystic while David growls and screams in the name of Technical Death Metal, followed by Laniakea, another feast of technical yet scorching sounds by the trio where Mystic is once again ruthless armed with his guitars and bass, not to mention the saxophone brings sheer adrenaline to the overall result. The wall of sounds crafted by Mystic in Inundant is perfect for the harsh vociferations by David, flowing into the breathtaking Lacerate, where Mystic goes berserk with his visceral riffage and crushing beats, resulting in one of the strongest songs of the album hands down. And a jazz-infused intro morphs into another metallic attack titled Empathy, where the guitars by Mystic breathe fire and insanity.
Kurtosi continues to spread the project’s blend of intricacy and progressiveness, with its haunting passages adding an extra kick to the music; whereas Across presents a perfect fusion of heaviness and melodious sounds, with the clean vocals by Vixi Fox clashing beautifully with the screams by David. Then Thalassa brings to our avid ears a darker, more menacing side of the project, with Vixi Fox again stealing the spotlight with her mesmerizing vocals, followed by Voyagers, a good display of Technical Death Metal that sounds interesting even without the vocal parts. And lastly, Sanctus feels more like a movie score than part of the album, working as an outro to the technical savagery blasted in all other songs.
In summary, fans of bands the likes of Pestilence, Cynic, Atheist and Gorguts will certainly have a very good time listening to all tracks from Across, and if you want to put your dirty hands on such an electrifying album you can purchase it from their own BandCamp, as well as from Rottweiler Records’ BandCamp or webstore. Don’t forget to also check what the band is up to on Facebook and on Instagram, and stream their music on Spotify and Apple Music. As Across is unleashed upon humanity, step inside this riot of creativity and let Mystical Death lead you to places unknown.
Best moments of the album:Laniakea, Lacerate and Across.
Succumb to the new opus by this ritualistic Black Metal entity hailing from Czechia, a testament to the darkness that dwells within.
A ritualistic Black Metal entity hailing from Prague, Czechia, originally established in 2019 as a one-man project by Count Hroozah, Moorah are entering a new era with their sophomore opus, titled The Beast Called Ego, moving towards a more massive and organic sound from their 2021 debut Marnost nad marnost. Recorded at Riversound Productions and Seabeast Production Studios, mastered by the iconic Jaime Gómez Arellano at Orgone Studios, and showcasing a sinister artwork by Aaron Bonogofsky of October Midnight, the new opus by Count Hroozah on vocals and guitars alongside Severan on bass, Silenthell on timpani, and FX Grond on drums, with Ashok (former guitarist of Cradle Of Filth) joining the ritual as a special guest, offers more of the band’s unique vision of apocalyptic Black Metal, blending the traditional elements of classic Czech and Norwegian acts with modern Post-Metal, Post-Punk, and Blackgaze techniques. A distinctive part of their identity lies in the lyrical depth provided by Count Hroozah, whose poetry, previously published in literary magazines, explores themes of faith and individual destiny within an apocalyptic world.
You can feel the darkness permeating the air from the very first second in Left Hand Of Darkness, with the cryptic vociferations by Count Hroozah walking hand in hand with the thunderous drums by FX Grond, whereas Breitspurbahn Egotrip begins in full force to the striking riffs by Count Hroozah, blending classic Black Metal with contemporary Melodic Black Metal in over eight minutes of absolute obscurity. Eternal Ahasver starts in a melodic, almost melancholic way, again presenting a heavy and dense sound thanks to the rumbling kitchen crafted by Severan and FX Grond, followed by Baptism Of Scum, the most ritualistic and atmospheric of all songs, with Severan, Silenthell and FX Grond once again making the earth tremble. Then scorching riffs and solos, not to mention an overdose of Doom Metal beats, set the tone in Vasa Ship, a solid black mass by the quartet; whereas Démon za krkem (a Czech phrase that translates to “a demon behind your neck,” used metaphorically and psychosomatically to describe a heavy, persistent psychological burden or stress that weighs a person down) also ventures through the lands of Blackened Doom Metal, sounding very sinister and detailed, with its multiple layers and passages taking us on a visceral journey though the dark spearheaded by Count Hroozah’s caustic vocal lines.
“The motif, together with the album title The Beast Called Ego, represents a whispering entity that at first appears as a supportive friend. Yet the moment you surrender to its temptations, it watches your downfall with a grin and quiet satisfaction. Almost everyone has, at some point, succumbed to its false call through the influence of our own egos,” commented the band about the artwork, the title, and the music found in their newborn spawn, inviting us all to join them in darkness via Facebook and Instagram, to stream their music on Spotify, and to grab a copy of The Beast Called Ego by clicking HERE. The Beast Called Ego is a testament to the darkness that dwells within, further cementing Moorah’s place as a vital force in the contemporary extreme underground.
Best moments of the album:Breitspurbahn Egotrip and Démon za krkem.
Worst moments of the album: None.
Released in 2026 Art Gates Records
Track listing 1. Left Hand Of Darkness 6:07 2. Breitspurbahn Egotrip 8:27
3. Eternal Ahasver 5:26
4. Baptism Of Scum 5:33
5. Vasa Ship 5:54
6. Démon za krkem 7:43
Band members Count Hroozah – vocals, guitars
Severan – bass
Silenthell – timpani
FX Grond – drums
This demented four-piece army returns with their sophomore and most ambitious release yet, an ugly, nasty and raw display of the best kind of Swedish Death Metal.
Having splashed onto the scene with their 2024 rambunctious debut titled Descent into Lunacy, the ruthless Swedish Death Metal creature known as Cryptorium returns with their sophomore and most ambitious release yet, the incendiary Through the Bowels of Ceaseless Dissonance. Recorded at Studio Catacombs, with lead guitars on a few songs recorded at Eremin Studios, and with all band members sharing the vocal duties throughout the entire album, the new offering by Fabian Larsen on vocals and guitars, Ludvig Carman on lead guitars, Karl “Knalle” Arvidsson (RIP) on vocals, bass and synthesizers, and Albin Holgersson on vocals and drums takes their music to the next level, churning out the best kind of Swedish Death Metal and paying homage to the elder ones the likes of Dismember, Entombed, Carnage, Grave, Crawl, Feral and Vomitheist, while adding their own layer of grime and filth to it. In other words, it is ugly, nasty and raw, just how it was meant to be.
After the album’s darkly delicate Intro we’re crushed into pieces by Cryptorium with the title-track Through the Bowels of Ceaseless Dissonance, where the vocals by Knalle sound insanely obscure and heavy, and therefore deserve our full appreciation, while he also slams his bass manically. Malodor offers a more direct blast of Death Metal with a doomed vibe, this time with Fabian taking the vocal duties, sounding perfect for some action inside the pit; and Albin hammers his drums like a demented beast in Rivers of Celestial Blood, offering an overdose of Death Metal insanity boosted by another cadaverous vocal performance by Fabian. After such a demolishing tune, Knalle’s bass and Albin’s drums will demolish your senses in the obscure, visceral In Bitter Remorse, another no shenanigans display of savagery by those talented metallers.
In Revolting Obsession we see the band add elements of Crust and Doom Metal to their core Death Metal feast, giving the song an even heavier and more rebellious vibe led by Albin’s pulverizing beats and fills, whereas the guitars by Fabian and Ludvig exhale fire and electricity in Corpus Effigy, not to mention Albin’s Cannibal Corpse-inspired vocals sound inhumane. Knalle’s metallic bass set the atmosphere on fire in the groovy yet venomous Concrete Interment, one of the heaviest of all songs, if not the heaviest, a lecture in brutality, violence, gore and insanity. The band then shows no mercy for our putrid souls in the frantic and demented Malignant Crucifixion, living up to the legacy of old school Death Metal; whereas their coup-de-grace comes in the form of Consumed by the Eternal Rot, an avalanche of Death Metal aggression by the quartet where Albin’s vocals once again transpire gore and evil.
Cryptorium go all the way in Through the Bowels of Ceaseless Dissonance, convincingly delivering the classic kind of Death Metal without dampening it with too many melodies or making it sound too clean, and always with the right spirit and intent. This is gnarly, in-your-face, competently executed Swedish Death Metal with substance and rot, not to be missed by any fan of the genre, and you can get more details about the band and their bludgeoning music on Facebook and on Instagram, stream their depraved music on Spotify, and grab a copy of their new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store (or click HERE for all things Cryptorium). Furthermore, Through the Bowels of Ceaseless Dissonance is dedicated to the late Karl “Knalle” Arvidsson, who sadly passed away earlier this year, on February 1, 2026. He was just 18 years old, had a brilliant future ahead of him, and will surely be missed by his bandmates, fans, friends and family. This means the music by Cryptorium is meant to be played louder than hell, and we should all raise our horns and enjoy the wild bass playing by Knalle in Through the Bowels of Ceaseless Dissonance. I’m sure this is exactly what he wants us all to do right now.
Best moments of the album:Through the Bowels of Ceaseless Dissonance, Concrete Interment and Consumed by the Eternal Rot.
Worst moments of the album: None.
Released in 2026 Transcending Obscurity Records
Track listing 1. Intro 1:05
2. Through the Bowels of Ceaseless Dissonance 5:10
3. Malodor 4:22
4. Rivers of Celestial Blood 3:27
5. In Bitter Remorse 5:04
6. Revolting Obsession 5:17
7. Corpus Effigy 4:01
8. Concrete Interment 3:50
9. Malignant Crucifixion 4:27
10. Consumed by the Eternal Rot 6:32
Band members Fabian Larsen – guitars, vocals on “Malodor”, “Rivers of Celestial Blood”, “In Bitter Remorse”, “Revolting Obsession” and “Consumed by the Eternal Rot”
Ludvig Carman – lead guitars on “Revolting Obsession” and “Malignant Crucifixion”
Karl “Knalle” Arvidsson (R.I.P. 2026) – bass, synthesizers, vocals on “Through the Bowels of Ceaseless Dissonance”, “Concrete Interment” and “Malignant Crucifixion”, additional vocals on “Revolting Obsession”
Albin Holgersson – drums, vocals on “Corpus Effigy”, additional vocals on “Concrete Interment”, “Malignant Crucifixion” and “Consumed by the Eternal Rot”
Behold the debut full-length by this Brazilian Death Metal squad, transforming personal pain into something honest, confrontational, and deeply expressive.
Formed in Rio de Janeiro, Brazil in 2023, the ruthless four-piece squad known as Ereboros combines aggressive Death Metal with dark atmospheres, culminating now in 2026 with the release of their debut offering, titled From Oblivion to the Grave. Recorded, mixed and mastered throughout 2025 in Brazil, and self-produced by Ereboros under the direction of Victor Mendonça, the debut by Thiago Barbosa on vocals and guitar, Juan Carlos also on the guitar, Paulo Doc on bass, and Victor Mendonça on drums was born from real-life experiences, diving into suffering, anxiety, disillusionment, and the struggle to find meaning in the middle of chaos. Many of the lyrics were shaped by difficult moments faced by Thiago Barbosa and Victor Mendonça, transforming personal pain into something honest, confrontational, and deeply expressive.
The cinematic intro From Oblivion to the Grave opens the gates of the underworld for the band to kill in Distorted Man-made Concept, with Thiago roaring and barking in great Death Metal fashion, supported by the pulverizing drums by Victor. Thiago and Juan deliver killer riffs and solos in the Melodic Death Metal-infused tune The Agony of Existence, followed by Salute to Disorder, blending the heaviness of Amon Amarth with the visceral sounds from Cannibal Corpse, with Victor once again sounding inhumane behind his drums. And they keep slashing their axes in the name of Death Metal in Dissonant Soul, with Thiago once again roaring the song’s devilish words nonstop.
Their modern take on old school Death Metal again works majestically in Nocturnal Paranoia, flirting with Technical and Progressive Death Metal at times thanks to the phenomenal job done by Victor on drums. We then face the epic interlude One Last Pulse, warming up our souls for another venomous attack titled In the Depths of Misery, alternating between sheer savagery and more technical and melodic moments where Paulo and Victor make the earth tremble as usual. Progenies of the Unseen is by far one of the most detailed songs of the entire album, with their guitars breathing fire from start to finish in an ode to Death Metal; and they close the album with the doom-laden Death Metal tune At the Gallows of Doom, sounding heavy-as-hell but not as detailed as the other songs. It’s still infernal as expected, of course.
Bringing together crushing riffs, relentless aggression, and suffocating atmospheres, balanced by melodic passages that give the songs greater emotional weight without taking away from their intensity, From Oblivion to the Grave is highly recommended for fans of Hypocrisy, Septicflesh, Morbid Angel, Carcass, and Dissection, among many others, and if you want to give the band a shout and enjoy more of their music you can find them on Facebook, on Instagram, on YouTube, on Spotify, and on Apple Music, and of course purchase their killer new album from BandCamp. In summary, finding any type of meaning in absolute chaos is never easy. Quite the contrary, it’s an excruciating task, and the guys from Ereboros more than succeeded in turning all that frustration into high quality Death Metal in their awesome debut album.
Best moments of the album:Distorted Man-made Concept, Nocturnal Paranoia and Progenies of the Unseen.
Worst moments of the album:At the Gallows of Doom.
Released in 2026 Independent
Track listing 1. From Oblivion to the Grave 1:16
2. Distorted Man-made Concept 4:05
3. The Agony of Existence 4:47
4. Salute to Disorder 3:15
5. Dissonant Soul 3:53
6. Nocturnal Paranoia 4:51
7. One Last Pulse 1:05
8. In the Depths of Misery 4:22
9. Progenies of the Unseen 3:55
10. At the Gallows of Doom 5:31
Band members Thiago Barbosa – vocals, guitar
Juan Carlos – guitar
Paulo Doc – bass
Victor Mendonça – drums
It was absolute wrath over Toronto on a stunning night of Melodic Death Metal magic, courtesy of five of the must-see names of the current scene worldwide.
We definitely cannot complain about the stunning weather that’s been over Toronto for weeks already, with no rain nor any major cold events at all. Quite the contrary, we’ve been experiencing a lot of sunshine, warm temperatures sometimes above +20oC, and no strong winds. That perfect combo made this Sunday night even more enjoyable when THROWN INTO EXILE, CRYPTA, SEPTICFLESH, THE BLACK DAHLIA MURDER and ARCH ENEMY destroyed us all with their undisputed Wrath Across North America 2026 Tour at The Danforth Music Hall, another first-class event brought to the city by Noel Peters of Inertia Entertainment. My buddy Blair Burch and I once again had a lot of fun covering the entire night, and in my case it was even more memorable since I’m a huge fan of both Crypta and Arch Enemy (to be fair, I’m a fan of all bands from such an incredible lineup), with all bands kicking our asses mercilessly and putting a huge smile on the faces of everyone who could not only enjoy a night of killer heavy music, but also do that without having to carry their heavy fall or winter coats.
After doors opened at 5pm, everyone who was already at the venue had basically one hour to chat with their friends, have a few beers, and grab some merch (and all bands had some top-of-the-line items, by the way) before Los Angeles, California’s own Metalcore act THROWN INTO EXILE kicked off the night with another electrifying performance, coincidentally again opening for Arch Enemy. And just like Arch Enemy, the band has a new vocalist, Joshua Santos (as well as new drummer, Hank Lin), not to mention their bassist couldn’t join them on this tour and was replaced by two of the tech guys from the other bands if I’m not mistaken. The band has been releasing a few interesting single in the past year (all available on Spotify), and two of those are part of their setlist, Nihilist and Behind the Veil, both igniting some serious mosh pits in Toronto, and if that’s an indication of what to expect from their next album, it’s going to be a banger.
Setlist Send Me Below
Nihilist
Behind The Veil
Remorse
You’ve Fallen so Far
Band members Joshua Santos – vocals
Mario Rubio – guitars
Austin Monzon – guitars
Javier Quinto – bass
Hank Lin – drums
The next band to hit the stage at The Danforth Music Hall were the unrelenting girls from Brazilian Death Metal brigade CRYPTA, and as expected they simply dpulverized us all and melted our faces with another demonic (yet short) performance in Toronto. Fernanda Lira, Tainá Bergamaschi, Victoria Villarreal and Luana Dametto showed no mercy for our putrid souls with a lecture in Death Metal, playing songs from their two albums Echoes of the Soul and Shades of Sorrow, plus their insanely dark, Black Metal-infused single A Portrait of Decay, all available on BandCamp and on Spotify, leaving us all completely disoriented and eager for more of their music in a not-so-distant future. Fernanda’s vocals were beyond devilish from start to finish, proving why she’s one of the best growlers of the new generation, and the next time Crypta pay a visit to Toronto I’m sure it will be a sold out show. And of course, the mosh pits will be brutal.
Setlist The Other Side of Anger
Lord of Ruins
The Outsider
A Portrait of Decay
From the Ashes
Band members Fernanda Lira – vocals, bass
Tainá Bergamaschi – guitars
Victoria Villarreal – guitars
Luana Dametto – drums
The lineup for this Wrath Across North America 2026 Tour is so fantastic to the point one of the special guests is already a headliner. I’m talking about the mighty Greek Atmospheric/Symphonic Death Metal institution SEPTICFLESH, one of those bands that you must see live (and listen to their discography anywhere like Spotify) if you consider yourself a true metalhead. Songs like Martyr, Anubis and Dark Art are always a treat, played to perfection by Spiros Antoniou, Psychon and Kerim “Krimh” Lechner. As you might have noticed, I left Christos Antoniou out of the list because, as explained by Spiros, he injured his ribs a couple of days before the tour started, but the band decided to still do the tour as a trio. Their sound was still massive, bold and hypnotizing, and the fans inside the pit were having a great time enjoying the band’s crushing heavy music. We all wish a speedy recovery for Christos Antoniou, and of course, as soon as he’s ready to rock again, we demand another Septicflesh concert in Toronto.
Setlist Communion
The Vampire From Nazareth
Martyr
Coming Storm
Anubis
Dark Art
Band members Spiros Antoniou – harsh vocals, bass
Psychon – guitars
Kerim “Krimh” Lechner – drums
It was around 8:20pm when the first co-headliner of the night, Detroit, Michigan’s own Melodic Death Metal beast THE BLACK DAHLIA MURDER, brought another round of absolute violence, groove and hatred to the city of Toronto. Their setlist was once again a well-balanced mix of old school songs with newer material from their 2024 album Servitude, all available on BandCamp and on Spotify, and Brian Eschbach, Ryan Knight, Wes Hauch, Max Lavelle and Alan Cassidy made sure the intensity and fury of each song was multiplied by a thousand live. Those guys were on fire from the very beginning, absolutely happy to see their Torontonian fans kicking ass inside the mosh pit the entire show, and that connection between band and crowd was one of those things I love to witness at metal shows.
Not only the mosh pits were wild, but there was endless crowd surfing happening too, and some of those crowd surfers were the Toronto banana guys, a staple in the local music scene. And do you know who loves bananas? The band’s own Statutory Ape, who got into the stage jumping like a maniac during such an incendiary song, and was so excited he even went down to the mosh pit and then back to the stage crowd surfing. It was excellent, and proof that only metal concerts can provide you with pure, organic and no shenanigans fun. If you don’t like The Black Dahlia Murder, I’m sorry, but you’re bananas. Pun intended. And before I forget, happy birthday to their bassist Max Lavelle! It must have been really cool celebrating his birthday on tour in a city like Toronto, who sang a nice and loud Happy Birthday to the guy, and I’m sure he’ll want to come back to the city with his band sooner than his next birthday for another demolishing concert.
Setlist Necropolis
Contagion
Mammoth’s Hand
Moonlight Equilibrium
Panic Hysteric
Nightbringers
Everything Went Black
Cursed Creator
A Vulgar Picture
Miscarriage
Statutory Ape
Christ Deformed
Utopia Black
What a Horrible Night to Have a Curse
Band members Brian Eschbach – vocals
Ryan Knight – guitars
Wes Hauch – guitars
Max Lavelle – bass
Alan Cassidy – drums
Finally, after waiting years and years to see American-born-but-raised-in-Australia vocalist Lauren Hart live (as I’m already a fan of her vocals since her work with Once Human), I had the pleasure of witnessing such a beautiful lady simply pulverizing our souls with a breathtaking performance as the new voice of Swedish Melodic Death Metal institution ARCH ENEMY. After Sunday night I must say Lauren is not just a good fit for the band after the departure of Alissa White-Gluz, but a more-than-perfect choice for the job, injecting a humongous amount of adrenaline to the band’s already venomous music. She was unstoppable onstage, always smiling, always headbanging, always raising her horns, and the crowd was simply loving all that energy and passion, with the intense circle pit and crowd surfing turning up the heat considerably inside the venue. It was one of the wildest Arch Enemy concerts of the past few years in the city hands down.
So far, there’s only one song recorded with Lauren on vocals, the excellent To the Last Breath (available on both Bandcamp and Spotify), but that doesn’t mean she didn’t nail it while singing all other songs form their setlist. Quite the contrary, her screams were insane, supported by the classy riffs and solos blasted by the iconic Michael Amott, as well as Joey Concepcion, Sharlee D’Angelo, and the beast Daniel Erlandsson. Also, although Lauren mentioned Ravenous was the song that inspired her to scream while introducing herself to Toronto, she was simply phenomenal in Taking Back My Soul, in Dead Bury Their Dead, and in special in Bury Me an Angel, where she did an almost perfect impersonation of Johan Liiva singing. Don’t get fooled, my friends. Lauren might be all smiles, but when she’s screaming she’s absolute evil (in the best way possible, of course). After the all-time classic Nemesis, followed by Fields of Desolation (and a bunch of black and red balloons), the band said their farewells to the crowd, and I bet we’ll see them back sooner than you can scream “ravenous.” Hopefully already with a new album with Lauren on vocals, because with her fronting the band now, Arch Enemy sound deadlier than ever.
Setlist Ace of Spades (Motörhead song) Khaos Overture
The World Is Yours
Ravenous
War Eternal
Blood Dynasty
My Apocalypse
To the Last Breath
Taking Back My Soul
The Eagle Flies Alone
Bury Me an Angel
Dead Bury Their Dead
No Gods, No Masters
Nemesis
Fields of Desolation (Outro) Enter the Machine
Band members Lauren Hart – vocals
Michael Amott – lead guitars, backing vocals
Joey Concepcion – lead guitars, backing vocals
Sharlee D’Angelo – bass
Daniel Erlandsson – drums
Heavy as the dark, bright as the sun… Set Your Hearts on Fire!
As the sun gets further away from the Northern Hemisphere day after day, let’s dive deep into a sun of Symphonic Metal to brighten up our daily lives with our metal lady of this month of November. Owner of a powerful and enfolding voice, which even led to her being compared to the one and only Tarja Turunen, she’s the classically trained frontwoman for the rising Swiss Symphonic Metal ensemble Deep Sun, an accomplished vocal coach, and of course, a diehard metalhead who’s always willing to bring her fans endless joy when she hits the stage with her bandmates. Her name is Debora Lavagnolo, and as you might have noticed her official website is called, “die sängerin,” a German phrase that translates to “the female singer” or “the vocalist” in English, already giving you a very good idea about what Debora is all about. She truly loves to sing, and you’ll love to know more about such a talented artist, her career with Deep Sun, and her passion for heavy music.
Born on July 27, 1984 in Brugg, a Swiss municipality and a town in the canton of Aargau, Debora attended the Zurich Conservatory of Music for 10 years studying classical singing, and the FeMale Funk Project Vocal Performance School in Zurich for 3 years studying pop and rock singing. Furthermore, she’s been performing on stage for over 15 years, whether with a band, solo, as a duo, or as a quartet, at various events, weddings, receptions, parties, in clubs, at festivals, and other types of gatherings, and she’s constantly educating herself by attending vocal coaching sessions or (silent) retreats to continually give her voice and mind renewed energy to keep developing her skills even further.
As aforementioned, Debora is the unstoppable frontwoman for the striking Symphonic Metal outfit Deep Sun, who, together with their community called “Deep Sunlights,” offer a musical home for those seeking strength, passion, and positivity. Formed in 2006 (under the name One Hour, while also going through constant lineup changes), and currently comprised of our diva Debora alongside guitarist Erik Dummermuth, bassist Angelo Salerno, keyboardist Tom Hiebaum, and drummer Tobias Brutschi, combining epic orchestrations, powerful metal riffs, and emotional storytelling into a cinematic and unmistakable sound while bridging light and darkness, strength and vulnerability, therefore creating a sonic universe that reaches far beyond genre boundaries, the band released their debut EP Flight of the Phoenix in 2014, followed by four full-length albums, those being Race Against Time (2016), Das Erbe der Welt (2019), Dreamland – Behind the Shades (2022), and more recently Storyteller (2025), all available on Spotify, and you can also enjoy the official videos on their official YouTube channel for songs such as Journey Into the Unknown, Worlds Collide, and Eternal Love, as well as tons of live footage.
Having already performed hundreds of shows across Europe, including tours through the United Kingdom, Germany, Austria, the Czech Republic, and Switzerland, the band incorporates several elements from other music styles such as Hard Rock, Power, and Folk Metal into their core Symphonic Metal essence, while always remaining loyal to their foundations from day one. “I deliberately sought out a Symphonic Metal band where I could fully utilize and express my voice. Musically, I come from the realm of Uriah Heep, Pink Floyd, Slade, Jethro Tull etc. I grew up with this music. But classical music also fascinates me. That’s why I also pursued vocal training. When I joined Deep Sun in 2009, the basic sound we know was already established, and I knew immediately that these were the songs I wanted to sing,” mentioned the unrelenting Debora.
The band’s songwriting process, according to Debora herself, always develops a little differently. She said in an interview that she for example only starts thinking about the lyrics for a new album once the vocals for the current album are already finished. She also mentioned that her journey with Deep Sun taught her how to become more flexible and adaptable in her pursuit of perfection, saying their touring schedule showed her many things simply cannot be planned, and yet somehow it always works out. Furthermore, she also mentioned that balancing the band, her career, and her private life requires a lot of organization and structure. “Sometimes I manage it better, sometimes less so. But especially during a release phase, there’s an enormous amount of motivation and energy involved, which provides the necessary drive. And what always motivates me is the interaction with fans on social media,” she commented.
Apart from Deep Sun, and of course from her career as a vocal coach and artist, Debora recorded the lead vocals for the debut album Starwalkers, released in April 2026, by an up-and-coming German Symphonic Metal project named Withering Beauty, the brainchild of Russian guitarist Matt Plekhanov (of bands like Dragony and Red Eye Temple). You can find the official videos or lyric videos for several of their songs on YouTube, like Why Men Lie, Hold Me, and Follow Me, and of course stream their music on BandCamp, Spotify or any other streaming service. No idea if she’ll be a permanent member of the project or not, but her performance in Starwalkers is indeed fantastic.
Moreover, she also collaborated on the release of the 2014 album Das Blaue Amulett, with German Folk Metal/Classical crossover band project Fairytale and renowned musician Angelo Salerno, featuring fantasy-themed, dreamy melodies such as The Elves Land and The Enchanted Butterfly. There isn’t any additional information anywhere about the project, apart from the fact they released another album in 2015 (most probably without Debora on vocals), but their music is so compelling it would be nice to see Debora taking the vocal duties with Fairytale again for another album of sheer fantasy and sonic magic.
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When asked about her idols and influences, her answer basically reflects her vocal and music style, also in line with her songwriting where she tells stories of life, of fantasy worlds, of epic adventures and profound emotions, and also stories that perhaps should have never been told. “Through my parents I came into contact with bands like Uriah Heep, Deep Purple, Pink Floyd, but also ABBA, etc. at an early age. All the different music styles and influences have always fascinated me. But when I met Nightwish and Tarja Turunen, I knew exactly where I wanted to go with my voice. All the early symphonic metal bands were very groundbreaking for me.” She complemented by saying she truly enjoys going to concerts, in special to see Symphonic, Melodic and Power Metal bands, like for instance the great Powerwolf.
An accomplished singer and vocal coach in the Zurich, Aargau, Basel, Bern, Solothurn, Lucerne, Zug, Schwyz, St. Gallen, Thurgau, Valais, Graubünden area and, upon request, also outside of Switzerland and abroad, owning a powerful 3-Octave-range voice (which gets even more powerful through her Neumann KMS 105, Sennheiser e945 wireless microphone), and always collaborating with various professional musicians in different musical projects, Debora also helps her clients in their songwriting process, lyrics, stage performance, as well as other general coaching services including preparation for studio recordings, and tips and tricks for voice problems. Furthermore, the fact she’s a perfectionist is also very important in her line of work, and she’s proud of that. “Either perfection is in my genes, or I absorbed it during my 15 years in track and field. As a former top athlete, especially in the sprint disciplines, everything had to be precise down to the millimeter. Nothing could be left to chance, and technical sequences like the start from the starting blocks were practiced thousands of times—until they were perfect. When the seamless transition from sports to classical singing with its corresponding vocal technique began, my approach and attitude remained essentially the same, only now it was in the music room instead of on the track.”
As aforementioned, one of Debora’s biggest idols in music, if not the biggest, is the one and only Tarja Turunen, and she feels honored to have her music compared to the early days of Nightwish. However, she also likes to mention the uniqueness of her voice and music when such comparisons happen. “Being compared to Nightwish is definitely flattering, and we’re very grateful for such comparisons, especially since Tarja Turunen is one of the greatest singers of all time in my opinion. However, if you listen closely to our songs, you can clearly hear our own unique sound. I, too, am constantly evolving with my voice, for example, always incorporating screams, which Tarja doesn’t do. But what remains constant is the fundamental timbre of my voice, which is perfectly suited to this kind of music. I don’t copy anything; that’s just how my voice sounds, not least because of my classical vocal training. And I love being able to use my voice this way.”
Furthermore, Debora had some very nice words to describe her absolute admiration for Tarja. “Not just because of her voice and her power, but also because of her energy, her commitment to women in the metal scene, and her ability to constantly reinvent herself while staying true to herself.” Debora has the same opinion about Lady Gaga and her incredibly powerful voice, as well as Agnetha Fältskog from ABBA, and Sue Schell from Peter, Sue and Marc. “And in classical music, I could lose myself in the sound of the voices of Diana Damrau or Regula Mühlemann,” complemented our Swiss diva.
As already mentioned, Debora is also a former track and field athlete, a multiple Swiss champion in the 80m, 100m, 200m, and 400m over 15 years, a member of the national team, and a multiple European Championship team participant. “Over time, however, I realized that I wasn’t fully committed to sports anymore and that I had to follow the call of music. Music has been a part of my life since childhood, and I even started classical vocal training during my track and field days. So, after my last Swiss championship title, there was a smooth transition from competitive sports to music, where I also give my all,” she said. And it doesn’t matter if it’s in sports or in music, Debora always does it for the passion. “I don’t make music to get rich. I work so I can fully pursue my passion for music in my free time. And with sports, it’s the same story – it’s never been about the money for me, only about constantly striving to improve.”
A fan of the short stories by Roald Dahl and of Swiss writer Mirjam Richner, saying both have the gift of expressing their creativity and imagination in such lyrical, poetic, yet modern language, labeling their stories as unconventional and always with a twist at the end, therefore getting truly inspired to write her music, Debora has a very active life, usually related to her music career. “When I’m not working with Deep Sun, I’m preparing for other musical engagements, such as weddings, events, parties, and collaborations. My life is already very musically rich.” However, she always takes some time out for herself every day, in which she dedicates herself to Vipassana (an ancient meditation technique that means “to see things as they really are”), yoga, and strength and stability exercises, or to her two tortoises Powerwolf and Steelhammer. Those are very lucky tortoises, having the pleasure of listening to Debora singing basically every single day of their lives, but we can consider ourselves lucky metalheads as well, since we’re able to enjoy Debora’s music with Deep Sun or any other of her music projects. She’s a fantastic vocalist, and I can’t wait to see what’s next in her always evolving and thrilling career.
Attention, metalheads!
