The Headbanging Moose Show – Thursdays @ 20:00 UTC+2 exclusively at Midnight Madness Metal e-Radio

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Attention, metalheads!

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!

So remember, EVERY THURSDAY @ 20:00 UTC+2 (with a reprise on Saturdays @ 19:00 UTC) tune into Midnight Madness Metal e-Radio to enjoy one hour of kick-ass underground metal from all over the world, courtesy of The Headbanging Moose!

Here are all the options where can blow your speakers with Midnight Madness:

Official website
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Streema
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Streamitter.com

Don’t forget to follow The Headbanging Moose on Facebook to know beforehand which bands will be played on the show every week.

And if you want to have your new album reviewed at The Headbanging Moose AND played at Midnight Madness Metal e-Radio, simply get in touch with us through our CONTACT US page.

Album Review – Decipher / ΘΕΛΗΜΑ (Thelema) (2026)

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Almost three years after the release of their dark and sinister debut, this Greek Blackened Death Metal horde returns from the pits of the underworld with their sophomore black mass.

Almost three years after the release of their dark and sinister debut Arcane Paths to Resurrection, Athens, Greece-based Blackened Death Metal horde Decipher returns from the pits of the underworld with their sophomore black mass, entitled ΘΕΛΗΜΑ, or Thelema, a Greek word meaning “will,” “desire,” or “purpose,” used in philosophy and religion (especially biblical contexts for God’s will). Featuring a Stygian artwork by Artem Grigoryev (Dödsrit, Nightbringer), the new opus by Kostas Gerochristos (Lucifer’s Child) on vocals and guitars, Kostas Xatzis also on the guitars, Kostas Ragiadakos (Dephosphorous) on bass, and Nodas Chatzopoulos on drums elaborate on the music forged on their debut album, adding better nuance and structure to the songs whilst retaining the sound and appeal. Allowed better expression, the songs are comparatively longer and have a narrative quality to them without straying too far from the core sound.

The quartet summons the powers of the dark spirits already in Return to Naught, where their Rotting Christ and Behemoth inspirations clash in a stunning way, led by the devilish growling by Kostas Gerochristos. Then Nodas takes control of the band’s Black Metal sound armed with his hammering beats in The Black March, supported by the stringed attack by his bandmates, and their caustic riffs ignite the no shenanigans Blackened Death Metal beast Seven Scars, the most aggressive of all songs, with Kostas Gerochristos roaring like a rabid creature. Nodas keeps the atmosphere as grim and violent as possible in Bound to the Wheel,  a classic Black Metal tune boosted by the band’s Greek spices, whereas their Hellenic vein gets even stronger in Hail Death, with their strident, piercing riffs once again sending shivers down our spines. Kostas Gerochristos and Kostas Xatzis continue to extract Black and Death Metal energy from their guitars in Towards Renaissance, supported by the rumbling bass by Kostas Ragiadakos, morphing into the cryptic instrumental outro Litany, putting a sinister ending to their black mass.

In summary, the music found in ΘΕΛΗΜΑ is the kind of Black Metal that gets its priorities straight, with the right focus on riffs, feeling, intensity, and passion, being therefore highly recommended for admirers of the dark arts crafted by Emperor, Yoth Iria, Bolzer, Lucifer’s Child, Varathron, Necromantia, Ravencult, and Dodsferd, among others. You can find those Greek black metallers on Facebook and on Instagram, staying up to date with their news and live concerts, stream their obscure sounds on Spotify, and purchase your copy of their flammable new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Because in the end, God’s will doesn’t really matter in heavy music. It’s the majestic Black Metal played by bands like Decipher in their new album that truly does.

Best moments of the album: Return to Naught, Seven Scars and Hail Death.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Return to Naught 4:29
2. The Black March 7:08
3. Seven Scars 5:53
4. Bound to the Wheel 6:05
5. Hail Death 7:43
6. Towards Renaissance 6:47
7. Litany 4:51

Band members
Kostas Gerochristos – vocals, guitars
Kostas Xatzis – guitars, backing vocals
Kostas Ragiadakos – bass
Nodas Chatzopoulos – drums

Concert Review – Lamb of God (Great Canadian Toronto, Mississauga, ON, 03/20/2026)

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Metalheads from all over the GTA walked with Lamb of God in hell once again on a fantastic Friday night of pure heavy music.

OPENING ACTS: Sanguisugabogg, Fit For An Autopsy and Kublai Khan Tx

After a full day of rain in Toronto and vicinities, the weather finally settled down closer to the evening, and it was only slightly cold (for Canadian standards, of course, as it was still very cold for anyone else) when the almighty LAMB OF GOD took the always welcoming Great Canadian Toronto by storm with their undisputed North America 2026 Tour, featuring the more than special guests SANGUISUGABOGG, FIT FOR AN AUTOPSY and KUBLAI KHAN TX, on a night of pure adrenaline and a celebration of heavy music. It was a true honor for Keith Ibbitson of Metal Paparazzi and I to cover such an amazing night, and as the show at the casino was one hundred percent SOLD OUT, you can imagine how much fun everyone who attended the show had inside the massive circle pits formed during all four concerts.

It was around 7pm when Columbus, Ohio’s own Brutal Death Metal/Deathcore entity SANGUISUGABOGG kicked off the party with their vicious attack. Having released the excellent Hideous Aftermath in 2025, available on both BandCamp and Spotify, the band formed of the unstoppable frontman Devin Swank, guitarist Drew Arnold, bassist Ced Davis, and drummer Cody Davidson put on a phenomenal performance onstage, already inspiring the crowd to headbang and slam like true metalmaniacs until the very last second. What a wild kickoff, with the very romantic songs Face Ripped Off and Dead as Shit making the entire casino shake. I’m sure Sanguisugabogg will return to Toronto with their undisputed violence sooner than you can say their name, spell their name, or read their logo. Any of these work.

Setlist
Rotted Entanglement
Face Ripped Off
Felony Abuse of a Corpse
Abhorrent Contraception
Dead as Shit

Band members
Devin Swank – vocals
Drew Arnold – guitars
Ced Davis – bass
Cody Davidson – drums

The bar was set super high with Sanguisugabogg, but of course nothing that New Jersey’s own Death Metal/Deathcore beast FIT FOR AN AUTOPSY couldn’t take care of armed with their venomous and melodic brutality. Frontman Joe Badolato was having an amazing time onstage “managing” the vicious circle pit going, and the crowd roared back at him during their incendiary performance. Playing songs from their already solid discography (available on Spotify), including some killer tunes from their latest opus The Nothing That Is, from 2024, those being Lower Purpose, Hostage, and Savior of None / Ashes of All, the band delivered everything their fans were expecting and more, with the intense crowd surfing getting to a point I lost count of how many of the “banana boys” crossed my path after letting their peels being touched by all fans inside the pit. Maybe I should say the entire venue went bananas during Fit For An Autopsy, right?

Setlist
Lower Purpose
It Comes for You
The Wretch
Black Mammoth
Hostage
Savior of None / Ashes of All
Warfare
Pandora
Far From Heaven

Band members
Joe Badolato – lead vocals
Pat Sheridan – guitars, backing vocals
Tim Howley – guitars
Will Putney – guitars
Peter “Blue” Spinazola – bass
Josean Orta – drums

Although I’m familiar with the music by Texan Metalcore ensemble KUBLAI KHAN TX, I didn’t know they were so famous and loved by the Toronto fans. Every single person in the room was having an amazing time during their performance, singing all songs along with the band led by the charismatic Matt Honeycutt. The guy didn’t stop a single second onstage, and that obviously translated into a lot of action inside the pit. In addition, it’s impressive how heavy their kitchen formed of bassist Eric English and drummer Isaac Lamb sounds, in special the utterly thunderous bass by Eric. The guy was making my chest tremble with his jabs. If you know nothing about those talented and humble guys, you can check their ass-kicking music on Spotify, like their 2024 album Exhibition of Prowess, but get ready as they will smash your cranial skull mercilessly.

Setlist
Darwinism
Supreme Ruler
Low Tech
Antpile
Boomslang
The Hammer
The Mountain of Corsicana
Antpile 2
Self-Destruct
Mud
Swan Song
Theory of Mind

Band members
Matt Honeycutt – vocals
Nicholas Adams – guitar, backing vocals
Eric English – bass, backing vocals
Isaac Lamb – drums

LAMB OF GOD

At long last, it was time to walk with Richmond, Virginia’s own Groove Metal masters LAMB OF GOD in hell during their absolutely heavy, vibrant and flammable performance. Having released the phenomenal Into Oblivion just a week before the show (available on Spotify and also on the special Into Oblivion website), the band fronted by the iconic D. Randall “Randy” Blythe showed no mercy for our necks and bodies with another killer performance in Canadian lands. It’s so cool how Lamb of God moved from a small venue like The Opera House when they first played in Toronto years and years ago, to selling out such a massive venue like the casino. To be fair, that’s expected when the music in question is so good, catchy and electrifying.

Randy was on fire during their entire show, as well as his bandmates, with Mark Morton and Willie Adler showing why they’re two of the best metal guitarists of the current scene. John Campbell and his trademark headbanging were also excellent, not to mention Art Cruz delivered a striking drum solo for our total delight. Before the show, he hid a few drumsticks around the venue for fans to try to find them, an initiative that I personally considered very cool (despite the fact I couldn’t find any of them). All that talent made their already amazing songs like Ruin, Laid to Rest and 11th Hour sound even stronger live, driving fans wild during their entire set, and maybe because it was a Friday night at a venue with no curfew we were also treated to a classic that hadn’t been played before Friday, the awesome Omerta.

Their new songs also sounded incredible, in special the infuriated Parasocial Christ, making the circle pit move even faster. There were some tunes that were screamed by the entire crowd together with the band, like 512, Walk With Me in Hell, and Memento Mori, three of my favorite Lamb of God songs, and you can imagine how happy I was seeing so many fans from all ages having such a great time with Randy and his henchmen. And as the icing on the cake, we could all scream, raise our fists, headbanging and jump up and down together with the boys during their metal masterpiece Redneck, putting a beyond epic and climatic ending to the show.

I wish I could have stayed longer at the casino after the show to eat something and maybe even try my luck, but the lines to get into the casino were insane. I’m not complaining, as I love the fact a metal concert can make a casino so busy and vibrant, and I can’t wait to enjoy one of the best venues in the GTA again in a few weeks. Anyway, back to the concert, it’s more than obvious that it won’t take long for Lamb of God to return to the city as they’re undoubtedly one of Toronto’s favorite metal acts. I dare to say they’re THE favorite metal band of a huge chunk of the new-ish generation of metalheads, and as Randy himself said in a recent interview, just like he wants to keep playing with Lamb of God until his last breath, we also want to headbang with Lamb of God until ours.

Setlist
Ruin
Laid to Rest
Blood Junkie
Into Oblivion
Resurrection Man
Grace
Desolation
512
Walk With Me in Hell
Parasocial Christ
Omerta
11th Hour

Encore:
Memento Mori
Sepsis
Redneck

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

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Album Review – Engorgement / They Rot Beneath Our Floor (2026)

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More than thirteen years on from the release of their horrifying debut, UK’s own Brutal Death Metal machine is finally back with a new assault on morality, enlightenment and good taste.

More than thirteen years on from the release of their horrifying debut album Excruciating Intestinal Lacerations, UK’s own Brutal Death Metal machine Engorgement is finally back with a new assault on morality, enlightenment and good taste, beautifully titled They Rot Beneath Our Floor. Mixed and mastered by Brutal Death Metal master Floor Van Kuijk (of Korpse, Sijjeel, Carnifloor and many more) at GLDCHN Studios, and completed with with a suitably sickening artwork by Christian Castro, the new beast by Stu Hine on vocals, Ricky Hill on the guitar, Richard Lynn on bass, and Mitch Rider on drums is a must-listen for fans of bands the likes of Slob, Traumatomy, Gorevent, and Colpocleisis, their new testament to mankind’s inhumanity that is gloriously repugnant, raw, bloody and pustulent beyond belief.

The nightmarish intro Prelude To Your Dismemberment feels like it was taken from a gory slasher movie, dragging us to the Stygian realm of blood and violence ruled by Engorgement before they demolish our senses with Keep Festering. It’s quite impossible for any band to sound any heavier than this, with the pig-like screeches by Stu sounding inhumane to say the least. Then in Rot Beneath Our Floor the band continues their path of destruction, with the crushing beats by Mitch matching perfectly with the rumbling bass by Richard, followed by Sanctum Of Gore, another lecture in Brutal Death Metal, inviting us all to slam like putrid metalmaniacs inside the pit while Ricky hammers his axe mercilessly. And Watching Your Body Twitch is undoubtedly one of the most demented of all songs, with the old school Death Metal riffage by Ricky taking the song’s demented vibe to new (and vile) heights.

With a name like Complete Bowel Extraction we couldn’t expect any less than sheer gore and aggression by those UK slammers, and Mitch makes sure the earth trembles with his infernal beats and fills; whereas in Unmerciful Redemption the indomitable Stu doesn’t get tired of barking, gnarling and screeching like a wild beast, supported by the heavy artillery crafted by Richard and Mitch. There’s no time to breathe as their Brutal Death Metal extravaganza goes on in full force in Resurrection, showcasing another depraved vocal performance by Stu, and they conclude the album with a sound that’s as demonic and heavy as all previous songs in the form of Blunt Force Osteotomy, led by the cryptic riffage by Ricky while Mitch pounds his drums nonstop in the name of pure violence, flowing into the short and weird album’s Outro.

In a nutshell, UK’s heaviest and sickest exponents of shocking brutality invite you to a journey into the heart of darkness with They Rot Beneath Our Floor, a lesson in Brutal Death Metal that transpires violence, gore and hatred. Those four ruthless UK metallers are waiting for you on Facebook and on Instagram with news, more of their music, and their tour dates (if you can survive their bludgeoning live performances, of course), and don’t forget to also stream their slab of savagery on Spotify, and to put your putrid hands on their new album from Comatose Music’s BandCamp or webstore (or click HERE for all things Engorgement). It might have taken over a decade for Engorgement to assault us once again with their undisputed brutality, but based on the high quality and the extreme violence found in They Rot Beneath Our Floor, I’m sure those guys won’t take long to hammer our cranial skulls again with another killer album of Brutal Death Metal madness.

Best moments of the album: Keep Festering, Watching Your Body Twitch and Blunt Force Osteotomy.

Worst moments of the album: The outro could have been a bit longer, more detailed and dynamic.

Released in 2026 Comatose Music

Track listing
1. Prelude To Your Dismemberment 1:37
2. Keep Festering 3:32
3. Rot Beneath Our Floor 3:55
4. Sanctum Of Gore 3:11
5. Watching Your Body Twitch 5:05
6. Complete Bowel Extraction 4:14
7. Unmerciful Redemption 5:38
8. Resurrection 4:56
9. Blunt Force Osteotomy 4:13
10. Outro 0:24

Band members
Stu Hine – vocals
Ricky Hill – guitar
Richard Lynn – bass, backing vocals
Mitch Rider – drums

Album Review – Karmian / Horror Vacui (2026)

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These Modena-based melodeath masters explore the psychological and existential void behind real acts of Italian murder and madness in their obscure sophomore opus.

With a career stretching from their early beginnings in 2005 to their present incarnation, Modena-based act Karmian has become one of the most distinctive voices of Italian Melodic Death Metal, known for merging aggression, drama, and conceptual storytelling. Their musical evolution culminates now in 2026 in their most ambitious work to date, their sophomore opus Horror Vacui, following up on their critically acclaimed 2018 debut Surgere et Cadere. Recorded, mixed and mastered by Luca “Cocco” Cocconi and Simone Sighinolfi at Audiocore Studio, and displaying a stunning artwork by Sheila Franco, the newborn spawn by vocalist Andrea Bertolazzi, guitarists Andrea Baraldi and
Michele Perla, bassist Luca Marmi, and drummer Nicholas Badiali explores the psychological and existential void behind real acts of Italian murder and madness, transforming nine true-crime cases into allegorical portraits of emptiness, collapse, and human frailty, being therefore a must-listen for admirers of the music by Kataklysm, Heaven Shall Burn, At The Gates, Dark Tranquillity, and In Flames.

It doesn’t take long for the band to crush our skulls with their violent blend of melodeath in One Thousand Shining Bubbles, featuring guest Nicole Pisani on the talharpa (a traditional, ancient Northern European bowed lyre), with Andrea Baraldi and Michele delivering a striking axe duet for our total delight. Beastmaster of the Void sounds even more infuriated thanks to the ruthless beats and fills by Nicholas while Andrea Bertolazzi growls and roars like a rabid beast; followed by Gott mit Uns nicht, where “Gott mit uns” (“God [is] with us”) is a phrase commonly used in heraldry in Prussia (from 1701) and later by the German military, but their version “God is not with us” exhales pure melodeath led by their caustic riffs and relentless drums. And after a doom-ish intro the band blasts more of their trademark sonority in The Call of the Abyssal Bell, with their guitars walking hand in hand with Andrea Bertolazzi’s guttural.

Black Magical Soap Opera has a very cool name for a metal song, offering more of our beloved Gothenburg sound (but made in Italy, of course), sounding heavy-as-hell and even presenting elements from classic Death Metal; while Temple of the Fleshless Goddess is an excellent option for headbanging like a maniac during their live performances, with Luca and Nicholas generating a metal earthquake armed with their respective bass and drums. Libido et Mors, or “lust and death” from Latin, sees Andrea Baraldi and Michele once again shred their axes in great fashion, resulting in a lesson in modern-day Melodic Death Metal, whereas Beyond the Dream Gate of Fear keeps the album at a high level of aggression without forgetting the band’s trademark harmony. Furthermore, Andrea Bertolazzi sounds inhumane as usual on vocals, bringing an extra dosage of rage to their music. And lastly, Maker of Angels reminds me of Amon Amarth at times, which is obviously great, closing the album with an overdose of evil roars, visceral riffs, and hammering drums.

Whether navigating historical epics or psychological abysses, the work by Karmian is defined by a commitment to exploring the deeper forces that drive human behavior, such as resistance, decline, obsession, and the void within, and Horror Vacui stands as the culmination of this journey, a mature, uncompromising statement of artistic vision, philosophy, and Melodic Death Metal identity. If you want to know more about the band, their music, and obviously their incendiary live concerts, you can find them on Facebook and on Instagram, get caught in a mosh by listening to their high-octane songs on Spotify, and purchase the excellent Horror Vacui from Rockshots Records. Karmian definitely know how to transform the cases of murder, insanity and violence from their homeland into first-class heavy music, and their new opus is there to prove how precise they are in such a unique and devilish art.

Best moments of the album: Beastmaster of the Void, Black Magical Soap Opera and Libido et Mors.

Worst moments of the album: None.

Released in 2026 Rockshots Records

Track listing
1. One Thousand Shining Bubbles 6:38
2. Beastmaster of the Void 3:21
3. Gott mit Uns nicht 4:38
4. The Call of the Abyssal Bell 6:17
5. Black Magical Soap Opera 3:54
6. Temple of the Fleshless Goddess 3:23
7. Libido et mors 3:40
8. Beyond the Dream Gate of Fear 4:16
9. Maker of Angels 4:43

Band members
Andrea Bertolazzi – vocals
Andrea Baraldi – guitars
Michele Perla – guitars
Luca Marmi – bass
Nicholas Badiali – drums

Guest musicians
Nicola Pisani – talharpa on “One Thousand Shining Bubbles”
Luca “Cocco” Cocconi – keyboards on “One Thousand Shining Bubbles” and “The Call of the Abyssal Bell”
Simone Sighinolfi – keyboards on “One Thousand Shining Bubbles” and “The Call of the Abyssal Bell”

Interview – Nelson Acerbus (Semper Acerbus)

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

Nelson Acerbus (Semper Acerbus)

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

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

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

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

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

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

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

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

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

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

Album Review – Semper Acerbus / Following Omens (2026)

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

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

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

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

Semper Acerbus

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

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

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

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

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

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

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

Album Review – Exodus / Goliath (2026)

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2026 Napalm Records

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

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

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

Album Review – Gaerea / Loss (2026)

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Portugal’s own Post-Black Metal masked collective is back again from the underworld, navigated countless darkened shades of metal to arrive at their stunning fifth album.

The uncanny Gaerea is nothing short of a beautiful enigma rooted in musical extremity and utter passion. In under a decade, the masked Post-Black Metal collective, born in the Portuguese town of Porto, has navigated countless darkened shades of metal to arrive at their fifth album, simply titled Loss, the follow-up to their 2024 critically acclaimed opus Coma. Recorded in early 2025 in Portugal with long-running collaborator Miguel Teroso at Demigod Recordings, Loss finds Gaerea emerging from creative chrysalis and bursting into something as engaging as it is unexpected, offering us all the sound of the masked specters of the band laying their souls bare. Musically and emotionally, they’re opening themselves up and bringing a decade’s worth of musical and personal soul-rending into sharper focus and becoming a genre-of-one in the process, continuing to define and redefine themselves album after album.

The band offers their trademark cryptic, ominous atmosphere right from the start in Luminary before they begin hammering their drums and firing strident riffs for our absolute delectation, whereas Submerged follows a similar style as the music from Coma, with its lyrics exhaling insanity and introspection (“We’re submerged, and can’t break free, / The tide of our story’s got a hold on me, / We’re submerged, and sinking slow, / We’re lost in the deep where the waters flow / The lies I hide… ”). Hellbound is another bestial song with a serene intro that explodes into sheer Post-Black Metal madness, with their scathing vocals and visceral riffs sounding fantastic; and their strident guitars will pierce deep inside your psyche in Uncontrolled, inviting us all to dive manically into a darkened mosh pit. After such a thunderous tune, Phoenix feels like the soundtrack to a psychological thriller, not to mention it’s impressive how they always blend classic Black Metal with more melodic and experimental sounds flawlessly, also presenting a truly epic vibe.

The intro to Cyclone is like a calm before the storm, evolving into a massive creature of Black and Post-Metal led by the grim vociferations by the band’s mysterious frontman. Then after the avantgarde interlude LBRNTH we’re treated to the infuriated yet also delicate Post-Black Metal extravaganza Nomad, showcasing perhaps the most passionate lyrics of the entire album (“I’m a drifter in life, / Forever chasing the fading light. / Every step is out of place, / Can’t seem to find my saving grace. / And I don’t know why I keep running, / Like I’m afraid of what’s becoming. / Every town’s a blur of blame, / No roots, just endless shame.”), followed by Stardust, offering an enfolding mix of clean and harsh vocals which combined sound stunning. It’s one of their most detailed compositions to date, where its blast beats walk hand in hand with the venomous sounds of their guitars until the song’s ethereal, melancholic grand finale.

“We’ve done what we’ve always done, which is follow our instincts,” says Gaerea’s anonymous vocalist. “Yet, something tells me that on this new record, there’s elements that both our new and old fans will love, but it’s not exactly what they’ll expect us to do.” If you want to explore more of Gaerea’s enigmatic world, you can find those masked metallers on Facebook, Instagram and YouTube, stream more of their unique creations on any platform like Spotify, and of course put your darkened hands on Loss by purchasing it from BandCamp or from Century Media Records (or simply by clicking HERE). And if you still think Gaerea can be labeled as anything known to us after Loss (just like what I did in the beginning of this review by calling them Post-Black Metal, by the way), sorry but you’ll have to review your concepts. “We’re not a Black Metal band anymore, if we ever were,” states the vocalist. “We always have been compared to Hardcore bands and Post-Hardcore and Shoegaze and post-this and post-that. We’re slowly finding our way as a band but just as importantly, as people, but the DNA is always there. This is Gaerea!”

Best moments of the album: Submerged, Hellbound, Nomad and Stardust.

Worst moments of the album: LBRNTH.

Released in 2026 Century Media Records

Track listing
1. Luminary 5:10
2. Submerged 5:08
3. Hellbound 5:23
4. Uncontrolled 4:09
5. Phoenix 4:41
6. Cyclone 5:33
7. LBRNTH 2:24
8. Nomad 5:30
9. Stardust 7:58

Band members
*Information not available*

Album Review – Axe Dragger / Axe Dragger (2026)

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

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

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

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

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

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

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

Released in 2026 Ripple Music

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

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

Album Review – Toys That Bïte / You Have Been Warned (2026)

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Get ready to rock together with this UK brigade and their debut album, leaning into life’s recognizable moments with tongues firmly in cheeks.

Playing the kind of Heavy Rock that grew up on Judas Priest, Iron Maiden, Aerosmith and Dio, with a focus on big hooks rather than nostalgia, UK’s Hard Rock brigade Toys That Bïte is unleashing upon humanity their debut album, titled You Have Been Warned. Recorded by the band itself and engineered and mixed by Ben Turner at Axe & Trap Studios, and mastered by Romesh Dodangoda at Long Wave Studios, the debut by Adam “AJ” Stanley on vocals, Karl Bauers and Dave Rivett on the guitars, Jason “Shep” Sheppard on bass, and Terry “Tezza” Anderson on drums leans into life’s recognizable moments with tongues firmly in cheeks, offering an overdose of twin guitars, punchy tempos and choruses built to be shouted back.

Those old school rockers rev up their engines in style and hit the road with Toys That Bïte, with AJ taking the lead with his alcohol-infused rockin’ vocals; and presenting the galloping rhythm made famous by bands like Iron Maiden and Judas Priest, with of course Shep and Tezza stealing the spotlight, we have Genius Level Stupid, followed by The Devil Took My Heart, sounding like a song taken from the classic album Turbo, by Judas Priest, mixed with influences from the 70’s while Karl and Dave slash their axes mercilessly. Tezza then hammers his drums in the Rock N’ Roll party Last Train To Hell, making it impossible to stand still to such a thrilling tune, a wild ride where their riffs and solos exhale the essence of the genre. Ladies Of The Night offers another travel back in time to the glory of the 80’s, a song clearly inspired by the Sunset Strip sound, whereas Tits (Makes Him An Animal) showcases a weird name for a song, a bit too sexist, but if you don’t worry too much about it the song is quite entertaining.

Then presenting elements from Sludge and Southern Rock and Metal, the band invests in a more cadenced, yet extremely heavy tune titled Little Black Book, showcasing the power of the riff by Karl and Dave. Shep and Tezza once again craft a rumbling kitchen perfect for an avalanche of riffs in Hit That Like, while AJ delivers those classic, in-your-face Hard Rock vocals tailored for singling along with the band; and they keep firing their blend of classic Hard Rock with a strong Rock N’ Roll vein in Gentleman’s Club, with its backing vocals offering a nice support to AJ throughout the entire song, not to mention their incendiary guitar solos. Let’s keep on dancing the night away together with Toys That Bïte to the sound of Psychopath, also highly recommended for hitting the road (just be careful with the speed, of course), whereas the album closes with their ode to the art of drinking, Pour Me A Whiskey, of course presenting a powerful Southern Metal core, with its background keys elevating the song’s epicness considerably.

The rockin’ crew of Toys That Bïte can be found on Facebook and on Instagram, and I’m sure they’ll love to hear what you have to say about their music, and don’t forget to also subscribe to their YouTube channel, stream their music on Spotify, and put your hard rockin’ hands on You Have Been Warned by clicking HERE and selecting your favorite version of the album. AJ, Karl, Dave, Shep and Tezza are ready to kick some asses armed with their debut album of sheer Rock N’ Roll, and you better get ready for their sonic attack because those toys definitely bite.

Best moments of the album: Toys That Bïte, Last Train To Hell and Hit That Like.

Worst moments of the album: Tits (Makes Him An Animal).

Released in 2026 Dr. Johns Surgery Records

Track listing
1. Toys That Bïte 3:52
2. Genius Level Stupid 3:27
3. The Devil Took My Heart 4:02
4. Last Train To Hell 3:45
5. Ladies Of The Night 5:10
6. Tits (Makes Him An Animal) 3:06
7. Little Black Book 4:41
8. Hit That Like 3:42
9. Gentleman’s Club 3:47
10. Psychopath 3:32
11. Pour Me A Whiskey 4:57

Band members
Adam “AJ” Stanley – vocals
Karl Bauers – guitars, backing vocals
Dave Rivett – guitars, backing vocals
Jason “Shep” Sheppard – bass
Terry “Tezza” Anderson – drums

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

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2026 Century Media Records/Epic Records

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

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