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!
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Thursday night I headed to the The Danforth Music Hall to take in GEOFF TATE performing the classic album Operation: Mindcrime in its entirety during his Geoff Tate’s Operation: Mindcrime – The Final Chapter tour. Now, maybe before I get into that I should introduce myself. I’m Blair, retired musician turned photographer and blogger voice for the Toronto metal underground. Over the last couple months you’ve gotten to know me here as the guy behind the camera supporting Gustavo as he reviews shows. For this outing I went on my own, camera in hand, to take in a night from one of my musical heroes and to share my own thoughts on the night. I can’t state enough how much Mindcrime means to me personally. It easily sits in my personal top 5 all-time most influential albums, and solidly secured Tate’s spot on my Mount Rushmore of metal vocalists. So to say I was having a bit of a fanboy moment while sitting in the photo pit would be an understatement. This was a true bucketlist outing, and to be clear from the start, it delivered everything I hoped it would.
The night was opened up by Irish Folk/Pop artist JAMES KEEGAN. This young man at the ripe old age of 22 has already spent 2 years on the road with Geoff Tate, clearly getting the sort of career launch that most can only dream of. He was brilliant. It seemed a strange fit having an acoustic artist open the night, but the crowd responded well… most of it anyway. There were a few hecklers, which James handled masterfully. When someone kept yelling “where are you from”, his off-the-cuff “didn’t the accent and green shirt give you a hint” had everyone laughing. For the record he’s from County Cork in the south of Ireland. He could also have been a comedian the way he worked the room. His set was 6 songs long, 5 of which were supported by a band that included 2 members of Tate’s lineup and a drummer that was used as a punchline during introductions as the only non-European person on the stage. This gave him the big sound this audience expected from an opener at a show like this. To me though, the standout moment was his closer Santiago. The band left the stage. He walked away from the mic and unplugged his guitar. He performed it with the raw acoustics of the room carrying his voice and filled the space on his own. Powerful moment to close the set.
Setlist Crazy Love
Out til Late
Take Me Away
Run (Snow Patrol cover)
Feeling Grey
Santiago
Band members James Keegan – lead vocals, acoustic guitar
James Brown – guitar
Jack Ross – bass
Colin Frecknall – drums
The show began with the band, minus GEOFF TATE, coming out to play through Anarchy-X before the man himself would join for Revolution Calling. In that moment he instantly owned the room. His presence on stage was massive, and pulled the crowd to their feet with a thunderous ovation. Mindcrime would play out in front of us for the next hour. The man’s vocal power is still unmistakable at 67 years old. This is a masterclass in how to handle difficult material as your voice changes with time. We all hung on his every word and gesture.
The band he assembled was perfect. Not just in musical chops, because clearly he’d hire people with chops, but as complete performers. These folks were charismatic and engaging in their own way. They truly helped carry a show that didn’t rely on big stage sets or massive light shows. This performance felt massive because the people performing it made it larger than life. They worked with each other, they fist-bumped fans, they were clearly having a blast playing music that they likely grew up with too. Clodagh McCarthy joining at points in the evening in the role of Sister Mary was powerful. This lady has some serious pipes, and held her spot on stage like a Shakespearean actor.
He could have sent the crowd home happy with the Mindcrime performance, but that was far from the end of this 1 hour and 45 minute marathon set. When the last notes of Eyes of a Stranger faded, he’d then pivot to material from his recent solo release, Operation: Mindcrime III, and some greatest hits cuts from the Queensrÿche run. We’d see more ‘Sister Mary’ here, and if anything her performance during Do You Still Believe? during the encore was more poignant than during the core Mindcrime set. The night would end with Queen of the Reich and one last thunderous ovation. The band then took time to shake hands and such with everyone down front in a true show of class at the end of this powerful performance.
Setlist Part 1: Operation: Mindcrime I Remember Now
Anarchy-X
Revolution Calling
Operation: Mindcrime
Speak
Spreading the Disease
The Mission
Suite Sister Mary
The Needle Lies
Electric Requiem
Breaking the Silence
I Don’t Believe in Love
Waiting for 22
My Empty Room
Eyes of a Stranger
Part 2: Retrospective
The Answer
Empire
Jet City Woman
Take Hold of the Flame
Encore:
Do You Still Believe?
Silent Lucidity
Queen of the Reich
Band members Geoff Tate – lead vocals
Dario Parente – lead guitar
James Brown – lead & rhythm guitar
Jack Ross – bass
Bruno Sa – lead keyboards, synthesizers
Clodagh McCarthy – keyboards, acoustic guitar, lead vocals as “Sister Mary”
Robert “Baker” – drums
This one-man Atmospheric Black Metal from the UK is back with a stunning three-track EP, inspired by three Edgar Allen Poe stories which reference ancient Egypt.
Having grown and evolved since its inception in 2019 from one man’s will to create Atmospheric Black Metal inspired by the works of Edgar Allen Poe into an increasingly ambitious studio project, Bristol, UK’s own entity Sepulchre by the Sea, the brainchild of vocalist and multi-instrumentalist Ashley Shannon, returns to its tried and tested mix of Atmospheric Black Metal, Shoegaze and Doom Metal, which has amassed a loyal following during its tenure, with a new three-track EP titled Goldseeker, following on the project’s previous efforts ...and So it Crumbles (2019), Conqueror Worm (2020), Ratiocinations (2021), and Seven Chambers (2024). Spanning over 27 minutes of dark and intense music, Goldseeker is inspired by the Edgar Allen Poe stories “Some Words with a Mummy,” “The Gold Bug” and ‘Ligeia,” all stories which reference ancient Egypt, beautifully translating the mysteries of the original stories into the extreme music played by Ashley and his Sepulchre by the Sea.
Ashley begins his trademark Atmospheric Black Metal attack with Blood of the Scarabeus, where his scorching riffs and blast beats give the song a stronger old school Black Metal vibe, not to mention his demonic gnarls and the song’s ethereal passages sound epic; while the title-track Goldseeker offers a striking fusion of Melodic and Atmospheric Black Metal, with Ashley extracting sheer agony, melancholy and pain from his harmonious guitar lines for our absolute delectation. And finally, Visions of Ligeia starts in a more introspective way to the doom-laden bass lines by Ashley, evolving into another modern-day beast of Atmospheric Black Metal where Ashly bursts his lungs screaming until the song’s dark finale to the sound of the bass and saxophone, putting a solid and climatic ending to the album.
With Goldseeker, Ashely once again managed to remain fresh, interesting and captivating even in a beyond saturated sea of Atmospheric Black Metal bands from all over the world, proving he still has a lot of fuel to burn in the coming years with his unique fusion of heavy music with the intoxicating stories crafted by the one and only Edgar Allen Poe. You can find more details about Sepulchre by the Sea on Facebook and on Instagram, stream his growing discography on any platform such as Spotify, and above all that, show Ashley your support and admiration for the darkest side of music by purchasing the EP from BandCamp. Ashley and his Sepulchre by the Sea never disappoint, and after such a thrilling EP I can’t wait to see what’s next for the “Edgar Allan Poe” of extreme music.
Best moments of the album:Blood of the Scarabeus.
Worst moments of the album: None.
Released in 2026 Anthrazit Records
Track listing 1. Blood of the Scarabeus 9:43
2.Goldseeker 6:48
3. Visions of Ligeia 11:34
Band members Ashley Shannon – vocals, all instruments
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
Attention, metalheads!
