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

Featured

Posted on by
3

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
Facebook
Twitter
Online Radio Box
Tunein
Streema
Listen2MyRadio
Radio Garden
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 – Defect Designer / Depressants (2026)

Posted on by
Reply

Continuing to break the barriers of Progressive Death Metal, this unstoppable trio returns with their fourth studio album, sounding wildly diverse and refreshing while retaining their core sound.

Continuing to break the barriers of Progressive Death Metal since their 2009 debut Wax, Oslo, Norway-based Russian entity Defect Designer is back with their fourth studio album, titled Depressants, following up on their 2024 opus Chitin. Displaying a uniquely colorful artwork by Ian Miller, the demented new opus by Dmitry Sukhinin (Diskord) on vocals and guitars, Martin Storm-Olsen on bass and vocals, and Eugene Ryabchenko (Fleshgod Apocalypse) on drums is wildly diverse and refreshing while retaining their core sound, remaining loyal to their Death Metal foundations while at the same time reverting back to it after unabashedly exploring various sounds and imbibe influences from so many unrelated and unexpected styles, turning it into a must-listen for fans of Diskord, Februus, Demilich, Contrastic, Swelling Repulsion, and Disharmonic Orchestra.

Daily Dose of Gloom is absolutely demolishing and intricate from start to finish, with the ultra-talented Eugene delivering ruthless beats and fills for our absolute delight; followed by the curiously titled Butterfly Juice Straws. What a weird name for a song, but that doesn’t mean it’s bad; quite the contrary, the Dissonant Death Metal vocals by Dmitry sound insanely good. Repeated Aversive Stimuli Inducer is as complex as it is demolishing, with the striking riffs by Dmitry and the reverberating bass by Martin punching us hard in the head; while Carte Blanche is just as insane as its predecessors, offering a Progressive Death Metal attack not recommended for the lighthearted. In Expiration Deferral Request Denied they tried to be more Stoner Rock than Death Metal, and it gets confusing at times; whereas in Scorching The Rival Pogonomyrmex Burrows they get back to a more pulverizing sonority, with Eugene once again destroying everything and everyone that crosses his path, followed by Body Count Of My Cow Tail, another extremely experimental tune, but this time their sonic madness works really well.

Then venturing through Doom Metal lands without forgetting their enraged essence we face I Heard Robespierre Screamed Like A Bitch, and whatever they mean with that song title, it’s really cool. Dmitry sounds utterly furious with his demonic vociferations in Peons Before My Drabbing Wings, absolutely heavy, dark and demented until the end; and the trio continues to hammer their instruments with tons of precision and rage in As The Terracotta Dust Settles, with the drumming by Eugene making the earth crack in half. Awaiting The Return Of The Golden Age is perhaps the most direct Death Metal tune of all, led by Dmitry’s venomous guttural and visceral riffs; and the band then goes full experimental (with emphasis in “mental”) in The Inevitable Mad Composite, where Dmitry is simply on fire armed with his axe. After such a demolishing tune we face Wrong Future Forecast, an ominous outro to the album, with its background heaviness embracing our souls mercilessly.

Depressants is decidedly their most ambitious album to date, and they’ve outdone themselves on this one to offer a singular, exhilarating experience for the true prog-minded fans of the style. With the music on Depressants being as colourful as its artwork, it is anything but what the album title suggests – that’s just the classic tongue-in-cheek Defect Designer for you. Having said that, if you want to know more about such a hardworking and creative ensemble, you can find those guys on Facebook and on Instagram, listen to their idiosyncratic creations on Spotify, and of course purchase Depressants from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Put differently, more than just a Progressive Death Metal album, this is an anti-depressant for metalheads looking for something fresh and unique in the world of heavy music.

Best moments of the album: Repeated Aversive Stimuli Inducer, Carte Blanche, I Heard Robespierre Screamed Like A Bitch and Awaiting The Return Of The Golden Age.

Worst moments of the album: Expiration Deferral Request Denied.

Released in 2026 Transcending Obscurity Records

Track listing
1. Daily Dose of Gloom 3:26
2. Butterfly Juice Straws 5:03
3. Repeated Aversive Stimuli Inducer 5:07
4. Carte Blanche 4:39
5. Expiration Deferral Request Denied 4:10
6. Scorching The Rival Pogonomyrmex Burrows 3:40
7. Body Count Of My Cow Tail 4:50
8. I Heard Robespierre Screamed Like A Bitch 4:07
9. Peons Before My Drabbing Wings 4:45
10. As The Terracotta Dust Settles 4:57
11. Awaiting The Return Of The Golden Age 3:48
12. The Inevitable Mad Composite 3:40
13. Wrong Future Forecast 4:10

Band members
Dmitry Sukhinin – vocals, guitars
Martin Storm-Olsen – bass, vocals
Eugene Ryabchenko – drums

Album Review – Riket / 2026 (2026)

Posted on by
Reply

Standing at the intersection of ferocity and history, this Swedish Death and Thrash Metal brigade is unleashing hell with their debut opus, with each song portraying small historic tales of catastrophe, blunder, and human downfall.

Standing at the intersection of ferocity and history, channeling the raw aggression of Death Metal while weaving in the relentless drive of Thrash Metal and the defiance of Punk Rock, Stockholm, Sweden-based brigade Riket is unleashing hell armed with their debut opus, simply titled 2026. Recorded and produced by Sverker Widgren at Wing Studios, and displaying a haunting artwork by Axel Torvenius, mirroring the album’s thematic depths, the debut offering by vocalist Johan “Flid” Fridell, guitarists Tobias Jakobsson and Jussi Niiranen, bassist Micke André, and drummer Felix Wahlund balances crushing heaviness with an eerie sense of narrative, with every song being performed in Swedish and rooted in the darker corners of a shared past, portraying small historic tales of catastrophe, blunder, and human downfall.

Tobias and Jussi take the lead from the very first second with their acid riffage in 1868: Sommar Vid Vinterviken (or “1868: Summer at Winter Bay” from Swedish), while Johan barks and roars in the best Swedish style. 1867: Storsvagaret (“1867: The Great Weakness”) is even more infuriated and groovy than the opening tune, presenting elements of Death and Thrash Metal spiced up by an overdose of brutality and sick guitar solos; and it’s time to head into the circle pit and keep moving relentlessly in 1965: Hoghus Och Kultur (“1965: The Court and Culture”), with Felix sounding like a machine gun on drums. Then leaning towards the Melodic Death Metal by their countrymen such as In Flames and Soilwork we have 1948: Att Doda Ett Barn (“1948: Killing a Child”),showcasing a truly edgy vibe; and what starts in a calm way in 1885: Dodsdansen (I Manskensnatten) (“1885: The Dance of Death (In the Night of Man)”) suddenly morphs into another bestial melodeath attack.

1897: Mot Polen (“1897: Towards Poland”) is absolutely heavy but not as dynamic nor as exciting as the rest of the album, albeit the Amon Amarth-like riffs by Tobias and Jussi are still a thing of beauty. Micke keeps hammering his bass in 1991: 2000 Ar (Saliga Aro De Talmodiga) (“1991: 2000 Years (Blessed Are the Wise Men)”), adding a groovier vibe to the song while Johan’s deep guttural bring endless fury to the overall result; whereas 1937: Lagor Vid Portarna (“1937: Laws at the Gates”) is more rhythmic and vibrant thanks to another ass-kicking performance by Felix on drums, while the trio formed of Tobias, Jussi and Micke delivers a first-class stringed onrush. Lastly, we’re treated to a cover version for Stefan Sundström’s 2009: Alla Ska I Jorden (“2009: All Shall Be in the World”) (and you can enjoy the original version HERE), an interesting rendition presenting a darker, more introspective approach compared to the original.

A vessel of memory, a grim messenger bridging today’s world with the chilling truths of yesteryears, 2026 does not simply revisit history. Riket force you to confront it, challenging their audience to face uncomfortable truths, both personal and societal. If you want to know more about Riket and their dark relationship with history, you can start following the band on Facebook and on Instagram, stream their wicked creations on Spotify, and purchase their excellent debut from BandCamp or from several online retailers such as Doomed Records and Record Store Day. 2026 is an album that lingers long after the final note fades, a stark, resonant journey through memory, identity and the lingering shadows of time, leaving us eager for more from those Swedish metallers as our society progresses to its inevitable doom.

Best moments of the album: 1867: Storsvagaret, 1965: Hoghus Och Kultur and 1937: Lagor Vid Portarna.

Worst moments of the album: 1897: Mot Polen.

Released in 2026 Black Lion Records

Track listing
1. 1868: Sommar Vid Vinterviken 4:27
2. 1867: Storsvagaret 3:04
3. 1965: Hoghus Och Kultur 5:15
4. 1948: Att Doda Ett Barn 3:42
5. 1885: Dodsdansen (I Manskensnatten) 4:48
6. 1897: Mot Polen 3:56
7. 1991: 2000 Ar (Saliga Aro De Talmodiga) 4:11
8. 1937: Lagor Vid Portarna 4:18
9. 2009: Alla Ska I Jorden (Stefan Sundström cover) 5:06

Band members
Johan “Flid” Fridell – vocals
Tobias Jakobsson – guitars
Jussi Niiranen – guitars
Micke André – bass, backing vocals
Felix Wahlund – drums

Album Review – Chronicler Of Ardul / Sounds of Ardul (2026)

Posted on by
Reply

Let’s embark on a sweeping orchestral journey into the dark fantasy realm of Ardul, embracing cinematic storytelling through rich symphonic textures, intimate folk tunes, and atmospheric worldbuilding.

A sweeping orchestral journey into the dark fantasy realm of Ardul, the breathtaking Sounds of Ardul, the first full-length album by Richland, Washington-based Symphonic and Blackened Death Metal outfit Chronicler of Ardul (the brainchild of composer, vocalist and multi-instrumentalist David Williams) embraces cinematic storytelling through rich symphonic textures, intimate folk tunes, and atmospheric worldbuilding, instead of relying on metal elements. With David himself handling all writing, recording, mixing, and artwork, giving the project a distinct voice anchored in emotional honesty and narrative purpose, the follow-up to the 2023 EP Myrewood and the 2024 EP Sword of Virné showcases 17 tracks which individually feel like a moment from a larger adventure, guiding listeners through taverns, shadowed forests, ancient mists, and violent clashes, inviting audiences to step directly into the world itself, experiencing its wonder, danger, and humanity firsthand.

Featuring the awesome vocalist Sofia Frasz of Exiled Hope, Watch Over Me is a bardic folk song carried by clean guitar, violin, hand percussion, resulting in a charming acoustic intro to the world of Ardul, followed by Watch Over Me (Village Version), a melancholic rendition of the same song with its crying violin sounding stunning. Then we have You’re Gone, featuring vocalist Aaron Johnson III of Syyn, presenting the emotional weight of loss, a somber tavern ballad about love that feels like a classic by Johnny Cash; whereas stomps, claps, and bottle taps set the tone in Oh Me Oh My, providing us with a view inside David’s creative mind. The first version of Woodlands offers the striking sounds of strings, harp, clarinet, piano, and choir, while Woodlands (Alternate Version) displays a cleaner sound with cello, piano, and harp only, and Woodlands (Battle Theme) brings forward the uniqueness of brass, percussion, and rhythmic urgency as hidden threats reveal themselves, like the score to an epic movie. After such an inspiring trio of songs, we have In the Mists of the Myrewood (Remastered), a classic piano aria by David to bring some peace to our hearts.

The sounds of strings, piano, choir, and guitar keep embellishing the airwaves in the sinister tune Veiled Truth, while Unwelcomed Guests continues the rising tension with timpani heartbeats, clacking percussion, unsettling strings, and a divided choir in another serene tune by David. His passion for classical music gets even clearer in To Arms! (String Quintet), where it’s quite easy to visualize a full orchestra playing it; whereas Temporary Respite pulls the listener back into calmness with soft piano and choir, offering a resting place after turmoil. Moments From Disaster offers our avid ears heavy drums, tense strings, rumbling voices, and pounding piano, the most haunting chapter of the album, while Underground again ventures through movie score lands, sounding imposing and whimsical, and Underground (Alternate Version) is a quieter but more claustrophobic passage where you can feel David’s anguish. To Arms! then showcases a bold symphonic battle full on orchestrations in the most imposing version of the song; and lastly, Zarek the Bloody offers us all the sounds of accordion, bass, percussion, and vocals by David, feeling delicate and gloomy while also dark and visceral. Needless to say, David should do more singing on his albums for sure.

Influenced by renowned acts the likes of Shadow of Intent, Mental Cruelty, Nobuo Uematsu, and Yasunori Nishiki, David and his Choricler of Ardul approach concept music with the depth of a novel and the drama of a film score. Not only that, the album also includes extended ten-minute looping versions of twelve tracks, crafted for worldbuilders, tabletop players, writers, and listeners who want to immerse themselves even further. As the third pillar of the project’s overarching project, Sounds of Ardul expands the world’s scope while maintaining musical motifs that connect past works to future stories, and you can join David in such a unique quest by following the project on Facebook and on Instagram, by streaming his music on YouTube, Spotify or Apple Music, and of course by purchasing the album from BandCamp or by clicking HERE. It’s time to embark on a journey to Ardul alongside David Williams, and there’s nothing better than his new album to provide us with the perfect soundtrack for such a thrilling adventure.

Best moments of the album: You’re Gone, Woodlands (Battle Theme) and Zarek the Bloody.

Worst moments of the album: Woodlands (Alternate Version).

Released in 2026 Independent

Track listing
1. Watch Over Me 3:50
2. Watch Over Me (Village Version) 2:04
3. You’re Gone 4:32
4. Oh Me Oh My 1:43
5. Woodlands 2:28
6. Woodlands (Alternate Version) 2:28
7. Woodlands (Battle Theme) 2:28
8. In the Mists of the Myrewood (Remastered) 3:31
9. Veiled Truth 2:45
10. Unwelcomed Guests 3:04
11. To Arms! (String Quintet) 2:28
12. Temporary Respite 2:41
13. Moments From Disaster 2:31
14. Underground 2:24
15. Underground (Alternate Version) 2:24
16. To Arms! 2:28
17. Zarek the Bloody 2:42

Band members
David Williams – vocals, all instruments

Guest musicians
Sofia Frasz – vocals on “Watch Over Me”
Aaron Johnson III – vocals on “You’re Gone”

Album Review – Who On Earth / It Takes The Village (2026)

Posted on by
Reply

Crafting a heavy, story-driven sound rooted in some of the biggest names of the genre, this Heavy Metal ensemble attacks again with their electrifying sophomore album.

Crafting a heavy, story-driven sound rooted in influences like Black Sabbath, Iron Maiden, Metallica, Alice in Chains, and Tool, New Jersey’s own Heavy Metal/Hard Rock ensemble Who On Earth are ready to rock our world once again with their sophomore opus It Takes The Village, following up on their 2022 debut Blame. Currently formed of vocalist Coosh, guitarists Johnny James Barone and Jimmy Kocha, bassist Pete Rizzi, and drummer Howie Fallon, such an electrifying American rock and metal band is on fire throughout the entire It Takes The Village, honoring the legacy of former guitarist Bruce Gatewood (RIP), and re-energizing those five talented musicians to keep moving forward in the name of our good old Rock N’ Roll.

Their Southern Metal vein arises in the opening tune Vigilance, where the massive riffs by Johnny and Jimmy provide Coosh with exactly what he needs to shine on vocals, and their Rock N’ Roll groove keeps flowing in Any Other Way, reminding me of old school Soundgarden, with Howie kicking some ass behind his drums. Shadows is a solid rockin’ tune where the backing vocals by Coosh’s bandmates add a lot of power to his classic vocal lines, while the massive bass by Pete dictates the pace in the mid-tempo Hard Rock feast Good Man Down, excellent for enjoying a beer at a rock pub anywhere in the world. Closer is a weird interlude that doesn’t add much to the album, followed by Too Close, starting with the 70’s-inspired bass by Pete and accompanied by the always striking riffs by Johnny and Jimmy, flirting with Alternative and Groove Metal and Rock.

There’s no time to breathe as Who On Earth continue to fight the unfaithful in Double Or Nothing, a song that should be added to the playlists of all rock stations around the globe, not to mention how electrifying their guitar solos sound. Then we have Monster!, a journey back in time without sounding outdated where Coosh once again leads his crew with a killer vocal performance, highly recommended for hitting the highway with your loved ones, followed by Oh, Set Me Free, another very melodic display of Hard Rock that reminds me of some creations by the mighty Armored Saint. It’s time to open up the pit and slam together with your buddies to the sound of We Don’t Belong Here, led by the pounding drums by Howie; and Ascension is a cinematic interlude that feels like it was taken from a Power Metal album, warming us up for The Unbeaten, a delicate ballad by the boys to put an enfolding ending to the album. Well, there are still the bonus tracks left, all offering the band’s trademark fusion of Hard Rock with Southern and Groove Metal, just like in the thrilling extended version of Vigilance, with Mike Orlando and Jason Bittner as guest vocalists.

Heavy riffs, classic bass, galloping drums, and an endless amount of sheer energy. That’s exactly what will hit you as you listen to the excellent It Takes The Village, proving that despite some bumps on the way, the guys from Who On Earth are inspired and focused to keep moving forward no matter what. Having said that, don’t waste your time and go show your support to those guys by following them on Facebook and on Instagram, by subscribing to their Youtube channel, by streaming their rockin’ creations on Spotify and on Apple Music, and of course by purchasing their new album from Bandcamp. Because Who On Earth live and breathe Heavy Metal and Rock N’ Roll, and in the end, who on earth doesn’t enjoy some high-quality heavy music, right?

Best moments of the album: Vigilance, Too Close, Monster! and We Don’t Belong Here.

Worst moments of the album: Closer.

Released in 2026 Independent

Track listing
1. Vigilance 4:15
2. Any Other Way 3:07
3. Shadows 4:00
4. Good Man Down 3:13
5. Closer 1:00
6. Too Close 3:39
7. Double Or Nothing 4:09
8. Monster! 4:08
9. Oh, Set Me Free 4:28
10. We Don’t Belong Here 3:51
11. Ascension 1:47
12. The Unbeaten 4:15

Bonus tracks
13. Jane 4:17
14. Down And Out – Dvrko Remix 3:41
15. Vigilance [Extended] 5:08

Band members
Coosh – vocals
Johnny James Barone – guitar
Jimmy Kocha – guitar
Pete Rizzi – bass
Howie Fallon – drums

Guest musicians
Mike Orlando – vocals on “Vigilance [Extended]”
Jason Bittner – vocals on “Vigilance [Extended]”

Album Review – Vile Desolation / Annihilating The Consciousness (2026)

Posted on by
Reply

This ruthless Indonesian trio is unleashing upon humanity their debut album of titanic, shocking power, offering us all Brutal Death Metal at its absolute, horrifying best.

From the ever-fertile spawning grounds of East Java, Indonesia comes another monstrous entry into the annals of Brutal Death Metal. Drawing on the extensive experience from its members in an array of bands from the Indonesian scene, Vile Desolation are unleashing upon humanity their debut album of titanic, shocking power, entitled Annihilating The Consciousness. Mixed and mastered at Endless Gruesome Studio, and bedecked in the bleak artwork of Timbul Cahyono of Bvllmetalart, the debut offering by Yudha Dwi Setyawan on vocals, Hendika Dwi Prasetyo on the guitar and bass, and Rama Maulana on drums is Brutal Death Metal at its absolute, horrifying best, positioning the band as apex predators of this most extreme musical landscape.

Rama wastes no time and kicks off the band’s demented feast of violence and gore in Veiled in Obscurity, while Yudha delivers those deep gnarls we all love so much in Brutal Death Metal. Whispers Through the Shadowed Gates carries a very poetic name for an absolutely devastating tune, with Hendika hammering his guitar and bass manically, supported by another bestial performance by Rama on drums, while Labyrinth of Torment starts with one of those dark, cinematic intros before all hell breaks loose to Yudha’s trademark “breeeeeeeeeeeeeees;” and Rama again dictates the pace in the infuriated Shattered Reverie while his bandmates make sure there’s plenty of blood and viscera in their music. And in The Sinister Symphony there’s not a single space left in the air. It’s pedal to the metal in a lecture in brutality by those Indonesian death dealers.

The second half of the album begins with another somber intro, with the bells tolling until we face more of the carnivorous roars by Yudha in Dementia’s Embrace, inviting us all to slam into the pit manically; and in Eyes of Madness we see the trio venture through old school Death Metal lands, sounding heavier and heavier as the music progresses, in special Yudha’s deep guttural. Then another phantasmagorical intro morphs into sheer bestiality in Eternal Lunacy, with Rama sounding like a demonic entity on drums; whereas in Chaos Unleashed the name of the song says it all, as it’s a lecture in Indonesian Brutal Death Metal led by the scorching riffs by Hendika. Their coup-de-grace comes in the form of Sanctified in Ashes, offering more of the trio’s venomous gnarls, visceral riffage and blast beats, ending the album on a demolishing mode.

Kiss goodbye to your sanity, as Vile Desolation are coming armed with their unrelenting debut album, and madness follows in their wake. If you think you have what it takes to face the gore, depravity and horror emanating from Annihilating The Consciousness, you should definitely follow the trio on Facebook and on Instagram, stream their bludgeoning music on any platform like Spotify, and grab a copy of the album from Comatose Music’s BandCamp or webstore. Fans of bands the likes of Suffocation, Anthropophagus Depravity, Beheaded and Molested Divinity will feel at home while listening to Annihilating The Consciousness, but in case you think those bands are way too heavy for you, I feel sorry for your frail soul.

Best moments of the album: Whispers Through the Shadowed Gates, The Sinister Symphony and Chaos Unleashed.

Worst moments of the album: None.

Released in 2026 Comatose Music

Track listing
1. Veiled in Obscurity 3:17
2. Whispers Through the Shadowed Gates 3:03
3. Labyrinth of Torment 2:27
4. Shattered Reverie 3:12
5. The Sinister Symphony 3:01
6. Dementia’s Embrace 3:10
7. Eyes of Madness 3:37
8. Eternal Lunacy 2:42
9. Chaos Unleashed 3:15
10. Sanctified in Ashes 3:01

Band members
Yudha Dwi Setyawan – vocals
Hendika Dwi Prasetyo – guitar, bass
Rama Maulana – drums

Concert Review – Sepultura (London Music Hall, London, ON, 05/02/2026)

Posted on by
Reply

The Canadian city of London witnessed for the very first (and last) time ever the undisputed power of “Sepultura do Brasil” on an unforgettable night of first-class heavy music.

OPENING ACTS: Tribal Gaze, Biohazard and Exodus

After back to back nights of pure heavy music with bands like Archspire, Amon Amarth and Dethklok kicking my ass in Toronto on Thursday and Friday, it was time for a nice drive to the city of London for night number 3 of absolute metal magic to enjoy TRIBAL GAZE, BIOHAZARD, EXODUS and SEPULTURA take the cozy London Music Hall by storm this Saturday night as part of their Celebrating Life Through Death Final North American Tour 2026, another killer event organized by our local hero Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi was there with me to register such a great celebration of Thrash, Death and Groove Metal, as well as some first-class Hardcore, and I guess because the show was on a Saturday, and due to the size of the bands playing, it was scheduled for an early start, with doors opening at 5:30pm and the first band hitting the stage at 6:30pm. Fortunately, as mentioned, it was on a Saturday, so it was just a matter of planning the drive beforehand to get there in time to enjoy all attractions (and brave the long merch line if you were up to that), and believe me, they were all absolutely worth the ticket.

The opening slot of this tour was given to Texan Death Metal outfit TRIBAL GAZE, and just like when I saw them opening for Cattle Decapitation they were ruthless onstage. Once again playing songs exclusively from their 2025 sophomore Inveighing Brilliance, available on both BandCamp and Spotify, including the venomous Twitching on the Cross, Guarding the Illusion, and Beyond Recognition, the band formed of McKenna Holland on vocals, Quintin Stauts and Ian Kilmer on the guitars, Zachary Denton on bass, and Cesar De Los Santos on drums inspired everyone already at the venue to start a sick circle pit, properly warming up the crowd for the other attractions of the night. Those guys are very young and looked extremely excited for opening for some of their metal heroes, as I’m sure they grew up listening to Sepultura, Exodus and Biohazard, so their level of energy onstage was insanely high. As I always say, new bands like Tribal Gaze need our support to keep metal alive, which means if they ever play in your city, you know what to do.

Setlist
Emptying the Nest
Smiling From Their Chariots
To the Spoils of Faith
The Irreversible Sequence
Twitching on the Cross
Guarding the Illusion
Beyond Recognition

Band members
McKenna Holland – vocals
Quintin Stauts – guitars
Ian Kilmer – guitars
Zachary Denton – bass
Cesar De Los Santos – drums

After Tribal Gaze finished their unrelenting performance, we were treated to the incendiary Hardcore by Brooklyn, New York’s most famous squad, the indomitable BIOHAZARD. It was only my second time in life seeing those guys live, the first back in the late 90’s when they were one of the must-see bands on MTV, and I must say they looked a lot sharper and more infuriated this Saturday night. Evan Seinfeld is in fantastic shape, way better than his early days or when he was one of the prisoners in the revolutionary TV series Oz, and if I ever have a chance to talk to him in person I’ll certainly ask him for some health tips as he looks awesome. Billy Graziadei, Bobby Hambel and Danny Schuler were also on fire, and their short but sweet setlist, blending classics with new songs from their 2025 album Divided We Fall (all available on Spotify), was heavy, flammable, violent and fun from start to finish, igniting a demonic circle pit that turned up the heat considerably at the venue. Biohazard still got it, no doubt about it, and I’m happy I was able to see those legends live again after almost 30 years.

Setlist
Urban Discipline
Shades of Grey
Fuck the System
Wrong Side of the Tracks
Tales From the Hard Side
Forsaken
Punishment

Band members
Evan Seinfeld – vocals, bass
Billy Graziadei – vocals, rhythm guitar
Bobby Hambel – lead guitar
Danny Schuler – drums

Then it was time for another blast of absolute thrashing madness onstage with the mighty Thrash Metal titans EXODUS, who after the return of the furious Rob Dukes are sounding even heavier than before. I saw them opening for Megadeth also in London in February, when they kicked off their tour to promote their new album Goliath (also available on Spotify), but this time opening for Sepultura sounded a lot heavier (and louder, as the sound at the London Concert Hall was turned up to 11). The setlist wasn’t too different from last time, but the fact they added the magnificent Deathamphetamine to it made their show more violent and vibrant. It’s always a pleasure seeing Gary Holt, Lee Altus, Jack Gibson and Tom Hunting onstage, as well as the aforementioned Rob Dukes, of course, but the show was so intense we all had to share our attention with the hurricane happening inside the circle pit. Well, when the last three songs of a setlist are A Lesson in Violence, The Toxic Waltz, and Strike of the Beast, you know you can’t simply stand and watch the show. You need to get into the action, and the fans in London understood the message maybe even more than what anyone could have predicted. Yes, it was a true lesson in violence, and we must thank the one and only Exodus for such a fun time.

Setlist
We Will Rock You (Queen song)
3111
Bonded by Blood
Deathamphetamine
Blacklist
Goliath
A Lesson in Violence
The Toxic Waltz
Strike of the Beast

Band members
Rob Dukes – vocals
Gary Holt – guitar
Lee Altus – guitar
Jack Gibson – bass
Tom Hunting – drums

SEPULTURA

It was already past 9pm when the main band of the night, Brazilian Thrash/Groove Metal institution SEPULTURA, kicked off their very first, and most probably their very last (as this is supposed to be their farewell tour), concert in the city of London, and the fans made sure it was an unforgettable night for Derrick Green, Andreas Kisser, Paulo Jr., and Greyson Nekrutman, as the crowd was rowdy and wild during their entire setlist, even when they played slower or newer songs like The Place (from their brand new EP The Cloud of Unknowing, already available in any platform such as Spotify) and Agony of Defeat. The crowd got louder of course during their classics from the 90’s, but the synchronicity between Sepultura and the fans in London was a thing of beauty during the entire concert.

Speaking of classics, I simply loved the fact they kicked off the show with Beneath the Remains and Inner Self, two of my all-time favorite Sepultura songs, and the quartet sounded utterly heavy during those masterpieces. The action inside the pit got out of control, the fans began smashing each other on the front rows to the point some people had to move to the back to be able to breathe and enjoy the rest of the show, and the fact they kept playing heavy and visceral tunes the likes of Attitude, Choke and Escape to the Void turned the venue into a cauldron of violence. The excellent tribal hymn Kaiowas brought some moments of peace to London, but of course all hell broke loose again once they played in a row the majestic Orgasmatron, Territory, Refuse/Resist and Arise. It was way crazier than their show in Toronto in 2024, I must admit.

Then after a quick drum solo by the ultra talented Greyson Nekrutman, who fells absolutely at home with Sepultura, the band put everyone to jump up and down, dance, slam into the pit, and therefore have the time of their lives with Ratamahatta, and of course with one of the best metal songs of all time, the incendiary Roots Bloody Roots. If that was indeed the first and last time Sepultura played in London, let’s say they did a phenomenal job, carving their place in the hearts of a lot of newcomers to their Sepulnation as countless fans were seeing them live for the very first time ever. I’ve seen them live already way too many times to remember, but I’ll never forget the energy in London. I had a long drive back home by myself in the middle of the night, but the adrenaline from the show was still flowing through my veins, making the drive a lot easier. Thank you for your music, Sepultura do Brasil, and if you want to somehow “cancel” your retirement and go back to London for another killer show, we will all be there for you.

Setlist
War Pigs (Black Sabbath song)
Polícia (Titãs song)
Beneath the Remains
Inner Self
Desperate Cry
Kairos
Means to an End
Attitude
Choke
The Place
Escape to the Void
Kaiowas
Dead Embryonic Cells
Agony of Defeat
Orgasmatron
Territory
Refuse/Resist
Arise
Drum Solo
Ratamahatta
Roots Bloody Roots

Band members
Derrick Green – lead vocals
Andreas Kisser – guitars, backing vocals
Paulo Jr. – bass
Greyson Nekrutman – drums

This slideshow requires JavaScript.

Album Review – IATT / Etheric Realms of the Night (2026)

Posted on by
Reply

This American blackened band returns with their most immersive and conceptually daring work to date, unveiling a descent into dream consciousness.

Hailing from the pits of Philadelphia, Pennsylvania, Progressive/Melodic Black/Death Metal entity IATT (which stands for “I Am The Trireme,” an ancient maritime vessel, representing a shift in their musical style from their early Metalcore days) returns with their most immersive and conceptually daring work to date, entitled Etheric Realms of the Night. Mixed and mastered by Marcos Cerutti (co-founder of Black Lion Productions), the newborn spawn by Jay Briscoe on vocals and bass, Joe Cantamessa on lead guitars, Alec Pezzano on rhythm guitars and orchestral arrangements, and Paul Cole on drums and percussion is a worthy follow-up to their 2022 album Magnum Opus, unfolding as a continuous narrative that explores the fragile boundary between sleep and oblivion, consciousness and illusion, life and whatever waits beyond it, unveiling a descent into dream consciousness.

In the opening tune Drift Away the music gradually builds into a wall of Progressive Death Metal sounds led by Jay’s visceral screams, while Paul delivers an overdose of crushing beats and fills that transpire Black Metal; followed by To Lie Beneath, a nine-minute aria of darkness where the guitars by Joe and Alec breathe fire, supported by the always thunderous drums by Paul. Put differently, it’s like Opeth on steroids. Somniphobia already begins in full force, with all of its progressiveness clashing beautifully with its fury, not to mention its melodeath and dissonant riffs sounds amazing, whereas Pavor Nocturnus is one of the most Black Metal songs of the entire album, where its haunting atmosphere and intricate riffage and drums bring sheer joy to our blackened hearts. In the cryptic Quietus, the symphonic elements bring an avalanche of epicness to the overall result, with Jay once again barking and roaring nonstop, and their metallic dreams go on in Walk Amongst, another very detailed and multi-layered aria of Symphonic and Melodic Death Metal where Joe and Alec are again flawless on the guitars, before all fades into nothingness in the ethereal outro Hypnos.

With Etheric Realms of the Night, IATT venture deeper into psychological and conceptual territory, shaping a work that feels immersive, unsettling, and profoundly human, tracing the path from surrender to transformation, where dreams deepen into realms that no longer fade with morning light. Across its 48 minute runtime, the album unfolds with cinematic scope, guided by atmosphere, symbolism, and emotional momentum, and if you want to join IATT on such a unique voyage you can find those guys on Facebook, Instagram, YouTube, and Spotify, and of course purchase Etheric Realms of the Night from BandCamp, from their merch store, or by clicking HERE. Orchestral elements, unusual instrumentation, constantly shifting sonic landscapes, and the sense of a single story told in seven movements. That’s what IATT offer in their new album, inviting you to dream together with them while fully awake.

Best moments of the album: To Lie Beneath, Pavor Nocturnus and Walk Amongst.

Worst moments of the album: None.

Released in 2026 Black Lion Records

Track listing
1. Drift Away 6:39
2. To Lie Beneath 9:12
3. Somniphobia 6:04
4. Pavor Nocturnus 7:23
5. Quietus 7:18
6. Walk Amongst 8:06
7. Hypnos 3:38

Band members
Jay Briscoe – vocals, bass
Joe Cantamessa – lead guitars
Alec Pezzano – rhythm guitars, orchestral arrangements
Paul Cole – drums, percussion

Guest musicians
Didier Malherbe – flute
Valček – violin

Album Review – Frozen Soul / No Place of Warmth (2026)

Posted on by
Reply

Like an air-raid siren warning of death from above, this Texan Death Metal brigade returns with their most definitive and rancorous statement to date.

Like an air-raid siren warning of death from above, Fort Worth, Texas-based Death Metal brigade Frozen Soul returns from their bitterly cold lair to unleash chaos upon humanity with their third studio album, the ruthless No Place of Warmth, following up on their critically acclaimed 2023 sophomore Glacial Domination. Produced by Josh Schroeder at Random Awesome! Recording Studio, and displaying a deadly artwork by James Bousema, the newborn beast by vocalist Chad Green, guitarists Chris Bonner and Michael Munday, bassist Samantha Mobley, and drummer Matt Dennard is a monolithic, majestic and exigent collection of anthems built on the perfect blend of ferocity and subtle melody, allowing soaring guitar leads to guide a lantern through the dark chasm of merciless riffs.

Just like the soundtrack to a spine chilling horror flick in an isolated and bitterly cold cabin, No Place of Warmth kicks off the album on a bestial mode, featuring vocalist Gerard Way (of My Chemical Romance), with Chad already delivering his trademark Death Metal roars. Then it’s time to head into the battlefield in cold and despondent lands in Invoke War, featuring guest vocals by the iconic Robb Flynn (of Machine Head), while Chris and Michael fire deadly, sharp riffs nonstop; followed by Absolute Zero, which despite its cool, demonic lyrics (“Ground to nothing / Concealed in snow / Reduced to / Absolute zero / Absolute / Zero / Zero”), it could have been a bit longer and more detailed. In Dreadnought we see guest vocalist Devin Swank (of Sanguisugabogg) make an infernal duet with Chad in another heavy-as-hell tune by Frozen Soul, with Samantha pounding her bass with endless rage, whereas Chaos Will Reign keeps their Death Metal fire burning thanks to another crushing performance by Matt behind his drums, who’s also ruthless in Eyes of Despair, offering Chad exactly what he needs to vociferate like a demonic entity.

The band then offers our putrid ears one of the heaviest and most violent of all songs in the album, titled Ethereal Dreams, with their caustic riffs walking hand in hand with the obscure, massive kitchen crafted by Samantha and Matt. And after another short tune titled Skinned by the Wind, offering more of the Death Metal riffs by Chris and Michael, it’s absolute chaos in Deathweaver, bringing the heavy hammer of winter directly to our heads with another gruesome performance by Chad on vocals, sounding as dark as evil as it can be. Their second to last breath of frozen Death Metal magic comes in the form of Frost Forged, where their scorching guitars will melt our faces before we fall into their deep freeze again; and although you might have survived crossing their frozen lands, you’ll be decimated inside the pit by Killin’ Time (Until It’s Time to Kill), where the demonic bass by Samantha brings absolute thunder to their sonority, ending the album on a beyond killer and bludgeoning mode.

Frozen Soul’s time is now, and No Place of Warmth is their most definitive and rancorous statement. Without a single moment of boredom, the album sees the band distilled to its primordial essence. No frilly edges, no indulgent ambient passages, just pure steamrolling Death Metal destruction at its most clinical. Having said that, if you think you have what it takes to enter their frozen realm of violence and destruction, you can find those Texans on Facebook and on Instagram, stream all of their creations of sheer Death Metal brutality on Spotify, and of course grab a copy of No Place of Warmth from their own BandCamp or from Century Media Records. Because when Frozen Soul attack, there’s definitely no place of warmth. Only old school, scathing and frostbitten Death Metal.

Best moments of the album: No Place of Warmth, Dreadnought, Ethereal Dreams and Killin’ Time (Until It’s Time to Kill).

Worst moments of the album: Absolute Zero.

Released in 2026 Century Media Records

Track listing
1. No Place of Warmth 4:50
2. Invoke War 3:16
3. Absolute Zero 0:53
4. Dreadnought 2:37
5. Chaos Will Reign 3:19
6. Eyes of Despair 3:03
7. Ethereal Dreams 4:55
8. Skinned by the Wind 1:28
9. Deathweaver 3:54
10. Frost Forged 3:55
11. Killin’ Time (Until It’s Time to Kill) 3:24

Band members
Chad Green – vocals
Chris Bonner – guitars
Michael Munday – guitars
Samantha Mobley – bass
Matt Dennard – drums

Guest musicians
Gerard Way – vocals on “No Place of Warmth”
Robb Flynn – vocals on “Invoke War”
Devin Swank – vocals on “Dreadnought”

Album Review – Lago / Vigil (2026)

Posted on by
Reply

Resurfacing from the dark pits of Phoenix after eight years of silence, this unrelenting Death Metal beast returns with their third studio album, a dense and suffocating descent into lacerating and surgically cold darkness.

Resurfacing from the dark pits of Phoenix, Arizona after eight years of silence, the unrelenting Death Metal beast known as Lago attacks again with their third full-length opus, entitled Vigil, following up on their 2018 sophomore offering Sea of Duress. Recorded, mixed, and mastered by the band’s own Brian Miller, and showcasing a sinister artwork by the always amazing Adam Burke of Nightjar Illustration, the new opus by vocalist and guitarist Cole Jacobsen, guitarist Gus Barr, bassist Garrett Thomas, and drummer Brian Miller is a dense and suffocating descent into lacerating and surgically cold darkness, channeling the weight of dissonant and modern Death Metal while carving deeper into their own bleak and atmospheric sound.

The vicious guitars by Cole and Gus will penetrate deep inside your skin in the opening tune Behold, Ruin, offering an overdose of melodic yet feral Death Metal while Brian brings tons of groove to the music with his intricate beats and fills. Fodder presents another avalanche of heaviness and fury by Lago where Cole’s cadaverous guttural matches perfectly with the primeval kitchen blasted by Garrett and Brian, not to mention Gus’ guitar solos are utterly electrifying; and Lago are a band who loves to add elements of Progressive and Technical Death Metal into their music, which is exactly what we get in Procession Into Slaughter, with Brian once again taking the lead with his unrelenting drums. Initiation Rite is a song tailored for admirers of some good old headbanging thanks to the massive riffs by Cole and Gus, and it should become a fan-favorite if played live, whereas their raging riffs continue to crush our bodies and souls in In A House Of Ill Repute, also presenting hints of Doom Metal to give it an even darker vibe. After such a demented tune, Garrett and Brian are in total sync and on absolute fire in the hard hitting Kingdom Without Pulse, a lecture in Death Metal by those relentless guys; and finally, we’re invited for one last mosh pit with the detailed and multi-layered The Land Was A Desert, with Cole’s enraged roars elevating the song’s ferocity to a whole new level.

“The writing for Vigil began in 2023 and found the band rebuilt after a few years of relative silence and this also marks the first time we as a band have completely handled all aspects of the production ourselves. Expect the next step as we build upon our previous releases, calling upon influences from legends Morbid Angel, Immolation and Gorguts. Vigil will be out most focused release to date,” commented the band, and those talented metallers from Arizona are waiting for you on Facebook and on Instagram with more of their music, news and tour dates. Don’t forget to also stream their ruthless music on Spotify, and above all that, to purchase their extremely vile and aggressive new album via mailorder or from BandCamp. The guys from Lago are hungry for your blood armed with their visceral new opus, and hopefully it won’t take another eight years for them to strike again with a new album as devastating and sharp as Vigil.

Best moments of the album: Fodder and Kingdom Without Pulse.

Worst moments of the album: None.

Released in 2026 Everlasting Spew Records

Track listing
1. Behold, Ruin 6:12
2. Fodder 5:59
3. Procession Into Slaughter 5:29
4. Initiation Rite 4:46
5. In A House Of Ill Repute 7:46
6. Kingdom Without Pulse 5:44
7. The Land Was A Desert 6:12

Band members
Cole Jacobsen – vocals, guitars
Gus Barr – lead guitars
Garrett Thomas – bass, additional vocals
Brian Miller – drums

Album Review – Goholor / Locus Damnatorum (2026)

Posted on by
Reply

It’s time to ascend to the place of the damned with the first full-length opus by this Slovakian horde, a throwback to the late 90’s heydays of Black and Death Metal.

Arising from the depths of suffering in Slovakia in 2010 at the instigation of vocalist Anton Piovarci and guitarist and vocalist Demo, later joined by Erik Čalfa on bass and Pio on drums, Michalovce-based Blackened Death Metal horde Goholor (which in the Enochian language, a constructed language used in occult traditions, translates to “ascend”) is unleashing upon humanity their first full-length opus, titled Locus Damnatorum, a Latin phrase that translates to “place of the damned,” following up on their 2016 debut EP In Saeculis Obscuris. Mixed and mastered by Tore Stjerna at Necromorbus Studios, the album feels like a throwback to the late 90’s heydays of Black and Death Metal, recalling the likes of Unanimated, Necrophobic, Sacramentum, Gates of Ishtar, and Sweden’s Sacrilege, while at the same time there’s just as equally their own personality injected into their atmospheric muscle.

There’s no hope for our putrid souls as the band kicks off their infuriated attack with Demonical Redemption, where Anton’s deep guttural sound inhumane while the guitar by Demo exhales sulfur. Pio continues to crush his drums like a true beast in the Black and Death Metal aria titled Black Rising Suffering, as dark as it’s heavy and demonic, followed by Divine Blood Invocation, which carries a classic name for a vicious extreme music tune where Demo and Erik’s stringed attack will send shiver down your spine. Last Groan Devoured by Death also portrays a very poetic and evil name, starting in a serene manner before evolving into a massive beast of Blackened Death Metal with Doom Metal nuances; and Pio is once again ruthless behind his drums in Ominous Delusion, offering Anton exactly what he needs to fire his cadaverous guttural roars. They definitely know how to craft deadly song names, and in Embraced by Demons Spell not only the title is menacing, but the music is a vile display of Death Metal savagery; whereas Demo sounds demonic armed with his axe in Nihillistic Torments, adding endless rage to the band’s core blackened essence, therefore ending the album on a sulfurous, grim note.

Continuing to focus on the dark and demonic side of society, such as hypocrisy, perversion, insensitivity, and obsession with religion, those Slovakian metallers are on absolute fire from start to finish in their newborn beast Locus Damnatorum, and you can get to know more about the band, their music and tour dates on Facebook, and purchase their incandescent new album from the Personal Records’ BandCamp or webstore. In other words, it’s time to ascend to the place of the damned alongside Goholor and their new album, a thrilling blast of underground extreme music that will surely keep such a talented horde more than ready to strike again with their venomous music in the coming years.

Best moments of the album: Black Rising Suffering, Last Groan Devoured by Death and Embraced by Demons Spell.

Worst moments of the album: None.

Released in 2026 Personal Records

Track listing
1. Demonical Redemption 5:45
2. Black Rising Suffering 5:04
3. Divine Blood Invocation 5:20
4. Last Groan Devoured by Death 8:25
5. Ominous Delusion 4:06
6. Embraced by Demons Spell 5:30
7. Nihillistic Torments 4:11

Band members
Anton Piovarci – vocals
Demo – guitars, vocals
Erik Čalfa – bass
Pio – drums