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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A sonic response to a world in transition, this Belgian Melodic Death Metal outfit is unleashing upon us their new five-track EP, offering more of their powerful blend of aggressive energy and atmospheric depth.
Not just a band, but a sonic response to a world in transition, Mol, Belgium-based Melodic Death Metal outfit Echoes of a Dying World is unleashing upon humanity their new five-track EP, titled Revelations, following up on their 2022 debut EP Before The Fall and their 2023 full-length album Tribulation. Currently formed of frontwoman Tine Vanmuysen, guitarists Michiel Debie and Wim Melis, bassist Gert Cools, and drummer Jasper Vreys, the band offers an overdose of their signature sound, a powerful blend of aggressive energy and atmospheric depth led by the versatile and commanding vocals of Tine Vanmuysen, and the fact the album is self-released by the band makes things even more organic, visceral and captivating.
Featuring guest vocals by Tijs Vanneste (of Oceans of Sadness), the opening track Iskariot presents a melancholic, serene intro that suddenly explodes into a vicious melodeath attack by the band led by the she-demon gnarls by Tine, while the guitars by Michiel and Wim transpire aggression. And Gert and Jasper craft a thunderous atmosphere armed with their respective bass and drums in The Rupture, bringing elements from the Groove Metal played by Lamb of God to their sound; whereas the band continues to spread violence and groove in Generational Curses, with the scorching riffs blasted by the band’s guitar duo offering Tine exactly what she needs to roar like a beast. Mathematical Design is perfect for some vigorous headbanging, with Michiel, Wim and Gert hammering their strings nonstop; while lastly we face Systems in the Dark, presenting nuances of Southern and Sludge Metal added to their core sonority. Furthermore, Tine beautifully alternates between deep clean vocals and devilish gnarls, adding even more depth to their music.
Having carved out a unique space within the Melodic Death Metal scene by embracing total musical freedom and refusing to be bound by genre tropes, Echoes of a Dying World are paving an exciting path ahead of them with the release of Revelations. Having said that, you can get to know more about those talented Belgians, their tour dates, plans for the future and so on by following them on Facebook and on Instagram, stream their first-class melodeath on any platform such as Spotify, and of course, purchase a copy of their killer new EP from their own BandCamp. In summary, fans of the classic sound blasted by renowned acts like In Flames, Dark Tranquillity, and Paradise Lost will certainly have an amazing time listening to the five tracks in Revelations, inspiring Echoes of a Dying World to keep echoing their dark and heavy music to all four corners of the earth in the coming years.
Best moments of the album:Iskariot and Generational Curses.
Worst moments of the album: None.
Released in 2026 Independent
Track listing 1. Iskariot 6:03
2. The Rupture 4:59
3. Generational Curses 5:08
4. Mathematical Design 4:40
5. Systems in the Dark 7:11
Band members Tine Vanmuysen – vocals
Michiel Debie – guitar
Wim Melis – guitar
Gert Cools – bass
Jasper Vreys – drums
Guest musician
Tijs Vanneste – vocals on “Iskariot”
This up-and-coming American Death and Thrash Metal brigade erupts on the scene with a scathing form of extreme music in their debut album, taking a narrative process pertaining to their original dark fantasy world.
Hailing from Maryland, in the United States, the venomous Death/Thrash Metal brigade known as Ninth Realm erupts on the scene with a scathing form of extreme music bearing influences of Hardcore and Heavy Metal, with a slight blackened edge, perfect for fans of bands like Power Trip, Malevolent Creation, Deceased, Ritual Fog, and Glorious Depravity. Now in 2026 the band formed of Ben Hageage on vocals, Liam McMahon and Charles House on the guitars, Amelia Morris on bass, and Joey Burke on drums is ready to crush our souls armed with their debut album, titled Damnation’s Veil. Adorned by a stylish artwork by Jerry “Wyrmwalk” Hionis (Maul, Celestial Sanctuary), the album takes a narrative process pertaining to their original dark fantasy world, Tythorin, while being intense and violent for the most part.
The dark and sinister intro Valigeth will embrace our souls in darkness before we face Damnation’s Veil, which evolves into a massive beast of Death and Thrash Metal led by the striking guitars by Liam and Charles. Joey then takes the lead in Cohorts of the Abyss, hammering his drums nonstop while Ben delivers his trademark visceral gnarls, followed by Imbued in Hellfire, another hard hitting, heavy-as-hell tune by the band, with the enraged roars by Ben being nicely boosted by the stringed attack by Liam, Charles and Amelia. Then we face Rituals in Thar’amath, one of the songs with the strongest Thrash Metal vibe, as violent as it can be, with Ben once again vociferating rabidly like a wild beast, being therefore perfect for some action inside the pit.
After the ethereal (but unnecessary) interlude Orphaned Throne, it’s time for a progressive extravaganza entitled Wyrd of Strideborne, where the thunderous bass by Amelia adds even more heaviness to the already demented beats and fills by Joey. Let’s all travel together with Ninth Realm beyond absolute darkness in Beyond the Void, where the striking guitars by Liam and Charles exhale Melodic Death and Thrash Metal; whereas back to a more ferocious, no shenanigans sound we have Vengeance Unto Rot, a high-octane composition perfect for slamming into the pit to the brutal vocals by Ben. All Hail Treachery continues to spread the same level of insanity and violence as its predecessors, with their strident riffs penetrating deep inside our skulls; and last but not least, let’s raise our swords to the sound of Twilight’s Blade, a headbanging tune led by their flammable riffs and crushing drums.
A fascinating, expressive, and most importantly, exciting album that is sure to please fans of the classic Death and Thrash Metal sound as well as those who dig well-written, nuanced, and invigorating extreme music in general, Damnation’s Veil is only the first step in the promising career by Ninth Realm, who are waiting for you armed with their swords, axes and shields on Facebook and on Instagram to join them in battle. Don’t forget to also stream their powerful music on Spotify, and to purchase their incendiary new album from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. As you prepare to die in battle, there’s nothing better than the crushing heaviness found in Damnation’s Veil to inspire you to fight until your last breath in the name of extreme music.
Best moments of the album:Damnation’s Veil, Rituals in Thar’amath and Vengeance Unto Rot.
Worst moments of the album:Orphaned Throne.
Released in 2026 Transcending Obscurity Records
Track listing 1. Valigeth 1:30
2. Damnation’s Veil 3:49
3. Cohorts of the Abyss 4:09
4. Imbued in Hellfire 3:54
5. Rituals in Thar’amath 4:17
6. Orphaned Throne 1:00
7. Wyrd of Strideborne 3:52
8. Beyond the Void 4:18
9. Vengeance Unto Rot 3:38
10. All Hail Treachery 2:36
11. Twilight’s Blade 3:58
Band members Ben Hageage – vocals
Liam McMahon – lead guitar
Charles House – rhythm guitar
Amelia Morris – bass
Joey Burke – drums
This indomitable New Jersey-based outfit is unveiling their full-length debut of challenging, cathartic Progressive Metalcore, featuring eight tracks where each one is a soul-searching journey, a confrontation, and a revelation.
Founded in the summer of 2015 in New Jersey, United States, the indomitable outfit Prevailer is unveiling their full-length debut of challenging, cathartic Progressive Metalcore, simply titled Convalescent. Featuring eight exquisitely crafted tracks, each one a soul-searching journey, a confrontation, and a revelation, hitting like a white-knuckle, teeth gritted whirlwind of emotion, the debut by vocalist Franklin Dexter Peer, guitarists Jackson Newcomb and Tim Dyson, bassist Corbin Smith, and drummer Dylan Volb is a compelling, confrontational album, explosive and incendiary, a light bright enough to burn through the deepest darkness, being therefore recommended for fans of ERRA, Currents, Fit For A King, and August Burns Red.
The band arises form the underworld to the metallic bass by Corbin in Diseased Frames, while Franklin roars the song’s dark words with tons of anger in his blackened heart for our absolute delight, and in the infuriated Into The Furnace they continue with their feast of Progressive and Blackened Metalcore, with the guitars by Jackson and Tim exhaling melody and hatred in a lecture in violence perfect for admirers of the genre. After such a thunderous tune, Dylan keeps hammering his drums manically in Conflux, again showcasing that exciting trademark American Metalcore sound we all enjoy so much, but without forgetting to add the band’s own twist to the final result.
Then after the cinematic interlude Convalescent we’re treated to the massive Entry Wound, with its breaks, variations and ethereal passages clashing in great fashion with the heaviness blasted by all band members, in special the demented screams by Franklin. Crooked Atlas again presents a wild blend of progressiveness and sheer violence and insanity, with Jackson and Tim stealing the spotlight with their ass-kicking riffs, followed by Malady, a song made to be played live. It will surely ignite some sick mosh pits and inspire all fans to jump up and down to the crushing drums by Dylan, no doubt about it. Finally, ending the album we have the also electrifying Inversion, going straight to the point, with Corbin and Dylan hammering their respective bass and drums nonstop.
In other words, as you travel through the eight songs featured in Convalescent, be prepared for a listening experience that will accept no half-truths or excuses, no hiding or disassembling, proving why those talented New Jersey musicians are becoming a must-listen for fans of the style. Having said that, if you want to follow the rise of such a powerful force in the Metalcore realm, you can find the band on Facebook and on Instagram, stream their music on any platform like Spotify, and grab a copy of their incendiary debut from Rottweiler Records or by clicking HERE. With the release of Convalescent, it’s time to stand shoulder to shoulder with Prevailer and face reality, head on.
Best moments of the album:Into The Furnace, Entry Wound and Malady.
Behold the debut by this up-and-coming Peruvian Doom Metal outfit, bringing the past into the present, presenting a blend of the band’s early days with what they are today.
A Doom Metal band formed by guitarist Mauricio Guerrero and drummer Jose María Venturi in Lima, Peru in 2014, originally leaning towards the roots of Heavy Metal and Stoner Rock by drawing inspiration from contemporary bands such as Orange Goblin, Witchcraft, and Reverend Bizarre, but evolving into the more distinct style it is today, sounding slower, heavier, and more introspective, Argul are unleashing upon us their highly anticipated debut, titled Soledad & Orgullo, which is Spanish for “solitude and pride.” Recorded, mixed and mastered by Eddie Plenge at Dragonverde Studios (with the song “Kamog” being recorded and mixed by Alonso and Mauricio Guerrero at Ogro Space), and showcasing a grim cover photo by Jose María Venturi, the debut by the aforementioned Mauricio Guerrero on vocals and lead guitars, Jose María Venturi on vocals and rhythm guitars, Jian Holmes on bass, and Alonso Guerrero on drums (also featuring guest drummer Emilio Carranza on a few songs) brings the past into the present, presenting a blend of the band’s early days with the Argul of today, where heavier atmospheres are moving between crushing weight and quieter, thoughtful moments without losing intensity.
They kick off their doom-laden feast with the dark, sluggish and groovy Ritual, where the dual vocal attack by Mauricio and Jose works beautifully while their ritualistic guitars transpire darkness and sulfur. Then the thunderous bass lines by Jian dictate the pace in the rhythmic, pounding Engendro, with Emilio making sure his beats and fills bring absolute heaviness to their music. Hor Hodin continues from where the previous song left off, showcasing the power of the mighty riff by both Mauricio and Jose; however, it’s when they deliver those sluggish, no shenanigans Doom Metal arias that surpass the ten-minute mark like what happens in Animal Dog that they truly thrive, with their guitars breathing fire accompanied by the massive bass lines by Jian. And last but certainly not least, get ready to be dragged to absolute darkness with the introspective and grim Kamog, where their vocals walk hand in hand with the fierce drumming by Alonso, putting a beyond heavy and climatic ending to the album.
Mostly utilizing their native tongue throughout the entire album, imparting a particularly unique aspect to it, highlighting those contrasts whilst never losing a focused consistency, Ardul are on absolute fire in Soledad & Orgullo, and if you want to put your hands on the album you can find it on their own BandCamp, as well as on the Personal Records’ BandCamp or webstore, and don’t forget to also give those talented Peruvian rockers a shout on Instagram, staying up to date with all things Ardul, including their heavy and doomed live performances. In the end, the primordial is wrapped in a gloomy heaviness. The essence is the obscure and the inevitable. This is Argul’s Soledad & Orgullo.
Best moments of the album:Ritual and Animal Dog.
Worst moments of the album: None.
Released in 2026 Personal Records
Track listing 1. Ritual 10:08
2. Engendro 5:04
3. Hor Hodin 5:47
4. Animal Dog 10:15
5. Kamog 14:20
Band members Mauricio Guerrero – vocals, lead guitars
Jose María Venturi – vocals, rhythm guitars
Jian Holmes – bass
Alonso Guerrero – drums on “Ritual” and “Kamog”
Guest musician
Emilio Carranza – drums on “Engendro”, “Hor Hodin” and “Animal Dog”
This renowned Heavy Metal and Hard Rock outfit from Sweden is back in action and ready to rock with their first major release in eight years.
Formed in early 2010 in Gothenburg, Sweden by guitarist Oscar “Oz” Hawe Petersson, the unrelenting Melodic Heavy Metal/Hard Rock outfit Osukaru (the Japanese phonetic transliteration of the name of the band’s founder Oscar) returns with their first major release in years, the hard rockin’ Tall Tales, following up on their 2021 album Starbound. Produced by Oz himself together with longtime singer and band partner Fredrik Werner (Daytona, Air Raid), mixed by Svein Jensen (Alicate, Sister Sin), mastered by Mats Eriksson (Degreed), and displaying a classy artwork by Oz and actress and model Eliza Sica, carrying a subtle sense of both unease and wonder that mirrors the album’s mysterious lyrical themes, the new offering by the aforementioned Fredrik on vocals and guitars, Oz also on the guitars, Marcus Zerath on bass, and C.D on drums and percussion is a clear statement of how far the project’s original vision has come, offering us fans that melodic yet visceral Swedish sound we all love so much.
The band’s striking riffs rev up their rockin’ engine in the opening tune Exceeder, with the classic Hard Rock vocals by Fredrik adding even more electricity to their music, while the sound of the harmonica brings an eccentric touch to Wendigo before the music evolves into another solid hybrid of Heavy Metal and AOR. Blood On the Rocks is a hard hitting tune by the band offering the classic riffs by Fredrik and Oz boosted by the heavy kitchen by Marcus and C.D; and it’s then time for the smooth power ballad The Outer Side Within, with Fredrik showcasing passionate vocals while his bandmates spread love and harmony in the air, before they speed things up and kick some ass with their heaviest song of the album, titled Ronin, led by the classic beats and fills by C.D.
Who Do You Love takes us back to the glory of the 90’s with their Sunset Strip inspired Hard Rock and Glam Metal, adding even more adrenaline to the album, while Split is as groovy as it can be thanks to the amazing job done by Marcus and C.D on bass and drums, respectively. Only Moments Left is one of those strip tease-like Hard Rock and Rock N’ Roll tunes by Osukaru which could be played on any radio station worldwide, followed by When It’s Over, a decent ballad with a cool solo by Oz, albeit a bit too mellow after all is said and done. Lastly, we face C’est Dans Ta Tête, or “it’s in your head” from French, a solid Hard Rock and AOR song that concludes the album with Fredrik once again kicking ass on vocals.
Oz and his Osukaru have been on a roll since their inception over 15 years ago, and the striking Tall Tales will certainly inspire the quartet to keep moving forward and delivering high quality heavy music no matter what for many years to come. Having said that, what are you waiting for to give the guys from Osukaru a shout on Facebook and on Instagram, stream their rockin’ tunes on any platform like Spotify, and of course, purchase Tall Tales from several locations such as Monuments in Ruin, Streetlight Records, and Park Ave CDs? This is what our good old heavy music is all about, bringing to us exciting music with a beautiful and deep background story, and hopefully it won’t take a long time again for Osukaru to unleash another blast of their music upon us.
Best moments of the album:Blood On the Rocks, Ronin and Split.
Worst moments of the album:When It’s Over.
Released in 2026 Pride & Joy Music
Track listing 1. Exceeder 3:24
2. Wendigo 4:36
3. Blood On the Rocks 3:17
4. The Outer Side Within 3:59
5. Ronin 3:09
6. Who Do You Love 3:43
7. Split 3:36
8. Only Moments Left 3:52
9. When It’s Over 4:02
10. C’est Dans Ta Tête 6:00
Band members Fredrik Werner – lead vocals, guitar
Oz Hawe Petersson – guitar, backing vocals
Marcus Zerath – bass, backing vocals
C.D – drums, percussion
After years of anticipation, these Folk Metal warriors are back in action with their striking fifth studio album, appealing to both longtime fans and new listeners alike.
Highly respected within the Folk Metal genre, cementing their position as influential and reliable artists worldwide, Lilla Edet, Sweden-based horde Fejd (which is Swedish for “feud”) is set to release their fifth studio offering, titled Nifelheim, following up on their critically acclaimed album Trolldom, released ten years ago. Formed in 2001 through a unique fusion of the folk duo Rimmerfors and members of the metal bands Pathos and Nostradameus, the band currently comprised of Patrik Rimmerfors on vocals and bouzouki, Niklas Rimmerfors on the moraharpa (a keyed fiddle), Thomas Antonsson on bass, Lennart Specht on keyboards, and Esko Salow on drums creates a sound that bridges two worlds with each of their albums, blending the power of Heavy Metal with the rich melodies and melancholic spirit of Nordic folk music, exactly like what they have to offer in Nifelheim.
The album starts with the battle hymn Nifelheim, inviting us to join the band on a journey to such a primordial realm of absolute darkness, fog, cold, and ice, with Esko leading the horde with his classic drums, followed by Nidhögg, a fearsome dragon in Norse mythology, with the eccentric sounds of the bouzouki and moraharpa exhaling Folk Metal magic. Edsvuren, a Swedish word that translates to “sworn” in English, used to describe someone that is bound by an oath, showcases the entire band on fire, with Patrik’s vocals sounding epic; while in Älvagrimmar, a term from Swedish folklore referring to ancient river spirits, Esko hammers his drums accompanied by the rumbling bass by Thomas, sounding heavy, folky and majestic.
Then all instruments and percussion will prepare us all for battle side by side with Fejd in Sköldborg, or “shield wall” in Old Norse, where Patrik and Niklas are once again spot-on with their respective bouzouki and moraharpa; whereas in Einar Blå, which translates as “blue warrior,” the band again showcases their trademark Folk Metal sonority, a decent instrumental piece despite lacking the band’s vocal punch. It’s time to dance around the fire pit and enjoy a good pint of mead to the sound of Strilja, with Esko’s beats adding even more fuel to their incendiary sounds, before Svarta Tjärn, or “the black tarn” from Swedish, puts a thrilling ending to the album, where the sounds from a glorious past are crafted by a band that has just reignited their fire by looking into the future.
After years of anticipation, Fejd are not only back in action with Nifelheim, but the album will also certainly appeal to both longtime fans and new listeners alike. From the very first note, listeners are drawn into a world of ancient legends, carried by powerful arrangements and the evocative language of Nordic melancholy, once again affirming their place as one of the leading names in Folk Metal. If you want to join such a talented horde, you can find Fejd on Facebook, stream their classy music on Spotify, and of course grab a copy of Nifelheim from BandCamp or by clicking HERE. Because this is first-class Folk Metal made by Norse warriors, inspiring us to keep moving forward and face our own battles no matter what to the sound of their unique and captivating music.
Best moments of the album:Nifelheim, Älvagrimmar and Svarta Tjärn.
Band members Patrik Rimmerfors – lead vocals, bouzouki
Niklas Rimmerfors – moraharpa
Thomas Antonsson – bass
Lennart Specht – keyboards
Esko Salow – drums
Behold the third opus by this rising force of the European Power Metal scene, featuring ten uplifting songs that are meant to help you get through hard times.
Founded in 2022 in Debrecen, Hungary by bassist Zoltán Papi, Burning Sun are a rising force in the underground Heavy, Power and Speed Metal scene. Delivering the kind of metal that is rare nowadays, the kind of music that is rooted in Helloween, Gamma Ray, Edguy, Hammerfall and 90’s Power Metal with no compromises, only pure dedication and passion, the band currently formed of Nicolas Peter on vocals and guitars, Pancho Ireland also on the guitars, Zoltán Papi on bass, and Edmond Kulcsár on drums returns with their third full-length opus, titled Power to Survive, following up on their critically acclaimed 2023 debut Wake of Ashes, and their 2025 sophomore Retribution. Adorned by a classy artwork by Artem Astaroth, showcasing the character of Emaly, who plays a major role in the band’s identity as she appears on all artworks, such a high-energy album features ten uplifting songs that are meant to help you get through hard times, just the way we like it in Heavy and Power Metal.
It’s pedal to the metal in the frantic Power Metal extravaganza titled Quest Divine, with the soaring vocals by Nicolas matching perfectly with the song’s riffs and beats; followed by Emaly’s Hymn, featuring Herbie Langhans of Steel Rhino and The Lightbringer of Sweden, offering more of that characteristic European Power Metal sound we all love so much. In other words, simply raise your fists and sing it along with those metal warriors. Nicolas and Pancho then bring forward an Iron Maiden-inspired twin guitar attack in Tale of Brothers, while Zoltán and Edmond take care of the song’s thunderous, galloping rhythm; and their striking guitars are screaming loud once again in Light of the World, offering us all a very good reason to headbang like there’s no tomorrow. And featuring the indomitable Alexandra Lioness (aka Aleksandra Stamenković) of Chaos Rising, Frozen Crown and Jenner, get ready to be caught in a Power Metal mosh to the sound of Over and Beyond, again presenting Nicolas’ trademark, electrifying vocals.
Come Home might be the most generic of all songs, sounding like a billion other songs recorded by several bands out there; whereas the thunderous bass by Zoltán and the classic beats by Edmond kick off the mid-tempo battle hymn Spirit Alive, presenting hints of classic Hard Rock added to their core sonority. It’s then time for a short but extremely fast Gamma Ray-inspired tune titled Prayer before we face Holy Light, a beautiful ballad led by the passionate vocals by Nicolas that brings peace to our hearts, flowing into the closing tune We Rise Again, a sword yielding anthem led by the unstoppable beats and fills by Edmond, inspiring us all to join Burning Sun in the battlefield until our last breath.
Inspired by the 90’s golden era of European Power Metal and taking their name from a phenomenal Helloween song, Burning Sun channel soaring melodies, driving rhythms, and heroic storytelling in their new album, and you can get in touch with those metal warriors via Facebook and Instagram, including their live performances, listen to their battle hymns on any streaming service like Spotify, and of course, buy their striking new album from BandCamp or by clicking HERE. We all need a lot of power to survive in our rotten and decaying world, and the power of true Heavy Metal like what Burning Sun have to offer in their newborn beast is undoubtedly the most effective one for such a demanding challenge.
Best moments of the album:Emaly’s Hymn, Over and Beyond and We Rise Again.
Worst moments of the album:Come Home.
Released in 2026 Pride & Joy Music
Track listing 1. Quest Divine 4:09
2. Emaly’s Hymn 4:18
3. Tale of Brothers 5:20
4. Light of the World 3:37
5. Over and Beyond 3:41
6. Come Home 3:55
7. Spirit Alive 4:50
8. Prayer 0:42
9. Holy Light 3:15
10. We Rise Again 5:05
Band members Nicolas Peter – vocals, guitars
Pancho Ireland – guitars
Zoltán Papi – bass
Edmond Kulcsár – drums
Guest musicians
Herbie Langhans – vocals on “Emaly’s Hymn”
Alexandra Lioness – additional vocals on “Over and Beyond”
Alessio Perardi – additional vocals
Creating gut-wrenching, pulverizing Death and Doom Metal that embodies the best aspects of those two styles, this American beast is back armed with their scorching sophomore album.
Creating gut-wrenching, pulverizing Death and Doom Metal that embodies the best aspects of those two styles, Columbus, Ohio’s own creature Abyssal Rift is back with the follow-up to their critically acclaimed 2023 debut Extirpation Dirge, their sophomore beast titled Relics of Great Ash. Formed of Matt Auxier on lead vocals, guitars, synths and programming, Mike Sliclen on bass and backing vocals, and Brandon Smith on drums, percussion and backing vocals, not to mention Brandon Smith and Mike Sliclen were also responsible for the drawings and cover photo, respectively, Abyssal Rift managed to mix Death and Doom Metal all up without losing coherency or their asphyxiating grip on the listener, resulting in an engrossing, diligent album rife with downright wicked riffs, an ominous atmosphere, and some insane structuring, more so than most others in the vein, being therefore highly recommended for fans of Incantation, Disembowelment, Saevus Finis, and Cruciamentum.
There’s no hope in sight as the trio kicks off the album in full force with Consummate Design, where the evil vociferations by Matt walk hand in hand with the stunning drums by Brandon, while the title-track Relics of Great Ash brings forward an amalgamation of dark sounds from Death and Doom Metal intertwined with cryptic, atmospheric passages, resulting in a wild beast of sheer obscurity. Then venturing through the realms of Progressive and Dissonant Death Metal we have The Enlightenment (There Was Never Will), with Mike’s bass and Brandon’s drums offering Matt all he needs to roar like a demonic entity. The Death of God showcases a more direct fusion of Death and Doom Metal, with all vocals and instruments breathing fire into our putrid souls, whereas Surrealistic Visions sounds and feels utterly chaotic and visceral from the very first second until the end, with Brandon stealing the show with his demented beats and fills. Finally, Sphere of Perpetuity is a pure Doom Metal onrush by the trio, dragging us all to pitch black darkness to the sound of their sluggish, devilish guitars, bass and drums.
For a band like Abyssal Rift, the music is far more intricate and involved than it seems, with moments of it being fleshed out or slowed down if only to emphasize the unfathomable heaviness. At other times, the music builds in intensity until it reaches a crescendo, to be followed by a filthy, chugging part, a ripping solo, or a transcendental or industrial-tinged atmospheric passage. This is exactly what you’ll get in Relics of Great Ash, which you can purchase from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, and don’t forget to also check what the band is up to on Facebook and on Instagram, and to stream their dark creations on Spotify. The second Death and Doom Metal attack by Abyssal Rift will certainly help them spread their obscurity and violence to even further lands, and if that’s an indication of where those guys are headed to with their future releases, the world will certainly be a much darker place.
Best moments of the album:Consummate Design and Surrealistic Visions.
Worst moments of the album: None.
Released in 2026 Transcending Obscurity Records
Track listing 1. Consummate Design 5:28
2. Relics of Great Ash 8:03
3. The Enlightenment (There Was Never Will) 4:31
4. The Death of God 6:22
5. Surrealistic Visions 4:50
6. Sphere of Perpetuity 6:58
Band members Matt Auxier – lead vocals, guitars, synths, programming
Mike Sliclen – bass, backing vocals
Brandon Smith – drums, percussion, backing vocals
Emerging from the isolated, unforgiving wilderness of Tasmania, these Technical Death Metal beasts will attack armed with their their highly-anticipated debut full-length album.
Emerging from the isolated, unforgiving wilderness of Tasmania, Technical Groove/Death Metal outfit The Absolution Sequence has carved out a unique identity within the Australian extreme metal scene. Their sound is a direct reflection of their homeland’s “dark isle” reputation, a place defined by a sinister history and a cold, remote landscape that stands in stark contrast to the Australian mainland. Following a string of EP’s and singles, the band formed of Shawn Wells on vocals, Luke Tucker, Stephen Cusato and Steven Mason on the guitars, Alastair Boon on bass, and Nick Machin on drums is unleashing now in 2026 their highly-anticipated debut full-length album, titled Dread Cycle, which with the crisp production of Chris Themelco, the classy mastering by Jens Bogren at Fascination Street Studios, and the Stygian artwork by Shaun Hyatt, is definitely set to solidify the band’s position as a premier name in contemporary Technical Death Metal.
The opening aria Despotic Ruin (Diet of Worms) is already atmospheric, melodic and bold from the very first notes, with the deep guttural by Shawn walking hand in hand with the riff attack by the band’s guitar triumvirate formed of Luke, Stephen and Steven, followed by Idols of Confraternity, even heavier and more infuriated, with Nick hammering his drums nonstop in a lesson in Groove and Death Metal with a strong technical edge. Then we face Ghost Mantra, blending elements of Deathcore to their core Death Metal essence, where their guitar work is again striking, offering Shawn exactly what he needs to bark like a rabid beast; whereas This Sordid Miasma is as atmospheric as its predecessors, with the groovy, thunderous kitchen by Alastair and Nick making the earth tremble. and The Nightlight Sigil, albeit sounding as heavy as the other songs, is not as exciting. Its drums and all background elements still sound great, though.
Promethean Pilferage might be one of the most technical of all songs, where Alastair extracts sheer electricity, heaviness and groove from his bass supported by the intricate beats and fills by Nick; and their Blackened Death Metal vein arises in A Mire Caked Nativity, clashing with their more technical Groove Metal sounds, all boosted by another bestial performance on vocals by Shawn. The band’s guitar triumvirate once again showcases all their dexterity and passion for the extreme in Grinding the Sphere, not to mention Alastair once again adds his share of insanity to the music with his Djent-infused bass lines, flowing into the closing song Diary of the Emaciated, sounding very detailed, multi-layered and absolutely electrifying, with the wall of sounds crafted by all band members feeling perfect for the scorching vociferations by Shawn.
The Absolution Sequence have developed a signature style of Technical Death Metal that balances high-velocity musical prowess with a deeply immersive, atmospheric undertone in all of their previous releases, and in Dread Cycle those Tasmanian devils have certainly stepped up their game with an even more infuriated and intricate sound. If you have what it takes to face the demolishing music crafted by those amazing musicians from Down Under, you can find them on Facebook and on Instagram, stream their killer creations on Spotify, and above all that, grab a copy of the album from their own BandCamp. Australia has become the place to go when the music in question is Technical Death Metal, and Dread Cycle is undoubtedly one of the must-listen albums of the genre coming from Down Under.
Best moments of the album:Idols of Confraternity, Promethean Pilferage and Diary of the Emaciated.
Worst moments of the album:The Nightlight Sigil.
Released in 2026 Bleeding Art Collective
Track listing 1. Despotic Ruin (Diet of Worms) 4:11
2. Idols of Confraternity 5:01
3. Ghost Mantra 3:45
4. This Sordid Miasma 5:02
5. The Nightlight Sigil 5:13
6. Promethean Pilferage 4:18
7. A Mire Caked Nativity 5:02
8. Grinding the Sphere 4:29
9. Diary of the Emaciated 5:57
Band members Shawn Wells – lead vocals
Luke Tucker – lead guitar
Stephen Cusato – rhythm guitar, backing vocals
Steven Mason – rhythm guitar
Alastair Boon – bass, backing vocals
Nick Machin – drums
Let’s raise our horns and glasses to a beautiful death to the sound of the striking new offering by these Finnish Gothic and Black Metal veterans.
Forged in the fires of Helsinki, Finland in the distant year of 1992, and known for blending Gothic, Thrash and Black Metal into a dark, melodic atmosphere, Soulgrind continue to explore themes related to the darker aspects of Finnish history and psyche, combining passion, war, and the “dark side of mind” into their lyrical content, reflecting a deep connection to Finland’s cultural and historical roots, in their tenth studio album titled Ad Pulchram Mortem (or “to a beautiful death” from Latin), released 16 years after their last album, The Tuoni Pathway. Currently formed of Micko Hell on vocals and lead guitars, Tanya Lilith on female vocals, Lord Heikkinen also on the guitars, Azhemin on keyboards and harsh vocals, JP on bass, and Suntio on drums, the band is on absolute fire from start to finish in Ad Pulchram Mortem, proving they still have a lot of fuel to burn even after all those decades on the road.
After the atmospheric intro Nousee musta lintu (“a black bird rises” from Finnish), the band comes ripping with the breathtaking The Origin of the White Serpent, where the deep, harsh vocals by Azhemin clash beautifully with the soaring clean vocals by Tanya Lilith, while Suntio hammers his drums nonstop. Jylhä metsämies (“the brave forester”) is also delicate yet visceral, with Micko Hell and Lord Heikkinen extracting sheer heaviness and electricity form their axes; followed by The Last Day of Therinon, offering us all seven minutes of atmospheric passages leaning towards Melodic Gothic Metal where Micko Hell and Tany Lilith make a beautiful vocal duet, while in In the Circus of Tuonela they get back to a darker, more menacing sound, with the haunting keys by Azhemin darkening the skies for our total delight.
Then JP and Suntio craft a thunderous sonority in Dark Water Wide, blending the obscurity of Gothic Metal with the visceral sounds of Black Metal, followed by Tears of the Earth, a doom-laden Gothic Metal feast by the band where Tanya Lilith once again steals the spotlight with her ritualistic clean vocals. A Whispered Curse upon the Gale is by far one of the heaviest (if not THE heaviest) of all songs, where Suntio sounds ruthless on drums while Azhemin keeps vociferating like a demonic entity, whereas As a Narrow Fjord Descends presents seven minutes of first-class Gothic and Black Metal for the masses, again taking us on a journey through the bitterly cold lands of the Finnish winter. Lastly, we have Into the Shadows of Devotion, the most complex and detailed song of the album, offering 11 minutes of the band’s trademark sounds, with Tanya Lilith leading the pack with another striking vocal performance while the instrumental pieces sound stunning from start to finish.
Their sound might have evolved over time as we can see in Ad Pulchram Mortem, but Soulgrind have maintained their core identity rooted in metal with a dark, atmospheric edge, resisting strict genre categorization and embracing musical development freely. If you want to know more about such an important band of the Gothic Metal scene worldwide, you can find them on Facebook, including their tour dates, stream their music on Spotify, and of course, purchase their new album from their own BandCamp. In other words, let’s raise our horns and glasses to a beautiful death to the sound of the striking new offering by these Finnish Gothic and Black Metal veterans, and may they keep darkening the skies for another 30 years at least with more of their Stygian music.
Best moments of the album:The Origin of the White Serpent, A Whispered Curse upon the Gale and Into the Shadows of Devotion.
Worst moments of the album:Jylhä metsämies.
Released in 2026 Inverse Records
Track listing 1. Nousee musta lintu 4:10
2. The Origin of the White Serpent 8:51
3. Jylhä metsämies 6:10
4. The Last Day of Therinon 7:20
5. In the Circus of Tuonela 5:18
6. Dark Water Wide 4:55
7. Tears of the Earth 5:58
8. A Whispered Curse upon the Gale 4:04
9. As a Narrow Fjord Descends 7:40
10. Into the Shadows of Devotion 11:10
Band members Micko Hell – vocals, lead guitars
Tanya Lilith – female vocals
Lord Heikkinen – guitars
Azhemin – harsh vocals, keyboards
JP – bass
Suntio – drums
Attention, metalheads!
THE HEADBANGING MOOSE 