It’s time to rumble with THE HEADBANGING MOOSE SHOW every Thursday @ 20:00 UTC+2 (with a reprise on Saturdays @ 19:00 UTC+2) exclusively at Midnight Madness Metal e-Radio, your Greece-based web radio blasting the best of heavy music nonstop 24/7!
Presented by Gustavo Scuderi, The Headbanging Moose Show will bring to you the cream of underground metal music, giving you a short and sweet background on every band played on the show. No silly jokes, no shenanigans… THIS IS PURE F****N’ METAL!
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An up-and-coming Belgian Melodic Death Metal collective is ready to strike armed with their incendiary debut offering.
A Belgian Melodic Death Metal collective utterly determined to forge something epic and memorable without following fleeting trends, Insolitus are ready to unleash hell armed with their debut offering, titled The Monumental Fall. With a sound built on a foundation of crushing riffage and articulate, driving percussion, layered with catchy and intricately intertwining melodies, the debut opus by Leslie Stroobant on vocals, Floren Van Stichel, Fré Clement and Kaatje Desmet on the guitars, and Dries Claeys on drums presents 11 original tracks inspired by the classic melodeath sound blasted by bands the likes of Amorphis, Nevermore, The Halo Effect and Soilwork, while at the same time offering a fresh twist added to their core sound by each band member.
The opening track Crossing Voyage sounds modern while remaining loyal to the foundations of Melodic Death Metal, with Floren, Fré and Kaatje already offering a triple riff attack tailored for fans of the genre; and their guitars kick off the electrifying A Dream Resonance, also presenting a Progressive Metal vibe while Leslie roars in great fashion, followed by Reclaim the Flame, as incendiary as its title, with Dries stealing the spotlight with his hammering drums. In Search For reminds me of some of the more modern creations by In Flames, with Leslie once again delivering sheer adrenaline through his harsh vocals, while Leap of Life presents another traditional take on Scandinavian Melodic Death Metal with a Belgian twist, and of course, their guitars re again breathing fire. And after such a solid tune we have Beneath a Thousand Eyes, showcasing the hammering drums by Dries accompanied by the slashing riffs by Floren, Fré and Kaatje.
Whisperbox is not as vibrant as the other songs despite bringing forward another striking, intricate guitar attack by the band’s trio. It could have been more ferocious and a little less melodic. Then back to a more aggressive sonority we face The Dying Light of Day, with Leslie’s vocals transpiring rage and fury until the very end; whereas Soar has a very cool and epic vibe, inviting us all to raise our fists together with the band in the name of melodeath. Of Time and Change sounds and feels just as epic as the previous song, with Leslie’s harsh vocals being nicely boosted by all clean and backing vocals. Lastly, the title-track The Monumental Fall puts an end to the album with its imposing wall of sounds, feeling like a climatic conclusion to an adventure movie.
Bringing melody-driven heavy music with both clean vocals and harsh vocals, and lyrics rooted in themes of authenticity, empowerment and emotional honesty, Insolitus are on fire throughout their debut offering, and you can give those talented Belgians a shout on Facebook and on Instagram, keeping an eye on their tour dates, stream their music on Spotify, and of course purchase a copy of The Monumental Fall from BandCamp or by clicking HERE. The Monumental Fall is just the first step for Insolitus, and based on the quality of the music found in the entire album we can rest assured we’ll hear a lot more form those Belgians in a not-so-distant future.
Best moments of the album:A Dream Resonance, In Search For and Of Time and Change.
Worst moments of the album:Whisperbox.
Released in 2026 Independent
Track listing 1. Crossing Voyage 6:36
2. A Dream Resonance 4:17
3. Reclaim the Flame 4:55
4. In Search For 3:41
5. Leap of Life 6:12
6. Beneath a Thousand Eyes 5:10
7. Whisperbox 6:16
8. The Dying Light of Day 5:48
9. Soar 4:48
10. Of Time and Change 5:28
11. The Monumental Fall 4:40
Band members Leslie Stroobant – vocals
Floren Van Stichel – guitars, backing vocals
Fré Clement – guitars
Kaatje Desmet – guitars
Dries Claeys – drums
After over a decade of silence, one of the best-kept secrets in the Italian underground scene is rising from the ashes with a new EP where each song draws on a myth, a figure, or an episode from the Hellenic tradition.
After over a decade of silence, one of the best-kept secrets in the Italian underground scene is rising from the ashes. JANVS, the Roman god of beginnings, passages and endings, is a Progressive Black Metal entity formed in Genoa over two decades ago, which may have fallen through the tides of time for many, but never really forgotten. Now in 2026 the band formed of Matteo “Vinctor” Barelli on vocals, guitars, keyboards and programming, Claudio “Malphas” Fogliato on bass, and Massimo “m:A Fog” Altomare on drums returns from the waves of the Mediterranean sea with a new EP titled Fatum Est, which translates from Latin as “it is fate” or “it is destiny,” following up on their 2014 full-length offering Nigredo. Produced and mastered by the legendary Dan Swanö at Unisound, and displaying as its artwork the piece Studio per la Gorgone e gli Eroi (1890-1899) by Italian artist Giulio Aristide Sartorio, the EP is comprised of five songs where each song draws on a myth, a figure, or an episode from the Hellenic tradition, reshaping and deconstructing its narrative into an existential vision that is both intimate and universal.
The trio kicks off their feast of progressiveness and fury with Bucefalo, with the scathing riffs by Matteo walking hand in hand with his own roars and the massive beats and fills by Massimo. Then a serene intro evolves into another dark and visceral sound in Filo d’Arianna, slower and more introspective, bringing elements of Doom Metal to their core sonority while also exploding in absolute Black Metal magic; followed by Argonauti, a more straightforward blend of Progressive Black and Death Metal where Claudio and Massimo will crack the sky with their thunderous bass and drums. Quis tantus furor is perhaps the most experimental and diverse of all songs, flirting with Dissonant Death Metal at times, with Matteo once again vociferating like a demonic entity, before we face Gaugamela, which reeks of 90’s Swedish Black Metal. Moreover, all gnarling vocals, blast beats and obscure passages turn it into a must-listen for fans of the genre.
Dedicated to those who defy the gaze of the gods, burning without oxygen in infinitesimal and eternal moments of beauty and death, drowned in the void of a cosmos eternally identical to itself, devoid of any purpose, Fatum Est moves forward from the softer atmospheres of their 2008 album Vega, overflowing intensity and desperate cosmic ferocity. You can get to know more about JAVS via Facebook and Instagram, stream their unique music on Spotify, and of course put your hands on Fatum Est from the Avantgarde Music’s BandCamp or Sound Cave. Your destiny is sealed, and JANVS will make sure the soundtrack to your journey is heavy and electrifying armed with their newborn spawn.
Best moments of the album:Filo d’Arianna and Gaugamela.
This emerging force in the Spanish extreme music underground returns with the last part of their trilogy dedicated to the three core modes of persuasion defined by Aristotle.
An emerging force in the extreme music underground built around a strong conceptual foundation inspired by Milan Kundera’s notion of “Litost” and Aristotle’s rhetoric, Valencia, Spain’s own Blackened Death Metal creature Litost crafts a sonic narrative driven by introspection, emotional conflict and the inevitable decay of the self, always exploring the darkest corners of human consciousness through an intense, atmospheric and boundary-pushing blend of Black and Death Metal. After the successful releases of their 2019 debut Ethos and their 2023 sophomore Pathos, the band formed of Manri Vidal on vocals and guitars, Joaquín García also on the guitars, Luis Bru on bass and vocals, and Dani Molina on drums is back with a new offering entitled Logos, the third installment in their trilogy dedicated to the three core modes of persuasion defined by Aristotle. While Ethos appeals to a speaker’s credibility and character, and Pathos targets the audience’s emotions, Logos relies on logic, reasoning, facts, and evidence to convince the listener.
The band wastes no time and drag us to darkness from the very first second in Tifón, with Dani sounding inhumane with his demolishing beats and fills accompanied by the visceral growls by Manri; while Ábregoon the other hand starts in an acoustic way before morphing into sheer Black Metal madness, with their guitars once again transpiring rage and obscurity. Then after the instrumental interlude Alabeo, where they showcase their passion for traditional Spanish sounds, we face Tràngol, featuring guest vocalist Eloi Boucherie (frontman of Vidres a la Sang), as disruptive, infernal and technical as it can be, not to mention what Luis and Dani do with their respective bass and drums is simply out of this world, resulting in a lecture in modern-day Black Metal.
Ponzoña offers a more introspective and demonic side of the band, with the guitars by Manri and Joaquín sounding as progressive as they’re vile, a downward spiral into chaos and madness; followed by Ocaso, bringing forward a more direct blend of Black Metal with progressive elements, albeit lacking the same punch as its predecessors. The rumbling bass by Luis will hammer your minds and souls in Nimbo, featuring guest vocals by Albert Batlle (from Perennial Isolation), presenting multiple layers, nuances and the always desperate roars by Manri, whereas they conclude the album with an overdose of progressive and grim sounds titled Cerrote, the perfect depiction of present-day Spanish Black Metal showcasing striking riffs, groovy bass lines and intense and captivating beats and fills.
In a nutshell, with a clear artistic vision and a growing presence on the live circuit, Litost continue to establish themselves as a compelling name within the contemporary Extreme Metal landscape with the release of the excellent Logos, which can be purchased by clicking HERE. Don’t forget to also start following those amazing Spanish musicians on Facebook and on Instagram, including their breathtaking live concerts, and to stream more of their music on any platform such as YouTube and Spotify. In other words, after an overdose of character and emotion in their first two albums, Litost will melt our faces with the logic found in Logos, beautifully concluding their dark trilogy and, therefore, pointing to an even brighter future ahead of them.
Best moments of the album:Tifón, Tràngol and Cerrote.
Immune to the familiar rock narratives, these unstoppable Norwegian Progressive Black and Viking Metal masters are back with their stunning seventeenth studio offering.
Immune to the familiar rock narratives, and celebrating 35 years of existence, Norwegian Progressive Black/Viking Metal masters Enslavedare back with their seventeenth studio offering, titled Mið, an Old Norse word for “centre,” or “middle,” marking another departure, and another new beginning. Recorded at Duper Studio, Solslottet Studio, Personal Sound, Conclave & Earshot Studios, and Scandinavia House, mixed and mastered at Fascination Street Studios, and displaying a cryptic artwork inspired by a Bronze Age stone monument found in the township of Skjeberg, Østfold Norway, near the Swedish border, but removed by a museum in the 1960’s, the follow-up to their 2020 album Utgard and their 2023 opus Heimdal sees the band formed of vocalist and bassist Grutle Kjellson, guitarists Arve Isdal and Ivar Bjørnson, keyboardist and pianist Håkon Vinje, and drummer Iver Sandøy build their unique, expansive cosmology from a vital new starting point. With the swerving prog flourishes and krautrock wormholes dialed back, these eight tracks fizz with a newfound clarity and purpose while casting yet more illumination on the band’s kaleidoscopic palette. “I’ve come to realize that this is a really positive album. It’s about growth, it’s about digging yourself out of a pit, and it’s about leaving yourself open to the element of surprise. It’s about all the possibilities of being a human being,” commented Grutle Kjellson.
The cold and enfolding intro Non-Being sets the tone for the band’s darkened feast of melancholy in the form of I Am Ice, featuring guest Johan Sara Jr, a Sami musician and a central Sami composer, producer, teacher, arranger, actor and performer of contemporary music with roots in the Sami tradition. Needless to say, the song is an explosion of Enslaved’s core prog madness, and the same can be said about Solar Will, showcasing poetic lyrics vociferated by Grutle (“Son of cosmic wisdom / Son of Mother Earth / The starlight at the center / The illuminated I / Drowned in dreams of blood / Pierced by merciless vanity / The starlight at the center / The illuminated I”) accompanied by the hammering drums by Iver. And Mountain is by far the most experimental of all songs, and although the heaviness is there (in special through the devilish kitchen by Grutle and Iver), it’s not as exciting as the other songs.
Spirit Helper, featuring vocals by Kevin Kicking Woman, an esteemed Native American educator from the Blackfeet Nation who made history as Montana’s first-ever Native American Teacher of the Year, is a tribalistic tune that unites Kevin’s vocals with the heaviness of the guitars by Arve and Ivar; whereas they go full Progressive Black Metal in the eight-minute aria titled Parting, with their riffs once again clashing in a beautiful way with the keys by Håkon, alternating between stormy moments and delicate passages. Tales of Trees brings forward the perfect balance between Black and Progressive Metal, with Iver sounding insane on drums from start to finish, followed by I Miðju, a more atmospheric and pensive aria by the band including elements of Doom Metal to make things heavier and darker, with Grutle once again sounding bestial on vocals until the song’s Stygian finale.
A album that sheds light on harmonies and dialogues embedded all around us, between the ways of the past, and how they can bring enlightenment to the present, between small kernels of truth and their ability to project onto the most universal on canvases, and between band members relying on instinct and each other to create a record that galvanizes on every possible level, Mið is another solid stone in the unbreakable castle built by Enslaved through the years. “I started with the songwriting very shortly after Heimdal, but I had a feeling that the old ways didn’t work anymore. I’d always been chipping away, playing on the guitar and then on keyboards, something would happen then I’d work on that. But once I had a bunch of demos, none of it felt like it was good enough to follow up on Heimdal. It felt like we had to go somewhere else,” said Ivar Bjørnson. Needless to say, you can get in touch with Enslaved via Facebook and Instagram, subscribe to their Youtube channel, stream their music on Spotify or Apple Music, and of course purchase Mið from Bandcamp or several other locations. Because the excellent Mið represents the past, the present, and a new beginning for a band that’s never tired of stunning us all with their first-class heavy music.
Best moments of the album:I Am Ice, Parting and Tales of Trees.
Worst moments of the album:Mountain.
Released in 2026 Nuclear Blast Records
Track listing 1. Non-Being 1:19
2. I Am Ice 5:02
3. Solar Will 4:39
4. Mountain 5:46
5. Spirit Helper 4:52
6. Parting 8:16
7. Tales of Trees 4:43
8. I Miðju 7:16
Italy’s own Black and Funeral Doom Metal architects return after a long hiatus with their fifth full-length opus, approaching the notion of duality from an esoteric perspective and exploring its many manifestations.
Active in the Extreme Metal underground for more than two decades, Cagliari, Italy’s own esoteric Black and Funeral Doom Metal architects Urna return after a long hiatus with their fifth full-length opus, titled The Great Jihad, the follow-up to their 2013 effort Mors Principium Est. Recorded through multiple sessions between 2014 and 2025 across Italy and the United Kingdom, before being mixed and mastered by the band’s own guitarist MZ at 322 Studio in early 2026, and displaying a colossal artwork by Francesco Gemelli, the new opus by RM on vocals, MZ on the guitars and synthesizers, T (Sangue Nero) on bass, and Sibilans (Anamnesi, Simulacro) on drums is more poisonous and tense than its predecessors, retains the crushing atmosphere and funeral doom connection that have long defined Urna, while pushing their faster passages towards a harsher, more abrasive form of Black Metal. The conceptual framework once again expands RM’s personal spiritual journey through Hermetism, approaching the notion of duality from an esoteric perspective and exploring its many manifestations.
The first half of the album, named Creator, kicks off with First of Three, sounding cadaverous and grim from the very first second, with the harsh vociferations by RM sending shivers down our spines while Sibilans brings absolute heaviness with his blast beats, flowing into Second of Three, just as caustic and visceral as the first song, with MZ slashing his axe in the name of evil, sounding imposing and heavy as hell just the way we like it in Black Metal. And Third of Three starts in a serene, ethereal way before exploding into absolute chaos and heaviness, blending Black and Doom Metal in great fashion to the pounding drums by Sibilans, therefore concluding the album’s first act majestically.
Then we face the second act titled Created, starting with the title-track The Great Jihad, a more epic take on the band’s trademark Funeral Doom Metal essence led by the demonic roars by RM while his bandmates keep delivering absolute darkness and heaviness from their sonic weapons. Dream Death, Towards Rebirth is also dense, visceral and infernal, with the kitchen crafted by T and Sibilans exhaling Doom Metal insanity; and Four Levels of Infinite Splendour ends the album with an epic vibe while also bringing anguish and despair to our rotten souls, with the riffs by MZ once again cutting our flesh deep before the song’s climatic ending.
After all is said and done, you’ll realize that The Great Jihad is a work that feels both familiar and renewed, balancing oppressive density with moments of stark, otherworldly beauty, bringing a journey that began in 2005, when the album was originally crafted, to its intended conclusion. The guys form Urna might not be found on any social media (which in the end is never a bad thing, to be honest), but you can add their striking new album to your collection by purchasing it from the ATMF’s BandCamp or from Metal Odissey, showing your support and admiration for the band and their music. The Great Jihad is dark, intense, bold, multi-layered and, above all that, loyal to the foundations of a band that will never abandon their core Black and Funeral Doom Metal essence no matter what. Because although much has changed since the already distant year of 2003, Urna have not.
Best moments of the album:Second of Three and The Great Jihad.
Worst moments of the album: None.
Released in 2026 ATMF
Track listing Creator
1. First of Three 5:55
2. Second of Three 4:43
3. Third of Three 7:02
Created
4. The Great Jihad 4:11
5. Dream Death, Towards Rebirth 6:42
6. Four Levels of Infinite Splendour 8:09
Band members RM – vocals
MZ – guitars, synthesizers
T – bass
Sibilans – drums
This uncanny entity from Norway is back with their third studio album, one of the finest 32 minutes of idiosyncratic Black Metal insanity you will come across in a long time.
Formed in 2003 by vocalist and guitarist Aldrahn, one of Norwegian Black Metal’s foremost legends, especially infamous for his inimitable vocals on landmark albums by Thorns, Dødheimsgard, and Zyklon-B, the uncanny Avantgarde Black Metal entity Urarvis back with their third offering, titled Nychta Psychis, following up on their 2023 sophomore Substratum. Currently formed of the aforementioned Aldrahn on vocals and guitars alongside Sakis also on the guitars, Sturt on bass, and Trish on drums, the band brings forward one of the finest 32 minutes of idiosyncratic Black Metal insanity you will come across in a long time, making it unmistakably clear from the album’s very first second that they couldn’t care less what anyone might expect or think. This resulted in a beautifully unconventional album that is both adventurous and sophisticated without sounding pretentious or artificially original, in special the sheer versatility displayed by Aldrahn’s vocal delivery throughout the album’s duration.
Dødheimsgard offers an excellent start to the album with Aldrahn’s demented vocals walking hand in hand with the song’s metallic, sharp riffs, and crushing beats and fills, sounding like two or three songs in one; followed by the title-track Nychta Psychis, keeping the momentum going with its ethereal intro followed by a burst of Avantgarde Black Metal madness led by the scorching guitars by Aldrahn and Sakis. Then like a dark waltz of Black Metal insanity we have When Consciousness Identifies With Matter It Is Lost, again showcasing a wild fusion of clean and harsh vocals, caustic guitars, and thunderous bass and drums, whereas Operation Genocide already kicks off in full force, sounding very experimental and diverse. Needless to say, Aldrahn is once again insane on vocals. And lastly, Youniverse sounds as demented as it is melodic and dense, with their otherworldly vociferations and venomous riffs captivating our putrid souls until the very end.
While the band recognizes the ancient heritage of Norwegian Black Metal, they also trample across limitations in their new album. “We’re traveling to remote regions of metal music and mental space with this music. Although our message is one of emotional putrefaction, we want to help listeners find a way through the black hole,” commented the band, and you can find more information about them on Facebook and on Instagram, stream their eccentric creations on Spotify, and purchase a copy of their new album from the Darkness Shall Rise’s BandCamp or webstore. Nychta Psychis is simply honest music written by seasoned musicians who have nothing to prove and none to please, and if you like the early works of Dødheimsgard mixed with a handful of different spices, do yourself a favor and make sure to purchase a copy of the new album by those amazing musicians from beautiful Norway.
Best moments of the album:Nychta Psychis and Youniverse.
Worst moments of the album: None.
Released in 2026 Darkness Shall Rise
Track listing 1. Dødheimsgard 6:48
2. Nychta Psychis 7:00
3. When Consciousness Identifies With Matter It Is Lost 7:18
4. Operation Genocide 4:30
5. Youniverse 7:04
Band members Aldrahn – vocals, guitars
Sakis – guitars
Sturt – bass
Trish – drums
This up-and-coming Spanish Symphonic Metal outfit continues to explore the classical elements of nature with their striking new EP, a direct, emotional and unpretentious album for those seeking music with a soul.
Representing the perfect union between the power of Heavy Metal and the sensitivity of Melodic Hard Rock, showcasing a sound that fuses powerful guitars, orchestral arrangements, and electronic elements, Valladolid, Spain-based Symphonic Metal outfit Xeria stands out for creating memorable choruses and emotionally charged songs that immediately connect with the listener. Influenced by bands like Nightwish and Symphony X and the elegance of Within Temptation and Delain, the band formed of frontwoman Marina Sweet, guitarist Carlos Z, bassist Félix Gacho, and drummer César Manjarrés continues to explore the classical elements of nature with a new EP titled Agua, following up on their 2019 debut Tierra and their 2024 sophomore Fuego. Recorded, mixed and mastered at Dynamita Studios, with drums recorded at Avalancha Studios, the EP is a must-listen for fans of both traditional and modern Symphonic Metal, leaving us eager for more of their music in the near future.
Marina already showcases her talent with a soaring vocal performance in Arena entre los dedos, or “sand between the fingers” from Spanish, supported by the killer riffs by Carlos and the song’s epic background, followed by the breathtaking Tormenta, or “storm,” offering another round of whimsical background keys and the rumbling kitchen by Félix and César. The excellent song Luciérnaga, or “firefly,” is where modern sounds clash with a classic Symphonic Metal vibe, being therefore tailored for fans of Within Temptation, Nightwish and Xandria; before we face La jaula de los días dóciles, or “the cage of docile days,” a hard hitting tune by the quartet where Marina once again steals the spotlight with her striking vocals, boosted by another massive wall of sounds crafted by Carlos, Félix and César.
Known for their powerful, choreographed, and visually stunning live performances that reinforces the energy of their studio compositions, Xeria continue to prove the value of Spanish Melodic Metal on the current scene worldwide, and if you want to know more about the band, their music, and tour dates, you can find them on Facebook and on Instagram, stream their music on any platform such as Spotify, and grab a copy of their excellent new EP by clicking HERE. With Agua, Xenia once again offer a direct, emotional and unpretentious blast of Heavy Metal for those seeking music with a soul, and I’m sure whenever they release a new EP or album (most probably named Aire), we’ll be absolutely breathless.
Best moments of the album:Arena entre los dedos and Luciérnaga.
Worst moments of the album: None.
Released in 2026 Art Gates Records
Track listing 1. Arena entre los dedos 4:12
2. Tormenta 5:18
3. Luciérnaga 4:50
4. La jaula de los días dóciles 3:48
Band members Marina Sweet – vocals
Carlos Z – guitars
Félix Gacho – bass
César Manjarrés – drums
This Italian Melodic Death and Doom Metal outfit is back with their striking fifth full-length offering, combining their trademark melancholy with a renewed sense of identity and purpose.
Following their acclaimed 2023 album The Loss Of Beauty, Italian Melodic Death/Doom Metal act Shores of Null continues to expand their emotional and sonic universe with their fifth full-length opus, titled Homesick, a record that combines their trademark melancholy with a renewed sense of identity and purpose. Recorded at Bloom Recording Studios, the new opus by vocalist Davide Straccione, guitarists Gabriele Giaccari and Raffaele Colace, bassist Matteo Capozucca, and drummer Emiliano Cantiano sees the band continue to broaden the expressive range of their sound, moving beyond genre boundaries while preserving the melancholic intensity and refined songwriting that have become the hallmark of one of the most distinctive voices in today’s melodic death and doom landscape. Conceived as a complete listening experience rather than a simple collection of individual songs, Homesick moves through a wide range of emotional states – longing, loss, anger, vulnerability and the search for a place to belong. Each track offers its own identity and emotional weight, but the full picture only emerges when the album is experienced from beginning to end.
Allies Before Defeat already kicks off with an overdose of Doom Metal riffs by Gabriele and Raffaele while the vocals by Davide sound deep, intense and dark; whereas Two Mountains sounds even more captivating, as if Insomnium decided to go full Doom and Gothic Metal, and when Davide fires his deep guttural things get even more exciting and incendiary. Matteo and Emiliano make the earth tremble in the Doom Metal aria Bleed to Life, accompanied by the crying guitars by the band’s axe duo, whereas the title-track Homesick leans towards the melancholic, obscure sounds blasted by the mighty Paradise Lost, dragging our souls to oblivion. And Son of the Tide is another stunning creation by those Italians, with Emiliano delivering a solid fusion of darkness and intricacy through his beats and fills.
Then featuring Shaun MacGowan of My Dying Bride on the violin, Dreaming of a Scar offers a killer fusion of the heaviness of extreme music with the finesse of the violin, while Davide continues to alternate between his devilish gnarls and anguished clean vocals, followed by Society Is the Murderer, perfect for headbanging in pitch black darkness, sounding very emotional and dark with Davide delivering passionate clean vocals. The Numbing Void, showcasing Natalie Koskinen of Shape Of Despair on vocals and Shaun MacGowan again on the violin, is perhaps the most Doom Metal of all songs, where Gabriele and Raffaele are once again on fire armed with their axes, while Another Breath is an excellent song musically speaking, despite lacking the darker vein of the other songs in the album. And lastly, Disappear brings the band back to their core doom-laden sounds, presenting a striking ending to the album to the hammering drums by Emiliano.
“I’m fascinated by themes such as nostalgia, loss, belonging, and the ways in which the past continues to shape who we are. Sometimes inspiration simply comes from observing the world around me. Other times it starts with a question I can’t answer, and writing becomes a way to explore it. With Homesick, I found myself reflecting on the idea of ‘home’ as something much deeper than a place. Many of the lyrics revolve around that tension between longing and pain, between the desire to return and the fear of what might still be waiting for us there,” commented Davide, inviting us on a sonic journey for fans of Paradise Lost, Amorphis, Swallow The Sun, Katatonia, and Borknagar. Don’t forget to follow the band on Facebook and on Instagram, to stream their music on Spotify, and of course to purchase Homesick from Dusktone’s BandCamp (please note the vinyl edition will include a short intro created specifically for the format, designed to enhance the Side A / Side B listening experience without altering the essence of the album). Homesick is undoubtedly one of the strongest statements of their career, a deeply emotional, carefully crafted and immersive record that confirms their place among the leading forces of Melodic Death and Doom Metal, transpiring an array of emotions that only the heaviest and darkest of the subgenres of heavy music can provide to our suffering souls.
Best moments of the album:Two Mountains, Son of the Tide and The Numbing Void.
Worst moments of the album:Another Breath.
Released in 2026 Dusktone
Track listing 1. Allies Before Defeat 4:35
2. Two Mountains 4:34
3. Bleed to Life 4:09
4. Homesick 5:31
5. Son of the Tide 4:18
6. Dreaming of a Scar 5:08
7. Society Is the Murderer 4:30
8. The Numbing Void 6:18
9. Another Breath 3:52
10. Disappear 4:33
This striking French Progressive Metal collective concludes their visual and thematic trilogy with a challenging yet deeply emotional journey through the massive structures of both human nature and the infinite universe.
Formed in 2018 in Paris, Spheres are a French modern Progressive Metal band blending the intensity of Melodic Death Metal with the depth and complexity of progressive music, combining crushing riffs, atmospheric textures, and a dynamic interplay of clean and harsh vocals, therefore creating a powerful and immersive listening experience. Produced by the band’s own mastermind Jonathan Lino, recorded at JL Studio, mixed by Chris Edrich, mastered by Pierrick Noel, and showcasing a striking artwork by French artist Julien Grelet, the multi-layered Dyson is the new album by the aforementioned Jonathan Lino on vocals, guitars and keyboards together with Marc-Antoine Walczak also on the guitars and keyboards, Clemence Santé on bass, and Jesses Haddad on drums, successfully closing the visual and thematic trilogy that started with the albums Iono and Helios, offering a challenging yet deeply emotional journey through the massive structures of both human nature and the infinite universe.
The band’s cinematic and metallic party kicks off with the groovy Underworld, where the bass lines by Clemence bring sheer heaviness to their music while Jonathan alternates between savage growls and emotional clean vocals. Clemence and Jesses make the earth tremble in Kemper, offering an overdose of progressiveness mixed with heavier and darker sounds, followed by We Are Not Alone, inspired by the melodic sounds by renowned acts the likes of Dream Theater and Symphony X, with the guitars and keys by Jonathan and Marc-Antoine sounding ethereal. Drive Me To The Dawn offers more of their striking blend of Progressive Rock and Metal, with Jesses’ beats walking hand in hand with all background keys and sounds in a lesson in the genre; and I Like To Comment keeps the atmosphere as groovy as it can be, with all breaks and variations adding an extra punch to the music. Then we face Shadows Of Despair, alternating between heavy and progressive moments, and whimsical, soothing passages, with Jonathan taking the lead with his passionate vocals, before they conclude their journey with Virtual Prison, absolutely multi-layered, vibrant and captivating, not to mention their riffs and solos sound electrifying, flowing majestically until its climatic finale.
Driven by themes of introspection, human evolution, technology, and dystopian futures, Spheres craft music that is as thought-provoking as it is impactful, inviting listeners into richly layered sonic landscapes, exactly like what they have to offer in their newborn spawn Dyson. If you want to know more about such an interesting name of the current rock and metal scene in France and show them your total support, you can find the band on Facebook and on Instagram, stream their music on any platform like Spotify, and purchase Dyson from their own BandCamp or by clicking HERE or HERE. In the end, Dyson is more than just an album of heavy music, but an invitation to explore the universe alongside one of the most creative bands of the current French scene.
Best moments of the album:Drive Me To The Dawn and Virtual Prison.
Worst moments of the album: None.
Released in 2026 Art Gates Records
Track listing 1. Underworld 4:45
2. Kemper 6:44
3. We Are Not Alone 5:32
4. Drive Me To The Dawn 4:36
5. I Like To Comment 4:29
6. Shadows Of Despair 7:48
7. Virtual Prison 8:02
Band members Jonathan Lino – vocals, guitars, keyboards
Marc-Antoine Walczak – guitars, keyboards
Clemence Santé – bass
Jesses Haddad – drums
Witness the rise, fall and infinite loop of human civilization throughout the cosmos in the form of the striking debut album by this up-and-coming Danish Progressive Metal ensemble.
Emerging with a sound that bridges technical precision, atmospheric depth, and cinematic storytelling, Kolding, Denmark-based Progressive Metal ensemble Kinetic was built on a shared ambition to create music that moves beyond convention, both musically and conceptually, drawing inspiration from progressive heavyweights while carving out a distinct sonic identity. Following the release of their well received debut EP Sentience in 2025, which offered a first glimpse into the band’s evolving sound, the band formed of vocalist René Hougaard, guitarist David Thing, bassist Christian F. Heitmann, keyboardinst Marcus Levin, and drummer Rune Görlitz returns with their first full-length opus, titled Liminal, a concept album produced by Frederik Uglebjerg (Galge, MØL, Trold, Isbjörg) and shaped by contrast – tension and release, chaos and control, the vastness of space and the intimacy of human thought – while the band refines their musical identity by pushing into both heavier and more ambient territories.
Beginnings is as atmospheric and eerie as it can be, slowly growing into an enfolding sound led by René’s deep vocal lines while Rune dictates the pace with his heavy-as-hell beats and fills, while in Evolution initial acoustic, ethereal moments evolve into another Progressive Rock and Metal extravaganza, feeling like five or six songs in one. New Frontiers sounds like Dream Theater on steroids, with the guitars by David breathing fire while Marcus makes sure the atmosphere remains cryptic with his spot-on keys; followed by Type 0.75, showcasing a more cadenced side of the band as if Meshuggah decided to go full progressive, with Marcus again delivering sheer electricity from his keys. Half of the following tune, Fermi, is almost like a dark ballad, with everything switching to a heavier and groovier sound led by the intricate riffs by David and the low-tuned bass by Christian, repeating everything all over again, and the same Christian kicks off the obscure Progress to One, inviting us to bang our heads nonstop in absolute darkness, with Rune crushing his drums with endless power.
Dyson is not a bad song, but not as electrifying as the rest of the album, although the riffs and solos by David sound majestic; whereas they bring elements from 80’s Gothic Rock and Metal to their core Progressive Metal essence in Journey to the Stars, and the final result is truly entertaining, spearheaded by the groovy bass by Christian. Digital Mind offers more of their futuristic take on Progressive Metal, with René’s vocals sounding again flawless, adding passion and darkness to the overall result, all boosted by another classy solo by David; while 2 to Five also alternates between absolute heaviness and delicate, passionate moments, not to mention the electricity flowing from their axes is insane. Lastly, composing a 20-minute song is always a bold move, but a band like Kinetic definitely knows how to do that to perfection like in Omega, kicking it off with serene and atmospheric elements before blasting their trademark Progressive Metal sounds, resulting in a wild metallic journey where David is on fire armed with his axe while René keeps telling the story majestically until the song’s climatic ending.
A massive Progressive Metal concept album bound together by a coherent, overarching storyline that connects the first note of the opening track to the final fading echoes of the grand finale, drawing inspiration from the Kardashev Scale (a theoretical framework proposed by astrophysicist Nikolai Kardashev that measures the technological advancement of a civilization based on the amount of energy it can harness), Liminal will surely help the band establish themselves as a notable force within the modern Progressive Metal landscape, and you can get to know more about them on Facebook and on Instagram, stream their music on Spotify, and of course, grab a copy of the album by clicking HERE. Spanning more than 115 minutes in length, the album uses dynamic songwriting and deep narrative storytelling to track the rise, fall and infinite loop of human civilization throughout the cosmos, and I’m sure you’ll have an amazing time traversing the universe together with Kinetic to the sound of their striking new album.
Best moments of the album:New Frontiers, Progress to One and Omega.
Worst moments of the album:Dyson.
Released in 2026 Eclipse Records
Track listing 1. Beginnings 8:40
2. Evolution 11:13
3. New Frontiers 12:58
4. Type 0.75 8:26
5. Fermi 8:11
6. Progress to One 5:35
7. Dyson 6:15
8. Journey to the Stars 8:27
9. Digital Mind 7:18
10. 2 to Five 9:13
11. Omega 20:09
Band members René Hougaard – vocals
David Thing – guitars
Christian F. Heitmann – bass
Marcus Levin – synthesizers
Rune Görlitz – drums
Attention, metalheads!
