Última Batalla – Última Batalla Review

[Cover artwork by Subhuman at Desert Dungeon]

Let’s talk about our love for quirky metal.

Okay, sure, any definable level of ‘quirk’ is obviously subjective, but I’m guessing you know we’re not talking about the guy who loves The Black Album and thinks Suffocation sounds outlandish. So, hone the scopes down to the individuals who’ve been in the game long enough to really plumb the depths into strange realms where quirks attach themselves to any or all facets of a band, rendering a uniqueness that stands out enough to virtually guarantee a reduced cluster of enthusiasts in an already reduced cluster of enthusiasts.

And on the other end of the spectrum, we also don’t need to dive too deep into the peculiar, like the Paul Chains, Varghkoghargasmals or Trichomoniases that swirl in the deepest bits of the underground. Ideally, we’re looking for that true sweet-spot of quirk that: 1) Challenges limits amidst initial spins, 2) Inspires others to say things like “I think I would love this, but…”, and 3) Eventually attaches itself to your DNA as a lovable eccentricity that you’d really rather not live without for the rest of your miserable life.

The easiest way to hit that sweet-spot? Quirky vocals and / or wEiRd production choices. For my part, I’ve always been a fan of eccentric singers, thanks largely to early exposure to artists such as King Diamond, Tim Baker, Udo, David Wayne, Scott Reagers, et al., and unconventional production directions can absolutely end up adding to the charm of a record over time, like Queensrÿche’s The Warning. Taking the concept one step further, based on my very first impressions of bands like Manilla Road and Pagan Altar decades ago, I never would have guessed I’d eventually own everything they’ve done and count them as essential elements to the crux of me as a metal fan. Conversely, I fully understand and respect those who dismiss such bands because of… well, quirks.

ÚLTIMAAAAAAA BATALLAAAAAAAAAAAAAAA, he howled whilst hurling Gungnir directly at the eye of Jörmungandr.

Oh, shit! That was totally Falkor, not Jörmungandr. That’s my bad. That’s my bad and I take full responsibility. Whew, talk about quirky!

Última Batalla!

The first thing you should probably know about this record is that, while it’s new—released in 2026—it’s not actually new new, in that it came out waaaaaay back in early January. Twas new to me, though, when I first caught wind of it about a week ago, and I haven’t seen much traction from the usual interweb outlets, so why not throw a snazzy little spotlight in its direction as a tribute to its overlooked virtue.

The second thing you should know about this record is that it’s, uh, super quirky! Fucking duh, no? Hell, it might even wander a little further into full-on weird, depending on your perspective. Not quite ‘baby born with a beard’ weird, mind you, but what if you grew up in the underground Bogotá, Columbia punk and metal scene, decided to form a band, and then decided this was your formula for success:

Like… what? Sure, why not blend the epic flare of Crystal Logic with the raw punk-metal energy of Dimension Hatröss, add some NWOBHM bursts, a few pinches of classic Dave Chandler acid doom, and then infuse a touch of egg punk into the entire helter-skelter bouquet to boost the quirk an extra two or five tiers. Wash everything down with a few twelvers of Schlitz and you’ve got an afternoon of horseplay that absolutely ends with someone jumping off the roof into an inflatable Smurf pool while everyone else raises their swords in a salute to the absurd.

“Lejos de casa (Far from Home)” is a perfect touchstone for gauging whether or not (or how fast) you need to leave the hall: It slips from the gate with a lost and unreasonably raw NWOBHM riff that sets the stage for the tussle, quickly followed by a klaxon howl that pushes the charge into second gear. The whole of the record sounds like it was recorded live in the tormented ruins of a burned out gladiator’s arena, and this track confirms that assertion by gradually hustling faster and faster to a point where the chariot, horses and champion nearly flip right off the goddamned track. But it never fully crashes because flailing beserker intensity was actually the plan all along, and Ultima Batalla has that particular strategy down.

The vigorous chorus here is more warbled than a 40 year-old cassette copy of Night on Bröcken, with vocalist Filo Martínez-Aparcio playing the role of Master to the Hellroadie / Manilla Road Blaster. Don’t like nasally vocals? Holy fuck did you ever take the wrong turn at Albuquerque. Filo’s unorthodox voice has a curious way of ultimately settling in, though, and it’s offset properly by an equal amount of attention getting thrown toward the sturdy but fibrous bass and all that matted battery behind the drum kit.

I fucking knew guitarist Carlos X opted for a Gibson SG before I ever glimpsed the proof—the oily riffing and the way he fastens melody to his fretplay is built on the foundation of Iommi colliding with Dave Chandler. That frenzied harmony around the 2-minute mark of “Lejos” is the closest thing you’ll get to a solo on the record, and if you can’t at least appreciate the wonderful tone he conjures as a song like “Una y mil veces (A Thousand Times Over)” opens, then what the hell are you even doing in the realms of heavy metal in the first place.

You still here? Well, bucko, you just might be the ideal target for a band like Última Batalla. I’m guessing perhaps you also dug into equally quirky releases from the likes of Steröid and Demon Bitch last year? EMBRACE THE QUIRK, for it is within these peculiar realms where the volatile propellants necessary for upheaval against the tedium of ordinary life are ignited. Gallop! Scrap! Be weird! And be victorious!