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

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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.

Concert Review – Burning Witches (The Garrison, Toronto, ON, 04/23/2026)

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Metalheads in Toronto were finally locked in the dark tower of Heavy Metal ruled by the phenomenal Witches of the North on their first ever concert in the city.

OPENING ACTS: AMMO and Thunderor

For the first time ever in their already solid career, the indomitable BURNING WITCHES, with the support of THUNDEROR and AMMO, took the city of Toronto by storm with their undisputed blend of Heavy and Power Metal during their Canadian Tour 2026, brought to the city by Boonsdale Records. I initially thought The Garrison might have been too small for these three amazing bands, but due to the fact Dark Tranquillity were playing in the city at the exact same time, the attendance for Burning Witches wasn’t exceptional. It feels like that’s the norm in Toronto in April and May, and then in September and Ocober, with countless concerts night after night, then huge draughts in the summer and winter. Well, Keith Ibbitson of Metal Paparazzi and I were there to worship our beloved Witches of the North, bringing to our metallic hearts an overdose of metal awesomeness (louder than an atom bomb, by the way), and I’m sure after such an amazing show they’ll quickly return to Toronto in the near future for another ass-kicking concert.

In order to properly introduce the first band of the night, I have a question for you. Are you too metal for metal? That’s exactly what Toronto’s own Heavy Metal brigade AMMO delivered to us all this Thursday night, playing their already classic hymn Too Metal for Metal, plus songs from their 2019 EP Taking the Throne, and their 2025 single Mortis Rex, all available on BandCamp and on Spotify. With guitarist Brett Williams now also taking care of their vocal duties, the quartet kicked some serious ass onstage, properly warming up the crowd for the upcoming attractions. Kudos also to the iconic bassist Necro Hippie for blasting his bass nonstop, adding an extra layer of heaviness to the band’s core sound. I think their first full-length album is long overdue, we definitely need that, as those guys know how to add the word “METAL” to any stage, and if you ever have a chance to see them live, do not miss it.

Setlist
Mortis Rex
Far From Here
Street Metal Werewolves
Heart of Sin
Empire
Too Metal for Metal

Band members
Brett Williams – vocals, guitars
Matt Lewis – guitars
Necro Hippie – bass
Struan Robertson – drums

After a short break, it was time for Toronto’s Heavy Meta/Hard Rock heroes THUNDEROR to bring the arena-rock anthems from their 2022 album Fire It Up and their brand new offering Bleed for It to life at The Garrison, both available on BandCamp and on Spotify, and I’m always going to say it’s truly impressive how the band’s mastermind JJ Tartaglia is capable of singing, playing drums, and even playing keyboards at the same time. Well, we can all do that, but of course let’s say the quality of the sound in that case will be below hideous, right? Jokes aside, and back to the concert, it felt like being taken back to the glory of the 80’s during their set, with songs like Fire It Up, Get ‘Em Counted, and in special Cape Breton Home, featuring the awesome guest fiddler Zoe S., inspiring us to headbanging and raise our horns together with JJ and his crew. If you don’t know Thunderor yet, don’t waste your time and go check their music, and if possible, go see them live. It’s time to pump up the volume, my friends!

Setlist
Fire It Up
One Chance
Pump Up The Volume
Get ‘Em Counted
Cape Breton Home
Dangerous Times
Thunderor
How We Roll

Band members
JJ Tartaglia – vocals, drums, keyboards
Jonny Nesta – guitars
Brycen Gunn – bass

BURNING WITCHES

After a long wait of over ten years, Switzerland’s unparalleled Heavy/Power Metal brigade BURNING WITCHES finally toured Canada, or at least a few selected Canadian cities including Toronto, and the excitement on the faces of all fans at The Garrison was crystal clear with their first chance ever to see those talented ladies kicking some serious ass live. Having released the excellent Inquisition in 2025 (available on both BandCamp and Spotify, just like all of their other albums), the band formed of the air raid siren Laura Guldemond (what an incredible voice!), the virtuosi Romana Kalkuhl and Courtney Cox on the guitars, the thunderous Jeanine Grob on bass, and the unstoppable Lala Frischknecht on drums delivered a fantastic mix of their entire discography for the total delight of all concert goers, leaving us all eager for more after all was said and done.

Lots of vocalists use a variety of corrective and creative effects on their microphones during their live performances, such as reverb or delay, but not Laura. Her voice is unbelievable, absurdly powerful and piercing, adding even more electricity to their already thrilling songs like Dance With the Devil, The Dark Tower (my favorite of the night), Inquisition, and the beautiful ballad Release Me. It’s truly a thing of beauty, but of course her bandmates make sure there’s endless heaviness for her to shine on vocals. Romana and Courtney didn’t stop shredding their axes, while Jeanine and Lala made the whole venue tremble. It was insanely loud. Fans were having a phenomenal time, raising their fists, chanting all songs with the girls, and even igniting some mosh pits during their faster songs.

After their coup-de-grace with the classics Hexenhammer, Wings of Steel, The Witch of the North, and Burning Witches, as it was their last show of the tour (before getting a flight to Germany the following morning to play at a festival basically that same day), we were all expecting a surprise like “Holy Diver”, but that’s fine. We understand how exhausting their flight back could be, and besides, we already got to see them playing their biggest classics live in the city for the first time, right? After the show, some of the girls spent a few minutes outdoors chatting with fans. I had the pleasure of talking for a bit with Courtney and Jeanine, and I must say they’re not just extremely talented musicians, but super nice ladies who make the world a much better place with their music and charisma. I really hope this wasn’t their first and only show in Toronto, as they need to return to the city to play at a bigger venue (and not on the same day as a major player like Dark Tranquillity), so that more people get exposed to their stunning Heavy Metal. As a huge fan of the band, I can’t wait to get locked in a dark tower in Toronto once again by the most talented witches of heavy music.

Setlist
Sanguini Hominum
Soul Eater
Shame
Dance With the Devil
Maiden of Steel
The Dark Tower
Sea of Lies
Inquisition
Release Me
Black Widow
Evil Witch
Lucid Nightmare
Dungeon of Infamy
The Witch Circle
Hexenhammer
Wings of Steel
The Witch of the North
Burning Witches
Malus Maga

Band members
Laura Guldemond – vocals
Romana Kalkuhl – guitars
Courtney Cox – guitars
Jeanine Grob – bass
Lala Frischknecht – drums

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Album Review – Cnoc An Tursa / A Cry For The Slain (2026)

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One of the most interesting acts of the Scottish metal scene returns with an evocative tribute to the history, the folklore, and the unique magic of their homeland in the form of their third album.

“Let warlocks grim an’ wither’d hags
Tell how wi’ you on ragweed nags
They skim the muirs an’ dizzy crags
Wi’ wicked speed;
And in kirk-yards renew their leagues,
Owre howket dead.” – Robert Burns – Address To The Devil

Eight years on from their last album, titled The Forty Five, Falkirk, Scotland’s own Blackened Folk Metal warriors Cnoc An Tursa (or “Hill of the Standing Stone” in Scottish Gaelic) returns with an evocative tribute to the history, the folklore, and the unique magic of their homeland in the form of their third album, entitled A Cry For The Slain. With the intuitive mastering of Jaime Gomez Arellano at Orgone Studios bringing depth and vigor to every note, and with all the emotion and secrets of its narrative captured in the evocative artwork of the unstoppable Olga Kann, the newborn opus by Alan Buchan on vocals, Rene McDonald Hill on the guitars and keyboards, and Bryan Hamilton on drums is a breathtaking album for fans of Primordial, Winterfylleth, Saor and Forefather, a beacon burning in the night of mundane modernity, calling to those of us who want more than we’ve been sold.

Na Fir Ghorma, which translates from Scottish Gaelic as “the blue men,” referring to mythical, human-sized, blue-skinned creatures in Scottish folklore, is a mysterious, atmospheric intro that warms us up for The Caoineag, a female spirit in Scottish Highland folklore, acting as a “weeper” or specialized banshee that foretells violent death, with Bryan hammering his drums mercilessly in a lecture in Scottish extreme music. Cailleach And The Guardians Of The Seven Stones refers to a deeply rooted Scottish and Irish mythological tradition centered on the Cailleach (the “Veiled One” or “Queen of Winter”) and a ritualistic, seasonal relationship with sacred stones that represent her family, while the music showcases Rene’s striking, primeval riffage matching perfectly with Alan’s soaring vocals; followed by Baobhan Sith, a malevolent, vampiric fairy from Scottish Highlands folklore, often described as a “fairy witch” or “fairy woman,” while the music leans towards classic Folk Metal, with its mysterious female backing vocals sounding simply stunning.

Rene and Bryan build a dancing atmosphere in Am Fear Liath Mòr, translated from Scottish Gaelic as “big grey man”, referring to a legendary, cryptid creature said to haunt the summit and passes of Ben Macdui in the Cairngorms, Scotland’s second-highest peak. Musically speaking, it reminds me of some of the thrilling songs by the mighty UADA; whereas in Alba In My Heart (where “Alba” is the Scottish Gaelic name for Scotland) the band makes sure they add all their admiration and love for their country to the music, with their riffs, drums and roars exhaling pride and power. Address To The Devil – 1786, a satirical poem that mocks the Calvinistic, fear-based religious teachings of 18th-century Scotland by treating the Devil (“Auld Hornie”) as a familiar, almost comedic figure rather than a terrifying entity, presents a more straightforward fusion of Black and Folk Metal led by Alan’s demonic growling, also displaying an ethereal passage with the same mysterious woman back on vocals; flowing into the piano-driven outro The Nine Maidens Of Dundee, a Scottish legend about a farmer’s nine daughters killed by a dragon near Pitempton, subsequently avenged by a hero named Martin.

“With this new album we feel like we are going back to our roots with a more guitar driven style and bringing back some of the folk elements musically and lyrically which was the original inspiration for the band,” commented the guys from Cnoc An Tursa, and by looking back they have found their way forward, reigniting their fire and forging an album that will resonate through the years to come. Alan, Rene and Bryan are waiting for you with their striking fusion of Scottish folklore and heavy music on Facebook and on Instagram, and don’t forget to also stream their unique creations on Spotify and, above all that, to purchase the excellent A Cry For The Slain from the Apocalyptic Witchcraft’s BandCamp or webstore. Cnoc An Tursa undoubtedly have Alba in their hearts, translating that passion for their homeland into first-class extreme music in their new album and, therefore, keeping the fires of their unparalleled culture burning bright for many decades to come.

Best moments of the album: The Caoineag, Baobhan Sith and Alba In My Heart.

Worst moments of the album: None.

Released in 2026 Apocalyptic Witchcraft

Track listing
1. Na Fir Ghorma 2:28
2. The Caoineag 7:40
3. Cailleach And The Guardians Of The Seven Stones 4:58
4. Baobhan Sith 6:39
5. Am Fear Liath Mòr 4:42
6. Alba In My Heart 7:20
7. Address To The Devil 7:32
8. The Nine Maidens Of Dundee 3:00

Band members
Alan Buchan – vocals
Rene McDonald Hill – guitars, keyboards
Bryan Hamilton – drums

Album Review – Blood Countess / Imperatrix Sanguinis (2026)

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It’s time to summon the dark legend of the Blood Countess, and drown quickly in the blood red waters of their scorching sophomore opus.

For nearly a decade now, UK’s own Black Metal beast Blood Countess has waged a war on weakness and mediocrity with a blackened sound strikingly authentic, nothing but the coldest, most merciless of the mid-to-late 90’s the likes of classic Enthroned, Lord Belial, and Thy Primordial. Four years after their critically acclaimed debut Occulta Tenebris, the ruthless frontwoman Nina “The Cuntess” Blackwood and her henchmen István and Átok on the guitars, Darianth on bass, and Michael Robinson on drums return from the underworld with their sophomore spawn, entitled Imperatrix Sanguinis, a Latin phrase that translates directly to “Empress of Blood,” surging forth with a savagery that’s merciless, punishing, and perversely addicting, perfect for those with a staunch, depraved constitution.

Get ready to have all your blood fully drained by The Cuntess in Chains of Misdeed, growling and screaming like a true vampiric entity while Darianth and Michael deliver infernal Black Metal sounds for our total delight, whereas Sadistic Marchioness is even more infuriated and demonic thanks to the ruthless riffage blasted by István and Átok, while Michael continues to hammer his drums without mercy. A Humiliating Plea for the Glorification of Erotic Suffering carries the most poetic name of all songs, and the music is just as infernal and obscure, with The Cuntess continuing to gnarl rabidly for our vulgar delectation; and the band then speed things up and melt our faces with their vile Black Metal magic in The Scavenger’s Daughter, led by Michael’s pulverizing beats and fills.

After the Cradle of Filth-like interlude Shakals of Sin, such a violent UK horde is out for blood again in Purge of Trencin, as demented and grim as its predecessors, with The Cuntess roaring flawlessly supported by the striking riffs by István and Átok, being therefore perfect for enjoying a blood-soaked circle pit during their live shows. Schadenfreude, or the pleasure derived by someone from another person’s misfortune, sees Blood Countess turn that distinguished concept into another feast of raw Black Metal, with Darianth and Michael once again presenting their devilish kitchen from hell; whereas lastly we face Anna Nádasdy, the daughter of the infamous Countess Elizabeth Báthory of Ecsed, with The Cuntess impersonating Anna in great fashion with her desperate, anguished screams, sounding utterly visceral, hypnotizing and disturbing from start to finish.

In a nutshell, Nina “The Cuntess” Blackwood and her Blood Countess remain true to their moniker in Imperatrix Sanguinis, spilling tales of Elizabeth Bathory’s reign of blood-soaked tyranny – obsession, sex, and perversion entwined with madness and hatred for humankind – all led by her invective throat. It’s indeed one of the strongest Black Metal albums of the year, and if you want to join The Cuntess in her quest for blood you can start following the band on Facebook and on Instagram, stream their caustic, impious creations on Spotify, and of course put your blood-soaked hands on the breathtaking Imperatrix Sanguinis by purchasing it from Dominance of Darkness Records’ BandCamp or webstore. In other words, it’s time to summon the dark legend of the Blood Countess, and drown quickly in the blood red waters of the mighty Imperatrix Sanguinis.

Best moments of the album: Chains of Misdeed, The Scavenger’s Daughter and Anna Nádasdy.

Worst moments of the album: None.

Released in 2026 Dominance of Darkness Records

Track listing
1. Chains of Misdeed 5:28
2. Sadistic Marchioness 5:03
3. A Humiliating Plea for the Glorification of Erotic Suffering 5:14
4. The Scavenger’s Daughter 3:57
5. Shakals of Sin 2:05
6. Purge of Trencin 6:30
7. Schadenfreude 4:32
8. Anna Nádasdy 5:53

Band members
Nina “The Cuntess” Blackwood – vocals
István – guitars
Átok – guitars
Darianth – bass
Michael Robinson – drums

Album Review – At the Gates / The Ghost of a Future Dead (2026)

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These Melodic Death Metal masters and Gothenburg Sound pioneers are unleashing upon us their striking seventh album, a magnificent, emotionally turbocharged epitaph to frontman Tomas Lindberg.

Recorded and mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, and displaying a dark, minimalist artwork by Robert Samsonowitz, the breathtaking The Ghost of a Future Dead is more than just the seventh studio album by Melodic Death Metal masters and Gothenburg Sound pioneers At the Gates. The follow-up to their 2021 opus The Nightmare of Being has now become a magnificent, emotionally turbocharged epitaph to frontman Tomas Lindberg, an absolute titan of underground music,  who tragically passed away in September 2025. In the midst of processing such a devastating loss, the remaining members of At the Gates, guitarists Anders Björler and Martin Larsson, bassist Jonas Björler, and drummer Adrian Erlandsson, vowed to complete the musical journey they had been on for the previous 12 months, with Tomas’ blessings and inspirational contributions still ringing in their ears, resulting in another essential part of his brave, fascinating, and inspirational story, and arguably one of the most powerful and emotional albums the band has ever recorded. “If I remember rightly, we had all the lyrics before it was recorded, but we played with the title after he was diagnosed,” said Anders. “So the title reflects his situation, that he might not survive the illness. The working title was The Dissonant Void, but in the spring of 2024, we changed it to The Ghost of a Future Dead. I don’t know if it was like a premonition of what was about to come or anything. But now it’s an eerie title, because he has passed. It makes the title even more real somehow.”

At the Gates waste no time and kick off their rabid feast with The Fever Mask, featuring guest Charlie Storm (Dimmu Borgir, Dragonlord, In Flames) on keyboards, where Tomas screams the song’s words majestically (“Irrevocable howling rapture / Ravenous and foul / All-devouring hallucinations / A purgatorial shroud / Emptiness unbound / Annihilation masked / The labyrinth inside / The fever mask”). Moreover, I love the fact Tomas basically “cheated” death with the release of this album, proving his soul is immortal, and his visceral vocals in The Dissonant Void are simply phenomenal. Det Oerhörda, a Swedish phrase that translates to “the incredible” or “the monstrous” in English, featuring guest Fredrik Wallenberg (Embalmed, Sarcasm, The Lurking Fear) on vocals, starts in a sinister way like a horror movie, boosted by Anders and Martin’s relentless riffs; followed by A Ritual of Waste, a journey back to their early days where Adrian is bestial behind his drums supported by the massive bass lines by Jonas. In Dark Distortion keeps the energy flowing with its fast-paced rhythm in a lesson in Melodic Death Metal made in Sweden; and they definitely want us all to keep the circle pit moving in Of Interstellar Death, with Anders and Martin sounding yet again venomous with their riffage.

Get ready for another majestic melodeath voyage together with Tomas and the boys in Tomb of Heaven, with Adrian showing absolutely no mercy for our souls, hammering his drums like there’s no tomorrow, followed by Parasitical Hive, perhaps the most generic of all songs in the album, not because it’s a weak song but because The Ghost of a Future Dead is truly insane from start to finish. And when a band like At the Gates kicks off a song with an eerie intro you know they’ll smash you like an insect quickly after, which is exactly the case in the high-octane The Unfathomable, spearheaded by another venomous performance by our beloved Tomas on vocals. The Phantom Gospel keeps the level of adrenaline in the album through the roof, with the entire band being on fire armed with their sonic weapons, but of course Tomas steals the spotlight with his infernal growling, whereas Förgängligheten, a Swedish noun that translates to “the impermanence” or “the ephemerality” in English, is a soothing, melancholic interlude that will bring tears to your Heavy Metal eyes before we face Black Hole Emission, a hard hitting tune perfect for concluding Tomas’ undisputed legacy on a high and pulverizing mode. Furthermore, I have no idea if the band has any additional material with his vocals to be released, but if this is his swan song he’s definitely going down in style.

“There’s a legacy surrounding Tomas, especially in Sweden,” commented Anders. “He’s a forefather. He was one of the first people in Gothenburg involved in this scene, and he was an important figure in the tape-trading scene. He was really warm and welcoming to new people. You felt welcome in his presence, somehow. He was super social. He had a lot of friends in a lot of bands around the world. The new album feels like a good, emotional release. To get our last creative moment together out on CD and vinyl, it’s more of an existential thing. The music will speak for itself!” Needless to say, you can pay your tribute to the great Tomas Lindberg by letting the band know how much you love their new album on Facebook and on Instagram, by streaming their music on Spotify, and by purchasing a copy of their amazing new album from the Century Media Records’ BandCamp or webstore, or by clicking HERE. Thank you, Mr. Tomas Lindberg, for making heavy music a much better place, and for leaving us with such a killer album. You’ll never be forgotten. Rest in Power.

Best moments of the album: The Dissonant Void, A Ritual of Waste, Tomb of Heaven and Black Hole Emission.

Worst moments of the album: Parasitical Hive.

Released in 2026 Century Media Records

Track listing
1. The Fever Mask 3:12
2. The Dissonant Void 2:47
3. Det Oerhörda 3:35
4. A Ritual of Waste 3:35
5. In Dark Distortion 3:50
6. Of Interstellar Death 3:45
7. Tomb of Heaven 3:53
8. Parasitical Hive 4:34
9. The Unfathomable 4:07
10. The Phantom Gospel 2:44
11. Förgängligheten 2:41
12. Black Hole Emission 3:39

Band members
Tomas Lindberg – vocals
Anders Björler – guitars
Martin Larsson – guitars
Jonas Björler – bass
Adrian Erlandsson – drums

Guest musicians
Charlie Storm – keyboards on “The Fever Mask”
Fredrik Wallenberg – vocals on “Det Oerhörda”

Concert Review – Helloween (Queen Elizabeth Theatre, Toronto, ON, 04/19/2026)

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The city of Toronto witnessed a majestic celebration of 40 years of absolute Heavy Metal magic by the most beloved pumpkins in the history of mankind.

OPENING ACT: Beast in Black

First and foremost, I have to start this review by thanking Mr. Noel Peters of Inertia Entertainment for bringing one of my childhood heroes back to Toronto. Secondly, although the crowd was not as rowdy nor loud as in Montreal the night before (and yes, I drove all the way from Toronto to Montreal for the show, and back), the cozy Queen Elizabeth Theatre was on fire for the unparalleled HELLOWEEN, supported by BEAST IN BLACK, for their must-see 40th Anniversary North American Tour 2026. My buddy Keith Ibbitson of Metal Paparazzi was also there to witness one of the most important bands in the history of Heavy Metal, and his shots of the concert will give you a very good idea of how bright, vibrant, well-produced and engaging the whole evening was. As a fanboy, it was a dream come true to finally se back to back concerts by my beloved pumpkins, something I had only been able to do before in my life with Iron Maiden, Judas Priest, Slayer and Megadeth, and I need to say this amazing “HelloWeekend” will forever stay in my mind and in my heart as one of my most cherished metal memories.

Before the mighty Helloween hit the stage, the opening slot was given to Helsinki, Finland-based Heavy Metal/Hard Rock brigade BEAST IN BLACK. Formed in 2015 by Anton Kabanen after he left Battle Beast, and having already released the albums Berserker, From Hell with Love,Dark Connection, and the EP Power of the Beast, plus the 2025 single Enter the Behelit, all available on BandCamp and on Spotify, the band put on a great show to warmup the crowd in Toronto (as well as in Montreal, by the way), proving why they’ve been gaining more and more fans in Canadian lands. Songs like Power of the Beast, Enter the Behelit and No Surrender worked really well live, with frontman Yannis Papadopoulos keeping the audience entertained the entire time, but the fact that Anton Kabanen himself stayed in Finland to finish their upcoming album, therefore missing their entire North American tour, was really weird and made their sound feel a bit thinner than usual. Well, priorities are priorities, and I’m sure Anton didn’t want to miss the tour at all, but you never know what surprises or challenges life will present to you, right?

Setlist
Power of the Beast
Hardcore
Sweet True Lies
Born Again
From Hell With Love
Enter the Behelit
Die by the Blade
One Night in Tokyo
Blind and Frozen
No Surrender

Band members
Yannis Papadopoulos – vocals
Daniel Freyberg – guitars
Máté Molnár – bass
Atte Palokangas – drums

HELLOWEEN

It was precisely 8:45pm on a very chilly night in Toronto (after a sunny and warm Saturday in Montreal, which is why you can never trust the weather in April in Canada) when the indomitable metal invaders Michael Kiske, Andi Deris, Kai Hansen, Michael Weikath, Sascha Gerstner, Markus Grosskopf and Dani Löble, collectively known as the Pumpkins United of HELLOWEEN, hit the stage of the Queen Elizabeth Theatre to celebrate 40 years of their undisputed, unparalleled career, proving to us all that Heavy Metal is the law, and it will always be. Their sound, stage and overall production were impeccable, with the big screen behind the stage adding a lot of taste to all songs, in special to the ones preceded by “The Keeper.” Not only that, their setlist was also a thing of beauty, a journey through all of their phases, from their 1985 masterpiece  Walls of Jericho, to their 2025 opus Giants & Monsters (and of course, you can stream them all on Spotify), showing it is possible to celebrate decades of music without forgetting or ignoring any period of their career. We got the usual classics, epic, long songs, new songs, and even some very welcome deep cuts. I think that, if they were allowed, they would have easily played for another hour.

There are no words that can be used to describe how amazing it is to watch Michael Kiske and Andi Deris sharing the vocal duties on basically all songs, plus of course Kai Hansen delivering his pure Heavy Metal power on Ride the Sky and Heavy Metal (Is the Law). In all seriousness, I don’t think there’s any other band in the world, of any music genre, with three phenomenal vocalists and frontmen like Helloween nowadays. I love the fact they sing each other’s songs without any bad blood; quite the contrary, it feels like they’re loving doing that, and of course us fans are the actual winners in this case as all songs sounded absolutely incredible. Just like in Montreal, I think I saw a few people crying every single time Kiske delivered his hypnotizing vocals, taking us all back in time like in the all-time classics March of Time and Future World, while also presenting us with the new masterpiece Universe (Gravity for Hearts), by far the best song of the new album both in the studio and live. What a stunning tune with magical lyrics, definitely reaching deep inside the hearts of us metalheads.

Deris was his usual one-man show, the “perfect gentleman” that keeps our eyes glued to the stage it doesn’t matter if he’s “just” singing or interacting with the other guys, always putting a smile on our faces, while Hansen, Weikath, Gerstner, Grosskopf and Löble kept their engine running flawlessly like one of those perfect German sports cars. That’s the reason why deep cuts like We Burn, Hey Lord! and Hell Was Made in Heaven work so well on this tour. Furthermore, the acoustic part of the show was also a nice touch to it, just like in 2023, with Kiske and Deris once again mesmerizing us all with their unique voices. In the Middle of a Heartbeat (preceded by a snippet of the classic “Yesterday”, by The Beatles) sounded excellent, inspiring all fans to sing it along with them, and having the beautiful A Tale That Wasn’t Right played half acoustic, half fully plugged was also amazing.

The show was already reaching the two-hour mark when the band decided to simply destroy our senses with an overdose of awesomeness that reminded us all why they’ve been on the road for so many decades, always strong, always metal. I guess the 13-minute work-of-art Halloween was by far the favorite of all fans in Toronto and Montreal, with simply everyone singing and screaming it at the top of their lungs. It was a collective catharsis of pure heavy music, and when it was over I wish they simply could start playing it again. The triumvirate of metal madness formed of Eagle Fly Free, Power and Dr. Stein, plus the outro to Keeper of the Seven Keys (and again, I wish they had played it in full), sounded beyond marvelous, and when the show was over you could see in everyone’s faces the crowd still had a lot of energy left for more, as well as the band, but unfortunately as you all know time marches on without us all. It never stops, and hopefully Helloween will never stop either. Needless to say, I’m already waiting for another pumpkin invasion in Toronto and Canada in general because, as you might have noticed, everyday is Helloween.

Setlist
Let Me Entertain (Robbie Williams song)
Interlude
March of Time
The Keeper
The King for a 1000 Years
Future World
This Is Tokyo
We Burn
The Keeper
Ride the Sky
Into the Sun
Hey Lord!
Universe (Gravity for Hearts)
Hell Was Made in Heaven
Drum Solo
I Want Out
In the Middle of a Heartbeat
A Tale That Wasn’t Right
A Little Is a Little Too Much
Heavy Metal (Is the Law)
The Keeper
Halloween

Encore:
Invitation
Eagle Fly Free
Power
Dr. Stein
Keeper of the Seven Keys (Outro)

Band members
Michael Kiske – vocals
Andi Deris – vocals
Kai Hansen – guitars, vocals
Michael Weikath – guitars
Sascha Gerstner – guitars
Markus Grosskopf – bass
Dani Löble – drums

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Album Review – Ural / Anthropic Genetic Involution (2026)

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The wolf beast is once again unleashed, blending full-force Thrash Metal with Crossover adrenaline in their breathtaking new album.

Since 2010, the Turin, Italy-based wolves of Ural have been blending full-force Thrash Metal with Crossover adrenaline and a willingness to step outside the confining boundaries of genre. Mixed and mastered by Davide Billia, and showcasing a killer artwork by Luca SoloMacello, the fulminating Anthropic Genetic Involution is the fourth full-length beast by the band currently formed of vocalist Andrea Calviello, guitarists Alex Gervasoni and Luca Caci, bassist Stefano Cipriano Moliner, and drummer Filippo Torno, a worthy follow-up to their 2023 album Psychoverse, a must-listen for fans of Death Angel, Nuclear Assault, Voivod and Forbidden, among others, and their most ferocious and far reaching opus to date.

Get ready to be caught in a feral mosh to the sound of Extreme Paranoia, led by Andrea’s demented screams and the crushing drums by Filippo, perfect for slamming into the pit like a true beast. Alex and Luca continue to slash their axes in the frantic Break the Fall, inviting us for a Toxic Waltz-like dance in a lesson in Thrash Metal by the boys; followed by God of Lies, again alternating between more melodic moments and sheer thrashing adrenaline, led by Filippo’s killer drumming. Let’s keep this party moving with Wrong Children, where Stefano and Filippo make the earth tremble while Andrea fires his inebriate, rebellious vocals nonstop, and they show no sign of slowing down at all in Open Scars, presenting more of their blend of old school Thrash Metal.

Andrea sounds even more demented in Rat in a Cage, accompanied by the unstoppable riffage by Alex and Luca in a well balanced mix of classic Thrash Metal with Crossover Thrash. Flat Black, originally a jazz composition by renowned trombonist and composer J.J. Johnson featured on his 1961 album A Touch of Satin (and you can check the original version HERE), gets a thrashing twist with Ural, as chaotic as it is classy; and it’s time to get back to their core Thrash Metal insanity in Terror Eyes, inspiring us all to dive deep into the circle pit to the visceral beats and fills by Filippo, flowing into the hard hitting closing tune …to Change Your Vision, with the music fading into oblivion after the band’s striking Thrash Metal feast is over.

Ural have been carving their name into the hearts of thrashers everywhere album after album, and of course the demolishing Anthropic Genetic Involution will continue to pave the band’s path of absolute chaos, rebellion and destruction, always in the name of our beloved Thrash Metal. If you want to show the boys from Ural your absolute respect and admiration, you can start following them on Facebook and on Instagram, stream their demented creations on any available platform like Spotify, and above all that, purchase a copy of the excellent Anthropic Genetic Involution from the Xtreem Music’s BandCamp or webstore. The wolf beast is about to be unleashed, and there’s no place to run or hide from its blood-soaked claws. All you need to do is take a deep breath, get into the mosh pit to the sound of its bestial new album, and get ready to be dilacerated by its infernal thrashing sounds.

Best moments of the album: Extreme Paranoia, Wrong Children and Terror Eyes.

Worst moments of the album: Flat Black.

Released in 2026 Xtreem Music

Track listing
1. Extreme Paranoia 3:17
2. Break the Fall 4:43
3. God of Lies 3:31
4. Wrong Children 4:05
5. Open Scars 3:58
6. Rat in a Cage 3:00
7. Flat Black (J.J. Johnson cover) 3:27
8. Terror Eyes 4:17
9. …to Change Your Vision 2:50

Band members
Andrea Calviello – vocals
Alex Gervasoni – guitars
Luca Caci – guitars
Stefano Cipriano Moliner – bass
Filippo Torno – drums

Album Review – Since the Fire / Remains Embraced EP (2026)

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Get ready to embrace the storm to the sound of the new electrifying EP by these American Metalcore veterans.

Having spent over fifteen years dominating the tri-state metal scene with relentless live performances and a commitment to raw, emotional music, solidifying their position as a force to be reckoned with in the modern metal landscape, Pennsylvania’s own Metalcore veterans Since the Fire are taking their fierce sound to new heights with blistering riffs and bone-crushing breakdowns that fans of August Burns Red, Black Dahlia Murder and Lamb of God will absolutely love in their new EP, titled Remains Embraced. Produced by the band’s own Jeremy Loveland alongside Bryan Kilcommons, and mixed by Anthony Caranata, the new EP by Janson Stewart on vocals, Jeremy Loveland and Jay Johnson on the guitars, Logan Romanowicz on bass, and Brad Borger on drums promises to be an intense sonic experience that captures the raw energy the band is known for, leaving us eager for more of the music in the near future.

Jeremy and Jay kick off the band’s Metalcore attack with their scorching riffs in Cuntrol, a ruthless tune where Janson delivers no shenanigans, vicious roars for our absolute delectation, followed by Noose, which starts in a dark manner to the cryptic bass by Logan and the doom-ish drums by Brad, evolving into a melodic yet violent feast of metal music while keeping its introspective core intact. Janson then barks and roars manically while his bandmates deliver a fusion of total darkness and grim violence in Brutaful, as infernal and piercing as it can be; and the EP comes to a conclusion with Whispers, starting in a serene manner before morphing into eight minutes of hard hitting Metalcore. Needless to say, it should sound amazing if played live, with Janson’s visceral screams matching flawlessly with the wicked riffs and solos by Jeremy and Jay, ending in a post-apocalyptic way.

Pushing their legacy further by melding classic Metalcore aggression with the depth and atmosphere of modern heavy music, the new EP by Since the Fire will surely please all admirers of the genre, and you can also embrace their Metalcore storm by following the band on Facebook and on Instagram, by streaming their music on Spotify, by subscribing to their YouTube channel, and of course by grabbing a copy of Remains Embraced from Bandcamp or by clicking HERE. There’s a reason why Since the Fire have been leading the Metalcore scene for over a decade, and the stormy Remains Embraced surely helps in cementing their name even further in the worldwide scene.

Best moments of the album: Cuntrol and Whispers.

Worst moments of the album: None.

Released in 2026 Independent

Track listing
1. Cuntrol 4:58
2. Noose 5:30
3. Brutaful 5:22
4. Whispers 8:43

Band members
Janson Stewart – vocals
Jeremy Loveland – guitars
Jay Johnson – guitars
Logan Romanowicz – bass
Brad Borger – drums

Album Review – Anthea / Beyond The Dawn (2026)

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This California-based Symphonic Metal entity returns with their most ambitious release to date, showcasing a broader dynamic range, heavier arrangements, and a more pronounced dramatic identity.

Founded in 2015 by vocalist and keyboardist Diego Valadez, and known for their distinctive theatrical approach and dynamic blend of Symphonic, Melodic, and Progressive Metal elements, Los Angeles, California-based outfit Anthea is back with their third full-length album, titled Beyond The Dawn, the follow-up to their 2022 sophomore opus Tales Untold. Recorded at Dream Vale Studios, produced, mixed and mastered by the band’s own Diego Valadez, displaying a stylish artwork by Dávid Busai of Mordiggian Art, and featuring “The Sirens” Mel Del Real and Astrid Anaya on backing vocals, the new album by Diego Valadez on clean vocals, keyboards and orchestration, Juan Pina on harsh vocals and guitars, Marcos Mejia also on the guitars, Gabby Hawk on bass, and Peter Vasquez on drums is undoubtedly their most ambitious release to date, showcasing a broader dynamic range, heavier arrangements, and a more pronounced dramatic identity highly recommended for fans of Dynazty, Kamelot, and Powerwolf.

The title-track Beyond The Dawn blends the finesse of Symphonic Metal with the darkness of Black Metal thanks to the stunning clash of the clean vocals by Diego with the devilish gnarls by Juan, followed by Phantom in the Masquerade, offering a more direct version of Symphonic and Melodic Metal, with Juan and Marcos extracting pure adrenaline from their stringed axes. The Lost Soul sounds as epic and imposing as its predecessors, with Peter adding endless fuel and heaviness to the music with his classic drumming; whereas Awakening (Song for Spring) leans towards the current music played by bands like Epica and Nightwish, with Diego’s vocals being nicely supported by “The Sirens.” And Bygone Age (Chicxulub) is a multi-layered tune that sounds pure Symphonic Metal at times, also venturing through Symphonic Black Metal lands to give it an extra kick.

From Shadows to Light is a cinematic creation by Anthea, showcasing another ass-kicking performance by Peter on drums, supported by the massive bass lines by Gabby, followed by Crystal Moon, a good instrumental tune that unfortunately gets a bit tiresome after a while. They get back on track with the incendiary Wanderer’s Quell, with the riffs and keys by Marcos and Juan transpiring Melodic Power Metal. And it’s time to slow things down and enjoy the dark power ballad Whispers of the Heart, with Diego’s vocals and Marcos’ solo sounding stunning. Duality of Gaia is a straightforward Melodic Metal tune presenting their trademark fusion of clean and harsh vocals, always supported by the classic kitchen by Gabby and Peter; while lastly, we’re treated to their cover version for Tahnee Caine and Tryanglz’s hit Burnin’ in the Third Degree (check the original version HERE, recorded for the 1984 film The Terminator, and featured prominently in the Tech Noir nightclub scenes). Needless to say, they turn the song’s techno essence into sheer metal madness.

“This record pushed us to explore every corner of our sound – from fast and heavy tracks to more emotional and melodic moments,” commented the band, presenting a mature and confident chapter in their journey, offering a cohesive yet varied listening experience shaped by themes of growth, transition, uncertainty, and renewal. Blending compelling melodies, powerful orchestration, and expressive songwriting, the album surely helps the band to establish themselves as a distinctive voice within modern Symphonic Metal. With that said, you can get to know more about Diego Valadez and his Anthea on Facebook an on Instagram, stream their classy music on any platform like Spotify, and of course grab you copy of Beyond The Dawn from Rockshots Records, letting the melodious and electrifying Symphonic Metal by those American metallers penetrate deep inside your metal heart.

Best moments of the album: Beyond The Dawn, From Shadows to Light and Wanderer’s Quell.

Worst moments of the album: Crystal Moon.

Released in 2026 Rockshots Records

Track listing
1. Beyond The Dawn 4:13
2. Phantom in the Masquerade 3:32
3. The Lost Soul 3:44
4. Awakening (Song for Spring) 4:16
5. Bygone Age (Chicxulub) 4:03
6. From Shadows to Light 4:40
7. Crystal Moon 4:11
8. Wanderer’s Quell 3:53
9. Whispers of the Heart 4:46
10. Duality of Gaia 4:12
11. Burnin’ in the Third Degree (Tahnee Caine and Tryanglz cover) 3:38

Band members
Diego Valadez – lead vocals, keyboards, orchestration
Juan Pina – rhythm guitars, harsh vocals
Marcos Mejia – lead guitars
Gabby Hawk – bass
Peter Vasquez – drums

Guest musicians
Mel Del Real – backing vocals
Astrid Anaya – backing vocals

Album Review – Thunderor / Bleed For It (2026)

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Toronto’s own arena-rock Heavy Metal trio returns with their ambitious sophomore album, igniting the next chapter of their high‑flying saga.

Hailing from Toronto, Canada, Heavy Meta/Hard Rock power trio Thunderor ignites the next chapter of their high‑flying saga with the release of their sophomore opus, entitled Bleed For It, following up on their critically acclaimed 2022 debut Fire It Up. Produced by the band’s own JJ Tartaglia, mixed by Chris Snow, mastered by Kristian Montano, and featuring guest musicians Oscar Anesetti on bass, Anthony Pannozzo on keyboards, and Colin Grant on the fiddler, the new album by the aforementioned JJ Tartaglia on vocals, drums and keyboards alongside Jonny Nesta on the guitars, and Brycen Gunn on bass serves as the official soundtrack to “Thunderor The Musical”, the band’s ambitious rock opera production that debuted at the Toronto Fringe Festival in 2025. Its artwork captures scenes from the stage show, setting the mood for a sweeping tale of adventure, danger, and heart. Set in an alternate 1992, the story follows Bowen, a washed‑up musician and biker, who finds renewed purpose through romance and one last grasp at glory.

The trio wastes no time and kicks off their rockin’ adventure with Pump Up the Volume, bringing forward JJ’s trademark soaring vocals and classic beats and fills, followed by the title-track Bleed For It, another round of their striking fusion of 70’s and 80’s Hard Rock, with Jonny stealing the spotlight with his electrifying riffs and solos. As a huge fan of live concerts I simply love the title of the song Take Me to the Show, offering us all more of their killer Rock N’ Roll sounds. The band then fires a Thrash and Speed Metal-infused tune titled Get ‘Em Counted, inspiring us to start a nice mosh pit to the nonstop beats by JJ, and get ready to prance around the fire pit together with Thunderor in Cape Breton Home, featuring guest Colin Grant on the fiddler, also presenting pure Hard Rock flowing from Jonny’s axe.

In Streets of Fire we see Thunderor again deliver a high-octane amalgamation of rock and metal, setting fire to the atmosphere to the crushing drums by JJ and Oscar’s rumbling bass, sounding as upbeat as it is heavy. One Chance is another song that sounds as if was taken from a classic album from the 80’s, showcasing those awesome soulful riffs we all love so much; and we then face the cinematic interlude DreamQuest, which also feels it’s from a movie or TV show from the 80’s, before their quest comes to an end with In the Fire O’ the Heat, where they also bring to our avid ears elements from Progressive Rock and Metal (exactly what a Rock Opera needs to become truly fun). Not only that, JJ’s vocals and Jonny’s guitars are in total sync, keeping the energy flowing majestically until the song’s horns raising finale.

With improved vocals, bigger choruses, and a cinematic concept, Bleed For It promises to be the band’s most ambitious and emotionally charged release yet, recommended for fans of The Darkness, Skull Fist, Ghost, and Night Flight Orchestra. If you crave escape, adventure, romance, and danger, the band invites you to ride with them into the storm, and you can do so by following them on Facebook and on Instagram, sby streaming their music on Spotify, and of course by purchasing the album from BandCamp, from Boonsdale Records (Canada and worldwide), from Cruz del Sur Music (Europe), or simply by clicking HERE. Having said all that, what are you waiting for to bleed together with Thunderor to the sound of their newborn electrifying album?

Best moments of the album: Bleed For It, Get ‘Em Counted and Streets of Fire.

Worst moments of the album: None.

Released in 2026 Boonsdale Records

Track listing
1. Pump Up the Volume 3:42
2. Bleed For It 4:04
3. Take Me to the Show 4:09
4. Get ‘Em Counted 3:19
5. Cape Breton Home 3:33
6. Streets of Fire 4:16
7. One Chance 3:40
8. DreamQuest 1:29
9. In the Fire O’ the Heat 4:19

Band members
JJ Tartaglia – vocals, drums, keyboards
Jonny Nesta – guitars
Brycen Gunn – bass

Guest musicians
Oscar Anesetti – bass on “Take Me to the Show”, “Get ‘Em Counted”, “Cape Breton Home”, “Streets of Fire” and “One Chance”
Anthony Pannozzo – additional keyboards on “Take Me to the Show”, “Get ‘Em Counted” and “One Chance”
Colin Grant – fiddler on “Cape Breton Home”

Album Review – Muerto / Eclipsed Realms (2026)

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A Stygian Mexican entity returns with their third album, offering a well-balanced blend of Black Metal with Doom and Post-Metal, with its atmosphere pressing down on the listener like a hand to the throat.

Against the backdrop of harrowing, plaintive music are the hollow echoes of an aggrieved, possessed-sounding woman, adding more malice to the music than anything possibly contrived. Eclipsed Realms, the third studio album by San Juan del Río, Mexico-based Black Metal entity Muerto (the Spanish word for “dead”), is a worthy follow-up to their 2023 sophomore Dust Fire Dust. Displaying a Stygian artwork by Ricardo González, the new opus by Penelope Matamoros on vocals and bass, Juan Mondragon (Necronos, Castleumbra) on the guitars, and Eddel Jared on drums offers a well-balanced blend of Black Metal with Doom and Post-Metal, as well as avantgarde touches, with its atmosphere pressing down on the listener like a hand to the throat, being therefore highly recommended for fans of Amenra, Emptiness, Opera IX, and Deathspell Omega, just to name a few.

Penelope begins distilling her venomous gnarls in Serpentine Echoes, while Juan and Eddel fire a scathing fusion of Black and Death Metal with Post-Metal nuances, sounding chaotic, cryptic and vile from start to finish. Then the minimalist and somber guitars and bass by Juan and Penelope set the tone in Veil of Desolation, evolving into a sluggish beast of Blackened Death and Doom Metal that will haunt your souls for all eternity; followed by Burning Shadows, as acid and visceral as its predecessors, with Penelope once again roaring like a true she-demon while Eddel smashes his drums with zero mercy for anyone who dares to cross his path. He keeps demolishing our putrid bodies in Wilderness, while the strident riffage by Juan couldn’t have sounded more obscure; and in Decay a Post-Black Metal start gradually evolves into a sinister feast of otherworldly sounds, keeping the album as dark and sulfurous as possible. Lastly, get ready for total annihilation with the eight-minute beast entitled Radiance, led by Penelope’s devilish vociferations and the always scorching Black Metal guitar lines by Juan.

Masterfully juggling various emotions in an aura of suffocating darkness, the new offering by Muerto presents a refreshing rawness in a time of overly processed music, and if you want to experience such a thrilling fusion of raw and dark sounds you can purchase the album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store, as well as stream it as many times as you want on any platform like Spotify. Don’t forget to also follow the band on Facebook and on Instagram, staying up to date with all things Muerto, therefore darkening your minds and souls even more. The music presented by those Mexican metallers in Eclipsed Realms is truly embracing, harsh and hypnotizing, leaving us eager for more of their suffocating sounds in a not-so-distant future.

Best moments of the album: Serpentine Echoes and Radiance.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Serpentine Echoes 4:46
2. Veil of Desolation 6:48
3. Burning Shadows 4:55
4. Wilderness 4:36
5. Decay 6:31
6. Radiance 8:23

Band members
Penelope Matamoros – vocals, bass
Juan Mondragon – guitars
Eddel Jared – drums