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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It’s time to ascend to the place of the damned with the first full-length opus by this Slovakian horde, a throwback to the late 90’s heydays of Black and Death Metal.
Arising from the depths of suffering in Slovakia in 2010 at the instigation of vocalist Anton Piovarci and guitarist and vocalist Demo, later joined by Erik Čalfa on bass and Pio on drums, Michalovce-based Blackened Death Metal horde Goholor (which in the Enochian language, a constructed language used in occult traditions, translates to “ascend”) is unleashing upon humanity their first full-length opus, titled Locus Damnatorum, a Latin phrase that translates to “place of the damned,” following up on their 2016 debut EP In Saeculis Obscuris. Mixed and mastered by Tore Stjerna at Necromorbus Studios, the album feels like a throwback to the late 90’s heydays of Black and Death Metal, recalling the likes of Unanimated, Necrophobic, Sacramentum, Gates of Ishtar, and Sweden’s Sacrilege, while at the same time there’s just as equally their own personality injected into their atmospheric muscle.
There’s no hope for our putrid souls as the band kicks off their infuriated attack with Demonical Redemption, where Anton’s deep guttural sound inhumane while the guitar by Demo exhales sulfur. Pio continues to crush his drums like a true beast in the Black and Death Metal aria titled Black Rising Suffering, as dark as it’s heavy and demonic, followed by Divine Blood Invocation, which carries a classic name for a vicious extreme music tune where Demo and Erik’s stringed attack will send shiver down your spine. Last Groan Devoured by Death also portrays a very poetic and evil name, starting in a serene manner before evolving into a massive beast of Blackened Death Metal with Doom Metal nuances; and Pio is once again ruthless behind his drums in Ominous Delusion, offering Anton exactly what he needs to fire his cadaverous guttural roars. They definitely know how to craft deadly song names, and in Embraced by Demons Spell not only the title is menacing, but the music is a vile display of Death Metal savagery; whereas Demo sounds demonic armed with his axe in Nihillistic Torments, adding endless rage to the band’s core blackened essence, therefore ending the album on a sulfurous, grim note.
Continuing to focus on the dark and demonic side of society, such as hypocrisy, perversion, insensitivity, and obsession with religion, those Slovakian metallers are on absolute fire from start to finish in their newborn beast Locus Damnatorum, and you can get to know more about the band, their music and tour dates on Facebook, and purchase their incandescent new album from the Personal Records’ BandCamp or webstore. In other words, it’s time to ascend to the place of the damned alongside Goholor and their new album, a thrilling blast of underground extreme music that will surely keep such a talented horde more than ready to strike again with their venomous music in the coming years.
Best moments of the album:Black Rising Suffering, Last Groan Devoured by Death and Embraced by Demons Spell.
Worst moments of the album: None.
Released in 2026 Personal Records
Track listing 1. Demonical Redemption 5:45
2. Black Rising Suffering 5:04
3. Divine Blood Invocation 5:20
4. Last Groan Devoured by Death 8:25
5. Ominous Delusion 4:06
6. Embraced by Demons Spell 5:30
7. Nihillistic Torments 4:11
Band members Anton Piovarci – vocals
Demo – guitars, vocals
Erik Čalfa – bass
Pio – drums
Tomorrow’s song will never sound again… Silence reigns in the hall of the dead…
Let’s set fire to the always vibrant month of May here on The Headbanging Moose with a multi-talented lady that lives and breathes music and arts in general. Just like Midas, it looks like everything she touches turns into gold, or maybe I should say Heavy Metal gold, as all of her bands, projects and contributions sound, look and feel phenomenal. She’s the face of the amazing extreme bands Withered Land and Monumentum Damnati, while also involved in several other musical projects, not to mention she also produces music videos, album artworks and booklets, and she plays most of the instruments used within her genres. You’ll be absolutely stunned after knowing more about Olga Kann, also known as Ольга Канн or Volha Aleksandrovna Kandziuryna, an unstoppable Belarusian artist who surely makes the world of heavy music a much better, more fun and more interesting place.
Born on April 21, 1992 in Minsk, the capital and largest city of Belarus, located on the Svislach and the now subterranean Nyamiha rivers, the beyond talented Olga creates music that is both beautiful and chilling to the listener, never following the same formula nor sticking to any specific metal or non-metal genre or subgenre. It was in the year of 2020 when Olga founded her main project, the stunning Epic/Symphonic Black/Doom Metal entity Withered Land, an original blend of extreme music styles inspired by the achievements of the Scandinavian scene, the atmosphere of Summoning’s music, folk, and a fantasy world ambiance. As the sole member of Withered Land, Olga can not only sing, but she also plays bass, keyboards, kantele, tagelharpa, and she’s also responsible for all songwriting, lyrics, artworks, designs and booklets, with only the guitars and drums being played by guest musicians in her albums.
When asked about what inspired her to start Withered Land, she said that some developments were many years old, but basically the conceptual canvas was completed in a relatively short time. “I’m a big fan of ‘depressive seasons’. Ordinary life falls asleep and archaic creativity awakens. So, one Autumn/Winter I again had an irresistible feeling that it was time to bring this project to light. Cold, lifeless gusts of wind swaying the twisted branches of trees on the devastated ground. I looked again at the devastating motives, and melodies swarmed in my head. Walking through the snow-covered, fluffy snow-white forests, epic-ness was added, and sublime feelings took me far from here in my thoughts,” commented our Queen of Snow. “This is not my first project (and not my last). But it is special to me in many ways. Here, as in no other place, the burden of choice rests solely with me. What can I say? Art is my gift and my curse. If you objectively look at the world, I live a little, I constantly create. For yourself or for others. This is my Sisyphean stone I constantly raise uphill.”
To date, Olga and her alter-ego Withered Land have unleashed upon us mere mortals two full-length albums, plus a few singles before the official album release dates. In 2021 her debut full-length offering, entitled The Endless Journey, saw the light of day (or the dark of night, whichever you prefer), with songs like Over Distant Shores embracing us all in absolute darkness. In it, a fearless but wounded warrior fights in his main battle, for his life, being on his own kind of esoteric journey on the other side of consciousness. On his way he will meet the mighty mountains, cold rocks and distant shores, but no one knowns if his spirit will be able to return to the world of the living. “I was waiting for that moment in my life when my experience, accumulated over the years, will allow me to create those arrangements, go to that production to release this material. I don’t think it’s the perfect version of that album, but it’s definitely perfect for that moment. With all its shortcomings and virtues, this is selfless love like between mother and child.”
Regarding her sophomore album, Hall of the Dead takes the listener to a world of fantasy, presenting rich, monumental arrangements reminiscent of Summoning, being neatly crafted and forming a cohesive whole. “The album was originally conceived as a concept album. I try to make all my albums, including the albums for other projects, not as a best-of collection, but as a complete work, united by a concept or a single narrative. This is a powerful source of inspiration, allowing you to experience the music and lyrics from beginning to end, making the story as honest as possible. On the other hand, this can impose certain limitations. But I think a concept, or at least a general mood, is important for an album as a format; otherwise, it would simply be a compilation album, in my opinion,” she commented. “The album’s overall concept revolves around death, about the inevitability of fate, the suffering of a wandering warrior. About the cycle of things in nature and the cyclical nature of existence. About the fate of kings and simple beggars; the hall of the dead awaits everyone.”
According to Olga, while the debut album by Withered Land featured more of a journey, a prologue of sorts, Hall of the Dead is undoubtedly a descent. Furthermore, her sophomore album also represents a much richer, more textured offering by our she-wolf, with her core Black Metal being enriched with touches of Dungeon Synth and Viking Metal, for example. “It’s very important to me to make the material not standard black metal, but to introduce various elements that will help immerse you in the story in a more engaging way. To combine new combinations, without regard for fashion or tradition. I love the atmosphere of dungeon synth, as well as the melodic/pagan feel reflected in Viking stuff. In general, an idea or concept is born first, and then the style is formed. It would be wrong to box myself in and limit my creative imagination. I follow what comes from within.”
One of the best songs in Hall of the Dead is undoubtedly All Dead, All Rotten, inspired by the work of J.R.R. Tolkien. ‘’This is the only track on this album focused on Tolkien’s worlds, specifically the history of the Dead Marshes. It shares a common theme with the other tracks: tragic deaths, desolation, and devastation. Echoes of a bitter past hang in the air as the listener slowly wanders through a hazy halo. The bitter fate of people, warriors, no matter who won the battle, the price was high, and in the end, none of it mattered. Such things should never happen again, but they always do,” commented our talented she-demon. Other amazing songs from the album are the title-track Hall of the Dead, Through the Winterhold’s Blizzard, and Dark Pale Winter, and don’t forget to check Withered Land on BandCamp and Spotify as well to enjoy all of the project’s other songs.
After the release of Hall of the Dead, fans worldwide started to ask if Olga and her Withered Land would bring the power and darkness of the studio to the stages, and everyone was extremely excited when she confirmed she already had a live lineup and was planning some shows. However, she confirmed she wouldn’t be doing any extensive or exhausting tours. “I’m quite a flighty person, and given the right amount of energy, health, and desire, I can take on many adventures. But for now, I’d like to focus on studio work, streaming, building a community around my work, playing concerts in my country, and, if possible, going to major festivals abroad.”
Olga is also involved with another amazing project, the international Melodic Doom/Death Metal act named Monumentum Damnati, a Latin phrase that roughly translates to “Monument of the Damned,” alongside the mysterious vocalist Thanatos. Olga, who goes by the moniker Abhoth in this case, takes care of all guitars, bass, keyboards and drums in Monumentum Damnati, as well as the artworks and booklet layouts, focusing on horror, philosophical themes, mythology, H.P. Lovecraft, Edgar Allan Poe, and more, having released with the band so far the albums In the Tomb of a Forgotten King, in 2020, when she only played bass, and From Beyond, in 2025, already taking care of the guitars, bass, drums, keyboards and kantele, not to mention she’s also responsible for the songwriting and lyrics on both albums.
In addition, she has also started to put more focus on her solo career as well, and you can already find on BandCamp and on Spotify her very first album of covers dedicated to some of the biggest names of the genre in history (played on unusual, old instruments from Northern Europe, such as the kantele, tagelharpa, and flute), titled Ethnic Black Metal vol. 1, including her personal and heartfelt rendition of the songs For All Tid by Dimmu Borgir, The Legend of the Master-Ring by Summoning, Dunkelheit by Burzum, Nostalgia by Nocturnal Depression, Sterile Nails and Thunderbowels by Silence, Expandera by Lifelover, Freezing Moon by Mayhem, and Längtar Bort Från Mitt Hjärta by Shining. “To be honest, recording covers always seemed like a wild idea to me. However, it turned out to be a fun and interesting experience, at the very least. I also managed to create unique arrangements rather than rerecording identical to the original material. I wanted to give myself a break from my own material and return with a renewed mindset. And perhaps one of the best ways to do this was to use ethnic instruments.”
Another one of her bands is Bleeding Malice, a Dark Deathcore project formed at the beginning of 2020 by Olga Kann on bass and Alex Rabets on vocals, combining elements of Hardcore, Deathcore and Metalcore while the lyrics contain social issues, philosophy and religion, and psycho-emotional experiences. To date, the duo has unleashed upon humanity the 2021 album Thy Kingdom Come, available on BandCamp and on Spotify, and you can enjoy some of their videos on YouTube including Thy Kingdom Come, Stillborn Hope, and The Last Prayer. There’s also a very cool footage of The Last Prayer live at Cerberus Fest in 2024, where you can see how badass Olga is onstage armed with her bass and vocals.
As if Withered Land, Monumentum Damnati and Bleeding Malice weren’t enough, Olga also formed another project named Cryo Depth in 2020, blending Dark Ambient with Drone, vintage horror, neoclassical, cinematic and space music, inspired by games such as Stalker, Resident Evil 4, Outlast, Clive Barker’s Undying, Amnesia, Scratches, Silent Hill, Penumbra, and Sublustrum, having released so far three full-length albums, those being Monolith (2020), The Haunted Stories (2021), and Gravedigger’s Diary: The Lurking Fear (2023), plus a few more recent singles, all available on YouTube, on BandCamp and on Spotify. If you want to check her latest singles, you can check the official videos for Witnesses Of Our Decay and Dead Whispers, both featuring Shane Beck (The Last American Poet) on vocals. But wait, as there’s more, as she’s also the mastermind behind Symphonic/Technical Death Metal band Life for Ner’zhul, having founded the project in 2025. Labeling Life for Ner’zhul as “Warcraftian Extreme Metal,” she released the debut single The Scourge Of Lordaeron in the middle of 2025, but nothing else since then. And as a guest musician, she recorded the kantele in the single Живое (Alive) together with Russian Melodic/Progressive Power Metal band Winteria. All of her bands and projects can be found by clicking HERE, and I bet we’ll see a lot more from Olga in several other interesting musical endeavors in the near future.
As already mentioned, Olga is also an accomplished and extremely creative designer and artist, having already taken care of countless artworks, booklets and even music videos for an array of very distinct bands. Just to give you an idea of how awesome she is as a designer, among some of her best works you’ll find the artworks for the 2025 album The Embracing Light of Rarohenga, by German Melodic Death Metal band Aeon of Awareness; the 2023 albums I – These Bones Became the Roots of the Forest… and II – On These Shores Where Nothing Now Stands, by British Pagan/Atmospheric Black Metal act Blencathra; the 2026 album Ablution, by American Black Metal band Elseetoss; the 2021 album Eternal, by Scottish Atmospheric Folk/Black Metal band Ruadh; and the 2022 album Memoriae, by Italian Atmospheric/Post-Black Metal act Vesperhymn, among countless others. “Creating art, videos, and booklets is my main and only job, just like music. I’ve been working towards this for a long time. I didn’t want to work a regular job, in a group setting. I’m a completely unsociable person in life, with my own work/activity/rest schedule. Some things come out more sincere, others are a little more a result of self-discipline. But each time it’s a search, a look within. Inspiration comes or doesn’t, but the main thing is the idea. You can feed it with anything, the main thing is to have a strategy and stick to it. My main inspiration is to never go back to an office job, haha. But seriously, all this art in its various forms is pieces of my puzzle that bring me together and make me who I am. This whole journey is something akin to finding and maintaining integrity, self-identity.”
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Speaking of what inspired her to begin creating music and art, her idols and influences, Olga said it’s actually hard to remember when it all started. “From a very early age, I was exposed to hard rock, glam, and art-rock; my father is a big fan of all of them. When I was about 10, I first heard Megadeth and thought they were powerful. During summer vacations, my cousin and I would wake each other up with Sepultura songs; their extreme vocals were a great way to stay awake during fishing trips or early morning hikes. We’d play them on cassette tapes. I remember with great inspiration those times when we’d rewind cassette tapes with pencils. We didn’t skip songs, listening to albums in their entirety was magical,” she commented, also having some very nice words to say about her very first major influence. “My favorite band since childhood was Iron Maiden. I loved literally everything about them: the bassist/leader, the unique lyrics, the original mascot, the memorable vocals, the three guitars, and their signature drums. It was largely thanks to this band that I wanted to start my own band. Even back then, I was drawing logos for potential projects. However, I never wanted to play heavy metal. I didn’t have any strategy.”
Then closer to finishing school she discovered Black and Death Metal, including a lot of bands from the Scandinavian scene, especially Finnish bands, as well as Melodic Death and Power Metal. “I loved the combination of keyboards, symphonic orchestrations, and heavy riffs. I loved the combination of clean male vocals and extreme sounds. I wanted to play that. My first bands were inspired by doom, the gothic scene, and some melodic death. Regarding Withered Land, the idea of playing black metal came to me quite late; I’d never really wanted to write black metal specifically. A lot has changed since I heard Caladan Brood. It’s still the kind of album you could easily add to your funeral playlist. You can listen to it again and again in any mood, or when you’re not sure what you want to listen to. Of course, Summoning, Bathory, Thyrfing, Amon Amarth, Finntroll and a number of other projects inspired me with their themes and epicness.”
Not only that, Olga is also highly inspired by fictional worlds such as The Lord of The Rings, nature (especially during its “depressive seasons”), esoteric and sacred worlds, literature, video games, and films. “I am a psychologist by education. Perhaps this fact also influenced the sources of my inspiration in some way. I love hidden meanings, complex characters, their contradictions, doubts, decisions, and actions. My graduate thesis was related to the concept of death in different cultures. Many years have passed, but this topic does not leave me in my art. One of the most sacred things, like the sacrament of birth, so the sacrament of passing beyond life is the most interesting object of study,” she complemented, also saying how important nature is in her life in general. “The earth remembers everything: bloody battles, the fall of great cities, the creation of the greatest buildings, and their destruction. In a sense, the earth is time. Ruthlessly all-consuming, but invariably bestowing in return. Flowers will sprout on the remains of the fallen warrior’s bones and provide food for thirsty bees. Is this not the true poetics of metaphysics?” That also explains her openness to create something new with each project and album, experimenting with an array of styles such as Dungeon Synth, Folk and Viking Metal, Doom and Gothic Metal, and so on.
In regards to her extreme vocal technique, she mentioned that she studied extreme vocals with teachers for a while, but she was not entirely happy with the results because there aren’t many professional extreme vocal teachers, at least in her homeland, and online classes aren’t exactly convenient for her. “Now I devote a lot of time to practicing clean vocals with my coach and occasionally extreme vocals. I still have a lot to learn, but I’m making steady progress, following the goals of my projects. I don’t have a goal of becoming the best vocalist or the best bassist; I don’t dedicate much time to one thing, and I don’t do musical sports. I’m a multitasker who makes music first and foremost. I enjoy creating music, visuals, and lyrics, and singing my own lyrics is even more enjoyable than listening to someone else. In reality, anyone can learn; it’s just a matter of how much they’re willing to put in and how much they want to. I don’t want that as much as I want the joy of creating music itself, so I don’t expect any particular heights. But a highly motivated person usually learns quickly. It’s definitely not something you’re born with; it’s something you train yourself to have.”
As one of the torchbearers of Belarusian heavy music and arts in general, Olga said that unfortunately she can’t support the current state of her homeland, in special with the mood of the post-Soviet communist abyss. She also mentioned that despite the fact the metal scene in Belarus is not as big as in other countries, she still had a lot of fun and learned a lot during her early days. “In comparison with the advanced countries, our metal scene was not so developed. But the years of youth were nonetheless truly interesting. I was able to make interesting acquaintances, attend interesting events, concerts, theater performances, and all that. Being young, inexperienced, but ambitious guys, we gathered at music studios. I don’t even remember how many people I had a chance to play with in my whole life – a lot. We organized concerts, gatherings, participated in the activities of webzines. Well, it’s not something unique. But I am still grateful to any environment, whatever it may be. I know friends who have a metal scene in much worse situations. Well, in any case, I believe that it is not the place that makes the person beautiful, but the person make the place beautiful. Too many negative thoughts when I think about it.”
According to Olga, one of the biggest issues in music and arts worldwide, if not the biggest issue of all, is the overuse of AI. She said that the whole essence of art has been wiped out by the AI phenomenon, and this isn’t like when computers first appeared and people screamed that music and arts in general were finished. “I think humanity will lose its meaning completely when art can be created not only with words and prompts, but simply by the power of thought, and a special device will produce a finished product straight from the brain. Does anyone want to experience that time? A madness in which the entire essence of life and the creative process is devalued.” Furthermore, when it comes to our “classic” problems, it gets even worse. “Civilized societies continue to experience military conflicts, the global pandemic crisis has hit hard, economic sanctions and total isolation, the Cold War, genocide, the incitement of religious and gender conflicts, animal abuse, environmental disasters, social inequality… If you look deeply at the world, look into this abyss, the abyss will look back at you. I’m a pessimist by nature, and if I think too much, it’s scary. Art is one way to save ourselves from the monstrous reality around us and in the world at large,” she commented.
When asked if she’s a spiritual person, she said that can be said about her, but only in the sense that she believes in a certain Absolute, or wants to believe in it. “I do not recognize religions in the form in which they are in their pure form. I am impressed by the ideas of ancient Greek philosophy and Roman philosophy. In terms of interaction with the outside world, the ideas of Buddhism are close to me more, I suppose. From each idea, I want to take a little bit of everything, and brush aside something.” She complemented her thought with her view of our present-day society and world in general. “I would like to believe in a higher good, but every day I look around and see different things. Beauty is in the eye of the beholder. I tend to notice one thing and try to block unpleasant information. However, here it is difficult. This evil corrodes everything around. Yes, there is no light without darkness. Nevertheless, it seems that now the balance is upset, the world is again going in the wrong direction, and it is sad to realize this. Probably not only the vision of the beautiful, but also the terrible has driven artists from time immemorial. As they say in the dramaturgy, every performance should have a problem/conflict, otherwise the action impossible. So, I think the imperfection of the world and its perfection in separate things at the same time attracts the artist, me in particular.”
Last but not least, as you might have noticed, our metal lady of the month never stops, letting her creativity flow majestically and, therefore, continuing to grow as a musician and an artist. “In any case, the more you practice, the better you get. For someone who loves composing music and dedicates a significant part of their life to it, everything happens naturally. Regular practice is essential. I play quite a few instruments and also practice both extreme and pure vocals. It’s a lot of work, and of course, I could choose one and become a virtuoso in it, but I wouldn’t be interested in it without everything else,” she commented. “The life of a multi-instrumentalist composer is never boring.” She also strongly believes presenting a true expression of oneself through music, letting all emotions and message flow organically and with originality, will always be more important than simply following a traditional song structure. “There’s no point in doing what someone else, or even yourself, has already done. I add different stylistic elements, different themes, and change my approach to arrangements. I’m very grateful that listeners embrace this and enjoy experimenting with me.” As you can see, Olga is an unstoppable force of heavy music, always ready to stun us all with her innovative mind and approach, and may she keep melting our faces with her undisputed talent and scorching music for many years to come.
“My favorite band since childhood was Iron Maiden. I loved literally everything about them: the bassist/leader, the unique lyrics, the original mascot, the memorable vocals, the three guitars, and their signature drums. It was largely thanks to this band that I wanted to start my own band.” – Olga Kann
Let the demons enter your soul to the suffocating, ominous debut solo album by this multi-talented veteran hailing from Sweden.
Ominous, somber, and foreboding, Stockholm, Sweden-based Black/Doom Metal creature Daemonium Regni, which translates as “demon kingdom” from Latin, is the new solo-project by Micke Broberg of Unanimated, a dark and epic Black Metal feast for fans of Root, Bathory, and Ancient Wisdom. Mastered by Dan Swanö at Unisound Studios, and with layout by Daniele Valeriani (Mysticum, Mayhem, Triumph of Death, Unanimated), the album not only marks Daemonium Regni’s first full-length offering; as a matter of fact, it is the project’s very first sign of existence. Showcasing proficient arrangements with different layers added on top of repetitive riffs, and Latin lyrics performed as demonic growls as well as in the form of somber chanting, the album is absolutely dark from start to finish, leaving a mark on your soul after all is said and done.
Micke wastes no time and begin distilling his devilish, grim Black Metal in Mater Daemonium (or “mother of demons” from Latin), with its malignant vibe being driven by his sluggish Doom Metal beats and Stygian vocal lines. Then presenting a more demonic old school Black Metal sonority we’re treated to Ascendens Tenebrae (“ascending darkness”), where his guitar riffs transpire evil, not to mention his blast beats sound demented; and again offering a cryptic hybrid of Black and Doom Metal we face Silentium (Mors Itinerarum), or “silence (death of the paths),” with its background elements sounding absolutely haunting. However, it’s when Micke goes full Black Metal that he truly thrives, exactly like what we see in Luna Sanguinea (“blood moon”), presenting a well-balanced and demolishing fusion of scathing riffs, blast beats and evil vociferations for our absolute delight.
In Spiritus In Flammo (“spirit in flames”), Micke will destroy your frail soul with his demonic gnarls and phantasmagorical guitars and drums; followed by Sacrificium (“sacrifice”), a more introspective track working like an atmospheric interlude, albeit taking away some of the fury and darkness from all previous songs. After that, Micke slashes his axe mercilessly in the also Doom Metal-infused aria Magica Cultus (“magical cult”), one of the heaviest songs of the album boosted by his deep, infernal guttural; while ending his debut ceremony he offers our putrid ears a visceral Blackened Doom feast entitled Damnationem (“damnation”), and let’s be honest, he couldn’t have concluded his first solo endeavor in a more obscure and suffocating manner.
In summary, the eight tracks which together constitute Daemonium Regni’s eponymous debut album feel like a liturgy charged with foul energy held in the service of darkness and perdition, and in case you want to join Micke in absolute obscurity you can find the project on Facebook, and of course, purchase a copy of such a venomous album from the Darkness Shall Rise Productions’ BandCamp or webstore. In other words, it’s time to let the demons enter your impious soul to the sound of the debut by Daemonium Regni, and if the album is a sign of the path that Micke will follow in his future solo albums, we can rest assured that his darkness is among us all to stay.
Best moments of the album:Ascendens Tenebrae, Luna Sanguinea and Magica Cultus.
These ruthless Slovakian death dealers are ready to attack with their debut opus, a putrid Death and Doom Metal abomination that evokes a sense of dread and desolation.
Founded in the beautiful Slovakian capital of Bratislava in 2021 by vocalist ansd guitarist Michal Matúš Uharček and guitarist Kiko Kavický as a side-project to their band Krudus, the indomitable Death/Doom Metal creature Hrob ( a word of Slavic origin, primarily meaning “grave” or “tomb”) is unleashing hell with their debut offering, entitled Brána Chladu, or “gate of cold” from Slovakian. Recorded by Michal Matúš Uharček and Kiko Kavický, mixed by Michal Matúš Uharček, mastered by James Plotkin at Plotkinworks, and displaying a bitterly cold artwork by Jan Vlášek, the striking debut by the aforementioned Michal and Kiko alongside bassist Anton “Vrana” Rozbora and drummer Matej Žitňanský is a putrid Death and Doom Metal abomination that evokes a sense of dread and desolation, shifting between slime-slow passages soaked in brooding heaviness and shake-you-from-a-trance pummeling blasts.
The album’s sinister, atmospheric Intro will penetrate deep inside your mind before you’re dragged into darkness to the sound of Chrám Prázdnoty, or “temple of the void” from Slovakian, a beyond infernal display of Blackened Death and Doom Metal led by Matej’s crushing drums, all boosted by the gruesome, evil vociferations by Michal. Their Death and Doom Metal attack goes on in full force in Tiene Stromov (“shadows of the trees”), a lecture in the style where the guitars by Michal and Kiko exhale sulfur and obscurity, while the neck-breaking Genocída Snov (“genocide of dreams”) offers more of the band’s trademark sound, with Michal’s demonic guttural walking hand in hand with the sluggish beats by Matej. Then after the folk-ish interlude Medzihra we face Zotročený Oheň (“enslaved fire”), alternating between sheer Death Metal violence and grim Doom Metal passages, with Vrana and Matej hammering their instruments manically. And lastly, the title-track Brána Chladu concludes the album on a demolishing mode, with Michal and Kiko once again firing Stygian riffs nonstop.
Brána Chladu is undoubtedly a morbid celebration of those fertile years of the early-to-mid 90’s when death-doom rose from rotting Death Metal and each bled b(l)ack into the other, being therefore highly recommended for fans of early Paradise Lost and Septic Flesh as well as Disembowelment, Asphyx, and Gorement, among several others. Those Slovakian death dealers are not fooling around when it comes to delivering sheer heaviness and doom in their debut offering, and you can get in touch with them to let them know how much you love their obscure music via Facebook and Instagram, stream their savage creations on Spotify, and grab a copy of their devilish album from the Night Terrors Records’ BandCamp or webstore. Brána Chladu is as deadly as it is cold, bringing to us all a venomous fusion of Death and Doom Metal that will certainly keep the band moving forward for years to come, letting their harsh music reverberate to the four corners of our decaying world.
Best moments of the album:Tiene Stromov, Genocída Snov and Zotročený Oheň.
Worst moments of the album: None.
Released in 2026 Memento Mori/Night Terrors Records
Track listing 1. Intro 1:25
2. Chrám Prázdnoty 7:15
3. Tiene Stromov 5:31
4. Genocída Snov 6:19
5. Medzihra 1:16
6. Zotročený Oheň 5:58
7. Brána Chladu 9:00
Band members Michal Matúš Uharček – vocals, guitars
Kiko Kavický – guitars
Anton “Vrana” Rozbora – bass
Matej Žitňanský – drums
Representing a new stage in their career, the sophomore beast by this UK metal entity retains the band’s raw, old school Hardcore heart while also exploring more multi-layered terrains, atmospheres and melodies.
The word Exuviarefers to the outer skin that’s shed by creatures like arachnids, crustaceans and insects, giving way for a new stage of life. It’s the perfect title for the sophomore opus by London, England-based Crossover/Hardcore outfit Cage Fight. Recorded by Sam Bloor at Lower Lane Studios, mixed by Jim Pinder (Sleep Token, Malevolence), and displaying a grim artwork shot by photographer Manuel Acquualeni (depicting a radiation mask, connecting both to fronwoman Rachel Aspe’s experience with her grandmother, and to the album’s title, while also also representing healing), the blistering, 11-track Exuvia finds the band formed of Rachel Aspe on vocals, James Monteith on the guitar, Will Chain on bass, and Nicholas Plews on drums in a time of change after their 2022 self-titled debut, retaining the raw, old school Hardcore heart of Cage Fight while also exploring more multi-layered terrains, atmospheres and melodies, making their sound bigger, tighter and more epic than ever before.
After the dark industrial intro Confined, featuring Rob Parton of electronic music project Arconic, get ready for total madness and chaos together with Cage Fight in Oxygen, where Nicholas simply hammers his drums like a demented creature, offering Rachel exactly what she needs to vociferate deeply and rabidly; while in Pigthe indomitable Rachel calls out the creepy men who send women unsolicited messages online, and she makes sure she scares the shit out of those bastards with her she-devil roars in a true headbanging Hardcore feast. Pick Your Fighter, featuring Julien Truchan of Benighted, brings forward excellent lyrics (“Pick your fighter / The battle begins / Only one will win / Pick your fighter / The choice is yours / He looks up toward his dream / Recalling and rising / His thoughts elevate him / His fists are fiery waves / Here to smash the enclave / Refuse to be enslaved”) inspired by a French pop song named “Et c’est parti…” by Nâdiya; whereas James takes the lead with melodic yet visceral riffs in the hard hitting Un Bon Souvenir, blending Hardcore and modern metal music. And his guitar keeps exhaling aggression and fire in Deathstalker, with Rachel sounding possessed by a demonic entity on vocals.
The second part of the album begins with the atmospheric, creepy interlude Le Déni, or “the denial” from French, penetrating deep inside our souls before the band comes ripping with the title-track Exuvia, inspired by Rachel’s grandmother who is currently battling cancer, and who also helped her write the lyrics. The music is absolutely heavy, fierce and caustic, with Nicholas once again dictating the pace supported by the thunderous bass by Will. James then offers another round of his striking riffage in The Hammer Crush, inspiring us all to bang our heads together with the band until the very last second, with Rachel’s Death Metal-like vocals adding endless rage to the music. In IHYG (I Hate Your Guts) they invest in a more direct Crossover Thrash sonority, with the heavy kitchen by Will and Nicholas reverberating through the air in great fashion, followed by the expansive final track Élégie, which is about Rachel losing her grandfather, and the regret that can come from things left unsaid, offering a darker, more introspective side of the band. Moreover, Rachel lets all her anger and fear flow from her desperate vocals. There’s also an alternative version for one of the songs titled Un Bon Souvenir (Single Version), which is more like a bonus track as it’s a less detailed version of it. Not bad for some radio exposure, but the full version is way more compelling.
“With Exuvia, we took a step back and reflected on where we wanted to take things next. Our first record happened quickly: it came out of Covid, we had this crazy momentum with writing, and we just rolled with it. On this new record, we explored deeper in terms of songwriting and melody, and also got to know each other better as musicians,” said guitarist James Monteith. “One thing that has stayed the same is that we want to have fun. But now with the knowledge of who we all are, we’ve managed to hone in on a sound that we really want – it feels like a rebirth of the band.” You can get to know more details about the band’s sonic metamorphosis on Facebook and on Instagram, keeping an eye on their incendiary live shows, stream their music on YouTube and on Spotify, and of course put your blook-soaked hands on their new album by clicking HERE. Exuvia might represent an evolution in the sound by Cage Fight, and they might be shedding their skin in the process, but in the end when you look deep inside their soul, they’re still a metal band. Heavy, hungry, and ready to kill, armed with their stunning new offering.
Best moments of the album:Oxygen, Pick Your Fighter, Deathstalker and The Hammer Crush.
Worst moments of the album:Un Bon Souvenir (Single Version).
Released in 2026 Spinefarm Records
Track listing 1. Confined 1:28
2. Oxygen 3:06
3. Pig 3:18
4. Pick Your Fighter 2:44
5. Un Bon Souvenir 6:03
6. Deathstalker 3:24
7. Le Déni 1:46
8. Exuvia 5:56
9. The Hammer Crush 2:50
10. IHYG (I Hate Your Guts) 3:44
11. Élégie 5:57
12. Un Bon Souvenir (Single Version) 4:01
Band members Rachel Aspe – vocals
James Monteith – guitar
Will Chain – bass
Nicholas Plews – drums
Guest musicians
Rob Parton – everything on “Confined”
Julien Truchan – vocals on “Pick Your Fighter”
Ukraine’s own Black Metal entity returns with an introspective three-track EP, continuing to illuminate the path for those who dare to wander, to question, and to dream.
Born from the whispering winds and the brooding landscapes of Ukraine, a realm steeped in history and draped in the enigma of folklore, emerges Drudkh, a beacon of profound expression in the vast expanse of Black Metal. In the wake of their 2025 full-length album Shadow Play (or “Гра тіней” in their mother tongue), the band formed of Thurios on vocals, guitars and keyboards, Roman Saenko on the guitars and bass, Krechet on bass and keyboards, and Vlad on drums and keyboards extends this same creative breath with Thaw, or “Відлига” in Ukrainian, a three-track EP recorded during the album’s sessions and conceived within the same emotional horizon. If the album traced the tension between shadow and illumination, Thaw inhabits the fragile interval between stillness and movement, where change begins almost imperceptibly beneath a frozen surface, being therefore highly recommended for fans of Hate Forest, Windswept, and Agalloch.
The first song of the EP, titled Пам’ять (Memory), already brings to our avid ears the band’s harsh and piercing sounds, with Thurios delivering Stygian vociferations while Roman slashes his guitar and bass in great fashion; followed by the also obscure and harsh tune Десь, колись (Somewhere, Sometime), which begins in an introspective manner before morphing into a feast of Atmospheric Black Metal led by the caustic riffage by Roman. And last but certainly not least, Мить у вічності (A Moment in Eternity) is a full-bodied Black Metal attack by Drudkh, blasting our ears and minds with their devilish roars, scathing riffs and hammering drums while also presenting a good dosage of Doom Metal to give the whole song an even darker vibe, closing the EP on a visceral note.
Drudkh’s journey is one of introspection, seeking to create music that evokes a profound emotional resonance that stirs the depths of the human experience. In Thaw, they continue to illuminate the path for those who dare to wander, to question, and to dream, and you can easily follow such an exciting path by checking what the band is up to on Facebook, by streaming their unique creations on Spotify, and of course by purchasing their new EP from Bandcamp, from Season of Mist, or by clicking HERE. Thaw is a very complex and multi-layered EP, overflowing all types of emotions during its 20 minutes of music, and we can rest assured we’ll hear a lot more from Drudkh in the near future with another blast of excellence like what’s found in their striking new release.
Best moments of the album:Мить у вічності (A Moment in Eternity).
Worst moments of the album: None.
Released in 2026 Season of Mist: Underground Activists
Track listing 1. Пам’ять (Memory) 7:07
2. Десь, колись (Somewhere, Sometime) 5:51
3. Мить у вічності (A Moment in Eternity) 7:02
Band members Thurios – vocals, guitars, keyboards
Roman Saenko – guitars, bass
Krechet – bass, keyboards
Vlad – drums, keyboards
The underworld is calling us all to the sound of the striking sophomore album by this unstoppable Hard Rock machine from Norway.
Widely respected for his collaborations with internationally renowned artists such as Glenn Hughes(Deep Purple) and Joe Lynn Turner (Rainbow), Norway-based guitarist Jo Henning Kaasin returns with his Hard Rock project Kaasin, alongside vocalist Jan Thore Grefstad (Saint Deamon, TNT), bassist Ståle Kaasin (Humbucker, 2020Vision), keyboardist Erling Henanger (Magic Pie, Holter) and drummer Per-Morten Bergseth (Jorn, Wig Wam, Course of Fate, Holter), offering us all a new studio album titled The Underworld, the follow-up to their 2021 debut Fired Up. Produced and recorded by Halvor Halvorsen, Jo Henning Kaasin and Ståle Kaasin, mixed by Halvor Halvorsen, and with artwork by Stan W. Decker, the album marks a new chapter for these Norwegian Hard Rock warriors, presenting a darker and more atmospheric sound while remaining firmly rooted in classic Hard Rock traditions built on strong melodies and solid musicianship.
It’s pedal to the metal in the striking Hard Rock feast entitled The Real World, with the melodic vocals by Jan bringing even more electricity to their music, also boosted by Erling’s stylish keys; and the rockin’ guitars by Jo and the rumbling bass by Ståle set the tone in Two Hearts, a mid-tempo Hard Rock song where Jan once again steals the show with his passionate vocals. We Speed at Night reminds me of some old school creations by the mighty Running Wild mixed with classic Hard Rock from the Sunset Strip, and the final result is obviously awesome; followed by Iron Horse, another solid rockin’ tune by those talented Norwegians, with its more delicate moments clashing in great fashion with the powerful vocals by Jan.
There’s still a lot more fuel to burn in The Underworld, starting with Invisible, offering pure Hard Rock and AOR magic blasted by the band, led by Per-Morten’s classic drums, while in Over the Mountain they add hints of Blues Rock to their core sonority. Moreover, Jo and Ståle are in total sync from start to finish, with Jo’s guitar solo sounding fantastic. Arabian Night is definitely inspired by the music by Deep Purple while keeping Kaasin’s own essence intact, with their guitars and keys exhaling epicness, and after the atmospheric interlude The Descent of Souls we face the title-track The Underworld, a Rock N’ Roll steamroller led by Jo’s sharp riffage and Per-Morten’s nonstop beats and fills while Jan keeps delivering his striking vocals until the very end.
The foundation of Kaasin was laid with a clear ambition to create contemporary Hard Rock with a classic spirit and a strong sense of identity, and both Fired Up and The Underworld bring forward exactly that sound and feeling for our absolute delight. The Underworld will certainly help the band go places and reach new heights, and if you want to join their Rock N’ Roll rocket ship you can follow the band on Facebook, staying up to date with their news and live performances, stream their rockin’ tunes on any platform like Spotify, and grab a copy of their incendiary new album from Pride & Joy Music. Having said all that, can you hear the underworld calling us all to the sound of the new album by the mighty Kaasin?
Best moments of the album:The Real World, We Speed at Night and The Underworld.
Worst moments of the album:The Descent of Souls.
Released in 2026 Pride & Joy Music
Track listing 1. The Real World 4:20
2. Two Hearts 3:43
3. We Speed at Night 4:20
4. Iron Horse 5:34
5. Invisible 5:17
6. Over the Mountain 4:57
7. Arabian Night 4:54
8. The Descent of Souls 1:36
9. The Underworld 3:52
Band members Jan Thore Grefstad – vocals
Jo Henning Kaasin – guitar
Ståle Kaasin – bass
Erling Henanger – keyboards
Per-Morten Bergseth – drums
After a Heavy Metal night on Thursday with the Burning Witches, it was time to join the Witches of Dystopia on Friday night as WRAITH NIGHT, JEROME REUTER’S ROME, MORTIIS and UADA took the city of Toronto by storm with their The Witches of Dystopia Tour MMXXVI, another massive event brought to the city by Noel Peters of Inertia Entertainment. The venue chosen for such a unique experience was Lee’s Palace (and it looks like it’s the only place UADA play in the city, by the way, as it was their third time there out of three shows), and of course Keith Ibbitson of Metal Paparazzi and I were there to enjoy such a dark celebration encompassing countless music styles, from Black Metal and Dungeon Synth to Darkwave and Melodic Black Metal. It was a night of ups and downs as expected when you have so many different styles billed together, but that’s fine. You only need to open your mind and let the music flow through your soul, it doesn’t matter if it’s heavy as hell, or smooth and atmospheric.
It was 7:30pm, only 30 minutes after the doors were open, when Camas, Washington-based Black Metal/Ambient/Dungeon Synth entity WRAITH KNIGHT ignited the festivities with its fusion of dark music and fantasy. The project is basically Nick Superchi (the brother of UADA’s own frontman Jake Superchi, with whom he has also co-founded Dark Forest Productions) on synthesizers, and you can enjoy its two album Deep in the Dungeons of the Dragonlord, from 2022, and Of Arcane Magic & Forbidden Knowledge: The Necromantical Passage, from 2026, on BandCamp and on Spotify. It was a bit weird seeing just one guy on the corner of the stage playing synths for 30 minutes, but it is what it is. Nick hasn’t joined this tour in vain, and all would make sense after UADA hit the stage later that night.
Band members Nick Superchi – synthesizers
Then after a short break it was time for another one-man project to entertain everyone who beats traffic and was already at Lee’s Palace, Luxembourg’s own Neofolk act JEROME REUTER’S ROME. And again, it was only one guy onstage, this time playing an acoustic set on the guitar. Known for his time with Street Punk band The Skinflicks, and for his collaborations with Nergal in his Dark Folk/Blues project Me And That Man, Jerome is now putting a lot of focus and effort on Rome, and if you enjoy Neofolk you can go check his music on Spotify. I would have preferred a regular Black Metal band instead, fully electrified and loud, but again, nothing that could make the night less enjoyable.
The first main attraction of the night was Oslo, Norway-based Darkwave/Dungeon Synth/Electronic/Industrial Rock entity MORTIIS, and yes, all of those music genres and subgenres can be applied to the most famous troll in the music industry. I don’t know if he was the best option to tour alongside such a heavy band like UADA, but the crowd seemed to be enjoying his electronic music more than what I expected. Basing his setlist on his 2001 cult album The Smell of Rain, plus the new song Ghosts of Europa, from his upcoming album of the same name (to be released on June 21), all available on BandCamp and on Spotify, Mortiis and his henchmen Ashes on the guitar, and Jon Siren on drums put a lot of people to dance at Lee’s Palace, including Mortiis himself onstage, of course.
The only thing that REALLY bothered me during his entire concert was the excessive use of backing tracks, in special all keyboards and synths. I read somewhere that the reason for such was to maintain the atmospheric complexity of his studio recordings that cannot be fully replicated by a standard live band (and it also gave Mortiis more freedom to move around the stage, I must admit that), but when over 90% of the instrumental is based on keyboards and synths, that gets truly annoying. No idea what was going on inside the minds of the fans at the venue, as the ones dancing didn’t seem to care about it, while others were simply not moving at all. When Smell the Witch was over, I noticed some people leaving the floor section. Maybe they were there just for Mortiis, maybe they were afraid of being caught in a mosh during UADA, which proves again the lineup for this tour was very weird. It worked, but it was still weird.
Setlist
Ghosts of Europa
Marshland
You Put a Hex on Me
Mental Maelstrom
Spirit in a Vacuum
Monolith
Parasite God
Tundra
Demons Are Back
Doppelganger
Smell the Witch
Band members Mortiis – vocals
Ashes – guitars
Jon Siren – drums
Finally when the clock was about to hit 11pm it was time for one of the best, if not THE best, Melodic Black Metal band of the current scene, Portland, Oregon’s own UADA, to crush our damned souls with another spiritual, hypnotizing and absolutely dark performance, almost three years after their demolishing 2023 concert at the same venue, but this time their concert was absolutely unique, playing in full their 2016 debut Devoid of Light (available on any platform like BandCamp and Spotify), in celebration of the album’s 10th anniversary, plus songs from Symphonic Black/Death Metal band Ceremonial Castings, formed by brothers Jake “Lord Serpent” Superchi and Nick “OldNick” Superchi, celebrating 30 years of the band. It was a very bold move as I’m not sure if everyone at the venue knew Ceremonial Castings, but the final result was majestic to say the least.
When Jake Superchi, Rob Shaffer, Nate Verschoor and Pierce Williams hit the stage and kicked off their venomous feast of Black Metal with the excellent Natus Eclipsim, followed by the massive title-track Devoid of Light, the heaviness and loudness at Lee’s Palace were turned up to 11, inspiring everyone to raise their horns, bang their heads nonstop, and slam into the circle pit, all while joining the band on their spiritual journey. As a huge fan of all UADA albums, it was a pleasure seeing Devoid of Light in full (and I think this was the 10th album played in full by different bands in the city in the past year or so, a very cool trend if you ask me), with Black Autumn, White Spring being the icing on the cake as usual. Superb performance by this must-see band from the metal underworld.
Then after the instrumental interlude comprised of The Wanderer, from their 2018 masterpiece Cult of a Dying Sun, Nick Superchi of Wraith Knight joined the band onstage for a special set based on the “Bewitching Black Metal” crafted by Ceremonial Castings. With its lyrics based on the art of black magic, witchcraft and rituals, the band seems to have been resurrected by Jake and Nick in 2020, and I must say I’m really happy they decided to bring such an amazing project back from the dead. The songs chosen for their special ceremony were Immortal Black Art, Into the Black Forest of Witchery, Barbaric Is The Beast, Come Forth Damnation, Damned Be Those of the Craft, and Midnight Deathcult Phenomena, all available on BandCamp and on Spotify, and I highly recommend you go after the music by Ceremonial Castings as it’s simply phenomenal. All fans loved every single second of the show, and I bet whoever was not familiar with Ceremonial Castings was certainly impressed with their killer music. In addition, they ended their set with an incendiary version of Emperor’s all-time classic I Am the Black Wizards. Do I need to say more?
There was only one issue with UADA’s classy performance involving one of the girls at the concert, but I guess both the girl and Jake regret their actions this Friday night. The same girl who went onstage to do splits at the Incantation concert (opening for Belphegor) earlier this year thought it was a good idea to do the same at UADA, but she clearly didn’t have a clue of what a UADA concert means. It’s not Thrash Metal, it’s not Death Metal, sometimes not even Black Metal. It’s a spiritual event, and the stage is sacred ground for the band. After doing her splits, Jake simply booted her out of the stage, and although her fall wasn’t that harsh, it was still a considerable fall. Jake apologized to her after the show, of course. I guess he was in his usual trance onstage and didn’t think properly before kicking her in the ass, but that also shows you cannot simply go to a concert and do whatever you want, like invading the stage, because depending on the band that’s not cool at all. In the end, it didn’t really matter, because UADA were beauifully insane, and I can’t wait to see them live again sooner than later. Without anyone going onstage to do splits, please.
Setlist Devoid of Light (10-Year Anniversary)
Natus Eclipsim
Devoid of Light
S.N.M.
Our Pale Departure
Black Autumn, White Spring
Interlude: The Wanderer
Ceremonial Castings (30-Year Anniversary)
Immortal Black Art
Into the Black Forest of Witchery
Barbaric Is The Beast
Come Forth Damnation
Damned Be Those of the Craft
Midnight Deathcult Phenomena
Encore:
I Am the Black Wizards (Emperor cover)
Band members Jake Superchi – vocals, rhythm guitars
Rob Shaffer – lead guitars
Nate Verschoor – bass
Pierce Williams – drums
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.
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 AMMOdelivered 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
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
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
Attention, metalheads!
THE HEADBANGING MOOSE 