Author Archives: Gustavo Scuderi

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About Gustavo Scuderi

"If I could survive to live one more time I wouldn't be changing a thing at all Done more in my life than some do in ten I'd go back and do it all over again..."

Concert Review – Dream Theater (Coca-Cola Coliseum, Toronto, ON, 03/11/2025)

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The city of Toronto had the utmost pleasure of celebrating 40 years of Dream Theater together with the band in a stunning three-hour show.

INTRODUCTION: No school, no traffic!

It was way beyond easy getting to the cozy Coca-Cola Coliseum this Tuesday night for An Evening with Dream Theater – 40th Anniversary Tour USA & Canada 2025, simply because it’s “March Break”, or if you’re not Canadian, it’s a week during winter where kids don’t have classes, meaning A LOT less traffic as several parents also take the week off to travel with their kids. Keith Ibbitson of Metal Paparazzi and I made it to the venue about one hour before doors opened, giving us enough time to chat, grab a bite and something to drink, and check the merch stand (which was absolutely crowded) before the show started. Also, not sure if you already knew about it or not, but there’s no opening band this tour, with Dream Theater playing basically two full sets of one hour and thirty minutes each, a total delight for diehards fans of the band.

DREAM THEATER

Precisely at 7:30pm the speakers began playing the song “Prelude”, by Bernard Herrmann, before James LaBrie, John Petrucci, John Myung, Jordan Rudess, and the returning beast Mike Portnoy (who sounded as if he had never left the band), collectively known as American Progressive Metal institution DREAM THEATER, walked to the stage and began embellishing the airwaves with their masterpiece Metropolis Pt. 1: The Miracle and the Sleeper. As I was seated on level 100 and somewhat close to the stage, I could not only see all details of the band’s performance, like for example John Myung’s use of his pedals, but also the reaction of different fans on the floor section (which was also a seated section, by the way), with some headbanging, some playing air guitars and air drums, and some simply raising their hands in awe to the band’s flawless performance.

That was the beginning of the band’s first act, including songs from my favorite Dream Theater albums Images and Words, Awake, and Metropolis Pt. 2: Scenes from a Memory, as well as songs from other excellent albums from their vast discography, and it was pure joy watching them play beautiful songs like The Mirror, Hollow Years, Under a Glass Moon, and The Dark Eternal Night. James’ vocals were a tiny bit off during the first few minutes of the show, but after that his voice got a lot better, not to mention his interactions with the crowd were also great, including hitting the head of a fan by total accident with his mic, making the guy’s head bleed a little. Well, as some people like to say, this is rock n’ roll, or the show must go on, and I bet the morning after the fan was proudly telling all of his friends about what happened with a huge smile on his face.

Then after a 15 or 20-minute break where I went for more food and drinks, we got a nice orchestral overture with excerpts from all albums by the band, warming us up for their  second act, starting with two of my favorite songs of the night, Night Terror and Midnight Messiah, both from their brand new album Parasomnia. Yes, both sounded amazing live, and after James mentioned close to the end of the show they’ll return to Toronto probably in the fall to play Parasomnia in full, I got really excited. It’s such a great album, and I’m sure it will sound even more powerful live. Perhaps the “weirdest” song of the night was the 22-minute piece Octavarium, just because it is a TWENTY TWO MINUTE SONG (most probably the longest song I’ve ever seen live, if I’m not mistaken). You never know how the crowd will react to a song so lengthy and complex, but when the band in question is Dream Theater the song doesn’t feel neither long nor complex, overflowing feeling and energy from start to finish.

Then the encore was just as fantastic, with all fans at the venue going mental (including myself) with the flawless “sonic combo” formed of Act II: Scene Six: Home, Act II: Scene Eight: The Spirit Carries On (the most emotional moment of the entire show, by the way), and of course their all-time hit Pull Me Under, leaving us eager for more Dream Theater in the near future even after having just seen them for over three hours, and as aforementioned, it won’t take long for them to return, playing Parasomnia in full before the year is over. Lastly, when we go see most bands we always pay more attention to vocals, guitars and drums, but let’s say John Myung and Jordan Rudess stole the show in their own way with phenomenal, jaw-dropping performances, in special Mr. Rudess with his spinning keyboards and even a stylish “keytar”. It’s not everyday you can tell your friends you got stunned by a bassist (unless you’re an Iron Maiden or Cannibal Corpse fan, of course) and a keyboardist, and if Dream Theater are visiting your city with their undisputed celebration of their 40-year career, don’t miss the chance of seeing Mr. Myung, Mr, Rudess, and the entire crew delivering the perfect balance between dexterity and heart onstage.

Setlist
Act I
Prelude (Bernard Herrmann song)
Metropolis Pt. 1: The Miracle and the Sleeper
Act I: Scene Two: I. Overture 1928
Act I: Scene Two: II. Strange Déjà Vu
The Mirror
Panic Attack
Barstool Warrior
Hollow Years
Under a Glass Moon
The Dark Eternal Night
Let’s All Go to the Lobby

Act II
Orchestral Overture
Night Terror
Midnight Messiah
This Is the Life
Vacant
Stream of Consciousness
Octavarium

Encore:
There’s No Place Like Home (Movie clip from ‘The Wizard of Oz’)
Act II: Scene Six: Home
Act II: Scene Eight: The Spirit Carries On
Pull Me Under
Singin’ in the Rain (Arthur Freed & Nacio Herb Brown song)

Band members
James LaBrie – vocals
John Petrucci – guitars
John Myung – bass
Jordan Rudess – keyboards
Mike Portnoy – drums

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Album Review – Ritual Ascension / Profanation of the Adamic Covenant (2025)

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This cryptic American Abstract Death/Doom Metal outfit will drag you further down the abyss to the sound of their anti-religious and blasphemous concept debut full-length monstrosity.

Coalesced around 2023, after Minneapolis, Minnesota’s own Death/Doom Metal beast Aberration completed their debut album, when three of its members, D.H. (Silurian, Suffering Hour) on vocals, J.H. (Annihilation Cult, Feral Light, Void Rot) on the guitars and bass, and E.C. (Annihilation Cult, Feral Light, Umbral Twilight) on drums and percussion, reconvened to continue creating together and to keep pushing their deviant ideas forward, American Abstract Death/Doom Metal outfit Ritual Ascension is unleashing upon us all their horrendous debut full-length monstrosity, Profanation of the Adamic Covenant. Recorded by Adam Tucker at Signaturetone Recording, mixed by D.H. at Black Dust Studios, mastered by Will Killingsworth at Dead Air Studios, and displaying a cryptic, grim artwork by Belial NecroArts, the album takes the masterful death-doom horror of early Temple Nightside and Grave Upheaval, and transfigures it further into the darkest abysses of surrealism.

The bells are tolling in the name of obscure music, opening the gates of the underworld to the gargantuan, venomous gnarls by D.H. in Womb Exegesis, a Blackened Doom aria where E.C. hammers his drums like a demonic entity. The same devilish aura from the opening track permeates the air in Pillars of Antecedence, even more sluggish and grim thanks to the slow and steady beats by E.C. while J.H. extracts minimalist yet visceral riffs from his axe, followed by Cursed Adamic Tongues, the shortest song of the album, and also the most punishing, violent one, with D.H. gnarling like a true demon while J.H. and E.C. build a beyond ruthless atmosphere. Then like the soundtrack to a black, sulfurous cult, the trio delivers the disturbing Consummation Rites, offering us all over ten minutes of apocalyptic passages, somber riffs, vile roars and endless despair; and last but definitely not least, Ritual Ascension will take us on a one-way trip to the netherworld in Kolob (At the Throne of Elohim), a massive wall of Doom and Death Metal masterfully crafted by the trio, spearheaded by the always caustic, austere riffs by J.H. armed with his venomous axe.

Not only the music by Ritual Ascension is harsh and disturbing, but Profanation of the Adamic Covenant is also an anti-religious, blasphemous, behemoth concept album dealing with some of the darkest and most sinister aspects in the history and theology of the so called Church of Jesus Christ of Latter-day Saints (also known as the Mormon Church), and shaped by direct experiences by some of the band members themselves within said religious movement as well, inviting the listeners to a wild, sinister musical journey while casting them further down the abyss, into a bottomless sepulcher of confusion and of complete chthonic torment. Having said all that, you can find more information about such a distinct trio of death and doom on Instagram, and purchase a copy of their caustic debut from the Sentient Ruin Laboratories’ BandCamp or webstore, feeding your inner demons with their chaotic music while you enjoy your eternal descent into the abyss.

Best moments of the album: Pillars of Antecedence and Kolob (At the Throne of Elohim).

Worst moments of the album: None.

Released in 2025 Sentient Ruin Laboratories

Track listing
1. Womb Exegesis 9:02
2. Pillars of Antecedence 8:58
3. Cursed Adamic Tongues 5:24
4. Consummation Rites 10:52
5. Kolob (At the Throne of Elohim) 13:22

Band members
D.H. – vocals
J.H. – guitars, bass
E.C. – drums, percussion

Album Review – Frightful / What Lies Ahead (2025)

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Playing old school Death Metal with Thrash Metal and Grindcore influences, this Polish horde attacks again with their ruthless sophomore beast.

Playing old school Death Metal with Thrash Metal and Grindcore influences the likes of Carcass, Exhumed, Demolition Hammer and Sepultura, Gdańsk, Poland-based outfit Frightful is back in action with their second full-length installment, entitled What Lies Ahead, continuing the path of destruction initiated with their 2021 debut full-length Spectral Creator. Recorded, mixed and mastered by Maciej Nejman at Studio 147, with a classy yet venomous cover art by N. Zuki of Belial NecroArts (and layout by Paweł Ozon of XXV The Sign), the new album by Oskar Wańka on vocals and bass, Paweł Snarski and Eryk Jakubczyk on the guitars, and Krzysztof Pochranowicz on drums offers exactly what admirers of classic Death Metal need, positioning the band as a force to be reckoned with not only in their homeland, but anywhere in the world where high quality Death Metal is properly appreciated.

The opener Cloaked by Nothingness already provides us with a harsh, raw and visceral sonority boosted by its cryptic words (“Embraced by spectred deny / Forming disease in the absence of light / Levitating inside / Extinction is a matter of time”), inviting us all to slam into the pit and succumb to the dark side of metal; and Paweł  and Eryk’s infuriated thrashing riffs set the tone in Disincarnate Sower, resulting in a caustic metal feast where Oskar gnarls like a demon nonstop. Krzysztof  then hammers his drums like a demented beast in What Lies Ahead, offering more of the band’s frantic fusion of Black, Death and Thrash Metal, whereas the band attacks in full force in No Fear, with Oskar growling rabidly while firing low-tuned, menacing bass lines at the same time, supported by the bestial drumming by Krzysztof.

Into the Phantom Hearts is perhaps the song with the darkest lyrics (“At beginning of curse / So pure, unsullied / By permanent abuse / Now be left with grief / Punctured hearts turns quickly into frost / Unable to take them strokes / Hardened in acts and riven in thoughts / As result left with nothing”), while the music is a true hurricane of Blackened Death and Thrash Metal sounds; whereas Paweł  and Erik continue to distill their devilish riffs in Farewell, sounding tailored for fans of the dark arts and pure circle pit action. The album gets better and better as the music progresses, with the fulminating Cathedrals of Creation bringing forward the slashing riffs by the band’s guitar duo while Oskar growls and barks in the name of evil; and last but not least, Frightful will destroy our frail bodies without mercy in Inexplicable, speeding things up while also adding an extra dosage of sulfur to their music.

If you believe you have what it takes to join Frightful in their quest for the harshest, most inhumane form of Death Metal you can think of, you can start following the band on Facebook and on Instagram for news, tour dates and so on, and of course stream more of their caustic creations on YouTube, on Spotify or on any other streaming platform. And above all that, don’t forget to purchase a copy of the excellent What Lies Ahead from the Godz ov War Productions’ BandCamp or webstore, supporting the band in their dark path and, therefore, adding more fuel to the always beautiful Polish Death Metal scene, inspiring other bands like Frightful to keep releasing excellent albums like what they masterfully crafted in their newborn spawn.

Best moments of the album: Into the Phantom Hearts, Farewell and Cathedrals of Creation.

Worst moments of the album: What Lies Ahead.

Released in 2025 Godz ov War Productions

Track listing
1. Cloaked by Nothingness 5:45
2. Disincarnate Sower 4:46
3. What Lies Ahead 4:57
4. No Fear 4:27
5. Into the Phantom Hearts 6:01
6. Farewell 3:37
7. Cathedrals of Creation 4:38
8. Inexplicable 5:42

Band members
Oskar Wańka – vocals, bass
Paweł Snarski – guitars
Eryk Jakubczyk – guitars
Krzysztof Pochranowicz – drums

Album Review – Scalpture / Landkrieg (2025)

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Here comes the German Death Metal tank again armed with their fourth album, revolving around the 30 Year War that devastated the German lands from 1618 until 1648. 

Here comes the German Death Metal tank Scalpture again, crushing and smashing, bulldozing all resistance into oblivion and breaking through the lines. Founded in 2009 in Bielefeld, a German city in the Ostwestfalen-Lippe Region in the north-east of North Rhine-Westphalia, the band currently formed of Thorsten Pieper on vocals, Tobias Aselmann and Felix Marbach on the guitars, Niklas Neuwöhner on bass and Moritz Nixdorf on drums delivers their fourth album, titled Landkrieg, which means “land warfare” in German, with deadly precision and an ambitious mission statement to conquer the world. Recorded, produced and mixed by Marco Brinkmann at Hellforge Studio, mastered by Lawrence Mackrory at Rorysound Studios, and displaying a stylish artwork by world renowned artist Eliran Kantor (with layout by Irrwisch Artdesign), Landkrieg brings forward ten songs of pure old school Death Metal, with each song revolving around the 30 Year War that devastated the German lands from 1618 until 1648, being therefore perfect for fans of Hail of Bullets, Bolt Thrower, Obituary, Gatecreeper, Dismember and Jungle Rot.

The serene intro The Fall works as the calm before the storm, as the band heads into the battlefield in Into Catastrophe, with Moritz bringing the heavy artillery by hammering his drums nonstop while Thorsten roars deeply and with tons of anger. Then we have Til Jeret Undergang, or “until the end”, another blast of classic 90’s Death Metal where the bass by Niklas sounds utterly heavy and metallic, turning the song into the perfect choice for some action inside the pit. Landsknecht, an expression that represents a mercenary foot soldier in late 15th-, 16th-, and 17th-century Europe, is a tormented display of Death Metal led by the crushing riffs by Tobias and Felix; followed by Wallenstein, a military leader and statesman who fought on the Catholic side during the 30 Year War, sounding considerably darker thanks to all of its elements of Doom Metal.

Den Mörka Nattens Lejon, or “lion of the dark night” from Swedish, indeed sounds like a devilish lion thanks to another bestial performance by Thorsten on vocals while Moritz speeds things up with his demolishing beats, and the hammering bass and drums by Niklas and Moritz set the tone in Of Siege and Besieged, a neck-breaking, infernal aria by the band. After that we face Schwedentrunk, a method of torture and execution in which the victim is forced to swallow large amounts of a foul liquid, such as excrement, leaning towards modern-day Melodic Death Metal while still sounding raw and evil; and it’s pedal to the metal with the infuriated Hells Choirs Chant, where their caustic riffs and blast beats match perfectly with Thorsten’s guttural roars. Finally, Bellum Se Ipsum Alet, or “war feeds itself” from Latin, puts a dark and sinister conclusion to the album, with the band’s Death and Doom vein pulsing harder than ever.

After all is said and done, it’s clear that Scalpture stayed true to their deadly roots in Landkrieg, building their music and lyrics on detailed historical research and portraying the horrors that the abyss of war has caused in some of the darkest hours of humankind. Hence, don’t forget to follow the band on Facebook and on Instagram to keep updated with all things Scalpture, to stream more of their warlike compositions on Spotify, and of course to purchase Landkrieg from BandCamp or by clicking HERE. As the band unleashes their new album upon us, that leaves us with only two choices, to run for cover or to bang our Death Metal heads hard, and based on the high quality of the music found in the album I’m sure we’ll all go for the second option.

Best moments of the album: Til Jeret Undergang, Den Mörka Nattens Lejon and Hells Choirs Chant.

Worst moments of the album: Wallenstein.

Released in 2025 Testimony Records

Track listing
1. The Fall 1:23
2. Into Catastrophe 3:46
3. Til Jeret Undergang 5:09
4. Landsknecht 4:21
5. Wallenstein 5:32
6. Den Mörka Nattens Lejon 3:22
7. Of Siege and Besieged 6:07
8. Schwedentrunk 3:28
9. Hells Choirs Chant 3:46
10. Bellum Se Ipsum Alet 5:49

Band members
Thorsten Pieper – vocals
Tobias Aselmann – guitar
Felix Marbach – guitar
Niklas Neuwöhner – bass
Moritz Nixdorf – drums

Album Review – March Of Scylla / Andromeda (2025)

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Behold the debut full-length opus by this excellent French Post-Metal act, delving into the vastness of space and humanity’s intricate relationship with science, the cosmos, and the afterlife.

A dark Progressive and Post-Metal project that explores through ancient myths all the afflictions that humanity encounters, Amiens, France-based March Of Scylla are unleashing upon us their debut full-length album, entitled Andromeda, the follow-up to their previous EPs Archives and Dark Myth. Recorded, mixed, and mastered by Francis Caste at the renowned Studio Sainte-Marthe, the newborn spawn by vocalist Florian Vasseur, guitarist Christofer Fraisier, bassist Robert Desbiendras and drummer Gilles Masson delves into the vastness of space and humanity’s intricate relationship with science, the cosmos, and the afterlife, being highly recommended for admirers of the music by Gojira, Tesseract, Sleep Token, and Architects.

Elements from Djent are intertwined with the band’s core Progressive Metal sounds in Ulysses’ Lies, led by the classic drums by Gilles, whereas futuristic sounds permeate the air in the hammering Death Experience, with the metallic bass by Robert hitting us hard mercilessly while Florian declaims the song’s lyrics in great fashion. They keep blasting a wild fusion of Progressive and Post-Metal with Djent and Groove Metal in The Royal Way, perfect for some vigorous headbanging, followed by To Cassiopeia, an atmospheric, eerie and lengthy interlude that sets the tone for Dark Matter, where Florian growls and screams with tons of anguish while also firing delicate yet piercing clean vocals.

The band continues to blast our ears with their melodic and heavy hitting music in Storm Dancer, with Robert’s bass and Gilles’ beats making our heads tremble, instantly merging with BlaAst, bringing forward over six minutes of atmospheric and groovy passages, with the heaviness flowing from all instruments supporting Florian’s powerful vocals. Gilles puts the pedal to the metal and hammers his drums nonstop in Achilles’ Choice, an overdose of Progressive Post-Metal with the bass by Robert sounding utterly metallic; and Florian bursts his lungs screaming in the beyond melodic Myrrha, accompanied by the scorching riffs by Christopher in a lesson in Post-Metal. And last but not least, March of Scylla will smash us all with their Post-Metal onrush in Cosmogony, again showcasing all their energy, versatility and heaviness.

Themes of existential anxiety, social injustice, and deep emotional struggles intertwine with personal storytelling, universal mythology, and historical context throughout the entire album, offering a powerful and thought-provoking musical journey that’s definitely worth a good and detailed listen, and you can show your support to the band by following them on Facebook and on Instagram, by streaming their music on YouTube, Spotify or any other streaming service, and above all that, by purchasing Andromeda from BandCamp or by clicking HERE. After all is said and done, there’s a clear evolution in the music by March Of Scylla in Andromeda compared to their previous efforts, paving a bright future ahead of them while they keep delivering sheer sonic awesomeness in the near future, both with other striking albums like their debut one and with their undisputed focus, hardwork and passion for heavy music.

Best moments of the album: Death Experience, BlaAst and Myrrha.

Worst moments of the album: To Cassiopeia.

Released in 2025 Klonosphere Records/Season of Mist

Track listing
1. Ulysses’ Lies 5:00
2. Death Experience 6:44
3. The Royal Way 4:48
4. To Cassiopeia 2:45
5. Dark Matter 4:17
6. Storm Dancer 4:51
7. BlaAst 6:19
8. Achilles’ Choice 4:49
9. Myrrha 4:20
10. Cosmogony 6:07

Band members
Florian Vasseur – vocals
Christofer Fraisier – guitars
Robert Desbiendras – bass
Gilles Masson – drums

Album Review – Dream Theater / Parasomnia (2025)

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American Progressive Metal masters are back to their roots with their breathtaking sixteenth studio effort, a thematic concept album about parasomnia and all disruptive sleep disorders.

The band’s first studio album to feature original drummer Mike Portnoy since their 2009 opus Black  Clouds & Silver Linings, the excellent Parasomnia is more than just the sixteenth studio album by American Progressive Metal masters Dream Theater, but a return to their roots, representing both where they came from and where they’re going as not only bandmates, but as brothers. Mixed and mastered by Andy Sneap at Backstage Studios, produced by John Petrucci, engineered by James “Jimmy T” Meslin, and displaying a classy artwork by Hugh Syme, the new offering by vocalist James LaBrie, guitarist John Petrucci, bassist John Myung, keyboardist Jordan Rudess, and drummer Mike Portnoy is a thematic concept album about parasomnia, encompassing a wide range of unusual and undesirable experiences and behaviors people experience in their sleep, also known as disruptive sleep disorders, all embraced by the band’s undisputed, unparalleled sound that catapulted them to stardom over 40 years ago.

It all begins with the poetically titled intro In the Arms of Morpheus, with all background sounds in its first few moments making it feel like the soundtrack to a psychological thriller, setting the stage for Night Terror, with it’s nine breathtaking minutes offering us all a darkly catchy chorus (“Night terror / Hysteria / Nocturnal trial by fire / Eyes open wide but I can’t see”) and the always phenomenal drumming by the returning Mr. Portnoy, as well as the scorching riffs by John Petrucci. Their technical, progressive sounds keep stunning us all in A Broken Man, with John Myung’s bass overflowing heaviness supported by the classic keys by Jordan, sounding like old school Dream Theater for our total delight, morphing into the ten-minute aria Dead Asleep, another explosion of Progressive Metal led by the powerful vocals by James, with all of its breaks, variations and intricate passages inviting us all to a wild, enfolding musical journey to a world of dreams and nightmares.

A cryptic, atmospheric start gradually evolves into the most dynamic, fastest and heaviest of all songs, entitled Midnight Messiah, with James’ vocals being flawlessly boosted by John Petrucci’s riff attack while Mike hammers his drums in great fashion until the very last second. Then we’re treated to the whimsical, ethereal interlude Are We Dreaming?, heightening our senses for Bend the Clock, a beautiful, enfolding ballad where James declaims the song’s dark lyrics with tons of passion (“Worn down wearing thin / Hellish dreams / Tormenting scenes / Shadows looming / I’m paralyzed, can’t move / Scared and confused”) while his bandmates embellish the airwaves with their superb sounds. Finally, get ready for a 20-minute feast of first-class Progressive Metal in The Shadow Man Incident, with the hard-hitting drums by Mike and the rumbling bass by John Myung dictating the song’s thrilling pace while Jordan’s keys sound phantasmagorical, offering so many layers, striking moments and tempo changes it’s hard to put all that into words. Let’s say that if the album only contained this specific song, it would have already been fantastic.

“When you listen to this, I hope you’re able to hear, the excitement, the camaraderie, and feeling of being reunited as brothers,” affirms John Petrucci. “All of that is reflected in the music. It’s very driven and purposeful. I hope it sounds like the Dream Theater you remember and recall when Mike was in the band, but maybe even a little more elevated.” In the end, Parasomnia, available in full on most streaming platforms like Spotify, is dynamic, dramatic, and definitive Dream Theater, and you can show the band how much you love their new album by giving them a shout on Facebook and on Instagram, and obviously by purchasing a copy of the album from Century Media/InsideOut Music or by clicking HERE. In their 1999 masterpiece Metropolis Pt. 2: Scenes from a Memory, the album ends with the sentence “Open your eyes, Nicholas!”, while in their new album the last songs ends with “Wake up!” Would that be a sign of where the band is headed to in the future, by looking into their own past? Well, as long as their upcoming albums are as stunning as Parasomnia, we can rest assure Dream Theater will surely keep “waking us up” with more of their absolutely captivating music.

Best moments of the album: Night Terror, Midnight Messiah, Bend the Clock and The Shadow Man Incident.

Worst moments of the album: None.

Released in 2025 Century Media/InsideOut Music

Track listing
1. In the Arms of Morpheus 5:22
2. Night Terror 9:55
3. A Broken Man 8:29
4. Dead Asleep 11:06
5. Midnight Messiah 7:58
6. Are We Dreaming? 1:28
7. Bend the Clock 7:24
8. The Shadow Man Incident 19:32

Band members
James LaBrie – vocals
John Petrucci – guitars
John Myung – bass
Jordan Rudess – keyboards
Mike Portnoy – drums

Album Review – Vultur / Cultores de Perdas e Linna (2025)

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One of the very first Black Metal acts featuring lyrics in Sardinian Campidanese language returns with a magnificent opus dedicated to the occultism and folk superstitions of their homeland.

Aggressive, unmerciful and fast-paced, showcasing intriguing riffs and a certain degree of dark violence, Portoscuso, Sardinia, Italy’s most devilish Black Metal horde Vultur, one of the very first Black Metal acts featuring lyrics in Sardinian Campidanese language, with themes about Sardinian occultism and folk superstitions, returns to the battlefield with their third full-length opus, entitled Cultores de Perdas e Linna, following up on their critically acclaimed 2014 album Ogu Liau. Recorded by Alberto Bandino at Cut Fire Mixing Studio, and displaying a grim artwork by the band’s own bassist Maristella Spanu (taking inspiration from the Sardinian popular mask “Su Boe”, one of the most important characters of Sardinian Carnival tradition), Cultores de Perdas e Linna, which means “stone and woods worshippers” (which is how Christians derogatorily defined the ancient Nuragic population), features eight songs overflowing darkness, brutality and, of course, Sardinian occultism and folklore, all masterfully brought into being by vocalist and guitarist Nicola Fulgheri (aka Attalzu), guitarist Nicola Spaziani, bassist Maristella Spanu, and drummer Lorenzo Balia.

Attalzu wastes no time and begins vociferating rabidly from the very first second in Su Frastimu, a pulverizing, sinister Black Metal onrush that gets even more cryptic thanks to its words in Sardinian Campidanese; and Maristella and Lorenzo fire a Marduk-like evil kitchen in Eternu Trumentu, again darkening the skies in the name of classic Black Metal. The band shows absolutely no signs of slowing or toning down their music in Su Spegu, with Lorenzo smashing his drums like a beast accompanied by the visceral riffage by Attalzu and Nicola. And Maristella continues to hammer her ruthless bass in Femina Mala, while Attalzu summons absolute darkness through his devilish growls.

After such a hurricane of Black Metal, we have the atmospheric interlude Arestis, setting the stage for Vultur to crush our damned souls in Cultores Lapides et Lignea, with the deep, imposing vociferations by Attalzu sending shivers down our spines while Lorenzo once again sounds demonic behind his drums, not to mention the scorching riffage by Nicola transpires Black Metal magic. Then adding the heaviest elements from Death Metal to their core sonority, its time for a deep, infernal tune by the quartet named Umbras, where all instruments sound as austere as possible, in special the demented drums by Lorenzo, flowing into the beyond atmospheric Nemini Parco, starting in a somber Gregorian chant manner before exploding into one final blackened attack by the band, led by the infuriated riffs and bass by Nicola and Maristella, respectively.

Sardinia is the island whose ancient population dates back to the Bronze Age, featuring a rich archaic history and culture, and whose folklore still breaths nowadays within its fond population. Having said that, it’s truly amazing that a band like Vultur also helps to keep that spirit alive through Black Metal, which is in my humble opinion the perfect music genre to represent any form of folklore or occultism, and Cultores de Perdas e Linna is a flawless depiction of the band’s talent and devotion to their homeland, being highly recommended for fans of Satyricon, Marduk, Mayhem, Immortal, Dissection, and Rotting Christ, among others. You can find those Italian creatures on Facebook and on Instagram, stream their music on Spotify, and above all that, purchase their new album from the Masked Dead Records’ BandCamp or webstore as a CD or as a very special Cultores de Perdas e Linna CD + Unholy Impurity CD bundle. Sardinian folklore has always been a very interesting and vibrant topic, but let’s say Vultur definitely know how to spice it up considerably armed with their breathtaking Black Metal attack.

Best moments of the album: Su Frastimu, Cultores Lapides et Lignea and Umbras.

Worst moments of the album: None.

Released in 2025 Masked Dead Records/Sulphur Music

Track listing
1. Su Frastimu 4:11
2. Eternu Trumentu 5:30
3. Su Spegu 3:53
4. Femina Mala 4:33
5. Arestis 2:25
6. Cultores Lapides et Lignea 5:20
7. Umbras 4:01
8. Nemini Parco 5:20

Band members
Nicola Fulgheri – vocals, lead guitars
Nicola Spaziani – guitars
Maristella Spanu – bass
Lorenzo Balia – drums

Guest musician
Federico Ruggiu – acoustic guitar and bass, effects

Concert Review – Korpiklaani & Ensiferum (The Concert Hall, Toronto, ON, 03/03/2025)

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***Review by Kevin Ibbitson and photos by Keith Ibbitson of Metal Paparazzi***

OPENING ACTS: NiNi and Trollfest

KORPIKLAANI and ENSIFERUM are two of my favourite bands and it’s been way too long since I seen them last, like over a decade ago. So you could imagine that it was time for me to add new merch to my growing collection during their Folkfest Of The North Tour 2025 concert in Toronto at The Concert Hall, brought to the city by Noel Peters of Inertia Entertainment. To be honest, I have also out grown my current tees and I was looking forward to replacing them. My brother Keith and I arrived early to get a good spot in line to facilitate the process of procuring said merch as soon as the doors opened. My brother Keith, who is the photographer for the Headbanging Moose, had with him two exquisite poster-sized photos of Korpiklaani’s lead singer Jonne Järvelä from the last time they played Toronto, hoping to get them autographed at the meet and greet for V.I.P. ticket holders even though we didn’t have meet and greet tickets. We did have a volunteer in the front of the line who was willing to do it for us and we accepted the opportunity with much appreciation. Right at that exact moment Korpiklaani just happened to be walking by and my brother showed him the photos of which got Jonne enthusiastic approval. That being said, the doors opened a little later than expected but the process of entry went smoothly so off to the merch stand I went. I was about fifth or sixth in line and was happier than a pig in shit when Korpiklaani’s tour manager told me that they had plenty in my size. The problem was that merch wasn’t fully set up yet and so we all had to wait twenty minutes before we got served but to my great disappointment, when it was my turn, they couldn’t find anything in my size (3XL). As you could imagine I felt dejected and super disappointed that I had wasted 20 minutes in line for nothing and that I would not be able to get a good spot against the barrier at the front of the stage but luckily I found a decent spot to the left of the stage. My attitude for the opening act was a bit downcast as I was still stewing about the merch debacle.

Taiwanese musician NINI and her band took the stage to open the show and they proceeded to entertain us with their blend of traditional Chinese folk instruments fused with modern metal. Normally I would be totally into that sort of thing but it took me a while to get into it, no fault of theirs, they were great by the way. Nini was colourfully dressed in her traditional silk costume and looked absolutely adorable as she shredded out a short set complete with her rendition of duelling banjos and flight of the bumblebees. Nini is superbly talented in traditional Chinese instruments as well as playing modern guitars and the band was quite impressive as well. they closed their set with a cover of Brittany Spears “Hit Me Baby One More Time”. I noticed that the band was without a bassist and that could have made an even greater impression on me. My brother Keith picked up a Nini Patch for me to help cheer me up. 8/10

Band members
NiNi – Ruan, Liuqin, San Xian, ukulele, Irish banjo, DaoYu
Jesse Venom – vocals
Taylor Bellemare – guitars
Emilio Vergo – drums

If the Patch didn’t cheer me up, Norway’s TROLLFEST sure as hell did. It was my first experience with them and brother these guys are a hoot. As soon as they came strutting onto the stage in their pink flamingo costumes and blacklight face paint I knew we were in for a good time and instantly my mood picked up and was fist pumping and clapping along side everyone in unison. Trollfest can really get a crowd going if you know what I mean. Their show demands crowd participation and I was all in on it loving every second of it. I didn’t participate in the conga line as I didn’t want to lose my position but it looked like everyone was having a blast. My thighs are still hurting though from all of the couching and jumping up and down (I’m so out of shape) and I had a fist bump moment with one of their guitarists whom after their set handed me a set list, which was cool as fuck. It felt like Trollfest played a full set. I definitely want to see them again the next time they come back to Toronto, they were awesome and I had an amazing time seeing them do their thing. 10/10

Setlist
Dance Like A Pink Flamingo
Flamongous
Essenfest
Ave Maria (Charles Gounod cover)
Twenty Miles An Hour
Kaptein Kaos
Illsint
Renkespill
Pina Colada
Kjettaren Mot Stromen
All Drinks On Me
Espin Bin Askeladden
Helvettes Hunden Garm

Band members
Trollmannen – vocals
Mr. Seidel – guitars
Fabio Grimdrap – guitars
Böesse Basshöl Nybazist – bass
Bjørn Dugstad Rønnow – drums
Drekka Dag – saxophone
Fjernkontrollet – accordion, keyboards
Trollbank – bouzouki

ENSIFERUM

Now I was pumped for seeing one of my absolute favourite bands, Finnish Folk Metal giants ENSIFERUM. I fell in love with this band back in the early 2000’s and I listen to them almost everyday. Like I stated before it has been a long time since I seen this band and talking about, the Opera House was the last place I seen them back when co-headliners Hypocrisy couldn’t make it across the border so Ensiferum played two full sets when they absolutely didn’t have to and that made them legends to me. Ensiferum kills it every fucking time I see them and Monday night was no exception. Although they didn’t play all the songs I wanted them to play (Iron, Token of time, Blood Is The Price Of Glory), The set list they chose to play was stellar none the less and they did play my absolute favourite song which is Treacherous Gods. My back was getting crushed as the crowd got pretty rowdy during their set and had some pretty good crowd surfing to boot. Sami Hinkka is an absolute wildman on the bass and is always full of infectous energy. Sami and I had a little Arnie and Carl weathers hand shake moment while Sami was running along the barrier hyping up the crowd with high fives, but when he got to me we clasped hands. Petri Lindroos and Markus Toivonen are absolute shredders on the guitar and Janne Parvianen destroys on the drums as well. Pekka Montin’s soaring vocals have been a great addition the the band’s sound since 2020. Ensiferum played a full set also and I can’t wait to see them again in the near future. As soon as their set was over my brother Keith informed me that he was over at the merch table and they found 3XL shirts for me so I left my spot to go support the bands by buying some sorely needed band tees. 10/10! I fucking love Ensiferum!

Setlist
Aurora
Fatherland
Twilight Tavern
Treacherous Gods
Winterstorm Vigilantes
Lai Lai Hei
The Howl
Run From The Crushing Tide
Andromeda
Leniret Coram Tempestate
Victorious
Wanderer
Rum, Women, Victory
In My Sword I Trust
Two Of Spades

Band members
Petri Lindroos – harsh vocals, guitars
Markus Toivonen – guitars, backing vocals
Sami Hinkka – clean vocals, bass
Pekka Montin – clean vocals, keyboards
Janne Parviainen – drums

KORPIKLAANI

I had to watch KORPIKLAANI kick ass from the back of the venue from then on until I went upstairs to the upper level and realized that the view up there was pretty good and the sound was a little better too. I was elated having added three new shirts to my collection and sat back and enjoyed Korpiklaani from upstairs. They sounded great up there and I had a great time. While folks were busy having a great time on the floor, the folks upstairs were doing the same. What I love so much about folk metal is that it has a more festive feeling. You don’t get bogged down with more serious attitudes that other genres of metal bring with them. I find folk metal more light-hearted and care-free than other genres. Don’t get me wrong about other genres as I’m sure everyone is at those shows to have fun too but some people take things too seriously sometimes and that’s okay but I just love the vibe that folk metal brings. Korpiklaani definitely brings that fun atmosphere with them wherever they go. They put on a great show that night and treated us to a pretty awesome drum solo during Metsamies which had the crowd roaring with approval. Korpiklaani are one of if not the best bands to see in the folk metal scene and I highly recommend that you should check them out if you have never seen them before. They are always so much fun. They finished off the night with their classic drinking anthem “Vodka” which was a perfect coda to cap off the end of the night. 10/10! Korpiklaani does it once again!

Setlist
Rankarumpu
A Man With A Plan
Saunaan
Happy Little Boozer
Levan Polkka
Rauta
Aita
Oraakkelit
Kalmisto
Pixies Dance
Levaluhta
Gotta Go Home (Bony M. Cover)
Iron Fist (Motörhead Cover)
Viima
Metsamies
Sahti
Tequila
Vodka

Band members
Jonne Järvelä – vocals, acoustic guitar
Kalle “Cane” Savijärvi – guitar
Jarkko Aaltonen – bass
Sami Perttula – accordion
Olli Vänskä – violin
Samuli Mikkonen – drums, percussion

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Album Review – Light Dweller / The Subjugate (2025)

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Vocalist and multi-instrumentalist Cameron Boesch strikes again with his fifth album, delving into themes of death, purgatory, and the cessation of time.

Founded in December 2017 by vocalist and multi-instrumentalist Cameron Boesch in Phoenix, Arizona, in the United States, Dissonant Death/Black Metal entity Light Dweller is set to release its fifth offering, entitled The Subjugate. Inspired by a broad spectrum of dissonant and melodic influences, including Cosmic Putrefaction, Defacement, Mesarthim, Convulsing, Violet Cold, Mare Cognitum, and more, Light Dweller has forged a unique path through the darker, more obscure realms of metal, with The Subjugate spanning six tracks delving into themes of death, purgatory, and the cessation of time, presenting a cohesive journey through these concepts, all embraced by another ass-kicking artwork by Adam Burke of Nightjar Illustration.

Cameron begins his riff and growl attack in full force in Echoes from the Spectral Void, offering our avid ears four minutes of top-of-the-line Progressive Death Metal; whereas Cessation of Time sounds as demolishing and experimental as the opener, with Cameron’s deep guttural walking hand in hand with his intricate yet heavy-as-hell drumming. Then a sinister intro evolves into another darkened amalgamation of sounds in Fracturing Light, where Cameron lets his Progressive Metal vein pulse harder than ever, and with his demonic gnarling matching perfectly with the music; followed by the eight-minute title-track The Subjugate, where Cameron invests in a very diverse and progressive sound by bringing into being several breaks, variations, and experimental and sharp sounds, all combined in a harmonic yet visceral way. In the second to last song of the album, titled Phasing Through the Veil, our one-man band shows no mercy for our souls with his demented riff, bass and drum attack, with its phantasmagorical ending flowing into Adrift the Expanding Nothingness, another bestial tune overflowing insanity and heaviness where he fires his most experimental riffs of the entire album, smashing our minds and souls mercilessly during its hellish seven minutes.

With each release, Light Dweller has evolved, skillfully weaving dissonance with melody, and balancing intense aggression with haunting, introspective passages, culminating now in 2025 with the excellent The Subjugate, and of course pointing to an even more interesting path ahead for Cameron. You can get to know more about him, his music and other details by following Light Dweller on Facebook and on Instagram, and show him your utmost support by streaming his music on Spotify or any other streaming service, and of course by purchasing The Subjugate from the Avantgarde Music’s BandCamp or from Sound Cave. This is undoubtedly Cameron’s strongest opus to date, but I’m sure we’ll hear a lot more from him in the near future, and we’ll say the same about his upcoming albums, as Light Dweller is always evolving, always looking forward, and always ready to surprise us all with its unique sounds.

Best moments of the album: Echoes from the Spectral Void and The Subjugate.

Worst moments of the album: None.

Released in 2025 Avantgarde Music/Unorthodox Emanations

Track listing
1. Echoes from the Spectral Void 4:29
2. Cessation of Time 5:20
3. Fracturing Light 4:45
4. The Subjugate 8:10
5. Phasing Through the Veil 4:38
6. Adrift the Expanding Nothingness 7:39

Band members
Cameron Boesch – vocals, all instruments

Album Review – Exhalus / Inexorable Decay EP (2025)

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An unpredictable Drone and Doom Metal entity from Finland returns with a beyond unique EP, featuring the raw, repetitive structures that have always been its core while also pushing into a more progressive direction.

Hailing from Lohja, a town in Finland located in the southern interior of the country (and home of a statue of the world’s saddest miner), Experimental/Progressive Drone/Doom Metal project Exhalus, the brainchild of vocalist and multi-instrumentalist Mircea Purdea, will darken your minds with its newborn EP, entitled Inexorable Decay, the follow-up to the 2022 album Failed Rituals to Ascend. Featuring the raw, repetitive structures that have been the core of Exhalus music throughout its 19 years of existence while also pushing into a more progressive direction, the EP is perhaps the project’s most experimental one yet. Furthermore, while it’s not the first one to use synthesized clean vocals, it’s the first that uses them this extensively, giving an extra touch of uniqueness to the whole album when compared to all of its previous releases.

The opening track Erosion sounds utterly sluggish, vile and disturbing from the very first second, with its deep gnarls and sharp riffage working as the soundtrack to a grim horror movie, followed by Vortex, offering a weird, unique fusion of metallic and groovy guitars and bass with eerie vocalizations, or in other words, it’s the epitome of Experimental Drone and Doom Metal. Mircea keeps hammering his guitar and bass in Grinder, again blending the past, present and future of experimental music while also presenting massive beats that add an extra dosage of heaviness to the overall result. Surrender continues from where the previous song ended, bringing to our avid ears wicked guitar lines and a complete sense of lunacy and despair during its three instrumental minutes; and last but not least, the EP ends with Faded, setting a serene mood to the sound of the piano that remains until the very end.

In the end, while at its core the music still had the approach of Drone Metal and the misery of Doom Metal, the structure became more and more progressive, with most songs on the EP not even being considered metal (if there’s a limit to what metal can be). Hence, if you want to know more about this uncanny entity from the land of ice and snow, you can find Exhalus on Facebook, stream more of its music on Spotify, and purchase a copy of Inexorable Decay from BandCamp (keeping in mind the CD digipak version of the album is limited to 50 copies only). No one knows what’s next for Exhalus, and I dare to say not even Mircea Purdea, keeping the project as fresh and vibrant as it’s mysterious and unpredictable, exactly how the fusion of Drone and Doom Metal shall always be.

Best moments of the album: Erosion and Grinder.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Erosion 2:43
2. Vortex 2:24
3. Grinder 3:26
4. Surrender 3:18
5. Faded 2:31

Band members
Mircea Purdea – vocals, all instruments

Guest musicians
Topias Jokipii – vocals on “Erosion”
Chris Kembry – guitars on “Faded”