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..."

Album Review – Fleshgod Apocalypse / Opera (2024)

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After emerging back in full force in 2023, one of the torchbearers of Symphonic Death Metal worldwide returns with their strongest opus to date.

Mixed and mastered by Jacob Hansen at Hansen Studios, produced by Francesco Paoli and Francesco Ferrini, and displaying a striking artwork by Felicita Fiorini and Francesco Esposito, the breathtaking Opera, the brand new album by Italian Symphonic/Technical Death Metal masters Fleshgod Apocalypse, is much more than just the follow-up to their 2019 album Veleno. Opera is their first album after the band’s frontman and mastermind Francesco Paoli was involved in a near death climbing accident, resulting in years of recovery and the band’s temporary hiatus; however, after emerging back in full force in 2023, commanding audiences on tours throughout Europe, the band formed of Francesco Paoli alongside Veronica Bordacchini on vocals, Fabio Bartoletti on lead guitars, Francesco Ferrini on the piano and orchestrations, and Eugene Ryabchenko on drums is on absolute fire during their entire new album, a life affirming release that will surely please all fans of the band and feature among the best albums of the year worldwide.

Ode to Art (De’ sepolcri) feels like the opening scenes of a classic movie, with the operatic elements in the background spiraling inside our minds until all hell breaks loose in I Can Never Die, with Francesco Paoli roaring its poetic lyrics (“This life is mine forever / Who free from fears I smile at death / As I become immortal / Writing with my blood on this wall, words that you’ll never forget / My story engraved with these bones and no regret / I burned my nerves / I ripped my heart out to feel alive / I made a pact with my own devils / Thus, I can never die”) amidst a lecture in Symphonic Death Metal. Pendulum sounds even heavier and more neck-breaking than the previous tune, with Eugene hammering his drums like a demented Death Metal beast, whereas the heaviness flowing form the guitars by Francesco Paoli and Fabio in Bloodclock is insane, boosted by the whimsical, cinematic keys by Francesco Ferrini. And the mesmerizing vocals by Veronica add a touch of finesse to At War with My Soul, a demented aria of Symphonic Death Metal with Eugene’s beats and fills sounding yet again inhumane.

Despite the heaviness and speed in Morphine Waltz, the music sounds out of place compared to the epicness of the other songs of the album, albeit Fabio’s guitar solo is amazing; and his guitar work is also superb in Matricide 8.21, redefining the meaning of Metal Opera, where Francesco Paoli and Veronica make a darkly hypnotizing vocal duo embraced by the classy piano and orchestrations by Francesco Ferrini. Per Aspera ad Astra, a Latin saying going back 2000 years which translated means “through adversity to the stars”, is another vicious Symphonic Black and Death Metal onrush by Fleshgod Apocalypse with all instruments sounding in absolute sync, setting total fire to the atmosphere. There’s still time for more symphonic madness in Till Death Do Us Part, starting in a serene manner to the passionate vocals by Veronica, evolving into a touching, obscure ballad before the album ends with Opera, a cinematic, cryptic outro led by the classic piano by Francesco Ferrini.

The guys (and girl) from Fleshgod Apocalypse are more than eager to know what you have to say about their new album (which you can purchase by clicking HERE, and also stream in its entirety on Spotify and on YouTube) on Facebook and on Instagram, where you can also stay updated with all of their amazing concerts and tours, and don’t forget to also stream more of their music on YouTube and on Spotify. Opera is an absolute beast of an album, and after his near death experience I’m sure Francesco Paoli will keep bringing that terrifying yet stunning darkness to the music by Fleshgod Apocalypse just like what he did in the band’s newborn opus, by far one of the strongest of the genre from the past few years.

Best moments of the album: I Can Never Die, At War with My Soul, Matricide 8.21 and Per Aspera ad Astra.

Worst moments of the album: Morphine Waltz.

Released in 2024 Nuclear Blast

Track listing
1. Ode to Art (De’ sepolcri) 2:18
2. I Can Never Die 4:30
3. Pendulum 3:58
4. Bloodclock 5:14
5. At War with My Soul 5:06
6. Morphine Waltz 3:36
7. Matricide 8.21 5:35
8. Per Aspera ad Astra 4:48
9. Till Death Do Us Part 5:31
10. Opera 2:44

Band members
Francesco Paoli – lead vocals, guitars, bass
Veronica Bordacchini – vocals (soprano)
Fabio Bartoletti – lead guitars
Francesco Ferrini – piano, orchestrations
Eugene Ryabchenko – drums

Concert Review – Iron Maiden (Qudos Bank Arena, Sydney, NSW, Australia, 09/12/2024)

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How about another excellent show by the boys Down Under before heading back to Canada?

INTRO: IMFC Meetup

After skipping the concert in Brisbane to have more time to enjoy both Melbourne and Sydney, it was time for another explosion of heavy music by KILLSWITCH ENGAGE and IRON MAIDEN during the Australia & New Zealand leg of The Future Past Tour 2024, this time at Qudos Bank Arena in Sydney. By the way, I only did night one in Sydney, returning to Canada on Friday September 13 so I could make it in time to worship the Metal Gods (which will be published here in another concert review). However, due to the Iron Maiden Fan Club meetup at The Squires Landing on the night of September 11, it actually felt like more than just one show. It was fantastic seeing some old friends and putting faces to new ones while enjoying a few pints, and not even the British Lion concert happening at the same time stopped over 40 IMFC members to celebrate life and music together at the pub. I love those meetups, and I can’t wait for the Toronto one next month.

OPENING ACT: Killswitch Engage

I can say that I finished my Australian adventure with absolutely zero sight of KILLSWITCH ENGAGE. It was impossible to arrive early at the venue having so many attractions to see in the city like the Bondi to Coogee Walk, Manly Beach, the Sydney Opera House, the Royal Botanic Gardens Sydney, as well as some further sites like the Blue Mountains. I’m sorry if you’re a fan of the band, but with so much to do I didn’t even care about getting to the venue in time to see them at least once. Everyone I asked later how their concert was said “it was OK” without a lot of enthusiasm, so I guess I made the right decision to ignore the band and enjoy some time by the sea seeing some whales and dolphins in their natural habitat, right? By the way, everyone I spoke to that did the FTTB experience in any of the Australian dates said they were tired of Killswitch Engage, most probably because after a long wait outside the venue, when you finally get in you simply want to see Iron Maiden and nothing else, and that’s even worse when the opening band plays something most fans don’t listen to on a regular basis.

Setlist
My Curse
This Fire
Strength of the Mind
The Arms of Sorrow
A Bid Farewell
In Due Time
The Signal Fire
Unleashed
Hate by Design
Rose of Sharyn
This Is Absolution
The End of Heartache
My Last Serenade
Holy Diver

Band members
Jesse Leach – lead vocals
Adam Dutkiewicz – lead guitars, backing vocals
Joel Stroetzel – rhythm guitars, backing vocals
Mike D’Antonio – bass
Justin Foley – drums

IRON MAIDEN

Once again, there I was ready for a blast of The Future Past Tour 2024 in Australia by IRON MAIDEN, again blending the best of the albums Somewhere In Time and Senjutsu, as a “farewell” to my trip Down Under. As mentioned, I didn’t stay for night two in Sydney because the Metal Gods were calling me back to Canada, but according to my friends I got the best of the two shows in Sydney as both the band and the crowd were more electric and in sync on the first night. There isn’t a lot I can say about the show that hasn’t been said before, except for the fact that Bruce was absolutely out of tempo during the first part of Caught Somewhere in Time, and it was funny watching the rest of the band trying to “fix” the error. The same songs that were the top moments of the shows in Melbourne were also the best ones in Sydney, in special Hell on Earth with all of its pyro (the only real pyro of their entire setlist, by the way), and of course Wasted Years, the perfect closure for my vacation in the land of kangaroos, koalas and quokkas.

Let’s say that the pre and post show activities were just as fun as the show itself, with a quick trip to the Trooper Dive Bar & Fan Meet at The Locker Room, located only five minutes walking from the venue (as pretty much anything else inside the beautiful Sydney Olympic Park), chatting with a few people that were about to see Iron Maiden live for the first time ever, and obviously meeting with my friends from the IMFC one last time before heading back to Canada. I like to say that although the shows are usually the same, with the exact same setlist played night after night, there’s always something unique or different to enjoy, and even after seeing the boys three times Down Under I can’t wait to see them again in Toronto and Montreal next month, and meet again several familiar faces that love to follow the band all over the world, especially when the place is as stunning and fun as Australia.

Setlist
Doctor Doctor (UFO song)
Blade Runner (End Titles) (Vangelis song)
Caught Somewhere in Time
Stranger in a Strange Land
The Writing on the Wall
Days of Future Past
The Time Machine
The Prisoner
Death of the Celts
Can I Play With Madness
Heaven Can Wait
Alexander the Great
Fear of the Dark
Iron Maiden

Encore:
Hell on Earth
The Trooper
Wasted Years
Always Look on the Bright Side of Life (Monty Python song)

Band members
Bruce Dickinson – lead vocals
Steve Harris – bass
Dave Murray – guitar
Adrian Smith – guitar
Janick Gers – guitar
Nicko McBrain – drums

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Album Review – Hell Is Other People / Moirae (2024)

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This Canadian entity will show you that hell is other people with their excellent newborn spawn of Black Metal, imbibing influences from several of its related subgenres.

Hailing from Windsor, a city in Ontario, Canada, across the Detroit River from the US city of Detroit, Post-Black Metal outfit Hell is Other People (by the way, “Hell Is Other People” is a quote from Jean-Paul Sartre’s No Exit) has elegantly and passionately crafted a brilliant Black Metal album, titled Moirae (which means “goddesses of fate or destiny” in Greek), that imbibes influences from several of its related subgenres such as Atmospheric Black Metal, Post-Black Metal and even DSBM in parts, forming a cohesive, expressive and all-encompassing sound that the band is comfortable in carrying throughout. Displaying a stunning cover art by Adam Burke of Nightjar Illustration, the new album by Nathan Ferreira on vocals and bass, Nathan Boots and Nicholas Luck on the guitars, and James Ditty on drums is a beautifully tempered opus with a remarkable range of expression that comes across as genuine and heartfelt, being recommended for fans of Agalloch, Altar of Plagues, Winterfylleth, White Ward, and Drudkh.

The dark, caustic riffs by Nathan Boots and Nicholas walk hand in hand with the sluggish Doom Metal beats by James in the title-track Moirae, while the vocals by Nathan Ferreira exhale pure Atmospheric Black Metal, sounding anguished and grim. Moreover, it’s impressive how they sound devilish while at the same time so elegant and delicate throughout the entire song. Fates keeps the ambience as somber and pensive as possible, with the hammering drums by James dictating the pace while Nathan Ferreira continues to roar and gnarl in a great fusion of Black Metal with Post-Metal, followed by Degrade, offering us all almost eight minutes of breathtaking, deep and meaningful music that will tear your soul apart to the minimalist yet sharp and austere riffage by the band’s guitar duo, starting in a serene manner before the band attacks once again with their visceral Post-Black Metal, building an instant bridge with the also venomous Loss, where Nathan’s enraged growls are nicely boosted by the intricate yet demented drumming by James while their guitars continue to exhale the harshest and most piercing sounds found in contemporary extreme music. And all comes to a climatic and epic conclusion in Atropos, offering our damned ears an overdose of heaviness and atmospheric elements, with James kicking our asses on drums, while Nathan Boots and Nicholas continue to cut our skin deep with their razor-edged axes, with all layers, breaks, passages and variations turning it into a must-listen for admirers of the genre.

If you want to put your damned, dirty hands on the excellent Moirae, you can find the album available from the band’s own BandCamp page, as well as from the Transcending Obscurity Records’ BandCamp page, main store, US store, or EU store in different formats and as part of some very special bundles, and don’t forget to also give those talented Canadian musicians a shout on Facebook and on Instagram, keeping an eye on the announcements of their live concerts, to stream their music on Spotify, and to stay updated with all things Hell Is Other People by clicking HERE. In the end, after listening to Moirae, you’ll finally realize that hell is indeed other people, and that the Post-Black Metal by this amazing Canadian band is perfect for representing all that darkness and melancholy found inside each one of us.

Best moments of the album: Moirae and Atropos.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Moirae 6:58
2. Fates 6:43
3. Degrade 7:48
4. Loss 8:45
5. Atropos 13:28

Band members
Nathan Ferreira – vocals, bass
Nathan Boots – guitars
Nicholas Luck – guitars
James Ditty – drums

Concert Review – KK’s Priest & Accept (Queen Elizabeth Theatre, Toronto, ON, 09/10/2024)

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Two of the most important bands of the current scene delivered powerhouse performances to their fans in Toronto, maintaining the spirit of classic metal alive.

***Review by Elizabeth “Liz Bathory” Anderson, with photos by Keith Ibbitson of Metal Paparazzi***

The Queen Elizabeth Theatre in Toronto hosted an unforgettable night of classic heavy metal music on September 10th, 2024. With doors opening at 6:45 PM, eager metalheads had to wait until about 8 PM for the first band to hit the stage. Despite the wait, the anticipation was palpable, and the venue offered 750 ml of beer for $20, which wasn’t bad considering the cost at most venues.

The crowd was mostly veteraned metalheads with a few younger fans who appreciate the classic sound of old-school heavy metal. Interestingly, the venue was entirely seated, which is a rarity for metal concerts, but that didn’t stop the audience from rockin’ out once the music started.

ACCEPT

Setlist
The Reckoning
Humanoid
Restless and Wild
Straight Up Jack
London Leather Boys
Midnight Mover
Demon’s Night
Princess of the Dawn
Metal Heart
Teutonic Terror
Fast as a Shark
Pandemic
Balls to the Wall

The band ACCEPT kicked off their set with their opening song, “The Reckoning,” and as the first note was played, the crowd immediately stood up from their seats. Although long-time bassist Peter Baltes was no longer in the band, Martin Motnik, who has been playing with them since 2019, showed off his versatility on stage. The band’s stage presence and energy was as electrifying as ever. Following up with “Humanoid,” they delivered raw, raspy vocals and a classic metal sound complete with a blistering guitar solo. It was incredible to hear and see, filled with electric musical energy.

As they tore through “London Leather Boys,” the audience was fully immersed, with even an elderly man using an accessibility walker headbanging by his seat. The enthusiasm was contagious, and the fans moved to the venue’s aisles and sides to get closer to the action. One of their hit songs, “Princess of the Dawn,” turned into a bellowing crowd-wide chant, showcasing the timeless bond between the band and their followers.

The set culminated in a powerful rendition of “Balls to the Wall,” leaving the crowd awash in nostalgia. From the buzzsaw riffs in “Fast as a Shark” to the anthemic “Teutonic Terror,” Accept proved they still command the stage with authority and ferocity, bringing satisfaction to the ticket holders.

KK’S PRIEST

Setlist
Hellfire Thunderbolt
Strike of the Viper
One More Shot at Glory
The Ripper
Reap the Whirlwind
Sermons of the Sinner
Burn in Hell
Diamonds and Rust
Hell Patrol
The Green Manalish
Before the Dawn
Breaking the Law
Sinner
Raise Your Fists (encore)

When it was KK’S PRIEST‘s turn to perform, the majority of the audience had abandoned their seats and crowded the stage area, preparing for what could possibly be an epic show. They opened with “Hellfire Thunderbolt.” The song was captivating and also captured the audience’s attention with an accompanying visually stunning display. The band utilized custom visuals on large screens to complement each song, making the experience akin to a metal-infused action movie. For instance, “One More Shot at Glory” featured lighting effects that mimicked sharp bullets, while “Reap the Whirlwind” brought the storm to life with thunder on their back screen, lightning effects from their laser stage lighting, and smoke from smoke machines at both sides of the stage. It was quite a mesmerizing experience, and I felt that people got more than just music for what they paid but also a light and art show.

The vocalist’s ability to hit and hold high notes effortlessly was jaw-dropping, showcasing a vocal range that would make even the most experienced singers envious. K.K. Downing, the legendary guitarist and founder of the band, performed his riffs with ease, his casual demeanor belied the complexity of the music. He showed immense talent, which was clearly on display.

When they played “Diamonds and Rust,” the crowd clapped along to the intro, and during the Judas Priest cover “Hell Patrol,” the audience was singing in unison, with robot army visuals enhancing the performance. “Before the Dawn” offered a brief respite with a space-themed visual, slowing things down before launching back into high-octane metal with “Breaking the Law,” complete with a British flag backdrop. Downing’s speed picking and shredding during “Sinner” were nothing short of spectacular, with some insane whammy bar effects thrown in for good measure.

As they finished their set, the audience demanded an encore, and the band obliged with “Raise Your Fists,” ending the night on a high note and creating a lasting memory for those in attendance.

Final Thoughts

Both Accept and KK’s Priest delivered powerhouse performances, maintaining the spirit of classic metal. The seated venue didn’t stop the crowd from rocking out, proving that the music and the energy of metal know no bounds and that people will always find a way to rock out to the music. From start to finish, it was a night of incredible musicianship, theatrical visuals, and a shared love for the genre that transcended generations. For those in attendance, it was most definitely a night to remember, and I’m sure the fans will return whenever they decide to come back.

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Album Review – Surtalog / Ragnarök – Schicksal der Götter, Tod der Menschen und Ende der Welten (2024)

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Ragnarök is upon us all, and there’s nothing better than enjoying it to the sound of some first-class Progressive and Pagan Black Metal made in Germany.

Combining storming Black Metal with progressive influences in order to create their unique sound, Cologne, North Rhine-Westphalia, Germany’s own Progressive/Pagan Black Metal horde Surtalog is unleashing upon us their new beast titled Ragnarök – Schicksal der Götter, Tod der Menschen und Ende der Welten (or “Ragnarök – Fate of Gods, Death of Men and End of Worlds” in English), a concept album about the end of the world in Norse Mythology. Recorded, mixed and mastered by Florian Dammasch at Nightside Audio, and with logo and artwork by Timon Kokott, the album is a must-listen 75-minute sonic journey for fans of bands such as Helrunar, Windir, ​Kampfar, Fimbulvet, Graveland, and Falkenbach, all masterfully crafted by Lukas “Surtuz” S. on vocals, guitars and orchestrations, Alex W. on lead guitars, Kolja “Centrox” B. on bass, and Nils “Phobos” S. on drums.

Prolog – Weissagung (“Prologue – Prophecy”) is an epic, cinematic start to the album, offering nine minutes of atmospheric passages and imposing sounds, with the guitars by Lukas and Alex exhaling heaviness and harmony while also overflowing progressiveness and intricacy, flowing into the instrumental interlude Praeludium ad Fortunam Deorum (“Prelude to the Fate of Gods”), before  exploding into I. Akt – Hass und Missgunst (“I. Act – Hate and Resentment”), with the harsh vociferations by Lukas matching perfectly with all background sounds and tones, all spearheaded by the classic drumming by Nils. Then venturing through the realms of Doom Metal, it’s time for II. Akt – Fimbulwinter (“II. Act – Awful, Mighty Winter”), offering us all 11 minutes of progressiveness, heaviness and epic passages, with the sound of their drums and riffs penetrating deep inside our minds.

After that, we have the epic interlude Heimdalls Horn Ruft Uns Nun (“Heimdall´s Horn Calls Us Now”), inviting us all to join the band into the battlefield to the sound of III. Akt – Die Letzte Schlacht (“III. Act – The Last Battle”), bringing forward 13 minutes of sheer devastation and power, with the piercing riffs by Lukas and Alex exhaling Black Metal magic supported by the rumbling bass by Kolja, with its second half being a lecture in progressiveness and experimentations. We then face the Progressive Death Metal attack titled IV. Akt – Weltenbrand (“IV. Act – Burning of Worlds”), where Nils once again sounds ruthless behind his drums; followed by Die Leere der Welten (“The Emptiness of Worlds”), offering us all four minutes of serene, melancholic sounds, albeit it could have been slightly shorter, but it does its job of prepping us for V. Akt – Untergang (“V. Act – Downfall”), a 14-minute feast of harsh vociferations, strident riffs, rhythmic beats, and a strong sense of darkness and melancholy, before all morphs into an atmospheric passage and ends in an epic and climatic manner. Lastly, hope arises in the closing song Epilog – Neubeginn (“Epilogue – New Beginning”), where a mysterious female vocalist brings joy and peace to our blackened hearts while the band delivers delicate acoustic sounds until the very last second.

In summary, the bold and multi-layered Ragnarök – Schicksal der Götter, Tod der Menschen und Ende der Welten is the perfect soundtrack for the end of the world, it doesn’t matter if in Norse Mythology or in our present-day society, and you can show your support and admiration for those Teutonic bringers of doom by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their music on Spotify (or any other platform), and obviously by purchasing their new album from their own BandCamp page or by clicking HERE. Because you know, if Ragnarök is truly upon us, let it be to the sound of some first-class Progressive and Pagan Black Metal.

Best moments of the album: I. Akt – Hass und Missgunst, III. Akt – Die Letzte Schlacht and V. Akt – Untergang.

Worst moments of the album: Die Leere der Welten.

Released in 2024 Independent

Track listing
1. Prolog – Weissagung 9:06
2. Praeludium ad Fortunam Deorum 4:04
3. I. Akt – Hass und Missgunst 5:46
4. II. Akt – Fimbulwinter 11:39
5. Heimdalls Horn Ruft Uns Nun 2:31
6. III. Akt – Die Letzte Schlacht 13:01
7. IV. Akt – Weltenbrand 5:38
8. Die Leere der Welten 4:00
9. V. Akt – Untergang 14:41
10 .Epilog – Neubeginn 4:34

Band members
Lukas “Surtuz” S. – vocals, rhythm & acoustic guitars, orchestrations
Alex W. – lead guitars
Kolja “Centrox” B. – bass, backing vocals
Nils “Phobos” S. – drums, backing vocals

Concert Review – Iron Maiden (Rod Laver Arena, Melbourne, VIC, Australia, 09/06/2024 & 09/07/2024)

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How about a trip Down Under for two nights of undisputed Heavy Metal with the world famous dental floss salesmen from Montana?

INTRO: Trooper Dive Bar & Fan Meet

What a wild and ultra busy trip Down Under to see the boys in action, my dear metalheads! I’m sorry for not posting this review of the KILLSWITCH ENGAGE and IRON MAIDEN shows at Rod Laver Arena during The Future Past Tour 2024 before,  but it was absolutely impossible to spend any time in front of my laptop writing the review as there was so much to do in Melbourne, a very beautiful city (but with a shitty weather). And I was lucky enough to be “cured” from any type of jet lag after having spent five days in New Zealand doing lots of tourist stuff (including a visit to Hobbiton) before heading to Melbourne for the shows. Well, here it is, finally, with the date being retroactive to the day after both shows in the city. I didn’t attend the first two shows of the Australia & New Zealand tour in Perth and Adelaide, but I guess Melbourne was by far the biggest event after Sydney, obviously, with both days being sold out. However, before talking about the shows, let me talk a little about the experience of meeting Maidenmaniacs from all over the world outside of the actual venue.

Although there wasn’t an official IMFC meetup in Melbourne, countless fans enjoyed a very decent amount of Trooper beer, early access to merch, and some quality time with friends and family at the famous local pub Young & Jackson, which was transformed into the Trooper Dive Bar & Fan Meet during the two days of show in the city. If you don’t know what the Trooper Dive Bar & Fan Meet is, just search for it on Google and you’ll see how awesome the initiative was Down Under. Hopefully they’ll bring that same experience to Canada and the United States in October, because it was indeed fantastic to spend a few hours prior to the shows with lots of old and new friends! Also, there were some guys distributing what was called a “fan card” with a QR code that once scanned could provide you with some amazing memorabilia including a signed copy of the tour’s setlist. Of course I didn’t win anything, but just having one of those fan cards as a souvenir of such an unforgettable trip Down Under was already good enough for me.

OPENING ACT: Killswitch Engage

This will be the quickest and fastest review of a band ever, as I have absolutely no idea of how KILLSWITCH ENGAGE performed in Australia. I mean, I didn’t apply for First To The Barrier (the famous FTTB) in Australian lands, which means I didn’t have to be at the venue before 4 or 5pm like in previous FTTB experiences, spending my time visiting different sites and beaches almost until it was time for Iron Maiden to hit the stage both on September 6 and 7, getting inside the venue only when it was already close to 8:30pm. To be fair, I don’t think Killswitch Engage were the best option to open for Iron Maiden in Australia and New Zealand despite having a few good songs in their discography, and I guess the vast majority of fans had the same opinion as most people waited until the last minute to enter the Rod Laver Arena on both days. At least in North America we’re getting The HU, a much more interesting and unique band, so it will be worth it arriving at the show ahead of time.

Setlist
My Curse
This Fire
Strength of the Mind
The Signal Fire
Unleashed
Hate by Design
Rose of Sharyn
In Due Time
This Is Absolution
The End of Heartache
My Last Serenade
Holy Diver

Band members
Jesse Leach – lead vocals
Adam Dutkiewicz – lead guitars, backing vocals
Joel Stroetzel – rhythm guitars, backing vocals
Mike D’Antonio – bass
Justin Foley – drums

IRON MAIDEN

If you follow IRON MAIDEN regularly, you probably know they almost never make any changes to their setlist during a tour, and of course it couldn’t have been any different during the Australia & New Zealand leg of The Future Past Tour. In all cities they visited this time, including of course Melbourne, the setlist was the exact same played in Europe in 2022 and in Canada in 2023 (and it will also be the same in the US and Canada dates this October), blending classics from their 1986 cult album Somewhere In Time with their most recent installment Senjutsu, and obviously a few other hits. Songs like Caught Somewhere in Time, The Writing on the Wall, The Prisoner, Alexander the Great, Hell on Earth and Wasted Years were the highlights of both nights in Melbourne, showing a tight band that refuses to slow down due to their age, in special Mr. Adrian Smith. This is his tour, and he’s on fire in all shows. Simply brilliant.

Another thing that was exactly the same both nights (actually, in all of their concerts Down Under) were the jokes told by Bruce, with a few minor adjustments, including of course his already famous “can I play with Agnes?”, plus his obsession with quokkas. And in terms of the audience, let’s say that the crowd seemed very quiet or tired on night one, maybe because they attended the concert right after a full week of work, but everything changed on night two with a much more active and electrified crowd. If anyone asks me why I went to Australia to see the same show multiple times, my answer is quite simple. The band won’t be around for much longer, and even if they do it won’t be the same thing; Nicko is clearly slower than ever due to his recent health issues (but he still got it, and I don’t know how he manages to perform almost every night at his age), which makes me think that he might not be with the boys if they ever visit Australia again. Anyway, after two amazing concerts in the cold city of Melbourne, it was time for some sunshine and stunning beaches in Sydney, plus obviously another superb sonic blast from the dental floss salesmen from Montana the following week!

Setlist
Doctor Doctor (UFO song)
Blade Runner (End Titles) (Vangelis song)
Caught Somewhere in Time
Stranger in a Strange Land
The Writing on the Wall
Days of Future Past
The Time Machine
The Prisoner
Death of the Celts
Can I Play With Madness
Heaven Can Wait
Alexander the Great
Fear of the Dark
Iron Maiden

Encore:
Hell on Earth
The Trooper
Wasted Years
Always Look on the Bright Side of Life (Monty Python song)

Band members
Bruce Dickinson – lead vocals
Steve Harris – bass
Dave Murray – guitar
Adrian Smith – guitar
Janick Gers – guitar
Nicko McBrain – drums

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Album Review – Invocation / The Archaic Sanctuary (Ritual Body Postures) (2024)

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This ruthless Chilean horde returns with more of their “Ritualistic and Hypnotic Black and Death Metal”, canvassing past, present, and future in their first full-length offering.

At long last, nearly a decade after their formation, Valparaíso, Chile-based Black/Death Metal horde Invocation are unleashing their first full-length opus, beautifully entitled The Archaic Sanctuary (Ritual Body Postures), the follow-up to their 2020 EP Attunement to Death. Recorded and mixed by E. Brisso at Equinox Studio, mastered by Dan Lowndes at Resonance Sound Studio, and displaying a Stygian artwork by Abomination Hammer, the new album by Sense of Premonition on vocals and guitars, Sense of Clairvoyance on bass, and Sense of Clairaudience on drums offers us all more of what the band likes to call “Ritualistic and Hypnotic Black and Death Metal”, canvassing past, present, and future and fittingly framing it with another gritty analog recording rich with sulfurous fire and sepulchral echoes.

Extreme aggression and obscurity flows from all instruments in Ecstatic Trance, where you can sense the fumes emanating from the deep roars by Sense of Premonition, who’s also infernal armed with his stringed axe, followed by The Serpent of Faardal, just as hellish and grim as the opening track, with the rumbling sounds blasted by Sense of Clairvoyance and Sense of Clairaudience showcasing a spot-on balance between Death and Black Metal. Opium Thebiacum (Somniferum) again presents the darkest elements of Black Metal while Sense of Premonition’s primeval gnarls exhale old school Death Metal; and it’s pedal to the metal as the trio will crush our cranial skulls to pieces in Metamorphosis, a vile, demonic attack where the hammering drums by Sense of Clairaudience sound truly evil.

The band shows absolutely no mercy for our rotten souls in Horn of Colima, again blasting sheer Black and Death Metal madness through the scorching riffs by Sense of Premonition and the thunderous, low-tuned bass by Sense of Clairvoyance, and there’s still a lot of fuel to burn, starting with The Psicopompos, offering more of the band’s trademark extreme sounds, with Sense of Clairaudience stealing the spotlight with his unstoppable blast beats. There’s no sign of the trio slowing down or playing any type of mellow music; quite the contrary, they offer the sulfur-infused aria Venus of Laussel, another blast of the underground led by the gruesome vociferations by Sense of Premonition, whereas last but not least the trio will evoke the powers of the underworld in Hypnosis, sounding absolutely harsh, raw and demonic.

It was only a matter of time before Invocation delivered a debut album to capitalize on the massive potential they displayed on their short-lengths, and with The Archaic Sanctuary (Ritual Body Postures), they now can enter the hallowed ranks of fellow cult countrymen Force of Darkness, Slaughtbbath, and the sorely missed Hades Archer, among others, for standard-bearers of classic South American madness. Hence, if you want to feel that metal madness flowing through your veins, you can find more about the band on Facebook and on Instagram, stream their music on Spotify, and above all that, purchase their sulfurous newborn spawn from their own website or from their BandCamp page, inspiring Invocation to keep spearheading the Chilean underground with their endless rage, blasphemy and heaviness for all eternity.

Best moments of the album: Ecstatic Trance, Metamorphosis and The Psicopompos.

Worst moments of the album: None.

Released in 2024 Iron Bonehead

Track listing
1. Ecstatic Trance 3:49
2. The Serpent of Faardal 3:31
3. Opium Thebiacum (Somniferum) 3:54
4. Metamorphosis 4:07
5. Horn of Colima 3:57
6. The Psicopompos 4:17
7. Venus of Laussel 4:52
8. Hypnosis 5:36

Band members
Sense of Premonition – vocals, guitars
Sense of Clairvoyance – bass
Sense of Clairaudience – drums

Album Review – Oceans of Slumber / Where Gods Fear to Speak (2024)

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One of the must-see names of the Progressive Rock and Metal scene returns with their sixth full-length album, sounding like a dystopian western or a post-apocalyptic survival movie.

More than a decade has passed since the release of Aetherial, the debut album by Houston, Texas-based Progressive Metal/Rock band Oceans Of Slumber, and a lot has changed since then for this “Dark Cinematic Metal” outfit. After recruiting Cammie Gilbert (now Gilbert-Beverly) in 2014, the crew’s trajectory took a natural, upward tilt, fueled by the hugely positive response received by second album, Winter, released in 2016. Monuments to a restless creative spirit, the band’s third, fourth and fifth albums, The Banished Heart (2018), Oceans Of Slumber (2020) and Starlight and Ash (2022), raised the stakes ever higher. Recorded at Estudios Audiovision, produced, mixed and engineered by Joel Hamilton at Studio G, mastered by Maor Appelbaum at Maor Appelbaum Mastering, and displaying a classy artwork by Giannis Nakos of Remedy Art Design, their sixth full-length opus, titled Where Gods Fear to Speak, sees the band exploring new heights, therefore sounding even tighter and more compelling than before, proving why vocalist Cammie Beverly, guitarists Alex Davis and Chris Kritikos, bassist Semir Ozerkan and drummer Dobber Beverly have become a reference in the style.

The album kicks off with the darkly embracing title-track Where Gods Fear to Speak, where the heaviness in the guitars by Alex and Chris make a stunning paradox with the powerful vocals by Cammie, blending Progressive and Groove Metal with the obscurity and heaviness of Doom Metal, followed by Run From the Light, featuring guest vocals by the one and only Mikael Stanne of Swedish melodeath legends Dark Tranquillity, another avalanche of intricate guitar lines, harsh and clean vocals, and the always groovy beats by Dobber, sounding like several songs in one. Then a smooth intro boosted by minimalist background synths evolves into a beautiful ballad titled Don’t Come Back From Hell Empty Handed, where Cammie obviously steal the spotlight with a phenomenal vocal performance, whereas Wish is another solid tune by the band showcasing the always massive beats by Dobbie supported by the classic bass lines by Semir. And Cammie will steal your heart in the captivating tune Poem of Ecstasy, presenting the band’s trademark hybrid of Progressive Rock and Metal in a beyond thrilling way.

The Given Dream presents hints of R&B added to the band’s core rock essence, feeling very delicate yet profound and somber, with once again all background elements sounding beautifully haunting; while I Will Break the Pride of Your Will is even more experimental and progressive than its predecessors, with Alex and Chris taking the lead with their stylish riffs. In Prayer we face the dark and evil harsh roars by the iconic frontman Fernando Ribeiro of Moonspell clashing in great fashion with Cammie’s embracing, delicate vocals, with all acoustic elements making the song even more detailed and complete, followed by The Impermanence of Fate, showcasing another jaw-dropping vocal performance by Cammie to the classy sound of the piano by Dobber, who also hammers his drums, exploding into sheer savagery while sounding like classic Death Metal in a multi-layered and bold aria of heavy music. And lastly, we have their stunning rendition of Wicked Game, originally recorded by Chris Isaak in the 1989 album Heart Shaped World (check the original version HERE), a more than gorgeous icing on the cake to close the album on a perfect note.

“This album is a dystopian western or a post-apocalyptic survival movie, somewhere between The Handmaid’s Tale, The Dark Tower and Cormac McCarthy,” states Dobber. “The whole idea is that Where The Gods Fear To Speak is a movie, and we’ve written the soundtrack. If the world was taken over, like in movie The Book Of Eli, and Gary Oldman had found the Bible and the true power of it, and he was wielding the power of the lord over everybody, those people that were maybe just into their traditional spiritualism or people that were not religious at all, they would be the defectors, so the record is written from the viewpoint of the defectors. The ending credits are our version of ‘Wicked Game’ by Chris Isaak. We wanted to take it back to when the music in movies set the tone for everything.” Hence, if you want to join Oceans of Slumber in this thrilling cinematic ride, you can follow the band on Facebook and on Instagram, subscribe to their YouTube channel, listen to all of their beautiful albums on Spotify, and of course purchase their new album by clicking HERE or HERE. Where Gods Fear To Speak proves that Oceans Of Slumber will not let the occasional setback put them off their creative stride, and I personally can’t wait to see what’s next to one of the must-see names of the progressive scene worldwide.

Best moments of the album: Where Gods Fear to Speak, Poem of Ecstasy, The Impermanence of Fate and of course Wicked Game.

Worst moments of the album: I Will Break the Pride of Your Will.

Released in 2024 Season of Mist

Track listing
1. Where Gods Fear to Speak 6:25
2. Run From the Light 5:15
3. Don’t Come Back From Hell Empty Handed 8:28
4. Wish 3:53
5. Poem of Ecstasy 6:33
6. The Given Dream 3:36
7. I Will Break the Pride of Your Will 5:27
8. Prayer 5:03
9. The Impermanence of Fate 6:20
10. Wicked Game (Chris Isaak cover) 5:26

Band members
Cammie Beverly – vocals
Alex Davis – guitars
Chris Kritikos – guitars, synths
Semir Ozerkan – bass
Dobber Beverly – drums, piano

Guest musicians
Mikael Stanne – vocals on “Run From The Light”
Fernando Ribeiro – vocals on “Prayer”

Album Review – Blighted Eye / Agony’s Bespoke (2024)

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Behold this monumental, hour-long work of Progressive and Blackened Death Metal made in the United States, heavily inspired by the 2018 Australian film The Nightingale.

A monumental, hour-long work of Progressive and Blackened Death Metal, the breathtaking Agony’s Bespoke, the brand new album by Seattle, Washington-based outfit Blighted Eye, marks a new height for the band’s growing skills of songwriting and storytelling. Mixed and mastered by Alex Sedin at Ghostalgy Prods, and displaying a stunning artwork by Caelan Stokkerman, the new opus by Kyle Chapman on vocals and guitars, Christopher Jones also on the guitars, Ben Gassman on bass, and John Devos on drums is heavily inspired by the 2018 Australian film The Nightingale, telling a similarly tragic story. Highlighting the transformative power of violence and the ultimate futility of revenge, the album seeks to explore the lasting emotional and psychological impact of trauma, being highly recommended for fans of Opeth, Swallow the Sun, and Dissection.

Cryptic, melodious sounds arise from the underworld in the opening track Tragoedia, with the deep vociferations by Kyle walking hand in hand with the pounding drums by John, also presenting delicate yet visceral riffs for our total delight, and flowing into the just as demonic and grim The Wounding, with Kyle and Christopher extracting sulfurous riffs from their axes supported by the menacing bass by Ben. In Enmity invites us all to bang our heads in total darkness together with the band in a well-balanced fusion of Melodic and Progressive Death Metal tailored for admirers of the genre, with Kyle roaring with endless anger until the very end; whereas serene, embracing sounds kick off the beautiful Howls From Beyond the Mist, with their caustic riffs, harsh gnarls and crushing drums sounding amazing. Then investing in a more direct, visceral Black Metal sonority the band will pulverize us all in A Feast for Worms, spearheaded by the classic drumming by John and the always sharp growls by Kyle.

Pallid brings to our avid ears almost nine minutes of heavy, sluggish and somber sounds, presenting elements from Doom Metal in the guitars by Kyle and Christopher, and even stronger vibes in John’s drums; and after the short and sweet interlude Nightingale, the band brings forth a Melodic Black and Death Metal feast titled A Reverent Stillness, where all instruments sound thunderous and visceral and with their guitars, bass and drums once again offering Kyle everything he needs to haunt our souls with his devilish roars. Finally, like the soundtrack to a Stygian horror movie we have the title-track Agony’s Bespoke, presenting the band’s trademark heaviness intertwined with grim passages. Moreover, the guitar work by Kyle and Christopher is once again superb, sounding heavy and very melodic at the same time, with endless progressiveness flowing from the bass lines by Ben while at the seven minute mark it all morphs into an overdose of epicness, putting a classy ending to the album.

Just like in the 2018 movie that inspired the album, power, violence, revenge and trauma are the main ingredients in the music by Blighted Eye in Agony’s Bespoke, and you can get to know more about the band and how they turned all that darkness into amazing metal music on Facebook and on Instagram, listen to more of their ruthless creations on YouTube and on Spotify, and grab a copy of their caustic new album from the Beyond The Top Records’ BandCamp or webstore. As you listen to the album from start to finish, you’ll clearly witness how a tragic story can become so compelling through the power of heavy music, inspiring Blighted Eye to keep crushing our souls for many years to come with their meaningful and extremely heavy creations.

Best moments of the album: Tragoedia, A Feast for Worms and Agony’s Bespoke.

Worst moments of the album: None.

Released in 2024 Beyond The Top Records

Track listing
1. Tragoedia 7:22
2. The Wounding 5:59
3. In Enmity 7:05
4. Howls From Beyond the Mist 7:03
5. A Feast for Worms 6:13
6. Pallid 8:48
7. Nightingale 1:05
8. A Reverent Stillness 6:18
9. Agony’s Bespoke 11:06

Band members
Kyle Chapman – vocals, guitars
Christopher Jones – guitars
Ben Gassman – bass
John Devos – drums

Album Review – Groza / Nadir (2024)

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Driven by emotion, anger and sadness, this German Black Metal horde will strike you like a lightning storm to the sound of their thrilling new album.

Groza, or “Гроза” in Cyrillic, which means “lightning storm”, “horror” or “disgust” in a few Slavic languages, are an up-and-coming Black Metal band formed in 2016 in Mühldorf am Inn, Bavaria, Germany, crafting a sound driven by emotion, anger and sadness, combining searing melodies, raging blast beats and melancholy induced clean guitar passages into a melodic, dynamic blend, which is exactly what you’ll get in their new album Nadir. Recorded, edited, mixed and produced by the band’s own founder P.G., mastered by David Pilz, and with the guitars re-amped by Georg Traschwandtner, the new album by the aforementioned P.G. on lead vocals, bass, guitars, orchestration and samples, U.A. on lead guitars and backing vocals, and T.H.Z. on drums is perfect for fans of Harakiri For The Sky, Mgla, Uada, and Alcest, delivering dark and melodic music for our avid ears.

The atmospheric, haunting intro Soul : Inert sets the stage for the trio to darken our minds and souls with Asbest, a powerful Melodic Black Metal tune with progressive and experimental nuances where P.G. roars with tons of anger in his blackened heart supported by the thunderous beats by T.H.Z., not to mention how metallic their riffs sound and feel. Then we have Dysthymian Dreams, the first single of the album, offering our avid ears eight minutes of Black Metal magic led by the sharp, piercing guitars by P.G. and U.A., or in other words, it’s a brutal yet melodic and enfolding aria of darkness by Groza. Equal. Silent. Cold. keeps the atmosphere burning to the sound of P.G.’s infernal vociferations while the drums by T.H.Z. exhale old school Black Metal, resulting in one of the most ferocious and detailed songs of the album; and it’s time for a nine-minute musical journey through the most obscure corners of the mind in Deluge, reminding me of some of the most recent creations by Gaerea, with their riffs and blast beats mercilessly devouring our rotten souls. Lastly, featuring J.J. & M.S. of bands like Kard and Harakiri for the Sky, we have Daffodils, a beyond dense, multi-layered and pensive Black Metal aria with lots of elements from Post-Black Metal and Atmospheric Black Metal, where the drums by T.H.Z. sound sensational throughout the entire song and with all agony and despair flowing from the last part of the song being absolutely climatic and piercing.

The music by Groza is haunting, mesmerizing, evil and ethereal all at once, and Nadir is the perfect depiction of the band’s musical power, talent and focus. Hence, don’t forget to give such a distinct horde a shout on Facebook and on Instagram, to stream their music on Spotify, and of course to purchase a copy of the flammable Nadir from their own BandCamp page, from AOP Records, from Napalm Records, from Indiemerchstore, from MVD Entertainment, or click HERE for all digital platforms. Because Groza do not just play Black Metal – they take Black Metal to new and exciting heights.

Best moments of the album: Dysthymian Dreams and Equal. Silent. Cold.

Worst moments of the album: None.

Released in 2024 AOP Records

Track listing
1. Soul : Inert 1:21
2. Asbest 6:54
3. Dysthymian Dreams 8:10
4. Equal. Silent. Cold. 6:59
5. Deluge 9:18
6. Daffodils 9:53

Band members
P.G. – lead vocals, bass, guitars, orchestration, samples
U.A. – backing vocals, lead guitars
T.H.Z. – drums

Guest musicians
J.J. and M.S. – vocals on “Daffodils”
“Bandhouse” crew – choir on “Daffodils”