Metal Chick of the Month – Sofia Bortoluzzi

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I feel, I live… I breathe, I’ve grown…

In this month of August, let’s all travel through the realms of cinematic heavy music, blending the aggressiveness of Progressive Metal and Rock with elements from Jazz, Soul, Hip-Hop, and Rap, courtesy of our multi-talented metal lady of the month. Better known as the striking frontwoman for French Cinematic Metal band No Terror In The Bang, her vocal range allows her to sing pretty much any music style you can think of, and I’m sure after listening to her incredible voice you’ll get simply addicted to any project she’s involved with. Not only that, she complements her phenomenal voice with a lot of charisma, stunning looks, and an amazing attitude onstage, giving her music a lot of depth thanks to her theatrical vibe and moves. Her name is Sofia Bortoluzzi, an extremely talented and promising singer, author, composer and performer, and you better get ready as once you get to know more about such a fantastic musician from the current rock and metal scene worldwide, there’s no turning back as you’ll be forever trapped under her spell.

Born and raised in Le Havre, a major port city in the Seine-Maritime department in the Normandy region of northern France, but currently residing in Rouen, capital of that same region, due to her studies and due to her work as a professional musician, Sofia  has been into music at a very early age. “My mother often tells me that I used to sing to sleep. I’ve always been encouraged to pursue a musical education. I started playing the piano at the age of 8 in a small music school.” Having been introduced to jazz, which she particularly loved, she said that it was at the age of 13 that she started taking singing lessons with singer, composer, actor and vocal coach Baptiste Famery, who was her mentor and literally immersed her in the world of music. Having started her studies at Conservatoire Arthur Honegger in Le Havre, and currently in a Professional Orientation Cycle in contemporary music singing at the Conservatoire à Rayonnement Départemental Max Pinchard in Grand-Couronne, France, Sofia is aiming to obtain the Diploma of Musical Studies (DEM), while at the same time she’s also pursuing further training at the Conservatoire de Rouen.

Since 2019, Sofia has been collaborating with drummer and composer Alexis Damien (Pin-up Went Down, Void Paradigm) on alternative metal music with cinematic atmospheres, founding then in Rouen the stunning Cinematic Metal beast No Terror In The Bang. By the way, the name of the band comes from a famous quote from world renowned filmmaker Alfred Hitchcock, who said “there’s no terror in the bang, only the anticipation of it,” comparing an impending thunderstorm to his vast body of work (as he directed over 50 films), and the band thought this described their style of music perfectly. Currently formed of Sofia Bortoluzzi on vocals, Clément Bernard and Etienne Cochin on the guitars, Brice Bouchard on bass, and Alexis Damien on drums, and Romain Greffe on keyboards, No Terror In The Bang play a majestic fusion of Progressive Metal with cinematic and alternative nuances, crafting a chiaroscuro world that balances fragility and fury.

It was back in 2021 when the band released their debut opus, entitled Eclosion, offering fans of heavy music a strong blend of primal energy and sophisticated cinematic orchestration. Three years later, it was time for their sophomore opus to see the light of day. Simply titled Heal, it’s a conceptual album pushing their dynamics further with tracks that are by turns turbulent, touching, and powerful, embracing diverse influences that amplify the album’s intensity. Sounding more brutal and progressive, yet still cinematic, resolutely modern and original, Heal engulfs the listener in the depths of tortuous worlds. You can enjoy several amazing official videos from both albums on their YouTube channel, including Lulled by the Waves, Retch, Another Kind of Violence, a live version of Warrior recorded at Café de la Danse in Paris in 2023, their full set recorded live at La Gare aux Musiques in 2022, as well as stream both albums in all of their glory on BandCamp or on Spotify.

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In 2023, No Terror In The Bang won an award in the emerging category of a French music competition, leading them to perform at several festivals and venues such as Le Normandy, Chien à Plumes, Chauffer Dans la Noirceur, and many others. And as their Cinematic Metal began taking them places, Sofia was asked in one of her interviews how she would define such a unique subgenre of heavy usic. “It’s an alternative genre that combines both metal and film music ambiances. It aims to immerse the listener in a chiaroscuro universe with this contrast between a dark, violent world and another dreamlike one that borders on dreams,” commented our phenomenal diva.

Part of a collective of local artists named La Charbonnerie, Sofia is also involved in other very interesting projects apart form her career with No Terror In The Bang. For instance, she’s a member of a duo with French beatmaker and rapper Mine Sale with influences from Jazz, Soul, Hip-Hop, and Rap. Their first EP, titled Diseases, was released in December 2020, including songs like I Can Fly. “This project, which I started a year ago, is a 7-track EP composed primarily in English. Its influences include Jazz, Soul, Hip-Hop, and Rap. Mine Sale is the beatmaker and initiator of this project. He’s a Rouen-based artist who is a rapper and heads a collective called La Charbonnerie, of which I’m an active member,” said Sofia. “Vocally, I come from a jazz background. It’s a great experience for me, allowing me to broaden my musical palette.” Furthermore, you can also find her making another duo with Pierre-Louis Le Port in a project called Gin Bee, as you can see in this acoustic version for Judas, by Lady Gaga.

Having won the second place in 2020 in the Les Etoiles de nos Régions competition, where she represented Normandy, Sofia had an interesting answer when asked about her vocal range. “People usually say I’m more of an alto, but I’d rather say I’m a mezzo, because I can sing very low as well as high. Recently, I’ve been able to master distorted singing, such as growls and screams.” Furthermore, as a writer and composer of all of her lyrics and melodies, she mentioned she usually starts her creative process with instrumental pieces, playing them on repeat until finding inspiration and the right flow, while also sometimes writing lyrics without music.

Having given vocal technique classes at Ecole de Musique de Quincampoix in addition to her professional training, saying by the way she had never progressed as much regarding her vocals before she started teaching, Sofia grew up with the internet and YouTube, as well as the first streaming platforms, having the opportunity to discover many artists such as the great divas of R&B like Beyoncé and Rihanna, American rappers including Lil Wayne and Eminem, Bob Marley and so on. Also, when asked to name a few artists from the Le Havre region that she would recommend, Sofia mentioned Brav, Tiers Monde (formerly known as Bouchées Doubles), and Médine, all from the French rap scene, showing how much the style has influenced her in her life and career.

There are also some very interesting interviews, most of the time in her mother tongue French, available online if you want to know more about Sofia and her No Terror in The Bang, including this one to France 3 Normandie where the band talks about the release of their second album Heal, and this 30-minute one to Loud TV to also talk about Heal. Sofia and of course her bandmates are going places with the uniqueness and energy of their music, and may her R&B soul keep getting intertwined with her metal heart for many decades to come, bringing to our avid ears an overdose of first-class, emotional heavy music, always enfolded by her unique vocals.

Sofia Bortoluzzi’s Official Facebook page
Sofia Bortoluzzi’s Official Instagram
No Terror In The Bang’s Official Facebook page
No Terror In The Bang’s Official Instagram
No Terror In The Bang’s Official YouTube channel

Album Review – Symphobia / Hideously Traumatic (2025)

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This Indonesian three-headed beast will crush us like insignificant insects to the sound of their debut album, an imposing invocation of purposeful destruction.

Formed in 2024 in Pare, a town and district in the Kediri regency within the province of East Java, Indonesia, the ruthless, demented Brutal Death Metal three-headed beast Symphobia is ready to unleash hell armed with their debut opus, entitled Hideously Traumatic. Featuring a coalition of members from Demented Heart, Perveration, and Orbital Element, those being Jossi Bima on vocals, Dodik Bhre on the guitar, and Humam Aliy on drums, Symphobia will crush us like insignificant insects to the sound of their new album, an imposing invocation of purposeful destruction with devastating blast beats, a tormenting riff attack and gore-choked vocals, all boosted by the striking mixing and mastering by Tonebetter Soundlab (Vox Mortis, Nattmaran, Murtad) for a scathing, scalding sound and adorned in the eye-impaling artwork of Timbul Cahyono of BvllArt (Massacre, Nocturnus A.D., Witchburner), resulting in a sonic killing machine devoted to the destruction of every living thing.

There are only two words I can say about the opening song Hecatomb, and they’re “HOLY SHIT!”, what a fulminating tune where Jossi gnarls like a demonic pig; and Humam is definitely NOT human behind his drums in Monstrously, blasting our faces rabidly while Dodik slashes his axe in the name of savagery. Heinous is another explosion of vomiting guttural vocals, demented drums and vicious riffs by the trio, showing no peace at all, just violence and hatred, whereas Jossi’s high-pitched screeches couldn’t have sounded more demented in Spurted, or in other words, it’s simply BREEEEEEEEEEEEEE! And Deceased presents an overdose of the most demonic, vile and grotesque form of Brutal Death Metal made in Indonesia, sounding devastating form start to finish.

Jossi’s pig-like guttural will disturb your inner peace in Scattered, accompanied by another infernal performance by Humam on drums; whereas their ruthless Brutal Death Metal attack goes on in full force in Convulsively, where the Cannibal Corpse-inspired riffage by Dodik sounds absolutely awesome. It’s pedal to the metal in the beyond devastating Incessant, a song that could easily be used as the perfect depiction of the most extreme form of heavy music found in Indonesia, followed by Abominable, and a name like that demanded total chaos, violence and gore, which is exactly what the trio has to offer us in this hellish “lullaby”. Last but definitely not least, Humam will pulverize our putrid, frail bodies in Inebriated, while Jossi continues to vomit and bark the song’s unfriendly “words” (or whatever language that is).

Definitely leaving lasting scars upon your mind, Hideously Traumatic is a one listening experience that you are never going to recover from, being therefore highly recommended for fans of Cannibal Corpse, Suffocation, Immolation, and Kill Everything, just to name a few. Needless to say, you can get in touch with those torchbearers of violence and gore via Facebook or Instagram, stream their music on Spotify, and of course purchase the album from Comatose Music’s BandCamp or webstore, but be warned that their new album is not your average extreme music release; it’s indeed hideously traumatic.

Best moments of the album: Monstrously, Spurted and Incessant.

Worst moments of the album: The fact there isn’t a bassist in the band makes their sound feel a little bit thinner than what it could be.

Released in 2025 Comatose Music

Track listing
1. Hecatomb 2:43
2. Monstrously 2:41
3. Heinous 2:43
4. Spurted 2:52
5. Deceased 2:44
6. Scattered 2:40
7. Convulsively 2:31
8. Incessant 2:25
9. Abominable 2:41
10. Inebriated 3:34

Band members
Jossi Bima – vocals
Dodik Bhre – guitar
Humam Aliy – drums

Concert Review – CallHome Music Festival 2025 (Lion’s Gate Park, Brantford, ON, 07/18/2025 & 07/19/2025)

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

This past weekend the CallHome Music Festival (formerly known as Crewfest) invited my Brother Keith “The Metal Paparazzi” back to cover this summer’s festival and he brought me to tag along with him this time. The festival was located at Lion’s Gate Park in Brantford, Ontario on July 18 &19, 2025 and consisted of one main stage and one side stage replete with plenty of vendors selling a variety of curiosities, wares, merch and plenty of food options, as well as wrestling brought to us by Brantford Wrestling which I found to be incredibly entertaining. The weather was absolutely perfect that weekend. The event organizers were extremely accommodating to us and we felt welcomed with open arms. All volunteers were awesome as well as the security team and local law enforcement. Everything blended together for a great family-friendly event experience, especially on the first day as it was open to all ages.

Toronto Rapper K-Os kicked off the festival on the main stage and rocked a set complete with a number of his best hits. Every band played solid throughout both days, especially all side stage acts (Barstool Confessions, Harm & Ease for example). Friday saw acts such as K-Os, Bedouin Soundclash, USS, and Walk Off The Earth. All of whom had memorable sets including a band member surfing the crowd. I would have to say that nobody went home disappointed on the first day.

JJ Wilde @ CallHome Music Festival 2025

The second day was 19 and up and had a slightly different feel as many more folks were inebriated and having a great time. Barstool Confessions opened up the day on the side stage and played great and even covered some Tragically Hip hits. On the main stage The Wild High put on a fantastic set covering CCR to start with and easing into their own catalogue and even some Monster Truck hits as this band consists of the remnants of Monster Truck. Rusty was on stage next and put on a memorable show playing their best stuff and let’s just say I’m still humming their songs days after the festival. Harm & Ease delighted on the side stage even though they were missing a guitarist. The lead singer brought a lot of energy and was the focal point of the set. They were very entertaining.

The Glorious Sons @ CallHome Music Festival 2025

JJ Wilde was electric on the main stage and rocked us for what seemed like an hour and a half. I met her backstage after the show and complemented her on such a great show and she was so appreciative about that. She was humble to say the least. Pop Evil was the heaviest group on the whole festival as they are a blend of pop and metal and they kicked ass pretty good. Pop Evil put on an hour and a half-ish long set and had the crowd excited throughout their set. The Glorious Sons came on to close the festival and they were pretty damn good and it was abundantly clear that they were the band that most people were there to see. This was my first time seeing all of these bands and I enjoyed all of them even though I listen to music with more of an edge, this was a good change of pace for me and I would happily recommend the CallHome Music Festival to anyone that enjoys great music and a welcoming family orientated vibe. Thank you to all of the organizers, in special to Jamie Stephens who invited Keith and I, we had a great time.

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Album Review – Necht / The Inevitable Suffering EP (2025)

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This mysterious Symphonic Black/Death Metal cult returns with a scorching new EP presenting five “sermons” conjuring both the epic power of a cosmic battle and the grim reality of its earthly implications.

Following on quickly from their 2024 debut album The Prophecy of Karnifor, the mysterious Calgary, Alberta-based Symphonic Black/Death Metal cult Necht returns with a brand new EP, entitled The Inevitable Suffering. Operating jointly from the frozen wastelands of Canada and the damp gloom of Northern Ireland, the cult formed of Zenith Maharg on vocals, Ascendant Zhargor on the guitars, Ascendant демон on bass, and Ascendant Vlasfimos on drums presents in The Inevitable Suffering five “sermons” of Atmospheric Black Metal conjuring both the epic power of a cosmic battle and the grim reality of its earthly implications, each based on the myths and history of the Enkari – the early civilization from which the cult arose – as told in the controversial Enkari-B’ahn Scolls.

Like a creature arising from the underworld, the imposing, epic intro Over Ten Thousand Spears, B’ahn Rises Red kicks off Necht’s black mass before we face The Night That Knows No Dawn, starting in a cinematic manner and quickly exploding into the band’s trademark darkness led by the demented drumming by Ascendant Vlasfimos and the haunting gnarls by Zenith Maharg. Dread Is the Consort of the Dark is another harsh and infuriated display of Symphonic and Melodic Black Metal spearheaded by the Stygian riffage by Ascendant Zhargor, sounding perfect for a ceremonial black mass; and the visceral guitar lines by Ascendant Zhargor are boosted by the rumbling bass and drums by Ascendant демон and Ascendant Vlasfimos in As Oars Through Blood, offering Zenith Maharg exactly what he needs to darkly declaims the song’s impious words, morphing into the phantasmagorical outro …and so Across the Bloody Lake We Did Sail in Silence, putting a beyond obscure ending to one more successful gathering of the cult of the sun.

Such an amazing cult from the underground nailed it once again with The Inevitable Suffering, which is available for purchase from BandCamp or by clicking HERE, and for streaming on Spotify, and you can always join Necht and worship the sun together with them by following the cult on Facebook and on Instagram. “The Cult believed themselves to be spiritually bound to their sun-god, B’ahn, who was locked in a ceaseless battle for survival against His all-powerful mother, the Dragon Karnifor, as She sought to swallow Him and the world. The souls of dead Cultists could rise to join B’ahn in His struggle on the cosmic plains – and thus hold the Dragon back for just a little longer – but only if those Cultists died in battle. Thus, to the Cult, the only means to prevent the Apocalypse of the Dragon was, ironically, to prosecute an endless war on earth, which of course resulted in great misery for their people,” explained Zenith Maharg, leader of the Temple. “Thus, The Inevitable Suffering – for the Cult believed the suffering of war was fundamentally to be embraced as the only means of saving humanity.”

Best moments of the album: The Night That Knows No Dawn and Dread Is the Consort of the Dark.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Over Ten Thousand Spears, B’ahn Rises Red 2:04
2. The Night That Knows No Dawn 6:08
3. Dread Is the Consort of the Dark 6:12
4. As Oars Through Blood 4:18
5. …and so Across the Bloody Lake We Did Sail in Silence 1:18

Band members
Zenith Maharg – vocals
Ascendant Zhargor – guitars, choir
Ascendant демон – bass, choir
Ascendant Vlasfimos – drums

Album Review – Mass Deception / Resurrections (2025)

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The final chapter of the trilogy by this ruthless Dutch Thrash Metal outfit offers a powerhouse fusion of NWOBHM, Heavy, and Thrash Metal, packed with technical precision and explosive songwriting.

Founded in 2015 in The Netherlands with a bold vision to craft a trilogy of albums, Thrash Metal brigade Mass Deception laid the foundation with Revelations (2016) and Redemptions (2019), followed by the EP Halls of Amenti (2022). Now, with Resurrections, the final chapter arrives and it’s heavier, sharper, and more energized than ever before. Produced by Mass Deception and Jörg Uken, mixed and mastered by the same Jörg Uken at Soundlodge Studios, and displaying a sinister cover art by the band’s own guitarist Bänziger, the new album by Klaus on vocals, Waltmans and Bänziger on the guitars, Van Den Beuken on bass, and Sanders on drums is a powerhouse fusion of NWOBHM, Heavy, and Thrash Metal, packed with technical precision and explosive songwriting, drawing influence from genre-defining acts such as Flotsam and Jetsam, Meliah Rage, Laaz Rockit, Nocturnus, Testament, King Diamond and Judas Priest, all while forging a sound distinctly their own.

Rev up your engines as it’s total anarchy and violence in Gain of Function, a fun thrashing feast perfect for banging our heads like there’s no tomorrow, followed by Selling Souls! Buying Lies!, exhaling pure Thrash Metal from the Anthrax-inspired riffs by Waltmans and Bänziger while Klaus declaims the song’s acid lyrics in great fashion. Then after two hard hitting songs in a row, the band offers a more introspective mid-tempo tune titled Menticide, led by the intricate drumming by Sanders, followed by the futuristic interlude Metropolis, before the band attacks once again with 1984, putting the pedal to the metal with their infuriated riffs and classic Thrash Metal beats and fills. And The Road to Hell leads to Rome carries one of the most poetic names out there, offering more of the razor sharp riffs by the band’s guitar duo for our total delight.

Then we face another heavy interlude, entitled Saturn, setting the stage for the band to kick some ass in Ruins of Dominion, where the thunderous bass by Van Den Beuken transpires our good old Thrash Metal. Blue Flame of Anger is another explosion of thrashing madness led by the striking beats and fills by Sanders, putting us all to slam into the mosh pit manically, whereas Passenger of Time and V are two instrumental pieces that despite not being bad tunes, they end up taking away some of the album’s punch. On the other hand, Dark Matter brings back their fury and rage, with Sanders sounding demented behind his drums while his bandmates make sure the circle pit doesn’t stop moving as fast as possible. We’re then treated to the “calm before the storm” in the form of the semi acoustic Druids Descendants, warming us up for Reveal, Redeem & Resurrect, where Klaus takes the lead with his harsh storytelling vocals supported by the crushing drums by Sanders and the always striking riffage by Waltmans and Bänziger.

For the purists, there’s no AI, no MIDI drum computers, no shortcuts in Resurrections. Just raw, honest, and thunderous Heavy Metal, and you can experience all that and get to know more about Mass Deception by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their incendiary creations on Spotify, and of course by purchasing a copy of Resurrections from the Gruesome Records’ BandCamp. As aforementioned, Mass Deception are sounding tighter and more ruthless than ever in their new album, putting a beyond striking and climatic conclusion to their killer trilogy for the delight of all fans of our good old Thrash Metal.

Best moments of the album: Selling Souls! Buying Lies!, Ruins of Dominion, Blue Flame of Anger and Dark Matter.

Worst moments of the album: Passenger of Time and V.

Released in 2025 Gruesome Records

Track listing
1. Gain of Function 2:41
2. Selling Souls! Buying Lies! 2:33
3. Menticide 4:00
4. Metropolis 1:15
5. 1984 4:37
6. The Road to Hell leads to Rome 4:13
7. Saturn 2:05
8. Ruins of Dominion 2:56
9. Blue Flame of Anger 4:32
10. Passenger of Time 1:48
11. V 1:46
12. Dark Matter 3:21
13. Druids Descendants 3:03
14. Reveal, Redeem & Resurrect 6:36

Band members
Klaus – vocals
Waltmans – guitars
Bänziger – guitars
Van Den Beuken – bass
Sanders – drums

Concert Review – Lutharo, Blackguard & Killotine (Horseshoe Tavern, Toronto, ON, 07/26/2025)

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We were born to ride on the wings of Canadian underground metal together with three of the must-see bands of the current scene on a rainy night in Toronto.

INTRO: A perfect night of Canadian metal almost ruined by one of the heaviest traffics ever experienced in the city…

I’ve always hated the QEW, and will forever hate it, but the traffic this Saturday night to get to the city was beyond any level of patience I might have to face any type of situation. Rain is the new snow, and it was absolute chaos to get to the cozy Horseshow Tavern in time to see LUTHARO, BLACKGUARD and KILLOTINE in another killer event of the Canadian underground organized by Noel Peters of Inertia Entertainment. It took me over two fuckin’ hours for a 30km drive, and when I met my buddy Keith Ibbitson of Metal Paparazzi at the venue I was completely drained and exhausted, and there were only five minutes left before the first attraction of the night, so I can say I was a bit numb during the first half of the show. I don’t know what I’m going to do in the near future as the city is growing in population but not in infrastructure, and more and more companies are demanding their employees to return to the office five times a week, which means any day of the week from now on will be fucked by heavy traffic. I might have to start handpicking my concerts, and that’s very depressing.

KILLOTINE

I don’t like to start a review of an excellent night of Canadian metal with a rant like that, and I’m sorry about it. Fortunately, Hamilton, Ontario’s own Thrash Metal marauders KILLOTINE brought a lot of energy back to my tired soul with their frantic and vibrant performance. The reigning champions of Wacken Metal Battle Canada 2025 proved why they were the chosen ones to represent Canada at Wacken Open Air this year, kicking some ass onstage with their no shenanigans blend of Thrash Metal spearheaded by the charismatic vocalist and guitarist Matt Fraser. I don’t know exactly which songs they played, but I guess it was pretty much the entire 2024 EP Live at the Whiskey Pit, available on Spotify, with songs like Survival of the Wicked and Isolate sounding amazing live, already igniting some wild mosh pits for our total delight. Go check more details about Killotine by clicking HERE, but be careful as thrashing is their business, and business is good.

Band members
Matt Fraser – vocals, guitars
Jesse Luciani – guitars
James McNeil – bass, backing vocals
James Beck – drums

BLACKGUARD

The second band of the night, Montreal, Quebec-based Symphonic/Melodic Death Metal horde BLACKGUARD, might not have released anything new since their excellent 2020 album Storm, but the band fronted by the talented Paul Ablaze showed why they’re one of the most beloved bands of the Canadian scene with a breathtaking performance, melting our faces with their hybrid of Children of Bodom with Swedish melodeath and elements from Symphonic and Black Metal, all spiced up by the hammering beats by Justine Ethier. Once again I have no idea of their full setlist, but all songs sounded amazing, like Northern Storm. You can check their full discography on Spotify, and get more information about the band HERE, as I’m sure you’ll have a blast with such an amazing band. My only “complaint” is that they could have played the song A Dying Season with the multi-talented Lyndsay Schoolcraft, former keyboardist for Cradle of Filth (who was in the house as a fan) just like in their album. Nothing to really worry about, though, but as a fan of Lyndsay’s work I personally thought she would have been a nice touch to their fantastic concert.

Band members
Paul Ablaze – vocals
David Gagné Guitars – lead guitars
Terry Roadcase – rhythm guitar
Vincent Harnois – bass
Jonathan Lefrancois-Leduc – keyboards
Justine Ethier – drums, percussion

LUTHARO

The night was getting better and better inside the Horseshoe Tavern (and kudos to the house DJ for playing only songs by Black Sabbath and Ozzy Osbourne the entire night, as a beautiful tribute to our beloved Prince of Darkness), and of course the incendiary Melodic Death Metal by Hamilton, Ontario’s most ass-kicking band ever, the unstoppable LUTHARO, was the icing on the cake on such an excellent metal party. Playing songs from all of their albums, but of course focusing more on their 2024 beast Chasing Euphoria (available in full on Spotify or for purchase by clicking HERE, by the way), the band led by the stunning frontwoman Krista Shipperbottom, who was sporting an awesome outfit with an altered  Lutharo shirt and a huge smile on her face during the entire show, set the whole place on fire with their striking performance.

Krista was of course flawlessly supported by her bandmates Victor Bucur, Jeff Wilson (who paid a subtle tribute to the recently deceased iconic wrestler Hulk Hogan during one of the songs), Chris Pacey and Cory Hofing, adding even more energy to their breathtaking performance. Fans were loving every single song played, with Time to Rise, To Kill or to Crave and Reaper’s Call being some of the favorites of the night. It felt like Lutharo were a veteran band used to play at arenas simply having fun at a small venue so professional and passionate they sounded, and I really hope now that they’re embarking on a fun European tour that they become the next big thing in the Old Continent. When they returned to the stage for their more-than-special encore with Born to Ride (my favorite of the night) and Lost in a Soul, it was the coronation of a perfect night for the band. Go check more details about Lutharo if you know nothing about the band by clicking HERE, because they were definitely born to ride on the wings of Heavy Metal, and we were all born to rock to the sound of their beautiful music.

Setlist
Phantom
Ruthless Bloodline
Bonded to the Blade
Creating a King
Time to Rise
To Kill or to Crave
Wings of Agony
Hopeless Abandonment
Reaper’s Call
Paradise or Parasite

Encore:
Born to Ride
Lost in a Soul

Band members
Krista Shipperbottom – vocals
Victor Bucur – guitars, backing vocals
Jeff Wilson – guitars
Chris Pacey – bass
Cory Hofing – drums

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Concert Review – Killswitch Engage (Xfinity Center, Mansfield, MA, 07/22/2025)

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***Review and photos by Jaffer Hasan***

Killswitch Engage Light Up the Xfinity Center with Ferocity and Fire at Summer of Loud.

If there was ever a band built to headline a summer metal fest in their home state, it’s KILLSWITCH ENGAGE. At this year’s Summer of Loud at the Xfinity Center in Mansfield, the local legends proved once again why they’re not just mainstays of the metalcore scene—they’re masters of controlled chaos.

Fire, Fury, and Flawless Execution

Before a single note rang out, the stage was already alive with tension. Not from the crowd (who were more than ready), but from the impressive pyrotechnics rig surrounding the band’s setup. Pyro-heavy shows are no joke—and when you’re playing with fire, literally, precision and safety are non-negotiable. The Killswitch crew made it look effortless. From a behind-the-lens view in the pit, you could see just how dialed-in everyone was. Flames exploded into the air in perfect rhythm with the music—sometimes close enough to feel the heat slap your skin. For those of us in the photo pit, it was a surreal moment: we were laughing to ourselves while trying not to get roasted. A high-wire act of fire and fury pulled off without a hitch. Huge respect to the crew and the band for making that kind of spectacle look smooth and safe. That doesn’t happen by accident.

Right Into the Fire – The Setlist Ignites

Without delay, Killswitch Engage tore into their set with “Rose of Sharyn.” No intro, no easing in—just full-throttle power from the first beat. The opening riff dropped like a hammer, and the crowd erupted. From the pit to the back lawn, fists flew and bodies moved. The band wasted no time keeping the pace unrelenting, diving straight into “In Due Time,” which had the entire amphitheater screaming along. By the time “This Fire” hit, the title became literal. Jetting flame columns lit up the stage as if trying to keep up with the intensity pouring off it. At times, it felt less like a concert and more like a battlefield with guitars.

Adam D. & the Band – Iconic and Unhinged in the Best Way

Guitarist Adam Dutkiewicz, clad in his trademark “I’m With Stupid” shirt, was a burst of energy and humor in the chaos, sprinting across the stage, launching high kicks, and headbanging with wild precision. It’s his blend of comedic showmanship and musical mastery that keeps Killswitch shows so unique—it’s heavy, but it’s never self-serious.

Vocalist Jesse Leach was in peak form, delivering both growling aggression and soaring clean vocals with conviction, channeling raw emotion into every lyric. Whether he was screaming into the lights or putting his hand to his heart during the more emotional moments, the connection with the crowd was real.

A Tribute to a Titan

As the night neared its end, the band closed their set with their now-legendary cover of Dio’s “Holy Diver,” a track they’ve long made their own. But this time, it carried a different weight. Just hours before the show, the metal world had been rocked by the passing of Ozzy Osbourne—a foundational figure in the genre’s history.

Before launching into “Holy Diver,” Leach addressed the crowd with reverence, dedicating the song to Ozzy’s memory and legacy. It was a perfect moment of tribute—honoring a godfather of metal with the power of performance rather than words. The crowd responded with horns in the air, voices raised, and hearts full.

Final Thoughts

Killswitch Engage didn’t just play a show at Summer of Loud—they lit the place on fire. Quite literally at times. It was a celebration of metal, a masterclass in live performance, and a hometown throwdown wrapped in flame and ferocity. For fans in the pit, on the lawn, and behind the lens, it was a night to remember—one that reminded us how cathartic, powerful, and straight-up fun a metal show can be when it’s done right. And if you were there, you felt it: the heat, the heart, the history. Killswitch Engage came home—and they burned it down in the best way possible.

Setlist
Rose of Sharyn
In Due Time
This Fire
I Believe
Hate by Design
Forever Aligned
The Signal Fire
My Curse
Aftermath
The End of Heartache
My Last Serenade
Holy Diver (Dio cover)

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

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Album Review – Verdalack / Force from the Grave (2025)

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Tokyo, Japan’s own Speed Metal Forces are on the attack to the sound of their debut album, ready to take over the underground with violence and force.

Hailing from the always exciting city of Tokyo, Japan, Speed Metal warriors Verdalack are ready to take over the underground with violence and force armed with their debut full-length opus, entitled Force From the Grave, the follow-up to their 2022 demo Rites of Hell. Comprising eight hard-charging songs across a fun and frantic half-hour, Force From the Grave approximates its namesake through a laser-focused mindset and soundfield, with influences ranging from mid 80’s Speed Metal, ancient American Power Metal, and classic Japanese Hardcore-Punk, all masterfully crafted by the “Five Japanese V’s of the Apocalypse,” those being Villain on vocals, Vandal and Vortex on the guitars, Void on bass, and Vigor on drums.

The album starts in full force with the frantic and electrifying Axehead, where the band’s ruthless guitar duo fires some amazing Heavy Metal-infused thrashing riffs, and get ready for total war inside the pit to the sound of Heretic Flights, a fantastic hybrid of Thrash and Speed Metal with Villian’s vocals being flawlessly supported by the hammering beats by Vigor. In Desecrater the name of the song says it all, an avalanche of demented riffs and blast beats in the best 80’s Thrash Metal style, whereas Villain shows no mercy for our souls with his deranged vociferations in Blood Eagle, while Vandal and Vortex extract sheer adrenaline form their axes, resulting in the perfect soundtrack for slamming into the circle pit.

There’s still a lot more of the undisputed Speed Metal by Verdalack in the album, starting with Final Assault, where Vigor accelerates the song’s pace considerably, inviting us all to slam like true headbanging bastards. Then we face the title-track Force from the Grave, starting with melodious, piercing guitars by Vandal and Vortex before all hell breaks loose in the name of speed and aggression. Into the Flames offers our putrid ears another overdose of thrashing sounds in less than three minutes, with their early Megadeth approach working really well thanks to the unstoppable beats by Vigor; and the album ends with the absolutely mental Speed Metal tune Rites of Hell, leaving us all disoriented and absolutely satisfied with the band’s fast and furious feast of thrashing sounds.

Classics-minded but exuding an authentically fresh approach, Force From the Grave will throttle maniacs of Jag Panzer to Japan’s Bastard, Exciter to GISM, and Piledriver to Deathside. Put differently, the Tokyo Speed Metal Forces are on the attack, and you can fight side by side with Verdalack in the battlefield by following them on Instagram, staying up to date with their news, tour dates and other nice-to-know details about the band, and above all that, by purchasing their frantic, no shenanigans new album from BandCamp or from the Hells Headbangers’ webstore. Verdalack are undoubtedly making a name for themselves in the beyond exciting Japanese underground, with Force from the Grave representing just the first (and awesome) step in their promising journey.

Best moments of the album: Heretic Flights, Into the Flames and Rites of Hell.

Worst moments of the album: None.

Released in 2025 Hells Headbangers

Track listing
1. Axehead 3:36
2. Heretic Flights 3:09
3. Desecrater 3:19
4. Blood Eagle 3:58
5. Final Assault 4:21
6. Force from the Grave 4:48
7. Into the Flames 2:57
8. Rites of Hell 3:24

Band members
Villain – vocals
Vandal – guitars
Vortex – guitars
Void – bass
Vigor – drums

Album Review – Phobetor / A Solitary Vigil EP (2025)

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UK’s own acolytes of the very darkest Blackened Death Metal are back after four years with a brand new EP, a work of rare mystery and malevolence.

In Ovid’s Metamorphoses, Phobetor (‘Frightener’), so called by men, or Icelos (‘Like’), so called by the gods, is one of the thousand sons of Somnus (‘Sleep’). He appeared in dreams “in the form of beast or bird or the long serpent”. In heavy music, Phobetor are a London, UK-based Blackened Death Metal band who has been around since 2018, having already released the 2019 EP Burning Memories and their full-length albums When Life Falls Silent (2020) and Through Deepest Fears and Darkest Minds (2021). Now in 2025, the band formed of vocalist Debora Conserva, guitarists Ross White and Ben Ash, bassist Dredgewood, and drummer Marc Dyos is unleashing a new EP, titled A Solitary Vigil, a work of rare mystery and malevolence. Mixed by Ollie Roberts at Kettle Brew Studios, mastered by Lawrence Mackrory at Rory Sound Studios, and displaying a haunting artwork by Ghost Kid and photography by Scott Chalmers, the EP simply leads us deeper into the darkness than ever before.

The piercing riffs by Ross and Ben ignite the band’s detailed, visceral and grim feast of Black and Death Metal titled A Solitary Vigil, while Debora offers our putrid ears an overdose of sulfur and rage through her harsh vociferations, followed by Absence of Light, another bestial blast of Black Metal magic, with Marc smashing his drums in the name of pitch black darkness accompanied by the always thunderous bass by Dredgewood. Debora sounds like a demonic entity, roaring as a true she-demon in Black Fading Winter, while her bandmates fire the most caustic and evil form of Blackened Death Metal; whereas in The Vacant World Within Us we can say that such a poetic name deserved a no shenanigans sound, and that’s exactly what Phobetor bring forward with their infernal roars and demented blast beats. Last but not least, the razor-edged guitar riffs by Ross and Ben will penetrate deep inside your soul in Where Mournful Shadows Dwell, while Debora continues to hypnotize us with her devilish vocals until the very last second.

After all is said and done, you’ll quickly realize A Solitary Vigil is more than just the new EP by these acolytes of the very darkest Blackened Death Metal; as you peer into its impenetrable blackness, an obsidian mirror, it disgorges all the terrors you had forgotten were real, the dream monsters that hide in the deepest recesses of your mind, resulting in an onslaught of blackened death and mind-rending fear highly recommended for fans of Behemoth, Immolation, Belphegor, and Dark Funeral. Hence, don’t forget to join Phobetor in absolute darkness by following them on Facebook and on Instagram, by streaming their sulfurous creations on Spotify, and of course by purchasing A Solitary Vigil from BandCamp or Big Cartel. Phobetor are back from the netherworld sounding darker and more sinister than ever, and I bet you’ll succumb to their obscure powers once you begin your descent into madness to the sound of their Stygian new offering.

Best moments of the album: A Solitary Vigil and Black Fading Winter.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. A Solitary Vigil 3:54
2. Absence of Light 5:02
3. Black Fading Winter 2:58
4. The Vacant World Within Us 4:08
5. Where Mournful Shadows Dwell 4:41

Band members
Debora Conserva – vocals
Ross White – guitar
Ben Ash – guitar
Dredgewood – bass
Marc Dyos – drums

Album Review – Haxprocess / Beyond What Eyes Can See (2025)

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Playing incredibly heavy Death Metal music, this American group will attack with their sophomore album, sounding relentless in its barrage of gargantuan otherworldly riffs.

Playing incredibly heavy Death Metal music, leaden, thick and dark, while also somehow attempting to go progressive wielding that sound, like Morbid Angel covering The Chasm songs under the influence of Blood Incantation, Jacksonville, Florida-based Progressive Thrash/Death Metal brigade Haxprocess in unleashing upon humanity their sophomore beast, entitled Beyond What Eyes Can See, following up on their critically acclaimed 2023 debut The Caverns of Duat. Displaying another sick artwork by Juanjo Castellano (Ritual Fog, Typhonian), the new album by Lothar Mallea on vocals and guitar, Shane Williamson also on the guitar, Davis Leader on bass, and Adam Robinson on drums once again brings to our avid ears an overdose of epic songs averaging 10 minutes, sounding relentless in its barrage of gargantuan otherworldly riffs, what with the ever-changing patterns and combinations, albeit delivered in a comfortable pace so that everything can be registered for posterity, being therefore recommended for fans of Morbid Angel, Blood Incantation, The Chasm, Immolation, Opeth, Atvm, Atheist, Felgrave, and Typhonian, just to name a few.

Just like in their debut offering, the album begins in an atmospheric manner with the ethereal 11-minute beast titled Where Even Stars Die, with the deep, visceral growls and the slashing riffage by Lothar, alongside Shane also on the guitar, turning it into a must-listen song for admirers of Progressive Death Metal. The Confines of the Flesh is yet another complex, multi-layered and incandescent composition by the quartet, with Adam taking the lead with his intricate beats and fills while also presenting the raw and gory sounds of classic Death Metal the likes of Morbid Angel and Cannibal Corpse; and the band continues to embrace us in darkness and insanity with Thy Inner Demon Seed, with Davis firing absolutely mental bass lines while Adam keeps pounding his drums nonstop, all of course spiced up by another vile vocal performance by Lothar. Finally, after a beyond technical and melodic start we’re treated to an overdose of progressiveness and demented sounds in Sepulchral Void, with Lothar and Shane sounding brilliant armed with their axes, offering our avid ears several breaks, variations and tempo changes. In other words, it’s hard to describe the whole song in words due to its endless layers, an amalgamation of styles rooted in first-class Progressive Death Metal.

In summary, Beyond What Eyes Can See is an album that can withstand endless listens, offer everything a Death Metal fan would want, and yet do so much more than an average album would because of their constantly evolving music that manages to remain engrossing as well. Hence, don’t forget to give the band a shout on Facebook and on Instagram, stream their music on Spotify, and of course purchase such a multi-layered, captivating album from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Beyond What Eyes Can See is as epic as a Death Metal album can possibly get without letting go of any of the heaviness that’s an inherent part of the band’s sound, and if you think you have what it takes to face this metallic voyage blasted by Haxprocess, simply hit play and you’ll definitely have an amazing time.

Best moments of the album: Where Even Stars Die and Sepulchral Void.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Where Even Stars Die 11:28
2. The Confines of the Flesh 9:28
3. Thy Inner Demon Seed 10:43
4. Sepulchral Void 13:12

Band members
Lothar Mallea – vocals, guitar
Shane Williamson – guitar
Davis Leader – bass
Adam Robinson – drums