Album Review – Vallorch / The Circle (2025)

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Behold the triumphant return to action by this Italian horde armed with their third full-length album, continuing their journey into the world of Folk and Symphonic Metal.

Forged in 2010 in the city of Venice, Italy, Folk Metal horde Vallorch, a name taken from a small Cimbrian village on the Cansiglio plateau, continues their journey into the world of Folk and Symphonic Metal with their third full-length installment, entitled The Circle, the follow-up to their 2015 album Until Our Tale Is Told, and a triumphant return to action by the band. Reborn from the ashes of their former selves, frontwoman Sara Tacchetto, vocalist and bassist ​Leonardo Dalla Via, guitarist ​Mattia Buggin, vocalist and keyboardist ​Marco Povolo, and drummer ​Massimo Benetazzo, supported by guest violinist Serena Zucco (of Adgarios) are ready to take the world by storm once again, inviting us all to join them in the battlefield or to simply party at a cozy and loud inn.

It’s a prancing Folk Metal party right from the start in To the Silver Summit, with Leonardo and Massimo dictating the song’s galloping pace while Sara distills her mesmerizing vocals nonstop, whereas Hellpath continues to showcase their upbeat folk sounds, with the bouzouki by Marco adding an extra touch of finesse to the overall result. Circle of the Moon is one of those songs born to be played live, where all riffs, bass lines and drums match perfectly with the uniqueness of the bouzouki, bagpipe and violin, followed by Drink Some More!, a raucous celebration of music, camaraderie, and revelry, where Mattia kicks some ass armed with his stringed axe; and the Celtic harp by ​guest Glorya Lyr (of Eard) brings a charming aura to the delicate ballad Antermoia, led by the always passionate vocals by Sara (not to mention the striking, soulful guitar solo by Mattia).

Their metallic party goes on in Röte Löon, which should translate as “red lion” from German, another captivating tune by such an amazing Italian horde, with Sara and Leonardo making an absolutely stunning vocal duet. Then back to a more Heavy Metal inspired sound, it’s time for the fierce battle hymn Salbanéo, recommended for fans of Folk Metal masters Korpiklaani, with Leonardo sounding amazing with his harsh vocals; whereas The Wild One is by far the most generic of all songs, not as captivating as the rest of the album, albeit the vocals by Sara still sound powerful. And lastly, we face Dyssomnia, the most epic and detailed of all songs (thanks in part to its duration), with the entire band sounding sharp, in special Marco armed with his keyboards and bouzouki, all spiced up by a thunderous performance by Massimo on drums.

Fans of Eluveitie, Alestorm, Wind Rose, and Korpiklaani, among others, will find much to love in the vibrant fusion of folk instrumentation and symphonic power found in The Circle, and you can be part of their sonic celebration by following them on Facebook and on Instagram, by streaming their inebriate creations on Spotify, and of course by grabbing a copy of The Circle from Rockshots Records, or by clicking HERE or HERE. In other words, it’s time to raise our glasses, let the music by Vallorch take over, and drink some more with those Italian metallers as they unleash their most refined and exhilarating work to date upon us all.

Best moments of the album: Circle of the Moon, Drink Some More! and Salbanéo.

Worst moments of the album: The Wild One.

Released in 2025 Rockshots Records

Track listing
1. To the Silver Summit 3:53
2. Hellpath 3:52
3. Circle of the Moon 3:34
4. Drink Some More! 3:42
5. Antermoia 5:00
6. Röte Löon 4:39
7. Salbanéo 3:59
8. The Wild One 4:10
9. Dyssomnia 9:08

Band members
Sara Tacchetto – vocals, choirs, tin whistle, bagpipe
​Leonardo Dalla Via – vocals, harsh vocals, choirs, bass, programming
​Mattia Buggin – electric and acoustic guitars
​Marco Povolo – vocals, choirs, keyboards, bouzouki, programming
​Massimo Benetazzo – drums

Guest musicians
Serena Zucco – violin
​Glorya Lyr – Celtic harp in “Antermoia”

Album Review – Helvitnir / Wolves of the Underworld (2025)

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Prepare to be engulfed by the icy fury of this Norwegian Black Metal horde as their debut album storms into the metal scene.

Forged in the icy depths of Norway back in 2023, the ruthless Black Metal horde known as Helvitnir is unleashing upon humanity their highly anticipated debut album, titled Wolves of the Underworld. Paying homage to the cold, primal energy of their predecessors while pushing boundaries, introducing dynamic shifts, melodic textures, and a powerful sense of narrative, the band currently formed of Hellcommander Vargblod on vocals and bass, Ihizahg and Bjarkan on the guitars, and Hellhammer on drums is on absolute fire throughout their entire debut offering, a brutal and evocative work that promises to leave an indelible mark on the Black Metal landscape that will surely position the band as torchbearers of the genre’s next chapter.

The opening aria Throes Of Transformation sounds as infernal as Norwegian Black Metal can be, with Hellhammer already showing his dexterity and passion for the dark art behind his drums, and the winds of violent and evil Black Metal keep howling in Black Flame Triad, with Ihizahg and Bjarkan firing razor-edged riffs for our total delight. Helvitnir, the song that carries the name of the band, couldn’t have sounded more infernal, with Hellcommander Vargblod leading his horde with his demonic roars and thunderous bass; whereas Hellhammer keeps pounding his drums in the name of darkness in Void Of Emptiness, another classic Black Metal extravaganza where Hellcommander Vargblod vociferates like a true demon until the very last second.

There’s no sign of the band slowing down or sounding less caustic or demonic, offering our putrid ears Imagery Of Deceit, with Hellcommander Vargblod gnarling rabidly during the song’s unrelenting four minutes, followed by Odinsbane, the weirdest of all songs, where the Doom Metal elements don’t work as expected, in special its background keys. Then back to a much stronger, more visceral sonority we have Dread Biter, a song that reeks of Norwegian Black Metal thanks to the scorching, piercing guitar lines by Ihizahg and Bjarkan, and this unstoppable Norwegian horde will crush us all once again with Helheim’s Throne, a demolishing metal hymn showcasing the unrelenting drumming by Hellhammer. Lastly, of course the album ends like it started, with a fulminating onrush of Black Metal titled Draugr, spearheaded by the scorching riffs by Ihizahg and Bjarkan, before all fades into the void.

Prepare to be engulfed by the icy fury of Helvitnir as Wolves of the Underworld storms into the metal scene, a sonic journey through bitterly cold wastelands and infernal depths, where every track resonates with a visceral, unrelenting energy. Hence, you can join this amazing Norwegian horde on Facebook and on Instagram, stream their sulfurous music on YouTube and on Spotify, and of course grab a copy of the fiery Wolves of the Underworld from Dusktone’s BandCamp or webstore, or simply by clicking HERE. In the end, Helvitnir are definitely a force to be reckoned in the world of extreme music, and Wolves of the Underworld masterfully depicts what they’re capable of in the foreseeable future.

Best moments of the album: Throes Of Transformation, Helvitnir and Dread Biter.

Worst moments of the album: Odinsbane.

Released in 2025 Dusktone

Track listing
1. Throes Of Transformation 5:01
2. Black Flame Triad 4:46
3. Helvitnir 4:36
4. Void Of Emptiness 5:18
5. Imagery Of Deceit 3:50
6. Odinsbane 4:59
7. Dread Biter 5:17
8. Helheim’s Throne 4:24
9. Draugr 4:12

Band members
Hellcommander Vargblod – vocals, bass
Ihizahg – guitars
Bjarkan – guitars
Hellhammer – drums

Album Review – Vokodlok / The Egregious Being (2025)

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Inspired by the darkest side of humanity, these Romanian werewolves will darken your damned souls to the sound of their devilish sophomore opus.

Carrying an imposing name derived from the Slavic word “vukodlak” which means “werewolf”, the renowned mystical creature from several Transylvanian legends, Timișoara, Romania’s own Black Metal entity Vokodlok is darkening the skies of their homeland (and of the entire world) once again to the sound of their sophomore opus The Egregious Being, following up on their 2020 EP Oracle’s Fury and their 2003 debut Mass Murder Genesis. Inspired by the darkest side of humanity, the new album by Pestarzt on vocals, Urmuz and Ghiaur on the guitars, Blestemat on bass and Nemgrá on drums offers nine songs of unrelenting Black Metal not recommended for the lighthearted, a frightening, howling display of extreme music made in “The Land of Dracula.”

Get ready for an overdose of dark and haunting sounds, starting with the obscure The Human, where the blast beats by Nemgrá walk hand in hand with the demonic riffage by Urmuz and Ghiaur, followed by Death Terror, an avalanche of old school Black Metal made in Romania with Pestarzt roaring like a demonic entity supported by his bandmates’ infernal sounds. In Warzone the name of the song says it all, as it’s total annihilation to the demented drums by Nemgrá in this beast of a Black Metal song; whereas Disdain leans towards the Blackened Death Metal played by bands like Behemoth, a beyond ruthless creation that lives up to the legacy of the genre. And Bestiarium is another song with a beautiful name that will smash you like an insect, with Blestemat’s bass sounding and feeling like a stone crusher from start to finish.

jagh ‘Iw vIpoQ (whatever the name of the song means) is a pulverizing slab of Back Metal by Vokodlok where the band’s guitar duo is on fire and in absolute sync until the very last second; and a little more than two minutes is all they need to pulverize us all in Denizen, with the deep guttural by Pestarzt adding a share of pure Death Metal to the band’s core Black Metal essence. The band continues to darken the skies with their fusion of Black and Death Metal in The Faces Within, with the riffs by Urmuz  and Ghiaur being boosted by another demented performance by Blestemat on bass, albeit a bit too long in the end. Finally, closing such a sulfurous album we have The Monster, with the enraged roars by Pestarzt and the blast beats by Nemgrá inviting us all to join them in pitch black darkness for all eternity.

The fires of Romanian Black Metal are burning brighter than ever with the release of Vokodlok’s impious new album The Egregious Being, available for purchase on BandCamp, and if you’re eager to join the band on their Transylvanian nightmares you can find them on Facebook and on Instagram, as well as on YouTube and on Spotify. However, don’t say you haven’t been warned, as their heaviness and obscurity will certainly penetrate deep inside your soul, darkening your minds and thoughts for all eternity, therefore taking you on a one-way descent into the underworld ruled by Romanian werewolves and other devilish Black Metal creatures.

Best moments of the album: Warzone, Disdain and The Monster.

Worst moments of the album: The Faces Within.

Released in 2025 Independent

Track listing
1. The Human 7:16
2. Death Terror 4:02
3. Warzone 4:32
4. Disdain 4:02
5. Bestiarium 5:06
6. jagh ‘Iw vIpoQ 5:45
7. Denizen 2:14
8. The Faces Within 7:16
9. The Monster 5:45

Band members
Pestarzt – vocals
Urmuz – guitars, backing vocals
Ghiaur – guitars
Blestemat – bass
Nemgrá – drums

Album Review – Aversed / Erasure of Color (2025)

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Boston, Massachusetts’ own Progressive/Melodic Death Metal beast returns with their sophomore album, presenting a glimpse of hope and beauty on a backdrop of raging, mournful extreme music.

Four years after the release of their critically acclaimed first full-length album Impermanent, Boston, Massachusetts’ own Progressive/Melodic Death Metal beast Aversed returns in full force with their sophomore opus, entitled Erasure of Color, bringing forward more of what the band itself likes to label as “Gothic Extreme Metal”. Currently formed of Sarah Hartman on vocals, Sungwoo Jeong and Alden Marchand on the guitars, Martin Epstein on bass, and Jeff Saltzman on drums, Aversed showcase endless rage and yearning in their new album, presenting a glimpse of hope and beauty on a backdrop of raging, mournful extreme music.

It’s pedal to the metal from the very first second in To Cover Up the Sky, with Sarah already proving why she was chosen to be the band’s new frontwoman in an interesting fusion of Death Metal with the sounds by bands like Jinjer and The Agonist. Then in Cross to Bear we face cryptic lyrics barked by Sarah (“Allow no joy / Because I am only me when I bereave / All my warmth pushed below the surface / Allow no joy, no exhilaration / I do not feel like me, anymore”) while Sungwoo and Alden extract sheer electricity from their axes. “In 1905, a French physician, Dr. Jacques Beaurieux, performed an experiment on prisoners condemned to die by guillotine. Immediately after his subjects were decapitated, he called out their names seeking to determine to what extent and for how long consciousness remained in their detached skulls”, commented the band, and that was the inspiration for Lucid Decapitation, again investing in a Jinjer-infused Progressive Metal sonority, with the bass by Martin sounding truly metallic; whereas in Inexorable they get back to a more vicious, enraged vibe, while also sounding melodic and embracing, albeit not as dynamic and inspired as the other songs.

The album continues on a high note with Burn, again venturing through the realms of classic Melodic Death Metal, with Jeff dictating the song’s pace with his unstoppable, hammering drums; while Solitary starts in a more introspective manner to the clean vocals by Sarah, showcasing the band’s more progressive and experimental side, and gradually evolving into a Melodic Death Metal aria before ending in a climatic and visceral vibe. Then the title-track Erasure of Color brings forward an avalanche of heaviness to the vicious roars by Sarah and the stylish, piercing guitars by Sungwoo and Alden, again sounding absolutely progressive from start to finish. And before all is said and done the band offers the whimsical interlude Yearning, prepping our souls for one final onrush of melodeath titled Departures, where the band delivers a more cadenced sonority perfect for Sarah’s clean and harsh vocals, even sounding radio-friendly at times, with all changes inside the music keeping it vibrant and fresh.

Fans of bands like Arch Enemy, At The Gates, The Agonist, Cradle of Filth, and Katatonia, among several others, will have an absolute blast listening to Erasure of Color, available for purchase from the band’s own BandCamp, or simply by clicking HERE. Aversed definitely know how to blend the harshness of Death Metal with melodic and gothic styles, and if you want to know more about the band, their plans for the future, and obviously their tour dates, you can find them on Facebook and on Instagram, subscribe to their YouTube channel, and stream their music on Spotify or any other service. Although the title of the album points to the lack of any color, let’s say the music found in the album is quite the opposite, a colorful, diverse and thrilling amalgamation of styles that will inspire the band to keep moving forward no matter what, always reinventing themselves and keeping us eager for more of their thrilling creations.

Best moments of the album: To Cover Up the Sky, Lucid Decapitation and Erasure of Color.

Worst moments of the album: Inexorable.

Released in 2025 M-Theory Audio

Track listing
1. To Cover Up the Sky 4:26
2. Cross to Bear 4:05
3. Lucid Decapitation 5:17
4. Inexorable 5:13
5. Burn 3:46
6. Solitary 5:42
7. Erasure of Color 4:19
8. Yearning 1:30
9. Departures 5:29

Band members
Sarah Hartman – vocals
Sungwoo Jeong – guitars
Alden Marchand – guitars
Martin Epstein – bass
Jeff Saltzman – drums

Album Review – Lordi / Limited Deadition (2025)

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Paying homage to the 80’s toy culture, Mr. Lordi and his crew of unstoppable monsters return to action with another electrifying album of heavy music.

Displaying a unique blend of nostalgia and Heavy Metal creativity, embodying the spirit of a true limited edition, Limited Deadition, the brand new album by Finnish Heavy Metal/Hard Rock monsters Lordi, pays homage to the 80’s toy culture, a theme deeply resonant with frontman Mr. Lordi, a lifelong collector of action figures and other memorabilia. Recorded in Helsinki at IluSound Studio and Finnvox Studios, with Mr. Lordi taking on production duties, mixed by Ilkka Herkman, and mastered by Pauli Saastamoinen, the album’s concept aligns seamlessly with the band’s penchant for clever wordplay and thematic innovation, making it an essential addition to any fan’s collection while again showcasing all the talent and passion for our beloved Rock N’  Roll by the aforementioned Mr. Lordi alongside Kone on the guitars, Hiisi on bass, Hella on keyboards, and Mana on drums.

SCG XIX The Hexecutioners is a classic intro like in all Lordi albums, prepping us all for their monster attack in Legends Are Made Of Clichés, sounding extremely 80’s thanks to the classic keys by Hella and the Rock N’ Roll riffs by Kone. Mr. Lordi’s raspy, devilish vocals match perfectly with the futuristic keys by Hella in Syntax Terror, an exciting Hard Rock tune that will work really well live, whereas slowing things down while investing in an AOR vibe we have Skelephant In The Room, led by the classic beats by Mana. Then after the brief interlude SCGTV Saturday Night Main Event we face Killharmonic Orchestra, offering a more Heavy Metal-inspired sonority thanks to the riffs by Kone and the rumbling bass by Hiisi, whereas Collectable presents a melancholic start to the piano by Hella, evolving into a decent ballad with a striking solo by Kone.

Then after the fun interlude SCGTV Monstersquad Action Figures it’s time to hit the dance floor with Lordi in Fangoria, where the bass by Hiisi will send shivers down your spine while Hella continues to shine with her Hard Rock/AOR-infused keys. Mr. Lordi’s vocals and Kona’s riffs kick off the also 80’s-inspired Hellizabeth, keeping the album at a high dancing level. SCGTV The Hexecutioners Season Finale is perhaps the coolest of all interludes, followed by the classic rock tune Retropolis, showcasing a solid guitar work by Kone, in special another one of his fiery solos, and the always ass-kicking vocals by Mr. Lordi. Hella’s classy piano notes ignite another ballad entitled Frighteousness, which evolves into an AOR feast that’s just average; and after a word from their “sponsors” in SCGTV Crazeee Ralph Promo, it’s time for the title-track Limited Deadition, again showcasing a great balance between heavy riffs and whimsical keys while Mana dictates the pace with his spot-on beats and fills. Then ending the album we have the cowbell-infused rockin’ tune You Might Be Deceased, with Mr. Lordi’s striking, visceral vocals being nicely supported by his bandmates classic backing vocals.

“The album topic of 80’s toys is actually just a loose theme, but it’s been with me since I was little. I’ve always been a collector of various things, and I’m even some kind of a hoarder. I can’t even remember what my first toy was, but my obsession basically started with ‘Muppet Show’ dolls, followed by ‘Star Wars’ and ‘E.T.’ figures, with the latter actually being my favorite movie of all time,” commented Mr. Lordi, and you can feel his obsession with those collectibles by purchasing your favorite version of the album by clicking HERE, therefore also feeding your heavy music collector’s hunger. don’t forget to also follow those beautiful creatures on Facebook and on Instagram, keeping updated with all of their tour dates, to subscribe to their YouTube channel, and to stream all of their creepy creations on Spotify. For those ready to dive into this monstrous adventure, Limited Deadition is not just an album, but a celebration of Lordi’s unparalleled creativity and enduring legacy, making us eager for more of their monster-infused music in a not-so-distant year.

Best moments of the album: Syntax Terror, Killharmonic Orchestra, Fangoria and You Might Be Deceased.

Worst moments of the album: Collectable and Frighteousness.

Released in 2025 Reigning Phoenix Music

Track listing
1. SCG XIX The Hexecutioners 0:55
2. Legends Are Made Of Clichés 3:59
3. Syntax Terror 4:11
4. Skelephant In The Room 3:44
5. SCGTV Saturday Night Main Event 0:21
6. Killharmonic Orchestra 3:40
7. Collectable 4:21
8. SCGTV Monstersquad Action Figures 0:54
9. Fangoria 3:41
10. Hellizabeth 3:40
11. SCGTV The Hexecutioners Season Finale 0:31
12. Retropolis 3:29
13. Frighteousness 3:08
14. SCGTV Crazeee Ralph Promo 0:42
15. Limited Deadition 4:06
16. You Might Be Deceased 3:32

Band members
Mr. Lordi – vocals
Kone – guitars
Hiisi – bass
Hella – keyboards
Mana – drums

Album Review – Diabállein / Anti Sacra (2025)

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One of the driving force of the current Brazilian Black Metal scene returns with their sulfurous fourth studio album, going against any type of religious oppression.

Forged in the fires of Monte Alto, São Paulo, Brazil in the year of 2010, the ruthless Black Metal horde known as Diabállein, a Greek verb that means “to throw across” or “to slander” (or the root of the word diabolos, which means “slanderer”, as diabolos is the origin of the English word “devil”), is a true exponent of Brazilian Black Metal, being highly influenced by cult bands the likes of Sarcófago, Darkthrone, Mayhem, Enthroned, Songe d’Enfer, Venom, and Motörhead, among others. Now in 2025 the band formed of Octavius Voxum on vocals, Jean Misfortune and Caio Blackthorn on the guitars, Maicon Alastor on bass, and Ivam Phobos on drums returns with their fourth full-length opus, entitled Anti Sacra, the follow-up to their 2022 album Misanthropy Chronicles. Recorded at Arte Estúdio, produced by the band itself in partnership with Danilo Penharbel Nogueira (who was also responsible for the mixing and mastering of the album), and displaying a sinister artwork by Rubens Snitram of Azoth Artwork, Anti Sacra is an intense and provocative work that comes to challenge dogmas and conventions, addressing themes such as criticism of institutionalized religion, rebellion against social norms, deconstruction of myths and exploration of individual spirituality.

The phantasmagorical, cryptic intro Aurora will set the stage for the band to crush our putrid souls in Incipit Tragoedia, where Jean and Caio begin their vicious Black Metal riff attack supported by the unstoppable blast beats by Ivam. Eternal Vortex, the first single of the album, showcases frontman Octavius gnarling rabidly in the name of total darkness supported by the visceral riffage by the band’s guitar duo. Deteriorated By Time (Dust) sounds and feels a bit generic compared to the previous songs, but still exhaling evil and hatred, whereas the title-track Anti Sacra offers our impious ears an overdose of Black Metal magic led by the hammering drums by Ivam while Octavious barks manically until the very last second. And such an amazing Brazilian horde will burn your immoral souls to the sound of Burn The Morals And Dogma, again showcasing a great balance of devilish riffs and harsh vociferations; while lastly we’re treated to an overdose of heavier-than-hell, venomous sounds in Wisdom And Solitude, living up to the legacy of classic Black Metal.

Digitally released via Sangue Frio Records, while the physical release is supported by several labels, including Impaled Records, Sangue Underground Records, Luceferian Gnosis, Belial Songs, Infernal Dimension Distro, Nyarlathotep Records, and Rocketz Records, Anti Sacra reaffirms the band’s position as one of the driving forces of the current Brazilian Black Metal scene. Hence, don’t forget to join their devilish horde by following them on Instagram, by subscribing to their YouTube channel, by streaming their wicked creations on Spotify, and of course by purchasing or streaming your favorite version of Anti Sacra by clicking HERE. It’s time to succumb to the darkest side of Brazilian extreme music to the sound of the sulfurous new album by Diabállein, going against any type of religious oppression, and therefore inspiring us all to keep fighting for our freedom in the name of the always liberating Black Metal.

Best moments of the album: Eternal Vortex, Anti Sacra and Wisdom And Solitude.

Worst moments of the album: Deteriorated By Time (Dust).

Released in 2025 Sangue Frio Records

Track listing
1. Aurora 1:11
2. Incipit Tragoedia 5:28
3. Eternal Vortex 6:10
4. Deteriorated By Time (Dust) 5:40
5. Anti Sacra 5:36
6. Burn The Morals And Dogma 6:11
7. Wisdom And Solitude 6:20

Band members
Octavius Voxum – vocals
Jean Misfortune – lead guitar
Caio Blackthorn – rhythm guitar
Maicon Alastor – bass
Ivam Phobos – drums

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

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

INTRODUCTION: No school, no traffic!

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

DREAM THEATER

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Worst moments of the album: None.

Released in 2025 Sentient Ruin Laboratories

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

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

Album Review – Frightful / What Lies Ahead (2025)

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

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

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

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

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

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

Worst moments of the album: What Lies Ahead.

Released in 2025 Godz ov War Productions

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

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

Album Review – Scalpture / Landkrieg (2025)

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

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

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

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

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

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

Worst moments of the album: Wallenstein.

Released in 2025 Testimony Records

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

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