Concert Review – Warbringer & Allegaeon (The Garrison, Toronto, ON, 03/31/2025)

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The unstoppable Allegaeon and Warbringer joined forces to take the city of Toronto by storm in another breathtaking night of the best of the underground.

OPENING ACTS: Summoning the Lich and Skeletal Remains

Only two days after the humongous metal attack by Meshuggah, Cannibal Corpse and Carcass, it was time to pay a visit to The Garrison on a Monday night for a wild feast of the best of the underground with the bands SUMMONING THE LICH, SKELETAL REMAINS, ALLEGAEON and WARBRINGER during their The Vortex Of Violence Tour 2025, another awesome event brought to Toronto by Noel Peters of Inertia Entertainment. Any concert on a Monday night doesn’t have the same appeal as a weekend concert at a casino, of course, but that doesn’t mean that the four bands on the bill didn’t kick some serious ass, proving why they’re the future of extreme music worldwide. And as weird as this might sound, getting to Toronto on a Monday night is actually easier than on any other day of the week, maybe because it’s not a chosen day for entertainment or because a lot of people take the day off or simply work from home, making traffic a lot more manageable than usual. I was very excited to see all bands live for the first time, in special Allegaeon, one of the best bands of the current scene, and I wasn’t disappointed at all with their performances; quite the contrary, I’m more than happy I decided to spend a cold Monday night in Toronto enjoying their undisputed heavy music. Furthermore, Keith couldn’t make it to the show, unfortunately, but our friend Afrida Nawar was more than happy to help us with the photos this time (soon to be added to this review, I promise!).

The doors at the venue opened at 6:30pm, and just 30 minutes after that the first attraction of the night, St. Louis, Missouri-based Melodic Death Metal/Deathcore act SUMMONING THE LICH, kicked off the festivities with a beyond energetic and vibrant performance according to some friends already at the venue (as I had to miss them due to a private appointment). Having recently released the album Under the Reviled Throne, available on BandCamp and on Spotify, the band set the stage at The Garrison on fire, and if some brutality in the form of music is your cup of tea, you must listen to this band and go see them live. Well, next time they come to Toronto, I’ll try my best to be there in time to witness their visceral performance.

Setlist
My Horrors Unending
Descend
Demon of the Snow
The Nightmare Begins
Return to the Soil
Reviled Crystal Wielders
The Forest Feast

Band members
David Bruno – vocals
Muck – guitars
Ryan Felps – guitars
John Flynn – bass
TJ Chilton – drums

I made it to the venue with plenty of time to see the performance by California’s own Death Metal horde SKELETAL REMAINS; however, their vocalist Chris Monroy didn’t. Apparently he wasn’t allowed to cross the US-Canada border for a reason beyond my knowledge, and what we got from the other three band members was a feast of instrumental Death Metal that despite sounding a bit weird without the vocal parts, was also totally devastating. Playing songs from their latest opus Fragments of the Ageless, available on Spotify or any other streaming platform, plus of course some of their older material, the trio put on their hearts and souls into their concert, doing everything they could to entertain us even without their vocalist, and in the end they got a huge positive reaction from fans who recognized all their effort and passion for heavy music. The show must go on, and Skeletal Remains did exactly that.

Setlist
Void of Despair
Beyond Cremation
Relentless Appetite
To Conquer the Devout
Devouring Mortality
…Evocation (The Rebirth)
Unmerciful

Band members
Chris Monroy – vocals, guitars*
Mike De La O – guitars
Brian Rush – bass
Pierce Williams – drums

*Chris couldn’t make it to the show in Toronto as he had his entry in Canada denied.

ALLEGAEON

It was getting close to 9pm when the band I wanted to see the most hit the stage for a flawless performance, proving why they’re the best band in the world to mix Melodic and Technical Death Metal in a beyond exciting manner. I’m talking about Fort Collins, Colorado-based outfit ALLEGAEON, who were simply demolishing with their blend of dexterity, violence and heaviness, spearheaded by their returning charismatic frontman Ezra Haynes. Their concert was phenomenal, and I think they deserved to have played at a bigger venue like Lee’s Palace or even The Opera House, but of course they made sure their performance was memorable even with the limited space onstage. Blending old school material with two songs of their brand new album album The Ossuary Lens (available on BandCamp and on Spotify), those being The Swarm (the best song of the night in my humble opinion) and Driftwood, the band sounded tight, ruthless and electrifying from start to finish, and again I hope they get a bigger venue next time they headline a concert in Toronto, because their music demands more space, as well as a bigger audience to go wild inside the circle pit while they shred like there’s no tomorrow.

Setlist
All Hail Science
The God Particle
To Carry My Grief Through Torpor and Silence
The Swarm
Terrathaw and the Quake
Driftwood
Dyson Sphere
Of Beasts and Worms
Proponent for Sentience III – The Extermination
Parthenogenesis
1.618
Behold (God I Am)

Band members
Ezra Haynes – vocals
Greg Burgess – guitars
Michael Stancel – guitars, backing vocals
Brandon Michael – bass, backing vocals
Jeff Saltzman – drums

WARBRINGER

And last but definitely not least, it was already past 10pm when Ventura, California-based Thrash Metal brigade WARBRINGER brought total war to the stage with one of the most electrifying, visceral and fun performances of the year in the city. All of their songs sounded amazing, in special the new metal hymn The Sword And The Cross, from their brand new album Wrath and Ruin (already available on BandCamp and on Spotify), with their lunatic frontman John Kevill even yielding a sword onstage (although he was missing the cross, right?), and of course the hard hitting Total War, which closed their show on a high note. The circle pits were insane, the crowd surfing was pure madness, and the band was having an amazing time to the point even John himself went crowd surfing and played a little “jungle gym” with the venue’s lighting equipment attached to the roof, leaving all concert goers absolutely happy and ready for more Warbringer in a not-so-distant future. Again, hopefully at a bigger venue, because just as Allegaeon, Warbringer are undoubtedly one of the best bands of the current metal scene worldwide.

Setlist
Severed Reality
A Better World
The Black Hand Reaches Out
Woe to the Vanquished
Crushed Beneath the Tracks
Firepower Kills
The Sword And The Cross
Through a Glass, Darkly
Hunter-Seeker
Remain Violent

Encore:
Total War

Band members
John Kevill – vocals
Adam Carroll – guitars
Chase Becker – guitars
Chase Bryant – bass
Carlos Cruz – drums

Concert Review – Visions of Atlantis (Lee’s Palace, Toronto, ON, 04/09/2025)

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Sailors, comrades and buccaneers from every nook and cranny of Toronto gathered this Wednesday night for an electrifying feast of first-class Melodic and Symphonic Power Metal.

OPENING ACT: Seraina Telli

Sailors, comrades and buccaneers from every nook and cranny of Toronto gathered at the always cozy Lee’s Palace this Wednesday night for a cinematic, thrilling feast of Melodic and Symphonic Metal, plus some colorful and vibrant Hard Rock, courtesy of VISIONS OF ATLANTIS with special guest SERAINA TELLI during their Armada Over North America Tour 2025, brought to the city by the iconic Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi and I were there to cover such a unique experience in the city, and I must say that from all Symphonic Metal bands out there these days, Visions of Atlantis are by far the most entertaining one, and the one I can listen to on a regular basis without getting bored at all. Quite the contrary, right after the show I kept listening to their music instead of switching to something else, just to give you an idea of how exciting the whole night was.

But before those Austrian pirates (seasoned with French and Italian elements) hit the stage, we were treated to the electrifying Hard Rock by Switzerland’s own SERAINA TELLI, a pleasant surprise as I’ve been following her work since she was part of Burning Witches, but I honestly had zero hope of seeing her live with her solo career in Canada. Well, it was amazing watching Seraina on the stage at Lee’s Palace, as she simply kicked ass with her beyond powerful and beautiful voice, colorful looks (which matched perfectly with her 2023 debut solo album Addicted to Color, available on Spotify), and rockin’ moves, and the crowd loved every single moment of her show. Not even the fact the bass lines were pre-recorded took away the energy of her show, with songs like Addicted to Color and Wish You Well masterfully depicting her passion for Rock N’ Roll. There was a funny moment when during one of her interactions with the crowd she asked us to sing with her some sort of “oooh-oh-oh-oh!”, and one guy screamed “what does that mean?” Seraina laughed out loud as she was caught by surprise, sayinbg no one had ever asked her that before, and that moment made the whole show even more intimate and relaxed. Hopefully we’ll see her again soon in Toronto, because at the same time she’s addicted to color, Toronto is just starting to get addicted to her music.

Setlist
Addicted to Color
Wish You Well
I’m Not Sorry
Take Care
I Dare to
Think!
All Your Tears
If No One Else Had Ever Been There Before
Modern Warrior

Band members
Seraina Telli – vocals, guitar
Mike Malloth – drums

VISIONS OF ATLANTIS

It was 9pm sharp when the Austrian pirate ship of Melodic/Symphonic Power Metal buccaneers VISIONS OF ATLANTIS docked in the “port” of Lee’s Palace for one of the most entertaining shows of the year, making everyone at the venue raise their fists, jump up and down, dance, headbang, and even row on the floor, thanks to their awesome pirate gimmick (or maybe they’re real pirates, who knows). Their latest albums Pirates (2022) and Pirates II – Armada (2024) resulted in an amazing live album titled Armada (Live Over Europe) (2025), available on Spotify, and that was basically their setlist for the night. I had no idea how they would behave during their first-ever headlining tour in Canada and in the US, after having a few opening slots like when they opened for Korpiklaani in 2024, but Visions of Atlantis were incredible from start to finish and, therefore, deserve a bigger venue when they get back to the city (as much as I love Lee’s Palace).

Songs like Monsters, Heroes of the Dawn, Where the Sky and Ocean Blend, Clocks, Tonight I’m Alive, Hellfire, and so on (and holy shit, they definitely know how to craft catchy tunes!) sounded thrilling live thanks to the perfect synchronicity between their pirate frontman Michele Guaitoli and their stunning siren Clémentine Delauney, plus their heavy artillery brought forth by Christian Douscha, Herbert Glos, and Thomas Caser. Michele and Clémentine are by far one of the best, most talented and most charismatic vocal duos in heavy music, maybe only losing to Helloween’s iconic vocalists Michael Kiske and Andi Deris (just to give you an idea of how good Michele and Clémentine are), and their clash of vocal styles kept the energy flowing majestically during their entire show. Michele brings power and fun to the stage with his crazy pirate character, while Clémentine is simply hypnotizing, driving the crowd crazy and putting huge smiles on everyone’s faces.

The last part of the show was a very entertaining and demanding one, starting with the pirate ship rowing during Pirates Will Return, the unstoppable jumping during the “jump jump” song Melancholy Angel, and of course the screaming of “HAIL JOLLY ROGER!” and “ARMADA!” during their now all-time hit Armada. I was even tired after the show was over, but a good type of exhaustion, I mean, when you’re tired but very satisfied and happy, got it? And if you ask me, not only they need to return to Toronto sooner than you can say “ARMADA!” with an even bigger headlining show, but they also deserve a spot opening for bands like Iron Maiden, Judas Priest and Helloween anywhere in the world. Visions of Atlantis are absolutely awesome, and if you don’t like them, it’s time for you to walk the plank.

Setlist
To Those Who Choose to Fight
The Land of the Free
Monsters
Heroes of the Dawn
Where the Sky and Ocean Blend
Clocks
Legion of the Seas
Tonight I’m Alive
Collide
Hellfire
The Dead of the Sea
Underwater
Magic of the Night
Pirates Will Return
Melancholy Angel

Encore:
Master the Hurricane
Armada

Band members
Clémentine Delauney – female vocals
Michele Guaitoli – male vocals
Christian Douscha – guitars
Herbert Glos – bass
Thomas Caser – drums

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Album Review – Lik / Necro (2025)

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The modern-day purveyors of classic Swedish Death Metal strike again with their fourth studio album, the musical equivalent of a classic shock-horror movie drenched in blood and gore.

Considered by many as the modern-day purveyors of classic Swedish Death Metal, Stockholm’s own unrelenting beast Lik (which means “corpse” or “corpses” in Swedish) gloriously returns to action with their fourth studio album, simply titled Necro. Recorded at NBS Studio (aka Necromorbus Studio), produced by Lawrence Mackrory at Rorysound Studios, and displaying a zombified cover art by Stockholm-based tattooist and artist Jens Olsson of Ink Fanatics, Necro is the musical equivalent of a classic shock-horror movie that’s drenched in blood and gore and packed with over-the-top extremities masterfully crafted by Tomas Åkvik on vocals and guitar, Niklas “Nille” Sandin also on the guitar, Joakim Antman on bass, and Chris Barkensjö on drums, standing loud and proud over so many imitators.

The dirty riffs by Tomas and Niklas will kick you in the nuts in the opener Deceased, with the band distilling their undisputed Death Metal with tons of rage and insanity, followed by War Praise, a ruthless sonic attack where the visceral growls by Tomas walk hand in hand with the pulverizing beats by Chris in a lecture in Swedish Death Metal. They is another beast of a song showcasing a dual guitar attack boosted by the rumbling bass by Joakim, and it’s pedal to the metal with the unrelenting extravaganza Worms Inside, with Chris taking the lead with his demented beats and fills for our total delight. Then the bass lines by Joakim will smash your cranial skull in Morgue Rat, offering more of the band’s trademark violence, gore and obscurity.

In Shred into Pieces the name of the song says it all, as you’ll be pulverized into micro pieces to their venomous slab of Death Metal bringing forward the fuming riffs by Tomas and Niklas, and Tomas keeps vociferating rabidly in In Ruins, a horror movie-like tune where the entire band shows no mercy for our putrid souls. Inspired by a trial that led to a series of executions in Stockholm between November 7 and 9, 1520, after the coronation of Christian II as the new king of Sweden, The Stockholm Massacre beautifully depicts that savagery in the name of old school Death Metal; and there’s still time for more heaviness and aggression in Fields of Death, where their core Death Metal is boosted by Chris’ demented drumming. Last but not least, the guitars by Tomas and Niklas transpire savagery in Rotten Inferno, putting a gruesome, evil conclusion to such an incendiary album.

Continuing to fly the Swedish Death Metal flag across the global stage, Necro was born out of pure love and respect for the genre and its creators’ artistic visions to keep pushing their own musical boundaries. “The ambition with Necro was to make an even better record than the previous albums,” says Tomas. “I think this one is really tied together. As it started growing and the songs got put together we were 100% focused on making that Lik album. I really think we made a really good death metal album, we found the right ingredients to make this one work.” Hence, you can experience all of their gore, violence and metallic sounds by following the band on Facebook and on Instagram, by streaming their sick creations on Spotify, and of course by purchasing the fulminating Necro from BandCamp or from Metal Blade Records as a CD or as a violet with purple splatter vinyl 12″, or simply click HERE for all available options. The new blood-soaked opus by Lik will certainly inspire all Death Metal fans around the world to slam into the pit like true metalmaniacs, solidifying the band’s army of zombies on all four corners of the earth, and consequently, prepping our rotten and decaying world for more Lik in the coming years, even if we face its inevitable end sooner than later.

Best moments of the album: War Praise, Worms Inside and The Stockholm Massacre.

Worst moments of the album: None.

Released in 2025 Metal Blade Records

Track listing
1. Deceased 4:21
2. War Praise 3:40
3. They 4:02
4. Worms Inside 3:08
5. Morgue Rat 4:58
6. Shred into Pieces 2:18
7. In Ruins 4:40
8. The Stockholm Massacre 2:42
9. Fields of Death 4:02
10. Rotten Inferno 5:41

Band members
Tomas Åkvik – vocals, guitar
Niklas “Nille” Sandin – guitar
Joakim Antman – bass
Chris Barkensjö – drums, backing vocals

Album Review – Crypts of Despair / We Belong In The Grave (2025)

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Lithuania’s most infernal band is back with their third album, offering more of the their fierce, ruthless and ball-bustingly fusion of Dissonant, Blackened and Brutal Death Metal.

Four years after their demolishing sophomore opus All Light Swallowed, Kaunas, Lithuania’s own Death Metal beast Crypts of Despair returns with their third full-length installment, entitled We Belong In The Grave. Mixed and mastered by Christian Donaldson, and displaying a funereal, grim artwork by Vainius “Anomaly” Česnauska, the new album by a now five-piece band formed of Jonas Kanevičius on vocals, Dovydas Auglys and Tautvydas Kartanas on the guitars, Simonas Jurkevičius on bass, and Henri Mäll on drums offers more of the their fierce, ruthless and ball-bustingly fusion of Dissonant, Blackened and Brutal Death Metal, being highly recommended for fans of Ulcerate, Replicant, Obscureviolence, Dead Congregation, and Saevus Finis, among several others.

The album kicks off with a beyond cryptic intro in We Belong In The Grave before Henri and Jonas decimate our ears ruthlessly armed with their demented drums and visceral roars, respectively, and after such a boisterous start it’s time to get even heavier and darker in Terminal Dais, with the riffage by Dovydas and Tautvydas sounding absolutely demolishing. Their brutality keeps flowing in Obliteration Of The Impure, where the band invites us all to headbang like demonic beasts nonstop; and their furious blend of Death Metal will hit us hard in the head in Expulsion To Purgatory, spearheaded by the vile, deep guttural by Jonas. Then we face Undisillusioned, which carries a poetic name for an unrelenting, no shenanigans Death Metal onrush by the best metal band ever from Lithuania. Needless to say, it will sound majestic during their live performances.

Seizures starts in a more obscure, atmospheric way thanks to the sluggish beats by Henri, while also presenting hints of Deathcore and Doom Metal added to its core essence. It’s absolutely heavy, despite never really taking off; and the band gets back on track in Precipitous, crushing our damned souls with their ruthless sounds, with Jonas barking like a rabid beast accompanied by the metallic riffs by Dovydas and Tautvydas. There’s still time for more heaviness and violence in the form of Gaze Of The Adversary, with Simonas blasting his bass alongside Henri and his pounding beats, all spiced up by Jonas’ deep gnarls and a beyond grim atmosphere, before the album ends with the epic instrumental outro Burial Of The World, dragging us all to absolute darkness together with the band for all eternity.

In a nutshell, We Belong In The Grave is a bold step ahead for Crypts of Despair, maintaining the band’s high standards while updating the sound for maximum impact and utter devastation, and you can put your damned hands on such an amazing album of extreme music made in Lithuania by purchasing it from their own BandCamp page, as well as from the Transcending Obscurity Records’ Bandcamp, main store, US store, or EU store. Don’t forget to also give the band a shout on Facebook and on Instagram, and to click HERE for all things Crypts of Despair, including their tour dates. As we all belong in the grave, Crypts of Despair definitely belong amongst the cream of the European Death Metal elite based on the high quality of the music found in their new album, carving their name in the scene worldwide and, consequently, leaving us eager for more Lithuanian brutality in a not-so-distant future.

Best moments of the album: Terminal Dais, Undisillusioned and Gaze Of The Adversary.

Worst moments of the album: Seizures.

Released in 2025 Transcending Obscurity Records

Track listing
1. We Belong In The Grave 5:05
2. Terminal Dais 4:29
3. Obliteration Of The Impure 4:24
4. Expulsion To Purgatory 4:19
5. Undisillusioned 3:48
6. Seizures 4:07
7. Precipitous 3:11
8. Gaze Of The Adversary 3:11
9. Burial Of The World 2:07

Band members
Jonas Kanevičius – vocals
Dovydas Auglys – guitars
Tautvydas Kartanas – guitars
Simonas Jurkevičius – bass
Henri Mäll – drums

Album Review – Diabolizer / Murderous Revelations (2025)

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The torchbearers of diabolical abomination unite once again armed with their sophomore opus, dragging us down into the fiery abysses of Turkish Death Metal without warning.

Having remained a consistent force in the underground, Kadıköy, Turkey’s own malevolent Death Metal beast Diabolizer is back from the pits of the netherworld with their sophomore offering, the ruthless Murderous Revelations, following up on their venomous debut EP Apokalypse and their critically acclaimed, demolishing first full-length album Khalkedonian Death. Recorded at Mezar Sound Studios (vocals and drums) and by the band members on their own (guitars and bass), mixed and mastered by Emre Bingöl, and displaying a sulfurous, incendiary artwork by Dechristianize Art, the new album by vocalist Abomination, guitarists Can and Mustafa, bassist Malik, and drummer Aberrant brings to our avid ears savage riffing and blasting drums with gargantuan vocals, dragging us down into its fiery abysses without warning.

Just like in their previous album it’s pedal to the metal already from the very first second in Into the Depths of Diseased Minds, a lecture in Death Metal spearheaded by the demonic guttural by Abomination; and Aberrant destroys his enemies like a bulldozer in Hogtied in Razorwire, offering us all exactly what we need to bang our heads like true servants of chaos and hatred. Purulent Divinity in Black Flames carries one of the darkest song names ever crafted by Diabolizer, and the music exhales all that darkness thanks to the Stygian, visceral riffs by Can and Mustafa, supported by the thunderous bass by Malik, followed by Seeds of the Dethroned, the epitome of Turkish Death Metal at its finest, with the band blasting our faces with their demented riffs and solos, nonstop beats and fills, and the always venomous roars by Aberration.

Then investing in an absurdly heavy, neck-breaking sonority, the band will pulverize our cranial skulls in Set the World Ablaze (Infernal Dawn), one of those Death Metal songs that transpire brutality, violence and obscurity, whereas Bloodsteam Bonegrinder beautifully summarizes their core essence, with the inhumane growls by Aberration walking hand in hand with the apocalyptic, lethal riffage by Can and Mustafa until the very end. As mentioned already, those Turkish savages definitely know how to properly name their songs, with Deathmarch of the Murderous Tyrant showcasing an overdose of infuriated beats and fills by Aberrant that sound like the soundtrack to Armageddon. And finally, there’s no hope in sight as their last breath of vile and grim Death Metal comes in the form of Into the Jaws of Cerberus, with Can and Mustafa once again delivering crisp, striking riffs and solos in the name of extreme music.

From the frantic aggression of the instruments to the savagery displayed in the vocals, everything about Murderous Revelations feels like a strong continuation from their supreme debut album in 2021, which already saw them establish a loyal following. Hence, don’t forget to follow those unrelenting, talented Turkish servants of death on Facebook and on Instagram, to stream their devastating music on Spotify, and above all that, to purchase their demented new album from their own BandCamp, from the Dark Descent Records’ BandCamp, or from the Me Saco Un Ojo Records’ BandCamp, keeping the fires of old school, no shenanigans Death Metal burning like the pits of hell. The return of Diabolizer is an essential moment in the Death Metal calendar for 2025, and you better not miss it or you’ll have to face their fury and suffer in the hands of one of the best bands in the current extreme music scene worldwide.

Best moments of the album: Into the Depths of Diseased Minds, Seeds of the Dethroned, Bloodsteam Bonegrinder and Deathmarch of the Murderous Tyrant.

Worst moments of the album: None.

Released in 2025 Dark Descent Records/Me Saco Un Ojo Records

Track listing
1. Into the Depths of Diseased Minds 4:51
2. Hogtied in Razorwire 5:15
3. Purulent Divinity in Black Flames 5:41
4. Seeds of the Dethroned 4:25
5. Set the World Ablaze (Infernal Dawn) 5:21
6. Bloodsteam Bonegrinder 4:06
7. Deathmarch of the Murderous Tyrant 4:15
8. Into the Jaws of Cerberus 5:03

Band members
Abomination – vocals
Can – guitars
Mustafa – guitars
Malik – bass
Aberrant – drums

Album Review – In The Woods… / Otra (2025)

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These Norwegian Avantgarde Metal veterans are ready to take us on a musical journey down the river that crosses their beautiful homeland in their seventh studio album.

Formed in late 1991 by members of the original lineup of Green Carnation, whom they are a continuation of, Kristiansand, Agder, Norway’s own Avantgarde/Progressive Black/Gothic Metal act In The Woods…, one of the first bands to use the name “Pagan Metal” as a description for their style, is ready to stun us all once again with their seventh studio album, titled Otra, the follow-up to their critically acclaimed 2022 opus Diversum. Recorded at In The Woods Homestudio (vocals, guitars, bass), and by John Ronny Bøe at Krutt Studio (drums), mixed and mastered by Frédéric Gervais at Studio Henosis, and with a stylish artwork and layout by Seiya Ogino of Ogino Design, the new album by Bernt Fjellestad on vocals, Kåre André Sletteberg on the guitars and keyboards, Bernt Horne Sørensen also on the guitars, Nils Olav Drivdal on bass, and Anders Kobro on drums is a must-listen for fans of Ulver, Shores of Null, Saturnus, and Dødheimsgard, among others, with all songs revolving around stories connected to the eponymous river that winds for 245 kilometers through the South of Norway and spills into the Skagerrak, the strait that separates the country from Denmark and Sweden, at the band’s home in Kristiansand.

Melancholy and doom flow from the vocals by Bernt Fjellestad in The Things You Shouldn’t Know before the whole band begins their darkened attack led by the pounding drums by Anders. In addition, Kåre also sounds sharp on keyboards, resulting in over eight minutes of majestic avantgarde music. The classic Scandinavian riffs by Kåre and Bernt Horne Sørensen will inspire you to bang your head nonstop in A Misrepresentation of I, again boosted by the deep vociferations by Bernt Fjellestad; whereas the next song, titled The Crimson Crown, also brings forward a pensive, grim start that evolves into a melodic and progressive fusion of Doom and Gothic Metal, with Nils making our heads tremble with his metallic bass lines. The album continues on a serene yet Stygian mode in The Kiss and the Lie, where Nils and Anders once again generate a dense atmosphere perfect for Bernt Fjellestad’s deep clean vocals, followed by Let Me Sing, another solid fusion of Avantgarde and Doom Metal, sounding heavy on bass thanks to the energy Nils puts into his playing. Come Ye Sinners is by far the heaviest and therefore the most exciting of all songs, with their riffs and beats transpiring doom while also living up to the legacy of Avantgarde and Progressive Death Metal; and lastly, it’s sheer melancholy in The Wandering Deity, with Anders dictating the song’s pace supported by the whimsical riffage by Kåre and Bernt Horne Sørensen, ending the album on a climatic and dark vibe.

Demonstrating the strength and artistic maturity of the Norwegians’ third incarnation, Otra is indeed an enticing and highly pleasurable album to listen to, respecting the band’s past while at the same time also breaking new ground. Hence, if you want to be part of this new musical journey by In The Woods… down the river that crosses their beautiful homeland, you can follow them on Facebook and on Instagram for news, tour dates and other nice to know details about the band, stream their classic creations on Spotify, and of course purchase Otra from BandCamp or by clicking HERE. In The Woods… are always evolving, always expanding their horizons, and Otra is the ultimate depiction of their creativity, leaving us eager for more from those Norwegian trailblazers in the coming years without a shadow of a doubt.

Best moments of the album: The Things You Shouldn’t Know, A Misrepresentation of I and Come Ye Sinners.

Worst moments of the album: Let Me Sing.

Released in 2025 Prophecy Productions

Track listing
1. The Things You Shouldn’t Know 8:32
2. A Misrepresentation of I 6:11
3. The Crimson Crown 6:21
4. The Kiss and the Lie 5:31
5. Let Me Sing 7:01
6. Come Ye Sinners 7:16
7. The Wandering Deity 5:57

Band members
Bernt Fjellestad – vocals
Kåre André Sletteberg – guitars, keyboards
Bernt Horne Sørensen – guitars
Nils Olav Drivdal – bass
Anders Kobro – drums

Guest musicians
Alf Erik Sørensen – addditional keyboards
Hector Montero – additional synths

Album Review – Exiled Hope / Apocrypha (2025)

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A lone she-wolf of Symphonic and Blackened Power Metal returns with the third and exciting installment of her ongoing musical narrative.

Formed in 2019 in Maryland, United States, Symphonic/Blackened Gothic/Power Metal one-woman army Exiled Hope is set to unleash the project’s third installment of its ongoing musical narrative, entitled Apocrypha. Drawing musical inspiration from the likes of Avantasia, Nightwish, Kamelot and Cradle of Fitlh, to name a few, the lone she-wolf Sofia Frasz is back in action with a twelve-track album that follows a new protagonist who seeks guidance from familiar (yet otherworldly) forces as he uncovers the truth about the path to success laid out before him, further expanding the story Sofia and her Exiled Hope have crafted through the years.

Sofia kicks off the album to the soothing sound of the piano in The Summoning, already showcasing her passion for dark and melancholic music, exploding into Blackened Gothic Metal to the sound of her she-demon gnarls; and our diva strikes again in full force with her classic riffs, low-tuned bass and deep vocals in The Day Will Come, offering a darker version of contemporary Symphonic Metal. She then puts the pedal to the metal in the rockin’ tune Blood Of The Ancients, showcasing all her dexterity behind the drums, whereas she makes a passionate vocal duet with guest Metal Matt in Dreamwalker, a soothing ballad that sounds truly powerful from start to finish. Then we face Over For You, leaning towards the early days of Nightwish with a darker twist, with Sofia kicking some ass with her potent vocal reach and classic riffs; and featuring guest vocalist Imperator Mortem we have Altar Of Moloch, with both Sofia and Imperator Mortem sounding like obscure creatures from the underworld in a lecture in Atmospheric Black Metal.

In The Silence Is Deafening she switches gears to a more Doom Metal-inspired sound with Gothic and Symphonic Metal nuances, once again hypnotizing us all with her vocals, followed by Behold My Shattered Skies, the second ballad of the album, sounding as enfolding as the first one and with Sofia’s deep vocals walking hand in hand with the song’s ambience. After that, we’re treated to Deathslayer, bringing forward over eight minutes of first-class heavy yet delicate music, a trademark sound by Sofia and her Exiled Hope, with her striking riffage, blast beats and devilish growls adding an extra touch of insanity to the music, exploding into a melodic attack of Blackened Power Metal led by her classic guitar lines and crushing drums entitled Lightborn. She then offers another Ambient track titled Remnants, maybe a bit too long for an instrumental interlude, while closing the album we have Forbidden Majesties, where once again Sofia showcases both her delicate and demonic sides at the same time.

“The release of Apocrypha represents three years of practice, exploration, trial and error, learning, and a lot of overthinking,” commented Sofia about her newborn baby. “Apocrypha feels detailed and relatable, yet larger-than-life, and I hope you enjoy the journey of listening to it as much as I enjoyed the journey of creating it. Creating music is about the journey as much as it is about the destination, or the final product.” After such beautiful words by our dauntless diva, you should definitely go check what she’s up to on Facebook and on Instagram, listen to her music on YouTube and on Spotify, and grab a copy of Apocrypha from BandCamp or by clicking HERE, allowing Sofia’s music to penetrate deep inside your soul on another exciting journey by one of the most creative names of the current metal scene.

Best moments of the album: The Day Will Come, Dreamwalker, Deathslayer and Lightborn.

Worst moments of the album: Remnants.

Released in 2025 Independent

Track listing
1. The Summoning 3:19
2. The Day Will Come 3:46
3. Blood Of The Ancients 4:08
4. Dreamwalker 3:40
5. Over For You 4:20
6. Altar Of Moloch 4:25
7. The Silence Is Deafening 4:28
8. Behold My Shattered Skies 4:57
9. Deathslayer 8:11
10. Lightborn 5:27
11. Remnants 3:52
12. Forbidden Majesties 4:25

Band members
Sofia Frasz – vocals, all instruments

Guest musicians
Metal Matt – vocals on “Dreamwalker”
Imperator Mortem – vocals on “Altar of Moloch”

Concert Review – While She Sleeps & Bury Tomorrow (The Danforth Music Hall, Toronto, ON, 04/03/2025)

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After a Wednesday of snow, ice, rain, and cold, the city of Toronto was treated to a Thursday of sunshine, warm weather, and an overdose of first-class Metalcore.

OPENING ACT: Vended

After a Wednesday of snow, ice, rain, and freakin’ cold temperatures, the city of Toronto was treated to a Thursday of sunshine, warm weather, a nice breeze, and an overdose of first-class Metalcore, courtesy of VENDED, BURY TOMORROW and WHILE SHE SLEEPS during their North America 2025 Tour. Keith Ibbitson of Metal Paparazzi and I were there at the always fun The Danforth Music Hall to enjoy those relatively young but already renowned bands of the Metalcore scene worldwide (but not before savoring a nice and sweet cinnamon roll at Cinnaholic, of course, as quality fuel for the rest of the night), and despite the beyond horrid traffic that’s now a constant in Toronto (except for Monday nights), most fans were able to arrive in time to grab some merch, have a few drinks and get ready for the action that was about to begin on and off stage.

It was 7pm when Des Moines, Iowa’s own Alternative/Nu Metal band VENDED took the stage of The Danforth Music Hall for an incendiary performance, perfectly warming up everyone for the main attractions of the night. If you know nothing about those guys, the band features two musicians who are sons of members of Slipknot, singer Griffin Taylor is the son of Corey Taylor, and drummer Simon Crahan is the son of Shawn “Clown” Crahan, but that doesn’t mean they’re a copy of Slipknot; quite the contrary, they have their own sound and style, and the crowd loved every single second of their show, already igniting a sick circle pit. Their debut self-titled album was out in 2024, it’s available on Spotify and other streaming platforms, and you should definitely give those guys a listen because they’re excellent in what they do.

Setlist
Intro
Nihilism
Ded to Me
Am I the Only One
The Far Side
Pitiful
Asylum

Band members
Griffin Taylor – lead vocals
Cole Espeland – lead guitar
Connor Grodzicki – rhythm guitar, backing vocals
Jeremiah Pugh – bass, backing vocals
Simon Crahan – drums

BURY TOMORROW

Hailing from Southampton, Hampshire, England, BURY TOMORROW needed only a few seconds to electrify the crowd with their frantic performance, with the floor section exploding into an awesome circle pit for the delight of the fans and the band. Their dual vocal attack formed of Daniel Winter-Bates on harsh vocals and Tom Prendergast on clean vocals works extremely well live, with the heavy kitchen blasted by Davyd Winter-Bates on bass and Adam Jackson on drums adding an overdose of groove to their core sound. All of their songs sounded vibrant live, and if you know nothing about them go check their latest release The Seventh Sun, from 2023, on Spotify, and get ready for their upcoming album Will You Haunt Me, with That Same Patience, as I’m sure you’ll have a great time listening to those UK rockers. Needless to say, whenever they schedule a live concert in your town, you know where you’ll be that night, right?

Setlist
Abandon Us
Earthbound
Death (Ever Colder)
Let Go
Villain Arc
What If I Burn
Boltcutter
Black Flame
Cannibal
Majesty
Life (Paradise Denied)
Choke

Band members
Daniel Winter-Bates – harsh vocals
Kristan Dawson – lead guitar, backing vocals
Ed Hartwell – rhythm guitar
Tom Prendergast – keyboards, clean vocals
Davyd Winter-Bates – bass
Adam Jackson – drums, percussion

WHILE SHE SLEEPS

It was already past 9pm when Sheffield, South Yorkshire, England-based outfit WHILE SHE SLEEPS attacked the crowd with their share of Metalcore made in the UK, just like Bury Tomorrow had just done, and once again the fans at the venue went wild, jumping up and down, screaming the lyrics together with frontman Lawrence “Loz” Taylor, raising their fists and horns in the air, and of course slamming into the pit with a huge smile on their faces. There were moments of friendship and love, when Loz asked fans to hug their families and friends, a Slipknot-like moment with everyone going down and waiting for his sign to start jumping, cellphones with their flashlights on in the air, and an overdose of crowd surfing. I’m not kidding, there was this small girl with a ponytail and a red hoodie that might have broken the worldwide record of crowd surfing in one night, as she kept flying around every 10 seconds nonstop. All of their songs also sounde great live, including the new ones from their 2024 album Self Hell (available on Spotify), and I guess based on the warm reaction from the entire venue that it won’t take long for Toronto to enjoy another night together with While She Sleeps.

Setlist
Rainbows
Leave Me Alone
Anti-Social
You Are All You Need
The Guilty Party
You Are We
Self hell
Systematic
Four Walls
Hurricane
Enlightenment(?)
Silence Speaks
To The Flowers
Sleeps Society

Band members
Lawrence “Loz” Taylor – lead vocals
Sean Long – lead guitar, backing vocals
Mat Welsh – rhythm guitar, piano, vocals
Aaran McKenzie – bass, backing vocals
Adam “Sav” Savage – drums, percussion

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Album Review – Fractal Universe / The Great Filters (2025)

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This Progressive Death Metal outfit strikes again with their thrilling fourth studio album, a sonic journey like no other blending progressive tendencies with Jazz elements.

Having self-released their debut EP Boundaries of Reality in 2015, followed by the full-length albums Engram of Decline (2017), Rhizomes of Insanity (2019), and The Impassable Horizon (2021), Nancy, Grand Est, France-based Progressive/Technical Death Metal outfit Fractal Universe returns to action now in 2025 with their fourth studio effort, entitled The Great Filters. Once again blending progressive tendencies with Jazz elements, philosophical topics such as existentialism and the fragmented nature of human consciousness, innovative songwriting and high production quality, the new album by Vince Wilquin on vocals, guitars and saxophone, Yohan Dully on the guitars, Valentin Pelletier on bass, and Clément Denys on drums invites the listener to embark on a sonic journey like no other, helping those French metallers in reaching the peak of the Progressive Metal mountain worldwide.

Their progressive and metallic vein arises from the very first second in The Void Above, with the enraged roars by Vince walking hand in hand with the beyond intricate bass and drums by Valentin and Clément, respectively. Then continuing to experiment with different sounds and nuances we have The Great Filter, while staying true to their core Death Metal essence; whereas the Djent-infused bass by Valentin will hammer our heads in Causality’s Grip, accompanied by the whimsical guitar lines by Vince and Yohan, sounding like a Progressive Death Metal version of Dream Theater. And The Seed of Singularity is another song that goes heavy on bass, with a futuristic background providing Vince with all he needs to shine on vocals.

After that we’re treated to The Equation of Abundance, a smooth and charming ballad by the band, with the harsh vociferations by Vince bringing an extra touch of anguish and melancholy to the overall result; then investing in a heavier, more thunderous sound the band blasts our faces with Specific Obsolescence, with all of its breaks and variations, boosted by Clément’s spot-on drumming and Vince’s melancholic saxophone, turning it into a must-listen for fans of the genre. Dissecting the Real is another complex, vibrant and multi-layered creation by the band, offering more of the stylish riffs by Vince and Yohan, plus the endless heaviness flowing from Clément’s drums, followed by Concealed, a six-minute explosion of Progressive Death Metal led by the striking riffage by Vince and Yohan. Finally, the album ends on a strong note with A New Cycle, where the classy sound of the saxophone by Vince beautifully clashes with their visceral Death Metal sounds.

If their previous albums like their latest opus The Impassable Horizon already exhaled progressiveness and rage, it’s with The Great Filters that the quartet takes a huge step forward in their career, solidifying their core sound without repeating themselves or getting stale, always working towards innovation, and always with a lot of energy, passion and focus on their music. You can get more information about the band by following them on Facebook and on Instagram, stream more of their music on their YouTube channel or on Spotify, and above all that, show them your utmost support by purchasing a copy of The Great Filters by clicking HERE. In other words, if you love the complexity of Progressive Metal, but at the same time you’re an admirer of the visceral sound of Death Metal, then Fractal Universe might be exactly what you’re looking for in the underground, with their newborn opus sounding and feeling absolutely sharp and exciting for our total delight.

Best moments of the album: The Void Above, Specific Obsolescence and Dissecting the Real.

Worst moments of the album: The Great Filter.

Released in 2025 M-Theory Audio

Track listing
1. The Void Above 4:26
2. The Great Filter 3:41
3. Causality’s Grip 3:35
4. The Seed of Singularity 4:08
5. The Equation of Abundance 6:25
6. Specific Obsolescence 6:49
7. Dissecting the Real 5:23
8. Concealed 6:05
9. A New Cycle 5:04

Band members
Vince Wilquin – vocals, guitars, saxophone
Yohan Dully – guitars
Valentin Pelletier – bass
Clément Denys – drums

Metal Chick of the Month – Vermilia

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Vastaan kulkee kuu kasvot kutsuen…

Miten teillä menee, rakkaat metallipäät? If you have no idea what this means, maybe we could ask our metal lady of the month of April here on The Headbanging Moose to help us with the translation, as not only it’s in her mother tongue, but she also uses this language in one hundred percent of her lyrics. Not only that, she’s more than just a singer, being responsible for all instruments in her one-woman Black Metal project. Owner of a mesmerizing voice, she will stun us all with her undisputed fusion of Pagan Black Metal with Nordic and Scandinavian melodies, offering us all beautiful lyrics in the form of poems about life, death and nature in her native language. Her name is Julia Mattila, usually referred to as her alter-ego Vermilia, a very creative woman and a free soul from the land of ice and snow who has a vision and a deep passion for music inside her head, always ready to let everything out in the form of her unique sounds.

Born and raised in Hämeenlinna, a city in Finland and the regional capital of Kanta-Häme, located in the southern interior of the country and on the shores of Lake Vanajavesi, Vermilia has been crafting music basically since she was born, having done everything from classical music to folk singing to metal and everything between that. She grew up in a very musical family, which means making music has always been very natural to her. Moreover, she is also an audio engineer, always listening to different genres to find new ideas for her own sound and production, therefore keeping her music as fresh and unique as possible with each album released.

Her one-woman project Vermilia was founded back in 2017, blending Pagan Black Metal with Scandinavian and Nordic melodies, clean, harsh and melancholic vocal harmonies, and lyrics in the form of poems about life, death and nature, always singing in her mother tongue Finnish, and always responsible for not only all vocal duties (including some amazing harsh growls), but also for all instruments (including even shaman drums), graphics and videos, recording, producing, mixing and mastering of all of her albums, plus all the artworks and photography. Shortly after forming Vermilia, she released her debut album Kätkyt (which means “cradle” in English), in 2018, which ended up being one of the most best selling metal albums on BandCamp during the weekend of its pre-release announcement, receiving a huge amount of praise from a variety of critics, magazines and webzines, and of course from fans from all over the world.

Right after the enormous success of Kätkyt, she released on March 1, 2019 her cover version for a Finnish classic song called Täällä Pohjantähden Alla, originally released by Petri Laaksonen in 1994 (and you can check the original version HERE). Vermilia’s atmospheric version became a huge success on Spotify, jumping straight to number #1 of the most viral songs in Finland on the official Spotify charts. After such a wild feedback from music lovers from all four corners of the earth, it was more than natural for Vermilia to keep her momentum going with the 2020 four-track EP Keskeneräisiä Tarinoita, which translates as “unfinished stories”, also getting tons of positive feedback from all types of metal and non-metal fans.

Then after reaching almost two million streams on Spotify, it was time for Vermilia to unleash upon humanity her highly anticipated sophomore opus, entitled Ruska, or “autumn foliage”, the process of leaves turning to various shades of yellow, orange, red and brown as the trees get ready for winter. The evolution in her music was beyond clear in Ruska, with her always evolving blend of Atmospheric, Pagan and Black Metal getting more personal, tighter and more compelling, culminating now in 2025 with the release of her strongest album to date, the breathtaking Karsikko, an expression that represents a set of markings made on a tree somewhere between a deceased person’s home and the burial site in the Finnic religion, which was believed to prevent the individual’s spirit from coming back. Her visuals are also a crucial part of her music, and you can savor that in all of her official videos on YouTube, including Veresi, Kansojen Kaipuu, Marras, Tuonen Joki, Hautavajo, Ruska, Hauras, Kuollut, Kaunis, and Äiti Maa. All of them are definitely worth a watch, and all of her albums are certainly worth purchasing from BandCamp, and you can also click HERE for all things Vermilia, including her mesmerizing live performances.

Apart from Vermilia, you can find our she-wolf (under her name Julia Mattila) as part of the bands Duo Julia Mattila & Samuli T. Mäkelä and Seele, and as the vocalist for a now defunct project named The Passion of Our Souls. As a matter of fact, Duo Julia Mattila & Samuli T. Mäkelä and The Passion of Our Souls are basically the same band, with the main difference being the type of music they play. In Duo Julia Mattila & Samuli T. Mäkelä, it looks like Julia and Samuli play (or used to play, who knows) cover songs in a sort of folk style, while in The Passion of Our Souls the style was a fusion of Melodic Death Metal with Metalcore with nuances of symphonic and gothic music, having released back in 2015 their first and only record, the EP Soulmates, as you can see in the song Give Me Your Soul.

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Her other band, named Seele, is an Alternative Rock/Electronic Pop band from Finland with whom Vermilia released the album Jos Vain Kaiken Jättäisin (which means “If Only I Left Everything” in English), in 2016, but that was it. Furthermore, you can also find her doing backing vocals on the song Peikonmieli, from the 2017 album Saatto, and vocals on the song Ikarus, from the 2019 album Valo, both released by the now defunct Finnish Melodic Black/Gothic Metal band Mustan Kuun Lapset, another band from Finland that always used their mother tongue to keep their connection to their roots intact and always present in their music.

In regards to Vermilia’s idols and influences, she always mentions in her interviews that her biggest inspirations are nature, sadness, darkness, autumn rain and mythology. “Everything I compose or write happens without bigger plans. I just let the creativity fly and move forward with the feelings I have in that moment,” she commented, complementing by saying that musically speaking she’s influenced by Atmospheric and Pagan Black Metal, as well as by folk music, which in her opinion represents freedom of art and freedom of mind. Furthermore, although her music is sometimes compared to Myrkur, Ulver and Moonsorrow, all bands she respects and admires, she mentioned she still thinks that their music is different from Vermilia, saying that any similarities might come from her subconscious or something like that.

As mentioned before, Vermilia is a skilled singer who can do both clean and harsh vocals, and she commented already in an interview how much her vocals have evolved with time. “I have studied different vocal techniques, which has helped me find all my voices. I love using my voice in many ways, and it’s my favourite instrument.” On a side note, when playing live of course she ends up needing support from other musicians to be able to bring her creations to life. “I do every single vocal by myself. There is no other vocalists on the album. But for example in the live shows I can’t do all at the same time, so there needs to be some compromises, like someone to double the growls in some parts of the songs when I do the clean vocals.” Furthermore, she also has a very good explanation for singing pretty much all the time in Finnish. “The Finnish language is very rich and there are so many metaphors in my lyrics that it’s kind of hard to translate these songs. I have done some lyrics in English in the past before Vermilia, but I am a so much better writer in Finnish so at this point I will keep doing this in Finnish because it fits perfectly to this, but you know, never say never.”

Vermilia also has a strong opinion about all the discrimination and disrespect towards women, both in the music industry and in everyday life. “I think we are going in a better direction, but we are still very far away from a solution for this.” In addition, she also thinks the new wave of women in Black Metal and other styles of extreme music is awesome, showing a lot of respect for bands like Myrkur and Sylvaine. “I think it is awesome that women are rising and doing their own music in their own way.” And of course, as she was born in Finland, a country considered by many as the epicenter of the best heavy music on the planet, she had some nice words to say about her homeland. “I love Finnish music in many genres, not just metal. I guess it’s so cold and dark here that we have to be creative and keep our brains warm by doing metal. For me Finland is a calming place where my mind is clear and my soul is resting. We have so many forests and lakes that you really don’t have to see other people if you don’t want to. Peace of nature is inspirational. I love to write and compose here.”

There are also countless interviews and videos online with Vermilia, like this nice one for a podcast from Latvia named Metālkāsts LV, where she talks about why she decided to fly solo in her career, her songwriting ritual, the importance of writing and singing in her native Finnish language, her favorite season of the year, and more, showing she’s not just a very talented musician, but also a very down to earth woman who will keep working hard and releasing new albums for our total delight, always following her passion for music, always inspired by nature, and always remaining true to her Finnish roots. And do you know her motto? Well, that’s a very simple yet powerful one that all of us should carry inside our hearts. “Be thankful for what you have right now, and don’t take anything for granted.”

Vermilia’s Official Facebook page
Vermilia’s Official Instagram
Vermilia’s Official YouTube channel

“I love Finnish music in many genres, not just metal. I guess it’s so cold and dark here that we have to be creative and keep our brains warm by doing metal. For me Finland is a calming place where my mind is clear and my soul is resting. We have so many forests and lakes that you really don’t have to see other people if you don’t want to. Peace of nature is inspirational. I love to write and compose here.” – Vermilia