Album Review – Völva / Desires Profane (2024)

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Behold the new album by these three ruthless Swedish Black Metal ladies, a howling, hate-filled voice of rage, fueled by the fire and the fists that have subjugated womankind.

“Like the screams from a thousand vengeful souls from the witch’s bonfire.” – Vittra describes the sound of Völva

Forged in 2018 in in the simmering underground cauldrons of Punk and Black Metal of Malmö, Sweden, Black Metal/Crust outfit Völva will crush your damned soul to pieces in their new album, titled Desires Profane, a howling, hate-filled voice of rage, fueled by the fire and the fists that have subjugated womankind since the old ways were undone by the insidious Christian contamination of the world. Recorded by Oliver Dah in Studio Quaalude, mixed and mastered by Ulf Blomberg at Hoborec, and with a cryptic artwork by The Black Bird Sings, the first full-length album by vocalist and bassist Hedonosticia, guitarist Vittra and drummer Skuld seeks to explore Satanic Feminism, breaking away from conformity and exploring a higher purpose through free will, body and lust, all while being recommended for admirers of the caustic creations by Darkthrone, Urgehal, Wolfbastard and Taake, among many others.

Their evil, dirty and cryptic feast of Black Metal kicks off in full force with The Tower (check their performance playing this amazing song at Quaalude Sessions #15), with Hedonosticia already crushing our minds with her she-wolf gnarls, and it’s time to walk through the fires of hell together with those talented Sweds in Walk With Me, with Vittra showing no mercy for our souls, blasting infernal riffs nonstop. They then go full Black Metal in Expulsion of the Flesh, delivering endless animosity and darkness, with Hedonosticia’s harsh vocals sounding utterly piercing; followed by Inverted Cross, displaying a beautiful name for another explosion of Black Metal magic by the trio, again melting our faces with their unrelenting savagery, blast beats and hellish growls, before we face five minutes of sluggish, grim and visceral passages in Never Forgive, showcasing elements of Doom Metal added to their devilish core essence.

And they keep hammering our putrid souls with their blend of Black Metal and Crust in The Serpent, also delivering elements of Death Metal and Blackened Death Metal, led by the infernal roars by Hedonosticia and the massive beats by Skuld, whereas Perpetual Putrefaction sounds a bit generic compared to the rest of the album, albeit still presenting the band’s characteristic blasphemous, demonic sounds. Asmodeus is one of the most infuriated of all songs in Desires Profane where Vittra’s riffs are the epitome of evil, sounding devilishly metallic, while Hedonosticia continues to summon the creatures of the underworld with her she-demon gnarls; followed by Salvation, another evil onrush of Black Metal masterfully brought into being by the band, living up to the legacy of Swedish Black Metal, with Skuld once again kicking ass on drums. And last but not least, they offer us all a ruthless Black Metal extravaganza titled Vagabond, reminding me of some of the most wicked creations by the mighty Skeletonwitch.

In summary, those three Swedish ladies sound absolutely insane and on fire throughout their entire newborn beast, proving once again that women not only have their place in heavy music, but that they can also sound heavier, darker and more caustic than any man. Hence, you can check what they’re up to on Instagram, including their tour dates, stream their creations on any streaming service like Spotify, and grab a copy of their scathing new album from their own BandCamp, from the Grind To Death Records’ BandCamp, or from the Fiadh Productions’ BandCamp, helping them spread their infernal howl in the name of feminism and Black Metal to all four corners of our sexist and decaying world.

Best moments of the album: Expulsion of the Flesh, The Serpent and Asmodeus.

Worst moments of the album: Perpetual Putrefaction.

Released in 2024 Grind To Death Records/Fiadh Productions

Track listing
1. The Tower 4:10
2. Walk With Me 2:59
3. Expulsion of the Flesh 3:45
4. Inverted Cross 3:12
5. Never Forgive 5:19
6. The Serpent 3:42
7. Perpetual Putrefaction 2:30
8. Asmodeus 2:31
9. Salvation 4:38
10. Vagabond 2:28

Band members
Hedonosticia – vocals, bass
Vittra – guitars, backing vocals
Skuld – drums, backing vocals

Album Review – Korrosive / Katastrophic Creation (2024)

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Behold the new album by Toronto’s most pulverizing thrashing brigade, taking the band’s sound to new levels of heaviness and raw power.

Recorded, produced and mixed by Ben Erikson at Union Sound, mastered by Stu McKillop at Rain City Recorders, and displaying a sick artwork once again done by world renowned artist Ed Repka, the pulverizing Katastrophic Creation, the brand new album by Toronto, Ontario’s own Thrash Metal brigade Korrosive, takes the band’s sound to new levels of heaviness and raw power. Not only that, the album also represents a major step forward for the band currently formed of Rad Zarei on vocals, Derek Solomos on the guitar, Jack Neila on the guitar and bass, and Kaveh Afshar on drums, being the perfect follow-up to their 2022 album Toxic Apokalypse, pushing the boundaries of Thrash Metal and solidifying their status as leaders in the genre.

Kaveh shows no mercy for our souls in the opening tune In the Name of Destruction, blasting his drums like there’s no tomorrow in the name of pure Thrash Metal while Rad vociferates rabidly just the way we like it in extreme music; and get ready for the scorching, caustic riffs by Derek and Jack in Khaos Unbound, as they’ll burn your skin deep while inspiring you to slam into the mosh pit like a demented creature. Nuclear Awakening follows the same pattern as its predecessor, hitting us hard with their razor-edged riffs while Kaveh dictates the pace with his fulminating beats, whereas rumbling bass lines, infuriated drums and the always sulfurous roars by Rad are the main ingredients in Maelstrom, a song more than perfect for some nice action inside the circle pit, offering nonstop Thrash Metal madness for the masses.

Then we have امام در آتش, which roughly translates to “Imam Immolation”, a slab of brutality by the quartet that will drive the crowd mental during their live concerts, with Rad stealing the show with his most inhumane, demented vocal performance of the entire album. Furthermore, the song draws inspiration from the political unrest in Iran, particularly following the tragic death of Mahsa Amini. Written by drummer Kaveh Afshar, who experienced the brutal dictatorship firsthand in the 1980’s, the track embodies defiance and resistance against tyranny. Those guys don’t know the meaning of “slow”, “mellow” or “romantic” at all; quite the contrary, it’s total chaos in Kataclismo Inminente, again presenting a massive wall of riffs and blast beats, followed by Under a Vicious Sky, a neck-breaking, headbanging-fueled tune by the band where Rad growls manically supported by the piercing riffage by Derek and Jack. And lastly, we’re treated to seven minutes of modern-day rebellious Thrash Metal made in Canada in Ashes from Atomic Dust, showcasing an amazing job done by their guitar duo and, as usual, the venomous guttural by Rad, putting a sinister, apocalyptic ending to the album.

Katastrophic Creation is already available in full on YouTube and on Spotify, but of course if you want to show those guys how much you love Thrash Metal you should grab a copy of the album from their own BandCamp, or from the CDN Records’ BandCamp or webstore as a CD, as an LP, or as a very special bundle including the CD or a blue vinyl with red splatter pattern, a patch of your choosing and a sticker. Don’t forget to also give the band a shout on Facebook and on Instagram, joining them in Armageddon to the sound of their caustic new opus, proving why Thrash Metal will always be one of the best ways to channel everything that’s fucked up in our rotten society into high quality heavy music.

Best moments of the album: In the Name of Destruction, امام در آتش (Iman Immolation) and Kataclismo Inminente.

Worst moments of the album: Nuclear Awakening.

Released in 2024 CDN Records

Track listing
1. In the Name of Destruction 3:32
2. Khaos Unbound 4:30
3. Nuclear Awakening 6:45
4. Maelstrom 5:17
5. Imam Immolation 4:08
6. Kataclismo Inminente 3:41
7. Under a Vicious Sky 5:45
8. Ashes from Atomic Dust 7:37

Band members
Rad Zarei – vocals
Derek Solomos – guitar
Jack Neila – guitar, bass
Kaveh Afshar – drums

Album Review – Trollwar / Tales from the Frozen Wastes EP (2024)

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After six long years, this Quebec-based Folk/Death Metal horde attacks again with a new EP, boasting increased technicality and a new direction with their sound.

Combining the best elements of Folk, Melodic Death and Black Metal into something vital, potent and uniquely their own, building on the foundations created by the likes of Finntroll and Amon Amarth to forge fiery folky metal music that is distinctly theirs, Alma, Quebec-based Folk/Death Metal horde Trollwar is back in action after six years with a new EP entitled Tales from the Frozen Wastes, boasting increased technicality and a new direction with their sound. Recorded by Rémi Legresly at LeGrizzly Productions, mixed and mastered by Christian Donaldson, and portraying a classic artwork by Artem Demura, the EP is a worthy follow-up to their 2018 album Oath of the Storm, being thoroughly crafted by Värgal the Storyteller on vocals, Wöx the Rogue Assassin and Holrägh the Young Berseker on the guitars, Keven Villeneuve on bass, Jonathan Mathieu on keyboards, Trolläthan the Old Bard on the accordion, and Exodiüs the Blacksmith on drums.

The cinematic Prologue takes us all to a whimsical and epic journey together with Trollwar in The Unseen One, featuring a guest keyboard solo by Veli-Matti Kananen (Fleetburner, Kalmah), with the scorching guitars by Wöx and Holrägh being perfectly complemented by the imposing keys by Jonathan. And such an amazing Canadian horde continues their quest for Folk and Death Metal in Bane of the Underworld, with Värgal leading his crew with his harsh vociferations supported by the always rhythmic beats by Exodiüs. In the Fields of Frost sounds clearly inspired by the music by Amon Amarth, but of course with the band’s own twist, showcasing a great balance between their heavier side and the whimsical sounds of Epic Metal; followed by The Offering, featuring clean vocals and choir by guest Matt Sippola (Atavistia), a song that’s just as epic as its predecessors with all instruments sounding sharp and striking, with the ass-kicking keys by Jonathan and the always classy accordion by Trolläthan making the whole atmosphere even more inspiring and, therefore, closing the EP in great fashion.

After listening to Tales from the Frozen Wastes, I’m sure you’ll be more than ready to head into the battlefield alongside the talented guys from Trollwar, and you can definitely do so by following the band on Facebook, Instagram and YouTube, by streaming their music on Spotify, and by purchasing their vibrant and fun new EP from their own BandCamp page or by clicking HERE. It might have taken six long years for Trollwar to attack our senses once again with new music, but the wait was totally worth it as their hybrid of Folk and Death Metal still sounds fresh and interesting, keeping the band alive and kicking for many years to come.

Best moments of the album: The Unseen One and In the Fields of Frost.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. Prologue 2:00
2. The Unseen One 7:05
3. Bane of the Underworld 5:26
4. In the Fields of Frost 4:05
5. The Offering 5:46

Band members
Värgal the Storyteller – vocals
Wöx the Rogue Assassin – guitars
Holrägh the Young Berseker – guitars
Keven Villeneuve – bass
Jonathan Mathieu – keyboards
Trolläthan the Old Bard – accordion
Exodiüs the Blacksmith – drums

Guest musicians
Veli-Matti Kananen – keyboard solo on “The Unseen One”
Matt Sippola – clean vocals and choir on “The Offering”

Album Review – Eldingar / Lysistrata (2024)

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This indomitable Hellenic Black Metal horde will attack your senses with their sophomore album, exploring themes of the dissolution of the army and the rejection of the desire for power.

Hailing from the stunning Greek capital of Athens, Eldingar, the Black Metal band known for their fusion of Melodic Death and Thrash Metal with pagan and folk elements, has just unleashed upon humanity their sophomore opus, titled Lysistrata, an album that could easily soundtrack a vile and epic battle between the gods of Olympus. Recorded, produced, mixed and mastered by Steve Lado at SL Studios, and displaying a stunning artwork by Maximos Manolis, the new album by Andreas Simitzis on vocals, Stavros Lontos on the guitars, Giannis Dardas on bass and Defkalion Dimos on drums is the perfect follow-up to their 2021 debut Maenads, highly recommended for fans of Rotting Christ, UADA and Naglfar, exploring themes of the dissolution of the army and the rejection of the desire for power, juxtaposed with the emotional liberation from submission, inviting listeners to consider whether this revolutionary idea could be the key to achieving long-awaited peace, both in the world and within the soul.

An acoustic, melancholic start goes on for the entire duration of Dryope, working as an extended intro for the explosive title-track Lysistrata, where the deep roars by Andreas and the scorching riffs by Stravos will penetrate deep inside your rotten soul while all breaks, variations, atmospheric passages and guest vocals by Iliana Tsakiraki only make the whole song even more powerful and mesmerizing, making an instant connection with the also grim and captivating Ares, where Defkalion gives a lesson in drumming by sounding intricate and furious all at once, and it’s absolute beautiful how they manage to flow from classic Black Metal to Melodic and Atmospheric Black Metal seamlessly. They then keep delivering sheer obscurity in Therasia, again beginning with a cryptic narration in Greek and offering us all a well-balanced fusion of Black Metal and atmospheric sounds, while presenting a soothing break until the band’s final attack.

That savagery morphs into the piano-driven interlude Inside Cosmos, bringing some peace to our hearts before we’re treated to Cosmos, with Defkalion already blasting his drums in the name of Black Metal supported by the low-tuned bass by Giannis, while Andreas continues to vociferate in a devilish and mysterious way for our total delight, and with its calming, whimsical ending flowing into Ode, gradually evolving into a feast of Progressive and Melodic Black Metal led by the striking, piercing riffage by Stavros, or in other words, it’s a full-bodied aria of darkness exhaling melancholy and rage with all of its somber, grim moments sounding stunning. The second to last tune of such an amazing album, entitled Myrrine, brings more of their trademark gentle sounds, mainly the acoustic guitars by Stavros, albeit too long for an interlude; whereas Where To Stand is another blend of their more introspective, almost folk-inspired sounds with ambient dark music, with Andreas stealing the spotlight with his deep, passionate vocals.

Eldingar’s unique blend of intense musicality and philosophical depth promises to captivate and resonate with audiences worldwide, so prepare for an album that challenges the status quo and seeks to touch the hearts and minds of all who listen. Having said that, don’t forget to follow the band on Facebook and on Instagram, to stream their music on Spotify, and to purchase their excellent new album from Vinyl Store as a CD or as a vinyl, diving deep into their world of battles, a wide range of emotions, and man’s endless pursuit of power.

Best moments of the album: Lysistrata, Cosmos and Ode.

Worst moments of the album: Myrrine.

Released in 2024 Vinyl Store

Track listing
1. Dryope 4:27
2. Lysistrata 10:27
3. Ares 11:14
4. Therasia 10:20
5. Inside Cosmos 3:00
6. Cosmos 11:16
7. Ode 10:27
8. Myrrine 6:18
9. Where To Stand 7:05

Band members
Andreas Simitzis – vocals
Stavros Lontos – guitars
Giannis Dardas – bass
Defkalion Dimos – drums

Guest musician
Iliana Tsakiraki – female vocals

Concert Review – W.A.S.P. (History, Toronto, ON, 11/11/2024)

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Countless fans in Toronto had the pleasure of witnessing a once in a lifetime explosion of classic Heavy Metal and Hard Rock by one of the most iconic bands of all time.

OPENING ACT: Armored Saint

If you love first-class live music played to perfection, then you must join W.A.S.P., with support of ARMORED SAINT, during their Album One Alive World Tour 2024, just like what happened at the beyond excellent History this Monday night in Toronto. Seriously, both bands were absolutely flawless during their incendiary shows, and of course Keith Ibbitson of Metal Paparazzi and I were there to witness those giants (as the word “dinosaurs” seems a bit to old for them) of heavy music. It was quite chilly in Toronto, and of course really dark, but that didn’t stop countless lovers of our good old Rock N’ Roll to take the venue by storm on the worst day of the week for anything, and to have a great time together with the bands.

Precisely at 8pm, Los Angeles, California’s own Heavy Metal/Hard Rock juggernaut ARMORED SAINT kicked off their electrifying, classic and perfect performance in Toronto, blending old school songs the likes of Can U Deliver and Reign of Fire with a new tune from their 2020 album Punching the Sky, the excellent End of the Attention Span. John Bush was phenomenal as usual, delivering his striking vocals for the delight of the crowd, and even getting down to the floor section to sing one of the songs close to the soundboard. Seriously, his voice hasn’t aged at all. What a vocalist! And what to say about Joey Vera on bass, or the Sandoval Brothers? In other words, if you’ve never seen Armored Saint live, don’t miss the chance because those guys are simply superb on stage.

Setlist
End of the Attention Span
Delirious Nomad
The Pillar
March of the Saint
Aftermath
Book of Blood
Win Hands Down
Can U Deliver
Reign of Fire

Band members
John Bush – vocals
Phil Sandoval – guitars
Jeff Duncan – guitars
Joey Vera – bass
Gonzo Sandoval – drums

W.A.S.P.

After a short break (where I desperately went for a pizza, as I was starving), it was time for one of the most iconic bands to ever arise from Los Angeles, California, Heavy Metal/Hard Rock legends W.A.S.P., to melt our faces with one of the most hypnotizing performances of the year in Toronto. Blackie Lawless (or maybe I should call him “Blackie Flawless” after Monday), Doug Blair, Mike Duda and Aquiles Priester took no prisoners in their quest for old school heavy music, kicking some serious ass with the full play of their 1984 self-titled cult album (referred to as “Album One” by Blackie himself), plus a bunch of other classics during the encore.

Blackie even mentioned that when they started thinking about playing the whole album on this tour, one of the managers he consulted with said the idea was terrific, but only if they played all songs in the same order of the album. Blackie said that was insane as they had never opened a W.A.S.P. show with I Wanna Be Somebody, but in the end that’s exactly what they did, and the fans in Toronto embraced the whole idea with tons of love, respect and admiration for Blackie and his crew. It was a “once in a lifetime” concert for everyone at History, as Blackie said they’ll never do that again, and song after song you could see the joy and energy flowing from fans of all ages. I mean, who can stand still and not start dancing and headbanging to On Your Knees or Tormentor, right?

The background of the stage was also a thing of beauty, playing the official videos of all songs being played live by the band, connecting their past, present and future in a compelling way, and of course things only got rowdier and more fun during the encore with songs like I Don’t Need No Doctor, Wild Child and Blind in Texas inspiring all of their Torontonian fans to sing along the lyrics with Blackie. As already said, this was a unique opportunity to see the band playing their debut album live from start to finish, and I guess none of the fans at History this Monday night will ever forget the awesome experience of witnessing that blast of classic rock and metal live by one of the most important bands in the history of music. Who knows, maybe we’ll see them playing other albums in full in the future, but until then I’m sure Toronto will keep the electricity of such a stunning live rendition of “Album One” flowing through their veins.

Setlist
The End (The Doors song)
W.A.S.P. Medley
W.A.S.P. Album One Alive
I Wanna Be Somebody
L.O.V.E. Machine
The Flame
B.A.D.
School Daze
Hellion
Sleeping (in the Fire)
On Your Knees
Tormentor
The Torture Never Stops

Encore:
The Big Welcome
Inside the Electric Circus / I Don’t Need No Doctor / Scream Until You Like It
The Real Me (The Who cover)
Forever Free / The Headless Children
Wild Child
Blind in Texas
Riders on the Storm (The Doors song)

Band members
Blackie Lawless – vocals, guitars, keyboards
Doug Blair – guitars
Mike Duda – bass, backing vocals
Aquiles Priester – drums

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Album Review – Dying Grotesque / Celestial (2024)

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Depicting the violent absurdity and the grim futility of human existence, the sophomore opus by this Ukrainian band will crush you like an insect in the name of Death Metal.

Depicting the violent absurdity and the grim futility of human existence, which appears to be completely insignificant comparing to the endless darkness of cosmic void and all the undiscovered mysteries it conceals, the pulverizing Celestial, the sophomore album by Ukrainian Death Metal band Dying Grotesque, is highly inspired by bands the likes of Bloodbath, The Black Dahlia Murder, Entombed, Dismember, Edge of Sanity, Gorefest, and Suffocation, among others, being the perfect follow-up to their 2020 debut Sunflower Tide. Mixed and mastered by Vadym ‘Silvan’ Tsymbaliuk at Intermodulation Studio, and with a sinister artwork by Yevhen ‘Gxreparty’ Konovalov (Shinagawalove), the new album by Vadym ‘Silvan’ Tsymbaliuk on vocals and guitars, Volodymyr ‘Liquidator’ Degtyarenko on guitars and bass, and Andriy ‘Nordwind’ Butok on drums perfectly represents the band’s trademark mixture of various genres and styles including Death, Doom and Thrash Metal, and even some synth and folk elements, proving how talented and dynamic the band can sound.

The metallic, vibrant sounds of their guitars and bass ignite the metal machine titled Nuclear Meadows, with Vadym roaring deeply like a demonic entity, exhaling pure Death Metal with a Slavic twist, whereas Satellites is an infuriated blend of Death Metal by the trio with Vadym and Volodymyr firing sheer aggression through their axes, supported by the massive beats by Andriy. And let’s keep banging our heads frantically in Burial Fields, where Andriy sounds even more demonic behind his drums, inviting us all to also head into the circle pit like true metalmaniacs. They definitely don’t care at all about trying to sound mellow or more commercial, as Purification is in-your-face, brutal Death Metal played from their blackened hearts, led by the cadaverous guttural by Vadym.

Point Of View brings forward another four minutes of insanity, fury and violence crafted by this talented Ukrainian horde, with the caustic riffs by Vadym and Volodymyr penetrating deep inside our skins in great Death Metal fashion, and investing in a more 90’s inspired sound the likes of Unleashed, the band offers a decent tune titled Pneuma, showcasing their love for the riff and all extreme things. Their second to last feast of violent and ruthless Death Metal is offered to us all in the form of Lilith, where Andriy keeps hammering his drums supported by the scorching riffage by Vadym and Volodymyr, while also showcasing their undeniable dexterity and hatred. There’s still time for one last visit to the circle pit to the sound of the venomous Mortality, where their 90’s Death Metal vein pulses stronger than ever spearheaded by the always crushing drums by Andriy.

After all is said and done, I bet you’ll go back to the start of Celestial and listen to it again and again, as those Ukrainian metallers know how to blast our ears with tons of rage with their harsh yet very melodious sounds. You can also start following them on Facebook and on Instagram for news, tour dates and so on, listen to their crushing music on Spotify, and above all that, grab a copy of Celestial on BandCamp or by clicking HERE. Those Ukrainians will crush you like an insect in the name of Death Metal armed with their new album, and not only you’ll enjoy that, but you’ll also keep asking for more without a shadow of a doubt.

Best moments of the album: Nuclear Meadows, Purification and Lilith.

Worst moments of the album: Pneuma.

Released in 2024 Archivist Records

Track listing
1. Nuclear Meadows 5:34
2. Satellites 4:04
3. Burial Fields 5:11
4. Purification 3:53
5. Point Of View 3:58
6. Pneuma 5:22
7. Lilith 3:39
8. Mortality 4:36

Band members
Vadym ‘Silvan’ Tsymbaliuk – vocals, guitars
Volodymyr ‘Liquidator’ Degtyarenko – guitars, bass
Andriy ‘Nordwind’ Butok – drums

Guest musician
Oleksandr ‘Archon’ Kharechko – bass

Concert Review – The Black Dahlia Murder & Dying Fetus (The Phoenix Concert Theatre, Toronto, ON, 11/06/2024)

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

OPENING ACTS: Vomit Forth, Angelmaker and Spite

On Wednesday November the 6th legions of local headbangers amassed in front of The Phoenix Concert Theatre located at 410 Sherbourne St. Toronto, Ontario for an exhilarating evening of sonic punishment and brutality brought to us by our good friend Noel Peters of Inertia Entertainment with one of the best line ups I have seen this year consisting of headliners THE BLACK DAHLIA MURDER (Michigan) and DYING FETUS (Maryland), supported by the bands SPITE (Bay Area, California), ANGELMAKER (North Vancouver, B.C.) and VOMIT FORTH (Connecticut), during their Beg to Serve 2024 Tour stop in the city.

VOMIT FORTH opened the show with some hardcore brutal death metal rife with brutal breakdowns whipping us metalheads into a frenzy, inciting a whirlwind of feet and fists inside some pretty gnarly circle pits, and from there on the crowd was on fire for the rest of the show. 8/10

ANGELMAKER was up next and they absolutely fucking killed it with an amazing set that impressed me tremendously. It was my first time seeing them live and I think they might be one of my favourite bands now. These guys should be headlining shows for sure. The crowd was mad with bloodlust during their set and everything ratcheted up a few notches with some of the craziest crowd surfing I have ever seen. Bodies were flying all over the place literally! And it was fun as fuck to see too. AngelMaker’s vocalists were so mind-blowing and the band sounded so friggin’ good. Seriously it was an epic set.10/10

SPITE had some mighty big shoes to fill and did not disappoint. They put on an amazingly brutal show and held their own among the giants amongst them, keeping the energy going, stoking the flames of the behemoth engine that we call a crowd. The crowd was absolutely nuts that night! Non-stop action on our side of the barrier. 9/10

DYING FETUS

Marylands’ brutal tech death juggernauts DYING FETUS were up next and slew us with a blistering set full of old school death metal chugging and brutal slams. Fetus’ sound quality was top notch and holy shit what a band! Trey Williams drumming was killer and Sean Beasley was beastly on the bass guitar. John Gallagher was on fire with the riffage and solos on guitar. Vocally, both John and Sean were on point. Dying Fetus are one of the G.O.A.T.s of the genre, an absolutely tremendous trio of a band. Sometimes old is gold. 10/10

THE BLACK DAHLIA MURDER

THE BLACK DAHLIA MURDER finished off the show providing the killing stroke on the slaughter-room floor so to speak. The crowd got even crazier and one brave soul even dove head first with reckless abandon off the stage, trusting that the rest of the crowd would catch him and thankfully they did. Even before Dahlia got on the stage fans were crowd surfing in anticipation. To call it crowd surfing is a bit of a misnomer, it was more akin to midget-tossing (pardon the expression). The Black Dahlia Murder did not disappoint and put on a fantastic set full of old and new material which satisfied the crowd. Brian Eschbach brought some much needed levity to the evening with some of his crowd banter referring to Doug Ford taking him on a cocaine fueled bar-hop and seance to talk to his brother Rob. It was a nice surprise to see when I got home that The Black Dahlia Murder live streamed their set on YouTube, so I watched it again. It’s now a couple days later as I’m writing this and Nocturnal is still playing in my head. This was seriously one of the best shows of the year for me personally and I along with the crowd had an amazing time. Great show. 10/10

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Album Review – Blood Incantation / Absolute Elsewhere (2024)

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At roughly 45 minutes, the new beast by Blood Incantation offers us all two sensational compositions that are as confounding as they are engaging in their scope.

At roughly 45 minutes, Absolute Elsewhere, the breathtaking, diverse new opus by Denver, Colorado-based Progressive Death Metal outfit Blood Incantation, is unlike anything you’ve ever heard before. Recorded at Hansa Studios, produced, engineered, mixed and mastered by Arthur Rizk at Redwood Studios, displaying a cryptic artwork by Steve R Dodd, and featuring guest musicians Thorsten Quaeschning (Tangerine Dream), Nicklas Malmqvist (Hällas) and Malte Gericke (Sijjin), the new album by Paul Riedl, Morris Kolontyrsky, Jeff Barrett and Isaac Faulk offers us all two compositions that are as confounding as they are engaging in their scope, melding the 70’s prog leanings of Tangerine Dream with the deathly intent of Morbid Angel.

In “The Stargate”, a violent storm invokes the familiar before a grand cosmic key turns for a hint of sweeping scope to come with spiritual acknowledgement and accompaniment, as their wicked experimentations mixed with the harshness of Death Metal begin in full force in The Stargate [Tablet I], showcasing mystic lyrics roared by Paul (“Chamber echoing with dust / Drifting through beams of Light / Shadows cast upon the stones / Temple doors reveal the Night”) while his bandmates craft a beyond imposing ambience. Not only that, the balance between their undisputed aggression and the ethereal, soothing moments of the song is a thing of beauty, connecting flawlessly with The Stargate [Tablet II], starting in a futuristic, whimsical manner to the sound of their keyboards and synths, and flowing smoothly until an explosion of experimentations in its final part. And that aura of madness continues in The Stargate [Tablet III], with the cryptic vocals by Paul walking hand in hand with the superb guitar work dome by the same Paul alongside Morris and Isaac, not to mention the eerie narrations by guest Malte Gerick.

“The Message” is a step through doorways of unearthly beauty, playfulness, quirk and horror, and it’s indeed a visceral Progressive Death Metal attack that we get in The Message [Tablet I], with its enigmatic, pensive lyrics (“What does it mean to be human? / And the nature of Consciousness? / The mystery has been revealed… / By the dance of Nature’s quiet songs of the birds…”) also complementing their complex, thrilling and enfolding sounds. Then just like what happened in The Stargate, the second act of The Message, entitled The Message [Tablet II], also kicks off in a more experimental way but quickly evolves into a Progressive Metal hurricane, alternating between more primeval, savage moments and soothing, atmospheric passages. Lastly, the band offers the multi-layered, detailed and otherworldly The Message [Tablet III] as the icing on the cake in their new album, with Isaac sounding sensational on drums while his bandmates continue to deliver intricacy and energy through their vocals, riffs and bass lines, ending in a climatic yet mysterious way just the way we like it in the music by Blood Incantation.

Blood Incantation’s new album Absolute Elsewhere is the sound of a star born, and you should definitely listen to that beautiful sound in its entirety on YouTube and on Spotify, as it will undoubtedly feature among the best albums of 2024 in pretty much all lists out there. Hence, don’t forget to also check what the band is up to on Facebook and on Instagram, especially because there’s an upcoming North American tour that’s just about to start, to subscribe to their YouTube channel, and to purchase the mesmerizing Absolute Elsewhere by clicking HERE or HERE, as you witness the defining of a new musical epoch for one of the most important bands of the current extreme music scene worldwide.

Best moments of the album: The Stargate [Tablet I], The Message [Tablet I] and The Message [Tablet III].

Worst moments of the album: None.

Released in 2024 Century Media Records

Track listing
1. The Stargate [Tablet I] 8:20
2. The Stargate [Tablet II] 5:08
3. The Stargate [Tablet III] 6:50
4. The Message [Tablet I] 5:56
5. The Message [Tablet II] 5:58
6. The Message [Tablet III] 11:27

Band members
Paul Riedl – vocals, guitars, mellotron, additional synthesizers
Morris Kolontyrsky – guitars, additional synthesizers
Jeff Barrett – bass, additional synthesizers
Isaac Faulk – drums, gong, additional guitars, mellotron, percussion

Guest musicians
Thorsten Quaeschning – synthesizers and organs on “The Stargate [Tablet II]”
Nicklas Malmqvist – piano, synthesizers, mellotron, organ
Malte Gericke – vocals and narration on “The Stargate [Tablet III]”, “The Message [Tablet I]” and “The Message [Tablet II]”

Album Review – Gorebringer / Condemned to Suffer (2024)

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UK’s own bringers of gore are back with their third full-length beast, their most personal album so far reflecting different struggles they’ve gone through in the past five years.

Influenced mostly by Death Metal pioneers from 90’s the likes of Carcass, At the Gates and Dissection, while also presenting modern elements in their music, as well as Black Metal hints to the mix to make the music sound even darker and more intense, London, UK-based Melodic Death Metal beast Gorebringer has just unleashed upon us their third full-length opus, entitled Condemned to Suffer, the follow-up to their demented previous releases A Craving For Flesh and Terrified Beyond Measure. Formed of Serpent “Bilge Özce” on vocals and Stench “KAZ B” on the guitars and bass, with the support of session drummer Carrion, Condemned to Suffer is the band’s most personal album so far, showcasing lyrics that are more mature and complex, mostly reflecting different struggles that the duo has gone through in the past five years as a band, having worked really hard to make the entire album sound truly profound.

An overdose of brutality and rage flows from all instruments in the opening track Under the Full Moon’s Pale Light, bringing to our avid ears an amazing job by Carrion on drums while Stench slashes his stringed axe nonstop, providing Serpent with exactly what he needs to roar like a beast. The band continues to hammer their instruments mercilessly in the title-track Condemned to Suffer, again showcasing elements from Black Metal and even Melodic Black Metal added to their core essence; and get ready to slam into the circle pit like there’s no tomorrow to the sound of the venomous Melodic Death Metal feast Infernal Symphony, with Stench yet again stealing the spotlight with his caustic riffs, whereas Ants is absolutely devastating and obscure, with Serpent’s gnarls and Stench’s unstoppable guitars being flawlessly supported by Carrion’s drums, not to mention its official video might be one of the best AI-generated ones ever.

There’s no time to breathe, nor any sing of peace, as Gorebringer bring gore and savagery to our putrid ears in Lady Midday, with the hammering beats by Carrion being complemented by the thunderous bass by Stench, followed by Théâtre of the Grotesque, a pulverizing tune that reeks of At the Gates, proving how much those guys love their idols, with Serpent barking manically nonstop for our total delight. It’s then pedal to the metal in the infuriated aria Visions of Terror, with the strident riffage by Stench matching perfectly with the infernal drumming by Carrion in another lesson in melodeath; and last but not least, get ready for almost seven minutes of melodious yet infernal sounds in Embodiment of Aggression, which certainly proves the band has infinite stamina and passion for extreme music as they don’t stop blasting heaviness and fury from their instruments until the very last second of the song.

Serpent and Stench are undoubtedly one of the most hardworking duos of the current Extreme Metal scene in the UK (and probably also worldwide), and you can give them a shout and let them know how much you love their austere, visceral music and their resilience by following them on Facebook and on Instagram, by streaming their venomous music on Spotify or on Apple Music, and of course by purchasing their excellent new opus from the Great Dane Records’ BandCamp page. Put differently, Serpent and Stench are condemned to suffer under the full moon’s pale light, and they’re inviting us all to join them in that eternal darkness to the sound of their most bestial album to date.

Best moments of the album: Under the Full Moon’s Pale Light, Ants and Théâtre of the Grotesque.

Worst moments of the album: Absolutely none.

Released in 2024 Great Dane Records

Track listing
1. Under the Full Moon’s Pale Light 6:37
2. Condemned to Suffer 4:57
3. Infernal Symphony 4:32
4. Ants 3:56
5. Lady Midday 5:34
6. Théâtre of the Grotesque 5:19
7. Visions of Terror 3:39
8. Embodiment of Aggression 6:56

Band members
Serpent “Bilge Özce” – vocals
Stench “KAZ B” – guitars, bass

Guest musician
Carrion – drums (session)

Album Review – Rifftera / Coda EP (2024)

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This striking melodeath band from Finland is back with an amazing four-track EP that’s a straight continuation to their previous albums.

A straight continuation to their 2015 debut Pitch Black and their 2019 album  Across the Acheron, the short and sweet Coda is the brand new four-song EP by Finnish Melodic Death/Thrash Metal Rifftera, offering more of their mixture of melodeath and thrash as their foundation, in which the combination of tasty riffs and catchy melodies are added on. Produced, engineered, recorded and mixed by Janne Hietala, with additional recording by Mikko Kuoppamaa, mastered by Sami Koivisto at Biotech Audio Solutions, and displaying a futuristic artwork by Greek graphic designer Leon, the new EP by vocalists and guitarists Janne Hietala and Mikko Kuoppamaa, keyboardist Antti Pöntinen, bassist Jupe Karhu, and drummer Ville Härkönen consists of three electrifying original songs, plus a very special cover version for an all-time metal classic, keeping the band alive and kicking in the metal scene while they (most probably) work on their upcoming third full-length album.

And just like their previous creations, the opening track Carved in Skin presents a cinematic and dystopian atmosphere before Janne and Mikko begin their guitar and vocal attack for our total delight, showcasing an amazing balance between their caustic riffs and the whimsical keys by Antti while Ville shows no mercy for his drums. Quicksand then offers a striking, headbanging blend of their trademark Melodic Death and Thrash Metal, this time with the clean vocals by Janne and Mikko bringing a touch of finesse to their heavy and piercing sounds. Not only that, once again the keys by Antti sound truly embracing amidst the rumbling kitchen by Jupe and Ville. No Turning Back, the third original song of the EP, is just as exciting as its predecessors, sounding utterly heavy and hammering thanks to Ville, resulting in another great candidate to feature on their live performances. And lastly, we’re treated to their killer cover version for Iron Maiden’s Moonchild, which was originally released in their 1988 masterpiece Seventh Son of a Seventh Son, and the band was not only capable of keeping the core essence of the original song intact but also of adding their own Melodic Death Metal twist to it, with the final result sounding simply fantastic.

“Over the years we have been discussing the possibility of recording a cover song. Some of us have been listening to a lot of Iron Maiden and Moonchild has popped out as a song that has the right atmosphere and is fun to play. Of course, there’s a difference compared to our own songs – less brutality and more 80’s & well, Maiden-feel, but the result fits into Coda surprisingly well. Our vocal abilities are pretty damn far from Bruce Dickinson’s, but it was a good challenge to handle Iron Maiden song in our way. We actually might have even learned something in the process,” commented Janne, and you can experience all that, plus of course enjoy their awesome original songs from Coda, by streaming the EP in full on Spotify, and by purchasing it from this location. Don’t forget to also follow the band on Facebook and on Instagram, hopefully catching them on tour, and to keep waving the flag of Melodic Death and Thrash Metal together with one of the most electrifying bands of the current Finnish scene, always banging your heads to awesome releases like their newborn Coda.

Best moments of the album: Quicksand and Moonchild.

Worst moments of the album: None.

Released in 2024 Inverse Records

Track listing
1. Carved in Skin 5:36
2. Quicksand 5:35
3. No Turning Back 6:32
4. Moonchild (Iron Maiden cover) 5:15

Band members
Janne Hietala – harsh & clean vocals, guitars
Mikko Kuoppamaa – clean vocals, guitars
Antti Pöntinen – keyboards
Jupe Karhu – bass
Ville Härkönen – drums