Concert Review – Ov Sulfur & Mental Cruelty (Hard Luck Bar, Toronto, ON, 02/21/2024)

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Two of the must-see names of the current Deathcore scene worldwide took the city of Toronto by storm for an unforgettable night of cruelty, light and sulfur.

OPENING ACTS: Beguiler and Ghost Bath

Not sure if it’s global warming or just pure luck, but the weather last night in Toronto was pretty much in the low teens with clear skies, as opposed to the absolute cold and endless snow we were supposed to endure this time of the year, and I guess that was one of the main reasons why the (very) small but cozy Hard Luck Bar was jam-packed for a night of top-of-the-line Deathcore with the bands BEGUILER, GHOST BATH, MENTAL CRUELTY and OV SULFUR during their Beyond The Eternal Tour 2024, another sensational event brought to the city by Noel Peters of Inertia Entertainment. On a side note, once again Belarusian Brutal Death Metal masters Extermination Dismemberment were not allowed to enter Canada for a reason beyond our comprehension, being replaced with Beguiler in Toronto, and as much as I enjoyed Beguiler I think this bullshit has to end and all Torontonian fans should have the pleasure of seeing Extermination Dismemberment kicking ass live in the city.

That doesn’t mean that the concert by Oshawa, Ontario, Canada’s own Deathcore act BEGUILER was boring or tiresome; quite the contrary, about 30 minutes or so after the doors at the Hard Luck Bar opened they began their fulminating performance, already inspiring everyone at the venue to slam into the circle pit spearheaded by their frontman Jacob Cooledge. The guy was growling like a beast, bursting his lungs in anger throughout their entire setlist, and that added an extra spice to the already ruthless sound crafted by his bandmates Scott Thoms, Gord Cameron and Nathan McDonald. What a great warmup that was, and if you’re curious to know more about their music you can find all of their releases on BandCamp and on Spotify, including their 2022 EP Etterath, and don’t forget to keep an eye on their social media for their tour dates because watching Beguiler live is definitely worth it.

Band members
Jacob Cooledge – vocals
Scott Thoms – guitar
Gord Cameron – bass
Nathan McDonald – drums

Due to the amount of bands playing last night the concert by Beguiler was relatively short, which was also the case with Minot, North Dakota, United States-based Depressive/Post-Black Metal entity GHOST BATH, who started their harsh, dark and sinister performance a little after 8pm. This is the second time I saw those guys live, and they were as tight and grim as when they opened for UADA last year, with once again the band’s mastermind Nameless stealing the spotlight with his undeniable talent, charisma and obscurity. I must say I wasn’t sure how the crowd would react to Ghost Bath taking into account they were the only non-Deathcore band of all, but everyone at the venue had an amazing time during their show, and as I said on the review for their concert when they opened for UADA simply go check their discography on BandCamp and on Spotify, including their 2021 album Self Loather, because their music is brilliantly dark.

Band members
Nameless – vocals, guitars
Tim Church – guitars
John Olivier – guitars
Josh Jaye – bass
Chris Piette – drums

MENTAL CRUELTY

I was then close to 9pm when one of the main attractions of the night, and I dare to say the most anticipated of all bands due to the wild reaction from the crowd, Karlsruhe, Baden-Württemberg, Germany-based Symphonic Deathcore outfit MENTAL CRUELTY hit the stage for an unforgettable concert, kicking things off with the amazing duo Midtvinter / Obsessis a Daemonio, from their 2023 masterpiece Zwielicht, and blending older songs such as King ov Fire and Ultima Hypocrita with tons of songs from their latest album, including the breathtaking Forgotten Kings, Nordlys and Mortal Shells, driving all concert-goers crazy inside the wild mosh pits while the band led by frontman Lukas Nicolai was on absolute fire on stage. Their guitar duo formed of Nahuel Lozano and Marvin Kessler was fantastic during their entire set, delivering sharp, piercing riffs and solos for our total delight and, therefore, adding even more fuel to the already incendiary mosh pits.

It was by far one of the coolest underground concerts form the past few years, and the excitement on the faces of all band members made the night even more special for all of us at the venue. Before closing their awesome setlist with my favorite song of their entire discography, Zwielicht / Symphony of a Dying Star, Lukas asked us all to turn on the flashlights of our phones, hold them high in the air and start waving our arms, “blinding” him with all the light, an amazing moment that will stay registered in the memories of the band and of everyone who attended the show last night. After their concert was over, the guys from Mental Cruelty went straight to their merch booth and stayed there for the rest of the night, chatting with fans, taking photos, of course selling their merch, and having a great time in Canadian lands. Needless to say, I can’t wait for the band to return to Toronto in a not-so-distant future to shine their Deathcore-infused light upon us all once again.

Band members
Lukas Nicolai – vocals
Nahuel Lozano – guitars
Marvin Kessler – guitars
Viktor Dick – bass
Danny Straßer – drums

OV SULFUR

After another quick bathroom/beer/smoke/chat break, it was then time for Las Vegas, Nevada, United States-based Deathcore powerhouse OV SULFUR to begin their irreligious, blasphemous and demented performance, increasing the violence inside the circle pit as frontman Ricky Hoover kept roaring and screaming nonstop on stage. Although the band only has two releases in their discography, those being their 2021 debut EP Oblivion and their 2023 full-length opus The Burden ov Faith, that was more than enough to generate a solid setlist full of aggression, neck-breaking passages, visceral growls, strident riffs and blast beats, putting a huge smile on everyone’s faces while the temperature kept going up inside the venue.

Some of the songs played by Ricky and his henchmen stood out from their setlist, including Doomhead, Wide Open, and the most special one for Ricky himself, Earthen, which he dedicated to everyone who has lost a loved person in their lives just like Ricky has recently lost his 16-year-old nephew (who tragically died of cancer). That was a very emotional moment of the concert showing that even when the music is extremely heavy and brutal, there’s still place for deep feelings. The only “issue” with the whole night for me was the fact that Ov Sulfur and Mental Cruelty didn’t share the stage for their amazing collaborative single Hivemind, which for some reason I was very positive that they would play for us. Anyway, I don’t think most fans cared about that minor detail and slammed into the circle pit like beasts until the very last second, and once again I feel sorry for my buddy Keith Ibbitson of Metal Paparazzi and all other photographers for having to brave the mosh pits to take photos of the bands, plus the fact that the red light at the Hard Luck Bar is horrible for any type of picture. Hopefully next time we see Ov Sulfur in the city it will be at a venue with better lighting and a higher stage, but even if they play again at the Hard Luck Bar I’m sure all of us will be there to bang our heads together with one of the must-see names of the current Deathcore scene worldwide.

Band members
Ricky Hoover – vocals
Chase Wilson – guitars
Tre Purdue – guitars
Ding – bass
Leviathvn – drums

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Album Review – Replicant / Infinite Mortality (2024)

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A New Jersey-based Technical/Avantgarde Death Metal outfit takes things further still armed with their dissonant and impactful third full-length offering.

After having smashed prevailing standards for the style with their unique approach on their highly lauded 2021 album Malignant Reality, New Brunswick, New Jersey-based Technical/Avantgarde Death Metal outfit Replicant takes things further still with their new full length, entitled Infinite Mortality, finding ways to make their music even more convoluted and impactful while retaining their trademark dissonant and catchy sound. Mixed and mastered by AJ Viana at AJ Viana Productions, and displaying a sensational artwork by Alli Tuttle, the new album by Mike Gonçalves on vocals, bass and guitars, Pete Lloyd on guitars, synths and high-frequency transmissions, and Itay Keren on guitars, vocals and void channels, supported by session drummer James Applegate, is a must-listen for fans of Norse, Resin Tomb, Ulcerate and Terra Builder, among others, setting new standards for others yet again, giving more than what could be expected from Replicant having already established their identity.

Dirty, visceral riffs kick off the six-minute dissonant feast titled Acid Mirror, with James sounding like a stone crusher on drums, therefore offering Mike all he needs to roar like a mad entity in a very technical yet experimental and obscure aria. Their experimentations and eerie noises continue to pierce our minds in Shrine to the Incomprehensible, where the guitars by Mike, Pete and Itay once again bring forward a mechanized, wicked vibe to the music, not to mention the metallic bass by Mike, resulting in a lecture in Dissonant Death Metal; and the band shows no mercy four our damned souls in Orgasm of Bereavement, offering an overdose of heaviness, insanity and complexity where James once again blasts his drums in great fashion supported by the thunderous bass by Mike, albeit a little less detailed than the other songs. After that, Reciprocal Abandonment offers us all an amazing fusion of Technical Death Metal with more modern, avantgarde and groovy sounds, with the band again exploding our senses with their electrifying, demented riffs and Mike’s trademark brutal vocals.

Then ethereal, otherworldly sounds permeate the air in the interlude SCN9A before the band comes crushing our souls one more time with the infuriated tune Pain Enduring, where all band members are on absolute fire, blasting an amalgamation of harsh and intricate sounds tailored for lovers of the genre. Moreover, their guitars match perfectly with the fury delivered by James on drums, resulting in one of the strongest songs of the album; whereas Nekrotunnel presents nuances of the old school Death Metal crafted by Cannibal Corpse, which adds endless savagery and gore to the band’s trademark demented music while also showcasing rumbling, pulverizing sounds flowing from their guitars and bass. Then we face Dwelling on the Threshold, the shortest of all songs (excluding of course the interlude), perfect for banging our heads nonstop like savages while Mike keeps roaring and vociferating rabidly and the music remains as dense and disturbing as possible. Lastly, one final onrush of vile Death Metal, high-frequency sounds, wicked passages and the always massive drums by James is offered to us all in Planet of Skin, a full-bodied, utterly enfolding creation by Replicant, putting a beyond dissonant and vibrant ending to the multi-layered Infinite Mortality.

You can show your support to those amazing musicians by following them on Facebook and on Instagram, by streaming their music on Spotify, and of course by purchasing your favorite version of Infinite Mortality from the band’s own website, from their BandCamp page, or from the Transcending Obscurity Records’ regional webstores by clicking HERE, HERE or HERE, including the wooden CD box, the wooden LP box, the regular LP, the digipak CD, and the full body print cassette, as well as some amazing combos with albums form other bands like Maere and Resin Tomb, and you can also click HERE for all things Replicant. Infinite Mortality is dissonant yet melodic, obscure yet visceral, and old school yet innovative, turning it into a must-have for admirers of the most experimental and unique side of extreme music.

Best moments of the album: Shrine to the Incomprehensible, Pain Enduring and Planet of Skin.

Worst moments of the album: Orgasm of Bereavement.

Released in 2024 Transcending Obscurity Records

Track listing
1. Acid Mirror 6:37
2. Shrine to the Incomprehensible 5:58
3. Orgasm of Bereavement 3:31
4. Reciprocal Abandonment 6:03
5. SCN9A 1:00
6. Pain Enduring 4:50
7. Nekrotunnel 4:07
8. Dwelling on the Threshold 2:48
9. Planet of Skin 9:10

Band members
Mike Gonçalves – vocals, bass, guitars
Pete Lloyd – guitars, synths, high-frequency transmissions
Itay Keren – guitars, vocals, void channels

Guest musician
James Applegate – drums (session)

Album Review – Necrowretch / Swords of Dajjal (2024)

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Branded with the mark of the beast, this French Blackened Death Metal horde returns blacker than ever with a magnificent opus dedicated to the Islamic Antichrist.

Formed in 2008 by vocalist and multi-instrumentalist Vlad in Valence, a city in southeast France in the Auvergne-Rhône-Alpes region, with the revival of old school Death Metal while always branded with the mark of the beast, Blackened Death Metal entity Necrowretch has just opened the most ambitious chapter of their career with Swords Of Dajjal, their three-years-in-the-making fifth album. Recorded, mixed and mastered by Francis Caste at Studio Sainte Marthe, Swords of Dajjal isn’t just named after the Islamic Antichrist, but a statement of the devotion to Satan by the aforementioned Vlad on vocals and guitars alongside guitarist and bassist W. Cadaver, and drummer N. Destroyer, being highly recommended for fans of Possessed, Dark Angel, Dissection, Necrophobic, and Merciless, or to anyone who sold their whole souls to the devil just like this French horde. Represented on the cover of the album (masterfully brought into being by Stefan Thanneur, also known as Manifeste) with his double-edged sword and bathed in the same kind of reddish and orangey mesmerizing lights one can experience when the sun sets on wind-beaten deserts, all eight songs on the album are prophecies, past and future, where Dajjal plays the leading role.

The Stygian guitars by Vlad and W. Cadaver ignite the opening tune Ksar Al-Kufar (describing a dark and forbidden land characterized by disbelief and ominous imagery), offering us all pure evil in the form of Blackened Death Metal; whereas N. Destroyer hammers his drums in the name of absolute darkness in The Fifth Door, living up to the legacy of the genre and being tailored for admirers of Behemoth, Belphegor and Septicflesh, while Vlad vociferates rabidly in a pure Black Metal style. Then obscure riffs and menacing vocal lines set the tone in Dii Mauri (or the “Mauran gods” mentioned in Latin inscriptions of the third century in North Africa), a phantasmagorical creation by Necrowretch that should sound insane live, summoning all creatures of the netherworld to their feast of blackened music. And the title-track Swords of Dajjal is a lecture in extreme music, blasphemy and hatred, with the harsh roars by Vlad walking hand in hand with the strident, piercing riffage by W. Cadaver while N. Destroyer keeps demolishing his drum set with endless dexterity and anger.

It’s time to bang your heads nonstop to the visceral sounds blasted by Necrowretch in Numidian Knowledge, another song where their passion for the darkest side of music becomes even stronger, whereas speeding things up and sounding more venomous than ever we have Vae Victis, which is Latin for “woe to the vanquished”, where Vlad is inhumane on vocals, barking and roaring like a beast from the crypts of Hades in a must-listen for admirers of Blackened Death Metal. The second to last burst of sulfur by the band is offered to our ears in Daeva (a supernatural entity of disagreeable nature, an evil spirit, or demon in Zoroastrianism), a more melodic composition, or an instrumental interlude that’s not bad but doesn’t add much to the album, flowing into the cryptic closing tune Total Obliteration, bringing forward six minutes of classy, energetic and grim Black and Death Metal that will haunt your damned souls for all eternity, all spearheaded by the visceral screams by Vlad supported by the always sharp riffs by W. Cadaver.

Armed with the biggest, most complex and intense album of their career, Necrowretch are about to yield their sword of destruction and exterminate everything in sight. The result is, according to Vlad, “our most black metal record, with splashes of death metal here and there. Whereas on the previous album all tempos were pushed to the extreme, there’s far more variety here to be found. It also gave us free reins to reach a more mystical, Biblical if you will vibe” fed by his experience living in Turkey in the late 2010’s. “We choose to focus on the Dajjal character, basically the antichrist in the Muslim religion. The Coran says that he’ll appear as a false prophet only to bring doom to this world, with an army of demons coming from the east.” Hence, if you’re also willing to sell your soul to the devil alongside the guys from Necrowretch, you can stream Swords of Dajjal in full on YouTube and on Spotify, and grab a copy of the album from their own BandCamp page, from Season of Mist, or by clicking HERE, and don’t forget to also give the band a shout on Facebook and on Instagram. Necrowretch are sounding blacker and more sulfurous than ever, bringing doom to our already decaying world just like Dajjal with their new album, and I’m sure you’ll have a blast listening to such masterpiece of darkness.

Best moments of the album: The Fifth Door, Swords of Dajjal, Vae Victis and Total Obliteration.

Worst moments of the album: Daeva.

Released in 2024 Season of Mist

Track listing
1. Ksar Al-Kufar 4:21
2. The Fifth Door 5:29
3. Dii Mauri 5:06
4. Swords of Dajjal 4:55
5. Numidian Knowledge 4:11
6. Vae Victis 4:18
7. Daeva 2:49
8. Total Obliteration 6:13

Band members
Vlad – vocals, guitars
W. Cadaver – lead guitars, bass
N. Destroyer – drums

Guest musician
R. Cadaver – bass (live)

Album Review – Ecclesia / Ecclesia Militans (2024)

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Chasing the heretics since 2016 anno Domini, these French Heavy and Doom Metal inquisitors are back with their fantastic sophomore album, armed with purifying fire, blessed swords, and Holy Rage.

Chasing the heretics since 2016 anno Domini, French Heavy/Doom Metal inquisitors Ecclesia are back with their sophomore black mass, entitled Ecclesia Militans (or “the church militant” from Latin, an expression traditionally ascribed to Pope Clement V, who used it in his letter to King Philip IV in 1311 to indicate all living Christians), the follow-up to their critically acclaimed 2020 opus De Ecclesiæ Universalis. Armed with purifying fire, blessed swords, and Holy Rage, the band currently formed of Frater Arnhwald on vocals, Julius Accusator and The Witchfinder General on the guitars, Frater Ignis Sacer on bass, Pater Walkelinus on organ and keyboards, and Pater Hexenhammer on drums will convert fans of Candlemass, Solstice, and especially Tony Martin-era Black Sabbath as well as anyone who can feel the righteous fervor of medieval brimstone with their new album, demanding us to confess our sins to the sound of their perfect syncretism between traditional Heavy Metal and Epic Doom Metal.

The irreligious intro Vade Retro (from the admonition “vade retro me satana” or “get behind me, Satan!”, from the Gospel of Mark, 8:33, spoken by Jesus to Peter) will invite you to join the black mass conducted by Ecclesia in the rockin’ feast titled If She Floats, where the striking riffs by Julius Accusator and The Witchfinder General will slash your ears mercilessly, setting the tone for the soaring vocals by Arnhwald, all boosted by the song’s phantasmagorical background keys. Then we have Et Cum Spiritu Tuo (or “and with your spirit” from Latin), keeping their mass-infused sound reverberating to all four corners of the earth, in line with the excellency of their 2020 album by presenting a solid fusion of Heavy and Doom Metal with poetic lyrics (“Fear not my friend / For I have come to relieve you / Wherever you hide / You shall be found out and snatched out of misery / A gang of priors is waiting for you / We’ve had enough / The chalice is broken / Are you ready for a wild holy ride?”). The howling winds will bring to our avid ears six minutes of heresy and doom in the form of Antecclesia, starting in an enfolding way to the bass by Frater Ignis Sacer and evolving into a lecture in Heavy and Doom Metal in the vein of Mercyful Fate and Candlemass; and it’s pedal to the metal in the breathtaking title-track Ecclesia Militans, showcasing the band’s trademark heaviness accompanied by their church-like background sounds, or in other words, it’s an incendiary Rock N’ Roll party led by Arnhwald’s striking vocals.

The second half of the album kicks off with the keyboard-infused aria The Exorcism, a headbanging feast spearheaded by the heavy and groovy riffage by the band’s guitar duo, always supported by the metallic bass by Frater Ignis Sacer, whereas more of the hammering drums by Pater Hexenhammer will hit you hard in Ereptor Verae Fidei (or “redeemer of the true faith” from Latin), sounding haunting yet captivating at the same time. Redden the Iron is the perfect hybrid of Heavy Rock and Doom Metal, with Arnhwald sounding flawless on vocals once again while Julius Accusator, The Witchfinder General and Frater Ignis Sacer bring the noise armed with their thunderous axes, and Ecclesia still have time for another Stygian aria entitled Harvester of Sinful Souls, with the keys by Pater Walkelinus sending shivers down our spines while Pater Hexenhammer blasts sheer obscurity from his drums in the most Doom Metal of all songs, living up to the legacy of such brilliant genre, before the otherworldly outro Quis ut Deus (a Latin sentence meaning “Who [is] like God?”) puts a stylish, grim and ethereal ending to another successful black mass by Ecclesia.

If you consider yourself a true heretic, it’s time to confess all your sins and grab a copy of Ecclesia Militans from Ecclesia’s own BandCamp page as well as from the Aural Music webstore as a CD, a black and gold LP, or a heretic blood LP, and don’t forget to also follow the band on Facebook and on Instagram for news, tour dates and other nice-to-know details about one of the rising forces of the European metal scene. Just like the Catholic church, Ecclesia are increasing their dominance all over the world with their first-class witchfinding doom, and their new album Ecclesia Militans will certainly convert more and more heretics to their cause in the coming years. Amen.

Best moments of the album: Antecclesia, Ecclesia Militans, Redden the Iron and Harvester of Sinful Souls.

Worst moments of the album: None.

Released in 2024 Aural Music

Track listing
1. Vade Retro 1:41
2. If She Floats 4:35
3. Et Cum Spiritu Tuo 3:58
4. Antecclesia 6:13
5. Ecclesia Militans 3:48
6. The Exorcism 5:19
7. Ereptor Verae Fidei 4:49
8. Redden the Iron 4:07
9. Harvester of Sinful Souls 7:02
10. Quis ut Deus 1:50

Band members
Frater Arnhwald – vocals
Julius Accusator – lead guitar
The Witchfinder General – rhythm guitar
Frater Ignis Sacer – bass
Pater Walkelinus – organ, keyboards
Pater Hexenhammer – drums

Album Review – Smorrah / Welcome To Your Nightmare (2024)

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A gripping journey into the dark abysses of human psychology in the form of first-class Death and Thrash Metal madei n Germany.

Taking the listener on a gripping journey into the dark abysses of human psychology, leaving you hardly any time to catch your breath, Gelsenkirchen, Germany-based Death/Thrash Metal squad Smorrah Is unleashing upon us all their first full-length album, titled Welcome To Your Nightmare, following up on their 2018 EP The Evil Within. Produced, mixed and mastered by Michael Streckbein and Smorrah at Vyrah Studios, and displaying an 80’s and 90’s-inspired artwork by Timon Kokott Artwork, the new release by vocalist Marius Wegener, guitarist Daniel ‘Pumper’ Hartmann, bassist Christian ‘Kraje’ Krajewski, and drummer Raphael Swierczynski is a hard-hitting thrash and groove beast highly recommended for fans of Pantera, Sepultura and Exhorder, among others, representing a huge step forward in their career.

Like a scene taken from a horror movie, an obscure intro suddenly explodes into a visceral sound led by the harsh and piercing roars by Marius in Welcome to Your Nightmare, while his bandmates bring an avalanche of Groove Metal to the song. Then investing in a more direct thrashing sonority, it’s time to slam into the pit to the sound of Dead Snake Eyes, with the nonstop drums by Raphael and the slashing riffs by Daniel taking the song’s animosity to a whole new level; followed by Age of Decay, even more demented and vile than the previous songs, once again showcasing the infuriated Death Metal riffs by Daniel and the always sick growls by Marius. The band slows things down a bit while sounding heavier and more obscure in Killing Spree, with Raphael smashing his drums supported by the low-tuned, menacing bass by Christian; and maybe Hope Dies Last, but Thrash Metal will never die, with the band offering us a furious and incendiary attack that should ignite some fun circle pits during their live concerts.

Get ready to bang your head nonstop while raising your horns to Buried Underneath, an old school, 80’s-infused Thrash Metal extravaganza spearheaded by the classic riffs by Daniel where not a single space in the air is left empty; whereas once again blending the heaviness of Death Metal with the rebelliousness and austerity of Thrash Metal the band brings forward Death Awaits, with Marius deeply vociferating like a demented beast while Daniel kicks ass as usual armed with his riffs and solos, flowing into Evil Betrayal, another modern-day Death and Thrash Metal attack by the quartet reminding me of some of the most recent creations by bands like Nervosa, Torture Squad and Sodom, with Raphael showing no mercy for our necks with his crushing beats. Lastly, let’s enjoy over six minutes of darkness, introspection and insanity in When the Tide Comes In, where the harsh vocals by Marius transpire rage and fury, always accompanied by the unstoppable, violent sounds brought into being by his bandmates while also alternating between more melodic moments and pure savagery until its epic finale.

If you have what it takes to face the unstoppable mosh pits generated by Smorrah in their new album Welcome To Your Nightmare, you can grab a copy of it directly from the band’s own BandCamp page or from the Sick Taste Records’ Big Cartel, and don’t forget to also start following the band on Facebook and on Instagram for news, tour dates and so on, and to stream more of their music on YouTube and on Spotify. The guys from Smorrah are eagerly waiting to welcome us all to our worst nightmare with their new album, and if you consider yourself a true lover of contemporary Death and Thrash Metal, I’m sure you’ll have a very good time even with the psychological torment you’re about to endure.

Best moments of the album: Dead Snake Eyes, Hope Dies Last and Evil Betrayal.

Worst moments of the album: Welcome to Your Nightmare.

Released in 2024 Sick Taste Records

Track listing
1. Welcome to Your Nightmare 4:51
2. Dead Snake Eyes 4:45
3. Age of Decay 5:54
4. Killing Spree 3:58
5. Hope Dies Last 3:45
6. Buried Underneath 5:40
7. Death Awaits 5:00
8. Evil Betrayal 5:19
9. When the Tide Comes In 6:25

Band members
Marius Wegener – vocals
Daniel ‘Pumper’ Hartmann – guitars
Christian ‘Kraje’ Krajewski – bass
Raphael Swierczynski – drums

Concert Review – Vader (Lee’s Palace, Toronto, ON, 02/11/2024)

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A wild night of pulverizing Death and Thrash Metal in Toronto, spearheaded by the most iconic metal band to ever arise from the Polish scene.

OPENING ACTS: Inhuman Condition and Origin

The best thing about a show being scheduled on the same night as Super Bowl is that traffic is pretty much nonexistent, turning the lives of all metalheads who don’t really care about American football a lot easier when it comes to getting to the venue in time to see all bands playing. That’s exactly what happened last night in Toronto at the always cozy Lee’s Palace, when the fantastic bands INHUMAN CONDITION, ORIGIN and VADER brought to the city a true celebration of extreme music during their 40 Years of the Apocalypse Anniversary Tour 2024, another incredible event organized by the unstoppable Noel Peters of Inertia Entertainment. As usual, my friend  Keith Ibbitson of Metal Paparazzi (as well as other photographers) were there to register some wild moments of all three bands, but honestly I don’t know how they managed to stay alive and keep their cameras intact during the sick circle pits going on the entire night.

The first band to hit the stage was Tampa, Florida’s own Death/Thrash Metal beasts INHUMAN CONDITION, who were by far one of the best and most electrifying opening acts I’ve seen at any concert in the city in the past few years. Spearheaded by the incendiary frontman Jeramie Kling, the band put on a beyond entertaining show, playing songs from all of their albums including their 2022 release Fearsick and their 2023 EP Panic Prayer, with songs like Panic Prayer, Euphoriphobia and I’m Now the Monster inspiring all concert goers to slam into the pit like there’s no tomorrow. As expected, the two songs that generated the wildest mosh pits were Godzilla and Tyrantula, with everyone at the venue, including the band, acting like wild beasts on stage and in the floor section. Jeramie also had some words of wisdom to share with everyone last night; first of all, he said that a true metal concert needs three things, those being the headbangers, the circle pits, and the crowd surfers, and of course bodies started flying around as soon as he mentioned that. Also, that everything we’ve ever heard about Florida, all rumors and so on, are all true, which was quite funny as it’s usually people outside of Florida who make fun of the state. Well, one thing I know for sure, and that’s that heavy music in Florida is phenomenal, with bands like Inhuman Condition showing everything they got on stage anywhere they go, and if you know nothing about those guys, go check their music on BandCamp and on Spotify, as I’m sure you’ll love to get caught in their mosh.

Setlist
Recycled Hate
Panic Prayer
Euphoriphobia
The Neck Step
I’m Now the Monster
Killing Pace
Civilized Holocaust
Godzilla (Blue Öyster Cult cover)
Tyrantula

Band members
Jeramie Kling – vocals
Taylor Nordberg – guitars
Terry Butler – bass
Colton Zietler – drums

After a quick break, it was time for Kansas City-based Technical/Brutal Death Metal veterans ORIGIN to keep the circle pits moving frantically to the sound of their vicious, intricate and demolishing creations. Having released the album Chaosmos back in 2022, the band formed of vocalist Jason Keyser (and by the way, if you haven’t listened to it yet, go check the album Inferno by his brand new project Arborescence of Wrath as it’s a killer album), guitarist Paul Ryan, bassist Mike Flores (one of the best bass players I’ve seen in a while), and drummer John Longstreth showed absolutely no mercy for our necks and souls during their demented performance, blending Technical and Brutal Death Metal with nuances of Grindcore just to make things even more infuriated. The band was ruthless, savage and beyond technical, sounding absolutely insane with songs like Chaosmos, Panoptical and The Aftermath driving everyone at the venue simply insane inside the pit. Jason also had some words to say to the crowd before playing the song Decolonizer, where he showed his pure old school vein by demanding everyone to not take any pictures or record any videos of the song, but simply to go nuts inside the circle pit and collect bruises and black eyes as the memories of that moment (although they kept checking their phones due to Kansas City Chiefs being one of the teams playing the Super Bowl). Needless to say, it was intense, as well as the wall of death he organized before even playing one of the songs, trying to make their show as 90’s-inspired as possible. Origin are one of the coolest bands of the underground scene, and in case you still don’t know them go check their infernal music on Spotify, and don’t miss their live concerts whenever they take your depraved city by storm.

Setlist
Expulsion of Fury
Chaosmos
Accident and Error
Panoptical
Saligia
Decolonizer
Portal
The Aftermath
Unattainable Zero

Band members
Jason Keyser – vocals
Paul Ryan – guitars, backing vocals
Mike Flores – bass, backing vocals
John Longstreth – drums

VADER

It was getting late (and cold) in Toronto, but nothing that could stop Poland’s own Death/Thrash Metal institution VADER to crush everything and everyone that dared to cross their path at Lee’s Palace last night. The band formed of the iconic Peter on vocals and guitars, Spider also on the guitars, Hal on bass, and Michał Andrzejczyk on drums was flawless throughout their entire set, celebrating 40 years of existence for the delight of all lovers of extreme music in Toronto. Their setlist was a thing of beauty, including songs from their 1992 cult album The Ultimate Incantation, like Vicious Circle, Dark Age and The Crucified Ones, plus several other classics like Black to the Blind, while closing their setlist with a newer song, Shock and Awe, from their latest opus Solitude in Madness, released in 2020, and the response from the fans in Toronto was brilliant, with the circle pits moving majestically until the very last second of their performance.

It’s impressive how they can still sound to tight, vicious and heavy after so many decades on the road, showing their utmost passion for Death and Thrash Metal, and of course as we all know how much they love to play for us, that inspired us to send our love back to them by headbanging nonstop, raising our horns, and getting wild in the pit. The only “issue” was that their official photographer doesn’t seem to be a big fan of crowd surfing, but that was fine as all crowd surfers quickly learned that show was not the best place to practice such metallic art. Anyway, apart from that, and from the same two guys that almost got into a fight with each other countless time (please, be adults and behave next time, alright?), everyone had an amazing time together with those Polish metallers, and hopefully we’ll also have the pleasure of hosting in Toronto the celebration of their 45th, 50th, 55th and so on anniversaries, keeping the fires of Death and Thrash Metal burning forever in the city.

Setlist
Macbeth (Laibach song)
Decapitated Saints
The Wrath
Chaos
Vicious Circle
Dark Age
The Crucified Ones
Silent Empire
Sothis
Black to the Blind
Carnal
Wings
Cold Demons
Epitaph
Dark Transmission
Para Bellum
This Is the War
Helleluyah!!! (God Is Dead)
Never Say My Name
Come and See My Sacrifice
Triumph of Death
Shock and Awe
The Imperial March (John Williams song)

Band members
Peter – vocals, guitars
Spider – guitars
Hal – bass
Michał Andrzejczyk – drums

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Album Review – Arkado / Open Sea (2024)

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This Swedish Melodic Rock band invites us all to navigate the boundless expanse of the their sophomore album, where melody meets symphony in a harmonious fusion.

From the ashes of a band called BB2 (Better Be Together) founded in the early 80’s in Helsingborg, Sweden, comes a Melodic Hard Rock/AOR band named Arkado, inviting us all to navigate the boundless expanse of the their sophomore album, entitled Open Sea, where melody meets symphony in a harmonious fusion. Recorded, produced and mixed by Mikael Svensson at LdM Studios, mastered by Thomas ‘Plec’ Johansson at The Panic Room Studio, and displaying a stunning artwork by Nello Dell’Omo (Mecca, Jim Peterik, Silent Tiger, Stan Bush), the new album by vocalist and guitarist Philip Lindstrand, guitarists Patrik Svärd and Tony Rothla, bassist Bernt Lundgren (who has recently left the band, being replaced by Christer Engholm), keyboardist Mikael Svensson, and drummer Mikael Skafar is the perfect follow-up to their 2020 debut Never Say Never, introducing a slightly symphonic and heavier dimension to their signature sound and, therefore, being highly recommended for fans of Silent Tiger, Drive At Night, Streetlore, Sapphire Eyes, and Strangerland.

It’s time to embark on a musical journey through the seas of Melodic Rock with Arkado, with the cinematic intro Voyage setting the tone for the title-track Open Sea, a very melodic, powerful tune led by the striking vocals by Philip while his bandmates deliver a mix of AOR with 80’s Hair Metal the likes of Bon Jovi and Cinderella, providing us all with an exciting start to the album. The guitars by Philip, Patrik and Tony continue to embellish the airwaves in Running Through The Night, while Bernt and Mikael Skafar generate a solid base with their classy kitchen; and their Rock N’ Roll party has no time to end to the sound of I Gave My Heart, again showcasing their trademark melodious riffs, classic beats, and the whimsical keys by Mikael Svensson. The band then invests in a more harmonious, smoother sonority with the power ballad You Make Me Feel, where Philip steals the spotlight with his passionate vocals, whereas their guitars sound incendiary in the rockin’ tune Rising High, a Hard Rock feast perfect for hitting the road to the sound of the headbanging beats by Mikael Skafar.

The stylish keys by Bernt ignite the AOR extravaganza Her Mothers Lullaby, where their riffs bring an extra touch of heaviness to the overall result. It’s a good song, albeit a bit generic, though. The band gets back on track and their Melodic Rock vein gets even stronger in Long Way To Go, with the band’s guitar triumvirate filling every single space in the air with their endless energy and harmony, also presenting spot-on backing vocals in support of Philip; and Bernt keeps extracting magic and epicness from his keys in the 80’s Hard Rock tune Unchain The Night,  a lesson in rock music by Arkado where Philip is once again fantastic with his striking vocals, or in other words, it’s a must-listen for fans of the genre. There are two more songs to go and their rockin’ aura stays strong and exciting in Like Something Heaven Sent, where their guitars exhale electricity in the name of Melodic Rock, before all comes to an end with another ballad titled Show Me The Light Again, putting a charming ending to the album, overflowing endless passion thanks to the always stylish keys and piano by Bernt.

Those amazing Swedish rockers are waiting for you on Facebook and on Instagram to rock your world with news, tour dates, more of their music and so on, and you can also stream their classy creations on Spotify and, above all that, purchase your favorite copy of Open Sea by clicking HERE. If you’re an admirer of the world of Melodic Rock, Hard Rock and AOR, then it’s time to navigate across the seas of Rock N’ Roll together with the Swedish rockers of Arkado, letting their gentle yet electrifying sounds guide you like the wind always guides a sailor to safety even on unruly waters.

Best moments of the album: Open Sea, Rising High and Unchain The Night.

Worst moments of the album: Her Mothers Lullaby.

Released in 2024 Pride & Joy Music

Track listing
1. Voyage 1:33
2. Open Sea 4:28
3. Running Through The Night 3:08
4. I Gave My Heart 4:00
5. You Make Me Feel 4:25
6. Rising High 4:16
7. Her Mothers Lullaby 3:50
8. Long Way To Go 3:38
9. Unchain The Night 3:18
10. Like Something Heaven Sent 4:18
11. Show Me The Light Again 4:10

Band members
Philip Lindstrand – vocals, lead guitar
Patrik Svärd – lead & rhythm guitar
Tony Rothla – lead & rhythm guitar
Bernt Lundgren – bass
Mikael Svensson – keyboards, synths, backing vocals
Mikael Skafar – drums, backing vocals

Album Review – Stages of Decomposition / Raptures of Psychopathy (2024)

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This Los Angeles-based Brutal Death Metal outfit will crush you with their sophomore opus, an eleven-track beast that delves into the disturbed minds of those falling into psychopathic tendencies.

Known for their massive and impactful delivery of extreme brutality, Los Angeles, California-based Brutal Death Metal band Stages of Decomposition is unleashing upon humanity their highly anticipated sophomore studio offering, titled Raptures of Psychopathy, threatening to burrow into your brain like a death metal worm and liquefy it with brutal riffs, chaotic blast beats and adrenaline-invoking time signatures that convey the terror and psychological aspects of the stories told. Recorded by the band’s own guitarist Marco Aromatario, mixed and mastered by Manuel Acevedo at Beatcrusher Recording Studio, and displaying a horror-fueled artwork by Tony Cosgrove (with design by Sidjimbe Art), the album is an eleven-track beast that delves into the disturbed minds of those falling into psychopathic tendencies, with each song encapsulating the murderous essence of true crime, drawing inspiration from infamous figures like Vaughn Greenwood, Richard Ramirez, Jeffrey Dahmer, and more, all brought into being by Salvador Rodriguez on vocals and bass, Cesar Barajas and Marco Aromatario on the guitars, and Daniel Smoo on drums, highly influenced by the raw intensity of Dying Fetus, the brutality of Suffocation, and the slam-infused chaos of Kraanium.

Offering a glimpse inside the mind of Jeffrey Dahmer, the opening tune Drilling of the Cerebellum presents an initial narration full of gore and horror that evolves into a feast of bestiality led by the demented drumming by Daniel, kicking off the album on a beyond violent mode; and Cesar and Marco show no mercy for their stringed axes, extracting bloodthirsty riffs in What Lies Within while Salvador barks and roars like a maniac nonstop. And Salvador continues to haunt our souls with his avalanche of “bree breee breeeeees” in Beast of Jersey, while his bandmates make sure the atmosphere remains as gory and visceral as possible in a fun and vibrant onrush of Brutal Death Metal. Then we have Killing Under Possession, sounding absolutely infernal from the very first second, with Daniel sounding inhumane behind his drums, therefore inviting us all to slam like true metalmaniacs inside a blood-drenched circle pit; whereas there’s not a single second to breathe as Stages of Decomposition will mercilessly bludgeon your cranial skull to pieces in Murder by Proxy, again showcasing the slashing riffage by Cesar and Marco.

Skid Row Slasher is another headbanging extravaganza spearheaded by the deep, visceral roars and barks by Salvador, who also makes sure the earth trembles armed with his rumbling bass, and just when you think the quartet couldn’t sound more demented they will decimate your senses with Carve Out the Eyes, a fast and no shenanigans Brutal Death Metal assault that should sound amazing if played live. After such demonic onrush, the band adds elements from the Thrash Metal played by Slayer to their core Death Metal, resulting in a high-octane, mosh pit party titled Fetal Devourment, with Daniel once again stealing the spotlight with his pulverizing beats and fills; whereas Crawl Space Burial is a solid creation by the band where Salvador keeps vociferating like a rabid beast in the name of gore and extreme music. Then enhancing their animosity to a whole new level we have Human Extermination, a well-balanced, demonic fusion of classic Death Metal with Brutal Death Metal, followed by Mass Psychosis, offering us all two intense minutes of evil Death Metal for our vulgar delectation, hammering our souls with their crushing drums, venomous riffs and the always vile guttural by Salvador until the very last second.

Get ready to be swept away by the savage and brutal Death Metal blasted by Stages of Decomposition in their new album, available for purchase by clicking HERE (and for streaming on YouTube and on Spotify), delivering an onslaught of ferocious guitar work, pounding drums, and guttural vocals, creating an atmosphere of unbridled aggression, and you can also show your support to their undisputed violence by also following the band on Facebook and on Instagram. The band’s brand new opus of real-life horror-infused Brutal Death Metal will be the perfect soundtrack for your lone night walks through desert streets and obscure alleys, but I’m pretty sure if you’re listening to it at top volume or sporting a Stages of Decomposition shirt you’ll be one hundred percent  safe, as no serial killer will dare to attack you after noticing your amazing taste in music.

Best moments of the album: Drilling of the Cerebellum, Carve Out the Eyes and Fetal Devourment.

Worst moments of the album: Crawl Space Burial.

Released in 2024 Gore House Productions

Track listing
1. Drilling of the Cerebellum 4:59
2. What Lies Within 3:10
3. Beast of Jersey 2:42
4. Killing Under Possession 3:36
5. Murder by Proxy 3:26
6. Skid Row Slasher 3:36
7. Carve Out the Eyes 2:37
8. Fetal Devourment 3:04
9. Crawl Space Burial 3:12
10. Human Extermination 3:46
11. Mass Psychosis 2:09

Band members
Salvador Rodriguez – vocals, bass
Cesar Barajas – guitar
Marco Aromatario – guitar
Daniel Smoo – drums

Album Review – Onslaught Kommand / Visions of Blood and Gore EP (2024)

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This four-piece brigade form Chile will bring sheer blood and gore to us all armed with their demented new EP, overflowing Death Metal and Grindcore.

Formed in 2022 in Santiago, Chile, the unrelenting Black/Death Metal/Grindcore four-piece brigade Onslaught Kommand is among us to spread gore, perversions and explicit violence with their music, which is what they have to offer us all in their brand new EP entitled Visions of Blood and Gore. Recorded and mastered at Abysm of Burning Corpses, and displaying gore masterpieces by Brian Paulin and layout by Paweł Ozon of XXV The Sign, the EP is a delight for fans of the most ruthless form of Death Metal infused with Grindcore and Black Metal nuances, showcasing the passion for all things evil by SplatterHate on vocals and bass, Necromancer and Behemot on the guitars, and Cvnthvnt on drums.

The massive, dirty bass lines by SplatterHate together with the Motörhead-infused riffage by Necromancer and Behemot will drag you to the circle pit in Old Death Ripper, a ruthless Death Metal extravaganza by the quartet that will simply smash your cranial skull mercilessly; and their onrush of brutality, gore and darkness goes on in Headless, with Cvnthvnt dictating the song’s sluggish, menacing pace while SplatterHate continues to roar and bark like a demonic creature from the underworld. It’s then pedal to the metal as the quartet will set fire to the atmosphere in Visions of Blood and Gore, offering our avid ears an onrush of old school Death Metal led by the sick riffs by Necromancer and Behemot. Not only that, it’s actually quite impressive how they managed to sound even more infernal than before. And lastly, we have their rendition for Dead Body Love, by Pungent Stench (check the original version HERE, from their 1989 split Pungent Stench/Disharmonic Orchestra), with their version being just as demolishing and bloodthirsty as the original, and with the deep guttural by SplatterHate sounding utterly inhumane, therefore sending shivers down our spines until the very last second.

The talented and evil Chilean horde named Onslaught Kommand is waiting for you on Instagram with news, tour dates, more of their caustic music and so on, and of course if you want to join their deadly brigade you can purchase a copy of Visions of Blood and Gore from the Godz ov War Productions’ BandCamp page or webstore as a cassette or as a special cassette bundle including Visions of Blood and Gore plus their 2022 self-titled debut demo. Onslaught Kommand bring pure blood and gore in their incendiary new EP, paving the path for those amazing musicians to deliver their first-ever full-length opus in the near future and, consequently, making the Chilean Death Metal scene stronger and more infernal than ever.

Best moments of the album: Old Death Ripper and Visions of Blood and Gore.

Worst moments of the album: None.

Released in 2024 Godz ov War Productions

Track listing
1. Old Death Ripper 4:08
2. Headless 2:09
3. Visions of Blood and Gore 2:23
4. Dead Body Love (Pungent Stench cover) 4:07

Band members
SplatterHate – vocals, bass
Necromancer – guitars
Behemot – guitars
Cvnthvnt – drums

Metal Chick of the Month – Tina Gunnarsson

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Open your doors to the gates of hell, Tina!

It’s time to start melting the snow that covers a good part of the Northern Hemisphere with endless fire and heat emanating from our metal lady of this month of February, and I’m sure after listening to her incredible voice your heart will be forever warm even during the harshest of the winters. The frontwoman for Swedish Progressive and Symphonic Heavy Metal band Hexed, she’s the owner a powerful voice that will pierce your mind mercilessly, while her undeniable charisma will mesmerize you whenever she hits the stage. Her name is Tina Gunnarsson, and after reading more about such Swedish diva here on The Headbanging Moose I’m sure you’ll become a diehard fan of her music, getting beyond excited to raise your horns together with her whenever Hexed take your city by storm with their amazing live concerts.

Born on January 6, 1974 in Uppsala, a city near Stockholm, in Sweden, Tina started to sing and perform as a child along with her father, who according to Tina herself was an excellent songwriter. She remembers going up on stage and perform two of his songs when she was about six years old, saying that she already knew from that moment that music was going to be her life. By the way, she’s the sister of Teddy Möller, vocalist and multi-instrumentalist for several Swedish underground bands the likes of Loch Vostok, Gauntlet Rule and One Hour Hell, among others, and she’s married to vocalist and guitarist Stellan Gunnarsson, who founded Hexed together with her almost ten years ago, proving that Tina definitely lives and breathes music. In addition, she mentioned that despite being married to Stellan for many years, they only started writing music together after the creation of Hexed, saying that before that they used to focus on their other bands and projects.

Speaking about Hexed, the Swedish Symphonic and Progressive Metal brigade fronted by Tina has been making a lot of noise among metalheads all over the world since their inception back in 2015, with Tina, Stellan and bassist Daniel Håkansson being the three original members who are still part of Hexed, plus guitarist David Nyman and drummer Patrick Wahlberg. Curiously enough, the other original member of the band was Tina’s brother Teddy, who played on all their releases, except for their latest album released in 2022. So far, Hexed released their debut single titled Dreams, in 2016, followed by the three-track EP Exhaling Life, in 2017, and the full-length albums Netherworld, in 2018, and Pagans Rising (which was by the way inspired by Sweden’s witch-hunting hysteria in the late 17th century), in 2022, all available on their own BandCamp page, on YouTube and/or on Spotify (as well as on other streaming platforms).

When asked about how she would describe her music to someone who’d never listened to Hexed before, Tina said that she used to label it as “heavy and melodic with some dark vibes”, and if you visit their official YouTube channel you’ll be able to experience that by listening (and watching) to fantastic songs such as Blasphemy, Pagans Rising, Symphony of Tragedy, Exhaling Life, Stigma Diaboli, Resurrection, Repentance, Oceans, and Obedience. Moreover, when asked to choose a couple of songs with a very special meaning for her, Tina mentioned the title-track of their 2018 album Netherworld, as it really helped her to create a vision and to build something more creative out of all the feelings she had during that time, and Moorfield, from their 2022 album Pagans Rising, because of the feelings she got when she read about the trials and execution while writing about the destiny of the three women that the lyrics are about.

A seasoned veteran in the realm of rock and metal music, Tina was also part of some other very interesting bands prior to forming Hexed back in 2015. For instance, she’s also the vocalist for a Swedish Melodic Heavy Metal band named Detained, formed in 2010 and that released a five-track self-titled EP back in 2011, but that hasn’t done anything (nor even any type of communication) after 2012. I think we can say this project is now defunct, right? Anyway, apart from Detained, she was also the vocalist for an unknown period of time for a Swedish Progressive Metal band named Mellow Poetry (which after a few years changed their name to Mayadome) together with her brother Teddy Möller, but apparently nothing was officially released with her on vocals under that specific name. That’s also the case with a band named Nebraska, which was most probably also from Sweden, but basically nothing can be found online about the band nor about Tina’s involvement with them. On the other hand, back to the now very distant year of 1987, Tina was the lead singer for an Uppsala-based Heavy Metal band named Tradore, also with her brother Teddy, with whom she released a demo that same year titled Beyond the Shadows, still under her birthname of Tina Möller. The band later changed their name to Rue Morgue, but Tina was no longer a member of the band after that.

As a guest vocalist, you can enjoy Tina’s soaring vocals in some amazing bands and projects that surely helped her shape her current vocal style and technique. One of the most interesting of those bands is undoubtedly Uppsala-based Extreme Progressive Metal band Loch Vostok, another band led by her brother Teddy, singing in the song Rebound, from their 2006 album Destruction Time Again!, and doing the female vocals in their entire 2009 album Reveal No Secrets. Apart from Loch Vostok, she also lent her amazing voice to the song (I’ll Never Be) Maria Magdalena, from the 2022 album Trial by Fire, by Norwegian Power Metal duo Mantric Momentum; did all female vocals in the 1996 album Paranormal Activity, and was a guest vocalist in the song Able to Feel, from the 1999 album Near Life Experience, both released by her brother’s old Progressive Rock/Metal band Mayadome (as already mentioned, originally known as Mellow Poetry); did guest vocals in the song Queen of the Sea, from the album In Hoc Signo Vinces, released in 2007 by Swedish Heavy Metal band Wasteland; and also did backing vocals in the 2006 album The Shadow Cabinet, by Danish Progressive/Power/Folk Metal band Wuthering Heights.

As any rock and metal musician, Tina has an array of sensational idols who had a strong influence on how her voice sounds today. Among her music heroes, you’ll find renowned acts the likes of Queensrÿche, Fates Warning, Kamelot and Pagans Mind, also mentioning the 80’s as an amazing source of music, saying she used to listen to ABBA and Supertramp a lot at home, and Queen as her first ever live concert. In one of her interviews, she said that she would love to do a collaboration with Queensrÿche or King Diamond, saying she loves the music by Queensrÿche and of course the voice by Todd La Torre, and that the music by King Diamond and Mercyful Fate has always been with her since the 80’s, nurturing a deep passion for its vibe, stories, theatrical shows, and so on. In addition, she mentioned that if she could go back in time and be part of the recording sessions for any album in history, she would gladly have been a part of Dream Theater’s Images and Words, one of the best records in history in her opinion. “When I listened to When Dream and Day Unite I began to really listen to them with their special sound, later on James LaBrie came in on lead vocals and this album Images and Words really inspired me as a musician.” She also said that she prefers leaving people alone if they’re having a private moment or if they’re outside of a concert or event, but of course she likes to be close to her idols and other talented musicians if that’s not going to disturb their peace. “I really enjoyed being at the same place as anyone must have been to see Sharon den Adel from Within Temptation, having dinner at the table next to us in our special VIP area at Sweden Rock Festival, where our both bands were performing,” Commented Tina.

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Not only passionate about rock and heavy music, Tina also has a great love for nature, saying that she can easily notice a lack of energy of some kind, and where it’s missing based on the four elements. “I often visit the woods when I need to contemplate and understand ongoing things. I often dig the soil when my thoughts become dark and heavy and it helps me to stay grounded,” also saying that “we should use the capacity that our brain has to pick up energies, vibes and to trust our intuition more. That’s where the magic is. My favorite place is viewing a big lake with mountains surrounding it, that’s where I find peace of mind and can feel the real synchronicity with everything. I love the smell of each seasons beginning and how lucky I am to have four seasons in Sweden.” By the away, Tina is not just grateful for having all seasons in her homeland, but she’s also grateful for her family and friends, and to be able to create music, sing, dance and having good times while she’s still alive, and of course for everyone who listens to her music and who attends her live concerts.

According to Tina, the best part of being a musician is to have the ability and possibility to be creative in many ways, from the lyric writing, planning, scheduling, to bringing out all the visions for how she wants her music to be seen and heard, also saying that it would be a dream for her to be independent, but still earning enough money to live a decent life. “Music is the everyday life for us! With that said, we always work hard with all the stuff that has to be done as an active band. We all are employed as well and most of our spare time goes to music related things. No rest for the wicked.” And regarding the life of a musician on the road and travelling in general, apart from playing in major festivals like Wacken Open Air, she would also love to visit the lands where the native people in North America live, something she’s been dreaming about since she was a child. “Nowadays I understand more about all the native populations even in our own country and love Lapland as well. Maybe it is the genes in my blood talking and the lifestyle in harmony with nature.” Furthermore, although she’s not a religious person, she considers herself a spiritual person who believes in synchronicity, the wheel of life and the human mind. “The power of energies are not to be underestimated, things can really move and change with the right persons energies together. The forces we deal with in everyday life is the 4 elements as Earth, Fire, Water & Wind. All these elements create energy. It´s just that simple.”

A while ago, award winning film producer Bruce Moore released a documentary about women in metal, titled “Crushing Stereotypes One Riff At A Time”, where Bruce was able to catch up with a number of musicians, including our diva Tina, to find out what attracted them to the hard and heavy music world and if they had a story of how they took the plunge, what challenges they faced, and how things have changed, or if they have at all. Unfortunately, it looks like the movie is not available for streaming online anymore, but I would keep searching for it if I were you because all reviews of the movie are awesome and say it is a must-watch production for any type of metalhead.

When not in the studio or not on tour, Tina said that she likes to spend her time in her garden, in a forest, or going fishing. “This makes me unwind and it gets me some new energy. I’m also enjoying tarot and that kind of stuff,” she complemented, also saying that when she’s together with the other members of Hexed, she loves to cook and prepare dinner for her bandmates, while the others are responsible for the drinks, the music and the jokes. On a more serious note, Tina fears mankind hasn’t fully learned with all mistakes done during the Middle Ages, a time when religion (in that case Christianity) was responsible for the persecution and murder of people who thought differently and believed differently. “With all the power religion has over humanity I am afraid it will repeat itself if we don’t speak of it or fight against it. The children must learn from our own history and I really dislike when new generations are indoctrinated in a certain religion, let them choose when they are mature enough to have own thoughts and opinions.” Having said all that, it’s time to join Tina in her quest for heavy music, for freedom of speech, for freedom of religion, and so on, blasting her music to all four corners of the earth, until all pagans rise together with our multi-talented metal lady.

Tina Gunnarsson’s Official Facebook page
Hexed’s Official Facebook page
Hexed’s Official Instagram
Hexed’s Official YouTube channel
Hexed’s Official X