Album Review – UADA / Crepuscule Natura (2023)

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One of the rising stars of the current Melodic Black Metal scene returns with their majestic fourth album, unleashing upon us five sonic vessels providing all their memorable hooks, tasteful leads and riding blasts in their distinct style.

Ever since the cloaked Pacific Northwest band appeared on the music radar back in 2014, Portland, Oregon-based Melodic Black Metal horde UADA has always been electrified by both polar worlds. Within the stretch of three albums as well as dense and triumphant live shows across the globe, they have not only spiked the map of extreme metal music but their unrelenting touring schedule and unbridled will to push forward into new horizons has also earned them a reception in all the extremes imaginable, be it worship or spite. Now in 2023 the band formed of Jake Superchi on vocals and guitars, Kevin Bedra also on the guitars, Nate Verschoor on bass and Trevor McClain on drums is unleashing upon humanity their fourth full-length opus, titled Crepuscule Natura (or “nature’s twilight” from Latin), the stunning follow-up to their 2020 masterpiece Djinn. Mixed and Mastered by the band’s own Jake Superchi at Obsidian Spells, and once again displaying an ethereal and occult artwork by Kris Verwimp, Crepuscule Natura offers five metallic vessels within the impressive span of 41 minutes, easily creating a sonic and aesthetic bridge between the band’s 2016 debut Devoid of Light and their 2018 sophomore effort Cult of a Dying Sun, only to forge onward upon the relentless path set forth with Djinn, providing all their memorable hooks, tasteful leads and riding blasts in their distinct style while balancing their epic surging melodies with powerful spurts of aggression.

The opening tune The Abyss Gazing Back is absolutely melodic and hypnotizing from the very first second, with Jake roaring the song’s devilish words (“In the light of Lucifer’s fire I am but a shadow of God: / No sanctity below, nor divinity behind. / Cast out; fallen and risen, here is where I continue my maraud: / For all within ourselves is what we must find. / Grandest gateways illuminate before me, through my own embodiment of thought: / Expanding endlessly in the caverns of the mind”) while his bandmates generate a beyond thrilling Black Metal atmosphere. Then we have the title-track Crepuscule Natura, even more imposing and multi-layered, blending the finesse of Melodic Black Metal with the rawness and savagery of classic Black Metal. Furthermore, Nate sounds bestial on bass accompanied by the infernal drumming by Trevor, resulting in a darkened voyage that will leave you completely disoriented after all is said and done; and the dirty bass by Nate kicks off the beautiful The Dark (Winter), with Jake and Kevin piercing our ears with their stylish riffs in a headbanging extravaganza by UADA that will explode your senses during their live performances.

The initial riffage by Jake and Kevin will embrace you mercilessly for all eternity in Retraversing the Void, inspiring you to keep moving your head sideways (just like what the band likes to do when they’re on stage blasting their sonic magic). It’s a fantastic depiction of modern-day Melodic Black Metal by those skillful American musicians,  not to mention how precise Trevor is behind his drums, all spiced up by another pulverizing vocal performance by Jake. Last but not least, a wild howl ignites the breathtaking 12-minute aria Through the Wax and Through the Wane, again bringing forward the band’s darkly poetic lyrics (“My moon is air / and my star of fire, / below I burn / so my ashes may continue higher / Oh, coldest night / grant me clearest sight / to grow out of your shadow / and be exposed in your searing light”) and their trademark dense, thunderous sounds, with Jake and Kevin sounding flawless armed with their Stygian axes. Moreover, it feels like three or four songs in one so intricate and detailed it is, venturing through the realms of Atmospheric and Melodic Black Metal with a grandiose background and an enfolding vibe, and with Trevor once again kicking some ass on drums, dictating the pace until the song’s climatic, apotheotic finale.

In Crepuscule Natura, which is already available for a full and detailed listen on YouTube, we face a band that’s on absolute fire, ready to unleash the marrow of Blackened Heavy Metal and to show us all why they’re known as the “haunted”. Hence, don’t forget to start following those incredible musicians on Facebook and on Instagram for news, tour dates (like their highly anticipated upcoming concert in Toronto next week) and other nice-to-know details about the band, as well as to stream all of their superb albums on Spotify, and above all that, to purchase a copy of Crepuscule Natura from their own BandCamp page or from the Eisenwald Records webstore (including the exclusive limited die-cut slipcase CD edition + music download card for the album + silver artwork patch bundle), or click HERE for all things UADA. The evolution in the music by UADA since their debut album is a thing of beauty, allowing us to witness with Crepuscule Natura the birth of new fan favorites while their craft remains grandiose, mythical and triumphant.

Best moments of the album: Crepuscule Natura, Retraversing the Void and Through the Wax and Through the Wane.

Worst moments of the album: None.

Released in 2023 Eisenwald Records/Obsidian Spells

Track listing
1. The Abyss Gazing Back 7:50
2. Crepuscule Natura 6:38
3. The Dark (Winter) 7:31
4. Retraversing the Void 7:44
5. Through the Wax and Through the Wane 12:03

Band members
Jake Superchi – vocals, rhythm guitars
Kevin Bedra – lead guitars
Nate Verschoor – bass
Trevor McClain – drums

Concert Review – Hatebreed (The Danforth Music Hall, Toronto, ON, 09/05/2023)

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The city of Toronto let the hate flow through its veins and destroyed everything together with the American juggernauts of Hardcore on a beyond hot and fun night.

OPENING ACTS: Jesus Piece, Vein.FM and Terror

What’s the best thing to do when you’re in the middle of a heat wave, with temperatures over +40oC and a scorching sun to burn you alive? Attending a metal concert, of course! And the city of Toronto had the pleasure of hosting the bands JESUS PIECE, VEIN.FM, TERROR and HATEBREED at The Danforth Music Hall this Tuesday during the Rise of Brutality 20th Anniversary Tour 2023, where Hatebreed are celebrating 20 years of their classic album The Rise of Brutality. I honestly thought that the venue was going to feel like a sauna, because that was the case when Kreator and Sepultura played there a few months ago, but apparently the organizers knew that the heat was way too strong outdoors and decided to crank up the AC to the lowest temperature possible, making it quite comfortable inside for all of the concert goers. You probably saved some lives by doing that! Good job!

As traffic wasn’t too crazy yesterday, all fans had a lot of time to enjoy a few beers and buy some merch between the doors opening at 6pm and the first band of the night, Philadelphia, Pennsylvania-based Hardcore/Metalcore/Sludge Metal act JESUS PIECE, kicking off their concert at 7pm. Spearheaded by the unstoppable frontman  Aaron Heard, the band put on a very entertaining concert from start to finish, blending songs from their new album …So Unknown with their older material, already inspiring the crowd to create a massive circle pit where most kids looked like they were squirrels who had a few cans of Red Bull, moving around like rabid creatures. I just couldn’t catch the names of the songs, mainly because whenever Aaron was talking to the crowd his mic sounded a little muffled, but if you’re curious to know more about such explosive band you can find all of their wicked creations on Spotify.

Band members
Aaron Heard – vocals
David Updike – guitars
John DiStefano – guitars
Anthony Marinaro – bass, backing vocals
Luis Aponte – drums

That mosh pit madness, with everyone following the lesson taught by the mighty Exodus in the classic “Toxic Waltz”, that being “so don’t be a dunce and dance like a runt, just throw your elbows with good friendly violent fun”, continued during the concert by Boston, Massachusetts-based Hardcore Punk/Metalcore outfit VEIN.FM. Having released the album This World Is Going To Ruin You last year, the band formed of Anthony DiDio on vocals, Jeremy Martin on the guitars, Jon Lhaubouet on bass and Matt Wood on drums showed no mercy for our souls, crushing their instruments nonstop and, therefore, inviting the crowd to keep moving wildly as if each person in the pit was fighting some sort of “invisible man”. It was a fun and vibrant show that definitely warmed up all Hatebreed fans at the venue, and if you want to enjoy the music by such talented band at home, in your car, at work, at school, at the gym or anywhere else, you can find those guys on BandCamp and on Spotify. Once again it was impossible to catch the names of the songs played, but that’s just a minor detail as their live performance was awesome.

Band members
Anthony DiDio – vocals
Jeremy Martin – guitar, backing vocals
Jon Lhaubouet – bass, backing vocals
Matt Wood – drums

Quickly after Vein.FM finished their show, it was time for Los Angeles, California’s own Hardcore legends TERROR to burn down The Danforth Music Hall with another insane performance, turning the floor section into a massive circle pit where the kids were once again moving like crazy creatures. Frontman Scott Vogel was the main responsible person for that mosh pit madness, as he kept asking the crowd to keep moving around, to keep doing some sick crowd surfing and so on, and let’s say his requests were promptly answered by everyone inside the pit. Playing songs from their latest album, their 2022 beast Pain into Power, including the amazing title-track, plus some of their old school material, those Californians showed Toronto everything they got, and the temperature inside the venue went up considerably due to all the action going on while Terror continued to distill their flammable Hardcore on stage. I’ve already place in another concert review the links to where you can stream their music, but as they’re really cool guys here we go again with the links to their BandCamp and Spotify, and if they ever visit your hometown, don’t think twice and go join the band to unleash some first-class Hardcore terror, alright?

Band members
Scott Vogel – vocals
Martin Stewart – guitar
Jordan Posner – guitar
Chris Linkovich – bass
Nick Jett – drums

HATEBREED

The break between Terror and Bridgeport, Connecticut-based Hardcore Punk/Metalcore titans HATEBREED was a little longer than the previous ones for obvious reasons, allowing everyone at the venue to go buy some merch (in case they hadn’t done so already), grab a few beers, smoke a cigarette and have a quality chat with their friends, and all those things energized the crowd to the point that the iconic Jamey Jasta kept repeating how much he loves Toronto, being visibly impressed with the rowdy reaction during each song from their amazing setlist. Playing songs form their entire discography, including the classics Last Breath (dedicated to the memory of the deceased The Black Dahlia Murder frontman Trevor Strnad), Driven by Suffering, Tear It Down, Straight to Your Face, Doomsayer, and Confide in No One, the band put on an electrifying show that pleased all fans of their unique fusion of Hardcore with Thrash Metal, Punk Rock and other heavy styles.

My only complaint (and of Keith Ibbitson of Lower Eastside Photography, as well as all other photographers at the venue) was the dim lighting used for all four bands, which is becoming something quite common in most shows not only in Toronto, but everywhere. It’s getting tough to see the bands on stage with clarity, but of course, it’s nothing that would stop the fans from enjoying the shows. Well, it is what it is, and when you have a band like Hatebreed on stage let’s admit we must be really aware of our surroundings due to all the mosh pit action going on, leaving us with not a lot of time to actually pay attention to the stage, right? Jokes aside, it was a true pleasure seeing Wayne Lozinak and Frank Novinec kicking some ass with their guitars while Chris Beattie and Matt Byrne made the venue shake with their insanely heavy kitchen, keeping everyone more than entertained until the very end, with lots of fists and horns in the air, lots of screaming, and the endless insanity inside the circle pit led by the demented vocals by Jamey. Now it’s just a matter of waiting for Hatebreed to return to Canadian lands to destroy everything once again, and I bet everyone who attended their concert last night will be there again to celebrate their undisputed Hardcore music.

Setlist
Tear It Down
Straight to Your Face
Destroy Everything
A Lesson Lived Is a Lesson Learned
Empty Promises
To the Threshold
Live for This
Voice of Contention
Looking Down the Barrel of Today
Beholder of Justice
This Is Now
Perseverance
Driven by Suffering
Confide in No One
Last Breath (Dedicated to Trevor Strnad)
Doomsayer
Smash Your Enemies
Another Day Another Vendetta
I Will Be Heard

Band members
Jamey Jasta – vocals
Wayne Lozinak – lead guitar, backing vocals
Frank Novinec – rhythm guitar, backing vocals
Chris Beattie – bass
Matt Byrne – drums

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Album Review – Cryptopsy / As Gomorrah Burns (2023)

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And Gomorrah will burn to the sound of the incendiary new album by one of the fiercest Death Metal bands to ever rise from the Canadian scene.

Known as one of the fiercest Death Metal squads to ever rise from the Canadian scene since the band’s inception in the distant year of 1992, Montreal, Quebec-based Technical Death Metal juggernauts Cryptopsy are back to pummel our collective senses anew with their eighth studio album, the infernal As Gomorrah Burns, their first record in over 10 years. Produced, mixed and mastered by the band’s own by guitarist Christian Donaldson, with additional mixing by Dominic Grimard (who’s also their touring bassist), and displaying a stunning artwork by Italian painter Paolo Girardi, As Gomorrah Burns pits the Biblical story of Sodom and Gomorrah against the modern-day Internet, with its stories based on real-life incidences such as online stalkers, cults, misinformation, isolation and intimidation showing how it’s both the birthplace of invention and a cesspool of exploitation, therefore proving why the band formed of vocalist Matt McGachy, guitarist Christian Donaldson, bassist Olivier Pinard and drummer Flo Mounier will forever be one of the references in the history of Canadian Death Metal.

The massive, ruthless drum attack by Flo sets the tone in Lascivious Undivine while Matt roars like a true beast in the name of Technical and Brutal Death Metal. It’s a bit generic, though, but a decent start to the album; and they keep destroying their instruments in In Abeyance, with Matt barking the song’s wicked lyrics nonstop (“Boom / I was promised a utopia / I’ve been silenced and isolated / Cast aside human garbage / Tortured monotonous futile existence / Another day, yet another pointless trip”), whereas Godless Deceiver sounds very technical yet violent and frantic just the way we like it in Death Metal. Furthermore, Christian’s riffage sounds absolutely mental accompanied by the metallic slabs by Olivier armed with his bass, followed by Ill Ender, a fantastic creation by the quartet presenting an amazing job by Christian and Olivier with their stringed axes, consequently adding a lot of groove and insanity to the overall result (not to mention how demented Flo is behind his drums once again).

Flayed the Swine showcases a band that’s once again extremely technical and vile, with the song exhaling madness through its lyrics (“Blasted little rotting pick / Egotistical asshole / This puny little mongrel / I will put an end to this / This simple-minded shit”), whereas their grim and thunderous metal attack continues in full force in The Righteous Lost, with Olivier stealing the spotlight with his menacing, in-your-face bass jabs, keeping the album at an insane level of aggressiveness and intricacy. Obeisant is another hellish hurricane of Death Metal sounds spearheaded by the unstoppable blast beast by Flo and the deep, inhumane growls by Matt, a song beyond perfect for heading into the circle pit for some high-quality action, flowing into the closing tune Praise the Filth, offering us all almost six minutes of total darkness and rage where Christian and Olivier are once again flawless with their stringed weapons. Put differently, we face nonstop adrenaline flowing from all instruments, putting a heavy and pulverizing ending to As Gomorrah Burns.

“We are back,” said frontman Matt McGachy. “I want our fans to know we’re more than a legacy band. Yes, we have had massive cult favorite albums – like None So Vile – but we are creating modern and relevant extreme music 30 years later. We’re so proud of As Gomorrah Burns, and we can’t wait for you to hear it!” Hence, if you want to stay updated with all things Cryptopsy and let the guys know how much you love their music, you can get in touch with them on Facebook and on Instagram, subscribe to their YouTube channel and stream more of their music on Spotify, and of course purchase a copy of the breathtaking As Gomorrah Burns from their BandCamp page or by clicking HERE. Having said all that, let Gomorrah burn to the incendiary new album by one of the torchbearers of Canadian death!

Best moments of the album: In Abeyance, Ill Ender and Obeisant.

Worst moments of the album: Lascivious Undivine.

Released in 2023 Nuclear Blast

Track listing
1. Lascivious Undivine 3:50
2. In Abeyance 2:56
3. Godless Deceiver 3:40
4. Ill Ender 4:19
5. Flayed the Swine 4:25
6. The Righteous Lost 4:16
7. Obeisant 3:52
8. Praise the Filth 5:50

Band members
Matt McGachy – vocals
Christian Donaldson – guitars
Olivier Pinard – bass
Flo Mounier – drums

Album Review – Djinn-Ghül / Opulence (2023)

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An uncanny duo from the US and Venezuela will attack your senses with their third full-length opus, flitting between full-on Death Metal brutality and jaw-dropping futuristic and mechanized sounds.

Less than two years following the release of their critically lauded EP Mechalith, industrialized Experimental/Brutal Death Metal/Deathcore unit Djinn-Ghül unleashes their third full-length album, entitled Opulence, building on their previous material while taking things to new levels of extremity. The international duo formed of Venezuelan vocalist Junior “Pat” Patiño (Voraraephilia) and American multi-instrumentalist Grant Nachbur (Auricular Insemination, Nephrectomy) has been evolving and perfecting their sound with each consecutive release since their inception in 2016, with their new album effectively flitting between full-on Death Metal brutality and jaw-dropping futuristic and mechanized sounds with impressive cohesion. Mixed and mastered by Pat himself, and displaying a sick acrylic painting as the album’s artwork by Chinese artist Guang Yang, Opulence showcases a dynamic slab of industrialized Death Metal with a crushing power that will debilitate as much as adrenalize you, resulting in their most chaotic yet refined material to date.

Haunting and atmospheric, the opening tune God Lymph will pierce your soul with the band’s hybrid of several extreme styles, with Grant’s crushing drums and phantasmagorical keys permeating the air until everything explodes into violence and insanity with Pat roaring like a demon, whereas the hammering bass and caustic riffs by Grant will demolish your senses in Xobek, a lecture in Blackened Deathcore with some industrial and electronic elements in the background to give it an even more venomous vibe. Their industrialized vein keeps pulsing in Ghola, with Pat’s inhumane growling complementing the infernal atmosphere crafted by Grant, followed by the title-track Opulence, featuring Jordan James of Disentomb on vocals, bringing forward the demented beats and scorching riffs by Grant while the song’s background elements will beautifully darken your soul. Then featuring guest vocalist Alex Marr, the duo’s horror-inspired sounds keep disturbing the minds of the lighthearted in the pulverizing Pseudosapien, where Grant’s bass and drums generate an avalanche of sheer heaviness until the very end.

Sara Crow lends her voice as a guest in Mother, another short and sweet blast of their Experimental Death Metal sounds infused with Deathcore and classic Death Metal nuances; however, it never really takes off, sounding more like an interlude of sorts. Their next guest vocalist is Phlegeton of Wormed, with more of their mechanized, futuristic keys being offered to us in Fruitless Grasp, before the music turns into a demonic feast of devilish screams, piercing guitars, infernal beats and rumbling bass lines. There’s still more from such talented duo to haunt your damned soul for all eternity in Garden of Jaws (It Sees Too Much), blending the most violent elements from Brutal Death Metal with their more experimental and industrialized vein, and with Pat sounding absolutely evil on vocals; flowing into the closing tune Grave Vessel, where the duo clearly sends a message of chaos and darkness through their electrified sounds and noises, not to mention Grant is once again ruthless behind his drums, ending the album on a beyond somber mode.

The vicious Opulence, which is available in full on YouTube and on Spotify, is certainly not recommended for the lighthearted, which is exactly what such ruthless American/Venezuelan duo wanted to achieve with their music. Hence, don’t forget to give Djinn-Ghül a shout on Facebook and on Instagram, to subscribe to their YouTube channel, and above all that, to purchase a copy of their newborn beast from their own BandCamp page, from the Vicious Instinct Records’ BandCamp page, from Apple Music, or from Amazon. In other words, Opulence is heavy, caustic, futuristic and melodic, all at the same time, effectively cementing Djinn-Ghül as one of the most interesting names of the modern extreme music scene.

Best moments of the album: Xobek, Pseudosapien and Garden of Jaws (It Sees Too Much).

Worst moments of the album: Mother.

Released in 2023 Vicious Instinct Records

Track listing
1. God Lymph 3:47
2. Xobek 2:13
3. Ghola 2:49
4. Opulence 3:13
5. Pseudosapien 3:21
6. Mother 2:40
7. Fruitless Grasp 4:29
8. Garden of Jaws (It Sees Too Much) 3:25
9. Grave Vessel 2:37

Band members
Junior “Pat” Patiño – vocals
Grant Nachbur – all instruments

Guest musicians
Jordan James – vocals on “Opulence”
Phlegeton – vocals on “Fruitless Grasp”
Sara Crow – vocals on “Mother”
Alex Marr – vocals on “Pseudosapien”

Album Review – Primal Fear / Code Red (2023)

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Like a phoenix arising from the ashes, the Teutonic masters of Power Metal are back in action with their thirteenth opus, a hard-hitting metal lesson and living proof of the healing power of music.

The phoenix arising from the ashes is a much-cited motif in cultural history; it seldom fits as well as it does with the triumphant return of Esslingen, Germany-based Power Metal masters Primal Fear armed with their thirteenth studio opus, titled Code Red, the follow-up to their critically acclaimed 2020 album Metal Commando. Recorded and mixed by Sebastian Roeder, Mitch Kunz and Ralf Scheepers at Backyard Studios, mastered by Jacob Hansen at Hansen Studios, and displaying a triumphant eagle of steel rising from the ashes in the artwork, which could definitely represent the rebirth of our beloved Mat Sinner, who almost lost his life a couple of years ago, Code Red is a hard-hitting metal lesson and living proof of the healing power of music and the brotherhood behind the riffs where vocalist Ralf Scheepers, bassist (and survivor) Mat Sinner, the triple guitar phalanx of Tom Naumann, Alex Beyrodt and Magnus Karlsson, as well as drummer Michael Ehré, blast us with a zeitgeisty manifesto that provides eleven essential arguments of why power metal will simply never go under.

Their Power Metal feast begins in full force with the headbanging Another Hero, where Ralf already showcases all his vocal range, not to mention the song’s catchy, singalong chorus (“Where is the savior who shows us the way / We need a guide back to sanity / In times like these without piece of mind / We need someone who stops this inhumanity / Another hero”); whereas Bring That Noise (originally called “The Flood” when details of the album were revealed) sounds even more melodic thanks to the great guitar job done by Magnus, Alex and Tom with their incendiary riffs and solos. Needless to say, it should work perfectly if played live. The second single of the album released a few weeks ago, the mid-tempo tune Deep in the Night, focuses on the power of the riff while Michael keeps pounding his drums with tons of precision, followed by Cancel Culture, where we face modern-day words roared by Ralf (“Into the circus of life we were pushed out of nowhere / Growing, maturing and loving and hating the game / Saddle the horse for a future that’s basically unknown / We procreate, viciate, twisting the facts without shame / Manipulating”) in almost seven minutes of classic, hammering Heavy and Power Metal for the masses. And those German metallers invest in a fun and vibrant Hard Rock and Rock N’ Roll vibe in the dancing and thrilling Play a Song, showcasing striking riffs and the always rumbling bass lines by the one and only Mat Sinner, proving why heavy music will always have a healing power for all of us metalheads.

It’s then time for a more introspective, darker song titled The World Is on Fire, with the band’s guitar triumvirate once again distilling their sharp and caustic riffs for our total delight. Put differently, it’s classic Primal Fear with no shenanigans spearheaded by Ralf’s trademark soaring vocals. Acoustic guitars then set the tone in Their Gods Have Failed, before the music evolves into a Doom Metal-infused sound that reminds me of some of the best Black Sabbath songs with Dio on vocals; whereas another epic intro explodes into sheer Power Metal magic in Steelmelter, with Magnus, Alex, Tom and Mat kicking some serious ass armed with their stringed weapons, making it clear why Primal Fear always thrive when they focus on a more straightforward sonority. They keep blasting their instruments in great fashion in Raged by Pain, where Ralf will pierce your ears with his high-pitched screams, resulting in another strong contender to be part of their upcoming live performances. The band slows things down and brings forward a power ballad titled Forever (by the way, one more ballad named “Forever” in the rock and metal world), a decent song where Ralf steals the spotlight as usual, although not as good as all of their other ballads form previous albums. Last but not least, those Teutonic rockers get back on track with their metallic, razor-edged Power Metal in Fearless, led by the classic beats by Michael and, therefore, positioning it as an excellent tune for some vigorous headbanging.

In a nutshell, Code Red (which is available for a full listen on YouTube and on Spotify) represents much more than just another powerful album in their undisputed career; it’s an inspiring and emotional opus for everyone who follows Primal Fear and was extremely worried about the health and the fate of the band’s mastermind Mat Sinner. Fortunately, the gods of metal seem to be on Mat’s side, allowing him to be the band’s own phoenix and get back in action alongside his loyal bandmates to provide us with more of their electrifying Heavy Metal. Hence, don’t forget to give the guys form Primal Fear a shout on Facebook and on Instagram, and to grab your copy of another incendiary blast of heavy music by those German metallic eagles from the Atomic Fire Records website or by clicking HERE. A lot of people thought this Power Metal steel eagle was dead and gone after what happened with Mat, but of course they were absolutely wrong, and Code Red is among us to remind us why they’ve been one of the most powerful names of the scene since their inception back in the 90’s. As they say in their new album, when the whole world feels wrong, just play a song (by Primal Fear)!

Best moments of the album: Bring That Noise, Play a Song, The World Is on Fire and Steelmelter.

Worst moments of the album: Forever.

Released in 2023 Atomic Fire Records

Track listing
1. Another Hero 4:59
2. Bring That Noise 4:49
3. Deep in the Night 5:47
4. Cancel Culture 6:48
5. Play a Song 4:15
6. The World Is on Fire 5:01
7. Their Gods Have Failed 7:23
8. Steelmelter 4:46
9. Raged by Pain 3:22
10. Forever 5:12
11. Fearless 5:29

Band members
Ralf Scheepers – vocals
Mat Sinner – bass, backing vocals
Magnus Karlsson – guitars, keyboards
Alex Beyrodt – guitars
Tom Naumann – guitars
Michael Ehré – drums

Metal Chick of the Month – Lady IX

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On the Isle of Vanaheim grant me one last poisoned kiss…

Dark. Mysterious. Delicate. Unique. These are just some of the words that can be used to describe our metal lady of the month of September, and after reading more about her I’m sure several other words related to beauty and darkness will come to your mind. Well, to be honest, there isn’t a lot of information about her personal life anywhere, just to show you how cryptic she is and how she likes to keep her fans curious to know more about her life and her work. No one knows her real name, but we can all call her by her alter-ego Lady IX, the mesmerizing frontwoman and songwriter for Belgian Gothic/Doom Metal outfit Hyldr, who’s also an aspiring writer and the author of the Hyldr Chronicles, a lover of YA books (aka young adult fiction) and audiobooks, and above all that, a lover of your blood. Yes, you read it right, so you better get ready to enter the Stygian realm of Lady IX and her Hyldr here on The Headbanging Moose because, as you might have noticed, there’s no turning back after she sinks her fangs in your jugular.

It’s absolutely unclear if Lady IX was born in Wales, in Belgium or anywhere else, nor if she actually resides in Brașov, a city in the Transylvania region of Romania ringed by the Carpathian Mountains, which would make total sense based on her obscure and hypnotizing persona. What we know is that it was back in 2021 when Lady IX decided to form the Gothic/Doom Metal beast Hyldr, focusing on an emotional approach to morbid themes inspired by her own book, the aforementioned Hyldr Chronicles, using it as a template for the band’s song concepts. By the way, the name Hyldr is a reference to a Valkyrie that one character, a Japanese woman who ends up in the middle of a Viking turmoil, wishes she could become in the book, presenting elements of the supernatural combined with doses of Greek tragedy.

Currently formed of our diva Lady IX on vocals, keyboards, lyrics and songwriting alongside guitarists VI and Jean Dark, bassist Wôde, and drummer Saïko, Hyldr take the listener on an unforgettable musical adventure, bringing to our avid ears a captivating fusion of sounds inspired by both cinematic and operatic works, crafting a realm that fans cannot resist. Having released so far the singles Heart of Soil and Your Frozen Chest, plus their debut full-length opus Order of the Mist, all in 2022, the band conjures a treat for fans of Paradise Lost, Moonspell, Ghost, Draconian, Saturnus, and others who appreciate the ominous beauty of Gothic and Doom Metal. For instance, Order of the Mist (which title refers to rulers of the underworld in Nebelwood Forest where the shape-shifting Huldra folk have the power to bring back the dead) offers our damned souls eight distinguished tracks that are sometimes haunting and hypnotic, sometimes epic and melodic, including the two aforementioned songs Heart of Soil and Your Frozen Chest, as well as Nibelungen and The Blade Of Gold. Furthermore, the band is already gearing up for the future, having already composed the sequel to Order of the Mist while they’re at the same time looking for a label to help them spread their caustic fusion of Gothic and Doom Metal worldwide.

Speaking of the song Nibelungen, where they venture into the depths of their genre to create a truly hypnotic piece and where Lady IX seamlessly blends into the mesmerizing excerpts from Fritz Lang’s cinematic masterpiece Die Nibelungen, it’s not just a stunning fusion of visual darkness and enchanting music inspired by the magnificent work of Richard Wagner’s Der Ring des Nibelungen, but Lady IX and the rest of the band also hope that the fans connect with the official video for the song in a significant way, especially given its relevance in today’s world. “I hope that our fans and new ones will be curious enough to perhaps go and find the original film and watch it. Such an old movie in black and white must be daunting to a lot of people, but this sort of cinematographic relic really is worth the effort,” commented Lady IX about the song and the video, also offering a playful proposition. “We also would like the fans to crowdfund a remake of the entire film with all Hyldr band members playing the main roles! A worldwide financial success awaits!” Hence, you can enjoy Nibelungen and all other songs and videos from Hyldr directly from Spotify, from BandCamp, or from Youtube.

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Now switching gears a little from music to literature, let’s talk about the inspiration for the existence of Hyldr, Lady IX’s own Hyldr Chronicles, a YA science fantasy horror book fully written by our beloved diva of darkness. In this YouTube playlist, Lady IX reads the ghostly yet relaxing audiobook by the fire, chapter by chapter, and tells the gory folktale of a young woman from Otarunai in Japan who has an uncanny ability to see the dead and sometimes communicate with them. One traumatic day, she is torn from her troublesome coastal village and finds herself trapped in a world where sinister Norse mythology becomes a harsh reality. Before new chapters are read or written, Lady IX will occasionally allow her loyal Huldra listeners of the Hyldr Chronicles to join in interactively by choosing paths for the characters to take. By the way, the specific order of the songs in the album Order of the Mist does not follow the chronology of the Hyldr Chronicles, but slices the story up “like a dissected corpse” as mentioned by the band. “All our songs are connected, distilling a larger story,” said Lady IX about the uniqueness of her book and her band’s new album.

Her official YouTube channel, as well as the official YouTube channel for Hyldr, are actually full of other surprises the likes of Hyldr Chronicles. For example, there’s a playlist called Ghostly Choirs, where you can enjoy the harrowing singing from the Hyldr Chronicles by Lady IX; another one named Order of the Mist Vocal Autopsy, where Lady IX’s vocals are put under a microscope from the album Order of the Mist; and one named Lady IX Songs, where you can enjoy a variety of videos with Lady IX including our diva singing the song My Bones To The Sea, by Harakiri for the Sky. As you can see, despite the fact that there are almost zero details about Lady IX’s personal life available online, her music, her creations and her passion for everything that’s dark and gothic are easy to find, taking you on a one-way journey to the deep and somber lair ruled by our hypnotizing metal lady and her Hyldr.

Lady IX’s Official Facebook page
Lady IX’s Official Instagram
Lady IX’s Official YouTube channel
Hyldr’s Official Facebook page
Hyldr’s Official Instagram
Hyldr’s Official YouTube channel

Album Review – Temple of Katharsis / Macabre Ritual (2023)

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Let the macabre dance begin to the sound of the debut opus by this ruthless Black Metal horde hailing from Greece.

A must to hear for fans of bands such as Rotting Christ, Varathron, Katavasia and Naer Mataron, among several others, the sulfurous Macabre Ritual is the long-awaited debut album from Greek Black Metal beast Temple of Katharsis, founded in 2011 in Kastoria, a city in northern Greece in the region of Western Macedonia. Currently formed of the band’s founder, vocalist and bassist Hellmaster 666 alongside guitarist Zeratul and drummer Nodens, Temple of Katharsis will take us to the depths of darkness in a harrowing exploration of Black Metal mastery that will leave you breathless. Produced, mixed and mastered by Major at H12 Audio, this abyssal odyssey features eight unholy hymns that will cast a malevolent spell upon all who dare to listen, resulting in a testament to the band’s unwavering dedication to their craft and the Black Metal genre.

The cinematic, somber intro Abyssal Cold Void will captivate your senses before the trio crushes our souls with The Burning Flood of Antichrist, where Hellmaster 666 barks and gnarls in a pure devilish manner in the name of old school Black Metal supported by the classic blast beats by Nodens and the scorching riffs by Zeratul. They keep blasting their infernal music, piercing our minds and souls mercilessly, in Erasure of Religious Existance, where Hellmaster 666 and Zeratul are on fire armed with their stringed axes, sounding perfect for some nonstop headbanging; followed by In the Dungeons with the Rats, displaying a beautiful name for another sulfurous creation by Temple of Katharsis, and those Greek black metallers continue their path of obscurity and hatred with their Stygian riffs and cryptic growls throughout the entire song without a single second of peace or hope.

Blending the past, present and future of Black Metal, it’s time for the melodic yet vile and visceral Ο Αρχιερεύς Των Λύκων (The Archpriest of the Wolves), spearheaded by the unstoppable drums by Nodens; and there’s no sign of the band slowing down as Inside the Medieval Crypt is total fuckin’ darkness led by the demonic growls by Hellmaster 666, who also shows no mercy for his bass. Then it’s time to open the gates of the underworld and let all creatures from the abys consume our damned souls to the sound of The Kingdom of Hades, a lesson in classic Black Metal where Zeratul delivers intricate, venomous riffs for our total delight, before the trio’s last breath of insanity and sulfur comes in the form of the title-track Macabre Ritual, where they incorporate elements from Melodic Black Metal and Doom Metal into their core blackened sound, resulting in a solid composition showcasing their usual aggressiveness (albeit a bit too repetitive for seven minutes of music).

Such devilish, macabre album of Black Metal made in Greece can be appreciated in all of its glory on YouTube and on Spotify, but in order to show your utmost support and admiration for Temple of Katharsis you should definitely purchase a copy of the album from the band’s own BandCamp page, from the Theogonia Records’ BandCamp page or webstore, or from Apple Music, and don’t forget to also give Temple of Katharsis a shout on Facebook. Let the macabre dance begin to the sound of the newborn spawn by this ruthless Greek trio, taking us all on a one-way journey to the pits of the underworld.

Best moments of the album: The Burning Flood of Antichrist, Ο Αρχιερεύς Των Λύκων (The Archpriest of the Wolves) and The Kingdom of Hades.

Worst moments of the album: Macabre Ritual.

Released in 2023 Theogonia Records

Track listing
1. Abyssal Cold Void (Intro) 2:19
2. The Burning Flood of Antichrist 5:03
3. Erasure of Religious Existance 6:02
4. In the Dungeons with the Rats 6:21
5. Ο Αρχιερεύς Των Λύκων (The Archpriest of the Wolves) 7:37
6. Inside the Medieval Crypt 7:14
7. The Kingdom of Hades 6:56
8. Macabre Ritual 7:05

Band members
Hellmaster 666 – vocals, bass
Zeratul – guitars
Nodens – drums

Album Review – Marduk / Memento Mori (2023)

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One of the pillars of Swedish Black Metal is back with a devilish new album encapsulating the raw and unrelenting intensity that has become synonymous with the band’s sound, reminding us that we all must die.

Four years after the release of their warlike opus Viktoria, the renowned, ruthless Swedish Black Metal horde Marduk is ready to haunt our souls once again with Memento Mori, the fifteenth studio album in their undisputed career. Produced, recorded, mixed and mastered by Magnus “Devo” Andersson at Endarker Studio, with photography by Håkan Sjödin and layout and design by the band’s own Daniel “Mortuus” Rostén at Holy Poison Design, Memento Mori encapsulates the raw and unrelenting intensity that has become synonymous with the band’s sound, showcasing the signature blend of aggressive guitar riffs, thunderous drums and chilling vocals by vocalist Daniel “Mortuus” Rostén, guitarist Morgan “Evil” Steinmeyer Håkansson and drummer Simon Schilling, plus guest bassists Magnus “Devo” Andersson and Joel Lindholm, evoking a sense of darkness and despair and, therefore, once again proving why Marduk will always be one of the pillars of Swedish Black Metal.

A wicked, sinister intro gradually evolves into the infernal title-track Memento Mori, spearheaded by the massive beats by Simon and the always demonic gnarls by Mortuus in a straightforward feast of classic Swedish Black Metal for the masses; and there’s no time to breathe as the band offers another Stygian creation titled Heart of the Funeral, bringing forward all elements we learned to love in their music, with Evil’s riffs sounding truly scorching. Blood of the Funeral, the first single of the album, is an absolute banger, with Mortuus vociferating the song’s devilish lyrics majestically (“High on the flesh / Of the knell and the psalm / Drunk on the blood / Of the funeral / Ridden by lust / And sepulchral thirst / I come dressed in hunger / And the trauma of birth”), flowing into the phantasmagorical, haunting aria Shovel Beats Sceptre, a neck-breaking tune by Marduk where Devo and Simon will crush your skull mercilessly with their hammering kitchen. Then back to their more venomous, demolishing mode, Devo and Simon continue to attack our souls with their rumbling bass and drums in Charlatan, while Evil extracts pure Black Metal magic from his guitar.

Coffin Carol is undoubtedly one of the most infernal and demented of all songs from the album, with Mortuus sounding bestial throughout the entire song while Evil and Devo deliver a flawless Black Metal stringed attack for our total delight. Furthermore, they keep attacking our senses with absolutely no remorse in Marching Bones, where Mortuus keeps roaring and barking in the name of Black Metal while Simon pounds his drums with tons of groove and fury, even presenting the more rebellious elements from the music by bands like The Misfits. The haunting intros found in some of the songs add a nice touch to the entire album, which is also the case in Year of the Maggot, exploding into their classic Black Metal and overflowing darkness and rage, presenting not a single second of peace as expected. Their second to last sonic attack comes in the form of Red Tree of Blood, offering our putrid ears another endless dosage of pure Black Metal led by the hellish roars by Mortuus and the always demented blast beats by Simon; whereas lastly it’s time for a sinister Doom Metal-infused aria titled As We Are, showcasing truly anguished, deep gnarls by Mortuus while his bandmates simply darken our minds with their Stygian sounds.

“Memento Mori is, all at once, a bold leap forward, a calculated sidestep, and a wistful backward glance. Meaning, we have broken new ground without forgetting our legacy or the journey that brought us to this point,” commented the bestial Mortuus about the band’s newborn black mass, and you can put your damned hands on this demonic album by clicking HERE, as well as show your support to those Swedish demons by following them on Facebook and on Instagram to be updated about their tours, their music and plans for the future, and by streaming their venomous creations on YouTube and on Spotify. Marduk’s new album is here to remind us that we all must die, distilling their Black Metal to perfection like they’ve always done, and like they will always do until their very last breath.

Best moments of the album: Heart of the Funeral, Blood of the Funeral, Coffin Carol and Marching Bones.

Worst moments of the album: None.

Released in 2023 Century Media

Track listing
1. Memento Mori 3:30
2. Heart of the Funeral 2:23
3. Blood of the Funeral 5:05
4. Shovel Beats Sceptre 5:02
5. Charlatan 4:12
6. Coffin Carol 4:02
7. Marching Bones 4:03
8. Year of the Maggot 4:14
9. Red Tree of Blood 3:50
10. As We Are 5:36

Band members
Daniel “Mortuus” Rostén – vocals, bass, lead guitars on “Blood of the Funeral” and “As We Are”
Morgan “Evil” Steinmeyer Håkansson – guitars
Simon Schilling – drums

Guest musicians
Magnus “Devo” Andersson – bass
Joel Lindholm – bass
LG Petrov – additional vocals on “As We Are”

Album Review – Exmortus / Necrophony (2023)

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California’s own Neoclassical Thrash and Death Metal institution returns with a collection of twelve piercing hymns, sounding blacker and more nefarious as illustrated by the eeriest and evilest Lovecraftian and Tolkien-esque tales.

Formed in 2002 in Whittier, California, in the United States, the unstoppable Neoclassical and Technical Thrash/Death Metal outfit Exmortus is back in action in 2023 with their amazing sixth studio album, titled Necrophony, a portmanteau of “necro” and “phony” (or “dead sounds”), offering nothing but a savage rebirth and a fierce renewal in the form of twelve tracks highly recommended for fans of Hatchet, Warbringer, Havok, Toxic Holocaust and Skeletonwitch, among others. Produced, recorded, mixed and mastered by Zack Ohren at Sharkbite Studios, and displaying a striking artwork by Indonesian artist Toha Mashudi, Necrophony showcases a beyond focused and inspired band currently formed of Jadran “Conan” Gonzalez on vocals and guitars, Chase Becker also on the guitars, Phillip Nuñez on bass, and Adrian Aguilar on drums, emerging stronger, faster and crazier from the throes of the pandemic while going from a Conan the Barbarian and Gladiator aesthetic from their previous records to something blacker and more nefarious as illustrated by the eeriest and evilest Lovecraftian and Tolkien-esque tales.

Melancholy flows from the intro Masquerade, evolving into a cinematic sonority before the quartet kicks some serious ass in Mask of Red Death, with Conan roaring like a beast accompanied by the pounding drums by Adrian and scorching, visceral guitar riffs in a great display of Melodic Death Metal, whereas in Oathbreaker we face poetic words declaimed by Conan (“Over the western lands a long shadow lies / And in evil times the dead awaken and arise / Until the end, they know no peace, remain forlorn / As punishment of old for an oath they have forsworn”) while the music is as vile, fast and heavy as it can be. Mind of Metal is another classic Melodic Death Metal creation by Exmortus where the guitars by Conan and Chase will pierce your mind mercilessly, keeping the album at a high level of animosity; and Yanni’s “The Storm” and Antonio Vivaldi’s “The Four Seasons” are blended together in Storm of Strings, an instrumental metallic extravaganza perfect for banging your head nonstop or simply enjoying some high-end shredding. Then back to their trademark Melodic Death Metal mode we have Test of Time, inspired by the classic sound from the Gothenburg scene, with Adrian dictating the pace with his intricate but thunderous beats.

After such striking tune, strident, melodious guitar lines set the tone in Darkest of Knights, presenting elements from classic Thrash and Death Metal with Phillip and Adrian making the earth tremble with their kitchen while Conan continues to vociferate rabidly, followed by Prophecy,  another neck-breaking tune by the quartet, with Conan roaring nonstop and blasting his stringed axe at the same time, feeling like a fusion of Megadeth, Black Label Society and Ozzy Osbourne. The low-tuned, metallic bass by Phillip will crush your head in Children of the Night, a high-octane, pedal-to-the-metal extravaganza spearheaded by the demonic growls by Conan while Adrian speeds things up considerably behind his drums; whereas the slashing riffage by Conan and Chase keep darkening the skies in Beyond the Grave, blending the brutality of Death Metal with the rebelliousness of Thrash Metal. After that, the melodic and introspective interlude Overture will pave the band’s obscure path until all explodes into the title-track Necrophony, which takes away some of the energy from the rest of the album despite not being a bad song. The guitar work by Conan and Chase is once again truly solid, though.

“We wanted everything on this album to be a fresh take of what we envisioned Exmortus to be,” said Conan about Necrophony. “We had a lot of time to reflect on that during the isolation period of the pandemic, and so, this new material is a sort of rebirth of our approach to writing and performing our music.” Hence, don’t forget to give the guys from Exmortus a shout on Facebook and on Instagram, to subscribe to their official YouTube channel, to stream their wicked music on Spoitfy, and above all that, to purchase a copy of Necrophony from their own webstore, or by clicking HERE or HERE. Exmortus are going to invade your senses with their piercing, scorching “dead sounds”, and there’s nothing you can do about it but succumb to the thunderous music by one of the most innovative and hardworking bands of the current scene.

Best moments of the album: Mask of Red Death, Darkest of Knights and Children of the Night.

Worst moments of the album: Necrophony.

Released in 2023 Nuclear Blast

Track listing
1. Masquerade 2:33
2. Mask of Red Death 4:42
3. Oathbreaker 3:24
4. Mind of Metal 4:33
5. Storm of Strings 2:55
6. Test of Time 4:48
7. Darkest of Knights 8:11
8. Prophecy 4:14
9. Children of the Night 7:13
10. Beyond the Grave 3:48
11. Overture 2:05
12. Necrophony 5:10

Band members
Jadran “Conan” Gonzalez – vocals, guitars
Chase Becker – guitars
Phillip Nuñez – bass
Adrian Aguilar – drums

Concert Review – Kamelot (The Opera House, Toronto, ON, 08/22/2023)

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A memorable night of Symphonic and Power Metal in the city of Toronto where the women from all bands stole the show with their undeniable talent, energy, beauty and charisma.

OPENING ACTS: Xandria and Battle Beast

I’m sorry, all guys from the three bands that kicked some as last night at The Opera House in Toronto during the Awaken the World Tour 2023 with the bands XANDRIA, BATTLE BEAST and KAMELOT, but the girls absolutely stole the show. On a very pleasant summer night in the city, Ambre Vourvahis of Xandria, Noora Louhimo of Battle Beast, and Melissa Bonny of Ad Infinitum ( who’s taking care of the female vocals for Kamelot during this North American tour) were flawless on stage, exhaling talent, charisma and passion for heavy music, gaining nothing but respect and admiration from the crowd who turned the venue into a “metal sauna”. It was a very special night for me as it was my first time ever watching all three bands live (plus Melissa!), and they didn’t disappoint this extreme music fan here at all; quite the contrary, I only have good things to say about all bands and musicians responsible for a very special night in Toronto.

Precisely at 7pm, Bielefeld, Germany-based Symphonic Metal outfit XANDRIA kicked off the night’s metal ceremony with a short but extremely powerful and vibrant performance spearheaded by the Greek goddess Ambre Vourvahis, who was clearly very excited for playing in Toronto for the first time in her career, and visibly emotional for the warm and wild reception received from her Torontonian fans to the point she didn’t even know anymore if yesterday was Tuesday (something that made everyone laugh together with her, of course). Ambre was amazing not only during their setlist formed mainly of songs from their excellent new album The Wonders Still Awaiting, those being You Will Never Be Our God, Reborn and Ghosts (my favorite of their setlist, by the way), plus the fan-favorites Nightfall and Valentine, inspiring everyone at The Opera House to raise their horns, screams and dance together with her. It was a little weird seeing Xandria on stage without a bass player, as apparently Tim Schwarz had some issues to get his visa to Canada in time for the show (and I’ll never understand why our government gives a hard time to hardworking musicians to grant them their visas, while at the same time they easily allow a bunch of garbage into the country), but the four members who were there put on their hearts and souls into their performance, and I bet we’ll see Xandria in Canadian lands soon based on the total sync and endless energy flowing between the band and the crowd.

Setlist
You Will Never Be Our God
Reborn
Nightfall
Ghosts
Valentine

Band members
Ambre Vourvahis – vocals
Marco Heubaum – guitars
Rob Klawonn – guitars
Dimitrio Gatsios – drums

Right after a quick break, Finland’s own Heavy/Power Metal torchbearers BATTLE BEAST started their lecture in what can be labeled as “Dance Metal” for the delight of all fans at the venue, making everyone extremely happy (and I was beyond happy for finally seeing them live after an over 10-year wait) due to the level of electricity and power crafted by the band on stage. Still promoting their 2022 album Circus of Doom, those Finnish rockers put on a breathtaking show, with songs like Straight to the Heart, Wings of Light and Eden making everyone at the venue dance even if they didn’t want to. And what can I say about the incendiary performance by Noora Louhimo on vocals? That woman is a beast live, showcasing not only a flawless, jaw-dropping vocal performance, but her onstage presence, moves and charisma are way beyond awesome, and at least for me there’s no other woman in metal, rock or pop music capable of uniting all those qualities at the same time like her. Well, of course Noora’s striking performance is only that good because of the support she gets form her bandmates, in special bassist Eero Sipilä and drummer Pyry Vikki, and the result was a mesmerizing show that made every single person inside (and maybe some outside the venue) to keep their fists and horns high in the air nonstop. Thank you, Battle Beast! And please get back to Toronto soon for another “metal party of our lives”, like Noora herself said.

Setlist
Circus of Doom
Straight to the Heart
Eye of the Storm
Where Angels Fear to Fly
Wings of Light
Eden
Master of Illusion
King for a Day

Band members
Noora Louhimo – vocals
Joona Björkroth – guitars, backing vocals
Juuso Soinio – rhythm guitars
Eero Sipilä – bass, backing vocals
Janne Björkroth – keyboards, orchestrations, backing vocals
Pyry Vikki – drums

KAMELOT

There was a minor delay in the start of the atmospheric and cinematic show by Tampa, Florida’s own Progressive/Melodic Power Metal masters KAMELOT, but nothing that would take away the excitement from a jam packed venue. Blending songs from their newest album The Awakening, including Opus of the Night (Ghost Requiem), One More Flag in the Ground and NightSky, with some of their classics such as March of Mephisto and Sacrimony (Angel of Afterlife), the band created back in 1987 by guitarist Thomas Youngblood was on fire throughout their entire set, inviting the crowd on a metal journey full of epic guitar solos, whimsical keys, and the classy vocals by Swedish frontman Tommy Karevik (who’s by the way married to Canada’s own Kobra Paige, the awesome frontwoman for Kobra and the Lotus), driving their loyal fans to ecstasy with each and every song played. There was even time for an excerpt of Queen’s classic “We Will Rock You” during one of the songs, led by Tommy, a tribute to Canada’s institution Rush during Alex Landenburg’s drum solo when he played part of the all-time hit “Tom Sawyer”, and a touching tribute by Tommy to everyone we lost due to the pandemic in the past few years.

As aforementioned, just like what happened in the past with several amazing vocalists the likes of Simone Simons, Charlotte Wessels, Elize Ryd, Alissa White-Gluz, Floor Jansen and Noora Louhimo, the female vocals on this tour were masterfully done by Melissa Bonny, known for her work with Ad Infinitum, The Dark Side of the Moon, Evenmore and Rage of Light, and let me tell you that the band couldn’t have chosen a better vocalist for the task as Melissa is simply fantastic with both her clean vocals and harsh growls. As a matter of fact, it was clear how much the crowd at The Opera House loved Melissa when she delivered her enraged roars in her stylish attire, turning the temperature up considerably during the show. I’m a huge fan of female growlers, and of course I was stunned every time she was a she-demon incarnate on stage. If you know nothing or have never heart of Melissa before, I highly recommend you go after all of her work because she’s by far one of the most talented singers of the new generation.

After the last few notes from Liar Liar (Wasteland Monarchy), the crowd kept screaming as loud as possible to thank Kamelot for their awesome performance, while the band couldn’t hide the huge smile on their faces for another truly successful concert. They promised they’ll return to Toronto sooner than later, and let’s be honest, as Tommy is married to Kobra Paige, why not having a Kamelot plus Kobra and the Lotus tour in Toronto and other Canadian cities in the near future? I’m sure all fans would love to see Tommy and Kobra singing together on stage, right? And speaking about females vocalists touring with Kamelot, after the concert was over my friend Keith Ibbitson of Lower Eastside Photography (responsible for all the amazing photos of this review) and I had the utmost pleasure of meeting Melissa in person (thanks to my friend Pedro, of A&P Reacts), and I must says she’s a really down-to-earth, humble and sympathetic person, apart of course form being a sensational vocalist and performer. Needless to say, she needs to return to Canada as soon as possible, but next time with Ad Infinitum to show the Canadian metallers everything she’s capable of. To be honest, all bands need to return to the city for a lot more concerts, and I’m sure that will happen really soon because Toronto needs more Melissa Bonny, more Xandria, more Battle Beast, and more Kamelot without a shadow of a doubt.

Setlist
Overture
Veil of Elysium
Rule the World
Opus of the Night (Ghost Requiem)
Insomnia
When the Lights Are Down
Vespertine (My Crimson Bride)
New Babylon
Karma
Sacrimony (Angel of Afterlife)
Song for Jolee
NightSky
Drum Solo
March of Mephisto
Keyboard Solo
Forever

Encore:
Phantom Divine (Shadow Empire)
One More Flag in the Ground
Liar Liar (Wasteland Monarchy)

Band members
Tommy Karevik – vocals
Melissa Bonny – vocals
Thomas Youngblood – guitars
Sean Tibbetts – bass
Oliver Palotai – keyboards, orchestrations
Alex Landenburg – drums

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