Two of the most important bands in the history of Nordic metal turned up the heat this weekend in Toronto with their unparalleled music and hypnotic performances.
There’s nothing better than uniting two Nordic bands in Toronto (and we all know how Finland, Norway and Canada can get really, really cold) to celebrate the end of another freakin’ winter, and that’s exactly what hundreds of fans were able to witness at the always cozy The Opera House this Saturday when INSOMNIUM and ENSLAVED, with the support of BLACK ANVIL, kicked some serious ass with their very melodic, folk, and obviously heavy-as-hell music. The weather was good enough (for Canadian standards) for several people to only wear T-shirts, including myself, and I must say that was a wise decision as things started to get pretty warm inside the venue right after the doors opened. And on a side note, if you’re attending any concert at The Opera House or just visiting the neighborhood, a new Slayer Burger location (and I still think they should be called “SLAAAAAAAYYYYYYYYYEEEEEEEERRRRR Burger” for obvious reasons) opened on February 12 right beside the venue, offering a great option to fill up your personal tank before heading into any mosh pits.
It was 7:30pm when the opening act, New York, United States-based Black/Thrash Metal act BLACK ANVIL kicked off the night with their vicious music, with vocalist and bassist P.D. and drummer R.G. stealing the spotlight with another blasphemous performance, and I say “another” because I already had the pleasure of seeing them opening for the mighty Cannibal Corpse in November also here in Toronto. Still promoting their 2022 opus Regenesis, the quartet did a very solid job on stage, with their newest song NYC Nightmares being the highlight of their performance for me. Perhaps the only “issue” with their show was the fact that their music is considerably different from the main attractions, and at least I felt there was a lack of circle pits during their entire set. The fans still raised their horns for the band and clapped their hands in approval after each song was played, but as I said maybe the night was too eclectic for a band like Black Anvil.
Then after a quick break, more specifically at around 8:30pm, Finland’s own Melodic Death Metal institution INSOMNIUM hit the stage with a flawless performance, blending songs from all of their previous albums with the stunning creations form their brand new opus Anno 1696. Spearheaded by the iconic vocalist and bassist Niilo Sevänen, the band started their show with five superb songs in a row, those being 1696, White Christ, While We Sleep, Godforsaken and Lilian, embellishing the airwaves and putting the entire crowd in a metallic trance and showing how strong their newest album is. Insomnium have always been one of the pillars of Nordic Melodic Death Metal since their inception back in 1997, always releasing amazing albums, but it feels like they’ve perfect their sound even more with Anno 1696, and the reactions of the fans in Toronto to their new songs was the ultimate proof of that.
One thing I must say about Insomnium, in special when talking about their live performances, is how awesome their guitars are nowadays with Markus Vanhala (the heart and soul of another Finnish Melodic Death Metal beast, the excellent Omnium Gatherum) and Jani Liimatainen, who’s in a much better position these days compared to his time with Sonata Arctica or Altaria, sounding sharp, crisp and extremely melodious for the absolute delight of all fans who were at The Opera House. I have no idea why their third guitarist Ville Friman missed the show, and I’m sure it would have been even more amazing if he had played as well, but Markus and Jani nailed it from start to finish even without their bandmate. Another new song that sounded thrilling live was The Witch Hunter, again proving their latest release is a beast of an album, and closing their performance with the not-so-old song Heart Like a Grave was one more attestation those Finnish metallers are always moving forward in their career. It was my first time seeing Insomnium live despite being a fan of the band for a long time, and I’ll make sure I don’t miss any of their future shows in Toronto from now on after such pleasant night in the city.
Setlist
1696
White Christ
While We Sleep
Godforsaken
Lilian
And Bells They Toll
The Witch Hunter
Valediction
Mortal Share
Heart Like a Grave
Band members Niilo Sevänen – lead vocals, bass
Markus Vanhala – guitars
Jani Liimatainen – guitars, clean vocals
Markus Hirvonen – drums
It was a little past 10pm when the main attraction of the night, Norway’s Progressive Black/Viking Metal horde ENSLAVED, took the city of Toronto by storm led by their charismatic vocalist and bassist Grutle Kjellson, putting a huge smile on the faces of everyone at The Opera House, and inspiring part of the crowd to head into the battlefield (aka mosh pits) for the delight of the band. The start of their performance with the songs Jettegryta and Homebound, from their 2020 album Utgard, plus the fact they played Kingdom, Forest Dweller and Heimdal, from their 2023 album Heimdal, therefore making for half of their setlist, also shows that Enslanved, just like Insomnium, are forward-thinking musicians who respect their past but are not trapped in it, and their diehard fans more than love that based on their reaction to their entire performance.
Enslaved were also one man down, as their guitarist Ivar Bjørnson was absent from the concert in Toronto (and from their entire North American tour “due to immediate family issues that needed to be taken care of” as per a statement from the band on their official Facebook page), but Grutle made sure Ivar received some positive vibes from us Torontonians who screamed his name when prompted by the band. Furthermore, their other guitarist Arve Isdal was on fire, shredding his guitar nonstop and filling all empty spaces left by Ivar, in special in the amazing tune Return to Yggdrasil. Add to that the intense, multi-layered background sounds by Håkon Vinje and Iver Sandøy, and there you have the perfect recipe for a fulminating Norwegian attack. When they closed the night with Allfǫðr Oðinn, everyone at The Opera House was beyond happy and mesmerized, and I’m sure that will inspired Enslaved to return to the city sooner than we can say any of the names of their songs in Norwegian. Ad of course, thanks a lot to Noel Peters from Inertia Entertainment for putting together such enjoyable night of first-class metal music, and thanks once again to my friend Keith Ibbitson of Lower Eastside Photography for the amazing shots! SKÅL!
Setlist
Jettegryta
Homebound
Return to Yggdrasil
Kingdom
Forest Dweller
The Dead Stare
Isa
Havenless
Heimdal
Allfǫðr Oðinn
Band members Grutle Kjellson – vocals, bass
Arve Isdal – lead guitars
Håkon Vinje – keyboards, clean vocals
Iver Sandøy – drums, clean vocals
This infuriated Black and Death Metal horde from Greece will crush your mind with their debut effort, showcasing their steely vision and penchant for writing superbly structured songs that have an inherent catchiness to them.
Formed in October 2017 in the hypnotizing city of Athens, Greece, the unrelenting Black/Death Metal horde Decipher is ready to unleash upon humanity their first full-length opus, entitled Arcane Paths To Resurrection, the follow-up to their 2019 debut EP Of Fire and Brimstone. Displaying a stunning artwork by Artem Grigoryev, the album showcases the steely vision and penchant for writing superbly structured songs that have an inherent catchiness to them by vocalist M.L., guitarists K.G. and K.C., and drummer N.C., while also being gritty and dynamic, not giving you much time to dwell on things as it keeps throwing one deadly riff after the other at you as you’re forced to scramble in an attempt to fully comprehend them before life comes to an end.
The band’s Stygian guitars ignite their sulfurous attack in Chants of the Unholy, with the blast beast by N.C. bringing hell to their imposing musicality, and K.G. and K.C. continue to extract darkness and hatred from their guitars in Lost in Obscurity while M.L. vociferates rabidly in the name of evil in a great display of contemporary Black Metal. Then a beyond creepy, phantasmagorical interlude titled Arcane Paths will send shivers down your spine before the quartet comes crushing our putrid souls once again in Enslaved to Be, presenting their demonic riffs and growls supported by another bestial performance by N.C. on drums, also showcasing hints of Melodic Black Metal carefully inserted into their core sound.
Get ready for eight minutes of sulfur and obscurity entitled Altar of the Void, with the entire band being on absolute fire from start to finish, in special M.L. with his venomous gnarling while K.G. and K.C. once again hammer our skulls with their axes; whereas investing in a more somber sonority with elements from Doom Metal and Blackened Doom we have Penance, before exploding into their core insanity led by the infernal drums by N.C., sounding very detailed, demonic and thrilling, or in other words, a lecture in modern-day Black Metal. And lastly, closing the album the band offers us all one last onrush of malignant Black Metal titled Sanctum Regnum, with their piercing guitars and hellish roars elevating the song’s obscurity to a whole new level, therefore feeling very dense and grim until the very last second.
In a nutshell, Decipher are more than ready to kill armed with their sulfurous debut effort, and if I were you I would definitely give those Greek metallers a shout on Facebook and on Instagram, subscribe to their YouTube channel for more of their classy music, stream their sick creations on Spotify, and above all that, purchase a copy of Arcane Paths To Resurrection from their own BandCamp page or from the Transcending Obscurity Records’ webstore as a special digipak CD or as an ass-kicking shirt + CD combo (or click HERE for all things Decipher). The band is surely delivering a timeless piece of Black Metal that’s impactful and strongly evocative with Arcane Paths To Resurrection, keeping in mind this is just their first opus, which means Decipher will surely make a lot of noise in the coming years for the delight of al lovers of extreme music out there.
Best moments of the album:Chants of the Unholy, Altar of the Void and Penance.
Worst moments of the album: None.
Released in 2023 Transcending Obscurity Records
Track listing 1. Chants of the Unholy 4:11
2. Lost in Obscurity 5:40
3. Arcane Paths 1:48
4. Enslaved to Be 4:56
5. Altar of the Void 8:52
6. Penance 5:15
7. Sanctum Regnum 5:42
Band members
M.L. – vocals, chants
K.G. – lead and rhythm guitars, bass, vocals, chants
K.C. – guitars
N.C. – drums
Belgium’s own Symphonic Deathcore institution returns with an even more impressive and bold opus that will certainly reach deep inside your blackened heart and soul.
Five years after the release of their excellent debut full-length album Tutor of the Dying, Zaventem, Belgium-based Symphonic Deathcore beast When Plagues Collide is back with an even more impressive and bold album, their sophomore effort titled An Unbiblical Paradigm, highly recommended for admirers of the music by Shadow Of Intent, Lorna Shore and Thy Art Is Murder, among others. Recorded, mixed and mastered by Yarne Heylen at Project Zero Studio, the new album by vocalist Wouter Dergez, guitarists Santy Van der Mieren and Joris Dergez, bassist Joshua Kinsbergen and drummer Siebe Hermans continues to showcase a focused and sharp band venturing through the realms of Melodic Death Metal, Symphonic Black Metal and Metalcore just like in Tutor of the Dying, but this time the quintet took up their music a notch, delivering an even stronger and more electrifying work that will certainly reach deep inside your blackened heart and soul.
An atmospheric start gradually evolves into a Symphonic Deathcore attack titled Converted Into Cipher, with Siebe hammering his drums mercilessly while Wouter roars and screams like a demonic beast, or in other words, it’s indeed a fantastic tune to kick things off; and things get even heavier and more infernal in Death In Progress, featuring guest vocals by Sven de Caluwé (Aborted, Coffin Feeder, Bent Sea), with Santy and Joris kicking some serious ass armed with their axes in the name of first-class Deathcore. God Complex is absolutely epic, imposing and majestic from start to finish, with the deep guttural by Wouter sounding truly inhumane in paradox with the song’s background keys, not to mention how thunderous the kitchen crafted by Joshua and Siebe is, whereas in The Glutton we face wicked lyrics barked by Wouter (“In the absence of daylight / We lay dying in the palm of the promised land / Where failure meets hate and mercilessness / Dominated by the sick and the cold / These barren grounds were always welcoming the nomads we are / An eternity of dying is nothing -Death is our womb”) amidst a furious Symphonic Deathcore madness.
Then the band’s stringed trio formed of Santy, Joris and Joshua will make your head tremble with their venomous riffs and bass lines in Monopoly Of Violence while Siebe keeps pounding his drums nonstop, followed by the demented The Grand Mouth Of Hell, most probably their darkest creation to date, showcasing all of their talent, rage and passion for extreme music spearheaded by the hellish gnarls by Wouter and the always piercing riffage by Santy and Joris. In Devourer Of Memories the band offers us all another round of their acid words (“This inexorable wind collects the lives of the lost and the wandering / Spreading sorrow and despondency / Whilst offering salvation through the breath of extinction / Reaching out her cold hands to deliver and ensure the loss of our cherished and beloved”) spiced up by their sick, heavy-as-hell sound, while ending the album we have the melancholic and atmospheric outro In Alle Stilte (or “in complete silence” from Dutch), with its delicate background sounds walking hand in hand with the words declaimed by Wouter.
The talented and hard working guys from When Plagues Collide are waiting for you with their undisputed Symphonic Deathcore on Facebook and on Instagram, and you can also stream all of their creations on Spotify. Furthermore, above all that, don’t forget to purchase a copy of the breathtaking An Unbiblical Paradigm from Apple Music, or click HERE for all things When Plagues Collide. It’s simply amazing to witness the growth of When Plagues Collide from their previous effort Tutor of the Dying to the sensational An Unbiblical Paradigm, positioning those Belgian metallers as one of the references in Symphonic Deathcore worldwide and, consequently, giving us several reasons to keep banging our heads and raising our horns to their first-class music.
Best moments of the album:Death In Progress, God Complex and The Grand Mouth Of Hell.
Worst moments of the album: I think In Alle Stilte could have been placed before Devourer Of Memories, which would have given the album a much more climatic ending.
Released in 2023 Necktwister/Sonic Rendezvous
Track listing 1. Converted Into Cipher 3:52
2. Death In Progress 5:03
3. God Complex 3:25
4. The Glutton 3:38
5. Monopoly Of Violence 4:23
6. The Grand Mouth Of Hell 4:33
7. Devourer Of Memories 4:39
8. In Alle Stilte 2:46
Band members
Wouter Dergez – vocals
Santy Van der Mieren – guitar
Joris Dergez – guitar
Joshua Kinsbergen – bass
Siebe Hermans – drums
Guest musician Sven de Caluwé – additional vocals on “Death In Progress”
Have fun with the farewell opus by this Italian Dodecaphonic Metal entity, a concept album exploring how the Gods of Ancient Rome would present themselves in our modern-day society.
Originally a Dodecaphonic Metal band founded in 2016 as a solo project by guitarist, vocalist and sound engineer Andrea Bignardi, combining the intensity and energy of metal with the intricate, mathematical structures of dodecaphonic music, Piacenza, Italy-based Progressive/Technical Death Metal outfit Descent Into Maelstrom has since expanded to include Mattia Panunzio (Nameless Grave) on lead guitars, Pietro Buzzi (Necroptic) on rhythm guitars, and Michele Augello (Agony Face) on bass, having already released two full-length albums and two EPs, and gearing up now in 2023 to release their third and final full-length opus, titled Dei Consentes. The most direct and powerful effort that the band has ever created, Dei Consentes, which translates from Latin as “God’s consent”, is a 12-track concept album that explores how the Gods of Ancient Rome would present themselves in our modern society if they existed today, with the music uniting twisted and complex rhythms, savage riffing and a gratifyingly dark ambience in the vein of Death, Pestilence and Edge Of Sanity.
Dissonant, devilish and chaotic form the very first second, the opening tune Cinis et Pulvis (or “ashes and dust” from Latin) will darken your mind to the sound of the deep guttural by Andrea, resulting in the epitome of Dodecaphonic Metal, followed by Triumphus Falsarius Daemonium (“false triumph of the demons”), where Mattia and Pietro offer Andrea the perfect support with their slashing riffage and solos while Michele sounds absolutely bestial with his rumbling bass. Then we have Abyssus Devorat Terram (“the abyss devours the earth”), blending the fury of classic Death Metal with their unique progressive and technical sound, or in other words, a song perfect for “slipping into madness”; and there’s no time to breathe as their sonic Death Metal avalanche goes on in Infecundus (“unborn”), with Michele’s metallic bass adding sheer groove to the stringed attack by his bandmates. The first single of the album, titled Pater (“father”), will smash your cranial skull thanks to its massive blast beast and the inhumane roars by Andrea, whereas an imposing start explodes into the band’s somber, technical Death Metal in Silvarum Patrona (“patroness of the forests”), with Michele once again stealing the spotlight with his menacing bass.
The second half of the album begins with Deus Sol Invictus (“the invincible sun god”), another Death Metal onrush by the quartet showcasing their usual fury and dexterity with all instruments exhaling fire and insanity; and slowing things down a bit and investing in a more melodic sound and vibe, Andrea, Mattia and Pietro will pierce your ears with their strident riffs in Amor Sola Lex (“love is the only law”). Back to their most visceral mode, the quartet is ready to go to war in Deus Belli (“god of war”), presenting an amazing guitar job done by the band’s axe triumvirate while Andrea growls deeply nonstop, flowing into the absolutely technical instrumental feast Silentium (“silence”), continuing the band’s path of melodic savagery led by the intricate bass by Michele. Their second to last blast of Dodecaphonic Metal, titled Mater (“mother”), keeps the album at a high level of violence and obscurity, with Andrea leading his horde armed with his visceral growls and sick riffs; while lastly we’re treated to Defloratio Gratiae (“defloration of grace”), a brutal yet very intricate display of Death Metal where once again Michele’s bass lines sound ruthless.
“We regret to inform you that our band will be coming to an end after the release of our final album, Dei Consentes. We have had an incredible journey together, and we are grateful for all of the love and support you have given us throughout the years. This album is a culmination of all of our hard work and dedication to our craft, and we hope that it will be a fitting farewell. We want to thank each and every one of you for being a part of our journey. It has been an honor to make music for you, and we will treasure the memories we have made together. Thank you for everything,” commented Andrea about the end of the band and their farewell opus, and if you want to say goodbye to Descent Into Maelstrom and tell them you’ll miss their wicked music, you can find the band on Facebook, and of course you can also purchase Dei Consentes by clicking HERE. And may the Ancient Gods change Andrea’s mind and we see Descent Into Maelstrom get reborn in the future to keep blasting our heads with their dodecaphonic craziness.
Best moments of the album:Triumphus Falsarius Daemonium, Silvarum Patrona and Deus Belli.
Worst moments of the album:Amor Sola Lex.
Released in 2023 Club Inferno Ent.
Track listing 1. Cinis et Pulvis 4:22
2. Triumphus Falsarius Daemonium 3:27
3. Abyssus Devorat Terram 3:12
4. Infecundus 5:16
5. Pater 4:31
6. Silvarum Patrona 4:32
7. Deus Sol Invictus 4:20
8. Amor Sola Lex 4:15
9. Deus Belli 1:59
10. Silentium 5:42
11. Mater 3:24
12. Defloratio Gratiae 4:36
Band members
Andrea Bignardi – vocals, rhythm guitars
Mattia Panunzio – lead guitars
Pietro Buzzi – rhythm guitars
Michele Augello – bass
If you agree with the statement that humanity is a mistake, you’ll have an absolute blast with our metal lady of this month of April here on The Headbanging Moose, setting fire to our rotten and decaying world with her inhumane gnarls, unique looks and devilish attitude. Known in the underworld of extreme music as the ruthless frontwoman for bands the likes of Lebenssucht, Humanitas Error Est and I Am All Wounds, she’s the perfect depiction of the importance of women in the current Black Metal scene worldwide, inviting us all to her Stygian lair to the sound of her sulfurous and harsh yet mesmerizing music. Her name is Anett Hauzu or Anett Gebauer, but you might know her for her demonic monicker S Caedes, a German Black Metal she-wolf that will crush your damned soul with her undeniable talent and passion for the darkest side of music and arts in general.
Born and raised in Leipzig, the most populous city in the German state of Saxony, S Caedes, which by the way is the combination of “sadist” (S) and “carnage” (Caedes, in Latin), with both words standing for her character, is much more than “just” a Black Metal vocalist, being also a skillful and innovative photographer and model, and according to S Caedes herself, she’s also a “blood fetishista” and a “fucked up mind”. Married to Australian vocalist and multi-instrumentalist Chris Gebauer, of bands such as Deadspace, Humanitas Error Est and I Am All Wounds (and as you might have notice, those two are definitely “partners in crime” in most of their music projects), S Caedes mentioned in one of her interviews that she was discovering different styles of metal music when she was around 12 or 13 years old, getting to know Black Metal and falling in love with it at the age of 14, saying Black Metal was then able to provide her with a special feeling that no other type of music could. “It’s just the feeling of knowing exactly where you stand with yourself. I’m strictly anti-religious and disgusted by humanity. It’s not an empty phrase for me, it’s just… me. Black Metal stands for the hate and aggression I always had and still have inside. I can’t put it better in words. When you’re really into Black Metal, you’ll know what I mean. Either you feel it or not,” commented S Caedes, who also said that after discovering Black Metal she always wanted to be on stage and scream the hell out of her throat, but she didn’t do anything to create a band then.
It was close to the end of 2012 when S Caedes together with drummer Ahephaïm started searching for musicians to finally form a Black Metal band, which was the initial spark for what would become Leipzig, Germany-based Brutal Black Metal entity Humanitas Error Est. One year later, S Caedes and Ahephaïm finally had a complete band lineup and started creating songs for their first album as Humanitas Error Est, resulting in their 2016 eleven-track beast Human Pathomorphism. A project with negative thoughts against any religions and pure misanthropy, Humanitas Erorr Est “is about confronting the world with its own brutality, its own sadism, its own hypocritical statement of liberty. It’s about unleashing indomitability, stir up hatred. It’s a scornful critical examination at mankind itself,” as stated by the band itself, with their name being the idea of Ahephaïm, a very unique, not cliché-ridden name that represents exactly what they stand for, meaning as already mentioned “humanity is a mistake” or “humanity is an error” in Latin.
After the tough decision of disbanding in 2019, S Caedes and Ahephaïm spent the better half of 2019 and early 2020 searching for the right musicians to propel them forward, with their new lineup being comprised of our metal lady and the band’s drummer, of course, together with Basmu (aka Chris Gebauer) on vocals, Arboria and Mictician on the guitars, and Fenrir on bass, turning the band into a multinational horde with members from Germany, Belgium, France and Australia. After the band being reborn like a phoenix, a new song was released back in 2020 entitled An Inexcusable Existence, available for purchase directly from their BandCamp page, following the same misanthropic and anti-human tropes expressed in their earlier work, and you can compare their new sound with their older songs the likes of Raping Religions and Pain Feeder to see their inner fire is still intact. Moreover, the band is currently working on a new album, which I’m sure will be amazingly brutal.
Her other major band, the venomous Depressive Suicidal Black Metal outfit Lebenssucht, is also a multi-national group with most members being the same as from Humanitas Error Est, those being S Caedes on vocals, Ahephaïm on drums, Arboria on the guitars, Basmu on bass, and the non-Humanitas Error Est member Irleskan, from Austria, on lead guitars. One interesting fact about Lebenssucht is that the band was originally formed by S Caedes and Ahephaïm together with a third member, renowned vocalist and multi-instrumentalist Déhà (from bands like Acathexis, Déhà and Yhdarl, among several others, and who also mastered the debut album by Humanitas Error Est), who left the band in 2019. Despite not being a member of Lebenssucht anymore, Déhà is seen like a brother by S Caedes, showing all respect and admiration they have for each other. Lebenssucht, which means “lust for life” or “life addiction”, don’t have any limits as per S Caedes herself, and although the style played by the band is labeled as Depressive Suicidal Black Metal, the project is not about bringing hatred to the world. “It’s about enjoying your life, no matter what price you have to pay for. It’s about turning negativity into strength. Life is our drug,” commented S Caedes. If you want to properly experience the music by Lebenssucht, you can find their 2016 debut EP Fucking My Knife and their 2020 full-length opus -273,15°C (which represents absolute zero, the lowest possible temperature where heat energy is absent in a substance) on Spotify and on BandCamp, and enjoy the officials videos for A Hole in My Heart, Mirrors and Beloved Depression on YouTube, and stay tuned as their next album is going to sound even harsher, according to S Caedes herself.
Apart from her work with Humanitas Error Est and Lebenssucht, the unstoppable S Caedes is also one half of the stunning Black Metal duo I Am All Wounds, together with her life partner Chris Gebauer, describing their music as “two souls colliding in a frenzied internal storm”, or “a sonic illustration of two beings woven together in fervent longing, an unyielding force,” having recorded the EP Keep Me Breathing in 2020, available on their BandCamp page and which contains the beautiful song You’re The Air That I Breathe. Not only that, she has also participated in a live improvisation recording named XXVI – IX – MMXV together with Ahephaïm and Déhà, recorded on September 26, 2015 (but released only in 2020) at Gate 32 Studios in Sofia, Bulgaria.
If you think all of those bands are projects are enough for S Caedes, you’re absolutely wrong, as our diva of darkness can also be found as a guest vocalist in the song Libido Dominandi, from the 2019 EP of the same name released by Australian Depressive Black/Gothic Metal act Deadspace; and also doing vocals on the songs The Unfair Betrayal, Insomnia and Morbus, from the 2019 album Morbus, and additional vocals on the 2019 live album Live at Brutal Assault 2017, both by Déhà’s Drone/Doom/Black Metal project Yhdarl; plus a couple of other guest appearances with the Black Metal bands Withering Night and Absolutus. Do you want more? What if I told you S Caedes was also the artwork model and was responsible for the editing in Deadspace’s 2019 EP Libido Dominandi; took care of the logo and layout for the 2020 EP Nuclear Sundown, by German Black/Doom Metal one-man project Exitium Sui; did the photography for the 2016 demo Century of the Goat, by German Black/Thrash Metal band Goatfuck; and also took care of the layout for the 2020 EP Keep Me Breathing, by her own project I Am All Wounds?
Not only that, S Caedes also did lots of videos for different bands (either her own or other unrelated bands), including the videos for the songs Moksha, by Deadspace; Serpent on a Cross, by Spectral Damnation; A Hole In My Heart, by Lebenssucht; An Inexcusable Existence, by Humanitas Error Est; teasers and trailers for Deadspace and Lebenssucht; and just finished the music video for Demenzia Mortis, which is yet to be released. When asked how she’s capable of maintaining a healthy balance between so many bands and projects with diverse sounds, she said that as each band carries a special part of her character and her view of life she needs them all to express herself with all emotions, always remaining true to herself and her principles, and saving enough physical and mental energy for each one of them.
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As expected, S Caedes is obviously highly influenced by countless Black Metal bands, but that doesn’t mean that she doesn’t enjoy other styles such as Dark Ambient, Doom Metal, Martial Industrial, Death Metal and so on, and that she doesn’t own records from completely different artists such as Shakin’ Stevens and Rosenstolz. Among her favorite bands you’ll find great names the likes of Darvaza, Ritual Death, Merrimack, Vortex Of End, Aversio Humanitati, Regarde Les Hommes Tomber, Arkhon Infaustus, Benighted, Ondskapt, just to name a few; on the Dark Ambient side she likes listening to Slaughter Natives, Gnaw Their Tongues, Triarii and Puissance, among others; and on the Martial Industrial side S Caedes likes groups such as Ordo Rosarius Equilibrio, in special their song The Love & Defiance of Being Alive. “People who know me well often call me complicated concerning my taste of music. I don’t agree with that, I just don’t listen to every shit, that’s the point. Music needs to be able to crawl in my head and stay there, squeeze out my inner self, fuck my brain an give me goosebumps or the will to mosh like a psycho,” commented S Caedes about her unique taste in music, always focusing on the importance of Black Metal in her life and career. “Black Metal is my life, as ridiculous as it maybe sounds to some readers, it’s like that. It’s my personal freedom, I can lay down and just be who I really am.”
Regarding her vocal style and technique, S Caedes said in one of her interviews that in the beginning she just tried out what she could do with her voice, with her training songs being Sluts of Hell from Nattefrost and Bleached Bones from Marduk, and her throat was always scratching like hell after. She then started searching online for instructions on how to use her voice properly and found a very helpful video named The Zen Of Screaming, by renowned vocal coach Melissa Cross, also asking other vocalists for their advice. “It’s really great to discover your voice, trying out what is possible,” commented S Caedes, who also said that it’s important to reach a good balance to be able to sing extreme music. Moreover, when asked about her view of touring with a band and playing live, she mentioned that her bands’ audiences should always be ready to engage with them, as the bands always deliver a very emotional and honest performance. “The advantage of being on stage is that you can let out all your emotions in such extreme way, which is simply not possible when you’re at home. On stage I’m completely in rage, it’s like a shot in my head, letting the audience suck what comes out. Blood always brings me to this special state of mind. I’m a heavy blood fetishist (real blood, no fake shit!), it’s a big passion of mine and I just love being covered in it. When the music begins, I’m not thinking anymore, I’m just 100% in the songs and always give my everything. Off stage… well, I fought several years against all of these rule-based behaviors and finally succeed to be able to do in life what satisfies myself. Family and friends call me a bulldozer. Typical Aries. I agree with that. I’m a sadist. I like to torture slaves. I’m not beating around the bush with that. In addition, I’m also working as photographer and model. So, yeah I have quite a lot to do, but it’s exactly what makes me happy. I don’t care about being evil (whatever that means). I only care about my very needs.” She also said that she really doesn’t care if she plays in front of 50 or 5000 people, mentioning their performances at Underground Remains Open Air, Night Of Blasphemy and Boarstream Open Air as really mind-blowing moments.
When asked about the current Black Metal scene worldwide and in her homeland Germany, S Caedes said she sees it as a big family, finding like-minded people who are able to understand her point of view as opposed to the stress and hypocrisy that comes from living in a regular society. “Most people have their daily routine with all these stupid rules (e.g. dress code at work). Black Metal helps (helped me) to break through (social) conventions, finding myself and staying true to myself. Black Metal can help to relieve everyday’s negativity,” said our Black Metal she-demon, who also believes the Black Metal scene in Germany is a bit more elitist than in other countries as the scene is very developed with lots of festivals, labels and bands. “The fact is that I don’t care from which country a band is. It’s all about the music. Nothing more, nothing less.”
S Caedes is also an accomplished photographer and fetish model, usually under the name Anett Gebauer, having her own website named Anett Gebauer Photo & Film dedicated to that form of art, and stating that her intent is to express various moods and emotions that are sometimes hidden from the naked eye. “Through the visual arts, I work to uncover underlying voices in order to portray alternative perceptions of life without limits. My work is about exposing the beauty of raging desires, unleashing your inner self, and for those who like it the morbid and obscure way, also daring to drown in deep dark waters. I invite you to take a deeper look under the surface. Through my images, I study the unconscious creatures of the collective human existence – pulsating, seductive and also shocking.” She also offers band shootings, CD artwork, music video creation and retouchings, is bookable for events and live photography, and does self-photography and work as a model. “I am a lover of dark arts, spanning from visual arts, film, music and literature. I create art that is rooted in life, with either positive or negative influences. All my work is inspired by bare emotions and the depths of human existence. I am forever excessive, perfervid, dirty-minded and stay always hungry for more.” Furthermore, she has already been part of several exhibitions, including Heart Of Darkness, in 2018 in the United States; Radiant Art Festival, in 2016 in Belgium; Session Noire, in 2011 in Germany and Belgium; and Art-P, in 2009 and 2010 also in Germany, among others.
Last but not least, S Caedes has a peculiar view on different topics, sometimes controversial, sometimes fairly straightforward. For instance, she said that one of the things she wishes the most is that the endless suffering of animals would finally end and that they would be accepted and respected as sentient beings; and also that her mom is her real life childhood hero, as she’s still grateful to her for a lot of things. “Honestly, I didn’t want me as a daughter,” commented S Caedes, who also said that as a wrestling fanatic her biggest heroes in the sport are Triple H and Sabu. “There was just so much blood in their matches, an intoxicating and formatively awesome sight for me.” As you can see, S Caedes is not just an amazing musician and artist, but also a great human being with a lot to offer to the metal community, always carrying the flag of Black Metal, the flag of freedom of expression and the flag of arts in general proudly high, and we’ll always be grateful to her for being so awesome and for creating such inspiring music and imagery.
After almost 15 years, this Spanish Black Metal horde is finally back in action and will summon all creatures of the underworld with their ruthless sophomore opus.
After a hiatus of 14 years, the devilish Spanish Black Metal horde Yskelgroth is back with a new and pulverizing album, titled Bleeding of the Hideous, the follow-up to their 2010 opus Unholy Primitive Nihilism. Although the band was formed back in 2000 with the aim of creating a ferocious and savage blend of Death and Black Metal, the project fell apart in 2007 when frontman Dave Rotten (Avulsed, Christ Denied, Decrapted, Holycide, Putrevore) moved to Germany, but they relaunched their evil beast in 2008 when Dave together with guitarist and bassist Vicente J. (Decrapted, Golgotha, Holycide, Unbounded Terror) teamed up to write songs for their debut album. Now in 2023, alongside Javier Fernández (aka Nexus 6) of bands like Harmpit, Nexus 6 and TodoMal on drums, synths and guitars, Yskelgroth will summon all creatures of the underworld with Bleeding of the Hideous, a ruthless metal attack comprised of nine sulfurous songs with an even more complex, twisted and intricate sound highly influenced by Myrkskog, Angelcorpse and Emperor, among other Black Metal giants, that will leave you craving more, all embraced by the infernal artwork by Venezuelan artist John Quevedo Janssens.
Infuriated and epic Black Metal flows from all instruments from the very first second in The Morbid Earth before Dave arises from the underworld with his demonic roars and screeches, being therefore highly recommended for fans of the iconic Immortal; whereas Javier is infernal behind his drums in Prone to Gobble Life while Vicente and Javier himself provide us with a technical yet blackened riff attack. Furthermore, Dave also delivers his more demonic guttural from Avulsed, making the whole song even heavier. Then the sinister, phantasmagorical keys by Javier walk hand in hand with his massive drumming in Omnicidal Ends, supported by the rumbling bass by Vicente; and investing in a pure Norwegian Black Metal sonority it’s time for the band to smash our senses with Aeons Empty, offering our ears three intense and sulfurous minutes led by Dave’s hellish gnarls. After such powerful tune, infinite aggressiveness and devilish roars are the main ingredients in Plagueridder, with Javier once again pounding his drums in the name of Black Metal.
Those Spanish metallers put the pedal to the metal in Spasmic Extinction, inspired by the most recent works by Immortal and Abbath, with the riffage by Vicente and Javier exhaling rage and obscurity for our total delight, and it’s quite interesting how the band added elements from their other Death and Thrash Metal projects to their music yet still sounding purely Black Metal, which is exactly what you’ll get in Primal Expulsion. Their second to last explosion of brutality and evil is titled Riddance of the Graves, a solid, in-your-face Black Metal extravaganza showcasing spine-chilling gnarls by Dave supported by the massive wall of sounds crafted by his bandmates, and Javier’s blackened keys give the last song of the album, the demolishing Path to Devourment, an even more Stygian vibe. In other words, the band’s return to action couldn’t have ended in a more demonic manner.
In the end, although it might have taken over a decade for the ruthless Yskelgroth to return from the pitch black pits of the underworld with a new slab of evil and sulfur, the wait was absolutely worth it based on the infernal music found in Bleeding of the Hideous, and if you want to show the talented Dave, Vicente and Javier your utmost support and admiration, you can succumb to their devilish powers by following them on Facebook, and of course by purchasing a copy of their newborn spawn from the Xtreem Music’s BandCamp page. As aforementioned, Bleeding of the Hideous is twisted, demonic and very detailed, inviting us all to worship our beloved darkness while listening to the first-class Black Metal blasted by a Spanish trio that hopefully won’t take another 15 years to release more of their unrelenting music.
Best moments of the album:The Morbid Earth, Aeons Empty, Spasmic Extinction and Riddance of the Graves.
Worst moments of the album: None.
Released in 2023 Xtreem Music
Track listing 1. The Morbid Earth 3:12
2. Prone to Gobble Life 3:46
3. Omnicidal Ends 4:17
4. Aeons Empty 2:58
5. Plagueridder 2:55
6. Spasmic Extinction 4:08
7. Primal Expulsion 3:57
8. Riddance of the Graves 3:51
9. Path to Devourment 3:30
Band members Dave Rotten – vocals
Vicente J. – guitars, bass
Javier Fernández – drums, synths, guitars
A newborn Finnish creature is ready to darken the skies with their debut opus, inspired by early first and second wave Black Metal as well as more recent Atmospheric Black Metal.
Playing brutal yet hypnotic and hauntingly beautiful music straight from their woeful souls, Finnish Black Metal trio Monachopsis Art was formed in 2022 by members from such bands as The Abbey, Henget, Shape of Despair and Licht des Urteils, aiming at creating music that is organic and raw, but still powerful and feeling-evoking, which is exactly what you’ll find in the band’s debut opus, titled An Empty Existence. Mixed and mastered at Studio Beyond North Star by the band’s own guitarist, bassist and keyboardist J.H. (aka Jesse Heikkinen), the album is inspired by early first and second wave Black Metal bands such as Venom, Bathory and Burzum, but also more recent Atmospheric Black Metal acts such as ColdWorld and Lustre, while the lyrics revolve around war, suicide and the meaningless struggles of human life, all played with passion and hatred by the aforementioned J.H. together with N.K. (aka Natalie Koskinen) on vocals, and A.K. (aka Antti Kaislaranta) on drums.
Atmospheric and sinister from the very first second, the intro Thee Darkness Gathers… will darken the skies before the trio comes hammering our hearts with Seeds, a solid fusion of old school, raw Black Metal with more contemporary sounds and nuances led by the venomous gnarls by the she-demon N.K., whereas Silent Torture presents a hypnotizing rhythm led by the Doom Metal beats by A.K. while J.H. adds his share of horror to the music with his somber keys and sharp riffage. Following such powerful tune, the band brings forth River of Blood, offering us all devilish lyrics grasped by N.K. (“Hear the sound / Of the burning wood / Feel the power of / Pure disgust / See how the light (is) fading away / Watch how flesh…buried under the tone”) amidst a dense and Stygian sonority.
Then featuring guest vocals by the demonic Spellgoth (Horna, Trollheims Grott), who makes a phantasmagorical duet with N.K., we have A Dark Place, with J.H. extracting pure evil from his guitar and keys; followed by Stargazer, once again bringing to our avid ears a grim hybrid of Black and Doom Metal while A.K. dictates the song’s lugubrious pace and N.K.’s witch-like vociferations and introspective clean vocals permeate the air beautifully. J.H.’s keys continue to give their music a theatrical vibe in Flesh Will Be Humiliated, while their core Black Metal sound is perfect for summoning all creatures from the underworld; and the trio continues to walk straight into darkness in No Desire to Live, with J.H. and A.K. making a sinister duo and, therefore, making our heads tremble with their devilish sonic weapons. Finally, we face Flame of Night, which is not a bad song but the keys sound a bit excessive during its entirety, taking away a bit of its heaviness. N.K. is awesome on vocals as usual, though.
The name of the band couldn’t have been more appropriate than Monachopsis Art, as “monachopsis” is defined as the subtle but persistent feeling of being out of place, plus the word “art” to depict how the band members see their creations as a different form of art that doesn’t follow the rules of the existing music scene, all carefully brought into being in An Empty Existence. Hence, go check what such promising trio is up to on Facebook and on Instagram, and above that, go grab your copy of their idiosyncratic debut album from the Nordvis webstore or by clicking HERE, and you can also find all things Monachopsis Art by following this link. The music by Monachopsis Art is evil, atmospheric, delicate and captivating, turning An Empty Existence into the perfect soundtrack for one of those dark days with no end in sight.
Best moments of the album:Silent Torture, A Dark Place and Stargazer.
Worst moments of the album:Flame of Night.
Released in 2023 Forgotten Friends/Silent Future Recordings
Track listing 1. Thee Darkness Gathers… 2:05
2. Seeds 3:50
3. Silent Torture 4:02
4. River of Blood 5:00
5. A Dark Place 3:06
6. Stargazer 3:34
7. Flesh Will Be Humiliated 2:55
8. No Desire to Live 3:30
9. Flame of Night 4:25
Band members
N.K. – vocals
J.H. – guitars, bass, keyboards
A.K. – drums
Guest musician Spellgoth – vocals on “A Dark Place”
UK’s own Technical Death Metal/Deathcore monster returns with their striking sophomore album, an essential listening for fans of modern Deathcore.
Formed in 2019 in the UK and featuring former members of Heart of a Coward, Abhorrent Decimation, Martyr Defiled, Nervecell and Surfaces, the electrifying Technical Death Metal/Deathcore monster Viscera returned to the battlefield this year with their sophomore opus, titled Carcinogenesis, the follow-up to their 2020 breakthrough debut Obsidian. Produced by Viscera and Justin Hill, and mixed and mastered by Simon Pietroforte, the album is an essential listening for fans of modern Deathcore, Pantera, Killswitch Engage and Fit For an Autopsy, showcasing all the rage and dexterity by frontman Jamie Graham, guitarists Charlie Michael and Adam Bell, and bassist David Archer and drummer Alex Micklewright (both having left the band recently for personal reasons). “Lyrically/thematically, this album continues on from Obsidian with Delilah’s soul reaping cover. This time the energy she has gathered feeds her tyrannical partner, who in turn uses the newly absorbed life force to corrupt all around him. Metaphorically it’s a statement of how humanity tends to feed of others only then to tear itself apart,” commented Jamie about the band’s infuriated new opus.
The album kicks off with the gripping, melodic and imposing title-track Carcinogenesis, blending the best elements from Technical Death Metal and Symphonic Deathcore while Alex is bestial behind his drums and Jamie roars manically for our vulgar delectation; followed by Rats with Wings and its insurgent lyrics barked by Jamie (“A legion shall arise / A second sun has risen / Encase the earth in a fiery prison / The weeping world shall reap / The fruits of her dark secrets bequeathed / Calling out from the dark / Bring forth the ancient arc / Behind her blackest eyes / Unquenching thirst for blood”), while his bandmates generate a fulminating wall of Deathcore sounds. Then the band takes their animosity and heaviness to a whole new level in the headbanging extravaganza Layers of Skin, with Charlie and Adam spreading fire and hatred through their riffs supported by the crushing drums by Alex, and there’s no time to breathe as Viscera keep hammering our damned souls in Resolver, showcasing another violent vocal performance by Jamie and the always melodic but fierce riffs by the band’s guitar duo.
One more round of their demented Deathcore comes in the form of Omnipotence, presenting deep, inhumane roars by Jamie while his bandmates keep exhaling aggressiveness from their sonic weapons, whereas Sungazer is one of the most exciting songs of the album, with the soaring vocal lines by Jamie matching perfectly with the song’s epic atmosphere while Charlie and Adam continue to hypnotize us with their riffs and solos. In Lex Talionis we face more of their wicked lyrics (“I was trying to rebuild something / You promised that you’d listen to me / But if that were true it meant that you were human / That’s something that remains to be seen”) while the music is Deathcore played to perfection; followed by Demon Queen, absolutely technical, intricate and groovy, and the only song of the album where the vocals by Jamie are almost one hundred percent clean, overflowing darkness and heaviness until the very last second. And lastly, we have On Earth as it is in Hell, the most introspective and sinister of all songs, closing the album on a high note spearheaded by the pounding beats by Alex while its otherworldly vibe will darken your thoughts for all eternity.
Viscera more than nailed it with Carcinogenesis, which is by the way available for a full listen on YouTube and on Spotify, positioning it as one of the top heavy music albums of 2023 hand down. Hence, don’t forget to pay those guys a visit on Facebook and on Instagram for news, tour dates and more of their infernal music, and of course to purchase your copy of Carcinogenesis from the Unique Leader Records’ BandCamp page or webstore as a CD or as a special edition 12″ vinyl, as well as from indiemerchstore.com also as a a special edition 12″ vinyl (or simply click HERE to buy or stream the album form your favorite retailer). The word “carcinogenesis” might mean the initiation of cancer formation, when normal cells are transformed into cancer cells, but in the case of Viscera it represents the initiation of an exciting new phase in their career, setting the bar high for their future releases and, therefore, offering us all another amazing reason for raising our horns high in the name of heavy music.
Best moments of the album: Carcinogenesis, Layers of Skin, Sungazer and Lex Talionis.
Worst moments of the album: Absolutely none.
Released in 2023 Unique Leader Records
Track listing 1. Carcinogenesis 5:49
2. Rats with Wings 3:31
3. Layers of Skin 4:03
4. Resolver 3:41
5. Omnipotence 3:40
6. Sungazer 4:33
7. Lex Talionis 4:30
8. Demon Queen 4:44
9. On Earth as it is in Hell 5:11
Band members
Jamie Graham – vocals
Charlie Michael – guitars
Adam Bell – guitars, synths
David Archer – bass, synths
Alex Micklewright – drums
A gore-fueled assault on the senses in the form of the sophomore album by a ruthless American Razorgrind band.
A Brutal Death Metal band formed in 2006 in Denver, Colorado, in the United States with a full-scale sonic attack and a sound unique enough to label their own music as “American Razorgrind”, Angelic Desolation are unleashing upon humanity their sophomore opus, titled Orchestrionic Abortion, a gore-fueled assault on the senses taking influences from Thrash Metal, Grindcore, Death Metal, horror movies and a love for the power of the riff. Recorded and mixed at Hahn Audio, mastered by Ted Jensen at Sterling Sound, and displaying a sick cover art by Kevin Waltz, Orchestrionic Abortion is a blood-soaked album best enjoyed loud masterfully put together by vocalist Jay Medina, guitarist Matt Markle, bassist Leonard White and drummer Max “Thunder” Stark, sounding ruthless and vile throughout its 31 minutes of musical savagery.
The quartet’s razor-edged onrush begins in full force with Brutus McMucus, a Brutal Death Metal tune with hints of Thrash Metal where Jay is absolutely infuriated with his sick roars, sounding fast, demented and infernal just the way we like it; followed by Shake The Baby, one of the most wicked songs of the current Deathgrind scene presenting a bestial job done by Matt with his piercing riffage and of course Max with his thunderous and intricate drumming. There’s no sign of slowing down at all for those American razorgrinders as we can see in Pterrordactyl Mann, with Matt slashing his axe nonstop supported by the low-tuned, metallic bass by Leonard and all beats and fills by Max. And switching gears to a more cadenced, headbanging vibe, the band brings forth the electrifying Dic Tater, where they distill all their technique while continuing their path of sonic devastation led by the deep gutturals by Jay.
If you like tacos and brutality, the band will offer you a gory fusion of both in Paco’s Satanic Taco Truck (Los Tacos De Diablo De La Troca De Paco), with Matt and Leonard adding their own spices to their already furious Death Metal thanks to another classy stringed work by the duo, whereas Barbaric Destroyer is as progressive as it’s violent, showcasing a fulminating performance by Max on drums while Jay keeps growling in the name of extreme music. Then screeches from a mad chimp blend perfectly with the band’s hellish sound in AIDS Chimp Lab Attack, a lesson in Technical and Brutal Death Metal with Matt stealing the spotlight with his ruthless riffage, being therefore perfect for slamming into the circle pit. And last but definitely not least, the band offers their rendition for Cattle Decapitation’s Forced Gender Reassignment (check out the original one HERE from their 2012 album Monolith of Inhumanity), delivering a fantastic tribute to their idols spearheaded by Jay and Max with their respective growls and blast beats.
Do you have what it takes to get face-to-face with the guys from Angelic Desolation? If your answer is yes, go check what they’re up to on Facebook and on Instagram, stream their visceral music on Spotify, and of course, grab your copy of the pulverizing Orchestrionic Abortion from their own BandCamp page, from Apple Music, or simply by clicking HERE. In a nutshell, Orchestrionic Abortion overflows blood and violence, and those American metallers responsible for such demented album are craving your blood to keep fueling their unrelenting Death Metal machine.
Best moments of the album:Shake The Baby, Dic Tater and AIDS Chimp Lab Attack.
Worst moments of the album:Pterrordactyl Mann.
Released in 2023 Independent
Track listing 1. Brutus McMucus 3:47
2. Shake The Baby 4:12
3. Pterrordactyl Mann 3:40
4. Dic Tater 3:44
5. Paco’s Satanic Taco Truck (Los Tacos De Diablo De La Troca De Paco) 3:52
6. Barbaric Destroyer 3:49
7. AIDS Chimp Lab Attack 3:44
8. Forced Gender Reassignment (Cattle Decapitation cover) 3:50
Band members Jay Medina – vocals
Matt Markle – guitars
Leonard White – bass
Max “Thunder” Stark – drums
A classic 80’s metal combustion of bold and true female-fronted anthemic Power Metal masterfully brought into being by one of the most promising names hailing from Atlantic Canada.
Hailing from the misty shores of Avalon, also known as St John’s, the capital of the Canadian province of Newfoundland and Labrador, Heavy/Power Metal unity Category VI formed in early 2010 bringing something new to their local metal scene as they are not only the only band from the city that plays Melodic Metal, but also the only active female-fronted Melodic Metal band in their hometown. Now in 2023 the band comprised of Amanda Gosse on vocals, Geoff Waye on the guitars, Keith Jackman on bass, and Patrick Tarrant on drums returns with a full blazing firestorm with their third album and most accomplished release to date, entitled Firecry, offering us all a classic 80’s metal combustion of bold and true female-fronted anthemic Canadian Power Metal. Featuring a fiery cover art by Serbian artist Ivan Radnić (Enchanted Sword, Fractures in the Sky), Firecry is mandatory for fans of Chastain, Warlock, HellionSentinel Beast and Fear of God, among others, a global scale climate-changing metal cyclone that just may melt the North American frozen tundra with its blazing sound.
The quartet wastes no time and kick off their metallic feast with the title-track Firecry, with Amanda already showcasing all her vocal potency supported by the thunderous bass lines by Keith in a lesson in modern-day Power Metal; whereas darker and more introspective than the opening tune, the somber Valkyrie brings forward piercing riffs by Geoff while Patrick hammers his drums in the best Manowar style. Then we have The Vultures Never Came, presenting a sonority that reminds me of 90’s Megadeth infused with elements from Mercyful Fate, while Patrick is on fire behind his drums providing Amanda with exactly what she needs to kick some ass with her soaring vocals, followed by She Runs With Wolves, another solid hybrid of classic Heavy Metal with more modern Power Metal spearheaded by the stylish riffs and solos by Geoff. And Heavy is the Crown is a direct song with all the classic elements from Heavy Metal, albeit not as exciting or inspiring as its predecessors.
Adding a touch of darkness to their sound and feeling even more inspired by the music by the iconic King Diamond, Amanda’s vocals will resonate through the four corners of the earth in Coven while her bandmates smash their instruments in the name of heavy music, and as every album of metal music inspired by the 80’s needs a power ballad, that’s offered to us by Category VI in The Cradle Will Fall, with of course Amanda stealing the show with her powerful vocals while the music increases its heaviness and epicness considerably as time passes by. Burning Bridges carries a beautiful name for a song that exhales Heavy Metal, with all band members being in total sync, in special Geoff and Keith who deliver a thrilling stringed attack; before the album ends with their rendition of Heart’s all-time classic Barracuda (check the original version HERE), and the band did a sensational job with their own version by bringing the same energy from the original one.
Such electrifying Canadian quartet can be found on Facebook and on Instagram with news, tour dates and other nice-to-know details, and don’t forget to also stream their music on YouTube and on Spotify. The excellent Firecry, which can be purchased from the Moribund Records’ webstore, from Season of Mist, from Apple Music or from Amazon, is undoubtedly the band’s strongest effort to date, bringing endless fire not only to their beautiful homeland, but also to any part of the world where our beloved heavy music is truly appreciated.
Best moments of the album:Firecry, The Vultures Never Came and Burning Bridges.
Worst moments of the album:Heavy is the Crown.
Released in 2023 Moribund Records
Track listing 1. Firecry 6:10
2. Valkyrie 6:05
3. The Vultures Never Came 4:10
4. She Runs With Wolves 4:12
5. Heavy is the Crown 3:47
6. Coven 4:52
7. The Cradle Will Fall 4:53
8. Burning Bridges 3:49
9. Barracuda (Heart cover) 4:21
Band members
Amanda Gosse – vocals
Geoff Waye – guitars
Keith Jackman – bass
Patrick Tarrant – drums
There’s nothing better than uniting two Nordic bands in Toronto (and we all know how Finland, Norway and Canada can get really, really cold) to celebrate the end of another freakin’ winter, and that’s exactly what hundreds of fans were able to witness at the always cozy The Opera House this Saturday when INSOMNIUM and ENSLAVED, with the support of BLACK ANVIL, kicked some serious ass with their very melodic, folk, and obviously heavy-as-hell music. The weather was good enough (for Canadian standards) for several people to only wear T-shirts, including myself, and I must say that was a wise decision as things started to get pretty warm inside the venue right after the doors opened. And on a side note, if you’re attending any concert at The Opera House or just visiting the neighborhood, a new Slayer Burger location (and I still think they should be called “SLAAAAAAAYYYYYYYYYEEEEEEEERRRRR Burger” for obvious reasons) opened on February 12 right beside the venue, offering a great option to fill up your personal tank before heading into any mosh pits.
It was 7:30pm when the opening act, New York, United States-based Black/Thrash Metal act BLACK ANVIL kicked off the night with their vicious music, with vocalist and bassist P.D. and drummer R.G. stealing the spotlight with another blasphemous performance, and I say “another” because I already had the pleasure of seeing them opening for the mighty Cannibal Corpse in November also here in Toronto. Still promoting their 2022 opus Regenesis, the quartet did a very solid job on stage, with their newest song NYC Nightmares being the highlight of their performance for me. Perhaps the only “issue” with their show was the fact that their music is considerably different from the main attractions, and at least I felt there was a lack of circle pits during their entire set. The fans still raised their horns for the band and clapped their hands in approval after each song was played, but as I said maybe the night was too eclectic for a band like Black Anvil.
Then after a quick break, more specifically at around 8:30pm, Finland’s own Melodic Death Metal institution INSOMNIUM hit the stage with a flawless performance, blending songs from all of their previous albums with the stunning creations form their brand new opus Anno 1696. Spearheaded by the iconic vocalist and bassist Niilo Sevänen, the band started their show with five superb songs in a row, those being 1696, White Christ, While We Sleep, Godforsaken and Lilian, embellishing the airwaves and putting the entire crowd in a metallic trance and showing how strong their newest album is. Insomnium have always been one of the pillars of Nordic Melodic Death Metal since their inception back in 1997, always releasing amazing albums, but it feels like they’ve perfect their sound even more with Anno 1696, and the reactions of the fans in Toronto to their new songs was the ultimate proof of that.
It was a little past 10pm when the main attraction of the night, Norway’s Progressive Black/Viking Metal horde ENSLAVED, took the city of Toronto by storm led by their charismatic vocalist and bassist Grutle Kjellson, putting a huge smile on the faces of everyone at The Opera House, and inspiring part of the crowd to head into the battlefield (aka mosh pits) for the delight of the band. The start of their performance with the songs Jettegryta and Homebound, from their 2020 album Utgard, plus the fact they played Kingdom, Forest Dweller and Heimdal, from their 2023 album Heimdal, therefore making for half of their setlist, also shows that Enslanved, just like Insomnium, are forward-thinking musicians who respect their past but are not trapped in it, and their diehard fans more than love that based on their reaction to their entire performance.
THE HEADBANGING MOOSE 