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Concert Review – UADA & Mortiis (Lee’s Palace, Toronto, ON, 04/24/2026)

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The city of Toronto was taken by storm by the Witches of Dystopia this Friday night in a celebration of darkness, spirituality and witchcraft.

OPENING ACTS: Wraith Knight and Jerome Reuter’s Rome

After a Heavy Metal night on Thursday with the Burning Witches, it was time to join the Witches of Dystopia on Friday night as WRAITH NIGHT, JEROME REUTER’S ROME, MORTIIS and UADA took the city of Toronto by storm with their The Witches of Dystopia Tour MMXXVI, another massive event brought to the city by Noel Peters of Inertia Entertainment. The venue chosen for such a unique experience was Lee’s Palace (and it looks like it’s the only place UADA play in the city, by the way, as it was their third time there out of three shows), and of course Keith Ibbitson of Metal Paparazzi and I were there to enjoy such a dark celebration encompassing countless music styles, from Black Metal and Dungeon Synth to Darkwave and Melodic Black Metal. It was a night of ups and downs as expected when you have so many different styles billed together, but that’s fine. You only need to open your mind and let the music flow through your soul, it doesn’t matter if it’s heavy as hell, or smooth and atmospheric.

It was 7:30pm, only 30 minutes after the doors were open, when Camas, Washington-based Black Metal/Ambient/Dungeon Synth entity WRAITH KNIGHT ignited the festivities with its fusion of dark music and fantasy. The project is basically Nick Superchi (the brother of UADA’s own frontman Jake Superchi, with whom he has also co-founded Dark Forest Productions) on synthesizers, and you can enjoy its two album Deep in the Dungeons of the Dragonlord, from 2022, and Of Arcane Magic & Forbidden Knowledge: The Necromantical Passage, from 2026, on BandCamp and on Spotify. It was a bit weird seeing just one guy on the corner of the stage playing synths for 30 minutes, but it is what it is. Nick hasn’t joined this tour in vain, and all would make sense after UADA hit the stage later that night.

Band members
Nick Superchi – synthesizers

Then after a short break it was time for another one-man project to entertain everyone who beats traffic and was already at Lee’s Palace, Luxembourg’s own Neofolk act JEROME REUTER’S ROME. And again, it was only one guy onstage, this time playing an acoustic set on the guitar. Known for his time with Street Punk band The Skinflicks, and for his collaborations with Nergal in his Dark Folk/Blues project Me And That Man, Jerome is now putting a lot of focus and effort on Rome, and if you enjoy Neofolk you can go check his music on Spotify. I would have preferred a regular Black Metal band instead, fully electrified and loud, but again, nothing that could make the night less enjoyable.

Band members
Jerome Reuter – vocals, guitar

MORTIIS

The first main attraction of the night was Oslo, Norway-based Darkwave/Dungeon Synth/Electronic/Industrial Rock entity MORTIIS, and yes, all of those music genres and subgenres can be applied to the most famous troll in the music industry. I don’t know if he was the best option to tour alongside such a heavy band like UADA, but the crowd seemed to be enjoying his electronic music more than what I expected. Basing his setlist on his 2001 cult album The Smell of Rain, plus the new song Ghosts of Europa, from his upcoming album of the same name (to be released on June 21), all available on BandCamp and on Spotify, Mortiis and his henchmen Ashes on the guitar, and Jon Siren on drums put a lot of people to dance at Lee’s Palace, including Mortiis himself onstage, of course.

The only thing that REALLY bothered me during his entire concert was the excessive use of backing tracks, in special all keyboards and synths. I read somewhere that the reason for such was to maintain the atmospheric complexity of his studio recordings that cannot be fully replicated by a standard live band (and it also gave Mortiis more freedom to move around the stage, I must admit that), but when over 90% of the instrumental is based on keyboards and synths, that gets truly annoying. No idea what was going on inside the minds of the fans at the venue, as the ones dancing didn’t seem to care about it, while others were simply not moving at all. When Smell the Witch was over, I noticed some people leaving the floor section. Maybe they were there just for Mortiis, maybe they were afraid of being caught in a mosh during UADA, which proves again the lineup for this tour was very weird. It worked, but it was still weird.

Setlist
Ghosts of Europa
Marshland
You Put a Hex on Me
Mental Maelstrom
Spirit in a Vacuum
Monolith
Parasite God
Tundra
Demons Are Back
Doppelganger
Smell the Witch

Band members
Mortiis – vocals
Ashes – guitars
Jon Siren – drums

UADA

Finally when the clock was about to hit 11pm it was time for one of the best, if not THE best, Melodic Black Metal band of the current scene, Portland, Oregon’s own UADA, to crush our damned souls with another spiritual, hypnotizing and absolutely dark performance, almost three years after their demolishing 2023 concert at the same venue, but this time their concert was absolutely unique, playing in full their 2016 debut Devoid of Light (available on any platform like BandCamp and Spotify), in celebration of the album’s 10th anniversary, plus songs from Symphonic Black/Death Metal band Ceremonial Castings, formed by brothers Jake “Lord Serpent” Superchi and Nick “OldNick” Superchi, celebrating 30 years of the band. It was a very bold move as I’m not sure if everyone at the venue knew Ceremonial Castings, but the final result was majestic to say the least.

When Jake Superchi, Rob Shaffer, Nate Verschoor and Pierce Williams hit the stage and kicked off their venomous feast of Black Metal with the excellent Natus Eclipsim, followed by the massive title-track Devoid of Light, the heaviness and loudness at Lee’s Palace were turned up to 11, inspiring everyone to raise their horns, bang their heads nonstop, and slam into the circle pit, all while joining the band on their spiritual journey. As a huge fan of all UADA albums, it was a pleasure seeing Devoid of Light in full (and I think this was the 10th album played in full by different bands in the city in the past year or so, a very cool trend if you ask me), with Black Autumn, White Spring being the icing on the cake as usual. Superb performance by this must-see band from the metal underworld.

Then after the instrumental interlude comprised of The Wanderer, from their 2018 masterpiece Cult of a Dying Sun, Nick Superchi of Wraith Knight joined the band onstage for a special set based on the “Bewitching Black Metal” crafted by Ceremonial Castings. With its lyrics based on the art of black magic, witchcraft and rituals, the band seems to have been resurrected by Jake and Nick in 2020, and I must say I’m really happy they decided to bring such an amazing project back from the dead. The songs chosen for their special ceremony were Immortal Black Art, Into the Black Forest of Witchery, Barbaric Is The Beast, Come Forth Damnation, Damned Be Those of the Craft, and Midnight Deathcult Phenomena, all available on BandCamp and on Spotify, and I highly recommend you go after the music by Ceremonial Castings as it’s simply phenomenal. All fans loved every single second of the show, and I bet whoever was not familiar with Ceremonial Castings was certainly impressed with their killer music. In addition, they ended their set with an incendiary version of Emperor’s all-time classic I Am the Black Wizards. Do I need to say more?

There was only one issue with UADA’s classy performance involving one of the girls at the concert, but I guess both the girl and Jake regret their actions this Friday night. The same girl who went onstage to do splits at the Incantation concert (opening for Belphegor) earlier this year thought it was a good idea to do the same at UADA, but she clearly didn’t have a clue of what a UADA concert means. It’s not Thrash Metal, it’s not Death Metal, sometimes not even Black Metal. It’s a spiritual event, and the stage is sacred ground for the band. After doing her splits, Jake simply booted her out of the stage, and although her fall wasn’t that harsh, it was still a considerable fall. Jake apologized to her after the show, of course. I guess he was in his usual trance onstage and didn’t think properly before kicking her in the ass, but that also shows you cannot simply go to a concert and do whatever you want, like invading the stage, because depending on the band that’s not cool at all. In the end, it didn’t really matter, because UADA were beauifully insane, and I can’t wait to see them live again sooner than later. Without anyone going onstage to do splits, please.

Setlist
Devoid of Light (10-Year Anniversary)
Natus Eclipsim
Devoid of Light
S.N.M.
Our Pale Departure
Black Autumn, White Spring

Interlude:
The Wanderer

Ceremonial Castings (30-Year Anniversary)
Immortal Black Art
Into the Black Forest of Witchery
Barbaric Is The Beast
Come Forth Damnation
Damned Be Those of the Craft
Midnight Deathcult Phenomena

Encore:
I Am the Black Wizards (Emperor cover)

Band members
Jake Superchi – vocals, rhythm guitars
Rob Shaffer – lead guitars
Nate Verschoor – bass
Pierce Williams – drums

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Concert Review – Tribulation (Lee’s Palace, Toronto, ON, 05/25/2025)

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

OPENING ACTS: Unreqvited, Final Gasp and Early Moods

Thankfully the rain had stopped by the time us fans began to queue up in front of Lee’s Palace as Swedish goth/death metal band TRIBULATION and friends (UNREQVITED, FINAL GASP and EARLY MOODS) visited our fair city on their North America 2025 Tour, another great event brought to Toronto by Noel Peters of Inertia Entertainment. It was not a sold out show by any means, which was quite surprising since the these are all killer bands. Maybe the Scattered showers scared folks away. Who knows? Their loss I guess! They happened to miss out on a fantastic night of heavy metal sorcery. Ultimately the lower turn out made the show feel more intimate and Lee’s is a smaller venue anyway, besides, the crowd that showed up proved to be die-hard supporters (good on them!). All in all I would say that at least over 100 head bangers showed up in support.
The first band to play was UNREQVITED, out of our nations capital Ottawa, and they promptly set the mood with their brand of post-black/shoegaze which reminded me a lot of  the French band Alcest, which I didn’t mind because I’m a fan of them also. I found their music to be atmospheric and introspective as well as head-bobbing/banging. This band has fantastic vocals from soothing cleans to raspy black metal grumblings and howls. Although I could see that for some in the crowd that shoegaze was not exactly their cup of tea, they still appreciated the music set before them. By the way, if you enjoy that type of music, the band has recently released the album A Pathway to the Moon, and you can purchase it or stream it in full on BandCamp and on Spotify.

Setlist
The Starforger
Void Essence / Frozen Tears
The Autumn Fire

Band members
鬼 (Ghost) – vocals, all instruments
Victor Forest – guitars
Robin Parsons – bass
Alec Curren – drums

For those in the crowd that were feeling a bit drowsy, EARLY MOODS out of Los Angeles, California, bitch-slapped their asses and got the place buzzing. This band is so freaking awesome. They blasted us with their brand of energetically powerful doom metal and swagger. You get everything you need out of this band like energy, excitement, groove, sore necks and killer riffs. These guys are killer! I highly recommend that you check them out the next time they swing by town, you won’t be disappointed, and go check their music on BandCamp or Spotify, like their 2024 album A Sinner’s Past. The crowd absolutely loved this band and so do I. I also loved that these guys joined the crowd after their set and head-banged along side us in support of their fellow tour mates.

Setlist
Isolated
Blood Offerings
Return To Salem’s Gate
Live To Suffer
Soul Sorcery
A Sinner’s Past
Damnation

Band members
Alberto Alcaraz – vocals
Eddie Andrade – guitars
Oscar Hernandez – guitars
Elix Feliciano – bass
Chris Flores – drums

Next up was a band called FINAL GASP out of Boston, MA. This deathrock outfit kept the buzz going throughout the building with a highly energetic set. The lead singer Jake Murphy tried on several occasions to get a circle pit going but nobody took the bait but he did manage to get the crowd to come a little closer to the stage. It was a small crowd after all, but you can’t knock him for trying though. Even still, the crowd was receptive to Final Gasp and they put on a great performance for the crowd as it was their final show on this tour. I wouldn’t say no to seeing them again if they ever come back to town. Killer band, and you can enjoy their entire discography, like their most recent album Mourning Moon, released in 2023, in places like BandCamp and Spotify.

Setlist
Look Away
Climax Infinity
Mourning Moon
Apparition
Blood & Sulfur
Temptation
Homebound
Suicide

Band members
Jake Murphy – vocals
James Forsythe – guitars
Peter Micanovic – guitars
Sean Rose – bass
Eric Lester – drums

TRIBULATION

I last saw blackened-goth metallers TRIBULATION when they opened up for Opeth this past Thanksgiving and they impressed me, so I was delighted to hear that they were coming back to Toronto for their North American tour. Seriously, are there any shitty metal bands in Sweden? Because I haven’t found one yet. Swedish Metal is so consistent and Tribulation out of Arvika, Sweden are no slouch. They are an absolutely fantastic band, as you can see in their 2024 opus Sub Rosa in Æternum, available on several streaming services like Spotify. Tribulation put on another amazing show, ensorcelling and enchanting all of the die-hard supporters that showed up with unrelenting class. They are such a tight, professional band, you seriously can’t go wrong seeing them live. I look forward to seeing them again some day.

Setlist
The Unrelenting Choir
Tainted Skies
Nightbound
Hamartia
Suspiria De Profundis
Melancholia
In Remembrance
Hungry Waters
Saturn Coming Down
Murder In Red
Strange Gateways Beckon

Band members
Johannes Andersson – vocals, bass
Adam Zaars – guitars
Joseph Tholl – guitars
Oscar Leander – drums

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Concert Review – Swallow The Sun (The Velvet Underground, Toronto, ON, 02/21/2025)

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A night of sheer doom, darkness and melancholy in the form of first-class heavy music took the skies of Toronto this Friday night.

OPENING ACTS: Snakes Of Russia, Ghost Bath and Harakiri For The Sky

A few days after the heaviest snow storm the city of Toronto has seen for quite some time, The Velvet Underground hosted the Shining Over North America Tour 2025 with the bands SNAKES OF RUSSIA, GHOST BATH, HARAKIRI FOR THE SKY and SWALLOW THE SUN, and of course Keith Ibbitson of Metal Paparazzi and I were there to cover such an amazing event. Well, unfortunately due to the insane traffic to get to Toronto AND also inside the city, it was impossible for several concert goers to arrive in time for the performance by United States-based Darkwave/Electronic/Ambient act SNAKES OF RUSSIA, including Keith and I. I honestly have no idea how the show was, if the crowd enjoyed it or not, as while Snakes of Russia was playing I was desperately trying to find a parking lot where most spots were not taken by huge snow banks. At least before the show I had some time to listen to their 2023 album True Surrender, available on BandCamp and on Spotify, and although it’s not my cup of tea I must admit it’s a really cool album for fans of the darkest side of electronic music.

Band members
Joseph Holiday – vocals, all instruments

When I weas finally able to get inside the venue, American Depressive/Post-Black Metal entity GHOST BATH had already started their setlist, but at least in this case I had plenty of time to enjoy their harsh and sinister performance, led by the visceral, anguished screams by vocalist and guitarist Nameless. One of the main issues with The Velvet Underground, if not their biggest issue, is the fact the stage is way too low, almost as if it doesn’t really exist, and it’s really tough to see the bands performing there unless you’re two feet from the “stage”. Add to that a few pillars in the middle of the venue, and there you have the perfect atmosphere to mainly listen to the music played without seeing anything. Furthermore, Keith couldn’t make it in time for Ghost Bath, and as my mobile pictures of the show are beyond nasty, there isn’t anything to show about them on this review. You can still enjoy their music on BandCamp and on Spotify, like their 2021 album Self Loather, and I highly recommend seeing those guys live if you enjoy such a caustic type of Black Metal.

Band members
Nameless – vocals, guitars
Caleb Cheslock – guitars
Liam Frith – guitars
Josh Jaye – bass
Alec Martin – drums

Then after all that hassle to get to Toronto, the shitty traffic, the excruciating task of finding a parking spot, and so on, I was already getting very tired and ready to go back home to relax a little, but fortunately Austria’s own Post-Black Metal masters HARAKIRI FOR THE SKY hit the stage for the most electrifying performance of the night, waking me up and inspiring me to headbang and raise my horns nonstop to their fantastic music. Playing mostly songs from their 2021 album Mӕre and their newborn masterpiece Scorched Earth, the band led by frontman J.J. and guitarist M.S. kicked some serious ass on stage, investing all of their energy into each song played, and with minimal talk in between songs. I simply loved seeing them live for the first time, and songs like With Autumn I’ll Surrender, Without You I’m Just a Sad Song, Fire, Walk With Me, and Sing for the Damage We’ve Done (all available on Spotify) sounded flawless, superb and touching, and the reaction from every single person to their classy performance was a thing of beauty, which clearly indicated it won’t take long for one of the best bands of the current metal scene worldwide to return to Toronto soon.

Setlist
Keep Me Longing
With Autumn I’ll Surrender
Fire, Walk With Me
Without You I’m Just a Sad Song
Sing for the Damage We’ve Done
Calling the Rain

Band members
J.J. – vocals
M.S. – guitars
Marrok – guitars, backing vocals
P.G. – bass
Kerim “Krimh” Lechner – drums

SWALLOW THE SUN

The name of the band says it all. After a quick break, it was time for the darkest show of the night, courtesy of Finland’s Melodic Doom/Death Metal titans SWALLOW THE SUN, and it was indeed a dark, pensive, doomed and visceral concert. Vocalist Mikko Kotamaki and his henchmen were on fire during their entire set, blending their old material with their newest albums Moonflowers (2021) and Shining (2024), with the sequence of Woven Into Sorrow, Charcoal Sky, MelancHoly, New Moon and Night Will Forgive Us sounding and feeling as heavy and obscure as possible. The encore was just as doomed, with November Dust and Swallow (Horror, Part 1), and their diehard fans were having an amazing time with their scorching riffs, pounding drums and visceral energy. It was a somewhat late show for most of us, but in the end it was a fantastic night of contemporary heavy music, and I’ll surely be there anytime Swallow The Sun are back in town with their undisputed doom.

Setlist
Velvet Chains
Innocence Was Long Forgotten
What I Have Become
Firelights
Under the Moon & Sun
Woven Into Sorrow
Charcoal Sky
New Moon
MelancHoly
Night Will Forgive Us
Plague of Butterflies: Pt. I: Losing the Sunsets

Encore:
November Dust
Swallow (Horror, Part 1)

Band members
Mikko Kotamaki – vocals
Juha Raivio – guitars, keyboards
Juho Raiha – guitars
Matti Honkonen – bass
Juuso Raatkainen – drums

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Album Review – Unreqvited / A Pathway To The Moon (2025)

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One of the most respected Post-Black Metal acts in Canada returns with its eighth studio album, emerging as a new creature with luminous, polychromatic wings and ready to soar into stellar space.

Vocalist and multi-instrumentalist 鬼 (Ghost), the mastermind behind Ottawa, Ontario’s own Post-Black Metal/Shoegaze/Ambient entity Unreqvited, has a penchant for beautiful musical creations that reveal their claws and fangs only at closer inspection after spending some time on them. This solo project is firmly rooted in Blackgaze sonic soil but has also out sent tendrils into Ambient, Post-Rock, Post-Black Metal, and other related stylistic strata, with its seventh studio album, titled A Pathway to the Moon, taking an impressive evolutionary leap. Recorded by 鬼 at Unreqvited Studio, mixed by Benjamin V. Cooligan at New Alchemy Audio, mastered by Bogdan Makarov at NƎkkomix, and with cover artwork by Bérénice (Noirs Dessins) and layout by Irrwisch Artdesign, A Pathway to the Moon emerges as a new creature with luminous, polychromatic wings and ready to soar into stellar space; yet still it bears claws and fangs, being therefore highly recommended for fans of Alcest, Harakiri For The Sky, Deafheaven and Heretoir, among others.

The soothing, ethereal intro Overture I: Disintegrate will transport the listener to Unreqvited’s emotional journey starting with The Antimatter, offering ten minutes of beautiful yet dark passages blending the venomous side of classic Black Metal with the more modern nuances of Post-Metal, while the vocals by our lone wolf 鬼 exhale despair and obscurity. The other single released, titled The Starforger, begins in a calming, enfolding manner to the minimalist guitars by 鬼 while his vocalizations also bring melancholy and peace to our hearts; followed by Void Essence / Frozen Tears, a beautifully dark composition by Unreqvited that will surely take you to the stars to the sound of its melodious guitars and stylish piano notes. Into the Starlit Beyond sounds and feels even more spiritual and pensive than its predecessors, perhaps a bit too much albeit sounding very comforting, whereas Celestial Sleep brings forward two minutes of first-class Blackgaze, with 鬼 thoroughly putting together elements from several types of music, flowing into Departure: Everlasting Dream, a beyond atmospheric track that puts a charming yet somber conclusion to the album.

In a nutshell, A Pathway to the Moon takes Unreqvited closer to a traditional rock and metal album based on its songs than ever before – yet it is also the soundtrack of a most beautiful sonic journey, and you can join our mysterious lone wolf in his musical voyage by following the project on Facebook and on Instagram, by subscribing to its YouTube channel, and of course by purchasing the album from BandCamp or by clicking HERE, available as a stunning 36-page hardcover CD-artbook including a cover version for Cornfield Chase by Hans Zimmer (from the 2014 movie Interstellar) as a bonus track, as a black vinyl LP, and as a limited ash-grey marbled vinyl LP. Having said all that, it’s time to let the luminous creature known as Unreqvited soar high to the sound of its striking new album, elevating Canadian Blackgaze to new and exciting heights.

Best moments of the album: The Antimatter, The Starforger and Void Essence / Frozen Tears.

Worst moments of the album: Into the Starlit Beyond.

Released in 2025 Prophecy Productions

Track listing
1. Overture I: Disintegrate 2:19
2. The Antimatter 10:34
3. The Starforger 8:04
4. Void Essence / Frozen Tears 9:08
5. Into the Starlit Beyond 5:23
6. Celestial Sleep 1:49
7. Departure: Everlasting Dream 5:48

CD-artbook bonus track
8. Conrfield Chase 2:07

Band members
鬼 (Ghost) – vocals, all instruments

Guest musicians
Benjamin V. Cooligan – guitar solos on “The Antimatter” and “Into the Starlit Beyond”
Jamie Turton – additional orchestration on “Overture: I Disintegrate”, “Frozen Tears” and “Cornfield Chase”

Album Review – The Sun Through a Telescope / Warm, Grey Day (2025)

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Ottawa, Canada’s own Drone, Doom and Sludge Metal lone wolf will crush our senses with his new offering, capturing the rawness of the BBC Radio One and Peel Sessions in his distinctive sound.

Incorporating elements of Post-Metal, Doom Metal, Post-Rock, Doomgaze, Psychedelic, and Ambient in his music, Ottawa, Canada-based lone wolf Leigh Newton (aka Lee Neutron) and his Drone/Doom/Sludge Metal beast The Sun Through a Telescope strike again with a brand new offering, titled Warm, Grey Day, the thirteenth release (and fourth full-length album) in the project’s already solid career. Written, recorded and mixed by Leigh himself at G-West Studios, and mastered by Topon Das at Apartment 2 Studios, Warm, Grey Day captures the rawness of the BBC Radio One and Peel Sessions, which Leigh was listening to a lot during the writing and recording of the album, being therefore recommended for fans of Godflesh, Jesu, Oranssi Pazuzu, Zeal & Ardor, and Sumac, among many others.

The album kicks off with the 12-minute experimental tune Eyes Lambent, arising from the underworld like a devilish creature, feeling like a sonic mantra where Leigh delivers minimalist, haunting sounds from his instruments before all hell breaks loose in a feast of Drone and Doom Metal. Then Leigh and his sharp riffs ignite the sluggish Fantastic Waste, overflowing melancholy and obscurity to Leigh’s harsh vociferations; followed by Pathways I, presenting eight minutes of a space and time voyage in the form of Doomgaze, with Leigh experimenting with countless sounds in the background, flowing into the harsh Pathways II, a grim fusion of Drone, Doom and Sludge Metal, with Leigh hammering his drums while also gnarling nonstop.

We’re then treated to two and a half minutes of distorted yet melodious sounds in The Mercy, working as an interlude before we face Yellow Darkyard, the second song of the album that surpasses the 12-minute mark, sounding very emotional with a striking, passionate vocal performance by Leigh, who also does an amazing job on the guitars and drums, adding an extra touch of heaviness to the overall result and ending on a high and caustic note. In Green (Again) our lone wolf offers a lighter version of his project, almost like an acoustic track with his guitars exhaling hope and peace, before the album ends with the pure Ambient track Grey, putting a whimsical conclusion to such a diverse and interesting album.

It’s been a while since our last review of any release by The Sun Through a Telescope, with the lats one being the project’s 2017 album Black Hole Smile, and I must say it’s a pleasure to get in touch once again with such a talented musician and his unique take on the genre, always pushing the boundaries and always experimenting with new sounds and techniques. Hence, if you want to give Leigh a shout you can find him on Facebook, and of course purchase a copy of Warm, Grey Day from BandCamp (with a limited run of 20 cassettes available), which is also available on all streaming services like Spotify. I don’t think it will take long for us to hear again from Leigh and his The Sun Through a Telescope as the guy seems to be unstoppable, and as long as he keeps delivering to our avid ears high quality noise like what’s found in Warm, Grey Day we’ll be more than happy with that.

Best moments of the album: Fantastic Waste, Pathways II and Yellow Darkyard.

Worst moments of the album: The Mercy.

Released in 2025 Independent

Track listing
1. Eyes Lambent 12:21
2. Fantastic Waste 6:16
3. Pathways I 8:04
4. Pathways II 5:31
5. The Mercy 2:33
6. Yellow Darkyard 12:11
7. Green (Again) 3:25
8. Grey 5:01

Band members
Leigh Newton – vocals, guitars, bass, drums, programming, samples

Album Review – Lord Agheros / Anhedonia (2025)

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One of the leading Atmospheric and Avantgarde Black Metal names in Italy returns with its cinematic, emotional and dramatic seventh studio album.

One of the leading Atmospheric and Avantgarde Black Metal names in Italy, Catania, Sicily-based entity Lord Agheros takes us into a musically extreme world that mixes Nordic-style Black Metal with ancient and melancholic atmospheres linked to symphonic and ambient elements in its newborn spawn Anhedonia, the seventh studio album in its brilliant career. Recorded, mixed and mastered by Lord Agheros at Molon Labe Studio, with graphic project and layout by Federico De Luca, the new album by vocalist and multi-instrumentalist Gerassimos Evangelou offers a beautiful slab of what he likes to call “Atmospheric Emotional Black Metal”, bringing forward the cinematic essence of Ulver, the Avantgardism of Ihshan, the strength of Wolves In The Throne Room, the Mediterranean touch of Moonspell, and the dramatic elements of Empyrium.

A melancholic, soothing start evolves into a deep feast of harsh and ethereal vocalizations that lasts for over six minutes in Lament of the Lost, flowing into Harmony of Despair, which also starts in a serene manner before Gerassimos delivers devilish riffs and beats boosted by a grandiose backdrop, also presenting delicate piano notes and endless fire. Eclipse of Hope offers another enfolding dosage of his emotional version of Atmospheric Black Metal, alternating harsh, visceral moments and delicate passages, whereas a reverberating sound will enfold you in darkness in Lost Dreams Ritual, taking too long to take off despite its interesting tribalistic vibe.

Sorrow’s Shroud is a lot heavier, more introspective and somber than its predecessors, with Gerassimos kicking some ass with both his harsh vociferations and serene, soothing instrumental passages; flowing into the beyond atmospheric Soul’s Descent into the Void, with its piano notes matching beautifully with the female vocals by a mysterious guest vocalist, also connecting with the melodic track Tears in the Silence, where Gerassimos focuses on the ethereal sound of his acoustic guitar alongside the gentle sound of the piano, and ending with the Avantgarde Metal feast named Ancient Echoes, with all vocalizations and ambient elements putting a pensive conclusion to the album.

In a nutshell, Anhedonia is a sort of musical journey between esoteric and oriental sounds, Ambient-wave elements and references to Nordic musical traditions, but without losing the identity of the project made by the beauty of the atmospheres that blend inextricably with the sonic extremism of Black Metal. Hence, don’t forget to follow Gerassimos and his Lord Agheros on Facebook and on Instagram, to stream his music on Spotify, and of course to buy a copy of his striking new album from BandCamp or from My Kingdom Music’s BandCamp or webstore. As it is for years now, always expect the unexpected. Because this was, is, and will always be the main path of Lord Agheros.

Best moments of the album: Harmony of Despair, Sorrow’s Shroud and Soul’s Descent into the Void.

Worst moments of the album: Lost Dreams Ritual.

Released in 2025 My Kingdom Music

Track listing
1. Lament of the Lost 6:30
2. Harmony of Despair 3:46
3. Eclipse of Hope 4:34
4. Lost Dreams Ritual 5:02
5. Sorrow’s Shroud 5:50
6. Soul’s Descent into the Void 4:44
7. Tears in the Silence 5:12
8. Ancient Echoes 4:13

Band members
Gerassimos Evangelou – vocals, all instruments

Album Review – Decompose To Ashes / Pod Plameny Severu (2024)

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This sinister Czech entity returns with a crushing collection of songs of pure Black Metal magic under the flames of the north.

Shortly after the releases of their debut EP In The Eternal Silence and their 2024 EP Until the Darkness Comes Again, Děčín, Czechia’s own Black Metal/Ambient horde Decompose To Ashes returns with their 90’s Black Metal-inspired sounds in their first full-length opus, entitled Pod Plameny Severu, which translates from Czech as “under the flames of the north”. Now comprised of Honza Kapák on vocals, Wlad on guitars and bass, Leviathan on drums, and Silenthell on timpani, the band continues to blast their dirty sounds, raw production and 90’s vibe, with an ambient instrumental atmosphere being woven into their music inspired by gloomy burial subject matter, resulting in a crushing collection of songs of pure Black Metal magic.

Bouře plamenů means “flamestorm” in Czech, that’s the exact sound you’ll get in this phantasmagorical intro before the band demolishes our souls in Slyš jak umírám (“hear me die”), a grim and dark display of classic Black Metal where Wlad fires old school riffs accompanied by the visceral blast beats by Leviathan, resulting in an absolutely demonic composition by the quartet. Then once again Leviathan takes the lead in Brána z popela (“gate of ashes”), exhaling pure evil in the form of music boosted by the venomous gnarling by Honza, followed by Tma, or “darkness”, and the name of the song says it all as it’s a no shenanigans, in-your-face Black Metal attack showcasing the always piercing riffage by Wlad.

There’s no hope in sight to the sound of Z nicoty a prachu, or “from nothingness and dust”, once again bringing forward the blasting drums by Leviathan supported by the low-tuned, unstoppable bass by Wlad; and  they show their deep passion for Black Metal and all things dark in Za mostem z lebek (“beyond the bridge of skulls”), another slab of brutality, evil and rage led the the visceral riffs by Wlad, morphing into the atmospheric interlude Nářek nevinných (“lament of the innocent”), overflowing melancholy and obscurity before we’re treated to Krystalická řeka, or “crystal river”, where Honza sounds even more malignant on vocals, haunting our souls while Leviathan doesn’t stop smashing his drums, offering our avid ears more of their Black Metal magic sounds. And lastly, there’s still time for Návrat života, or “return of life”, an ambient outro that closes the album on a somber mode.

Black Metal can be an overcrowded land these days, and sometimes you need patience to find bands that truly stand out amidst the countless names out there, but let’s say Decompose To Ashes are definitely a band that knows how to differentiate themselves from the others, which is easy to notice in Pod Plameny Severu (available in full on YouTube and on Spotify, by the way). Having said that, go check what those Czech black metallers are up to on Facebook and on Instagram, and purchase a copy of their new album from their own BandCamp or from the Necroeucharist Productions’ BandCamp, keeping the “flames of the north” burning bright to the sound of one of the most interesting names of the current Czech scene.

Best moments of the album: Slyš jak umírám, Tma and Za mostem z lebek.

Worst moments of the album: Nářek nevinných.

Released in 2024 Necroeucharist Productions

Track listing
1. Bouře plamenů 0:53
2. Slyš jak umírám 5:27
3. Brána z popela 4:13
4. Tma 3:53
5. Z nicoty a prachu 4:24
6. Za mostem z lebek 5:00
7. Nářek nevinných 2:42
8. Krystalická řeka 4:00
9. Návrat života 1:09

Band members
Honza Kapák – vocals
Wlad – guitars, bass
Leviathan – drums
Silenthell – timpani

Album Review – Avernus / Grievances (2024)

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A beast of an album that represents the return to action by one of the premiere bands mixing death with doom elements, and by far their most cohesive and powerful recording to date.

Established in 1992 in Chicago, Illinois, Atmospheric Doom/Death Metal outfit Avernus (which, in Roman mythology, was the name for the underworld) was one of the premiere bands mixing death with doom elements as evidenced by early demos over the next couple years. However, after recording a couple more demos, the band wallowed in obscurity in the 2000’s despite the efforts of remaining constant member, founder Rick McCoy, slowly crumbling away. Recorded and engineered by Joe Scaletta at Word Of Mouth Recording (with drums recorded at Bricktop Recording, and additional recording by Andy Lagis at Earshot Recording), mixed and mastered by Charles Macak at Electrowerks Recording, and displaying the sinister 1878 oil in canvas “Anguish”, by August Friedrich Schenck, as the artwork, the newborn beast Grievances is the return to action by Avernus after so many decades, by far the most cohesive and powerful recording assembled by the more experienced and yet calmer heads of Rick McCoy on vocals, guitars and synthesizers, James Genenz on guitars, bass, synthesizers and vocoder, Erik Kikke on guitars and bass, and Rick Yifrach on drums and percussion to create truly a masterwork.

The phantasmagorical intro Calling The Void already brings forward the band’s trademark heaviness, with its sluggish sounds penetrating deep inside our minds before Nemesis darkens the skies with its beyond doomed vibe, where Stygian background elements and minimalist guitars are exactly what Rick McCoy needs to roar like a ruthless creature, not to mention how powerful the slow and steady beats by Rick Yifrach sound. The hammering riffs by Rick McCoy, James and Erik sound caustic and grim in Exitus, offering more of their Atmospheric Doom Metal essence, all boosted by serene, delicate synths, followed by the whimsical instrumental interlude Plateau, making the ambience even heavier and more somber until the band comes crushing like thunder in the Doom Metal aria The Burning Down, featuring spoken words by guest Corporate Death (of Macabre), inspired by giants of the scene the likes of My Dying Bride while Rick McCoy’s vocals exhale anguish and darkness.

And the atmosphere remains dense and pensive in Return To Dust, with the sluggish drums by Rick Yifrach hitting us hard with every single beat, supporting the riffs, bass and grim vocals by his bandmates, morphing into another cinematic, massive interlude titled Open Arms (To The Apocalypse), overflowing Doom Metal until futuristic synths create a stunning paradox with the harsh sound of their guitars in Utter Euphoria, featuring additional guitars by Jeff Ulbrich (of From Beyond These Walls). Abandoned is another song with a beyond atmospheric start, almost sounding like Ambient or Shoegaze, and maybe a bit too long to be honest; and there’s one final onrush of Atmospheric Death and Doom Metal by Avernus titled Quietus, with Rick Yifrach once again pounding his drums in the name of doom while the guitars by the band’s stringed trio sound as sharp as they can be, alternating between delicate passages and sheer heaviness where Death and Doom Metal converge, therefore ending the album in a climatic and piercing manner.

Grievances is more than a strong return to form by Avernus, but a must-listen for admirers of the most sluggish, darkest form of death and doom, and you can show your support to those awesome Chicago musicians by following them on Facebook and on Instagram, staying up to date with all of their news and tour dates, and of course by clicking HERE and purchasing your favorite version of their flammable new opus. The band might have taken years to get back in action, but the wait was absolutely worth it as the music found in Grievances is fantastic, and I’m sure we won’t have to endure another huge hiatus by Avernus in the coming years because after the impact of their new album in the current scene, they’ll feel more than inspired to keep spreading their doomed wings upon us.

Best moments of the album: Nemesis, The Burning Down and Quietus.

Worst moments of the album: Abandoned.

Released in 2024 M-Theory Audio

Track listing
1. Calling The Void 2:16
2. Nemesis 9:33
3. Exitus 8:10
4. Plateau 3:31
5. The Burning Down 9:26
6. Return To Dust 7:37
7. Open Arms (To The Apocalypse) 3:02
8. Utter Euphoria 4:32
9. Abandoned 5:05
10. Quietus 8:52

Band members
Rick McCoy – vocals, guitars, synthesizers
James Genenz – guitars, bass, synthesizers, vocoder
Erik Kikke – guitars, bass
Rick Yifrach – drums, percussion

Guest musicians
Corporate Death – spoken word on “The Burning Down”
Jeff Ulbrich – additional guitars on “Utter Euphoria”

Album Review – Spectral Lore / 11 Days EP (2023)

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Embark on a musical voyage together with this Greek Atmospheric Black Metal/Ambient entity, offering us all a powerful concept album about the refugee sea route to Europe through the Mediterranean sea.

A concept album about the refugee sea route to Europe through the Mediterranean sea, 11 Days is a very different album for Athens, Greece-based Atmospheric Black Metal/Ambient entity Spectral Lore, being its first album to feature a specifically political theme. Originally released as a digital album in March of 2023 with the aim to gather funds for refugee and migrant aiding collectives, it functions not just as a musical album with a fictional narrative based on real events, but also as a statement of protest against the policies of the European Union regarding refugees and migrants. Recorded, mixed and mastered by the band’s own mastermind, vocalist and multi-instrumentalist Ayloss (of Auriferous Flame, Clarent Blade, Divine Element, Fortress of the Pearl, Mystras, and several other amazing projects) at Stellar Auditorium, displaying a captivating artwork by Christina Chrysanthopoulou, and featuring an array of special guests, the album describes a fictional journey of survival through the Mediterranean sea using supernatural and mythic elements, in an attempt to tell such a story in a way consistent with Black Metal and Ambient aesthetics, being therefore recommended for fans of Mare Cognitum, Chaos Moon, Midnight Odyssey and Blut Aus Nord, among others.

Featuring guest vocals by an unknown member of Greek Black Metal horde Yovel, Moloch is a multi-layered, harsh and unique creation by Ayloss that alternates between classic Atmospheric Black Metal and Experimental Black Metal moments, with its visceral, cryptic vociferations being beautifully complemented by hammering drums and piercing Black Metal riffs, moving like an arrow on fire in pitch black darkness until the very last second. Then we have Fortitude/Sunrise, with synths, electronics and vocals by guest Nate Collins, another phantasmagorical and ethereal aria that will mercilessly enfold your damned soul for ten minutes. In other words, it’s the utmost definition of ambient music, with all elements connecting to each other to craft an ominous atmosphere; followed by Adro Onzi, featuring guest vocals by V. and a guest guitar solo by K. (both of Greek Black Metal act Voak), guest vocals by Sadistik, and synths by Odile Aurora Strik, an explosion of old school Black Metal with modern nuances that’s simply pulverizing from start to finish. Once again leaning towards Experimental Black Metal, the song showcases an amazing job done by all musicians involved, embellishing the airwaves for impressive 13 minutes and flowing into the also dense and mesmerizing Tremor/Kalunga Line, featuring synths, electronics and vocals by guests Nate Collins and Odile Aurora Strik, again venturing through the realms of atmospheric and ambient music, sounding very delicate yet also dark and grim, therefore closing the album on a whimsical note.

“These kinds of policies with the goal of violently curtailing immigration cause enormous death and suffering, as migrants are forced to take even more difficult and dangerous routes to avoid repression. The primary intention with this album is therefore to call out the xenophobic, nationalist and anti-immigrant ideologies that are still dominant today in Europe, under the veil of fake progressivism and pseudo-humanist rhetoric,” commented Ayloss about all issues going on in Europe, and you can get to know more details and find additional links about everything happening in the region on the project’s BandCamp page, where you can obviously purchase a copy of 11 Days (also available for a full listen on YouTube), as well as from the I, Voidhanger Records’ BandCamp page or from Throne Records as a CD or an LP, keeping in mind all sales from the digital version and proceeds from the physical editions will be donated to pro-refugee organizations and causes. You can also follow Ayloss and his Spectral Lore on Facebook, Instagram and YouTube, and stream more of the project’s music on Spotify, joining Ayloss on a musical journey where fantasy and reality collide in a truly compelling way, again proving how the power of music can have a very positive impact on our rotten and decaying world.

Best moments of the album: Moloch and Adro Onzi.

Worst moments of the album: None.

Released in 2023 I, Voidhanger Records/Throne Records

Track listing
1. Moloch 11:05
2. Fortitude/Sunrise 10:08
3. Adro Onzi 13:45
4. Tremor/Kalunga Line 9:02

Band members
Ayloss – vocals, all instruments

Guest musicians
Nate Collins – synths, electronics and vocals on “Fortitude/Sunrise” and “Tremor/Kalunga Line”
Odile Aurora Strik – synths on “Adro Onzi”, synths and field recording on “Tremor/Kalunga Line”
V. – vocals on “Adro Onzi”
K. – lead guitars on “Adro Onzi”
Sadistik – vocals on “Adro Onzi”
Unknown – vocals on “Moloch”

Concert Review – UADA (Lee’s Palace, Toronto, ON, 09/13/2023)

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An atmospheric (and long) night of extreme music spearheaded by the best Melodic Black Metal band of the current scene beautifully darkened the skies of Toronto and the hearts of the metalheads in the city.

OPENING ACTS: A Flock Named Murder, Unreqvited, Cloak and Ghost Bath

There have been countless rock and metal concerts in Toronto since the end of the European summer festivals, and that’s having its toll on the attendance of those concerts as no one has enough time and money to support all those bands when they bring their live performances to the city. That was the case last night when A FLOCK NAMED MURDER, UNREQVITED, CLOAK, GHOST BATH and the mighty UADA took the cozy Lee’s Palace by storm on a night of darkness, blasphemy, deep emotions and truly atmospheric heavy music during their Crepuscule North America 2023. Well, although the show wasn’t even close to be sold out, there were till several brave headbangers at the venue to support those incredible bands, and let’s always keep in mind that we’re talking about the underground of the underground, with zero support from the regular media.

Shortly after the doors at the venue opened at 7pm, Toronto, Ontario-based Black/Death/Post-Metal act A FLOCK NAMED MURDER kicked off the night’s black mass with their short but extremely powerful set, spearheaded by the band’s vocalist and guitarist Ryan Mueller. Having released to date the 2018 album An Appointed Time and the 2022 single Garden of Embers, which I’m pretty sure they played last night (and once again, it’s so hard to keep track of any setlist from almost all underground bands), the quartet put on a solid performance for the crowd, already inspiring some decent headbanging among the attendees. Their music is great and deserves a listen without a shadow of a doubt, and you can do so by visiting their BandCamp page or also by going to Spotify. Needless to say, if they ever play in your city, don’t miss the chance to witness this up-and-coming extreme music horde from Toronto.

Band members
Ryan Mueller – vocals, guitars
Mike Binns – guitars
Mike Wandy – bass
Cam Mueller – drums

Some people (including myself) were a little worried with the number of bands playing last night, as no one knew for sure what time the night was going to end. However, the quality of the music played by all groups was fantastic, which was also the case for the Stygian performance by  Ottawa, Ontario-based Atmospheric Post-Black Metal/Shoegaze/Ambient act UNREQVITED. Although Unreqvited is the solo project of vocalist and multi-instrumentalist William Melsness (also known as 鬼, which means “ghost” in Chinese), the band’s live lineup is formed of William alongside guitarist Victor Forest, bassist Robin Parsons and drummer Alec Curren, and let me tell you that those four guys kicked some serious ass on stage, resulting in a very pleasant surprise for anyone who was not familiar with their music. By the way, Victor and Robin had a fantastic onstage performance, mesmerizing the crowd with their somber sounds. I like to say that the type of music played by Unreqvited is a lot more emotional than heavy or obscure, and you can sense all that by enjoying their 2021 album Beautiful Ghosts and their 2022 single Perpetual Green of the Willow Groves, both available on BandCamp and on Spotify. Needless to say, I hope I can see Unreqvited live again sooner than later.

Band members
William Melsness (鬼) – vocals, guitars
Victor Forest – guitars
Robin Parsons – bass
Alec Curren – drums

It was getting late for a Wednesday night, but who cares? After a quick break it was time for Atlanta, Georgia’s own Black Metal/Black N’ Roll horde CLOAK to bring the energy and fire of their new album Black Flame Eternal to the stage of Lee’s Palace in the most metallic of all concerts of the night. Scott Taysom, Max Brigham, Billy Robinson and Sean Bruneau took no prisoners in their quest for extreme music, blasting our ears with several devilish and frantic tunes including the incendiary Seven Thunders and Black Flame Eternal, inspiring the crowd to raise their horns in the name of evil nonstop, and proving why they’re one of the must-see names of the current Black Metal scene. Just like what said about the previous bands, you can find their music on BandCamp and on Spotify, and if UADA are visiting your city make sure you get to the show early to catch the pulverizing concert by the guys from Cloak.

Band members
Scott Taysom – vocals, guitars
Max Brigham – guitars
Billy Robinson – bass
Sean Bruneau – drums

I think it was already past 10pm when Minot, North Dakota-based Depressive/Post-Black Metal entity GHOST BATH began their sinister and neck-breaking concert. Still promoting their 2021 album Self Loather, the band led by the charismatic vocalist and guitarist Nameless darkened the atmosphere at Lee’s Palace considerably, with their three-guitar attack formed of Nameless together with Tim Church and John Olivier sounding absolutely amazing from start to finish. Apparently they had a few minor sound issues in the beginning of their performance, which might explain the delay in their concert to start, but nothing that would bring any harm their onstage blackened party. All of their albums, including of course their latest offering, are available on BandCamp and on Spotify, so do not waste a single second and go check their insane creations, getting ready to praise darkness and melancholy whenever Ghost Bath invade your damned city.

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

UADA

What happens when a concert that was supposed to have started at 10:45pm, which is already late, has a 40-minute delay? Exactly, people start to get back to their homes because of several reasons like catching the last subway or train home, or having to wake up really early to work or go to school. That was basically the main issue with the flawless and beyond atmospheric performance by Portland, Oregon-based Melodic Black Metal titans UADA, resulting in some gaps in the floor section that didn’t look nice, but that didn’t change the fact UADA were fantastic on stage either. Having released their new masterpiece Crepuscule Natura just the Friday before the concert, such uncanny horde formed of vocalist and guitarist Jake Superchi, guitarist Kevin Bedra, bassist Nate Verschoor and drummer Trevor McClain was on absolute fire from start to finish, making everyone who could stay until the very end of their concert extremely happy and satisfied.

The smoke, the dim lights, and the band’s dark and menacing outfits that make it impossible to see their faces (plus of course the incense and the stunning setup of their merch table) are crucial elements of their live performances, and although photographers like my friend Keith Ibbitson of Lower Eastside Photography don’t really like that type of ambience as it gets tough to take clear photos, in the end everything works perfectly and has a reason to be there. From the very first notes of the explosive The Purging Fire, UADA already showed everything they got and their deep passion for dark music. After such hypnotizing start, they had a microphone issue during Snakes & Vultures that seemed to have driven Jake a little upset (which is totally understandable), but the crowd knew it wasn’t the band’s fault at all and enjoyed the song to the fullest even with that minor incident.

The title-track to their 2020 album, the breathtaking Djinn, might be my favorite UADA song to date, and seeing it being played live again (after seeing them opening for Rotting Christ earlier this year) was a thing of beauty, this time sounding and feeling even more powerful, followed by the also imposing and multi-layered In the Absence of Matter. However, it was when they played their two new songs The Dark (Winter) and Retraversing the Void that things got even more majestic, with the quartet playing those songs to perfection and inspiring everyone at the venue to bang their heads nonstop together with them, just to show how powerful their new album is. And finally, closing their cryptic performance they offered our avid ears their already classics Cult of a Dying Sun and Black Autumn, White Spring, putting an epic finale to a night that was extremely long, but at the same time extremely enjoyable. I can’t wait to see UADA again live, hopefully not so late at night due to my other commitments, but to be honest, who cares? Seeing what’s in my humble opinion the best and most innovative band of the current Melodic Black Metal scene kicking ass on stage is worth the effort, and may those mysterious guys return to Toronto for another metallic assault sooner than we can say “UADA”!

Setlist
The Purging Fire
Snakes & Vultures
Djinn
In the Absence of Matter
The Dark (Winter)
Retraversing the Void
Cult of a Dying Sun
Black Autumn, White Spring

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

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