Tag Archives: atmospheric death metal

Album Review – Novembre / Words of Indigo (2025)

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The newly reinvigorated Italian pioneers of Atmospheric and Progressive Gothic, Doom and Death Metal return with their most elaborately adorned and sonically refined opus to date.

Coinciding with 35 years since the band’s original inception under the Catacomb moniker, and after an extended period of inactivity following the release of their 2016 acclaimed album Ursa, the newly reinvigorated Italian pioneers of Atmospheric and Progressive Gothic/Doom/Death Metal known as Novembre return with their most elaborately adorned and sonically refined opus to date in the shape of their ninth studio album, titled Words of Indigo. Mixed and mastered by Dan Swanö (Opeth, Katatonia, Bloodbath) at Unisound, and displaying a classy artwork by Travis Smith (Opeth, Katatonia) of Seempieces Design Studio, the new album by vocalist Carmelo Orlando, guitarists Alessio Erriu and Federico Albanese, and drummer Yuri Croscenko, with the support of session bassist Fabio Fraschini, will embrace you in a melancholic yet warm darkness, being therefore highly recommended for fans of Sacturnus, Novembers Doom, Shores of Null, Les Discrets, Woods of Ypres, My Dying Bride, and Draconian.

After a whimsical intro the band comes crushing our souls with their share of melancholy and doom in Sun Magenta, spearheaded by the crisp, piercing guitars by Alession and Federico, whereas Statua showcases an even more pensive, darker side of the band, with the clean and harsh vocals by Carmelo sounding amazing from start to finish. The band continues to distill their fusion of Progressive and Doom Metal in Neptunian Hearts, sounding heavy while also bringing tons of melody to our avid ears; whereas Ann-Mari Edvardsen (of The 3rd and the Mortal) makes a stylish vocal duet with Carmelo with her stunning voice in House of Rain, adding even more darkness to their core sound and, therefore, resulting in a beautiful ballad of extreme music, followed by Brontide, keeping the ambience dense, grim and hypnotic thanks to another classy performance by all band members, with Yuri dictating the pace with his doomed beats and fills.

Then after the theatrical interlude simply titled Intervallo we face another blast of their Progressive Doom Metal in the form of Your Holocene, an enfolding, thrilling tune where Carmelo’s deep, nocturnal vocals sound even more powerful, supported by the always incendiary riffs by both Alessio and Federico. Chiesa dell’alba brings forward more of their mix of Paradise Lost-infused doom and the progressiveness of bands like Dream Theater and Allegaeon, again presenting the intricate and fierce drumming by Yuri, followed by Ipernotte, one of the most detailed, multi-layered and vibrant of all songs, where the guitar job by Alessio and Federico is beautifully complemented by the thunderous bass by Fabio Fraschini. And last but not least, the band will darken the skies and consume our minds with Post Poetic, where Carmelo yet again melts our faces alternating between clean, ethereal vocals and the madness of his harsh gnarls, flowing into the climatic outro Onde, putting a pensive, somber ending to the album.

An exquisite and finely-textured display of creative prowess exploring themes of danger and innocence, fear and nostalgia, the latest journey by Novembre takes the listener through the torrents of raging Death Metal and sweeping, uplifting passages of serene poignancy, all woven together as finely crafted and layered melodic epics. You can put your hands on Words of Indigo via BandCamp or by clicking HERE, and don’t forget to also start following the band on Facebook and on Instagram for news, tours dates and more of their music, and to stream the embracing sounds from all of their albums on Spotify. November is undoubtedly a month that transpires doom, and the music offered by Novembre in Words of Indigo will surely work as the perfect soundtrack for your gloomiest, darkest days of such a Stygian month.

Best moments of the album: Statua, Your Holocene and Post Poetic.

Worst moments of the album: Brontide.

Released in 2025 Peaceville Records

Track listing
1. Sun Magenta 7:23
2. Statua 6:05
3. Neptunian Hearts 6:11
4. House of Rain 7:33
5. Brontide 6:21
6. Intervallo 1:14
7. Your Holocene 5:29
8. Chiesa dell’alba 7:26
9. Ipernotte 6:52
10. Post Poetic 6:27
11. Onde 2:29

Band members
Carmelo Orlando – vocals
Alessio Erriu – guitars
Federico Albanese – guitars
Yuri Croscenko – drums

Guest musician
Fabio Fraschini – bass (session)
Ann-Mari Edvardsen – vocals on “House of Rain”

Album Review – An Abstract Illusion / The Sleeping City (2025)

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This incredible Swedish Progressive Death and Black Metal entity returns with their heaviest and most atmospheric work to date, exploring the depths of the human psyche and suffering.

Once again utilizing the band’s unique blend of Progressive Death and Black Metal with arpeggiating synths, wistful drones and vast soundscapes, harkening back to the era of 80’s sci-fi soundtracks, the magnificent The Sleeping City is the third full-length opus by Swedish Progressive/Atmospheric Death/Black Metal beast An Abstract Illusion, the follow-up to their critically acclaimed 2022 sophomore album Woe. Produced by Karl Westerlund alongside An Abstract Illusion themselves, recorded at Blackharbour Studios, with drums produced and recorded by Jakob Herrmann at Top Floor Studios and pre-production and additional recording by Emil P. Lundh at Urberg Studios, mixed and mastered by Robin Leijon, and displaying a classy artwork by Alex Eckman-Lawn, the new album by Christian Berglönn on lead vocals, Karl Westerlund on the guitars and bass, Robert Stenvall on keyboards and vocals, and Isak Nilsson on drums and backing vocals, not to mention an array of very special guest musicians, is undoubtedly their most atmospheric and heavy work to date, exploring the depths of the human psyche and suffering.

Featuring vocals by Lukas Backeström, Blackmurmur is absolutely atmospheric, enfolding, futuristic and luxurious from the very first second, uniting the complexity of Progressive Death Metal with the mystery of Melodic Black Metal, and with the guitars by Karl and the keys by Robert sounding absolutely fantastic. They keep delivering sheer awesomeness in No Dreams Beyond Empty Horizons, with the complex yet visceral drumming by Isak adding an extra touch of heaviness to their music, followed by Like a Geyser Ever Erupting, featuring the cello by Jonathan Miranda-Figueroa and the violin by Dawn Ye, carrying a stunning song title for a lecture in modern-day extreme music where once again Isak sounds inhumane behind his drums.

Frost Flower once again features vocals by Lukas Backeström, cello by Jonathan Miranda-Figueroa, and violin by Flavia Fontana, all clashing with the visceral riffs by Karl and the whimsical keys by Robert; whereas Emmett is another long, complex and extremely detailed song, starting in a serene, enfolding manner, almost melancholic, before we face an avalanche of Progressive Death Metal led by Christian’s enraged roars, also showcasing ethereal passages intertwined with absolute violence. Then we face Silverfields, with narration by Elsa Svensson, working almost like an atmospheric interlude, therefore soothing our souls for the monumental title-track The Sleeping City, bringing forward endless breaks and variations without forgetting their core heaviness, as if Dream Theater went Death Metal, with Karl once again doing a superb job with both his guitar and bass boosted by the cello by Jonathan Miranda-Figueroa and the violin by Dawn Ye, before all fades into a climatic, Stygian finale.

“When we compose an album we don’t want it to just be a collection of random songs, we want a holistic theme coursing through the album’s veins. When writing The Sleeping City we wanted to explore what the soundtrack to a dystopian sci-fi film, such as Blade Runner or Terminator, would sound like if it were written by a death metal band. For The Sleeping City, we took inspiration from acts such as Depeche Mode, My Bloody Valentine, Kite, Ólafur Arnalds and Boards of Canada, pushing us to expand and refine our sound palette. Going from the long-song format of Woe, it was a fun challenge to once again write self-contained songs with a clear beginning and end,” commented the band about their newborn masterpiece. You can find those extremely talented guys on Facebook and on Instagram, stream their breathtaking creations on Spotify, and of course purchase their new album from BandCamp or from the Willowtip Records webstore (as a CD or an LP), or simply click HERE for all things An Abstract Illusion. A decrepit yet monumental landmark, the sleeping city awaits ahead. Will you enter?

Best moments of the album: Blackmurmur, Like a Geyser Ever Erupting, Emmett and The Sleeping City.

Worst moments of the album: None.

Released in 2025 Willowtip Records

Track listing
1. Blackmurmur 11:00
2. No Dreams Beyond Empty Horizons 6:56
3. Like a Geyser Ever Erupting 7:58
4. Frost Flower 8:14
5. Emmett 11:19
6. Silverfields 3:46
7. The Sleeping City 10:07

Band members
Christian Berglönn – lead vocals
Karl Westerlund – guitars, bass
Robert Stenvall – keyboards, vocals
Isak Nilsson – drums, backing vocals

Guest musicians
Lukas Backeström – lead vocals on “Blackmurmur” and “Frost Flower”, choir vocals on “No Dreams Beyond Empty Horizons” and “Like a Geyser Ever Erupting”
Jonathan Miranda-Figueroa – cello on “Like a Geyser Ever Erupting”, “Frost Flower” and “The Sleeping City”
Dawn Ye – violin on “Like a Geyser Ever Erupting” and “The Sleeping City”
Flavia Fontana – violin on “Frost Flower”
Elsa Svensson – narration on “Silverfields”

Album Review – Khôra / Ananke (2025)

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Behold this lecture in Atmospheric and Progressive Extreme Metal infused with grandiose orchestrations, endless darkness and energy, and beautiful musicianship.

What started in 2012 in Germany by multi-instrumentalist Ole (of bands like Autokrator, Lycanthropy and Deathstruck) as a one-man project has now turned into a force to be reckoned with in the extreme music scene worldwide. Currently located in Dublin, Ireland, Atmospheric and Progressive Black/Death Metal entity Khôra (in Plato’s account, Khôra is neither being nor nonbeing but an interval between in which the “forms” were originally held) has just unleashed their sophomore opus, entitled Ananke, a more-than-worthy follow-up to their 2020 debut Timaeus. Recorded at Studio Henosis (vocals), Perdition Studio (guitars), Stemcellar Studio (bass), Trackmix Studio (drums), and Steamsaw Studio (orchestrations), mixed and mastered by Frederic Gervais at Studio Henosis, and showcasing a darkly hypnotizing artwork by Simon Chognot of Cold Mind Art, the new album by Ole on the guitars and drums alongside Frédéric (Orakle) on vocals, Göran (Setherial, Svartghast) on bass, and Kjetil (Profane Burial, Haimad) on keyboards and orchestrations, plus an array of special guests including Rune ‘Blasphemer’ Eriksen (Mayhem), Kristian Niemann (Therion), Wolfgang Rothbauer (Thirdmoon), and André ‘Cosmocrator’ Søgnen (The Wretched End), among others, is a lecture in Extreme Metal infused with grandiose orchestrations, endless darkness and energy, and beautiful musicianship, or in other words, a must-listen for fans of the genre.

Featuring a guest guitar solo by Blasphemer (Aura Noir, Vltimas), atmospheric and captivating sounds permeate the air in Empyreal Spindle, exploding into a dark yet very technical feast of Progressive Black Metal led by Ole’s intricate beats and fills. Then we have Legion of the Moirai, with guest vocals by Arnhwald R. (Deathcode Society), sounding even more imposing and somber, with all background orchestrations blackening the skies while Frédéric roars and barks manically nonstop; followed by Wrestling with the Gods, featuring a guest guitar solo by Kristian Niemann (Sorcerer), another striking fusion of Progressive Black and Death Metal where the riffs and bass by Ole and Göran, respectively, exhale aggressiveness, melody and groove. And guest Bill Kranos (Arkhangelsk, Savaoth) delivers striking vocals and a wicked guitar solo in In the Throes of Ascension, a slab of sheer brutality and darkness with Ole stealing the spotlight with his inhumane drumming.

The band then fires a beyond cryptic and epic interlude titled Arcane Creation, setting the stage for the unrelenting On a Starpath, with the harsh vocals by guest Wolfgang Rothbauer (In Slumber, Thirdmoon) crushing your spinal cord mercilessly while the clean vocals by Frédéric and the keys by Kjetil are a lecture in Progressive Metal. It’s pedal to the metal in the infuriated The Sentinel, spearheaded by Ole’s demented vocals and infernal beats while Göran keeps hammering his bass in the name of heavy music; and their Black Metal vein pulses even harder in Supernal Light, with Kjetil  embellishing the airwaves with his keys and orchestrations. The last song of the album, entitled Crowned, offers more of the bands Stygian sounds infused with tons of progressiveness and heaviness, even presenting elements from Doom Metal, a stylish and embracing aria by Ole and his henchmen flowing into the cinematic outro Q.E.D, which puts a sinister, Mephistophelian ending to such a fantastic opus.

You can enjoy this precious gem of the underground metal scene in all of its glory on YouTube and on Spotify, and of course show your total support to Khôra by purchasing the album from the Les Acteurs de l’Ombre Productions’ BandCamp or webstore. The guys from Khôra, who are also waiting for you on Facebook with more nice-to-know information about the band, simply nailed it with Ananke, raising the bar high for their upcoming releases without a shadow of a doubt, and positioning their newborn spawn as one of the best and most diverse and dynamic albums of the year.

Best moments of the album: Legion of the Moirai, In the Throes of Ascension, The Sentinel and Crowned.

Worst moments of the album: None.

Released in 2025 Les Acteurs de l’Ombre Productions

Track listing
1. Empyreal Spindle 5:18
2. Legion of the Moirai 4:39
3. Wrestling with the Gods 3:57
4. In the Throes of Ascension 3:54
5. Arcane Creation 2:33
6. On a Starpath 4:08
7. The Sentinel 4:01
8. Supernal Light 4:33
9. Crowned 6:47
10. Q.E.D 1:19

Band members
Frédéric – vocals, additional effects
Ole – guitars, drums, vocals on “The Sentinel”
Göran – bass
Kjetil – keyboards, orchestrations, effects

Guest musicians
Blasphemer – guitar solo on “Empyreal Spindle”
Daniel Müller – bass on “Empyreal Spindle” and “Legion of the Moirai”
Cosmocrator – effects on “Empyreal Spindle” and “Q.E.D”
Arnhwald R. – vocals on “Legion of the Moirai”
PJ O’Connell – guitar solos on “Legion of the Moirai”, “On a Starpath” and “Supernal Light”
Kristian Niemann – guitar solo on “Wrestling with the Gods”
Bill Kranos – vocals on “In the Throes of Ascension”, effects on “Wrestling with the Gods”, guitar solos on “In the Throes of Ascension”, “The Sentinel” and “Crowned ”
Wolfgang Rothbauer – harsh vocals on “On a Starpath”

Album Review – Wurmian / Immemorial Shrine (2025)

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Enter the shrine of first-class Melodic Death and Doom Metal crafted by this one-man project from France, and let the echoes from his debut album guide you on a brooding and immersive journey through sorrow, introspection, and existential desolation.

Founded in 2024 by Antoine Scholtès, the mastermind behind Atmospheric Black Metal project Inherits The Void, Clermont-Ferrand, Auvergne-Rhône-Alpes, France-based act Wurmian emerges with a mission to resurrect the essence of classic Melodic Death and Doom Metal. Drawing inspiration from the melancholic and introspective tones of bands like October Tide, Horrified, and Edge of Sanity, the project’s debut offering, titled Immemorial Shrine, embraces the duality of soaring melodies and crushing heaviness. Mastered by Simon Da Silva at The Empty Hall Studio, and displaying a classic logo by Dipayandas Art and a stunning, doomed artwork by Silvana Massa, Immemorial Shrine is a somber odyssey into solitude and decay, a brooding and immersive journey through sorrow, introspection, and existential desolation, turning it into a compelling listen for fans of both classic and modern death and doom.

Antoine begins embellishing the airwaves with his melodious guitar lines in Aeon Afterglows, reminding me of both old school and contemporary Paradise Lost with a harsher twist; whereas in the title-track Immemorial Shrine he showcases all his passion for Black and Death Metal without forgetting to add a good share of Doom and Gothic Metal to his sound, and the final result is simply beautiful. His Melodic Doom Metal attack goes on in Haven, with his guttural vocals and pounding drums being perfect for some sick headbanging, and our lone wolf speeds things up in Spires of Sorrow, offering a rawer, more direct Death Metal attack led by his classic beats and fills. Then back to a more pensive, melancholic sonority, Antoine roars with tons of anguish in Yearning Unseen, also delivering piercing, sharp riffs, followed by Sleeping Giants, another stunning composition by this multi-talented French musician that overflows Atmospheric Black and Death Metal for our total delight. And the closing song of the album, The Everflowing Stream, is another lecture in Doom Metal, with Antoine enhancing the acidity of his riffs and the depth of his Stygian roars for our vulgar delectation.

In the end, prepare to embark on a melancholic odyssey that echoes the spirit of the 90’s Death and Doom Metal while forging a path into the present in Immemorial Shrine, already available in full on YouTube and on Spotify. Hence, don’t forget to follow the project on Facebook and on Instagram for news, and maybe some live performances in the future in case Antoine assembles a live band for his shows, and above all, to purchase  Immemorial Shrine from  Wurmian’s own BandCamp or from the Pest Records’ BandCamp, or simply by clicking HERE. After all is said and done, simply enter the shrine of first-class Melodic Death and Doom Metal crafted by Wurmian. Let the echoes guide you.

Best moments of the album: Immemorial Shrine, Haven and Sleeping Giants.

Worst moments of the album: None.

Released in 2025 Pest Records

Track listing
1. Aeon Afterglows 4:55
2. Immemorial Shrine 4:54
3. Haven 6:33
4. Spires of Sorrow 4:36
5. Yearning Unseen 5:27
6. Sleeping Giants 5:21
7. The Everflowing Stream 7:19

Band members
Antoine Scholtès – vocals, all instruments

Album Review – U Kronakh / Archaic Dance of the Winds (2025)

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Playing a harmonious blend of Atmospheric Black and Death Metal since their inception, this Ukrainian creature returns with their incendiary third opus.

Playing a harmonious blend of Atmospheric Black and Death Metal since their inception in 2020, with lyrics predominantly dedicated to the raw mysticism of the Carpathian Mountains and events of ancient times, Chernivtsi and Lviv, Ukraine-based creature U Kronakh has just unleashed their third full-length offering, titled The Archaic Dance of Winds (or “Архаїчний Танець Вітрів” in their mother tongue), following up on their 2024 opus Night Devours Being (or “Ніч Поглинає Буття”). Mixed and mastered by Roman “Morvudd” Sapozhnikov, and once again featuring a grim artwork by Ksenia Vasylevska (aka Wintersomnia), the new album by Wormwood on vocals, Voidger on the guitars and bass, and Lycane on drums showcases more of the project’s experimentations with an array of styles, resulting in a unique blend that doesn’t follow any rules nor fit into any specific music genre, as the band believes creativity exists precisely for such freedom.

The melancholic guitar lines by Voidger kick off the nine-minute atmospheric tune titled Black Mountain, offering an overdose of Post-Black Metal sounds as part of their core Atmospheric Black and Death Metal. Then investing in a more direct Black Metal sound with Death Metal nuances we have The River Named Opir, with Wormwood’s harsh vociferations exhaling hatred and obscurity while Lycane hammers his drums with tons of energy and fury. Into Lightless, Uncharted Depths keeps the atmosphere dense and pensive while adding an extra touch of melody to their core Atmospheric Black Metal thanks to the striking riffs and solos by Voidger; and the trio sounds in total and absolute sync in Night Visions Fade, breathing fire and darkness through their sonic weapons, with the lancinating roars by Wormwood reeking of insanity. Lastly, it’s time to break our necks headbanging to the closing tune About Those Who Are Silent Now, with Voidger and Lycane building a Stygian ambience perfect for Wormwood’s devilish gnarls.

Fans of bands the likes of Ezkaton, Silvern, Harakiri For The Sky, Ellende, and Moonsorrow, among several others, will have an absolute blast listening to Archaic Dance of the Winds, another solid step forward in the dark and exciting path taken by U Kronakh in their short but extremely prolific career so far. The uncanny musicians behind U Kronakh are waiting for you armed with their atmospheric sounds on Facebook and on Instagram, and don’t forget to also stream their entire discography on Spotify (or any other streaming service), and above all that, to purchase Archaic Dance of the Winds from BandCamp, or click HERE for all things U Kronakh. Their music is just as mysterious and distinctive as their name, and I’m sure it won’t take long for the band to stun us all once again with the successor of Archaic Dance of the Winds, because if there’s one thing that the guys from U Kronakh know how to do, that’s to keep working hard and crafting high quality grim music nonstop.

Best moments of the album: The River Named Opir and Night Visions Fade.

Worst moments of the album: None.

Released in 2025 Archivist Records

Track listing
1. Black Mountain 9:15
2. The River Named Opir 6:17
3. Into Lightless, Uncharted Depths 9:08
4. Night Visions Fade 7:31
5. About Those Who Are Silent Now 7:44

Band members
Wormwood – vocals
Voidger – guitars, bass
Lycane – drums

Concert Review – Septicflesh (The Velvet Underground, Toronto, ON, 02/24/2025)

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

OPENING ACTS: Stormruler and Vltimas

On a Monday night in what has been a complete shitshow of city incompetence with regards to snow removal, Toronto’s metal denizens were treated to a great night at The Velvet Underground with the titans of Greek extreme metal SEPTICFLESH along with friends VLTIMAS and STORMRULER in support for the Modern Primitive in North America Tour 2025. Toronto being their first stop on the  Canadian leg of the tour. Originally this show was supposed to be at The Concert Hall on Yonge Street but ticket sales were not as strong as were anticipated and so a change in venue had to take place as The Concert Hall would have been too large of a venue for the smaller crowd. Quite a shame if you ask me because it is a superior venue, but this dark cloud had a silver lining, if anything, it just made the show at The Velvet Underground feel more intimate.

The weather was finally a bit more cooperative with milder temperatures but the city’s mismanagement of snow removal this year has been such a joke and sidewalks were still inundated with snow and garbage and other such messiness that walking the streets had become such an ordeal for most people. Lining up for the show was a bit of a challenge because there was barely enough room for pedestrians to get by but we all made the best of it. Finally security let us inside at around 7pm and as soon as we had got in the first thing we all noticed was that the merch was priced in American dollars which was a little odd all things considering. It didn’t bother me much though, I was way too excited to see  Septicflesh for any of that shit to bother me. The place filled up nicely and I made sure that I got close to the stage because the sight lines at the Velvet Underground are shit if you are short like me. The crowd was eagerly waiting for the show to begin. St. louis Missouri’s STORMRULER kicked off the show with a blistering 5 song set of  delicious melodic black metal complete with some solos for desert. Stormruler are filling in for Ex Deo as they are no longer on the tour because of unforeseen circumstances. It was my first time seeing them and I found them to be quite entertaining. I would definitely check them out if or when they visit us again.

Setlist
Sacred Rites & Black Magic
Reign of The Wicked Duke
In The Eye Of The Mirror
Ten Heralds, Ten Desolations
Internal Fulmination Of The Grand Deceivers

Band members
Jason Asberry – vocals, guitars
Nick Burks – guitars
Dalton Moore – bass
Jesse Schobel – drums

Up next was the extreme metal powerhouse that is VLTIMAS. They are a kind of supergroup consisting of ex Morbid Angel Frontman David Vincent (USA) on vocals, ex Mayhem and current Aura Noire guitarist Rune “Blasphemer” Eriksen (NOR), Canada’s own Flo Mounier of Cryptopsy on drums, Dutch Bassist Ype TWS (ex-Dodecahedron) and Portugal’s Joao Duarte of the band Corpus Christii on guitar as well. Vltimas proceeded to tear the roof off with a brutal onslaught of extremity and I was surprised that the pits of hell didn’t open up in the middle of the floor. These guys are so polished and professional that they had the crowd instantly energized. The house was about 85% full but it felt like more than that. Everyone was waiting for Septicflesh to get on before they let loose in the pit. Vltimas absolutely killed it! 10/10!

Setlist
Epic
Something Wicked Marches In
Invictus
Mephisto Manifesto
Exercitus Irae
Last Ones Alive Win Nothing
Scorcher
Diabolus Est Sanguis
Everlasting

Band members
David Vincent – vocals
Rune “Blasphemer” Eriksen – guitars
Joao Duarte – guitars
Ype TWS – bass
Flo Mounier – drums

SEPTICFLESH

The crowd was thoroughly rabid when the mighty SEPTICFLESH got on stage. The circle pit was instantaneous and the crowd never let up. Neuromancer was the second song they played and it blew the lid off the place. It was epic! definitely a crowd favourite as well as my own personal favourite song of theirs. I swear that riff lives in my head. The crowd was beside themselves with utter joy and satisfaction and you could tell that this band has a special connection with their fans, almost personal. This was my first time seeing them live and I fucking loved every second of it. Septicflesh belted out banger after banger the whole entire set. They are such an incredible band to see live! 10/10, would love to see them again! Overall it turned out to be a great night and a hell of a good show.

Setlist
The Vampire From Nazareth
Neuromancer
Pyramid God
Heirophant
Portrait Of A Headless Man
Coming Storm
Martyr
We, The Gods
A Desert Throne
Virtues Of The Beast
Communion
The Collector
Anubis
Dark Art

Band members
Spiros Antoniou – harsh vocals, bass
Sotiris Vayenas – guitars, clean vocals
Christos Antoniou – guitars, orchestrations, samples
Psychon – guitars
Kerim “Krimh” Lechner – drums

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Album Review – Norilsk / Antipole (2025)

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Canada’s own Atmospheric Doom/Death/Post-Metal entity returns with another imposing album, exploring the concept of duality, flowing between slow and faster songs while highlighting the contrasts in death and doom.

Named after Siberia’s northernmost city, Норильск in Russian, home to the world’s largest heavy metals smelting complex, Gatineau/Hull, Quebec-based Atmospheric Doom/Death/Post-Metal band Norilsk blends slow and crushing riffs, death growls, icy melodies and atmospheric arrangements in their music, drawing inspiration from the 1990’s doom-death scene, while incorporating a heavy dose of eclectic and contemporary influences. Now in 2025 the band formed of Nic Miquelon on vocals and bass, Tom Hansen and Matt MacIvor on the guitars, and Nick Richer on drums and backing vocals is back with their third full-length opus, titled Antipole, the first album to be recorded by all four members of the band. Mixed and mastered by James Plotkins at Plotkinsworks, with drums recorded and mixed at Wolf Lake Studios by Mike Bond with assistance from JP Sadek and edited and mixed in The Bond Cave, guitars and bass recorded by Tom Hansen, vocals recorded by Topon Das at Apartment 2 Studios, and displaying a classy artwork by Adam Burke of Nightjar Illustrations, Antipole is also the first record that Norilsk have been extensively rehearsing, and working on the arrangements together before entering the studio, resulting in a much bolder, tighter and heavier opus than their previous releases.

The metallic sounds blasted by Nic, Tom and Matt match perfectly with the hammering drums by Nick in the title-track Antipole, exploding into a darkened feast of Doom Metal with deep, devilish vociferations, followed by D’ombre et de glace (l’asphyxie), which is French for “of shadow and ice (asphyxiation)”, another rumbling creation by the quartet overflowing doom and fear led by the striking riffs by Tom and Matt. And Locus Sanctus, or “holy place” from Latin, starts in a sinister, serene manner before the band smashes their sonic weapons once again, resulting in one of the most sluggish songs of the album, with Nick stealing the show with his thunderous beats.

Nunataks, from Inuit nunataq, is the summit or ridge of a mountain that protrudes from an ice field or glacier that otherwise covers most of the mountain or ridge, and the band puts the pedal to the metal musically speaking, offering a thrilling fusion of Doom and Death Metal with captivating Post-Metal elements. Then get ready for an intense ten-minute musical voyage entitled La chute du géant, or “the fall of the giant” from French, kicking off in the most lugubrious, pensive way and flowing smoothly while at the same time piercing our minds mercilessly until its ethereal finale. In La fonte, or “the source”, Norilsk go full Post-Metal, with the heavy bass by Nic walking hand in hand with the classic drums by Nick, albeit not too exciting in the end. And lastly we have Un chant pour les morts, or “a song for the dead”, a pure Doom Metal onrush sounding absolutely heavy and grim thanks to the raspy roars by Nic.

The quartet has assembled a brand new chapter in their discography with Antipole, building on the characteristics that made Norilsk what it is today while offering something undeniably contemporary, with its slow doomy riffs, cold melodies, recognizable death growls, and a hint of Post-Metal atmosphere brought by a dual guitar interplay. Exploring the concept of duality, the album flows between slow and faster songs, and highlights the contrasts in death and doom, with its beauty and tragedy, harshness and fragility, light and darkness, reality and fiction, and its gravity and ethereality. Hence, don’t forget to get in touch with Norilsk on Facebook and on Instagram for more of their music, news and tour dates, to stream their music on Spotify, and to purchase Antipole from Norilsk’s own BandCamp, or from the Hypnotic Dirge Records’ BandCamp, EU store (and if I were you, I would go for the more than special CD + merch bundle), or Canada/US store, letting their doomed, heavy and pensive creations penetrate dep inside your blackened soul.

Best moments of the album: Antipole, Nunataks and La chute du géant.

Worst moments of the album: La fonte.

Released in 2025 Hypnotic Dirge Records

Track listing
1. Antipole 8:05
2. D’ombre et de glace (l’asphyxie) 4:47
3. Locus Sanctus 6:07
4. Nunataks 5:27
5. La chute du géant 10:42
6. La fonte 5:08
7. Un chant pour les morts 7:18

Band members
Nic Miquelon – vocals, bass
Tom Hansen – guitars
Matt MacIvor – guitars
Nick Richer – drums, backing vocals

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 – Typhonian / The Gate of the Veiled Beyond (2024)

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This unrelenting German entity will crush your damned soul with their newborn spawn, a phenomenal journey rooted in the old school Death Metal sound.

Where most bands are content reveling in the sound of the glory days of early 90’s Death Metal, Ulm, Baden-Württemberg, Germany-based band Typhonian has not only beautifully reimagined it with blackened elements laced with the classic Swedish and Finnish melodies, but they are also attempting to take that sound ahead in the most logical manner. Displaying a classic artwork by Juanjo Castellano Rosado, their new opus titled The Gate of the Veiled Beyond goes a step further compared to their 2021 EP The Cosmic Pendulum of Time and their debut album Beneath the Streams of Life, adding more progressive and atmospheric elements, a phenomenal music journey that’s evidently rooted in the old school Death Metal sound metamorphosing gradually and finally taking on a gleaming, breathtaking form and ascending, all carefully crafted by M. W. Styrum on vocals, Prometheus on the guitars, Typhon on the guitars and orchestrations, Charybdis on bass, and Thanatos on drums, being highly recommended for fans of Edge of Sanity, Unanimated, Necrophobic, Dismember, Desultory, Unleashed, and Evocation, among several others.

Just hit play and the atmospheric intro Celestial Salvation will transport us all to the dark world ruled by Typhonian before the band begins hammering our souls in Cosmic Throne, with the massive beats by Thanatos walking hand in hand with the powerful riffs by Prometheus and Typhon, not to mention how deep the guttural vocals by M. W. Styrum sound, flowing into the straightforward Death Metal attack titled Primal Deceptive Light, with the caustic riffage by the band’s guitar duo inviting us all to slam into the circle pit like true maniacs. Then bringing elements of Doom Metal to their sound, plus cryptic background orchestrations, the band fires the short and sweet Crimson Rivers, where once again M. W. Styrum sounds demonic on vocals; whereas another atmospheric, Stygian start gradually evolves into the heavy-as-hell, devilish aria The Gatekeeper, with Charybdis and Thanatos making the earth tremble with their respective bass and drums, also presenting elements from Atmospheric Black and Death Metal in their bold and dense sound.

Towards the Chamber of the Omnipresent Mind carries a beautiful name for a fast, acid and thunderous aria by Typhonian, with the guitars by Prometheus and Typhon exhaling heaviness and despair while M. W. Styrum keeps roaring and barking the song’s obscure words nonstop, and Typhonian brings forward a menacing fusion of Death Metal with Doom and Epic Metal entitled A Glimpse at the Starless Ocean, where Thanatos takes the lead with his crushing beats and fills, accompanied by the scorching riffs and solos by Prometheus and Typhon. Lastly, you better be prepared for a 20-minute ethereal, harsh and hypnotic musical voyage titled Cath’un – The Gate of the Veiled Beyond, flowing majestically to the demolishing drums by Thanatos before a sinister break permeates the air for quite some time, until all explodes into an imposing feast of Death Metal sounds, with M. W. Styrum’s vociferations adding an extra touch of insanity to their already wicked music, resulting in a stunning sonic beast by the quintet to conclude their infernal mass.

With the visionary The Gate of the Veiled Beyond release, Typhonian have more than just outdone themselves; they have surpassed expectations for the style as a whole. Hence, don’t forget to give them your best guttural shout on Facebook and on Instagram, to stream their music on Spotify, and of course, to purchase their imposing new album from their own BandCamp page, as well as from Transcending Obscurity Records (main store, BandCamp, EU store, and US store), or click HERE for all things Typhonian. Those talented German metallers are not your average Death Metal band, delivering a breathtaking amalgamation of styles that will leave you completely disoriented after all is said and done in The Gate of the Veiled Beyond, all in the name of first-class extreme music.

Best moments of the album: Primal Deceptive Light, Towards the Chamber of the Omnipresent Mind and Cath’un – The Gate of the Veiled Beyond.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Celestial Salvation 0:44
2. Cosmic Throne 4:06
3. Primal Deceptive Light 4:48
4. Crimson Rivers 3:35
5. The Gatekeeper 7:06
6. Towards the Chamber of the Omnipresent Mind 4:46
7. A Glimpse at the Starless Ocean 5:39
8. Cath’un – The Gate of the Veiled Beyond 19:21

Band members
M. W. Styrum – vocals
Prometheus – guitars
Typhon – guitars, orchestrations
Charybdis – bass
Thanatos – drums

Concert Review – Decapitated & Septicflesh (The Phoenix Concert Theatre, Toronto, ON, 05/03/2024)

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The city of Toronto witnessed this Friday one of the heaviest nights of the year so far, courtesy of four bands that definitely know how to unite violence and melody in their amazing music.

OPENING ACTS: Allegaeon and Kataklysm

Once again due to an insane combination of heavy traffic, heavy rain, no parking near The Phoenix Concert Theatre, and a huge and slow line to get inside the venue, I was “forced” to miss the first band of a night of sheer brutality and awesomeness, courtesy of ALLEGAEON, KATAKLYSM, SEPTICFLESH and DECAPITATED during their incendiary Cancer Culture Over North America 2024, another must-see event brought to a jam packed venue by the one and only Noel Peters of Inertia Entertainment. I’m starting to hate when concerts are booked at The Phoenix Concert Theatre, which might be a great venue once you’re inside, but parking near there and getting inside it for the shows is a true nightmare. Well, it is what it is, and I’ll try to leave earlier to be there on time for the next show (although I left my place almost THREE HOURS before the first band began their performance).

Fortunately, my buddy Keith Ibbitson of Metal Paparazzi was there to check out the amazing Denver, Colorado-based Technical/Melodic Death Metal outfit ALLEGAEON, who at 7:30pm sharp kicked off the night festivities. Having released the album Damnum back in 2022, plus an amazing new single named Iridescent this year, the band put on a fantastic show according to Keith. He said he would give them not just a 10 our of 10 for their musicianship, but a 12 out of 10. They loved that he dressed up in his Carcass apron and a server hat as their lead singer did in the video for Iridescent. He then met with them all at the merch table and chatted for a bit. Their guitarist Greg Burgess told him when he saw him in the photo pit he was dying with laughter on stage. Keith ended up giving the lead singer his server hat to wear for the next show, and got his apron all autographed. If you’re curious to listen to their amazing music, simply go to BandCamp or Spotify, and click HERE for all things Allegaeon. Next time I won’t miss them, even if I have to skip breakfast to do so.

Setlist
Threshold of Perception
1.618
Iridescent
Of Beasts and Worms
Gray Matter Mechanics – Apassionata Ex Machinea
Biomech – Vals No. 666

Band members
Ezra Haynes – vocals
Greg Burgess – guitars
Michael Stancel – guitars
Brandon Michael – bass
Jeff Saltzman – drums

At least I was able to get inside in time for Montréal, Quebec’s own Melodic Death/Groove Metal powerhouse KATAKLYSM, who kicked some serious ass on stage led by their talented frontman Maurizio Iacono. Blending old songs with new ones from their 2023 album Goliath (available on several streaming services like Spotify), the band demanded the crowd to keep moving inside the circle pit nonstop, turning up the heat at The Phoenix Concert Theatre to the point I wish it was still winter so that some cold air would enter the venue to freshen things up. Songs like Guillotine, The Killshot and The Black Sheep kept the circle pit moving in a wild and frantic manner until the very last second of their show, proving why they’re one of the driving forces of the extreme scene in Canada. If you’ve never seem Kataklysm live, just go for it. But please remember to be in good shape, do a lot of cardio beforehand, and even put on an armour, because their mosh pits are simply brutal.

Setlist
Goliath
Push the Venom
Guillotine
Narcissist
The Killshot
Die as a King
As I Slither
Crippled & Broken
Bringer of Vengeance
The Black Sheep

Band members
Maurizio Iacono – lead vocals
Jean-François Dagenais – guitars
Stéphane Barbe – bass
James Payne – drums

SEPTICFLESH

If you think after Kataklysm things were going to get any lighter, you’re absolutely wrong; quite the contrary, when Greek Atmospheric/Symphonic Death Metal beast SEPTICFLESH hit the stage (without one of their guitarists, Sotiris Vayenas, for an unknown reason), a visceral, Stygian ode to darkness took over the entire city of Toronto, driving their fans crazy during their entire co-headlining performance. All songs played, including newer songs the likes of Neuromancer and Hierophant, from their latest opus Modern Primitive, released in 2022, plus of course classics such as Portrait of a Headless Man and Anubis, were played to perfection by the band, with Spiros Antoniou sounding inhumane on vocals while Kerim “Krimh” Lechner sounded simply bestial behind his drums. Seriously, he’s fantastic, adding endless heaviness to the band’s already demonic music. Just like Rotting Christ, Septicflesh proudly carry the flag of Greek extreme music everywhere they go, and if you’ve never seen them live, don’t miss the chance whenever they visit your city because they do offer a truly unique sonic experience.

Setlist
Portrait of a Headless Man
Pyramid God
Neuromancer
The Vampire from Nazareth
Hierophant
Martyr
Communion
A Desert Throne
Anubis
Dark Art

Band members
Spiros Antoniou – harsh vocals, bass
Christos Antoniou – guitars, orchestrations, samples
Psychon – guitars
Kerim “Krimh” Lechner – drums

DECAPITATED

It was already past 10:30pm (yes, it was a long night of first-class heavy music) when the co-headliners that were closing the night DECAPITATED destroyed The Phoenix Concert theatre with their fusion of Technical Death Metal and Groove Metal. Those Polish metallers didn’t show a single drop of mercy for our souls during their demonic set, with their new songs from their 2022 album Cancer Culture like the title-track Cancer Culture, Just a Cigarette and Last Supper blending perfectly with old school tunes including Spheres of Madness and Iconoclast. Frontman Rafał Rasta Piotrowski sounded demented on vocals, keeping the circle pits moving wildly until the very end. Damn, I think there were mosh pits happening even inside the washrooms, and even at the Domino’s Pizza located a couple of blocks from the venue. What a night of insanity and heavy music combined to bring us avid fans some top-of-the-line entertainment during such difficult times in Toronto, and I can’t wait to witness Decapitated crushing our cranial skulls again in the city in the near future.

Setlist
From the Nothingness With Love
Cancer Culture
Just a Cigarette
Babylon’s Pride
Post(?) Organic
Lying and Weak
Spheres of Madness
Earth Scar
Never
Iconoclast
Last Supper
Planet Caravan (Black Sabbath song)

Band members
Rafał Rasta Piotrowski – vocals
Wacław Vogg Kiełtyka – guitars
Paweł Pavlo Pasek – bass
James Stewart – drums

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