Tag Archives: black metal

Concert Review – Lutharo, Blackguard & Killotine (Horseshoe Tavern, Toronto, ON, 07/26/2025)

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We were born to ride on the wings of Canadian underground metal together with three of the must-see bands of the current scene on a rainy night in Toronto.

INTRO: A perfect night of Canadian metal almost ruined by one of the heaviest traffics ever experienced in the city…

I’ve always hated the QEW, and will forever hate it, but the traffic this Saturday night to get to the city was beyond any level of patience I might have to face any type of situation. Rain is the new snow, and it was absolute chaos to get to the cozy Horseshow Tavern in time to see LUTHARO, BLACKGUARD and KILLOTINE in another killer event of the Canadian underground organized by Noel Peters of Inertia Entertainment. It took me over two fuckin’ hours for a 30km drive, and when I met my buddy Keith Ibbitson of Metal Paparazzi at the venue I was completely drained and exhausted, and there were only five minutes left before the first attraction of the night, so I can say I was a bit numb during the first half of the show. I don’t know what I’m going to do in the near future as the city is growing in population but not in infrastructure, and more and more companies are demanding their employees to return to the office five times a week, which means any day of the week from now on will be fucked by heavy traffic. I might have to start handpicking my concerts, and that’s very depressing.

KILLOTINE

I don’t like to start a review of an excellent night of Canadian metal with a rant like that, and I’m sorry about it. Fortunately, Hamilton, Ontario’s own Thrash Metal marauders KILLOTINE brought a lot of energy back to my tired soul with their frantic and vibrant performance. The reigning champions of Wacken Metal Battle Canada 2025 proved why they were the chosen ones to represent Canada at Wacken Open Air this year, kicking some ass onstage with their no shenanigans blend of Thrash Metal spearheaded by the charismatic vocalist and guitarist Matt Fraser. I don’t know exactly which songs they played, but I guess it was pretty much the entire 2024 EP Live at the Whiskey Pit, available on Spotify, with songs like Survival of the Wicked and Isolate sounding amazing live, already igniting some wild mosh pits for our total delight. Go check more details about Killotine by clicking HERE, but be careful as thrashing is their business, and business is good.

Band members
Matt Fraser – vocals, guitars
Jesse Luciani – guitars
James McNeil – bass, backing vocals
James Beck – drums

BLACKGUARD

The second band of the night, Montreal, Quebec-based Symphonic/Melodic Death Metal horde BLACKGUARD, might not have released anything new since their excellent 2020 album Storm, but the band fronted by the talented Paul Ablaze showed why they’re one of the most beloved bands of the Canadian scene with a breathtaking performance, melting our faces with their hybrid of Children of Bodom with Swedish melodeath and elements from Symphonic and Black Metal, all spiced up by the hammering beats by Justine Ethier. Once again I have no idea of their full setlist, but all songs sounded amazing, like Northern Storm. You can check their full discography on Spotify, and get more information about the band HERE, as I’m sure you’ll have a blast with such an amazing band. My only “complaint” is that they could have played the song A Dying Season with the multi-talented Lyndsay Schoolcraft, former keyboardist for Cradle of Filth (who was in the house as a fan) just like in their album. Nothing to really worry about, though, but as a fan of Lyndsay’s work I personally thought she would have been a nice touch to their fantastic concert.

Band members
Paul Ablaze – vocals
David Gagné Guitars – lead guitars
Terry Roadcase – rhythm guitar
Vincent Harnois – bass
Jonathan Lefrancois-Leduc – keyboards
Justine Ethier – drums, percussion

LUTHARO

The night was getting better and better inside the Horseshoe Tavern (and kudos to the house DJ for playing only songs by Black Sabbath and Ozzy Osbourne the entire night, as a beautiful tribute to our beloved Prince of Darkness), and of course the incendiary Melodic Death Metal by Hamilton, Ontario’s most ass-kicking band ever, the unstoppable LUTHARO, was the icing on the cake on such an excellent metal party. Playing songs from all of their albums, but of course focusing more on their 2024 beast Chasing Euphoria (available in full on Spotify or for purchase by clicking HERE, by the way), the band led by the stunning frontwoman Krista Shipperbottom, who was sporting an awesome outfit with an altered  Lutharo shirt and a huge smile on her face during the entire show, set the whole place on fire with their striking performance.

Krista was of course flawlessly supported by her bandmates Victor Bucur, Jeff Wilson (who paid a subtle tribute to the recently deceased iconic wrestler Hulk Hogan during one of the songs), Chris Pacey and Cory Hofing, adding even more energy to their breathtaking performance. Fans were loving every single song played, with Time to Rise, To Kill or to Crave and Reaper’s Call being some of the favorites of the night. It felt like Lutharo were a veteran band used to play at arenas simply having fun at a small venue so professional and passionate they sounded, and I really hope now that they’re embarking on a fun European tour that they become the next big thing in the Old Continent. When they returned to the stage for their more-than-special encore with Born to Ride (my favorite of the night) and Lost in a Soul, it was the coronation of a perfect night for the band. Go check more details about Lutharo if you know nothing about the band by clicking HERE, because they were definitely born to ride on the wings of Heavy Metal, and we were all born to rock to the sound of their beautiful music.

Setlist
Phantom
Ruthless Bloodline
Bonded to the Blade
Creating a King
Time to Rise
To Kill or to Crave
Wings of Agony
Hopeless Abandonment
Reaper’s Call
Paradise or Parasite

Encore:
Born to Ride
Lost in a Soul

Band members
Krista Shipperbottom – vocals
Victor Bucur – guitars, backing vocals
Jeff Wilson – guitars
Chris Pacey – bass
Cory Hofing – drums

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Album Review – Phobetor / A Solitary Vigil EP (2025)

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UK’s own acolytes of the very darkest Blackened Death Metal are back after four years with a brand new EP, a work of rare mystery and malevolence.

In Ovid’s Metamorphoses, Phobetor (‘Frightener’), so called by men, or Icelos (‘Like’), so called by the gods, is one of the thousand sons of Somnus (‘Sleep’). He appeared in dreams “in the form of beast or bird or the long serpent”. In heavy music, Phobetor are a London, UK-based Blackened Death Metal band who has been around since 2018, having already released the 2019 EP Burning Memories and their full-length albums When Life Falls Silent (2020) and Through Deepest Fears and Darkest Minds (2021). Now in 2025, the band formed of vocalist Debora Conserva, guitarists Ross White and Ben Ash, bassist Dredgewood, and drummer Marc Dyos is unleashing a new EP, titled A Solitary Vigil, a work of rare mystery and malevolence. Mixed by Ollie Roberts at Kettle Brew Studios, mastered by Lawrence Mackrory at Rory Sound Studios, and displaying a haunting artwork by Ghost Kid and photography by Scott Chalmers, the EP simply leads us deeper into the darkness than ever before.

The piercing riffs by Ross and Ben ignite the band’s detailed, visceral and grim feast of Black and Death Metal titled A Solitary Vigil, while Debora offers our putrid ears an overdose of sulfur and rage through her harsh vociferations, followed by Absence of Light, another bestial blast of Black Metal magic, with Marc smashing his drums in the name of pitch black darkness accompanied by the always thunderous bass by Dredgewood. Debora sounds like a demonic entity, roaring as a true she-demon in Black Fading Winter, while her bandmates fire the most caustic and evil form of Blackened Death Metal; whereas in The Vacant World Within Us we can say that such a poetic name deserved a no shenanigans sound, and that’s exactly what Phobetor bring forward with their infernal roars and demented blast beats. Last but not least, the razor-edged guitar riffs by Ross and Ben will penetrate deep inside your soul in Where Mournful Shadows Dwell, while Debora continues to hypnotize us with her devilish vocals until the very last second.

After all is said and done, you’ll quickly realize A Solitary Vigil is more than just the new EP by these acolytes of the very darkest Blackened Death Metal; as you peer into its impenetrable blackness, an obsidian mirror, it disgorges all the terrors you had forgotten were real, the dream monsters that hide in the deepest recesses of your mind, resulting in an onslaught of blackened death and mind-rending fear highly recommended for fans of Behemoth, Immolation, Belphegor, and Dark Funeral. Hence, don’t forget to join Phobetor in absolute darkness by following them on Facebook and on Instagram, by streaming their sulfurous creations on Spotify, and of course by purchasing A Solitary Vigil from BandCamp or Big Cartel. Phobetor are back from the netherworld sounding darker and more sinister than ever, and I bet you’ll succumb to their obscure powers once you begin your descent into madness to the sound of their Stygian new offering.

Best moments of the album: A Solitary Vigil and Black Fading Winter.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. A Solitary Vigil 3:54
2. Absence of Light 5:02
3. Black Fading Winter 2:58
4. The Vacant World Within Us 4:08
5. Where Mournful Shadows Dwell 4:41

Band members
Debora Conserva – vocals
Ross White – guitar
Ben Ash – guitar
Dredgewood – bass
Marc Dyos – drums

Album Review – Dephosphorus / Planetoktonos (2025)

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Greek forward-thinking grinders return from outer space with their fifth album, a ferocious collection of nine cosmic, menacing tracks delivering a boundary-pushing sonic journey.

“Pessimism is an indulgence and despair is kind of an insult to the imagination.” – Wade Davis 

Exploring science fiction and cosmology through cosmic aesthetics and a wide range of heavy, extreme music since their inception back in 2008, even dubbing their style as “Astrogrind”, Athens, Greece-based Death/Black Metal/Grindcore outfit Dephosphorus return with their fifth album, entitled Planetoktonos (a Greek word coined by the band, roughly translating to “Planetkiller”), following up on their 2020 opus Sublimation. Recorded and mixed by George Christoforidis at Ignite Music Studio, mastered by James Plotkin, displaying an intergalactic artwork by Jon Toussas of Graphic No Jutsu, and featuring guest musician Miltos Schimatariotis on all electronics (recorded at Northside Studio), the new offering by Panos Agoros on vocals, Thanos Mantas on the guitars, e-bow and chants, Kostas Ragiadakos on bass, and John Votsis on drums delivers a boundary-pushing sonic journey, sparking the imagination and inviting listeners to explore new dimensions of thought and sound.

The caustic riffs by Thanos and the pounding drums by John will transport us to another dimension in Living in a Metastable Universe, blending the innovation of Mastodon with the heaviness and insanity by Blood Incantation; and Thanos keeps embellishing the airwaves with his wicked e-bow in Hunting for Dyson Spheres, while Panos gnarls like a creature from an uncanny world, flowing into the also demented Pale Veins, offering a well-balanced, thrilling fusion of the harsher sounds of Black and Death Metal with Sludge Metal and more modern and experimental sounds, led by the incendiary drumming by John. Then the quartet shows no mercy for our souls in After the Holocaust, hammering our cranial skulls with more of their intergalactic heavy sounds.

Just when you think they couldn’t sound more infuriated or insane, they offer our avid ears the frantic and chaotic The Triumph of Science and Reason, with Panos roaring nonstop supported by the ruthless bass by Kostas, and those Greek bastards will attack our senses with two intense minutes in The Kinetics of a Superintelligence Explosion, with Thanos delivering his most Death Metal riffs of the whole album. The title-track Planetoktonos brings forward the band’s core sonic madness where Kostas and John will make the galaxy tremble armed with their infernal kitchen, and there’s still a lot of fuel to burn in Calculating Infinity, offering more of their demented vocal lines, thunderous, rumbling bass and intricate beats. Lastly, their voyage through the realms of progressive, avantgarde and experimental heavy music ends with Eternal Bloom, where Panos delivers his trademark vociferations supported by the austere riffage by Thanos.

Those Greek forward-thinking grinders once again aim to expand their listeners’ consciousness with Planetoktonos (dedicated to Swiss musician Didier Séverin, of bands like Knut and Strommorts, who sadly passed away in 2022), fostering a vision of a sustainable future where humanity not only survives but thrives in harmony with its biosphere, and even with AI. Drawing lyrical inspiration from The Expanse novel series by James S.A. Corey and from Superintelligence: Paths Dangers Strategies by Nick Bostrom, Planetoktonos is a ferocious collection of nine cosmic, menacing tracks that pay tribute to the energy and dynamics of trailblazing acts such as Anodyne, Nasum, Playing Enemy, Breach, Knut, Leviathan and Bolt Thrower, and you can join the band in their cosmic adventure by following them on Facebook and on Instagram, by streaming their excellent discography on Spotify, and by purchasing Planetoktonos from BandCamp, from 7Degrees Records, from Nerve Altar, or from Selfmadegod Records, or click HERE for all things Dephosphorus. End of transmission.

Best moments of the album: Living in a Metastable Universe, Pale Veins and The Triumph of Science and Reason.

Worst moments of the album: None.

Released in 2025 7Degrees Records/Nerve Altar/Selfmadegod Records

Track listing
1. Living in a Metastable Universe 3:05
2. Hunting for Dyson Spheres 4:20
3. Pale Veins 3:07
4. After the Holocaust 2:33
5. The Triumph of Science and Reason 1:51
6. The Kinetics of a Superintelligence Explosion 2:09
7. Planetoktonos 3:00
8. Calculating Infinity 3:27
9. Eternal Bloom 4:26

Band members
Panos Agoros – vocals
Thanos Mantas – guitars, e-bow, chants
Kostas Ragiadakos – bass
John Votsis – drums

Guest musician
Miltos Schimatariotis – electronics

Album Review – Ba’al / The Fine Line Between Heaven And Here (2025)

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This amazing Blackened Post-Metal act from the UK strikes back with a dark new album, drawing on the band’s personal experiences, exploring themes of grief, depression, suicide, substance abuse and existential dread.

Forged in the fires of Sheffield, in South Yorkshire, England, Blackened Post-Metal creature Ba’al (a title and honorific meaning “lord” in the Northwest Semitic languages spoken in the Levant during antiquity, which came to be applied to gods from its use among people) is unleashing upon us their new album, titled The Fine Line Between Heaven And Here, a caustic fusion of Black, Sludge and Post-Metal recommended for fans of Crippled Black Phoenix, Harakiri For The Sky, Inter Arma, and Sgaile, among others. Recorded and mixed by Joe Clayton at No Studio and mastered by Brad Boatright at Audiosiege, the same team that brought such a richly textured darkness to the last Ba’al release, and adorned in the stunning artwork of True Spilt Milk Designs, the new album by Joe Stamps on vocals, Nick Gosling and Chris Mole on the guitars, Richard Spencer on bass, and Luke Rutter on drums draws on the band’s personal experiences, exploring themes of grief, depression, suicide, substance abuse and existential dread, invoking the intensely human struggles that are played out against this backdrop of disparate elements and in every other place our troubled species has carved out a home.

Mother’s Concrete Womb is simply dark and sinister from the very beginning, gradually morphing into a massive hybrid of the harshness of Melodic Black Metal with the finesse of Post-Black Metal, with the nonstop screams by Joe sounding truly devilish, smoothly flowing into Waxwork Gorgon, where the minimalist yet caustic guitars by Nick and Chris exhale darkness, not to mention all Doom Metal elements present in the music make it even heavier and more compelling. Floral Cairn brings forward more of their neck breaking, melodic and piercing sounds, with Luke showcasing tons of dexterity and power behind his drums, dictating the song’s pace flawlessly; and the band then captures our senses in a dark embrace with the 11-minute aria Well of Sorrows, with the riffage by Nick and Chris guiding the listener through the band’s unruly Post-Black Metal waters, sounding all very detailed, vibrant and doomed. The Ocean That Fills a Wound is even more introspective and enfolding, another lecture in Post-Black Metal where Joe declaims the song’s pensive words with tons of passion, alternating between atmospheric moments and crushing, anguished passages, whereas lastly it’s time for Legasov, bringing to our avid ears one final onrush of melodic yet harsh sounds, with their haunting vocals, sharp riffs and Doom Metal drums putting a phantasmagorical ending to the album.

The journey through the musical landscapes in The Fine Line Between Heaven And Here is a dark and exciting one, and I’m sure you’ll have an amazing time listening to it from start to finish. Ba’al are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and you can not only stream their music on Spotify, but also purchase their excellent new album from BandCamp, from Road to Masochist, or by clicking HERE, letting their blackened sounds penetrate deep inside your mind and soul while at the same time connecting their music with your own personal experiences and struggles, proving why modern-day Post-Metal is one of the most humane styles in heavy music and, therefore, allowing the musicians involved to open up their hearts to us fans with each of their amazing songs, just like what’s offered to us all in The Fine Line Between Heaven And Here.

Best moments of the album: Well of Sorrows and The Ocean That Fills a Wound.

Worst moments of the album: None.

Released in 2025 Road to Masochist

Track listing
1. Mother’s Concrete Womb 12:56
2. Waxwork Gorgon 8:41
3. Floral Cairn 7:46
4. Well of Sorrows 11:03
5. The Ocean That Fills a Wound 13:25
6. Legasov 8:18

Band members
Joe Stamps – vocals
Nick Gosling – guitar
Chris Mole – guitar
Richard Spencer – bass
Luke Rutter – drums

Album Review – Akouphenom / Connections To The Erebus EP (2025)

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Coming from the same recording sessions of their 2023 album, the new EP by this uncanny Spanish horde continues the exploration of dark themes and complex compositions.

Known for their fusion of Blackened Death Metal with elements of Doom Metal and Noise, aiming to reflect absolute evil in their creations, A Coruña, Galicia, Spain-based entity Akouphenom returns from the netherworld with a brand new EP titled Connections To The Erebus, following up on their critically acclaimed 2023 full-length offering Death·Chaos·Void. Coming from the same composition and recording sessions of Death·Chaos·Void, their new four-track EP continues the exploration of dark themes and complex compositions by DraGon on vocals and guitars, Pandemia also on the guitars, Korgüll on bass, and Prgich on drums, further establishing their presence in the extreme metal scene.

Absurd of the Arkhe already brings to our putrid ears 11 minutes of ruthless Blackened Death Metal, with the crushing drums by Prgich setting the tone for DraGon to roar like an evil creature. Not only that, the guitars by Pandemia transpire malignancy while Korgüll hammers his bass nonstop, resulting in a true aria of absolute darkness. Then switching to their native language Spanish, the songs Extrema Uncion and Abismo, as described by Akouphenom themselves, are “a denial to Christianity and the idea of a paradise after death in exchange of an entire living as sheep and following the rules,” while musically speaking Extrema Uncion sounds as demented as it can be, with the infernal vociferations by DraGon penetrating deep inside your putrid soul, while Abismo showcases an even harsher vibe with the vocals by DraGon sounding truly inhumane, supported by the crushing drums by Prgich. And lastly, we’re treated to a whimsical instrumental track titled Limbo, where the haunting sound of the piano will bring some peaceful obscurity and melancholy to our hearts.

“We are atheists, we do not believe in nothing, and we accept that Death is the main end,” commented the band, and if you also want to follow Akouphenom in their dark path you can find more information about the band on Facebook and on Instagram, including their demonic live concerts, stream their music on any available platform like Spotify, and of course purchase a copy of the excellent Connections To The Erebus from the Avantgarde Music’s BandCamp, or from Sound Cave, and you can always click HERE for all things Akouphenom. Those Spanish servants of the black arts are on an absolute roll after the releases of Death·Chaos·Void in 2023 and now Connections To The Erebus, proving why the extreme music scene in their homeland cannot be ignored at all; quite the contrary, Spain hosts an ever-growing manifestation of first-class Black and Death Metal, with Akouphenom being one of the torchbearers of such an exciting movement.

Best moments of the album: Absurd of the Arkhe and Abismo.

Worst moments of the album: None.

Released in 2025 Avantgarde Music/Unorthodox Emanations

Track listing
1. Absurd of the Arkhe 11:50
2. Extrema Uncion 6:42
3. Abismo 3:55
4. Limbo 3:03

Band members
DraGon – vocals, guitars
Pandemia – guitars, backing vocals
Korgüll – bass, backing vocals
Prgich – drums

Album Review – Eminentia Tenebris / Whispers of the Undying (2025)

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This French Black Metal entity returns with its fourth studio album, formed of eight epic and melodic pieces centered around the exaltation of heroism and bravery within an ancient and mythical war-torn universe.

Founded in Le Mans, Pays de la Loire, France in 2020 as a one-man band by Cryo, Atmospheric/Melodic Black Metal entity Eminentia Tenebris is unleashing its highly anticipated fourth album, Whispers of the Undying, following up on its 2023 album Rise of a New Kingdom. Whispers of the Undying, which marks the arrival of Erroiak on vocals and Daeris as the lyricist, as well as Septev handling all mixing, mastering, and layout, and displaying a classy artwork by Rein Van Oyen, is formed of epic and melodic pieces centered around the exaltation of heroism and bravery within an ancient and mythical war-torn universe. The album title should be interpreted as a metaphor for a timeless force that endures through eternity (via “whispers”), representing the survival of heroic deeds in collective memory over time (and thus never dying, or “undying”).

The duo’s cryptic Black Metal attack begins in full force in Forever Etched, an extended intro that works majestically, warming us all up for Echoes of Triumph, where Cryo delivers striking riffs, bass lines and blast beats nonstop, therefore boosting Erroiak’s visceral roars to a whole new level, sounding vile while at the same time absolutely epic. The galloping pace crafted by Cryo sounds and feels truly inspiring in The Great Betrayal, with all background elements adding an extra touch of obscurity to the music, and after such a demonic metal attack the duo offers a delicate start in Beneath the Moon, gradually morphing into another Black Metal extravaganza led by Cryo’s venomous riffage.

Through Chaos and Shadow is a first-class explosion of Melodic and Atmospheric Black Metal by Eminentia Tenebris, with Erroiak proving why he was chosen by Cryo to be the new voice of the band; followed by Embers of Glory, presenting another gentle, serene intro that will embrace our blackened souls, an ode to heroism and glory, with Erroiak roaring amidst a fusion of Epic and Black Metal. Then we have Marching as One, bringing forward another round of their darkened, epic sounds, with Cryo’s riffs and blast beats walking hand in hand with Erroiak’s desperate gnarls; and lastly, the duo will head into the battlefield one final time to the sound of Time’s Cruel Reign, with Cryo’s Black Metal beats enhancing the song’s heaviness to a whole new level.

Ultimately, Whispers of the Undying questions the legacy one wishes to leave behind and pays tribute both to heroic figures and to the power of nature, before which humankind must remember to remain humble. Hence, if you want to experience such a harsh, detailed and multi-layered album of extreme music in all of its glory, you can purchase a copy of it from the project’s own BandCamp or from the Antiq Records webstore, and don’t forget to also check what Cryo and his Eminentia Tenebris are up to on Facebook and on Instagram, and to stream more of the project’s idiosyncratic creations on YouTube and on Spotify, or simply click HERE for all things Eminentia Tenebris. As the album progresses, the narrator transforms from a triumphant protector to a tormented soul, whose powerlessness in the face of time’s ravages leads him to self-reflection at the moment of death, and there’s nothing better than the first-class fusion of Atmospheric and Melodic Black Metal by Eminentia Tenebris to support his dark and infernal path.

Best moments of the album: Echoes of Triumph, Through Chaos and Shadow and Marching as One.

Worst moments of the album: None.

Released in 2025 Antiq Records

Track listing
1. Forever Etched 1:43
2. Echoes of Triumph 4:26
3. The Great Betrayal 4:20
4. Beneath the Moon 5:21
5. Through Chaos and Shadow 4:35
6. Embers of Glory 5:05
7. Marching as One 4:44
8. Time’s Cruel Reign 5:04

Band members
Erroiak – vocals
Cryo – guitars, bass, drums

Album Review – Eteritus / Odium et Irae dei Super Vos (2025)

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This Polish Black and Death Metal horde returns with their fourth studio opus, overflowing a dark and heavy atmosphere while still presenting their share of brutality and melody.

Musically directed towards Black Metal, but still showcasing the band’s trademark Death Metal core, Odium et Irae dei Super Vos, or “the hatred and wrath of God be upon you” from Latin, marks a new era for Toruń, Kujawy-Pomerania, Poland-based Black/Death Metal entity Eteritus. Recorded at Slav Sound Studios (guitars) and at Sala Prób Toruń (vocals, bass, drums), mixed and mastered by Mariusz Konieczny at Heavy Gear Studio, and displaying a sinister artwork by Moon Ring Design, the new album by vocalist Oz, guitarist Slav, bassist Kinio, and drummer Nitro overflows a dark and heavy atmosphere while still presenting their share of brutality and melody, being therefore tailored for admirers of the music by Entombed, Dismember, Gorefest, and Vader, among several other servants of total darkness.

The piercing, devilish guitars by Slav are suddenly joined by Nitro’s blast beats in the opening tune Mystic Trifixion, a solid, no shenanigans fusion of Black and Death Metal, whereas an atmospheric and melancholic start to the acoustic guitars by Slav morphs into a Doom Metal-infused aria entitled Semper Fidelis, with Oz darkly vociferating the song’s caustic words. Call of the Rising Darkness carries a poetic name for an overdose of Blackened Death Metal led by Nitro’s intricate yet violent beats and fills; and Slav and Kinio keep blasting their stringed weapons in Ashes over the Fire, offering more of the band’s sulfurous blend of Death Metal. Then the menacing bass by Kinio kicks off the infernal Celebration ov Wolves, bringing forward a demented hybrid of Black, Death and Doom Metal where Oz gnarls like a demonic entity; while Dark Crusader, the second to last song of the album, keeps darkening the ambience with Nitro once again taking the lead with his classic drumming. And last but not least, the quartet will crush our damned souls one final time with In the Arms of Endless Night, a multi-layered aria from the underworld showcasing an overdose of vile riffs and roaring vocals for our total delight.

Following up on the releases of their 2014 debut EP Tales of Death, their 2016 first full-length Following the Ancient Path, their 2018 sophomore opus Order of Death, and their third installment Rotten Transition, released in 2021, Odium et Irae dei Super Vos represents another solid step in the career of Eteritus, who are by the way waiting for you on Facebook with news, tour dates, and more of their demented music. You can also stream all of their excellent albums on Spotify, and of course grab a copy of their sulfurous new album from their own BandCamp or from Via Nocturna’s BandCamp, keeping the fires of Polish extreme music burning as bright as possible, once again proving that if Black and Death Metal are your true passion, you must move to Poland.

Best moments of the album: Semper Fidelis, Celebration ov Wolves and In the Arms of Endless Night.

Worst moments of the album: Ashes over the Fire.

Released in 2025 Via Nocturna

Track listing
1. Mystic Trifixion 5:04
2. Semper Fidelis 5:03
3. Call of the Rising Darkness 5:29
4. Ashes over the Fire 3:07
5. Celebration ov Wolves 6:16
6. Dark Crusader 4:24
7. In the Arms of Endless Night 7:58

Band members
Oz – vocals
Slav – guitars
Kinio – bass, backing vocals
Nitro – drums

Concert Review – Rivers Of Nihil (Lee’s Palace, Toronto, ON, 06/22/2025)

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A scorching night of sheer progressiveness and aggressiveness in Toronto, courtesy of some of the must-see names of the current American rock and metal scene.

OPENING ACTS: Glacial Tomb, Inter Arma and Holy Fawn

This Sunday night in Toronto was one of those days that felt like you were at an open air sauna, and GLACIAL TOMB, INTER ARMA, HOLY FAWN and RIVERS OF NIHIL made sure Lee’s Palace got even hotter and more humid during their The Aggressive Progressive Tour 2025, their last stop of the tour, and another excellent event brought to the city by the one and only Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi coundn’t be there, unfortunately, but not only I was there inside the rock and metal sauna called Lee’s Palace to cover such a great night of heavy music, but I was also lucky enough to get some wild shots from our brother Ryan Miles Leblanc to add to this review. Furthermore, if you take into account almost every single band on this planet is playing at all of those awesome European summer festivals (just check the lineup for Graspop Metal Meeting this year, for example), it’s actually a miracle Toronto got this show during what’s in my humble opinion one of the biggest “metal concert draughts” in the history of the city. In all seriousness, I’m starting to get worried about the future of heavy music in Toronto, as we’re getting less and less concerts, and even being left out of tours scheduled for multiple Canadian location, but Toronto.

Done with the rant about the lack of metal concerts in Toronto. Let’s get back to the show, and what an amazing show by Denver, Colorado’s own Sludge/Death/Black Metal beast GLACIAL TOMB, kicking ass hard in the ass with their heavier-than-hell sounds. Having released the excellent Lightless Expanse last year, available on both BandCamp and on Spotify, the band formed of Ben Hutcherson, Kevin Berstler, David Small and Joey Spates took no prisoners in their quest for heaviness and obscurity, crushing our damned souls with violent yet melodic and grim songs like Abyssal Host and Stygian Abattoir. Those guys were by far one of the most solid opening bands I’ve ever seen live, raising the bar high for the upcoming attractions of the night, and if you’ve never seen Glacial Tomb live or if you’ve never heard anything from them, I highly recommend you go check their discography and keep an eye on their tour dates, because they’re definitely a must-see band of the current underground scene.

Setlist
Abyssal Host
Voidwomb
Stygian Abattoir
Wound of Existence
The Lightless Expanse
Enshrined in Concrete

Band members
Ben Hutcherson – vocals, guitars
Kevin Berstler – guitars
David Small – bass
Joey Spates – drums

After a short and necessary break, where everyone took the time to cool off with some beer and water (and one of the concert goers even said the air outdoor felt like “butternut squash soup,” just to give you an idea of how hot and humid it was), it was time for Richmond, Virginia-based Sludge/Black/Death/Post-Metal outfit INTER ARMA (and hell yeah, I love their name!) to bring sheer doom to the venue with their noisy and apocalyptic performance. Their ruthless setlist was comprised basically of songs from their latest album New Heaven, released in 2024 (also available on BandCamp and on Spotify), those being New Heaven, Violet Seizures, and Concrete Cliffs, and oh boy, those songs sounded heavier than a thousand thunders. Frontman Mike Paparo was on fire throughout their entire concert, as well as a tiny bit drunk (which was actually fun), supported by the unrelenting guitarists Steven “Dirt” Russell and Trey Dalton, and just like I said for Glacial Tomb, if you know nothing about Inter Arma simply go after their discography because those guys play amazing metal music.

Setlist
New Heaven
Citadel
Violet Seizures
Concrete Cliffs
An Archer in the Emptiness

Band members
Mike Paparo – vocals
Steven “Dirt” Russell – guitars
Trey Dalton – guitars
Joel Moore – bass
Alex Tomlin – drums

The venue got really packed (and consequently even hotter) when Phoenix, Arizona’s cult Post-Black Metal/Rock act HOLY FAWN took the stage for the total delight of their fans, blasting a dark and gripping setlist including songs from all of their albums, like their 2022 opus Dimensional Bleed, plus their brand new single Beneath a Lightless Star, all available on BandCamp and on Spotify. Literally everyone at Lee’s Palace was having an absolute blast with those American rockers, getting louder and louder as they kept delivering total heaviness armed with their sonic weapons. It was indeed a phenomenal concert by Holy Fawn, proving why they’ve become legends in the underground scene, and even the guys from Rivers of Nihil were enjoying their show a lot from backstage. I guess it won’t take long for the band to return to Toronto, maybe as the headliners next time, and I’m beyond certain it will be a sold out event.

Setlist
Candy
Dark Stone
Blood Pact
Beneath a Lightless Star
New song (SVR)
Void of Light
Seer

Band members
Ryan Osterman – vocals, guitar
Evan Phelps – guitar
Alexander Rieth – bass
Austin Reinholz – drums

RIVERS OF NIHIL

It wasn’t even 9:30pm, which is amazing as that usually means we can all enjoy the show to the fullest without worrying about the time and go home earlier than expected, when the main attraction of the night, Reading, Pennsylvania’s unstoppable Progressive/Technical Death Metal masters RIVERS OF NIHIL took the stage by storm with a brilliant performance, igniting a beautiful “hurricane” on the floor section. Currently promoting their 2025 self-titled new album, which you can enjoy in full on BandCamp and on Spotify, the band formed of Adam Biggs, Brody Uttley, Andy Thomas and Jared Klei, with the support of the awesome saxophonist Patrick Corona (of the excellent Progressive Metalcore band Cyborg Octopus), delivered a powerful, captivating, heavy-as-hell and extremely dynamic show, with songs like The Silent Life, American Death and Water & Time sounding even better live than in the studio, which is always a delight for me, by the way. The band was tight, there was zero room for error, and the reaction of their fans to each song played was a thing of beauty. We even got a wall of death to the sound of Patrick’s saxophone. Thank you, Rivers of Nihil, for bringing some quality heavy music to the city during this boring period of musical draught, and whenever you guys decide to pay the city of Toronto a visit again, rest assured we’ll all be here waiting for you.

Setlist
The Sub‐Orbital Blues
The Silent Life
American Death
A Home
The Void From Which No Sound Escapes
Water & Time
House of Light
Death Is Real
Episode
Where Owls Know My Name

Encore:
Clean

Band members
Adam Biggs – vocals, bass
Brody Uttley – guitars
Andy Thomas – guitars, backing vocals
Jared Klein – drums, backing vocals
Patrick Corona – saxophone

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Album Review – Lenax / Infection (2025)

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With lyrical themes based around esotericism, individuality, and cosmic horror, the debut album by this American Black Metal horde paints either a picture of destruction and horror, or one of death and rebirth.

With lyrical themes based around esotericism, individuality, and cosmic horror, Infection, the debut full-length opus by Nashville, Tennessee-based Black Metal horde Lenax, paints either a picture of destruction and horror, or one of death and rebirth, depending on the stance of the listener. Produced and mixed by Ilarion Ivanenko, mastered by Øystein Brun at Crosound Studios, and displaying a Stygian cover art by David DeFigueredo, such a sulfurous offering by vocalist and guitarist Venomous, guitarist Mordred, and drummer Bones, with the support of guest musicians Hephaestus on bass, and Maikon on drums, pays homage to the band’s influences while establishing them as pioneers of something new altogether dubbed by Venomous as “cosmic horror fueled nightmares,” an immersive sonic rumination on rebellion against religion, revenge, and self-realization through occult technology, with a distinct nod to Lovecraftian lore and the impending doom of the Outer Gods.

The band darken the skies from the very first second in Worship Hymn, with Venomous living up to his own moniker, delivering harsh, serpent-like vocals for our vulgar delectation. Leeches sounds even more devastating and grim, led by the scorching riffage by Venomous and Mordred, resulting in a lesson in modern-day Black Metal, and Bones keeps hammering his drums in the name of darkness in Chains, another ruthless composition not recommended for the lighthearted. Crossroad Black begins in an atmospheric, cinematic manner to minimalist sounds, gradually evolving into a mid-tempo feast of pitch black darkness led by the visceral gnarls by Venomous and the crushing beats by Bones, whereas the band sounds utterly demonic in Hive Mind Apocalypse, with their riffs, blast beats and harsh vocals piercing our damned souls mercilessly.

We Are Legion carries a name that reeks of Black Metal, sounding as sulfurous and rebellious as it can be thanks to another blast of sick riffs by Venomous and Mordred; whereas Plague Bringer offers our putrid ears a slab of stylish first-class Black Metal, sounding and feeling absolutely and beautifully heavy-as-hell, with Venomous taking his growling to a whole new level of insanity. Then we have Overdrive, which is more like a dissonant instrumental interlude that doesn’t actually bring any extra power to the album, before they pulverize us all with Throne of the Forsaken, presenting epic lyrics growled by Venomous (“He’s the Pharaoh without a name / All the past has fallen / King of nothing, no stories told / Lost legends, Aeons gone”) while the music feels as imposing as it’s grim until the very end.

In summary, Infection is undoubtedly a must-listen for fans of Watain, Immortal, and Enslaved, among others, with Lenax presenting a style of Melodic Black Metal infused with just the right amount of Black N’ Roll to land themselves in a rather unique position in the genre with their new album. Hence, you can join those talented bastards from Nashville in their quest for total darkness via Facebook and Instagram, stream their sick creations on Spotify, and grab your copy of their sulfurous new album from BandCamp or by clicking HERE. The Lovecraftian cosmic horror brought into being by Lenax in their new album is truly outstanding, and if you dare to not listen to it, may the band haunt you in your deepest nightmares for all eternity.

Best moments of the album: Leeches, Crossroad Black and Plague Bringer.

Worst moments of the album: Overdrive.

Released in 2025 Independent

Track listing
1. Worship Hymn 4:55
2. Leeches 4:06
3. Chains 4:46
4. Crossroad Black 6:06
5. Hive Mind Apocalypse 3:36
6. We Are Legion 6:11
7. Plague Bringer 3:57
8. Overdrive 2:32
9. Throne of the Forsaken 3:56

Band members
Venomous – vocals, guitar
Mordred – guitar, backing vocals
Bones – drums

Guest musicians
Hephaestus – bass
Maikon – drums

Album Review – Imha Tarikat / Confessing Darkness (2025)

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The extermination sect from Germany is back with its fourth studio album, once again pushing hard against all the boundaries that define Black Metal.

Everything about German Black Metal entity Imha Tarikat has always been real, the anger, the despair, the hatred, the bursts of energy, the eternal longing, and also the boundless passion both on record and live on stage that borders on physical self-destruction. On their fourth album, titled Confessing Darkness, such an innovative creature is once again pushing hard against all the boundaries that define the Black Metal genre without ever losing the essential connection to the harsh style. Recorded and mixed by Michael Zech at The Church of Sound Studio, mastered by Victor Santura at Woodshed Studio, and with a sinister artwork by Sofia Buratti of Silvatica Illustration and layout by Łukasz Jaszak, the follow-up to their 2022 opus Hearts Unchained – At War with a Passionless World delivers even more of the band’s raw energy than before, with a relentless pushing and unstoppable drive forward characterizing their sound, as well as a deep emotional intelligence that fully utilizes the ability of Black Metal to express every feeling ranging from purest love to darkest hatred, from severe depression to outbursts of joy, all masterfully crafted by vocalist and multi-instrumentalist Kerem Yilmaz (aka Ruhsuz Cellât), while also featuring guest drummer Jerome Reil (of bands like Destroy Them, Exumer, and The Very End).

The absolutely atmospheric intro Aufbruch, which means “departure” in English, will open the gates of the netherworld for Kerem to strike us all with Wicked Shrine, where he barks rabidly while also firing wicked riffs and bass lines, supported by the Stygian beats and fills by Jerome. Then leaning towards the more recent creations by the mighty Behemoth we have Another Failed Ritual, with the project’s Blackened Death Metal side lurking in the shadows ready to prey on us, whereas Kerem extracts strident, mesmerizing sounds from his guitar in Voices of Bitter Epiphany, exploding into a feast of Black Metal led by Jerome’s pounding drums. In Excellent Grief the dauntless Kerem continues to distill his venomous vocalizations and riffage, keeping the album as harsh and sinister as it can be; and the title-track Confessing Darkness brings forward Imha Tarikat’s most unrelenting version, with Kerem bursting his lungs screaming in anguish and despair.

Chamber of Sin is another song where Jerome shows no mercy for his drums, blasting sheer heaviness while Kerem continues to drag us to pitch black darkness with his riffs and vociferations. Then we face Horns in the Smoke, which carries a beautiful name for an onrush of Melodic Black Metal where Jerome’s beats and fills walk hand in hand with Kerem’s harsh roars. Memoria Dei (Profanity and Devil) also presents a classy name, albeit not as exciting as the rest of the album (despite its pleasant pace), while Pitch Black Reflection, the second to last song of the album, is a brutal, austere explosion of Black Metal tailored for lovers of the style, with Kerem sounding infernal with both his riffs and cryptic vocal lines. Finally, The Day I Died (Reborn into Flames) closes Kerem’s Black Metal mass in great fashion, with all violence, darkness and hatred flowing from all instruments living up to the legacy of the genre.

Taking the aforementioned personal confessions several steps further as it is all true, Imha Tarikat have matured as Confessing Darkness clearly demonstrates, overflowing conviction and strength while also marking a milestone in the rise of the band. Fans of the music by Empyriam, Anaal Nathrakh, Agrypnie, Groza, Vemod, and Wolves In The Throne Room, among others, will surely appreciate the Stygian sounds found in Confessing Darkness, and you can also get in touch with Kerem Yilmaz and his Imha Tarikat by following the project on Facebook and on Instagram, and support it by streaming all of their creations on Spotify and obviously by purchasing Confessing Darkness by clicking HERE. Love, hate, happiness, sadness, light, darkness, and of course an endless dosage of first-class modern-day Black Metal are the main ingredients in Confessing Darkness, an album that will drag you to the project’s somber lair and keep feeding on your soul for all eternity, proving once again why Imha Tarikat have become a synonym to contemporary Black Metal all across our decaying world.

Best moments of the album: Wicked Shrine, Confessing Darkness and Pitch Black Reflection.

Worst moments of the album: Memoria Dei (Profanity and Devil).

Released in 2025 Prophecy Productions

Track listing
1. Intro – Aufbruch 1:10
2. Wicked Shrine 3:17
3. Another Failed Ritual 4:48
4. Voices of Bitter Epiphany 4:13
5. Excellent Grief 4:46
6. Confessing Darkness 7:45
7. Chamber of Sin 6:56
8. Horns in the Smoke 4:10
9. Memoria Dei (Profanity and Devil) 4:57
10. Pitch Black Reflection 4:20
11. The Day I Died (Reborn into Flames) 4:26

Bonus track
12. The Sun Goes Down (Thin Lizzy cover) 6:19

Band members
Kerem Yilmaz – vocals, guitars, bass

Guest musicians
Jerome Reil – drums (session)
Marvin Giehr – vocals on “Pitch Black Reflection”, rhythm guitar on “Wicked Shrine” and “The Day I Died”
Barth Resch – vocals on “The Sun Goes Down”