Tag Archives: canada

Album Review – Ravenspell / Obsidian King (2026)

Posted on by
Reply

Get ready to be catapulted into the world of Heavy and Speed Metal ruled by this Canadian band armed with their incendiary debut album.

With a searing riff and a lung-bursting scream, get ready to be catapulted into the world of Obsidian King, the debut full-length album by Quebec City, Canada-based Heavy/Speed Metal force Ravenspell. Mixed and mastered by David Lizotte (Ültra Raptör, Saccage), and completed by the haunting artwork of renowned Canadian artist Carl Lavoie, the debut by Alisander The Seer on vocals, Ravok Blackwing on the guitars, Corvax Crowhammer on bass, and Volpale The Ravenous on drums (and yes, those are their stage monikers) benefits from a textured, organic sound that captures the blood, sweat, passion and belief of the musicians who have crafted it, being therefore highly recommended for fans of Iron Maiden, Cloven Hoof, Greyhawk, and Visigoth, among countless others metal brigades.

The razor-edged axe by Ravok provides Alisander with exactly what he needs to deliver pure soaring vocals in God the Watcher, an epic tune to properly kick off their feast of old school Heavy Metal, whereas again blending the harshness and violence of Speed Metal with their core metallic sound we have Onwards We March, even sounding Punk Rock-ish at times, with Volpale hammering his drums nonstop. The band then slows things down without letting their energy fade away in Book of the Dead, offering a neck breaking sonority led by Ravok’s killer riffage, followed by Warriors 9 to 5, carrying a very peculiar name for a straightforward Heavy Metal tune by the quartet, with Corvax and Volpale making the earth tremble with their classic kitchen. And leaning towards the Progressive Heavy and Power Metal blasted by bands like Greyhawk, the title-track Obsidian Wing sees Volpale dictate the pace while Alisander declaims the song’s epic lyrics in great fashion.

It’s time to put the pedal to the metal in the Speed Metal onrush entitled Hellstorm. Needless to say, this is where the band thrives the most, inviting us all to slam into the pit to the fast and furious riffs by Ravok. In the also excellent Raise Hell the initial drums by Volpale transpire Motörhead, which matches perfectly with the song’s title, bringing to our avid ears three and a half minutes of pure metallic nostalgia; and the band doesn’t let the ambience cool down not even a tiny bit in Relentless, another old school Heavy Metal extravaganza perfect for some wild headbanging. Battleaxe Apocalypse is perhaps the song with the coolest name of all, and the music is just as electrifying, with the solos and backing vocals by Ravok adding even more insanity to their music. Lastly, the closing song Attila begins in a serene manner before evolving into an Epic Heavy Metal attack where Ravok and Corvax blast their axes with tons of power, putting an Iron Maiden-inspired ending to the album.

In this age of fakery, imitation and flexible truths, Obsidian King stands tall as something real and vital, a work of substance, making sure the speed, melody, character and fire of Ravenspell be felt around the metal world. Hence, you can get in touch with those talented and hardworking Canadians via Facebook and Instagram, stream their music on Spotify or any other online platform, and of course purchase their incendiary debut offering from their own BandCamp, from Xtreem Music, or simply by clicking HERE. The Canadian ravens of Heavy and Speed Metal will put a metallic spell on you with Obsidian King, and be warned as once that spell consumes your soul, there will be a lot of headbanging. I said a lot.

Best moments of the album: Hellstorm, Raise Hell and Battleaxe Apocalypse.

Worst moments of the album: Warriors 9 to 5.

Released in 2026 Fighter Records

Track listing
1. God the Watcher 3:40
2. Onwards We March 3:51
3. Book of the Dead 4:23
4. Warriors 9 to 5 4:04
5. Obsidian Wing 4:03
6. Hellstorm 2:33
7. Raise Hell 3:29
8. Relentless 4:34
9. Battleaxe Apocalypse 1:50
10. Attila 7:50

Band members
Alisander The Seer – vocals
Ravok Blackwing – guitars, backing vocals
Corvax Crowhammer – bass
Volpale The Ravenous – drums

Concert Review – Orbit Culture (The Opera House, Toronto, ON, 03/03/2026)

Posted on by
Reply

Fans in Toronto witnessed a night of absolute heaviness and electricity at a jam packed The Opera House together with some of the must-see bands of the current scene.

OPENING ACTS: Atlas and Ov Sulfur

Temperatures are finally starting to rise in Toronto after one of the coldest and harshest winters in decades, and this Tuesday the mighty ORBIT CULTURE, supported by guests OV SULFUR and ATLAS, brought the heat to the cozy The Opera House during their North America 2026 tour. The venue was absolutely packed, and if I’m not mistaken my sources told me the whole event was around 16 tickets of being absolutely sold out, so we’re talking about almost 900 people taking every single space at the venue with no room for much movement. Not only that, Keith Ibbitson of Metal Paparazzi had to “fight” for space with other 11 photographers also covering the event in a tight area (with five security guys, by the way), and the merch line went from the bar next to the entrance all the way to the floor section. I have no idea when exactly merch became more important than the show itself, as I’m tired of seeing lots of people missing one or more attractions just to grab a shirt. Anyway, it is what it is. Event shirts are super cool, and buying them is extremely helpful for the musicians, so maybe we could all find a better or faster way for the merch line to move as we want to keep supporting all bands.

The first attraction of the night was Tampere, Finland-based Metalcore band ATLAS, often stylized in all caps, who self-describe their sound as “Northcore,” which is basically a mix of heavy, melodic Metalcore with atmospheric, immersive soundscapes. Having recently released the album Sunder, available on Spotify or any other streaming service, the band formed of vocalist Patrik Nuorteva, vocalist and bassist Leevi Luoto, guitarists Kevin Apostol and Tuomas Kurikka, and drummer Aku Karjalainen put on a solid performance for an already packed venue, working as a more-than-effective warmup for Ov Sulfur and Orbit Culture. Well, as I like to say, wake me up when a metal band from Finland sounds boring or tiresome onstage. They always kick ass, ATLAS included, and I’m sure we’ll hear a lot more from those guys in the near future.

Setlist
Sermon of the Dying Light
Tower
Coven of Two
Anodyne
I Whisper Your Name Like a Curse
Uni
Ukko
Salt and Sulfur
Outro

Band members
Patrik Nuorteva – vocals
Leevi Luoto – vocals, bass
Kevin Apostol – guitar
Tuomas Kurikka – guitar
Aku Karjalainen – drums

The whole place was already swarming with fans when Las Vegas, Nevada’s own Blackened Deathcore beast OV SULFUR hit the stage with their pulverizing performance, making The Opera House tremble to their undisputed heaviness. Spearheaded by the unstoppable frontman Ricky Hoover, the band has just started touring to promote their fresh out of the oven album Endless (available on BandCamp and on Spotify), and let me tell you that the new songs from the album worked extremely well live. Ricky and his henchmen Christian Becker and Chase Wilson on the guitars, Josh Bearden on bass, and Leviathvn on drums were on fire from start to finish; however, the fact the venue was jam packed made it a bit hard for fans to start any circle pits. There was a lot of headbanging and horns raising, of course, and the lights also helped turn their show into a multi-sensorial experience. It’s really nice to see Ov Sulfur hitting bigger stages every single time they visit Toronto, not only because they’re awesome, but also because Toronto loves that type of Deathcore, blending sheer savagery with tons of different emotions.

Setlist
Endless//Godless
Seed
Stained in Rot
Befouler
Death Ov Circumstance
Wither
Forlorn
Vast Eternal
Evermore

Band members
Ricky Hoover – vocals
Christian Becker – guitars
Chase Wilson – guitars
Josh Bearden – bass
Leviathvn – drums

ORBIT CULTURE

Another quick break (while countless fans were still braving the massive merch lines), and it was time for Eksjö, Sweden-based Melodic Death/Groove Metal titans ORBIT CULTURE to crush our souls with their breathtaking performance. Having recently released the excellent Death Above Life, which you can find on BandCamp and on Spotify, the indomitable Niklas Karlsson, Richard Hansson, Fredrik Lennartsson and Christopher Wallerstedt put a huge smile on the faces of their avid Toronto fans, with absolutely no room to breathe during their entire concert. Songs like Death Above Life, Bloodhound, Hydra and While We Serve sounded insane onstage, and after the closing song Vultures of North was over the happiness on everyone’s faces was outstanding. This was not only the band’s first ever headlining concert in the city, but by far their strongest and most dynamic one as well, proving they’re becoming a reference in the style and, therefore, gaining more and more attention from fans worldwide. I doubt it will take long for those Swedish rockers to return to Toronto, and I bet next time their concert will be even bigger, heavier and more electrifying.

Setlist
Death Above Life
The Storm
The Tales of War
North Star of Nija
Saw
From the Inside
Bloodhound
The Shadowing
Open Eye
While We Serve
Hydra
Vultures of North

Band members
Niklas Karlsson – vocals, guitars
Richard Hansson – lead guitars
Fredrik Lennartsson – bass
Christopher Wallerstedt – drums

This slideshow requires JavaScript.

Concert Review – Belphegor (Lee’s Palace, Toronto, ON, 02/22/2026)

Posted on by
Reply

Metalheads from all across Toronto gathered this Sunday night to praise the beast together with one of the most influential Blackened Death Metal bands of all time.

OPENING ACTS: Narcotic Wasteland, Hate and Incantation

In the middle of what’s perhaps the harshest winter in the past few decades in Toronto, NARCOTIC WASTELAND, HATE, INCANTATION and BELPHEGOR brought to Lee’s Palace some welcome heat this Sunday night with their infernal Praise the Beast North America Tour 2026, another massive event organized by the mighty Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi and I were there to cover such a feast of heavy sounds. There were also two bands billed to play in “The Cave” (aka the room upstairs at Lee’s Palace), those being Nashville, Tennessee’s own Experimental Folk/Black Metal band Primeval Well, who released back in 2021 the excellent album Talkin’ in Tongues with Mountain Spirits (available on Spotify), and Hamilton, Ontario-based Progressive Death Metal act Cryophilic, who released in 2023 their sophomore opus Damned and Decayed (also available on Spotify). The only issue is that due to some delays they ended up playing pretty much at the same time as Incantation and Belphegor, so I have absolutely no idea if anyone was able to watch their performances.

The night started with the awesome performance by South Carolina-based Death Metal trio NARCOTIC WASTELAND, who kicked some ass onstage with their undisputed energy and heaviness. Mixing songs from their two albums with newer singles like the brutal Barbarian, all available on Spotify, the band formed of Dallas Toler-Wade, Kenji Tsunami (who’s not only a phenomenal bassist, like a Death Metal version of Dream Theater’s own John Myung, but his bass is also a thing of beauty) and Austin Vicars took no prisoners in their quest for pure Death Metal, and after they finished playing the closing song of their short but very sweet set, Introspective Nightmares, we were all left wondering when we’ll be able to see those guys live again, perhaps with a bigger set. You can get more details about such a fun extreme music act by clicking HERE, and if they ever take your city by storm, don’t miss the chance of seeing those excellent musicians live.

Setlist
Morality and the Wasp
Faces of Meth
Barbarian
Delirium Tremens
Keeping Up with the Jones
We Agnostics
Introspective Nightmares

Band members
Dallas Toler-Wade – vocals, guitars
Kenji Tsunami – bass, vocals
Austin Vicars – drums

Poland’s own Blackened Death Metal institution HATE also had a very short set, but that didn’t mean the concert by Adam “ATF Sinner” Buszko, Dominik “Domin” Prykiel, Tomasz “Tiermes” Sadlak, and the stone crusher Daniel “Nar-Sil” Rutkowski (who returned later that night drumming for the mighty Belphegor) was not heavy enough. Quite the contrary, they made sure they used their limited time to deliver a ruthless, no shenanigans performance for our total delight. Having released the excellent Bellum Regiis in 2025, available on both BandCamp and Spotify, the quartet proved once again why Polish extreme music is so marvelous, leaving us completely disoriented after all was said and done. The mosh pits were already getting out of control, the temperature inside the venue was getting scorching, and the horns were being raised high, all thanks to the fires of Black and Death Metal by one of the heaviest bands to ever arise from the stunning Poland. Toronto wants more Hate. We deserve more Hate. And hopefully they won’t take long to return to the city with another pulverizing concert.

Setlist
Intro
Sovereign Sanctity
Erebos
The Wolf Queen
Bellum Regiis
Iphigenia

Band members
Adam “ATF Sinner” Buszko – vocals, rhythm guitar
Dominik “Domin” Prykiel – lead guitar
Tomasz “Tiermes” Sadlak – bass
Daniel “Nar-Sil” Rutkowski – drums

There were a few delays during the entire night, not sure if due to sound issues or something else, which ended up extending the whole event a lot longer than previously planned. Good thing that there’s no curfew at Lee’s Palace, and even better that when the next attraction is Pennsylvania’s Death Metal masters  INCANTATION, it never feels too late to get caught in some of the wildest mosh pits of the entire fest. Their latest releases Unholy Deification, from 2023, and Onward to Golgotha Live, from 2025 (both available on BandCamp and on Spotify) are very good sources if you want to familiarize yourself with their setlist, with songs like Golgotha and Impending Diabolical Conquest sounding sensational live, and of course, it’s always a true pleasure witnessing the talent, passion and charisma of the one and only John McEntee onstage. He’s a true metal warrior, no doubt about it. Furthermore, one very interesting fact about the show in Toronto was the amount of girls doing crowd surfing and stage diving during their concert. I think it was easily over 10 different girls doing those during one of the songs, with one even showing her athleticism and flexibility by doing a few splits onstage, which was pretty badass. Let’s see when Incantation return to Toronto if those girls will have other nice tricks to prove once and for all who runs the world.

Setlist
Golgotha
Carrion Prophecy
Emaciated Holy Figure
Iconoclasm of Catholicism
Concordat (The Pact) I
Blissful Bloodshower
Profanation
Vanquish in Vengeance
The Ibex Moon
Impending Diabolical Conquest

Band members
John McEntee – vocals, guitars
Luke Shively – guitars
Chuck Sherwood – bass
Kyle Severn – drums

BELPHEGOR

Sunday is always a day for regular people to go to the church, but for us metalheads it’s the perfect day to do the exact opposite, and let’s say Austrian Blackened Death Metal beast BELPHEGOR more than helped us succeed in such a blasphemous activity with one of the darkest and heaviest concerts of the past few months in Toronto. Playing a mix of their entire discography with their latest album The Devils, from 2022, plus their two fantastic new singles Sanctus Diaboli Confidimus and Scarlet Beast-Leviathan (a beautifully haunting song, by the way), all available on BandCamp and on Spotify, such a malevolent horde led by the unrelenting Helmuth Lehner was breathing fire and sulfur during their entire show, and if you were on the left side of the stage you would also feel everything tremble to the demented drums by Daniel “Nar-Sil” Rutkowski. It was a really fun experience to be honest, despite the fact the trembling got way too heavy at times.

I wonder what some fervent Catholics would say about Belphegor’s music and live performances. Those guys almost cracked the earth in half with their music, allowing Satan himself to arise from the underworld. The mosh pit was like a cauldron of fire, their demonic vocals and reefs exhaled sulfur and blasphemy, and it was easy to see all faces in awe during their satanic and cathartic mass. After their black mass was over, I noticed one girl that’s in pretty much every extreme music show in Toronto with a busted lip and some blood down her chin, and based on her happy face she was more than fine with that. She’s a total badass, she doesn’t fear any mosh pit, and she’s the perfect depiction of the love of Toronto for Black and Death Metal. Belphegor more than deliver it in both genres, usually at the same time, and if they provde us with half of the darkness and electricity from this Sunday next time they visit Toronto, I bet we’ll see more happy faces and busted lips around the venue. Praise the beast, praise all ladies who make heavy music a much better place, and praise the almighty Belphegor.

Setlist
The Procession
Baphomet
The Devil’s Son
Sanctus Diaboli Confidimus
The Devils
Stigma Diabolicum
Pactum in Aeternum
Lucifer Incestus
Virtus Asinaria – Prayer
Scarlet Beast – Leviathan
Totentanz – Dance Macabre

Encore:
Belphegor – Hell’s Ambassador

Band members
Helmuth Lehner – vocals, guitars
Wolfgang Rothbauer – guitars
Chris Bonos – bass, backing vocals
Daniel “Nar-Sil” Rutkowski – drums

This slideshow requires JavaScript.

Album Review – Sanctvs / De l’Abîme au Plérôme (2026)

Posted on by
Reply

Always treading further towards the abyss, this Montreal, Quebec-based Black Metal entity returns with six hymns of devotion and transformation.

Vanity of vanities, all is vanity…

Always treading further towards the abyss, Montreal, Quebec’s own Black Metal entity Sanctvs returns with six hymns of devotion and transformation. Staring at the face of Death, De l’Abîme au Plérôme, or “From the Abyss to the Pleroma” in English, is an elegy to our own mortality, a dirge to the passing of time and the changes it inevitably brings. Masterfully crafted by the project’s sole member, vocalist and multi-instrumentalist Mortheos (aka Xavier Berthiaume), known for his work with some incredible bands from the underground scene like Atramentus, Gevurah, Oriflamme, Atonement, Down to Ruins, and Cauchemar, De l’Abîme au Plérôme is another beast of the always captivating Métal Noir Québécois scene, turning it into a must-listen for admirers of the darkest side of Black Metal.

A grim start suddenly explodes into absolute Black Metal violence in Rex Hominum, where Mortheos shows no mercy for his axe nor for his drums, also vociferating rabidly in the name of total darkness. Sacrifié sur l’autel de la rédemption, which is French for “sacrificed on the altar of redemption”, meaning something (or someone) is given up or destroyed for the sake of achieving salvation, atonement, or a greater good, already starts in full force to Mortheos’ carnivorous riffage, flowing majestically until its very last second; followed by Thrène pour un monde révol, or “a rouse to a bygone world”, with once again his devilish guitar lines setting the tone for his hellish vociferations and crisp, pounding Black and Doom Metal beats and fills. Tabula Rasa, the absence of preconceived ideas or predetermined goals, offers us all first-class, in-you-face Black Metal beautifully crafted by our lone wolf, whereas Tour d’ivoire, or “ivory tower” in English, referring to a state of privileged seclusion or detachment from practical realities and the common world (originating from French literature to describe secluded intellectual life), brings forward another overdose of violence ad hatred, with his desperate gnarls sounding amazing. Lastly, get ready for a descent into the underworld with La Lumière de l’infini, or “The Light of Infinity” or “Infinite Light,” referring to a divine, endless, or eternal radiance,  filling our avid ears with more of Mortheos’ chaotic screams, riffs and drums.

Following up on the releases of the project’s 2019 debut Mors Aeterna, and its 2025 split Inter Mortuos Liber (with French Black Metal outfit Sotherion), the caustic, harsh De l’Abîme au Plérôme can be purchased from the Osmose Productions’ BandCamp or webstore, and you can also click HERE for all digital links. Mortheos and his Sanctvs can also be found on Facebook and on Instagram, and you can also enjoy the album in full on YouTube and on Spotify. Pleroma (Greek for “fullness”) refers to a state of completeness or abundance, and that’s exactly what Mortheos wants you to feel while listening to the new Sanctvs new offering, an abundance of first-class Black Metal just before you’re dragged back into the abyss.

Best moments of the album: Rex Hominum and Tabula Rasa.

Worst moments of the album: None.

Released in 2026 Osmose Productions

Track listing
1. Rex Hominum 7:16
2. Sacrifié sur l’autel de la rédemption 5:54
3. Thrène pour un monde révolu 8:48
4. Tabula Rasa 6:22
5. Tour d’ivoire 5:46
6. La Lumière de l’infini 8:52

Band members
Mortheos – vocals, all instruments

Album Review – Mors Verum / Canvas EP (2026)

Posted on by
Reply

This forward-thinking Canadian band continues to give their own interpretation to the Death Metal style in their new EP, alternating between throbbing discordant blasts and soothing passages, traversing worlds hitherto unexplored.

“Mors verum” does not have a direct, standard meaning in Latin, but likely combines two separate words, “mors” (death) and “verum” (truth). The intended meaning is probably “truth or death,” or perhaps a variation of a phrase like “nihil verum nisi mors” (“nothing is true but death”), or the concept of “the only truth is death”. It is often used in the context of “truth or death” to imply one would rather die than not have the truth. In heavy music, Mors Verum are a forward-thinking Canadian band who are giving their own interpretation to the Death Metal style, creating music that is simultaneously dissonant, progressive, and atmospheric. Recorded at by Sean Pearson at Boxcar Studio, mixed by Mrudul Kamble at Erb Street Recording, mastered by Topon Das at Apartment 2, and displaying an ass-kicking artwork by Arifullah Ali of KanvasKarat, the new EP by Lyndon Quadros on vocals, Mrudul Kamble on the guitars, Spencer Mitchell on bass, and Greg Carvalho on drums, entitled Canvas, offers exactly that captivating blend of Dissonant and Progressive Death Metal, alternating between throbbing discordant blasts and soothing passages, traversing worlds hitherto unexplored.

The quartet wastes no time and kick off their idiosyncratic party with the progressive extravaganza Bloodied Teeth, with the pulverizing, demented drumming by Greg adding even more insanity to their already maniacal sounds. Mrudul’s visceral riffage is boosted by the bludgeoning bass by Spencer in Your Apocalypse, resulting in seven minutes of Dissonant Death Metal not recommended for the lighthearted; and Lyndon keeps barking and roaring like a beast in Serenade, with the music alternating between absolute savagery and more melodic, groovier moments. Then we face the grim title-track Canvas, offering a hybrid of the sluggish sounds of Blackened Doom with the band’s core Progressive Death Metal essence. Needless to say, Mrudul, Spencer and Greg are phenomenal with their sonic weapons; and they’ll finish burying you six feet deep with their undisputed extreme music in Mortal, again presenting the visceral guttural by Lyndon while Greg sounds inhumane on drums.

Following up on their 2015 EP Indoctrination, their 2019 full-length Deranged, and their 2021 EP The Living, Canvas brings to our avid ears lengthier song which never feel tedious as the band embarks on their newfound path with relative ease and confidence. On Canvas, they have adopted a fascinating approach to the style, one that is beautifully tempered yet adventurous enough to excite, being highly recommended for fans of Gorguts, Morbid Angel, Norse, Ulcerate, and Saevus Finis, among others. Those talented and creative guys are waiting for you on Facebook and on Instagram, and don’t forget to also stream their unique music on Spotify, and of course to purchase Canvas from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In the end, the experience of listening to Canvas feels at once liberating and cathartic, leaving us eager for more of their music in the near future, perhaps in the form of their sophomore full-length offering, and I bet you’ll be more than excited for that after their short but incendiary new offering.

Best moments of the album: Bloodied Teeth and Canvas.

Worst moments of the album: None.

Released in 2026 Transcending Obscurity Records

Track listing
1. Bloodied Teeth 4:19
2. Your Apocalypse 7:10
3. Serenade 5:30
4. Canvas 7:00
5. Mortal 6:37

Band members
Lyndon Quadros – vocals
Mrudul Kamble – guitars
Spencer Mitchell – bass
Greg Carvalho – drums

Concert Review – Lord of the Lost & The Birthday Massacre (The Danforth Music Hall, Toronto, ON, 01/27/2026)

Posted on by
Reply

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

OPENING ACT: Wednesday 13

Not even the worst snow storm of the past 180 years in Toronto (with over 50cm of snow falling within hours) was capable of stopping LORD OF THE LOST and THE BIRTHDAY MASSACRE, with very special guests WEDNESDAY 13, to bring their Dark Winter Tour US + Canada 2026 to The Danforth Music Hall this Tuesday night. Well, the concert was rescheduled from Monday to Tuesday, and because of that I couldn’t make it to the show, plus the city is still a big fuckin’ mess with the snow blocking pretty much all parking lots, sidewalks and even some roads, but fortunately our buddy Keith Ibbitson of Metal Paparazzi was there not only to take some amazing photos of the show, but to also take care of the review this time. Even if I was able to attend the show I would have missed the first two bands, so it was going to be Keith anyway.

The Danforth Music Hall didn’t just host a concert on a cold Tuesday night – it became a gothic metal sanctuary, and Lord of the Lost stood at the altar, ready to convert anyone who walked through the doors. Before the headliners even hit the stage, the night was already stacked with atmosphere. Having released the album Mid Death Crisis in 2025 (available on any platform like BandCamp and Spotify), Wednesday 13 (aka Joseph Poole) and his henchmen, collectively known as United States-based Heavy Metal/Horror Punk outfit WEDNESDAY 13, came out swinging, bringing horror-punk swagger and full-throttle attitude. There’s something timeless about watching a crowd bounce, shout, and throw horns to songs that feel like they crawled straight out of a midnight movie marathon. It was raw, loud, and unapologetically fun – exactly the kind of chaos a metal crowd thrives on. It was the kind of opener that doesn’t warm a room up – it haunts it into readiness.

Setlist
When the Devil Commands
Rotting Away
197666 (Frankenstein Drag Queens From Planet 13 cover)
In Misery
Summertime Suicide (Murderdolls cover)
Haunt Me
I Walked With a Zombie
Bad Things
I Love to Say Fuck (Frankenstein Drag Queens From Planet 13 cover)

Band members
Wednesday 13 (Joseph Poole) – lead vocals
Roman Surman – lead guitar
Jack Tankersley – rhythm guitar
Ashes – guitars
Troy Doebbler – bass
Mike Dupke – drums

THE BIRTHDAY MASSACRE

After a quick break, one of the co-headliners of the tour, London, Ontario’s own Electronic Rock/Darkwave ensemble THE BIRTHDAY MASSACRE, kept the energy flowing onstage with a highly entertaining performance as well, bringing the Canadian pride to The Danforth Music Hall. Spearheaded by frontwoman Sara “Chibi” Taylor, and armed with their 2025 new album Pathways (available on both BandCamp and Spotify, as well as on any other streaming platform), the band set the tone with their signature blend of darkwave shimmer and industrial edge, bathing the crowd in glowing synths and shadowy melodies that felt both nostalgic and futuristic. By the time the lights finally dropped for Lord of the Lost, the room was primed and restless.

Setlist
Counterpane
Blue
Stars and Satellites
Superstition
The Vanishing Game
One
Sleep Tonight
All of Nothing
Dead
Crush
Destroyer
Video Kid
Happy Birthday
In the Dark
Pins and Needles
Red Stars

Band members
Sara “Chibi” Taylor – lead vocals
Michael Falcore – lead guitar, programming
Michael Rainbow – rhythm guitar, programming, backing vocals
Brett Carruthers – bass, backing vocals
Owen Mackinder – keyboards, keytar
Philip Elliott – drums

LORD OF THE LOST

And last but certainly not least, Hamburg, Germany’s own LORD OF THE LOST returned to Toronto after two long years with their fusion of Neue Deutsche Härte, Gothic Rock and Metal, Industrial Rock and Metal, and even Glam Rock and Metal for the delight of everyone who braved the nasty roads of the city this Tuesday night. Blending songs form their entire discography with their latest albums Opvs Noir Vol. 1 and Opvs Noir Vol. 1, both released in 2025 (and stay tuned for Opvs Noir Vol. 3 in 2026, plus you can check their full discography on BandCamp and on Spotify), Chris “The Lord” Harms, Pi “π” Stoffers, Benjamin “Benji” Mundigler, Gerrit “Gared Dirge” Heinemann, and Niklas Kahl were phenomenal as expected, deliveribg exactly what their fans were waiting for.

Chris Harms stepped onto the stage like a ringmaster for the beautifully damned, dressed in a way that blurred the line between metal frontman and dark cabaret icon. From the first note, the band didn’t just play – they commanded. This wasn’t a run-through of a setlist. It was a full production, a carefully crafted ritual of sound, light, and emotion. Musically, the band delivered a powerful balance of industrial grit, gothic atmosphere, and modern metal punch. Guitars cut through with cold precision while the rhythm section drove everything forward like a mechanical heartbeat. Harms’ vocals moved effortlessly between commanding growls and soaring, emotional cleans, giving the songs a depth that hit as hard in the chest as it did in the ears.

From behind the lens, what stood out most was the connection. This wasn’t a passive crowd. Fans reached toward the stage, screamed every word back, and locked eyes with the band like they were part of the show itself. Faces flashed in red and white strobes, sweat and smiles catching the light in moments you can’t plan – only capture. The Danforth Music Hall proved to be the perfect setting: intimate enough to feel personal, but big enough to let the spectacle breathe. The lighting turned the stage into a shifting cathedral of shadow, steel, and romance – a visual extension of Lord of the Lost’s dark, theatrical identity and a dream scenario for any concert photographer chasing that one perfect frame. By the final song, voices were wrecked, the floor was soaked in sweat, and nobody in the room wanted it to end. Lord of the Lost didn’t just leave Toronto entertained – they left it marked. This was metal as theater. Metal as a community. Metal as something you carry with you long after the house lights come back on.

Setlist
Bazaar Bizarre
I Will Die in It
Drag Me to Hell
Prison
Raining Stars
Loreley
Priest
On This Rock I Will Build My Church
I Hate People (with Wednesday 13)
Blood for Blood
Damage
Light Can Only Shine in the Darkness
Blood & Glitter
The Look (Roxette cover)
The Things We Do for Love
Heaven is a Place on Earth

Band members
Chris “The Lord” Harms – lead vocals, guitars, cello
Pi “π” Stoffers – guitars, backing vocals
Benjamin “Benji” Mundigler – guitars, keyboards, backing vocals
Gerrit “Gared Dirge” Heinemann – piano, keyboards, percussion, guitars, theremin
Niklas Kahl – drums

This slideshow requires JavaScript.

Album Review – Deadwood / Rituals of a Dying Light EP (2026)

Posted on by
Reply

It’s time to make Deathcore angry again with the incendiary new EP by these unstoppable Canadian bruisers.

Make Deathcore Angry Again. That’s the ruthless motto by Montreal, Quebec’s own Deathcore bruisers Deadwood, who uniquely blend elements from Death Metal and Hardcore to create their own blend of modern Deathcore. Aiming to evoke terror and fear through their music, ensuring their performances are unforgettable, the band currently formed of Derek Heynekemp on vocals (note: the vocals in the EP were recorded by Martin Demontigny), Stephane Filion and Fred Element on the guitars, and Charles Etienne Lafrance on drums returns with a new EP entitled Rituals of a Dying Light, following up on their vicious 2023 EP Inhuman. Recorded at EMNT Studio, and produced mixed and mastered by the band’s own guitarist Fred Element, the EP caters to enthusiastic metalheads who crave pure brutality and violence, positioning the band as one of the must-see acts of the current scene.

In Tales of Massacre the band blends Deathcore with Technical Death Metal to give the song an even more insane vibe, with Stephane and Fred sounding ruthless armed with their axes, therefore offering Martin all he needs to growl like a rabid beast. Heretic is an even heavier, more dynamic and bestial tune by the quartet, with the deep guttural by Martin matching perfectly with the rumbling drums by Charles, not to mention the song’s background haunting sounds; whereas another demented roar by Martin kicks things off in Thirst for Blood, offering more of the band’s trademark Deathcore violence. Whispers of Death is a song made for being played live, as it will surely ignite some sick, infernal mosh pits to the metallic, thunderous riffs by Stephane and Fred; and the EP ends just like it started, on a vile and demented mode with Echoes of The Fallen thanks to the hammering drums by Charles in a beyond cryptic instrumental tune.

Drawing from the ferocity of Meshuggah, the brutality of Whitechapel, and the groove-driven power of Pantera, Deadwood deliver crushing riffs and haunting atmospheres steeped in true dark histories, from the Salem witch trials to the reign of Jack the Ripper, translating into a no shenanigans, vicious EP that will surely please all fans of extreme music. You can get to know more about Deadwood on Facebook, including their upcoming tour dates across Canada and Europe, stream their wicked music on Spotify, and purchase the excellent Rituals of a Dying Light from BandCamp or by clicking HERE. In other words, it’s time to make Deathcore angry again, and the incendiary new EP by these unstoppable Canadian beasts is exactly what’s needed to achieve such a fun objective.

Best moments of the album: Heretic and Whispers of Death.

Worst moments of the album: None.

Released in 2026 Innerstrength Records

Track listing
1. Tales of Massacre 2:48
2. Heretic 4:23
3. Thirst for Blood 2:54
4. Whispers of Death 4:26
5. Echoes of The Fallen 3:36

Band members
Martin Demontigny – vocals
Stephane Filion – lead guitars
Fred Element – guitars
Charles Etienne Lafrance – drums

Guest musician
Derek Heynekemp – vocals (live)

Concert Review – Cattle Decapitation (The Concert Hall, Toronto, ON, 12/06/2025)

Posted on by
Reply

And Toronto partied like it was 1349 together with the mighty Cattle Decapitation on a emotional, memorable and heavy-as-hell night of extreme music.

OPENING ACTS: Grindmother, Tribal Gaze, Frozen Soul and Aborted

After seeing four albums played in full in the past couple of weeks, those being Rivers of Nihil (by Rivers of Nihil), Citadel and Exul (by Ne Obliviscaris), and Somewhere Far Beyond (by Blind Guardian), it was time for another absolute blast with album number five this Saturday, when the indomitable CATTLE DECAPITATION, with the support of GRINDMOTHER, TRIBAL GAZE, FROZEN SOUL and ABORTED, took the stage of The Concert Hall in Toronto with their No Fear For Tomorrow North American Tour 2025 to melt our faces with the full play of their 2019 bestial opus Death Atlas. That was maybe one of the heaviest and most emotional events brought to the city by Noel Peters of Inertia Entertainment this year, and of course Keith Ibbitson of Metal Paparazzi and I were there to be part of such a phenomenal celebration of extreme music by some of the best bands of the current scene worldwide.

As it was a Saturday I managed to get to the venue just in time for the farewell concert by the mighty GRINDMOTHER, a 77-year old retired social worker from Canada whose footage from a rehearsal in 2016 went viral, having played over 50 times live with her bands across Germany, Japan, Canada and the United States (and you can enjoy all of her songs on BandCamp, by the way). In July 2025, she announced her retirement due to dementia, kicking ass on the stages in Montreal on Friday and in Toronto on Saturday as her way to say “thank you” and “au revoir” to all Canadians who have supported her through the years. In Toronto she had the phenomenal support of the she-wolf Chelsea Marrow of Blackened Death Metal beast Visitant (who I had the pleasure of chatting with for a brief moment) and of the electrifying Elizabeth Selfish of Crossover Hardcore act BRAT, adding even more adrenaline to a very emotional goodbye from the stages. I’m sure her son Rayny Forster, who plays bass with her live, is immensely proud of his mom, a strong and relentless woman who proved once again there’s no age limit when it comes to heavy music. It was an excellent warmup for the other bands of the night, and hopefully Grindmother can now enjoy her retirement in great fashion together with her family while listening to some ass-kicking Extreme Metal. Thank you for your music and for your passion for Heavy Metal, Grindmother!

Band members
Grindmother – vocals
Chelsea Marrow – vocals
Elizabeth Selfish – vocals
Topon Das – guitar
Rayny Forster – bass
Mathieu “Vil” Vilandré – drums

After a quick break it was time for Texas-based Death Metal brigade TRIBAL GAZE to ignite some wild mosh pits in the floor section with their short but extremely violent and heavy performance. Led by the charismatic frontman McKenna Holland, the band has just released the excellent Inveighing Brilliance, available on both BandCamp and on Spotify, which was basically what they played during their entire set. Songs like Smiling From Their Chariots and Emptying the Nest sounded inhumane live, with drummer Cesar De Los Santos dictating the pace of his own band and of the entire crowd, who went mental inside the pit and slammed like there’s no tomorrow. I’m sure we’ll hear more from those talented guys in a not-so-distant future, and I can’t wait to see one of their concerts again as they definitely know how to make our good old Death Metal sound incredible live.

Setlist
Smiling From Their Chariots
Emptying the Nest
To the Spoils of Faith
The Irreversible Sequence
Godless Voyage
Twitching on the Cross
Beyond Recognition

Band members
McKenna Holland – vocals
Quintin Stauts – guitars
Ian Kilmer – guitars
Zachary Denton – bass
Cesar De Los Santos – drums

The next attraction of the night is one of those bands you know they’ll quickly become a reference in the genre. I’m talking about Fort Worth, Texas’ own abominable men (and woman) FROZEN SOUL, bringing absolute chaos, frost and heaviness to the stage with their ruthless blend of old school Death Metal. Playing songs from their two awesome albums Crypt of Ice, form 2021, and Glacial Domination, from 2023 (both available on BandCamp and on Spotify), plus a few new killer tunes like Skinned by the Wind and Invoke War, from their upcoming yet-to-be-titled 2026 album, the band led by the unstoppable Chad Green on vocals (who also gave an emotional speech by dedicating one of the songs to his deceased younger brother, therefore showing a lot of heart) put everyone to slam, stage dive, crowd surf, and even do some push ups during their incredible performance, leaving us completely disoriented after all was said and done. One thing I must say about their concert is that the sound quality was superb, allowing the bass by the fantastic Samantha Mobley to punch us hard in the head for our total delight. Needless to say, she’ll (very) soon be one of our metal ladies of the month. I’m now desperate to listen to their upcoming album, because based on what we were able to witness this Saturday, it’s going to be a real banger. Hell yeah, winter is coming again, courtesy of one of the must-see names of the current Death Metal scene.

Setlist
Skinned by the Wind
Beat to Dust
Chaos Will Reign
Morbid Effigy
Merciless
Absolute Zero
Arsenal of War
Invoke War
Crypt of Ice

Band members
Chad Green – vocals
Chris Bonner – guitars
Michael Munday – guitars
Samantha Mobley – bass
Matt Dennard – drums

After everyone had a short break for having another beer, checking the merch stands, going to the washroom, or simply recovering their energies from the chaotic show by Frozen Soul, it was time to “get do da choppa!” together with the unparalleled Belgian Death Metal machine ABORTED, and oh boy, what an apocalyptic performance it was. Sven De Caluwé was not only on fire with his demented guttural, but he was also in his best comedian mode, impersonating the best action hero of all time, the one and only Arnold Schwarzenegger, multiple times, making jokes with his own mother, and asking fans to do some jumping jacks during one of the songs (after pushups and jumping jacks, I was wondering if Cattle Decapitation were going to ask us to do some abs later). What an amazing frontman, and let’s say their setlist helped him a lot, with several songs form their 2024 masterpiece Vault of Horrors, including Dreadbringer, The Shape of Hate and Death Cult, plus classics the likes of Retrogore and The Saw and the Carnage Done, all available on BandCamp and on Spotify, setting fire to the atmosphere just like what happened during their headlining concert in Toronto in February. The icing on the cake happened when Darude’s pop hit Sandstorm was played over the speakers and Sven invited everyone to dance with him, showing we metalheads are not just anger, hatred and darkness. We can also dance. See you at the party, Sven!

Setlist
Dreadbringer
Retrogore
Brotherhood of Sleep
The Origin of Disease
Infinite Terror
The Shape of Hate
Death Cult
Insect Politics
Threading on Vermillion Deception / The Saw and the Carnage Done
Sandstorm (Darude song)

Band members
Sven De Caluwé – vocals
Daníel Máni Konráðsson – guitar
Ian Jekelis – guitar
????? – bass
Kévin Paradis – drums
Siebe Hermans – drums

CATTLE DECAPITATION

We witnessed an emotional farewell, had fun with two of of the new-ish names in Death Metal, and became part of a Belgian death cult this Saturday night. Was that enough for us avid metalheads? Of course not, because we still wanted to party like it was 1349 together with the almighty Progressive Death Metal/Grindcore creature CATTLE DECAPITATION, playing in full their 2019 opus Death Atlas, plus three songs form their 2023 killer album Terrasite, both available on BandCamp and on Spotify, and both paying “homage” to the putrid, gory and visceral downfall of the human race. It was pure Armageddon on stage, and of course that transpired to the floor section where the mosh pits were simply insane.

Anything I say about Travis Ryan at this point of his career is not enough to represent his importance, talent and passion in extreme music. The guy is unstoppable, ruthless, and his goblin screeches are one of those things you must experience live at least once in your miserable life. Songs like Be Still Our Bleeding Hearts, Vulturous, the phenomenal Bring Back the Plague, Death Atlas, and the humanity-is-doomed trio formed of A Photic Doom, We Eat Our Young and Scourge of the Offspring sounded brilliant live once again, and as Travis himself said they’ll be back in April or May I’m wondering if next time we’ll have Terrasite played in its entirety. I love when bands play their albums in full live, as I believe any album is meant to be listened in full without skipping any songs, so let’s wait and see what they’ll bring to the city in the coming months. I’ll be there for sure, because when Cattle Decapitation invites you to party (like it’s 1349), no is definitely NOT an answer.

Setlist
Death Atlas
Anthropogenic: End Transmission
The Geocide
Be Still Our Bleeding Hearts
Vulturous
The Great Dying, Pt 1
One Day Closer to the End of the World
Bring Back the Plague
Absolute Destitute
The Great Dying, Pt. 2
Finish Them
With All Disrespect
Time’s Cruel Curtain
The Unerasable Past
Death Atlas

Encore:
A Photic Doom
We Eat Our Young
Scourge of the Offspring

Band members
Travis Ryan – vocals
Josh Elmore – lead guitars
Belisario Dimuzio – rhythm guitars
Diego Soria – bass
David McGraw – drums

This slideshow requires JavaScript.

Album Review – Discovery Through Torment / Telesynthetic Rebirth EP (2025)

Posted on by
1

This up-and-coming Deathcore ensemble is ready to attack armed with their newborn EP, telling a video game-inspired story of collapse and replacement.

Blending elements of Brutal Death Metal, Slam, and Black Metal into a sound defined by relentless aggression and technical intensity, Montreal, Quebec’s own Deathcore beast Discovery Through Torment has been building a reputation in the Canadian underground metal scene for uncompromising heaviness, surgical precision, and a clear artistic identity rooted in themes of Sci-Fi, aliens, and existential decay. Now in 2025 the band formed of vocalist Alexandre Desroche, guitarists Samuel Fortin and Frédéric Ricard, bassist Alexis Lafrance, and drummer Charles-Étienne Lafrance returns to the battlefield with a new EP titled Telesynthetic Rebirth, following up on their demented 2022 sophomore opus The Mangled God. Recorded and produced by the band itself, mixed and mastered by Maxime Lacroix of House of Gain Studio, and displaying a sinister artwork by Mark Erskine of Erskine Designs, the EP tells a video game-inspired story of collapse and replacement, following the downfall of a former entity and the rise of a new force that abducts humans, reshapes them into telepathic killing machines, and unleashes them in a genocidal conquest of Earth. The lyrics weave themes of experimentation and domination, closing with a cliffhanger that sets up the next chapter.

Eerie sounds permeate the air in the opening track Dethronement, exploding into a beyond brutal and technical slab of Deathcore led by Charles-Étienne’s demented beats and fills while Alexandre delivers those deep, inhumane growls we all love so much. Their demented feast of Blackened Deathcore goes on in full force in Arcane Inception, showcasing an amazing job done by Samuel and Frédéric on the guitars, being therefore perfect for some action inside the circle pit; and Charles-Étienne doesn’t let the band’s aggressiveness and heaviness go down not even a tiny bit in Veil Unferling, with those insane breakdowns providing Alexandre with exactly what he needs to roar like a demonic entity. Moreover, the song has a nod to the first F.E.A.R. game, with a hidden line straight from Paxton Fettel. Lesions is by far the most infernal (and consequently the most trilling) of all songs from the EP, where Alexis hammers his bass manically accompanied by the thunderous drums by Charles-Étienne; and finally, they add hints of Melodic Death Metal to their core sonority in First Encounter Assault Regiment (a play on the aforementioned game’s acronym), and the final result is obviously incendiary.

As an unsigned and self-produced act, Discovery Through Torment exemplify the raw potential of modern underground metal music, always ambitious, unfiltered, and driven entirely by passion, and their brand new EP is the perfect depiction of all that hard work and focus. Hence, you can show those relentless metallers your total support by following them on Facebook and on Instagram, by streaming their music on any platform like Spotify, and of course by purchasing their excellent new EP from BandCamp or by clicking HERE. It certainly won’t take long for Discovery Through Torment to attack again with the next chapter in their already solid career, and I can’t wait to see what’s next for such an up-and-coming Deathcore ensemble after the striking and incendiary Telesynthetic Rebirth.

Best moments of the album: Arcane Inception and Lesions.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Dethronement 4:36
2. Arcane Inception 3:40
3. Veil Unferling 4:29
4. Lesions 3:35
5. First Encounter Assault Regiment 4:19

Band members
Alexandre Desroche – vocals
Samuel Fortin – guitar
Frédéric Ricard – guitar
Alexis Lafrance – bass
Charles-Étienne Lafrance – drums

Concert Review – Blind Guardian (Queen Elizabeth Theatre, Toronto, ON, 11/29/2025)

Posted on by
Reply

And the bards brought to Toronto another unforgettable night of first-class, undisputed Heavy Metal.

OPENING ACTS: Seven Kingdoms and Ensiferum

What an unforgettable night of first-class, undisputed Heavy Metal this Saturday in Toronto at the Queen Elizabeth Theatre, courtesy of the most ass-kicking bards in history, the unstoppable BLIND GUARDIAN, supported by SEVEN KINGDOMS and ENSIFERUM, during their must-see Somewhere Far Beyond North American Tour 2025. I need to personally thank Noel Peters of Inertia Entertainment for bringing the bards back to the city less than two years after their phenomenal concert at Rebel in 2024, and I must say this time the entire show was even better, more powerful, and more exciting. Keith Ibbitson of Metal Paparazzi and I were lucky enough the be there to cover such a metallic party, and judging by the reaction of the crowd during the entire night, all metalheads in Toronto will keep talking about the three bands for a long time, wishing they could go back in time to experience everything all over again, and again, and again.

Deland, Florida’s own Power Metal brigade SEVEN KINGDOMS kicked off the festivities around 7:20pm with a highly energetic performance led by frontwoman Sabrina Valentine, properly warming us up for the upcoming attractions of the night. Blending songs from their already solid discography, including their 2022 album Zenith (available on Spotify), the band whose name was taken from The Seven Kingdoms of Westeros in George R. R. Martin’s epic fantasy novel series A Song of Ice and Fire did exactly that during their short but sweet performance, setting fire to the atmosphere with their classic blend of Heavy and Power Metal (although I have no idea why they don’t have a bassist). Camden Cruz was absolutely phenomenal armed with his axe, kudos to Kevin Byrd for sporting a classic Teenage Mutant Ninja Turtles shirt (and if you don’t like the TMNT, you’re not a good person), and as the icing on the cake, or maybe I should say on their cheeseburger, we got the indomitable Krista Shipperbottom, former frontwoman for Canadian melodeath band Lutharo, as the night’s cheeseburger. Yes, we definitely need more Seven Kingsdoms and more cheeseburgers in Toronto soon.

Setlist
Diamond Handed
A Silent Remedy
The Serpent and the Lotus
Valonqar
Wilted Pieces
Through These Waves
In the Walls

Band members
Sabrina Valentine – vocals
Kevin Byrd – guitars
Camden Cruz – guitars
Colton Zietler – drums

After a short break (and certainly not enough to brave the endless line for merch for all bands) it was time for Helsinki, Finland’s Epic Folk Metal warriors ENSIFERUM to bring a true winter storm to the stage with songs from all of their albums, including of course their latest one Winter Storm, released in 2024, all available on BandCamp and on Spotify. Petri Lindroos, Markus Toivonen, Sami Hinkka, Pekka Montin, and Janne Parviainen put on a fantastic show for an already packed venue, yielding their sonic weapons in great fashion for the delight of everyone inside the considerable circle pit that was moving frantically in the middle of the floor section. Their maniacal bassist Sami Hinkka didn’t stop screaming, running around the stage, jumping up and down, headbanging, and of course hammering his bass not even for a single second, and it was beautiful witnessing that extreme energy flowing from him into the hearts of all fans at the Queen Elizabeth Theatre. What a great performer, my friends. And of course, with a name like that, which if you don’t know is Latin for “sword bearer,” the top moments of their concert were the fighting songs Guardians of Fate, Into Battle, and the classic In My Sword I Trust, turning the venue into a true battlefield. Please return to Toronto as soon as you can, Ensiferum, because you guys rock.

Setlist
Aurora
Winter Storm Vigilantes
Way of the Warrior
Andromeda
Fatherland
Heathen Horde
Guardians of Fate
Into Battle
In My Sword I Trust

Band members
Petri Lindroos – harsh vocals, guitars
Markus Toivonen – guitars, backing vocals
Sami Hinkka – bass, clean and backing vocals
Pekka Montin – keyboards, clean and backing vocals
Janne Parviainen – drums

BLIND GUARDIAN

I honestly have no idea why Teutonic Power Metal masters BLIND GUARDIAN decided to do this Somewhere Far Beyond North American Tour only in 2025, as they already celebrated 30 years of the album Somewhere Far Beyond back in 2022, having even released in 2024 a live album of that tour recorded at Rock Hard Festival in June 2022, but who am I to complain about that, right? Quite the opposite, it was a dream come true watching the iconic Hansi Kürsch & Co. deliver a flawless live rendition of one of their classic albums, plus of course a bunch of other superb songs. The first part of the set itself was already worth the price of the ticket, as Into the Storm, Blood of the Elves, Nightfall, and Violent Shadows are killer metal tunes, with all fans already losing their voices screaming those songs together with the bards.

Hansi was in an excellent mood, showing once again he’s not just a phenomenal vocalist, but also a great frontman and entertainer, keeping the audience engaged and hypnotized form start to finish. After they started playing Somewhere Far Beyond, with Time What Is Time and Journey Through the Dark sounding incredible, Hansi joked about the fact he was surprised that they said in 2024 they would return soon, and they actually did. The crowd was on cloud 9 with each and every word pronounced by Hansi, but it was of course when they played The Bard’s Song – In the Forest, and The Bard’s Song – The Hobbit, another majestic moment of the show, that the whole venue turned into a true celebration of heavy music and bards. One of those moments in the life of a person that confirms we all made the right choice in becoming metalheads.

And then came the encore. But it wasn’t just an encore. It was THE encore, one of the best I’ve ever experienced in my life. When the crowd started chanting “Majesty! Majesty!” I had on idea the band was actually going to answer our call. Hansi even joked about it saying that we were not allowed to ask for what we wanted to hear, but we were lucky that was exactly what they were going to play anyway. It was beyond orgasmic seeing them playing Majesty live. I pretty much lost my voice screaming. Then came the biggest surprise of the night for me, Lord of the Rings, and then I lost the rest of my voice. Simply incredible. I don’t know how I was still able to scream with the band during the epic Valhalla and Mirror Mirror, and when we all thought the show was over, the band fired upon us the also breathtaking Lost in the Twilight Hall. What an epic conclusion to a concert full of mosh pits, fists and horns in the air, ad the certainty that the bards will return to Toronto again, hopefully sooner than later for the “surprise” of Hansi and his henchmen themselves. Thank you once again, Blind Guardian. I’m a very happy man.

Setlist
War of Wrath
Into the Storm
Blood of the Elves
Nightfall
Violent Shadows

Somewhere Far Beyond
Time What Is Time
Journey Through the Dark
Black Chamber
Theatre of Pain
The Quest for Tanelorn
Ashes to Ashes
The Bard’s Song – In the Forest
The Bard’s Song – The Hobbit
The Piper’s Calling
Somewhere Far Beyond

Encore:
Majesty
Lord of the Rings
Valhalla
Mirror Mirror
Lost in the Twilight Hall
Sacred Worlds (Orchestral outro)

Band members
Hansi Kürsch – vocals
André Olbrich – lead, rhythm and acoustic guitars
Marcus Siepen – rhythm and acoustic guitars
Johan van Stratum – bass, backing vocals
Kenneth Berger – keyboards, backing vocals
Frederik Ehmke – drums

This slideshow requires JavaScript.