Tag Archives: canada

Album Review – Lutharo / Chasing Euphoria (2024)

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One of the must-see names of the current Canadian scene is back with their breathtaking sophomore album, sounding as destructive and violent as it is soaring and captivating.

Bringing forth their signature mixture of traditional Heavy Metal, Melodic Death Metal, Thrash Metal and more, Hamilton, Ontario, Canada-based Melodic Death Metal outfit Lutharo returns with their sophomore opus (and strongest effort to date), titled Chasing Euphoria, following up on their critically acclaimed 2021 debut Hiraeth. Recorded by drummer Cory Hofing at Coho Studio, with additional recording by Thomas Ireland and mixing and mastering by Lasse Lammert of LSD Studio, and showcasing a stunning artwork by Swedish artist Niklas Sundin, Chasing Euphoria is as destructive and violent as it is soaring and captivating, inspiring us all for some vigorous headbanging, boisterous pits and chanting singalongs together with frontwoman Krista Shipperbottom, guitarist Victor Bucur, bassist Chris Pacey and the aforementioned drummer Cory Hofing.

The epic, cinematic intro Gates of Enchantment will set the stage for Krista and the boys to crush our souls in Reaper’s Call, presenting an amazing guitar job by Victor that sets fire to their music in the name of Melodic Death Metal, therefore resulting in a beyond thrilling start to the album. Their violent yet very melodious sounds keep hammering our cranial skulls in Ruthless Bloodline, with Cory dictating the song’s galloping pace with his heavy beats accompanied by the metallic bass by Chris; and get ready for another blast of sick riffs, thunderous bass and unstoppable drums in Time to Rise, with Krista once again showcasing all her vocal range with both her clean vocals and she-demon roars. In Born to Ride we’re treated to pure metal lyrics roared by Krista (“We’re striking the lights out stately / Let the banners fly / Sights never guided me before just stifled my might / Short circuited odds and judgment / With victory to taste / When the blind leads the blind, / You’re at the edge of a blade”) amidst a beyond exciting and incendiary sound perfect for hitting the highway, followed by Bonded to the Blade, a good song albeit not as dynamic as the rest of the album. Victor continues to deliver sheer adrenaline through his riffs and solos, though.

The title-track Chasing Euphoria will bring to our avid ears more of the band’s modern-day, electrifying Melodic Death Metal, with the soaring vocals by Krista walking hand in hand with the massive wall of sounds crafted by her bandmates; and the band then enhances their epicness to a whole new level in Creating a King, offering more of their crystal clear, visceral melodeath with Cory pounding his drums mercilessly from start to finish, resulting in the perfect song for some sick headbanging. There’s no sign of the band slowing down at all, as Strong Enough to Fall is another feast of Canadian Melodic Death Metal with the striking riffs and solos by Victor sounding venomous, enfolding us all in a Heavy Metal embrace. A futuristic start quickly evolves into a straightforward Melodic Death Metal attack by Lutharo in Paradise or Parasite, where Krista keeps delivering her trademark hypnotizing vocal lines while Chris and Cory build a strong base boosted by the song’s background orchestral elements; whereas the doomed bass by Chris ignites the closing tune of the album, titled Freedom of the Night, offering the listener seven minutes of fast-paced riffs and beats and the always sharp yet charming vocals by Krista, or in other words, it’s a more introspective creation by the band putting a climatic finale to their metallic feast.

Lutharo Chasing Euphoria Ultimate Bundle

Lutharo are definitely going places armed with Chasing Euphoria (both figuratively and literally speaking, as they’re gearing up for a massive tour across the United States and Canada), and if you want to show such awesome band from the current Canadian metal scene your utmost support, you can start following them on Facebook and on Instagram, always keeping an eye on their tour dates, subscribe to their YouTube channel and stream more of their breathtaking music on Spotify, and above all that, grab a copy of Chasing Euphoria from their own official website (including the more-than-special Chasing Euphoria ultimate bundle, featuring the album on limited edition pink and blue marble vinyl, a limited edition signed photo, an album T-shirt, a “Time To Rise” patch, a battle flag, and limited edition guitar picks), or you can also find your favorite version of the album by clicking HERE or HERE. Lutharo are definitely going to make a lot of noise worldwide armed with their new album, a cacophony of all that is metal, always chasing euphoria and inspiring us to bang our heads nonstop to the music by one of the best bands of the contemporary Canadian scene.

Best moments of the album: Reaper’s Call, Born to Ride, Creating a King and Paradise or Parasite.

Worst moments of the album: Bonded to the Blade.

Released in 2024 Atomic Fire Records

Track listing
1. Gates of Enchantment 1:13
2. Reaper’s Call 4:00
3. Ruthless Bloodline 4:12
4. Time to Rise 4:21
5. Born to Ride 3:52
6. Bonded to the Blade 4:33
7. Chasing Euphoria 4:31
8. Creating a King 4:08
9. Strong Enough to Fall 4:56
10. Paradise or Parasite 5:07
11. Freedom of the Night 6:45

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

Guest musician
Jeff Wilson – guitars (Live)

Album Review – Fathomless Ritual / Hymns For The Lesser Gods (2024)

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Behold this one-man project from Canada and his striking debut opus, offering us all a technical and brutal form of Death Metal for sacrifices and caverns fully dedicated to the prehistoric gods.

With manic glee, Newmarket, Ontario, Canada-based Technical/Brutal Death/Doom Metal creature Fathomless Ritual recreates the maddening, unhinged kind of Death Metal created by the likes of Demilich, Chthe’ilist, Dead and Dripping, and Mortiferum, among others, and give its own ugly, grime-ridden twist to it, which is exactly what you’re going to get in the project’s debut opus Hymns For The Lesser Gods. Displaying a stunning artwork and gouache paintings by renowned Brazilian artist Marcio Blasphemator, Hymns For The Lesser Gods offers a darker, murkier, cavernous sound, being labeled as “Death Metal for sacrifices and caverns”, but all the same has a denser quality and a sense of modern urgency about it which livens up the proceedings, with the project’s sole member Brendan Dean (or simply B. Dean), of bands like Gutvoid, Fumes and Pukewraith, making a conscientious effort to make the sound more extreme and relevant in his own way without attempting to dethrone the gods.

Pure insanity and heaviness flow from all instruments from the very first second in Hecatomb for an Unending Madness, where Brendan’s deep, inhumane gnarls add an extra touch of obscurity to the music, also showcasing infernal, demented riffs not recommended for the lighthearted; and our lone wolf keeps hammering all of his instruments in Exiled to the Lower Catacombs, resulting in a Neanderthalic, grim Death Metal attack with the bass sounds reverberating deep inside our heads. Those drums keep pounding our cranial skulls in Gorge of the Nameless, not to mention the acid electricity exhaling from Brendan’s riffs and bass, feeling like he’s dragging us deeper and deeper into his Stygian lair. Then get ready for six minutes of demented groove in the form of Grafted to the Chambers of Mirth, where Brendan follows his own “Cavern Death Metal” formula in great fashion, blasting his stringed axes mercilessly while also barking like a demonic entity.

There’s no limit to the level of insanity and darkness blasted by Brendan and his Fathomless Ritual, resulting in another onrush of brutal, dense and headbanging sounds titled Wielding the Bone Wand, while our ears keep being invaded by his devilish roars. And Brendan shows no sign of slowing down; quite the contrary, he keeps slashing his stringed axe like a beast in Cosmic Reflections from the Basin of Blood, another solid creation venturing through the realms of Experimental Death Metal. It’s then pedal to the metal as Brenda’s Death Metal attack will leave you absolutely disoriented in Gelatinous Being of Countless Forms, where the song’s demented but very intricate drums walk hand in hand with his devilish gnarls and rumbling bass punches, and Gifts for Aranaktu is one final onrush of demonic, ruthless metal sounds that will hit us hard in the face. Furthermore, it’s truly impressive how Brendan managed to keep his guitar and bass work so vibrant throughout the entire album without sounding repetitive or stale.

Be prepared to sacrifice yourself and win the favour of the forgotten ones with Hymns For The Lesser Gods, an album that should delight any fan of underground Death Metal, and that you can purchase from Fathomless Ritual’s own BandCamp page, as well as from the Transcending Obscurity Records’ webstore as an 8-panel digipak in the US or in Europe, and as a very special CD + shirt combo also in Europe. Don’t forget to also give Brendan and his Fathomless Ritual a shout on Facebook and on Instagram, because not only he’s embellishing our lives with an album chock-full of riffs and jangly hooks with escalating song structures culminating in cranial implosions, but it’s also a fierce and pulverizing tribute to the prehistoric gods, all embraced by that murky, twisted and engrossing form of Death Metal we all love so much.

Best moments of the album: Exiled to the Lower Catacombs, Grafted to the Chambers of Mirth and Gelatinous Being of Countless Forms.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Hecatomb for an Unending Madness 2:32
2. Exiled to the Lower Catacombs 4:55
3. Gorge of the Nameless 4:15
4. Grafted to the Chambers of Mirth 6:11
5. Wielding the Bone Wand 4:45
6. Cosmic Reflections from the Basin of Blood 4:01
7. Gelatinous Being of Countless Forms 4:58
8. Gifts for Aranaktu 6:54

Band members
Brendan Dean – vocals, guitars, bass, drum programming

Album Review – Danko Jones / Electric Sounds (2023)

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Toronto, Canada-based undisputed kings of balls-out Hard Rock and Rock N’ Roll are back to provide maximum satisfaction with their electrifying eleventh studio album.

Are you ready to rock? Do you want a good time? Do you want to get high? If the answer to any of those questions is yes (and it really should be), then Toronto, Canada-based undisputed kings of balls-out Hard Rock and Rock N’ Roll, collectively known as Danko Jones, are back to provide maximum satisfaction with their new album titled Electric Sounds, the eleventh studio effort in their career. Produced and mixed by Eric Ratz, mastered by Harry Hess at HBomb Mastering, and displaying a classy artwork by Martin Ander, Electric Sounds will slap you in the face with its endless electricity and power, all carefully brought into being by vocalist and guitarist Danko Jones (aka Rishi James Ganjoo), bassist John “JC” Calabrese, and drummer Rich Knox.

As already asked, are you ready for a Rock N’ Roll party together with Danko and his crew? That’s what you’ll get in the groovy Guess Who’s Back, with Danko declaiming the song’s acid lyrics while Rich dictate the song’s pace with his classic beats, followed by Good Time, another exciting, rockin’ extravaganza by the trio, with the bass by JC sounding thunderous while Danko keeps roaring the song’s fun chorus with tons of energy (“I came here to fuck shit up and have a good time”). Then the title-track Electric Sounds, featuring guest guitarist Daniel Dekay (from Canadian thrash legends Exciter), will take you on a wild musical ride together with the band, with Danko kicking some ass on vocals supported by the pounding drums by Rich. Then we have Get High?, featuring guest vocals by Damian Abraham (from Fucked Up), a song about the the legalization of marijuana in Canada that ends up being some sort of Rock N’ Roll anthem for potheads, showcasing solid riffs and strong bass lines; and let’s keep banging our heads with Danko Jones in Stiff Competition, bringing more of the band’s pounding but very melodic sounds, albeit not as thrilling as the rest of the album.

The band speeds things up and invite us all to slam into the pit to the sound of She’s My Baby, featuring guest vocals by Tyler Stewart (from Barenaked Ladies), a lesson in modern-day Rock N’ Roll and Hard Rock; whereas Eye For An Eye reminds me of some of the most recent songs by Danish rock titans Volbeat, which is obviously a good thing, with the guitars by Danko sounding amazing from start to finish. And adding an extra dosage of groove to their music it’s time for I Like It, a strip tease-fueled rock song where the beats by Rich will inspire you to bang your head like a maniac. The party has no time to stop, as the vibrant Let’s Make Out keeps the adrenaline level as high as it can be, with Danko once again kicking ass on vocals and with his classy riffs, while What Goes Around offers us all pure Rock N’ Roll flowing from all instruments, with the vocals by Danko matching perfectly with the rumbling kitchen by JC and Rich. Lastly, the trio will shake your city with their rockin’ sounds in Shake Your City, bringing forward one final round of their classic riffs, bass lines and beats and fills.

Electric Sounds is available for a full listen on YouTube and on Spotify, but of course if you want to show your utmost support to Danko Jones you can grab a copy of the album from their own website or by clicking HERE, and don’t forget to also follow this amazing Hard Rock crew from Toronto on Facebook and on Instagram for news, tour dates, and so on. Danko Jones and his henchmen are ready to rock your world armed with the electric sounds found in their new album, and if I were you I wouldn’t waste a single second and join them because, as you might know, their Rock N’ Roll party has no time to end.

Best moments of the album: Electric Sounds, She’s My Baby and Eye For An Eye.

Worst moments of the album: Stiff Competition.

Released in 2023 AFM Records

Track listing
1. Guess Who’s Back 2:41
2. Good Time 3:57
3. Electric Sounds 3:13
4. Get High? 3:37
5. Stiff Competition 3:27
6. She’s My Baby 3:17
7. Eye For An Eye 2:58
8. I Like It 3:09
9. Let’s Make Out 3:26
10. What Goes Around 3:32
11. Shake Your City 3:30

Band members
Danko Jones – lead vocals, guitars
John “JC” Calabrese – bass
Rich Knox – drums

Guest musicians
Tyler Stewart – vocals on “She’s My Baby”, backing vocals
Damian Abraham – vocals on “Get High?”, backing vocals
Daniel Dekay – guitars on “Electric Sounds”, backing vocals
Eric Ratz, Harry Hess, Zach Pepe – backing vocals

Album Review – Délétère / Songes d’une Nuit Souillée (2023)

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Quebec City-based disciples of pestilence are back with their darkest and most tortured offering yet, a striking tour-de-force of first-class Métal Noir Québécois.

One of the leaders of the Métal Noir Québécois scene, Quebec City, Quebec-based disciples of pestilence Délétère (which is French for “deleterious” or “harmful”), is back with what is without a doubt their darkest and most tortured offering yet, the demonic Songes d’une Nuit Souillée, or “dreams of a defiled night” in English. Sporting a crushing sound from Tehom Productions and absolutely striking visuals by Vhan Artworks, the album sees such ruthless Black Metal horde plunge into a never-ending pit of pestilence, blasphemy and perversion, or in other words, it’s a striking tour-de-force masterfully brought into being by vocalist and keyboardist Thorleif, guitarists Atheos, Glauque and Matrak, bassist Anhidar, and drummer Kaedes, resulting in the perfect follow-up for their 2018 album De Horae Leprae.

Chasse obscene (“obscene hunt”, from French) is cryptic and atmospheric from the very first second, with the band’s guitar triumvirate piercing our souls mercilessly with their devilish riffs while Thorleif begins his demonic vocal attack for our total delight, followed by Sacre de la perversion (“coronation of perversion”), offering us all seven minutes of absolute darkness, carnage and blasphemy by those black metallers, the epitome of what we like to call Métal Noir Québécois, spearheaded by the sick yet very technical drumming by Kaedes. The band keeps the atmosphere as dense, grim and infernal as possible in Foutredieu, showcasing another solid job done by Kaedes on drums supported by the menacing bass by Anhidar, whereas Messe scandaleuse (“scandalous mass”) is another blast of insanity made in Quebec, with the guitars by Atheos, Glauque and Matrak dragging us all into pitch black darkness, and with the song’s backing vocals sounding absolutely haunting.

The second half of the album begins with an extensive interlude on the piano titled Sonata Impudicitiae (“the sonata of impudence”, from Latin), which is not bad but goes on for too long, setting the tone for the pulverizing aria Lex Syphilii (“the law of syphilis”, from Latin), an explosion of classic Black Metal led by the venomous vociferations by Thorleif while his bandmates make sure the ambience remains nefarious and despicable until the very last second, with the blast beats by Kaedes once again bringing thunder to their sound. Then continuing their path to the underworld we’re treated to the visceral, epic and multi-layered Le labour des chairs (“the plowing of flesh”), where once again the stringed axes by Atheos, Glauque and Matrak generate a Stygian vibe in the name of Black Metal; whereas closing such intense album we have La nuit souillée (“the defiled night”), a mid-tempo, dense creation by Délétère where Thorleif couldn’t have sounded more hellish accompanied by all phantasmagorical backing vocals, therefore putting a beyond somber ending to the band’s black mass.

If you want to experience Songes d’une Nuit Souillée in all of its blackened glory, you can stream the full album on YouTube, and of course grab a copy of it from the Sepulchral Productions’ BandCamp page. Don’t forget to also join such talented horde from Quebec City in their quest for darkness and evil on Facebook and on Instagram, staying up to date with all news, tour dates and other details about the band. Simply close your eyes, hit play, and let the visceral Black Metal by Délétère invade your darkest dreams during a profane, impure night, keeping the flames of Métal Noir Québécois burning bright and, therefore, keeping you closer and closer to the absolute darkness that reigns in the underworld.

Best moments of the album: Sacre de la perversion, Lex Syphilii and Le labour des chairs.

Worst moments of the album: Sonata Impudicitiae.

Released in 2023 Sepulchral Productions

Track listing
1. Chasse obscene 5:24
2. Sacre de la perversion 7:26
3. Foutredieu 4:33
4. Messe scandaleuse 5:28
5. Sonata Impudicitiae 4:23
6. Lex Syphilii 4:35
7. Le labour des chairs 4:18
8. La nuit souillée 6:40

Band members
Thorleif – vocals, keyboards
Atheos – guitars
Glauque – guitars
Matrak – guitars
Anhidar – bass, vocals
Kaedes – drums

Concert Review – Cattle Decapitation (The Opera House, Toronto, ON, 12/02/2023)

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As we’re all going to die one day, why not enjoying our time left on earth with some first-class Death Metal like what the unparalleled Cattle Decapitation offered us this Saturday night in Toronto?

OPENING ACTS: Castrator, Sanguisugabogg and Immolation

Before I start the actual review of the show, I gotta say that although I don’t have anything against Christmas, I do nurture a deep hatred for the Christmas market known as The Distillery Winter Village that happens this time of the year in Toronto. Because of that, it took me almost two hours to get to The Opera House last night to see CASTRATOR, SANGUISUGABOGG and IMMOLATION during their demented The Terrasitic Infestation Tour 2023, brought to the city by the always awesome Noel Peters of Inertia Entertainment, and I had to skip some quality time with my friend Keith Ibbitson of Metal Paparazzi (and some other nice ladies and gents) and simply rush to the venue (after parking way too far from it, of course). And before I forget, the concert was absolutely SOLD OUT, so you can all imagine how demonic the atmosphere was indoors on Saturday, right?

Anyway, at least I made it in time for the opening act of the night, the ruthless New York-based Death Metal entity CASTRATOR, who hit the stage of The Opera House at 7pm sharp and pulverized our senses for intense 30 minutes of Old School Death Metal. I have no idea why their guitarist Kimberly Orellana isn’t playing this tour, but fortunately for all fans of first-class extreme music the awesome Long Island, New York guitarist Kurtis Layne stepped up and made their whole tour possible. Playing seven demolishing songs from their top-notch debut full-length Defiled in Oblivion, released in 2022 (and available for a full listen on BandCamp and on Spotify, or click HERE for all things Castrator), including the fantastic tunes Inquisition Sins and the closer Dawa of Yousafzai, the band formed of the unstoppable growler Clarissa Badini, bassist Robin Mazen, drummer Carolina Perez, and the aforementioned Kurtis Layne on the guitar was vicious form start to finish, igniting some of the wildest mosh pits I’ve ever seen for an opening act in my life. Clarissa was insane on vocals, roaring and headbanging like a maniac nonstop, therefore having the crowd in the palm of her hands all the time. She’s one of the best growlers of the new generation, and I highly recommended seeing Castrator live whenever they take your damned city by storm. When she was announcing the last song of the night, the audience demanded more, and she laughed and said “c’mon guys, we’re just the opener”. Well, hopefully one day we’ll see Castrator as the headliners in Toronto, because we all loved their wicked Death Metal attack, turning several of us (including myself) into a fanboy of the band.

Setlist
Tormented by Atrocities
Forsaken and Deprived
Inquisition Sins
Tyrant’s Verdict
Befoul My Existence
Sinister Mind
Dawa of Yousafzai

Band members
Clarissa Badini – vocals
Kurtis Layne – guitars
Robin Mazen – bass
Carolina Perez – drums

That circle pit madness initiated by Castrator kept moving frantically during the demented 30-minute onrush of Brutal Death Metal by Columbus, Ohio-based horde SANGUISUGABOGG (by the way, the band’s name is a combination of “sanguisuga”, which is Latin for “leech”, and “bog”, a British English slang for “toilet”), demanding a high level of stamina and fitness form everyone who dared to brave the floor section. Playing songs mostly from their latest album Homicidal Ecstasy, such as Black Market Vasectomy and Face Ripped Off, plus the closer Dead as Shit, from their 2021 debut Tortured Whole (all available on Spotify), the band that has one of the most unreadable logos ever and that’s spearheaded by this massive dude named Devin Swank kicked some serious ass on stage, demanding the crowd to keep moving inside the circle pit like crazy, even throwing a football to the fans for some sort of twisted football or even rugby madness. Kudos also to drummer Cody Davidson, who kept hammering our heads with his infernal beats just the way we like it in Brutal Death Metal, and next time the band comes to Toronto I’ll make sure I’m there for some quality slamming.

Setlist
Black Market Vasectomy
Face Ripped Off
Pissed
A Lesson in Savagery
Permanently Fucked
Mortal Admonishment
Dead as Shit

Band members
Devin Swank – vocals
Ced Davis – guitars
Drew Arnold – guitars
Cody Davidson – drums

I don’t think there’s anything I can say about Death Metal institution IMMOLATION at this point that hasn’t been said before. After seeing them quite a few times already, I’m always impressed with the heaviness, the charisma, the vibe and the dexterity those New York death metallers bring to the stage, putting their hearts and souls into each of their shows. Ross Dolan and his henchmen were on fire as usual throughout their entire set, making The Opera House tremble with their thunderous Death Metal for the delight of all concert goers. Furthermore, I have to say Robert Vigna might be one of the most underrated guitarists in heavy music, as not only he’s amazing in the studio, but when he’s on stage his axe sounds even more menacing, piercing and striking, adding an extra touch of heaviness to the band’s performance. As mentioned in other reviews of their previous live concerts, the new songs form Acts of God, those being The Age of No Light and An Act of God, matched perfectly with their older material, proving once again the music by one of the torchbearers of Old School Death Metal is simply timeless. In a nutshell, it was a fulminating headbanging party not recommended for the lighthearted, and I’m sure we’ll see those guys back in Toronto sooner than we can say “Death Metal”.

Setlist
And the Flames Wept
All That Awaits Us
The Age of No Light
Dawn of Possession
Once Ordained
When the Jackals Come
Christ’s Cage
Abandoned
An Act of God
Higher Coward
Epiphany

Band members
Ross Dolan – vocals, bass
Robert Vigna – guitars
Alex Bouks – guitars
Steve Shalaty – drums

CATTLE DECAPITATION

It was close to 10pm when the main attraction of the night, San Diego, California’s own Progressive Death Metal/Grindcore titans CATTLE DECAPITATION, took the stage of The Opera House by storm with one of the most infuriated and captivating concerts they’ve ever done in Toronto, and the fact they were the headliners this time helped boost their energy and impact considerably. One of the best details of their setlist was that they played several songs form their masterpiece Terrasite, by far one of the best albums of 2023, including the infernal songs Terrasitic Adaptation, We Eat Our Young, Scourge of the Offspring, The Storm Upstairs, Solastalgia, and A Photic Doom, and the reaction form each fan at the venue to those new tunes was superb.

The entire band was on total freakin’ sync during their demonic set, but let’s say that two guys ended up stealing the spotlight, drummer David McGraw and obviously their iconic frontman Travis Ryan. David sounded infuriated behind his drums, and you know that when the band’s drummer is insane, the mosh pits also are, enhancing the speed, the fury and the madness going on inside such. Not only that, as the concert was on a Saturday I guess all kids inside the circle pit didn’t have to worry about school or work the next day, and they went mental to the point it was impossible to keep up with their pace. The other name of the night was as mentioned Travis, one of the best, most charismatic frontmen in the history of extreme music, who not only was insane as usual with both his deep guttural and his trademark goblin screeches, but he was also having a lot of fun with the crowd, even using a Dr. Seuss Cat in the Hat top hat (and yes, someone brought it to the concert for a reason beyond my understanding) to wipe up his ass while the audience was laughing a lot of the scene. In other words, Travis is awesome, period.

Most of us were curious to know why there was a disco ball hanging from the ceiling during the band’s performance, and fortunately I have a secret source who explained to me the reason for that. During their sound check, one of the band’s guitarists was checking his sound by playing a slow song (we believe it was “Endless Love”, originally recorded as a duet by Lionel Richie and Diana Ross in 1981), and when the lighting tech turned the disco ball on, Travis saw that and said they had to use it during their set. Well, I personally think that was an AWESOME idea, making their Toronto gig truly unique, with the light coming form the disco ball matching perfectly with their savage music. Everyone loved it, and the city is more than ready for another round of the caustic music by Cattle Decapitation anytime they want to return to the city, if possible with the disco ball back, of course. And lastly, I just want to say one thing about the band’s merch. One of the stickers sold at their merch stand had their classic phrase “We’re All Gonna Die. Have a Nice Day.”, and let’s say that’s exactly how we should face our lives, having a great time at metal concerts with our friends and family like this Saturday at The Opera Hose until our inevitable end. Thank you, Cattle Decapitation. You guys are the best!

Setlist
Terrasitic Adaptation
We Eat Our Young
Scourge of the Offspring
Dead Set on Suicide
The Storm Upstairs
Bring Back the Plague
Finish Them
Solastalgia
A Photic Doom
Vulturous
Time’s Cruel Curtain
Pacific Grim

Encore:
Kingdom of Tyrants

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

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Concert Review – Imminence (The Opera House, Toronto, ON, 11/30/2023)

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A feast of top-of-the-line Metalcore made in the United States and Sweden warmed up the hearts of all Torontonian fans on a cold and windy night in the city.

***Review by Keith Ibbitson, with photos by Ryan Miles Leblanc***

OPENING ACT: Until I Wake

The streets of Toronto were cold and windy on the night of November 30, but The Opera House had their doors open early to welcome around 300 Metalcore fans inside to keep them warm, have some cold beverages and listen to great music, courtesy of the opener UNTIL I WAKE, our close neighbours hailing from Buffalo, New York, in the United States, and Swedish metalcore monsters IMMINENCE.

UNTIL I WAKE started off the evening at 7:50pm. It was the band’s first time in Toronto and they did not disappoint. Their raw energy, blistering rhythm and powerful lyrics started the crowd off into a head banging frenzy. One interesting fact about Until I Wake is that they had a guest vocalist as they are trying to find a new singer. Well, I personally chatted with some of the band members after their set and asked who he was, but all they could tell me is that they would like him to be the new frontman for them. Such mysterious guest singer put in his work last night, jumping off the stage and onto the barrier to interact with concert goers, and he even joined them in the center of it all to start a huge circle pit before getting back on the stage. If you want to know more about the band and their music, simply click HERE and also listen to their discography on BandCamp and on Spotify, including the recently released deluxe edition of their 2022 album Inside My Head.

Setlist
For the Record
Sinking Under
Cold
Octane
Forsaken
Fool’s Paradise
Hope Ur Happy
Legacy
Inside My Head

Band members
Unknown – vocals
August Lee Geitner – guitar
Ryan Ridley – bass
Alex Curtin – drums

IMMINENCE

After a short break, more precisely at 9pm, Sweden’s own IMMINENCE got on the stage and things heated up, with bodies being jammed so tight together the heat in the building was humid and sweaty. Imminence is a band known for their unique hard rock sound and melodic electric violin, which I thought would sound weird but wow, I was pleasantly surprised as I have never seen them before. They played a one hour and fifteen minute set, and the crowd at The Opera House sang along with the band every song from what I could see. The love the fans have for the band is outstanding. In addition, Imminence’s sound guys did an absolutely stellar job, making them sound like it’s right from the album and their own lighting tech simply nailed the strobe and color bars as well. You can also click HERE for all things Imminence, and stream all of their metallic creations on Spotify, including their new singles Come Hell or High Water, Desolation, Death by a Thousand Cuts and Heaven Shall Burn, all part of their current setlist.

Setlist
Paralyzed
Ghost
Erase
The Sickness
This Is Goodbye
Come Hell or High Water
Desolation
Surrender
Death by a Thousand Cuts
Alleviate
Saturated Soul
Infectious
Chasing Shadows
∞
Heaven in Hiding
Heaven Shall Burn
Temptation

Band members
Eddie Berg – lead vocals, violin
Harald Barrett – lead guitar, backing vocals
Alex Arnoldsson – rhythm guitar
Peter Hanström – drums
Christian Höijer – bass

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Concert Review – Lucifer & Coven (Lee’s Palace, Toronto, ON, 11/24/2023)

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How to warm up a chilly night in Toronto? Simply bring to the city a huge dosage of darkness, witchcraft, doom and the occult, courtesy of the iconic rock legends Coven and Lucifer.

OPENING ACT: Early Moods

If you were searching for a place to get warm this Friday in Toronto, which was a chilly one (although not too cold compared to other parts of the country), then Lee’s Palace was the place to be, offering you a high dosage of darkness, witchcraft, doom and the occult, courtesy of EARLY MOODS, COVEN and LUCIFER during their The Satanic Panic Tour 2023, brought to the city by the always amazing Noel Peters of Inertia Entertainment. My buddy Keith Ibbitson of Metal Paparazzi and I were there to celebrate all three bands, all delivering memorable performances to the crowd, resulting in a very entertaining night that put a huge smile on the faces of all attendees who have succumbed to the darkest side of music a long time ago.

The first band to hit the stage, precisely at 8pm, was Los Angeles, California-based Doom Metal newcomers EARLY MOODS, and I must say I was truly impressed by the high quality of the music crafted by those guys. Spearheaded by frontman Alberto Alcaraz, owner of a very powerful voice by the way, the band played a short but awesome setlist comprised of five songs from their 2022 self-titled debut album (available on their own BandCamp page as well as on Spotify), inspiring all concert goers to follow the band with some nice, nonstop headbanging. Of course, as a guy coming from the always warm Los Angeles, Alberto had to mention the fact the band was definitely not used to the cold weather in Toronto on Friday, but of course we all made sure the temperature inside Lee’s Palace was warm enough for such talented doomers, and if you want to know more about them simply click HERE and enjoy their first-class Doom Metal.

Setlist
Return to Salem’s Gate
Live to Suffer
The Last Hour
A Sinner’s Past
Damnation

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

COVEN

After a quick break, and with the floor section of Lee’s Palace getting a lot busier with several fans wanting to be as close to the stage as possible, it was time for Chicago, Illinois’s own Satanic/Occult Rock institution COVEN to darken the skies and deliver a stunning show for all fans eager for the mesmerizing vocals by the band’s iconic frontwoman Esther “Jinx” Dawson, who kicked off the band’s black mass by leaving a coffin with a cryptic mask, a very nice touch to their show. Blending songs from their 1969 cult debut Witchcraft Destroys Minds & Reaps Souls with songs form their 1974 classic Blood On The Snow and their latest effort Jinx, released in 2013, it was a wild and fun journey back in time alongside Jinx and her henchmen Alex Kercheval on keyboards, Chris Wild on the guitars, Zayne Hutchison on bass, and Colin Oakley on drums, all undoubtedly born several years (or decades) after Jinx had already started rocking the world with her witchcraft-infused rock music.

As the great frontwoman and person that she is, Jinx made sure she properly introduced each member of the band to show everyone she’s not a solo artist, and that introduction to the boys was actually quite entertaining when she said for example that she met bassist Zayne Hutchison at a graveyard and simply “offered him a gig”. That’s how anyone should treat their band members, I must say. Back to the music, it was crystal clear that songs like Black Sabbath, the closing tune Blood on the Snow, and in special the fan-favorite Wicked Woman, were the most anticipated of their fantastic setlist, inspiring all fans to dance, headbang and raise their horns until the very last second. Jinx and her Coven are a brilliant act that’s worth every single penny to witness live, and hopefully we’ll see more of the trailblazers of Occult Rock sooner than later here in Toronto.

Setlist
Prelude / Satanic Mass
Out of Luck
Black Sabbath
Coven in Charing Cross
Wicked Woman
Black Swan
The Crematory
Epitaph
For Unlawful Carnal Knowledge
Blood on the Snow

Band members
Esther “Jinx” Dawson – vocals
Alex Kercheval – guitars
Chris Wild – guitars
Zayne Hutchison – bass
Colin Oakley – drums

LUCIFER

It was already part 10pm when the main attraction of the night, Stockholm, Sweden-based Heavy/Doom Metal/Rock masters LUCIFER, delivered one of the coolest and most melodic performances the city of Toronto has seen in the past few years. From the very first notes of Ghosts to the last seconds of Reaper on Your Heels, the band formed of frontwoman Johanna Platow Andersson (aka Johanna Claudia Sadonis or Johanna Sadonis), guitarists Linus Björklund, Martin Nordin, and bassist Harald Göthblad, plus guest drummer Chad Walls of bands like Dislimb, The Living Fields and Postulated (as their drummer Nicke Andersson was apparently busy with his other band The Hellacopters in Europe), kicked some serious ass, playing all of their songs to perfection and, consequently, fully captivating the minds and the hearts of all fans at the venue.

My favorite songs from their relatively short setlist were by far Crucifix (I Burn for You) and Bring Me His Head, both from their 2021 highly acclaimed album Lucifer IV, plus their newest single A Coffin Has No Silver Lining, from their upcoming 2024 album Lucifer V (to be released in January), showing that we can expect another beast of an album by those Swedish rockers next year. Hence, you can enjoy all songs from their beautiful setlist on Spotify, and click HERE for all things Lucifer. Last but not least, just like what happens with almost all non-Canadian bands that come to Canada, the wonderful Johanna (and let me say it was nearly impossible NOT to focus on her during the entire show, because she’s simply perfect) told a quick story about when the band was crossing the border form the US to Canada. Not only Johanna said that she was still in her pajamas when the tour manager woke the entire band up right when they were about to cross the border, but she also said that the immigration officer at the border asked them the name of the band. She made a very funny face and said “Ahn… Lucifer…”, proving that’s not an easy name for a band to carry due to all bullshit most religious figures impose on our society. Well, in the end the band made it to Canada, kicked our asses in Toronto, and hopefully when Lucifer V is released we’ll experience another night of blasphemy, doom, witchcraft and the enchanting music by Lucifer in the city.

Setlist
The Funeral Pyre
Ghosts
Midnight Phantom
Wild Hearses
Crucifix (I Burn for You)
Leather Demon
A Coffin Has No Silver Lining
Mausoleum
Bring Me His Head

Encore:
California Son
Reaper on Your Heels

Band members
Johanna Platow Andersson – vocals
Linus Björklund – lead guitars
Martin Nordin – rhythm guitars
Harald Göthblad – bass
Nicke Andersson – drums

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Concert Review – Katatonia (The Axis Club, Toronto, ON, 11/15/2023)

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And the void in the skies of Toronto was filled with the progressive and atmospheric sounds by one of the most important names of the Swedish rock and metal scene.

***Review by Kevin Ibbitson, with photos by Keith Ibbitson of Lower Eastside Photography***

OPENING ACTS: SOM and GOST

Good weather and great music was on tap this past Wednesday the 15th of November in the Little Italy section of Toronto. In the good company of my older brother Keith (myself on review duty and Keith on photography duty), we travelled to the Brass Taps Pizza Pub on College St. to have a bite to eat and meet up with friends and fellow Katatonia Fans Jason and Kim before the show. We timed it perfectly, finishing our meals and drinks at 7p.m., giving us enough time to stroll down the block enjoying the night air. The weather was pretty nice that evening.

Arriving at The Axis Club (formerly known as The Mod Club) located at 722 College St.W, it was time to check in and get set up. No complaints about the security at the front door, everybody seemed pretty chill and relaxed, letting us in with no hassle. My number one priority as soon as I get inside venues is to visit the merch tables and much to my disappointment there were no shirts in my size (3XL) but I’m used to that by now, it’s not the end of the world.  At least I was able to kop a patch and cd so I was happy. Ran into some Familiar faces as soon as I was inside and chatted with them until the first act got on. SOM, a band cobbled together from current and former members of such bands as Caspian, Junius and Constants. A band which I have never heard before. What can I say but that they were the very definition of shoegaze. I think everybody was in their own little worlds while SOM played. They went on at 7:30 to a 1/3 full venue with their brand of introspective shoegazing music. The crowd was a little subdued at first but as the venue started to fill up, the crowd started to come to life. Maybe it’s just me but shoegaze is not the most enlivening music to start a show with so it was slow going but eventually the audience got into it.

Band members
Will Benoit – vocals, guitar, synths
Joel Reynolds – guitar
Mike Repasch-Nieves – guitar
Justin Forrest – bass
Duncan Rich – drums

By the time the Darksynth band GOST got on stage I was at the back of the venue (the venue now about 2/3 full), having a nice conversation with the security guard at the entrance to the upstairs balcony and asked permission to go upstairs which he kindly let me and my brother do because we had credentials, otherwise it was off limits. The balcony sported some great views of the stage and crowd. All in all I’d have to say that The Axis Club is a decent little venue. The club has a good sound to it and a great low end.  As Gost was blasting out their dark horror themed electro dance grooves I could feel the bass in my chest at the back of the venue. As catchy as some of Gost’s music is, I’m not a dancer (can’t dance, won’t dance kind of guy) and I was not drinking enough to truly enjoy the buzz but Gost certainly does exude a fair amount of stage presence and charisma. Gost is a 2-man act of just a head-banging bass player and a multi-talented synth/drum machine player with a skull face mask. While listening to Gost’s set all I could think of was playing my Cyberpunk 2077 video game. Gost certainly livened up the mood. Funny story, during the Intermission my brother Keith (@lowereastsidephotography) got a selfie with the skull faced man himself James Lollar (aka Baalberith) outside the club inadvertently saving him from the clutches of an over excited fan, much to James’ appreciation.

Band members
James Lollar – synths, drums
Unknown – bass

KATATONIA

Finally the Band we all came to see, Stockholm Sweden’s own KATATONIA, on tour promoting their latest album Sky Void Of Stars. The crowd erupted as soon as the band took the stage, as if we were saving our energy just for them. What a great band Katatonia is. Even being a man down was no challenge for them as Anders Nyström was absent for some reason I could not discover. However, it didn’t affect their sound as they were as tight as ever and Jonas Renske had us eating from the palm of his hands. The crowd was loving it. Roger Öjersson’s leads were fantastic and were as crisp as a cloudless full moon winter night. The banter between Jonas and the crowd was great and he frequently aimed the mic towards the crowd for our response, which we did with gusto. Katatonia put on a stellar performance (no pun intended) even though Jonas’ mic started to act up a bit towards the end. No complaints from myself or anybody else there. This was my first time seeing Katatonia live but it damn sure won’t be my last. Toronto loves you, Katatonia.

Setlist
No Beacon To Illuminate Our Fall
Colossal Shade
Lethean
Flicker
Dead Letters
Opaline
Forsaker
Buildings
Decima
The Racing Heart
Nephilim
Birds
Atrium
July
Old Heart Falls
Journey Through Pressure

Encore:
Behind The Blood
My Twin
Evidence

Band members
Jonas Renkse – vocals
Roger Öjersson – guitars
Niklas Sandin – bass
Daniel Moilanen – drums

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Concert Review – Suffocation & Incantation (Lee’s Palace, Toronto, ON, 11/13/2023)

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Four of the best Death Metal bands of the current scene worldwide delivered a night of sheer brutality, rage and endless circle pits last night in Toronto.

OPENING ACTS: Stabbing and Skeletal Remains

What a night of brutality and circle pits in Toronto, my friends! SUFFOCATION and INCANTATION, with very special guests SKELETAL REMAINS and STABBING, put on a sensational performance for the delight of all attendees at Lee’s Palace last night during their Ancient Unholy Uprising Tour 2023. Although it might be getting colder and colder in Toronto as winter is almost upon us, all four bands made sure we remained as warm as possible while they blasted their instruments on stage in the name of our good old Death Metal. I just think the venue should have opened their doors a little earlier than 6:30pm to give everyone enough time to buy merch and have a few drinks, but nothing that would make the whole night less enjoyable, of course.

Shortly after the doors opened, the first band of the night, Houston, Texas-based Brutal Death Metal entity STABBING, kicked of the Death Metal ceremony with a ruthless and demonic performance spearheaded by the she-demon Bridget Lynch, who by the way looked possessed on stage and made it almost impossible to see her face during the entire show. Having released the album Extirpated Mortal Process in 2022, plus a brand new demo earlier this year, the quartet showed no mercy for our necks and bodies, demanding some vigorous headbanging and already inspiring the crowd to slam into the circle pit frantically, playing songs such as Inhaling The Dead, Gutted By The Beast, and Pulsing Wound with endless rage and dexterity. If you know nothing about Stabbing, go check their wicked and beyond brutal creations on BandCamp and on Spotify, and if you’re attending any of the shows form this tour make sure you get to the venue in time to witness Bridget and the boys crushing the souls of the lighthearted on stage. You’re going to love it!

Setlist
Inhaling The Dead
Final Flesh Feast
Gutted By The Beast
Visions Of Eternal Suffering
Vortex Of The Severed Dead
Ravenous Psychotic Onslaught
Pulled Apart
It Ends With Flames
Pulsing Wound

Band members
Bridget Lynch – vocals
Marvin Ruiz – guitars
Matt Day – bass
Nat Conner – drums

After a quick intermission (and by the way, kudos to the house DJ for playing tons of Death and Thrash Metal songs during the breaks instead of some generic stuff), it was time for Whittier, California’s own Death Metal squad SKELETAL REMAINS to ignite some of the sickest mosh pits of the night armed with their sonic savagery and heaviness. If I said it was almost impossible to see Bridget’s face during Stabbing, well, it was ABSOLUTELY impossible to see the face of vocalist and guitarist Chris Monroy during Skeletal Remains. Was it really him on stage? Jokes aside, it was another phenomenal display of classic Death Metal by the quartet, with drummer Pierce Williams sounding infernal throughout the entire concert. Blending songs from all of their four amazing albums, including their latest one The Entombment of Chaos, released in 2020, plus their brand new single Void of Despair (and judging by how demolishing the new song is, we should get ready for another merciless Death Metal attack by those guys in their upcoming album), those American metallers pulverized everyone who dared to brave the nonstop circle pit at Lee’s Palace, and if you want to get a sense of how vile and thunderous their music sounds before seeing them live, I recommend streaming all of their catalogue on Spotify. And on a side note, I must say Skeletal Remains had the best merch available hands down, offering so many cool shirts and other items you must see their merch stand to believe it.

Setlist
Void of Despair
Parasitic Horrors
Beyond Cremation
Illusive Divinity
Internal Detestation
Conquer
Congregation of Flesh
Torture Labyrinth
Tombs of Chaos

Band members
Chris Monroy – vocals, guitars
Mike De La O – guitars
Brian Rush – bass
Pierce Williams – drums

INCANTATION

One of the main attractions of the night, Johnstown, Pennsylvania’s own Death Metal machine INCANTATION, was supposed to have started their concert at around 8:35pm, but it was already past 8:45pm when they finally hit the stage. That small delay didn’t mean anything to their avid fans at all, because as soon as they began playing the first notes from the opening song Concordat (The Pact) I it was absolute carnage and violence in the floor section with a wild circle pit that looked like it was going to last forever. The new songs from their recently launched beast Unholy Deification, such as Invocation (Chthonic Merge) X, worked really well mixed with some of their most demolishing classics, while the band’s iconic frontman John McEntee kept his horns high in the air every single second he wasn’t shredding his guitar, being always promptly followed by all of the band’s diehard fans in the pit.

One of the funniest moments of the concert happened between two of the songs from their setlist when John said that every single time Kyle hits his drums, a poser dies. Guess what? Kyle hit his drums, and John simply said “another poser just died”. A simple but effective joke that added an extra touch of intimacy to their incendiary performance, building an even stronger connection between the band and their fans. Hence, if you want to feel all the fury blasted by Invocation and get more than prepared for their killer concert in your city, you can stream all of their wicked creations on BandCamp and on Spotify, warming up your blood vessels for the music by one of the most hardworking and vibrant veterans in the history of Death Metal.

Setlist
Concordat (The Pact) I
Rites of the Locust
Carrion Prophecy
Shadows of the Ancient Empire
Fury’s Manifesto
Blasphemous Cremation
Ascend Into the Eternal
Chalice (Vessel Consanguineous) VIII
Invocation (Chthonic Merge) X
The Ibex Moon
Impending Diabolical Conquest

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

SUFFOCATION

It was a little past 10pm when Long Island, New York-based Brutal/Technical Death Metal institution SUFFOCATION began their violent, ruthless performance, and I honestly don’t know how all photographers, including my friend Keith Ibbitson of Lower Eastside Photography and Kim Baarda, managed to take proper photos of Suffocation or of any of the other bands without a barrier separating them from the crowd, as they had to endure all mosh pits while holding their cameras. It was insane, and I must say they’re really brave for facing that. Promoting their brand new opus Hymns from the Apocrypha (their first without Frank Mullen on vocals), the band now fronted by the talented growler Ricky Myers (Disgorge, Sarcolytic) simply kicked us all in the ass with their fast, heavy and evil songs, including some newborn killers the likes of Seraphim Enslavement, Dim Veil of Obscurity, and the title-track Hymns From the Apocrypha, all by the way available on Spotify.

There was this guy who spent more time up in the air doing crowd surfing than actually standing on his feet. I don’t know his name, but holy shit, he was going up and down the stage pretty much the entire time doing crowd surfing. Does anyone know his name? He deserves a medal for crowd surfer of the year. Anyway, one of the coolest moments during Suffocation’s thunderous concert, if not the coolest moment of the entire night, was when Bridget from Stabbing joined the band on stage and made one of the most visceral duos in the history of Death Metal with Ricky, with both growling, barking and roaring like beasts for our total delight. And suffocation kept the momentum going nutil the very last second of their show, leaving us all eager for more of their music in a not-so-distant future, and proving once again that singing about death, murder, blood, gore and so on can indeed put a smile on ourfaces, just like what happened last night in Toronto.

Setlist
Catatonia
Seraphim Enslavement
Breeding the Spawn
Dim Veil of Obscurity
Pierced From Within
Funeral Inception
Perpetual Deception
Bind Torture Kill
Hymns From the Apocrypha
Liege of Inveracity
Infecting the Crypts

Band members
Ricky Myers – vocals
Terrance Hobbs – guitars
Charlie Errigo – guitars
Derek Boyer – bass
Eric Morotti – drums

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Album Review – Display of Decay / Vitriol (2023)

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Edmonton, Canada’s own Death Metal machine is back with their demolishing fourth full-length album, paying homage to the brutal and aggressive roots of the genre.

Prepare for an unrelenting assault on your senses as Edmonton, Alberta’s very own Brutal Death Metal titans Display of Decay unleash their latest opus, titled Vitriol. Drawing inspiration from the early Death Metal pioneers like Cannibal Corpse, Malevolent Creation and Cryptopsy, Display of Decay have crafted an album that pays homage to the brutal and aggressive roots of the genre while infusing their own unique sickness into the mix. Produced by the band itself, mixed and mastered by Christian Donaldson of Cryptopsy, and displaying a sick cover art by Caelan Stokkermans, Vitriol is an auditory journey into a realm of relentless brutality, where thundering drums, guttural vocals, and savage guitar riffs converge to create a sonic onslaught that leaves no room for compromise, all masterfully crafted by Sean Watson on vocals and guitar, Brandon Siefert on bass and Logan Wilson on drums, resulting in the perfect follow-up to their 2018 album Art in Mutilation.

Sean shows no mercy for his guitar in Malicious Motorcide, delivering dirty, devilish riffs while Logan crushes his drums nonstop in the name of Death Metal, resulting in an aggressive way to kick off the album by those three marauders followed by The Butcher, even heavier and more obscure, where Sean continues to vociferate like a demon while Brandon and Logan make sure the atmosphere remains as dense as possible with their respective bass punches and hammering drums. Their fusion of brutality and rage will set fire to the music in Legion of Doom, with Brandon’s bass sounding utterly metallic while Sean shreds his guitar in great fashion until the very last second. And Familial Feast is another no shenanigans, in-you-face display of classic Death Metal infused with Brutal Death Metal elements, inviting us all to slam into the pit to the manic roars by Sean and the always demented drums by Logan.

Get ready for another sonic attack courtesy of Display of Decay titled Harbinger, where Logan brings his heavy artillery to the music contributing to make it even more perverse and insane, not to mention the putrid guttural by Sean; and featuring guest drummer Tyson Travnik (Gatekeeper, Striker, Ironstorm), the band brings forward more of their caustic Death Metal in the form of Hot Lead Vengeance, with Tyson stealing the show with a very technical yet violent performance. It’s time for Sean to slash our ears with his dirty riffage in Slaughtercast, perfect for some vigorous headbanging until your neck can’t take it anymore, keeping the album at a high level of animosity; whereas Tyson Travnik returns with his infernal, demolishing beats in the title-track Vitriol, putting a pulverizing ending to the album while Sean barks and growls in them most gruesome and demented way you can imagine.

Vitriol, which is available for a full and detailed listen on YouTube and on Spotify, definitely represents a step forward in the career of those Canadian metallers, cementing their name in the local scene and helping them spread their music all across the world. Hence, you can keep updated with all things Display of Decay by following them on Facebook and on Instagram, by subscribing to their YouTube channel, and of course by purchasing a copy of the vicious Vitriol by clicking HERE or HERE. Brutal Death Metal made in Canada is on the rise, and we must thank bands like Display of Decay for their relentless work in the name of extreme music, always offering us all top-of-the-line albums like their latest opus.

Best moments of the album: The Butcher, Harbinger and Hot Lead Vengeance.

Worst moments of the album: None.

Released in 2023 Gore House Productions

Track listing
1. Malicious Motorcide 3:17
2. The Butcher 4:26
3. Legion of Doom 4:04
4. Familial Feast 3:26
5. Harbinger 3:06
6. Hot Lead Vengeance 4:01
7. Slaughtercast 3:55
8. Vitriol 3:19

Band members
Sean Watson – vocals, guitar
Brandon Siefert – bass
Logan Wilson – drums

Guest musician
Tyson Travnik – drums on “Vitriol” and “Hot Lead Vengeance”