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Album Review – Thunderor / Bleed For It (2026)

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Toronto’s own arena-rock Heavy Metal trio returns with their ambitious sophomore album, igniting the next chapter of their high‑flying saga.

Hailing from Toronto, Canada, Heavy Meta/Hard Rock power trio Thunderor ignites the next chapter of their high‑flying saga with the release of their sophomore opus, entitled Bleed For It, following up on their critically acclaimed 2022 debut Fire It Up. Produced by the band’s own JJ Tartaglia, mixed by Chris Snow, mastered by Kristian Montano, and featuring guest musicians Oscar Anesetti on bass, Anthony Pannozzo on keyboards, and Colin Grant on the fiddler, the new album by the aforementioned JJ Tartaglia on vocals, drums and keyboards alongside Jonny Nesta on the guitars, and Brycen Gunn on bass serves as the official soundtrack to “Thunderor The Musical”, the band’s ambitious rock opera production that debuted at the Toronto Fringe Festival in 2025. Its artwork captures scenes from the stage show, setting the mood for a sweeping tale of adventure, danger, and heart. Set in an alternate 1992, the story follows Bowen, a washed‑up musician and biker, who finds renewed purpose through romance and one last grasp at glory.

The trio wastes no time and kicks off their rockin’ adventure with Pump Up the Volume, bringing forward JJ’s trademark soaring vocals and classic beats and fills, followed by the title-track Bleed For It, another round of their striking fusion of 70’s and 80’s Hard Rock, with Jonny stealing the spotlight with his electrifying riffs and solos. As a huge fan of live concerts I simply love the title of the song Take Me to the Show, offering us all more of their killer Rock N’ Roll sounds. The band then fires a Thrash and Speed Metal-infused tune titled Get ‘Em Counted, inspiring us to start a nice mosh pit to the nonstop beats by JJ, and get ready to prance around the fire pit together with Thunderor in Cape Breton Home, featuring guest Colin Grant on the fiddler, also presenting pure Hard Rock flowing from Jonny’s axe.

In Streets of Fire we see Thunderor again deliver a high-octane amalgamation of rock and metal, setting fire to the atmosphere to the crushing drums by JJ and Oscar’s rumbling bass, sounding as upbeat as it is heavy. One Chance is another song that sounds as if was taken from a classic album from the 80’s, showcasing those awesome soulful riffs we all love so much; and we then face the cinematic interlude DreamQuest, which also feels it’s from a movie or TV show from the 80’s, before their quest comes to an end with In the Fire O’ the Heat, where they also bring to our avid ears elements from Progressive Rock and Metal (exactly what a Rock Opera needs to become truly fun). Not only that, JJ’s vocals and Jonny’s guitars are in total sync, keeping the energy flowing majestically until the song’s horns raising finale.

With improved vocals, bigger choruses, and a cinematic concept, Bleed For It promises to be the band’s most ambitious and emotionally charged release yet, recommended for fans of The Darkness, Skull Fist, Ghost, and Night Flight Orchestra. If you crave escape, adventure, romance, and danger, the band invites you to ride with them into the storm, and you can do so by following them on Facebook and on Instagram, sby streaming their music on Spotify, and of course by purchasing the album from BandCamp, from Boonsdale Records (Canada and worldwide), from Cruz del Sur Music (Europe), or simply by clicking HERE. Having said all that, what are you waiting for to bleed together with Thunderor to the sound of their newborn electrifying album?

Best moments of the album: Bleed For It, Get ‘Em Counted and Streets of Fire.

Worst moments of the album: None.

Released in 2026 Boonsdale Records

Track listing
1. Pump Up the Volume 3:42
2. Bleed For It 4:04
3. Take Me to the Show 4:09
4. Get ‘Em Counted 3:19
5. Cape Breton Home 3:33
6. Streets of Fire 4:16
7. One Chance 3:40
8. DreamQuest 1:29
9. In the Fire O’ the Heat 4:19

Band members
JJ Tartaglia – vocals, drums, keyboards
Jonny Nesta – guitars
Brycen Gunn – bass

Guest musicians
Oscar Anesetti – bass on “Take Me to the Show”, “Get ‘Em Counted”, “Cape Breton Home”, “Streets of Fire” and “One Chance”
Anthony Pannozzo – additional keyboards on “Take Me to the Show”, “Get ‘Em Counted” and “One Chance”
Colin Grant – fiddler on “Cape Breton Home”

Album Review – Crème Flesh / For Your Ass Only (2026)

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With the world teetering on the brink of absolute destruction, we all need these Canadian Brutal Death Metal heroes to save us all armed with the bowel-rupturing, cranium crushing brutality found in their new album.

With the world teetering on the brink of absolute destruction, what we need is a hero – or even better, four of them – and with serendipitous good fortune, out of the Great White North come Canadian secret agents of slam, the ruthless Brutal Death Metal ensemble Crème Flesh. Returning after the successful 2023 operation named Casablumpkin, the band formed of Matt Hilden on vocals, Sophokles Theodoru on the guitars, Rory Kennedy on bass, and Allen L. on drums is licensed to blast, brutalize and wield pornographic puns like deadly weapons in their sophomore installment, titled For Your Ass Only. Produced by Geoff Hodsman (Human Compost, Apegod) and adorned by the brilliant artwork by Krag (Paroxsihzem, Nuclearhammer), For Your Ass Only is a must-listen for fans of Devourment, Kraanium, Vulvectomy, and Korpse, presenting a sound that combines intimidating muscle and shocking clarity.

Field of Creams quickly morphs from a weird intro into a demented feast of slamming sounds where Matt’s gurgling guttural matches perfectly with Allen’s ruthless beats and fills; while in No Cunt for Old Men, which by the way uses the same sample as Werewolves in one of their most recent songs (and you’ll have to figure out which one by yourself, sorry), Sophokles delivers sheer madness through his axe in the name of Brutal Death Metal. There’s no time to breathe as they keep pounding our cranial skulls in Lake Flaccid, led by the vomiting roars by Matt, followed by the title-track For Your Ass Only, featuring guest vocalist Jack Christensen of Septic Congestion and Kraanium, a lecture in gore, violence, insanity and brutality. And The Gapes of Wrath sounds a bit uninspired and not as violent nor heavy as the rest of the album, albeit still presenting their trademark sound.

Then back to a more demented and ruthless sonority we face MILF of Magnesia, where Matt’s gruesome vocals walk hand in hand with the vile riffage by Sophokles and the metallic bass jabs by Rory; and Sleepless on Cialis displays a wicked name for a song, perfect for the current state of the world in 2026 when all is going to shit, and the music is just as demented as our current society (in special our so-called “leaders”). Jagged Little Penis presents another poetic name for a slamming feast of Brutal Death Metal, with Allen’s drums sounding like the madness blasted by Slipknot, while Scat’s Cradle invites us all to crush our damned skulls inside the pit while the band keeps pounding their instruments like true maniacs. Finally, we are crushed into tiny pieces to the sound of Whores of Perception, closing the album on a high note to the ape-like screeches by Matt.

In a nutshell, what Crème Flesh have to offer in For Your Ass Only is the epitome of modern-day Brutal Death Metal, an uncompromising, slamming feast not recommended for any type of puritan, but only to those who know how to have a good laugh even in a world of disgust. You can find those Canadian metallers on Facebook and on Instagram, stream their perverted brutality on any platform like Spotify, and of course put your putrid hands on the album by purchasing it from Comatose Music’s BandCamp or webstore. In the end, your mission, if you choose to accept it, is to survive the ten tracks of bowel-rupturing, cranium crushing brutality that is For Your Ass Only. Do you think you have what it takes to complete such a unique mission?

Best moments of the album: No Cunt for Old Men, For Your Ass Only and Whores of Perception.

Worst moments of the album: The Gapes of Wrath.

Released in 2026 Comatose Music

Track listing
1. Field of Creams 2:57
2. No Cunt for Old Men 2:01
3. Lake Flaccid 3:46
4. For Your Ass Only 4:18
5. The Gapes of Wrath 2:31
6. MILF of Magnesia 4:09
7. Sleepless on Cialis 3:09
8. Jagged Little Penis 3:41
9. Scat’s Cradle 3:59
10. Whores of Perception 4:21

Band members
Matt Hilden – vocals
Sophokles Theodoru – guitar
Rory Kennedy – bass
Allen L. – drums

Guest musician
Jack Christensen – vocals on “For Your Ass Only”

Album Review – Archspire / Too Fast to Die (2026)

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Faster than a speeding bullet, Canada’s own Technical Death Metal beast is back in action with their most extreme and technically precise record yet.

Faster than a speeding bullet! More powerful than a locomotive! Look! Up in the sky! It’s a bird! It’s a plane! No, it’s not Superman! It’s Vancouver, British Columbia’s own Technical Death Metal masters Archspire, back after nearly five years with their fifth album entitled Too Fast to Die, their most extreme and technically precise record yet, following the JUNO Award–winning Bleed the Future. Produced, mixed and mastered by Dave Otero, with additional engineering by Mike Low, and displaying a killer tech death artwork by Shindy Reehal (with design and layout by Kevin Moore of Mindreader), the new offering by the unrelenting Oliver Rae Aleron on vocals, Dean Lamb and Tobi Morelli on the (fastest) guitars (on earth), Jared Smith on bass, and newcomer Spencer Moore (of bands like Oubliette, Æther Realm, Animality, and Inferi) on drums sees the band push beyond the limits of speed and precision once again, solidifying their place as one of the most relentless forces in modern heavy music.

They give us a few seconds of peace before all hell breaks loose in Liminal Cypher, with Spencer demolishing his drums manically while Oliver fires his unparalleled rap-like vocals at maximum speed and insanity. Dean and Tobi then showcase the art of shred to us mere mortals in Red Goliath, another fast and intricate display of Technical Death Metal supported by the metallic bass by Jared; and in the pulverizing Carrion Ladder let’s sing its wicked lyrics along with Oliver (“Waiting on the platform in the living elevator / Dead panning / Head pounding / Wading onto a plank without footing / Dropping while the pace of the blade is increasing / Unlocking a pounding centrifugal feeling turning whipping / Keeping me bolted while falling downward on a liquid locomotive tunneling into the ground”) amidst one of the fastest sounds ever blasted by the band, followed by Anomalous Descent, sounding beyond technical and aggressive while again presenting the first-class, undisputed guitar work by Dean and Tobi.

In The Vessel the quintet again delivers heavy music at hyper speed, with Oliver’s visceral roars matching flawlessly with the riffage, bass lines and blast beats by his bandmates. Needless to say, it should sound amazing if played live, and the same can be said about Limb of Leviticus, presenting another round of ass-kicking lyrics vociferated by Oliver (“Our limb is awake / Bow below its cleft / Reverence in its maw / Pray unto the rift / Ascend above the critical fear provoking and unrighteous men / Cower flee and hide the meek and blinded bipeds / that deny the reich of the divine appendage”) while the music is even more demented and furious than what regular Technical Death Metal could ever sound. Deadbolt the Backward proves Archspire are never tired of delivering the fastest, most complex and most insane music you’ve ever listened to, with Spencer once again stealing the spotlight with his machine gun-like beats and fills, before they end the album on a high note with their ruthless coup-de-grace, the title-track Too Fast to Die, kicking us hard in the ass with another bestial vocals performance by Oliver in a lecture in Technical Death Metal madness.

Too Fast to Die is not just one of the coolest albums of 2026, but the fact it’s fully independent also adds an extra touch of awesomeness to it. Just to give you an idea of how successful the whole campaign to record the album was, they raised nearly CAD$ 400,000 in 30 days, blowing past their goal in under 24 hours and confirming that independence was the right move. “I was actually shaking when I pressed launch,” commented Dean. “We’d never taken on something this big, and all I could think was, ‘man, I hope we don’t mess this up.’” You can show your love to those faster-than-a-bullet musicians by following them on Facebook and on Instagram, where you can keep an eye on their breathtaking live shows, by subscribing to their YouTube channel and streaming their sick creations on Spotify, and of course, by grabbing a copy of their relentless new album from BandCamp, from their US, Canada and rest of the world store, or from their Europe store. Too Fast to Die indeed represents a new chapter for Archspire, as they do not fear death at all in their quest for maximum speed. You know, once light tried to break the speed of Chuck Norris, but failed miserably. Then came Archspire.

Best moments of the album: Liminal Cypher, Carrion Ladder, Limb of Leviticus and Too Fast to Die.

Worst moments of the album: Obviously none. They’re too fast to have any bad moments.

Released in 2026 Independent

Track listing
1. Liminal Cypher 5:16
2. Red Goliath 5:01
3. Carrion Ladder 4:24
4. Anomalous Descent 4:13
5. The Vessel 4:41
6. Limb of Leviticus 5:42
7. Deadbolt the Backward 4:32
8. Too Fast to Die 5:32

Band members
Oliver Rae Aleron – vocals
Dean Lamb – guitars
Tobi Morelli – guitars
Jared Smith – bass
Spencer Moore – drums

Concert Review – Lamb of God (Great Canadian Toronto, Mississauga, ON, 03/20/2026)

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Metalheads from all over the GTA walked with Lamb of God in hell once again on a fantastic Friday night of pure heavy music.

OPENING ACTS: Sanguisugabogg, Fit For An Autopsy and Kublai Khan Tx

After a full day of rain in Toronto and vicinities, the weather finally settled down closer to the evening, and it was only slightly cold (for Canadian standards, of course, as it was still very cold for anyone else) when the almighty LAMB OF GOD took the always welcoming Great Canadian Toronto by storm with their undisputed North America 2026 Tour, featuring the more than special guests SANGUISUGABOGG, FIT FOR AN AUTOPSY and KUBLAI KHAN TX, on a night of pure adrenaline and a celebration of heavy music. It was a true honor for Keith Ibbitson of Metal Paparazzi and I to cover such an amazing night, and as the show at the casino was one hundred percent SOLD OUT, you can imagine how much fun everyone who attended the show had inside the massive circle pits formed during all four concerts.

It was around 7pm when Columbus, Ohio’s own Brutal Death Metal/Deathcore entity SANGUISUGABOGG kicked off the party with their vicious attack. Having released the excellent Hideous Aftermath in 2025, available on both BandCamp and Spotify, the band formed of the unstoppable frontman Devin Swank, guitarist Drew Arnold, bassist Ced Davis, and drummer Cody Davidson put on a phenomenal performance onstage, already inspiring the crowd to headbang and slam like true metalmaniacs until the very last second. What a wild kickoff, with the very romantic songs Face Ripped Off and Dead as Shit making the entire casino shake. I’m sure Sanguisugabogg will return to Toronto with their undisputed violence sooner than you can say their name, spell their name, or read their logo. Any of these work.

Setlist
Rotted Entanglement
Face Ripped Off
Felony Abuse of a Corpse
Abhorrent Contraception
Dead as Shit

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

The bar was set super high with Sanguisugabogg, but of course nothing that New Jersey’s own Death Metal/Deathcore beast FIT FOR AN AUTOPSY couldn’t take care of armed with their venomous and melodic brutality. Frontman Joe Badolato was having an amazing time onstage “managing” the vicious circle pit going, and the crowd roared back at him during their incendiary performance. Playing songs from their already solid discography (available on Spotify), including some killer tunes from their latest opus The Nothing That Is, from 2024, those being Lower Purpose, Hostage, and Savior of None / Ashes of All, the band delivered everything their fans were expecting and more, with the intense crowd surfing getting to a point I lost count of how many of the “banana boys” crossed my path after letting their peels being touched by all fans inside the pit. Maybe I should say the entire venue went bananas during Fit For An Autopsy, right?

Setlist
Lower Purpose
It Comes for You
The Wretch
Black Mammoth
Hostage
Savior of None / Ashes of All
Warfare
Pandora
Far From Heaven

Band members
Joe Badolato – lead vocals
Pat Sheridan – guitars, backing vocals
Tim Howley – guitars
Will Putney – guitars
Peter “Blue” Spinazola – bass
Josean Orta – drums

Although I’m familiar with the music by Texan Metalcore ensemble KUBLAI KHAN TX, I didn’t know they were so famous and loved by the Toronto fans. Every single person in the room was having an amazing time during their performance, singing all songs along with the band led by the charismatic Matt Honeycutt. The guy didn’t stop a single second onstage, and that obviously translated into a lot of action inside the pit. In addition, it’s impressive how heavy their kitchen formed of bassist Eric English and drummer Isaac Lamb sounds, in special the utterly thunderous bass by Eric. The guy was making my chest tremble with his jabs. If you know nothing about those talented and humble guys, you can check their ass-kicking music on Spotify, like their 2024 album Exhibition of Prowess, but get ready as they will smash your cranial skull mercilessly.

Setlist
Darwinism
Supreme Ruler
Low Tech
Antpile
Boomslang
The Hammer
The Mountain of Corsicana
Antpile 2
Self-Destruct
Mud
Swan Song
Theory of Mind

Band members
Matt Honeycutt – vocals
Nicholas Adams – guitar, backing vocals
Eric English – bass, backing vocals
Isaac Lamb – drums

LAMB OF GOD

At long last, it was time to walk with Richmond, Virginia’s own Groove Metal masters LAMB OF GOD in hell during their absolutely heavy, vibrant and flammable performance. Having released the phenomenal Into Oblivion just a week before the show (available on Spotify and also on the special Into Oblivion website), the band fronted by the iconic D. Randall “Randy” Blythe showed no mercy for our necks and bodies with another killer performance in Canadian lands. It’s so cool how Lamb of God moved from a small venue like The Opera House when they first played in Toronto years and years ago, to selling out such a massive venue like the casino. To be fair, that’s expected when the music in question is so good, catchy and electrifying.

Randy was on fire during their entire show, as well as his bandmates, with Mark Morton and Willie Adler showing why they’re two of the best metal guitarists of the current scene. John Campbell and his trademark headbanging were also excellent, not to mention Art Cruz delivered a striking drum solo for our total delight. Before the show, he hid a few drumsticks around the venue for fans to try to find them, an initiative that I personally considered very cool (despite the fact I couldn’t find any of them). All that talent made their already amazing songs like Ruin, Laid to Rest and 11th Hour sound even stronger live, driving fans wild during their entire set, and maybe because it was a Friday night at a venue with no curfew we were also treated to a classic that hadn’t been played before Friday, the awesome Omerta.

Their new songs also sounded incredible, in special the infuriated Parasocial Christ, making the circle pit move even faster. There were some tunes that were screamed by the entire crowd together with the band, like 512, Walk With Me in Hell, and Memento Mori, three of my favorite Lamb of God songs, and you can imagine how happy I was seeing so many fans from all ages having such a great time with Randy and his henchmen. And as the icing on the cake, we could all scream, raise our fists, headbanging and jump up and down together with the boys during their metal masterpiece Redneck, putting a beyond epic and climatic ending to the show.

I wish I could have stayed longer at the casino after the show to eat something and maybe even try my luck, but the lines to get into the casino were insane. I’m not complaining, as I love the fact a metal concert can make a casino so busy and vibrant, and I can’t wait to enjoy one of the best venues in the GTA again in a few weeks. Anyway, back to the concert, it’s more than obvious that it won’t take long for Lamb of God to return to the city as they’re undoubtedly one of Toronto’s favorite metal acts. I dare to say they’re THE favorite metal band of a huge chunk of the new-ish generation of metalheads, and as Randy himself said in a recent interview, just like he wants to keep playing with Lamb of God until his last breath, we also want to headbang with Lamb of God until ours.

Setlist
Ruin
Laid to Rest
Blood Junkie
Into Oblivion
Resurrection Man
Grace
Desolation
512
Walk With Me in Hell
Parasocial Christ
Omerta
11th Hour

Encore:
Memento Mori
Sepsis
Redneck

Band members
D. Randall “Randy” Blythe – vocals
Mark Morton – guitar
Willie Adler – guitar
John Campbell – bass
Art Cruz – drums

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Album Review – Ravenspell / Obsidian King (2026)

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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)

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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

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

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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

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

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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)

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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)

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***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

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