Another humid night in the city of Toronto. September has not let go of the great summer weather just yet, on a nice Tuesday evening some of the best southern bands to emerge in the death metal scene set its eyes on our city. Lee’s Palace was the mark of the beast for the night, and fans flocked from all over the city to come see them. I’m talking about Goatwhore and Necrofier with Vitriol and Thantifaxath. Metalheads from all over Ontario headed into Lee’s Palace, a medium sized venue that can hold 600 people or so, and the first band to hit the stage and get the fire started is Toronto’s own Black metal cult Thantifaxath (that’s a mouthful to say). The name comes from the kabbalistic tree of life (meaning “Great Ghoul”), and the band consisting of 3 unnamed souls played some great black metal riffs and got this eager crowd in the mood for what they had coming next.
Second band of the night from out of the lone star state of Houston, Texas was Necrofier, and you’d think a band from Texas must be country or rock like ZZ Top, but no way, Texas has some of the heaviest bands to date like Pantera, Frozen Soul, Kubli Khan, to name a few. Man, this band did not waste time right from the first strum of the downtuned guitar they hit us with some real heavy riffs. Necrofier has been together since 2018 and continues to get better and better, and like with any band they grow and get to be a tight band. All I can say is these guys kick some serious ass on stage and I definitely like to see them headline a show in the near future. Third band of the night from the great state of Oregon, Portland, was Vitriol, an extreme death metal band was a three piece band not long ago, when Adam Roethlisberger quit the tour at the start for reasons unknown to us all, but that did not stop the winds from the west as they came and kicked some ass and left just like a tornado. The two members of Vitriol did what they came to do and kick our asses, with super fast and heavy riffs, some really nice blast beats and shredding mind blowing guitar riffs.
Now for the headliners, the band everyone was there to see the most, from New Orleans, Lousiana, here comes Goatwhore. Do I need to explain who they are? Probably not, but I’m going to. Simply put, this band is one of the heaviest metal bands on this planet and in this universe. The pulverizing drums from Zack Simmons, the beyond heavy drop C guitar riffs from Sammy Duet, bone shaking bass from Robert Coleman, and the best frontman ever to grace the stage, Louis Benjamin Falgoust II. These four guys kick ass, the energy from Goatwhore lasts a few days after they kicked your ass, I mean in all fun that is. Whenever they hit our city I always come out to see them. For me, I first saw this band in Toronto back in 2017 at The Garrison. My brother Kevin and I were there to see another band play and said let’s see who they are, and man, from that moment they got on stage and started playing I was a huge fan. Ben Falgoust playing the air guitar and head banging, and Sammy shredding just blew me away. I have met them outside the venues a few time just saying hello but this year I got my photos with them. This is why I love the Toronto metal scene and venues, if they play a small venue you get a more personal concert versus a big stage where they stay backstage. Every band on this bill will be walking around the venue sitting merch, shaking hands and sharing stories with fans. I’ll always support our metal scene and our fans that are friends and some family.
Like a lumbering, ferocious beast, this South Carolina-based Blackened Thrash Metal behemoth will destroy everything in their path armed with their sophomore opus.
Like a lumbering, ferocious beast awoken from a centuries-long slumber, the Blackened Thrash Metal behemoth known as Demiseremerged from the primordial ooze of the South Carolina metal scene in 2017, unleashing their debut effort Through the Gate Eternal back in 2021. Now in 2024 the band formed of Demiser the Demiser on occult liturgic blasphemy (vocals), Gravepisser on six-stringed satanic fukklord (guitars), Phallomancer on abysmal rhythm of death (guitars), Defiler on dismal baritone curator (bass), and Infestor on purveyor of percussive bile (drums) brings forward their sophomore opus, titled Slave to the Scythe, a devastatingly intense slab of work, an aural harbinger of hellish intent that sees the band blend 80’s Thrash Metal, first-wave Black Metal, Death Metal and a healthy dose of NWOBHM. Recorded by Chase McGuckin at Seaboard Recording Studio, and displaying a demonic artwork by Lucas Ruggieri, Slave to the Scythe is the work of a band of men determined to destroy everything in their path. Musically, of course.
Infestor kicks off the band’s depraved party in Feast, a devastating Death and Thrash Metal tune where Demiser the Demiser gnarls nonstop in the name of evil; whereas Gravepisser and Phallomancer deliver sheer rage through their caustic riffs in the title-track Slave to the Scythe, another fast-paced, circle pit catalyst by the quintet. Then inspired by other amazing underground bands like Midnight, it’s time for Defiler and Infestor to make the earth shake in Carbureted Speed, offering Demiser the Demiser exactly what he needs to roar manically in this Punk Rock-infused thrashing extravaganza, and it’s pedal to the metal with the band’s guitar duo showing no mercy for our souls in Phallomancer the Phallomancer, slashing their axes like there’s no tomorrow.
After that we have a serene, acoustic Interlude, working as the calm before the storm titled Total Demise, where Infestor speeds things up with his demented beats and fills, inviting us all to slam into the mosh pit like true metal maniacs. Their thrashing feast with hints of Death Metal goes on in full force in Hell Is Full of Fire, with Demiser the Demiser and Infestor sounding ruthless armed with their respective roars and beats, and those demonic beasts will carve their teeth deep inside your flesh in Infernal Bust, offering more of their rumbling bass and drums courtesy of Defiler and Infestor, while Demiser the Demiser continues to vociferate like a demented creature of darkness. Finally, we face In Nomine Baphomet, the most epic and detailed of all songs, showcasing layers of sulfur, wrath and aggression by such an amazing name of the underground where all band members are on fire during the whole song, with Infestor once again stealing the show with his fusion of Black, Thrash and Death Metal beats and fills, putting a darkly and insanely epic finale to the album.
The band’s influences include the likes of Venom, Bathory, Slayer, Motörhead, and Deströyer 666, plus movies like Terminator 2, Commando, and Predator (or pretty much anything Arnold Schwarzenegger, to be fair), with the overarching themes on Slave to the Scythe being essentially “hell, fire and hellfire.” There are no ballads, no love songs, just plain devilish music for devilish people that was largely written on the road, and if you want to feel that fire burning your putrid body for all eternity you can start following the band on Facebook and on Instagram, stream their music on Spotify, and obviously purchase a copy of the excellent Slave to the Scythe from their own BandCamp page or from the Blacklight Media Records’ webstore. In other words, if your impure soul is going to burn in hell, may that happen to the sound of one of the most bestial thrashing albums of the year.
Best moments of the album:Carbureted Speed, Hell Is Full of Fire and In Nomine Baphomet.
Worst moments of the album: None.
Released in 2024 Metal Blade Records/Blacklight Media Records
Track listing 1. Feast 4:10
2. Slave to the Scythe 4:37
3. Carbureted Speed 3:39
4. Phallomancer the Phallomancer 4:39
5. Interlude 2:45
6. Total Demise 4:54
7. Hell Is Full of Fire 3:48
8. Infernal Bust 3:49
9. In Nomine Baphomet 8:03
Band members Demiser the Demiser – vocals
Gravepisser – guitars
Phallomancer – guitars
Defiler – bass
Infestor – drums
After emerging back in full force in 2023, one of the torchbearers of Symphonic Death Metal worldwide returns with their strongest opus to date.
Mixed and mastered by Jacob Hansen at Hansen Studios, produced by Francesco Paoli and Francesco Ferrini, and displaying a striking artwork by Felicita Fiorini and Francesco Esposito, the breathtaking Opera, the brand new album by Italian Symphonic/Technical Death Metal masters Fleshgod Apocalypse, is much more than just the follow-up to their 2019 album Veleno. Opera is their first album after the band’s frontman and mastermind Francesco Paoli was involved in a near death climbing accident, resulting in years of recovery and the band’s temporary hiatus; however, after emerging back in full force in 2023, commanding audiences on tours throughout Europe, the band formed of Francesco Paoli alongside Veronica Bordacchini on vocals, Fabio Bartoletti on lead guitars, Francesco Ferrini on the piano and orchestrations, and Eugene Ryabchenko on drums is on absolute fire during their entire new album, a life affirming release that will surely please all fans of the band and feature among the best albums of the year worldwide.
Ode to Art (De’ sepolcri) feels like the opening scenes of a classic movie, with the operatic elements in the background spiraling inside our minds until all hell breaks loose in I Can Never Die, with Francesco Paoli roaring its poetic lyrics (“This life is mine forever / Who free from fears I smile at death / As I become immortal / Writing with my blood on this wall, words that you’ll never forget / My story engraved with these bones and no regret / I burned my nerves / I ripped my heart out to feel alive / I made a pact with my own devils / Thus, I can never die”) amidst a lecture in Symphonic Death Metal. Pendulum sounds even heavier and more neck-breaking than the previous tune, with Eugene hammering his drums like a demented Death Metal beast, whereas the heaviness flowing form the guitars by Francesco Paoli and Fabio in Bloodclock is insane, boosted by the whimsical, cinematic keys by Francesco Ferrini. And the mesmerizing vocals by Veronica add a touch of finesse to At War with My Soul, a demented aria of Symphonic Death Metal with Eugene’s beats and fills sounding yet again inhumane.
Despite the heaviness and speed in Morphine Waltz, the music sounds out of place compared to the epicness of the other songs of the album, albeit Fabio’s guitar solo is amazing; and his guitar work is also superb in Matricide 8.21, redefining the meaning of Metal Opera, where Francesco Paoli and Veronica make a darkly hypnotizing vocal duo embraced by the classy piano and orchestrations by Francesco Ferrini. Per Aspera ad Astra, a Latin saying going back 2000 years which translated means “through adversity to the stars”, is another vicious Symphonic Black and Death Metal onrush by Fleshgod Apocalypse with all instruments sounding in absolute sync, setting total fire to the atmosphere. There’s still time for more symphonic madness in Till Death Do Us Part, starting in a serene manner to the passionate vocals by Veronica, evolving into a touching, obscure ballad before the album ends with Opera, a cinematic, cryptic outro led by the classic piano by Francesco Ferrini.
The guys (and girl) from Fleshgod Apocalypse are more than eager to know what you have to say about their new album (which you can purchase by clicking HERE, and also stream in its entirety on Spotify and on YouTube) on Facebook and on Instagram, where you can also stay updated with all of their amazing concerts and tours, and don’t forget to also stream more of their music on YouTube and on Spotify. Opera is an absolute beast of an album, and after his near death experience I’m sure Francesco Paoli will keep bringing that terrifying yet stunning darkness to the music by Fleshgod Apocalypse just like what he did in the band’s newborn opus, by far one of the strongest of the genre from the past few years.
Best moments of the album:I Can Never Die, At War with My Soul, Matricide 8.21 and Per Aspera ad Astra.
Worst moments of the album:Morphine Waltz.
Released in 2024 Nuclear Blast
Track listing 1. Ode to Art (De’ sepolcri) 2:18
2. I Can Never Die 4:30
3. Pendulum 3:58
4. Bloodclock 5:14
5. At War with My Soul 5:06
6. Morphine Waltz 3:36
7. Matricide 8.21 5:35
8. Per Aspera ad Astra 4:48
9. Till Death Do Us Part 5:31
10. Opera 2:44
Band members
Francesco Paoli – lead vocals, guitars, bass
Veronica Bordacchini – vocals (soprano)
Fabio Bartoletti – lead guitars
Francesco Ferrini – piano, orchestrations
Eugene Ryabchenko – drums
This ruthless Chilean horde returns with more of their “Ritualistic and Hypnotic Black and Death Metal”, canvassing past, present, and future in their first full-length offering.
At long last, nearly a decade after their formation, Valparaíso, Chile-based Black/Death Metal horde Invocation are unleashing their first full-length opus, beautifully entitled The Archaic Sanctuary (Ritual Body Postures), the follow-up to their 2020 EP Attunement to Death. Recorded and mixed by E. Brisso at Equinox Studio, mastered by Dan Lowndes at Resonance Sound Studio, and displaying a Stygian artwork by Abomination Hammer, the new album by Sense of Premonition on vocals and guitars, Sense of Clairvoyance on bass, and Sense of Clairaudience on drums offers us all more of what the band likes to call “Ritualistic and Hypnotic Black and Death Metal”, canvassing past, present, and future and fittingly framing it with another gritty analog recording rich with sulfurous fire and sepulchral echoes.
Extreme aggression and obscurity flows from all instruments in Ecstatic Trance, where you can sense the fumes emanating from the deep roars by Sense of Premonition, who’s also infernal armed with his stringed axe, followed by The Serpent of Faardal, just as hellish and grim as the opening track, with the rumbling sounds blasted by Sense of Clairvoyance and Sense of Clairaudience showcasing a spot-on balance between Death and Black Metal. Opium Thebiacum (Somniferum) again presents the darkest elements of Black Metal while Sense of Premonition’s primeval gnarls exhale old school Death Metal; and it’s pedal to the metal as the trio will crush our cranial skulls to pieces in Metamorphosis, a vile, demonic attack where the hammering drums by Sense of Clairaudience sound truly evil.
The band shows absolutely no mercy for our rotten souls in Horn of Colima, again blasting sheer Black and Death Metal madness through the scorching riffs by Sense of Premonition and the thunderous, low-tuned bass by Sense of Clairvoyance, and there’s still a lot of fuel to burn, starting with The Psicopompos, offering more of the band’s trademark extreme sounds, with Sense of Clairaudience stealing the spotlight with his unstoppable blast beats. There’s no sign of the trio slowing down or playing any type of mellow music; quite the contrary, they offer the sulfur-infused aria Venus of Laussel, another blast of the underground led by the gruesome vociferations by Sense of Premonition, whereas last but not least the trio will evoke the powers of the underworld in Hypnosis, sounding absolutely harsh, raw and demonic.
It was only a matter of time before Invocation delivered a debut album to capitalize on the massive potential they displayed on their short-lengths, and with The Archaic Sanctuary (Ritual Body Postures), they now can enter the hallowed ranks of fellow cult countrymen Force of Darkness, Slaughtbbath, and the sorely missed Hades Archer, among others, for standard-bearers of classic South American madness. Hence, if you want to feel that metal madness flowing through your veins, you can find more about the band on Facebook and on Instagram, stream their music on Spotify, and above all that, purchase their sulfurous newborn spawn from their own website or from their BandCamp page, inspiring Invocation to keep spearheading the Chilean underground with their endless rage, blasphemy and heaviness for all eternity.
Best moments of the album:Ecstatic Trance, Metamorphosis and The Psicopompos.
Worst moments of the album: None.
Released in 2024 Iron Bonehead
Track listing 1. Ecstatic Trance 3:49
2. The Serpent of Faardal 3:31
3. Opium Thebiacum (Somniferum) 3:54
4. Metamorphosis 4:07
5. Horn of Colima 3:57
6. The Psicopompos 4:17
7. Venus of Laussel 4:52
8. Hypnosis 5:36
Band members Sense of Premonition – vocals, guitars
Sense of Clairvoyance – bass
Sense of Clairaudience – drums
One of the must-see names of the Progressive Rock and Metal scene returns with their sixth full-length album, sounding like a dystopian western or a post-apocalyptic survival movie.
More than a decade has passed since the release of Aetherial, the debut album by Houston, Texas-based Progressive Metal/Rock band Oceans Of Slumber, and a lot has changed since then for this “Dark Cinematic Metal” outfit. After recruiting Cammie Gilbert (now Gilbert-Beverly) in 2014, the crew’s trajectory took a natural, upward tilt, fueled by the hugely positive response received by second album, Winter, released in 2016. Monuments to a restless creative spirit, the band’s third, fourth and fifth albums, The Banished Heart (2018), Oceans Of Slumber (2020) and Starlight and Ash (2022), raised the stakes ever higher. Recorded at Estudios Audiovision, produced, mixed and engineered by Joel Hamilton at Studio G, mastered by Maor Appelbaum at Maor Appelbaum Mastering, and displaying a classy artwork by Giannis Nakos of Remedy Art Design, their sixth full-length opus, titled Where Gods Fear to Speak, sees the band exploring new heights, therefore sounding even tighter and more compelling than before, proving why vocalist Cammie Beverly, guitarists Alex Davis and Chris Kritikos, bassist Semir Ozerkan and drummer Dobber Beverly have become a reference in the style.
The album kicks off with the darkly embracing title-track Where Gods Fear to Speak, where the heaviness in the guitars by Alex and Chris make a stunning paradox with the powerful vocals by Cammie, blending Progressive and Groove Metal with the obscurity and heaviness of Doom Metal, followed by Run From the Light, featuring guest vocals by the one and only Mikael Stanne of Swedish melodeath legends Dark Tranquillity, another avalanche of intricate guitar lines, harsh and clean vocals, and the always groovy beats by Dobber, sounding like several songs in one. Then a smooth intro boosted by minimalist background synths evolves into a beautiful ballad titled Don’t Come Back From Hell Empty Handed, where Cammie obviously steal the spotlight with a phenomenal vocal performance, whereas Wish is another solid tune by the band showcasing the always massive beats by Dobbie supported by the classic bass lines by Semir. And Cammie will steal your heart in the captivating tune Poem of Ecstasy, presenting the band’s trademark hybrid of Progressive Rock and Metal in a beyond thrilling way.
The Given Dream presents hints of R&B added to the band’s core rock essence, feeling very delicate yet profound and somber, with once again all background elements sounding beautifully haunting; while I Will Break the Pride of Your Will is even more experimental and progressive than its predecessors, with Alex and Chris taking the lead with their stylish riffs. In Prayer we face the dark and evil harsh roars by the iconic frontman Fernando Ribeiro of Moonspell clashing in great fashion with Cammie’s embracing, delicate vocals, with all acoustic elements making the song even more detailed and complete, followed by The Impermanence of Fate, showcasing another jaw-dropping vocal performance by Cammie to the classy sound of the piano by Dobber, who also hammers his drums, exploding into sheer savagery while sounding like classic Death Metal in a multi-layered and bold aria of heavy music. And lastly, we have their stunning rendition of Wicked Game, originally recorded by Chris Isaak in the 1989 album Heart Shaped World (check the original version HERE), a more than gorgeous icing on the cake to close the album on a perfect note.
“This album is a dystopian western or a post-apocalyptic survival movie, somewhere between The Handmaid’s Tale, The Dark Tower and Cormac McCarthy,” states Dobber. “The whole idea is that Where The Gods Fear To Speak is a movie, and we’ve written the soundtrack. If the world was taken over, like in movie The Book Of Eli, and Gary Oldman had found the Bible and the true power of it, and he was wielding the power of the lord over everybody, those people that were maybe just into their traditional spiritualism or people that were not religious at all, they would be the defectors, so the record is written from the viewpoint of the defectors. The ending credits are our version of ‘Wicked Game’ by Chris Isaak. We wanted to take it back to when the music in movies set the tone for everything.” Hence, if you want to join Oceans of Slumber in this thrilling cinematic ride, you can follow the band on Facebook and on Instagram, subscribe to their YouTube channel, listen to all of their beautiful albums on Spotify, and of course purchase their new album by clicking HERE or HERE. Where Gods Fear To Speak proves that Oceans Of Slumber will not let the occasional setback put them off their creative stride, and I personally can’t wait to see what’s next to one of the must-see names of the progressive scene worldwide.
Best moments of the album:Where Gods Fear to Speak, Poem of Ecstasy, The Impermanence of Fate and of course Wicked Game.
Worst moments of the album:I Will Break the Pride of Your Will.
Released in 2024 Season of Mist
Track listing 1. Where Gods Fear to Speak 6:25
2. Run From the Light 5:15
3. Don’t Come Back From Hell Empty Handed 8:28
4. Wish 3:53
5. Poem of Ecstasy 6:33
6. The Given Dream 3:36
7. I Will Break the Pride of Your Will 5:27
8. Prayer 5:03
9. The Impermanence of Fate 6:20
10. Wicked Game (Chris Isaak cover) 5:26
Band members Cammie Beverly – vocals
Alex Davis – guitars
Chris Kritikos – guitars, synths
Semir Ozerkan – bass
Dobber Beverly – drums, piano
Guest musicians
Mikael Stanne – vocals on “Run From The Light”
Fernando Ribeiro – vocals on “Prayer”
Sons of Odin, can you hear the call of our metal lady of this month of September? If your answer is yes, then I’m sure you’ll have a very good time here on The Headbanging Moose with our humble tribute to Corinne Cardinal, also known as Korrinn or Crook, a multi-talented singer, voice actor and vocal coach who’s making a name for herself in the Canadian scene as the frontwoman for Montreal, Quebec-based Melodic Black/Folk Metal horde Valfreya, proudly waving the flag of Québécois metal high in the sky wherever she goes and hypnotizing us all with both her clean and guttural vocals. She takes no prisoners in her quest for heavy music, leading Valfreya into glory ride, and of course you’re more than invited to stand side by side with Corinne and her henchmen in the battlefield after knowing a little bit more about her life and career.
Born on August 20, 1986 in the charming city of Montreal, Quebec, in Canada, Corinne is not just the founder, main composer and vocalist of Valfreya, but she’s also a voice actor for La Fabrique de Monstres (or The Monster Factory), and a singer for the Growlers Choir, just like one of our most recent metal ladies Maude Théberge, showing how united the Québécois scene is. Not only that, she has also studied classical singing and instrumental composition, does graphic design, and of course she applies all those elements to her work with Valfreya. Her talent seems to be infinite, which translates into first-class heavy music when a new Valfreya album is unleashed upon humanity for our total delight.
After exploring choir singing during her formative years, Corinne, who’s a mezzo-soprano, undertook her studies by enrolling at Cégep Saint-Laurent and obtained her college degree in classical singing in 2007, perfecting her instrument with many teachers between 2007 to 2015 like Cécile Gendron, Mark Pedrotti, Christine Lemelin and Colette Boky, and pursuing a bachelor’s degree at UQAM in music (artistic performance concentration) in 2015. During her studies there, she developed a varied lyric repertoire and sings in more than eight different languages (Russian, Czech, German, Italian, Latin, Catalan, French and English), obtaining her diploma in December 2018. Finally, in 2020 she obtained her Estill Voice Training certificates one and two, and if you have no idea what that means, this course pertains to parts of the anatomy singers can exercise conscious control on to modify their sound.
After founding Valfreya back in 2009, merging the metal genre with classical and folk, Corinne started to develop different vocal techniques, matching guttural singing with opera and pop, which culminated with her joining the aforementioned Growlers Choir back in 2019, plus collaborations with many artists as a performer or composer the likes of Léa Dupuis, Augury, and Jeff Marcoux. That expertise also opened several doors to vocal acting out of specialized fields into voices for creatures and monsters in video games and film, including Resident Evil 7 (Capcom), Helix Season 1 (Syfy), Soul Blade (Namco, Project Soul), Rainbow Six Siege: Operation Chimera (Ubisoft), Tomb Raider: Shadow of the Tomb (Eidos Montréal), and Guardians of the Galaxy (Eidos), and also led to her founding in 2019 La Fabrique de Monstres alongside Sébastien Croteau and Jeffrey MacDermott, working in the sound design of hundreds of monsters and creatures over twenty or so video games, films and television series.
Corinne started studying for her musicologist’s master’s degree at Université de Montréal in 2020, wishing to analyze vocal techniques in metal music, precisely to identify the process of vocal production permitting control on specific structures of the vocal apparatus linked to guttural metal singing, with her ultimate goal being to produce the first pedagogical treaty on metal singing in English and French. In addition, Corinne is also a member of diverse research groups such as OICRM and ACTOR Project, and one of the rare vocal coaches who’s able to teach metal singing (both growl and fry) in Quebec.
As already mentioned, Corinne founded Melodic Black/Folk Metal horde Valfreya back in February 2009 in Montreal, with the band’s name being influenced by one of the names of Óðinn, Valföður (Old Icelandic for “Father of the Slain”) and Freyja, the Vanic deity, sister of Freyr. Valfreya deals with themes such as Norse mythology, Pagan gods, life, death, and legends, having released their debut EP First Chronicles in 2010, followed by their first full-length album Path to Eternity in 2012, the EP Acoustic Chronicles in 2013, and the full-length albums Promised Land, in 2017, and more recently Dawn of Reckoning, earlier this year, not to mention the band was also feature in the 2011 Galy Records compilation Trois-Rivières Metalfest 11 with the song Deity’s Grace. The band currently formed of our metallic diva Corinne on vocals together with Graz’zt and Erik on the guitars, Abhor on bass, Dommar on drums, and Eva Doucet De Leon on the violin has already played hundreds of concerts across Canada and the United States, and if you want to enjoy their amazing music you can find all of their releases on BandCamp, on Spotify, or by clicking HERE.
This slideshow requires JavaScript.
Corinne is much more than just the band’s frontwoman, having also been responsible for the music, lyrics, arrangements, artwork and layout in their 2012 album Path to Eternity, the artwork, layout, cover art and lyrics in their 2017 album Promised Land, and the layout in their most recent album Dawn of Reckoning. Hence, if you want to have an absolute blast with Corinne and her Valfreya, apart from the aforementioned sources like BandCamp and Spotify, you can enjoy their official videos on YouTube for the songs Le Périple, The Rise, Odin’s Fury, Confront Immensity, Ocean’s Assault, and My Everlasting Star, as well as several unofficial footage of the band kicking some ass live.
Besides her career with Valfreya, Corinne also played keyboards and did backing vocals between 2008 and 2010 for a Montreal, Quebec-based Melodic Black Metal band named Vehemal, albeit she didn’t record anything official with the band; and did the live vocals with Canadian Progressive/Experimental Death Metal band Bookakee a few years ago. She can also be seen as a guest musician for a few interesting bands in the past few years, as for example doing additional vocals in the song Impending Apocalypse, from the 2020 EP Repaying Evil with Evil, by Canadian Death/Thrash Metal/Deathcore musician Jeff Marcoux; vocals in the 2017 single La pluie noire, by Canadian Black/Doom Metal band Lacrimae Mortalium; and more recently additional vocals in the songs Welcome, Immuration and Resilience, from the 2023 album Maladaptive Daydreaming, by Canadian Melodic Death/Gothic Metal band Sanguine Glacialis. Moreover, she was also responsible for the layout in the 2012 EP Deviated Inner Spectrum, by Canadian Technical/Melodic Death Metal act Pronostic, under the curious moniker of “Crapule”.
Lastly, as pretty much any metal lady hailing from Canada, Corinne is crazy for animals, having several pets from different species. For instance, in one of her interviews during the pandemic, she said she had at that time three fishes named Super Nova, Galaxy and Comet, five rats named Wicca, Gandalf the White, Zelda, Bouda and Titite (which means Tiny-tiny), and also a cat named Saroumine. As you might have already notice, the inspirations she takes for the music by Valfreya also have an impact on the names of her pets, which in my opinion is simply awesome. She mentioned she enjoys taking her rats to places like stores, parties, family reunions, chilling with friends, and so on, also saying that especially during the pandemic all of her pets brought a lot of joy and comfort as she couldn’t live in an empty house. She also said that all of her pets don’t seem to care about the fact she practices her music at home, and that whenever she’s on tour with Valfreya, it’s either her boyfriend or her sister who usually takes care of them for her. If you want to know more about such an amazing musician and animal lover, you can visit her own website (including a look at her impressive resume), and stay tuned for all news about Valfreya, because if by any chance they take your city by storm, don’t waste a single second and go check the powerful vocals by one of the most talented women of the current Canadian metal scene.
Get ready for a night of fierce metallic sounds born in sweaty nightclubs, packed house parties, and DIY warehouse shows, a retrospective of the Atlanta metal underground from 1982 to 1999.
Deep from the vaults, Boris Records and Deanwell Global Music are unleashing the vinyl and digital versions of Surrender to Death: A History of the Atlanta Metal Underground Vol. 1, a retrospective of the Atlanta metal underground from 1982 to 1999. Spanning two decades of local bands, studio projects, and touring heavyweights, Surrender to Death showcases over 20 bands, ranging from the early days of traditional Heavy Metal to gory basement Death Metal to second-wave Black Metal, far from the better-known scenes in the Bay Area and New York and Florida. Over half a decade in the making, featuring original recordings sourced directly from the bands (with all tracks remastered from various sources by Jessica Thompson Audio), and displaying a sick artwork by Brian Warner (aka Esayde or Total Weirdoh), this ass-kicking compilation will give you a glimpse of the Atlanta metal scene’s depth and its awesome and sometimes truly bizarre takes on the genre and all of its sub-genres.
Side A of the first vinyl starts way back in 1982 with Strangers, the opening track of the self-titled album by Messendger, presenting a great fusion of Heavy Metal and Hard Rock where the trio delivers fierce riffs and beats, and with their vocal lines also sounding electrifying; followed by Lucifers Eyes, by Fortnox, another beast from 1982 offering us all a powerful blast of old school Hard Rock. Fast forward a few years to 1990 and we face the Power/Thrash Metal by Atlanta’s own Ghost Story, with the song What Few Even Dare, from their 1990 demo The Image and the Reality, also presenting hints of Death and Speed Metal in its riffs and drums, whereas in 1988 a Thrash Metal band form Georgia called Necropolis released the album Contemplating Slaughter, and from that album we have the song Waters of Lathe, showcasing the amazing raspy vocals by Keith Charron.
It’s time to kick off side B of vinyl number one with Rock You, by MX, another old Heavy Metal/Hard Rock outfit from Georgia from the early 80’s, delivering sheer adrenaline and electricity through their fiery riffs and unrelenting attitude, and let’s continue our journey though the 80’s with Sinister Angel and the song Street Light Glamour, from their 1984 self-titled EP, where you can sense elements from early Judas Priest in their sound as well as harsher thrash and death nuances. Then in 1991 the Augusta, Georgia-based Heavy/Power Metal band Legion released the album Darkness, and from that album comes Evil Mind, with a sensational vocal performance by Loy Mitcham, followed by Reflected Fear, by Kinetic Dissent, more inclined to classic Thrash Metal, a song from their 1987 demo The Fall of Individualism, bringing forward an amazing guitar work by Stephen Danyo. In the song Til Death Do Us Part, from the 1989 demo Overloaded, by Dark Overlord, the music exhales the same rebelliousness from the early days of Exodus, or in other words, it’s a fantastic option to slam into the pit like a true metalhead, while Metal Merchants, from the 1985 cult album Tales of Terror, by Hallows Eve, is an explosion of Thrash and Speed Metal led by frontman Stacy Andersen, also perfect for some sick mosh pits.
Unblessed, one of the first Death Metal bands from Georgia, kicks off side A of the second vinyl with When it Bleeds it Pours, from their 1998 demo, already blasting that harsh, vicious sound that became a staple in today’s Death Metal scene, whereas Sixteenth Chamber, released in the 1995 demo Oh Come All Ye Faithful… Tonight We Feast, by Lestregus Nosferatus, presents those truly evil vocals we love in extreme music, not to mention the heaviness of their riffs. We’re then treated to Pray to Death, by ROT, from the 1990 demo Diabolus (The Unholy Rot), offering our putrid ears more of Atlanta’s own blend of classic Death Metal to inspire us all for some vigorous headbanging, followed by Avulsion with the song Inexorable Suffering, from their 1994 demo of the same name, enhancing the city’s ferocity in the scene, sounding slow, evil and, therefore, definitely not recommended for the lighthearted. Gates Of Emptiness, from the 1997 demo Twilight Eternal, by Dawn of Orion, is an overdose of classic Death Metal, with the harsh vociferations by Myke Jamison sounding insane, and things get even darker in Metaphorical Ithaca, by Haborym (a Hebrew synonym for Satan), mixing Black and Death Metal in an utterly demonic chant from their only demo released in 1995.
Finally, side B of the second vinyl brings to us all The Righteous Shall Fall, by Tragic Demise, displaying one of the most primeval sounds of the entire compilation, sounding like creatures arising form the pits of the underworld while again showcasing classic Death Metal beats for our total delight. Then the band Demoncy blasts a more Black Metal-inspired sound in Winter Bliss, from their 1999 album Joined in Darkness, with their Stygian, cryptic harsh vocals and a beyond raw sound quality giving it a more-than-infernal vibe. Necroflesh then offers a brutal slab of old school Death Metal in Scream, from their 1997 demo, where their guitars sound as caustic and sharp as possible; followed by the song Synthesis of Rebirth, taken from the 1996 demo of the same name by Procostimus, another band blending Death and Black Metal in their music where Greg King shows no mercy for our souls with his grim vocals and drums. Darkened Skies, the second band deeply rooted in old school Black Metal, delivers their share of obscurity and evil to the masses like a creature lurking in the dark in Reign of Radulescu, before Vastion, one of the first Technical Death Metal bands from Atlanta, crushes us all like insects in Ensuring Your Death, from their 2000 album Closed Eyes to Nothing, sounding absolutely wild and bestial until the very last second.
Part of “Georgia Historical Metal Archive Series” by Deanwell Global Music and volume 2 of “Atlanta Metal Underground Archive Series” by Boris Records, Surrender to Death can be described as a night of fierce metallic sounds born in sweaty nightclubs, packed house parties, and DIY warehouse shows, and you can experience all those decades of first-class music made in Atlanta by purchasing a copy of the album from the Boris Records’ BandCamp page, from Deanwell Global Music’s BandCamp page, or by clicking HERE, and let me tell you the package that those guys put together is brilliant, including the double-vinyl (available in four different color options) with a gatefold jacket, an 11×17 double-sided insert containing bios and photos of each band, a sticker, random repro band flyers, and an 18×24 full color poster. This is heavy music, this is Atlanta, and I honestly can’t wait for the next volume in this beautiful tribute to one of the most prolific scenes of the North American underground.
Best moments of the album:Kinetic Dissent – Reflected Fear, Dark Overlord – Til Death Do Us Part, Dawn of Orion – Gates Of Emptiness, Procostimus – Synthesis of Rebirth and Vastion – Ensuring Your Death.
Worst moments of the album: None.
Released in 2024 Boris Records/Deanwell Global Music
Track listing 1. Messendger – Strangers 5:44
2. Fortnox – Lucifers Eyes 3:44
3. Ghost Story – What Few Even Dare 4:28
4. Necropolis – Waters of Lathe 5:23
5. MX – Rock You 3:48
6. Sinister Angel – Street Light Glamour 4:16
7. Legion – Evil Mind 3:25
8. Kinetic Dissent – Reflected Fear 3:26
9. Dark Overlord – Til Death Do Us Part 2:56
10. Hallows Eve – Metal Merchants 3:21
11. Unblessed – When it Bleeds it Pours 4:34
12. Lestregus Nosferatus – Sixteenth Chamber 3:47
13. ROT – Pray to Death 3:40
14. Avulsion – Inexorable Suffering 3:41
15. Dawn of Orion – Gates Of Emptiness 2:58
16. Haborym – Metaphorical Ithaca 3:39
17. Tragic Demise – The Righteous Shall Fall 3:33
18. Demoncy – Winter Bliss 3:47
19. Necroflesh – Scream 3:56
20. Procostimus – Synthesis of Rebirth 4:44
21. Darkened Skies – Reign of Radulescu 3:15
22. Vastion – Ensuring Your Death 2:19
This unrelenting German entity will crush your damned soul with their newborn spawn, a phenomenal journey rooted in the old school Death Metal sound.
Where most bands are content reveling in the sound of the glory days of early 90’s Death Metal, Ulm, Baden-Württemberg, Germany-based band Typhonian has not only beautifully reimagined it with blackened elements laced with the classic Swedish and Finnish melodies, but they are also attempting to take that sound ahead in the most logical manner. Displaying a classic artwork by Juanjo Castellano Rosado, their new opus titled The Gate of the Veiled Beyond goes a step further compared to their 2021 EP The Cosmic Pendulum of Time and their debut album Beneath the Streams of Life, adding more progressive and atmospheric elements, a phenomenal music journey that’s evidently rooted in the old school Death Metal sound metamorphosing gradually and finally taking on a gleaming, breathtaking form and ascending, all carefully crafted by M. W. Styrum on vocals, Prometheus on the guitars, Typhon on the guitars and orchestrations, Charybdis on bass, and Thanatos on drums, being highly recommended for fans of Edge of Sanity, Unanimated, Necrophobic, Dismember, Desultory, Unleashed, and Evocation, among several others.
Just hit play and the atmospheric intro Celestial Salvation will transport us all to the dark world ruled by Typhonian before the band begins hammering our souls in Cosmic Throne, with the massive beats by Thanatos walking hand in hand with the powerful riffs by Prometheus and Typhon, not to mention how deep the guttural vocals by M. W. Styrum sound, flowing into the straightforward Death Metal attack titled Primal Deceptive Light, with the caustic riffage by the band’s guitar duo inviting us all to slam into the circle pit like true maniacs. Then bringing elements of Doom Metal to their sound, plus cryptic background orchestrations, the band fires the short and sweet Crimson Rivers, where once again M. W. Styrum sounds demonic on vocals; whereas another atmospheric, Stygian start gradually evolves into the heavy-as-hell, devilish aria The Gatekeeper, with Charybdis and Thanatos making the earth tremble with their respective bass and drums, also presenting elements from Atmospheric Black and Death Metal in their bold and dense sound.
Towards the Chamber of the Omnipresent Mind carries a beautiful name for a fast, acid and thunderous aria by Typhonian, with the guitars by Prometheus and Typhon exhaling heaviness and despair while M. W. Styrum keeps roaring and barking the song’s obscure words nonstop, and Typhonian brings forward a menacing fusion of Death Metal with Doom and Epic Metal entitled A Glimpse at the Starless Ocean, where Thanatos takes the lead with his crushing beats and fills, accompanied by the scorching riffs and solos by Prometheus and Typhon. Lastly, you better be prepared for a 20-minute ethereal, harsh and hypnotic musical voyage titled Cath’un – The Gate of the Veiled Beyond, flowing majestically to the demolishing drums by Thanatos before a sinister break permeates the air for quite some time, until all explodes into an imposing feast of Death Metal sounds, with M. W. Styrum’s vociferations adding an extra touch of insanity to their already wicked music, resulting in a stunning sonic beast by the quintet to conclude their infernal mass.
With the visionary The Gate of the Veiled Beyond release, Typhonian have more than just outdone themselves; they have surpassed expectations for the style as a whole. Hence, don’t forget to give them your best guttural shout on Facebook and on Instagram, to stream their music on Spotify, and of course, to purchase their imposing new album from their own BandCamp page, as well as from Transcending Obscurity Records (main store, BandCamp, EU store, and US store), or click HERE for all things Typhonian. Those talented German metallers are not your average Death Metal band, delivering a breathtaking amalgamation of styles that will leave you completely disoriented after all is said and done in The Gate of the Veiled Beyond, all in the name of first-class extreme music.
Best moments of the album:Primal Deceptive Light, Towards the Chamber of the Omnipresent Mind and Cath’un – The Gate of the Veiled Beyond.
Worst moments of the album: None.
Released in 2024 Transcending Obscurity Records
Track listing 1. Celestial Salvation 0:44
2. Cosmic Throne 4:06
3. Primal Deceptive Light 4:48
4. Crimson Rivers 3:35
5. The Gatekeeper 7:06
6. Towards the Chamber of the Omnipresent Mind 4:46
7. A Glimpse at the Starless Ocean 5:39
8. Cath’un – The Gate of the Veiled Beyond 19:21
Band members M. W. Styrum – vocals
Prometheus – guitars
Typhon – guitars, orchestrations
Charybdis – bass
Thanatos – drums
Let the gallows rise to the sound of the infernal debut by one of the must-see new names of the Finnish extreme music scene.
Featuring eight tracks in less than 30 minutes, following a thematic route from steady and thrashy riffing to manic blackened brutality where death is always present, the pulverizing Gallows Rise, the debut album by Tampere, Finland-based Blackened Death/Thrash Metal five-piece unit Buryfication, will undoubtedly crush your soul with its undisputed violence and heaviness. Recorded by Mikko Koskinen, mixed by Matti Mäkelä, and mastered by Jon Sjolin at Experitone, Gallows Rise is a precious gem of the underground carefully brought into being by frontman Marko Ala-Kleme, guitarists Tommi Kolehmainen and Henri Kyllästinen, bassist Pasi Bunda, and drummer Mikko Koskinen, paving a very exciting path ahead of such an amazing up-and coming band.
Get ready to be crushed like a putrid insect already in the opener The Plague, a demented creation by the band where Marko’s deep guttural walks hand in hand with the razor-edged, evil riffs by Tommi and Henri, and continuing to destroy everything and everyone that dares to cross their path we have Supreme Being, where Mikko is ruthless with his classic Death Metal beats and fills, supported by the rumbling bass by Pasi. An overdose of brutality, gore and violence flows from all instruments in the headbanging Human Cattle, with the guitars by Tommi and Henri exhaling sulfur, therefore inviting us all to slam into the circle pit like demonic creatures; and while Cannibal Corpse have the classic “Make Them Suffer”, those Finnish metallers offer us all the just as infernal Let Them Suffer, a lecture in modern-day Death Metal led by the inhumane growls by Marko, not to mention the song’s wicked guitar solos.
It’s then pedal to the metal as the band doesn’t have time to fool around, delivering a visceral onrush of Blackened Death Metal titled Year Zero where Mikko’s blast beats match perfectly with the devilish roaring by Marko, and inspired by the most demented names of the scene including Cannibal Corpse, Disloyal, Diabolizer and Immolation, the title-track Gallows Rise will hit you hard in the head to the striking riffs and solos by the band’s dynamic guitar duo. The quintet still has a lot of hellish fire to burn in Trails of Blood, a massive, dense and evil composition showcasing Marko’s trademark roars and the always killer drumming by Mikko; whereas featuring guest vocals by Matti Mäkelä of Corpsessed, closing this excellent album of sheer brutality we’re treated to Haunted, Enslaved, Devoured, with all riffs and solos adding an extra touch of aggression and insanity to their music, resulting in a stunning aria of violence.
Buryfication are definitely one of the must-see new names of the Finnish extreme music scene based on the music found in Gallows Rise, or in other words, a force to be reckoned with that will add even more heaviness to their already demented local scene, and you can stay in touch with those promising musicians by following them on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their sick creations on Spotify, and of course by purchasing their incendiary debut opus from BandCamp. It’s time to join Buryfication in their quest for extreme music, and let the gallows rise!
Best moments of the album:Let Them Suffer, Year Zero and Haunted, Enslaved, Devoured.
Worst moments of the album: None.
Released in 2024 Kvlt und Kaos Productions
Track listing 1. The Plague 3:23
2. Supreme Being 3:03
3. Human Cattle 3:30
4. Let Them Suffer 3:43
5. Year Zero 4:15
6. Gallows Rise 3:56
7. Trails of Blood 2:36
8. Haunted, Enslaved, Devoured 4:00
Band members Marko Ala-Kleme – vocals
Tommi Kolehmainen – guitar
Henri Kyllästinen – guitar
Pasi Bunda – bass
Mikko Koskinen – drums
Guest musician Matti Mäkelä – vocals on “Haunted, Enslaved, Devoured”
This young and restless Italian Black Metal trio is ready to wage war upon us armed with their violent debut offering.
Born from the need to bring to mortals the truest war spirit, Northern Italy-based Black/Death Metal horde Ignobleth, whose young members are only 16 and 17 years old, merges fast and frenetic riffs and blast beats to slow and macabre sections in order to create a sinister and obscure atmosphere. Now in 2024 it’s time for vocalist and bassist Bloodlord Ixiataaga, guitarist Nex VII, and drummer Kommander Baal to crush our damned souls with their debut EP Voidspawn Sacrifice, offering us all 15 minutes of what they like to label as “War Metal” in a fun and vibrant album nicely recorded at Atomic Arts Studios and co-produced with Sulphur Music.
The ominous intro Golgotha VII will take you to the Stygian world ruled by Ignobleth, darkening your putrid souls before they attack you with Bestial Witchery, a venomous Black Metal extravaganza that sounds taken from the glory of the 80’s and 90’s, although the band members were all born in the 2000’s, and where Bloodlord Ixiataaga’s gruesome vocals sound demonic while always accompanied by the ruthless riffs by Nex VII. Then adding elements of Doom Metal to their already infernal sonority it’s time for the cryptic, sulfurous Omen Of A Nuclear Spell, with Kommander Baal taking the lead with his sluggish and heavy-as-hell beats. Lastly, back to a more visceral, demented sound, the band brings forth the Black Metal onrush Wrathful Eradication, inviting us all to worship Satan while slamming into the circle pit to their solid fusion of Black and Death Metal, spearheaded by the guttural roars by Bloodlord Ixiataaga.
The infernal trio formed of Bloodlord Ixiataaga, Nex VII and Kommander Baal is waiting for you in their Stygian lair on Facebook and on Instagram, where you can get more details about their underground black masses (also known as live performances), and you can definitely put your dirty hands on Voidspawn Sacrifice by purchasing it from the Masked Dead Records’ BandCamp or webstore. It’s really cool to see fresh young blood crafting high quality Black Metal, paving a great future ahead of the band and the genre, and may those talented Italian musicians keep waging war with more of their caustic music in the form of several thrilling albums like their debut EP in the coming years.
Best moments of the album:Bestial Witchery.
Worst moments of the album: None.
Released in 2024 Masked Dead Records/Sulphur Music
Track listing 1. Golgotha VII (Intro) 1:25
2. Bestial Witchery 4:30
3. Omen Of A Nuclear Spell 5:44
4. Wrathful Eradication 3:43
Band members Bloodlord Ixiataaga – vocals, bass
Nex VII – guitars
Kommander Baal – drums
Another humid night in the city of Toronto. September has not let go of the great summer weather just yet, on a nice Tuesday evening some of the best southern bands to emerge in the death metal scene set its eyes on our city. Lee’s Palace was the mark of the beast for the night, and fans flocked from all over the city to come see them. I’m talking about Goatwhore and Necrofier with Vitriol and Thantifaxath. Metalheads from all over Ontario headed into Lee’s Palace, a medium sized venue that can hold 600 people or so, and the first band to hit the stage and get the fire started is Toronto’s own Black metal cult Thantifaxath (that’s a mouthful to say). The name comes from the kabbalistic tree of life (meaning “Great Ghoul”), and the band consisting of 3 unnamed souls played some great black metal riffs and got this eager crowd in the mood for what they had coming next.
