Concert Review – Ne Obliviscaris (The Phoenix Concert Theatre, Toronto, ON, 11/21/2025)

Thousands of lucky fans in Toronto experienced a mesmerizing display of Progressive Death Metal this Friday night, courtesy of three of the must-see names of the current extreme music scene worldwide.

OPENING ACTS: Psycroptic and Rivers of Nihil

What a phenomenal night of pure heavy music this Friday in Toronto at The Phoenix Concert Theatre thanks to Noel Peters of Inertia Entertainment, who brought to the city three of the must-see names of the Extreme Metal scene worldwide. I’m talking about PSYCROPTIC, RIVERS OF NIHIL, and NE OBLIVISCARIS with their North American Headline Tour 2025, hypnotizing everyone who attended the concert from start to finish. Keith Ibbitson of Metal Paparazzi and I were obviously there to witness an overdose of heaviness, intricacy, energy and creativity blasted by all three bands, offering us almost six hours of top-of-the-line music that made every penny invested in the tickets worth it. That’s exactly what you should expect from true hardworking and talented bands, who put the music and the happiness of their fans above any type of business or economic requirements. In other words, kudos to all bands, to Inertia Entertainment, and to everyone who was at the show to support heavy music in a city where music concerts are becoming pure cash grabbing opportunities for scalpers.

The first band to hit the stage, precisely at 6:45pm (which is way too early taking into account the nightmare that getting in and out of Toronto has become in recent years) were the ruthless Tasmanian Technical Death Metal devils PSYCROPTIC, who have been bringing extreme violence to our avid ears since the already distant year of 1999. Spearheaded by the Haley Brothers, those being drummer David Haley, of Australian Death Metal beasts Werewolves, as well as other insane bands like Faustian and Abramelin, and his demented brother Joe Haley on the guitar, the band showed zero mercy for our putrid bodies with a no shenanigans, in-your-face metal attack, blending songs from their entire discography, including their latest opus Divine Council, release in 2022, and their infernal 2025 single Architects of Extinction (all available on BandCamp and on Spotify). After their show I had the pleasure of chatting with the talented and super cool David Haley, telling him how much I love his style and that we need a Werewolves concert in Toronto. Who knows, maybe he’ll send the message to Sam Bean and Matt Wilcock, right? And if Pstycroptic visit your city any day, you know what to do.

Setlist
We Were the Keepers
Frozen Gaze
Architects of Extinction
Cold
Ob(Servant)
Carriers of the Plague
The Watcher of All
Enslavement

Band members
Jason Peppiatt – vocals
Joe Haley – guitars
Todd Stern – bass
David Haley – drums

The second band to set foot on the stage at the Phoenix was Reading, Pennsylvania’s own Progressive/Technical Death Metal machine RIVERS OF NIHIL, performing their excellent 2025 self-titled album (available on BandCamp and on Spotify) in full for the delight of everyone at the venue. If their headlining concert was already phenomenal back in June at Lee’s Palace, this time the band formed of Adam Biggs on vocals and bass, Brody Uttley and Andy Thomas on the guitars, Jared Klein on drums, and the unparalleled Patrick Corona on the saxophone offered a very unique experience to their fans, kicking ass from start to finish with their refined technique, undisputed brutality, and of course, the mesmerizing sound of the sax. Songs like the opener The Sub‐Orbital Blues, Water & Time, House of Light, and in special the headbanging American Death ignited some killer mosh pits in a considerably crowded venue, and when you’re able to slam into the pit to the sound of a saxophone, you know it’s going to be an absolute blast. Those guys are becoming fan-favorites in Toronto, and I guess it won’t take long for the Rivers of Nihil to cross our city again in the near future.

Setlist
Rivers of Nihil
The Sub‐Orbital Blues
Dustman
Criminals
Despair Church
Water & Time
House of Light
Evidence
American Death
The Logical End
Rivers of Nihil

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

NE OBLIVISCARIS

After a quick break it was time for an overdose of awesomeness by Australia’s most innovative metal band to date, Melbourne, Victoria’s one and only Extreme Progressive Metal horde NE OBLIVISCARIS, simply pulverizing our senses with their inspiring, visceral and mesmerizing performance, playing in full their 2014 album Citadel, and their 2023 masterpiece Exul, both available on Spotify, by the way, offering us all over two hours of the best extreme music imaginable. It was a collective catharsis for every single person at the venue, with the crying violin and the melodic clean vocals by Tim Charles making a stunning paradox with the harsh roars by James Dorton, while the rest of the band fired a full-bodied, complex and utterly captivating blend of Progressive Death Metal with an array of different music genres. And what can I say about bassist Martino Garattoni? The guy is a beast armed with his metallic bass, adding endless groove to the band’s already deep sonority.

Let’s say Tim stole the spotlight during the first part of the show when they played Citadel, making it impossible to take our eyes from his performance, specially when he played the violin AND sang at the same time, and I have no idea how he’s capable of doing such difficult things combined to perfection like that. It was brilliant to say the least, and he was also in an excellent mood joking with the fact that they were only one song in, the three-part Painters of the Tempest, but already at 23 minutes of show. Of course, all fans had a blast with the wild mosh pits generated during their most violent song Pyrrhic, but their most magical moments came with those multi-part songs, with Devour Me, Colossus sounding beautifully inhumane.

There was no significant break from Citadel to Exul, just some words from Tim to an already happy crowd, and when they started playing the astonishing Equus I thought the venue was going to collapse due to its power, strength and electricity. The following songs were just as superb, with the crowd even igniting an Amon Amarth-like rowing on the floor to the surprise of the band (and Tim even mentioned that although he couldn’t understand why we were doing that, he loved it and loved the fact we were all having a great time), before all converged into the darkly gorgeous Anhedonia, with Tim once again sounding like an angel on vocals and the violin. After that, when we thought the show was over, the band came back with a very special encore playing the glorious And Plague Flowers the Kaleidoscope, from their 2012 album Portal of I, and if you’re familiar with the band you know the crowd was treated to another ten minutes of first-class metal where, instead of a wall of death, Tim asked everyone to simply grab a partner and dance together with the band. It was one of the coolest moments of the year, and I must say I can’t wait to see those beasts from Down Under live again in a not-so-distant future. To be fair, everyone who enjoys good music must see Ne Obliviscaris live at least once in life. What they do onstage, no other band can. It’s amazing.

Setlist
Citadel
Painters of the Tempest (Part I): Wyrmholes
Painters of the Tempest (Part II): Triptych Lux
Painters of the Tempest (Part III): Reveries from the Stained Glass Womb
Pyrrhic
Devour Me, Colossus (Part I): Blackholes
Devour Me, Colossus (Part II): Contortions

Exul
Equus
Misericorde I – As the Flesh Falls
Misericorde II – Anatomy of Quiescence
Suspyre
Graal
Anhedonia

Encore:
And Plague Flowers the Kaleidoscope

Band members
James Dorton – harsh vocals
Tim Charles – violin, clean vocals
Benjamin Baret – lead guitars
Matt Klavins – guitars
Martino Garattoni – bass
Daniel Presland – drums

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Concert Review – Dying Fetus & Cradle of Filth (Rebel, Toronto, ON, 05/07/2025)

And Toronto savored a wild and frantic night of pure chaos and carnage, offered by seven of the must-see names of the current extreme music scene worldwide.

OPENING ACTS: Corpse Pile, Vomit Forth, Undeath, Ne Obliviscaris and Fleshgod Apocalypse

If there’s one thing that has become a true torment in the lives of all metalheads that live in Toronto and vicinities, that is concerts with an early start time. Traffic to get to the city is already brutal on any regular day, but when the weather is amazing (meaning more people on the streets) and there’s also at the exact same time an NHL playoff game happening in the heart of the city, then it’s an absolute nightmare. Those are the reasons why I had to miss almost half of CHAOS & CARNAGE 2025 (from the must-see Chaos & Carnage series) this Wednesday night when CORPSE PILE, VOMIT FORTH, UNDEATH, NE OBLIVISCARIS, FLESHGOD APOCALYPSE, DYING FETUS and CRADLE OF FILTH arose from the underworld to crush us mere mortals with an overdose of darkness, heaviness and insanity at the almost-impossible-to-get-in-and-out Rebel. Fortunately, Keith Ibbitson of Metal Paparazzi made it in time for all bands, and gave me an overview of the first three attractions of the night, who were kicking ass onstage while I was still stuck in the horrid and tiresome QEW.

Houston, we have a problem. I think it wasn’t event 5pm when Houston, Texas-based Brutal Death Metal/Hardcore outfit CORPSE PILE hit the stage at Rebel, and just to give you an idea of how early that was, I was still in the office having a client meeting at that time. I confess I was listening to their 2024 EPs Hardgore Deathmetal and Holly Jolly Hardgore a few days before the show, plus their new single Fed To The Starved, all available on Spotify, hoping I could do some sort of magic trick and be there in time to see them live, but of course that didn’t happen. Well, Keith said they were insanely heavy and fun, already igniting some sick mosh pits with whoever was lucky enough to be at a concert in the middle of the afternoon on a Wednesday. Maybe next time I’ll catch those guys live, as long as they don’t play at a “matinée” time again.

Setlist
Intro
Genesis Of Suffering
Kicked in Cadaver
Vengeful Hymns
For Flesh and All
Stacking Bodies
Fed to the Starved
Reality
Fuck Your Life

Band members
Jason Lionel Frazier – vocals
Landry Arredondo – guitars
Cody Webb – guitars
Davis Pryse Snyder – bass
Alex Covarrubias – drums

I also missed the next attraction of the night, Connecticut’s own Death Metal brigade VOMIT FORTH, who released last year the excellent album Terrified of God (also available on Spotify and all other streaming platforms), and again I was very disappointed for not having the pleasure of seeing those guys live. All my buddies who could make it to the venue in time for their show said they were ruthless onstage, blasting sheer Death Metal for the delight of a wild crowd avid for some action inside the pit. I’ll have to repeat myself and complain about the start time again, because I think it was maybe 5:30pm when they began their set. Who scheduled those early-as-hell times? Bands like Vomit Forth deserve bigger audiences, but if they keep playing at early slots like this a lot of people will end up missing them and will not care about buying their music or merch, you know what I mean?

Setlist
(Unknown)
(Unknown)
Sacred Apple
Rotting Wool
Negative Penance
Blood Soaked Death Dream
Pain Tolerance

Band members
Kane Gelaznik – vocals
Bailey Olinger – guitars
Ricky Brayall – guitars
Jett Stotts – bass
Luke Zeitler – drums

Guess what? Yes, I also missed the unrelenting performance by Rochester, New York’s Death Metal beast UNDEATH, because despite their starting time being a little later than the first two bands, it was still freakin’ early. Another huge bummer as their 2024 album More Insane, also available in full on Spotify and any other streaming service, is exactly that, an insane explosion of visceral Death Metal. Keith and the other guys said they put on a fantastic show, with the bigger (but not big enough) crowd going mental inside the circle pit. If you’re attending any of the shows from Chaos & Carnage 2025, I highly recommend you try your best to arrive in time at least for Undeath, because those guys are insane live and definitely know how to electrify fans of extreme music during their entire set.

Setlist
Dead From Beyond
Rise From the Grave
More Insane
Necrobionics
(Unknown)
Lesions of a Different Kind
Brandish the Blade

Band members
Alexander Jones – vocals
Jared Welch – guitars
Kyle Beam – guitars
Tommy Wall – bass
Matt Browning – drums

Finally, after my excruciating quest to arrive to Toronto, I made it to Rebel around 7pm, just in time to witness one of the most hypnotizing concerts I’ve ever seen in my life, the atmospheric, progressive and vibrant performance by Australian Extreme Progressive Metal unit NE OBLIVISCARIS. Having released the album Exul back in 2023 (also available on Spotify), the band now fronted by James Dorton, replacing the iconic Xenoyr, who was the band’s lead singer from 2003 until earlier this year (what’s going on with so many extreme music bands switching their vocalists these days?), put on  a short but beyond phenomenal show that inspired us all for some nonstop headbanging, horns raising and crowd surfing, plus of course some crazy mosh pit action to the sound of the crying violin by Tim Charles, turning it into one of the classiest heavy concerts of all time in Toronto. I can’t wait for those amazing musicians from Down Under to return to Toronto with another round of their unique music, and until then we all know what to do. Stay classy, and listen to Ne Obliviscaris.

Setlist
Equus
Suspyre
Painters of the Tempest (Part II): Triptych Lux
And Plague Flowers the Kaleidoscope

Band members
James Dorton – harsh vocals
Tim Charles – violin, clean vocals
Benjamin Baret – lead guitars
Matt Klavins – guitars
Martino Garattoni – bass
Daniel Presland – drums

Another band I was eager to see was Italian Symphonic/Technical Death Metal horde FLESHGOD APOCALYPSE, and once again it was a jaw-dropping, unforgettable experience to all fans at Rebel. When the sensational soprano Veronica Bordacchini took the stage carrying a huge Italian flag, I knew we were about to enjoy a magnificent, epic concert, and that’s exactly what the band provided us with. Francesco Paoli was on fire during their entire set, as well as drummer Eugene Ryabchenko, who can play drums AND headbang at the same time, which was truly impressive in my humble opinion. In addition, not only their latest album Opera (also available on Spotify) is one of the best of 2024, but the songs played from that album, I Can Never Die, Pendulum, and Bloodclock, sounded way more powerful live, and as I’m always pro live music, those Italians won my heart with their flawless concert. Veronica’s voice live is something out of this world, simply beautiful and enfolding, and I highly recommend you go see such a unique band live at least once. And did we get a nice wall of death while Francesco Ferrini was playing his classic piano onstage? Oh, hell yeah! And what about the ending with their metal version of Eiffel 65’s dancing hit Blue (Da Ba Dee)? It was apotheotic to say the least!

Setlist
Ode to Art (de’ Sepolcri)
I Can Never Die
Minotaur (The Wrath of Poseidon)
The Fool
Pendulum
Bloodclock
Sugar
The Violation
Blue (Da Ba Dee) (Eiffel 65 cover)

Band members
Francesco Paoli – lead vocals, guitars, bass
Veronica Bordacchini – vocals (soprano)
Fabio Bartoletti – lead guitars
Francesco Ferrini – piano, orchestrations
Eugene Ryabchenko – drums

CRADLE OF FILTH

Almost three years after their last visit to the city, Suffolk, England’s iconic Extreme Metal miscreants CRADLE OF FILTH were finally back to the city with another round of their undisputed, sulfurous and blasphemous music, this time promoting their latest opus, the collection of sweet lullabies entitled The Screaming Of The Valkyries, which you can enjoy in full on Spotify, of course. Their set might have been extremely short (at least for me, as I would love to see them play for over two hours if possible), but it was as dark as the black wings of a Nazgûl, and as venomous as the bite of a King Cobra. Even after seeing Mr. Dani Filth live countless times I’ll never understand how he can scream like that, and if you add to that the violent yet very technical sounds blasted by his bandmates, there you have the perfect recipe for a wild concert with lots of mosh pits, horns in the air and demonic roars form the crowd. The new songs To Live Deliciously and Malignant Perfection sounded great live, but it was Nemesis plus the closing duo Death Magick for Adepts and Her Ghost in the Fog that inspired all fans to succumb to the dark side of music and worship Suffolk’s finest. Hopefully it won’t take another three years for Dani and his horde to return to Toronto, because Cradle of Filth are one of the best bands to see live in the history of heavy music. And if you’re not convinced yet, just as Richmond from IT Crowd.

Setlist
Resurrection
To Live Deliciously
Nemesis
She Is a Fire
The Principle of Evil Made Flesh
Malignant Perfection
Cruelty Brought Thee Orchids
Death Magick for Adepts
Her Ghost in the Fog
Blooding the Hounds of Hell

Band members
Dani Filth – vocals
Marek ‘Ashok’ Smerda – guitars
Donny Burbage – guitars
Daniel Firth – bass
Zoe Marie Federoff – keyboards, vocals
Martin ‘Marthus’ Skaroupka – drums

DYING FETUS

It was getting late but after facing the brutality of all the traffic to get to the city I needed some relaxing music before heading home, and there’s nothing better than the fusion of Brutal Death Metal and Grindcore by Baltimore, Maryland’s technical and savage trio DYING FETUS. Next time your company’s HR asks for ideas for this year’s office Christmas party, simply say “the Fetus Boys” (like how Dani Filth enjoys calling them), and I’m sure Karen from Operations will love the idea and will be in the middle of the band’s demented circle pit. Blending songs from all of their albums in their setlist, including some from their 2023 offering Make Them Beg for Death, also available on Spotify, John Gallagher, Sean Beasley and Trey Williams simply decimated every single living creature at Rebel, delivering a pulverizing, frantic and absolutely technical concert for the delight of their diehard fanbase. Not even the stress of trying to get out of the city after the show was enough to erase the joy of experiencing Dying Fetus live, and I’m sure whenever they return to the city, there will be blood, sweat, violence, and endless circle pits again.

Setlist
Praise the Lord (Opium of the Masses)
Unbridled Fury
In the Trenches
Wrong One to Fuck With
Compulsion for Cruelty
One Shot, One Kill
Your Treachery Will Die With You
Grotesque Impalement
Subjected to a Beating
Into the Cesspool
Killing on Adrenaline

Band members
John Gallagher – guitars, vocals
Sean Beasley – bass, vocals
Trey Williams – drums

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Metal Chick of the Month – Tina Gunnarsson

Open your doors to the gates of hell, Tina!

It’s time to start melting the snow that covers a good part of the Northern Hemisphere with endless fire and heat emanating from our metal lady of this month of February, and I’m sure after listening to her incredible voice your heart will be forever warm even during the harshest of the winters. The frontwoman for Swedish Progressive and Symphonic Heavy Metal band Hexed, she’s the owner a powerful voice that will pierce your mind mercilessly, while her undeniable charisma will mesmerize you whenever she hits the stage. Her name is Tina Gunnarsson, and after reading more about such Swedish diva here on The Headbanging Moose I’m sure you’ll become a diehard fan of her music, getting beyond excited to raise your horns together with her whenever Hexed take your city by storm with their amazing live concerts.

Born on January 6, 1974 in Uppsala, a city near Stockholm, in Sweden, Tina started to sing and perform as a child along with her father, who according to Tina herself was an excellent songwriter. She remembers going up on stage and perform two of his songs when she was about six years old, saying that she already knew from that moment that music was going to be her life. By the way, she’s the sister of Teddy Möller, vocalist and multi-instrumentalist for several Swedish underground bands the likes of Loch Vostok, Gauntlet Rule and One Hour Hell, among others, and she’s married to vocalist and guitarist Stellan Gunnarsson, who founded Hexed together with her almost ten years ago, proving that Tina definitely lives and breathes music. In addition, she mentioned that despite being married to Stellan for many years, they only started writing music together after the creation of Hexed, saying that before that they used to focus on their other bands and projects.

Speaking about Hexed, the Swedish Symphonic and Progressive Metal brigade fronted by Tina has been making a lot of noise among metalheads all over the world since their inception back in 2015, with Tina, Stellan and bassist Daniel Håkansson being the three original members who are still part of Hexed, plus guitarist David Nyman and drummer Patrick Wahlberg. Curiously enough, the other original member of the band was Tina’s brother Teddy, who played on all their releases, except for their latest album released in 2022. So far, Hexed released their debut single titled Dreams, in 2016, followed by the three-track EP Exhaling Life, in 2017, and the full-length albums Netherworld, in 2018, and Pagans Rising (which was by the way inspired by Sweden’s witch-hunting hysteria in the late 17th century), in 2022, all available on their own BandCamp page, on YouTube and/or on Spotify (as well as on other streaming platforms).

When asked about how she would describe her music to someone who’d never listened to Hexed before, Tina said that she used to label it as “heavy and melodic with some dark vibes”, and if you visit their official YouTube channel you’ll be able to experience that by listening (and watching) to fantastic songs such as Blasphemy, Pagans Rising, Symphony of Tragedy, Exhaling Life, Stigma Diaboli, Resurrection, Repentance, Oceans, and Obedience. Moreover, when asked to choose a couple of songs with a very special meaning for her, Tina mentioned the title-track of their 2018 album Netherworld, as it really helped her to create a vision and to build something more creative out of all the feelings she had during that time, and Moorfield, from their 2022 album Pagans Rising, because of the feelings she got when she read about the trials and execution while writing about the destiny of the three women that the lyrics are about.

A seasoned veteran in the realm of rock and metal music, Tina was also part of some other very interesting bands prior to forming Hexed back in 2015. For instance, she’s also the vocalist for a Swedish Melodic Heavy Metal band named Detained, formed in 2010 and that released a five-track self-titled EP back in 2011, but that hasn’t done anything (nor even any type of communication) after 2012. I think we can say this project is now defunct, right? Anyway, apart from Detained, she was also the vocalist for an unknown period of time for a Swedish Progressive Metal band named Mellow Poetry (which after a few years changed their name to Mayadome) together with her brother Teddy Möller, but apparently nothing was officially released with her on vocals under that specific name. That’s also the case with a band named Nebraska, which was most probably also from Sweden, but basically nothing can be found online about the band nor about Tina’s involvement with them. On the other hand, back to the now very distant year of 1987, Tina was the lead singer for an Uppsala-based Heavy Metal band named Tradore, also with her brother Teddy, with whom she released a demo that same year titled Beyond the Shadows, still under her birthname of Tina Möller. The band later changed their name to Rue Morgue, but Tina was no longer a member of the band after that.

As a guest vocalist, you can enjoy Tina’s soaring vocals in some amazing bands and projects that surely helped her shape her current vocal style and technique. One of the most interesting of those bands is undoubtedly Uppsala-based Extreme Progressive Metal band Loch Vostok, another band led by her brother Teddy, singing in the song Rebound, from their 2006 album Destruction Time Again!, and doing the female vocals in their entire 2009 album Reveal No Secrets. Apart from Loch Vostok, she also lent her amazing voice to the song (I’ll Never Be) Maria Magdalena, from the 2022 album Trial by Fire, by Norwegian Power Metal duo Mantric Momentum; did all female vocals in the 1996 album Paranormal Activity, and was a guest vocalist in the song Able to Feel, from the 1999 album Near Life Experience, both released by her brother’s old Progressive Rock/Metal band Mayadome (as already mentioned, originally known as Mellow Poetry); did guest vocals in the song Queen of the Sea, from the album In Hoc Signo Vinces, released in 2007 by Swedish Heavy Metal band Wasteland; and also did backing vocals in the 2006 album The Shadow Cabinet, by Danish Progressive/Power/Folk Metal band Wuthering Heights.

As any rock and metal musician, Tina has an array of sensational idols who had a strong influence on how her voice sounds today. Among her music heroes, you’ll find renowned acts the likes of Queensrÿche, Fates Warning, Kamelot and Pagans Mind, also mentioning the 80’s as an amazing source of music, saying she used to listen to ABBA and Supertramp a lot at home, and Queen as her first ever live concert. In one of her interviews, she said that she would love to do a collaboration with Queensrÿche or King Diamond, saying she loves the music by Queensrÿche and of course the voice by Todd La Torre, and that the music by King Diamond and Mercyful Fate has always been with her since the 80’s, nurturing a deep passion for its vibe, stories, theatrical shows, and so on. In addition, she mentioned that if she could go back in time and be part of the recording sessions for any album in history, she would gladly have been a part of Dream Theater’s Images and Words, one of the best records in history in her opinion. “When I listened to When Dream and Day Unite I began to really listen to them with their special sound, later on James LaBrie came in on lead vocals and this album Images and Words really inspired me as a musician.” She also said that she prefers leaving people alone if they’re having a private moment or if they’re outside of a concert or event, but of course she likes to be close to her idols and other talented musicians if that’s not going to disturb their peace. “I really enjoyed being at the same place as anyone must have been to see Sharon den Adel from Within Temptation, having dinner at the table next to us in our special VIP area at Sweden Rock Festival, where our both bands were performing,” Commented Tina.

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Not only passionate about rock and heavy music, Tina also has a great love for nature, saying that she can easily notice a lack of energy of some kind, and where it’s missing based on the four elements. “I often visit the woods when I need to contemplate and understand ongoing things. I often dig the soil when my thoughts become dark and heavy and it helps me to stay grounded,” also saying that “we should use the capacity that our brain has to pick up energies, vibes and to trust our intuition more. That’s where the magic is. My favorite place is viewing a big lake with mountains surrounding it, that’s where I find peace of mind and can feel the real synchronicity with everything. I love the smell of each seasons beginning and how lucky I am to have four seasons in Sweden.” By the away, Tina is not just grateful for having all seasons in her homeland, but she’s also grateful for her family and friends, and to be able to create music, sing, dance and having good times while she’s still alive, and of course for everyone who listens to her music and who attends her live concerts.

According to Tina, the best part of being a musician is to have the ability and possibility to be creative in many ways, from the lyric writing, planning, scheduling, to bringing out all the visions for how she wants her music to be seen and heard, also saying that it would be a dream for her to be independent, but still earning enough money to live a decent life. “Music is the everyday life for us! With that said, we always work hard with all the stuff that has to be done as an active band. We all are employed as well and most of our spare time goes to music related things. No rest for the wicked.” And regarding the life of a musician on the road and travelling in general, apart from playing in major festivals like Wacken Open Air, she would also love to visit the lands where the native people in North America live, something she’s been dreaming about since she was a child. “Nowadays I understand more about all the native populations even in our own country and love Lapland as well. Maybe it is the genes in my blood talking and the lifestyle in harmony with nature.” Furthermore, although she’s not a religious person, she considers herself a spiritual person who believes in synchronicity, the wheel of life and the human mind. “The power of energies are not to be underestimated, things can really move and change with the right persons energies together. The forces we deal with in everyday life is the 4 elements as Earth, Fire, Water & Wind. All these elements create energy. It´s just that simple.”

A while ago, award winning film producer Bruce Moore released a documentary about women in metal, titled “Crushing Stereotypes One Riff At A Time”, where Bruce was able to catch up with a number of musicians, including our diva Tina, to find out what attracted them to the hard and heavy music world and if they had a story of how they took the plunge, what challenges they faced, and how things have changed, or if they have at all. Unfortunately, it looks like the movie is not available for streaming online anymore, but I would keep searching for it if I were you because all reviews of the movie are awesome and say it is a must-watch production for any type of metalhead.

When not in the studio or not on tour, Tina said that she likes to spend her time in her garden, in a forest, or going fishing. “This makes me unwind and it gets me some new energy. I’m also enjoying tarot and that kind of stuff,” she complemented, also saying that when she’s together with the other members of Hexed, she loves to cook and prepare dinner for her bandmates, while the others are responsible for the drinks, the music and the jokes. On a more serious note, Tina fears mankind hasn’t fully learned with all mistakes done during the Middle Ages, a time when religion (in that case Christianity) was responsible for the persecution and murder of people who thought differently and believed differently. “With all the power religion has over humanity I am afraid it will repeat itself if we don’t speak of it or fight against it. The children must learn from our own history and I really dislike when new generations are indoctrinated in a certain religion, let them choose when they are mature enough to have own thoughts and opinions.” Having said all that, it’s time to join Tina in her quest for heavy music, for freedom of speech, for freedom of religion, and so on, blasting her music to all four corners of the earth, until all pagans rise together with our multi-talented metal lady.

Tina Gunnarsson’s Official Facebook page
Hexed’s Official Facebook page
Hexed’s Official Instagram
Hexed’s Official YouTube channel
Hexed’s Official X

Album Review – Vintersea / Woven Into Ashes (2023)

This Extreme Progressive Metal act from Portland, Oregon is back with their fantastic third full-length opus, once again inspired by the majesty of the Pacific Northwest.

Combining the essential parts of many genres into a melodic brand of metal that is undeniably inspired by the majesty of the Pacific Northwest, Portland, Oregon-based Extreme Progressive Metal act Vintersea is back with their third full-length effort, entitled Woven Into Ashes, the follow-up to their 2019 critically acclaimed album Illuminated. Engineered by Gabe Johnston at Falcon Recording Studio, mixed by Carson Slovak and Grant McFarland at Atrium Audio, mastered by Troy Glessner at Spectre Studios, and displaying a stylish artwork by Xenoyr (of Ne Obliviscaris), the album once again offers our avid ears the heavy, emotionally powerful and technically intriguing creations by frontwoman Avienne Low, guitarists Jorma Spaziano and Riley Nix, bassist Karl Whinnery and drummer Jeremy Spencer, representing a significant step forward in the band’s already solid career.

Vintersea have definitely learned how to master the art of progressive and experimental sounds, and that’s already crystal clear from the very first second in Unveiling Light, with Jorma and Riley delivering sheer intricacy and groove from their guitars, therefore exploding into a vibrant Melodic Black Metal aria, whereas Jeremy hammers his drums in the name of extreme music in Devil’s Churn, providing Avienne with exactly what she needs to deliver her deep, enraged she-wolf screams, sounding even more progressive than the opening tune due to its Groove Metal elements. Then get ready for eight minutes of ethereal passages, endless heaviness and obscurity, and a humongous dosage of intricacy in Crescent Eclipse, with Avienne again stealing the spotlight with her mesmerizing clean vocals and her infernal roars; and a demonic growl by Avienne kicks off the thunderous At The Gloaming Void, with Karl’s bass and Jeremy’s beats making the earth tremble, or in other words, it’s Progressive Death and Black Metal at its finest.

As if the band decided to begin a new chapter in the “book” of Woven Into Ashes, they invest in a much more cadenced, melodic sound in Parallel Duality, and the song also seems to be split in two parts depending on the vocal style used by Avienne. Lonesome Tide is another song with a more delicate start, quickly morphing into another Progressive Black Metal onrush by the band with Jorma and Riley doing an amazing job with both their caustic riffs and gentle acoustic guitars; and it’s then time for a dark ballad titled Into the Horizon, a solid creation by the band albeit not as vibrant or multi-layered as the rest of the album. Avienne has a charming performance on vocals as usual, though. Finally, the band brings forth a nine minute feast of delicate sounds, progressiveness and melancholy titled No Tomorrow, with Jeremy dictating the song’s pace while Avienne roars to the piercing riffs by the band’s guitar duo, ending the album on a very climatic mode.

The talented Avienne and her unstoppable henchmen are waiting for your feedback about their stunning creations on Facebook and on Instagram, and don’t forget to also subscribe to their YouTube channel and to stream more of their classy compositions on Spotify. The versatile and dynamic Woven Into Ashes, which is available for purchase from their own BandCamp page, as well as from the M-Theory Audio webstore as a digipack CD or as a colored vinyl (or click HERE for all things related to the band and the album), will undoubtedly help Vintersea reach new heights in their awesome career, as it’s not only their strongest effort to date, but also a must-listen for any fans of the fusion of progressiveness and sheer heaviness. Furthermore, the band is just about to embark on a sensational tour with Eleine, Oceans of Slumber and the almighty Moonspell, and I’m beyond certain they’ll play songs from their new album. Having said that, what are you waiting for to grab your tickets for such amazing event in your city?

Best moments of the album: Devil’s Churn, At The Gloaming Void and Lonesome Tide.

Worst moments of the album: Into the Horizon.

Released in 2023 M-Theory Audio

Track listing
1. Unveiling Light 5:22
2. Devil’s Churn 6:09
3. Crescent Eclipse 7:43
4. At The Gloaming Void 5:31
5. Parallel Duality 7:12
6. Lonesome Tide 6:04
7. Into the Horizon 3:51
8. No Tomorrow 8:49

Band members
Avienne Low – vocals
Jorma Spaziano – guitars
Riley Nix – guitars, backing vocals
Karl Whinnery – bass
Jeremy Spencer – drums

Album Review – Ibaraki / Rashumon (2022)

Trivium’s own Matt Heafy turns his inner demon into first-class Black Metal in his new solo project, the end-result of a journey to find his own voice.

Originally formed in 2012 under the name Mrityu by Trivium’s own vocalist and guitarist Matt Heafy with the goal of generating Norwegian-style Black Metal (while also presenting elements from Extreme Progressive Metal and Metalcore in its sound), United States-based Black Metal project Ibaraki (which is by the way the name for a terrifying Japanese demon taken from feudal legend) has finally unleashed upon humanity its debut effort, entitled Rashomon, which according to Matt himself is the end-result of a journey to find his voice. Mixed and mastered by Jens Bogren at Fascination Street Recording Studios, and produced and engineered by Emperor’s one and only Ihsahn, Rashomon is more than just an expression of Matt and Ihsahn’s deep creative resonance, with his bandmates from Trivium, those being guitarist Corey Beaulieu, bassist Paolo Gregoletto and drummer Alex Bent, contributing to the album as session musicians. “The violence in America towards Asians, the murders of Asians because of people’s small-mindedness – we can see what’s happening. It’s like I never quite felt like I was Asian enough because I’m half and I never felt white enough because I’m half, but I feel like it’s important for me to talk about this now. Everything has a rich, amazing, beautiful culture behind it – every single civilization, every culture, every walk of life. So I hope that it can make Asian metalheads or Asian fans of music feel a little bit more represented. It’s great to be able to say, ‘this is where I’m from,’ and, ‘this is who I am.’,” commented Matt about the album.

Hakanaki Hitsuzen (which translates as something like “inevitably ephemeral”) is a whimsical intro that will transport you to the world of Ibaraki before Matt and his crew come ripping in Kagutsuchi, where Matt is on fire with both his enraged screams and unstoppable riffs accompanied by the always pulverizing drums by Alex. Furthermore, everything from the breaks and variations to its ethereal passages, clean vocals and the ass-kicking bass solo by Paolo is stunning, resulting in a lesson in Experimental Black Metal. Then continuing his path of experimentations and progressiveness, we’re treated to another explosion of majestic Black Metal entitled Ibaraki-Dōji, with Matt and Corey slashing their stringed axes while Alex sounds infernal on drums, all enhanced by the song’s background orchestrations. In Jigoku Dayu, an acoustic start evolves into a gentle sonority to the calm, clean vocals by Matt, sounding enfolding until the very end, whereas in Tamashii no Houkai (or “collapse of the soul”), featuring Ihsahn on lead guitars, the band blasts a vicious fusion of classic Black Metal with progressiveness, rage and groove, also showcasing another great vocal performance by Matt.

The skies get darker and darker as the music progresses in Akumu (which means “nightmare”), where you can sense all the anguish and despair in Matt’s roars supported by Alex’s massive beats and the beastly gnarls by guest vocalist Nergal of Behemoth; followed by Komorebi (or “sunbeams”), a very melodic tune presenting different layers plus lead guitars by Corey, despite lacking the same energy of its predecessors. Then alternating between smooth passages and the hellish heaviness of Black Metal we have one of the most detailed of all songs, Rōnin, featuring backing vocals by Norwegian vocalist Heidi Solberg Tveitan of Starofash, who’s by the way married to Ihsahn and has a son, Angell Solberg Tveitan, and a daughter, Ariadne Solberg Tveitan, with him, both also doing backing vocals on the song, plus additional screams by Gerard Way of My Chemical Romance and lead guitars by Ihsahn. Susanoo no Mikoto is as experimental and groovy as it can be, with Paolo and Alex generating a rumbling atmosphere perfect for Matt’s screams while the song’s second half is a wicked sonic experiment conducted by Matt and featuring additional vocals by Ihsahn. And lastly, it’s time for a little less than three minutes of pure eccentricity entitled Kaizoku (or “pirate”), with Matt declaiming the song’s lyrics like a true bard.

The breathtaking, multi-layered Rashomon can be better  appreciated in its full glory on YouTube and on Spotify, but of course you can add it to your private collection of Extreme Metal albums by grabbing your favorite version of it from Ibaraki’s official homepage or by clicking HERE, and don’t forget to also follow the project on Facebook and on Instagram for news and, who knows, some tour dates in the upcoming months, and to subscribe to its YouTube channel for more wicked videos. It might have taken almost 10 years for Matt and his inner demon Ibaraki to finally see the light of day, but the wait was definitely worth it as the music found in Rashomon is outstanding to say the least, and hopefully Matt will continue his path of self-discovery with Ibaraki in the coming years, bringing to us fans more of his experimental fusion of extreme music with progressive elements and Japanese legends.

Best moments of the album: Kagutsuchi, Ibaraki-Dōji, Akumu and Rōnin.

Worst moments of the album: Komorebi.

Released in 2022 Nuclear Blast

Track listing
1. Hakanaki Hitsuzen (儚き必然) 1:28
2. Kagutsuchi (迦具土) 7:34
3. Ibaraki-Dōji (茨木童子) 7:51
4. Jigoku Dayu (地獄太夫) 7:40
5. Tamashii no Houkai (魂の崩壊) 5:58
6. Akumu (悪夢) 5:53
7. Komorebi (木漏れ日) 6:06
8. Rōnin (浪人) 9:13
9. Susanoo no Mikoto (須佐之男命) 7:12
10. Kaizoku (海賊) 2:53

Band members
Matt Heafy – vocals, guitars

Guest musicians
Corey Beaulieu – guitars, lead guitars on “Komorebi”
Paolo Gregoletto – bass, bass solo on “Kagutsuchi”
Alex Bent – drums
Ihsahn – lead guitars on “Tamashii no Houkai” and “Rōnin”, additional vocals on “Susanoo no Mikoto”
Nergal – additional vocals on “Akumu”
Heidi Solberg Tveitan – backing vocals on “Rōnin”, samples on “Susanoo no Mikoto”
Gerard Way – additional vocals on “Rōnin”
Angell Solberg Tveitan – backing vocals on “Rōnin”
Ariadne Solberg Tveitan – backing vocals on “Rōnin”

Concert Review – Cradle of Filth (Phoenix Concert Theatre, Toronto, ON, 03/06/2016)

As Toronto turned 182 years old yesterday, nothing better than celebrating the anniversary of our beautiful city with a gargantuan amount of fuckin’ “filth”.

OPENING ACTS: Ne Obliviscaris and Butcher Babies

COF_Inquisitional Torture 2016What a lovely day in our stunning, charming and multi-cultural city of Toronto. It might not be Summer (and not even Spring) yet, but sunny Winter days with temperatures above the freezing mark like this Sunday are such a thing of beauty they make us completely forget how harsh Winter can be sometimes. Perhaps that was Mother Nature giving her “birthday gift” to all Torontonians who were celebrating the 182nd anniversary of their beloved city. And what could have been better than hosting one of the most influential Extreme Metal bands of all time at the Phoenix Concert Theatre to properly commemorate the date? Finally, after five long years, the iconic Cradle of Filth returned to the “Land of the Moose”, as Dani Filth himself stated during the show.

This metallic feast started at around 7pm, when Australian Extreme Progressive Metal band NE OBLIVISCARIS hit the stage with their fusion of Symphonic Metal, Black Metal, Heavy Metal, Folk Metal and several other subgenres of heavy music blended in their sound. It took a few minutes for those guys from Melbourne, Australia to actually warm up and start entertaining the crowd, but once their concert took off it was indeed a nice experience, especially due to the amazing performances by Tim Charles with his violin and left-handed guitarist Benjamin Baret with his wicked riffs and solos. I confess I didn’t know much about the band before this gig, which means I’ll obviously go after their music to truly understand what they’re all about. And, of course, it’s good to know there’s more high-quality metal music coming from Down Under.

Setlist
Devour Me, Colossus (Part I): Blackholes
Of Petrichor Weaves Black Noise
Xenoflux
Painters of the Tempest (Part II): Triptych Lux
Pyrrhic
And Plague Flowers the Kaleidoscope

Band members
Xen – harsh vocals
Tim Charles – clean vocals, violin
Benjamin Baret – lead guitar
Matt Klavins – guitar
Cygnus – bass
Dan Presland – drums

When their concert was over and we all had a few minutes to rest and have a beer before the next attraction, I have to say it’s always nice when people come to talk to you about anything without being too wasted or high. That happened to me when a guy from Oshawa wearing a Bad Religion T-shirt approached me to say he liked my Pantera T-shirt, and from then we started chatting about music in general, focusing on bands such as Anthrax, Megadeth, Iron Maiden and Volbeat. So kids, next time you go to a concert try not to be so wasted, falling like a bag of potatoes on everyone around you, or too “Justin Bieber-ish” that no one else can touch you or talk to you. There’s always somewhere in between that works a lot better for everybody, got it?

IMG_1117Getting back to the concert, it was then time for the dynamic duo comprised of Heidi Shepherd and Carla Harvey, known as the BUTCHER BABIES, to kick some serious ass on stage and make everyone in the audience go absolutely mental before the main attraction of the night. It was also my first time seeing them live, and I must say those girls know how to put up an entertaining show. Armed with their demonic voices and supported by very competent musicians, especially bassist Jason Klein, those two girls from Los Angeles, California (dressed like an evil version of Babymetal) didn’t stop banging their heads and screaming for a single second, showcasing their deep passion for heavy music while playing every song of their setlist, which was mostly based on their 2015 album Take It Like a Man. There were a few technical issues with their sound, but no one seemed to care about that. All people wanted were more “excuses” to slam into the pit and do some stage diving, and both Heidi and Carla knew exactly how to ignite that fire with their Alternative Metal, playing some high-octane songs such as National Bloody Anthem, The Butcher and, my favorite of the night, Monster’s Ball. Girls, Toronto loves you and we can’t wait to have you back in the city!

Setlist
National Bloody Anthem
Blonde Girls All Look the Same
The Butcher
Gravemaker
Igniter
Jesus Needs More Babies for His War Machine
Monster’s Ball
Magnolia Blvd.
The Deathsurround/Goliath/I Smell a Massacre
Axe Wound

Band members
Heidi Shepherd – vocals
Carla Harvey – vocals
Henry Flury – guitar
Jason Klein – bass
Chris Warner – drums

CRADLE OF FILTH

IMG_1144It was around 9pm when the diabolical intro Humana Inspired to Nightmare announced the gates of Hades were open wide, therefore releasing the devil’s favorite dark angels to spread hell on earth with their unparalleled Extreme Metal. Promoting their latest opus Hammer Of The Witches under their current tour entitled Inquisitional Torture 2016, British titans CRADLE OF FILTH began to mercilessly discharge a flawless mix of classics with brand new chants, driving all fans at the venue utterly crazy. When a concert starts with Heaven Torn Asunder and Cruelty Brought Thee Orchids, you know it’s going to be a fuckin’ massacre.

The most interesting fact for me about their setlist was that it was divided in two “acts”, like a theatre play. There was an intro for each act, followed by a sequence of blasting classics (covering almost all of their albums) that put a huge smile on the face of this guy here, a longtime fan of Dani and his crew. I simply love songs like Lord Abortion, Honey and Sulphur, Her Ghost in the Fog and my top Cradle of Filth song of all time, the insane From the Cradle to Enslave, but their newer stuff such as Right Wing of the Garden Triptych and Deflowering the Maidenhead, Displeasuring the Goddess work so well when played live I’m sure they’ll become a constant part of their future tours. In addition, Dani (who was the demon himself last night), as a treat to all fans for waiting patiently for the band’s return to Toronto, dedicated to all of us For Your Vulgar Delectation, from their previous album (which unfortunately could not have a Canadian tour due to visa issues).

dani_toronto2016_02The whole band was on fire and Dani’s performance was epic, screaming like a rabid demon and wearing his Stygian attire and corpsepaint the way we all love, but I have to say last night belonged to the adorable keyboardist and singer Lindsay Schoolcraft. Although she’s not exactly from Toronto (technically, she’s from Oshawa), she was so excited and pleased to play together with Dani and his crew in her hometown she couldn’t stop smiling, waving to the fans and headbanging like a maniac during the entire concert. I guess I don’t need to say how memorable the night was for our talented Canadian girl, right? The only band member I couldn’t really watch well was drummer Martin “Marthus” Škaroupka, who was “hiding” not only behind his drums, but also behind some kind of aquarium/glass cell to the left of the stage. That was a weird stage setup, by the way, as if they were keeping Marthus caged before he could escape and kill someone, but nothing that would make the whole concert less memorable.

dani_toronto2016And can you guess why Dani, Lindsay, Marthus and the other band members played so well and were so electrified last night? That’s exactly it, because of us, loyal and demented Cradle of Filth fans. I don’t remember seeing a crowd so insane and in sync with the band like that. What the fans did during Gilded Cunt, growling the lyrics together with Dani, and the furious mosh pits during Nymphetamine (Fix), which is in fact a heavy ballad and not a sick blasting tune, was truly outstanding. Even Gimli, the brave dwarf from Lord of the Rings, was among us weating a Testament T-shirt! If you were there, you know who I’m talking about. Anyway, Cradle of Filth provided us fans another memorable metal night at the Phoenix Concert Theatre, and I’m pretty sure we also made the night memorable to the band as well, especially to Lindsay. I just hope Mr. Dani Filth and his horde of darkness do not take another five years to return to the Land of the (Headbanging) Moose. Actually, how about celebrating each and every anniversary of this distinct city together with the band? That’s the type of “filth” I’m sure no one would complain to have around all the time.

Setlist
ACT I
Humana Inspired to Nightmare (Intro)
Heaven Torn Asunder
Cruelty Brought Thee Orchids
Blackest Magick in Practice
Lord Abortion
Right Wing of the Garden Triptych
Malice Through the Looking Glass
Deflowering the Maidenhead, Displeasuring the Goddess
Gilded Cunt

ACT II
Walpurgis Eve (Intro)
Yours Immortally…
Nymphetamine (Fix)
Honey and Sulphur
For Your Vulgar Delectation
Her Ghost in the Fog
From the Cradle to Enslave
The Principle of Evil Made Flesh
Born in a Burial Gown
Blooding the Hounds of Hell (Outro)

Band members
Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums