Tag Archives: heavy metal

Album Review – Axe Dragger / Axe Dragger (2026)

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The axe of Heavy Metal is about to strike to the sound of the debut album by this American supergroup, a timeless, earth-shaking beast of a record and an instant classic.

An American Heavy Metal supergroup featuring former Pantera vocalist Terry Glaze, guitarist Bob Balch (Fu Manchu, Slower), bassist Fredrik Isaksson (Dark Funeral), and former Pentagram drummer Pete Campbell, Axe Dragger are unleashing upon us all metalheads, heshers and headbangers their self-titled debut album, delivering old school, 80’s-inspired heavy music in the vein of Judas Priest, Dio, Armored Saint, and Iron Maiden. Mixed by Brian Scheuble (Mötley Crüe, Whitesnake, Stone Temple Pilots, Nine Inch Nails) mastered by Dave Collins (Metallica, Soundgarden), and displaying a killer artwork by Seldon Hunt, Axe Dragger is a timeless, earth-shaking beast of a record and an instant classic, adorned with a modern weight and grit.

Terry doesn’t waste any time and begin distilling his raspy, soaring vocals in Axe Dragger, and the song that carries the name of the band is indeed a metallic beast perfect for some wild headbanging. Then Fredrik and Pete rev up the band’s thunderous machine in Give You The Rope, a Judas Priest-infused tune spiced up by a striking solo by Bob, followed by Fight Another Day, a strong candidate for their live performances (if they start touring, of course), with elements of the Southern Rock and Metal by Pantera giving it a badass vibe. Iron Rider is (surprise, surprise) a song for lovers of the fast lane, as if Iron Maiden and Motley Crüe had a bastard son, with Bob taking the lead with his caustic riffage supported by Pete’s hammering drums; whereas Eat Me From The Inside is by far the most generic of all songs, falling flat after a while despite the visceral riffs by Bob.

Then back to a more ferocious mode the quartet fires Shock ‘Em Dead, with the bass lines by Fredrik punching us hard in the head while Terry keeps delivering his unparalleled vocals, and they truly thrive when they go full 80’s Heavy Metal, which is the case in El Toro, a no shenanigans, in-your-face aria showcasing another excellent performance by Terry while Pete dictates the song’s horns raising pace. The band invests in a massive Southern and Sludge Metal sonority in The Damned Will Cry, as heavy and melodic as it can be, and if you love the guitar attack by Iron Maiden and Judas Priest you’ll have a great time listening to Fire In The Madhouse, with Pete showing no mercy for his drums. Lastly, the band closes the album with an overdose of epic sounds in the form of Death Is Calling My Name, an ode to our beloved Rock N’ Roll.

“I’d been in touch with Pete Campbell for a while about trading riffs, drum beats, and ideas. I’ve also been teaching a student over FaceTime for a couple of years who wants to learn old Riot, Judas Priest, and DIO – and that really lit a fire under me to start writing an old-school heavy metal project. So Pete and I started sending riffs and beats back and forth, and once we had a few solid tunes, we brought in Terry Glaze and Fredrik Isaksson. The first song Terry sent back was Axe Dragger and Pete and I completely lost our minds. From there, we were all fired up, and over the course of a year, we put together this record. It’s a pure reflection of early ’80s heavy metal – and I hope you dig it. For the guitar geeks out there, this record is loaded with harmonic minor modes à la Powerslave-era Iron Maiden,” commented Bob Balch about the genesis of the supergroup, and if you want to know more about those talented veterans you can find them on Facebook, Instagram and Spotify, and grab your copy of their incendiary debut from Ripper Music’s Big Cartel (on CD or vinyl for US customers), webstore (for EU customers), or BandCamp (digital and physical worldwide). The axe of Heavy Metal is about to strike hard and fast with the debut by Axe Dragger, and you better get ready because those guys will take no prisoners in their quest for heavy music.

Best moments of the album: Iron Rider, El Toro and Fire In The Madhouse.

Worst moments of the album: Eat Me From The Inside.

Released in 2026 Ripple Music

Track listing
1. Axe Dragger 3:27
2. Give You The Rope 3:21
3. Fight Another Day 3:53
4. Iron Rider 3:52
5. Eat Me From The Inside 5:01
6. Shock ‘Em Dead 4:11
7. El Toro 3:06
8. The Damned Will Cry 4:22
9. Fire In The Madhouse 4:29
10. Death Is Calling My Name 4:48

Band members
Terry Glaze – vocals
Bob Balch – guitar
Fredrik Isaksson – bass
Pete Campbell – drums

Album Review – Ravenspell / Obsidian King (2026)

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

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

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

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

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

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

Worst moments of the album: Warriors 9 to 5.

Released in 2026 Fighter Records

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

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

Album Review – Chalice / Divine Spear (2026)

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Let’s raise the chalice of heavy music to the sophomore offering by this Helsinki, Finland-based Melodic Heavy Metal brigade.

Having quickly become a beacon of esoteric Heavy Metal since their inception in 2016, Helsinki, Finland-based Melodic Heavy Metal brigade Chalice raises their chalice of heavy music once again with their sophomore opus, entitled Divine Spear, the follow-up to their 2020 debut Trembling Crown. Forged in the freezing winds of the Finnish winter, the new offering by vocalist and guitarist Verneri Pouttu, guitarist and keyboardist Mikael Haavisto, bassist Joni Petander, and drummer Olli Törrönen is a carefully crafted, razor-sharp package that nevertheless reveals a bounty of sonic and psychic treasures, painting a picturesque landscape of both light and dark, offering deliverance to those seeking beyond the boundaries of the so-called “New Wave Of Traditional Metal” movement.

The acoustic intro Mare Imbrium gradually grows in intensity until it morphs into the bestial Dwell of a Stellar Trance, where the fast-paced, galloping rhythm crafted by Joni and Olli invites us all to join the band in battle in the best Heavy Metal style. In Hollow Curtain we’re treated to classic lyrics declaimed by Verneri (“Face the fate / Of the darkest pathways of time / Gone the tongues of man / Leave no stone unturned on your quest / The sign burns the skies the sand”) while his bandmates deliver sheer headbanging, horns raising epicness; followed by The Pact, a power ballad that sounds cheesy at times, not as exciting as the previous songs, and Age Ethereal, showcasing a more melodic, heavier and more gripping side of the band, piercing our ears with the striking riffage by Verneri and Mikael.

Divine Spear, the song that carries the name of the album, brings forward sheer adrenaline and harmonious riffs, therefore living up to the legacy of the 80’s, with Olli taking the lead with his stylish beats and fills; whereas another serene start to the sound of a crying flute evolves into a beautiful ballad titled Empyrean Liturgy, bringing an extra dosage of melancholy to the band’s journey through the lands of heavy music. In from the Cold sounds like it was taken from an album recorded in the 80’s, with their riffs and solos piercing our minds in great fashion while also flirting with Progressive Metal, and the album ends with the enfolding ballad Alioth, where the entire band is not only on their darkest mode, but Verneri also takes the lead with his soothing vocal lines.

Completed by a clean and crisp (and yet somehow warm and natural) production, Divine Spear dives into deeper depths than what meets the eye, and you can get to know more about the band and their new album by following them on Facebook and on Instagram, keeping an eye on their live performances, of course. Don’t forget to also stream their music on any platform such as Spotify, and to put your damned hands on Divine Spear by purchasing the album from the Dying Victims Productions’ BandCamp or webstore. In other words, it’s time to raise the chalice of Heavy Metal together with those Finnish warriors armed with the “divine spear” in their new album, ready to pierce the souls of the infidels in the name of good heavy music.

Best moments of the album: Dwell of a Stellar Trance, Divine Spear and Alioth.

Worst moments of the album: The Pact.

Released in 2026 Dying Victims Productions

Track listing
1. Mare Imbrium 1:59
2. Dwell of a Stellar Trance 3:31
3. Hollow Curtain 6:32
4. The Pact 4:50
5. Age Ethereal 8:31
6. Divine Spear 5:05
7. Empyrean Liturgy 6:33
8. In from the Cold 5:08
9. Alioth 6:14

Band members
Verneri Pouttu – vocals, lead electric and acoustic guitars
Mikael Haavisto – lead electric and acoustic guitars, keyboards
Joni Petander – bass, backing vocals
Olli Törrönen – drums, percussions

Album Review – Rob Zombie / The Great Satan (2026)

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The Great Rob Zombie is back in action with his incendiary eighth studio album, featuring 15 tracks with a sound described as a return to his “Hellbilly” roots.

As a rock icon and filmmaker with a unique vision, the indomitable Rob Zombie has continuously challenged audiences as he stretches the boundaries of both music and film. Four years after his excellent 2021 album The Lunar Injection Kool Aid Eclipse Conspiracy, Rob Zombie and his henchmen Mike Riggs on the guitars, Rob “Blasko” Nicholson on bass, and Ginger Fish on drums are back with another blast of Punk Rock, Heavy Metal, rebelliousness, blood and horror in The Great Satan, the eighth studio album in his undisputed career, featuring 15 tracks with a sound described as a return to his “Hellbilly” roots, overflowing his trademark sound and his always interesting way of interpreting love, life, death, blasphemy, and of course, Satan.

F.T.W. 84 feels like a journey back in time, more specifically to the glory of the late 90’s and early 2000’s, and it’s fantastic how after all these years Rob can still deliver crushing heavy music, with his vocals sounding truly demonic. Moreover, is it “Fuck the World” or “For the Win”? Well, it’s up to you to decide. Anyway, Mike delivers his old school trademark riffs nonstop in Tarantula while Ginger proves why he’s been hammering the drums with the band since 2011 in another hard hitting feast of heavy music. (I’m a) Rock ‘N’ Roller has a similar energy and vibe as his ultimate classic “Dragula”, blending Alternative and Industrial Metal with his passion for horror movies; followed by Heathen Days, another song inspired by his early days where Mike once again fires sheer adrenaline from his axe for our absolute delectation. Then, after the weird interlude Who Am I, it’s time for the Rock N’ Roll party titled Black Rat Coffin, offering an amalgamation of all phases and albums released by the band, with Rob’s vocals sounding haunting as usual. And how not to enjoy a song with such a stylish title like Sir Lord Acid Wolfman? It’s absolutely experimental, cryptic and phantasmagorical.

It’s pedal to the metal in the industrialized and mechanized attack entitled Punks and Demons, reminding me of the classic sound by the mighty Ministry, with Blasko and Ginger making sure the earth cracks in half to their demented kitchen; and everyone will get wet with Rob’s venomous vociferations in The Devilman, while the music once again presents a strong Industrial Rock and Metal vibe. Out of Sight is a bit generic compared to the rest of the album, albeit Mike’s riffs still exhale electricity nonstop; whereas Revolution Motherfuckers is perfect for raising our horns and breaking our necks, a true metallic anthem dedicated to our rotten and decaying world. Then after another horror movie-like interlude, titled Welcome to the Electric Age, it’s time for total anarchy with The Black Scorpion, offering an incendiary hybrid of Punk Rock and Thrash Metal led by Ginger’s killer drums boosted by the song’s wicked background sounds. Rob and his crew slow things down and deliver a strip tease tune titled Unclean Animals, as cryptic and dark as it can be, before all fades into absolute fear and obscurity in the outro Grave Discontent, ending the album on a vile, grim mode.

It’s always amazing to witness how talented, hardworking and passionate Rob Zombie is about his music, movies, and every other artistic expression in his undisputed career, and all those decades of experience didn’t make him sound mellower or softer; quite the contrary, it feels like he’s getting heavier, darker and more violent album after album, with The Great Satan representing another display of pure excellence by such a unique, multi-talented artist. You can find more information about him and all of his projects on Facebook and on Instagram (or simply click HERE for all things Rob Zombie), stream his pulverizing rockin’ anthems on any platform like YouTube and Spotify, and of course, put your dirty hands on The Great Satan by clicking HERE. A lot of people might consider the title of his new album blasphemous, satanic, impure, or controversial, but let’s he couldn’t care less about that. He’s the Great Rob Zombie, he lives and breathes our Great Rock N’ Roll, and that’s what really matters in the end.

Best moments of the album: F.T.W. 84, Heathen Days, Punks and Demons and The Black Scorpion.

Worst moments of the album: Out of Sight.

Released in 2026 Nuclear Blast Records

Track listing
1. F.T.W. 84 3:55
2. Tarantula 3:02
3. (I’m a) Rock ‘N’ Roller 3:32
4. Heathen Days 2:17
5. Who Am I 0:34
6. Black Rat Coffin 3:04
7. Sir Lord Acid Wolfman 3:45
8. Punks and Demons 2:38
9. The Devilman 3:26
10. Out of Sight 2:47
11. Revolution Motherfuckers 2:33
12. Welcome to the Electric Age 0:54
13. The Black Scorpion 1:33
14. Unclean Animals 3:33
15. Grave Discontent 1:00

Band members
Rob Zombie – vocals
Mike Riggs – guitars
Rob “Blasko” Nicholson – bass
Ginger Fish – drums

Album Review – Urne / Setting Fire to the Sky (2026)

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Whipping up a firestorm of grit, swagger and grandiosity, the new opus by this UK entity snarls hardcore, extreme inflections, and a strong sense of Heavy Metal’s inherent classicism.

Whipping up a firestorm of grit, swagger and grandiosity, Setting Fire to the Sky, the brand new album by UK’s own Stoner/Sludge Metal/Metalcore cult act Urne, snarls hardcore, extreme inflections, and a strong sense of Heavy Metal’s inherent classicism, all burn together within their own burial chamber, propelling the band forward. Recorded and produced by SikTh co-vocalist Justin Hill, mixed by Johann Meyer at Silvercord Studios, and mastered by Tony Lindgren at Fascination Street Studio, the follow-up to their 2023 album A Feast on Sorrow sees vocalist and bassist Joe Nally, guitarist Angus Neyra, and drummer James Cook expand their sound to even further lands, sounding and feeling heavier, tighter and more captivating than ever.

The acoustic guitars by Angus ignite the band’s festivities in Be Not Dismayed, suddenly exploding into a Progressive Sludge Metal aria where Joe’s vocals sound dark and visceral just the way we like it in extreme music; and James hammers his drums mercilessly in Weeping to the World, with their Mastodon-inspired riffs and bass punching us hard in the head while the music alternates between more introspective moments and sheer heaviness. Joe’s rumbling bass walks hand in hand with the pounding beats by James in the headbanging The Spirit, Alive, a serious candidate for becoming a permanent part of their live concerts, whereas the title-track Setting Fire to the Sky brings to our ears a sinister, grim intro that gradually morphs into a Doom and Sludge Metal creature, with James taking the lead armed with his undisputed, intricate and pulverizing beats and fills, followed by The Ancient Horizon, a more cadenced (yet still heavy-as-hell) creation by the trio, offering an overdose of caustic riffs by Angus.

We’re then treated to the also obscure Towards the Harmony Hall, carrying a poetic name for a hard hitting Progressive Metal beast where Angus’ carnivorous riffs clash in great fashion with the brutality blasted by James on drums. Then featuring the indomitable Troy Sanders of Mastodon as a guest vocalist, Urne will melt our faces with nine minutes of absolute metal magic in Harken the Waves, presenting several distinct layers that together form the most detailed of all songs, where melody and violence unite in the name of heavy music. Cellist Jo Quail adds pure melancholy to the band’s already deep and dark sonority in Breathe, providing Joe with exactly what he needs to shine with his introspective vocals, and as a CD and digital only bonus track we have Nocturnal Forms, certainly worth the investment in those formats as it’s another excellent song of no shenanigans Progressive Death and Sludge Metal.

“I feel like I’m in Metallica in 1988 with what we do,” commented Joe about the current state of Urne, and of course about the music found in Setting Fire to the Sky. You can also set fire to your music collection by purchasing such an amazing album from their own Big Cartel, from Rough Trade, or simply by clicking HERE, and don’t forget to also follow Urne on Facebook and on Instagram, staying up to date with their news and tour dates, and to stream their massive creations on any platform like Spotify. As aforementioned, Urne are moving forward with their newborn opus, leaving us eager for more in the near future by one of the most captivating band’s of the current British scene.

Best moments of the album: The Spirit, Alive, Setting Fire to the Sky and Harken the Waves.

Worst moments of the album: None.

Released in 2026 Spinefarm Records

Track listing
1. Be Not Dismayed  5:54
2. Weeping to the World 3:42
3. The Spirit, Alive 3:52
4. Setting Fire to the Sky 6:38
5. The Ancient Horizon 4:41
6. Towards the Harmony Hall 7:14
7. Harken the Waves 9:23
8. Breathe 4:19

CD and Digital bonus track
9. Nocturnal Forms 3:54

Band members
Joe Nally – vocals, bass
Angus Neyra – guitars
James Cook – drums

Guest musicians
Troy Sanders – vocals on “Harken the Waves”
Jo Quail – cello on “Breathe”

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

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

OPENING ACT: Wednesday 13

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

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

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

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

THE BIRTHDAY MASSACRE

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

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

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

LORD OF THE LOST

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

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

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

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

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

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Album Review – Megadeth / Megadeth (2026)

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Let there be shred. Let there be Thrash Metal. And let there be Megadeth.

From their electrifying 1985 debut Killing Is My Business… and Business Is Good! to their 2022 metal attack The Sick, the Dying… and the Dead!, Los Angeles, California’s own Thrash/Speed Metal beast Megadeth has delivered an overdose of breathtaking heavy music for the absolute delight of anyone who considers Mr. Dave Mustaine one of the best (if not THE best) shredder in the history of Heavy Metal, culminating with their incendiary self-titled seventeenth (and final) studio album now in 2026. Produced by Dave Mustaine himself alongside Chris Rakestraw, and depicting a burning Vic Rattlehead as its artwork, the new album by Dave Mustaine on vocals and guitars, Teemu Mäntysaari also on the guitars, James LoMenzo on bass, and Dirk Verbeuren on drums is not just a farewell by one of the most important bands in the history of music, but a statement of how much Mustaine has always loved what he does, and a serious contender for album of the year.

The initial riff in Tipping Point already warns us all it’s gonna be a thrashing extravaganza, with MegaDave roaring its rebellious lyrics manically (“Today I may bleed, but tonight you will die / Snatched in your sleep, in the blackest night / You buried the truth under layers of lies / There’s no return, now you’ve crossed the line”), followed by I Don’t Care, the second single released, offering a fusion of Thrash and Speed Metal with Mustaine’s Punk Rock influences, resulting in an excellent option for some slamming into the pit. Hey, God?! reminds me of some of his creations from the mid to late 90’s, with Dirk hammering his drums just the way we like it in mid-tempo Thrash Metal; whereas in Let There Be Shred the name of the song says it all, with Dave and Teemu kicking some ass with their incendiary riffage, not to mention its lyrics are an ode to Megadeth’s history (“On the day I was born, a guitar in my hands / The earth started rumbling a thunderous command / To bash and to thrash, to bang my head / To smash my guitar and let there be shred!”). Puppet Parade is another solid tune with James and Dirk bringing the groove to the band’s striking sonority, while Another Bad Day might be perhaps the weakest of all songs, a bit generic compared to the album’s thrashing party, although their riffs and bass lines are good as usual.

Made to Kill brings forward a massive wall of sounds of old school, uncompromised Thrash Metal where Mustaine’s raspy vocals match perfectly with the classic drumming by Dirk, speeding things up halfway through it for our total delight, and the quartet keeps blasting their instruments mercilessly in Obey the Call, offering an avalanche of heaviness while keeping their melodic vein intact, presenting another classy guitar work by Dave and Teemu. I Am War is just perfect for a nice road trip with your family and friends, where Dave is once again spot-on on vocals while also armed with his trademark riffs, supported by the heavy and groovy kitchen by James and Dirk. The Last Note is a very emotional song that will inspire you to keep headbanging even after it’s over, where Dave and Teemu keep distilling their flammable riffs nonstop while James hammers his bass like there’s no tomorrow; and lastly, we have their cover version for Metallica’s Ride the Lightning (you can check the original version from 1984 by clicking HERE). As I’m a MegaDave fanboy, I must say I prefer this new (or maybe I should say the “actual original”?) version, in special its riffs and, of course, its drums.

After the announcement of the album back in August 2025, it was confirmed its release will be accompanied by the band’s farewell tour. I have no idea how long that tour will last, hopefully a few years, and although I’m beyond excited for the band’s upcoming shows in Canada I must admit my heart doesn’t want those shows to happen, simply because that means those might be the very last times I see MegaDave and his thrashing machine live. Well, it is what it is, and if you’re a huge fan of the band like myself you can keep an eye on all things Megadeth via Facebook and Instagram, stream their entire discography on Spotify, and of course purchase their breathtaking, stylish self-titled album from their own webstore or by clicking HERE. Because in the end our mission is clear. Let there be shred. Let there be Thrash Metal. And let there be Megadeth.

Best moments of the album: Tipping Point, Let There Be Shred, Made to Kill, I Am War and The Last Note.

Worst moments of the album: Another Bad Day.

Released in 2026 Tradecraft/BLKIIBLK Records

Track listing
1. Tipping Point 4:29
2. I Don’t Care 3:10
3. Hey, God?! 3:29
4. Let There Be Shred 3:58
5. Puppet Parade 4:41
6. Another Bad Day 3:37
7. Made to Kill 4:01
8. Obey the Call 4:20
9. I Am War 3:46
10. The Last Note 5:31
11. Ride the Lightning (Metallica cover) 6:11

Band members
Dave Mustaine – lead vocals, guitars
Teemu Mäntysaari – guitars, backing vocals
James LoMenzo – bass, backing vocals
Dirk Verbeuren – drums

Album Review – HyperioN / Cybergenesis (2026)

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These Italian Heavy Metal warriors return with their third studio opus, a dark concept album rooted in classic Sci-Fi telling a story of resistance and sacrifice where the human spirit defies impossible odds.

Formed in 2015 by drummer Jason Beghelli and guitarist Davide Cotti to play traditional Heavy Metal, drawing inspiration from bands such as Metal Church, Queensrÿche, and Judas Priest, while adding their own personal touch, Bologna, Italy-based force HyperioN, whose name was taken from the Hyperion Cantos, a series of science fiction novels written by Dan Simmons, returns to the battlefield with a new opus, titled Cybergenesis. Produced, recorded, mixed and mastered by Davide Cotti, with vocals recorded by Antonio Inserillo, and displaying a striking cover artwork hand-painted on canvas by English artist Ryan T. Hancock, renowned for his work with bands such as Seven Sisters, Blood Star, and Stormborn, the follow-up to their 2020 sophomore Into the Maelstrom is a dark concept album rooted in classic Sci-Fi, from Star Trek to Ghost in the Shell, telling a story of resistance and sacrifice where the human spirit defies impossible odds, all carefully brought into being by Max Morelli on vocals, Francis Dipasquale and Davide Cotti on the guitars, Simone “Nega” Cauli on bass, and Francesco Madonna on drums.

The striking guitars by Francis and Davide kick off the band’s metallic journey in Deafening, evolving into a frantic Heavy and Power Metal extravaganza where Max’s vocals couldn’t have sounded more epic. Then investing in a darker, more rhythmic sonority, it’s time for Francesco to shine on drums in Rewire, Rebuild, presenting elements of Progressive Metal to give the song an extra kick, followed by Yet We Still Fight, clearly inspired by the glory of 80’s Heavy Metal, with Max delivering those soaring vocals we all love so much supported by the spot-on riffage by Francis and Davide. And The Shackles of Chronitus is an Epic Power Metal composition with a strong, reverberating kitchen by Simone and Francesco, albeit not as exciting as the rest of the album.

An Iron Maiden-inspired atmospheric and melodic intro evolves into another killer tune entitled Blood Over Chrome, where their riffs and solos bring endless stamina to the already exciting song’s pace; whereas Grain of Sand brings to our avid years metal’s old school galloping rhythm led by Simone and Francesco, providing Max with exactly what he needs to fire his rebellious vocal lines. Rhizome Rider brings forward more of the band’s trademark sound, a pure Heavy Metal feast tailored for admirers of the style perfect for raising their fists together with HyperioN, and closing the album we face the theatrical, ruthless The Whole of Time, with its background keys and sounds elevating its punch considerably, not to mention Francis and Davide are once again on fire armed with their stringed axes.

The concept of Cybergenesis fits seamlessly with the fiery Heavy Metal therein, a daring expedition into a space-time rift that ends in disaster, and all that power, tragedy and rebelliousness couldn’t have sounded better than what HyperioN have to offer us all in their new album. You can get in touch with those talented Italians via Facebook and Instagram, including their breathtaking live performances, stream their music on Spotify or any other streaming platform, and grab a copy of Cybergenesis from BandCamp or from Fighter Records, or click HERE for all things HyperioN. Will the reborn commander Rhizome Rider succeed in leading a rebellion from within and sacrificing himself to free humanity? Simply listen to the thrilling Heavy Metal crafted by HyperioN in Cybergenesis, and you’ll have the answer to that question and more while you bang your head to their undisputed heavy music.

Best moments of the album: Deafening, Yet We Still Fight and Blood Over Chrome.

Worst moments of the album: The Shackles of Chronitus.

Released in 2026 Fighter Records

Track listing
1. Deafening 3:54
2. Rewire, Rebuild 4:46
3. Yet We Still Fight 4:26
4. The Shackles of Chronitus 4:51
5. Blood Over Chrome 5:18
6. Grain of Sand 4:17
7. Rhizome Rider 4:57
8. The Whole of Time 6:48

Band members
Max Morelli – vocals
Francis Dipasquale – guitars
Davide Cotti – guitars
Simone “Nega” Cauli – bass
Francesco Madonna – drums

The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2025

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“Who the fuck is Justin Bieber?” – Ozzy Osbourne

There’s not much to celebrate in rock and metal music in the same year when we lost the one and only John Michael “Ozzy” Osbourne. Nothing will ever be the same without the Prince of Darkness, the Madman, The Wizard of Ozz. There isn’t a single artist or band reviewed in the history of The Headbanging Moose that wasn’t influenced in several ways by Ozzy and, of course, by Black Sabbath. It is a very sad year indeed. However, Ozzy was always in a great mood, always happy, and I’m sure that, wherever he is now, he wants to see us all smiling and laughing, because that’s what life is all about. He also wants us to keep attending rock and metal concerts to have a good time with our loved ones, with our closest friends, just like Keith Ibbitson of Metal Paparazzi and I did so many times this year, covering incredible bands the likes of Blackbraid, Ne Obliviscaris, Cattle Decapitation, Blind Guardian, and so on. I’ve also had the utmost pleasure of seeing the mighty Judas Priest in Dalhalla, Sweden, a dream come true for this fanboy here, and I can’t wait to “run for my life” in 2026. Having said all that, let’s honor the life of Ozzy with The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2025, excluding EP’s, best of’s and live albums, and keep on rockin’ like the Madman until our very last breath!

1. Blackbraid – Blackbraid III (REVIEW)
Behold the stunning next chapter in the musical and spiritual journey of the witch hawk of Black Metal hailing from the Adirondack Mountains.
Best song of the album: Wardrums At Dawn On The Day Of My Death

2. Werewolves – The Ugliest of All (REVIEW)
The torchbearers of “Caveman Death Metal” continuing to annihilate intellects with an unlistenable barrage of truly hideous music.
Best song of the album: The Ugliest of All

3. Testament – Para Bellum (REVIEW)
Let’s prepare for war to the sound of the breathtaking fourteenth studio album by California’s own masters of old school Thrash Metal.
Best song of the album: Para Bellum

4. Helloween – Giants & Monsters (REVIEW)
These German giants of Heavy Metal and monsters of Rock N’ Roll are back with their ass-kicking seventeenth studio album.
Best song of the album: Majestic

5. An Abstract Illusion – The Sleeping City (REVIEW)
This incredible Swedish Progressive Death and Black Metal entity returns with their heaviest and most atmospheric work to date.
Best song of the album: Like a Geyser Ever Erupting

6. Allegaeon – The Ossuary Lens (REVIEW)
World domination awaits to the sound of the striking new beast by one of the must-see bands of the current tech death scene worldwide.
Best song of the album: The Swarm

7. 1914 – Viribus Unitis (REVIEW)
Trench warfare meets blackened death and doom in 1914’s fourth onslaught of war-torn fury.
Best song of the album: 1918 Pt 3: ADE (A Duty to Escape)

8. Cryptopsy – An Insatiable Violence (REVIEW)
Canada’s own Death Metal machine returns with their ruthless ninth studio album.
Best song of the album: Until There’s Nothing Left

9. Baest – Colossal (REVIEW)
Back from the fires of Denmark, this unstoppable creature will crush you with their fourth studio album.
Best song of the album: Colossus

10. Diabolizer – Murderous Revelations (REVIEW)
The torchbearers of diabolical abomination unite once again to drag us down into the fiery abysses of Turkish Death Metal without warning.
Best song of the album: Deathmarch of the Murderous Tyrant

And here we have the runner-ups, completing the top 20 for the year:

11. Lorna Shore – I Feel The Everblack Festering Within Me (REVIEW)
12. Impureza – Alcázares (REVIEW)
13. Crimson Shadows – Whispers of War (REVIEW)
14. Primal Fear – Domination (REVIEW)
15. Serenity In Murder – Timeless Reverie (REVIEW)
16. Khôra – Ananke (REVIEW)
17. Panzerchrist – Maleficium – Part 2 (REVIEW)
18. Ominous Ruin – Requiem (REVIEW)
19. Wrath of Belial – Embers of Dead Empires (REVIEW)
20. Grima – Nightside (REVIEW)

Not only that, here’s once again our Top 10 EP’s of 2025, proving once and for all that the duration of an album is not that important in the end. As long as the music is great, the whole thing can be only one second long, like the classic “You Suffer” by Napalm Death!

1. When Plagues Collide – Kingmaker (REVIEW)
2. De Profundis – The Gospel Of Rot (REVIEW)
3. Fimbul Winter – What Once Was (REVIEW)
4. NecroticGoreBeast – Brute (REVIEW)
5. Serpent Corpse – Retaliate (REVIEW)
6. Akouphenom – Connections To The Erebus (REVIEW)
7. Necht – The Inevitable Suffering (REVIEW)
8. Discovery Through Torment – Telesynthetic Rebirth (REVIEW)
9. Der Rote Milan – Verlust (REVIEW)
10. Eleine – We Stand United (REVIEW)

Do you agree with our list? What are your top 10 albums of 2025? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show!

Metal Xmas and a Headbanging New Year! See you in 2026!

And of course, as we really don’t like those boring Christmas songs here on The Headbanging Moose, we’ll leave you with what’s perhaps the most emotional and strongest metal hymn of the year, the charity version of “War Pigs”, by Black Sabbath, recorded by Judas Priest and with Ozzy himself sharing the vocal duties with the Metal God Rob Halford! This is the epitome of rock and metal music!

Generals gathered in their masses
Just like witches at black masses…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CATTLE DECAPITATION

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

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

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

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

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

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