Tag Archives: heavy metal

Album Review – WitcheR / Öröklét (2025)

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Hungary’s own uncanny duo returns with their fourth opus, once again conjuring supernatural forces through their undisputed Atmospheric Black Metal based on classical music elements and strong synth harmonies.

Once again conjuring supernatural forces through their undisputed Atmospheric Black Metal based on classical music elements and strong synth harmonies, the uncanny Hungarian duo WitcheR returns with their fourth full-length opus titled Öröklét, or “eternity”, the follow-up to their 2022 opus Lélekharang and their 2024 instrumental EP of classical music covers Boszork​á​nyszimf​ó​ni​á​k. Recorded, mixed and mastered at Vrag’s Forest Studio, while again displaying a classy artwork by Grafit és Hamu, the new offering by Karola Gere on vocals and synths, and Roland Neubauer on vocals, guitars and drums showcases the band’s trademark sound with catchy melodies and elevated mood, while the lyrics continue to delve into the world of witchcraft, Hungarian folklore, adherence to old values, and the maximum opposition to the modern world.

The whimsical synths by Karola kick off the opening tune Örökség, or “heritage” in English, inviting us all to embark on an Atmospheric Black Metal journey where the sluggish beats by Roland add endless melancholy and heaviness to their sound. Then we have Szélhozó (which means “windbringer” or something like that), sounding like a devilish waltz where the duo fires the perfect fusion of their core Black Metal with classical music, all spiced up by the rich folklore of their homeland, with their harsh vociferations sounding darkly majestic; and more of their imposing sounds is offered to us all in Röghöz kötött (“bound to the moment”), where the listener is invited to explore its multiple layers behind the band’s trademark Atmospheric Black Metal curtain. After such a bold and dense musical voyage we face the fantastic title-track Öröklét, with Karola’s keys clashing in a beautiful way with Roland’s Black Metal riffage. In other words, the song is at the same time delicate yet powerful and gloomy, and I would love to see it played live. And lastly, we’re treated to their version of Franz Schubert’s Piano Trio No. 2 – Andante con moto, a Black Metal-fueled rendition of an undisputed classic from a time long forgotten.

The multi-talented Karola Gere and Roland Neubauer are waiting for you with news, tour dates and all other nice-to-know details about their unique and captivating WitcheR on Facebook, Instagram and VKontakte, as I’m sure they would love to hear what you have to say about their music. Don’t forget to also subscribe to their YouTube channel and stream their fantastic creations on Spotify, and above all that, to purchase the excellent Öröklét from their own BandCamp, from the Filosofem Records’ BandCamp, or from the Beverina Productions’ BandCamp. In the end, the music by WitcheR is the ultimate depiction of the thin line between Heavy Metal and classical music, and based on the first-class striking compositions in Öröklét, we can rest assured they’ll keep delivering such a high level of excellence for several decades to come.

Best moments of the album: Szélhozó and Öröklét.

Worst moments of the album: None.

Released in 2025 Filosofem Records/Beverina Productions

Track listing
1. Örökség 9:36
2. Szélhozó 8:08
3. Röghöz kötött 9:10
4. Öröklét 9:36
5. Piano Trio No. 2 – Andante con moto (Franz Schubert cover) 3:46

Band members
Karola Gere – vocals, synths
Roland Neubauer – vocals, guitars, drums

Metal Chick of the Month – Aleks Radmanovich

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Stygian – Abyss – Call – To me!

The month of November has always been cold, rainy and dark in the northern hemisphere, the perfect type of weather for some ass-kicking Extreme Metal. However, this time The Headbanging Moose will travel all the way to the stunning Australia not only to experience a much better weather, but also to enjoy the Black, Death and Thrash Metal attack by our metal lady of the month. She’s the lead guitarist for an amazing thrash squad from Down Under named Thraxas!, as well as for a ruthless Black Metal horde known as Pestilential Shadows. Her name is Aleks Radmanovich, and she will mercilessly shred you to pieces armed with her unstoppable axe. Having said that, do you think you have what it takes to face one of the most badass guitarists from the current Australian metal scene?

Born and raised in the charming city of Sydney, the dauntless Aleks began her career in Heavy Metal back in 2018 when she joined the four-piece thrashing machine named Thraxas!. The band was actually formed a few years prior to her becoming their axe lady, more specifically in 2011, by vocalist Chris “Bull” Woods and drummer Izak Easterbrook (of Divine Carnage), and the only release by the band before Aleks joined their ranks, as well as bassist Dan Andrews, was their 2018 debut demo Slave Wages. As their lead guitarist, she released with Thraxas! the single Cthulhu Rising, in 2019, the 2021 EP Planetary Terrorism (under the moniker Aleks Rad), the 2025 single Blast Shadows, and more recently their first full-length opus, titled Violent Vacation. Not only that, Aleks was also responsible for the layout and design of their debut EP Planetary Terrorism. All of those songs and albums are available on BandCamp and on Spotify, and you can also visit their official YouTube channel to enjoy their official videos including Concrete Cowboy and Ecophagy.

In addition, apart from Facebook and Instagram, you can also stay up to date with all things Thraxas! by clicking HERE, and if you want to know even more about the indomitable Aleks and her scorching axe you can find a few interesting videos and interviews on YouTube, including the highlights of her chat with The Horsemen Podcast earlier this year, her guitar playthrough for the song Exemplary Punishment, and a video named 5 Minute Series – Aleks Rad where she talks about her idols and influences like Alex Webster of Cannibal Corse, Iron Maiden, Candlemass, Slayer, Exodus (mentioning her favorite Thrash Metal album of all time is Tempo of the Damned, by the way), plus her own rig rundown. No idea why the video is named “5 Minute Series” as it’s only one minute and a half long, but that doesn’t really matter as Aleks kicks some ass even in such a short period of time.

In 2024, Aleks joined Sydney, Australia’s own Black Metal veterans Pestilential Shadows, spreading her dark wings over humanity under the Stygian moniker Drekavac. A Drekavac, also called drekalo, krekavac, zdrekavac or zrikavac, is a mythical, monstrous creature from South Slavic folklore, known as “the screamer” or “the screecher” from the verb “drečati” (“to screech”). It is often the spirit of an unbaptized child, though sometimes described as an undead man. Let’s say that’s exactly the sound emanating from her fiery riffs and solos in Pestilential Shadows, sounding as dark, menacing and evil as possible, therefore showcasing a more obscure side of our unstoppable Aleks.

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The band was formed way before Aleks joining them, though, more specifically in 2003 by vocalist and guitarist Balam, who had been playing in local Black Metal bands since 1997, with the goal of creating atmospheric and intense Black Metal and cement its reputation as one of the most innovative bands in the scene. Currently formed of Balam on vocals and guitar and Aleks (or Drekavac, as mentioned) also on the guitar, alongside Lithuz on bass and Basilysk on drums, the band had already released the albums Embrace After Death (The Fate of All That Lives II) (2005), Cursed (2006), In Memoriam, Ill Omen (2009), Depths (2011), Ephemeral (2014), Revenant (2021), and Devil’s Hammer (2024) before Aleks became part of the band, but she was still able to play some live shows in Australia with them before the recordings for their ruthless eighth studio album Wretch started.

Released by the uncanny German label Northern Silence Productions in conspiracy with Brilliant Emperor Records this past September, Wretch continues the band’s progression (or regression) toward uglier, gnarlier expanses, offering more of their trademark ruminations on death and the beyond. The album has already led Pestilential Shadows to tour Europe in late August through September, followed by an October tour in their homeland Australia and in New Zealand, allowing fans from different parts of the world to witness the power of the Stygian riffs by Aleks. The band can be found on Facebook and on Instagram, and you can purchase or stream Wretch (or any of their previous albums) from BandCamp or Spotify. You can also enjoy Wretch in all of its glory on YouTube, and also enjoy the official video for the song DeathKnell, with Aleks shredding her axe while displaying her badass Black Metal attire and corpse painting. She also played live back in 2022 with a Sydney, Australia-based Death Metal outfit named Deiformity, formed back in 2016, and although there’s nothing released by the band with Aleks on the guitar for obvious reasons, you can still enjoy their 2018 debut (and only released to date) titled Corpse Stomper on BandCamp.

It looks like Aleks has recently started her life as a digital influencer by launching her own YouTube channel; however, maybe due to her busy life on the road, there’s only one video online so far, a cover version for Joe Satriani’s A Celebration. Well, who knowns, maybe we’ll get more killer videos like that in the not-so-distant future. Anyway, switching topic a bit, Aleks is endorsed by Blackstar Amplification, Schecter Guitars, and D’addario Strings, currently touring with the Blackstar Amped 3, HT Stage MKIII and HT Metal 100, Schecter Evil Twin V and Hellraiser, and playing D’addario NYXL 10-46 and EXL 11-56, and if you’re able to catch her live with either Thraxas!, Pestilential Shadows, or Deiformity, you’ll see how her equipment makes her sound feel extremely powerful onstage, exactly what we all want in extreme music.

Aleks Radmanovich’s Official Facebook page
Aleks Radmanovich’s Official Instagram
Thraxas!’s Official Facebook page
Thraxas!’s Official Instagram
Thraxas!’s Official YouTube channel
Pestilential Shadows’ Official Facebook page
Pestilential Shadows’ Official Instagram

Album Review – Cemican / U k’u’uk’ankil Mayakaaj (2025)

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These unrelenting Mexican metal warriors are back with their breathtaking fourth studio album based on Mayan ideology, worldview, mysticism, and the universe.

Incorporating elements of the legends, mysticism and ideologies of ancient Mexican culture, being compared by Revolver to “Slipknot scoring Mel Gibson’s Apocalypto” by combining the modern instrumentation of a metal band with traditional pre-Hispanic instruments, Guadalajara, Mexico’s own Progressive Power/Thrash/Folk Metal tribe Cemican (or “The Duality of Life and Death” in the Mexican language Nahuatl) brings forth more of their unique music in their fourth studio opus entitled U k’u’uk’ankil Mayakaaj, translated as “the Mayan Resistance”, following up on their 2019 critically acclaimed album In Ohtli Teoyohtica In Miquiztli. Showcasing a stunning artwork by the band’s own Tlipoca (aka Alejandro Guzmán), depicting the great creation of the Mayan universe and the elements of life – water, fire, wind, and earth – by the great supreme Itzamnaaj, raising the great Temple of Kukulkan for the worship of the Mayan people, the new album by vocalist and guitarist Tecuhtli, bassist Ocelotl, drummer Tlipoca, and the tribalistic ensemble of Xaman Ek, Yei Tochtli, Mazatecpatl, and Itzcoatl is based on Mayan ideology, worldview, mysticism, and the universe. It contains various legends and stories of ancestral gods, the duality of life and death, as well as stories based on the band members, transformed with that touch that identifies us.

Kukulkán Wakah Chan (likely combining the Maya deity name Kukulkán, meaning “Plumed Serpent”, with the Nahuatl phrase Wakah Chan, meaning “Sacred Tree” or “Milky Way”) sounds utterly ritualistic and folk from its very first moments, with their wind instruments echoing through the air before exploding into an amalgamation of Thrash, Death and Groove Metal led by Tlipoca’s crushing beats and fills; whereas Tán tí le Xibalba, the second single of the album, speaks of the god of dead in the Mayan culture while keeping their heaviness clashing with the culture of their ancestors in a majestic way, being therefore an excellent choice for their live concerts. In El Niño Que Contemplaba A Las Estrellas (“the boy who gazed at the stars” from Spanish), the guitars by Tecuhtli lean towards classic Heavy Metal, as well as his vocals, followed by Viaje Astral Del Quetzal De Fuego (“astral journey of the fire quetzal”), sounding atmospheric and embracing from start to finish, with the bass by Ocelotl and the drums by Tlipoca being absolutely thunderous. Xaman Ek, Yei Tochtli and Mazatecpatl bring the glory of the past through their wind instruments in the tribal dance Horizonte De Almas (“horizon of souls”), exploding into an epic song that will inspire you to raise your horns for those beyond talented Mexicans, while El Castigo De Los Dioses (“the punishment of the gods”) is another song where the modern, electrified vibe of metal music makes a killer paradox with their cultural and folk sounds.

The howling wind invites us to another journey through Mayan lands in Tak Ti Ulaák Íin, one of the most ritualistic of all songs, where the band delivers their most primeval sounds of the album. Then the massive riffs by Tecuhtli ignite the imposing, multi-layered Los Guardianes De La Tierra (“guardians of the earth”), a lecture in Symphonic and Melodic Death and Black Metal that feels like it was taken from the most climatic moment of a period drama; and the band offers another blast of harsh and pounding sounds in Hun-Came, meaning “One Death”, the name of the senior of the two principal death gods in the Maya underworld Xibalba, with all vocals and backing vocals giving it an extra kick while Tlipoca hammers his drums mercilessly. ¿Donde Estas? (“where are you?) is some sort of power ballad entirely sung in Spanish by a mysterious guest female musician, a bit too generic compared to the other songs; while back to their trademark tribal sonority infused with the power of Heavy Metal we have Yóok’ ol Kaáb Maya, sounding and feeling epic and vibrant until the very end. Lastly, closing the album we’re invited to one final ritual by Cemican entitled Bolom Octé, a stunning sonic voyage back to the glory yet somber days of their ancestors.

Offering a sound that embodies that language of music with ancestral instruments that Cemican have achieved as its own unique and hallucinatory sound, fused with lyrics that blend Spanish with Yucatecan Mayan, U k’u’uk’ankil Mayakaaj is a tribute to their ancestral people, their stories and their customs, giving a valuable message of their language and their ancestral glory. Hence, you can enjoy the dark and aggressive atmosphere found in U k’u’uk’ankil Mayakaaj by purchasing the album from their own BandCamp, from the M-Theory Audio webstore, or by clicking HERE, and don’t forget to also follow the band on Facebook and on Instagram, subscribe to their YouTube channel, and stream their amazing albums on Spotify. Because U k’u’uk’ankil Mayakaaj is a way to revive what their warriors and their Mayan people were, honoring the great Mayan culture and representing the worldview and mysticism of their great ancestral empire.

Best moments of the album: Tán tí le Xibalba, Horizonte De Almas, Los Guardianes De La Tierra and Hun-Came.

Worst moments of the album: ¿Donde Estas?.

Released in 2025 M-Theory Audio

Track listing
1. Kukulkán Wakah Chan 5:45
2. Tán tí le Xibalba 4:01
3. El Niño Que Contemplaba A Las Estrellas 6:44
4. Viaje Astral Del Quetzal De Fuego 8:31
5. Horizonte De Almas 6:31
6. El Castigo De Los Dioses 5:26
7. Tak Ti Ulaák Íin 4:39
8. Los Guardianes De La Tierra 5:13
9. Hun-Came 5:29
10. ¿Donde Estas? 4:23
11. Yóok_ ol Kaáb Maya 5:45
12. Bolom Octé 4:30

Band members
Tecuhtli – vocals, guitars, wind instruments
Ocelotl – bass
Tlipoca – drums, percussion, wind instruments, backing vocals
Xaman Ek – wind instruments, backing vocals
Yei Tochtli – wind instruments, backing vocals
Mazatecpatl – wind instruments
Itzcoatl – choir vocals

Album Review – Battle Beast / Steelbound (2025)

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Finland’s own Heavy Metal powerhouse storms forward with unrelenting force armed with their seventh studio album, moving fluently between classic metal, superpowered synthesizers, and symphonic realms.

Three years after the critically acclaimed Circus of Doom, Finnish Heavy/Power Metal/Hard Rock powerhouse Battle Beast storms forward with unrelenting force, dropping their electrifying, highly anticipated seventh studio album, entitled Steelbound. Produced and mixed by Janne Björkroth at JKB Studios, and mastered by Mika Jussila at Finnvox Studios, the new opus by the indomitable frontwoman Noora Louhimo, guitarists Joona Björkroth and Juuso Soinio, bassist Eero Sipilä, keyboardist Janne Björkroth, and drummer Pyry Vikki moves fluently between classic metal, superpowered synthesizers, and symphonic realms, even embracing ’80s-tinged Hard Rock, resulting in a musical palette that’s powerful, engaging, and, above all, extremely fun.

Those talented and unstoppable Finnish rockers kick off another thrilling metal party with The Burning Within, offering their incendiary blend of Heavy Metal with 80’s Hard rock always boosted by Noora’s undisputed soaring vocals, followed by Here We Are, one of the singles previously released by the band which sees Janne kicking ass as usual on keys, giving the song the band’s trademark dancing vibe; whereas the title-track Steelbound sounds absolutely upbeat, with Joona and Juuso’s riffs walking hand in hand with the whimsical keys by Janne. Twilight Cabaret is another song that reeks of Battle Beast, with Noora melting our faces as usual with her hypnotic vocals supported by Pyry’s classic beats; and let’s say Battle Beast are one of the very few bands that can make happy music sound so badass like Last Goodbye thanks to Noora’s powerful vocals, while their guitars sound as electrified as they can be supported by Eero’s thunderous bass.

The second half of the album begins with the cinematic interlude The Long Road, setting the stage for the band to crush us all with Blood Of Heroes, as epic as it is imposing, bringing elements from Viking and Power Metal to their core sound, with all background vocals supporting the battle-like screams by Noora in great fashion. Joona and Juuso rev up the band’s metal engine in Angel Of Midnight, also fully inspired by 80’s rock and metal music, a radio-friendly tune that will surely please all fans of the band; and let’s keep jumping up and down and dancing with Battle Beast in Riders Of The Storm, absolutely futuristic and fun, like if it was taken from an afternoon adventure movie from the 80’s. Finally, the band closes the album on a high note with Watch The Sky Fall, a strong contender to make it to their live performances, where their guitar solos and striking keys bring an extra headbanging touch to the music.

In a nutshell, with Steelbound the band opens an exciting new chapter that offers some very heavy tracks, flirts with pop, unapologetic party anthems, and the empowering title song, or in other words, it is a thunderous monument of defiance and resilience, an earnest battle cry for all who have ever been dismissed, diminished, or silenced and also a big slab of positivity and joy. Hence, you can stay in touch with those marvelous Finnish warriors via Facebook and Instagram, subscribe to their YouTube channel, stream their striking music on Spotify, and of course grab a copy of Steelbound by clicking HERE, throwing your worries into the next trash can during the album’s 38 minutes of duration, and sing, dance, headbang, or do whatever feels right to the sound of their undisputed heavy music.

Best moments of the album: The Burning Within, Last Goodbye and Watch The Sky Fall.

Worst moments of the album: Here We Are.

Released in 2025 Nuclear Blast Records

Track listing
1. The Burning Within 3:58
2. Here We Are 3:03
3. Steelbound 4:30
4. Twilight Cabaret 3:56
5. Last Goodbye 3:34
6. The Long Road 2:12
7. Blood Of Heroes 4:06
8. Angel Of Midnight 3:27
9. Riders Of The Storm 3:51
10. Watch The Sky Fall 4:31

Band members
Noora Louhimo – vocals
Joona Björkroth – guitars, backing vocals
Juuso Soinio – rhythm guitars
Eero Sipilä – bass, backing vocals
Janne Björkroth – keyboards, orchestrations, backing vocals
Pyry Vikki – drums

Album Review – Ültra Raptör / Fossilized (2025)

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The fast and furious Cadillac driving dinosaurs hailing from Canada will rock your world to the sound of their incendiary sophomore full-length album.

Formed in 2015 in the charming Quebec City, and having already released their self-titled debut EP in 2018 and their first ever full-length album Tyrants in 2021, Heavy/Speed Metal antediluvian creatures Ültra Raptör are back with album number two, the incendiary Fossilized. Recorded, mixed and mastered by David Lizotte, and displaying an insane artwork by Mario López, the new beast by Phil T. Lung on vocals, Criss Raptör and Zoltan Saurus on the guitars, Dick Van Heuß on bass, and Tony Bronco on drums offers another round of the band’s blend of primeval speed and savagery with meticulous, precision playing, or in other words, everything a metal hungry headbanger could ask for and more.

Those prehistorical Québécois warriors already put the pedal to the metal in the title-track Fossilized, with the frantic, sharp riffs by Criss and Zoltan bringing even more adrenaline to their striking Speed Metal sound. Then the glory of the 80’s, or maybe I should say from “metal’s prehistoric age”, comes in full force in Spinosaurus, led by the hammering drums by Tony in a headbanging feast of heavy music. In Hard ‘N Fast that’s exactly what you’ll get, with Phil T. Lung stealing the show with his old school, passionate vocals, sounding perfect for some action on the dance floor; and Criss and Zoltan show no mercy for their stringed axes in Livin’ for the Riff, delivering nonstop incendiary riffs and solos just the way we love it in Thrash Metal, followed by Bitter Leaf, which starts in a weird way before morphing into a decent thrashing tune, despite still lacking an extra kick.

They get back on track with an 80’s-inspired rock and metal train titled X-Celerator, offering more of the band’s trademark riffs and the raspy vocals by Phil T. Lung, and the band keeps speeding things up and invading our senses with their Thrash Metal-infused sounds in Pterö-Ranger, living up to the legacy of the genre. Those Canadian bastards will invite us to slam into the circle pit once again and shake our bodies to the sound of Down the Drain, where Criss and Zoltan will cut your skin deep with their caustic riffage. Then in the interlude Le voyageur d’Oort, melodious guitar lines will transport you to the whimsical world ruled by Ültra Raptör before facing the closing tune Face the Challenge, a pure Hard Rock and Rock N’ Roll feast inspired by giants the likes of Scorpions, perfect for heading out to the highway with your beloved ones.

In summary, the impact of the new opus by the Cadillac driving dinosaurs from Canada on the metal scene will be seismic. Fossilized is the epitome of energized, exhilarating metal, and you can join the band in their quest for fast and heavy music by following them on Facebook and on Instagram, by streaming their thrilling creations on Spotify, and of course by purchasing Fossilized from the Fighter Records’ BandCamp or from the Xtreem Music’s webstore. The Raptör is back, baby! And if you don’t want to be fossilized as a dull and prehistorical being, you better jump inside your Cadillac and rock to the sound of this newborn beast made in the icy cold Great White North.

Best moments of the album: Fossilized, Hard ‘N Fast and X-Celerator.

Worst moments of the album: Bitter Leaf.

Released in 2025 Fighter Records

Track listing
1. Fossilized 4:08
2. Spinosaurus 3:55
3. Hard ‘N Fast 4:19
4. Livin’ for the Riff 4:14
5. Bitter Leaf 4:40
6. X-Celerator 3:58
7. Pterö-Ranger 4:09
8. Down the Drain 4:54
9. Le voyageur d’Oort 1:10
10. Face the Challenge 5:11

Band members
Phil T. Lung – vocals
Criss Raptör – lead guitar
Zoltan Saurus – rhythm guitar
Dick Van Heuß – bass
Tony Bronco – drums

Album Review – Amorphis / Borderland (2025)

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Finland’s own Melodic Heavy Metal and Rock masters stand on the cusp of a compelling new chapter, fully embracing their melodic sensibilities while venturing into fresh, uncharted sonic landscapes.

A groundbreaking and genre-defying metal band still featuring its original lineup (with a few exceptionally talented additions) and only growing stronger with time, Helsinki, Finland’s own Melodic Heavy Metal/Rock masters Amorphis stand on the cusp of a compelling new chapter, the captivating Borderland, the impressive fifteenth studio album in their unrelenting 35-year journey. Produced, recorded, mixed and mastered by Jacob Hansen at  Hansen Studios, and displaying a classy artwork by Marald van Haasteren, the new album by frontman Tomi Joutsen, guitarists Esa Holopainen and Tomi Koivusaari, bassist Olli-Pekka “Oppu” Laine, keyboardist Santeri Kallio, and drummer Jan Rechberger sees the band fully embracing their melodic sensibilities while venturing into fresh, uncharted sonic landscapes.

The band wastes no time and begins embellishing the airwaves with their blend of rock and metal in The Circle, with the guitars by Esa and Tomi transpiring melody, accompanied by the classic bass by Oppu; whereas the cinematic keys by Santeri are exactly what Tomi Joutsen needs to shine with both his clean vocals and deep guttural in Bones, a lecture in Progressive Metal by those veterans, followed by Dancing Shadow, another blast of classy metal music sounding modern yet deeply rooted in their own core essence, with Jan hammering his drums just the way we like it. Amorphis have mastered the art of mixing truly heavy sounds with ethereal, mesmerizing passages, which is the case in Fog to Fog, and their darkened feast goes on with The Strange, a mix of Gothic and Melodic Death Metal that sounds a bit generic if compared to the rest of the album.

The second half of the album begins with the also melodic and enfolding Tempest, with their acoustic guitars walking hand in hand with Santeri’s whimsical keys in a beautiful ballad by the boys. Light and Shadow is a song that perfectly depicts the present and future of Amorphis, with Tomi Joutsen once again leading his henchmen with his classic vocals and growls while the music remains as inspiring as it can be; and Esa and Tomi Koivusaari continue to fire their stylish riffs in The Lantern, sounding even atmospheric at times thanks to the beautiful keys by Santeri. The title-track Borderland brings forward the perfect fusion of all rock and metal styles found in their music, with Oppu and Jan making sure the ambience feels thunderous and groovy until the very last second, while lastly, they let their Melodic Doom Metal vein arise in the closing song Despair, with Tomi Joutsen stealing the show with a fantastic vocal performance.

With deep respect for the past and eyes firmly on the future, and with extensive touring ahead, Amorphis continue to shape the landscape of Heavy Metal with grace, finesse and integrity in Borderland. “After three and a half decades, we still follow our instincts,” commented guitarist Tomi Koivusaari. “And honestly, Borderland might be the most Amorphis-sounding album we’ve ever made. After such a long and successful career, that feels pretty damn great!” Those undisputed rock and metal veterans are waiting for you with more of their music, news and tour dates on Facebook and on Instagram, as well as on YouTube and on Spotify, and you can obviously put your damned hands on Borderland by clicking HERE, letting the melodious yet visceral sounds blasted by one of the most important bands to ever arise from the Nordic countries penetrate deep inside your metallic heart.

Best moments of the album: Bones, Light and Shadow and Borderland.

Worst moments of the album: The Strange.

Released in 2025 Reigning Phoenix Music

Track listing
1. The Circle 4:34
2. Bones 4:55
3. Dancing Shadow 4:58
4. Fog to Fog 5:28
5. The Strange 4:18
6. Tempest 5:20
7. Light and Shadow 4:17
8. The Lantern 4:59
9. Borderland 5:30
10. Despair 5:19

Band members
Tomi Joutsen – vocals
Esa Holopainen – guitars
Tomi Koivusaari – guitars
Olli-Pekka “Oppu” Laine – bass
Santeri Kallio – keyboards
Jan Rechberger – drums, percussion

Guest musician
Francesco Ferrini – orchestral arrangements, MIDI programming

Concert Review – Rhapsody of Fire (The Garrison, Toronto, ON, 09/20/2025)

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A night of pure Heavy Metal, Hard Rock, beer, mosh pits, walls of death, swords, shields, dragons, wizards, dwarves, and the best of the best of the best in Toronto.

OPENING ACTS: Witherfall, Striker and Enforcer

If you enjoy the fusion of Heavy Metal, Hard Rock, beer, mosh pits, walls of death, swords, shields, dragons, wizards and dwarves, then The Garrison in Toronto was the place for you to be this Saturday when the amazing WHITERFALL, STRIKER, ENFORCER and RHAPSODY OF FIRE took the city by storm with their most excellent Challenge the Wind / Dawn of Victory 25 Year Celebration – North America Tour 2025, another ass-kicking event brought to the city by Noel Peters of Inertia Entertainment. And just like a miracle or a magic trick done by a headbanging wizard, traffic to get to the city was smooth and easy, allowing both Keith Ibbitson of Metal Paparazzi and I to get to the venue with plenty of time before the festivities started. There was construction on the way back on QEW which made the return trip a true nightmare, but I can’t complain as at least this time I was able to watch the whole event from the very first second.

If you know nothing about Los Angeles, California-based Progressive Heavy/Power Metal band WHITERFALL, I highly recommend you go after their music on Spotify or by clicking HERE, as those guys are incredible live and totally worth the price of a ticket to see them onstage. Still promoting their 2024 album Sounds of the Forgotten, the band formed of Joseph Michael on vocals and keyboards, Jake Dreyer on the guitars, Anthony Crawford on bass, Gerry Hirshfeld on keyboards and guitars, and Chris Tsaganeas on drums put on a fantastic performance at the small but cozy The Garrison, properly warming us all for the upcoming attractions of the night. I must say Insidious, one of the songs played form their new album, sounded majestic live, flawlessly uniting the energy of traditional Heavy Metal with the intricacy of Progressive Metal, and the reaction by the crowd was just as powerful. Well, when you have a guy like Jake Dryer on the guitars, known for his excellent work with bands like Iced Earth, Demons & Wizards, and Kobra and the Lotus, you know you’re in for a treat, and I can’t wait to see Witherfall in Toronto again in the near future.

Setlist
They Will Let You Down
Moment of Silence
Ode to Despair
Insidious
Vintage

Band members
Joseph Michael – vocals, keyboards
Jake Dreyer – guitars
Anthony Crawford – bass
Gerry Hirshfeld – keyboards, guitars
Chris Tsaganeas – drums

After a short break, it was time for the band I wanted to see the most that night, Edmonton, Alberta’s own indomitable Heavy Metal beast STRIKER, bringing their absolute Ultrapower to the stage and drive all fans in the crowd mental with their electrifying concert. All songs from the setlist were killer, in special Best of the Best of the Best, Heart of Lies, Circle of Evil, Former Glory, and of course the metal hymn chosen to close their show, Phoenix Lights, and I only wish they had at least another 20 minutes to play a few more songs for us. Dan Cleary was phenomenal as usual on vocals, as well as his bandmates Tim Brown and John Simon Fallon on the guitars, Pete Klassen on bass, and Jonathan Webster on drums, proving why they’re one of the most precious gems of the current Canadian metal scene (and why they should be opening for Iron Maiden or Judas Priest instead of the always questionable choices by those bands). You can find their music on BandCamp, Spotify, or by clicking HERE, and believe me, once you start listening to Striker, there’s no turning back. On a side note, I promised myself I wasn’t buying any merch that night, but as soon as I got there and saw their Beer Shark T-Shirt, I said “FUCK YOU, STRIKER!” Needless to say, here I am with another awesome black shirt added to my collection.

Setlist
Kernkraft 400
Best of the Best of the Best
Heart of Lies
Blood Magic
Sucks to Suck
Ready for Anything
Circle of Evil
Former Glory
Phoenix Lights

Band members
Dan Cleary – vocals
Tim Brown – guitar
John Simon Fallon – guitar
Pete Klassen – bass
Jonathan Webster – drums

Another band I was eager to see live on Saturday were the Swedish guys from Heavy/Speed Metal machine ENFORCER, and let me tell you if you think they’re loud and heavy in the studio, they turn the volume up to 11 when they’re onstage. Having released the excellent Nostalgia in 2023 (which means it won’t take long now for those boys to bring a new album into being), the band formed of vocalist and guitarist Olof Wikstrand, guitarist Jonathan Nordwall, bassist Garth Condit (who looks a lot like a younger version of Mr. Adrian Smith), and drummer Jonas Wikstrand were relentless throughout their entire set, sometimes looking as if they were high on something (well, they were high on Heavy Metal, no doubt about that), melting our faces with thrilling, no shenanigans songs the likes of Destroyer, Unshackle Me, Take Me Out of This Nightmare, Midnight Vice, and even a really cool, vibrant cover version for Black Sabbath’s classic Die Young, and consequently igniting some sick mosh pits for our total delight. You can find their music on BandCamp and on Spotify, and definitely keep an eye on their tour dates because if there’s one thing those guys know how to do, that is to kick some serious ass live.

Setlist
Destroyer
Undying Evil
Unshackle Me
From Beyond
Live for the Night
Die Young (Black Sabbath cover)
Nostalgia
Mesmerized by Fire
Take Me Out of This Nightmare
Midnight Vice

Band members
Olof Wikstrand – vocals, guitars
Jonathan Nordwall – guitars
Garth Condit – bass
Jonas Wikstrand – drums

RHAPSODY OF FIRE

To be honest, after the breathtaking performances by Witherfall, Striker and Enforcer, Italy’s own Symphonic Power Metal force RHAPSODY OF FIRE had the almost impossible task of keeping up with that absurd level of energy and awesomeness. Well, let’s simply say they were not the headliners in vain, as the minute Giacomo Voli, Roby De Micheli, Alessandro Sala, Alex Staropoli and Paolo Marchesich hit the stage, The Garrison turned into a wild feast of hobbits, wizards, dragons, swords and undisputed heavy music. I always get confused with their historical name and lineup changes, which is why if you want to listen to their discography on Spotify there are two links, one for Rhapsody of Fire and one for Rhapsody only (and I guess there was even a time when they were called Rhapsody ov Fire, if I’m not mistaken), but that didn’t matter as their concert this Saturday night was beyond fantastic.

Blending songs from their 2024 album Challenge the Wind with their masterpiece Dawn of Victory, hence the long name of their tour, they provided us fans with a lecture in Symphonic Power Metal, with songs like Unholy Warcry, I’ll Be Your Hero, Challenge the Wind, and of course the timeless classics Dawn of Victory, Holy Thunderforce, and Emerald Sword (including an excellent wall of death, by the way) driving their diehard supporters crazy during the entire night. Even the not-so-fast moments, like when they played The Village of Dwarves (which reminds me a lot of the catchy “Bravely Bold Sir Robin”, from the iconic movie Monty Python and the Holy Grail), were great, and we must thank their ultra talented frontman Giacomo Voli for that. The guy not only has an incredible voice, but he certainly knows how to keep his audience engaged. For instance, I was going to leave early that night as I was a bit tired from the entire week, but I ended up staying until the last second in the battlefield with Rhapsody of Fire. Because that’s what good quality heavy music is all about and, as the band confirmed when their show was over, let’s have another magical party with them when they return in 2027 with the celebration of 30 years of their classic debut album Legendary Tales.

Setlist
The Dark Secret (I. The Ancient Prophecy)
The Dark Secret (II. Ira Divina (Divine Wrath))
Unholy Warcry
Rain of Fury
I’ll Be Your Hero
Chains of Destiny
The Magic of the Wizard’s Dream
Challenge the Wind
Kreel’s Magic Staff
Lux Triumphans
Dawn of Victory
Triumph for My Magic Steel
The Village of Dwarves
Dargor, Shadowlord of the Black Mountain
Holy Thunderforce
A New Saga Begins
Land of Immortals
Emerald Sword
Act VII: The Angels’ Dark Revelation

Band members
Giacomo Voli – lead vocals
Roby De Micheli – guitars
Alessandro Sala – bass
Alex Staropoli – keyboards, orchestrations, backing vocals
Paolo Marchesich – drums

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Album Review – Vertebra / The Same (2025)

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This Brazilian Death and Thrash Metal squad from the 90’s is finally unleashing their debut offering, an astonishing collection of 11 unrelenting songs.

Originally active in the mid 90’s underground music scene in Porto Alegre, in the state of Rio Grande do Sul, Brazil, where they quickly established a place for themselves with their fierce live performances, intense, intriguing music and uncompromising attitude, Death/Thrash Metal outfit Vertebra is finally unleashing upon humanity their first ever full-length album, titled The Same. Their long overdue debut is an astonishing collection of 11 unrelenting songs, demonstrating fantastic technical dexterity, but also exquisite songcraft and melodic awareness, all masterfully brought into being by vocalist and guitarist Arildo Leal, guitarist Fernando Luzardo, bassist Tiago Vargas, and drummer Cristiano Hulk.

The band wastes no time and kick off their vicious metal attack with Oblivion, with Arildo sounding ruthless on both vocals and guitar; and Arildo and Fernando show no mercy for their stringed axes in Behavior in the Eyes, inviting us all to slam into the pit in the name of Thrash Metal. Humanity brings forward hints of the galloping rhythm that was made eternal by giants like Iron Maiden, spearheaded by Tiago’s ruthless bass and Cristiano’s hammering drums, whereas Arildo’s caustic vociferations keep penetrating deep inside our psyche in Behind the World, offering a well balanced hybrid of Death and Thrash Metal, followed by Overcoming the Void, another solid display of Death Metal made in Brazil, with their riffage sounding as melodic as it is demonic.

Then after the instrumental interlude 10.000 and One Nights we face the title-track The Same, offering another round of their harsh yet melodic and potent sounds led by Cristiano’s intricate beats and fills. Architecture of Perspective is perhaps the most progressive of all songs while also sounding absolutely heavy and infernal, with the riffs by the band’s guitar duo being boosted by another demented performance by Cristiano on drums; whereas 95 Eyes is not a very exciting tune, albeit still showcasing the band’s trademark fusion of extreme music and more progressive sounds. Then back to a more puissant sonority we face Fanatic and Picturesque, with Tiago’s thunderous bass lines bringing sheer heaviness to their music, also inspiring us to keep slamming into the circle pit like true metalmaniacs; and ending the album the band offers a demented, groovy and sinister tune titled Blessed are the Forgetful, where once again Arildo’s vocals sound utterly devilish.

In a nutshell, The Same will undoubtedly place Vertebra in the place they should have occupied in the mid-90’s, with their melodic and technical blend of Death Metal heavily influenced by Death, with touches of bands like Kreator and Carcass, and of course classic Heavy Metal,  appealing to all fans of extreme music. Those guys are waiting for you on Facebook and on Instagram to share the news about their newborn baby, and you can already find the full album on Spotify. Also, above all that, go grab a copy of The Same from BandCamp, or simply by clicking HERE. Let the first album by Vertebra take you to the glory of the 90’s while also looking into the future, keeping the flames of Death and Thrash Metal burning bright in the always interesting Brazilian underground scene.

Best moments of the album: Behavior in the Eyes, Architecture of Perspective and Fanatic and Picturesque.

Worst moments of the album: 95 Eyes.

Released in 2025 Xtreem Music

Track listing
1. Oblivion 5:10
2. Behavior in the Eyes 4:04
3. Humanity 3:53
4. Behind the World 3:34
5. Overcoming the Void 5:28
6. 10.000 and One Nights 1:03
7. The Same 3:57
8. Architecture of Perspective 5:15
9. 95 Eyes 3:41
10. Fanatic and Picturesque 4:20
11. Blessed are the Forgetful 4:56

Band members
Arildo Leal – vocals, guitars
Fernando Luzardo – guitars
Tiago Vargas – bass, backing vocals
Cristiano Hulk – drums

Album Review – Alterium / Stormrage EP (2025)

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The new EP by this up-and-coming Italian band captures the essence of classic Power Metal while pushing their sound into exciting new territories.

Further cementing the band’s place among the most promising names in the new wave of European Power Metal, Stormrage is the brand new EP by Italian Symphonic/Melodic Power Metal warriors Alterium, a powerful chapter that bridges their acclaimed 2024 debut Of War And Flames and their upcoming full-length album. Formed of Nicoletta Rosellini on vocals, Paolo Campitelli on the guitars and keyboards, Alessandro Mammola also on the guitars, Luca Scalabrin on bass, and Dario Gozzi on drums, the band continues their tradition of blending agile riffs, epic atmospheres, and battle-hardened energy in Stormrage, capturing the essence of classic Power Metal while pushing the band’s sound into exciting new territories.

The whimsical, epic keys by Paolo will embellish the airwaves and invite you on a symphonic journey in the title-track Stormrage, accompanied by the classic drumming by Dario and the melodic and powerful vocals by Nicoletta; whereas Sui starts in a more melodic manner, sounding almost like a Folk Metal ballad, before Paolo and Alessandro strike us all with their scorching Heavy Metal riffs in a very detailed, imposing and electrifying feast of Symphonic and Melodic Power Metal. The CD version of the EP comes with two amazing bonus, the first one being their cover version for the classic by Symphony X titled Paradise Lost (check the original version from their 2007 album Paradise Lost), and Alterium’s version is just as magical and enfolding, with Nicoletta’s powerful vocal lines being flawlessly supported by Paolo’s keys and the low-tuned, groovy kitchen crafted by Luca and Dario. And closing the CD version of the EP we have the orchestral version of Of War and Flames, a cinematic rendition of the original version from their own 2024 album Of War and Flames, where all orchestrations walk hand in hand with Nicoletta’s epic, soaring vocals.

In summary, this new chapter sees the band sharpen their songwriting and deliver a fresh burst of adrenaline that both longtime fans and newcomers will appreciate, reaffirming their mission to carry the torch of European metal with pride and power. Hence, you can get in touch with those Italian metallers via Facebook and Instagram, subscribe to their YouTube channel, stream their music on Spotify, and of course purchase their new EP from Big Cartel. As aforementioned, Stormrage works as a bridge between their 2024 album and their future endeavor, and based on the high energy and quality of the music found in their new EP, we can rest assured the future looks extremely promising for such an amazing up-and-coming band.

Best moments of the album: Sui and Paradise Lost.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Stormrage 4:16
2. Sui 5:27

CD Version bonus tracks
3. Paradise Lost (Symphony X cover) 6:45
4. Of War and Flames (Orchestral version) 3:40

Band members
Nicoletta Rosellini – vocals
Paolo Campitelli – guitars, keyboards
Alessandro Mammola – guitars
Luca Scalabrin – bass
Dario Gozzi – drums

Album Review – Paradise Lost / Ascension (2025)

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More than three decades into their career, UK’s own torchbearers of death and doom return with their seventeenth opus, traversing the multitude of sounds in their arsenal while keeping a minor-key melancholy that remains irresistible.

More than three decades into their career, and with over two million albums sold, Halifax, UK’s own  Doom/Death/Gothic Metal/Rock behemoths Paradise Lost remain the undisputed kings of metal’s darkest side, always putting us on a Stygian embrace of heaviness intertwined with shadowy melody and atmosphere. Now in 2025 the Yorkshire quintet formed of the iconic frontman Nick Holmes, guitarists Greg Mackintosh and Aaron Aedy, bassist Steve Edmondson, and drummer Guido Zima (who left the band after the album recordings were done, being replaced by Jeff Singer) returns with their staggering seventeenth album, entitled Ascension, a record that sees their crown continue to gleam as it underlines just how they attained their position. Produced by Greg Mackintosh at Black Planet Studios, with drums and vocals captured at NBS and Wasteland Studios, and adorned by the stunning painting “The Court of Death” (1902), by George Frederic Watts (1817 – 1904), the album’s ten tracks traverse the multitude of sounds in the band’s arsenal, from full-bore Heavy Metal to sky-high melody, all the while keeping a minor-key melancholy that remains irresistible.

Serpent on the Cross is absolutely gloomy and embracing from the very first second, with the sluggish beats by Guido exhaling Doom Metal magic, not to mention how crisp and piercing the guitars by Greg and Aaron sound, followed by Tyrants Serenade, one of the singles previously released, beautifully depicting the essence of the album with Nick stealing the show with his unique deep vocals while also presenting a strong Type O Negative vibe. Then we have Salvation, another lengthy and captivating aria of doom by those veterans with the keys by Greg sounding utterly haunting and somber; and their obscure sounds will penetrate deep inside your skull in Silence like the Grave, getting heavier and heavier while Nick vociferates the song’s devilish lyrics with endless anger in his blackened heart. And Lay a Wreath upon the World is one of their trademark dark ballads, albeit below the rest of the album regarding its punch and vibe.

The next track Diluvium sounds like it was taken from Icon or Draconian Times with a strong progressive twist thanks to the fantastic job done by Greg and Aaron armed with their stringed axes, whereas again delivering a beyond melancholic, slow and visceral Doom Metal sonority we have Savage Days, with Guido’s beats hitting us hard inside our heads. They keep blasting our minds with their idiosyncratic blend of Gothic and Doom Metal in Sirens, where their slashing riffs match perfectly with Nick’s vocals once again, even sounding a little like Metallica; and Steve and Guido will make your entire body tremble in Deceivers, accompanied by the thrilling sounds crafted by their bandmates, resulting in a lecture in modern-day Doom Metal with Gothic Rock and Metal nuances. And lastly, cryptic piano notes set the tone in The Precipice, closing the album on a pensive, sinister mode to the pounding drums by Guido and the menacing bass by Steve.

“The album title is taken from the belief in rising to the better place, in fiction from Earth to heaven, and all the requirements that go with that,” elaborates Nick Holmes. “In real life, people are often striving to get to a better place from birth, trying to be a better person, regardless of the fact that the only reward is death. The lyrics deal with everything that life throws at us. It’s never predictable, and within that it can also be terrifying. How people deal with death, the crutches they turn to, and how the mental state is affected by life changing situations is always intriguing.” Hence, you can join those trailblazers of doom in their quest for absolute darkness on Facebook and on Instagram, stream their unparalleled discography in full on Spotify, and of course click HERE to put your hands on such a beautiful album of obscure music. Because in the end,  Ascension stands proud in Paradise Lost’s canon. The misery never stops but, as the band itself likes to say, that’s how they like it.

Best moments of the album: Serpent on the Cross, Silence like the Grave and Deceivers.

Worst moments of the album: Lay a Wreath upon the World.

Released in 2025 Nuclear Blast Records

Track listing
1. Serpent on the Cross 6:12
2. Tyrants Serenade 4:20
3. Salvation 7:07
4. Silence like the Grave 4:46
5. Lay a Wreath upon the World 4:51
6. Diluvium 5:47
7. Savage Days 3:54
8. Sirens 4:46
9. Deceivers 3:37
10. The Precipice 5:42

Band members
Nick Holmes – vocals
Greg Mackintosh – lead guitars, keyboards
Aaron Aedy – rhythm guitars
Steve Edmondson – bass
Guido Zima – drums