Tag Archives: heavy metal

Metal Chick of the Month – Veronica Bordacchini

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Catching the light with every stroke… Bringing to life the soul trapped in stone… Carving your name into eternity!

After witnessing her latest breathtaking live performance in Toronto last month, let’s say that the our metal lady of this month of June on The Headbanging Moose climbed up to the top of the list in terms of priority. She was simply fantastic onstage together with her also amazing band, hypnotizing every single person at the venue with her undeniable talent, incredible voice, and stunning looks. A dramatic soprano better known as the Opera singer of Italian Symphonic Death Metal band Fleshgod Apocalypse, she can sing pretty much any type of music, from Opera to Heavy Metal, from modern rock music to pop, and so on, and whenever she has some free time from music she’s also a PC gamer geek. I’m talking about the beyond talented Veronica Bordacchini, and I’m sure after knowing more about her life and career you’ll definitely get addicted to her beautiful vocals and music.

Born on July 9, 1988 in Todi, a town and “comune” (or municipality) of the province of Perugia, in the region of Umbria in central Italy, Veronica was a fan of games like hide-and-seek and playing cards during her childhood. “I was lucky enough to have been born in a country area, just a few kilometres from the historic centre of my little town, Todi, in the province of Perugia. I grew up in this building with five families. All five families had at least one child my age, so we went to kindergarten, elementary, and middle school together. From the first to the last day of summer vacation always under the house playing hide-and-seek and then cards because I’m old at heart. I was already playing cards when I was 12 years old, it’s wonderful. I still enjoy it. So ‘briscola’ (a typical Italian game cards) with friends of the same age was another game,” she mentioned in one of her interviews.

Speaking about her career with Italian cult metallers Fleshgod Apocalypse, the band had already been active for a few years before she joined them first as a guest musician, and then as a permanent member of the band. Fleshgod Apocalypse were formed back in April 2007 by Francesco Paoli, formerly frontman of the band Hour of Penance, releasing their debut opus Oracles in 2008, and a few years later, more specifically in 2011, it was when Veronica started singing with the band both in the studio as a guest vocalist in a few songs per album, as well as a touring musician, always as a soprano. Her first songs with the band were Temptation and The Egoism, both from their 2011 album Agony, followed by Kingborn, Towards the Sun, Warpledge and Epilogue, from their 2013 album Labyrinth; Cold as Perfection, Paramour (Die Leidenschaft bringt Leiden) and Syphilis, from their 2016 album King; and finally doing all soprano vocals in their 2019 album Veleno, still as a guest musician, like in the songs Sugar and Carnivorous Lamb.

It was back in 2020 when Veronica became a permanent member of the band, doing both soprano and clean vocals in a few singles, those being The Day We’ll Be Gone, No, Blue (Turns To Red), and Pendulum, before recording with them in 2024 the superb full-length opus Opera, definitely marking another step forward for the band, incorporating new suggestions into that unique blend they’re renowned for, such as sheer violence, majestic orchestrations, and soaring melodies. Not only that, the cover art portrays Veronica as Music, a superior entity that defeats the social and artistic decay of modern age, and the music found in the album is simply stunning as you can enjoy in songs like Morphine Waltz, I Can Never Die, and Bloodclock. All of their creations with (and without) Veronica are available on Spotify, as well as all of their official videos can be found on YouTube. Currently formed of Francesco Paoli on lead vocals, rhythm guitar and bass, Francesco Ferrini on the piano, string arrangements and orchestral effects, our diva Veronica Bordacchini on operatic and clean vocals, Fabio Bartoletti on lead and rhythm guitars, and Eugene Ryabchenko on drums, Fleshgod Apocalypse are reaching new heights with Opera, and I can’t wait to see what’s next for the band in the world of music.

Veronica is (or was) also the vocalist for a Perugia, Italy-based Symphonic/Gothic Metal band named In Tenebra, which doesn’t have anything released after their 2009 demo Introspection, a 2012 two-song promo, and a 2014 five-song promo including the two tracks from their 2012 promo, one from their debut demo, and two new songs. The songs from Introspection are available on YouTube, which means you can enjoy some pre-Fleshgod Apocalype Veronica in the songs Against Myself, The Promise, and My Perfect Evil, but that’s it. She was also part of a Gothic/Industrial Metal duo named Wisteria over ten years ago under the moniker ValchiReA, alongside multi-instrumentalist Stefano Urbani (aka AtoragoN), not only recording the vocals for their 2010 demo Mechanical Phoenix and their 2014 album Under an 8-Bit Moon, but also taking care of the layout for the 2014 release. You can enjoy some of the coolest songs of their 2014 album on Youtube, those being R’Lyeh (The Call of the Cthulhu), Cenobite (Hellraiser), and their cover version for Eleanor Rigby, by The Beatles.

She can also be found as a guest vocalist in a variety of songs and albums from bands from different styles, those being the song What She Creates, She Will Destroy, from the 2021 EP The Holocene Termination, by Indian Death/Black/Thrash Metal machine Demonstealer; all female vocals in the 2022 album Decade of Silence, by Finnish Symphonic Death/Doom Metal band Depressed Mode; the song The Great Tribulation, from the 2022 EP The Alchemy Project, by Dutch Symphonic Metal masters Epica; the song Tartarus Rising, from the 2025 album Tomb of the Tormentor, by International Symphonic Deathcore act Hate Within; and the song Holographic Webs We Weave, from the 2019 album Lamentations: Of Deceit & Redemption, by Australian Technical Black/Death Metal band In the Burial. Let’s say it was more than obvious that we would see Veronica contributing to countless bands, because you know, her vocals are simply perfect for any type of music.

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In some of her interviews, Veronica discussed her life on the road, not only talking about how demanding touring can be, but also about some of her favorite places to play, as well as the weirdest ones. When asked about the weirdest venue she’s ever played at, her answer was a boat named Petit Bain in Paris. “Because it’s a very small boat, even though it’s a full-fledged venue inside. But when the audience does the wall of death, circle pit, or moshpit, the boat moves, and you’re there saying, ‘Oh my God.’ But on the other side, the 70,000 Tons of Metal was twice the best experience of my life, just because of the concept,” commented Veronica, who also prefer long tours with 30 or more shows in a row than smaller ones. “You come back home after three days, then you have to leave for other 3 days, then again you go home, then you leave again and so on. Usually you feel good when you have to face really long tours, even with a hostile weather, even if I have to say that the first week is always a bit tougher, then you go with the flow and you get used to it.”

She also mentioned that although it might be a bit harder for women to be part of a metal band, once you’re in you end up getting all the necessary support from the rest of the band, as well as from fans and even other musicians. “I consider myself lucky because those guys with whom I share so much of my life are brothers,” she said, mentioning all the support she’s been receiving from Francesco from day one. In addition, she also commented about the confidence she now has thanks to the one and only George “Corpsegrinder” Fisher of Cannibal Corpse, who went to see Fleshgod Apocalypse once in Berlin. He hugged her after the show and said “this is the coolest thing I’ve ever seen,” and Veronica replied “I have like all your records, I’ve been a fan of yours since I was a little girl,” because she said she grew up listening to Grindcore and Deathcore. Then she told him she was afraid of his judgment, to which he replied “are you kidding? I mean, it’s well done, it’s beautiful. You’re beautiful and good.”

Veronica also loves to play in the United States and Canada, saying the band has even gotten bigger in those countries than in her homeland Italy, because in her opinion the North American fans are always willing to drive longer distances to see concerts, and buy a lot more merchandise during those concerts. “I still remember when I was the merch chick for Fleshgod Apocalypse. I remember a guy who came to get a copy of the album and he told me that he already had a copy at home, he had also t-shirts and he told me that he wanted to buy even more because he wanted to give us his complete support.” The band has already headlined a few tours across the United States and Canada, all very successful with lots of sold out concerts, which proves Veronica is not wrong at all when she praises her North American fans.

As a very active person in different social media platforms, Veronica believes the internet has done more good than bad to most bands and music in general. She said in one of her interviews that the internet allowed people from the most remote corners of the earth to get to know bands from all across the globe, as well as several kids started playing instruments because of online tutorials and lessons, also mentioning that, on the other hand, the human contact between teacher and student might have been lost a little bit. The internet also played a nice part in the life of Veronica back in January 2023, as she was taken by surprise when her partner asked her to marry him onstage during one of their shows in Madrid, Spain. Her then boyfriend, Alessandro Salari, came out from behind the stage holding the ring box behind his back, approached her, showed her the box and knelt down, and of course she nodded “yes,” and the couple hugged as the crowd cheered wildly. The internet played a huge part in it as she was able to share such a special moment in her life with the entire world via her official Instagram account. “I know this might sound cheesy, but words can’t describe my feelings at all right now. The sacrifices this guy made just to get to Madrid and propose in front of the whole venue are remarkable. I can’t be happier to share my everything with the best person I’ve ever met in my whole life. I know you’ll make me the happiest wife ever and I promise I’ll try to do the same for you. I love you.” Not sure if it was the adrenaline and happiness that took her entire body and soul at that moment, but after that her vocals got even more powerful, touching and emotional both in the studio and on stage. Is it the power of love, of the power of metal? I would say both, and may she continue her incredible path in heavy music for many decades to come, always hypnotizing us all with her undeniable talent and charisma.

Veronica Bordacchini’s Official Facebook page
Veronica Bordacchini’s Official Instagram
Fleshgod Apocalypse’s Official YouTube channel
Fleshgod Apocalypse’s Official Facebook page
Fleshgod Apocalypse’s Official Instagram
Fleshgod Apocalypse’s Official YouTube channel

Concert Review – Trivium & Bullet For My Valentine (Great Canadian Casino Resort Toronto, Mississauga, ON, 05/04/2025)

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A wild, fun and emotional night of heavy music in celebration of the 20th anniversary of two of the most important albums in the history of Metalcore.

OPENING ACTS: Bleed From Within and August Burns Red

What a wild, fun and emotional night at the fantastic Great Canadian Casino Resort Toronto this Sunday, when BLEED FROM WITHIN, AUGUST BURNS RED, BULLET FOR MY VALENTINE and TRIVIUM attacked us all with their undisputed The Poisoned Ascendancy Tour 2025, celebrating 20 years of the landmark albums The Poison, by Bullet For My Valentine, and Ascendancy, by Trivium. Keith Ibbitson of Metal Paparazzi and I were there from the very first second of the shows, as it’s a much easier drive for me than trying to get to Toronto (which will be a massive headache this Wednesday for Chaos & Carnage, but I’ll leave my rant for the next concert review), and seeing the venue jam packed already before the first band of the night kicked off the festivities was simply awesome, sending us a sign that it was going to be a beyond electrifying event.

Precisely at 6:30pm, Glasgow, Scotland’s own Melodic Death Metal/Metalcore machine BLEED FROM WITHIN started their short but extremely  frantic and furious performance, led by the venomous roars by frontman Scott Kennedy. They only played five songs, two from their excellent latest album Zenith (available on Spotify), those being the opener God Complex and the last song In Place Of Your Halo, and I must say those two were by far their heaviest ones, already igniting some sick mosh pits in the vast but packed floor section. I’m a new-ish fan of the band and I’ll certainly go see them live in Toronto anytime they return to the city, and I guess a lot of people at the casino this Sunday will also be there, because those guys kick some serious ass onstage and deserve to have their own headlining tour in North America in the coming years.

Setlist
God Complex
Levitate
I Am Damnation
The End of All We Know
In Place Of Your Halo

Band members
Scott Kennedy – lead vocals
Steven Jones – guitars, clean vocals
Craig Gowans – guitars
Davie Provan – bass
Ali Richardson – drums

After a quick break (and a delicious Slayer Burger, as those guys had a food truck at the venue just like what happened when Meshuggah played there a few weeks ago), Lancaster, Pennsylvania-based Metalcore unit AUGUST BURNS RED began their also heavy and furious concert in a very peculiar way, with a cover version for System Of A Down’s classic Chop Suey!, and that was already enough to inspire all fans to go mental inside the circle pit. Also, although they were not officially celebrating 20 years of their album Thrill Seeker (not playing it in full like BFMV and Trivium with their respective The Poison and Ascendancy), it’s really cool to see the band still alive and kicking decades later with endless energy onstage, and you can stream all of their albums on Spotify it doesn’t matter if your prepping for an upcoming ABR concert, or if you missed their last concert in your city, because they play high quality heavy music and they’re a fantastic band both in the studio and live. And by the way, get ready for A LOT of crowd surfing, because their frontman Jake Luhrs loves that and kept demanding all concert goers to practice such a unique sport during their entire show.

Setlist
Chop Suey!
Paramount
Composure
Defender
Bloodletter
Vengeance
Exhumed
Marianas Trench
White Washed

Band members
Jake Luhrs – lead vocals
John Benjamin “JB” Brubaker – lead guitar
Brent Rambler – rhythm guitar
Dustin Davidson – bass, backing vocals
Matt Greiner – drums, piano

BULLET FOR MY VALENTINE

After two first-class openers, it was time for one of the headliners of the night to stun us all with their unique blend of Melodic Metalcore. I’m talking about Bridgend, Wales-based icons BULLET FOR MY VALENTINE, who put on a very emotional and energetic concert playing in full their biggest classic The Poison (and you can find the regular version and the 20th anniversary one on Spotify, by the way). When I say it was an emotional show for all BFMV fans at the venue, who were singing, screaming, raising their horns, headbanging, slamming into the pit and crowd surfing nonstop together with the band, it’s because if you think about it, most fans are in their 30s and when the album was released they were all teenagers starting to deal with their darkest emotions, with failure, loss and so on, and the music by BFMV truly helped them survive those dark days.

All songs were played to perfection by Matthew “Matt” Tuck (who was sporting a classy Cradle of Filth “The Principle of Evil Made Flesh” shirt, which is really cool as I had no idea he was a fan of Suffolk’s finest metal band of all time), Michael “Padge” Paget, Jamie Mathias and Jason Bowld, driving fans wild to classics the likes of Tears Don’t Fall, Hit the Floor and The Poison. Some fans around me were singing every single word of every single song, showing their utmost love to one of the most influential bands (if not the most) in the history of Metalcore. Their encore with Knives and Waking the Demon, already after The Poison was over, was also insane, and I was impressed with the amount of energy all fans demonstrated during their entire set. They sounded a lot better than when they opened for Megadeth a few years ago, and I’m sure it won’t take long for them to return to Toronto after their striking show this Sunday with another blast of Metalcore for the total delight of their loyal fanbase.

Setlist
The Poison
“The Poison” Intro
Her Voice Resides
4 Words (to Choke Upon)
Tears Don’t Fall
Suffocating Under Words of Sorrow (What Can I Do)
Hit the Floor
All These Things I Hate (Revolve Around Me)
Hand of Blood
Room 409
The Poison
10 Years Today
Cries in Vain
The End

Encore:
Knives
Waking the Demon

Band members
Matthew “Matt” Tuck – lead vocals, rhythm guitar
Michael “Padge” Paget – lead guitar, backing vocals
Jamie Mathias – bass, backing vocals
Jason Bowld – drums, percussion

TRIVIUM

It was already past 9:45pm when the band I wanted to see the most, Orlando, Florida’s own Thrash/Heavy Metal/Metalcore beast TRIVIUM, transported us all to the world of Ascendancy (and you can also choose between the regular and the special edition of the album on Spotify), delivering sheer heaviness and energy to an avid crowd ready for more action inside the circle pit. The shirtless Matt Heafy, who has so many body tattoos that he doesn’t look shirtless to be honest, alongside Corey Beaulieu (sporting another classy shirt, by Savatage), Paolo Gregoletto (showing his love for Metallica with a “Ride the Lightning” shirt) and Alex Bent were flawless in taking to the stage at the casino the entire Ascendancy, a proper celebration of 20 years of such an influential and awesome album, which of course translated into pure madness among the fans.

Rain, Pull Harder on the Strings of Your Martyr, A Gunshot to the Head of Trepidation (my favorite of the night), Like Light to the Flies, Dying in Your Arms, The Deceived, Suffocating Sight and all other songs form the album sounded incredible onstage, plus of course the giant Ascendancy monster in the back giving the whole show an even more professional and cool look. Matt didn’t stop interacting with the fans not even for a single second, making his trademark faces nonstop, jumping up and down with the crowd, kindly requesting some sick mosh pits and walls of death, and showing all his love for Toronto. Furthermore, the encore with Capsizing the Sea and In Waves was monumental, with the entire venue screaming and jumping like maniacs together with Trivium. It was simply beautiful. Were we better or louder than Montreal? I honestly have no idea, but oh boy, we were LOUD, and I guess that was more than enough to inspire the band to return to the city in a not-so-distant future. Needless to say, I’ll be there for more Trivium insanity.

Setlist
Ascendancy
The End of Everything
Rain
Pull Harder on the Strings of Your Martyr
Drowned and Torn Asunder
Ascendancy
Drum Solo
A Gunshot to the Head of Trepidation
Like Light to the Flies
Dying in Your Arms
The Deceived
Suffocating Sight
Departure
Declaration

Encore:
Capsizing the Sea
In Waves

Band members
Matt Heafy – lead vocals, guitar
Corey Beaulieu – guitar, backing vocals
Paolo Gregoletto – bass guitar, backing vocals
Alex Bent – drums, percussion

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Album Review – Grey Mountain / Grey Mountain (2025)

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A transatlantic metal project featuring members of several renowned acts strikes with their debut offering, a crushing fusion of Heavy, Death and Doom Metal with Post-Metal and other discordant influences.

A transatlantic metal project featuring members of Monsterworks, Bull Elephant, Construct of Lethe, and Black Harvest, Grey Mountain are unleashing upon us their self-titled debut opus, offering our avid ears a crushing fusion of styles from Heavy, Death and Doom Metal to Post-Metal and other discordant influences. Recorded by the band itself, mixed by vocalist and guitarist Jon Higgs (Thūn, Moose Cult), mastered by Dan Swanö at Unisound, and displaying a stylish artwork by guitarist and bassist Kishor Haulenbeek (Black Harvest, Construct of Lethe, In Human Form), the debut album by the aforementioned Jon and Kishor, alongside drummer James Garnett (Monsterworks), will hit you right in the jugular without a single drop of mercy, proving those three talented musicians are not fooling around with their new partnership.

The minimalist guitar lines by Jon and Kishor and the sluggish beats by James set the tone in Grey Mountain, offering a sharp fusion of Doom and Post-Black Metal, or in other words, the music couldn’t have represented better the name of the song (and also of the band). Perpetual Imbalance might be shorter in duration, but it’s as harsh and visceral as the opening track, with James hammering his drums in the name of modern-day Sludge Metal; followed by A Universal Evil, another melodic yet grim creation by the trio, offering a dynamic guitar duel between Jon and Kishor, being therefore perfect for breaking your neck headbanging. Then presenting a pure Post-Metal sonority we have Hermitage, with Jon’s anguished roars sounding beautifully haunting; whereas Many Shades, A Storm starts in a more introspective, serene manner before evolving into a not-so-exciting Post-Metal feast led by James’ classic beats. It’s time for the trio to crush their instruments in Decline and Fall, with Jon roaring like a beast amidst a modern-day fusion of Post-Metal with Doom and Sludge Metal, and the band fires one last breath of heavy and melodic sounds in the form of Living Mythology, with their riffs and solos sounding caustic and piercing until the very end.

Having already a second album planned in a not-so-distant future, Grey Mountain deliver an overdose of heaviness in their self-titled debut offering, which you can purchase from Ampwall or from BandCamp. Also ,although the band itself doesn’t have any official social media yet, you can get more details about the whole project as well as other projects from Jon’s Instagram, and who knows, maybe sooner than we can say “metal” we’ll see those guys hitting the stage together as Grey Mountain. Based on the quality of the music found in their debut, I think we all agree we need that to happen.

Best moments of the album: Grey Mountain, Hermitage and Living Mythology.

Worst moments of the album: Many Shades, A Storm.

Released in 2025 Eat Lead and Die Music

Track listing
1. Grey Mountain 6:39
2. Perpetual Imbalance 3:39
3. A Universal Evil 7:27
4. Hermitage 6:35
5. Many Shades, A Storm 4:30
6. Decline and Fall 3:52
7. Living Mythology 5:48

Band members
Jon Higgs – guitars, vocals
Kishor Haulenbeek – guitar, bass, vocals
James Garnett – drums

Album Review – Damon Systema / Ate (2025)

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Behold the debut offering by this Hellenic Melodic Dark Metal beast, drawing inspiration from the ancient Greek cycle of Hybris, Ate, Nemesis, and Tisis.

A Melodic Dark Metal band formed in 2009 in Athens, Greece by guitarist Akis Pastras, but that remained dormant until 2020, Damon Systema are unleashing upon humanity their first ever sonic offering, simply titled Ate. Produced, recorded, and mixed by Akis Pastras at 3rDi Lab-Station, mastered by George Nerantzis, and displaying a stunning artwork by Okim Tulal, the debut album by Ruby Bouziotis and Nick Vlachakis on vocals, Akis Pastras on the guitars and bass, and The Goat on drums offers a striking fusion of Progressive Death, Doom and Heavy Metal, drawing inspiration from the ancient Greek cycle of Hybris, Ate, Nemesis, and Tisis, exploring the timeless themes of pride, calamity, divine punishment, and ultimate reckoning, being highly recommended for fans of The Agonist, Arch Enemy, Aephanemer, Aversed, and Dark Oath, among others.

The sinister guitars lines by Akis kick off the eight minute extravaganza titled Moirae, a song about the inescapable grip of destiny, with the harsh roars by Nick creating a visceral paradox with Ruby’s hypnotizing clean vocals. Then The Goat takes the lead with his pounding drums in Lady Discordia, an incendiary, headbanging metal feast mirroring the strife and turmoil sown by the goddess of discord, where Ruby shines once again with her striking vocals; followed by Harvest of Tears, which channels the lament of Aeschylus’ The Persians, with devastating crescendos capturing the weight of loss and where once again Akis slashes his stringed axe in great fashion, offering a flammable fusion of Melodic Death Metal with Doom and Gothic Metal elements.

Akis then brings the groove armed with his bass in the title-track Ate, embodying the blinding madness inflicted by the goddess herself, flowing smoothly until its dark and piercing finale. Ruby then presents her deepest, most penetrating vocal lines in Adrasteia, an epic journey into Nemesis’ unyielding grip, supported by the massive beats by The Goat and a razor-edged guitar solo by Akis, before all comes to an end with Poenas Dare, delivering the crushing reckoning of Tisis, a punishing yet cathartic conclusion that resonates with the eternal struggle for atonement. Musically speaking, it’s the perfect Melodic Dark Metal tune to conclude the album, with the entire band sounding tight and on fire, with Nick screaming with tons of anger and hatred in his blackened heart, being complemented by another mesmerizing performance by Ruby while Akis continues to deliver sheer adrenaline through his riffs.

In summary, brace yourself for an odyssey of crushing riffs, haunting melodies, and timeless allegory in Ate, bridging the ancient and the modern, the mythological and the visceral, creating a sonic experience that lingers long after the final note fades. Those amazing Greek musicians are waiting for you on Facebook and on Instagram with more of their fusion of extreme music and Greek mythology, and you can grab your copy of the excellent Ate from the Theogonia Records’ webstore or BandCamp. Or in other words, simply face your inner calamity, embrace Ate, and let the powerful music by another fantastic Hellenic metal band penetrate deep inside your darkened soul.

Best moments of the album: Lady Discordia, Ate and Poenas Dare.

Worst moments of the album: None.

Released in 2025 Theogonia Records

Track listing
1. Moirae 8:16
2. Lady Discordia 6:25
3. Harvest of Tears 6:55
4. Ate 7:14
5. Adrasteia 8:22
6. Poenas Dare 7:25

Band members
Ruby Bouziotis – vocals
Nick Vlachakis – vocals
Akis Pastras – guitars, bass
The Goat – drums

Album Review – Lady Beast / The Inner Alchemist (2025)

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Let’s ride into the battlefield to the sound of this true locomotive of old school Heavy Metal masterfully crafted by one of the most electrifying names of the current scene.

Flying the flag for refined Heavy Metal since their inception back in 2009, always influenced by metal titans the likes of Motörhead, Dio, Black Sabbath, Iron Maiden, Judas Priest, and Mercyful Fate, Pittsburgh, Pennsylvania’s own unstoppable force Lady Beast returns to action five years after their latest full-length opus The Vulture’s Amulet, and four years after their striking EP Omens, with a brand new album entitled The Inner Alchemist, continuing to melt our faces with their sturdy aesthetic, authentically 80’s-entrenched Heavy Metal that struts and gallops with equal aplomb. Recorded by Jason Jouver, mastered by Yavé “Rust” Rodriguez, and displaying an ass-kicking, evocative artwork by Adam Burke of Nightjar Illustration, The Inner Alchemist is a true locomotive of old school metal music masterfully crafted by frontwoman Deborah Levine, guitarists Andy Ramage and Chris Tritschler, bassist Amy Bianco, and Adam Ramage, offering more of their high-octane music infused with swords and sorcery.

The scorching riffs by Andy and Chris rev up the band’s metallic engine in Oracle’s Omen, a true banger where Deborah already distills her soaring vocals for our total delight; whereas their Power Metal vein pulses stronger than ever in Through the Eyes of War, with Adam dictating the song’s electrifying pace supported by the classic bass lines by Amy, being therefore recommended for some fun inside the mosh pit. The band then delivers an overdose of Heavy Metal magic in the title-track Inner Alchemist, a headbanging hymn where the rumbling kitchen by Amy and Adam is perfect for Deborah’s piercing vocal lines, morphing into Starborn, which offers our avid ears a serene, melancholic start in the best Iron Maiden way possible, then evolving into a more Judas Priest-inspired sound until the end.

Their feast of old school, no shenanigans sounds goes on in full force in Crone’s Crossroads, a frantic, in-your-face display of Heavy Metal where Adam hammers his drums nonstop while the riffage by Andy and Chris exhale fire and power; and their NWOBHM side explodes majestically in Feed Your Fire, where their caustic riffage and solos, as well as their fast-paced beats, match flawlessly with Deborah’s epic roars. Witch Light is an instrumental tune that sounds fairly decent, although I still prefer any song with Deborah’s vocals like what happens in The Wild Hunt, where she declaims the song’s lyrics beautifully supported by the galloping sounds blasted by her bandmates. Last but definitely not least, it’s pedal to the metal in the thrilling Off with Their Heads, sounding thrashy at times thanks to the infuriated riffs by Andy and Chris, therefore putting a wild conclusion to such a breathtaking album.

After all is said and done, you’ll notice that not only The Inner Alchemist is a pure Lady Beast album, but also that the production on the album beautifully highlights their heaviness, turning it into a special milestone in their already solid career. Having said that, Deborah and her henchmen are waiting for you to join them in the battlefield by following them on Facebook, Instagram and YouTube, by streaming their epic creations on Spotify, and of course by grabbing a copy of the breathtaking The Inner Alchemist from the Dying Victims Productions’ BandCamp or by clicking HERE. It’s time to ride through the vast realm of heavy music alongside Lady Beast to the sound of their newborn opus, keeping the flames of classic Heavy Metal burning for all eternity and, therefore, fueling the band to keep blasting our ears with more albums like The Inner Alchemist in the foreseeable future.

Best moments of the album: Through the Eyes of War, Crone’s Crossroads, Feed Your Fire and Off with Their Heads.

Worst moments of the album: Witch Light.

Released in 2025 Dying Victims Productions

Track listing
1. Oracle’s Omen 4:08
2. Through the Eyes of War 3:47
3. Inner Alchemist 3:48
4. Starborn 6:56
5. Crone’s Crossroads 3:27
6. Feed Your Fire 4:37
7. Witch Light 2:19
8. The Wild Hunt 3:28
9. Off with Their Heads 3:09

Band members
Deborah Levine – vocals
Andy Ramage – lead guitar
Chris Tritschler – rhythm guitar
Amy Bianco – bass
Adam Ramage – drums

Album Review – Arch Enemy / Blood Dynasty (2025)

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The global legends of pure fucking metal return with their twelfth studio album, capturing the essence of the band in its collection of vicious, high-energy rippers.

Legends of pure fucking metal for nearly 30 years, Melodic Death Metal outfit Arch Enemy returns to the battlefield with their twelfth studio album, entitled Blood Dynasty, the follow-up to their 2022 beast Deceivers. Recorded and mixed by Jens Bogren and mastered by Tony Lindgren at Fascination Street Studios, produced by the band’s own Michael Amott and Daniel Erlandsson, and featuring a creepy artwork by Alex Reisfar, Blood Dynasty captures the essence of Arch Enemy in its collection of vicious, high-energy rippers without sounding outdated, always looking forward, therefore showcasing all the talent and passion for heavy music by frontwoman Alissa White-Gluz, guitarists Michael Amott and Joey Concepcion, bassist Sharlee D’Angelo, and drummer Daniel Erlandsson.

An imposing, epic intro suddenly explodes into Dream Stealer, with Michael and Joey sounding venomous armed with their axes while Alissa fires some of her deepest guttural roars ever. Needless to say, I would love to see and hear more of this more violent side of Arch Enemy. Then Daniel keeps pounding his drums in Illuminate the Path, sounding modern yet loyal to the band’s Melodic Death Metal roots; followed by March of the Miscreants, another violent and visceral display of heavy music by the band led by the blistering riffs by Michael and Joey, and A Million Suns, a solid composition by the band showcasing the trademark riffs and solos by Mr. Michael Amott. And it looks like the band wanted to get back to their most aggressive vibe in the album, with Don’t Look Down being the perfect example of that.

The second part of the album starts with the sinister interlude Presage, getting us pumped for Blood Dynasty, with Alissa barking the song’s  lyrics (“Cracks in the ice below our feet / Our own worst enemy on all fronts / A strategy of self-deceit? / A hornets nest, about to be released”) amidst an overdose of classic Arch Enemy. Paper Tiger also sounds ruthless, from its in-your-face intro declaimed by Alissa (“See no, hear no / Speak no evil / We are each our own devil / And we make this world our hell”) to its galloping pace led by Sharlee and Daniel, reeking of old school Melodic Death Metal for our total delight. I personally think there was no need for a ballad like Vivre Libre in the album, and although Alissa does a decent job with her potent clean vocals, the song sounds generic and out of place; whereas The Pendulum alternates between more cadenced moments and a fast-paced rhythm with elements of the Heavy Metal by Iron Maiden (and even some nuances of Power Metal). And lastly, there’s nothing better than a true banger to end the album like Liars & Thieves, with Daniel hammering his drums frantically while we all slam into the pit like true metalheads.

“This is our 12th studio album, and the rule of metal is that you’ve got to keep trying to say the same thing, but in slightly different ways!” says Michael Amott. “There’s a degree of familiarity in our sound, which I don’t see as a problem because we’re playing the music we love. But obviously we’ve got to throw a couple of curveballs in there each time, a few new interesting things to spice it up a little bit. How do you get people talking about your record when it’s the 12th one, you know?” Well, Mr. Amott is absolutely right, as all bands need to reinvent themselves once in a while to avoid getting repetitive or dull, and let’s say Arch Enemy have more than succeeded in doing that so far, with Blood Dynasty sounding strong from start to finish. You can find more information about the band and their tour dates on Facebook, Instagram and YouTube, get ready to rock to their new album on Spotify, and of course purchase it by clicking HERE, helping Arch Enemy stay atop of the world as the leaders of the Melodic Death Metal movement since their inception.

Best moments of the album: Dream Stealer, March of the Miscreants, Paper Tiger and Liars & Thieves.

Worst moments of the album: Vivre Libre.

Released in 2025 Century Media

Track listing
1. Dream Stealer 4:29
2. Illuminate the Path 4:48
3. March of the Miscreants 4:49
4. A Million Suns 3:45
5. Don’t Look Down 4:07
6. Presage 0:47
7. Blood Dynasty 3:51
8. Paper Tiger 3:56
9. Vivre Libre 4:07
10. The Pendulum 3:42
11. Liars & Thieves 4:20

Band members
Alissa White-Gluz – vocals
Michael Amott – lead guitars, backing vocals
Joey Concepcion – lead guitars, backing vocals
Sharlee D’Angelo – bass
Daniel Erlandsson – drums

Album Review – Vallorch / The Circle (2025)

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Behold the triumphant return to action by this Italian horde armed with their third full-length album, continuing their journey into the world of Folk and Symphonic Metal.

Forged in 2010 in the city of Venice, Italy, Folk Metal horde Vallorch, a name taken from a small Cimbrian village on the Cansiglio plateau, continues their journey into the world of Folk and Symphonic Metal with their third full-length installment, entitled The Circle, the follow-up to their 2015 album Until Our Tale Is Told, and a triumphant return to action by the band. Reborn from the ashes of their former selves, frontwoman Sara Tacchetto, vocalist and bassist ​Leonardo Dalla Via, guitarist ​Mattia Buggin, vocalist and keyboardist ​Marco Povolo, and drummer ​Massimo Benetazzo, supported by guest violinist Serena Zucco (of Adgarios) are ready to take the world by storm once again, inviting us all to join them in the battlefield or to simply party at a cozy and loud inn.

It’s a prancing Folk Metal party right from the start in To the Silver Summit, with Leonardo and Massimo dictating the song’s galloping pace while Sara distills her mesmerizing vocals nonstop, whereas Hellpath continues to showcase their upbeat folk sounds, with the bouzouki by Marco adding an extra touch of finesse to the overall result. Circle of the Moon is one of those songs born to be played live, where all riffs, bass lines and drums match perfectly with the uniqueness of the bouzouki, bagpipe and violin, followed by Drink Some More!, a raucous celebration of music, camaraderie, and revelry, where Mattia kicks some ass armed with his stringed axe; and the Celtic harp by ​guest Glorya Lyr (of Eard) brings a charming aura to the delicate ballad Antermoia, led by the always passionate vocals by Sara (not to mention the striking, soulful guitar solo by Mattia).

Their metallic party goes on in Röte Löon, which should translate as “red lion” from German, another captivating tune by such an amazing Italian horde, with Sara and Leonardo making an absolutely stunning vocal duet. Then back to a more Heavy Metal inspired sound, it’s time for the fierce battle hymn Salbanéo, recommended for fans of Folk Metal masters Korpiklaani, with Leonardo sounding amazing with his harsh vocals; whereas The Wild One is by far the most generic of all songs, not as captivating as the rest of the album, albeit the vocals by Sara still sound powerful. And lastly, we face Dyssomnia, the most epic and detailed of all songs (thanks in part to its duration), with the entire band sounding sharp, in special Marco armed with his keyboards and bouzouki, all spiced up by a thunderous performance by Massimo on drums.

Fans of Eluveitie, Alestorm, Wind Rose, and Korpiklaani, among others, will find much to love in the vibrant fusion of folk instrumentation and symphonic power found in The Circle, and you can be part of their sonic celebration by following them on Facebook and on Instagram, by streaming their inebriate creations on Spotify, and of course by grabbing a copy of The Circle from Rockshots Records, or by clicking HERE or HERE. In other words, it’s time to raise our glasses, let the music by Vallorch take over, and drink some more with those Italian metallers as they unleash their most refined and exhilarating work to date upon us all.

Best moments of the album: Circle of the Moon, Drink Some More! and Salbanéo.

Worst moments of the album: The Wild One.

Released in 2025 Rockshots Records

Track listing
1. To the Silver Summit 3:53
2. Hellpath 3:52
3. Circle of the Moon 3:34
4. Drink Some More! 3:42
5. Antermoia 5:00
6. Röte Löon 4:39
7. Salbanéo 3:59
8. The Wild One 4:10
9. Dyssomnia 9:08

Band members
Sara Tacchetto – vocals, choirs, tin whistle, bagpipe
​Leonardo Dalla Via – vocals, harsh vocals, choirs, bass, programming
​Mattia Buggin – electric and acoustic guitars
​Marco Povolo – vocals, choirs, keyboards, bouzouki, programming
​Massimo Benetazzo – drums

Guest musicians
Serena Zucco – violin
​Glorya Lyr – Celtic harp in “Antermoia”

Album Review – Lordi / Limited Deadition (2025)

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Paying homage to the 80’s toy culture, Mr. Lordi and his crew of unstoppable monsters return to action with another electrifying album of heavy music.

Displaying a unique blend of nostalgia and Heavy Metal creativity, embodying the spirit of a true limited edition, Limited Deadition, the brand new album by Finnish Heavy Metal/Hard Rock monsters Lordi, pays homage to the 80’s toy culture, a theme deeply resonant with frontman Mr. Lordi, a lifelong collector of action figures and other memorabilia. Recorded in Helsinki at IluSound Studio and Finnvox Studios, with Mr. Lordi taking on production duties, mixed by Ilkka Herkman, and mastered by Pauli Saastamoinen, the album’s concept aligns seamlessly with the band’s penchant for clever wordplay and thematic innovation, making it an essential addition to any fan’s collection while again showcasing all the talent and passion for our beloved Rock N’  Roll by the aforementioned Mr. Lordi alongside Kone on the guitars, Hiisi on bass, Hella on keyboards, and Mana on drums.

SCG XIX The Hexecutioners is a classic intro like in all Lordi albums, prepping us all for their monster attack in Legends Are Made Of Clichés, sounding extremely 80’s thanks to the classic keys by Hella and the Rock N’ Roll riffs by Kone. Mr. Lordi’s raspy, devilish vocals match perfectly with the futuristic keys by Hella in Syntax Terror, an exciting Hard Rock tune that will work really well live, whereas slowing things down while investing in an AOR vibe we have Skelephant In The Room, led by the classic beats by Mana. Then after the brief interlude SCGTV Saturday Night Main Event we face Killharmonic Orchestra, offering a more Heavy Metal-inspired sonority thanks to the riffs by Kone and the rumbling bass by Hiisi, whereas Collectable presents a melancholic start to the piano by Hella, evolving into a decent ballad with a striking solo by Kone.

Then after the fun interlude SCGTV Monstersquad Action Figures it’s time to hit the dance floor with Lordi in Fangoria, where the bass by Hiisi will send shivers down your spine while Hella continues to shine with her Hard Rock/AOR-infused keys. Mr. Lordi’s vocals and Kona’s riffs kick off the also 80’s-inspired Hellizabeth, keeping the album at a high dancing level. SCGTV The Hexecutioners Season Finale is perhaps the coolest of all interludes, followed by the classic rock tune Retropolis, showcasing a solid guitar work by Kone, in special another one of his fiery solos, and the always ass-kicking vocals by Mr. Lordi. Hella’s classy piano notes ignite another ballad entitled Frighteousness, which evolves into an AOR feast that’s just average; and after a word from their “sponsors” in SCGTV Crazeee Ralph Promo, it’s time for the title-track Limited Deadition, again showcasing a great balance between heavy riffs and whimsical keys while Mana dictates the pace with his spot-on beats and fills. Then ending the album we have the cowbell-infused rockin’ tune You Might Be Deceased, with Mr. Lordi’s striking, visceral vocals being nicely supported by his bandmates classic backing vocals.

“The album topic of 80’s toys is actually just a loose theme, but it’s been with me since I was little. I’ve always been a collector of various things, and I’m even some kind of a hoarder. I can’t even remember what my first toy was, but my obsession basically started with ‘Muppet Show’ dolls, followed by ‘Star Wars’ and ‘E.T.’ figures, with the latter actually being my favorite movie of all time,” commented Mr. Lordi, and you can feel his obsession with those collectibles by purchasing your favorite version of the album by clicking HERE, therefore also feeding your heavy music collector’s hunger. don’t forget to also follow those beautiful creatures on Facebook and on Instagram, keeping updated with all of their tour dates, to subscribe to their YouTube channel, and to stream all of their creepy creations on Spotify. For those ready to dive into this monstrous adventure, Limited Deadition is not just an album, but a celebration of Lordi’s unparalleled creativity and enduring legacy, making us eager for more of their monster-infused music in a not-so-distant year.

Best moments of the album: Syntax Terror, Killharmonic Orchestra, Fangoria and You Might Be Deceased.

Worst moments of the album: Collectable and Frighteousness.

Released in 2025 Reigning Phoenix Music

Track listing
1. SCG XIX The Hexecutioners 0:55
2. Legends Are Made Of Clichés 3:59
3. Syntax Terror 4:11
4. Skelephant In The Room 3:44
5. SCGTV Saturday Night Main Event 0:21
6. Killharmonic Orchestra 3:40
7. Collectable 4:21
8. SCGTV Monstersquad Action Figures 0:54
9. Fangoria 3:41
10. Hellizabeth 3:40
11. SCGTV The Hexecutioners Season Finale 0:31
12. Retropolis 3:29
13. Frighteousness 3:08
14. SCGTV Crazeee Ralph Promo 0:42
15. Limited Deadition 4:06
16. You Might Be Deceased 3:32

Band members
Mr. Lordi – vocals
Kone – guitars
Hiisi – bass
Hella – keyboards
Mana – drums

Metal Chick of the Month – Cherine Amr

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Metal Goes Egyptian!

In this month of February, let’s put an Egyptian touch to The Headbanging Moose with a multi-talented lady who knows how to masterfully blend the harshness of heavy music with the whimsical cultural sounds of her homeland, crafting a unique blend that became a trademark in her already solid career in music. Owner of a powerful voice that can range from the most delicate cleans vocals to deep guttural roars, she had to go against all odds to make her music be heard, and we must thank her for being so obstinate because her music is indeed a thing of beauty. I’m talking about Cherine Amr, sometimes also referred to as Cheen, the mastermind behind Massive Scar Era, and a woman who will bravely fight for freedom of speech, for creativity, and for women’s rights, always against any type of oppression, including obviously religious oppression, and always armed with the power of heavy music.

Hailing from the famous and beautiful Mediterranean port city of Alexandria, in Egypt, Cherine got interested in Western Heavy Metal in the late 90’s during her teens thanks to one of her friends, when the genre became popular in Egypt even though the police were known to round up fans for some not-so-nice questioning. That of course didn’t stop Cherine from listening to heavy music and, consequently, from forming Massive Scar Era in the early 2000’s, with all criticism she received in her homeland only fueling her passion for crafting high quality rock and metal since then.

It was in 2004 in her hometown Alexandria when Cherine, alongside Suzie and Sarah Kasrway, formed Massive Scar Era, an Egyptian Alternative Metal collaborative project characterized by a distinctive fusion of Heavy Metal, Progressive Rock, and Punk Rock, spiced up with elements of traditional Egyptian music, reflecting the cosmopolitan allure of Alexandria intertwined with the raw essence of Cairo’s urban landscape. The name of the band is also very meaningful to Cherine. “The name means so much to us. It has many layers and the more the years go by the more we relate to it. We wanted a name that reflects how traumatic and aggressive the world is, that we are living in right now. I was thinking about a good name for a long time, and a good friend of mine in Egypt suggested it to us. Since the band started as an all-girl band at its beginning, Massive Scar Era was also the long name for its abbreviation Mascara; however, we stopped using Mascara a long time ago.”

The band released their debut EP Reincarnation back in 2006, immediately receiving a lot of feedback from all types, including criticism from family members and religious authorities in their homeland. Those struggles were mentioned in the internationally released book Heavy Metal Islam, by author Mark LeVine, in 2008, and the band also faced difficulty in finding gigs and record distributors in their country during that period due to popular disdain for aggressive music.

The international success of Massive Scar Era led the band to play at Sweden Rock Festival in 2009, and to be feature in the Egyptian film Microphone in 2010, showcasing Alexandria’s arts and music scene. The band then went on to release a series of albums starting in 2010, those being Unfamiliar Territory (2010), Precautionary Measures (2011) and Comes Around You (2012), leading them to play at European summer music festivals regularly. Finally, in 2013 Cherine and her Massive Scar Era were featured in the film Before the Spring, After the Fall, which depicted the participation of Egypt’s rock musicians three years before the 2011 Arab Spring.

It was in 2015 when Cherine had to relocate to Montreal, the largest city in Canada’s Quebec province, to escape her home country’s criticism and harassment toward her music, and that change also impacted the way things worked for Massive Scar Era, as Cherine’s creative vision for the project evolved into a more collaborative project where she started inviting a diverse group of musicians to contribute to the band’s sound and bring her vision to life. This approach differs from having a fixed band lineup, enabling Cherine and her guest musicians to explore and experiment with various musical styles and influences while keeping the core elements of the project’s identity intact.

Following her relocation to Canada, Cherine and her Massive Scar Era have already recorded the albums 30 Years (2016), Color Blind (2018), Metal Goes Egyptian (2023), and more recently Assyad (2024), which is perhaps her most experimental album to date. There are also some interesting videos online for some of her best creations, including Pray, School Girls, 30 Years, Color Blind, Unfollow, and the more-than-special series of videos titled Metal Goes Egyptian: Live with an Egyptian Arabic Orchestra, where you can also enjoy her work with visuals as part of her music.

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Her 2024 album Assyad definitely deserves a listen by any fan of good quality music, and also by any person interested in knowing more about the Egyptian culture and traditions. The album is a result of years of research into the Egyptian Zār traditions, all masterfully transformed into beautiful music by Cherine and her henchmen. Zār is a possession cult that incorporates music and dance into its rituals, aiming to establish reconciliation between individuals and the spirits (Assyad) believed to inhabit their bodies, causing illness. The Assyad represent the projection of fears and anxieties, and the Zār ritual seeks to alleviate suffering, challenges, and conflicts faced by the individual. At the heart of the Zār ceremony, an ensemble guides the devotees through a trance dance, breaking down barriers to personal identity through rhythmic and melodic patterns deeply rooted in emotional and cultural contexts. This allows individuals in a trance to identify with the possessing spirits, providing a unique sensory experience.

It was back in 2021 when Cherine undertook a 20-day residency with Zār musicians in Cairo, Egypt, supported by Dr. Kawkab Tawfik, also connecting deeply with the Zār Abul Al-Gheit Ensemble, led by Mohammed Abouzied. Then in 2023 she united metal and Zār musicians for a three-week residency in Montreal, hosting music workshops to refine their collaboration, resulting in an interactive show at Le Petit Campus on August 18, 2023, and in the album Assyad, blending traditional Zār songs and rhythms with metal, with each track being inspired by a specific Zār spirit.

Ultimately, Assyad makes a powerful analog between two demonized groups; the Heavy Metal audience, and the Zār community, who have both had their music and practices come under scrutiny by society at large. Through the album, Massive Scar Era and The Abou El-Gheit Ensemble invite listeners to embrace the unknown and explore the deep connections between music, culture, and community. Hence, if you want to be part of the unique experience of listening to Assyad, the album is available for streaming in full on BandCamp and on Spotify, and as already mentioned, it’s a must-listen for admirers of heavy music with folk and cultural elements.

There are some very interesting interviews online with Cherine, including this one HERE, and in most of those interviews she’s questioned about how it is to make heavy music in her homeland Egypt, how it felt to be called Satanists by whoever was against heavy music in their country, and everything surrounding the Arab Spring. “Let’s be honest and put things in a realistic perspective; news outlets romanticize insurgency, but when you are in the situation and you know that your life can be taken away, you can literally pee your pants. We were scared! We are still afraid. I moved to Canada because of this,” commented Cherine. “If I haven’t left Egypt, I would probably have toned it a little bit down. Currently, the government is on edge and arresting anyone that looks suspicious to them, and our case wouldn’t get the public support.”

A huge lover of Molokhia, an iconic Egyptian soup made of jute mallow leaves from which the dish gets its name, Cherine dreams of playing with Massive Scar Era at Wacken Open Air, bringing her Egyptian roots, arts and music to a much broader metal community, and I’m sure her dream will come true sooner than later due to the high quality and depth of her music. I can already imagine her Egyptian sounds hypnotizing tons of headbangers at the biggest metal festival in the world, allowing her to show the entire world that heavy music has no boundaries, no religion, no gender, and so on, evolving into a symbol of freedom even in places where political and religious oppression has sadly become a deeply rooted part of the society.

Cherine Amr’s Official Instagram
Massive Scar Era’s Official Facebook page
Massive Scar Era’s Official Instagram
Massive Scar Era’s Official YouTube channel

“Music is my frustration outlet so whatever experience I face I let it out in the music. I’m politically active, not by choice, I think anyone who grew up in Egypt has to be, especially if you are a woman. Moving to Canada also influenced the topics I write about because I moved into a minority category and was subject to harassment and discrimination.” – Cherine Amr

Album Review – Mad Parish / The Dust of Forever (2025)

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Embark on a thrilling story through a tapestry of Heavy Metal, following the journey of Joe, an immortal protagonist caught in a universe-threatening cataclysm.

Known for their unique fusion of New Wave of British Heavy Metal (NWOBHM) styles with Progressive Rock and catchy singalong melodies, Montreal, Quebec-based Heavy Metal brigade Mad Parish has been a formidable force in the Canadian heavy music scene for over a decade, culminating now in 2025 with the release of their sophomore opus The Dust Of Forever, a concept album that marks a bold new chapter for the band. Recorded by vocalist and guitarist Josh McConnell, guitarist Bob Eaglesham, bassist Patrick Latreille, keyboardist Andre Bisson, and drummer Paskal Belanger, the album weaves an original story through a tapestry of Heavy Metal, following the journey of Joe, an immortal protagonist caught in a universe-threatening cataclysm, promising to transport listeners to another realm, with layered sounds and textures that reveal new aspects with each listen.

The futuristic intro Prophecy will transport you to the world created by Mad Parish in Defecther, starting in a very progressive manner to the classic riffs by Josh and Bob, while Josh also fires his Ozzy Osbourne-inspired vocals. Patrick, Andre and Paskal generate a whimsical atmosphere in Possess The Child, blending Progressive Rock and Metal in great fashion; followed by Outerest In Irisius, the first interlude of the album, as ethereal and mystical as the intro, working as the warmup to Ouen Formation, one of the most 70’s-inspired songs of all, in special its vocals, backing vocals and overall pace. Here we go with another interlude titled Hunted, revving up their engines for Astra T.R.A.Z (Tower Reformatory Asteroid Zone), where they take their progressiveness to a whole new level to the stylish riffs by Josh and Bob and the striking keys by Andre. Transmission #1 Dream On is a bit too happy for my taste, but it is what the band had in mind to prepare us for Resistius, blending NWOBHM with 70’s Progressive Rock, with Paskal sounding flawless behind his drums. We then face another interlude, this time titled Aeternal, followed by another classy creation named An Age To Quell, where Josh and Bob’s riffage sounds thrilling until the very end.

Transmission #2 – Will Of God, the second interlude in the form of a transmission, is a Jazz-ish one, setting the tone for Loched, a Rock N’ Roll extravaganza highly inspired by old school Progressive Rock with Josh’s vocals sounding beyond ethereal, not to mention Andre’s striking Deep Puple-ish keys. Cathedron Wakes takes off from where the previous song ended, with their riffs and solos adding an extra touch of finesse to the overall result; and the piano by Andre in the interlude Book of Rites will captivate your senses before we’re treated to Bishop’s Tomb, boosted by the classic drums by guest Gopal Devanathan, resulting in one of the most electrifying of all songs of the album. There are too many interludes to my taste, and Transmission #3 – Baz Raa Luum might be the weakest of all, but everything gets back on track in The Experience Hunter, where Bob not only plays the guitar, but he’s also responsible for all keyboards, bass and drums, which is truly impressive. There’s one more interlude to go, entitled Trajectory: Tantus, heightening our senses for The Dust Of Forever, a riff-driven tune with a galloping pace led by the drumming by guest Gopal Devanathan, flowing into the outro Hail To The Hunter, putting an atmospheric, cryptic conclusion to the story.

Fans can look forward to an immersive album experience later this year, complete with a companion comic book titled The Experience Hunter Chronicles (with story by Josh McConnell, artwork by Niall Skinner, editing by Rahl Stafford, and design by Maximus Rex) and plans for a visually stunning live show (with the band’s live lineup comprised of Josh McConnell on vocals, Bob Eaglesham and Aaron Carbray on the guitars, Andre Bisson on keyboards, Gino Laposta on bass, and Max Rex on drums) featuring costumes, set pieces, and special effects, recommended for those who enjoy Iron Maiden, Virgin Steele, and Camel. Hence, don’t forget to see what such a unique band of the Canadian scene is up to on Facebook and on Instagram, to stream their music on YouTube and on Spotify, and to purchase a copy of the album along with a limited edition comic book via BandCamp, letting the story of the immortal being from the comics penetrate deep inside your mind while you listen to the stylish music by one of the most innovative bands hailing from Montreal.

Best moments of the album: Possess The Child, Resistius, Loched and Bishop’s Tomb.

Worst moments of the album: Transmission #1 Dream On and Transmission #3 – Baz Raa Luum.

Released in 2025 Independent

Track listing
1. Prophecy 1:30
2. Defecther 4:32
3. Possess The Child 4:45
4. Outerest In Irisius 1:34
5. Ouen Formation 6:35
6. Hunted 1:51
7. Astra T.R.A.Z (Tower Reformatory Asteroid Zone) 4:42
8. Transmission #1 Dream On 1:40
9. Resistius 6:44
10. Aeternal 1:44
11. An Age To Quell 4:05
12. Transmission #2 – Will Of God 2:04
13. Loched 3:24
14. Cathedron Wakes 5:37
15. Book of Rites 1:06
16. Bishop’s Tomb 3:32
17. Transmission #3 – Baz Raa Luum 1:46
18. The Experience Hunter 5:04
19. Trajectory: Tantus 2:02
20. The Dust Of Forever 5:11
21. Hail To The Hunter 1:01

Band members
Josh McConnell – lead vocals, guitars, bass on “Transmission #1 Dream On”
Bob Eaglesham – guitars, backing vocals, keyboards, bass and drums on “The Experience Hunter”
Patrick Latreille – bass
Andre Bisson – keyboards, piano on “Book of Rites”
Paskal Belanger – drums

Guest musicians
Peter Mika – keyboard solo on “Resistius”
Gopal Devanathan – drums on “An Age To Quell”, “Bishop’s Tomb” and “The Dust Of Forever”
Tony Spina – drums on “Transmission #2 – Will Of God”
Jeff Louch – piano on “Transmission #2 – Will Of God”