Tag Archives: post-metal

Album Review – Harakiri For The Sky / Scorched Earth (2025)

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Austria’s own Post-Black Metal duo returns with another brilliant album, a snapshot of the world we are living, a world that’s tragically broken.

Despair, loss, love, and existential struggles have always been the foundation of the distinctive sound by Austrian Post-Black Metal duo Harakiri For The Sky since their inception back in 2011, with multi-instrumentalist M.S. and vocalist J.J. having gained recognition for pushing musical boundaries with their emotionally charged blend of Atmospheric Extreme Metal and Melodic Post-Rock, Grunge and modern Hardcore, carving out a genre of their own. Now in 2025 the duo attacks again with their new tour-de-force titled Scorched Earth, following up on their critically acclaimed 2021 opus Maere. Mixed and Mastered by Kristian Kohle at Kohlekeller Studio, with cover artwork and illustrations by Brvno Gonzalez, and featuring session drummer Kerim “Krimh” Lechner, the new album by J.J. and M.S. is their way of showing how rotten and decaying our world has become. “Our society is divided to its core and peace seems further away than ever in the last decades. This is what inspired the title of the new album: ‘Scorched Earth’ is a snapshot of the world we are living, a world that’s tragically broken.”

Heal Me, featuring Tim Yatras of Austere on guest vocals, offers a classic Harakiri For The Sky sound right from the start, with its atmospheric, gentle background clashing with the harshness flowing from M.S.’s riffs and Kerim’s beats. Keep Me Longing is an eleven-minute masterpiece by the duo where once again their heavy and soothing sounds collide in a brilliant manner, with M.S.’s riffs and bass being perfectly supported by the massive beats by Kerim; and the duo keeps delivering sheer brilliance in Without You I’m Just A Sad Song, another lengthy song that doesn’t feel long at all so dynamic, vibrant and thrilling it is, with J.J. roaring in great fashion until the end. Then letting their Post-Black Metal vein pulse stronger than ever we face No Graves But The Sea, where the electrifying riffs by M.S. will inspire you to bang your head like a maniac while Kerim dictates the song’s frantic yet dark pace.

Classy, charming piano notes will penetrate deep inside your mind in With Autumn I’ll Surrender, growing into a diverse, classic Post-Metal wall of sounds with J.J. once again bursting his lungs screaming, followed by I Was Just Another Promise You Couldn’t Keep, a lovely title for a passionate display of Post-Black Metal by the duo, also bringing hints of 80’s Gothic Rock in its core essence. Then featuring guest vocalist Serena Cherry of Svalbarduk we have Too Late For Goodbyes, alternating between sheer violence and pure ethereal moments, and if you go for any of the special editions of the album you’ll be treated to two bonus tracks, their rendition for Radiohead’s Street Spirit (Fade Out), featuring guest vocalist P.G. of Groza (check out the original version from the 1995 album The Bends); and Elysian Fields (featuring guest vocals by Daniel Lang of Backwards Charm), both excellent songs leaning towards a more introspective side of the band that are definitely worth the extra investment.

“Scorched Earth is like the conclusion of all the albums we’ve done in the past, all that Harakiri For The Sky stands and stood for, musically and lyrically. This is what we stand for, this is what made us, this is our story,” commented such an extraordinary duo of heavy music about their new work of art, and you can get to know more about them on Facebook and on Instagram, stream more of their music on Spotify, and grab a copy of the majestic Scorched Earth from the AOP Records’ BandCamp or webstore, or simply click HERE for all things Harakiri For The Sky. There’s endless darkness and beauty in Scorched Earth just like in real life, not only making the album truly special and already positioning it as a strong contender for album of the year, but also working as the perfect soundtrack for the toughest moments of our lives.

Best moments of the album: Keep Me Longing, No Graves But The Sea and With Autumn I’ll Surrender.

Worst moments of the album: None.

Released in 2025 AOP Records

Track listing
1. Heal Me 7:37
2. Keep Me Longing 10:40
3. Without You I’m Just A Sad Song 10:03
4. No Graves But The Sea 8:01
5. With Autumn I’ll Surrender 8:39
6. I Was Just Another Promise You Couldn’t Keep 9:01
7. Too Late For Goodbyes 7:53

Bonus tracks
8. Street Spirit (Fade Out) (Radiohead Cover) 5:35
9. Elysian Fields 5:10

Band members
J.J. – vocals
M.S. – guitar, bass

Guest musicians
Kerim “Krimh” Lechner – drums (session)
Tim Yatras – vocals on “Heal Me”
Serena Cherry – vocals on “Too Late For Goodbyes”
P.G. – vocals on “Street Spirit (Fade Out)”
Daniel Lang – vocals on “Elysian Fields”
Jorge Cisternas & Sunvher – backing vocals

Album Review – Hell Is Other People / Moirae (2024)

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This Canadian entity will show you that hell is other people with their excellent newborn spawn of Black Metal, imbibing influences from several of its related subgenres.

Hailing from Windsor, a city in Ontario, Canada, across the Detroit River from the US city of Detroit, Post-Black Metal outfit Hell is Other People (by the way, “Hell Is Other People” is a quote from Jean-Paul Sartre’s No Exit) has elegantly and passionately crafted a brilliant Black Metal album, titled Moirae (which means “goddesses of fate or destiny” in Greek), that imbibes influences from several of its related subgenres such as Atmospheric Black Metal, Post-Black Metal and even DSBM in parts, forming a cohesive, expressive and all-encompassing sound that the band is comfortable in carrying throughout. Displaying a stunning cover art by Adam Burke of Nightjar Illustration, the new album by Nathan Ferreira on vocals and bass, Nathan Boots and Nicholas Luck on the guitars, and James Ditty on drums is a beautifully tempered opus with a remarkable range of expression that comes across as genuine and heartfelt, being recommended for fans of Agalloch, Altar of Plagues, Winterfylleth, White Ward, and Drudkh.

The dark, caustic riffs by Nathan Boots and Nicholas walk hand in hand with the sluggish Doom Metal beats by James in the title-track Moirae, while the vocals by Nathan Ferreira exhale pure Atmospheric Black Metal, sounding anguished and grim. Moreover, it’s impressive how they sound devilish while at the same time so elegant and delicate throughout the entire song. Fates keeps the ambience as somber and pensive as possible, with the hammering drums by James dictating the pace while Nathan Ferreira continues to roar and gnarl in a great fusion of Black Metal with Post-Metal, followed by Degrade, offering us all almost eight minutes of breathtaking, deep and meaningful music that will tear your soul apart to the minimalist yet sharp and austere riffage by the band’s guitar duo, starting in a serene manner before the band attacks once again with their visceral Post-Black Metal, building an instant bridge with the also venomous Loss, where Nathan’s enraged growls are nicely boosted by the intricate yet demented drumming by James while their guitars continue to exhale the harshest and most piercing sounds found in contemporary extreme music. And all comes to a climatic and epic conclusion in Atropos, offering our damned ears an overdose of heaviness and atmospheric elements, with James kicking our asses on drums, while Nathan Boots and Nicholas continue to cut our skin deep with their razor-edged axes, with all layers, breaks, passages and variations turning it into a must-listen for admirers of the genre.

If you want to put your damned, dirty hands on the excellent Moirae, you can find the album available from the band’s own BandCamp page, as well as from the Transcending Obscurity Records’ BandCamp page, main store, US store, or EU store in different formats and as part of some very special bundles, and don’t forget to also give those talented Canadian musicians a shout on Facebook and on Instagram, keeping an eye on the announcements of their live concerts, to stream their music on Spotify, and to stay updated with all things Hell Is Other People by clicking HERE. In the end, after listening to Moirae, you’ll finally realize that hell is indeed other people, and that the Post-Black Metal by this amazing Canadian band is perfect for representing all that darkness and melancholy found inside each one of us.

Best moments of the album: Moirae and Atropos.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Moirae 6:58
2. Fates 6:43
3. Degrade 7:48
4. Loss 8:45
5. Atropos 13:28

Band members
Nathan Ferreira – vocals, bass
Nathan Boots – guitars
Nicholas Luck – guitars
James Ditty – drums

Album Review – Against the Seasons / If The Ocean Could Sing (2024)

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Join this talented Polish musician and his excellent new album of Atmospheric Doom and Post-Metal on a journey through the dark waters of the inner self.

If the ocean could sing, what would it say? That’s the question asked by Polish guitarist Damian Kinowski in If The Ocean Could Sing, the new album by his Atmospheric Folk/Doom/Post-Metal project Against the Seasons. Mixed, mastered and recorded at Versus Records, displaying a beautiful artwork by Aghy Purakusuma, and featuring guests Michał Miluśki (Aether) on vocals and Łukasz Tomczak (Immalum) on bass and drums, the album is a journey through the dark waters of the inner self, portraying a mix of emotions and reflections that haunted Damian during a melancholic period, while also inspired by the music by Woods of Ypres, Forest Stream, Thrawsunblat, Alice in Chains, and many others.

A massive riff by Damian kicks off the album on a high note in Exile, accompanied by the pounding drums by Łukasz and with Michał bringing his share of melancholy and darkness to the music with his devilish roars. Then we’re treated to an amazing rendition by Damian and his henchmen of The Astral Dialogue, by Agalloch (check the original version HERE), presenting the heaviness of the original with the band’s own modern and vibrant twist, followed by Ode, a detailed song with a nice balance between Doom and Folk Metal by the trio, with the guitars by Damian setting the tone while Łukasz delivers sluggish yet fierce beats, all boosted of course by Michał’s anguished roars. Reflection On The Pond brings to our avid ears another round of their Atmospheric Black Metal overflowing pain, melancholy and obscurity, with the acoustic and electric guitars by Damian once again penetrating deep inside our souls; and it’s then time for the second cover of the album, The Sun Was In My Eyes: Part One by Woods of Ypres (also check the original version HERE), sounding even more imposing and epic. Finally, an acoustic intro by Damian kicks off the closing aria Elegy Of The Stars, offering over ten minutes of serene passages intertwined with atmospheric and somber blasts of Black Metal, with the vocal lines by Michał overflowing anger supported by the ominous drums by Łukasz.

If The Ocean Could Sing can be appreciated in full on YouTube and on Spotify, but of course in order to truly support the underground you can grab a copy of the album from the project’s BandCamp page, and don’t forget to also subscribe to their official YouTube channel. Damian and his Against the Seasons are definitely making the ocean sing in their enfolding and melancholic new album, offering a feast of Atmospheric Black and Doom Metal with Post-Metal nuances for admirers of the genre that will certainly fuel Damian to keep embellishing the airwaves with his dark and extremely melodic music for many years to come.

Best moments of the album: Exile and Elegy Of The Stars.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. Exile 4:56
2. The Astral Dialogue (Agalloch Cover) 5:18
3. Ode 4:43
4. Reflection On The Pond 4:24
5. The Sun Was In My Eyes: Part One (Woods of Ypres Cover) 6:31
6. Elegy Of The Stars 10:18

Band members
Damian Kinowski – guitars

Guest musicians
Michał Miluśki – vocals
Łukasz Tomczak – bass, drums

Metal Chick of the Month – Donna Diane

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Cover your heads… No one escapes my hell… On all you know!

It’s time to make a lot of noise here at The Headbanging Moose, courtesy of our multitalented, unstoppable metal lady of this month of November. Pulling triple duty for Chicago, Illinois-based Noise Rock duo Djunah, simultaneously singing, playing the guitar, and playing a Moog bass organ with her feet (which is the reason why they like to say that they have “a leg for a bassist”), she will blow your mind with her undeniable charisma and skills, in special her powerful, unrestrained vocal style, channeling all her mental health issues through her music in the best way imaginable. Get ready to be absolutely stunned by the one and only Donna Diane, letting her music penetrate deep inside your soul and touch your heart in the name of our good old Rock N’ Roll.

Drawing a broad range of comparisons from PJ Harvey and Diamanda Galás to Melvins, the independent Noise Rock project Djunah (pronounced “JUNE-uh”) pairs Donna’s powerful, unrestrained vocal style with crashing guitar riffs and heavy, punishing drums courtesy of drummer Jared Karns (Their/They’re/There, Hidden Hospitals), blending elements from Noise Rock with Post-Metal, Post-Doom, Post-Hardcore and so on to give their sound a very unique taste. Known for their massive, intense live sound, the duo was formed back in 2018 fueled as much by big emotions as it is by love of gear. Donna and Jared have already released the singles Built and Brother, both in 2018 (and both also available as amazing videos on YouTube by clicking HERE and HERE, respectively), followed by their debut full-length album Ex Voto, in 2019, and more recently their sophomore effort Femina Furens, in the first quarter of 2023. For instance, you can find all of their noisy creations on BandCamp and on Spotify, and some of their wicked songs also on YouTube, including the excellent Animal Kingdom and Seven Winds of Sekhmet, or click HERE for all things Djunah.

Speaking about the single Brother, it’s important to say that the song not only features the voices of Anita Hill, Ana Maria Archila, Maria Gallagher and Christine Blasey Ford, but even more important than that, 100% of all sales are donated to Brave Space Alliance, the first Black-led, Trans-led LGBTQ+ center located on the South Side of Chicago. This is a very strong statement of the political and social aspect of the music by Djunah and the importance of discussing such themes to Donna, which means if you want to join her in her everyday fight against prejudice and inequality, you should definitely purchase the single from Djunah’s own BandCamp page. That’s a very good example of exactly how music can have a strong and lasting positive impact in our lives.

Their most recent opus, titled Femina Furens, also has a deep, emotional meaning to Donna. Femina Furens, which is Latin for “furious woman”, fuses influences from poetry the likes of Gerard Manley Hopkins, Sylvia Plath and John Donne, and heavy music such as PJ Harvey, Hum and Neurosis to tell the story of diagnosis and continuing recovery from complex post-traumatic stress disorder, or C-PTSD, with its artwork being inspired by representations of the divine feminine in 1970’s Sci-Fi Metal art, particularly the work of French artist Philippe Caza for “Métal hurlant” (later republished in the United States as “Heavy Metal” magazine). Animals, chariots or sleighs, and mythological figures appear prominently on the album as a way of exploring themes of emotional regulation, power and control, some of the core features of trauma disorders.

“We’re heavy, noisy, and still fairly melodic. If you like aggressive guitar, big drum fills, and an even ratio of singing to shouting, you’ll probably like us,” commented Donna, and you can easily sense the impact of all of her main idols influences in the music by her beast Djunah. For instance, she listens to a lot of early and pre-war Blues, Soul and R&B, with some of her favourite singers being Tina Turner and Lou Rawls, while she also loves Bo Diddley. However, it’s not just music that inspires her. “I’d say the majority of my influences are nonmusical because it makes for more interesting art that way. Some influences are related to the gear I use and building songs around those sounds. Politics had an incredibly strong influence on the album – songs like Built, Bless Your Money, and Mirrors for Narcissists are good examples of that. Messing around with poetry and meter is also a big source of inspiration for me. The name Djunah actually derives from one of my favorite writers, Djuna Barnes, eternal queen of the ungodly long sentence.”

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Donna is (or was) also part of a Chicago-based slashy, bass-Heavy Rock trio named Beat Drun Juel, where she’s responsible for the vocal and guitar duties while Jesse Giallombardo takes care of bass and Mat Haywood of drums. This project came before the creation of Djunah, having released so far a demo EP titled Off Your Face, back in 2014, followed by the two-track EP This Is How I Get Over You / That Boy Musta Stole Something of Mine, in 2015, and the full-length album Suppressor, in 2016, all available on their BandCamp page. Furthermore, you can also go to the project’s official YouTube channel and enjoy their videos for the songs That Boy Musta Stole Something of Mine, Hugger, and Die Unknown. I believe the band is either done or on hold due to Djunah, but you never know if or when Donna will revisit it in the near future.

Donna was also featured on Premier Guitar’s Rig Rundown back in 2020, where she talked about how she managed to learn how to play two instruments at the same time live, plus of course singing. “I actually dove right into it. The most time-consuming part was learning about synthesis because I’d never used an analog synthesizer before. I played a few solo shows with the bass organ first to see if it was something viable to do on stage. Then Nick and I started playing together, and it took us just a couple months to get a set together. I will say I’ve improved a lot over the two years I’ve been doing it. I’m constantly developing technique and changing my setup to help me to do more complex things. So, it’s always a work in progress,” commented our multi-talented diva, also saying that she believes people enjoy the show a lot in intimate settings when they can see what she’s doing up close. “It was definitely a case of necessity being the mother of invention. My old band had ground to a halt, and I wanted a way to play solo without sacrificing the bass. I don’t like using prerecorded sounds or loops, so I decided to try playing guitar and a bass synth simultaneously. It’s such a mindfuck – I love it!”

In April 2021, Donna opened up about being diagnosed with complex post-traumatic stress disorder, or C-PTSD, a disorder caused by complex trauma, or multiple traumas sustained and repeated over time. “Complex trauma can take many forms, such as domestic violence or abuse in childhood (as in my case), and it can have painful, lifelong consequences,” commented Donna, who believes it’s extremely important for anyone suffering from their own sicknesses and traumas to search for help and support, also pointing out the importance of music in that process. “Every day, people come forward with personal stories about sexual assault or opioid addiction or mental illness, and we’re slowly learning as a society to embrace that vulnerability instead of shaming it and telling it to shut up. I want to make music that represents the power of that vulnerability. A lot of my life, I was told I was too sensitive and that being sensitive is weak. So, I killed off a lot of the feeling, in my heart and in my body, just to make it through the day. Reclaiming it and finding power in it has been incredibly healing for me. I think that’s why there’s a lot of sexuality in the music. Sex, to me, is the ultimate in combining sensitivity and power. I sometimes think of it as feminine power, but really it has no gender.” Hence, if you or someone you know need help, you can call the suicide crisis line at 1-800-273-8255 or text 741741, and also search for valuable resources at the No Shame On U website (Chicago only or nationwide).

There are several online interviews with Donna that will show you how amazing she is, and everything she’s doing to take the name of Djunah to new heights. In this one to Car Con Carne Podcast, for example, she talks about her journey and her fight against her personal issues and struggles with C-PTSD; then two years later, she joined Car Con Carne Podcast again in an episode called ‘she who is powerful’ to talk about Djunah’s newest album Femina Furens. There’s also a podcast named Conversations With Dwyer where Donna talks about playing in Chicago dive bars at 17, how she went from writing a novel to music, the DIY ascent of her band and her struggles with C-PTSD; and another one called Mid-Riff where Donna discusses inventing bass organ techniques, dressing like Steve Albini, mentorship, the impact of trauma therapy on music, and much more. Having said all that, what are you waiting for to know more about the unstoppable Donna Diane and her Djunah? Let there be rock, and let there be noise.

Donna Diane’s Official Instagram
Djunah’s Official Facebook page
Djunah’s Official Instagram
Djunah’s Official YouTube channel
Djunah’s Official BandCamp page
Djunah’s Official Spotify

“Music is a physical, full-body experience for me anyway, so playing with my whole body – and controlling so much of the frequency spectrum – only deepens that.” – Donna Diane

Concert Review – UADA (Lee’s Palace, Toronto, ON, 09/13/2023)

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An atmospheric (and long) night of extreme music spearheaded by the best Melodic Black Metal band of the current scene beautifully darkened the skies of Toronto and the hearts of the metalheads in the city.

OPENING ACTS: A Flock Named Murder, Unreqvited, Cloak and Ghost Bath

There have been countless rock and metal concerts in Toronto since the end of the European summer festivals, and that’s having its toll on the attendance of those concerts as no one has enough time and money to support all those bands when they bring their live performances to the city. That was the case last night when A FLOCK NAMED MURDER, UNREQVITED, CLOAK, GHOST BATH and the mighty UADA took the cozy Lee’s Palace by storm on a night of darkness, blasphemy, deep emotions and truly atmospheric heavy music during their Crepuscule North America 2023. Well, although the show wasn’t even close to be sold out, there were till several brave headbangers at the venue to support those incredible bands, and let’s always keep in mind that we’re talking about the underground of the underground, with zero support from the regular media.

Shortly after the doors at the venue opened at 7pm, Toronto, Ontario-based Black/Death/Post-Metal act A FLOCK NAMED MURDER kicked off the night’s black mass with their short but extremely powerful set, spearheaded by the band’s vocalist and guitarist Ryan Mueller. Having released to date the 2018 album An Appointed Time and the 2022 single Garden of Embers, which I’m pretty sure they played last night (and once again, it’s so hard to keep track of any setlist from almost all underground bands), the quartet put on a solid performance for the crowd, already inspiring some decent headbanging among the attendees. Their music is great and deserves a listen without a shadow of a doubt, and you can do so by visiting their BandCamp page or also by going to Spotify. Needless to say, if they ever play in your city, don’t miss the chance to witness this up-and-coming extreme music horde from Toronto.

Band members
Ryan Mueller – vocals, guitars
Mike Binns – guitars
Mike Wandy – bass
Cam Mueller – drums

Some people (including myself) were a little worried with the number of bands playing last night, as no one knew for sure what time the night was going to end. However, the quality of the music played by all groups was fantastic, which was also the case for the Stygian performance by  Ottawa, Ontario-based Atmospheric Post-Black Metal/Shoegaze/Ambient act UNREQVITED. Although Unreqvited is the solo project of vocalist and multi-instrumentalist William Melsness (also known as 鬼, which means “ghost” in Chinese), the band’s live lineup is formed of William alongside guitarist Victor Forest, bassist Robin Parsons and drummer Alec Curren, and let me tell you that those four guys kicked some serious ass on stage, resulting in a very pleasant surprise for anyone who was not familiar with their music. By the way, Victor and Robin had a fantastic onstage performance, mesmerizing the crowd with their somber sounds. I like to say that the type of music played by Unreqvited is a lot more emotional than heavy or obscure, and you can sense all that by enjoying their 2021 album Beautiful Ghosts and their 2022 single Perpetual Green of the Willow Groves, both available on BandCamp and on Spotify. Needless to say, I hope I can see Unreqvited live again sooner than later.

Band members
William Melsness (鬼) – vocals, guitars
Victor Forest – guitars
Robin Parsons – bass
Alec Curren – drums

It was getting late for a Wednesday night, but who cares? After a quick break it was time for Atlanta, Georgia’s own Black Metal/Black N’ Roll horde CLOAK to bring the energy and fire of their new album Black Flame Eternal to the stage of Lee’s Palace in the most metallic of all concerts of the night. Scott Taysom, Max Brigham, Billy Robinson and Sean Bruneau took no prisoners in their quest for extreme music, blasting our ears with several devilish and frantic tunes including the incendiary Seven Thunders and Black Flame Eternal, inspiring the crowd to raise their horns in the name of evil nonstop, and proving why they’re one of the must-see names of the current Black Metal scene. Just like what said about the previous bands, you can find their music on BandCamp and on Spotify, and if UADA are visiting your city make sure you get to the show early to catch the pulverizing concert by the guys from Cloak.

Band members
Scott Taysom – vocals, guitars
Max Brigham – guitars
Billy Robinson – bass
Sean Bruneau – drums

I think it was already past 10pm when Minot, North Dakota-based Depressive/Post-Black Metal entity GHOST BATH began their sinister and neck-breaking concert. Still promoting their 2021 album Self Loather, the band led by the charismatic vocalist and guitarist Nameless darkened the atmosphere at Lee’s Palace considerably, with their three-guitar attack formed of Nameless together with Tim Church and John Olivier sounding absolutely amazing from start to finish. Apparently they had a few minor sound issues in the beginning of their performance, which might explain the delay in their concert to start, but nothing that would bring any harm their onstage blackened party. All of their albums, including of course their latest offering, are available on BandCamp and on Spotify, so do not waste a single second and go check their insane creations, getting ready to praise darkness and melancholy whenever Ghost Bath invade your damned city.

Band members
Nameless – vocals, guitars
Tim Church – guitars
John Olivier – guitars
Josh Jaye – bass
Chris Piette – drums

UADA

What happens when a concert that was supposed to have started at 10:45pm, which is already late, has a 40-minute delay? Exactly, people start to get back to their homes because of several reasons like catching the last subway or train home, or having to wake up really early to work or go to school. That was basically the main issue with the flawless and beyond atmospheric performance by Portland, Oregon-based Melodic Black Metal titans UADA, resulting in some gaps in the floor section that didn’t look nice, but that didn’t change the fact UADA were fantastic on stage either. Having released their new masterpiece Crepuscule Natura just the Friday before the concert, such uncanny horde formed of vocalist and guitarist Jake Superchi, guitarist Kevin Bedra, bassist Nate Verschoor and drummer Trevor McClain was on absolute fire from start to finish, making everyone who could stay until the very end of their concert extremely happy and satisfied.

The smoke, the dim lights, and the band’s dark and menacing outfits that make it impossible to see their faces (plus of course the incense and the stunning setup of their merch table) are crucial elements of their live performances, and although photographers like my friend Keith Ibbitson of Lower Eastside Photography don’t really like that type of ambience as it gets tough to take clear photos, in the end everything works perfectly and has a reason to be there. From the very first notes of the explosive The Purging Fire, UADA already showed everything they got and their deep passion for dark music. After such hypnotizing start, they had a microphone issue during Snakes & Vultures that seemed to have driven Jake a little upset (which is totally understandable), but the crowd knew it wasn’t the band’s fault at all and enjoyed the song to the fullest even with that minor incident.

The title-track to their 2020 album, the breathtaking Djinn, might be my favorite UADA song to date, and seeing it being played live again (after seeing them opening for Rotting Christ earlier this year) was a thing of beauty, this time sounding and feeling even more powerful, followed by the also imposing and multi-layered In the Absence of Matter. However, it was when they played their two new songs The Dark (Winter) and Retraversing the Void that things got even more majestic, with the quartet playing those songs to perfection and inspiring everyone at the venue to bang their heads nonstop together with them, just to show how powerful their new album is. And finally, closing their cryptic performance they offered our avid ears their already classics Cult of a Dying Sun and Black Autumn, White Spring, putting an epic finale to a night that was extremely long, but at the same time extremely enjoyable. I can’t wait to see UADA again live, hopefully not so late at night due to my other commitments, but to be honest, who cares? Seeing what’s in my humble opinion the best and most innovative band of the current Melodic Black Metal scene kicking ass on stage is worth the effort, and may those mysterious guys return to Toronto for another metallic assault sooner than we can say “UADA”!

Setlist
The Purging Fire
Snakes & Vultures
Djinn
In the Absence of Matter
The Dark (Winter)
Retraversing the Void
Cult of a Dying Sun
Black Autumn, White Spring

Band members
Jake Superchi – vocals, rhythm guitars
Kevin Bedra – lead guitars
Nate Verschoor – bass
Trevor McClain – drums

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Concert Review – Khemmis (Lee’s Palace, Toronto, ON, 05/02/2023)

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Not even a cold and rainy night could stop the metalheads in Toronto from enjoying another fantastic feast of underground heaviness and doom.

OPENING ACTS: Wake and Conjurer

Despite the bad weather that’s been hitting Toronto for days with nonstop rain and colder-than-expected temperatures, the cozy Lee’s Palace received an awesome number of fans this Tuesday night for the Deceiver North America MMXXIII Tour, featuring the bands WAKE, CONJURER and KHEMMIS, on another fantastic event organized by Noel Peters of Inertia Entertainment. One of the concert goers was Keith Ibbitson of Lower Eastside Photography, who took care of the amazing pictures from this review, and as you can see based on the photos taken it was indeed an incendiary night of underground Black, Doom, Death and Sludge Metal in the city, courtesy of three of the most interesting bands you can find out there.

The first band to hit the stage was Calgary, Alberta-based Black/Death Metal act WAKE, and it was an unforgettable experience for all fans at an already packed venue. Still promoting their 2022 album Thought Form Descent, those five Canadian metallers delivered an electrifying performance to the crowd, with their intense sound and powerful vocals inspiring everyone for some good headbanging throughout the entire set. The lighting and sound were on point, adding to the overall atmosphere of the show. Playing a mix of old and new songs that had the crowd singing along, Wake’s performance was flawless, not to mention the venue itself was perfect for the show, with a great layout and plenty of space for everyone to enjoy the music. Overall, it was an amazing display of heavy music and great vibes, and if you get the chance to see Wake live, don’t miss it!

Setlist
Infinite Inward
This Abyssal Plain
Swallow the Light
Venerate (The Undoing of All)

Band members
Kyle Ball – vocals
Arjun Gill – guitars
Rob LaChance – guitars
Ryan Kennedy – bass
Josh Bueckert – drums

Right after Wake, it was time for UK’s Sludge/Doom/Post-Metal outfit CONJURER to deliver a solid performance that was nothing short of electrifying, having the crowd fully engaged form start to finish. Mixing some of their old songs with newer ones from their 2022 opus Páthos, the band formed of Dan Nightingale, Brady Deeprose, Conor Marshall and Noah See showcased all their versatility and growth as musicians, hammering the heads of each and every person at Lee’s Palace with their sluggish, heavy-as-hell sounds. Kudos to the venue for another excellent lighting, adding an extra layer of intensity to Conjurer’s performance, and if I were you I wouldn’t miss their show in your city if Sludge Metal is your cup of tea. Needless to say, I can’t wait to see them perform again in Toronto.

Setlist
It Dwells
Scorn
Choke
Hollow
Suffer Alone
Retch
Cracks in the Pyre
Hadal

Band members
Dan Nightingale – guitars, vocals
Brady Deeprose – guitars, vocals
Conor Marshall – bass
Noah See – drums

KHEMMIS

After opening for Opeth and Mastodon in the beginning of 2022, and also for Trivium close to the end of the year, Denver, Colorado’s own Doom Metal entity KHEMMIS returned to Toronto now in 2023, this time as the headliners, for another lesson in doom. Having recently launched a two-track EP titled Where the Cold Wind Blows, Khemmis kicked some ass from start to finish, opening their set with the excellent Avernal Gate, followed by one of the songs form their new EP, the also amazing Sigil. The crowd was buzzing with excitement as the quartet continued their electrifying set until the very end, closing their performance with the thrilling song A Conversation with Death.

The crowd at Lee’s Palace was obviously headbanging along with the music, and Khemmis fed off of their energy, delivering an even more powerful and intense performance than expected. Overall, it was an incredible night of heavy music at Lee’s Palace spearheaded by those American metallers, who proved once again why they are one of the most exciting bands in the genre today and why they keep coming back to Toronto (either as an opening act or as the main attraction) so often. Well, as a matter of fact, Khemmis mentioned during their performance that Toronto has the most underrated food in the world, saying that every single time they come to the city to play a concert they have the tastiest food in the world. In other words, they love Toronto from the bottom of their blackened hearts not only because we’re the best metalheads in the world, but also because they know that they never have to play with an empty stomach in the city. It’s like a win-win situation where they get fed with first-class food, while we get fed with first-class music, right?

Setlist
Avernal Gate
Sigil
Candlelight
Bloodletting
Three Gates
House of Cadmus
Above the Water
The Bereaved
A Conversation with Death

Band members
Ben – vocals, guitars
Phil – vocals, guitars
David Small – bass
Zach – drums

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Album Review – They Grieve / To Which I Bore Witness (2023)

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A two-piece Canadian band will take you on an introspective journey to the sound of their new album, a cold embrace of Post-Metal colliding with Ambient Drone meant to be dark and depressing.

A two-piece Sludge/Drone/Post-Metal band formed in 2015 by former members of Alaskan and Stay Here, those being Gary Thibert on vocals, guitars and bass, and Deniz Güvenç on vocals, drums, piano and synths, in Ottawa, Canada’s capital located in the east of southern Ontario, They Grieve hope that their music fills a niche not quite like other Post-Metal acts who are currently active, and their first full-length opus, titled To Which I Bore Witness, is a clear step up for them. Engineered and mixed by Topon Das at Apartment 2 Recording, mastered by Dave Williams at Eight Floors Above, with additional piano recorded by Alex Jakimczuk at Uppercut Studios, and displaying a stylish artwork and design by Pascale Arpin, the album takes the form of an introspective journey, meant to be depressing, while the listener is confronted with sad, loud music that’s not meant to cross into anger, a cold embrace of Post-Metal colliding with Ambient Drone recommended for fans of The Body, Cult of Luna and Bell Witch.

A slow build grows in intensity until all hell breaks loose in Wither, showcasing melancholic, grim lyrics (“Failure knows no bounds and makes its home here within me / Endless is the night of its becoming / Nothing returns / Cower, collapse, wither”) while the sluggish beats by Deniz make an interesting paradox with his own synths. Then investing in a sinister Sludge/Doom Metal sound, the duo will hammer our heads and pierce our minds with their dirty riffs and pounding drums in Under the Weight, also showcasing a phantasmagorical passage to the synths by Deniz, sounding heavy and atmospheric from start to finish; whereas If Light Should Appear is another seven-minute ode to darkness and doom where Gary is devilish with his raw riffs and low-tuned bass, resulting in the perfect depiction of what Atmospheric Sludge Metal is all about. The title-track To Which I Bore Witness will drag your damned soul to endless darkness while the duo roars in anger and pain, again showcasing their slow and steady guitar lines and drums, being therefore not recommended for the lighthearted. After such intense and Stygian tune, it’s time for a soothing instrumental interlude titled Guided, with its minimalist sounds setting the tone for Weakness, presenting deep, melancholic lyrics (“I am bound to only the quiet call of ruin / And weakness holds me / Weakness alone holds me”) while the music is as atmospheric, savage and obscure as possible until the very end.

In case you want to know more about Gary, Deiz and their They Grieve, and therefore show them all your admiration and support, you can start following the duo on Facebook and on Instagram for news, tour dates and so on, stream more of their music on Spotify, and above all that, purchase To Which I Bore Witness from the Silent Pendulum Records’ BandCamp page or webstore, or simply by clicking HERE. “This album, both lyrically and musically, tries to capture the uncomfortable juxtaposition between weakness and weight. We are constantly trying to express the ways in which the ugliness and decay we see in the world sets itself down and plants its roots inside of us – how the weight of the world transforms into our own weakness once it has done so. We try to capture this feeling of juxtaposition and tension within the music itself by oscillating between ambient, textural drones and heavy, doom-laden riffs,” commented the duo about their newborn spawn, an album that will certainly cement their name among the best bands of the current Post-Metal scene worldwide.

Best moments of the album: Under the Weight and To Which I Bore Witness.

Worst moments of the album: None.

Released in 2023 Silent Pendulum Records

Track listing
1. Wither 7:12
2. Under the Weight 7:23
3. If Light Should Appear 7:00
4. To Which I Bore Witness 6:43
5. Guided 3:18
6. Weakness 8:01

Band members
Gary Thibert – vocals, guitars, bass
Deniz Güvenç – vocals, drums, piano, synths

Album Review – Heiden / Andzjel (2022)

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Wandering across different genres and inspirations, this Czech Progressive Black Metal entity offer in their ninth studio album a stunning view of the inhospitable beauty of the White Carpathians.

Having started up in 2003 as a Pagan Black Metal band, Brno, Czech Republic-based Progressive Black Metal entity Heiden wanders across different genres and inspirations, returning now in 2022 to a Dark Metal sound with their newborn opus entitled Andzjel, or “angel” in English, their ninth studio album expanding the perspectives of their audience base through dark, elegant and atmospherically authentic music. Mixed and mastered by Karl Daniel Lidén at Tri-Lamb Studio, and displaying a classy artwork taken from the personal collection of inhabitants of the Žítková village and repainted by Luděk Řezáč, Andzjel presents seven songs thematically set in the inhospitable beauty of the White Carpathians, offering an insight into the souls of the local people, sharing the soil, blood, healing and knowledge passed down through generations, showcasing not only the talent but also the deep connection the band comprised of vocalist, guitarist and bassist Kverd, guitarist Tom, keyboardist Werlinga and drummer Einsk have with their homeland.

The strident guitars by Kverd and Tom ignite the imposing opening tune Nevěřím těm očím (“I can’t believe those eyes” from Czech), blending elements from Progressive and Symphonic Black Metal and, consequently, generating a Stygian atmosphere perfect for the cryptic gnarls by Kverd; and switching gears to a more melodic and melancholic vibe we’re treated to V hodině vlka (“in the hour of the wolf”), getting closer to modern-day Post-Metal while Einsk does a beautiful job with his minimalist beats and Werlinga’s keys embellish the airwaves in great fashion. Continuing to showcase their more Jazz-ish side, Musím ti tolik říct (“I have so much to tell you”) brings to our ears another ass-kicking round of keys by Werlinga accompanied by the classy guitars by Kverd and Tom, followed by Září (“September”), as wicked and obscure as its predecessors, sounding very detailed and enfolding from the very first second with Eisnk alternating between shee violence and more intimate, rhythmic beats, resulting in a lecture in Post-Metal infused with tons of progressiveness.

Sviť, měsíčku, jasno, an adaptation of a Moravian folklore song from the Kopanice region that means “shine, moon, clear”, brings forward two and a half minutes of experimentations and eerie sounds, which could have been extended to something more complete instead of working as just an interlude, though, whereas Běsů se nezbavíš, or “you can’t get rid of demons”, is another solid hybrid of Progressive Metal and Post-Rock and Metal, at the same time soothing your soul before smashing you with a visceral sonic attack led by the devilish vocals by Kverd. Lastly, the quartet will captivate our senses once again in Patřím sem (“I belong here”), with Werlinga and Eisnk being  in absolute sync with their respective keys and beats, not to mention how caustic the guitars by Kverd and Tom sound, consequently putting a dark and climatic ending to the album.

If you want to know more about Heiden, get in touch with the band and show them all your support, you can start following them on Facebook and on Instagram, subscribe to their YouTube channel and stream their unique creations on Spotify, and above all that, purchase a copy of Andzjel from their own BandCamp page or webstore, or simply click HERE to get fully immersed in the obscure realm of Heiden. The phenomenon of the Žítková goddesses, which the postwar totalitarian regime permanently eradicated, is still present in Andzjel, inviting us all to learn more about the history of the Czech Republic while enjoying the first-class experimentations by those four skillful musicians, proving the Czech underground scene is and will always be a fantastic source of great music.

Best moments of the album: V hodině vlka, Září and Běsů se nezbavíš.

Worst moments of the album: Sviť, měsíčku, jasno.

Released in 2022 Magick Disk Musick

Track listing
1. Nevěřím těm očím 5:57
2. V hodině vlka 5:37
3. Musím ti tolik říct 4:18
4. Září 5:34
5. Sviť, měsíčku, jasno 2:25
6. Běsů se nezbavíš 3:51
7. Patřím sem 5:07

Band members
Kverd – vocals, guitars, bass
Tom – guitars
Werlinga – keyboards
Einsk – drums

Album Review – I MAIALI / cenere/CENERE (2022)

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A thrilling overdose of Blackened Post-Hardcore by an Italian horde presenting to us all “the gospel of our Messiah” in the form of their sophomore opus.

Brought into being in 2016 in the city of Rome, Italy, Blackened Post-Hardcore project I MAIALI has found their dimension in a dirty, no-nonsense sound between Post-Hardcore and Noise without forgetting the 90’s and the whiff of novelty that it brought to the world of underground music while remaining tied to a modern and impactful sound, and all that can be fully appreciated in their sophomore opus, titled cenere/CENERE. Produced, engineered, recorded and mixed by Davide Rosati at ACME Recording Studio, mastered by Gianpiero Ulacco at Hologram Studios, and displaying a wicked artwork by Coito Negato, “cenere/CENERE is the gospel of our Messiah, starting from his genesis up to the stake that will reduce him to ashes; however, it is not just a story, but a journey, which will first see him indulge, then oppose the will of a superior entity: a master whom he recognizes as a father. The deeds he performed and the continuous struggle with his conscience are the basis of the 12 tracks that mix post-hardcore and black metal, with some forays into psychedelia. We will explore the concepts addressed in the debut album CVLTO, making you know our God better and showing you how easily we humans are conditioned. Our Messiah is now among us, listen to him,” commented vocalist Francesco Foschini, guitarist Daniele Ticconi, bassist Matteo Grigioni and drummer Angelo Del Rosso about the album.

Daniele ignites the band’s wicked musical voyage with his guitar in Genesi, being gradually accompanied by the devilish vocalization by Francesco in a nice way to kick off the album with a huge dosage of modern-day Post-Metal. Then enhancing their rage and animosity it’s time for the quartet to crush our senses with Ora, Sorgi!, showcasing an excellent job done by Angelo behind his drums and, therefore, resulting in a vicious depiction of Blackened Hardcore; whereas L’Orrore follows a similar pattern as its predecessor, which means it’s awesome of course, with Matteo hammering his bass mercilessly while Francesco roars and screams nonstop. There’s no time to breathe as those Italian noisemakers are on fire in the Post-Hardcore extravaganza Parassita, spearheaded by another round of flammable riffs by Daniele, and Stanza 101, a recommended option for banging your head in the name of pure darkness, also presenting elements from the unique music blasted by Marilyn Manson and Rob Zombie. And more of their eerie sounds comes in the form of Oblio, where Francesco’s vocals walk hand in hand with the progressive beats by Angelo.

Messi∀ focuses exclusively on the anguished vocals by Francesco while the background music is comprised of pure noise; whereas in Sculture da Autopsia the band is back to a more melodic, introspective vibe where Daniele an Matteo continue to extract electricity and groove form their stringed weapons in another shot of their trademark Blackened Post-Hardcore. Assalto Cannibale is as demented as it can be, with Angelo dictating the pace and offering his bandmates exactly what they need to smash us all with their sick, darkened Hardcore, and getting closer to the end of the album I MAIALI keep embellishing the airwaves with their obscurity and heaviness in (r)Umore Blu, with Francesco stealing the spotlight with another visceral performance on vocals, followed by Plumbeo Giudizio, sounding modern, vibrant and piercing as our good old Blackened Hardcore demands, bringing forward more of the caustic riffage by Daniele and the classy bass punches by Matteo. Finally, featuring a guest guitar solo by Davide Rosati, the tribal beast by Angelo will hit you hard in the head in Io, Brucio, ending the album on a beyond climatic and acid note.

In case you’re curious to know what Blackened Post-Hardcore is all about, you can enjoy cenere/CENERE in its full glory on Spotify, and don’t forget to follow the band on Facebook and on Instagram to stay up to date with all things I MAIALI, to subscribe to their YouTube channel for more of their wicked music, and obviously to purchase the idiosyncratic cenere/CENERE from their own BandCamp page. As aforementioned, the music by I MAIALI is not just dirty and modern, but it effectively represents everything the band stands for, their passion for heavy music, their hopes and dreams, and I bet it won’t take long for those Italian rockers to invade our senses with more of their incendiary, uncompromising music in the coming years.

Best moments of the album: Ora, Sorgi!, L’Orrore, Parassita and Plumbeo Giudizio.

Worst moments of the album: Messi∀.

Released in 2022 Overdub Recordings

Track listing
1. Genesi 2:22
2. Ora, Sorgi! 1:44
3. L’Orrore 2:05
4. Parassita 2:12
5. Stanza 101 1:49
6. Oblio 1:49
7. Messi∀ 1:29
8. Sculture da Autopsia 2:14
9. Assalto Cannibale 2:58
10. (r)Umore Blu 2:14
11. Plumbeo Giudizio 1:58
12. Io, Brucio 5:50

Band members
Francesco Foschini – vocals
Daniele Ticconi – guitar
Matteo Grigioni – bass
Angelo Del Rosso – drums

Guest musician
Davide Rosati – guitar solo on “Io, Brucio”

Album Review – E-L-R / Vexier (2022)

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This Swiss Post-Metal/Doomgaze outfit is inviting us all on an adventurous journey through their multi-dimensional musical cosmos to the sound of their sophomore album.

Formed in Bern, Switzerland in 2016 by bassist I.R. and guitarist S.M., and joined by drummer M.K. soon after, Post-Metal/Doomgaze outfit E-L-R lures and seduces the listener with glimpses of deeper meaning and the constant discovery of new layers that reveal further ones once peeled away, which is exactly what will happen to you after listening to their new opus entitled Vexier. Produced by E-L-R and Remo Häberli, recorded, mixed and mastered by Remo Häberli at Hidden Stash Tonstudio, and featuring a charming cover photography by Laura Petresc and portraits by Ramon Lehmann (with layout and design by the band’s own S.M.), Vexier, which title derives from the Latin word “vexare” meaning “to plague” or “to irritate” and in German a “vexierbild” means a flip-flop image while in some dialects a “vexier” is a puzzle game, presents massive, sweeping doomscapes that swallow you whole with epic riffs, allowing the band to take another decisive step forward and invite the listener on an adventurous journey through their fascinating and multi-dimensional musical cosmos.

If you enjoy melancholic, atmospheric passages you’re in for a treat to the opening track Opiate the Sun, growing in intensity to the sluggish, doomed beats by M.K. until the guitars and bass by S.M. and I.R., respectively, add an extra touch of insanity to the overall result (not to mention how mesmerizing the vocalizations by S.M. and I.R. sound and feel), with its soothing ending exploding into the venomous Three Winds, showcasing a fusion of Post-Metal with Atmospheric Black Metal where M.K. shows no mercy for his drums while S.M. slashes her axe in great fashion. Put differently, it’s the perfect alternative for metalheads who want to experiment what “doomgazing” is for the first time. Then we have Seeds, where the vocals by S.M. and I.R. walk hand in hand with their own stringed weapons, therefore resulting in a headbanging, obscure wall of sounds with the trio jamming like there’s no tomorrow until the song’s sharp ending; and their strident riffage keeps permeating the air in the visceral Fleurs of Decay, a stunning Post-Metal feast tailored for admirers of the genre where E-L-R will drag you to their atmospheric lair with their slow, dense and captivating sounds. Lastly, tribal beats ignite the closing tune entitled Forêt, where the trio once again carefully and slowly builds a somber ambience before the sound of the guitars and bass offer guest vocalist BAZE all he needs to shine on vocals, putting a beyond hypnotizing, epic and gentle ending to the album.

As aforementioned, E-L-R want to lure and seduce you to their darkened lair to the sound of their new album Vexier, which is not only the ideal follow-up to their 2019 debut album Mænad, but a lecture in Doomgaze that will certainly open the ears and minds of the unbelievers. Hence, in order to show the girls and guy from E-L-R all your support and admiration, you can start following them on Facebook and on Instagram, stream all of their creations on Spotify, and above all that, purchase a copy of Vexier by clicking HERE. The world of Post-Metal, Doomgaze and other sinister, underground subgenres of heavy music has just been graced with one of the finest albums of the year thanks to the talent, creativity and hard work by S.M., I.R. and M.K., placing them among the most interesting bands of the current scene and, consequently, bringing to us all the undisputed soundtrack to gaze at the stars on a pitch black night.

Best moments of the album: Three Winds and Fleurs of Decay.

Worst moments of the album: None.

Released in 2022 Prophecy Productions

Track listing
1. Opiate the Sun 12:07
2. Three Winds 8:08
3. Seeds 6:37
4. Fleurs of Decay 7:15
5. Forêt 12:11

Band members
S.M. – guitar, vocals
I.R. – bass, vocals
M.K. – drums

Guest musicians
Remo Häberli – additional guitars
BAZE – vocals on “Forêt”