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Metal Chick of the Month – Tina Gunnarsson

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Open your doors to the gates of hell, Tina!

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

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

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

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

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

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

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

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

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

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

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

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

Album Review – Lucifer / Lucifer V (2024)

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Sweden’s own Heavy and Doom Metal coven will drag you to their Stygian lair to the sound of their breathtaking fifth full-length offering.

Three years after the release of their critically acclaimed album Lucifer IV, Stockholm, Sweden’s own Heavy/Doom Metal/Rock coven Lucifer returns from the depths of the underworld with a new and breathtaking offering, simply titled Lucifer V, blasting our ears with their characteristic doomed sounds in the name of darkness and evil. Highly recommended for fans of Ghost, Black Sabbath, Blue Öyster Cult, Witch Mountain, Coven, Kadavar and Fleetwood Mac, among others, the new album by the talented witch Johanna Platow Andersson on vocals, Linus Björklund and Martin Nordin on the guitars, Harald Göthblad on bass and Nicke Andersson on drums will put you in a fantastic trance with its sharp and enfolding fusion of Heavy and Doom Metal with Rock N’ Roll, proving why the band has become a reference in the genre worldwide.

The Black Sabbath-inspired riffs by Linus and Martin ignite the thrilling opening tune Fallen Angel, showcasing the band’s trademark groove and darkness, with Johanna stealing the spotlight already with her mesmerizing vocals; whereas a Doom Metal start gradually morphs into the rockin’ extravaganza At the Mortuary, where once again Nicke showcases all his talent behind his drums dictating the song’s charming pace in great fashion. Then investing in a more direct Rock N’ Roll sound, get ready to dance in the dark together with Lucifer in Riding Reaper, with the riffs by the band’s guitar duo exhaling electricity and feeling, and the cabaret-inspired sound of the piano sets the tone for Johanna to deliver her passionate, devilish vocals in Slow Dance in a Crypt, a beautiful ballad that should sound amazing if played live, not to mention the song’s fiery guitar solos. Right after that we have A Coffin Has No Silver Lining, a true Rock N’ Roll anthem played to perfection by Johanna and the boys, bringing to our ears an addictive chorus and the striking riffs and solos by Linus and Martin.

It’s then time for another ass-kicking creation by Lucifer titled Maculate Heart, starting in an introspective way before exploding into a feast of Heavy Metal and Hard Rock led by the hammering drums by Nicke, followed by The Dead Don’t Speak, bringing forward four minutes of the band’s classic sonority with hints of Blues Rock added to their core essence, in special to the awesome guitar solo by Linus. Let’s now hit the road with Lucifer to the sound of Strange Sister, with Johanna having another soaring, sensational vocal performance supported by the rumbling bass by Harald and the classy beats by Nicke; followed by the straightforward tune Nothing Left to Lose but My Life, which despite being a solid song and having its dark charm it’s below the rest of the album in terms of energy and creativity. And lastly, there’s still time for two alternate versions of At the Mortuary (Halloween edit) and Maculate Heart (radio edit) as bonus tracks, and both are just as incendiary as the original ones.

Johanna and her henchmen are waiting for you on Facebook and on Instagram with more of their music, news, and their tour dates (and you should never miss a Lucifer concert as it’s simply brilliant, like the one I had the pleasure to witness in Toronto in November), and don’t forget to also subscribe to their official YouTube channel and stream all of their stylish compositions on Spotify. And above all that, go grab a copy of the incendiary Lucifer V by clicking HERE or HERE, adding to your grim album collection one of the coolest albums of another dark and sinister year ahead of us.

Best moments of the album: Fallen Angel, Slow Dance in a Crypt, A Coffin Has No Silver Lining and Maculate Heart.

Worst moments of the album: Nothing Left to Lose but My Life.

Released in 2024 Nuclear Blast

Track listing
1. Fallen Angel 3:15
2. At the Mortuary 6:07
3. Riding Reaper 4:19
4. Slow Dance in a Crypt 4:28
5. A Coffin Has No Silver Lining 4:25
6. Maculate Heart 4:09
7. The Dead Don’t Speak 3:58
8. Strange Sister 4:20
9. Nothing Left to Lose but My Life 4:40

Bonus tracks
10. At the Mortuary (Halloween edit) 4:56
11. Maculate Heart (radio edit) 3:37

Band members
Johanna Platow Andersson – vocals
Linus Björklund – lead guitars
Martin Nordin – rhythm guitars
Harald Göthblad – bass
Nicke Andersson – drums

Concert Review – Imminence (The Opera House, Toronto, ON, 11/30/2023)

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A feast of top-of-the-line Metalcore made in the United States and Sweden warmed up the hearts of all Torontonian fans on a cold and windy night in the city.

***Review by Keith Ibbitson, with photos by Ryan Miles Leblanc***

OPENING ACT: Until I Wake

The streets of Toronto were cold and windy on the night of November 30, but The Opera House had their doors open early to welcome around 300 Metalcore fans inside to keep them warm, have some cold beverages and listen to great music, courtesy of the opener UNTIL I WAKE, our close neighbours hailing from Buffalo, New York, in the United States, and Swedish metalcore monsters IMMINENCE.

UNTIL I WAKE started off the evening at 7:50pm. It was the band’s first time in Toronto and they did not disappoint. Their raw energy, blistering rhythm and powerful lyrics started the crowd off into a head banging frenzy. One interesting fact about Until I Wake is that they had a guest vocalist as they are trying to find a new singer. Well, I personally chatted with some of the band members after their set and asked who he was, but all they could tell me is that they would like him to be the new frontman for them. Such mysterious guest singer put in his work last night, jumping off the stage and onto the barrier to interact with concert goers, and he even joined them in the center of it all to start a huge circle pit before getting back on the stage. If you want to know more about the band and their music, simply click HERE and also listen to their discography on BandCamp and on Spotify, including the recently released deluxe edition of their 2022 album Inside My Head.

Setlist
For the Record
Sinking Under
Cold
Octane
Forsaken
Fool’s Paradise
Hope Ur Happy
Legacy
Inside My Head

Band members
Unknown – vocals
August Lee Geitner – guitar
Ryan Ridley – bass
Alex Curtin – drums

IMMINENCE

After a short break, more precisely at 9pm, Sweden’s own IMMINENCE got on the stage and things heated up, with bodies being jammed so tight together the heat in the building was humid and sweaty. Imminence is a band known for their unique hard rock sound and melodic electric violin, which I thought would sound weird but wow, I was pleasantly surprised as I have never seen them before. They played a one hour and fifteen minute set, and the crowd at The Opera House sang along with the band every song from what I could see. The love the fans have for the band is outstanding. In addition, Imminence’s sound guys did an absolutely stellar job, making them sound like it’s right from the album and their own lighting tech simply nailed the strobe and color bars as well. You can also click HERE for all things Imminence, and stream all of their metallic creations on Spotify, including their new singles Come Hell or High Water, Desolation, Death by a Thousand Cuts and Heaven Shall Burn, all part of their current setlist.

Setlist
Paralyzed
Ghost
Erase
The Sickness
This Is Goodbye
Come Hell or High Water
Desolation
Surrender
Death by a Thousand Cuts
Alleviate
Saturated Soul
Infectious
Chasing Shadows
∞
Heaven in Hiding
Heaven Shall Burn
Temptation

Band members
Eddie Berg – lead vocals, violin
Harald Barrett – lead guitar, backing vocals
Alex Arnoldsson – rhythm guitar
Peter Hanström – drums
Christian Höijer – bass

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Concert Review – Lucifer & Coven (Lee’s Palace, Toronto, ON, 11/24/2023)

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How to warm up a chilly night in Toronto? Simply bring to the city a huge dosage of darkness, witchcraft, doom and the occult, courtesy of the iconic rock legends Coven and Lucifer.

OPENING ACT: Early Moods

If you were searching for a place to get warm this Friday in Toronto, which was a chilly one (although not too cold compared to other parts of the country), then Lee’s Palace was the place to be, offering you a high dosage of darkness, witchcraft, doom and the occult, courtesy of EARLY MOODS, COVEN and LUCIFER during their The Satanic Panic Tour 2023, brought to the city by the always amazing Noel Peters of Inertia Entertainment. My buddy Keith Ibbitson of Metal Paparazzi and I were there to celebrate all three bands, all delivering memorable performances to the crowd, resulting in a very entertaining night that put a huge smile on the faces of all attendees who have succumbed to the darkest side of music a long time ago.

The first band to hit the stage, precisely at 8pm, was Los Angeles, California-based Doom Metal newcomers EARLY MOODS, and I must say I was truly impressed by the high quality of the music crafted by those guys. Spearheaded by frontman Alberto Alcaraz, owner of a very powerful voice by the way, the band played a short but awesome setlist comprised of five songs from their 2022 self-titled debut album (available on their own BandCamp page as well as on Spotify), inspiring all concert goers to follow the band with some nice, nonstop headbanging. Of course, as a guy coming from the always warm Los Angeles, Alberto had to mention the fact the band was definitely not used to the cold weather in Toronto on Friday, but of course we all made sure the temperature inside Lee’s Palace was warm enough for such talented doomers, and if you want to know more about them simply click HERE and enjoy their first-class Doom Metal.

Setlist
Return to Salem’s Gate
Live to Suffer
The Last Hour
A Sinner’s Past
Damnation

Band members
Alberto Alcaraz – vocals
Eddie Andrade – guitars
Oscar Hernandez – guitars
Elix Feliciano – bass
Chris Flores – drums

COVEN

After a quick break, and with the floor section of Lee’s Palace getting a lot busier with several fans wanting to be as close to the stage as possible, it was time for Chicago, Illinois’s own Satanic/Occult Rock institution COVEN to darken the skies and deliver a stunning show for all fans eager for the mesmerizing vocals by the band’s iconic frontwoman Esther “Jinx” Dawson, who kicked off the band’s black mass by leaving a coffin with a cryptic mask, a very nice touch to their show. Blending songs from their 1969 cult debut Witchcraft Destroys Minds & Reaps Souls with songs form their 1974 classic Blood On The Snow and their latest effort Jinx, released in 2013, it was a wild and fun journey back in time alongside Jinx and her henchmen Alex Kercheval on keyboards, Chris Wild on the guitars, Zayne Hutchison on bass, and Colin Oakley on drums, all undoubtedly born several years (or decades) after Jinx had already started rocking the world with her witchcraft-infused rock music.

As the great frontwoman and person that she is, Jinx made sure she properly introduced each member of the band to show everyone she’s not a solo artist, and that introduction to the boys was actually quite entertaining when she said for example that she met bassist Zayne Hutchison at a graveyard and simply “offered him a gig”. That’s how anyone should treat their band members, I must say. Back to the music, it was crystal clear that songs like Black Sabbath, the closing tune Blood on the Snow, and in special the fan-favorite Wicked Woman, were the most anticipated of their fantastic setlist, inspiring all fans to dance, headbang and raise their horns until the very last second. Jinx and her Coven are a brilliant act that’s worth every single penny to witness live, and hopefully we’ll see more of the trailblazers of Occult Rock sooner than later here in Toronto.

Setlist
Prelude / Satanic Mass
Out of Luck
Black Sabbath
Coven in Charing Cross
Wicked Woman
Black Swan
The Crematory
Epitaph
For Unlawful Carnal Knowledge
Blood on the Snow

Band members
Esther “Jinx” Dawson – vocals
Alex Kercheval – guitars
Chris Wild – guitars
Zayne Hutchison – bass
Colin Oakley – drums

LUCIFER

It was already part 10pm when the main attraction of the night, Stockholm, Sweden-based Heavy/Doom Metal/Rock masters LUCIFER, delivered one of the coolest and most melodic performances the city of Toronto has seen in the past few years. From the very first notes of Ghosts to the last seconds of Reaper on Your Heels, the band formed of frontwoman Johanna Platow Andersson (aka Johanna Claudia Sadonis or Johanna Sadonis), guitarists Linus Björklund, Martin Nordin, and bassist Harald Göthblad, plus guest drummer Chad Walls of bands like Dislimb, The Living Fields and Postulated (as their drummer Nicke Andersson was apparently busy with his other band The Hellacopters in Europe), kicked some serious ass, playing all of their songs to perfection and, consequently, fully captivating the minds and the hearts of all fans at the venue.

My favorite songs from their relatively short setlist were by far Crucifix (I Burn for You) and Bring Me His Head, both from their 2021 highly acclaimed album Lucifer IV, plus their newest single A Coffin Has No Silver Lining, from their upcoming 2024 album Lucifer V (to be released in January), showing that we can expect another beast of an album by those Swedish rockers next year. Hence, you can enjoy all songs from their beautiful setlist on Spotify, and click HERE for all things Lucifer. Last but not least, just like what happens with almost all non-Canadian bands that come to Canada, the wonderful Johanna (and let me say it was nearly impossible NOT to focus on her during the entire show, because she’s simply perfect) told a quick story about when the band was crossing the border form the US to Canada. Not only Johanna said that she was still in her pajamas when the tour manager woke the entire band up right when they were about to cross the border, but she also said that the immigration officer at the border asked them the name of the band. She made a very funny face and said “Ahn… Lucifer…”, proving that’s not an easy name for a band to carry due to all bullshit most religious figures impose on our society. Well, in the end the band made it to Canada, kicked our asses in Toronto, and hopefully when Lucifer V is released we’ll experience another night of blasphemy, doom, witchcraft and the enchanting music by Lucifer in the city.

Setlist
The Funeral Pyre
Ghosts
Midnight Phantom
Wild Hearses
Crucifix (I Burn for You)
Leather Demon
A Coffin Has No Silver Lining
Mausoleum
Bring Me His Head

Encore:
California Son
Reaper on Your Heels

Band members
Johanna Platow Andersson – vocals
Linus Björklund – lead guitars
Martin Nordin – rhythm guitars
Harald Göthblad – bass
Nicke Andersson – drums

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Album Review – Walking Corpse / Our Hands, Your Throat (2023)

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Let these Swedish Grindcore beasts put their hands around your throat to the sound of their infernal sophomore opus.

It’s not too often that you come across a Grindcore album that gives you the kind of thrilling intensity that you’ve come to expect from this style of music, and at the same time there’s unpredictability in the writing which keeps you hooked. That’s exactly what you’ll get in Our Hands, Your Throat, the sophomore beast by Gothenburg, Sweden-based Grindcore animals Walking Corpse, following up on their 2020 debut The Fear Takes Hold. Displaying a sick artwork by Portuguese artist CVSPE (aka André Trindade), the new album by vocalist Henrik Blomqvist, guitarist and bassist Fredrik Rojas, and drummer and bassist Magnus Dahlin showcases the band’s most aggressive and innovative side, providing variations to break monotony and even predictability without compromising on the pure blistering, cathartic expression of Grindcore and, therefore, being highly recommended for fans of Rotten Sound, Fuck the Facts, Bathtub Shitter, Terra Builder, Spurn, Antigama, and Ernia, just to name a few.

Dreamflesh Navigator is absolutely devastating and evil from the very beginning, a demented Grindcore tune led by the unrelenting drums by Magnus while Henrik sounds inhumane on vocals. Then, Fredrik hammers his guitar in great fashion in Born in Hell, adding a touch of progressiveness and dementia to the trio’s already incendiary metal music, or in other words, it’s one of the most infuriated Grindcore songs you’ll listen to this year, followed by the title-track Our Hands, Your Throat, bringing forward more of their wicked sounds with Magnus crushing his drums like there’s no tomorrow in a lecture in extreme music and insanity by such talented group. And investing in a more melodic sonority with elements from Hardcore and Thrash Metal we have The Wheel, perfect for “dancing like a monkey” to the slashing riffage by Fredrik, whereas in Brainworm we face less than two minutes of pure violence spearheaded by the venomous, deranged roars and barks by Henrik.

Slowing things down a bit while also enhancing their obscurity, the trio fires the metallic Falling Through A World of Wounds, with their bass jabs hitting you hard in the face, and nonstop savagery and hatred flows from their riffs, bass and drums in Malediction, while Henrik continues to growl like a beast, followed by The Last Laugh, one of the most depraved songs of the album where Henrik sounds even more infuriated than before, resulting in a Swedish Grindcore party at its finest. Nothing Grows Here, the longest of all songs, will drag your soul to a realm of insanity and evil, where Magnus once again kicks some ass behind his drums supported by the razor-edged riffs by Fredrik. And how about one minute of pure aggression as the second to last song of the album? That’s what you’ll get in Forever Sleep, setting the tone for the obscure closing tune Eye of an Angry God, where Magnus dictates the song’s pace with his caustic beats while Fredrik will pierce your souls with his riffs, putting a brilliant ending to the album.

Those merciless Swedish Grindcore marauders are waiting for you on Facebook with news, tour dates and other nice-to-know information about their music, and of course you can also stream all of their insane creations on Spotify to properly disturb the peace of your neighborhood. Furthermore, above all that, don’t forget to show those unrelenting Swedish metallers your utmost support by purchasing a copy of the excellent Our Hands, Your Throat from their own BandCamp page, as well as from the Transcending Obscurity Records webstore as an 8-panel digipak CD (in the US or the EU), or as a very special CD + shirt combo (also in the US or the EU) sooner than you can say “violence”, letting Walking Corpse put their damned, blood-soaked hands around your throat in the name of classic Grindcore.

Best moments of the album: Born in Hell, Our Hands, Your Throat, The Last Laugh and Eye of an Angry God.

Worst moments of the album: Malediction.

Released in 2023 Transcending Obscurity Records

Track listing
1. Dreamflesh Navigator 1:37
2. Born in Hell 3:58
3. Our Hands, Your Throat 3:36
4. The Wheel 4:57
5. Brainworm 1:38
6. Falling Through A World of Wounds 3:38
7. Malediction 1:48
8. The Last Laugh 2:27
9. Nothing Grows Here 5:17
10. Forever Sleep 1:09
11. Eye of an Angry God 3:58

Band members
Henrik Blomqvist – vocals
Fredrik Rojas – guitars, bass
Magnus Dahlin – drums, bass

Concert Review – Katatonia (The Axis Club, Toronto, ON, 11/15/2023)

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And the void in the skies of Toronto was filled with the progressive and atmospheric sounds by one of the most important names of the Swedish rock and metal scene.

***Review by Kevin Ibbitson, with photos by Keith Ibbitson of Lower Eastside Photography***

OPENING ACTS: SOM and GOST

Good weather and great music was on tap this past Wednesday the 15th of November in the Little Italy section of Toronto. In the good company of my older brother Keith (myself on review duty and Keith on photography duty), we travelled to the Brass Taps Pizza Pub on College St. to have a bite to eat and meet up with friends and fellow Katatonia Fans Jason and Kim before the show. We timed it perfectly, finishing our meals and drinks at 7p.m., giving us enough time to stroll down the block enjoying the night air. The weather was pretty nice that evening.

Arriving at The Axis Club (formerly known as The Mod Club) located at 722 College St.W, it was time to check in and get set up. No complaints about the security at the front door, everybody seemed pretty chill and relaxed, letting us in with no hassle. My number one priority as soon as I get inside venues is to visit the merch tables and much to my disappointment there were no shirts in my size (3XL) but I’m used to that by now, it’s not the end of the world.  At least I was able to kop a patch and cd so I was happy. Ran into some Familiar faces as soon as I was inside and chatted with them until the first act got on. SOM, a band cobbled together from current and former members of such bands as Caspian, Junius and Constants. A band which I have never heard before. What can I say but that they were the very definition of shoegaze. I think everybody was in their own little worlds while SOM played. They went on at 7:30 to a 1/3 full venue with their brand of introspective shoegazing music. The crowd was a little subdued at first but as the venue started to fill up, the crowd started to come to life. Maybe it’s just me but shoegaze is not the most enlivening music to start a show with so it was slow going but eventually the audience got into it.

Band members
Will Benoit – vocals, guitar, synths
Joel Reynolds – guitar
Mike Repasch-Nieves – guitar
Justin Forrest – bass
Duncan Rich – drums

By the time the Darksynth band GOST got on stage I was at the back of the venue (the venue now about 2/3 full), having a nice conversation with the security guard at the entrance to the upstairs balcony and asked permission to go upstairs which he kindly let me and my brother do because we had credentials, otherwise it was off limits. The balcony sported some great views of the stage and crowd. All in all I’d have to say that The Axis Club is a decent little venue. The club has a good sound to it and a great low end.  As Gost was blasting out their dark horror themed electro dance grooves I could feel the bass in my chest at the back of the venue. As catchy as some of Gost’s music is, I’m not a dancer (can’t dance, won’t dance kind of guy) and I was not drinking enough to truly enjoy the buzz but Gost certainly does exude a fair amount of stage presence and charisma. Gost is a 2-man act of just a head-banging bass player and a multi-talented synth/drum machine player with a skull face mask. While listening to Gost’s set all I could think of was playing my Cyberpunk 2077 video game. Gost certainly livened up the mood. Funny story, during the Intermission my brother Keith (@lowereastsidephotography) got a selfie with the skull faced man himself James Lollar (aka Baalberith) outside the club inadvertently saving him from the clutches of an over excited fan, much to James’ appreciation.

Band members
James Lollar – synths, drums
Unknown – bass

KATATONIA

Finally the Band we all came to see, Stockholm Sweden’s own KATATONIA, on tour promoting their latest album Sky Void Of Stars. The crowd erupted as soon as the band took the stage, as if we were saving our energy just for them. What a great band Katatonia is. Even being a man down was no challenge for them as Anders Nyström was absent for some reason I could not discover. However, it didn’t affect their sound as they were as tight as ever and Jonas Renske had us eating from the palm of his hands. The crowd was loving it. Roger Öjersson’s leads were fantastic and were as crisp as a cloudless full moon winter night. The banter between Jonas and the crowd was great and he frequently aimed the mic towards the crowd for our response, which we did with gusto. Katatonia put on a stellar performance (no pun intended) even though Jonas’ mic started to act up a bit towards the end. No complaints from myself or anybody else there. This was my first time seeing Katatonia live but it damn sure won’t be my last. Toronto loves you, Katatonia.

Setlist
No Beacon To Illuminate Our Fall
Colossal Shade
Lethean
Flicker
Dead Letters
Opaline
Forsaker
Buildings
Decima
The Racing Heart
Nephilim
Birds
Atrium
July
Old Heart Falls
Journey Through Pressure

Encore:
Behind The Blood
My Twin
Evidence

Band members
Jonas Renkse – vocals
Roger Öjersson – guitars
Niklas Sandin – bass
Daniel Moilanen – drums

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Album Review – Marduk / Memento Mori (2023)

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One of the pillars of Swedish Black Metal is back with a devilish new album encapsulating the raw and unrelenting intensity that has become synonymous with the band’s sound, reminding us that we all must die.

Four years after the release of their warlike opus Viktoria, the renowned, ruthless Swedish Black Metal horde Marduk is ready to haunt our souls once again with Memento Mori, the fifteenth studio album in their undisputed career. Produced, recorded, mixed and mastered by Magnus “Devo” Andersson at Endarker Studio, with photography by Håkan Sjödin and layout and design by the band’s own Daniel “Mortuus” Rostén at Holy Poison Design, Memento Mori encapsulates the raw and unrelenting intensity that has become synonymous with the band’s sound, showcasing the signature blend of aggressive guitar riffs, thunderous drums and chilling vocals by vocalist Daniel “Mortuus” Rostén, guitarist Morgan “Evil” Steinmeyer Håkansson and drummer Simon Schilling, plus guest bassists Magnus “Devo” Andersson and Joel Lindholm, evoking a sense of darkness and despair and, therefore, once again proving why Marduk will always be one of the pillars of Swedish Black Metal.

A wicked, sinister intro gradually evolves into the infernal title-track Memento Mori, spearheaded by the massive beats by Simon and the always demonic gnarls by Mortuus in a straightforward feast of classic Swedish Black Metal for the masses; and there’s no time to breathe as the band offers another Stygian creation titled Heart of the Funeral, bringing forward all elements we learned to love in their music, with Evil’s riffs sounding truly scorching. Blood of the Funeral, the first single of the album, is an absolute banger, with Mortuus vociferating the song’s devilish lyrics majestically (“High on the flesh / Of the knell and the psalm / Drunk on the blood / Of the funeral / Ridden by lust / And sepulchral thirst / I come dressed in hunger / And the trauma of birth”), flowing into the phantasmagorical, haunting aria Shovel Beats Sceptre, a neck-breaking tune by Marduk where Devo and Simon will crush your skull mercilessly with their hammering kitchen. Then back to their more venomous, demolishing mode, Devo and Simon continue to attack our souls with their rumbling bass and drums in Charlatan, while Evil extracts pure Black Metal magic from his guitar.

Coffin Carol is undoubtedly one of the most infernal and demented of all songs from the album, with Mortuus sounding bestial throughout the entire song while Evil and Devo deliver a flawless Black Metal stringed attack for our total delight. Furthermore, they keep attacking our senses with absolutely no remorse in Marching Bones, where Mortuus keeps roaring and barking in the name of Black Metal while Simon pounds his drums with tons of groove and fury, even presenting the more rebellious elements from the music by bands like The Misfits. The haunting intros found in some of the songs add a nice touch to the entire album, which is also the case in Year of the Maggot, exploding into their classic Black Metal and overflowing darkness and rage, presenting not a single second of peace as expected. Their second to last sonic attack comes in the form of Red Tree of Blood, offering our putrid ears another endless dosage of pure Black Metal led by the hellish roars by Mortuus and the always demented blast beats by Simon; whereas lastly it’s time for a sinister Doom Metal-infused aria titled As We Are, showcasing truly anguished, deep gnarls by Mortuus while his bandmates simply darken our minds with their Stygian sounds.

“Memento Mori is, all at once, a bold leap forward, a calculated sidestep, and a wistful backward glance. Meaning, we have broken new ground without forgetting our legacy or the journey that brought us to this point,” commented the bestial Mortuus about the band’s newborn black mass, and you can put your damned hands on this demonic album by clicking HERE, as well as show your support to those Swedish demons by following them on Facebook and on Instagram to be updated about their tours, their music and plans for the future, and by streaming their venomous creations on YouTube and on Spotify. Marduk’s new album is here to remind us that we all must die, distilling their Black Metal to perfection like they’ve always done, and like they will always do until their very last breath.

Best moments of the album: Heart of the Funeral, Blood of the Funeral, Coffin Carol and Marching Bones.

Worst moments of the album: None.

Released in 2023 Century Media

Track listing
1. Memento Mori 3:30
2. Heart of the Funeral 2:23
3. Blood of the Funeral 5:05
4. Shovel Beats Sceptre 5:02
5. Charlatan 4:12
6. Coffin Carol 4:02
7. Marching Bones 4:03
8. Year of the Maggot 4:14
9. Red Tree of Blood 3:50
10. As We Are 5:36

Band members
Daniel “Mortuus” Rostén – vocals, bass, lead guitars on “Blood of the Funeral” and “As We Are”
Morgan “Evil” Steinmeyer Håkansson – guitars
Simon Schilling – drums

Guest musicians
Magnus “Devo” Andersson – bass
Joel Lindholm – bass
LG Petrov – additional vocals on “As We Are”

Album Review – Grand Cadaver / Deities Of Deathlike Sleep (2023)

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This Gothenburg-based horde is back with their breathtaking sophomore album, offering us all ten visceral songs exhaling classic Swedish Death Metal.

When the world abruptly shut down due to the global pandemic in 2020, people started looking for other ways to communicate with each other and engage in various projects during the lockdown. That’s exactly what five longtime friends and seasoned musicians from Gothenburg and Stockholm with a mutual love for the classic Swedish Death Metal sound did, bringing to life what’s known today as Swedish Death Metal beast Grand Cadaver. Now in 2023 the band currently formed of vocalist Mikael Stanne (Dark Tranquillity, The Halo Effect), guitarists Stefan Lagergren (The Grifted, Treblinka, Expulsion) and Alex Stjernfeldt (Novarupta, Let Them Hang, CHILD), bassist Christian Jansson (Pagandom, Dark Tranquillity), and drummer Daniel Liljekvist (Vordor, Disrupted, Katatonia) is unleashing upon us their sophomore album, titled Deities Of Deathlike Sleep. Recorded by Per Stålberg, Kalle Lilja and Daniel ‘Dollars’ Deurell at Welfare Sounds, mixed by Per Stålberg, mastered by Johan Reivén at Audiolord Mastering, and displaying a sick artwork by Illusive Illustration, the album is highly recommended for fans of the most visceral form of Death Metal made in Sweden, proving why those guys are already in their second album within only three years of existence.

Daniel takes the lead in the fast and furious The Forever Doom, offering us all straightforward Death Metal with Mikael growling in great fashion in a nonstop, high-octane tune that will surely sound fantastic when played live. It’s pedal to the metal with Stefan and Alex burning our damned souls with their scorching riffs in A Crawling Feast of Decay, a headbanging extravaganza that lives up to the legacy of Scandinavian Death Metal, followed by The Wishful Dead, even darker and more menacing than its predecessors, spearheaded by Mikael and his demonic roaring while Daniel keeps dictating the albums wicked pace behind his drums. After that we have Serrated Jaws, a great name for a heavy-as-hell, mid-tempo feast of darkness by Grand Cadaver where the sinister guitars by Stefan and Alex are nicely supported by the metallic bass by Christian; whereas the title-track Deities Of Deathlike Sleep will go straight to your jugular, with the band’s guitar duo delivering a lesson in Death Metal riffage while Christian continues to hammer his bass mercilessly.

The band needs just a few seconds to ignite an insane circle pit in Vortex Of Blood, adding elements from Thrash Metal and Crust to their core deadly sounds, all of course spiced up by the demented growls by Mikael; and more of the band’s crushing, visceral music comes in the form of Funeral Reversal, with all background elements darkening their sonority even further, not to mention how bestial Daniel sounds once again on drums. Then switching gears to a Doom and Stoner Metal-infused vibe it’s time for True Necrogeny, a neck-breaking creation by the band where Mikael’s deep roars walk hand in hand with the low-tuned, thunderous bass by Christian; and back to a more direct Death Metal sound, the quintet will pulverize our senses with Stabbed With Frozen Blood, where Mikael keeps barking nonstop accompanied by the crushing beats by Daniel and the always flammable riffs by Stefan and Alex. Last but not least, Grand Cadaver will hit us hard one final time with Necrosanctum, bringing forward almost five minutes of sheer brutality blasted by all band members to perfection, resulting in a superb ending to the album.

“We never even planned to release a full-length album, and here we are with our second! ‘Deities of Deathlike Sleep’ was conceived and recorded with the same mindset and the same team as our previous recordings, keeping it quick, spontaneous and enjoyable. This time it turned out a bit more dynamic, with the pummeling fury interspersed with some doom, gloom and darkness. But still, it’s simply ten tracks of Swedish Fucking Death Metal, the way we love it,” commented Grand Cadaver about their newborn beast, and you can put your dirty hands on such infernal album by purchasing it from their own BandCamp page, from the Majestic Mountain Records’ Big Cartel as a digipak or a gatefold LP, various bundles from Trust No One Recordings, the Bengans Edition limited to 100 copies, different versions from Napalm Records, from Apple Music, and from Amazon, and don’t forget to also follow the band on Facebook and on Instagram, and to stream their wicked creations on Spotify. In the end, all that leads to a simple question. Are you craving some first-class Swedish Death Metal? If your answer is yes with a deep guttural scream, then you’ll certainly have a blast with Deities Of Deathlike Sleep.

Best moments of the album: A Crawling Feast of Decay, Deities Of Deathlike Sleep and Stabbed With Frozen Blood.

Worst moments of the album: True Necrogeny.

Released in 2023 Majestic Mountain Records

Track listing
1. The Forever Doom 3:02
2. A Crawling Feast of Decay 3:16
3. The Wishful Dead 3:35
4. Serrated Jaws 4:23
5. Deities Of Deathlike Sleep 3:26
6. Vortex Of Blood 2:24
7. Funeral Reversal 3:15
8. True Necrogeny 3:29
9. Stabbed With Frozen Blood 3:06
10. Necrosanctum 4:51

Band members
Mikael Stanne – vocals
Stefan Lagergren – guitar
Alex Stjernfeldt – guitar
Christian Jansson – bass
Daniel Liljekvist – drums

Album Review – Vomitory / All Heads Are Gonna Roll (2023)

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All heads are gonna roll to the sound of the infuriated new album by one of the most important and violent bands in the history of Death Metal.

In any serious conversation about Death Metal, the name Vomitory has to come up. Since their inception in the Swedish city of Karlstad back in 1989, the band has been dropping blistering Death Metal albums that are among the most visceral the genre has ever spewed up, and that’s also the case with their brand new opus, beautifully titled All Heads Are Gonna Roll, the ninth full-length opus in their career and their first since their 2011 release Opus Mortis VIII. Recorded by Mats Lindström at Studio Bunker Z16 and by Rikard Löfgren at Leon Music Studio, mixed and mastered by Lawrence Mackrory at Rorysound Studios, and displaying a sick artwork by Giannis Nakos of Rem3dy Art Design, the album sounds absolutely brutal and relentless, with its lyrics coming from a familiar place, focusing on violence, murder, war, gore, zombies, monsters, anti-religion and so on while always drawing inspiration from movies, books and TV, showcasing the passion for extreme music by vocalist and bassist Erik Rundqvist, guitarists Peter Östlund and Urban Gustafsson, and drummer Tobias Gustafsson and, therefore, resulting in an album that is the whole package for Death Metal fans, a stunning return to form after so many years between releases.

It’s total chaos and rage form the very first second in the Death Metal hymn All Heads Are Gonna Roll, with Tobias kicking some serious ass behind his drums while Erik barks the song’s acid lyrics manically, whereas as furious and demented as the opening tune, the circle pit generator Decrowned will assault your senses spearheaded by the classic riffs by Peter and Urban; followed by Ode to the Meat Saw, another headbanging extravaganza by our unstoppable Swedish quartet where the heaviness flowing from Urban’s bass is insane, accompanied by the rhythmic but at the same time wicked beats by Tobias. Even more frantic and enraged than its predecessors, The Deepest Tomb is a lecture in old school Scandinavian Death Metal where Erik keeps roaring like a beast until the very end, while Piece by Stinking Piece sounds as heavy and piercing as it can be, with the hammering drums by Tobias walking hand in hand with the bestial growling by Erik.

In the pulverizing Raped, Strangled, Sodomized, Dead the lyrics reek of Death Metal (“Perverted cruelty, stalking the prey / In for the kill, reincarnated sin / Kill, devour, a beast of man / Savage hunter, a morbid taste for blood”) while the music is flawless, sick and putrid just the way we all love it, and in Dead Man Stalking the unstoppable Erik keep gnarling more of their acid words (“A shade reborn from hate, reborn from agony / Covered in sore, pus and infected blisters / Deformed entity, lurking in the shadows / Transforming into a corpse of rotten flesh”) amidst a demonic sonority. The quartet brings their heavy artillery to life in Disciples of the Damned, smashing our cranial skulls mercilessly while Erik vociferates rabidly and Peter fires some sharp, strident solos for our total delight. Vomitory’s Death Metal attack goes on in full force in Dead World, where the riffs and solos by Peter and Urban will pierce your minds in the name of extreme music, while lastly the band enhances their obscurity in Beg for Death, offering a heavy-as-hell feast of Death Metal that will leave your head trembling after all is said and done.

Vomitory’s newborn beast can be appreciated in all of its glory on YouTube and on Spotify, but of course if you consider yourself a true servant of old school Death Metal you can purchase a copy of such incendiary album by clicking HERE or HERE, and also follow the quartet on Facebook and on Instagram for more of their music and to keep an eye on when the band will take your city by storm. It might have taken 12 years for Vomitory to release a new album, but the wait was totally worth it as All Heads Are Gonna Roll is undoubtedly one of the strongest albums of the year not only in Death Metal, but in heavy music in general, and may all heads keep on rolling to the sound of the demented music by those Swedish veterans for many years to come.

Best moments of the album: All Heads Are Gonna Roll, Ode to the Meat Saw, Raped, Strangled, Sodomized, Dead and Disciples of the Damned.

Worst moments of the album: None.

Released in 2023 Metal Blade Records

Track listing
1. All Heads Are Gonna Roll 3:27
2. Decrowned 3:27
3. Ode to the Meat Saw 4:44
4. The Deepest Tomb 4:28
5. Piece by Stinking Piece 3:23
6. Raped, Strangled, Sodomized, Dead 3:19
7. Dead Man Stalking 4:48
8. Disciples of the Damned 3:29
9. Dead World 4:06
10. Beg for Death 5:34

Japanese Edition bonus tracks
11. Chaos Fury (Live 2013) 3:24
12. Terrorize Brutalize Sodomize (Live 2013) 4:05

Band members
Erik Rundqvist – vocals, bass
Peter Östlund – lead guitars
Urban Gustafsson – guitars
Tobias Gustafsson – drums

Guest musician
Christian Fredriksson – lead guitars (session)

Concert Review – Dark Funeral (The Phoenix Concert Theatre, Toronto, ON, 05/27/2023)

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The Decibel Magazine Tour 2023 brought another night of blasphemy, rage and heaviness to Toronto, spearheaded by one of the pillars of Swedish Black Metal.

OPENING ACTS: Blackbraid, 200 Stab Wounds and Cattle Decapitation

If there’s one thing that the Toronto metal scene has specialized in, that’s undoubtedly mosh pits, and it doesn’t matter which concert we’re talking about. Add to that the perfect weather on Saturday and four insanely heavy bands, and there you have the perfect recipe for nonstop action on the floor section. The venue chosen for such metallic celebration was The Phoenix Concert Theatre, and the bands featured in that night of rage and blasphemy were BLACKBRAID, 200 STAB WOUNDS, CATTLE DECAPITATION and DARK FUNERAL, as part of The Decibel Magazine Tour 2023. My only complaint was that the line to get in was ridiculous, and between the doors opening at 6pm and the first band starting at 7pm, there wasn’t much time to do anything like buying merch, having a beer, or simply getting into the venue. I myself just got in at 6:55pm, and I was there as soon as the clock hit 6pm.

Fortunately, I just made it for the openers, Adirondack Mountains, New York-based Atmospheric Black Metal horde BLACKBRAID, and I must say I’m beyond happy to have arrived in time for such intense and unique performance. The solo project of vocalist and multi-instrumentalist Sgah’gahsowáh (pronounced “SKA-Gah-SoW-Ah”, a Mohawk name meaning “the witch hawk”), supported by touring musicians Y. E. and an unknown musician on the guitars, another unknown guy on bass, and Johnny Violence on drums, the band simply nailed it with their fusion of Atmospheric Black Metal with elements of traditional indigenous music, such as the Native American flute, generating a mesmerizing and ominous atmosphere that captivated everyone already at the venue. They might have played only four songs from both their 2022 debut Blackbraid I and their upcoming sophomore album Blackbraid II (to be released in the beginning of July), but as they’re all long songs let’s say the fans had plenty of time to enjoy their unique music, and of course, ignite some decent mosh pits. If you’re curious to know more about their music, you can find their creations on BandCamp and on Spotify, and I really hope Sgah’gahsowáh and his henchmen return to Toronto sooner than later because they’re awesome.

Setlist
The Spirit Returns
The River of Time Flows Through Me
Moss Covered Bones on the Altar of the Moon
Barefoot Ghost Dance on Blood Soaked Soil

Band members
Sgah’gahsowáh – vocals
Y. E. – guitars
Unknown – guitars
Unknown – bass
Johnny Violence – drums

After a really short break (and I think maybe there shouldn’t be so many bands on the lineup so fans can at least try to buy some merch and go for a bathroom stop without missing any of the action on stage), it was time for Cleveland, Ohio-based Death Metal marauders 200 STAB WOUNDS to give their Torontonian fans all the fuel they needed to slam into some sick mosh pits like true headbanging bastards, delivering a pulverizing concert that left everyone at the venue absolutely on fire. Playing songs form all of their albums, with a bigger focus on their 2021 album Slave to the Scalpel plus the two songs form their brand new EP Masters of Morbidity, the band spearheaded by vocalist and guitarist Steve Buhl was ruthless from start to finish, praising their Torontonian fans for always showing everything they got inside the circle pits, and saying that Toronto is one of their favorite places to play. I guess you know why, right? And if you’re also a lover of some good old mosh pits, you can enjoy the music by this fantastic band on BandCamp and on Spotify.

Setlist
Phallic Filth (Intro)
Fatal Reality
Skin Milk
Tow Rope Around the Throat
Drilling Your Head
Itty Bitty Pieces
Masters of Morbidity
Phallic Filth
Release the Stench
Stifling Stew
She Was Already Dead

Band members
Steve Buhl – vocals, guitars
Raymond Macdonald – guitars
Ezra Cook – bass
Owen Pooley – drums 

As the temperature kept rising inside The Phoenix Concert Theatre, American Progressive Death Metal/Grindcore masters CATTLE DECAPITATION hit the stage with another pulverizing performance, proving why they’re one of the most admired bands of the genre worldwide. I strongly believe Travis Ryan, Josh Elmore, Belisario Dimuzio, Olivier Pinard and David McGraw love Toronto as much as the Torontonian metalheads love them, because the synergy was incredible, and the mosh pits even more. Blending classics with new songs from their 2023 masterpiece Terrasite (to be reviewed soon here at The Headbanging Moose), those being the fantastic We Eat Our Young, Scourge of the Offspring and A Photic Doom, the band fired a flawless concert overflowing heaviness, dexterity and feeling, putting a smile on the faces of everyone at the venue, including the band. I don’t think Travis was expecting such powerful reception from their fans in the city, but let’s be honest, when the music is great like what Cattle Decapitation have to offer us, of course the concerts will be incendiary! I can’t even describe how insane the mosh pits were throughout their entire set, to a point the entire floor section became one massive, unstoppable circle pit. It was superb, to say the least! Thank you, Cattle Decapitation!

Setlist
Intro (Jurassic Park theme)
The Carbon Stampede
We Eat Our Young
Scourge of the Offspring
Bring Back the Plague
The Great Dying, Pt. 1
Finish Them
Lifestalker
A Photic Doom
Kingdom of Tyrants

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

DARK FUNERAL

The night was getting darker and the temperature inside the venue even higher, setting the stage for another sulfurous performance by the one and only Swedish Black Metal institution DARK FUNERAL to conclude the night on a high and devilish note. It was great to see them as the headliners this time, instead of “just” an opener as it happened last year when they played alongside Cannibal Corpse, and based on the reception of the fans this Saturday we’ll surely see Dark Funeral headlining more impious nights in the city in a not-so-distant future.

Still promoting their amazing 2022 album We Are The Apocalypse, the horde formed of Heljarmadr on vocals, Lord Ahriman and Chaq Mol on the guitars, Adra Melek on bass and Jalomaah on drums was demonic from the very first notes of Nosferatu until the climatic Where Shadows Forever Reign, proving why they’re one of the pillars of Swedish Black Metal. I have to admit if there was a little less smoke the fans would have been able to see the band better on stage, but of course I’m pretty sure that was part of their plan, to look and sound as dark and evil as possible, and with the iconic Heljarmadr as their frontman the whole stage smoke and lightning made total sense.

Their setlist was an ode to blasphemy, including precious gems the likes of Vobiscum Satanas, My Funeral and Nail Them to the Cross, with Heljarmadr demanding a huge HAIL SATAN! from the crowd while the mosh pits kept moving like the fires of the pits of the underworld. The setlist could have been slightly longer, though, but nothing that could harm such beautiful performance by Dark Funeral. And if you think slow songs are not Black Metal, simply witness Dark Funeral playing When I’m Gone and Let the Devil In live, and you’ll feel absolute darkness taking over your damned soul. Thanks a million to Noel Peters of Inertia Entertainment and to Metal Blade Records for bringing such venomous tour to Toronto, and thanks also to metal photographer Kim Baarda for letting us use her fantastic photos (as my buddy Keith could not make it to the concert this time). May Dark Funeral return to the city soon for another impressive concert and, of course, HAIL SATAN!

Setlist
Nosferatu
Hail Murder
My Funeral
In the Sign of the Horns
Vobiscum Satanas
Goddess of Sodomy
The Secrets of the Black Arts
When I’m Gone
Unchain My Soul
Temple of Ahriman
Nail Them to the Cross
Let the Devil In
Where Shadows Forever Reign

Band members
Heljarmadr – vocals
Lord Ahriman – guitars
Chaq Mol – guitars
Adra Melek – bass
Jalomaah – drums

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