The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2024

“Fans still compare me to Bruce Dickinson. I have people coming up to me and saying, Don’t you know that could’ve been you? And I tell them, That was me! I just didn’t want it..” – Paul Di’Anno

It’s hard to put into words the loss of our beloved Paul Andrews (17 May 1958 – 21 October 2024), better known by his stage name Paul Di’Anno, one of the most iconic musicians in the history of heavy music, helping Iron Maiden be what they’re today by giving that edgier vibe to the albums Iron Maiden and Killers, therefore influencing all future generations of musicians not only in Heavy Metal, but also in Punk Rock and Rock N’ Roll. He was a legend and will be sorely missed by anyone who loves good music. There’s not much we can do at The Headbanging Moose to honor his life and work, but we’ll keep celebrating heavy music in his name for as long as we can. I wish he could have played one final show in Toronto so Keith Ibbitson of Metal Paparazzi and I could have registered such a unique moment in the city, but unfortunately time is not always in our favor. Anyway, it might be a very sad year to the metal community worldwide with an irreplaceable loss like that, but heavy music lives on, and that’s why here we have once again The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2024, excluding EP’s, best of’s and live albums, to keep the spirit alive and keep raising our horns to countless metal musicians like our great Paul Di’Anno.

1. Judas Priest – Invincible Shield (REVIEW)
Nothing can stand in the way of the Metal Gods as they raise the invincible shield of Heavy Metal.
Best song of the album: The Serpent and the King

2. Werewolves – Die For Us (REVIEW)
Australia’s most savage beast is back with their fifth studio opus, a lecture in Death Metal perfect for beating anyone back to life.
Best song of the album: Spittle-Flecked Rant

3. Aborted – Vault of Horrors (REVIEW)
These Death Metal and Deathcore beasts open their demonic vault of horrors to bring brutality, gore and evil to our damned souls.
Best song of the album: Death Cult

4. Necrowretch – Swords of Dajjal (REVIEW)
This French Blackened Death Metal horde returns blacker than ever with a magnificent opus dedicated to the Islamic Antichrist.
Best song of the album: Vae Victis

5. Gaerea – Coma (REVIEW)
The torchbearers of present-day Black Metal arise again, erupting with intensity, casting forth black ashes over the world.
Best song of the album: Coma

6. Blood Incantation – Absolute Elsewhere (REVIEW)
Blood Incantation offer us all two sensational compositions that are as confounding as they are engaging in their scope.
Best song of the album: The Stargate [Tablet I]

7. Benighted – Ekbom (REVIEW)
Let’s dive into the auditory abyss with this Brutal Death Metal and Grindcore entity armed with their newborn beast.
Best song of the album: Fame of the Grotesque

8. Fleshgod Apocalypse – Opera (REVIEW)
One of the torchbearers of Symphonic Death Metal worldwide returns with their strongest opus to date.
Best song of the album: I Can Never Die

9. Arhat – Secrets of Ancient Gods (REVIEW)
The newborn spawn by this Ukrainian horde will take you on a journey into the world of ancient gods and mysterious rituals.
Best song of the album: Abyss of Flame

10. Grand Magus – Sunraven (REVIEW)
Sweden’s own Heavy and Doom Metal institution is back with a new collection of battle hymns inspired by the tale of Beowulf and Grendel.
Best song of the album: Skybound

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

11. Ecclesia – Ecclesia Militans (REVIEW)
12. The Last of Lucy – Godform (REVIEW)
13. Rotting Christ – Προ Χριστού (Pro Xristou) (REVIEW)
14. Rage – Afterlifelines (REVIEW)
15. Ingested – The Tide of Death and Fractured Dreams (REVIEW)
16. Blaze Bayley – Circle of Stone (REVIEW)
17. Striker – Ultrapower (REVIEW)
18. Kerry King – From Hell I Rise (REVIEW)
19. Accept – Humanoid (REVIEW)
20. Hiraes – Dormant (REVIEW)

In addition, as I always like to say, sometimes a band doesn’t need to release a full album to kick some ass, and that’s why we also have our Top 10 EP’s of 2024 to show that sometimes less is more, or maybe I should say, less is heavier!

1. Rifftera – Coda (REVIEW)
2. Trollwar – Tales from the Frozen Wastes (REVIEW)
3. Atavistia – Inane Ducam (REVIEW)
4. Ways. – Are We Still Alive? (REVIEW)
5. Enforced – A Leap Into The Dark (REVIEW)
6. Gutvoid – Breathing Obelisk (REVIEW)
7. Onslaught Kommand – Visions of Blood and Gore (REVIEW)
8. Golgothan Remains – Bearer of Light, Matriarch of Death (REVIEW)
9. Infernalivm – Conquering the Most High (REVIEW)
10. Dragoncorpse – Fall of House Abbarath (REVIEW)

Do you agree with our list? What are your top 10 albums of 2024? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show!

Metal Xmas and a Headbanging New Year! See you in 2025!

In the end, there’s no Christmas-inspired song this year, nor anything festive like that, but I’ll leave you with the official video for one of the most important songs ever recorded by Iron Maiden, one with a strong punk and thrash vibe, with the one and only Paul Di’Anno on vocals. Let’s raise our horns to him forever and ever, my fellow metalheads! RIP legend!

Concert Review – Fleshgod Apocalypse & Shadow of Intent (The Opera House, Toronto, ON, 09/19/2024)

***Review by Kevin Ibbitson, with photos by Keith Ibbitson of Metal Paparazzi***

On Thursday September 19th, 2024, Toronto metalheads were treated to a hell of a show at The Opera House with The Black Opera Across North America Tour 2024 which consisted of five incredibly killer bands ranging from across the U.S.A, United Kingdom and Italy, in another amazing event brought to the city by Noel Peters of Inertia Entertainment. Disembodied Tyrant, The Zenith Passage and Shadow of Intent (U.S.A), Ingested (U.K) and Fleshgod Apocalypse (Italy). Having never seen any of these bands live myself yet, I was pretty excited for the experience. Before the show started I was invited to the side entrance where my photographer and brother Keith (of Metal Paparazzi) was chatting with Ingested lead vocalist Jason Evans. I was stoked at meeting him and was welcomed with a warm and friendly handshake. Jason was very humble and genuinely a great guy. We chatted a bit about England and where my family originated from and a bit about Premiere League Football until he had to get back inside. I was super glad to have met him and couldn’t wait to see Ingested rip up the stage.

The Opera House doors opened at 5:30 pm and the fans filed their way inside. Passing all the merch booths on my way in I couldn’t help lamenting the fact that I was financially tapped out from three previous shows earlier in the week and not being able to snag a couple of band shirts. I made my way to as close to the stage as I could get. Just a little off to the left side of the stage and hunkered down for the first band, Disembodied Tyrant. Not much is known about these guys other than that they will be big one day based off their recent collaboration with fellow band Synestia on their epic EP The Poetic Edda and Other EP’s The Divine Stigmata and Eclipse Pt.1 respectively. All killer by the way! The set started out a little bit slow as folks were still making their way in and the floor was only just over a quarter filled up. It took about two songs in for the floor to fill up and a mosh pit ensued. Disembodied Tyrant played a short set full of atmospheric symphonic deathcore riffs, astonishing drumming and the ghoulish vocals of singer-songwriter/producer/guitarist Blake Mullens. Mullens is a massive talent and I eagerly await anything he does next. Now that Disembodied Tyrant warmed up the blood of the masses it was time for Los Angeles’ own tech death masters The Zenith Passage to Fuck shit up.

The Zenith Passage took to the stage about 6:45pm without lead vocalist Derek Rydquist, but replacement vocalist/voice artist James Dorton (of Black Crown Initiate) filled in without missing a beat. It was almost as if he was always meant to be in the band. They put on a filthy display of talent with technical guitar shredding, nasty drumming and deep guttural vocals. The circle pits growing ever larger as The Zenith Passage played on inciting more and more insanity. Crowd surfing was off the chain. I was able to get to the front of the stage by then so I was able to take some decent pics with my phone. I had an absolute blast with these guys and I’m sure the crowd did too.

At 7:30pm Manchester England’s Ingested appeared from the fog and proceeded to break skulls. I was so excited to see them finally as my brother Keith has seen them before and told me they were awesome live. He wasn’t lying! Jason Evans was phenomenal, a truly great front man and he had the crowd in the palm of his hands. He made me find an energy inside myself that I didn’t know that I had when he ordered us to crouch down low and jump on his command. The crowd was bouncing around in a frenzy after that. The crowd surfing became even more intense and pits even gnarlier. They crushed us with every slamming breakdown and the crowd erupted with sickening glee every time Jason Evans barked out a staccato pig squeal. Ingested, who have recently released the excellent The Tide of Death and Fractured Dreams, finished their set on a high note leaving us craving more sonic punishment. That was soon to come in the form of a shadow.

Now that the crowd was fattened up for the kill, Shadow of Intent was up next and took the initiative, bashing our heads in with an epic, brutal, punishing set. They didn’t hold anything back and just fucking killed it. To say that this band is good live is an understatement. They were so fucking tight. It truly was an honour to see them destroy. Ben Duerr’s vocals were so thick and nasty over Bryce Butler’s sick drumming. Those breakdowns were massive and absolutely disgusting. The pandemonium got out of hand at the end of their set as things got rougher and rougher in the pits until it spilled out into the front of the crowd. Nothing serious, just two guys shoving each other and it got squashed pretty quick as security broke it up super fast. The Opera House security had a busy shift that night with all the crazy crowd surfing and I got to hand it to them as they were friendly and professional while keeping the peace. As far as I know no grudges were held and everybody got prepared for the final act.

It took a while for the stage crew to set up as they have extensive stage props that add to the atmosphere and aesthetic of Fleshgod Apocalypse. What a perfect setting for an operatic theatrical experience than an opera house. Fleshgod Apocalypse, promoting their recent masterpiece Opera, look like they spill right out of a page from Anne Rice’s Vampire Chronicles and I dig it. The show kicked off with a flag waving operatic intro from Veronica Bordacchini and then right into some blood curdling death metal. Fleshgod is such a unique band that blends opera, symphonics with brutal death metal and add a little piano in there as well. Every member of this band is multi-talented and they put on quite a show. The connection they have with their fans is incredible. The crowd would intuitively burst into fist-pumping chants without any verbal cues. The band and crowd were both loving it. Fleshgod Apocalypse closed off the show with a bit of levity performing their cover of Eiffel 65’s Blue (Da Ba Dee) which felt perfect. All in all this was a great show. I went in not knowing what to expect and left as a fan of every single band. Shout out to all the metalheads there, you were great. Keep it up Toronto!

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Album Review – Fleshgod Apocalypse / Opera (2024)

After emerging back in full force in 2023, one of the torchbearers of Symphonic Death Metal worldwide returns with their strongest opus to date.

Mixed and mastered by Jacob Hansen at Hansen Studios, produced by Francesco Paoli and Francesco Ferrini, and displaying a striking artwork by Felicita Fiorini and Francesco Esposito, the breathtaking Opera, the brand new album by Italian Symphonic/Technical Death Metal masters Fleshgod Apocalypse, is much more than just the follow-up to their 2019 album Veleno. Opera is their first album after the band’s frontman and mastermind Francesco Paoli was involved in a near death climbing accident, resulting in years of recovery and the band’s temporary hiatus; however, after emerging back in full force in 2023, commanding audiences on tours throughout Europe, the band formed of Francesco Paoli alongside Veronica Bordacchini on vocals, Fabio Bartoletti on lead guitars, Francesco Ferrini on the piano and orchestrations, and Eugene Ryabchenko on drums is on absolute fire during their entire new album, a life affirming release that will surely please all fans of the band and feature among the best albums of the year worldwide.

Ode to Art (De’ sepolcri) feels like the opening scenes of a classic movie, with the operatic elements in the background spiraling inside our minds until all hell breaks loose in I Can Never Die, with Francesco Paoli roaring its poetic lyrics (“This life is mine forever / Who free from fears I smile at death / As I become immortal / Writing with my blood on this wall, words that you’ll never forget / My story engraved with these bones and no regret / I burned my nerves / I ripped my heart out to feel alive / I made a pact with my own devils / Thus, I can never die”) amidst a lecture in Symphonic Death Metal. Pendulum sounds even heavier and more neck-breaking than the previous tune, with Eugene hammering his drums like a demented Death Metal beast, whereas the heaviness flowing form the guitars by Francesco Paoli and Fabio in Bloodclock is insane, boosted by the whimsical, cinematic keys by Francesco Ferrini. And the mesmerizing vocals by Veronica add a touch of finesse to At War with My Soul, a demented aria of Symphonic Death Metal with Eugene’s beats and fills sounding yet again inhumane.

Despite the heaviness and speed in Morphine Waltz, the music sounds out of place compared to the epicness of the other songs of the album, albeit Fabio’s guitar solo is amazing; and his guitar work is also superb in Matricide 8.21, redefining the meaning of Metal Opera, where Francesco Paoli and Veronica make a darkly hypnotizing vocal duo embraced by the classy piano and orchestrations by Francesco Ferrini. Per Aspera ad Astra, a Latin saying going back 2000 years which translated means “through adversity to the stars”, is another vicious Symphonic Black and Death Metal onrush by Fleshgod Apocalypse with all instruments sounding in absolute sync, setting total fire to the atmosphere. There’s still time for more symphonic madness in Till Death Do Us Part, starting in a serene manner to the passionate vocals by Veronica, evolving into a touching, obscure ballad before the album ends with Opera, a cinematic, cryptic outro led by the classic piano by Francesco Ferrini.

The guys (and girl) from Fleshgod Apocalypse are more than eager to know what you have to say about their new album (which you can purchase by clicking HERE, and also stream in its entirety on Spotify and on YouTube) on Facebook and on Instagram, where you can also stay updated with all of their amazing concerts and tours, and don’t forget to also stream more of their music on YouTube and on Spotify. Opera is an absolute beast of an album, and after his near death experience I’m sure Francesco Paoli will keep bringing that terrifying yet stunning darkness to the music by Fleshgod Apocalypse just like what he did in the band’s newborn opus, by far one of the strongest of the genre from the past few years.

Best moments of the album: I Can Never Die, At War with My Soul, Matricide 8.21 and Per Aspera ad Astra.

Worst moments of the album: Morphine Waltz.

Released in 2024 Nuclear Blast

Track listing
1. Ode to Art (De’ sepolcri) 2:18
2. I Can Never Die 4:30
3. Pendulum 3:58
4. Bloodclock 5:14
5. At War with My Soul 5:06
6. Morphine Waltz 3:36
7. Matricide 8.21 5:35
8. Per Aspera ad Astra 4:48
9. Till Death Do Us Part 5:31
10. Opera 2:44

Band members
Francesco Paoli – lead vocals, guitars, bass
Veronica Bordacchini – vocals (soprano)
Fabio Bartoletti – lead guitars
Francesco Ferrini – piano, orchestrations
Eugene Ryabchenko – drums

Metal Chick of the Month – Maude Théberge

Come dance la valse des condamnés!

As the heat is definitely on in the Northern Hemisphere, there’s nothing like icy cold blood to cool us all down, and that’s exactly what our amazing metal lady of this month of July has to offer with her undeniable talent, charisma and passion for heavy music. Not only that, July 1 is Canada Day, which means having a metal lady hailing from Canada makes things even better here on The Headbanging Moose. Owner of a powerful yet delicate voice, she’s the vocalist and keyboardist for a Montreal, Quebec-based Melodic/Symphonic Death/Gothic Metal band known as Sanguine Glacialis, as well as a growler for Growlers Choir (the world-famous choir of metal vocalists) and a voice actress and administrative assistant for La Fabrique de Monstres (or The Monster Factory). She can play the violin too, and she’s also a teacher and a model. Her name is Maude Théberge, and I’m sure that after knowing more about her life and career, you’ll get addicted to her voice, to her music, and be more than ready to dance “la valse des condamnés.”

Born and raised in the stunning Canadian city of Montreal, Maude has been a singer for more than 15 years, having already acquired two music degrees in classical piano interpretation and music teaching. Apart for being a sensational growler, she’s a soprano singer who can sing a wide variety of styles such as classical, jazz and pop, she can write and sing in French and English, and she’s also a composer and arranger who has her own studio at home, allowing her to write, compose, record ad edit her own parts, including midi instruments and orchestrations for any project with a specialty in string sections, as she’s also a pianist, keyboardist and violinist as already mentioned.

Our metal diva started started playing the piano at the age of 12 and the violin at the age of 13, continuing her studies at Cégep de St-Laurent, where she also had the opportunity to play jazz piano, classical violin and sing in a classical choir, obtaining her DEC in classical piano interpretation in 2012. Maude continued her studies at UQAM in music education (classical piano), where she still played classical violin, jazz choir, wind instruments and percussions, obtaining her Baccalaureate and her teaching certificate in 2016. Subsequently, she did a DESS in Management at UQAM and obtained her diploma in 2019. Finally, she took an acting and dubbing course in 2020 with French-Canadian director, dubbing director and acting coach Sergine Dumais.

It was in 2011 when Maude joined Sanguine Glacialis, in which she played the keyboards and did some backing vocals, taking over the reins of the band in 2016, being the only remaining member, rebuilding the project with new musicians, and becoming the lead singer of the band. Sanguine Glacialis have become her biggest project in life for over a decade already, allowing her to develop many skills such as classical and pop singing and growling as well as studio recording at home, in addition to developing managerial skills including production of albums, music videos and over 100 shows across Canada. Having already shared the state with renowned acts the likes of Dark Tranquility, Omnium Gatherum, Delain, Necronomicon, Unexpect and Anonymus, just to name a few, the band experiments with multiple musical styles, such as Jazz, Classical, folkloric music, Latin music, and so on, while keeping a very strong Melodic Death Metal accent.

Since their inception, the band has already released three full-length albums, those being Dancing with a Hanged Man, in 2012, Hadopelagic, in 2018, and Maladaptive Daydreaming, in 2023, plus the EP Pitch Black Sight, in 2016, and from those she did keyboards and backing vocals only in their debut album and their EP, becoming their frontwoman while still playing keyboards as aforementioned starting with their 2018 album. currently formed of Maude alongside Alexandre Lépine on the guitars, Marc Gervais on bass, and Jérémy Racine on drums, the band is in great shape and form, as you can see in this footage live in Quebec in 2023, and you can also enjoy all of their creations on BandCamp, on Spotify and on YouTube, including their ass-kicking official videos for the songs KrakenWelcome, and Monsters,  and you can also click HERE for all things Sanguine Glacialis.

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Apart from her amazing years with Sanguine Glacialis, Maude has also been the vocalist for a Melodic Death Metal band from Toronto named Terminalcurse together with multi-instrumentalist Kirill Zorin (ex-Nachtmuse), having released with the project their self-titled debut EP in 2022. The EP is available on BandCamp and on Spotify, and you can also find all links and information about the duo by clicking HERE. Also, between 2017 and 2024, she was also the violinist for Montreal’s own Melodic Black/Folk Metal horde Valfreya, having recorded with them the excellent album Dawn of Reckoning, released earlier this year.

Maude can also be seen as a guest musician in distinct bands and projects; for instance, she did choir vocals for the song Dissociation, from the 2023 EP Survival Mode, by Canadian Avant-garde Death metal band Disorientation; also did vocals for the song Mordrake I – Birth, from the 2014 album Mordrake, by Canadian Symphonic/Melodic Black/Death Metal band Hollow; and recorded two albums with Canadian Symphonic Metal project Nachtmuse as their lead vocalist, backing vocalist or doing choir vocals, those being the 2022 release Solemn Songs of Nightsky & Sea, and the 2023 EP Darker Skies. Not only that, in 2018 she also released her debut album as a solo artist, titled The Simplest Expression, which is by the way an acoustic album. Furthermore, everything about Maude can be found HERE, by the way.

In March 2020, just before the COVID pandemic, Maude appeared on the show Tout le monde en parle, the biggest talk show in Quebec, to talk about the band and Le FestEvil – Quebec City Women Metal fest part 1, which was not only an important event for metal music in Quebec in 2020, but one that also provided women in metal with tons of support, with its first edition featuring the bands Your Last Wish, Valfreya, Sanguine Glacialis, Merkabah, Uriel, Within Embers and Fall Of Stasis, all amazing bands from the Quebec scene with very talented women like Maude in their lineups. Unfortunately, I don’t think the festival exists anymore, mainly due to the pandemic crushing any plans of live events anywhere in the world, but it would be amazing if we could see more festivals like that in Canada for sure, of course spearheaded by Maude and her Sanguine Glacialis.

Last but not least, Maude is also a pet lover, nurturing a deep passion for cats. In one of her interviews, she said that she had four cats, Jack (for Jack Black), Amélie (for Amélie Poulin), Vévé (because she has a V shape pattern on her forehead) and Gizmo (like the Gremlin), but unfortunately Vévé and Amélie have passed away since that, also talking a little about how she manages to take care of all of them while also continuing with her career in music, as for example saying her boyfriend or parents take care of them when she’s on tour. Also, when asked how they behave when she’s practicing at home, her answer was quite funny and curious. “All the cats, but especially the male cats, HATE my violin. They complain the whole time I’m trying to practice. I can growl all I want and they don’t care, but the violin.” Well, maybe they’re more into extreme music, right? So I believe as long as she keeps playing the awesome music by Sanguine Glacialis to them, she’ll surely keep four cats extremely happy, and of course countless happy metalheads worldwide.

Maude Théberge’s Official Facebook page
Maude Théberge’s Official Instagram
Maude Théberge’s Official YouTube channel
Sanguine Glacialis’ Official Facebook page
Sanguine Glacialis’ Official Instagram
Sanguine Glacialis’ Official YouTube channel
Sanguine Glacialis’ Official X

Album Review – Atavistia / Inane Ducam EP (2024)

One of the most interesting names of the Vancouver, Canada scene is back with an amazing new EP, an album of the band’s most extreme influences and their darkest release yet.

Exploring various forms of metal within their music, resulting in a symphonic mix of nature, atmosphere, and technically precise musicianship, Vancouver, British Columbia, Canada-based Melodic/Symphonic Death Metal act Atavistia is ready to unleash a brand new EP titled Inane Ducam, which translates as “I will lead into nothingness”, and sometimes you’ll even find the album labeled as Inane Ducam (I Will Lead Into Nothingness), an album of the band’s most extreme influences and their darkest release yet. Produced and engineered by Mattias Sippola and Max Sepulveda, recorded at Atavistic Studios, mixed by Mattias Sippola, and mastered at Fascination Street Studios, the album includes some of the most complex guitar riffs, fastest drums, and bellowing screams by vocalist and guitarist Mattias Sippola, newcomers Elia Baghbaniyan on the guitars and Spencer Budworth on bass, and drummer Max Sepulveda, perfectly depicting the diversity of Atavistia much like a forest in the full bloom of spring.

The title-track Inane Ducam is an atmospheric, cryptic intro that kicks things off by setting the stage for the band to darken the skies in Timeless Despair, an explosive Melodic Death Metal aria bursting with epicness thanks to all symphonic elements in the background, while Max hammers his drums in the name of extreme music, perfectly supporting Mattias’ devilish vocals. Then we have Dark Isolation, sounding even more imposing and bold, a multi-layered composition showcasing the caustic riffs by Mattias and Elia while Spencer keeps the ambience as heavy and it can be with his bass lines. Unattained Creation is another wicked creation by the band where the austere, harsh roars by Mattias match perfectly with the rumbling bass and drums by Spencer and Max, respectively, flowing into the closing song of the EP, titled The Void, which is also the most detailed grim and infernal of all tracks, with Mattias leading his horde with his hellish growls while Max keeps blasting his drums like a demented beast, resulting in over seven minutes of first-class metal music that put a beyond climatic ending to the album.

If you want to know more about Atavistia, their music, tour dates and so on, you can start following and supporting one of the most interesting names of the current Canadian metal scene on Facebook and on Instagram, stream their creations on YouTube and on Spotify, and of course purchase a copy of the excellent Inane Ducam from their own BandCamp page or by clicking HERE. Atavistia keep exploring new lands in Inane Ducam while always remaining loyal to their origins, and that translates into some amazing heavy music that I’m sure you’ll enjoy a lot as soon as you take your very first listen to their new release, undoubtedly one of the best EP’s of 2024 so far.

Best moments of the album: Dark Isolation and The Void.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. Inane Ducam 1:41
2. Timeless Despair 3:55
3. Dark Isolation 5:23
4. Unattained Creation 5:17
5. The Void 7:06

Band members
Mattias Sippola – vocals, guitars
Elia Baghbaniyan – guitars
Spencer Budworth – bass, backing vocals
Max Sepulveda – drums

Concert Review – Decapitated & Septicflesh (The Phoenix Concert Theatre, Toronto, ON, 05/03/2024)

The city of Toronto witnessed this Friday one of the heaviest nights of the year so far, courtesy of four bands that definitely know how to unite violence and melody in their amazing music.

OPENING ACTS: Allegaeon and Kataklysm

Once again due to an insane combination of heavy traffic, heavy rain, no parking near The Phoenix Concert Theatre, and a huge and slow line to get inside the venue, I was “forced” to miss the first band of a night of sheer brutality and awesomeness, courtesy of ALLEGAEON, KATAKLYSM, SEPTICFLESH and DECAPITATED during their incendiary Cancer Culture Over North America 2024, another must-see event brought to a jam packed venue by the one and only Noel Peters of Inertia Entertainment. I’m starting to hate when concerts are booked at The Phoenix Concert Theatre, which might be a great venue once you’re inside, but parking near there and getting inside it for the shows is a true nightmare. Well, it is what it is, and I’ll try to leave earlier to be there on time for the next show (although I left my place almost THREE HOURS before the first band began their performance).

Fortunately, my buddy Keith Ibbitson of Metal Paparazzi was there to check out the amazing Denver, Colorado-based Technical/Melodic Death Metal outfit ALLEGAEON, who at 7:30pm sharp kicked off the night festivities. Having released the album Damnum back in 2022, plus an amazing new single named Iridescent this year, the band put on a fantastic show according to Keith. He said he would give them not just a 10 our of 10 for their musicianship, but a 12 out of 10. They loved that he dressed up in his Carcass apron and a server hat as their lead singer did in the video for Iridescent. He then met with them all at the merch table and chatted for a bit. Their guitarist Greg Burgess told him when he saw him in the photo pit he was dying with laughter on stage. Keith ended up giving the lead singer his server hat to wear for the next show, and got his apron all autographed. If you’re curious to listen to their amazing music, simply go to BandCamp or Spotify, and click HERE for all things Allegaeon. Next time I won’t miss them, even if I have to skip breakfast to do so.

Setlist
Threshold of Perception
1.618
Iridescent
Of Beasts and Worms
Gray Matter Mechanics – Apassionata Ex Machinea
Biomech – Vals No. 666

Band members
Ezra Haynes – vocals
Greg Burgess – guitars
Michael Stancel – guitars
Brandon Michael – bass
Jeff Saltzman – drums

At least I was able to get inside in time for Montréal, Quebec’s own Melodic Death/Groove Metal powerhouse KATAKLYSM, who kicked some serious ass on stage led by their talented frontman Maurizio Iacono. Blending old songs with new ones from their 2023 album Goliath (available on several streaming services like Spotify), the band demanded the crowd to keep moving inside the circle pit nonstop, turning up the heat at The Phoenix Concert Theatre to the point I wish it was still winter so that some cold air would enter the venue to freshen things up. Songs like Guillotine, The Killshot and The Black Sheep kept the circle pit moving in a wild and frantic manner until the very last second of their show, proving why they’re one of the driving forces of the extreme scene in Canada. If you’ve never seem Kataklysm live, just go for it. But please remember to be in good shape, do a lot of cardio beforehand, and even put on an armour, because their mosh pits are simply brutal.

Setlist
Goliath
Push the Venom
Guillotine
Narcissist
The Killshot
Die as a King
As I Slither
Crippled & Broken
Bringer of Vengeance
The Black Sheep

Band members
Maurizio Iacono – lead vocals
Jean-François Dagenais – guitars
Stéphane Barbe – bass
James Payne – drums

SEPTICFLESH

If you think after Kataklysm things were going to get any lighter, you’re absolutely wrong; quite the contrary, when Greek Atmospheric/Symphonic Death Metal beast SEPTICFLESH hit the stage (without one of their guitarists, Sotiris Vayenas, for an unknown reason), a visceral, Stygian ode to darkness took over the entire city of Toronto, driving their fans crazy during their entire co-headlining performance. All songs played, including newer songs the likes of Neuromancer and Hierophant, from their latest opus Modern Primitive, released in 2022, plus of course classics such as Portrait of a Headless Man and Anubis, were played to perfection by the band, with Spiros Antoniou sounding inhumane on vocals while Kerim “Krimh” Lechner sounded simply bestial behind his drums. Seriously, he’s fantastic, adding endless heaviness to the band’s already demonic music. Just like Rotting Christ, Septicflesh proudly carry the flag of Greek extreme music everywhere they go, and if you’ve never seen them live, don’t miss the chance whenever they visit your city because they do offer a truly unique sonic experience.

Setlist
Portrait of a Headless Man
Pyramid God
Neuromancer
The Vampire from Nazareth
Hierophant
Martyr
Communion
A Desert Throne
Anubis
Dark Art

Band members
Spiros Antoniou – harsh vocals, bass
Christos Antoniou – guitars, orchestrations, samples
Psychon – guitars
Kerim “Krimh” Lechner – drums

DECAPITATED

It was already past 10:30pm (yes, it was a long night of first-class heavy music) when the co-headliners that were closing the night DECAPITATED destroyed The Phoenix Concert theatre with their fusion of Technical Death Metal and Groove Metal. Those Polish metallers didn’t show a single drop of mercy for our souls during their demonic set, with their new songs from their 2022 album Cancer Culture like the title-track Cancer Culture, Just a Cigarette and Last Supper blending perfectly with old school tunes including Spheres of Madness and Iconoclast. Frontman Rafał Rasta Piotrowski sounded demented on vocals, keeping the circle pits moving wildly until the very end. Damn, I think there were mosh pits happening even inside the washrooms, and even at the Domino’s Pizza located a couple of blocks from the venue. What a night of insanity and heavy music combined to bring us avid fans some top-of-the-line entertainment during such difficult times in Toronto, and I can’t wait to witness Decapitated crushing our cranial skulls again in the city in the near future.

Setlist
From the Nothingness With Love
Cancer Culture
Just a Cigarette
Babylon’s Pride
Post(?) Organic
Lying and Weak
Spheres of Madness
Earth Scar
Never
Iconoclast
Last Supper
Planet Caravan (Black Sabbath song)

Band members
Rafał Rasta Piotrowski – vocals
Wacław Vogg Kiełtyka – guitars
Paweł Pavlo Pasek – bass
James Stewart – drums

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The Year In Review – Top 10 Hard Rock/Heavy Metal Albums of 2023

“Whatever your age may be, when you go to a heavy metal gig, you’re a teenager again.” – Rob Halford

I believe that quote from the Metal God himself perfectly represents the year of 2023 for most of us metalheads, including of course myself and my buddy Keith Ibbitson of Metal Paparazzi as we’ve been to countless metal gigs this year (and you can see detailed reviews with amazing professional photos for each one of them HERE), keeping our inner fires burning during such difficult times for the entire world. A never-ending economic crisis that’s dragging tons and tons of people to poverty everywhere, the Russo-Ukrainian War that persists for almost two years now, the extremely sad and inhumane Gaza–Israel conflict, all environmental disasters that in the end are all mankind’s fault, and so on. On the heavy music side, we witnessed the final concert ever by KISS, the end of great bands like The Agonist and Betraying the Martyrs, and the deaths of Sebastian Marino (former guitarist of Overkill and Anvil), Michael “Majk Moti” Kupper (former guitarist of Running Wild), Jon Kennedy (former bassist of Cradle of Filth and former vocalist of Hecate Enthroned), Hiroshi “Heath” Morie (bassist of X Japan), Charlie Dominici (former vocalist of Dream Theater), and several other talented musicians.

Despite all those losses, it was a very good year for heavy music, as bands kept fighting for rock and metal no matter what, putting on fantastic albums and memorable tours for us fans, with some already voicing their dissatisfaction against Live Nation and Ticketmaster for their sky-rocketing ticket prices, shady fees, and an obscure ticket reselling “mafia” running in the background that inflates those prices even more. In 2024 we’ll surely (and hopefully) see more of this insurgence against their ticket monopoly, and while we wait for that let’s enjoy The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2023, excluding EP’s, best of’s and live albums, offering our avid ears the perfect soundtrack to every single moment in our lives, even if that moment is the apocalypse.

1. UADA – Crepuscule Natura (REVIEW)
One of the rising stars of the current Melodic Black Metal scene returns with their majestic fourth album, unleashing upon us five sonic vessels.
Best song of the album: Retraversing the Void

2. Cattle Decapitation – Terrasite (REVIEW)
Fear the devourer of earth in the form of the brand new and absolutely majestic album by California’s own Deathgrind masters.
Best song of the album: We Eat Our Young

3. Overkill – Scorched (REVIEW)
One of the pillars of old school Thrash Metal will scorch the earth to the sound of their breathtaking new album.
Best song of the album: The Surgeon

4. Hellripper – Warlocks Grim & Withered Hags (REVIEW)
Behold this infernal storm of Blackened Thrash Metal by a one-man army deeply rooted in his Scottish origins.
Best song of the album: Goat Vomit Nightmare

5. Viscera – Carcinogenesis (REVIEW)
UK’s own Technical Death Metal/Deathcore monster returns with their striking sophomore album.
Best song of the album: Sungazer

6. Cannibal Corpse – Chaos Horrific (REVIEW)
The mighty Corpse is back with another pulverizing album of old school, undisputed Death Metal, blasting gore, blood and violence.
Best song of the album: Chaos Horrific

7. Primal Fear – Code Red (REVIEW)
German Power Metal masters are back with their thirteenth opus, a hard-hitting metal lesson and living proof of the healing power of music.
Best song of the album: Play a Song

8. Werewolves – My Enemies Look and Sound like Me (REVIEW)
The most savage Blackened Death Metal band from Australia returns to the battlefield in full force with an even more demented offering.
Best song of the album: I Hate Therefore I Am

9. Vomitory – All Heads Are Gonna Roll (REVIEW)
All heads are gonna roll to the sound of the infuriated new album by one of the most important bands in the history of Death Metal.
Best song of the album: Raped, Strangled, Sodomized, Dead

10. Marduk – Memento Mori (REVIEW)
One of the pillars of Swedish Black Metal is back with a devilish new album, reminding us that we all must die.
Best song of the album: Blood of the Funeral

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

11. Angelus Apatrida – Aftermath (REVIEW)
12. Immortal – War Against All (REVIEW)
13. Blackbraid – Blackbraid II (REVIEW)
14. 4ARM – Pathway to Oblivion (REVIEW)
15. When Plagues Collide – An Unbiblical Paradigm (REVIEW)
16. Hrothgar – Rise of Ragnarök (REVIEW)
17. Mystic Prophecy – Hellriot  (REVIEW)
18. Tsjuder – Helvegr (REVIEW)
19. Hyperia – The Serpent’s Cycle (REVIEW)
20. Sarcoptes – Prayers to Oblivion (REVIEW)

In addition to all that, let’s bang our heads with our Top 10 EP’s of 2023 to prove once and for all that not all great albums of the year have to be so long. The EP’s from this list are simply awesome, showcasing the band’s talent and their ability to sound epic even if the music lasts for only a few minutes.

1. Imperial Demonic – Beneath the Crimson Eclipse (REVIEW)
2. Spectral Lore – 11 Days (REVIEW)
3. Admire the Grim – Rogue Five (REVIEW)
4. Saint Vermin – Together as None (REVIEW)
5. Lost Brethren – Dimensional Rift (REVIEW)
6. Cryptosis – The Silent Call (REVIEW)
7. Nemesism – Nemesism (REVIEW)
8. Decompose To Ashes – In The Eternal Silence (REVIEW)
9. Dysease – Era of Decay (REVIEW)
10. Throat Locust – Dragged Through Glass (REVIEW)

Do you agree with our list? What are your top 10 albums of 2023? Also, don’t forget to tune in every Tuesday at 10pm BRT on Rádio Coringão to enjoy the best of classic and underground metal with Jorge Diaz and his Timão Metal, and every Thursday at 8pm UTC+2 on Midnight Madness Metal e-Radio for the best of underground metal with The Headbanging Moose Show! And if you lost some of our latest special editions of The Headbanging Moose Show, including our Top 20 Underground Albums of 2023 – Parts I and II, go to our Mixcloud page and there you have hours and hours of the best of the independent scene, sounds good?

Metal Xmas and a Headbanging New Year! See you in 2024!

And before I go, I need to talk once again about Savage Lands, a nonprofit featuring members of Megadeth, Sepultura, Obituary and other legends of metal to support forests in Costa Rica, who released an amazing single titled The Last Howl back in November. The Last Howl is a howling tribute to the howler monkey, which are endangered in Costa Rica. The song features Savage Lands co-founders Sylvain Demercastel and Dirk Verbeuren (Megadeth), as well as support from John Tardy (Obituary), Andreas Kisser (Sepultura), Poun (Black Bomb A) and Etienne Treton (Black Bomb A). 100% of the song royalties will help fund nature sanctuaries, establish green zones and other land preservation projects in Costa Rica. Having said that, why don’t you go and make a nice donation to the cause, and learn more about Savage Lands on their official website? I’m sure Sylvain and Dirk, plus everyone else involved in this magnificent project, will love to receive that Christmas gift from you!

Album Review – Vortex / The Future Remains In Oblivion (2023)

This amazing Orchestral Death Metal act from Quebec will crush your senses with their new concept album, overflowing aggressiveness, intensity and emotion.

A recent finalist at the Wacken Metal Battle Canada 2023 Eastern Final, Rimouski, Quebec-based Melodic/Symphonic Death Metal/Metalcore act Vortex is back with their third full-length opus, a concept album titled The Future Remains In Oblivion, the follow-up to their 2016 debut album The Asylum and their 2018 sophomore effort Lighthouse, both also concept albums, building on their sound with added Black Metal influence, a heavy dose of aggressiveness and a buildup of intensity and emotion as the storyline progresses. Produced by Pierre Luc Demers and Dany Lévesque, engineered, mixed and mastered by Pierre Luc Demers at Studio Ondechoc, and displaying a futuristic artwork by Rudi Gorging Suicide, The Future Remains In Oblivion is an Orchestral Death Metal album with plenty of heavy riffing and melodies, technical vocals, and epic soloing, all masterfully brought into being by vocalist Alexandre Labrie, guitarists Dany Levesque and Mathieu Duguay, bassist Simon Desjardins, and drummer and pianist Justin L’Italien Dubé.

A cinematic and ethereal intro gradually evolves into the Melodic and Symphonic Death Metal feast From The Sun, with the piano by Justin bringing a touch of delicacy to the music in paradox to the deep guttural by Alexandre, whereas the piercing riffs by Dany and Mathieu together with the pounding drums by Justin will hit you hard in Downfall, offering more of their Death Metal sonority infused with Metalcore elements. Moreover, it will surely inspire you to bang your head nonstop while also presenting a grandiose, epic background, followed by The Fool, even more symphonic and imposing than its predecessors, where Simon’s metallic bass and Justin’s crushing beats will shake the foundations of the earth, not to mention how evil the roars by Alexandre sound and feel. Then the orchestrations by Mathieu will transport you to a whimsical world of Symphonic Death Metal in The Walls, before Alexandre comes ripping with his harsh screams accompanied by the always venomous drums by Justin.

Our Possible End is the perfect depiction of how they’re capable of uniting sheer violence with classy orchestrations in great fashion, with the guitars by Dany and Mathieu enhancing the song’s punch considerably; and their epic and somber journey goes on in First Blood, another massive creation by the band where all background elements make the song absurdly heavy and impactful, once again spearheaded by the enraged roars and gnarls by Alexandre. After that we have the title-track The Future Remains In Oblivion, a song that will blow your mind with its insane wall of sounds, background orchestrations, epic passages, striking riffs and solos, and visceral yet intricate drums, resulting in one of the most breathtaking moments of the entire album. And lastly, When No More Words Will Be Heard represents a melancholic, grim finale to the album, and you can sense the journey is coming to its inevitable and dark end thanks to the energy flowing form Alexandre’s vocals and all climatic orchestrations.

The talented and relentless guys from Vortex are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and don’t forget to also subscribe to their YouTube channel for more of their top-notch Orchestral Death Metal. In a nutshell, if you love extreme music with orchestral elements and a captivating storyline, then the incendiary The Future Remains In Oblivion, which is available for a full listen on YouTube and on Spotify, and on sale from the band’s own BandCamp page (or by clicking HERE), has everything you need to satisfy your craving and more, proving why they made it to the Wacken Metal Battle Canada 2023 Eastern Final, and why they’re becoming one of the most respected bands of the Quebec metal scene.

Best moments of the album: Downfall, The Walls and The Future Remains In Oblivion.

Worst moments of the album: None.

Released in 2023 Independent

Track listing
1. From The Sun 5:24
2. Downfall 4:11
3. The Fool 3:13
4. The Walls 4:32
5. Our Possible End 4:23
6. First Blood 4:29
7. The Future Remains In Oblivion 4:50
8. When No More Words Will Be Heard 5:22

Band members
Alexandre Labrie – vocals
Dany Levesque – guitars
Mathieu Duguay – guitars, orchestrations
Simon Desjardins – bass
Justin L’Italien Dubé – drums, piano

Metal Chick of the Month – Gogo Melone

Forged in this world… Chained to this earth… Forced to stay where I am… Evermore…

If you’re an admirer of the darkest forms of music and arts in general, I’m beyond certain you’ll have an absolute blast knowing more about our multi-talented metal lady of the month of May here on The Headbanging Moose. Not only she owns a powerful and beautiful voice, but she’s also a keyboardist, a songwriter, and an accomplished digital artist and graphic designer who has already worked with countless bands from the metal scene. I’m talking about Gogo Melone, the lead singer and composer for Aeonian Sorrow and Elyzia, and former vocalist for Luna Obscura, with guest appearances to bands such as ISON, Mercury Circle, IANAI, Ghostheart Nebula, As The Sun Falls and others, and having worked as a graphic designer for bands such as Xandria, Insomnium, Wolfheart, Omnium Gatherum and Vintersea, just to name a few. As you can see, Gogo Melone is an unstoppable force in heavy music, embellishing the airwaves with her voice while at the same time captivating our attention with her stunning graphic creations.

Born on July 17, 1985 in Ioannina (often called Yannena), the capital and largest city of the Ioannina regional unit and of Epirus, a region in north-western Greece, but currently residing in Helsinki, Finland, Gogo Melone began her career in music back in 2000 when she founded Greek Atmospheric/Melodic Death/Gothic Metal band Luna Obscura (Latin for “dark moon”) together with guitarist Dimitris Papachristos and vocalist Aris Potonos, inspired by the music by Draconian, Trail of Tears, Tristania, Theatre of Tragedy, Crematory, Paradise Lost, and all other bands with death and gothic elements. Gogo Melone mentioned in one of her interviews that there wasn’t any major plan to create Luna Obscura in the beginning, as it was just a musical experimentation, saying that she simply joined the band during the recordings of their demo Darcanda (released only in 2004). “The idea to have male and female vocals came easily, I guess that we all loved this combination at that time and somehow we felt it was the right direction for our music,” commented our diva, describing their sound as having atmospheric, death and gothic elements with harsh male and clean female vocals. “Our lyrics talk about death, human psychology and our transitions, the mystery, the unknown. All in combination with the music and the beautiful alternations of brutal and ethereal female vocals, create a melancholic yet strong-aggressive effect.”

Although the band was put on hold back in 2017 and has been dormant since then, and with Gogo Melone no longer being part of the band, there’s a lot to enjoy from their past releases, including the aforementioned demo Darcanda (as “Gwgw Melone”), their 2007 EP Evilyn, and their 2008 full-length opus Feltia, and you can enjoy several videos of the band on their official YouTube channel including Oronar, The Burden Of Solitude, and a live version of Dance of Forsaken Souls. Moreover, when asked about the importance of the visual part of the live performances by Luna Obscura, Gogo Melone said that all they cared about was delivering an emotional show to the crowd, focusing not only on the music, but also on the atmosphere surrounding it, as that was what their music was all about.

In another one of her bands, Finnish/Greek Gothic/Doom/Death Metal act Aeonian Sorrow, founded in 2015 by Gogo Melone alongside guitarist Taneli Jämsä, bassist Pyry Hanski, drummer Saku Moilanen, and vocalist Alejandro Lotero, she’s not only their vocalist but also their keyboardist, having released with the band the single Forever Misery, in 2017, the full-length album Into the Eternity a Moment We Are, in 2018, and the EP A Life Without, in 2020, all available on their BandCamp page, containing some fantastic creations including My Solitude, The Endless Fall Of Grief, One Love, and Thanatos Kyrie.

Fast forward to 2021, and there she is, the unrelenting Gogo Melone, starting another amazing band named Elysia (now spelled Elyzia), playing a stunning fusion of classic Black Metal and Experimental/Atmospheric Black Metal with nuances of Gothic and Doom Metal. She’s also the vocalist and keyboardist of the project, alongside vocalist, guitarist, bassist and drummer Jani Berney (of bands like As the Sun Falls, Tenebrae Aeternum and Chotzä, and who’s by the way engaged to Gogo Melone), having released their debut effort, the five-track EP Numinous, in August 2022. There’s an official video for the title-track Numinous, as well as official streams of the songs Veiled Fear and Onism on YouTube, and you can also find the full EP available for streaming on Spotify. Moreover, you can find more details about the band on Instagram,  and purchase their music via BandCamp. Regarding the name change, switching the letter S for Z, the duo posted a short and sweet message on their Instagram explaining everything. “Some disrespectful idiots coming from the deathcore scene are spamming our social media with threats and hate because there is an old band using the name Elysia. Considering the fact that this other band has been inactive since 2008 and ever since they had no new releases or shows, it is a joke and a bit boring to have to read bullshit about a name when there are so many other names that have been used already three and five times. But let’s end this in a positive note. We are currently working on a new single and a new album which we plan to release in the next few months.”

You can also find Gogo Melone as a guest vocalist or keyboardist to several amazing underground bands, metal or non-metal, by the way. “So far I have met so many great musicians and bands and have done amazing collaborations worldwide so I guess the thing that counts the least is the genre of music. Although I would like to experiment more in Gothic Metal, Doom and Death Metal but the most important is to keep making good collaborations and gain more experience,” said our diva, who not only could be seen singing live with Atmospheric Doom/Death Metal band Clouds back in 2018, but she also recorded vocals for the songs In This Empty Room, from their 2017 EP Destin, When I’m Gone, from their 2018 album Dor, and an acoustic version of that same song, from their 2020 compilation Clouds Acoustic; the re-recorded version of Suffer in Darkness, released as a single in 2022 by Finnish Symphonic Death/Doom Metal band Depressed Mode; Underworld, from the 2005 EP Skotos, by Greek Black/Death Metal act Empathy; Ascension Pt. I Cosmic River, from the 2021 album Ascension, by Italian Melodic Doom/Death Metal band Ghostheart Nebula; Scaling the Summit, from the 2023 EP Scaling the Summit, by Greek Symphonic/Melodic Death Metal band Neperia; a partnership with Greek Gothic Metal act Sorrowful Angels in the cover version for Moonspell’s classic Scorpion Flower, from their 2012 EP Reborn: A Tribute to Moonspell; A Light Year Breath, from the 2020 album Empire of the Void, by Italian Death/Doom Metal band Tethra; and Where the Sun Turns to Grey, from the 2021 album Echoes of Winter, by Italian Progressive Doom Metal band Veil of Conspiracy.

Other guest appearances include the songs Drink the Effect, from the 2008 self-titled EP by Greek Industrial Black Metal band Rheinkaos; Scary Place, from the 2014 self-titled album by Vita Nova; and Winter Is Coming, a solo single released in 2014 by Stream of Passion’s Eric Hazebroek. There’s also a solo album that Gogo Melone mentioned she started working in the beginning of 2012, which should be called Black Silent Vision (or something like that), and she even mentioned in one of her interviews that a digital single was almost ready to be released that year in the summer, but so far nothing has been released maybe due to all her responsibilities as a graphic designer, which undoubtedly consumes a lot of her time.

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Speaking about her passion for arts in general and her work as a graphic designer and digital illustrator since 2007, Gogo Melone mentioned that her favorite styles are emotional, dark and surreal, nurturing a deep passion for red, black and white, as well as for digital art, photography, music and film. “I can’t be myself without freedom and creativity and with art you can have both at maximum. My work is a mixture of dark digital art and photography, highly influenced by films, dark and gothic fashion, fairytales, the beauty of fragile souls and dreamy places,” said our diva, who’s also worried about the future of album covers and booklets due to the vast majority of physical albums being replaced by their digital formats. She has already worked with countless bands in her career, being responsible for the artwork, design or layout of their albums, including for example the bands Xandria, Ablaze My Sorrow, Lutharo, Red Moon Architect, Stormbound, As the Sun Falls, Delusions of Reality, Eye of Solitude, Gallia, Mythodea, White Empress and Wolfheart, just to name a few, plus of course her own bands Aeonian Sorrow, Luna Obscura and Elyzia. Furthermore, inspired by her favorite types of music or bands, a good movie, a documentary, a walk in nature, her past memories, her fears and her dreams, Gogo Melone said in one of her interviews that it doesn’t matter the quality or technique behind an image if it captures the essence of the message that’s being sent. In addition, she also mentioned that although she can’t be considered a photographer, she finds it very inspiring to see the works of both classic and modern photographers such as Cecil Beaton, Philippe Halsman, Steve McCurry, Allan Amato, Tim Walker, Nicolas Guerin, Winter Kelly and Natalie Shau.

Regarding her idols and influences, she said that her introduction to the metal scene happened when she bought the Black Album by Metallica, leading her to take some basic non-professional vocal lessons, participating in her school choir, and starting to sing in different bands during her high school years. Among her favorite bands we’ll find some incredible names such as My Dying Bride, Theater of Tragedy, Katatonia, Anathema, Draconian, Novembers Doom, Daylight Dies, Trail of Tears, Swallow The Sun, Shape of Despair, Paradise Lost, Moonspell and many more, being a diehard fan of all things doom, gothic and death. She was also asked to list her top five albums of all time a few years ago, and if her taste hasn’t changed since then her list is formed of The Silent Enigma, by Anathema; The Angel And The Dark River, by My Dying Bride; Viva Emptiness, by Katatonia; Velvet Darkness They Fear, by Theater of Tragedy; and Arcane Rain Fell, by Draconian.

Although Gogo Melone might have never taken professional vocal lessons, she doesn’t encourage people to follow the same path. “Everything is better when you have technical knowledge and when you know how you can use your voice without destroying it,” she said, also mentioning that she warms up her voice with simple techniques and rest it for long periods. “I don’t smoke, I’m not a big alcohol drinker, I drink a lot of water, I work out a bit and I sleep well as much as possible. Thankfully I didn’t do any damage to my voice so far, but after some years, maybe many years, my voice will change anyway so I guess that a few professional lessons will help to maintain it.” She obviously loves to use her voice live, and being onstage is extremely important to her as a musician and as a person. For instance, her most memorable live performances happened during the European tour that Aeonian Sorrow did with Swallow The Sun and Oceans of Slumber in 2019, also saying that one of the best concerts she has ever witnessed was Anathema when they played in Thessaloniki, Greece in 2005.

When asked if she prefers focusing on her career or her family, as several female singers have already mentioned they would rather concentrate in their careers, Gogo Melone said she would never sacrifice her family for her career, saying that there’s no point in spending most of the time away from your family or having kids you won’t see growing up, complementing by saying that not having a family when you’re in your 20’s or 30’s might be fine, but definitely not when you turn 40 or 50. A member of Eve’s Apple, a community (that might not be active anymore) focused on uniting female metal and rock singers to share their experiences, get to know each other, chat about a variety of topics, and promote their music without any sort of competition, Gogo Melone believes that the metal scene is no longer a male-dominated space, with all female-fronted bands showing metalheads they are no different from men, deserving nothing but respect from the scene. Hence, when questioned about her favorite female singers of all time, she listed Vibeke Stene (Tristania), Liv Kristine (Theatre of Tragedy, Leaves Eyes), Anneke Van Giersbergen (The Gathering), Lisa Johansson (Draconian) and Cathrine Paulsen (Trail of Tears) as her top ones, saying that list will never change for her.

Greece has always been an amazing source of metal music, but Gogo Melone believes the scene is even stronger now, with many bands having started to act more professionaly, therefore helping the local scene grow in a healthier way. “Of course the metal music industry has the normal ups and downs but people are always interested to discover new bands and artists,” she commented about the scene in Greece, also saying that due to having lost contact with her homeland in recent years she doesn’t follow a lot of Greek bands, apart of course form renowned acts such as Rotting Christ and Septicflesh, but that she knows all bands in Greece are putting a lot of effort into their music and they definitely need the support and attention from fans worldwide.

She also mentioned in one of her interviews that working as an independent artist is more in line with her goals, as she doesn’t like the standards such has “1 album every 2 years” or “you have to go live”, relying more on the online support she receives and on crowdfunding campaigns. “The internet and especially social networks are obviously the new way of bringing people together from all over the world. So, in regards to work and how you will promote it, I think it’s one of the best and most clever ways which can give you fast results. I like to use it very often, sometimes more than I should and even if it has helped me a lot…. I believe we must be very careful. It’s very easy to fool around instead of doing serious work, so be careful.” Well, we can all agree she’s been using the internet properly, as we’re all very lucky to be able to access her music and her art from anywhere in the world, bringing endless joy to our dark and gothic hearts.

Gogo Melone’s Official Facebook page
Gogo Melone Art’s Official Facebook page
Gogo Melone’s Official Instagram
Elyzia’s Official Facebook page
Elyzia’s Official Instagram
Elyzia’s Official YouTube channel
Aeonian Sorrow’s Official Facebook page
Aeonian Sorrow’s Official Instagram
Aeonian Sorrow’s Official YouTube channel

“Music is an amazing way to express your emotions and have fun all the time when you don’t take things so seriously. I prefer to sing whenever I want to and enjoy it in a way that makes me feel something instead of making albums every year with amazing productions but without soul, which obviously no one will remember after.” – Gogo Melone

Album Review – Godiva / Hubris (2023)

A prominent Symphonic and Melodic Death Metal horde from the Portuguese scene is back in action after a considerable hiatus with their first full-length opus.

One of the most prominent bands of the Portuguese Symphonic and Melodic Death Metal scene, Vila Nova de Famalicão, Braga-based horde Godiva is back in action after a considerable hiatus with their first full-length opus, entitled Hubris, sounding more imposing and orchestral than ever. Mixed and mastered by Wojtek Wiesławski (Behemoth, Decapitated, Doro) at Hertz Studio, Hubris will certainly appeal to fans of Cradle of Filth, Dimmu Borgir, Carach Angren and Septicflesh, among others, offering us all 45 minutes of first-class extreme music carefully brought forth by the band’s strongest lineup since their inception in 1999, those being Pedro Faria on vocals, Ricardo Ribeiro on lead guitars, André Matos on rhythm guitars and orchestrations, Arcélio Sampaio on bass, and Eduardo Sinatra on drums.

Like the soundtrack to a horror movie, the opening tune Black Mirrors brings forward eerie background sounds, deep roars by Pedro and the crushing beats by Eduardo in a great Symphonic Black Metal extravaganza, whereas Ricardo and André slash their stringed axes mercilessly in the also obscure Dawn, once again blending classic Black Metal with contemporary and symphonic nuances. In Death Of Icarus the band’s musicality leans towards the Symphonic Black Metal played by renowned acts the likes of Carach Angren and Dimmu Borgir, with the classy sound of the piano matching flawlessly with the song’s riffage; and their heaviness keeps darkening the skies in Empty Coil, with Arcélio’s bass and Eduardo’s drums generating a thunderous ambience perfect for the sick, deep gnarls by Pedro. Then even more orchestral and majestic than the previous song, Faceless showcases Pedro’s sinister roars walking hand in hand with the furious beats by Eduardo.

Godspell, by far my favorite song of the album, offers our avid ears a fusion of the cinematic and extreme music blasted by Dimmu Borgir, Cradle of Fitlh and Epica, spearheaded by the piercing vocals by Pedro while the band’s guitar duo kicks some ass with their riffs and solos, followed by the title-track Hubris, displaying a massive wall of sounds, being imposing and somber from start to finish, and with Eduardo’s tribal beats adding a touch of insanity to the overall result. It’s then time for another avalanche of Symphonic Black Metal by the quintet entitled Media God, keeping the album at a high level of sulfur thanks to another flammable performance by Pedro on vocals, while the band enhances their animosity and darkness in The All Seeing Eye, with Ricardo and André doing a great job on the guitars supported by the song’s infernal orchestrations and background elements. Last but not least, we’re treated to one final round of Godiva’s symphonic madness titled The Meaning of Life, with all the energy flowing from it putting a climatic ending to the album.

The talented Portuguese metallers from Godiva are waiting for you on Facebook and on Instagram with news, tour dates, plans for the future and all things surrounding such obscure band, and don’t forget to also watch their official videos on YouTube and stream more of their music on Spotify. Hubris, which is now available for purchase from Godiva’s own BandCamp page and from Apple Music, represents more than just a return to action by Godiva; it’s also a solid statement that such focused and somber Symphonic and Melodic Death Metal act has finally found the desired shape and form for their sound, leaving us eager for more of their music in the coming years and, of course, beyond ready to succumb to our beloved darkness alongside them.

Best moments of the album: Death Of Icarus, Godspell and The All Seeing Eye.

Worst moments of the album: None.

Released in 2023 Independent

Track listing
1. Black Mirrors 5:10
2. Dawn 4:08
3. Death Of Icarus 3:51
4. Empty Coil 4:21
5. Faceless 3:25
6. Godspell 5:44
7. Hubris 4:52
8. Media God 4:49
9. The All Seeing Eye 4:54
10. The Meaning of Life 4:32

Band members
Pedro Faria – vocals
Ricardo Ribeiro – lead guitars
André Matos – rhythm guitars, orchestrations
Arcélio Sampaio – bass
Eduardo Sinatra – drums