Several metalheads in Toronto raised their golden horns to three of the must-see names of the local scene on a warm and fun Friday night in the city.
INTRODUCTION: Golden Horns Fest 3 & Belgian Jasper’s Birthday Bash!
I’m not going to write another massive complaint about the hideous Toronto traffic any day of the week. I’m just going to say it took me over one hour and thirty minutes to drive for around 30km last Friday. Yes, it was insane. Anyway, let’s talk about music, as one of Toronto’s coolest metalheads, our buddy Jasper De Man, also known as Belgian Jasper, the host of Loud & Clear, not only celebrated his birthday on Friday July 10 at the cozy Monarch Tavern, with performances by three of the must-see metal bands or the current Canadian rock and metal scene, those being RAIDER, NAPOLEON, and ABYSMAL WHORE, but he also announced the winners of the third edition of the Golden Horns Awards. This year’s winners were Abysmal Whore for Best Toronto Band, Russell Allen for Metal Warrior Award, Alissa White-Gluz for Best Interview, Helloween for Best Live Show, Afra Catharina for Best Photo International, and Afrida Nawar and Isabelle for Best Photo Canada. By the way, Afrida was once again uber nice and helped us with some photos as Keith Ibbitson of Metal Paparazzi was not feeling well and couldn’t attend the event. Thanks again, Afrida!
After a short delay due to some technical difficulties at the venue, it was time for total devastation with Toronto-based Death Metal brigade ABYSMAL WHORE, and if you don’t know these girls and guys, go check their music on BandCamp and on Spotify as they’re awesome. Formed of the indomitable Marta Chilina on vocals and guitar, Nava Amin also on the guitar, Andrew Phillips on bass, and Korrosive’s own Kaveh Afshar on drums, the band played basically songs from their 2024 demo Sadistic Urge, and I must say they sounded a lot better live than in the studio, delivering a dirtier and more aggressive rendition of their songs. I really want to see a full album by such a promising band of the Canadian scene, because they definitely know how to craft high quality music, and they surely show their passion for the extreme through their music and when they’re kicking ass onstage.
Band members Marta Chilina – vocals, guitar
Nava Amin – guitar
Andrew Phillips – bass
Kaveh Afshar – drums
After a short break it was time for Alternative Punk/Post-Hardcore four-piece NAPOLEON to set the house on fire with their beyond electrifying performance, igniting some fun mosh pits and putting a smile on everyone’s faces with their energy and charisma. Playing a very vibrant set including songs like Buried In The Garden Of Eden, Haunting Me, Lord and Savior, and I Better Run (all available on BandCamp and on Spotify, by the way), frontman Jon Elmaleh and his henchmen Tommy Whyte on the guitar, Camilo Martinez on bass (who kept playing like a true badass even after one of the chords simply decided it didn’t want to be part of his bass anymore), and Eitan Garazi on drums didn’t stop kicking ass not even for a single second, and if you’re in Toronto looking for some action inside the pit, keep an eye on their tour dates. Those guys are fantastic live.
Band members Jon Elmaleh – vocals
Tommy Whyte – guitar
Camilo Martinez – bass
Eitan Garazi – drums
The last attraction of the night was Kitchener/Waterloo’s own Thrash/Death Metal machine RAIDER, and those guys never fool around when it comes to delivering pure, unfiltered sonic devastation to their avid fans. Having released the album Trial by Chaos in 2023 (available on both BandCamp and Spotify), the band formed of Gabe Rosa on vocals and lead guitars, Bennett Smith on vocals and guitars, Aaron Tanner on bass, and Angus Pike on drums showed no mercy for our souls with an incendiary performance, blasting the heaviest and fastest sounds you can think of. They kept shredding their guitars, screaming and pounding their drums nonstop, almost setting fire to the venue, and there wasn’t a single song in their setlist that didn’t transpire extreme aggression. I think it’s about time those guys release a new album, and of course, they should book more shows in the city. They were the icing on the cake on a night of first-class Canadian metal, and if they ever take your city by storm, you know what to do. Thank you, Jasper, for bringing those three bands together for us! It was a great celebration, even with Belgium losing such a tough match against Spain that same day. Well, bring it on, World Cup 2030!
Band members Gabe Rosa – vocals, lead guitars
Bennett Smith – vocals, guitars
Aaron Tanner – bass
Angus Pike – drums
This Florida-based Extreme Metal beasts are ready to attack with their sophomore album, plunging headfirst into the emotional and psychological aftermath of death.
Inspired by the burgeoning local metal scene of Tampa, Florida, Melodic Death/Thrash Metal beasts Blood of Angelsare making their mark on the genre that has guided them through the darkest of times. With local town heroes such as Cannibal Corpse and Nasty Savage inspiring down that path, the band formed of vocalist Randy Reyes, guitarist Aaron Robinson, bassist The Maggot, and drummer Jonathan Rushford blends Death, Black, Thrash and lashings of Power Metal into a high-octane frenzy, combining their musical prowess and instrumental talents to make social commentary on public mistruths and the atrocities committed against humanity. Now in 2026 the quartet is unleashing their sophomore opus, entitled Les Agnst ov Thanatous (which refers to the existential dread, anxiety, and deep-seated fear surrounding the inevitability of death, with “Thanatos” being the Greek mythological personification of death and “Angst,” German for anxiety or dread, representing the psychological weight of this realization), plunging headfirst into the emotional and psychological aftermath of death while presenting a cohesive narrative that traces the human response to grief through violence, ritual, memory, and reflection.
After the cryptic, horror movie-like intro Transitional Portal, the band comes crushing our souls with Beating You, where Jonathan hammers his drums in the best Death Metal style while Randy delivers deep, enraged vociferations for our total delight, supported by the always caustic guitar lines by Aaron. Then investing in a more Melodic Death Metal sonority the band offers our ears the hard hitting The Last Rites, perfect for some wild headbanging to the demolishing drums by Jonathan; and the quartet sounds absolutely on fire in Red River Death, a massive Death and Thrash Metal extravaganza led by the infuriated, grim roaring by Randy while his bandmates don’t stop pounding their sonic weapons.
The Pain Inside starts as a ballad, then morphs into a not-so-inspired metal aria, losing its grip after a while, albeit the crying guitar by Aaron still sounds great in the end; whereas back to the sound the band truly thrives we face Spillage, a Death Metal onrush where The Maggot and Jonathan make the earth tremble with their demented kitchen. Aaron’s riffage then revs up the band’s ruthless engine in Minds of the Broken, inviting us all for some action inside the pit. Nevermore presents elements from Sludge and Stoner Metal added to their core, a seven-minute feast of riff after riff, as heavy and groovy as it can be, with The Maggot once again kicking ass on bass, before all fades into the outro Eulogy, as enigmatic and cryptic as the intro, making the album go full circle.
Through its cohesive narrative and emotional intensity, Les Agnst ov Thanatou stands as the band’s most immersive conceptual work to date, inviting listeners to confront fear, loss, and mortality directly, offering an experience that remains long after the final sound fades. And you can also be part of such a unique experience by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their caustic creations on any platform like Spotify, and of course by grabbing a copy of Les Agnst ov Thanatous by clicking HERE. Death has always walked hand in hand with Extreme Metal, and Blood Of Angels definitely know how to turn all that fear, violence and darkness into ass-kicking heavy music as what they have to show us all in their new album.
Best moments of the album:Red River Death, Spillage and Minds of the Broken.
Worst moments of the album:The Pain Inside.
Released in 2026 Independent
Track listing 1. Transitional Portal 2:37
2. Beating You 4:05
3. The Last Rites 5:19
4. Red River Death 5:54
5. The Pain Inside 7:29
6. Spillage 3:26
7. Minds of the Broken 3:46
8. Nevermore 7:45
9. Eulogy 1:35
Band members Randy Reyes – vocals, acoustic guitars
Aaron Robinson – guitars
The Maggot – bass, backing vocals
Jonathan Rushford – drums, keyboards
These Progressive Thrash/Death Metal stalwarts are back with their sophomore full-length album, delivering faster speeds, deeper hooks, and even more dynamic twists than their fans have already come to expect.
Delivering a unique fusion of tight Thrash Metal riffing, noisy Punk Rock aggression, Progressive Rock ambition, and classic Heavy Metal grandeur, Baltimore, Maryland’s own Progressive Thrash/Death Metal stalwarts Nuclear Tomb are back as twisted and vicious as ever with their sophomore full-length album, titled Epoch Inhumane, following up on their 2024 opus Terror Labyrinthian. Engineered and mixed by Matt Michel at Viva Studio, mastered by Brad Boatright at Audiosiege, and showcasing a thrashing, apocalyptic artwork by Brad Moore, the new offering by Michael Brown on vocals and guitar, Matt Ibach also on the guitar, Amelia Morris on bass, and JD Lookabill on drums brings forward faster speeds, deeper hooks, and even more dynamic twists than their fans have already come to expect, being therefore perfect for fans of the music by Voivod, Pestilence, Coroner, and Atheist, just to name a few.
A cryptic warning sets the stage for the band’s maniacal thrashing feast titled Watch The Skies, with the harsh roars by Michael bringing even more adrenaline to their sound, followed by Falling Out The World Of Lies, a lesson in underground Progressive Thrash Metal by those American marauders with the rumbling bass and drums by Amelia and JD sounding absurdly heavy and vibrant. Unbowed / Averse is undoubtedly more experimental than its predecessors, led by the caustic and groovy riffs by Michael and Matt, whereas Faithless Continuum keeps the atmosphere as dark and visceral as possible, with JD once again sounding inhumane behind his drums. And they definitely know how to bring the intricacy of Progressive Metal to their core Thrash Metal insanity without slowing it down not even a bit, which is exactly the case in Broken Promise, Barren Essence.
Get ready to be caught in a nuclear mosh by Nuclear Tomb to the sound of Lifeless Transformation, where they speed things up and offer our avid ears their passion for the 80’s and 90’s infused with their progressive vein; followed by Butcher’s Lament, not their best effort to date, as it sounds a bit dissonant and out of place when compared to all other songs of the album. They get back on track with the razor-edged Terminally Emboldened, where their riffs and solos are effectively supported by the gigantic kitchen sounds crafted by Amelia and JD. The Coward’s Curse is another tune where they experiment with different sounds and tones while keeping blasting their killer thrashing core nonstop, whereas finally we face the multi-layered, rockin’ title-track Epoch Inhumane, showcasing the band’s undisputed dexterity until its eerie, grim finale.
Presenting songs that fearlessly rip and tear through warped tales of real world society’s impending collapse, Epoch Inhumane is a must-listen for fans of the weirdest side of Thrash Metal without forgetting the genre’s core aggression and speed, and if you want to know more about those American thrashers you can find them on Facebook and on Instagram, stream their caustic music on any platform like Spotify, and of course put your hands on such a striking album by purchasing it from the band’s own BandCamp or from Rotted Life Records. In other words, be prepared for the horror of the mind thrashing sonic nightmares blasted by Nuclear Tomb. You’ll never be able to sleep again after such a wild ride.
Best moments of the album:Falling Out The World Of Lies, Lifeless Transformation and Terminally Emboldened.
Worst moments of the album:Butcher’s Lament.
Released in 2026 Rotted Life Records
Track listing 1. Watch The Skies 3:17
2. Falling Out The World Of Lies 3:47
3. Unbowed / Averse 3:35
4. Faithless Continuum 3:56
5. Broken Promise, Barren Essence 3:58
6. Lifeless Transformation 3:02
7. Butcher’s Lament 3:30
8. Terminally Emboldened 2:25
9. The Coward’s Curse 3:53
10. Epoch Inhumane 5:02
Band members Michael Brown – vocals, guitar
Matt Ibach – guitar
Amelia Morris – bass
JD Lookabill – drums
Guest musician
Demir Soyer – additional lead guitars
These Canadian metal heroes return with their sixth studio album, taking on loss, pain and struggle while also blending their classic Heavy Metal roots with new textures, progressive touches, and a renewed sense of storytelling.
Forged in Vancouver, Canada in 2011, Iron Kingdom have spent fifteen years carrying the torch for classic Heavy Metal with unwavering conviction, inspired by the genre’s titans such as Iron Maiden, Judas Priest, Helloween, Scorpions, and Rush while building identity on electrifying stage presence, intricate twin-guitar harmonies, and a steadfast devotion to the melodic, adventurous spirit of traditional metal, culminating now in 2026 with their sixth studio album, titled Shadows and Dust. Recorded at KH Studios, co-produced by the band’s own Chris Osterman and Megan Merrick, mixed by Andy Boldt, mastered by Greg Reely at The Green Jacket, and displaying a harsh artwork by Alan Lathwell (inspired by a scene in the Malazan Book of the Fallen series by Steven Erikson), the new opus by vocalist and guitarist Chris Osterman, guitarist Megan Merrick, bassist Leighton Holmes, and drummer Max Friesen heavily lends itself towards the themes of death and impermanence, taking on loss, pain and struggle while also blending the band’s classic Heavy Metal roots with new textures, progressive touches, and a renewed sense of storytelling.
Chris and Megan rev up the band’s Heavy Metal engine with their striking axe attack in Defenders before the same Chris delivers his 80’s-inspired soaring vocals for our total delight; and get ready for another battle hymn titled Eternal Emperor, with the galloping rhythm led by Leighton and Max sounding thrilling and vibrant. Then fully inspired by the classic sound crafted by Iron Maiden, Judas Priest and Saxon we have Dreamless Sea, with their guitars sounding melodic and sharp from start to finish. Max once again takes the lead in Deadhouse Gates, with the entire band being in total sync and therefore offering us all first-class classic Heavy Metal; whereas it’s time for total anarchy with the fast and furious Line of Fire, adding elements of Speed and Thrash Metal to their core sound while led by the ass-kicking riffs and solos by Chris and Megan.
Despite its imposing name, Blood and Steel sounds a bit too mellow and soft compared to the rest of the album, as if it was a mellow version of Melodic Rock or AOR, although it’s still a very enjoyable tune. Then back to their trademark fusion of Hard Rock and Heavy Metal we face Shadow of Time, with the groove flowing from Leighton’s bass and Max’s drums penetrating deep inside our metallic minds; and it’s time to put the pedal to the metal in the high-octane Speed Metal extravaganza Dark Demands, with Chris firing his most insane high-pitched screams of the whole album. Again delivering a rhythmic, galloping sonority we have Starlight, with their guitar riffs and solos once again bringing fire to the ambience, whereas closing the album we’re treated to the epic seven-minute aria Sacred Fire, starting in a serene manner before morphing into a classic sound rooted in the 80’s, spearheaded by the old school vocals by Chris.
Across six albums, Iron Kingdom have transformed from a Hard Rock-leaning young band into a fully realized traditional Heavy Metal powerhouse, with Shadows and Dust also becoming the first album recorded entirely in the band’s own home studio, a major step in their long-standing DIY ethos. You can find more information about the band on Facebook and on Instagram, subscribe to their YouTube channel, stream their excellent music on Spotify, and of course purchase their new album from BandCamp. With Shadows and Dust, Iron Kingdom enter a new era with sharpened purpose, renewed fire, and a sound that honors the past while forging boldly ahead. It’s a story of endurance, evolution, and the unbreakable power of Heavy Metal, and I’m sure that after Shadows and Dust we’ll see those Canadians rockin’ for many years to come no matter what.
Best moments of the album:Deadhouse Gates, Line of Fire and Dark Demands.
Worst moments of the album:Blood and Steel.
Released in 2026 Steel Shark Records
Track listing 1. Defenders 6:05
2. Eternal Emperor 4:31
3. Dreamless Sea 5:11
4. Deadhouse Gates 4:57
5. Line of Fire 3:06
6. Blood and Steel 4:53
7. Shadow of Time 4:23
8. Dark Demands 3:36
9. Starlight 4:10
10. Sacred Fire 7:21
Band members Chris Osterman – lead vocals, guitars
Megan Merrick – guitars
Leighton Holmes – bass
Max Friesen – drums
Behold the new opus by this unrelenting Finnish melodeath entity, bringing the band’s storytelling to life through vivid tales of horror, superstition, and doom.
Formed back in 2010 in Tampere, Finland, Torchia have steadily carved out a distinctive identity within the Extreme Metal scene by blending thrash-infused Melodic Death Metal with dark fantasy, gothic horror, and cinematic atmospheres. Produced by Janne Saksa and Villemorte, mixed by Janne Saksa, and mastered by Dan Swanö at Unisound, with killer artwork, illustrations and layout by Caelan Stokkermans Arts, the incendiary They Are Born Under Rules, the fourth full-length opus in their career, represents a defining chapter in the artistic journey by frontman Nox, guitarists Villemorte and Henri von Hardy, bassist Vulkan, and drummer Vincent Oscar Mill. Set against a bleak, 19th century-inspired gothic backdrop, the album brings Torchia’s storytelling to life through vivid tales of horror, superstition, and doom, uniting narrative depth with relentless musical force.
The opening song Nekromanteion is simply cinematic and grim from the very first second, with Nox’s deep, dark vocals walking hand in hand with their striking guitar lines by Villemorte and Henri, kicking off the album with tons of sulfur, insanity and Black and Death Metal energy. The band continues their infernal path with Hellmouth, blending the demented sounds of modern heavy music with old school symphonic and dark elements, resulting in a truly headbanging feast; and Vincent ignites the band’s ruthless engine in Into Hell, pounding his drums while the guitars by Villemorte and Henri exhale rage and fury in another strong contender for their live performances. Guess what? They remain in hell for the also hard hitting melodeath tune Hellstorm, again presenting the demonic vociferations by Nox for our total delight while also displaying some wicked guitar solos.
After such a high level of fire and sulfur, the band will crush our damned skulls with the infuriated Die Amour, perfect for breaking our necks headbanging to the massive beats by Vincent, followed by The Tiamat Machine, carrying a beautiful name for an epic, thrilling creation by those uncanny metallers, offering a clash of distinct sounds that will bring excitement and fear to our hearts, all boosted by the insane roars by Nox and all background cinematic sounds. The band then lets their Thrash Metal vein arise in Black Cat, adding speed and rebelliousness to their core Melodic Death Metal sounds while the guitar work by the band’s axe duo is once again fantastic; and Vulkan and Vincent will shake the foundations of the earth with their thunderous kitchen in Stygian Waters, keeping the album as powerful and aggressive as possible. Lastly, they slow things down a bit while keeping the atmosphere as dense and epic in Sanguine Masquerade, sounding like a dark and devilish waltz led by the grim vociferations by Nox.
“With this record, we wanted to push our sound further into darker and more cinematic territory without losing the immediacy and energy that defined our earlier work,” commented the band, expanding on the album’s direction, and if you’re a fan of the music by renowned acts the likes of Behemoth, Cradle of Filth, and Children of Bodom, you should definitely check what Torchia are up to on Facebook and on Instagram, bang your head to their caustic creations on Spotify, and of course purchase They Are Born Under Rules of the Darkness from BandCamp or from Rockshots Records as a CD or an LP. We’re living truly dark times, and although the music from Torchia’s new album is inspired by the 19th century, it’s beyond perfect for the chaotic state of our world.
Best moments of the album:Into Hell,The Tiamat Machine and Stygian Waters.
Worst moments of the album: None.
Released in 2026 Rockshots Records
Track listing 1. Nekromanteion 4:23
2. Hellmouth 4:08
3. Into Hell 3:38
4. Hellstorm 3:55
5. Die Amour 4:12
6. The Tiamat Machine 5:39
7. Black Cat 3:19
8. Stygian Waters 4:05
9. Sanguine Masquerade 4:46
Band members Nox – vocals
Villemorte – lead guitars, vocals
Henri von Hardy – guitars
Vulkan – bass, backing vocals
Vincent Oscar Mill – drums
Standing at the intersection of ferocity and history, this Swedish Death and Thrash Metal brigade is unleashing hell with their debut opus, with each song portraying small historic tales of catastrophe, blunder, and human downfall.
Standing at the intersection of ferocity and history, channeling the raw aggression of Death Metal while weaving in the relentless drive of Thrash Metal and the defiance of Punk Rock, Stockholm, Sweden-based brigade Riket is unleashing hell armed with their debut opus, simply titled 2026. Recorded and produced by Sverker Widgren at Wing Studios, and displaying a haunting artwork by Axel Torvenius, mirroring the album’s thematic depths, the debut offering by vocalist Johan “Flid” Fridell, guitarists Tobias Jakobsson and Jussi Niiranen, bassist Micke André, and drummer Felix Wahlund balances crushing heaviness with an eerie sense of narrative, with every song being performed in Swedish and rooted in the darker corners of a shared past, portraying small historic tales of catastrophe, blunder, and human downfall.
Tobias and Jussi take the lead from the very first second with their acid riffage in 1868: Sommar Vid Vinterviken (or “1868: Summer at Winter Bay” from Swedish), while Johan barks and roars in the best Swedish style. 1867: Storsvagaret (“1867: The Great Weakness”) is even more infuriated and groovy than the opening tune, presenting elements of Death and Thrash Metal spiced up by an overdose of brutality and sick guitar solos; and it’s time to head into the circle pit and keep moving relentlessly in 1965: Hoghus Och Kultur (“1965: The Court and Culture”), with Felix sounding like a machine gun on drums. Then leaning towards the Melodic Death Metal by their countrymen such as In Flames and Soilwork we have 1948: Att Doda Ett Barn (“1948: Killing a Child”),showcasing a truly edgy vibe; and what starts in a calm way in 1885: Dodsdansen (I Manskensnatten) (“1885: The Dance of Death (In the Night of Man)”) suddenly morphs into another bestial melodeath attack.
1897: Mot Polen (“1897: Towards Poland”) is absolutely heavy but not as dynamic nor as exciting as the rest of the album, albeit the Amon Amarth-like riffs by Tobias and Jussi are still a thing of beauty. Micke keeps hammering his bass in 1991: 2000 Ar (Saliga Aro De Talmodiga) (“1991: 2000 Years (Blessed Are the Wise Men)”), adding a groovier vibe to the song while Johan’s deep guttural bring endless fury to the overall result; whereas 1937: Lagor Vid Portarna (“1937: Laws at the Gates”) is more rhythmic and vibrant thanks to another ass-kicking performance by Felix on drums, while the trio formed of Tobias, Jussi and Micke delivers a first-class stringed onrush. Lastly, we’re treated to a cover version for Stefan Sundström’s 2009: Alla Ska I Jorden (“2009: All Shall Be in the World”) (and you can enjoy the original version HERE), an interesting rendition presenting a darker, more introspective approach compared to the original.
A vessel of memory, a grim messenger bridging today’s world with the chilling truths of yesteryears, 2026 does not simply revisit history. Riket force you to confront it, challenging their audience to face uncomfortable truths, both personal and societal. If you want to know more about Riket and their dark relationship with history, you can start following the band on Facebook and on Instagram, stream their wicked creations on Spotify, and purchase their excellent debut from BandCamp or from several online retailers such as Doomed Records and Record Store Day. 2026 is an album that lingers long after the final note fades, a stark, resonant journey through memory, identity and the lingering shadows of time, leaving us eager for more from those Swedish metallers as our society progresses to its inevitable doom.
Best moments of the album:1867: Storsvagaret, 1965: Hoghus Och Kultur and 1937: Lagor Vid Portarna.
Worst moments of the album:1897: Mot Polen.
Released in 2026 Black Lion Records
Track listing 1. 1868: Sommar Vid Vinterviken 4:27
2. 1867: Storsvagaret 3:04
3. 1965: Hoghus Och Kultur 5:15
4. 1948: Att Doda Ett Barn 3:42
5. 1885: Dodsdansen (I Manskensnatten) 4:48
6. 1897: Mot Polen 3:56
7. 1991: 2000 Ar (Saliga Aro De Talmodiga) 4:11
8. 1937: Lagor Vid Portarna 4:18
9. 2009: Alla Ska I Jorden (Stefan Sundström cover) 5:06
Band members Johan “Flid” Fridell – vocals
Tobias Jakobsson – guitars
Jussi Niiranen – guitars
Micke André – bass, backing vocals
Felix Wahlund – drums
The Canadian city of London witnessed for the very first (and last) time ever the undisputed power of “Sepultura do Brasil” on an unforgettable night of first-class heavy music.
After back to back nights of pure heavy music with bands like Archspire, Amon Amarth and Dethklok kicking my ass in Toronto on Thursday and Friday, it was time for a nice drive to the city of London for night number 3 of absolute metal magic to enjoy TRIBAL GAZE, BIOHAZARD, EXODUS and SEPULTURA take the cozy London Music Hall by storm this Saturday night as part of their Celebrating Life Through Death Final North American Tour 2026, another killer event organized by our local hero Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi was there with me to register such a great celebration of Thrash, Death and Groove Metal, as well as some first-class Hardcore, and I guess because the show was on a Saturday, and due to the size of the bands playing, it was scheduled for an early start, with doors opening at 5:30pm and the first band hitting the stage at 6:30pm. Fortunately, as mentioned, it was on a Saturday, so it was just a matter of planning the drive beforehand to get there in time to enjoy all attractions (and brave the long merch line if you were up to that), and believe me, they were all absolutely worth the ticket.
The opening slot of this tour was given to Texan Death Metal outfit TRIBAL GAZE, and just like when I saw them opening for Cattle Decapitation they were ruthless onstage. Once again playing songs exclusively from their 2025 sophomore Inveighing Brilliance, available on both BandCamp and Spotify, including the venomous Twitching on the Cross, Guarding the Illusion, and Beyond Recognition, the band formed of McKenna Holland on vocals, Quintin Stauts and Ian Kilmer on the guitars, Zachary Denton on bass, and Cesar De Los Santos on drums inspired everyone already at the venue to start a sick circle pit, properly warming up the crowd for the other attractions of the night. Those guys are very young and looked extremely excited for opening for some of their metal heroes, as I’m sure they grew up listening to Sepultura, Exodus and Biohazard, so their level of energy onstage was insanely high. As I always say, new bands like Tribal Gaze need our support to keep metal alive, which means if they ever play in your city, you know what to do.
Setlist Emptying the Nest
Smiling From Their Chariots
To the Spoils of Faith
The Irreversible Sequence
Twitching on the Cross
Guarding the Illusion
Beyond Recognition
Band members McKenna Holland – vocals
Quintin Stauts – guitars
Ian Kilmer – guitars
Zachary Denton – bass
Cesar De Los Santos – drums
After Tribal Gaze finished their unrelenting performance, we were treated to the incendiary Hardcore by Brooklyn, New York’s most famous squad, the indomitable BIOHAZARD. It was only my second time in life seeing those guys live, the first back in the late 90’s when they were one of the must-see bands on MTV, and I must say they looked a lot sharper and more infuriated this Saturday night. Evan Seinfeld is in fantastic shape, way better than his early days or when he was one of the prisoners in the revolutionary TV series Oz, and if I ever have a chance to talk to him in person I’ll certainly ask him for some health tips as he looks awesome. Billy Graziadei, Bobby Hambel and Danny Schuler were also on fire, and their short but sweet setlist, blending classics with new songs from their 2025 album Divided We Fall (all available on Spotify), was heavy, flammable, violent and fun from start to finish, igniting a demonic circle pit that turned up the heat considerably at the venue. Biohazard still got it, no doubt about it, and I’m happy I was able to see those legends live again after almost 30 years.
Setlist Urban Discipline
Shades of Grey
Fuck the System
Wrong Side of the Tracks
Tales From the Hard Side
Forsaken
Punishment
Band members Evan Seinfeld – vocals, bass
Billy Graziadei – vocals, rhythm guitar
Bobby Hambel – lead guitar
Danny Schuler – drums
Then it was time for another blast of absolute thrashing madness onstage with the mighty Thrash Metal titans EXODUS, who after the return of the furious Rob Dukes are sounding even heavier than before. I saw them opening for Megadeth also in London in February, when they kicked off their tour to promote their new album Goliath (also available on Spotify), but this time opening for Sepultura sounded a lot heavier (and louder, as the sound at the London Concert Hall was turned up to 11). The setlist wasn’t too different from last time, but the fact they added the magnificent Deathamphetamine to it made their show more violent and vibrant. It’s always a pleasure seeing Gary Holt, Lee Altus, Jack Gibson and Tom Hunting onstage, as well as the aforementioned Rob Dukes, of course, but the show was so intense we all had to share our attention with the hurricane happening inside the circle pit. Well, when the last three songs of a setlist are A Lesson in Violence, The Toxic Waltz, and Strike of the Beast, you know you can’t simply stand and watch the show. You need to get into the action, and the fans in London understood the message maybe even more than what anyone could have predicted. Yes, it was a true lesson in violence, and we must thank the one and only Exodus for such a fun time.
Setlist We Will Rock You (Queen song)
3111
Bonded by Blood
Deathamphetamine
Blacklist
Goliath
A Lesson in Violence
The Toxic Waltz
Strike of the Beast
Band members Rob Dukes – vocals
Gary Holt – guitar
Lee Altus – guitar
Jack Gibson – bass
Tom Hunting – drums
It was already past 9pm when the main band of the night, Brazilian Thrash/Groove Metal institution SEPULTURA, kicked off their very first, and most probably their very last (as this is supposed to be their farewell tour), concert in the city of London, and the fans made sure it was an unforgettable night for Derrick Green, Andreas Kisser, Paulo Jr., and Greyson Nekrutman, as the crowd was rowdy and wild during their entire setlist, even when they played slower or newer songs like The Place (from their brand new EP The Cloud of Unknowing, already available in any platform such as Spotify) and Agony of Defeat. The crowd got louder of course during their classics from the 90’s, but the synchronicity between Sepultura and the fans in London was a thing of beauty during the entire concert.
Speaking of classics, I simply loved the fact they kicked off the show with Beneath the Remains and Inner Self, two of my all-time favorite Sepultura songs, and the quartet sounded utterly heavy during those masterpieces. The action inside the pit got out of control, the fans began smashing each other on the front rows to the point some people had to move to the back to be able to breathe and enjoy the rest of the show, and the fact they kept playing heavy and visceral tunes the likes of Attitude, Choke and Escape to the Void turned the venue into a cauldron of violence. The excellent tribal hymn Kaiowas brought some moments of peace to London, but of course all hell broke loose again once they played in a row the majestic Orgasmatron, Territory, Refuse/Resist and Arise. It was way crazier than their show in Toronto in 2024, I must admit.
Then after a quick drum solo by the ultra talented Greyson Nekrutman, who fells absolutely at home with Sepultura, the band put everyone to jump up and down, dance, slam into the pit, and therefore have the time of their lives with Ratamahatta, and of course with one of the best metal songs of all time, the incendiary Roots Bloody Roots. If that was indeed the first and last time Sepultura played in London, let’s say they did a phenomenal job, carving their place in the hearts of a lot of newcomers to their Sepulnation as countless fans were seeing them live for the very first time ever. I’ve seen them live already way too many times to remember, but I’ll never forget the energy in London. I had a long drive back home by myself in the middle of the night, but the adrenaline from the show was still flowing through my veins, making the drive a lot easier. Thank you for your music, Sepultura do Brasil, and if you want to somehow “cancel” your retirement and go back to London for another killer show, we will all be there for you.
Setlist War Pigs (Black Sabbath song)
Polícia (Titãs song)
Beneath the Remains
Inner Self
Desperate Cry
Kairos
Means to an End
Attitude
Choke
The Place
Escape to the Void
Kaiowas
Dead Embryonic Cells
Agony of Defeat
Orgasmatron
Territory
Refuse/Resist
Arise
Drum Solo
Ratamahatta
Roots Bloody Roots
Band members Derrick Green – lead vocals
Andreas Kisser – guitars, backing vocals
Paulo Jr. – bass
Greyson Nekrutman – drums
The wolf beast is once again unleashed, blending full-force Thrash Metal with Crossover adrenaline in their breathtaking new album.
Since 2010, the Turin, Italy-based wolves of Ural have been blending full-force Thrash Metal with Crossover adrenaline and a willingness to step outside the confining boundaries of genre. Mixed and mastered by Davide Billia, and showcasing a killer artwork by Luca SoloMacello, the fulminating Anthropic Genetic Involution is the fourth full-length beast by the band currently formed of vocalist Andrea Calviello, guitarists Alex Gervasoni and Luca Caci, bassist Stefano Cipriano Moliner, and drummer Filippo Torno, a worthy follow-up to their 2023 album Psychoverse, a must-listen for fans of Death Angel, Nuclear Assault, Voivod and Forbidden, among others, and their most ferocious and far reaching opus to date.
Get ready to be caught in a feral mosh to the sound of Extreme Paranoia, led by Andrea’s demented screams and the crushing drums by Filippo, perfect for slamming into the pit like a true beast. Alex and Luca continue to slash their axes in the frantic Break the Fall, inviting us for a Toxic Waltz-like dance in a lesson in Thrash Metal by the boys; followed by God of Lies, again alternating between more melodic moments and sheer thrashing adrenaline, led by Filippo’s killer drumming. Let’s keep this party moving with Wrong Children, where Stefano and Filippo make the earth tremble while Andrea fires his inebriate, rebellious vocals nonstop, and they show no sign of slowing down at all in Open Scars, presenting more of their blend of old school Thrash Metal.
Andrea sounds even more demented in Rat in a Cage, accompanied by the unstoppable riffage by Alex and Luca in a well balanced mix of classic Thrash Metal with Crossover Thrash. Flat Black, originally a jazz composition by renowned trombonist and composer J.J. Johnson featured on his 1961 album A Touch of Satin (and you can check the original version HERE), gets a thrashing twist with Ural, as chaotic as it is classy; and it’s time to get back to their core Thrash Metal insanity in Terror Eyes, inspiring us all to dive deep into the circle pit to the visceral beats and fills by Filippo, flowing into the hard hitting closing tune …to Change Your Vision, with the music fading into oblivion after the band’s striking Thrash Metal feast is over.
Ural have been carving their name into the hearts of thrashers everywhere album after album, and of course the demolishing Anthropic Genetic Involution will continue to pave the band’s path of absolute chaos, rebellion and destruction, always in the name of our beloved Thrash Metal. If you want to show the boys from Ural your absolute respect and admiration, you can start following them on Facebook and on Instagram, stream their demented creations on any available platform like Spotify, and above all that, purchase a copy of the excellent Anthropic Genetic Involution from the Xtreem Music’s BandCamp or webstore. The wolf beast is about to be unleashed, and there’s no place to run or hide from its blood-soaked claws. All you need to do is take a deep breath, get into the mosh pit to the sound of its bestial new album, and get ready to be dilacerated by its infernal thrashing sounds.
Best moments of the album:Extreme Paranoia, Wrong Children and Terror Eyes.
Worst moments of the album:Flat Black.
Released in 2026 Xtreem Music
Track listing 1. Extreme Paranoia 3:17
2. Break the Fall 4:43
3. God of Lies 3:31
4. Wrong Children 4:05
5. Open Scars 3:58
6. Rat in a Cage 3:00
7. Flat Black (J.J. Johnson cover) 3:27
8. Terror Eyes 4:17
9. …to Change Your Vision 2:50
Band members Andrea Calviello – vocals
Alex Gervasoni – guitars
Luca Caci – guitars
Stefano Cipriano Moliner – bass
Filippo Torno – drums
Toronto’s own arena-rock Heavy Metal trio returns with their ambitious sophomore album, igniting the next chapter of their high‑flying saga.
Hailing from Toronto, Canada, Heavy Meta/Hard Rock power trio Thunderor ignites the next chapter of their high‑flying saga with the release of their sophomore opus, entitled Bleed For It, following up on their critically acclaimed 2022 debut Fire It Up. Produced by the band’s own JJ Tartaglia, mixed by Chris Snow, mastered by Kristian Montano, and featuring guest musicians Oscar Anesetti on bass, Anthony Pannozzo on keyboards, and Colin Grant on the fiddler, the new album by the aforementioned JJ Tartaglia on vocals, drums and keyboards alongside Jonny Nesta on the guitars, and Brycen Gunn on bass serves as the official soundtrack to “Thunderor The Musical”, the band’s ambitious rock opera production that debuted at the Toronto Fringe Festival in 2025. Its artwork captures scenes from the stage show, setting the mood for a sweeping tale of adventure, danger, and heart. Set in an alternate 1992, the story follows Bowen, a washed‑up musician and biker, who finds renewed purpose through romance and one last grasp at glory.
The trio wastes no time and kicks off their rockin’ adventure with Pump Up the Volume, bringing forward JJ’s trademark soaring vocals and classic beats and fills, followed by the title-track Bleed For It, another round of their striking fusion of 70’s and 80’s Hard Rock, with Jonny stealing the spotlight with his electrifying riffs and solos. As a huge fan of live concerts I simply love the title of the song Take Me to the Show, offering us all more of their killer Rock N’ Roll sounds. The band then fires a Thrash and Speed Metal-infused tune titled Get ‘Em Counted, inspiring us to start a nice mosh pit to the nonstop beats by JJ, and get ready to prance around the fire pit together with Thunderor in Cape Breton Home, featuring guest Colin Grant on the fiddler, also presenting pure Hard Rock flowing from Jonny’s axe.
In Streets of Fire we see Thunderor again deliver a high-octane amalgamation of rock and metal, setting fire to the atmosphere to the crushing drums by JJ and Oscar’s rumbling bass, sounding as upbeat as it is heavy. One Chance is another song that sounds as if was taken from a classic album from the 80’s, showcasing those awesome soulful riffs we all love so much; and we then face the cinematic interlude DreamQuest, which also feels it’s from a movie or TV show from the 80’s, before their quest comes to an end with In the Fire O’ the Heat, where they also bring to our avid ears elements from Progressive Rock and Metal (exactly what a Rock Opera needs to become truly fun). Not only that, JJ’s vocals and Jonny’s guitars are in total sync, keeping the energy flowing majestically until the song’s horns raising finale.
With improved vocals, bigger choruses, and a cinematic concept, Bleed For It promises to be the band’s most ambitious and emotionally charged release yet, recommended for fans of The Darkness, Skull Fist, Ghost, and Night Flight Orchestra. If you crave escape, adventure, romance, and danger, the band invites you to ride with them into the storm, and you can do so by following them on Facebook and on Instagram, sby streaming their music on Spotify, and of course by purchasing the album from BandCamp, from Boonsdale Records (Canada and worldwide), from Cruz del Sur Music (Europe), or simply by clicking HERE. Having said all that, what are you waiting for to bleed together with Thunderor to the sound of their newborn electrifying album?
Best moments of the album:Bleed For It, Get ‘Em Counted and Streets of Fire.
Worst moments of the album: None.
Released in 2026 Boonsdale Records
Track listing 1. Pump Up the Volume 3:42
2. Bleed For It 4:04
3. Take Me to the Show 4:09
4. Get ‘Em Counted 3:19
5. Cape Breton Home 3:33
6. Streets of Fire 4:16
7. One Chance 3:40
8. DreamQuest 1:29
9. In the Fire O’ the Heat 4:19
Band members JJ Tartaglia – vocals, drums, keyboards
Jonny Nesta – guitars
Brycen Gunn – bass
Guest musicians
Oscar Anesetti – bass on “Take Me to the Show”, “Get ‘Em Counted”, “Cape Breton Home”, “Streets of Fire” and “One Chance”
Anthony Pannozzo – additional keyboards on “Take Me to the Show”, “Get ‘Em Counted” and “One Chance”
Colin Grant – fiddler on “Cape Breton Home”
Ciao, miei cari metallari! Are you ready to embark on a wild journey to the “Bel Paese” together with The Headbanging Moose to know more about our metal lady of this month of April? Not just a metal singer and songwriter, but she’s also a psychologist and psychotherapist, creating a strong connection between heavy music and mental health, or as she prefers to say, she talks to the community where loud music meets deep healing. Bridging metal, psychology, and visual art, shaping a voice and a vision that are both intense and deeply human, she’s the frontwoman for the up-and-coming Italian band 5RAND, and one of the must-see names of the new generation of growlers. Her name is Julia Eleonora, better known by her stage moniker Julia Elenoir, and she will kick your ass mercilessly with her undeniable talent, charisma and passion for all things Heavy Metal.
Born and raised in the beautiful city of Rome, Italy, Julia has been creating music since her childhood, having grown up surrounded by rock and metal. She started playing classical guitar at the age of 13, and formed her first band when she was 17, beginning to compose her earliest songs. Over the years, her musical style evolved naturally from lighter styles like Hard Rock to a heavier, more introspective metal sound, with Death Metal becoming her main style. “Because I love its edge, its rawness, the catharsis it creates. The extreme side lets me explore, push boundaries and channel aggression and vulnerability at the same time. With 5RAND we mix melodic death and deathcore …not to provoke, but to dig deeper,” she said when asked why she decided to follow such an extreme path with Death Metal.
Founded in 2015 in Rome, Italy by Julia on vocals and Pierluigi Carocci on the guitars (who was working on his own solo project), Riccardo Zito on bass, and Francesco Marroni on drums, but currently formed of Julia and Pierluigi alongside bassist Acey Guns and drummer Andrea De Carolis, the up-and-coming Melodic Death/Groove Metal act 5RAND builds on a punishing modern metal foundation layered with the cinematic depth of melodeath, creating an intense and emotionally immersive soundscape and, therefore, carving out a distinctive place in the modern metal scene. “The name 5RAND comes from a South African 5 Rand coin that Pierluigi once received from a shaman as a good-luck charm. It stayed with him and with us,” explained Julia in one of her interviews. “Musically, we live at the crossroads of aggression and melody. We play, we record, we move forward.”
Having since toured extensively across Europe, sharing the stage with iconic acts such as Dark Tranquillity, Vader, Butcher Babies, Infected Rain and many others, 5RAND alredy released their debut album Sacred / Scared in 2017, followed by their 2019 sophomore Dark Mother, and their excellent third installment Ordhalia, from 2025, a sonic evolution in their already solid career, sounding darker, more introspective, and conceptually daring. Furthermore, Julia has written all the lyrics for 5RAND and has co-composed the music for every song released by the band to date, showing how much she’s involved with 5RAND. Not only that, even Julia couldn’t give a precise answer when asked how she would label the music by 5RAND, just to give you an idea of how dynamic, fresh and unique their style can be. “That would be hard to say precisely, since we don’t fit exactly in only one subgenre, like many many modern bands don’t. We’ve got a bit of Thrash and Death Metal, but also Industrial Metal and a lot of melodies too.” And if you want to experience their music in loco you can find their albums on Spotify, and also visit YouTube to enjoy their official videos for songs like Old Angel Midnight, Paint of Pain, Erase, Several Injuries, Cordyceps, live versions of Preacher of Lies and Cordyceps, and many more.
Owner of such a powerful and versatile voice, it was obvious that we would see Julia as a guest vocalist for different bands and projects. For instance, you can find her doing all female vocals for the 2022 album Ex Mortis Gloria, by Bristol, England-based Technical Death Metal band Imperium; as a guest vocalist for the song A New One, from the 2018 album Liberation, by Italian Symphonic Heavy Metal band Infinita Symphonia; and also as a guest vocalist for the 2020 album Phagocity, by Italian Groove Metal outfit South of No North. Moreover, when asked about venturing on a solo project in the near future, she said that’s indeed a possibility. “I’m always open. For now, I’m focused on 5RAND, but I don’t rule out solo work or collaborations in the future. Art is fluid; it transforms. I’d especially like to do something acoustic with my own songs, but for now we’re working on the next release.”
As expected, Julia is highly influenced by some of the most important names in the history of heavy music. “Growing up, we’d say the classics: Iron Maiden, Metallica, Slayer… now the names are slightly different and more recent though, like Slipknot, Gojira, Fear Factory,” she commented. In addition, as one of the most promising female growlers of the current scene, Julia is also a huge admirer of the music by Arch Enemy and Jinjer. “I’ve been inspired by voices like Corey Taylor from Slipknot, and among the women I really admire Cristina Scabbia, Alissa White-Gluz, Tatiana Shmayluk, and other artists who know how to blend intensity and versatility. I admire anyone who can shake me to the core while destroying the stage.”
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Regarding her vocal technique, Julia said that she works a lot on her clean and growl dual-voice style. “It’s not about volume, but control, endurance, and intensity. You have to be able to express emotion even when the voice is rough. I always warm up, focus on breathing, and pay close attention to vocal health. Clean parts and growls require completely different mindsets.” She practices a lot everyday, always focusing on warmups and breathing exercises, saying that singing in a Death Metal and/or Metalcore style has its easy parts, as well as really hard ones. “The hard part is keeping vocal health and expressiveness. The ‘easy’ part or at least what becomes more natural with experience is letting emotion flow once technique is solid.”
If there’s one thing that Julia and the boys from 5RAND enjoy doing, that’s hitting the stages with their live concerts. After signing with Art Gates Records, the band started working on new dates, aiming at expanding their touring and reaching a wider audience. A very good reason why all of us should keep an eye on their social media, because if 5RAND are taking your city by storm anytime soon, you surely don’t want to miss it. Also, when asked which song she likes to sing live the most, she mentioned the excellent Cordyceps. “Cordyceps because the crowd goes particularly crazy with that song, but I love to sing all our songs.” Julia also has her “hobbies” behind the scenes during their tours. The rest of the band said they suspect Julia really enjoys watching people eat. “That’s why everything she cooks is in enormous quantity,” commented her fellow bandmates.
When questioned about the current metal scene in Italy, she said that Death Metal, as well as Progressive and Power Metal, might probably be the most appreciated genres by Italian fans, apart of course form the bigger bands like Iron Maiden, Metallica and so on, but she also said that the majority of the Italian people tend to be a bit “lazy” in their musical taste and aren’t that eager to discover new bands or genres. “People mostly like what they already know,” she commented. Furthermore, she also mentioned she’s proud to see a new generation of women participating in the scene in Italy. “We’re seeing more and more women in metal bands, which is obviously very good! Many of them are very talented, maybe they’re still a bit confined to the symphonic style and to singing (too few women play an instrument on stage), but we hope their number keeps growing; versatility will come eventually.” However, she also believes everyone should be treated equal in heavy music. “I don’t think a band should be considered just for its members’ sex. In a better world, the musicians’ sex shouldn’t be more important than the colour of their hair.”
As mentioned in the beginning of this tribute to our multi-talented Italian diva, Julia is also a professional psychologist, having studied Psychiatry, Psychology and Behavioral Sciences (with a major in Psychology) at Sapienza Università di Roma, graduating in 2013, and having also got a major in Brief Strategic Therapy (BST) from Scuola di Specializzazione in Psicoterapia Breve Strategica, currently running her own initiative named “Harmony of Chaos”, offering a fusion of metal music and insights on mental health. Not only that, Julia seems to be a philomath, having also obtained a Master’s Degree in Web Marketing and ICT and a degree in Marketing, Management and Business Economy, both also at Sapienza Università di Roma. And when she’s not studying, she loves arts, books, and sports, especially outdoors and in nature, as well as cooking a lot and keeping fit. As you can see, Julian never stops, she’s always creating new things, always searching for something new, always broadening and deepening her knowledge, and may she keep condensing all that awesomeness in the music by 5RAND for many years to come, because it’s people like Julia who definitely contribute to a much better world.
“Joining 5RAND in 2015 was a big step. I’m also passionate about psychology… in fact, I’m a psychologist and later specialized as a psychotherapist with a metal soul. I love helping people overcome mental struggles.” – Julia Elenoir
I’m not going to write another massive complaint about the hideous Toronto traffic any day of the week. I’m just going to say it took me over one hour and thirty minutes to drive for around 30km last Friday. Yes, it was insane. Anyway, let’s talk about music, as one of Toronto’s coolest metalheads, our buddy Jasper De Man, also known as Belgian Jasper, the host of Loud & Clear, not only celebrated his birthday on Friday July 10 at the cozy Monarch Tavern, with performances by three of the must-see metal bands or the current Canadian rock and metal scene, those being RAIDER, NAPOLEON, and ABYSMAL WHORE, but he also announced the winners of the third edition of the Golden Horns Awards. This year’s winners were Abysmal Whore for Best Toronto Band, Russell Allen for Metal Warrior Award, Alissa White-Gluz for Best Interview, Helloween for Best Live Show, Afra Catharina for Best Photo International, and Afrida Nawar and Isabelle for Best Photo Canada. By the way, Afrida was once again uber nice and helped us with some photos as Keith Ibbitson of Metal Paparazzi was not feeling well and couldn’t attend the event. Thanks again, Afrida!
After a short delay due to some technical difficulties at the venue, it was time for total devastation with Toronto-based Death Metal brigade ABYSMAL WHORE, and if you don’t know these girls and guys, go check their music on BandCamp and on Spotify as they’re awesome. Formed of the indomitable Marta Chilina on vocals and guitar, Nava Amin also on the guitar, Andrew Phillips on bass, and Korrosive’s own Kaveh Afshar on drums, the band played basically songs from their 2024 demo Sadistic Urge, and I must say they sounded a lot better live than in the studio, delivering a dirtier and more aggressive rendition of their songs. I really want to see a full album by such a promising band of the Canadian scene, because they definitely know how to craft high quality music, and they surely show their passion for the extreme through their music and when they’re kicking ass onstage.
After a short break it was time for Alternative Punk/Post-Hardcore four-piece NAPOLEON to set the house on fire with their beyond electrifying performance, igniting some fun mosh pits and putting a smile on everyone’s faces with their energy and charisma. Playing a very vibrant set including songs like Buried In The Garden Of Eden, Haunting Me, Lord and Savior, and I Better Run (all available on BandCamp and on Spotify, by the way), frontman Jon Elmaleh and his henchmen Tommy Whyte on the guitar, Camilo Martinez on bass (who kept playing like a true badass even after one of the chords simply decided it didn’t want to be part of his bass anymore), and Eitan Garazi on drums didn’t stop kicking ass not even for a single second, and if you’re in Toronto looking for some action inside the pit, keep an eye on their tour dates. Those guys are fantastic live.
The last attraction of the night was Kitchener/Waterloo’s own Thrash/Death Metal machine RAIDER, and those guys never fool around when it comes to delivering pure, unfiltered sonic devastation to their avid fans. Having released the album Trial by Chaos in 2023 (available on both BandCamp and Spotify), the band formed of Gabe Rosa on vocals and lead guitars, Bennett Smith on vocals and guitars, Aaron Tanner on bass, and Angus Pike on drums showed no mercy for our souls with an incendiary performance, blasting the heaviest and fastest sounds you can think of. They kept shredding their guitars, screaming and pounding their drums nonstop, almost setting fire to the venue, and there wasn’t a single song in their setlist that didn’t transpire extreme aggression. I think it’s about time those guys release a new album, and of course, they should book more shows in the city. They were the icing on the cake on a night of first-class Canadian metal, and if they ever take your city by storm, you know what to do. Thank you, Jasper, for bringing those three bands together for us! It was a great celebration, even with Belgium losing such a tough match against Spain that same day. Well, bring it on, World Cup 2030!
THE HEADBANGING MOOSE 