Two of the most important bands in the history of Nordic metal turned up the heat this weekend in Toronto with their unparalleled music and hypnotic performances.
There’s nothing better than uniting two Nordic bands in Toronto (and we all know how Finland, Norway and Canada can get really, really cold) to celebrate the end of another freakin’ winter, and that’s exactly what hundreds of fans were able to witness at the always cozy The Opera House this Saturday when INSOMNIUM and ENSLAVED, with the support of BLACK ANVIL, kicked some serious ass with their very melodic, folk, and obviously heavy-as-hell music. The weather was good enough (for Canadian standards) for several people to only wear T-shirts, including myself, and I must say that was a wise decision as things started to get pretty warm inside the venue right after the doors opened. And on a side note, if you’re attending any concert at The Opera House or just visiting the neighborhood, a new Slayer Burger location (and I still think they should be called “SLAAAAAAAYYYYYYYYYEEEEEEEERRRRR Burger” for obvious reasons) opened on February 12 right beside the venue, offering a great option to fill up your personal tank before heading into any mosh pits.
It was 7:30pm when the opening act, New York, United States-based Black/Thrash Metal act BLACK ANVIL kicked off the night with their vicious music, with vocalist and bassist P.D. and drummer R.G. stealing the spotlight with another blasphemous performance, and I say “another” because I already had the pleasure of seeing them opening for the mighty Cannibal Corpse in November also here in Toronto. Still promoting their 2022 opus Regenesis, the quartet did a very solid job on stage, with their newest song NYC Nightmares being the highlight of their performance for me. Perhaps the only “issue” with their show was the fact that their music is considerably different from the main attractions, and at least I felt there was a lack of circle pits during their entire set. The fans still raised their horns for the band and clapped their hands in approval after each song was played, but as I said maybe the night was too eclectic for a band like Black Anvil.
Then after a quick break, more specifically at around 8:30pm, Finland’s own Melodic Death Metal institution INSOMNIUM hit the stage with a flawless performance, blending songs from all of their previous albums with the stunning creations form their brand new opus Anno 1696. Spearheaded by the iconic vocalist and bassist Niilo Sevänen, the band started their show with five superb songs in a row, those being 1696, White Christ, While We Sleep, Godforsaken and Lilian, embellishing the airwaves and putting the entire crowd in a metallic trance and showing how strong their newest album is. Insomnium have always been one of the pillars of Nordic Melodic Death Metal since their inception back in 1997, always releasing amazing albums, but it feels like they’ve perfect their sound even more with Anno 1696, and the reactions of the fans in Toronto to their new songs was the ultimate proof of that.
One thing I must say about Insomnium, in special when talking about their live performances, is how awesome their guitars are nowadays with Markus Vanhala (the heart and soul of another Finnish Melodic Death Metal beast, the excellent Omnium Gatherum) and Jani Liimatainen, who’s in a much better position these days compared to his time with Sonata Arctica or Altaria, sounding sharp, crisp and extremely melodious for the absolute delight of all fans who were at The Opera House. I have no idea why their third guitarist Ville Friman missed the show, and I’m sure it would have been even more amazing if he had played as well, but Markus and Jani nailed it from start to finish even without their bandmate. Another new song that sounded thrilling live was The Witch Hunter, again proving their latest release is a beast of an album, and closing their performance with the not-so-old song Heart Like a Grave was one more attestation those Finnish metallers are always moving forward in their career. It was my first time seeing Insomnium live despite being a fan of the band for a long time, and I’ll make sure I don’t miss any of their future shows in Toronto from now on after such pleasant night in the city.
Setlist
1696
White Christ
While We Sleep
Godforsaken
Lilian
And Bells They Toll
The Witch Hunter
Valediction
Mortal Share
Heart Like a Grave
Band members Niilo Sevänen – lead vocals, bass
Markus Vanhala – guitars
Jani Liimatainen – guitars, clean vocals
Markus Hirvonen – drums
It was a little past 10pm when the main attraction of the night, Norway’s Progressive Black/Viking Metal horde ENSLAVED, took the city of Toronto by storm led by their charismatic vocalist and bassist Grutle Kjellson, putting a huge smile on the faces of everyone at The Opera House, and inspiring part of the crowd to head into the battlefield (aka mosh pits) for the delight of the band. The start of their performance with the songs Jettegryta and Homebound, from their 2020 album Utgard, plus the fact they played Kingdom, Forest Dweller and Heimdal, from their 2023 album Heimdal, therefore making for half of their setlist, also shows that Enslanved, just like Insomnium, are forward-thinking musicians who respect their past but are not trapped in it, and their diehard fans more than love that based on their reaction to their entire performance.
Enslaved were also one man down, as their guitarist Ivar Bjørnson was absent from the concert in Toronto (and from their entire North American tour “due to immediate family issues that needed to be taken care of” as per a statement from the band on their official Facebook page), but Grutle made sure Ivar received some positive vibes from us Torontonians who screamed his name when prompted by the band. Furthermore, their other guitarist Arve Isdal was on fire, shredding his guitar nonstop and filling all empty spaces left by Ivar, in special in the amazing tune Return to Yggdrasil. Add to that the intense, multi-layered background sounds by Håkon Vinje and Iver Sandøy, and there you have the perfect recipe for a fulminating Norwegian attack. When they closed the night with Allfǫðr Oðinn, everyone at The Opera House was beyond happy and mesmerized, and I’m sure that will inspired Enslaved to return to the city sooner than we can say any of the names of their songs in Norwegian. Ad of course, thanks a lot to Noel Peters from Inertia Entertainment for putting together such enjoyable night of first-class metal music, and thanks once again to my friend Keith Ibbitson of Lower Eastside Photography for the amazing shots! SKÅL!
Setlist
Jettegryta
Homebound
Return to Yggdrasil
Kingdom
Forest Dweller
The Dead Stare
Isa
Havenless
Heimdal
Allfǫðr Oðinn
Band members Grutle Kjellson – vocals, bass
Arve Isdal – lead guitars
Håkon Vinje – keyboards, clean vocals
Iver Sandøy – drums, clean vocals
If you agree with the statement that humanity is a mistake, you’ll have an absolute blast with our metal lady of this month of April here on The Headbanging Moose, setting fire to our rotten and decaying world with her inhumane gnarls, unique looks and devilish attitude. Known in the underworld of extreme music as the ruthless frontwoman for bands the likes of Lebenssucht, Humanitas Error Est and I Am All Wounds, she’s the perfect depiction of the importance of women in the current Black Metal scene worldwide, inviting us all to her Stygian lair to the sound of her sulfurous and harsh yet mesmerizing music. Her name is Anett Hauzu or Anett Gebauer, but you might know her for her demonic monicker S Caedes, a German Black Metal she-wolf that will crush your damned soul with her undeniable talent and passion for the darkest side of music and arts in general.
Born and raised in Leipzig, the most populous city in the German state of Saxony, S Caedes, which by the way is the combination of “sadist” (S) and “carnage” (Caedes, in Latin), with both words standing for her character, is much more than “just” a Black Metal vocalist, being also a skillful and innovative photographer and model, and according to S Caedes herself, she’s also a “blood fetishista” and a “fucked up mind”. Married to Australian vocalist and multi-instrumentalist Chris Gebauer, of bands such as Deadspace, Humanitas Error Est and I Am All Wounds (and as you might have notice, those two are definitely “partners in crime” in most of their music projects), S Caedes mentioned in one of her interviews that she was discovering different styles of metal music when she was around 12 or 13 years old, getting to know Black Metal and falling in love with it at the age of 14, saying Black Metal was then able to provide her with a special feeling that no other type of music could. “It’s just the feeling of knowing exactly where you stand with yourself. I’m strictly anti-religious and disgusted by humanity. It’s not an empty phrase for me, it’s just… me. Black Metal stands for the hate and aggression I always had and still have inside. I can’t put it better in words. When you’re really into Black Metal, you’ll know what I mean. Either you feel it or not,” commented S Caedes, who also said that after discovering Black Metal she always wanted to be on stage and scream the hell out of her throat, but she didn’t do anything to create a band then.
It was close to the end of 2012 when S Caedes together with drummer Ahephaïm started searching for musicians to finally form a Black Metal band, which was the initial spark for what would become Leipzig, Germany-based Brutal Black Metal entity Humanitas Error Est. One year later, S Caedes and Ahephaïm finally had a complete band lineup and started creating songs for their first album as Humanitas Error Est, resulting in their 2016 eleven-track beast Human Pathomorphism. A project with negative thoughts against any religions and pure misanthropy, Humanitas Erorr Est “is about confronting the world with its own brutality, its own sadism, its own hypocritical statement of liberty. It’s about unleashing indomitability, stir up hatred. It’s a scornful critical examination at mankind itself,” as stated by the band itself, with their name being the idea of Ahephaïm, a very unique, not cliché-ridden name that represents exactly what they stand for, meaning as already mentioned “humanity is a mistake” or “humanity is an error” in Latin.
After the tough decision of disbanding in 2019, S Caedes and Ahephaïm spent the better half of 2019 and early 2020 searching for the right musicians to propel them forward, with their new lineup being comprised of our metal lady and the band’s drummer, of course, together with Basmu (aka Chris Gebauer) on vocals, Arboria and Mictician on the guitars, and Fenrir on bass, turning the band into a multinational horde with members from Germany, Belgium, France and Australia. After the band being reborn like a phoenix, a new song was released back in 2020 entitled An Inexcusable Existence, available for purchase directly from their BandCamp page, following the same misanthropic and anti-human tropes expressed in their earlier work, and you can compare their new sound with their older songs the likes of Raping Religions and Pain Feeder to see their inner fire is still intact. Moreover, the band is currently working on a new album, which I’m sure will be amazingly brutal.
Her other major band, the venomous Depressive Suicidal Black Metal outfit Lebenssucht, is also a multi-national group with most members being the same as from Humanitas Error Est, those being S Caedes on vocals, Ahephaïm on drums, Arboria on the guitars, Basmu on bass, and the non-Humanitas Error Est member Irleskan, from Austria, on lead guitars. One interesting fact about Lebenssucht is that the band was originally formed by S Caedes and Ahephaïm together with a third member, renowned vocalist and multi-instrumentalist Déhà (from bands like Acathexis, Déhà and Yhdarl, among several others, and who also mastered the debut album by Humanitas Error Est), who left the band in 2019. Despite not being a member of Lebenssucht anymore, Déhà is seen like a brother by S Caedes, showing all respect and admiration they have for each other. Lebenssucht, which means “lust for life” or “life addiction”, don’t have any limits as per S Caedes herself, and although the style played by the band is labeled as Depressive Suicidal Black Metal, the project is not about bringing hatred to the world. “It’s about enjoying your life, no matter what price you have to pay for. It’s about turning negativity into strength. Life is our drug,” commented S Caedes. If you want to properly experience the music by Lebenssucht, you can find their 2016 debut EP Fucking My Knife and their 2020 full-length opus -273,15°C (which represents absolute zero, the lowest possible temperature where heat energy is absent in a substance) on Spotify and on BandCamp, and enjoy the officials videos for A Hole in My Heart, Mirrors and Beloved Depression on YouTube, and stay tuned as their next album is going to sound even harsher, according to S Caedes herself.
Apart from her work with Humanitas Error Est and Lebenssucht, the unstoppable S Caedes is also one half of the stunning Black Metal duo I Am All Wounds, together with her life partner Chris Gebauer, describing their music as “two souls colliding in a frenzied internal storm”, or “a sonic illustration of two beings woven together in fervent longing, an unyielding force,” having recorded the EP Keep Me Breathing in 2020, available on their BandCamp page and which contains the beautiful song You’re The Air That I Breathe. Not only that, she has also participated in a live improvisation recording named XXVI – IX – MMXV together with Ahephaïm and Déhà, recorded on September 26, 2015 (but released only in 2020) at Gate 32 Studios in Sofia, Bulgaria.
If you think all of those bands are projects are enough for S Caedes, you’re absolutely wrong, as our diva of darkness can also be found as a guest vocalist in the song Libido Dominandi, from the 2019 EP of the same name released by Australian Depressive Black/Gothic Metal act Deadspace; and also doing vocals on the songs The Unfair Betrayal, Insomnia and Morbus, from the 2019 album Morbus, and additional vocals on the 2019 live album Live at Brutal Assault 2017, both by Déhà’s Drone/Doom/Black Metal project Yhdarl; plus a couple of other guest appearances with the Black Metal bands Withering Night and Absolutus. Do you want more? What if I told you S Caedes was also the artwork model and was responsible for the editing in Deadspace’s 2019 EP Libido Dominandi; took care of the logo and layout for the 2020 EP Nuclear Sundown, by German Black/Doom Metal one-man project Exitium Sui; did the photography for the 2016 demo Century of the Goat, by German Black/Thrash Metal band Goatfuck; and also took care of the layout for the 2020 EP Keep Me Breathing, by her own project I Am All Wounds?
Not only that, S Caedes also did lots of videos for different bands (either her own or other unrelated bands), including the videos for the songs Moksha, by Deadspace; Serpent on a Cross, by Spectral Damnation; A Hole In My Heart, by Lebenssucht; An Inexcusable Existence, by Humanitas Error Est; teasers and trailers for Deadspace and Lebenssucht; and just finished the music video for Demenzia Mortis, which is yet to be released. When asked how she’s capable of maintaining a healthy balance between so many bands and projects with diverse sounds, she said that as each band carries a special part of her character and her view of life she needs them all to express herself with all emotions, always remaining true to herself and her principles, and saving enough physical and mental energy for each one of them.
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As expected, S Caedes is obviously highly influenced by countless Black Metal bands, but that doesn’t mean that she doesn’t enjoy other styles such as Dark Ambient, Doom Metal, Martial Industrial, Death Metal and so on, and that she doesn’t own records from completely different artists such as Shakin’ Stevens and Rosenstolz. Among her favorite bands you’ll find great names the likes of Darvaza, Ritual Death, Merrimack, Vortex Of End, Aversio Humanitati, Regarde Les Hommes Tomber, Arkhon Infaustus, Benighted, Ondskapt, just to name a few; on the Dark Ambient side she likes listening to Slaughter Natives, Gnaw Their Tongues, Triarii and Puissance, among others; and on the Martial Industrial side S Caedes likes groups such as Ordo Rosarius Equilibrio, in special their song The Love & Defiance of Being Alive. “People who know me well often call me complicated concerning my taste of music. I don’t agree with that, I just don’t listen to every shit, that’s the point. Music needs to be able to crawl in my head and stay there, squeeze out my inner self, fuck my brain an give me goosebumps or the will to mosh like a psycho,” commented S Caedes about her unique taste in music, always focusing on the importance of Black Metal in her life and career. “Black Metal is my life, as ridiculous as it maybe sounds to some readers, it’s like that. It’s my personal freedom, I can lay down and just be who I really am.”
Regarding her vocal style and technique, S Caedes said in one of her interviews that in the beginning she just tried out what she could do with her voice, with her training songs being Sluts of Hell from Nattefrost and Bleached Bones from Marduk, and her throat was always scratching like hell after. She then started searching online for instructions on how to use her voice properly and found a very helpful video named The Zen Of Screaming, by renowned vocal coach Melissa Cross, also asking other vocalists for their advice. “It’s really great to discover your voice, trying out what is possible,” commented S Caedes, who also said that it’s important to reach a good balance to be able to sing extreme music. Moreover, when asked about her view of touring with a band and playing live, she mentioned that her bands’ audiences should always be ready to engage with them, as the bands always deliver a very emotional and honest performance. “The advantage of being on stage is that you can let out all your emotions in such extreme way, which is simply not possible when you’re at home. On stage I’m completely in rage, it’s like a shot in my head, letting the audience suck what comes out. Blood always brings me to this special state of mind. I’m a heavy blood fetishist (real blood, no fake shit!), it’s a big passion of mine and I just love being covered in it. When the music begins, I’m not thinking anymore, I’m just 100% in the songs and always give my everything. Off stage… well, I fought several years against all of these rule-based behaviors and finally succeed to be able to do in life what satisfies myself. Family and friends call me a bulldozer. Typical Aries. I agree with that. I’m a sadist. I like to torture slaves. I’m not beating around the bush with that. In addition, I’m also working as photographer and model. So, yeah I have quite a lot to do, but it’s exactly what makes me happy. I don’t care about being evil (whatever that means). I only care about my very needs.” She also said that she really doesn’t care if she plays in front of 50 or 5000 people, mentioning their performances at Underground Remains Open Air, Night Of Blasphemy and Boarstream Open Air as really mind-blowing moments.
When asked about the current Black Metal scene worldwide and in her homeland Germany, S Caedes said she sees it as a big family, finding like-minded people who are able to understand her point of view as opposed to the stress and hypocrisy that comes from living in a regular society. “Most people have their daily routine with all these stupid rules (e.g. dress code at work). Black Metal helps (helped me) to break through (social) conventions, finding myself and staying true to myself. Black Metal can help to relieve everyday’s negativity,” said our Black Metal she-demon, who also believes the Black Metal scene in Germany is a bit more elitist than in other countries as the scene is very developed with lots of festivals, labels and bands. “The fact is that I don’t care from which country a band is. It’s all about the music. Nothing more, nothing less.”
S Caedes is also an accomplished photographer and fetish model, usually under the name Anett Gebauer, having her own website named Anett Gebauer Photo & Film dedicated to that form of art, and stating that her intent is to express various moods and emotions that are sometimes hidden from the naked eye. “Through the visual arts, I work to uncover underlying voices in order to portray alternative perceptions of life without limits. My work is about exposing the beauty of raging desires, unleashing your inner self, and for those who like it the morbid and obscure way, also daring to drown in deep dark waters. I invite you to take a deeper look under the surface. Through my images, I study the unconscious creatures of the collective human existence – pulsating, seductive and also shocking.” She also offers band shootings, CD artwork, music video creation and retouchings, is bookable for events and live photography, and does self-photography and work as a model. “I am a lover of dark arts, spanning from visual arts, film, music and literature. I create art that is rooted in life, with either positive or negative influences. All my work is inspired by bare emotions and the depths of human existence. I am forever excessive, perfervid, dirty-minded and stay always hungry for more.” Furthermore, she has already been part of several exhibitions, including Heart Of Darkness, in 2018 in the United States; Radiant Art Festival, in 2016 in Belgium; Session Noire, in 2011 in Germany and Belgium; and Art-P, in 2009 and 2010 also in Germany, among others.
Last but not least, S Caedes has a peculiar view on different topics, sometimes controversial, sometimes fairly straightforward. For instance, she said that one of the things she wishes the most is that the endless suffering of animals would finally end and that they would be accepted and respected as sentient beings; and also that her mom is her real life childhood hero, as she’s still grateful to her for a lot of things. “Honestly, I didn’t want me as a daughter,” commented S Caedes, who also said that as a wrestling fanatic her biggest heroes in the sport are Triple H and Sabu. “There was just so much blood in their matches, an intoxicating and formatively awesome sight for me.” As you can see, S Caedes is not just an amazing musician and artist, but also a great human being with a lot to offer to the metal community, always carrying the flag of Black Metal, the flag of freedom of expression and the flag of arts in general proudly high, and we’ll always be grateful to her for being so awesome and for creating such inspiring music and imagery.
After almost 15 years, this Spanish Black Metal horde is finally back in action and will summon all creatures of the underworld with their ruthless sophomore opus.
After a hiatus of 14 years, the devilish Spanish Black Metal horde Yskelgroth is back with a new and pulverizing album, titled Bleeding of the Hideous, the follow-up to their 2010 opus Unholy Primitive Nihilism. Although the band was formed back in 2000 with the aim of creating a ferocious and savage blend of Death and Black Metal, the project fell apart in 2007 when frontman Dave Rotten (Avulsed, Christ Denied, Decrapted, Holycide, Putrevore) moved to Germany, but they relaunched their evil beast in 2008 when Dave together with guitarist and bassist Vicente J. (Decrapted, Golgotha, Holycide, Unbounded Terror) teamed up to write songs for their debut album. Now in 2023, alongside Javier Fernández (aka Nexus 6) of bands like Harmpit, Nexus 6 and TodoMal on drums, synths and guitars, Yskelgroth will summon all creatures of the underworld with Bleeding of the Hideous, a ruthless metal attack comprised of nine sulfurous songs with an even more complex, twisted and intricate sound highly influenced by Myrkskog, Angelcorpse and Emperor, among other Black Metal giants, that will leave you craving more, all embraced by the infernal artwork by Venezuelan artist John Quevedo Janssens.
Infuriated and epic Black Metal flows from all instruments from the very first second in The Morbid Earth before Dave arises from the underworld with his demonic roars and screeches, being therefore highly recommended for fans of the iconic Immortal; whereas Javier is infernal behind his drums in Prone to Gobble Life while Vicente and Javier himself provide us with a technical yet blackened riff attack. Furthermore, Dave also delivers his more demonic guttural from Avulsed, making the whole song even heavier. Then the sinister, phantasmagorical keys by Javier walk hand in hand with his massive drumming in Omnicidal Ends, supported by the rumbling bass by Vicente; and investing in a pure Norwegian Black Metal sonority it’s time for the band to smash our senses with Aeons Empty, offering our ears three intense and sulfurous minutes led by Dave’s hellish gnarls. After such powerful tune, infinite aggressiveness and devilish roars are the main ingredients in Plagueridder, with Javier once again pounding his drums in the name of Black Metal.
Those Spanish metallers put the pedal to the metal in Spasmic Extinction, inspired by the most recent works by Immortal and Abbath, with the riffage by Vicente and Javier exhaling rage and obscurity for our total delight, and it’s quite interesting how the band added elements from their other Death and Thrash Metal projects to their music yet still sounding purely Black Metal, which is exactly what you’ll get in Primal Expulsion. Their second to last explosion of brutality and evil is titled Riddance of the Graves, a solid, in-your-face Black Metal extravaganza showcasing spine-chilling gnarls by Dave supported by the massive wall of sounds crafted by his bandmates, and Javier’s blackened keys give the last song of the album, the demolishing Path to Devourment, an even more Stygian vibe. In other words, the band’s return to action couldn’t have ended in a more demonic manner.
In the end, although it might have taken over a decade for the ruthless Yskelgroth to return from the pitch black pits of the underworld with a new slab of evil and sulfur, the wait was absolutely worth it based on the infernal music found in Bleeding of the Hideous, and if you want to show the talented Dave, Vicente and Javier your utmost support and admiration, you can succumb to their devilish powers by following them on Facebook, and of course by purchasing a copy of their newborn spawn from the Xtreem Music’s BandCamp page. As aforementioned, Bleeding of the Hideous is twisted, demonic and very detailed, inviting us all to worship our beloved darkness while listening to the first-class Black Metal blasted by a Spanish trio that hopefully won’t take another 15 years to release more of their unrelenting music.
Best moments of the album:The Morbid Earth, Aeons Empty, Spasmic Extinction and Riddance of the Graves.
Worst moments of the album: None.
Released in 2023 Xtreem Music
Track listing 1. The Morbid Earth 3:12
2. Prone to Gobble Life 3:46
3. Omnicidal Ends 4:17
4. Aeons Empty 2:58
5. Plagueridder 2:55
6. Spasmic Extinction 4:08
7. Primal Expulsion 3:57
8. Riddance of the Graves 3:51
9. Path to Devourment 3:30
Band members Dave Rotten – vocals
Vicente J. – guitars, bass
Javier Fernández – drums, synths, guitars
A gore-fueled assault on the senses in the form of the sophomore album by a ruthless American Razorgrind band.
A Brutal Death Metal band formed in 2006 in Denver, Colorado, in the United States with a full-scale sonic attack and a sound unique enough to label their own music as “American Razorgrind”, Angelic Desolation are unleashing upon humanity their sophomore opus, titled Orchestrionic Abortion, a gore-fueled assault on the senses taking influences from Thrash Metal, Grindcore, Death Metal, horror movies and a love for the power of the riff. Recorded and mixed at Hahn Audio, mastered by Ted Jensen at Sterling Sound, and displaying a sick cover art by Kevin Waltz, Orchestrionic Abortion is a blood-soaked album best enjoyed loud masterfully put together by vocalist Jay Medina, guitarist Matt Markle, bassist Leonard White and drummer Max “Thunder” Stark, sounding ruthless and vile throughout its 31 minutes of musical savagery.
The quartet’s razor-edged onrush begins in full force with Brutus McMucus, a Brutal Death Metal tune with hints of Thrash Metal where Jay is absolutely infuriated with his sick roars, sounding fast, demented and infernal just the way we like it; followed by Shake The Baby, one of the most wicked songs of the current Deathgrind scene presenting a bestial job done by Matt with his piercing riffage and of course Max with his thunderous and intricate drumming. There’s no sign of slowing down at all for those American razorgrinders as we can see in Pterrordactyl Mann, with Matt slashing his axe nonstop supported by the low-tuned, metallic bass by Leonard and all beats and fills by Max. And switching gears to a more cadenced, headbanging vibe, the band brings forth the electrifying Dic Tater, where they distill all their technique while continuing their path of sonic devastation led by the deep gutturals by Jay.
If you like tacos and brutality, the band will offer you a gory fusion of both in Paco’s Satanic Taco Truck (Los Tacos De Diablo De La Troca De Paco), with Matt and Leonard adding their own spices to their already furious Death Metal thanks to another classy stringed work by the duo, whereas Barbaric Destroyer is as progressive as it’s violent, showcasing a fulminating performance by Max on drums while Jay keeps growling in the name of extreme music. Then screeches from a mad chimp blend perfectly with the band’s hellish sound in AIDS Chimp Lab Attack, a lesson in Technical and Brutal Death Metal with Matt stealing the spotlight with his ruthless riffage, being therefore perfect for slamming into the circle pit. And last but definitely not least, the band offers their rendition for Cattle Decapitation’s Forced Gender Reassignment (check out the original one HERE from their 2012 album Monolith of Inhumanity), delivering a fantastic tribute to their idols spearheaded by Jay and Max with their respective growls and blast beats.
Do you have what it takes to get face-to-face with the guys from Angelic Desolation? If your answer is yes, go check what they’re up to on Facebook and on Instagram, stream their visceral music on Spotify, and of course, grab your copy of the pulverizing Orchestrionic Abortion from their own BandCamp page, from Apple Music, or simply by clicking HERE. In a nutshell, Orchestrionic Abortion overflows blood and violence, and those American metallers responsible for such demented album are craving your blood to keep fueling their unrelenting Death Metal machine.
Best moments of the album:Shake The Baby, Dic Tater and AIDS Chimp Lab Attack.
Worst moments of the album:Pterrordactyl Mann.
Released in 2023 Independent
Track listing 1. Brutus McMucus 3:47
2. Shake The Baby 4:12
3. Pterrordactyl Mann 3:40
4. Dic Tater 3:44
5. Paco’s Satanic Taco Truck (Los Tacos De Diablo De La Troca De Paco) 3:52
6. Barbaric Destroyer 3:49
7. AIDS Chimp Lab Attack 3:44
8. Forced Gender Reassignment (Cattle Decapitation cover) 3:50
Band members Jay Medina – vocals
Matt Markle – guitars
Leonard White – bass
Max “Thunder” Stark – drums
Behold this infernal storm of Blackened Thrash Metal by a one-man army from Scotland, heavily inspired by witchcraft and the supernatural while also deeply rooted in his Scottish origins.
Crowned “Scotland’s king of the arcane mosh” by Metal Hammer magazine, Aberdeen-based Blackened Thrash Metal one-man army Hellripper, the brainchild of vocalist and multi-instrumentalist James McBain (Lock Howl, Lord Rot, Rats of Reality), aims to invoke the quintessential Black N’ Roll sound by mixing influences from classic 80’s Black Metal records with a more modern edge, heavily inspired by witchcraft and the supernatural while also deeply rooted in his Scottish origins, and always using the landscape and historical events as a backdrop for his lyrics and imagery. Now in 2023 it’s time for Hellripper to kill once again with Warlocks Grim & Withered Hags, the project’s third studio album, establishing a new threshold of excellence and raising the bar further over its 2020 album The Affair of the Poisons. Recorded and mixed by James himself at Coronach Studios, mastered by Damian Herring at Subterranean Watchtower Studios, and displaying a sick artwork by Adam Burke of Nightjar Illustration, the album is undoubtedly James’ most personal and diverse work to date, bringing the landscapes and legends of the Scottish Highlands to life in a beyond fantastic way.
James wastes no time and begin his sonic massacre in The Nuckelavee, delivering sheer electricity and rage through his riffs and blast beats in a demolishing fusion of Black and Thrash Metal for admirers of the darkest side of music, and the party is just starting as James has endless fuel to burn, bringing to our ears more of his acid roars and riffs in I, The Deceiver, sounding brutal yet very melodic; whereas the title-track Warlocks Grim & Withered Hags, featuring the majestic bagpipes by guest Antonio Rodríguez, blends James’ passion for extreme music with his Scottish roots in a very compelling manner, with his riffs and beats walking hand in hand with his visceral screams. As you all know, a beautiful song name requires an even more beautiful sound, and that’s exactly what James has to offer us all in Goat Vomit Nightmare, being frantic, sulfurous and blasphemous from the very first second, not to mention his thrashing riffs and solos are simply fantastic.
Featuring Joseph Quinlan (Desert Heretic) on lead guitars and additional vocals by Marianne, James takes no prisoners in his quest for violence and blood in The Cursed Carrion Crown, where his vocals get more and more demented as the music progresses, therefore blasting endless aggression for our vulgar delight. Joseph is back in The Hissing Marshes, where it’s impressive how James was able to blend the music by Motörhead and The Exploited to perfection. Moreover, his work on bass and drums is superb throughout the entire song, all spiced up of course by his devilish growling, whereas in Poison Womb (The Curse of the Witch) we face the last guest solo by Joseph, with the music being as fast and infernal as the rest of the album, or in other words an ode to all things 666, or a “lovely” song perfect for a “romantic” moment with your significant other. Last but not least, we’re treated to over eight minutes of pure hell and sulfur titled Mester Stoor Worm, perhaps the most Black Metal of all songs (which is obviously a good thing) where James is yet again spot-on with his screams, riffs and demented beats.
You can enjoy all the fury, speed and energy of the Blackened Thrash Metal played by Hellripper by following James and his Scottish beast on Facebook and on Instagram, by subscribing to his YouTube channel and by streaming his music on Spotify, and above all that, by purchasing the phenomenal Warlocks Grim & Withered Hags from his own BandCamp page, from his official EU store as a CD or an LP, or simply by clicking HERE or HERE. Hellripper is absolutely fast, loud and uncompromising, with Warlocks Grim & Withered Hags being a contemporary masterpiece of extreme music that deserves a listen from any living being that enjoys some good old Black Metal with a powerful Rock N’ Roll attitude. So keep calm, listen to the superb new opus by Hellripper, and all hail the goat!
Best moments of the album:Goat Vomit Nightmare, The Cursed Carrion Crown, The Hissing Marshes and Mester Stoor Worm.
Worst moments of the album: None.
Released in 2023 Peaceville Records
Track listing 1. The Nuckelavee 5:47
2. I, The Deceiver 4:55
3. Warlocks Grim & Withered Hags 7:14
4. Goat Vomit Nightmare 3:15
5. The Cursed Carrion Crown 5:47
6. The Hissing Marshes 3:51
7. Poison Womb (The Curse of the Witch) 3:43
8. Mester Stoor Worm 8:31
Band members James McBain – vocals, all instruments
Guest musicians Joseph Quinlan – additional lead guitars on “Poison Womb (The Curse of the Witch)”, “The Cursed Carrion Crown” and “The Hissing Marshes”
Marianne – additional vocals on “The Cursed Carrion Crown”
Antonio Rodríguez – great highland bagpipes on “Warlocks Grim & Withered Hags”
I’m very much of the opinion that Rogga Johansson doesn’t sleep! How can he sleep with a list of bands and projects that would keep a civil servant happy for a decade? His latest endeavour is the Death/Thrash Metal triumvirate Leper Colony, who have chosen Friday the 13th of January as a suitable date to unleash their debut self-titled album through Transcending Obscurity Records.
You can’t ask for a more powerful opener than The Human Paradox; a blistering track of intensive Death Metal ferocity and wild thrashing aggression. Deep growled vocals bring to life a very captivating chorus section whilst chugging riffs and frenzied drumming complete with punishing bass and extravagant guitar melodies. ‘Perdition’s End’ is a more direct and hard-hitting track with simpler riffs and in-your face vocals, though the rhythm guitar here has a cold tinge to it that is rather enigmatic.
There is little variation to this opus which spans just over the half an hour mark, save for the odd passage of slower, groovier rhythm such as during tracks like Rapture Addict. However, the ferocious aggression, raging guitar solos and fuck you attitude certainly make up for that! A very listenable album full to the gills with mighty riffs, energetic urgent drumming styles and unadulterated violence.
Best moments of the album: The roaring opener that is The Human Paradox.
Worst moments of the album: None.
Released in 2023 by Transcending Obscurity Records
Track listing 1. The Human Paradox 4:22
2. Perdition’s End 3:19
3. The Surgical Undeadvors 3:43
4. Tar and Feathers 3:15
5. Rapture Addict 4:40
6. Leper Colony 4:35
7. A Flow So Greatly Macabre 3:20
8. Flesh Crawl Demise 3:24
9. Gruesome End 2:55
Band members
Marc Grewe – vocals
Rogga Johansson – guitars, bass
Jon Skäre – drums
Bang your heads to the debut EP by this Puerto Rican Melodic Death Metal horde, telling the story of how sometimes we feel dominated by dark thoughts or by someone with evil intentions.
Hailing from the Caribbean island of Puerto Rico, the newborn Melodic Death Metal squad known as Fatalismo is ready to crush our souls with their debut EP, entitled Dominate to Exterminate, highly recommended for fans of The Crown, Hypocrisy, Dark Tranquility and Kataklysm, among others. Recorded at Music Rite Studio, produced by the band’s own vocalist Abraham Baez, mixed and mastered by their own guitarist Joel Rodriguez, and displaying a sick artwork by Giannis Nakos of Remedy Art Design, Dominate to Exterminate tells the story of how sometimes we feel dominated by dark thoughts or by someone with evil intentions, showcasing all the talent and passion for extreme music by the aforementioned Abraham and Joel alongside bassist Jose Ortiz and drummer Norman Saez.
Joel (with the help of guest guitarist Rafael Sanchez) ignites the band’s Puerto Rican attack with his infernal riffs in Dominate to Exterminate, while Jose blasts his bass manically. Moreover, although their core sound is rooted in Melodic Death Metal, there’s a lot of classic Death Metal to enjoy in their music, and they continue their infuriated onrush in Undeceased, with Norman crushing his drums and inviting us all to slam our cranial skulls into the circle pit while Abraham roars and screams in the name of extreme music. Then adding elements from traditional Thrash Metal to their core sonority the quartet keeps hammering our heads nonstop with their piercing riffs and rumbling bass lines in Darkest Thoughts, not to mention how demented Abraham sounds on vocals; whereas the melodic riffs by Joel and Rafael will penetrate deep inside your mind in The Devil Came to Play, sounding extremely heavy and groovy thanks to the excellent job done by the band’s kitchen of Jose and Norman. Finally, closing such powerful EP we have Sacred Hills, a vicious, neck-breaking extravaganza led by the classic beats by Norman while Abraham keeps vociferating like a beast for our total delight, ending their metallic feast on a high note.
In summary, Dominate to Exterminate might be short in duration, but it effectively represents everything Fatalismo are capable of, and if you want to show your utmost support to the Puerto Rican metal scene you can start following the band on Facebook and on Instagram for news, tour dates and so on, subscribe to their YouTube channel and stream their music on Spotify, and of course purchase a copy of Dominate to Exterminate by clicking HERE. The band offers us all in their new album five songs that at the same deal with fictional stories and the state of mind and emotions of humanity these days, and after listening to its intense 18 minutes of music you’ll quickly realize there’s no better music style to perfectly represent our rotten reality than our good old Death Metal.
Best moments of the album:Undeceased and Sacred Hills.
Worst moments of the album: None.
Released in 2023 Independent
Track listing 1. Dominate to Exterminate 4:33
2. Undeceased 2:46
3. Darkest Thoughts 3:16
4. The Devil Came to Play 3:26
5. Sacred Hills 3:49
Band members
Abraham Baez – vocals
Joel Rodriguez – guitars
Jose Ortiz – bass
Norman Saez – drums
“Life is funny. If you don’t laugh, you’re in trouble.” – Taylor Hawkins
And just like that, after 880 days of nothing, I was finally able to attend a metal concert this year, just like countless other metalheads who patiently waited for the Canadian government to lift all restrictions due to the pandemic to get back to our normal lives. And it was a busy year concert-wise as you can see HERE, with Judas Priest, Lamb of God, Megadeth, Iron Maiden, Cannibal Corpse, Trivium, Amon Amarth, Arch Enemy, Behemoth and several others putting a smile back on our faces and the horns back in our hands, because in the end the beauty of heavy music is when it’s played live, right? On the other hand, we unfortunately saw some important names of the global metal scene disbanding such as Nuclear Assault, Tristania and Every Time I Die, plus of course the brave warriors who left us and are now sitting beside the metal gods in Valhalla. Just to name a few, we all mourned the losses of Fredrik Johansson (former guitarist of Dark Tranquillity), Jon Zazula (co-founder of Megaforce Records), Bruce Greig (former guitarist of Misery Index and Dying Fetus), Taylor Hawkins (drummer of Foo Fighters), Ronnie Deo (former bassist of Incantation), Trevor Strnad (vocalist of The Black Dahlia Murder), Alec John Such (former bassist of Bon Jovi), Bob Heathcote (former bassist of Suicidal Tendencies), Steve Grimmett (vocalist of Grim Reaper), Stuart Anstis (former guitarist of Cradle of Filth), David Andersson (guitarist of Soilwork), and Dan McCafferty (former vocalist of Nazareth).
However, one of the biggest losses in the world of heavy music happened right here in Toronto, Canada, as we lost the biggest metalhead of the entire Torontonian scene, Walter Froebrich. Our super fan Walter, who was a staple in the local scene for over 20 years (and I remember seeing him in every single concert I’ve attended in the past 10 years or more at least), sadly died alone at home last month following three visits to a local hospital due to severe abdominal pain. This is extremely tragic and cannot happen again, as we all have the right to decent healthcare it doesn’t matter who we are. There will be a memorial show for Walter on January 7, 2023 at The Rockpile (details can be found HERE and tickets HERE) with several local independent bands, and we at The Headbanging Moose also want to honor the life of Walter and his undisputed passion for heavy music by dedicating to him The Headbanging Moose’s Top 10 Hard Rock/Heavy Metal Albums of 2022, excluding EP’s, best of’s and live albums.
1. Kreator – Hate Über Alles (REVIEW) Let the hate flow through you to the sound of the magnificent new opus by one of the trailblazers of the German Thrash Metal scene.
Best song of the album: Hate Über Alles
2. Lorna Shore – Pain Remains (REVIEW) The most explosive name of the current Deathcore scene invites us all to dance like flames to the sound of their newborn masterpiece.
Best song of the album: The Pain Remains Trilogy
3. Megadeth – The Sick, the Dying… and the Dead! (REVIEW) The unstoppable Mr. Dave Mustaine strikes again with the sick, the dying… and the Megadeth!
Best song of the album: Life in Hell
4. Rammstein – Zeit (REVIEW) Germany’s own Neue Deutsche Härte institution wasted no time during the pandemic and is back in action with their fantastic eight opus.
Best song of the album: Angst
5. Behemoth – Opvs Contra Natvram (REVIEW) A stunning work against religious oppression by Poland’s most important Extreme Metal institution of all time.
Best song of the album: Malaria Vvlgata
6. Arch Enemy – Deceivers (REVIEW) One of the most important names in metal is back in action with their most solid and detailed album with Alissa White-Gluz on vocals.
Best song of the album: The Watcher
7. Lamb of God – Omens (REVIEW) Ignore the omens and listen to the pulverizing new album by one of the best and most dynamic metal bands of the past two decades.
Best song of the album: Ditch
8. Amon Amarth – The Great Heathen Army (REVIEW) Join the great heathen army spearheaded by one of the most respected bands of the current metal scene.
Best song of the album: Saxons and Vikings
9. Hiss From The Moat – The Way Out Of Hell (REVIEW) There’s only one way out of hell, and that’s to the sound of the incendiary Blackened Death Metal by this Italian horde.
Best song of the album: Generation Of Cowardice
10. Diabolical Raw – Elegy of Fire Dusk (REVIEW) Behold this grandiose album of Symphonic Black and Death Metal inspired by ancient Central Asian Turkish mythology.
Best song of the album: Face the Judgement
And here we have the runner-ups, completing the top 20 for the year:
11. Abaddon Incarnate – The Wretched Sermon (REVIEW)
12. Cage Fight – Cage Fight (REVIEW)
13. Dark Funeral – We Are The Apocalypse (REVIEW)
14. Stratovarius – Survive (REVIEW)
15. Konvent – Call Down the Sun (REVIEW)
16. Scorpions – Rock Believer (REVIEW)
17. Disturbed – Divisive (REVIEW)
18. Thundermother – Black and Gold (REVIEW)
19. Blind Guardian – The God Machine (REVIEW)
20. Ferum – Asunder / Erode (REVIEW)
In addition to all that, let’s bang our heads with our Top 10 EP’s of 2022 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. Eskhaton – Horracle (REVIEW)
2. Headfist – This New World…. (REVIEW)
3. Sullen Guest – Phase (REVIEW)
4. Pyrrhic Salvation – Manifestum I (REVIEW)
5. Klendathu – Avarist: The Beginning & The End at Once (REVIEW)
6. Through The Noise – Tragedies (REVIEW)
7. Rotten Casket – First Nail in the Casket (REVIEW)
8. Circa Arcana – Bridget Viginti (REVIEW)
9. All Else Fails – The Incident at Black Lake (REVIEW)
10. Haunted By Silhouettes – No Man Isle (REVIEW)
Do you agree with our list? What are your top 10 albums of 2022? 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 or most of our special editions of The Headbanging Moose Show, including our Top 20 Underground Albums of 2022 – 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 2023!
And before I go, I’ll leave you with what’s in my humble opinion not only the best song of 2022, but it also carries a very inspiring message to us all… ROW! ROW! ROW!
Failure of State is the third full length instalment from San Franciscan Death/Thrash quartet Absolute Darkness. Part album, part call to arms, Absolute Darkness’s first opus since 2018’s Disaster Awaits is a rabble rousing affair as well as a slamming indictment of modern day society and those that pretend to govern us.
Opening tracks Rounded Up and Mob Rules are anger fueled slabs of hatred that talk of sparking rebellion and standing for what’s right, and those messages are delivered through fast paced riffs and drumming on top of a bass heavy rhythm and powerful growling vocal work. This is not a band calling for a peaceful resolution, that’s for damn sure.
Some tracks despair at the state of the world, such as Sanity Is Gonewhilst others come at things from a different perspective, as is the case during My Forever Rulein which the band put themselves into the shoes of a dictator and ask the question; why do the people oppose me?
A very interesting album and thematically engaging and varied. Musically the fare is direct and well performed though a little unspectacular. Absolute Darkness create music with a mainly Thrash mentality (And a few hardcore sensibilities) and then thrown in more Death Metal style vocals, as well as some meatier DM riffs. Certainly anyone of a political leaning should check this out; it will stoke the fires of your anger.
Best moments of the album: The rabble rousing stomp and ceremony of Mob Rules.
Worst moments of the album: No bad moments though the album is a little samey.
Released in 2022 by Sliptrick Records
Track listing 1. Rounded Up 4:13
2. Mob Rule 4:49
3. Sanity Is Gone 4:28
4. My Forever Rule 4:00
5. Failure Of State 4:42
6. My Assassination 4:00
7. The Republic 3:59
8. Unite! 3:37
Bonus tracks 9. Chaos Unleashed 4:33
10. Mad King 5:35
11. On My Way To Death 4:55
Band members Ron Dorn – vocals, guitars
Douglas Vetter II – lead guitars, backing vocals
Orson Sojo – bass
Emad Dajani – drums
A talented and hardworking musician from Chile channels all his anger in his debut EP, overflowing Thrash and Speed Metal for our total delight.
Formed by guitarist Cristóbal Perez in Chile’s capital Santiago earlier this year as a four-piece act, but currently having Cristóbal as its sole member (with the support of session vocalist Michel Hoogervorst of Dutch Heavy/Thrash Metal band KFFR), the newborn Thrash/Speed Metal entity Headfist has just released their debut EP This New World…., following up on their 2022 two-track self-titled demo. Comprised of six songs clocking at 20 minutes of pure speed and insanity, the EP is according to Cristóbal himself highly influenced by Motörhead, Overkill, Exodus, Anvil, Anthrax, Testament and Iron Maiden, among others, allowing him to channel all his anger while the lyrics deal with the adversities most musicians face in life when trying to create new music.
Uncertainty is a very melodic intro inspired by renowned acts such as Megadeth and Testament, exploding into the high-octane and rebellious This World, with Cristóbal slashing his guitar in great fashion, firing caustic riffs and solos while Michel roars manically in the name of 80’s Thrash Metal. Then pounding drums and endless heaviness are the main ingredients in What a Nice Way to Live…, another incendiary tune by Headfist with nuances of Hardcore and Punk Rock added to its already violent core; whereas the soaring vocals by Michel add an extra touch of insanity to the music in Instinct to Kill, where once again the Speed Metal riffage by Cristóbal lives up to the legacy of the genre. It’s time to put the pedal to the metal as Headfist invites us all to slam into the pit to the sound of Reign of Treason, sounding like a Chilean version of Anthrax with Cristóbal’s sharp riffs and solos bringing that welcome dirt to the overall result. Lastly, the song that carries the name of the band, Headfist, overflows electricity and rage, with Michel and Cristóbal being in perfect sync and, therefore, offering us all another hurricane of Thrash and Speed Metal.
While the EP can be heard in full on YouTube and on Spotify, the talented Cristóbal is currently looking for musicians who nurture the same passion as he does for heavy music, and who are also willing to embark on the hard and difficult (but exciting) path to create high-quality metal music. Hence, if you think you have what it takes to be part of Headfist, or if you just love Speed Metal and want to show Cristóbal all your support, go check what he’s up to on Facebook and purchase a copy of This New World…. from Apple Music. Hopefully, Cristóbal will quickly find some skillful metallers to join Headfist and become once again a full-bodied band, because the music found in his debut EP is excellent, it perfectly represents what the underground is all about, and above all that, it exhales Heavy Metal. We need more of the music by Headfist, no doubt about that.
Best moments of the album:This World and Reign of Treason.
Worst moments of the album: None.
Released in 2022 Independent
Track listing 1. Uncertainty 1:06
2. This World 2:38
3. What a Nice Way to Live… 3:28
4. Instinct to Kill 4:10
5. Reign of Treason 5:02
6. Headfist 3:54
Band members
Cristóbal Perez – guitars, bass, drums
Guest musician Michel Hoogervorst – vocals (session)
There’s nothing better than uniting two Nordic bands in Toronto (and we all know how Finland, Norway and Canada can get really, really cold) to celebrate the end of another freakin’ winter, and that’s exactly what hundreds of fans were able to witness at the always cozy The Opera House this Saturday when INSOMNIUM and ENSLAVED, with the support of BLACK ANVIL, kicked some serious ass with their very melodic, folk, and obviously heavy-as-hell music. The weather was good enough (for Canadian standards) for several people to only wear T-shirts, including myself, and I must say that was a wise decision as things started to get pretty warm inside the venue right after the doors opened. And on a side note, if you’re attending any concert at The Opera House or just visiting the neighborhood, a new Slayer Burger location (and I still think they should be called “SLAAAAAAAYYYYYYYYYEEEEEEEERRRRR Burger” for obvious reasons) opened on February 12 right beside the venue, offering a great option to fill up your personal tank before heading into any mosh pits.
It was 7:30pm when the opening act, New York, United States-based Black/Thrash Metal act BLACK ANVIL kicked off the night with their vicious music, with vocalist and bassist P.D. and drummer R.G. stealing the spotlight with another blasphemous performance, and I say “another” because I already had the pleasure of seeing them opening for the mighty Cannibal Corpse in November also here in Toronto. Still promoting their 2022 opus Regenesis, the quartet did a very solid job on stage, with their newest song NYC Nightmares being the highlight of their performance for me. Perhaps the only “issue” with their show was the fact that their music is considerably different from the main attractions, and at least I felt there was a lack of circle pits during their entire set. The fans still raised their horns for the band and clapped their hands in approval after each song was played, but as I said maybe the night was too eclectic for a band like Black Anvil.
Then after a quick break, more specifically at around 8:30pm, Finland’s own Melodic Death Metal institution INSOMNIUM hit the stage with a flawless performance, blending songs from all of their previous albums with the stunning creations form their brand new opus Anno 1696. Spearheaded by the iconic vocalist and bassist Niilo Sevänen, the band started their show with five superb songs in a row, those being 1696, White Christ, While We Sleep, Godforsaken and Lilian, embellishing the airwaves and putting the entire crowd in a metallic trance and showing how strong their newest album is. Insomnium have always been one of the pillars of Nordic Melodic Death Metal since their inception back in 1997, always releasing amazing albums, but it feels like they’ve perfect their sound even more with Anno 1696, and the reactions of the fans in Toronto to their new songs was the ultimate proof of that.
It was a little past 10pm when the main attraction of the night, Norway’s Progressive Black/Viking Metal horde ENSLAVED, took the city of Toronto by storm led by their charismatic vocalist and bassist Grutle Kjellson, putting a huge smile on the faces of everyone at The Opera House, and inspiring part of the crowd to head into the battlefield (aka mosh pits) for the delight of the band. The start of their performance with the songs Jettegryta and Homebound, from their 2020 album Utgard, plus the fact they played Kingdom, Forest Dweller and Heimdal, from their 2023 album Heimdal, therefore making for half of their setlist, also shows that Enslanved, just like Insomnium, are forward-thinking musicians who respect their past but are not trapped in it, and their diehard fans more than love that based on their reaction to their entire performance.
THE HEADBANGING MOOSE 