Tag Archives: thrash metal

Concert Review – Wacken Metal Battle Toronto Round #1 (Hard Luck Bar, Toronto, ON, 01/25/2025)

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The iconic Hard Luck Bar in Toronto became a “metal ring” where four brave bands started wrestling for the undisputed prize of playing at the greatest metal festival in the world this summer.

INTRODUCTION: ARE YOU READY TO RUMBLE?

It was time to set this bitterly cold winter on fire in Toronto this Saturday with this year’s edition of Wacken Metal Battle Canada, starting with Wacken Metal Battle Toronto Round #1 with the bands PURVEYOR OF CHAOS, UNKLE SKURVEY, ISCHEMIC and PILLARS OF AUTUMN at Hard Luck Bar, the first step for each one of those four bands to win the coveted slot at Wacken Open Air taking place from July 30 to August 2 this year in Wacken, Germany, plus $1,000 CAD towards expenses, and VIP camping at the festival. Not only that, they also have the opportunity to win monetary and gear prizes at the international Wacken Metal Battle. Keith Ibbitson of Metal Paparazzi and I were there to cover such an important night for the underground metal scene in Toronto, and of course enjoy the music by those four amazing bands.

As a matter of fact, this year I was invited by the one and only JJ Tartaglia, responsible for Wacken Metal Battle Canada, and the vocalist and drummer for Heavy Metal/Hard Rock band Thunderor, to be one of the guest judges alongside Claus Nader (Futhark Records), Andrew Craig (Zombitrol Productions) and Ryan Hofing (Crimson Shadows). It was a true honor being chosen to evaluate the future of heavy music in Toronto, and I hope I did a good job to the point I get invited to this unique event more times this year and in all future editions of Wacken Metal Battle Canada. Having said all that, are you ready to rumble?

PURVEYOR OF CHAOS

The first band of the night was Heavy Metal/Hard Rock quartet PURVEYOR OF CHAOS, who hit the stage at 9pm armed with their heavy riffs and the soaring vocals by frontman Maxel Black. Playing songs form their 2022 self-titled album, which is by the way available on BandCamp and on Spotify, the band did a good job onstage and put everyone to bang their heads and raise their horns in the name of classic heavy music, and I’m sure if they refine their sound a bit, maybe by adding a second guitarist to their lineup and making the sound of their drums clearer, they’ll have a much better overall performance during their future live shows.

Band members
Maxel Black – vocals
Bulldog Bess Ross – guitars
Tenbears – bass
Fast Eddie – drums

UNKLE SKURVEY

Right after a quick break, Heavy Metal/Hardcore outfit UNKLE SKURVEY delivered a fun and vibrant performance to a very decent crowd at Hard Luck Bar, sometimes sounding like a Thrash Metal band, sometimes like a System of a Down cover band, which was a bit confusing but in the end worked relatively well. The songs Covid Mosh, World War 3, and Next Generation, all available on Spotify, sounded great live, with frontman Ché Cleland’s energy and facial expressions adding an extra touch of insanity to their show. I personally think if they focus on the sound from the song Next Generation in their future releases, and add a second guitarist to the band, they’ll definitely go places.

Band members
Ché Cleland – vocals
Doug Noel – guitars
Stephen ‘Stiv’ Scott – bass
Sean Mollison – drums

ISCHEMIC

The third band of the night was most definitely the heaviest of all, blasting a dark and deep fusion of Blackened Death and Doom Metal not recommended for the lighthearted. I’m talking about the five-headed beast known by the name of ISCHEMIC, spearheaded by the talented growler Isabelle Tazbir, who melted our faces with their undisputed heaviness and obscurity. Having released the album Condemned to the Breaking Wheel in 2024, which you can purchase or stream on BandCamp and on Spotify, their performance was beyond fantastic, proving Isabelle and her henchmen are more than ready for bigger stages worldwide.

Band members
Isabelle Tazbir – vocals
Adam Korchok – guitars
Jon Radic – guitars
Lyndon Quadros – bass
Mrudul Kamble – drums

PILLARS OF AUTUMN

Last but certainly not least, it was time for Technical/Symphonic Deathcore act PILLARS OF AUTUMN to deliver a massive, electrifying, technical and very professional performance to the crowd at Hard Luck Bar, with all songs, in special their new single Crestfallen Emissary, sounding amazing live. I highly recommend you go check their music out on BandCamp and on Spotify, paying very good attention to the demented fry screams by Nick Young and the insane bass lines by Kevin Chan Kin Fung, as those two guys sounded brilliant during their set this Saturday night in Toronto.

Band members
Nick Young – vocals
Devon Groat – guitars
Carl Pike – guitars
Kevin Chan Kin Fung – bass
Doug Noel – drums

AND THE WINNER IS…

…the Blackened Death and Doom Metal creature ISCHEMIC! Congratulations for the win! They now move on to the Ontario Final on March 21 at Rivoli in Toronto, and if you want to know more about the whole competition, the next rounds across Canada and so on go to the official Facebook page of Wacken Metal Battle Canada. Also, thanks to all media partners and promoters, including Bravewords.com, Metal-Rules.com, Metal Devastation Radio, Boonsdale Records, Asher Media Relations, and many others, for keeping the fires of underground music in Canada burning brighter than a thousand suns. I’m sure Ischemic will have another killer performance during the Ontario Final in March, and who knows, maybe they’ll be the ones to “rule them all” and venture through the sacred lands of Wacken Open Air in Germany this summer, proudly representing Canada at the greatest stage of all.

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Album Review – Grave Digger / Bone Collector (2025)

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A manifesto of pure, unfiltered old school German Heavy Metal masterfully brought into being by one of the most important bands in the history of the genre, going back to their raw and energetic roots.

Back to the roots or back to the future? No matter how you call it, Teutonic Heavy Metal masters Grave Digger have recorded the first album of their undisputed career completely without keyboard passages, entitled Bone Collector. Produced, mixed and mastered at Graveyard Studio, displaying a killer AI-generated artwork, and featuring for the first time ever guitarist Tobias Kersting, the follow-up to their 2022 album Symbol of Eternity finds its way back to long forgotten trademarks, showcasing all the passion for heavy music by the iconic frontman Chris Boltendahl alongside the aforementioned Tobias Kersting on the guitar, Jens Becker on bass, and Marcus Kniep on drums.

A dark, somber intro suddenly morphs into a high-octane Heavy Metal beast titled Bone Collector, with Marcus hammering his drums manically supported by the slashing riffs by Tobias while Chris’ vocals exhale pure metal as usual. The breathtaking The Rich, the Poor, the Dying is even faster and more infuriated than the opener, with Tobias and Marcus once again sounding inhumane with their respective riffs and beats, not to mention the song’s amazing Thrash Metal vibe; and the rumbling bass by Jens kicks off the also heavy-as-hell Kingdom of Skulls, transpiring old school Grave Digger for our total delight. The Devil’s Serenade is the perfect soundtrack for a wild road trip, with Tobias and Jens slamming their stringed axes in the name of our good old Rock N’ Roll, followed by Killing Is My Pleasure, another one of the previously released songs, offering a blast of first-class pure, unfiltered Heavy Metal recommended for some action inside the pit; whereas the riffs by Tobias continue to pierce our minds in Mirror of Hate, maybe the weakest (or perhaps I should say “the least strong”) song of the album.

In Riders of Doom we can easily notice that the name of the song is not in vain, as there’s a huge dosage of cryptic doom flowing from all instruments, in special from Jens’ massive, metallic bass lines, resulting in a true headbanging, horns raising metal extravaganza; and get ready to head into the battlefield (aka the mosh pit) together with Chris & Co. to the sound of the furious Made of Madness, a lecture in Heavy Metal with a strong thrashing base where Chris once again sounds superb on vocals, all spiced up by an ass-kicking solo by Tobias. Graveyard Kings brings forward more of their thrilling fusion of Heavy and Power Metal, keeping the album at a high level of heaviness and rage, and the quartet still has a lot of fuel to burn in the incendiary Forever Evil and Buried Alive, a flawless depiction of the power and importance of the music by Grave Digger to the history of Heavy Metal. Lastly, the album ends with the six-minute doomed tune Whispers of the Damned, with Marcus pounding his drums in the name of absolute darkness.

Raw, brutal, honest and yet catchy, Bone Collector is a manifesto of German Heavy Metal, old school at its best, without rust and patina, no self-copying and always authentic. This is how the band’s new work can be described, going back to their roots, but still sounding energetic, fresh and multifaceted, and you can get in touch with the band and stay up to date with all things Grave Digger, including their upcoming 45th anniversary tour, by following them on Facebook and on Instagram, and of course be part of their metallic legacy by purchasing Bone Collector by clicking HERE or HERE. Those veterans are more than ready to dig your grave and collect your bones to the sound of their new album, keeping the fires of their undisputed Heavy Metal burning for many decades to come.

Best moments of the album: Bone Collector, The Rich, the Poor, the Dying, Made of Madness and Forever Evil and Buried Alive.

Worst moments of the album: Mirror of Hate.

Released in 2025 Reigning Phoenix Music/ROAR! Rock Of Angels Records

Track listing
1. Bone Collector 4:19
2. The Rich, the Poor, the Dying 3:25
3. Kingdom of Skulls 3:45
4. The Devil’s Serenade 4:01
5. Killing Is My Pleasure 3:29
6. Mirror of Hate 4:43
7. Riders of Doom 4:55
8. Made of Madness 3:59
9. Graveyard Kings 4:13
10. Forever Evil and Buried Alive 3:34
11. Whispers of the Damned 6:16

Band members
Chris Boltendahl – vocals
Tobias Kersting – guitar
Jens Becker – bass
Marcus Kniep – drums

Album Review – Necrodeath / Arimortis (2025)

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Behold the last recorded testimony before the war is over for one of the most important Blackened Thrash Metal bands of all time.

The moment you hear it, you know it’s Necrodeath. Formed back in 1984 in the Italian city of Genoa, this unrelenting act is one of the real iconic Blackened Thrash Metal bands of all time, helping to shape the Italian metal scene and the international underground as it is today throughout their 40 years of existence. However, as all good things must come to an end, the band formed of Flegias on vocals, Pier on the guitars, GL on bass and Peso on drums is set to release their last recorded testimony before the definitive dissolution of the band, entitled Arimortis, followed by a farewell tour which will last throughout 2025, and after which the curtain will fall. Recorded, mixed and mastered by Pier Gonella, and featuring a sinister artwork by Max Bottino, Arimortis is everything you’ve learned to love in the music by Necrodeath and more, representing a beyond amazing conclusion to the band’s demolishing and thrilling path.

​The quartet wastes no time and invites us all for one last wild ride inside the pit in Storytellers of Lies, with Flegias sounding like a demented beast on vocals, or in other words, this is how anyone should start a Thrash Metal album. Then a sinister start evolves into another blackened attack by the band titled New God, spearheaded by the Slayer-inspired riffs by Pier; and Peso puts the pedal to the metal in Necrosadist, offering our putrid years another explosion of visceral Thrash Metal perfect for some mosh pit action, whereas Arimortis is another song with a sinister, atmospheric intro that quickly morphs into their undisputed thrashing madness, with Flegias roaring manically supported by the pounding drums by Peso. And to make things even more infernal we have Near-Death Experience, the perfect soundtrack for (guess what?) almost dying, with Pier once again delivering sheer animosity through his riffage.

Necrodeath still have a lot more fuel to burn in Arimortis, starting with Alien, with the creepy vociferations by Flegias exhaling pure Black Metal, followed by No More Regrets, a cadenced, grim and melodic creation by the quartet that will sound great during their upcoming last tour. It’s then time for over seven minutes of first-class, no shenanigans Thrash Metal the likes of Exodus and Anthrax entitled Metempsychosis (part two), inspiring us all to bang our heads nonstop to the demolishing beats by Peso, while Hangover sounds even more ferocious and thunderous thanks to the rumbling bass by GL and the always hammering drums by Peso, putting a demented ending to the album and to their entire discography.

​“Arimortis is a term of Latin origin which indicates the end of a war, the moment in which the fallen are honoured and altars are erected in their name (‘arae mortis’, the altars of death). Even today in some parts of Italy the term ‘arimo’ is used to declare the end of the games. We wanted to use this allegory to seal a path that lasted forty years, full of satisfactions, disappointments and revenge. The songs that make up the album contain several references to our long career,” commented Flegias, and you can fight alongside Necrodeath in their last crusade by following them on Facebook and on Instagram, by streaming their evil music on Spotify or any other streaming service, and of course by purchasing their final beast from BandCamp or from Time To Kill Records, or by clicking HERE. And as their blackened war nears the end, may their putrid souls rest in pieces.

Best moments of the album: Storytellers of Lies, Necrosadist and Hangover.

Worst moments of the album: Alien.

Released in 2025 Time To Kill Records

Track listing
1. Storytellers of Lies 3:37
2. New God 3:12
3. Necrosadist 3:57
4. Arimortis 3:39
5. Near-Death Experience 3:07
6. Alien 4:21
7. No More Regrets 5:37
8. Metempsychosis (part two) 7:21
9. Hangover 3:46

Band members
Flegias – vocals
Pier – guitars
GL – bass
Peso – drums

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Album Review – Misanthropia / Envy The Dead (2024)

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These Dutch Black Metal veterans are back with a concept album that conjures a dark, gritty atmosphere inspired by historical horrors like Jack The Ripper and necromancy.

For over 20 years, Nijmegen, Netherlands-based Melodic Black Metal horde Misanthropia has been carving a path through the metal scene with their unique blend of blackened fury and Death Metal aggression, and that grim path continues now in 2024 with their fifth full-length offering, entitled Envy The Dead. Engineered, mixed and mastered by Mike Wead (Mercyful Fate, King Diamond), Envy The Dead is a concept album that conjures a dark, gritty atmosphere inspired by historical horrors like Jack The Ripper and necromancy. Moving away from symphonic elements, it embraces a Progressive Death and Thrash Metal vibe with influences from Dimmu Borgir, Cradle of Filth, Necrophobic, Mayhem, and Death, all carefully brought into being by Bram Koller on vocals and guitars, Dennis Schoenmaker also on the guitars, Pepijn Heilbron on bass, and Hugo de Waal on drums.

The cryptic, cinematic intro Envy the Dead will drag you to the world of horrors ruled by Misanthopia before they crush your soul in Malediction and Laughter, where Bram leads his horde with his austere, sulfurous gnarls supported by the violent yet intricate beats and fills by Hugo. Bram and Dennis showcase their passion for the riff in Organs, for a Fair Price, evolving into a bestial fusion of Death and Black Metal; followed by Prosperity by Cocaïne, presenting over five minutes of Melodic Black Metal for the masses spearheaded by the rumbling drums by Hugo with the help of Pepijn’s massive bass lines. And Hugo continues his path of devastation in Maze of Madness, enhancing the visceral reach of the riffage blasted by Bram and Dennis.

River Dumplings reminds me of some old school creations by Dimmu Borgir with the bands own Melodic Death and Black Metal twist, in special the harsh, piercing vociferations by Bram, whereas the quartet delivers another round of their flammable, caustic sounds in Coughing in the Coffin House, led by the classic beats by Hugo and supported by Pepijn’s devilish bass. Fade into the Abyss, the second single of the album, brings forward the band’s most aggressive side, resulting in a feast of Black and Death Metal where Bram’s vocals sound and feel truly haunting; and their last breath of obscurity and fear, entitled A Deadly Embrace, a Sinister Grace, will pierce our minds with it Melodic Black Metal vocalizations and riffs, not to mention how thrilling the drums sound and feel throughout the entire song.

The incendiary, harsh and devilish Envy The Dead is already available in full on YouTube and on Spotify, but of course you can join Misanthropia in their darkened path by purchasing your favorite version of the album by clicking HERE. Don’t forget to also follow those talented Dutch metallers on Facebook, Instagram and YouTube, helping them keep the spirit of both old school and present-day Black Metal alive, therefore inspiring the band to keep moving forward in the name of extreme music for at least another 20 years.

Best moments of the album: Malediction and Laughter, Prosperity by Cocaïne and Fade into the Abyss.

Worst moments of the album: Maze of Madness.

Released in 2024 WormHoleDeath

Track listing
1. Envy the Dead 2:23
2. Malediction and Laughter 6:12
3. Organs, for a Fair Price 5:47
4. Prosperity by Cocaïne 5:37
5. Maze of Madness 6:25
6. River Dumplings 4:21
7. Coughing in the Coffin House 5:10
8. Fade into the Abyss 4:15
9. A Deadly Embrace, a Sinister Grace 0:41

Band members
Bram Koller – vocals, rhythm guitars
Dennis Schoenmaker – lead & rhythm guitars
Pepijn Heilbron – bass
Hugo de Waal – drums

Concert Review – Exodus (The Phoenix Concert Theatre, Toronto, ON, 11/19/2024)

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***Review by Kevin Ibbitson and photos by Keith Ibbitson of Metal Paparazzi***

OPENING ACTS: Dead Heat, Candy and Havok

Here I am Filling in for my man Gus, Who couldn’t make it out tonight due to other obligations and I’m sorry to say that I am quite happy to do it. Gus… you missed an absolute banger of a show brother! Traffic is such a fucking bitch in this city, I was worried my brother Keith and I were going to be late for the opening of the doors of the Phoenix Concert Theatre in downtown Toronto, Ontario. It was a cool damp Tuesday evening and people were driving like the usual idiots they are and we had to make a couple of detours along the way. Luckily we made it in time and found a parking spot thankfully. We found some friends in line and proceeded into the venue to check in at the box office. Keith and I split up to get to our usual spots as he was the photographer this evening and I made my way to the front barrier beside our good friend Scott Herod whom I had the pleasure of rocking out beside in the same spot for the Black Dahlia Murder show this past remembrance day. Scott and I were both bewildered to the fact that Security was criminally understaffed with only two men working the barrier. Those boys had their work cut out for them tonight and their efforts were to be applauded. Injuries and all, these two security guards put in the work and did a fantastic job.

The show got started at 7 p.m. with Oxnard, California’s DEAD HEAT. Despite their enthusiasm and talent, their set fell a little flat for me through no fault of their own due to poor sound quality and slight technical issues. It is important to note that the venue at this time was about a quarter full so crowd participation was at a minimum. So it was a bit of a rough opening but they put in a noble effort and I appreciated that. Next up was the experimental hardcore band CANDY out of Pittsburgh, Pennsylvania and they fell flat as well for the same reasons. We could barely hear the vocalist, the drums were not mic’d up very well and the bass overpowered the guitar. Also Candy’s style of ending their songs abruptly was a bit confusing for us in the crowd as we couldn’t gauge if the song ended or was about to launch into a fat breakdown, so the band missed out on our feedback and response. Technical issues ruined their mojo a bit and it showed. Not so sweet for Candy sadly, no knock against them.

As my spirits were down, Denver Colorado thrash lords HAVOK turned my frown upside down and absolutely blew my fucking face off with a blistering set that had the crowd going totally bonkers. If Havok was the only band on this bill I would have left the show an insanely happy man. Oh my gawd! The energy in the building was incredible. Security had its hands full with endless waves of crowd surfers. The venue was almost full and by this point the pits were massive. We were having the time of our lives, loving every minute of it. Havok’s sound engineer was on point and the quality of it was on another planet compared to the opening bands. The gulf between them was enormous. David Sanchez’s vocals and riff shredding was absolutely killer as well as the solos of Reese Scruggs. Pete Webber destroyed it on the drums and the stand-out was the stand-in bass player Kaden Hunsacker (guitar tech/road manager) was incredible. If you had never seen them before you would never know that he was not their actual bassist. Havok alone was worth the price of admission. 11/10

EXODUS

Now with everybody in attendance positively buzzing with energy, we couldn’t contain ourselves when EXODUS hit the stage. The Bay Area thrash legends blessed us with a show for the ages. This was one of the most fun shows I have ever been to in my life and this arguably had to be the best show of the year. I have never seen so much crowd-surfing at a show ever. Non-stop action in the pit as well as countless waves of surfers. Seriously the crowd was insane. Toronto made me so proud that night and it was an honour to be among them. Gary Holt was on fire and Lee Altus was phenomenal on lead guitar. Jack Gibson held everything down with his stellar bass playing and Tom Hunting was pulverizing on the drums. Vocalist Steve “Zetro” Souza was electric and remarked that whenever they visit Canada, the crowds are always insane. He also gave a shout out to the two brave security guards handling all of the surfers coming over the barrier. The crowd was rowdy and rambunctious but kept it fun too without any animosity towards each other.

Everyone in attendance was there for a good time and were all on the same page, to let loose and boy did we do that. I think that we gave Montreal a run for their money. Steve also pointed out that next year will be the 40th anniversary of their seminal record, 1985’s Bonded By Blood and that they will be coming back to Toronto for that tour. I’m definitely saving up for that show. Exodus are legends for a reason, they totally kick fucking ass live and they sounded fucking incredible! At the end of the show, I turned around to observe everyone’s faces and they contained the look of pure satisfaction as I’m sure mine did as well. Personally I can’t wait until next year and I will be counting the days. What a killer show with killer bands. 11/10

Setlist
The Last Act of Defiance
Blood In, Blood Out
Fabulous Disaster
And Then There Were None
Body Harvest
Prescribing Horror
The Beatings Will Continue (Until Morale Improves)
Brain Dead
Deathamphetamine
Blacklist
Metal Command
War Is My Shepherd
The Toxic Waltz
Strike of the Beast
No Ordinary Love (Sade song)

Band members
Steve “Zetro” Souza – vocals
Gary Holt – guitar
Lee Altus – guitar
Jack Gibson – bass
Tom Hunting – drums

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Album Review – Korrosive / Katastrophic Creation (2024)

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Behold the new album by Toronto’s most pulverizing thrashing brigade, taking the band’s sound to new levels of heaviness and raw power.

Recorded, produced and mixed by Ben Erikson at Union Sound, mastered by Stu McKillop at Rain City Recorders, and displaying a sick artwork once again done by world renowned artist Ed Repka, the pulverizing Katastrophic Creation, the brand new album by Toronto, Ontario’s own Thrash Metal brigade Korrosive, takes the band’s sound to new levels of heaviness and raw power. Not only that, the album also represents a major step forward for the band currently formed of Rad Zarei on vocals, Derek Solomos on the guitar, Jack Neila on the guitar and bass, and Kaveh Afshar on drums, being the perfect follow-up to their 2022 album Toxic Apokalypse, pushing the boundaries of Thrash Metal and solidifying their status as leaders in the genre.

Kaveh shows no mercy for our souls in the opening tune In the Name of Destruction, blasting his drums like there’s no tomorrow in the name of pure Thrash Metal while Rad vociferates rabidly just the way we like it in extreme music; and get ready for the scorching, caustic riffs by Derek and Jack in Khaos Unbound, as they’ll burn your skin deep while inspiring you to slam into the mosh pit like a demented creature. Nuclear Awakening follows the same pattern as its predecessor, hitting us hard with their razor-edged riffs while Kaveh dictates the pace with his fulminating beats, whereas rumbling bass lines, infuriated drums and the always sulfurous roars by Rad are the main ingredients in Maelstrom, a song more than perfect for some nice action inside the circle pit, offering nonstop Thrash Metal madness for the masses.

Then we have امام در آتش, which roughly translates to “Imam Immolation”, a slab of brutality by the quartet that will drive the crowd mental during their live concerts, with Rad stealing the show with his most inhumane, demented vocal performance of the entire album. Furthermore, the song draws inspiration from the political unrest in Iran, particularly following the tragic death of Mahsa Amini. Written by drummer Kaveh Afshar, who experienced the brutal dictatorship firsthand in the 1980’s, the track embodies defiance and resistance against tyranny. Those guys don’t know the meaning of “slow”, “mellow” or “romantic” at all; quite the contrary, it’s total chaos in Kataclismo Inminente, again presenting a massive wall of riffs and blast beats, followed by Under a Vicious Sky, a neck-breaking, headbanging-fueled tune by the band where Rad growls manically supported by the piercing riffage by Derek and Jack. And lastly, we’re treated to seven minutes of modern-day rebellious Thrash Metal made in Canada in Ashes from Atomic Dust, showcasing an amazing job done by their guitar duo and, as usual, the venomous guttural by Rad, putting a sinister, apocalyptic ending to the album.

Katastrophic Creation is already available in full on YouTube and on Spotify, but of course if you want to show those guys how much you love Thrash Metal you should grab a copy of the album from their own BandCamp, or from the CDN Records’ BandCamp or webstore as a CD, as an LP, or as a very special bundle including the CD or a blue vinyl with red splatter pattern, a patch of your choosing and a sticker. Don’t forget to also give the band a shout on Facebook and on Instagram, joining them in Armageddon to the sound of their caustic new opus, proving why Thrash Metal will always be one of the best ways to channel everything that’s fucked up in our rotten society into high quality heavy music.

Best moments of the album: In the Name of Destruction, امام در آتش (Iman Immolation) and Kataclismo Inminente.

Worst moments of the album: Nuclear Awakening.

Released in 2024 CDN Records

Track listing
1. In the Name of Destruction 3:32
2. Khaos Unbound 4:30
3. Nuclear Awakening 6:45
4. Maelstrom 5:17
5. Imam Immolation 4:08
6. Kataclismo Inminente 3:41
7. Under a Vicious Sky 5:45
8. Ashes from Atomic Dust 7:37

Band members
Rad Zarei – vocals
Derek Solomos – guitar
Jack Neila – guitar, bass
Kaveh Afshar – drums

Album Review – Dying Grotesque / Celestial (2024)

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Depicting the violent absurdity and the grim futility of human existence, the sophomore opus by this Ukrainian band will crush you like an insect in the name of Death Metal.

Depicting the violent absurdity and the grim futility of human existence, which appears to be completely insignificant comparing to the endless darkness of cosmic void and all the undiscovered mysteries it conceals, the pulverizing Celestial, the sophomore album by Ukrainian Death Metal band Dying Grotesque, is highly inspired by bands the likes of Bloodbath, The Black Dahlia Murder, Entombed, Dismember, Edge of Sanity, Gorefest, and Suffocation, among others, being the perfect follow-up to their 2020 debut Sunflower Tide. Mixed and mastered by Vadym ‘Silvan’ Tsymbaliuk at Intermodulation Studio, and with a sinister artwork by Yevhen ‘Gxreparty’ Konovalov (Shinagawalove), the new album by Vadym ‘Silvan’ Tsymbaliuk on vocals and guitars, Volodymyr ‘Liquidator’ Degtyarenko on guitars and bass, and Andriy ‘Nordwind’ Butok on drums perfectly represents the band’s trademark mixture of various genres and styles including Death, Doom and Thrash Metal, and even some synth and folk elements, proving how talented and dynamic the band can sound.

The metallic, vibrant sounds of their guitars and bass ignite the metal machine titled Nuclear Meadows, with Vadym roaring deeply like a demonic entity, exhaling pure Death Metal with a Slavic twist, whereas Satellites is an infuriated blend of Death Metal by the trio with Vadym and Volodymyr firing sheer aggression through their axes, supported by the massive beats by Andriy. And let’s keep banging our heads frantically in Burial Fields, where Andriy sounds even more demonic behind his drums, inviting us all to also head into the circle pit like true metalmaniacs. They definitely don’t care at all about trying to sound mellow or more commercial, as Purification is in-your-face, brutal Death Metal played from their blackened hearts, led by the cadaverous guttural by Vadym.

Point Of View brings forward another four minutes of insanity, fury and violence crafted by this talented Ukrainian horde, with the caustic riffs by Vadym and Volodymyr penetrating deep inside our skins in great Death Metal fashion, and investing in a more 90’s inspired sound the likes of Unleashed, the band offers a decent tune titled Pneuma, showcasing their love for the riff and all extreme things. Their second to last feast of violent and ruthless Death Metal is offered to us all in the form of Lilith, where Andriy keeps hammering his drums supported by the scorching riffage by Vadym and Volodymyr, while also showcasing their undeniable dexterity and hatred. There’s still time for one last visit to the circle pit to the sound of the venomous Mortality, where their 90’s Death Metal vein pulses stronger than ever spearheaded by the always crushing drums by Andriy.

After all is said and done, I bet you’ll go back to the start of Celestial and listen to it again and again, as those Ukrainian metallers know how to blast our ears with tons of rage with their harsh yet very melodious sounds. You can also start following them on Facebook and on Instagram for news, tour dates and so on, listen to their crushing music on Spotify, and above all that, grab a copy of Celestial on BandCamp or by clicking HERE. Those Ukrainians will crush you like an insect in the name of Death Metal armed with their new album, and not only you’ll enjoy that, but you’ll also keep asking for more without a shadow of a doubt.

Best moments of the album: Nuclear Meadows, Purification and Lilith.

Worst moments of the album: Pneuma.

Released in 2024 Archivist Records

Track listing
1. Nuclear Meadows 5:34
2. Satellites 4:04
3. Burial Fields 5:11
4. Purification 3:53
5. Point Of View 3:58
6. Pneuma 5:22
7. Lilith 3:39
8. Mortality 4:36

Band members
Vadym ‘Silvan’ Tsymbaliuk – vocals, guitars
Volodymyr ‘Liquidator’ Degtyarenko – guitars, bass
Andriy ‘Nordwind’ Butok – drums

Guest musician
Oleksandr ‘Archon’ Kharechko – bass

Concert Review – King Diamond (Great Canadian Casino Resort Toronto, Mississauga, ON, 11/03/2024)

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The city of Mississauga became a huge hospital full of metal freaks as the iconic King Diamond delivered a memorable performance full of melody, darkness and insanity.

OPENING ACTS: Night Demon and Overkill

If you live in the GTA and love Heavy Metal form the bottom of your blackened heart, I believe you were at the amazing Great Canadian Casino Resort Toronto this Sunday for a night of pure heaviness thanks to NIGHT DEMON, OVERKILL and KING DIAMOND during their Saint Lucifer’s Hospital 1920 Tour 2024. Unfortunately this time we don’t have the awesome photos by Keith Ibbitson of Metal Paparazzi, only my crappy mobile ones, but that won’t stop me from reviewing such a memorable concert. However, before talking about the music, let me tell you how incredible the venue is. It was my first time ever at the resort and casino, and not only the place is absolutely stunning, clean and neat, but you also get free parking there, plus tons of excellent food and drink options. The theatre itself, where the show happened, is also perfect for theatrical performances like the one by King Diamond, and I would simply love if almost all metal concerts I go to happened there instead of any other venue in Toronto.

After filling my tank up with a nice combo at Mary Brown’s Chicken (while other fans were trying their luck in the casino), it was time for the openers,  Ventura, California’s own Heavy Metal brigade NIGHT DEMON, to deliver one of the most electrifying performances I’ve ever seen in my life for an opening band. Jarvis Leatherby, Armand John Anthony and Brian Wilson sounded even heavier and more thrilling than when they opened for Blind Guardian in the city a few months ago, blasting sheer awesomeness in the form of songs like Outsider, The Howling Man and Night Demon, with a fun circle pit moving fast in the middle of the floor section during their entire show. Jarvis even left the stage to play his bass right in the middle of the crowd, more specifically right in front of me (and I don’t have a photo of that for obvious reason), being the perfect depiction of true Rock N’  Roll. I’m becoming a huge fan of those guys, and hopefully soon Toronto will get a headlining concert by one of the coolest bands hailing from the current Californian scene.

Setlist
Night of the Demon (Demon song)
Prelude
Outsider
Screams in the Night
Obsidian
The Howling Man
Ritual
The Chalice
Night Demon
Lookin’ Out for No. 1 (UFO song)

Band members
Jarvis Leatherby – vocals, bass
Armand John Anthony – guitars
Brian Wilson – drums

All fans at the venue needed a lot of cardio this Sunday night as right after the devastating performance by Night Demon, we had the utmost pleasure of enjoying a slab of pure and violent Thrash Metal made in New York by the iconic OVERKILL, a breathtaking concert not recommended for the lighthearted. The unstoppable frontman Bobby “Blitz” Ellsworth alongside guitarists Dave Linsk and Derek Tailer, plus guest bassist Christian Olde Wolbers (as the awesome D.D. Verni had shoulder surgery earlier this year and unfortunately was forced to sit out of the current tour) and their new live drummer Jeramie Kling (a beast known for his work with bands like Inhuman Condition and Ribspreader), were ruthless during their entire performance, way shorter than I wanted it to be but as incendiary and brutal as any of their full concerts, melting our faces with new songs like Scorched and The Surgeon (from their beautiful 2023 album Scorched) and classic including Bring Me the Night and Ironbound. The show ended with the fun Fuck You, originally recorded by The Subhumans, with Bobby even joking about the Habs to the Toronto crowd, leaving us all eager for more of the thrashing anthems by the green, mean machine in the city in a not-so-distant future.

Setlist
Scorched
Rotten to the Core
Bring Me the Night
Hello From the Gutter
The Surgeon
Ironbound
Elimination
Fuck You (The Subhumans cover)

Band members
Bobby “Blitz” Ellsworth – vocals
Dave Linsk – lead guitars
Derek Tailer – rhythm guitars
Christian Olde Wolbers – bass
Jeramie Kling – drums

KING DIAMOND

As the night was getting colder and darker (but only outdoors, because the inside of the casino was amazing), Denmark’s own Heavy Metal entity KING DIAMOND kicked off his fully theatrical and mesmerizing mass for the delight of all admirers of his sensational career. It was only my second time seeing him live, the first being almost 30 years ago, and it’s impressive how he still sounds so heavy, evil and sharp after so many decades. His vocals in the first three songs Arrival, A Mansion in Darkness and Halloween (my favorite of the night, by the way) were insane, sending shivers down our spines in the name of our good old Heavy Metal. Add to that the flawless riffs and solos by Andy LaRocque, and there you have the perfect recipe for a true Halloween party even after Halloween was over.

In addition, the support of the multi-talented, gorgeous MYRKVR (aka Amalie Bruun) on vocals, plus the superb performance by the breathtaking JODI CACHIA who was spot-on with her dance moves and wicked expressions, only made the whole night even more exciting. She definitely deserves our full recognition for bringing so much energy to King Diamond’s already killer performance (and check the WHO section on her website to see what shirt she’s wearing, just to prove how badass she is). She was incredible every time she appeared on stage, period. And what to say about the energy flowing from Sleepless Nights, The Invisible Guests, or the closing song Abigail? King Diamond and his far-reaching falsetto screams are a thing of beauty, something that makes his shows truly unique, and if you’ve never seen him live don’t miss the chance if he ever visits your hometown. After the band’s stellar show some fans even got back to the casino for some post-concert fun, and I gotta say if I didn’t have to wake up so early the next morning I would have joined them for sure. Or maybe I should say I would have joined “Them”.

Setlist
Funeral
Arrival
A Mansion in Darkness
Halloween
Voodoo
“Them”
Spider Lilly
Two Little Girls
Sleepless Nights
Out From the Asylum
Welcome Home
The Invisible Guests
The Candle
Masquerade of Madness
Eye of the Witch
Burn
Electro Therapy

Encore:
Abigail
Insanity

Band members
King Diamond – vocals
Andy LaRocque – guitars
Mike Wead – guitars
Pontus Egberg – bass
Matt Thompson – drums
Myrkur – additional vocals, organ

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Metal Chick of the Month – Jamie Lee Cussigh

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Beware the blade, all Hail the Sacrifice!

As the days get shorter and the nights grow darker and colder, our metal lady of the month of November at The Headbanging Moose definitely had to represent all the heaviness that fills the air in preparation for the coming winter. She’s the epitome of underground heavy music, lending her raw and intuitive bass sound to amazing bands like Sacrifizer and Triumph of Death, always with a badass attitude, while at the same time also venturing through non-extreme lands like with her Coldwave project named Letten 94. Her name is Jamie Lee Cussigh, also known as SlaughterWytch or Dolorès, depending on which band she’s working on at a specific point in time, and she will kick your ass mercilessly with her more than thunderous bass lines.

Half Bulgarian and half Italian, but born in Switzerland (where she currently resides), Jamie nurtures a deep passion for all things heavy music from a very young age. “I started to listen to metal very young, around 11 or 12 years old and the first album I discovered and bought was the Kill Em All by Metallica. I started to play bass at 13.” Also a private music teacher, either online or in person, Jamie went to Conservatoire de Musique de Neuchâtel, in Switzerland, where she perfect her skills as a musician, which is probably one of the reasons why she can fluctuate between styles without any effort, always sounding sharp and in sync with the rest of the band she’s working with.

Her main band or project since 2019 has been undoubtedly Zurich, Switzerland-based Speed/Thrash/Black Metal entity Triumph of Death, Tom Gabriel Fischer aka Tom G Warrior’s personal tribute to his iconic band Hellhammer, with the name of the band being inspired by the infamous title-track of Hellhammer’s 1983 cult demo. The vast body of Hellhammer’s work remained unperformed for years, with Tom’s other bands Triptykon and Celtic Frost only playing a couple of songs here and there, until the inception of Triumph Of Death. Currently formed of the aforementioned Tom Gabriel Warrior on vocals and guitar, our diva Jamie Lee Cussigh on bass, André Mathieu also on the guitar, and Tim Iso Wey on drums, the band has already has played a number of highly acclaimed concerts, such as Hellfest (France), Wacken Open Air (Germany), Party.San (Germany), Brutal Assault (Czech Republic), Psycho Las Vegas (USA), Merry Christless (Poland), Inferno Festival (Norway), Maryland Deathfest (USA), UK Deathfest, and Mexico Metal Fest, among others.

“I was lucky to be contacted by Tom Gabriel Fischer and he gave me this big chance and opportunity. I also take this opportunity to express my gratitude to him. He’s a beautiful person and I’m very thankful to him,” commented Jamie, who also mentioned the release of new material when she joined the project. “It’s a long-term and permanent project. We will release live material (Hellhammer music) and likely eventually even a studio album with our own material in the style of Hellhammer.” Well, after that interview the promise of releasing live material has already become a reality with the release of the amazing live album Resurrection of the Flesh by the end of 2023, recorded during three festival performances in 2023 in Houston (United States), Munich (Germany) and Barroselas (Portugal). Some of the songs became official videos on their official YouTube channel, including the excellent Decapitator and Massacra, but the band also offers live footage from other festivals in their channel like the songs Massacra, Visions of Mortality, Aggressor and The Third of The Storms (Evoked Damnation), from their 2022 concert at Maryland Deathfest, and you can also click HERE to grab your favorite version of their live album.

Apart form Triumph of Death, Jamie can be found as the bassist for a fantastic French Blackened Speed/Thrash Metal band named Sacrifizer, in this case under the moniker SlaughterWytch, having joined the band a little after their inception back in 2017, and having already recorded with them the 2019 EP La Mort Triomphante, and more recently the full-length album Le Diamant de Lucifer, back in 2022, and both can be appreciated in full on Spotify. According to the band, they were “created after a midnight ritual”, and our dauntless SlaughterWytch alongside Sexumer on vocals, NightReaper and H.K.A. on the guitars, and Lethal on drums continues to pave a path of destruction with their only goal being “to spread the mighty words of our lord Lucifer.” I highly recommend a detailed listen at both their 2019 EP and their 2022 album, as both are ass-kicking beasts of blackened thrash, as you can easily see in this incendiary live version of Le Diamant de Lucifer.

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However, don’t think that Jamie is simply blasting the heaviest of sounds all the time with her bass, or that she only loves heavy music, as she has also been part of a very interesting Coldwave project called Letten 94 since 2019, going by the name of Dolorès in this case. “Letten 94 is a project we created with a friend, Freddy Van Ballast. I’m on vocals, bass and soon guitar and he plays synthesizers, samplers, drum machines etc.,” commented Jamie. This Swiss Coldwave duo takes a mental image of Letten (as the disused Letten station in Zurich was the largest open drugs scene in Europe in 1994), and more widely of Europe in the aftermath of the fall of the Berlin Wall, as a starting point to try to create electronic music which is sometimes aggressive and syncopated, sometimes dark and mysterious.

Letten 94 is a band that plays music for its own sake, carrying no political message, therefore having a zero-tolerance policy for racism and discrimination, such as discrimination based on gender, ability, or age. This includes all political ideologies that are extremist, totalitarian and/or oppose fundamental human rights, democracy, and the rule of law. Hence, you can enjoy Letten 94’s music in their official video for Empty Landscapes, listen to their other songs on Spotify, or click HERE for all things Letten 94. She was also involved with a French Black Metal horde named Myrkvid, playing bass with the band between 2019 and 2020, although she didn’t record anything with them. “The vocalist and guitarist, Myrk, is a friend of mine since a long time ago and he needed a new bass player. I played with them for a year but I decided to leave the band,” she commented, and you can also find her as the bassist for a band named Trauma, again with very few information about her involvement with the band available online, including zero details on when she started playing with them, or if she’s still with them.

As you might have noticed, Jamie has a lot of different influences in music. “At the very beginning of my teenage years I started with Thrash and Speed, and then I discovered Extreme Metal around 14 years old. I’m mostly on Black/Thrash, Black, some old school Death Metal sometimes and some Heavy/Speed but besides Metal I’m a fan of coldwave and post-punk music and it’s also a part of my inspirations. Jazz music too.” Moreover, when asked to list her top five albums of all time, she said that it’s tough to mention only five albums because she loves a lot more than that, but she would try to list some that struck her. Those albums are Blood Fire Death, by Bathory, Envoy of Lucifer, bu Nifelheim; Sister, by In Solitude; Black Metal, by Venom; and Dawnrazor, by Fields of the Nephilim.

In addition, she mentioned a very interesting list of newer bands she enjoys, including Division Speed, Hällas, Flagellant, Whoredom Rife, Blaze of Perdition, Denouncement Pyre, Drab Majesty, Lebanon Hanover, Condor, Hellripper, Antichrist, In Solitude, Saqra’s Cult, Tryptikon, Tragediens Trone, Riot City, Ultra Silvam, Beastmilk, Heresi, Tribulation, Matterhorn, Satan Satyrs, Vulture, Quintessenz, Whiskey Ritual, Warmoon Lord, Midnight and Nocturnal Graves, also saying that live she really enjoys to see Aura Noir, Satan Satyrs, Venom and Midnight. When asked about new or mainstream metal, she said she doesn’t like those labels, as she believes what really matters is to play with (and for) passion before anything else. “When this is the case, everyone who plays with his guts and works hard deserves his success.” And guess what’s the definition of true metal music for Jamie? “You feel it or not!”

Jamie Lee Cussigh’s Official Facebook page
Jamie Lee Cussigh’s Official Instagram
Triumph of Death’s Official Facebook page
Triumph of Death’s Official Instagram
Triumph of Death’s Official YouTube channel
Sacrifizer’s Official Facebook page
Sacrifizer’s Official Instagram
Sacrifizer’s Official YouTube channel