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Concert Review – Dream Theater (Coca-Cola Coliseum, Toronto, ON, 03/11/2025)

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The city of Toronto had the utmost pleasure of celebrating 40 years of Dream Theater together with the band in a stunning three-hour show.

INTRODUCTION: No school, no traffic!

It was way beyond easy getting to the cozy Coca-Cola Coliseum this Tuesday night for An Evening with Dream Theater – 40th Anniversary Tour USA & Canada 2025, simply because it’s “March Break”, or if you’re not Canadian, it’s a week during winter where kids don’t have classes, meaning A LOT less traffic as several parents also take the week off to travel with their kids. Keith Ibbitson of Metal Paparazzi and I made it to the venue about one hour before doors opened, giving us enough time to chat, grab a bite and something to drink, and check the merch stand (which was absolutely crowded) before the show started. Also, not sure if you already knew about it or not, but there’s no opening band this tour, with Dream Theater playing basically two full sets of one hour and thirty minutes each, a total delight for diehards fans of the band.

DREAM THEATER

Precisely at 7:30pm the speakers began playing the song “Prelude”, by Bernard Herrmann, before James LaBrie, John Petrucci, John Myung, Jordan Rudess, and the returning beast Mike Portnoy (who sounded as if he had never left the band), collectively known as American Progressive Metal institution DREAM THEATER, walked to the stage and began embellishing the airwaves with their masterpiece Metropolis Pt. 1: The Miracle and the Sleeper. As I was seated on level 100 and somewhat close to the stage, I could not only see all details of the band’s performance, like for example John Myung’s use of his pedals, but also the reaction of different fans on the floor section (which was also a seated section, by the way), with some headbanging, some playing air guitars and air drums, and some simply raising their hands in awe to the band’s flawless performance.

That was the beginning of the band’s first act, including songs from my favorite Dream Theater albums Images and Words, Awake, and Metropolis Pt. 2: Scenes from a Memory, as well as songs from other excellent albums from their vast discography, and it was pure joy watching them play beautiful songs like The Mirror, Hollow Years, Under a Glass Moon, and The Dark Eternal Night. James’ vocals were a tiny bit off during the first few minutes of the show, but after that his voice got a lot better, not to mention his interactions with the crowd were also great, including hitting the head of a fan by total accident with his mic, making the guy’s head bleed a little. Well, as some people like to say, this is rock n’ roll, or the show must go on, and I bet the morning after the fan was proudly telling all of his friends about what happened with a huge smile on his face.

Then after a 15 or 20-minute break where I went for more food and drinks, we got a nice orchestral overture with excerpts from all albums by the band, warming us up for their  second act, starting with two of my favorite songs of the night, Night Terror and Midnight Messiah, both from their brand new album Parasomnia. Yes, both sounded amazing live, and after James mentioned close to the end of the show they’ll return to Toronto probably in the fall to play Parasomnia in full, I got really excited. It’s such a great album, and I’m sure it will sound even more powerful live. Perhaps the “weirdest” song of the night was the 22-minute piece Octavarium, just because it is a TWENTY TWO MINUTE SONG (most probably the longest song I’ve ever seen live, if I’m not mistaken). You never know how the crowd will react to a song so lengthy and complex, but when the band in question is Dream Theater the song doesn’t feel neither long nor complex, overflowing feeling and energy from start to finish.

Then the encore was just as fantastic, with all fans at the venue going mental (including myself) with the flawless “sonic combo” formed of Act II: Scene Six: Home, Act II: Scene Eight: The Spirit Carries On (the most emotional moment of the entire show, by the way), and of course their all-time hit Pull Me Under, leaving us eager for more Dream Theater in the near future even after having just seen them for over three hours, and as aforementioned, it won’t take long for them to return, playing Parasomnia in full before the year is over. Lastly, when we go see most bands we always pay more attention to vocals, guitars and drums, but let’s say John Myung and Jordan Rudess stole the show in their own way with phenomenal, jaw-dropping performances, in special Mr. Rudess with his spinning keyboards and even a stylish “keytar”. It’s not everyday you can tell your friends you got stunned by a bassist (unless you’re an Iron Maiden or Cannibal Corpse fan, of course) and a keyboardist, and if Dream Theater are visiting your city with their undisputed celebration of their 40-year career, don’t miss the chance of seeing Mr. Myung, Mr, Rudess, and the entire crew delivering the perfect balance between dexterity and heart onstage.

Setlist
Act I
Prelude (Bernard Herrmann song)
Metropolis Pt. 1: The Miracle and the Sleeper
Act I: Scene Two: I. Overture 1928
Act I: Scene Two: II. Strange Déjà Vu
The Mirror
Panic Attack
Barstool Warrior
Hollow Years
Under a Glass Moon
The Dark Eternal Night
Let’s All Go to the Lobby

Act II
Orchestral Overture
Night Terror
Midnight Messiah
This Is the Life
Vacant
Stream of Consciousness
Octavarium

Encore:
There’s No Place Like Home (Movie clip from ‘The Wizard of Oz’)
Act II: Scene Six: Home
Act II: Scene Eight: The Spirit Carries On
Pull Me Under
Singin’ in the Rain (Arthur Freed & Nacio Herb Brown song)

Band members
James LaBrie – vocals
John Petrucci – guitars
John Myung – bass
Jordan Rudess – keyboards
Mike Portnoy – drums

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Album Review – Ritual Ascension / Profanation of the Adamic Covenant (2025)

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This cryptic American Abstract Death/Doom Metal outfit will drag you further down the abyss to the sound of their anti-religious and blasphemous concept debut full-length monstrosity.

Coalesced around 2023, after Minneapolis, Minnesota’s own Death/Doom Metal beast Aberration completed their debut album, when three of its members, D.H. (Silurian, Suffering Hour) on vocals, J.H. (Annihilation Cult, Feral Light, Void Rot) on the guitars and bass, and E.C. (Annihilation Cult, Feral Light, Umbral Twilight) on drums and percussion, reconvened to continue creating together and to keep pushing their deviant ideas forward, American Abstract Death/Doom Metal outfit Ritual Ascension is unleashing upon us all their horrendous debut full-length monstrosity, Profanation of the Adamic Covenant. Recorded by Adam Tucker at Signaturetone Recording, mixed by D.H. at Black Dust Studios, mastered by Will Killingsworth at Dead Air Studios, and displaying a cryptic, grim artwork by Belial NecroArts, the album takes the masterful death-doom horror of early Temple Nightside and Grave Upheaval, and transfigures it further into the darkest abysses of surrealism.

The bells are tolling in the name of obscure music, opening the gates of the underworld to the gargantuan, venomous gnarls by D.H. in Womb Exegesis, a Blackened Doom aria where E.C. hammers his drums like a demonic entity. The same devilish aura from the opening track permeates the air in Pillars of Antecedence, even more sluggish and grim thanks to the slow and steady beats by E.C. while J.H. extracts minimalist yet visceral riffs from his axe, followed by Cursed Adamic Tongues, the shortest song of the album, and also the most punishing, violent one, with D.H. gnarling like a true demon while J.H. and E.C. build a beyond ruthless atmosphere. Then like the soundtrack to a black, sulfurous cult, the trio delivers the disturbing Consummation Rites, offering us all over ten minutes of apocalyptic passages, somber riffs, vile roars and endless despair; and last but definitely not least, Ritual Ascension will take us on a one-way trip to the netherworld in Kolob (At the Throne of Elohim), a massive wall of Doom and Death Metal masterfully crafted by the trio, spearheaded by the always caustic, austere riffs by J.H. armed with his venomous axe.

Not only the music by Ritual Ascension is harsh and disturbing, but Profanation of the Adamic Covenant is also an anti-religious, blasphemous, behemoth concept album dealing with some of the darkest and most sinister aspects in the history and theology of the so called Church of Jesus Christ of Latter-day Saints (also known as the Mormon Church), and shaped by direct experiences by some of the band members themselves within said religious movement as well, inviting the listeners to a wild, sinister musical journey while casting them further down the abyss, into a bottomless sepulcher of confusion and of complete chthonic torment. Having said all that, you can find more information about such a distinct trio of death and doom on Instagram, and purchase a copy of their caustic debut from the Sentient Ruin Laboratories’ BandCamp or webstore, feeding your inner demons with their chaotic music while you enjoy your eternal descent into the abyss.

Best moments of the album: Pillars of Antecedence and Kolob (At the Throne of Elohim).

Worst moments of the album: None.

Released in 2025 Sentient Ruin Laboratories

Track listing
1. Womb Exegesis 9:02
2. Pillars of Antecedence 8:58
3. Cursed Adamic Tongues 5:24
4. Consummation Rites 10:52
5. Kolob (At the Throne of Elohim) 13:22

Band members
D.H. – vocals
J.H. – guitars, bass
E.C. – drums, percussion

Album Review – Dream Theater / Parasomnia (2025)

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American Progressive Metal masters are back to their roots with their breathtaking sixteenth studio effort, a thematic concept album about parasomnia and all disruptive sleep disorders.

The band’s first studio album to feature original drummer Mike Portnoy since their 2009 opus Black  Clouds & Silver Linings, the excellent Parasomnia is more than just the sixteenth studio album by American Progressive Metal masters Dream Theater, but a return to their roots, representing both where they came from and where they’re going as not only bandmates, but as brothers. Mixed and mastered by Andy Sneap at Backstage Studios, produced by John Petrucci, engineered by James “Jimmy T” Meslin, and displaying a classy artwork by Hugh Syme, the new offering by vocalist James LaBrie, guitarist John Petrucci, bassist John Myung, keyboardist Jordan Rudess, and drummer Mike Portnoy is a thematic concept album about parasomnia, encompassing a wide range of unusual and undesirable experiences and behaviors people experience in their sleep, also known as disruptive sleep disorders, all embraced by the band’s undisputed, unparalleled sound that catapulted them to stardom over 40 years ago.

It all begins with the poetically titled intro In the Arms of Morpheus, with all background sounds in its first few moments making it feel like the soundtrack to a psychological thriller, setting the stage for Night Terror, with it’s nine breathtaking minutes offering us all a darkly catchy chorus (“Night terror / Hysteria / Nocturnal trial by fire / Eyes open wide but I can’t see”) and the always phenomenal drumming by the returning Mr. Portnoy, as well as the scorching riffs by John Petrucci. Their technical, progressive sounds keep stunning us all in A Broken Man, with John Myung’s bass overflowing heaviness supported by the classic keys by Jordan, sounding like old school Dream Theater for our total delight, morphing into the ten-minute aria Dead Asleep, another explosion of Progressive Metal led by the powerful vocals by James, with all of its breaks, variations and intricate passages inviting us all to a wild, enfolding musical journey to a world of dreams and nightmares.

A cryptic, atmospheric start gradually evolves into the most dynamic, fastest and heaviest of all songs, entitled Midnight Messiah, with James’ vocals being flawlessly boosted by John Petrucci’s riff attack while Mike hammers his drums in great fashion until the very last second. Then we’re treated to the whimsical, ethereal interlude Are We Dreaming?, heightening our senses for Bend the Clock, a beautiful, enfolding ballad where James declaims the song’s dark lyrics with tons of passion (“Worn down wearing thin / Hellish dreams / Tormenting scenes / Shadows looming / I’m paralyzed, can’t move / Scared and confused”) while his bandmates embellish the airwaves with their superb sounds. Finally, get ready for a 20-minute feast of first-class Progressive Metal in The Shadow Man Incident, with the hard-hitting drums by Mike and the rumbling bass by John Myung dictating the song’s thrilling pace while Jordan’s keys sound phantasmagorical, offering so many layers, striking moments and tempo changes it’s hard to put all that into words. Let’s say that if the album only contained this specific song, it would have already been fantastic.

“When you listen to this, I hope you’re able to hear, the excitement, the camaraderie, and feeling of being reunited as brothers,” affirms John Petrucci. “All of that is reflected in the music. It’s very driven and purposeful. I hope it sounds like the Dream Theater you remember and recall when Mike was in the band, but maybe even a little more elevated.” In the end, Parasomnia, available in full on most streaming platforms like Spotify, is dynamic, dramatic, and definitive Dream Theater, and you can show the band how much you love their new album by giving them a shout on Facebook and on Instagram, and obviously by purchasing a copy of the album from Century Media/InsideOut Music or by clicking HERE. In their 1999 masterpiece Metropolis Pt. 2: Scenes from a Memory, the album ends with the sentence “Open your eyes, Nicholas!”, while in their new album the last songs ends with “Wake up!” Would that be a sign of where the band is headed to in the future, by looking into their own past? Well, as long as their upcoming albums are as stunning as Parasomnia, we can rest assure Dream Theater will surely keep “waking us up” with more of their absolutely captivating music.

Best moments of the album: Night Terror, Midnight Messiah, Bend the Clock and The Shadow Man Incident.

Worst moments of the album: None.

Released in 2025 Century Media/InsideOut Music

Track listing
1. In the Arms of Morpheus 5:22
2. Night Terror 9:55
3. A Broken Man 8:29
4. Dead Asleep 11:06
5. Midnight Messiah 7:58
6. Are We Dreaming? 1:28
7. Bend the Clock 7:24
8. The Shadow Man Incident 19:32

Band members
James LaBrie – vocals
John Petrucci – guitars
John Myung – bass
Jordan Rudess – keyboards
Mike Portnoy – drums

Album Review – Light Dweller / The Subjugate (2025)

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Vocalist and multi-instrumentalist Cameron Boesch strikes again with his fifth album, delving into themes of death, purgatory, and the cessation of time.

Founded in December 2017 by vocalist and multi-instrumentalist Cameron Boesch in Phoenix, Arizona, in the United States, Dissonant Death/Black Metal entity Light Dweller is set to release its fifth offering, entitled The Subjugate. Inspired by a broad spectrum of dissonant and melodic influences, including Cosmic Putrefaction, Defacement, Mesarthim, Convulsing, Violet Cold, Mare Cognitum, and more, Light Dweller has forged a unique path through the darker, more obscure realms of metal, with The Subjugate spanning six tracks delving into themes of death, purgatory, and the cessation of time, presenting a cohesive journey through these concepts, all embraced by another ass-kicking artwork by Adam Burke of Nightjar Illustration.

Cameron begins his riff and growl attack in full force in Echoes from the Spectral Void, offering our avid ears four minutes of top-of-the-line Progressive Death Metal; whereas Cessation of Time sounds as demolishing and experimental as the opener, with Cameron’s deep guttural walking hand in hand with his intricate yet heavy-as-hell drumming. Then a sinister intro evolves into another darkened amalgamation of sounds in Fracturing Light, where Cameron lets his Progressive Metal vein pulse harder than ever, and with his demonic gnarling matching perfectly with the music; followed by the eight-minute title-track The Subjugate, where Cameron invests in a very diverse and progressive sound by bringing into being several breaks, variations, and experimental and sharp sounds, all combined in a harmonic yet visceral way. In the second to last song of the album, titled Phasing Through the Veil, our one-man band shows no mercy for our souls with his demented riff, bass and drum attack, with its phantasmagorical ending flowing into Adrift the Expanding Nothingness, another bestial tune overflowing insanity and heaviness where he fires his most experimental riffs of the entire album, smashing our minds and souls mercilessly during its hellish seven minutes.

With each release, Light Dweller has evolved, skillfully weaving dissonance with melody, and balancing intense aggression with haunting, introspective passages, culminating now in 2025 with the excellent The Subjugate, and of course pointing to an even more interesting path ahead for Cameron. You can get to know more about him, his music and other details by following Light Dweller on Facebook and on Instagram, and show him your utmost support by streaming his music on Spotify or any other streaming service, and of course by purchasing The Subjugate from the Avantgarde Music’s BandCamp or from Sound Cave. This is undoubtedly Cameron’s strongest opus to date, but I’m sure we’ll hear a lot more from him in the near future, and we’ll say the same about his upcoming albums, as Light Dweller is always evolving, always looking forward, and always ready to surprise us all with its unique sounds.

Best moments of the album: Echoes from the Spectral Void and The Subjugate.

Worst moments of the album: None.

Released in 2025 Avantgarde Music/Unorthodox Emanations

Track listing
1. Echoes from the Spectral Void 4:29
2. Cessation of Time 5:20
3. Fracturing Light 4:45
4. The Subjugate 8:10
5. Phasing Through the Veil 4:38
6. Adrift the Expanding Nothingness 7:39

Band members
Cameron Boesch – vocals, all instruments

Album Review – Shadow of the Talisman / As Above, So Below (2025)

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Behold this concept album of first-class Alternative Metal introducing us to The Dark One, who chooses to recruit and resurrect a broken man to transform him into a killing machine soon known as The Outlaw.

An Alternative Metal band from Flint, Michigan that takes concept rock to the next level while striving to unite all facets of the metal scene through complex musical journeys and heart-wrenching lyrics, and a community where every metalhead can find something perfect for them, Shadow of the Talisman are ready to kill armed with their debut opus, entitled As Above, So Below. Recorded at Raydon Studio with the help of Mark Stewart, serving as co-producer and mix engineer, the debut by vocalist Mike Smith, guitarists Zack Harrison and Owen Summerland, bassist Elijah Kinney, and drummer Kyle Williams is a concept album introducing us to The Dark One, who chooses to recruit and resurrect a broken man to transform him into a killing machine soon known as The Outlaw. This tragic devil’s plaything loses his reality like a dollar bill in a hurricane, and goes straight to a fiery Hell where a deal is made and the remains of his soul, shattered. When The Outlaw resurfaces on Earth as a gunslinging demon, he wreaks havoc in Westerntown, a metaphor for the civilized society this miscreant trashes and shreds. And even though he eventually has a change of heart, there is no future for him but to return to the Hell that forged him, where he is destined to annihilate The Dark One and become the new ruler of the underworld.

Just hit play and the band already comes ripping with six minutes of heaviness in the opener Arise, with its cinematic intro inviting us all to their metal feast spearheaded by the enraged roars by Mike; and Mike’s vocals remind me of the great John Bush in What Is Real?, while Zack and Owen deliver tons of heaviness and melody through their axes. Kyle and Elijah then bring the groove in Fiery Descent while Mike continues to scream the story of The Dark One and The Outlaw for our total delight, whereas Elijah’s metallic bass sets the tone in Dead with the Devil, offering a thrilling fusion of Alternative and Groove Metal, with Kyle hammering his drums until the song’s very last second.

The second half of the album begins with a song dedicated to The Outlaw, again showcasing the band’s dexterity and passion for melody and groove while remaining as heavy as possible. Then a Southern Rock-inspired intro evolves into Cursed, a ballad that sounds as if it was taken from an Avenged Sevenfold album. It could have been slightly shorter, though. Lastly, we have the two-part song that gives the name to the album, starting with As Above, perfect for some nice headbanging, for nonstop horns raising and for screaming it along with Mike, with its last part being a display of melodious, passionate riffs and solos by Zack and Owen, flowing into So Below, a beyond heavy and fulminating tune crafted by the band where their modern-day Groove Metal vein pulses harder than ever, putting a climatic, epic conclusion to the album and therefore to its background story.

A metallic tornado of genres and mediums swirled into a sensational horror story told through funky, break-oriented Alternative Metal featuring powerful vocals and intricate, raucous instrumentals, As Above, So Below will undoubtedly carve the name of Shadow of the Talisman in the current American metal scene, and you can put your dirty hands on such an electrifying album by clicking HERE or HERE. Don’t forget to also give the band a shout on Facebook and on Instagram, and to stream their incendiary music on YouTube, Spotify or any other streaming platform. Will we hear from The Dark One and The Outlaw again in the future, maybe in a new concept album by Shadow of the Talisman? As the answer to that is a mystery for now, let’s keep banging our heads to the fury blasted in As Above, So Below, one hell of an album (pun intended) from the modern American Alternative Metal scene.

Best moments of the album: Arise, Dead with the Devil and So Below.

Worst moments of the album: Cursed.

Released in 2025 Eclipse Records

Track listing
1. Arise 6:01
2. What Is Real? 5:43
3. Fiery Descent 3:09
4. Dead with the Devil 3:50
5. The Outlaw 5:16
6. Cursed 6:09
7. As Above 8:01
8. So Below 9:29

Band members
Mike Smith – vocals
Zack Harrison – guitar
Owen Summerland – guitar
Elijah Kinney – bass
Kyle Williams – drums

Album Review – Venamoris / To Cross or To Burn (2025)

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Dave and Paula Lombardo’s “vein of love” pulses once again through their sophomore album, delivering a multi-directional statement that resonates with character while side-stepping away from staid radio clichés.

Two years after the release of their debut album Drown In Emotion, Venamoris (taking their name from the Latin “vena amoris”, or “the vein of love,” purported to run from the left-hand ring finger to the heart), the Los Angeles, California-based Dark Pop/Rock/Metal duo of legendary drummer Dave Lombardo and Canadian-born singer-songwriter Paula Lombardo, returns to taction with their sophomore opus, entitled To Cross or To Burn. Engineered and produced by Dave Lombardo, mixed by Dave’s own son David A. Lombardo, mastered by Golden Mastering, displaying a charming yet dark artwork by Chippy (aka Heung-Heung Chin), and featuring very special guests Trevor Dunn (Mr. Bungle, Tomahawk), Ra Diaz (Suicidal Tendencies, Korn), Alex Skolnick (Testament), and Gary Holt (Exodus, Slayer), the new album by Paula on vocals, synthesizers and piano, and Dave on the guitars, bass and drums is another milestone in their career, delivering a multi-directional statement that resonates with character while side-stepping away from staid radio clichés.

Paula begins distilling her charming vocals in Stay With Me, featuring Trevor Dunn on contrabass, offering two minutes of classy music that will penetrate deep inside your heart. Dave then joins his wife with his unparalleled beats (as well as a solid performance on bass) in In The Shadows, also presenting some symphonic nuances; whereas Paula is on fire with her piano and smooth vocal lines in Truth, a song that could easily be played on any radio station so delicate yet powerful it sounds. In Stain Of Pain we’re treated to the magnificent sounds blasted by bassist Ra Diaz and guitarist Alex Skolnick in a Jazz-infused tune perfect for listening to together with your loved ones, while Spiderweb sounds very sexy, dark and alluring, with Dave’s beats matching perfectly with Paula’s minimalist piano notes.

Alex Skolnick is back in Burnt Paper, offering almost three minutes of darkly delicate sounds to our avid ears, followed by Holding On To Nothing, which presents a similar vibe as its predecessor, albeit not as enfolding nor mysterious. Then the always sharp guitar lines by Gary Holt bring a delicious vibe to their cover version for Animal Magnetism, originally recorded by Scorpions back in 1980 (check the original version HERE), from their classic album Animal Magnetism, while Paula shines on vocals once again. After that, it’s time for another devilish, atmospheric creation by the Lombardos titled Numb, presenting hints of Alternative Rock and Electronica; and closing the album we face the title-track To Cross or To Burn, ending the whole experience on a futuristic, cinematic way, with Dave again sounding amazing on both the guitar and drums.

“Creativity should have no limitations,” Dave remarks. “I don’t feel that there should be any musical style that Venamoris should avoid.” Having said that, what are you waiting for to explore the amalgamation of styles brought together by the Lombardos in To Cross or To Burn? You can find the duo on Facebook and on Instagram, stream their music on Spotify, and purchase their striking new album from BandCamp or by clicking HERE. Venamoris is the perfect example of how love and music unite in perfection when the musicians involved are not only extremely talented and focused, but also in absolute sync, translating their passion, struggles and emotions in real life into first-class music like what’s offered in To Cross or To Burn, touching the hearts of all of us in a beautiful and compelling way.

Best moments of the album: In The Shadows, Stain Of Pain and Animal Magnetism.

Worst moments of the album: Holding On To Nothing.

Released in 2025 Ipecac Recordings

Track listing
1. Stay With Me 2:02
2. In The Shadows 3:52
3. Truth 3:33
4. Stain Of Pain 2:51
5. Spiderweb 3:47
6. Burnt Paper 2:45
7. Holding On To Nothing 3:10
8. Animal Magnetism (Scorpions cover) 5:20
9. Numb 3:30
10. To Cross or To Burn 4:27

Band members
Paula Lombardo – vocals, synthesizers, piano
Dave Lombardo – guitars, bass, drums

Guest musicians
Trevor Dunn – contrabass on “Stay with Me”
Ra Diaz – bass on “Stain of Pain”
Alex Skolnick – guitars on “Stain of Pain” and “Burnt Paper”
Gary Holt – guitars on “Animal Magnetism”

Concert Review – Swallow The Sun (The Velvet Underground, Toronto, ON, 02/21/2025)

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A night of sheer doom, darkness and melancholy in the form of first-class heavy music took the skies of Toronto this Friday night.

OPENING ACTS: Snakes Of Russia, Ghost Bath and Harakiri For The Sky

A few days after the heaviest snow storm the city of Toronto has seen for quite some time, The Velvet Underground hosted the Shining Over North America Tour 2025 with the bands SNAKES OF RUSSIA, GHOST BATH, HARAKIRI FOR THE SKY and SWALLOW THE SUN, and of course Keith Ibbitson of Metal Paparazzi and I were there to cover such an amazing event. Well, unfortunately due to the insane traffic to get to Toronto AND also inside the city, it was impossible for several concert goers to arrive in time for the performance by United States-based Darkwave/Electronic/Ambient act SNAKES OF RUSSIA, including Keith and I. I honestly have no idea how the show was, if the crowd enjoyed it or not, as while Snakes of Russia was playing I was desperately trying to find a parking lot where most spots were not taken by huge snow banks. At least before the show I had some time to listen to their 2023 album True Surrender, available on BandCamp and on Spotify, and although it’s not my cup of tea I must admit it’s a really cool album for fans of the darkest side of electronic music.

Band members
Joseph Holiday – vocals, all instruments

When I weas finally able to get inside the venue, American Depressive/Post-Black Metal entity GHOST BATH had already started their setlist, but at least in this case I had plenty of time to enjoy their harsh and sinister performance, led by the visceral, anguished screams by vocalist and guitarist Nameless. One of the main issues with The Velvet Underground, if not their biggest issue, is the fact the stage is way too low, almost as if it doesn’t really exist, and it’s really tough to see the bands performing there unless you’re two feet from the “stage”. Add to that a few pillars in the middle of the venue, and there you have the perfect atmosphere to mainly listen to the music played without seeing anything. Furthermore, Keith couldn’t make it in time for Ghost Bath, and as my mobile pictures of the show are beyond nasty, there isn’t anything to show about them on this review. You can still enjoy their music on BandCamp and on Spotify, like their 2021 album Self Loather, and I highly recommend seeing those guys live if you enjoy such a caustic type of Black Metal.

Band members
Nameless – vocals, guitars
Caleb Cheslock – guitars
Liam Frith – guitars
Josh Jaye – bass
Alec Martin – drums

Then after all that hassle to get to Toronto, the shitty traffic, the excruciating task of finding a parking spot, and so on, I was already getting very tired and ready to go back home to relax a little, but fortunately Austria’s own Post-Black Metal masters HARAKIRI FOR THE SKY hit the stage for the most electrifying performance of the night, waking me up and inspiring me to headbang and raise my horns nonstop to their fantastic music. Playing mostly songs from their 2021 album Mӕre and their newborn masterpiece Scorched Earth, the band led by frontman J.J. and guitarist M.S. kicked some serious ass on stage, investing all of their energy into each song played, and with minimal talk in between songs. I simply loved seeing them live for the first time, and songs like With Autumn I’ll Surrender, Without You I’m Just a Sad Song, Fire, Walk With Me, and Sing for the Damage We’ve Done (all available on Spotify) sounded flawless, superb and touching, and the reaction from every single person to their classy performance was a thing of beauty, which clearly indicated it won’t take long for one of the best bands of the current metal scene worldwide to return to Toronto soon.

Setlist
Keep Me Longing
With Autumn I’ll Surrender
Fire, Walk With Me
Without You I’m Just a Sad Song
Sing for the Damage We’ve Done
Calling the Rain

Band members
J.J. – vocals
M.S. – guitars
Marrok – guitars, backing vocals
P.G. – bass
Kerim “Krimh” Lechner – drums

SWALLOW THE SUN

The name of the band says it all. After a quick break, it was time for the darkest show of the night, courtesy of Finland’s Melodic Doom/Death Metal titans SWALLOW THE SUN, and it was indeed a dark, pensive, doomed and visceral concert. Vocalist Mikko Kotamaki and his henchmen were on fire during their entire set, blending their old material with their newest albums Moonflowers (2021) and Shining (2024), with the sequence of Woven Into Sorrow, Charcoal Sky, MelancHoly, New Moon and Night Will Forgive Us sounding and feeling as heavy and obscure as possible. The encore was just as doomed, with November Dust and Swallow (Horror, Part 1), and their diehard fans were having an amazing time with their scorching riffs, pounding drums and visceral energy. It was a somewhat late show for most of us, but in the end it was a fantastic night of contemporary heavy music, and I’ll surely be there anytime Swallow The Sun are back in town with their undisputed doom.

Setlist
Velvet Chains
Innocence Was Long Forgotten
What I Have Become
Firelights
Under the Moon & Sun
Woven Into Sorrow
Charcoal Sky
New Moon
MelancHoly
Night Will Forgive Us
Plague of Butterflies: Pt. I: Losing the Sunsets

Encore:
November Dust
Swallow (Horror, Part 1)

Band members
Mikko Kotamaki – vocals
Juha Raivio – guitars, keyboards
Juho Raiha – guitars
Matti Honkonen – bass
Juuso Raatkainen – drums

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Album Review – Warlung / The Poison Touch (2025)

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This talented Texan foursome is back in action with their fifth full-length album, turning all levels further and bursting with contagious energy through its supercharged eight tracks.

Founded in 2016 when former members of the bands The Dead Revolt and Rivers joined forces to push the limits of song writing and creativity, Houston, Texas-based Occult Rock/Stoner/Doom Metal beast Warlung is back with fifth studio album, titled The Poison Touch, the follow-up to their 2022 album Vulture’s Paradise, delving deeper into atmosphere while maintaining the gritty undertone that defines their sound. Recorded by Andrew Jacob Rodriguez at King Benny’s House of Sound, mixed and mastered by Travis Weatherred, and displaying a classic artwork by Laura Bennett, the new opus by George Baba on vocals, guitar and keyboards, Philip Bennett on vocals and guitar, Chris Tamez on bass, and Ethan Tamez on drums sees the Texan foursome turn all levels further and burst with contagious energy through the album’s supercharged eight tracks, delivering the exact dose of evil and epic stories you need to enter the winter, being therefore recommended for fans of Black Sabbath, Rainbow, Green Lung and Ghost, among other rock and metal heavyweights.

The band comes ripping in full force in the high-octane, rockin’ tune Digital Smoke, led by the striking vocal attack by both George and Philip, therefore starting the album on a majestic note. Then investing in a Southern Rock-infused sonority it’s time for their guitars to strike us hard in White Light Seeker, a classy and smooth composition by those American rockers, followed by the atmospheric interlude Mourning Devils, perfectly warming us up for Spell Speaker, which starts with the metallic bass by Chris inspiring us all for some good old headbanging, supported by the classic beats by Ethan, quickly joined by the melodious riffs and solos by George and Philip, flowing majestically through its almost nine minutes and sounding very Black Sabbath-ish for our vulgar delectation.

They continue to blast our ears with their melodic fusion of Stoner Metal with Occult Rock in Holy Guide, with the background keys by George giving the whole song a welcome haunting vibe in the vein of Ghost. It’s time to hit the road alongside Warlung in the Rock N’ Roll-fueled tune Rat Bastard, again showcasing their passion for heavy music with a sensational performance by George and Philip on the guitars, not to mention how groovy the bass by Chris sounds and feels. The quartet then offers the decent ballad The Sleeping Prophet, overflowing melancholy before we’re treated to 29th Scroll, 6th Verse, bringing forward one last explosion of Occult Rock infused with Sludge Metal nuances, with Ethan pounding his drums mercilessly until the very end.

From start to finish, the listener will be blasted with in-your-face, hard-rocking energy while simultaneously embracing a hauntingly beautiful experience while the band keeps exploring new realms, serving as both a continuation and evolution of their occult-laden style inspired by the 70’s era of rock and psychedelia. Hence, don’t forget to give those talented Texans a shout on Facebook and on Instagram, to stream their awesome discography in full on several streaming services like Spotify, and of course to purchase a copy of their newborn rockin’ opus from the Heavy Psych Sounds Records’ BandCamp or webstore (also available in the United States). Warlung bring it throughout their entire new album, paying homage to the past of Rock N’ Roll while at the same time always marching forward, leaving us eager for more of their fusion of rock, doom and the occult in the near future.

Best moments of the album: Digital Smoke, Spell Speaker and Rat Bastard.

Worst moments of the album: The Sleeping Prophet.

Released in 2025 Heavy Psych Sounds Records

Track listing
1. Digital Smoke 4:28
2. White Light Seeker 5:22
3. Mourning Devils 1:36
4. Spell Speaker 8:44
5. Holy Guide 3:48
6. Rat Bastard 4:03
7. The Sleeping Prophet 3:48
8. 29th Scroll, 6th Verse 4:36

Band members
George Baba – vocals, guitar, keyboards
Philip Bennett – vocals, guitar
Chris Tamez – bass
Ethan Tamez – drums

Album Review – Pathogenic / Crowned in Corpses (2025)

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This American Progressive/Technical Death Metal outfit makes their triumphant return to the battlefield with eight tracks of devastating power and haunting warnings of the darkness that lies ahead.

Boston, Massachusetts-based Progressive/Technical Death Metal outfit Pathogenic makes a triumphant return with the release of Crowned in Corpses, a brutal and immersive display of prog and tech death. This marks their first full-length release in over half a decade, promising a bold evolution of their signature brand while retaining the intensity that has defined the band for years. Produced and engineered by Pathogenic, Raymond Marte, and Anthony Lopardo, recorded at Westfall Recording Studio and at Chris Gardino’s Crispy Crackers Audio Emporium, and mixed and mastered by Raymond Marte, the newborn beast by vocalist Jake Burns, guitarists Chris Gardino and Justin Lich, bassist Dan Leahy and drummer Tyler Montaquila is a ferocious musical declaration, offering the listener eight tracks of devastating power and haunting warnings of the darkness that lies ahead.

Just hit play and an avalanche of technical and visceral sounds will hit you hard in Mass Grave Memory, with Chris and Justin showing all their dexterity armed with their stringed axes, followed by The New Rot, a lecture in modern-day Technical Death Metal with enhanced brutality thanks to the venomous drums by Tyler. Then the riffage by the band’s guitar duo revs up their Death Metal engine in Dead But Not At Rest, again offering a high dosage of violence flowing from Jake’s roars, and it’s time to slam into the circle pit to the demolishing Exiled from the Abyss, a beyond metallic, in-your-face, ruthless creation by the quintet, with the thunderous bass by Dan bringing sheer groove to the overall result.

Fragments showcases a more cadenced, atmospheric and sinister side of the band, not as visceral and exciting as the other songs, though, while back to a much more infuriated mode the quintet will hammer our putrid bodies with the title-track Crowned in Corpses, where Jake roars like a beast accompanied by the massive, intricate beats and fills by Tyler. Chris and Justin’s riffs, supported by the ruthless bass lines by Dan, will penetrate deep inside our skin in Drag Your Crosses, a first-class Technical Death Metal onrush perfect for some action inside the circle pit; and last but not least, the band will embrace us with in a Death Metal aura with eight minutes of scorching riffs, damned vociferations and crushing drums in Silicon Regime, properly ending such a great comeback by Pathogenic.

Bringing to our avid ears over 42 punishing minutes, the album offers us all labyrinthine riffs, relentless rhythms, and chilling visions of a decaying world, showcasing a sound that is ferocious, intricate, and unapologetically heavy. Hence, in order to show Pathogeinc how much you missed their sonic savagery, go give them a shout on Facebook and on Instagram, subscribe to their YouTube channel, stream their wicked music on Spotify, and purchase Crowned in Corpses from their own BandCamp page, from Skepsis Records, or by clicking HERE, welcoming the band back to the scene while also beautifully crowning them in corpses.

Best moments of the album: The New Rot, Exiled from the Abyss and Drag Your Crosses.

Worst moments of the album: Fragments.

Released in 2025 Skepsis Records

Track listing
1. Mass Grave Memory 4:30
2. The New Rot 5:32
3. Dead But Not At Rest 4:58
4. Exiled from the Abyss 4:28
5. Fragments 7:14
6. Crowned in Corpses 3:37
7. Drag Your Crosses 4:12
8. Silicon Regime 8:08

Band members
Jake Burns – vocals
Chris Gardino – guitar
Justin Lich – guitar
Dan Leahy – bass
Tyler Montaquila – drums

Album Review – Pyrrhic Salvation / When Society Crumbles EP (2025)

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Richmond, Virginia’s own Technical Death Metal beast strikes again with a caustic new EP, exploring themes of societal collapse, humanity’s potential, and the inevitability of self-destruction.

Two years after their striking 2022 debut EP Manifestum I, Richmond, Virginia’s own Technical Death Metal beast Pyrrhic Salvation returns to action with another vicious and extremely experimental EP, entitled When Society Crumbles. Displaying a sick artwork by Austin Weber of The Lung Swarm Art, the new EP by Michael Altobello on the guitars and Sagar Nadgir on drums and bass, plus newcomer Shawn Ferrell on vocals (who was also responsible for the mixing and mastering of the album), is split into three cohesive movements, each forming a track within the title piece, exploring themes of societal collapse (“Infrastructures”), humanity’s potential (“Insight”), and the inevitability of self-destruction (“Inferiority Complexed”), concluding with a standalone track which ventures into themes of existential dread and humanity’s moral decay, adding an introspective complement to the tripartite title composition.

When Society Crumbles Part I – Infrastructure already starts in full force to the venomous roars by Shawn and the always demented riffage by Michael, sounding and feeling very experimental and progressive, yet exhaling pure Death Metal, making an instant bridge with When Society Crumbles Part II – Insight, continuing their overdose of experimentations and harsh sounds, with Sagar taking the lead with both his sick drums and metallic bass lines, flowing into When Society Crumbles Part III – Inferiority Complexed, where the guitar lines by Michael add an extra dosage of insanity to the overall result, not to mention how rabid Shawn sounds on vocals. Lastly, closing the EP we face Every Last Soul Unmade, a demented Experimental Death Metal attack by the trio where Michael sounds possessed with his riffs and solos, all boosted by the inhumane growls by Shawn.

While When Society Crumbles distances itself from the Black Metal elements of the debut, the group’s affinity for spiraling tenebrous sounds remains evident, churning out songs that are deliberately disorienting and chaotic with a barrage of musical complexity, experimentation, and sporadic strange melodies. Hence, if you want to explore this unique amalgamation of sounds by those talented metallers, you can find them on Facebook, stream their music on Spotify, and purchase their caustic new EP from BandCamp, leaving the fires of experimental music burning bright until Pyrrhic Salvation stun us all once again in the near future with, who knows, maybe their first ever full-length offering.

Best moments of the album: When Society Crumbles Part I – Infrastructure and Every Last Soul Unmade.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. When Society Crumbles Part I – Infrastructure 4:50
2. When Society Crumbles Part II – Insight 4:43
3. When Society Crumbles Part III – Inferiority Complexed 4:23
4. Every Last Soul Unmade 5:43

Band members
Shawn Ferrell – vocals
Michael Altobello – guitars
Sagar Nadgir – drums, fretless bass