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Concert Review – Sepultura (Rebel, Toronto, ON, 10/09/2024)

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The city of Toronto celebrated life through death together with the most important metal band to ever arise from Brazil.

OPENING ACTS: Harvest, Agnostic Front and Obituary

I personally do not trust any farewell tours, because let’s be honest, all bands that scheduled farewell tours kept touring for years and years after that, and some are still touring. Anyway, if this was the last time the city of Toronto ever saw Brazilian metal titans SEPULTURA on stage, alongside OBITUARY, AGNOSTIC FRONT and HARVEST during their CELEBRATING LIFE THROUGH DEATH NORTH AMERICAN FAREWELL TOUR 2024 at Rebel, let’s say they’re going down in style, as it was an amazing night celebrating their impressive 40 years of career. I just have zero idea if the concert by Minneapolis, Minnesota-based Hardcore outfit HARVEST was good or not as I couldn’t make it in time for that. Well, for most of the tour the opening act was Brazilian Death/Thrash Metal veterans Claustrofobia, which would have been a lot more appealing to me, but I’m pretty sure Harvest put on a very decent show this Wednesday night. I don’t know their setlist, nor their lineup, but if you want to know more about them you can find their music on Spotify and on BandCamp, and of course enjoy the nice shots Keith Ibbitson of Metal Paparazzi took of their performance.

I might have missed the entire show by Harvest, but I was lucky enough to get to Rebel a few minutes before New York City’s own Hardcore Punk legends AGNOSTIC FRONT hit the stage for a solid and electrifying concert, igniting some sick mosh pits led by the band’s iconic frontman Roger Miret. My brother and a few of his friends are huge fans of Agnostic Front, so it was a pleasure for me to watch them live for the first time ever, playing some classic punk songs like For My Family and Gotta Go, therefore keeping the action flowing frantically inside the circle pit. I don’t remember exactly which song this happened, but one of their guitarists got down to the floor section in the middle of the circle pit while fans kept running around him, which was a really nice touch to their show in my opinion. I also saw part of their show form the back as I was in line to grab a Sepultura shirt, and I gotta say the quality of the sound way back was excellent, just like in every single show at Rebel.

Setlist
The Good, The Bad And The Ugly Theme
AF Stomp
The Eliminator
Dead to Me
New Jack
For My Family
Friend or Foe
Toxic Shock
Victim in Pain
All Is Not Forgotten
Peace
Gotta Go
Addiction

Band members
Roger Miret – lead vocals
Vinnie Stigma – lead guitar, backing vocals
Craig Silverman – rhythm guitar, backing vocals
Mike Gallo – bass, backing vocals
Danny Lamagna – drums

One year and a few months after their demolishing headlining show in Toronto, Florida’s own Death Metal machine OBITUARY kicked the city in the ass again without a single drop of mercy with a killer performance as the more-than-special openers for Sepultura, and it felt almost like a headlining show because the band spearheaded by the Tardy Brothers had a lot of time to distill their undisputed blend of heavy music for the delight of their fans. All songs sounded extremely heavy, thunderous and ruthless, including The Wrong Time, War, and Dying of Everything, from their 2023 beast Dying of Everything, and when the band started playing their all-time classic Slowly We Rot it was absolute anarchy inside the circle pit. The guys from Obituary surely love Toronto from the bottom of their hearts, and I bet it won’t take long for John, Donald & Co. to attack us again with their redneck-infused Death Metal.

Setlist
Snortin’ Whiskey (Pat Travers song)
Redneck Stomp
Threatening Skies
By the Light
The Wrong Time
Deadly Intentions
Chopped in Half / Turned Inside Out
Solid State
War
Circle of the Tyrants
Dying of Everything
Slowly We Rot

Band members
John Tardy – vocals
Kenny Andrews – lead guitars
Trevor Peres – rhythm guitars
Terry Butler – bass
Donald Tardy – drums

SEPULTURA

In my humble opinion, there was a slight miscalculation in the time each band was going to start their show, because by the time the speakers started playing War Pigs, followed by Polícia, it was already close to 10pm, which means it was getting REALLY late for a full-bodied concert like the one we got from Brazil’s one and only Thrash/Groove Metal institution SEPULTURA. That wasn’t a big issue, though, because as soon as the band kicked off their metallic ceremony with the classics Refuse/Resist and Territory, everyone forgot it was a Wednesday night and decided to slam into the pit, jump up and down, raise their fists and scream the lyrics to all songs together with the band. Their setlist was a thing of beauty, including songs from pretty much all of their albums, therefore properly celebrating 40 years of existence. Songs like Attitude, Choke, Dead Embryonic Cells, Orgasmatron and Troops of Doom sounded perfect for some vigorous headbanging and circle pit action, plus of course the beauty of the tribal beats of Kaiowas.

One of the new “features” of a Sepultura show these days is the addition of the very young and insanely talented Greyson Nekrutman on drums. Known first and foremost as a jazz drummer from New York, he was recruited by Andreas Kisser himself to take care of some of the most iconic beats in the history of heavy music, and oh boy, he kicked some serious ass on stage, proving why he was the chosen one to be the band’s new drummer. And it felt like Derrick, Andreas, Paulo and Greyson got even more infuriated and sharp during the last part of the show, blasting our minds with the all-time classics Inner Self, Arise, Ratamahatta and Roots Bloody Roots, the last one of course inspiring everyone at the venue to jump and scream together like a true “Sepultribe”, putting a beyond climatic ending to their show. Let’s see what happens next with Sepultura, if they’ll call it quits for good, or if we’ll see a return to the stages in the next few years. Well, just like Slayer, hopefully we’ll see Sepultura back sooner than later because they still have a lot of fuel to burn, and the city of Toronto would definitely love to host “Sepultura do Brasil” again in the near future.

Setlist
War Pigs (Black Sabbath song)
Polícia (Titãs song)
Refuse/Resist
Territory
Kairos
Phantom Self
Attitude
Means to an End
Choke
Guardians of Earth
Breed Apart
Escape to the Void
Kaiowas
Dead Embryonic Cells
Agony of Defeat
Orgasmatron
Troops of Doom
Inner Self
Arise
Ratamahatta
Roots Bloody Roots

Band members
Derrick Green – lead vocals
Andreas Kisser – guitars, backing vocals
Paulo Jr. – bass
Greyson Nekrutman – drums

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Album Review – Avernus / Grievances (2024)

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A beast of an album that represents the return to action by one of the premiere bands mixing death with doom elements, and by far their most cohesive and powerful recording to date.

Established in 1992 in Chicago, Illinois, Atmospheric Doom/Death Metal outfit Avernus (which, in Roman mythology, was the name for the underworld) was one of the premiere bands mixing death with doom elements as evidenced by early demos over the next couple years. However, after recording a couple more demos, the band wallowed in obscurity in the 2000’s despite the efforts of remaining constant member, founder Rick McCoy, slowly crumbling away. Recorded and engineered by Joe Scaletta at Word Of Mouth Recording (with drums recorded at Bricktop Recording, and additional recording by Andy Lagis at Earshot Recording), mixed and mastered by Charles Macak at Electrowerks Recording, and displaying the sinister 1878 oil in canvas “Anguish”, by August Friedrich Schenck, as the artwork, the newborn beast Grievances is the return to action by Avernus after so many decades, by far the most cohesive and powerful recording assembled by the more experienced and yet calmer heads of Rick McCoy on vocals, guitars and synthesizers, James Genenz on guitars, bass, synthesizers and vocoder, Erik Kikke on guitars and bass, and Rick Yifrach on drums and percussion to create truly a masterwork.

The phantasmagorical intro Calling The Void already brings forward the band’s trademark heaviness, with its sluggish sounds penetrating deep inside our minds before Nemesis darkens the skies with its beyond doomed vibe, where Stygian background elements and minimalist guitars are exactly what Rick McCoy needs to roar like a ruthless creature, not to mention how powerful the slow and steady beats by Rick Yifrach sound. The hammering riffs by Rick McCoy, James and Erik sound caustic and grim in Exitus, offering more of their Atmospheric Doom Metal essence, all boosted by serene, delicate synths, followed by the whimsical instrumental interlude Plateau, making the ambience even heavier and more somber until the band comes crushing like thunder in the Doom Metal aria The Burning Down, featuring spoken words by guest Corporate Death (of Macabre), inspired by giants of the scene the likes of My Dying Bride while Rick McCoy’s vocals exhale anguish and darkness.

And the atmosphere remains dense and pensive in Return To Dust, with the sluggish drums by Rick Yifrach hitting us hard with every single beat, supporting the riffs, bass and grim vocals by his bandmates, morphing into another cinematic, massive interlude titled Open Arms (To The Apocalypse), overflowing Doom Metal until futuristic synths create a stunning paradox with the harsh sound of their guitars in Utter Euphoria, featuring additional guitars by Jeff Ulbrich (of From Beyond These Walls). Abandoned is another song with a beyond atmospheric start, almost sounding like Ambient or Shoegaze, and maybe a bit too long to be honest; and there’s one final onrush of Atmospheric Death and Doom Metal by Avernus titled Quietus, with Rick Yifrach once again pounding his drums in the name of doom while the guitars by the band’s stringed trio sound as sharp as they can be, alternating between delicate passages and sheer heaviness where Death and Doom Metal converge, therefore ending the album in a climatic and piercing manner.

Grievances is more than a strong return to form by Avernus, but a must-listen for admirers of the most sluggish, darkest form of death and doom, and you can show your support to those awesome Chicago musicians by following them on Facebook and on Instagram, staying up to date with all of their news and tour dates, and of course by clicking HERE and purchasing your favorite version of their flammable new opus. The band might have taken years to get back in action, but the wait was absolutely worth it as the music found in Grievances is fantastic, and I’m sure we won’t have to endure another huge hiatus by Avernus in the coming years because after the impact of their new album in the current scene, they’ll feel more than inspired to keep spreading their doomed wings upon us.

Best moments of the album: Nemesis, The Burning Down and Quietus.

Worst moments of the album: Abandoned.

Released in 2024 M-Theory Audio

Track listing
1. Calling The Void 2:16
2. Nemesis 9:33
3. Exitus 8:10
4. Plateau 3:31
5. The Burning Down 9:26
6. Return To Dust 7:37
7. Open Arms (To The Apocalypse) 3:02
8. Utter Euphoria 4:32
9. Abandoned 5:05
10. Quietus 8:52

Band members
Rick McCoy – vocals, guitars, synthesizers
James Genenz – guitars, bass, synthesizers, vocoder
Erik Kikke – guitars, bass
Rick Yifrach – drums, percussion

Guest musicians
Corporate Death – spoken word on “The Burning Down”
Jeff Ulbrich – additional guitars on “Utter Euphoria”

Concert Review – Hatebreed: 30th Anniversary Tour (Rebel, Toronto, ON, 09/30/2024)

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One of the torchbearers of Hardcore worldwide celebrated 30 years of existence on an electrifying night of endless mosh pits in Toronto.

OPENING ACTS: Crypta, Harms Way and Carcass

Do you know what Monday night means in Toronto? It means mosh pit night, which was exactly what we all got during the amazing HATEBREED: 30th ANNIVERSARY TOUR with HATEBREED, CARCASS, HARMS WAY and CRYPTA, another insane event brought to the city by Noel Peters of Inertia Entertainment. The venue chosen for such a fun night of extreme music was Rebel, which despite being too far from everything in the city (plus the ridiculous parking cost of over $30), provides fans with an amazing view of the lake and the city, and this Monday night the weather was just perfect for some nice photos of the sunset. Keith Ibbitson of Metal Paparazzi and I were there to cover the entire party, and let me tell you that although I did not enter any mosh pits due to work commitments on Tuesday (yes, I’m getting old), I got tired just by seeing the nonstop action inside the pit during the performances of all bands.

The first band of the night was by far my favorite, and they kicked some serious ass to a half empty venue (due to the time the show started, not because of the quality of the band, of course) without caring at all about all those empty spaces. I’m talking about Fernanda Lira, Tainá Bergamaschi, Jéssica di Falchi and Luana Dametto, collectively known as São Paulo, Brazil-based Death/Thrash Metal brigade CRYPTA, and let me tell you that those girls sounded absolutely ruthless, heavy, evil and vibrant during their short but sensational performance. It was their first time ever playing in Canada, and their excitement was visible not only on their faces, but also on their playing, as they sounded extremely tight and visceral until the very last second. Almost all songs played, including the excellent The Other Side of Anger, Lord of Ruins and The Outsider, were from their 2023 beast Shades of Sorrow, plus the closing song from their 2021 debut Echoes of the Soul, the violent From the Ashes, my favorite of the night (and you can listen to all of them on Spotify, by the way). I was simply dying to meet the girls at their merch booth after their show, but for some reason they didn’t show up there. Well, maybe next time, because I’m sure they’ll return to Toronto sooner than later to spread their evil and aggressive sounds to us avid fans.

Setlist
The Aftermath
The Other Side of Anger
Lord of Ruins
The Outsider
Trial of Traitors
From the Ashes
The Closure

Band members
Fernanda Lira – vocals, bass
Tainá Bergamaschi – guitars
Jéssica di Falchi – guitars
Luana Dametto – drums

The good thing about Rebel is that their outdoor area is a thing of beauty, where you can have a beer, smoke a cigarette or a joint, chat with friends and enjoy the view of Toronto at night, and because of that I missed the first few seconds of the concert by Chicago, Illinois’s own Hardcore Punk outfit HARMS WAY. Spearheaded by the charismatic and unstoppable frontman James Pligge, the band delivered an overdose of aggression and fury to the crowd, igniting some sick mosh pits while all band members didn’t stop jumping around the stage. Blending songs form their 2023 album Common Suffering, like Sadist Guilt and Devour, with older songs (all available on Spotify as well), the band kept the energy built by Crypta flowing in great fashion, and although I knew almost nothing about those guys before I must say their live concerts are surely wild. After their gig was over, James himself went to the band’s merch booth and had an amazing interaction with anyone who waited in line to talk to him, even if it was just to say hi and not buy anything. That was very humble of him, and I’m sure there are a lot of new Harms Way fans in Toronto after such a powerful performance by the band in the city.

Setlist
Sadist Guilt
Human Carrying Capacity
Terrorizer
Become a Machine
Hollow Cry
Devour
Call My Name
Infestation

Band members
James Pligge – lead vocals
Bo Lueders – guitars
Nick Gauthier – guitars
Casey Soyk – bass
Christopher Mills – drums

Another quick bathroom/beer/smoke/chat break, and there they were again to pulverize our souls with their piercing fusion of Melodic Death Metal and Grindcore. Hailing from Liverpool, they might be four lads like The Beatles, but let’s say their music is considerably heavier. This was my third (or fourth, I don’t actually remember anymore) time seeing the mighty CARCASS live, the last one being their headlining show in Toronto in 2023, and their energy Monday night was just as insane as all previous times. The band only stopped a little to ask the crowd to sing happy birthday to guitarist Nippy Blackford, but apart form that it was nonstop circle pit action to tons of classics like Buried Dreams, Incarnated Solvent Abuse, Genital Grinder and Exhume to Consume, with Jeff Walker and Bill Steer sounding so savage as if they were in their early 20’s. My two favorite songs of the night were obviously No Love Lost and Heartwork, which are also my two top Carcass songs ever, and I guess most fans also loved the fact they played both on the same night. It was actually my first time seeing No Love Lost live, and I simply loved it. How long is it going to take for Carcass to get back to Toronto?

Setlist
Buried Dreams
Kelly’s Meat Emporium
Incarnated Solvent Abuse
No Love Lost
Death Certificate
Dance of Ixtab (Psychopomp & Circumstance March No. 1 in B)
Genital Grinder
Exhume to Consume
Corporal Jigsore Quandary
Heartwork
Carneous Cacoffiny (Outro)

Band members
Jeff Walker – vocals, bass
Bill Steer – guitars, backing vocals
Nippy Blackford – guitars
Daniel Wilding – drums

HATEBREED

And last but not least, think of the wildest mosh pit you’ve ever been to, and multiply that by 30. Bridgeport, Connecticut’s Hardcore Punk/Metalcore legends HATEBREED might be the ones celebrating 30 years of existence, but that demented mosh pit feast was their gift to their loyal Torontonian fans during their undisputed performance. As a matter of fact, just before the show started they played a really cool video with lots of celebrities congratulating the band for their 30th anniversary, including Ice-T, Gary Holt, Scott Ian, Brawn Stroman, CM Punk, and many more, showing how much the world loves Hatebreed. I think CM Punk said something in the lines of “whenever I’m tired, I drink coffee and listen to some Hatebreed.”

Jamey Jasta and his crew were even more demented than in 2023 when they demolished The Danforth Music Hall, fueling some of the fastest and wildest circle pits in the history of Hardcore. Their setlist was comprised of killer song after killer song, including Tear It Down, This Is Now, my favorite of their show Destroy Everything, As Diehard as They Come, and many, many more, and their fans, both old and new, were having the time of their lives while trying to survive inside the circle pit. It was so crazy that one of the security girls, one with curly hair (if she ever reads this review), was stunned by all the action going on during the concert. I have no idea what type of music she likes, but one thing I know for sure, and that’s she had zero idea of how crazy a Hatebreed concert can be. Maybe she’ll start listening to them, attend one of their concerts as a fan, and slam into the pit in the coming years, right?

Jamey mentioned several times they were impressed with both the amount of fans and their energy on a Monday night (but hey, Jamey, that’s how passionate the Toronto fans are when it comes to heavy music), and that sonic madness continued until the very last second without a single moment of peace for the delight of everyone at the venue. Were we all exhausted the following morning when we had to wake up early to go to work? Of course, but who cares? When Hatebreed call, we must all go to war inside the mosh pit together with one of the trailblazers of Hardcore. Thank you, Hatebreed, and here’s a toast to another 30 years of first-class Hardcore madness!

Setlist
Hatebreed 30th Anniversary Celebrity Intro
Tear It Down
A Call for Blood
This Is Now
Destroy Everything
Empty Promises
To the Threshold
Live for This
Before Dishonor
As Diehard as They Come
Ghosts of War (Slayer cover)
Everyone Bleeds Now
Betrayed by Life
Looking Down the Barrel of Today
Last Breath
Driven by Suffering
Perseverance
Seven Enemies
Proven
I Will Be Heard

Band members
Jamey Jasta – vocals
Wayne Lozinak – lead guitar, backing vocals
Frank Novinec – rhythm guitar, backing vocals
Chris Beattie – bass
Matt Byrne – drums

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Album Review – Odious Spirit / The Treason Of Consciousness (2024)

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Terrifying and exhilarating at the same time, the debut opus by this Avantgarde Black and Death Metal entity describes an infinite cycle of creation, transformation and destruction of which we are unaware prisoners.

The brainchild of James Oskarbski, a musician from Poughkeepsie, New York, in the United States, already active in Execrable and 8 Hour Animal, the ruthless Avantgarde Black/Death Metal entity Odious Spirit plays dark, experimental heavy music with hypnotic and minimal guitars, succeeding in the miraculous aim of fusing together Voivod, Immolation and Mick Barr’s Ocrilim in long and trance-inducing songs, exactly like what can be found in the project’s debut effort The Treason of Consciousness. Written, recorded and mixed by James himself, mastered by Alan Douches at West West Side Music, wrapped in a majestic cover painting by Martín Riveros Baxter (with visual design by Francesco Gemelli), and featuring guest musicians Cullen Gallagher on bass and Daniel Torgal on drums, the album is characterized by James’ dense intertwining of guitars, capable of creating cosmic psychedelic vortices that engulf everything and which are often pushed towards heights of paroxysmal violence, terrifying and exhilarating at the same time, while the philosophical themes of the lyrics are refracted in its fractal folds, centered on concepts of space and time, repetition and decadence, thus describing an infinite cycle of creation, transformation and destruction of which we are unaware prisoners.

Like a creature oozing sheer doom and darkness, the trio begins their infernal feast of Black and Death Metal in Long Stretch of Bleeding Light, with James’ cadaverous roars walking hand in hand with the experimental, intricate kitchen by Cullen and Daniel; whereas 11 minutes of wicked experimentations, caustic riffs and venomous beats and fills are offered by such an amazing entity hailing form the United States in The Hissing Pyre, presenting a sick guitar work by James who delivers nonstop scorching riffs that will burn your soul mercilessly. In other words, it can’t get any more intricate and demented than this, flowing into the one hundred percent experimental tune Illuminations, a phantasmagorical creation by Odious Spirit that will drag you to the netherworld before Gnawing the Fabric of Time offers an overdose of cryptic, poetic lyrics gnarled by James (“Placed him there / To fight the strand / Bleeding man / Bleeding man / To fight the strand / Denied”) while the music is a hurricane of unrelenting, visceral Black and Death Metal.  Lastly, we’re treated to over eight minutes of the hammering drums by Daniel and the rumbling bass lines by Cullen in Unbending Follicle, Unending Blight, while James continues to extract darkness and rage from his axe, therefore piercing our damned minds ruthlessly.

James and his untamed beast named Odious Spirit are waiting for you on Instagram with more details about such an interesting project of the underworld, and if you’re brave enough to put your hands on one of the most caustic albums of the current scene (available in full on YouTube and on Spotify), you can grab your copy of it from the I, Voidhanger Records’ BandCamp page, as well as from Metal Odissey in both the United States and Europe in CD format. The violence and heaviness found in The Treason Of Consciousness, plus of course its unique psychedelic and experimental vibe, make it a must-listen for anyone looking for a breathe of fresh air in heavy music, and I can’t wait to see what’s next for Odious Spirit as the years go by and the project continues to explore new lands and sounds exactly like what was done in its debut effort.

Best moments of the album: The Hissing Pyre and Gnawing the Fabric of Time.

Worst moments of the album: None.

Released in 2024 I, Voidhanger Records

Track listing
1. Long Stretch of Bleeding Light 6:46
2. The Hissing Pyre 11:02
3. Illuminations 5:18
4. Gnawing the Fabric of Time 4:02
5. Unbending Follicle, Unending Blight 8:31

Band members
James Oskarbski – vocals, guitars

Guest musicians
Cullen Gallagher – bass
Daniel Torgal – drums

Concert Review – Lord of the Lost (The Opera House, Toronto, ON, 09/18/2024)

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And Lord of the Lost dragged us all to hell on their second electrifying concert in Canadian lands this Wednesday night in Toronto.

OPENING ACT: Julien-K

A few hours after the more-than-epic show by LORD OF THE LOST in Montreal, it was time to drive back to Toronto for round two at  The Opera House, again featuring JULIEN-K as the opener, as part of the band’s US + Canada 2024 tour. At first I thought The Opera House was bigger than the Beanfield Theatre in Montreal, but after searching for both online I found out that the difference in capacity is only of 25 people (The Opera House can fit 950 people, while the Beanfield Theatre fits 925). Maybe the fact that the floor section at The Opera House is bigger gives that impression, I don’t know, but what really matters is that LOTL were once again stunned by their Canadian fans, this time by a loud and vibrant Toronto crowd, who might not have been as rowdy as the fans in Montreal, but still VERY loud. And what’s even better is that I was joined in Toronto by my buddy Keith Ibbitson of Metal Paparazzi, which is the reason why the photos are way better than my crappy mobile ones from Montreal.

As I was able to watch more of the show by Los Angeles, California’s own Electronic Rock act JULIEN-K in Toronto, I can confirm what I said in the review for Montreal, that they were an amazing opener for LOTL and that everyone inside The Opera House had a great time during their show. Their closing song, a cover version for Blue Monday, by New Order, sounded fantastic, some sort of tribute to their previous band Orgy who blew up in popularity for covering that same track. As mentioned in the review for Montreal, you can listen to more of the music by Julien-K on BandCamp and on Spotify, getting your electronic vein pulsing strong to the sound of one of the torchbearers of the style in the American scene.

Setlist
Futura
Deep Beat Overground
Fractured
All That Glitters
Your Tears Mean Nothing
The Hydra
Undo Everything
Stronger Without You
Blue Monday (New Order cover)

Band members
Ryan Shuck – lead vocals, rhythm guitar, keyboards
Amir Derakh – lead guitar, samples, keyboards, synthesizers, bass
Galen Waling – drums

LORD OF THE LOST

If you’re feelin’ down depressed and lonely, I know a place where we can go, and no, that’s not 22 Acacia Avenue, but any concert by LORD OF THE LOST, like the awesome one in Toronto this Wednesday night. I honestly don’t know how bands like LOTL can play with so much energy night after night and never get tired, liked what they did playing in Montreal this Tuesday night, and in Toronto exactly 24 hours after. The band was as sharp and electrifying as the night before, kicking some ass on the beautiful stage at The Opera House on another sold out (or almost sold out) show, and once again that adrenaline kept flowing from the band to their fans and back, turning the venue into another amazing rock and metal party.

The setlist was the same as the one in Montreal, which means the Toronto crowd had the same fuel to have a great time together with the band, and the energy blasted by Chris & Co. on stage was just as amazing as well. As a band that continues to evolve and explore new horizons, the newer songs from their 2022 album Blood & Glitter were the ones with the loudest reactions from the crowd, which as mentioned was not as wild as Montreal not because of the band, but simply due to the nature of fans in Toronto, always a bit calmer than their Québécois friends. The dancing, fist pumping, jumping around and screaming were all there, of course, and the band loved every single second of their time interacting with their “new” fans, because they might have played countless times already in their homeland Germany, but their happiness playing in Canada was the same as the one form a band that’s just starting their career. Yes, they were that happy and excited.

Closer to the end of the show, Chris mentioned that it was really insane to be playing in Canada, something unimaginable to any of them a few years ago, and that they’ll surely return to Canadian lands sooner than later (also mentioning the fact that getting their visas to Canada is way easier and cheaper than to the United States). I trust Chris one hundred percent when he says they’ll come back, because that was by far one of the wildest couple of shows I’ve seen in the past few years, with the deep connection built between the band and their fans in Montreal and Toronto being a thing of beauty. Who knows, maybe LOTL are going to be the next big thing in Canada, playing at bigger venues, attracting more and more people to their shows, and if that happens they absolutely deserve it, as they’re not only one of the most talented and innovative bands of the current scene, but they’re also really nice guys who are just starting to discover how fun Canada is and how passionate the fans here can be. In other words, see you soon, LOTL!

Setlist
The Curtain Falls
The Future of a Past Life
Dry the Rain
Loreley
Destruction Manual
For They Know Not What They Do
Raining Stars
Sex on Legs
Six Feet Underground
Born With a Broken Heart
Die Tomorrow
Black Halo
Forevermore
Drag Me to Hell
Blood for Blood
Unstoppable (Sia cover)
Shock to the System (Billy Idol cover)
Blood & Glitter
One Last Song

Band members
Chris “The Lord” Harms – lead vocals, guitars, cello
Pi “π” Stoffers – guitars, backing vocals
Benjamin “Benji” Mundigler – guitars, keyboards, backing vocals
Klaas “Class Grenayde” Helmecke – bass, backing vocals
Gerrit “Gared Dirge” Heinemann – piano, keyboards, percussion, guitars, theremin
Niklas Kahl – drums

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Concert Review – Lord of the Lost (Beanfield Theatre, Montreal, QC, 09/17/2024)

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When the curtain fell in Montreal, no one was left alone by Lord of the Lost in one of the most memorable concerts in their entire career this Tuesday night.

OPENING ACT: Julien-K

As Billy Idol would say, It was a night, Montreal, burning bright, oh what a night at Théâtre Beanfield (or Beanfield Theatre) when German Dark Rock/Heavy Metal band LORD OF THE LOST, supported by JULIEN-K, played for the first time ever in Canadian lands this Tuesday night as part of their US + Canada 2024 tour, and based on the reaction of the crowd during their entire show I’m sure it wasn’t the last time we saw those guys in the Great White North. I must say the venue was also amazing. It was my first time there and I can’t wait to travel all the way to Montreal to see more of my favorite bands playing there. Not only that, the weather in Montreal was also beyond perfect, around +25oC and sunny, turning the whole day into a memorable experience for both the fans and the band.

I’ll be honest and say I didn’t see much of the concert by Los Angeles, California-based Electronic Rock act JULIEN-K (due to other commitments prior to the show), which began as a side project for electronic music created by Amir Derakh and Ryan Shuck from Orgy, alongside Anthony ‘Fu’ Valcic, and that sounds a lot like a fusion of Depeche Mode, Nine Inch Nails, New Order, Ministry and Marilyn Manson, but I guess everyone at the venue enjoyed a lot their performance. They recently released the albums Harmonic Disruptor, in 2020, and Unauthorized Live In Europe, in 2021, and if you’re curious to know more about them you can find their music on BandCamp and on Spotify. I personally believe they were a great choice to open for Lord of the Lost, properly warming up all fans at the venue for the main attraction of the night, and even if electronic music is not my cup of tea I need to say they’re really good in what they do.

Setlist
Futura
Deep Beat Overground
Fractured
All That Glitters
Your Tears Mean Nothing
The Hydra
Undo Everything
Stronger Without You
Blue Monday (New Order cover)

Band members
Ryan Shuck – lead vocals, rhythm guitar, keyboards
Amir Derakh – lead guitar, samples, keyboards, synthesizers, bass
Galen Waling – drums

LORD OF THE LOST

It might have taken years for LORD OF THE LOST to finally pay a visit to Canada, but the wait was absolutely worth it as Chris Harms and his henchmen simply destroyed the Beanfield Theatre with a flawless performance overflowing electricity, heaviness and passion, putting every single person at the venue to jump up and down, dance, raise their horns and fists and scream out loud together with the band. Their setlist was amazing, showcasing a great balance between all of their old material with their latest released Blood & Glitter (2022) and Weapons of Mass Seduction (2023). The first few songs, including The Curtain Falls, Dry the Rain and Loreley, already gave us a very good taste of how awesome the whole night was going to be, and the louder the reaction of the fans was, the better the band was on stage and vice-versa.

A few songs sounded utterly powerful in Montreal, like Six Feet Underground, Die Tomorrow, Drag Me to Hell, and Blood for Blood, where by the way Chris invited everyone at the venue to do the “one-person mosh pit” (which is basically jumping and spinning around alone), and let me tell you that all fans loved that moment, with huge smiles on everyone’s faces. Pi Stoffers and Niklas Kahl were ruthless armed with their respective guitars and drums, adding a humongous dosage of heaviness to the band’s music, therefore sounding even heavier than in the studio, (something I personally loved as a fan of extreme music), and that translated into a lot of headbanging, dancing and clapping from the audience for the total delectation of the band. To be fair, the whole band was spot-on, precise and on fire, playing all songs to perfection, with the ending of the show including their cover versions for Sia’s Unstoppable and Billy Idol’s Shock to the System (the biggest surprise of the night for me), plus of course their classics Blood & Glitter and One Last Song, being the icing on the cake to their breathtaking show.

All band members were visibly very emotional during and after the show, with Chris repeating several times it was a dream come true for them to be in Canada, and that they didn’t expect such a big turnout on a Tuesday night in a country they had never played before. He also said Canada is the 40th country they’ve ever played at now, and that they will surely return in a not-so-distant future. I’m sure all fans who attended their concert can’t wait for another round of LOTL madness in the city, and I’ll make sure I find some time in my busy agenda to see them again in Montreal because that show was definitely mind blowing. There was “round 2” in Toronto the next day after a six-hour drive back home, but that will be covered in a separate review. For now, all I can say is that LOTL are Montreal, and Montreal is LOTL.

Setlist
The Curtain Falls
The Future of a Past Life
Dry the Rain
Loreley
Destruction Manual
For They Know Not What They Do
Raining Stars
Sex on Legs
Six Feet Underground
Born With a Broken Heart
Die Tomorrow
Black Halo
Forevermore
Drag Me to Hell
Blood for Blood
Unstoppable (Sia cover)
Shock to the System (Billy Idol cover)
Blood & Glitter
One Last Song

Band members
Chris “The Lord” Harms – lead vocals, guitars, cello
Pi “π” Stoffers – guitars, backing vocals
Benjamin “Benji” Mundigler – guitars, keyboards, backing vocals
Klaas “Class Grenayde” Helmecke – bass, backing vocals
Gerrit “Gared Dirge” Heinemann – piano, keyboards, percussion, guitars, theremin
Niklas Kahl – drums

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Concert Review – Goatwhore (Lee’s Palace, Toronto, ON, 09/17/2024)

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

OPENING ACTS: Thantifaxath, Necrofier and Vitriol

Another humid night in the city of Toronto. September has not let go of the great summer weather just yet, on a nice Tuesday evening some of the best southern bands to emerge in the death metal scene set its eyes on our city. Lee’s Palace was the mark of the beast for the night, and fans flocked from all over the city to come see them. I’m talking about Goatwhore and Necrofier with Vitriol and Thantifaxath. Metalheads from all over Ontario headed into Lee’s Palace, a medium sized venue that can hold 600 people or so, and the first band to hit the stage and get the fire started is Toronto’s own Black metal cult Thantifaxath (that’s a mouthful to say). The name comes from the kabbalistic tree of life (meaning “Great Ghoul”), and the band consisting of 3 unnamed souls played some great black metal riffs and got this eager crowd in the mood for what they had coming next.

Second band of the night from out of the lone star state of Houston, Texas was Necrofier, and you’d think a band from Texas must be country or rock like ZZ Top, but no way, Texas has some of the heaviest bands to date like Pantera, Frozen Soul, Kubli Khan, to name a few. Man, this band did not waste time right from the first strum of the downtuned guitar they hit us with some real heavy riffs. Necrofier has been together since 2018 and continues to get better and better, and like with any band they grow and get to be a tight band. All I can say is these guys kick some serious ass on stage and I definitely like to see them headline a show in the near future. Third band of the night from the great state of Oregon, Portland, was Vitriol, an extreme death metal band was a three piece band not long ago, when Adam Roethlisberger quit the tour at the start for reasons unknown to us all, but that did not stop the winds from the west as they came and kicked some ass and left just like a tornado. The two members of Vitriol did what they came to do and kick our asses, with super fast and heavy riffs, some really nice blast beats and shredding mind blowing guitar riffs.

GOATWHORE

Now for the headliners, the band everyone was there to see the most, from New Orleans, Lousiana, here comes Goatwhore. Do I need to explain who they are? Probably not, but I’m going to. Simply put, this band is one of the heaviest metal bands on this planet and in this universe. The pulverizing drums from Zack Simmons, the beyond heavy drop C guitar riffs from Sammy Duet, bone shaking bass from Robert Coleman, and the best frontman ever to grace the stage, Louis Benjamin Falgoust II. These four guys kick ass, the energy from Goatwhore lasts a few days after they kicked your ass, I mean in all fun that is. Whenever they hit our city I always come out to see them. For me, I first saw this band in Toronto back in 2017 at The Garrison. My brother Kevin and I were there to see another band play and said let’s see who they are, and man, from that moment they got on stage and started playing I was a huge fan. Ben Falgoust playing the air guitar and head banging, and Sammy shredding just blew me away. I have met them outside the venues a few time just saying hello but this year I got my photos with them. This is why I love the Toronto metal scene and venues, if they play a small venue you get a more personal concert versus a big stage where they stay backstage. Every band on this bill will be walking around the venue sitting merch, shaking hands and sharing stories with fans. I’ll always support our metal scene and our fans that are friends and some family.

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Album Review – Demiser / Slave to the Scythe (2024)

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Like a lumbering, ferocious beast, this South Carolina-based Blackened Thrash Metal behemoth will destroy everything in their path armed with their sophomore opus.

Like a lumbering, ferocious beast awoken from a centuries-long slumber, the Blackened Thrash Metal behemoth known as Demiser emerged from the primordial ooze of the South Carolina metal scene in 2017, unleashing their debut effort Through the Gate Eternal back in 2021. Now in 2024 the band formed of Demiser the Demiser on occult liturgic blasphemy (vocals), Gravepisser on six-stringed satanic fukklord (guitars), Phallomancer on abysmal rhythm of death (guitars), Defiler on dismal baritone curator (bass), and Infestor on purveyor of percussive bile (drums) brings forward their sophomore opus, titled Slave to the Scythe, a devastatingly intense slab of work, an aural harbinger of hellish intent that sees the band blend 80’s Thrash Metal, first-wave Black Metal, Death Metal and a healthy dose of NWOBHM. Recorded by Chase McGuckin at Seaboard Recording Studio, and displaying a demonic artwork by Lucas Ruggieri, Slave to the Scythe is the work of a band of men determined to destroy everything in their path. Musically, of course.

Infestor kicks off the band’s depraved party in Feast, a devastating Death and Thrash Metal tune where Demiser the Demiser gnarls nonstop in the name of evil; whereas Gravepisser and Phallomancer deliver sheer rage through their caustic riffs in the title-track Slave to the Scythe, another fast-paced, circle pit catalyst by the quintet. Then inspired by other amazing underground bands like Midnight, it’s time for Defiler and Infestor to make the earth shake in Carbureted Speed, offering Demiser the Demiser exactly what he needs to roar manically in this Punk Rock-infused thrashing extravaganza, and it’s pedal to the metal with the band’s guitar duo showing no mercy for our souls in Phallomancer the Phallomancer, slashing their axes like there’s no tomorrow.

After that we have a serene, acoustic Interlude, working as the calm before the storm titled Total Demise, where Infestor speeds things up with his demented beats and fills, inviting us all to slam into the mosh pit like true metal maniacs. Their thrashing feast with hints of Death Metal goes on in full force in Hell Is Full of Fire, with Demiser the Demiser and Infestor sounding ruthless armed with their respective roars and beats, and those demonic beasts will carve their teeth deep inside your flesh in Infernal Bust, offering more of their rumbling bass and drums courtesy of Defiler and Infestor, while Demiser the Demiser continues to vociferate like a demented creature of darkness. Finally, we face In Nomine Baphomet, the most epic and detailed of all songs, showcasing layers of sulfur, wrath and aggression by such an amazing name of the underground where all band members are on fire during the whole song, with Infestor once again stealing the show with his fusion of Black, Thrash and Death Metal beats and fills, putting a darkly and insanely epic finale to the album.

The band’s influences include the likes of Venom, Bathory, Slayer, Motörhead, and Deströyer 666, plus movies like Terminator 2, Commando, and Predator (or pretty much anything Arnold Schwarzenegger, to be fair), with the overarching themes on Slave to the Scythe being essentially “hell, fire and hellfire.” There are no ballads, no love songs, just plain devilish music for devilish people that was largely written on the road, and if you want to feel that fire burning your putrid body for all eternity you can start following the band on Facebook and on Instagram, stream their music on Spotify, and obviously purchase a copy of the excellent Slave to the Scythe from their own BandCamp page or from the Blacklight Media Records’ webstore. In other words, if your impure soul is going to burn in hell, may that happen to the sound of one of the most bestial thrashing albums of the year.

Best moments of the album: Carbureted Speed, Hell Is Full of Fire and In Nomine Baphomet.

Worst moments of the album: None.

Released in 2024 Metal Blade Records/Blacklight Media Records

Track listing
1. Feast 4:10
2. Slave to the Scythe 4:37
3. Carbureted Speed 3:39
4. Phallomancer the Phallomancer 4:39
5. Interlude 2:45
6. Total Demise 4:54
7. Hell Is Full of Fire 3:48
8. Infernal Bust 3:49
9. In Nomine Baphomet 8:03

Band members
Demiser the Demiser – vocals
Gravepisser – guitars
Phallomancer – guitars
Defiler – bass
Infestor – drums

Album Review – Oceans of Slumber / Where Gods Fear to Speak (2024)

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One of the must-see names of the Progressive Rock and Metal scene returns with their sixth full-length album, sounding like a dystopian western or a post-apocalyptic survival movie.

More than a decade has passed since the release of Aetherial, the debut album by Houston, Texas-based Progressive Metal/Rock band Oceans Of Slumber, and a lot has changed since then for this “Dark Cinematic Metal” outfit. After recruiting Cammie Gilbert (now Gilbert-Beverly) in 2014, the crew’s trajectory took a natural, upward tilt, fueled by the hugely positive response received by second album, Winter, released in 2016. Monuments to a restless creative spirit, the band’s third, fourth and fifth albums, The Banished Heart (2018), Oceans Of Slumber (2020) and Starlight and Ash (2022), raised the stakes ever higher. Recorded at Estudios Audiovision, produced, mixed and engineered by Joel Hamilton at Studio G, mastered by Maor Appelbaum at Maor Appelbaum Mastering, and displaying a classy artwork by Giannis Nakos of Remedy Art Design, their sixth full-length opus, titled Where Gods Fear to Speak, sees the band exploring new heights, therefore sounding even tighter and more compelling than before, proving why vocalist Cammie Beverly, guitarists Alex Davis and Chris Kritikos, bassist Semir Ozerkan and drummer Dobber Beverly have become a reference in the style.

The album kicks off with the darkly embracing title-track Where Gods Fear to Speak, where the heaviness in the guitars by Alex and Chris make a stunning paradox with the powerful vocals by Cammie, blending Progressive and Groove Metal with the obscurity and heaviness of Doom Metal, followed by Run From the Light, featuring guest vocals by the one and only Mikael Stanne of Swedish melodeath legends Dark Tranquillity, another avalanche of intricate guitar lines, harsh and clean vocals, and the always groovy beats by Dobber, sounding like several songs in one. Then a smooth intro boosted by minimalist background synths evolves into a beautiful ballad titled Don’t Come Back From Hell Empty Handed, where Cammie obviously steal the spotlight with a phenomenal vocal performance, whereas Wish is another solid tune by the band showcasing the always massive beats by Dobbie supported by the classic bass lines by Semir. And Cammie will steal your heart in the captivating tune Poem of Ecstasy, presenting the band’s trademark hybrid of Progressive Rock and Metal in a beyond thrilling way.

The Given Dream presents hints of R&B added to the band’s core rock essence, feeling very delicate yet profound and somber, with once again all background elements sounding beautifully haunting; while I Will Break the Pride of Your Will is even more experimental and progressive than its predecessors, with Alex and Chris taking the lead with their stylish riffs. In Prayer we face the dark and evil harsh roars by the iconic frontman Fernando Ribeiro of Moonspell clashing in great fashion with Cammie’s embracing, delicate vocals, with all acoustic elements making the song even more detailed and complete, followed by The Impermanence of Fate, showcasing another jaw-dropping vocal performance by Cammie to the classy sound of the piano by Dobber, who also hammers his drums, exploding into sheer savagery while sounding like classic Death Metal in a multi-layered and bold aria of heavy music. And lastly, we have their stunning rendition of Wicked Game, originally recorded by Chris Isaak in the 1989 album Heart Shaped World (check the original version HERE), a more than gorgeous icing on the cake to close the album on a perfect note.

“This album is a dystopian western or a post-apocalyptic survival movie, somewhere between The Handmaid’s Tale, The Dark Tower and Cormac McCarthy,” states Dobber. “The whole idea is that Where The Gods Fear To Speak is a movie, and we’ve written the soundtrack. If the world was taken over, like in movie The Book Of Eli, and Gary Oldman had found the Bible and the true power of it, and he was wielding the power of the lord over everybody, those people that were maybe just into their traditional spiritualism or people that were not religious at all, they would be the defectors, so the record is written from the viewpoint of the defectors. The ending credits are our version of ‘Wicked Game’ by Chris Isaak. We wanted to take it back to when the music in movies set the tone for everything.” Hence, if you want to join Oceans of Slumber in this thrilling cinematic ride, you can follow the band on Facebook and on Instagram, subscribe to their YouTube channel, listen to all of their beautiful albums on Spotify, and of course purchase their new album by clicking HERE or HERE. Where Gods Fear To Speak proves that Oceans Of Slumber will not let the occasional setback put them off their creative stride, and I personally can’t wait to see what’s next to one of the must-see names of the progressive scene worldwide.

Best moments of the album: Where Gods Fear to Speak, Poem of Ecstasy, The Impermanence of Fate and of course Wicked Game.

Worst moments of the album: I Will Break the Pride of Your Will.

Released in 2024 Season of Mist

Track listing
1. Where Gods Fear to Speak 6:25
2. Run From the Light 5:15
3. Don’t Come Back From Hell Empty Handed 8:28
4. Wish 3:53
5. Poem of Ecstasy 6:33
6. The Given Dream 3:36
7. I Will Break the Pride of Your Will 5:27
8. Prayer 5:03
9. The Impermanence of Fate 6:20
10. Wicked Game (Chris Isaak cover) 5:26

Band members
Cammie Beverly – vocals
Alex Davis – guitars
Chris Kritikos – guitars, synths
Semir Ozerkan – bass
Dobber Beverly – drums, piano

Guest musicians
Mikael Stanne – vocals on “Run From The Light”
Fernando Ribeiro – vocals on “Prayer”

Album Review – Blighted Eye / Agony’s Bespoke (2024)

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Behold this monumental, hour-long work of Progressive and Blackened Death Metal made in the United States, heavily inspired by the 2018 Australian film The Nightingale.

A monumental, hour-long work of Progressive and Blackened Death Metal, the breathtaking Agony’s Bespoke, the brand new album by Seattle, Washington-based outfit Blighted Eye, marks a new height for the band’s growing skills of songwriting and storytelling. Mixed and mastered by Alex Sedin at Ghostalgy Prods, and displaying a stunning artwork by Caelan Stokkerman, the new opus by Kyle Chapman on vocals and guitars, Christopher Jones also on the guitars, Ben Gassman on bass, and John Devos on drums is heavily inspired by the 2018 Australian film The Nightingale, telling a similarly tragic story. Highlighting the transformative power of violence and the ultimate futility of revenge, the album seeks to explore the lasting emotional and psychological impact of trauma, being highly recommended for fans of Opeth, Swallow the Sun, and Dissection.

Cryptic, melodious sounds arise from the underworld in the opening track Tragoedia, with the deep vociferations by Kyle walking hand in hand with the pounding drums by John, also presenting delicate yet visceral riffs for our total delight, and flowing into the just as demonic and grim The Wounding, with Kyle and Christopher extracting sulfurous riffs from their axes supported by the menacing bass by Ben. In Enmity invites us all to bang our heads in total darkness together with the band in a well-balanced fusion of Melodic and Progressive Death Metal tailored for admirers of the genre, with Kyle roaring with endless anger until the very end; whereas serene, embracing sounds kick off the beautiful Howls From Beyond the Mist, with their caustic riffs, harsh gnarls and crushing drums sounding amazing. Then investing in a more direct, visceral Black Metal sonority the band will pulverize us all in A Feast for Worms, spearheaded by the classic drumming by John and the always sharp growls by Kyle.

Pallid brings to our avid ears almost nine minutes of heavy, sluggish and somber sounds, presenting elements from Doom Metal in the guitars by Kyle and Christopher, and even stronger vibes in John’s drums; and after the short and sweet interlude Nightingale, the band brings forth a Melodic Black and Death Metal feast titled A Reverent Stillness, where all instruments sound thunderous and visceral and with their guitars, bass and drums once again offering Kyle everything he needs to haunt our souls with his devilish roars. Finally, like the soundtrack to a Stygian horror movie we have the title-track Agony’s Bespoke, presenting the band’s trademark heaviness intertwined with grim passages. Moreover, the guitar work by Kyle and Christopher is once again superb, sounding heavy and very melodic at the same time, with endless progressiveness flowing from the bass lines by Ben while at the seven minute mark it all morphs into an overdose of epicness, putting a classy ending to the album.

Just like in the 2018 movie that inspired the album, power, violence, revenge and trauma are the main ingredients in the music by Blighted Eye in Agony’s Bespoke, and you can get to know more about the band and how they turned all that darkness into amazing metal music on Facebook and on Instagram, listen to more of their ruthless creations on YouTube and on Spotify, and grab a copy of their caustic new album from the Beyond The Top Records’ BandCamp or webstore. As you listen to the album from start to finish, you’ll clearly witness how a tragic story can become so compelling through the power of heavy music, inspiring Blighted Eye to keep crushing our souls for many years to come with their meaningful and extremely heavy creations.

Best moments of the album: Tragoedia, A Feast for Worms and Agony’s Bespoke.

Worst moments of the album: None.

Released in 2024 Beyond The Top Records

Track listing
1. Tragoedia 7:22
2. The Wounding 5:59
3. In Enmity 7:05
4. Howls From Beyond the Mist 7:03
5. A Feast for Worms 6:13
6. Pallid 8:48
7. Nightingale 1:05
8. A Reverent Stillness 6:18
9. Agony’s Bespoke 11:06

Band members
Kyle Chapman – vocals, guitars
Christopher Jones – guitars
Ben Gassman – bass
John Devos – drums