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Album Review – Fellahin Fall / Urbana EP (2023)

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A rising Alternative/Gothic Metal band from New York is back with a striking new EP, pushing their “urban doom” sound further while also telling the tale of an atomized man’s yearned escape from the metropolis.

A rising Alternative/Gothic Metal band with Industrial Metal elements formed in 2019 in Brooklyn, New York City, in the United States, Fellahin Fall have just unleashed a four-track EP titled Urbana, following up on their critically praised 2020 debut album Tar a-Kan. Mixed and mastered by Kevin Antreassian at Backroom Studios, Urbana sees the band formed of Nodar on vocals and keyboards, Pat Reilly and Raphael Pinsker on the guitars, Mark Morrill on bass, and Eugene Bell on drums pushing their “urban doom” sound further while also telling the tale of an atomized man’s yearned escape from the metropolis, being recommended for fans of Type O Negative, Woods of Ypres, Paradise Lost, and Fires in the Distance, among others.

The opening track Bury Me sounds very melodic, atmospheric and introspective, with the bass by Mark reverberating in the background while Nodar darkly declaims the song’s lyrics in the name of Gothic Metal, flowing into the also alternative and groovy The Parting, where the keys by Nodar and the minimalist, piercing guitars by Pat and Raphael will take you on a mesmerizing musical journey, sounding and feeling ready to be played on any rock radio station worldwide. Grey Morning brings to our ears another blast of their gentle but obscure fusion of Alternative Rock and Metal with Gothic and Doom Metal nuances, where once again Nodar steals the spotlight with his deep vocals and whimsical keys while Eugene dictates the song’s pace with his sluggish, classy beats. And last but not least, the band continues their walk through the darkest paths of alternative music in their cover version for Everything I Touch Touch Turns to Gold (Then to Coal), by Woods of Ypres (see the original one HERE, from their 2009 album IV: The Green Album), presenting their trademark somber vocals, pensive and enfolding atmosphere, and delicate riffs and beats, ending the EP on an ethereal vibe.

The stylish and atmospheric Urbana, which is available for a full listen on Spotify, definitely showcases a band that is taking their music to a whole new level, and you can let the guys from Fellahin Fall how much you enjoy their music by following them on Facebook and on Instagram, by subscribing to their YouTube channel, and by purchasing a copy of Urbana from their BandCamp page (or click HERE for all things Fellahin Fall). Will our anti-hero escape from the metropolis, or will he be forever trapped in that urban nightmare? Well, simply listen to the entertaining Urbana, and Fellahin Fall will promptly answer that question to you.

Best moments of the album: Bury Me and Grey Morning.

Worst moments of the album: None.

Released in 2023 Independent

Track listing
1. Bury Me 4:39
2. The Parting 5:30
3. Grey Morning 4:39
4. Everything I Touch Touch Turns to Gold (Then to Coal) (Woods of Ypres cover) 4:12

Band members
Nodar – vocals, keyboards
Pat Reilly – lead guitars
Raphael Pinsker – rhythm guitars
Mark Morrill – bass
Eugene Bell – drums

Concert Review – Cattle Decapitation (The Opera House, Toronto, ON, 12/02/2023)

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As we’re all going to die one day, why not enjoying our time left on earth with some first-class Death Metal like what the unparalleled Cattle Decapitation offered us this Saturday night in Toronto?

OPENING ACTS: Castrator, Sanguisugabogg and Immolation

Before I start the actual review of the show, I gotta say that although I don’t have anything against Christmas, I do nurture a deep hatred for the Christmas market known as The Distillery Winter Village that happens this time of the year in Toronto. Because of that, it took me almost two hours to get to The Opera House last night to see CASTRATOR, SANGUISUGABOGG and IMMOLATION during their demented The Terrasitic Infestation Tour 2023, brought to the city by the always awesome Noel Peters of Inertia Entertainment, and I had to skip some quality time with my friend Keith Ibbitson of Metal Paparazzi (and some other nice ladies and gents) and simply rush to the venue (after parking way too far from it, of course). And before I forget, the concert was absolutely SOLD OUT, so you can all imagine how demonic the atmosphere was indoors on Saturday, right?

Anyway, at least I made it in time for the opening act of the night, the ruthless New York-based Death Metal entity CASTRATOR, who hit the stage of The Opera House at 7pm sharp and pulverized our senses for intense 30 minutes of Old School Death Metal. I have no idea why their guitarist Kimberly Orellana isn’t playing this tour, but fortunately for all fans of first-class extreme music the awesome Long Island, New York guitarist Kurtis Layne stepped up and made their whole tour possible. Playing seven demolishing songs from their top-notch debut full-length Defiled in Oblivion, released in 2022 (and available for a full listen on BandCamp and on Spotify, or click HERE for all things Castrator), including the fantastic tunes Inquisition Sins and the closer Dawa of Yousafzai, the band formed of the unstoppable growler Clarissa Badini, bassist Robin Mazen, drummer Carolina Perez, and the aforementioned Kurtis Layne on the guitar was vicious form start to finish, igniting some of the wildest mosh pits I’ve ever seen for an opening act in my life. Clarissa was insane on vocals, roaring and headbanging like a maniac nonstop, therefore having the crowd in the palm of her hands all the time. She’s one of the best growlers of the new generation, and I highly recommended seeing Castrator live whenever they take your damned city by storm. When she was announcing the last song of the night, the audience demanded more, and she laughed and said “c’mon guys, we’re just the opener”. Well, hopefully one day we’ll see Castrator as the headliners in Toronto, because we all loved their wicked Death Metal attack, turning several of us (including myself) into a fanboy of the band.

Setlist
Tormented by Atrocities
Forsaken and Deprived
Inquisition Sins
Tyrant’s Verdict
Befoul My Existence
Sinister Mind
Dawa of Yousafzai

Band members
Clarissa Badini – vocals
Kurtis Layne – guitars
Robin Mazen – bass
Carolina Perez – drums

That circle pit madness initiated by Castrator kept moving frantically during the demented 30-minute onrush of Brutal Death Metal by Columbus, Ohio-based horde SANGUISUGABOGG (by the way, the band’s name is a combination of “sanguisuga”, which is Latin for “leech”, and “bog”, a British English slang for “toilet”), demanding a high level of stamina and fitness form everyone who dared to brave the floor section. Playing songs mostly from their latest album Homicidal Ecstasy, such as Black Market Vasectomy and Face Ripped Off, plus the closer Dead as Shit, from their 2021 debut Tortured Whole (all available on Spotify), the band that has one of the most unreadable logos ever and that’s spearheaded by this massive dude named Devin Swank kicked some serious ass on stage, demanding the crowd to keep moving inside the circle pit like crazy, even throwing a football to the fans for some sort of twisted football or even rugby madness. Kudos also to drummer Cody Davidson, who kept hammering our heads with his infernal beats just the way we like it in Brutal Death Metal, and next time the band comes to Toronto I’ll make sure I’m there for some quality slamming.

Setlist
Black Market Vasectomy
Face Ripped Off
Pissed
A Lesson in Savagery
Permanently Fucked
Mortal Admonishment
Dead as Shit

Band members
Devin Swank – vocals
Ced Davis – guitars
Drew Arnold – guitars
Cody Davidson – drums

I don’t think there’s anything I can say about Death Metal institution IMMOLATION at this point that hasn’t been said before. After seeing them quite a few times already, I’m always impressed with the heaviness, the charisma, the vibe and the dexterity those New York death metallers bring to the stage, putting their hearts and souls into each of their shows. Ross Dolan and his henchmen were on fire as usual throughout their entire set, making The Opera House tremble with their thunderous Death Metal for the delight of all concert goers. Furthermore, I have to say Robert Vigna might be one of the most underrated guitarists in heavy music, as not only he’s amazing in the studio, but when he’s on stage his axe sounds even more menacing, piercing and striking, adding an extra touch of heaviness to the band’s performance. As mentioned in other reviews of their previous live concerts, the new songs form Acts of God, those being The Age of No Light and An Act of God, matched perfectly with their older material, proving once again the music by one of the torchbearers of Old School Death Metal is simply timeless. In a nutshell, it was a fulminating headbanging party not recommended for the lighthearted, and I’m sure we’ll see those guys back in Toronto sooner than we can say “Death Metal”.

Setlist
And the Flames Wept
All That Awaits Us
The Age of No Light
Dawn of Possession
Once Ordained
When the Jackals Come
Christ’s Cage
Abandoned
An Act of God
Higher Coward
Epiphany

Band members
Ross Dolan – vocals, bass
Robert Vigna – guitars
Alex Bouks – guitars
Steve Shalaty – drums

CATTLE DECAPITATION

It was close to 10pm when the main attraction of the night, San Diego, California’s own Progressive Death Metal/Grindcore titans CATTLE DECAPITATION, took the stage of The Opera House by storm with one of the most infuriated and captivating concerts they’ve ever done in Toronto, and the fact they were the headliners this time helped boost their energy and impact considerably. One of the best details of their setlist was that they played several songs form their masterpiece Terrasite, by far one of the best albums of 2023, including the infernal songs Terrasitic Adaptation, We Eat Our Young, Scourge of the Offspring, The Storm Upstairs, Solastalgia, and A Photic Doom, and the reaction form each fan at the venue to those new tunes was superb.

The entire band was on total freakin’ sync during their demonic set, but let’s say that two guys ended up stealing the spotlight, drummer David McGraw and obviously their iconic frontman Travis Ryan. David sounded infuriated behind his drums, and you know that when the band’s drummer is insane, the mosh pits also are, enhancing the speed, the fury and the madness going on inside such. Not only that, as the concert was on a Saturday I guess all kids inside the circle pit didn’t have to worry about school or work the next day, and they went mental to the point it was impossible to keep up with their pace. The other name of the night was as mentioned Travis, one of the best, most charismatic frontmen in the history of extreme music, who not only was insane as usual with both his deep guttural and his trademark goblin screeches, but he was also having a lot of fun with the crowd, even using a Dr. Seuss Cat in the Hat top hat (and yes, someone brought it to the concert for a reason beyond my understanding) to wipe up his ass while the audience was laughing a lot of the scene. In other words, Travis is awesome, period.

Most of us were curious to know why there was a disco ball hanging from the ceiling during the band’s performance, and fortunately I have a secret source who explained to me the reason for that. During their sound check, one of the band’s guitarists was checking his sound by playing a slow song (we believe it was “Endless Love”, originally recorded as a duet by Lionel Richie and Diana Ross in 1981), and when the lighting tech turned the disco ball on, Travis saw that and said they had to use it during their set. Well, I personally think that was an AWESOME idea, making their Toronto gig truly unique, with the light coming form the disco ball matching perfectly with their savage music. Everyone loved it, and the city is more than ready for another round of the caustic music by Cattle Decapitation anytime they want to return to the city, if possible with the disco ball back, of course. And lastly, I just want to say one thing about the band’s merch. One of the stickers sold at their merch stand had their classic phrase “We’re All Gonna Die. Have a Nice Day.”, and let’s say that’s exactly how we should face our lives, having a great time at metal concerts with our friends and family like this Saturday at The Opera Hose until our inevitable end. Thank you, Cattle Decapitation. You guys are the best!

Setlist
Terrasitic Adaptation
We Eat Our Young
Scourge of the Offspring
Dead Set on Suicide
The Storm Upstairs
Bring Back the Plague
Finish Them
Solastalgia
A Photic Doom
Vulturous
Time’s Cruel Curtain
Pacific Grim

Encore:
Kingdom of Tyrants

Band members
Travis Ryan – vocals
Josh Elmore – lead guitars
Belisario Dimuzio – rhythm guitars
Olivier Pinard – bass
David McGraw – drums

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Concert Review – Imminence (The Opera House, Toronto, ON, 11/30/2023)

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A feast of top-of-the-line Metalcore made in the United States and Sweden warmed up the hearts of all Torontonian fans on a cold and windy night in the city.

***Review by Keith Ibbitson, with photos by Ryan Miles Leblanc***

OPENING ACT: Until I Wake

The streets of Toronto were cold and windy on the night of November 30, but The Opera House had their doors open early to welcome around 300 Metalcore fans inside to keep them warm, have some cold beverages and listen to great music, courtesy of the opener UNTIL I WAKE, our close neighbours hailing from Buffalo, New York, in the United States, and Swedish metalcore monsters IMMINENCE.

UNTIL I WAKE started off the evening at 7:50pm. It was the band’s first time in Toronto and they did not disappoint. Their raw energy, blistering rhythm and powerful lyrics started the crowd off into a head banging frenzy. One interesting fact about Until I Wake is that they had a guest vocalist as they are trying to find a new singer. Well, I personally chatted with some of the band members after their set and asked who he was, but all they could tell me is that they would like him to be the new frontman for them. Such mysterious guest singer put in his work last night, jumping off the stage and onto the barrier to interact with concert goers, and he even joined them in the center of it all to start a huge circle pit before getting back on the stage. If you want to know more about the band and their music, simply click HERE and also listen to their discography on BandCamp and on Spotify, including the recently released deluxe edition of their 2022 album Inside My Head.

Setlist
For the Record
Sinking Under
Cold
Octane
Forsaken
Fool’s Paradise
Hope Ur Happy
Legacy
Inside My Head

Band members
Unknown – vocals
August Lee Geitner – guitar
Ryan Ridley – bass
Alex Curtin – drums

IMMINENCE

After a short break, more precisely at 9pm, Sweden’s own IMMINENCE got on the stage and things heated up, with bodies being jammed so tight together the heat in the building was humid and sweaty. Imminence is a band known for their unique hard rock sound and melodic electric violin, which I thought would sound weird but wow, I was pleasantly surprised as I have never seen them before. They played a one hour and fifteen minute set, and the crowd at The Opera House sang along with the band every song from what I could see. The love the fans have for the band is outstanding. In addition, Imminence’s sound guys did an absolutely stellar job, making them sound like it’s right from the album and their own lighting tech simply nailed the strobe and color bars as well. You can also click HERE for all things Imminence, and stream all of their metallic creations on Spotify, including their new singles Come Hell or High Water, Desolation, Death by a Thousand Cuts and Heaven Shall Burn, all part of their current setlist.

Setlist
Paralyzed
Ghost
Erase
The Sickness
This Is Goodbye
Come Hell or High Water
Desolation
Surrender
Death by a Thousand Cuts
Alleviate
Saturated Soul
Infectious
Chasing Shadows
∞
Heaven in Hiding
Heaven Shall Burn
Temptation

Band members
Eddie Berg – lead vocals, violin
Harald Barrett – lead guitar, backing vocals
Alex Arnoldsson – rhythm guitar
Peter Hanström – drums
Christian Höijer – bass

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Concert Review – Lucifer & Coven (Lee’s Palace, Toronto, ON, 11/24/2023)

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How to warm up a chilly night in Toronto? Simply bring to the city a huge dosage of darkness, witchcraft, doom and the occult, courtesy of the iconic rock legends Coven and Lucifer.

OPENING ACT: Early Moods

If you were searching for a place to get warm this Friday in Toronto, which was a chilly one (although not too cold compared to other parts of the country), then Lee’s Palace was the place to be, offering you a high dosage of darkness, witchcraft, doom and the occult, courtesy of EARLY MOODS, COVEN and LUCIFER during their The Satanic Panic Tour 2023, brought to the city by the always amazing Noel Peters of Inertia Entertainment. My buddy Keith Ibbitson of Metal Paparazzi and I were there to celebrate all three bands, all delivering memorable performances to the crowd, resulting in a very entertaining night that put a huge smile on the faces of all attendees who have succumbed to the darkest side of music a long time ago.

The first band to hit the stage, precisely at 8pm, was Los Angeles, California-based Doom Metal newcomers EARLY MOODS, and I must say I was truly impressed by the high quality of the music crafted by those guys. Spearheaded by frontman Alberto Alcaraz, owner of a very powerful voice by the way, the band played a short but awesome setlist comprised of five songs from their 2022 self-titled debut album (available on their own BandCamp page as well as on Spotify), inspiring all concert goers to follow the band with some nice, nonstop headbanging. Of course, as a guy coming from the always warm Los Angeles, Alberto had to mention the fact the band was definitely not used to the cold weather in Toronto on Friday, but of course we all made sure the temperature inside Lee’s Palace was warm enough for such talented doomers, and if you want to know more about them simply click HERE and enjoy their first-class Doom Metal.

Setlist
Return to Salem’s Gate
Live to Suffer
The Last Hour
A Sinner’s Past
Damnation

Band members
Alberto Alcaraz – vocals
Eddie Andrade – guitars
Oscar Hernandez – guitars
Elix Feliciano – bass
Chris Flores – drums

COVEN

After a quick break, and with the floor section of Lee’s Palace getting a lot busier with several fans wanting to be as close to the stage as possible, it was time for Chicago, Illinois’s own Satanic/Occult Rock institution COVEN to darken the skies and deliver a stunning show for all fans eager for the mesmerizing vocals by the band’s iconic frontwoman Esther “Jinx” Dawson, who kicked off the band’s black mass by leaving a coffin with a cryptic mask, a very nice touch to their show. Blending songs from their 1969 cult debut Witchcraft Destroys Minds & Reaps Souls with songs form their 1974 classic Blood On The Snow and their latest effort Jinx, released in 2013, it was a wild and fun journey back in time alongside Jinx and her henchmen Alex Kercheval on keyboards, Chris Wild on the guitars, Zayne Hutchison on bass, and Colin Oakley on drums, all undoubtedly born several years (or decades) after Jinx had already started rocking the world with her witchcraft-infused rock music.

As the great frontwoman and person that she is, Jinx made sure she properly introduced each member of the band to show everyone she’s not a solo artist, and that introduction to the boys was actually quite entertaining when she said for example that she met bassist Zayne Hutchison at a graveyard and simply “offered him a gig”. That’s how anyone should treat their band members, I must say. Back to the music, it was crystal clear that songs like Black Sabbath, the closing tune Blood on the Snow, and in special the fan-favorite Wicked Woman, were the most anticipated of their fantastic setlist, inspiring all fans to dance, headbang and raise their horns until the very last second. Jinx and her Coven are a brilliant act that’s worth every single penny to witness live, and hopefully we’ll see more of the trailblazers of Occult Rock sooner than later here in Toronto.

Setlist
Prelude / Satanic Mass
Out of Luck
Black Sabbath
Coven in Charing Cross
Wicked Woman
Black Swan
The Crematory
Epitaph
For Unlawful Carnal Knowledge
Blood on the Snow

Band members
Esther “Jinx” Dawson – vocals
Alex Kercheval – guitars
Chris Wild – guitars
Zayne Hutchison – bass
Colin Oakley – drums

LUCIFER

It was already part 10pm when the main attraction of the night, Stockholm, Sweden-based Heavy/Doom Metal/Rock masters LUCIFER, delivered one of the coolest and most melodic performances the city of Toronto has seen in the past few years. From the very first notes of Ghosts to the last seconds of Reaper on Your Heels, the band formed of frontwoman Johanna Platow Andersson (aka Johanna Claudia Sadonis or Johanna Sadonis), guitarists Linus Björklund, Martin Nordin, and bassist Harald Göthblad, plus guest drummer Chad Walls of bands like Dislimb, The Living Fields and Postulated (as their drummer Nicke Andersson was apparently busy with his other band The Hellacopters in Europe), kicked some serious ass, playing all of their songs to perfection and, consequently, fully captivating the minds and the hearts of all fans at the venue.

My favorite songs from their relatively short setlist were by far Crucifix (I Burn for You) and Bring Me His Head, both from their 2021 highly acclaimed album Lucifer IV, plus their newest single A Coffin Has No Silver Lining, from their upcoming 2024 album Lucifer V (to be released in January), showing that we can expect another beast of an album by those Swedish rockers next year. Hence, you can enjoy all songs from their beautiful setlist on Spotify, and click HERE for all things Lucifer. Last but not least, just like what happens with almost all non-Canadian bands that come to Canada, the wonderful Johanna (and let me say it was nearly impossible NOT to focus on her during the entire show, because she’s simply perfect) told a quick story about when the band was crossing the border form the US to Canada. Not only Johanna said that she was still in her pajamas when the tour manager woke the entire band up right when they were about to cross the border, but she also said that the immigration officer at the border asked them the name of the band. She made a very funny face and said “Ahn… Lucifer…”, proving that’s not an easy name for a band to carry due to all bullshit most religious figures impose on our society. Well, in the end the band made it to Canada, kicked our asses in Toronto, and hopefully when Lucifer V is released we’ll experience another night of blasphemy, doom, witchcraft and the enchanting music by Lucifer in the city.

Setlist
The Funeral Pyre
Ghosts
Midnight Phantom
Wild Hearses
Crucifix (I Burn for You)
Leather Demon
A Coffin Has No Silver Lining
Mausoleum
Bring Me His Head

Encore:
California Son
Reaper on Your Heels

Band members
Johanna Platow Andersson – vocals
Linus Björklund – lead guitars
Martin Nordin – rhythm guitars
Harald Göthblad – bass
Nicke Andersson – drums

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Concert Review – Suffocation & Incantation (Lee’s Palace, Toronto, ON, 11/13/2023)

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Four of the best Death Metal bands of the current scene worldwide delivered a night of sheer brutality, rage and endless circle pits last night in Toronto.

OPENING ACTS: Stabbing and Skeletal Remains

What a night of brutality and circle pits in Toronto, my friends! SUFFOCATION and INCANTATION, with very special guests SKELETAL REMAINS and STABBING, put on a sensational performance for the delight of all attendees at Lee’s Palace last night during their Ancient Unholy Uprising Tour 2023. Although it might be getting colder and colder in Toronto as winter is almost upon us, all four bands made sure we remained as warm as possible while they blasted their instruments on stage in the name of our good old Death Metal. I just think the venue should have opened their doors a little earlier than 6:30pm to give everyone enough time to buy merch and have a few drinks, but nothing that would make the whole night less enjoyable, of course.

Shortly after the doors opened, the first band of the night, Houston, Texas-based Brutal Death Metal entity STABBING, kicked of the Death Metal ceremony with a ruthless and demonic performance spearheaded by the she-demon Bridget Lynch, who by the way looked possessed on stage and made it almost impossible to see her face during the entire show. Having released the album Extirpated Mortal Process in 2022, plus a brand new demo earlier this year, the quartet showed no mercy for our necks and bodies, demanding some vigorous headbanging and already inspiring the crowd to slam into the circle pit frantically, playing songs such as Inhaling The Dead, Gutted By The Beast, and Pulsing Wound with endless rage and dexterity. If you know nothing about Stabbing, go check their wicked and beyond brutal creations on BandCamp and on Spotify, and if you’re attending any of the shows form this tour make sure you get to the venue in time to witness Bridget and the boys crushing the souls of the lighthearted on stage. You’re going to love it!

Setlist
Inhaling The Dead
Final Flesh Feast
Gutted By The Beast
Visions Of Eternal Suffering
Vortex Of The Severed Dead
Ravenous Psychotic Onslaught
Pulled Apart
It Ends With Flames
Pulsing Wound

Band members
Bridget Lynch – vocals
Marvin Ruiz – guitars
Matt Day – bass
Nat Conner – drums

After a quick intermission (and by the way, kudos to the house DJ for playing tons of Death and Thrash Metal songs during the breaks instead of some generic stuff), it was time for Whittier, California’s own Death Metal squad SKELETAL REMAINS to ignite some of the sickest mosh pits of the night armed with their sonic savagery and heaviness. If I said it was almost impossible to see Bridget’s face during Stabbing, well, it was ABSOLUTELY impossible to see the face of vocalist and guitarist Chris Monroy during Skeletal Remains. Was it really him on stage? Jokes aside, it was another phenomenal display of classic Death Metal by the quartet, with drummer Pierce Williams sounding infernal throughout the entire concert. Blending songs from all of their four amazing albums, including their latest one The Entombment of Chaos, released in 2020, plus their brand new single Void of Despair (and judging by how demolishing the new song is, we should get ready for another merciless Death Metal attack by those guys in their upcoming album), those American metallers pulverized everyone who dared to brave the nonstop circle pit at Lee’s Palace, and if you want to get a sense of how vile and thunderous their music sounds before seeing them live, I recommend streaming all of their catalogue on Spotify. And on a side note, I must say Skeletal Remains had the best merch available hands down, offering so many cool shirts and other items you must see their merch stand to believe it.

Setlist
Void of Despair
Parasitic Horrors
Beyond Cremation
Illusive Divinity
Internal Detestation
Conquer
Congregation of Flesh
Torture Labyrinth
Tombs of Chaos

Band members
Chris Monroy – vocals, guitars
Mike De La O – guitars
Brian Rush – bass
Pierce Williams – drums

INCANTATION

One of the main attractions of the night, Johnstown, Pennsylvania’s own Death Metal machine INCANTATION, was supposed to have started their concert at around 8:35pm, but it was already past 8:45pm when they finally hit the stage. That small delay didn’t mean anything to their avid fans at all, because as soon as they began playing the first notes from the opening song Concordat (The Pact) I it was absolute carnage and violence in the floor section with a wild circle pit that looked like it was going to last forever. The new songs from their recently launched beast Unholy Deification, such as Invocation (Chthonic Merge) X, worked really well mixed with some of their most demolishing classics, while the band’s iconic frontman John McEntee kept his horns high in the air every single second he wasn’t shredding his guitar, being always promptly followed by all of the band’s diehard fans in the pit.

One of the funniest moments of the concert happened between two of the songs from their setlist when John said that every single time Kyle hits his drums, a poser dies. Guess what? Kyle hit his drums, and John simply said “another poser just died”. A simple but effective joke that added an extra touch of intimacy to their incendiary performance, building an even stronger connection between the band and their fans. Hence, if you want to feel all the fury blasted by Invocation and get more than prepared for their killer concert in your city, you can stream all of their wicked creations on BandCamp and on Spotify, warming up your blood vessels for the music by one of the most hardworking and vibrant veterans in the history of Death Metal.

Setlist
Concordat (The Pact) I
Rites of the Locust
Carrion Prophecy
Shadows of the Ancient Empire
Fury’s Manifesto
Blasphemous Cremation
Ascend Into the Eternal
Chalice (Vessel Consanguineous) VIII
Invocation (Chthonic Merge) X
The Ibex Moon
Impending Diabolical Conquest

Band members
John McEntee – vocals, guitars
Luke Shively – guitars
Chuck Sherwood – bass
Kyle Severn – drums

SUFFOCATION

It was a little past 10pm when Long Island, New York-based Brutal/Technical Death Metal institution SUFFOCATION began their violent, ruthless performance, and I honestly don’t know how all photographers, including my friend Keith Ibbitson of Lower Eastside Photography and Kim Baarda, managed to take proper photos of Suffocation or of any of the other bands without a barrier separating them from the crowd, as they had to endure all mosh pits while holding their cameras. It was insane, and I must say they’re really brave for facing that. Promoting their brand new opus Hymns from the Apocrypha (their first without Frank Mullen on vocals), the band now fronted by the talented growler Ricky Myers (Disgorge, Sarcolytic) simply kicked us all in the ass with their fast, heavy and evil songs, including some newborn killers the likes of Seraphim Enslavement, Dim Veil of Obscurity, and the title-track Hymns From the Apocrypha, all by the way available on Spotify.

There was this guy who spent more time up in the air doing crowd surfing than actually standing on his feet. I don’t know his name, but holy shit, he was going up and down the stage pretty much the entire time doing crowd surfing. Does anyone know his name? He deserves a medal for crowd surfer of the year. Anyway, one of the coolest moments during Suffocation’s thunderous concert, if not the coolest moment of the entire night, was when Bridget from Stabbing joined the band on stage and made one of the most visceral duos in the history of Death Metal with Ricky, with both growling, barking and roaring like beasts for our total delight. And suffocation kept the momentum going nutil the very last second of their show, leaving us all eager for more of their music in a not-so-distant future, and proving once again that singing about death, murder, blood, gore and so on can indeed put a smile on ourfaces, just like what happened last night in Toronto.

Setlist
Catatonia
Seraphim Enslavement
Breeding the Spawn
Dim Veil of Obscurity
Pierced From Within
Funeral Inception
Perpetual Deception
Bind Torture Kill
Hymns From the Apocrypha
Liege of Inveracity
Infecting the Crypts

Band members
Ricky Myers – vocals
Terrance Hobbs – guitars
Charlie Errigo – guitars
Derek Boyer – bass
Eric Morotti – drums

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Album Review – Arborescence of Wrath / Inferno (2023)

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This multi-national Technical Black and Death Metal entity will crush you with their vicious debut album, one of the most extreme displays of aggression in the style in recent times.

After simmering behind the scenes for quite some time, the multinational Technical Black/Death Metal  horde Arborescence of Wrath has finally unleashed their vicious debut album, simply titled Inferno, which promises to be one of the most extreme displays of aggression in the style in recent times. Comprised of a beyond formidable lineup with members from France, Germany and the United States, those being vocalist Jason Keyser (Origin), guitarists Michel Beneventi and JP Battesti, bassist Charles Collette (Benighted), and world renowned drummer Simon Schilling (Marduk), the band offers some superbly composed music with thought out structures and variations in their newborn spawn, only delivered out of pure anger with blistering speed and oppressive intensity. Add to that the incendiary artwork by Santiago Francisco Jaramillo of Triple Seis Design and there you have one of the strongest candidates for Death Metal album of 2023, a must-listen for fans of Hate Eternal, Krisiun, Hour of Penance, Origin, Depravity and Deathfuckingcunt, among other names who definitely know how to blend the most visceral side of metal music with first-class musicianship.

Wrath is a freakin’ massacre from the very first second, with Simon proving why he’s the drummer for Marduk and now also for Arborescence of Wrath while Jason also provides us all with his bestial roars in a lecture in Black and Death Metal. Then we have Carnage, and the name of the song says it all as Michel and JP sound inhumane with their ravenous riffage, supported by the thunderous bass by Charles. Needless to say, this is not recommended for the lighthearted. Their infernal onrush of extreme music goes on in full force in Hangman, again showcasing Jason’s demonic screams while Simon continues to hammer his drums in the name of Black Metal; followed by Relentless Infights, another bestial devastation by Arborescence of Wrath spearheaded by the fulminating blast beats by Simon, whereas after a sinister, operatic start the music explodes into sheer savagery in Holier Than You, again presenting a demented guitar work by Michel and JP for our total delight.

There’s no sign of slowing down for this multi-national blackened beast, as they keep destroying our souls with Cleansing Termination, bringing to our avid ears more of their sick riffs, fulminating drums, and the venomous guttural by Jason, and it’s then time to slam into the circle pit like there’s no tomorrow to the sound of Temple of Ashes, keeping the album at a high level of aggressiveness and insanity while Simon blasts his drums in great fashion until the very last second. Repentance, the last original song of the album, will send shivers down your spine, with its initial eerie intro merging flawlessly with the song’s deep, demonic sonority, resulting in six minutes of top-of-the-line Technical Black and Death Metal. And lastly, we’re treated to their cover version for Immolation’s classic Into Everlasting Fire (check the original version from their 1991 album Dawn Of Possession by clicking HERE), with the band’s own rendition of such demonic aria sounding just as hellish and thunderous as the original one.

This demonic album of first-class Technical Black and Death Metal can be appreciated in all of its (devilish) glory on YouTube and on Spotify, but you should definitely purchase your favorite version of it from the Transcending Obscurity Records’ BandCamp page or webstore as a digipak CD in the US or in Europe, or as special CD + shirt combo also in the US or in Europe. Don’t forget to also start following this demented creature from the underworld on Facebook for news and more of their music, and hopefully we’ll be able to see this multinational entity live somewhere in the near future. Inferno is not only about pure hatred and aggression, but it also showcases a band that’s beyond focused and sharp, consequently placing the album as one of the best of 2023 and the band as one of the driving forces of the newest generation of Extreme Metal.

Best moments of the album: Wrath, Carnage, Relentless Infights and Temple of Ashes.

Worst moments of the album: None.

Released in 2023 Transcending Obscurity Records

Track listing
1. Wrath 3:55
2. Carnage 3:58
3. Hangman 4:42
4. Relentless Infights 5:01
5. Holier Than You 6:10
6. Cleansing Termination 3:06
7. Temple of Ashes 4:06
8. Repentance 6:03
9. Into Everlasting Fire (Immolation cover) 5:33

Band members
Jason Keyser – vocals
Michel Beneventi – guitars
JP Battesti – guitars
Charles Collette – bass
Simon Schilling – drums

Metal Chick of the Month – Donna Diane

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Cover your heads… No one escapes my hell… On all you know!

It’s time to make a lot of noise here at The Headbanging Moose, courtesy of our multitalented, unstoppable metal lady of this month of November. Pulling triple duty for Chicago, Illinois-based Noise Rock duo Djunah, simultaneously singing, playing the guitar, and playing a Moog bass organ with her feet (which is the reason why they like to say that they have “a leg for a bassist”), she will blow your mind with her undeniable charisma and skills, in special her powerful, unrestrained vocal style, channeling all her mental health issues through her music in the best way imaginable. Get ready to be absolutely stunned by the one and only Donna Diane, letting her music penetrate deep inside your soul and touch your heart in the name of our good old Rock N’ Roll.

Drawing a broad range of comparisons from PJ Harvey and Diamanda Galás to Melvins, the independent Noise Rock project Djunah (pronounced “JUNE-uh”) pairs Donna’s powerful, unrestrained vocal style with crashing guitar riffs and heavy, punishing drums courtesy of drummer Jared Karns (Their/They’re/There, Hidden Hospitals), blending elements from Noise Rock with Post-Metal, Post-Doom, Post-Hardcore and so on to give their sound a very unique taste. Known for their massive, intense live sound, the duo was formed back in 2018 fueled as much by big emotions as it is by love of gear. Donna and Jared have already released the singles Built and Brother, both in 2018 (and both also available as amazing videos on YouTube by clicking HERE and HERE, respectively), followed by their debut full-length album Ex Voto, in 2019, and more recently their sophomore effort Femina Furens, in the first quarter of 2023. For instance, you can find all of their noisy creations on BandCamp and on Spotify, and some of their wicked songs also on YouTube, including the excellent Animal Kingdom and Seven Winds of Sekhmet, or click HERE for all things Djunah.

Speaking about the single Brother, it’s important to say that the song not only features the voices of Anita Hill, Ana Maria Archila, Maria Gallagher and Christine Blasey Ford, but even more important than that, 100% of all sales are donated to Brave Space Alliance, the first Black-led, Trans-led LGBTQ+ center located on the South Side of Chicago. This is a very strong statement of the political and social aspect of the music by Djunah and the importance of discussing such themes to Donna, which means if you want to join her in her everyday fight against prejudice and inequality, you should definitely purchase the single from Djunah’s own BandCamp page. That’s a very good example of exactly how music can have a strong and lasting positive impact in our lives.

Their most recent opus, titled Femina Furens, also has a deep, emotional meaning to Donna. Femina Furens, which is Latin for “furious woman”, fuses influences from poetry the likes of Gerard Manley Hopkins, Sylvia Plath and John Donne, and heavy music such as PJ Harvey, Hum and Neurosis to tell the story of diagnosis and continuing recovery from complex post-traumatic stress disorder, or C-PTSD, with its artwork being inspired by representations of the divine feminine in 1970’s Sci-Fi Metal art, particularly the work of French artist Philippe Caza for “Métal hurlant” (later republished in the United States as “Heavy Metal” magazine). Animals, chariots or sleighs, and mythological figures appear prominently on the album as a way of exploring themes of emotional regulation, power and control, some of the core features of trauma disorders.

“We’re heavy, noisy, and still fairly melodic. If you like aggressive guitar, big drum fills, and an even ratio of singing to shouting, you’ll probably like us,” commented Donna, and you can easily sense the impact of all of her main idols influences in the music by her beast Djunah. For instance, she listens to a lot of early and pre-war Blues, Soul and R&B, with some of her favourite singers being Tina Turner and Lou Rawls, while she also loves Bo Diddley. However, it’s not just music that inspires her. “I’d say the majority of my influences are nonmusical because it makes for more interesting art that way. Some influences are related to the gear I use and building songs around those sounds. Politics had an incredibly strong influence on the album – songs like Built, Bless Your Money, and Mirrors for Narcissists are good examples of that. Messing around with poetry and meter is also a big source of inspiration for me. The name Djunah actually derives from one of my favorite writers, Djuna Barnes, eternal queen of the ungodly long sentence.”

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Donna is (or was) also part of a Chicago-based slashy, bass-Heavy Rock trio named Beat Drun Juel, where she’s responsible for the vocal and guitar duties while Jesse Giallombardo takes care of bass and Mat Haywood of drums. This project came before the creation of Djunah, having released so far a demo EP titled Off Your Face, back in 2014, followed by the two-track EP This Is How I Get Over You / That Boy Musta Stole Something of Mine, in 2015, and the full-length album Suppressor, in 2016, all available on their BandCamp page. Furthermore, you can also go to the project’s official YouTube channel and enjoy their videos for the songs That Boy Musta Stole Something of Mine, Hugger, and Die Unknown. I believe the band is either done or on hold due to Djunah, but you never know if or when Donna will revisit it in the near future.

Donna was also featured on Premier Guitar’s Rig Rundown back in 2020, where she talked about how she managed to learn how to play two instruments at the same time live, plus of course singing. “I actually dove right into it. The most time-consuming part was learning about synthesis because I’d never used an analog synthesizer before. I played a few solo shows with the bass organ first to see if it was something viable to do on stage. Then Nick and I started playing together, and it took us just a couple months to get a set together. I will say I’ve improved a lot over the two years I’ve been doing it. I’m constantly developing technique and changing my setup to help me to do more complex things. So, it’s always a work in progress,” commented our multi-talented diva, also saying that she believes people enjoy the show a lot in intimate settings when they can see what she’s doing up close. “It was definitely a case of necessity being the mother of invention. My old band had ground to a halt, and I wanted a way to play solo without sacrificing the bass. I don’t like using prerecorded sounds or loops, so I decided to try playing guitar and a bass synth simultaneously. It’s such a mindfuck – I love it!”

In April 2021, Donna opened up about being diagnosed with complex post-traumatic stress disorder, or C-PTSD, a disorder caused by complex trauma, or multiple traumas sustained and repeated over time. “Complex trauma can take many forms, such as domestic violence or abuse in childhood (as in my case), and it can have painful, lifelong consequences,” commented Donna, who believes it’s extremely important for anyone suffering from their own sicknesses and traumas to search for help and support, also pointing out the importance of music in that process. “Every day, people come forward with personal stories about sexual assault or opioid addiction or mental illness, and we’re slowly learning as a society to embrace that vulnerability instead of shaming it and telling it to shut up. I want to make music that represents the power of that vulnerability. A lot of my life, I was told I was too sensitive and that being sensitive is weak. So, I killed off a lot of the feeling, in my heart and in my body, just to make it through the day. Reclaiming it and finding power in it has been incredibly healing for me. I think that’s why there’s a lot of sexuality in the music. Sex, to me, is the ultimate in combining sensitivity and power. I sometimes think of it as feminine power, but really it has no gender.” Hence, if you or someone you know need help, you can call the suicide crisis line at 1-800-273-8255 or text 741741, and also search for valuable resources at the No Shame On U website (Chicago only or nationwide).

There are several online interviews with Donna that will show you how amazing she is, and everything she’s doing to take the name of Djunah to new heights. In this one to Car Con Carne Podcast, for example, she talks about her journey and her fight against her personal issues and struggles with C-PTSD; then two years later, she joined Car Con Carne Podcast again in an episode called ‘she who is powerful’ to talk about Djunah’s newest album Femina Furens. There’s also a podcast named Conversations With Dwyer where Donna talks about playing in Chicago dive bars at 17, how she went from writing a novel to music, the DIY ascent of her band and her struggles with C-PTSD; and another one called Mid-Riff where Donna discusses inventing bass organ techniques, dressing like Steve Albini, mentorship, the impact of trauma therapy on music, and much more. Having said all that, what are you waiting for to know more about the unstoppable Donna Diane and her Djunah? Let there be rock, and let there be noise.

Donna Diane’s Official Instagram
Djunah’s Official Facebook page
Djunah’s Official Instagram
Djunah’s Official YouTube channel
Djunah’s Official BandCamp page
Djunah’s Official Spotify

“Music is a physical, full-body experience for me anyway, so playing with my whole body – and controlling so much of the frequency spectrum – only deepens that.” – Donna Diane

Album Review – Autopsy / Ashes, Organs, Blood And Crypts (2023)

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Oakland, California’s own Death Metal institution is back with their pulverizing ninth studio album, featuring brutal bouts of riffery feral attacks, soul crushing doom and all out skull splitting heaviness.

Likely needing no introduction, Oakland, California’s own metal institution Autopsy has been a pioneering Death Metal band for 36 years now. They’ve influenced a generation of bands with their brutal, unhinged brand of violent, grotesque Death Metal with classic releases like Mental Funeral and Severed Survival, and now in 2023 the band formed of Chris Reifert on vocals and drums, Eric Cutler on vocals and guitars, Danny Coralles on the guitars, and Greg Wilkinson on bass returns to the battlefield with their ninth studio album, titled Ashes, Organs, Blood And Crypts. Recorded by Scott Evans and Greg Wilkinson at Sharkbite Studios, mixed by Greg Wilkinson at Earhammer Studio, mastered by Ken Lee at Ken Lee Mastering, and displaying a visceral artwork by Wes Benscoter, the album follows last year’s acclaimed Morbidity Triumphant, while also featuring brutal bouts of riffery feral attacks, soul crushing doom and all out skull splitting heaviness recommended for fans of Obituary, Suffocation, Immolation and Deicide, just to name a few.

Eric and Danny begin their rabid riff attack in Rapid Funeral, a no shenanigans, ass-kicking Death Metal composition that exhales heaviness, rage and violence, and the band needs a little less than three minutes to crush our cranial skulls in Throatsaw, with the hammering drums by Chris walking hand in hand with all deep, guttural vocals blasted throughout the song. Then slowing things down a bit but keeping the atmosphere dark and evil we have No Mortal Left Alive, with Greg adding an extra touch of obscurity to the overall result with his low-tuned bass; whereas their devilish riffs and bass accompanied by the ruthless drums by Greg will haunt your souls in Well of Entrails, offering more of the band’s trademark Death Metal, followed by the title-track Ashes, Organs, Blood and Crypts, where not only they continue to demolish our senses with their undisputed extreme sounds, but there are also hints of Progressive Death Metal and even Doom Metal added to it to make things even more infernal.

And the band’s guitar duo shows no mercy for our spinal cords in Bones to the Wolves, inspiring us to slam into the pit while they deliver sheer awesomeness through their riffs and solos; whereas their guitar madness goes on in Marrow Fiend, also presenting their traditional harsh growls spiced up by the doomed beats by Chris, followed by Toxic Death Fuck, and a beautiful name obviously needed an uncompromised, demonic sonority, which is exactly what Autopsy offer us all with the guitars by Eric and Danny exhaling heaviness. Get ready to break your neck in the name of Death and Doom Metal in Lobotomizing Gods, once again proving why Autopsy are one of the most beloved bands of the underworld, and it’s then time for a destructive onrush titled Death Is the Answer, perfect for diving into the circle pit in the name of gore and violence, with Chris dictating the song’s pace with his demolishing beats. Lastly, the quartet invests in their most Doom Metal vein in Coagulation, bringing to our avid ears gargantuan, vile roars, disturbing riffs and sluggish beats until the very end.

You can see what such important name of the Death Metal scene is up to on Facebook and on Instagram, stream all of their incendiary albums on Spotify, and of course grab your copy of Ashes, Organs, Blood And Crypts by clicking HERE. Based on the quality of the music found in their 2022 album Morbidity Triumphant, and specially on their newborn beast Ashes, Organs, Blood And Crypts, the guys from Autopsy are far from calling it quits, keeping the fires of old school Death Metal burning and, consequently, inviting us all to get into the pit together with them like there’s no tomorrow, and may we keep getting more and more albums of pure, unfiltered Death Metal like their latest installment in the coming years.

Best moments of the album: Throatsaw, Ashes, Organs, Blood and Crypts and Death Is the Answer.

Worst moments of the album: No Mortal Left Alive.

Released in 2023 Peaceville Records

Track listing
1. Rapid Funeral 5:02
2. Throatsaw 2:31
3. No Mortal Left Alive 4:35
4. Well of Entrails 5:06
5. Ashes, Organs, Blood and Crypts 3:45
6. Bones to the Wolves 4:16
7. Marrow Fiend 3:32
8. Toxic Death Fuck 2:41
9. Lobotomizing Gods 2:34
10. Death Is the Answer 3:41
11. Coagulation 3:38

Band members
Chris Reifert – vocals, drums
Eric Cutler – vocals, guitars
Danny Coralles – guitars
Greg Wilkinson – bass

Album Review – Sadistic Force / Midnight Assassin (2023)

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This Texas-based three-piece Black and Thrash Metal outfit is ready to kill armed with their incendiary sophomore opus, inspired by true crime and 80’s slasher films.

Following the release of their critically-acclaimed 2021 debut album Aces Wild and an impressive 11-date UK tour, Austin, Texas-based three-piece Black/Thrash Metal horde Sadistic Force returned to Texas to work on their upcoming sophomore opus, titled Midnight Assassin. Recorded by J. Petri at Come and Track It, mixed by Noah Buchanan at Mercinary Studios, mastered by Joel Grind, and featuring a sick cover art by Timbul Cahyono, Midnight Assassin is an album positively dripping with sinister undertones brought into being by founder James Oliver on vocals and guitars (who fully immersed himself in the writing process, devouring countless hours of true crime and 80’s slasher films for inspiration), Blaine Dismukes on bass and backing vocals, and Jose Alcaraz on drums, being highly recommended for admirers of the darkest and most sulfurous side of Thrash and Speed Metal.

Composed and recorded by Long Island, New York-based Thrash Metal entity Electrocutioner, The Unseen Force is a cryptic intro that sets the stage for Sadistic Force to crush us all in Corpsewood Curse, with the razor-edged riffs by James together with the rumbling bass by Blaine inspiring us all to slam into the pit in the name of pure evil in a lecture in Blackened Thrash Metal. And the band shows no mercy for our souls with the demonic Speed Metal hymn Speeding Black Leather Hell, where Jose dictates the song’s thrashing pace and James delivers his raspy, dirty roars nonstop; whereas the title-track Midnight Assassin will put you to bang your head together with those American metallers, with the growls by James walking hand in hand with his own striking riffage. Then Jose kicks off the Motörhead-infused chant Nuremburg Nights, showcasing the band’s trademark guitars lines, rumbling bass and classic Thrash Metal drums.

There’s no sign of slowing down as they keep attacking our senses with their fusion of Black and Speed Metal in The Butcher’s Apron, a very technical yet extremely devilish creation by the trio highly recommended for some fun action inside the circle pit; and Blaine will smash your head with his metallic bass in Marked for Death, another song perfect for some vigorous headbanging spearheaded by the classic beats by Jose, sounding a lot more melodic than the other songs from the album. Their Rock N’ Roll vein arises in Campaign of Sin, with the guitar lines by James sounding sharp and incendiary in this fun mid-tempo tune, once again presenting a vibrant Motörhead taste that will certainly compel you to raise your horns, whereas closing this insane album of Thrash Metal we have Howl of the Horde, a hurricane of harsh roars, visceral riffs and crushing beats that will inspire even non-fans of this type of music to slam into the circle pit.

“Midnight Assassin is a record steeped in blood and terror,” said the band’s mastermind James Oliver. This comes as no surprise considering the source material with songs inspired by serial killers, stalkers and necrophiliacs, transporting the listeners into a dark and twisted sonic arena that exposes the harsh realities of human depravity and violence. Hence, don’t forget to follow those Thrash Metal slashers on Facebook and on Instagram for news, tour dates and so on, to stream more of their demented creations on YouTube and on Spotify, and of course to purchase a copy of Midnight Assassin from the band’s own BandCamp page or from the Goat Throne Records’ BandCamp page (or you can click HERE for all things Sadistic Force). Do you have what it takes to survive the Black and Thrash Metal attack by Sadistic Force in their new album? If your answer is yes, just get into the pit and enjoy such excellent opus by this up-and-coming trio from Texas, but get ready because, as you know, there will be blood.

Best moments of the album: Corpsewood Curse, Speeding Black Leather Hell and Howl of the Horde.

Worst moments of the album: None.

Released in 2023 Goat Throne Records

Track listing
1. The Unseen Force 0:31
2. Corpsewood Curse 6:03
3. Speeding Black Leather Hell 4:57
4. Midnight Assassin 5:19
5. Nuremburg Nights 4:33
6. The Butcher’s Apron 4:49
7. Marked for Death 5:52
8. Campaign of Sin 3:34
9. Howl of the Horde 5:02

Band members
James Oliver – vocals, guitars
Blaine Dismukes – bass, backing vocals
Jose Alcaraz – drums, additional vocals

Guest musicians
Evelyn Albarran, Chris Hall, Austin Harris & Marcello Murphy – additional vocals
Electrocutioner – everything on “The Unseen Force”

Concert Review – Wolves In The Throne Room (Lee’s Palace, Toronto, ON, 10/04/2023)

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If harsh and cryptic Atmospheric Black Metal runs through your veins, then the city of Toronto was the perfect place for you to be last night.

OPENING ACTS: Hoaxed, Gaerea and Blackbraid

After all the Maidenmania that took over Western Canada last week, the underground called me back last night in Toronto for a wild feast of Atmospheric Black Metal (and some Dark Rock) by HOAXED, GAEREA, BLACKBRAID and WOLVES IN THE THRONE ROOM during their Crypt Of Ancestral Knowledge North American Tour 2023 at Lee’s Palace, which by the way felt like a true sauna due to the increasing heat during the entire night. Also, I’m glad I had the support of my friend Keith Ibbitson of Lower Eastside Photography for some amazing shots, because the circle pits were too intense while I was at the same time too tired to brave those. It was a very warm and pleasant night in Toronto, which is why I believe there were so many metalheads at the venue, making it a successful and memorable event for all bands and fans.

However, due to the intense traffic conditions during rush hour, I wasn’t able to arrive in time for the first band of the night, Portland, Oregon-based Dark Rock trio HOAXED, but I only heard good things about their show even though they were the “lightest” band last night, or the only one that doesn’t play any sort of Black Metal. Formed of Kat Keo on vocals and guitars, April on bass, and Kim Coffel on drums, the band released last year the album Two Shadows, and they played several songs from that album as part of their setlist, so if you’re curious to know more about their music simply visit their BandCamp page or Spotify and you’ll be able to stream all of the creations by those three talented girls.

Setlist
The Call
Guilty Ones
For Love
The Knowing
Riders
Dam
High Seas
Candle Master

Band members
Kat Keo – vocals, guitars
April – bass
Kim Coffel – drums 

As I arrived to the venue, everyone was outside having a smoke or getting some not-so-fresh air (as the temperatures in Toronto this beginning of October are hot like summer), a few minutes before one of the two bands I really wanted to see live hit the stage. I’m talking about Portuguese Black Metal entity GAEREA, who put on a breathtaking show blasting our ears and minds with what some people like to call “Cathartic Black Metal”. Having recently released the single Dormant (and sorry about that, but I honestly don’t know if they played it or not), plus of course their 2022 full-length masterpiece Mirage, the band led by the uncanny frontman Guilherme Henriques hypnotized us all during their entire performance, with their new guitarist Sonja Schuringa (known for her work with Dutch Death Metal horde Dictated) bringing an extra touch of energy to their already fiery performance. I’m not sure if I got their setlist right, but it doesn’t really matter as all songs sounded insane live, igniting some sick mosh pits and inspiring Guilherme to keep vociferating like a rabid creature nonstop while showing all his love for Toronto. Everyone at the venue loved their performance, which in my opinion was even better than when they opened for Rotting Christ earlier this year in the city, and we can’t wait for another visit of those bringers of darkness and insanity from Portugal. Hence, don’t forget to stream their cathartic music on BandCamp and on Spotify, supporting one of the most innovative and unique bands of the current extreme music scene.

Setlist
Mantle
Salve
Deluge
Urge
Mirage
Laude

Band members
Guilherme Henriques – vocals
Sonja Schuringa – guitars
Unknown – guitars
Lucas Ferrand – bass
Diogo Mota – drums 

The third attraction of the night was also the one I wanted to see the most, and let’s say they didn’t disappoint at all; quite the contrary, Adirondack Mountains, New York-based Atmospheric Black Metal horde BLACKBRAID simply stole the show last night, turning up the heat inside the venue and igniting the sickest circle pits you can think of. Spearheaded by the multi-talented frontman Sgah’gahsowáh (growling like a beast and armed with his amazing Native American flute), the band delivered a sensational concert for all attendees, blending songs form their 2022 album Blackbraid I with their most recent effort, the stunning Blackbraid II. The first three songs of their set, The Spirit Returns, The Wolf That Guides the Hunters Hand and Moss Covered Bones on the Altar of the Moon, sounded brilliant live, and as I mentioned for Gaerea, Blackbraid were even better last night than when they opened for Dark Funeral and Cattle Decapitation in Toronto back in May. There was a wild ovation to the band after their concert was over, and we could all see how happy all band members were, meaning we’ll see them again in Toronto sooner than we can imagine. In addition, if you know nothing about Blackbraid yet, I highly recommend streaming their two superb albums on BandCamp and on Spotify. you’ll fall in love for their music, no doubt about that.

Setlist
The Spirit Returns
The Wolf That Guides the Hunters Hand
Moss Covered Bones on the Altar of the Moon
A Song of Death on Winds of Dawn
Barefoot Ghost Dance on Blood Soaked Soil

Band members
Sgah’gahsowáh – vocals
Y.E. – guitars
Unknown – guitars
DM – bass
Johnny Violence – drums

WOLVES IN THE THRONE ROOM

It was close to 9:30pm when the main attraction of such atmospheric celebration,  Olympia, Washington’s own Atmospheric Black Metal outfit WOLVES IN THE THRONE ROOM, kicked off their absolutely somber, cryptic and eerie performance, and although they’ve just released a new EP titled Crypt of Ancestral Knowledge they didn’t play any of its songs, starting with a few creations from their previous album Primordial Arcana, from 2021, those being the excellent Mountain Magick and Spirit of Lightning, plus songs from all of their old releases. Nathan Weaver, Kody Keyworth, Galen Baudhuin and Cedar Serpent were on fire throughout their entire set, alternating between very atmospheric, Stygian passages and pure savagery, which of course inspired the crowd to start a few demented circle pits, proving Torontonians like to get into the action even during long, atmospheric songs.

The quartet kept the energy and mystery of their concert flowing smoothly until the very end, when it was already close to 11pm, and the reaction of their fans was also amazing despite the fact that it was getting impossible to remain inside Lee’s Palace due to the rising and brutal heat. As soon as their concert was over I rushed out to avoid traffic as I was still tired from my trip out west, but it was awesome seeing so many metal brothers and sisters at the show, and whenever Wolves in the Throne Room return to Toronto I’ll definitely be there for another blast of their Atmospheric Black Metal. They’re also on BandCamp and on Spotify, of course, and in case you have no idea how their Atmospheric Black Metal sounds, I suggest you listen to some of their albums and get ready for a one-way journey into the pits of the underworld.

Setlist
Mountain Magick
Spirit of Lightning
Eostre
Angrboda
Prayer of Transformation
Vastness and Sorrow
I Will Lay Down My Bones Among the Rocks and Roots

Band members
Nathan Weaver – lead vocals, guitars
Kody Keyworth – guitars, vocals
Galen Baudhuin – bass
Cedar Serpent – drums

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