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Album Review – Drawn and Quartered / Lord of Two Horns (2025)

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These American Death Metal beasts will desecrate all that is holy with their new album, a maelstrom of blast-driven violence, suffocating atmosphere, and riff work sharp enough to flay flesh from bone.

Relentless and unwavering, Seattle, Washington-based Death Metal beasts Drawn and Quartered return to desecrate all that is holy with the release of their brand new full-length album, Lord of Two Horns, their ninth studio album and a more-than-worthy follow-up to their 2021 record Congregation Pestilence. Mixed and mastered by Loïc F. at Krucyator Productions, and displaying a sick artwork by Gabriel T. Byrne, the new offering by vocalist and bassist Herb Burke, guitarists Kelly Shane Kuciemba and Brandon Corsair, and drummer Simon Dorfman sees the band deliver eight tracks and 34 minutes of their trademark unfiltered carnage spiced up by their signature early 90’s-influenced Death Metal darkness with more speed and brutality than ever before, proving why they’ve become legends in the underground extreme music scene.

Their opening attack titled Black Castle Butcher is a demented, no shenanigans, and absolutely ruthless display of Death Metal that kicks off the album on an insane mode, with Simon sounding simply inhumane on drums while Herb vomits the song’s devilish words like a true beast. Then the visceral riffage by Kelly and Brandon will peel your flesh like a rabid cannibal in Zealous Depopulation, perfect for some insane action inside the mosh pit; followed by the title-track Lord of Two Horns, showing absolutely no mercy for our putrid bodies and souls, a demonic display of violence led by the infernal roars by Herb who also hammers his bass in great fashion. And Into the Mouth of the Dead is another song with a charming and delicate name that will pulverize your senses to the demented beats and fills by Simon.

The quartet then adds hints of Blackened Death Metal to their core sonority in Three Rivers of Poison (Blasphemous Persecution), showcasing an even darker side thanks to the venomous vociferations by Herb; whereas Simon delivers a freakin’ brutal performance in Grimoire of Blood, providing Kelly and Brandon with exactly what they need to slash their axes in the name of heavy music. Then adding a welcome dosage of Doom Metal to their evil sound we face The Devil’s Work Is Never Done, slower than its predecessors but utterly heavy and caustic, proving how dynamic their music can be; and ending the album we have the two-minute feast of madness and aggression titled Mass Grave Curse, with the entire band crushing their sonic weapons mercilessly until the very last second.

A maelstrom of blast-driven violence, suffocating atmosphere, and riff work sharp enough to flay flesh from bone, Lord of Two Horns is Death Metal crafted to maim, forged in fire and performed with malicious intent, and you can put your blood-soaked hands on such a demented album by purchasing it from the Nuclear Winter Records’ BandCamp or webstore, and don’t forget to also follow the band on Facebook and on Instagram, and to stream their music on Spotify (it looks like there are two links, which means you can stream their albums either HERE or HERE). Lord of Two Horns is a savage display of classic Death Metal, leaving us eager for more of the music by those ruthless American musicians, and if you don’t like what they have to offer in their newborn spawn, well, you should definitely be drawn and quartered.

Best moments of the album: Black Castle Butcher, Lord of Two Horns and The Devil’s Work Is Never Done.

Worst moments of the album: None.

Released in 2025 Nuclear Winter Records

Track listing
1. Black Castle Butcher 3:24
2. Zealous Depopulation 3:23
3. Lord of Two Horns 5:37
4. Into the Mouth of the Dead 4:20
5. Three Rivers of Poison (Blasphemous Persecution) 5:19
6. Grimoire of Blood 3:38
7. The Devil’s Work Is Never Done 5:33
8. Mass Grave Curse 2:00

Band members
Herb Burke – vocals, bass
Kelly Shane Kuciemba – lead & rhythm guitars
Brandon Corsair – guitars
Simon Dorfman – drums, percussion

Album Review – Lacabra / Lacabra (2025)

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Arising from a previous band out of the ashes of the Covid-19 pandemic, this five-piece Progressive/Blackened Death Metal act is ready to kill armed with their debut offering.

Arising from a previous band named Locisteller, out of the ashes of the Covid-19 pandemic, Seattle, Washington-based Progressive/Blackened Death Metal act Lacabra is ready to kill armed with their self-titled debut offering, showcasing an array of eclectic influences from traditional Heavy Metal, Dark Wave, Black Metal as well as 90’s Melodic Death Metal. Produced by Gwen Kerjan at Slab Sound Studio, mastered by Andy LaRocque at Sonic Train Studios, and displaying a sinister artwork by world renowned illustrator Néstor Ávalos, the album is a must-listen for fans of Goatwhore, Crypta, Nervosa, Blood Incantation, and Amorphis, effectively depicting all the dexterity and passion for heavy music by Lance Neatherlin on vocals, Michael Anthony and Eric Snyder on the guitars, Eric Weber on bass, and Richie Sather on drums.

A darkly atmospheric intro sets the stage for Lacabra to summon the dark forces in Blood Of The Goat 1876, offering a solid blend of Blackened and Melodic Death Metal led by the striking riffs and solos by Michael and Eric Snyder. Lance’s enraged vocal lines are the main ingredient in the striking Fallacy, where the progressiveness flowing from their guitars, bass and drums is amazing; and it’s time to bang our heads nonstop together with Lacabra in Human Quilt, where the metallic sound of their guitars walk hand in hand with the massive beats by Richie. And another shot of eerie sounds ignite Nothing, where the band fires an even darker sonority led by the devilish gnarling by Lance.

The band then enhances their animosity and delivers an overdose of aggressive sounds in Reprobate, leaning towards a more classic version of Black Metal, with Richie stealing the show with his intricate yet demented drumming; whereas Enemy (Feeding The Flames) is indeed a flammable display of blackened music, with Lance roaring manically supported by the unstoppable riffs by Michael and Eric Snyder. Such an evil horde shows no sign of slowing down at all in I Am Thee, crushing our frail bodies with their Blackened Death Metal attack mercilessly, while a more cadenced side of the band arises in The Devil’s Mechanic, with their Melodic Death Metal riffs and beats reminding me of In Flames and Dark Tranquillity. They end the album with Fractured, which is in my opinion the most electrifying of all songs, delivering sheer adrenaline and heaviness and, therefore, inviting us all to slam into the pit like there’s no tomorrow.

The guys from Lacabra are not fooling around when it comes to crafting heavy, enraged, dark and melodic music, and you can give them a shout and show them all your respect by following them on Facebook and on Instagram, as well as by streaming their music on Spotify, and put your dirty hands on their infernal debut opus by purchasing it from their own BandCamp or from the M-Theory Audio’s webstore. I’m sure Lacabra will soon spread their blackened wings and horns to all four corners of the earth with their live performances, and if the energy flowing from the stage is just as half as good as the music found in their new album, you better be prepared to be crushed like an insect inside the pit, because there will be blood.

Best moments of the album: Reprobate, The Devil’s Mechanic and Fractured.

Worst moments of the album: Nothing.

Released in 2025 M-Theory Audio

Track listing
1. Blood Of The Goat 1876 6:15
2. Fallacy 4:39
3. Human Quilt 3:35
4. Nothing 5:32
5. Reprobate 4:18
6. Enemy (Feeding The Flames) 3:53
7. I Am Thee 5:49
8. The Devil’s Mechanic 3:37
9. Fractured 5:32

Band members
Lance Neatherlin – vocals
Michael Anthony – guitars
Eric Snyder – guitars
Eric Weber – bass
Richie Sather – drums

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

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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Album Review – Greyhawk / Call of the Hawk EP (2022)

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Flying higher than the sky and spreading their wings all over the world, these American metallers are back with a thrilling new EP of old school Heavy and Power Metal.

Equal parts traditional Heavy Metal, Power Metal and shred, Seattle, Washington, United States-based outfit Greyhawk blends the best parts of these styles together to create a high energy, dynamic heavy metal music that fans of Dio, Yngwie Malmsteen, Racer X, Manowar, Visigoth and Judas Priest will rejoice in. Having released their debut EP Ride Out in 2018 and their first full-length album Keepers of the Flame in 2020 to acclaim from both critics and fans alike, the band comprised of Rev Taylor on vocals, Jesse Berlin and Jacquelynn Ziel on the guitars, Darin Wall on bass, and Nate Butler on drums is back with a new EP, entitled Call of the Hawk, continuing the epic metal stylings of the previous releases while also adding some fresh new elements to their music. Mixed and mastered by Deron Daum, recorded by Deron Daum and Shana Daum at MagicMix Studios, and displaying a kick-ass cover art by GrimuzzA, the EP has everything we love in metal music, from blazing guitar solos and driving rhythms to soaring operatic vocals, harkening back to the golden years of Heavy Metal.

Jesse and Jacquelynn begin slashing their stringed axes in Steelbound, generating a classic, metallic atmosphere accompanied by the rumbling bass by Darin, feeling like a fusion of Queensrÿche and Saxon while Nate dictates the song’s imposing pace with his beats. The title-track Call Of The Hawk  brings to our avid ears an old school, in-your-face sonority inspired by 80’s Heavy Metal, with Rev declaiming the song’s epic words in great fashion while the band’s guitar duo stuns us all with their refined riffs and solos; whereas in Demon Star the band offers us all a galloping pace thanks to the awesome job done by Farin and Nate with their thunderous kitchen, presenting elements found in the music by Iron Maiden, Helloween and Iced Earth. Moreover, Rev’s soaring vocalizations sound very theatrical, always supported by his bandmates’ backing vocals. Then we have Shattered Heart, even more melodic and powerful than its predecessors, or in other words, a lecture in 80’s Heavy and Power Metal by Greyhawk showcasing epic vocal lines, reverberating bass and pounding drums, all spiced up by the razor-edged guitars by Jesse and Jacquelynn. Lastly, it’s time for more of their sharp riffs and rhythmic beats in the form of Take The Throne, a very pleasant mid-tempo tune led by Rev’s vocalizations.

In summary, Call of the Hawk, which is available for a full listen on YouTube and on Spotify, keeps the talented and hardworking Greyhawk flying higher than the sky, spreading the band’s wings all over the world with their classic fusion of Heavy and Power Metal. Hence, in order to show those American metallers your utmost support, don’t forget to follow them on Facebook and on Instagram, and of course to purchase their first-class new EP from their own BandCamp page, from the Fighter Records BandCamp page, or from the Xtreem Music webstore. And after an array of excellent albums, I’m sure it won’t take long for Greyhawk to invite us to fly once again on their metal wings with more of their thrilling creations.

Best moments of the album: Call Of The Hawk and Shattered Heart.

Worst moments of the album: None.

Released in 2022 Fighter Records

Track listing
1. Steelbound 4:10
2. Call Of The Hawk 3:56
3. Demon Star 4:07
4. Shattered Heart 3:26
5. Take The Throne 6:40

Band members
Rev Taylor – vocals
Jesse Berlin – guitars
Jacquelynn Ziel – guitars
Darin Wall – bass
Nate Butler – drums

Concert Review – Behemoth (The Danforth Music Hall, Toronto, ON, 11/06/2018)

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Toronto definitely loves Behemoth at their darkest.

OPENING ACTS: Wolves In The Throne Room and At The Gates

If there’s one thing we cannot complain at all in Toronto is the fact that the winter never really hits us hard before the end of December, which means whenever there’s a concert like this Tuesday’s fantastic triumvirate of extreme music with Wolves In The Throne Room, At The Gates and the masters of blasphemy Behemoth at The Danforth Music Hall during their “Ecclesia Diabolica America 2018 e.v.” tour, you can rest assured it will never be too cold nor snowing, allowing any fan to attend the show and have a great time. Well, I guess even if it was -20oC and snowing like hell the concert would have been absolutely SOLD OUT like it actually happened, with about 1,500 metalheads at the venue, and the reason for that is quite simple. All three bands kicked some serious ass with their austere, obscure and hammering music, especially Behemoth, who put up another memorable performance in the city.

I have to admit I didn’t know much about American Atmospheric Black Metal act WOLVES IN THE THRONE ROOM, formed in 2003 in the city of Olympia, Washington, in the United States, before their show opening for At The Gates and Behemoth this Tuesday, and I’m truly happy with them being chosen to do so. Still promoting their 2017 album Thrice Woven (available from their own BandCamp page), the  band comprised of Nathan Weaver on vocals and guitar, Kody Keyworth on the guitar and backing vocals, Peregrine Somerville also on the guitar, the stunning Brittany McConnell on keyboards and Aaron Weaver on drums (and no, they don’t have a bassist) delivered a solid, entertaining and mesmerizing show, playing only three songs but for around 30 minutes, just the way we love it in Atmospheric Black Metal. If you’re still going to see Behemoth during this North American tour, make sure you get to the venue on time for Wolves In The Throne Room, because watching them on stage is indeed a unique experience.

Setlist
Angrboda
The Old Ones Are With Us
Born From the Serpent’s Eye

Band members
Nathan Weaver – vocals, guitar
Kody Keyworth – guitar, backing vocals
Peregrine Somerville – guitar
Brittany McConnell – keyboards
Aaron Weaver – drums

After a quick break it was time for Gothenburg’s own Melodic Death Metal institution AT THE GATES to prove us all why they’re still one of the most relevant bands from the 90’s unparalleled Swedish scene, slaying everything and everyone throughout their entire concert. All fans at the venue enjoyed a lot the flammable performance by frontman Tomas Lindberg and his henchmen, including the songs from their brand new album To Drink from the Night Itself, such as the title-track and A Stare Bound in Stone. Not only their full concert was a feast of first-class old school and modern-day Melodic Death Metal, but it was nice to watch Mr. Adrian Erlandsson smashing his drums once again after so many years, as the last time I saw him playing live was when he was still drumming for Cradle Of Filth. A great drummer, an amazing and charismatic lead singer, and a very entertaining setlist. What else can you ask for in Melodic Death Metal made in the beautiful Sweden, right?

Setlist
Der Widerstand
To Drink From the Night Itself
Slaughter of the Soul
At War With Reality
A Stare Bound in Stone
Cold
El Altar del Dios Desconocido
Death and the Labyrinth
Heroes and Tombs
Suicide Nation
The Book of Sand (The Abomination)
Blinded by Fear
The Night Eternal

Band members
Tomas Lindberg – vocals
Martin Larsson – guitars
Jonas Stålhammar – guitars
Jonas Björler – bass
Adrian Erlandsson – drums 

BEHEMOTH

Right after At The Gates ended their show, the speakers started playing the devilish children’s choir from the awesome intro Solve, from BEHEMOTH’s blasphemous and totally amazing new opus I Loved You At Your Darkest, putting us all in a trance and warming up our senses for the storm of Blackened Death Metal we were all eager to witness once again in Toronto. And when our favorite Polish horde started their fulminating performance with Wolves ov Siberia, spearheaded as usual by the iconic Nergal, it was hell on earth at The Danforth Music Hall for the total delectation of the 1,500 fans who took the venue by storm.

Blending new songs from their latest albums I Loved You At Your Darkest, which by the way worked extremely well live like the hypnotizing chant Bartzabel and the beyond blasphemous Ecclesia Diabolica Catholica, and The Satanist, with the ominous hymns Ora Pro Nobis Lucifer (my favorite of the setlist) and Blow Your Trumpets Gabriel being a true invocation of evil, with old school material like the pulverizing Ov Fire and the Void, Slaves Shall Serve and Chant for Eschaton 2000, Nergal and his horde comprised of the extremely sharp and talented Seth on the guitar and backing vocals, the bulldozer Orion on bass and backing vocals, and the stone crusher Inferno on drums were on absolute fire from start to finish, worshiping Satan while delivering the best and most intricate fusion of classic and contemporary Death and Black Metal you can think of, with their masks, costumes and props being the icing on the cake. My only “complaint” is that they didn’t end the show with the fantastic O Father O Satan O Sun!, including those menacing horns and masks, but the closing combo Lucifer, We Are the Next 1000 Years  and the outro Coagvla were awesome anyway.

Not only Nergal was extremely happy and excited with the warm reception he received here in Toronto (not to mention the endless, incendiary circle pits beautifully crafted by their, let’s say, “most physical” fans), but seeing such packed venue made him pretty much promise us all that Behemoth will strike us Torontonians once again with their infernal music in a not-so-distant future, and we obviously can’t wait for another bestial performance by one of the most important extreme bands of the current metal scene. Lastly, on a side note, it looks like Behemoth love Toronto even more than we can imagine, as the Polish quartet from hell also played a 7-song setlist at a house party of one of Nergal’s friends the night before as you can see HERE, with the same intensity and energy of their usual concerts at much bigger places. I don’t mind not being invited for those parties as long as Behemoth keep coming back to the city with their insanely heavy and hellish concerts, but if by any chance anyone has a spare “ticket” for that type of event, why not? Just kidding, as I’m not that social, only a metalhead who loves when a band like Behemoth keeps spreading their black wings and unleashing hell upon the earth, showing their love for the city of Toronto as much as we love them back at their darkest.

Setlist
Solve
Wolves ov Siberia
Daimonos
Ora Pro Nobis Lucifer
Bartzabel
Ov Fire and the Void
God = Dog
Conquer All
Ecclesia Diabolica Catholica
Decade of Therion
Blow Your Trumpets Gabriel
Slaves Shall Serve
Chant for Eschaton 2000
Lucifer
We Are the Next 1000 Years
Coagvla

Band members
Adam “Nergal” Darski – lead vocals, guitars
Patryk Dominik “Seth” Sztyber – guitars
Tomasz “Orion” Wróblewski – bass guitar
Zbigniew Robert “Inferno” Promiński – drums and percussion

Album Review – Jollymon / Void Walker (2018)

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A lesson in groove, electricity and punch by an American Stoner Metal power trio reborn from the ashes in the name of Rock N’ Roll.

Hailing from the Pacific Northwest, more specifically from Vancouver, a city on the north bank of the Columbia River in the U.S. state of Washington, Stoner Metal outfit Jollymon has just released their fifth full-length album titled Void Walker, their first in eighteen years and a lesson in groove, electricity and punch. Comprised of frontman and songwriter Carey Rich on vocals and bass, John Colgate on guitar and vocals, and Mark Blackburn on drums, Jollymon were originally formed in Eugene, Oregon, releasing their debut full-length album, Sailing, in 1995, followed by a stream of high-quality albums until the band exploded in 2000 with no plans to return, until the power trio began to talk, jam and work on a batch of songs that would become their newborn child. “Whereas the previous four records were more grungy rock songs, the material on Void Walker is more on the metal side. But, we managed to keep the space-rock element, and even turned it up,” comments Carey on the band’s shift of direction with Void Walker.

Another thing Carey notices about Void Walker compared to the band’s previous releases is that the album is clearer and better produced. “We’ve come full circle with our recording approach. The first and second albums had great studio gear with Grammy-nominated producer Drew Canulette running the show. However, the third was a lesser studio done on more of a budget. And, the fourth album, our self-titled one, was a home studio recording. Sure, it sounds good, but you can definitely hear the quality difference between it and Void Walker – or even our first two records, for that matter.” He also explained that the album is entitled Void Walker because it is what Jollymon’s name should be. “Void Walker is a kind of symbol of what our sound is. It’s hard to describe, because it’s really left up to the imagination, which has been more of what we are: less wordy, forced lyrics, but simple imaginative shorelines with an epic soundtrack to back whatever is said.”

Old school ass-kicking Rock N’ Roll permeates the atmosphere in the psychedelic and catchy opening track Tsunami, led by the deep vocals by Carey while John mesmerizes us all with his wicked riffs and solos, followed by Monkeyhawk, where an eccentric intro turns into a very progressive tune, with John’s guitar lines being flawlessly complemented by Mark’s groovy beats, not to mention the song’s wicked lyrics, something you can only find in Sludge Metal (“Monkeyhawks not black or white, makin love giving life to fire, Monkeyhawk baby sings a song, its gonna make me cry, its gonna make me cry…”). And inspired by the potent and unique music by Mastodon, the trio fires a dancing-headbanging-beer-drinking extravaganza titled A Good Day, with Corey showcasing an awesome vocal performance while Mark’s precise drumming keeps the rhythm vibrant and entertaining from start to finish.

Less piercing and more rhythmic, Be Nice presents the band’s “softer” side in a 70’s-inspired Rock N’ Roll vibe, perfect for warming up the night at a rock pub anywhere in the world (and you’ll definitely feel compelled to sing the chorus along with them). After that classic rock tune we have Slice of Life, perhaps the most psychedelic of all songs, where the trio extracts pure groove form their instruments, in special John with his hypnotizing guitar while Mark is responsible for bringing heat to the musicality; followed by Forecast, where all you need to do is simply close your eyes and let Jollymon guide you on a whimsical music journey. John is simply superb with his sick guitar solos, and the music remains ethereal and captivating until its gentle ending for our total delight.

The metallic bass lines by Corey ignite the rockin’ feast Missile Commander, another solid composition by the band with John and Mark being in absolute sync, therefore providing Corey all he needs to thrive on vocals, whereas the title-track Void Walker is a flawless fusion of Stoner and Progressive Metal, proudly representing the high quality of the music found in the entire album with an electrifying vibe morphing into Progressive Rock beautifully, all in line with the song’s enthralling lyrics (“Here we go away through the sky, / here we go wade through the fields, / wondering where are lives, are drifting / away through the wheel. / With wings so wide and no room to soar, / before you can fly, you must find the floor. / A picture of the rain, when it falls it won’t feel the same.”). And last but not least, the closing song of the album, entitled Sky Burial, is just as pleasant and soulful as its predecessors, with John kicking some serious ass with his fiery guitar solos.

Do you want to surf the rockin’ waves blasted by Jollymon and show your appreciation for such distinct underground band? You can follow them on Facebook, listen to more of their music on YouTube, and grab your copy of Void Walker (which by the way you can listen in full on Spotify) from their own BandCamp page, as well as from Amazon or from CD Baby. Let’s hope Jollymon don not explode again after the release of Void Walker, but based on the awesomeness found in the album and the way the band is facing this new phase in their career I’m pretty sure we don’t have to worry about that at all. Quite the contrary, those three dauntless musicians will surely keep on rockin’ in our free world and keep marveling us all with their sensational music.

Best moments of the album: Monkeyhawk, A Good Day and Void Walker.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Tsunami 3:48
2. Monkeyhawk 4:43
3. A Good Day 3:56
4. Be Nice 3:46
5. Slice of Life 3:50
6. Forecast 4:07
7. Missile Commander 2:35
8. Void Walker 4:50
9. Sky Burial 5:02

Band members
Carey Rich – vocals, bass
John Colgate – guitar, vocals
Mark Blackburn – drums