Devilz By Definition trace their path from frozen rooftops to Devilz Knight in a new feature now live: https://thebandcampdiaries.com/post/800646733603438592/devilz-by-definition-present-devilz-origin
#Metal #CanadianMetal #GrooveMetal #Metalcore #HeavyMusic

Despised Icon – Shadow Work Review

By Owlswald

Widely regarded as one of the original architects of deathcore, Canada’s Despised Icon hardly needs an introduction. But just in case you’ve been living under a rock for the past two decades, here’s a brief introduction: back in 2002, when MySpace was all the rage and everyone had a friend named Tom, five dudes from Montreal dropped their debut LP, Consumed by Your Poison. Heavily influenced by the likes of Suffocation and Dying Fetus, these Canadians continued to hone their crushing sound on 2005’s The Healing Process by injecting metalcore and hardcore elements into their deathly framework. This unique formula culminated with their third LP, The Ills of Modern Man (2007)—the crown jewel of their discography that made Despised Icon deathcore royalty. The rest, they say, is history. Fast forward 18 years and, following a hiatus and three subsequent albums, the group has now readied their seventh LP, Shadow Work. So, dust off that windbreaker and lace up your best pair of New Balance kicks; it’s time to dive into Shadow Work.

In typical Despised Icon fashion, the opening title track instantly rips one’s jaw from its joints with a strong, technical launch. Leading the assault is Éric Jarrin and Ben Landreville’s signature pitch-shifted guitar squeals (a staple since 2019’s Purgatory), which, alongside rapid-fire tremolo scales, synchronize perfectly with Alex Pelletier’s blistering rhythms and Sebastien Piché’s grinding bass to fuel the album’s heavy, frenetic passages. The dual-headed vocal attack from Alex Erian and Steve Marois sounds as strong as ever, alternating raspy screams, slam-style pig squeals and hardcore chants that add a sharp, aggressive edge. Guest spots from Matthew Honeycutt (Kublai Khan TX), Scott Ian Lewis (Carnifex) and Tom Barber (Chelsea Grin) compliment Erian and Marois’ delivery but ultimately land with mixed results. Shadow Work’s powerful first half (“Shadow Work” through “The Apparition”) proves Despised Icon can still execute with the same ferocity as on past efforts. Conversely, Shadow Work’s energy wanes toward the end with formulaic pit anthems (“Obsessive Compulsive Disaster,” “Fallen Ones”) settling into a cliché hardcore spirit, though the record’s strongest material warrants repeat listens.

The first half of Shadow Work delivers a powerful blend of technical proficiency and a dash of genre experimentation before the album settles into a more formulaic hardcore groove. “Death Of An Artist” is a straight-up, drum-driven banger that introduces new wrinkles like clean vocals, dissonant high leads and a tasteful thrash and death eeriness that adds fresh flavor to Despised Icon’s well-known formula. Similarly, “The Apparition” is a relentless burner, injecting elements of symphonic death and black metal while maintaining the group’s core sound. Across the album’s succinct 37 minutes, monolithic breakdowns are plentiful—tense builds frequently give way to gut-punching beatdowns replete with fret slides (“Shadow Work”), air raid sirens (“The Apparition”) and stutter-step riffing (“Death of an Artist”), delivering a seismic release and an irresistible urge to pit.

However, Shadow Work hits a predictable wall at its midpoint, slumping into an over-reliance on tropey, Hatebreed-adjacent, inspirational anthems. Characterized by pervasive gang vocals, two-step riffs, and cheesy lyrical themes, tracks like “Fallen Ones,” “Obsessive Compulsive Disaster,” and “Reaper” feel less about pushing Despised Icon’s established deathcore boundaries and more about catering to the masses, thereby detracting from Shadow Work’s initial aggression. While Scott Ian Lewis’ gruff, thrashy vocal textures on “In Memoriam” effectively add a new element and the raucous “Omen of Misfortune” or “ContreCoeur” offer relief, Despised Icon’s heavy reliance on clichéd, tough-guy hardcore vocal cadences and themes holds Shadow Work back. For instance, lines like “From the ground up, never gave up, from the gutter to the surface” (“Reaper”) leans too far into its hardcore roots. Even the otherwise stronger early track “Over My Dead Body” is hampered by a cheesy hardcore/nu-metal feel in its bridge, its jarring cadence and Honeycutt’s yelling of “bitch” further exposing Shadow Work’s central weakness.1

Shadow Work is a good record marred by frustrating dualities. The first half unleashes the punishing, technical ferocity and syncopated slams that cement Despised Icon’s legacy as godfathers of deathcore. Yet, Shadow Work’s potential is sacrificed in the latter half, by leaning too hard on formulaic, predictable hardcore anthems. By repeatedly prioritizing comfortable clichés over their trademark sound, Despised Icon ultimately delivers an uneven album that only teases at the complete savagery fans know these legends are still more than capable of delivering.

Rating: Good
DR: 5 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast
Websites: despisedicon.com | facebook.com/despisedicon
Releases Worldwide: October 31st, 2025

#2025 #30 #CanadianMetal #Carnifex #ChelseaGrin #Deathcore #DespisedIcon #Devourment #DyingFetus #Hatebreed #KublaiKhanTX #NuclearBlast #Oct25 #Review #Reviews #ShadowWork #Suffocation

Starlight Ritual – Rogue Angels Review

By Steel Druhm

Deep in the protozoic slime that sits at the center of Steel Druhm’s rusted metal heart, there’s a discreet region that craves early-to-mid 80s classic heavy metal. It’s an undying hunger that can never be slaked, and it drives me to look for turbo love in all the wrong places. Thus did I come to Starlight Ritual’s Sealed in Starlight debut back in 2021, dragging Kenword R. Spongewell along for moral support. What I found was an energetic young group of ne’er-do-wells who love the olden ways as much as I do. They delivered a punchy platter of nostalgia-core as they sought after the perfect blend of Mötörhead, Rainbow, Judas Priest, and lesser-known 80s metal fiends like Cities and Jag Panzer. It was rough around the edges, but the core elements were there, and the writing was catchy with ample metallic sack.1 Now they’re back with sophomore opus Rogue Angels, endeavoring to stuff more “epic” in their brawny compositions. MOAR epic is always better, so will Rogue Angels smite the wimps and posers with trve fucking metal? Let’s measure the heavenly mass.

Reduced to a power trio this time out, Starlight Ritual bring the heavy metal thunder on grandiose opener “Lost Among the Fold.” It opens like epic doom with thundering drums and mammoth, mourning doom riffs lurching before it explodes into a gloriously 80s metal gallop that splits the difference between NWoBHM and the meaner American sounds of 82-84. Frontman Damien Ritual’s booming baritone bellows are perfect for these tales of war and heroism, and he sounds like the love child of Grim Reaper’s sadly departed Steve Grimmett, Paul Di’Anno, and Visigoth’s Jake Rogers. The guitar work by Dan Toupin is so perfectly 80s it causes a time rupture that allowed me to heist several cases of Night Train and Tango from the past (for scientific purposes only). This is the kind of retro metal gem that makes my back hair long and luxurious. And they keep this high quality going with the big, bold title track, which is so goddamn trve that it makes even me feel false by comparison. There’s even a bit of Crypt Sermon in here, but with things sped up for more aggression and urgency. “Crusaders” is another stiff blow to the neck and nutal regions with a raucous, headlong charge into the enemy that’s so damn metal it leaves an unpleasant iron taste in your mouth. If this doesn’t go on your gym playlist, you must be doing pool noodle pilates with the assisted living set.

With such a completely crushing triarch opening the album up, you want the goods to keep coming hot and heavy. There are some bumps as the album unfolds, however, but none of them derail the march on Valhalla. “Far Beyond the Storm” is a meaty metal tidbit but less inspired than its predecessors, and “Omenkillers” is the longest, most aggressive track, but it’s a notch or 2 below the better stuff. Slow burn grinder “Exodus” is moody as fuck and reminds me of the Dio-era Sabbath chesnuts, but it never quite attains that next level. Things are redeemed by killer back-half high notes like “The Law” (which I cannot stop replaying) and “On the Run” (which I also cannot stop replaying), and the overall package is more hunter-killer than filler. The production screams 1982, with the guitar tone perfectly aged and moldy. It sounds and feels olde and elder me values that muchly.

I love Damien Ritual’s vocals. He isn’t blessed with a vast range but makes the most of his raw, rough bellows/rasps, and he can actually sing when he opts to do so. He sounds like a wild barbarian bastard much of the time, and on the faster moments, he channels Paul Di’Anno to the point of creepiness. As or even more essential to the Starlight Ritual sound is the heavily dated guitar phrasing from Dan Toupin. The man knows exactly how to recreate the sounds of the golden age of metal, from the riffs to the harmonies and the way little accents were used as hooks. His playing is the crystal key that unlocks all the nostalgia, and that’s the band’s secret weapon.

Starlight Ritual have their targeted sound and style down cold, and while Rogue Angels isn’t a huge progression from their debut, it shows growth in the writing department. That said, it’s definitely front-loaded, and a few cuts just can’t tow the line with the best moments. This is one of those albums where the good stuff is so good, it carries the weaker bits to end up enjoyable as a whole (see The Number of the Beast for comparison, and yes, you know it’s true). If you hanker for a hunka, a sliver, slab, or chunka 80s metal, Rogue Angels brings the Flaming Sword of Smoting. Get smitten.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: High Roller
Websites: facebook.com/starlightritual | instagram.com/starlightritual
Releases Worldwide: October 31st, 2025

#2025 #35 #CanadianMetal #GrimReaper #HeavyMetal #HighRollerRecords #Manowar #Oct25 #Rainbow #Review #Reviews #RogueAngels #SealedInStarlight #StarlightRitual #TrueMetal #Visigoth

Ültra Raptör – Fossilized Review

By Grin Reaper

Cybernetic dinosaurs skirmish with a squad of Starship Troopers-inspired foot soldiers on a battle-scarred field. Eerie green mist cloaks a gutted refinery where small fires continue to blaze. Above, pocked moons loom menacingly low, while farther up, chrome font adorned with gratuitous umlauts irradiates the sky. Conventional wisdom says not to judge a book by its cover, but this is album art you can hear. If you’re not conjuring vivacious guitar acrobatics, lock-step rhythmic thunder, and macho bellows, then you aren’t paying attention. Ültra Raptör is here to crack open a cold one and unleash sophomore effort Fossilized. So buckle up, buckaroo. Grab your mandatory Molson and let this quintet of Canucks hit you “Hard ‘N Fast” with their take on heavy speed metal.

Have I ever wondered what Judas Priest might sound like if they teamed up with Blaze Bayley to write Screaming for Vengeance II? No. But Ültra Raptör approximates that hypothetical effort on Fossilized. Musically speaking, Fossilized sits comfortably between Priest’s 80s era and modern Riot V. Slick guitar leads, rumbly bass grooves, and punchy drums support hooky-as-fook choruses and flashy solos. The music is kinetic, and anyone who appreciates a slice of NWoBHM should find plenty of toe-tapping, headbangable moments. Ültra Raptör doesn’t do anything new on Fossilized, but they never claim to. These fellas are just here to cook up tales of heavy metal, dinosaurs, and haulin’ ass, and by God, they do that with aplomb.

Fossilized charms effortlessly, churning out melodies and earworms so sticky that I can’t shake them from my gray matter. The first four tracks set an imposing standard, where “Fossilized” and “Hard ‘N Fast” are my personal favorites, and “Spinosaurus” and “Living’ for the Riff” never falter. Guitarists Criss Raptör and Zoltan Saurus lead the assault, with riffs, licks, and leads blitzing your ears with cocksure blasts.1 From the opening moments of “Fossilized,” the six-string theatrics never let up. I’ve listened to my share of albums where I was duped by a single, only to discover the rest of the album failed to live up to the soaring heights promised. Ültra Raptör peddles no such dreck. Growling bottom-end Dick Van Heuß bolsters each track with brawny bass. Though spotlights are rare, Van Heuß constantly lurks below, ever present if you listen past the rest of the electrifying onslaught. No laggard himself, drummer Tony Bronco revs up the kit and does a tremendous job of setting a searing pace (“X-Celerator”2). Meanwhile, vocalist Phil T. Lung croons through nine tracks with his gritty baritone. I expect his voice will be the most divisive part of Ültra Raptör’s sound, and while he’s capable, it’s not the typical torsion-induced falsettos regularly featured in the genre. Though he mostly evokes Blaze Bayley, a few moments ring of Dave Brockie. The ensuing amalgam is a potent brewski—one best consumed with a mullet and a pack of cigs crammed into your denim jacket.

Ültra Raptör’s fearlessness begets a raucous and engaging listen, though adjustments could have elevated Fossilized. In total, they deliver forty-one minutes of filler-less heavy metal (less instrumental “Le Voyageur d’Oort,” a decent but unremarkable minute). The mix permits everyone to shine and contains enough depth to appreciate what passes for nuance in such an outrageous concept. Revisiting the vocals, Lung is proficient and never lacks the gusto to match the music’s energy. Despite that, I wish there was more variety in his singing. Either harnessing more falsettos like on debut Tyrants or bringing in a guest singer could add enough extra spice to kick things up a notch. Singing aside, the chief knock on Fossilized is a lack of originality. I don’t believe this will or should prevent anyone from enjoying what Ültra Raptör does here, but it defines a ceiling that’s extremely difficult to push past.

Ültra Raptör pumps testosterone-fueled, chest-thumping vigor into Fossilized, constructing an over-the-top arrogance that would crumble with less conviction. The album exudes fun because of the utter commitment to the bit, and unless you’re allergic to a good time, I highly recommend checking out Fossilized. It’s not an album that will change anyone’s mind about what heavy or speed metal offers, but it is an excellent example of what makes a very good record within those confines.

Rating: Very Good
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Fighter Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 7th, 2025

#2025 #35 #BlazeBayley #CanadianMetal #FighterRecords #Fossilized #HeavyMetal #JudasPriest #Oct25 #Review #Reviews #Riot #RiotV #SpeedMetal #ÜltraRaptör

Raphael Weinroth-Browne – Lifeblood Review

By Twelve

Raphael Weinroth-Browne of Kamancello and Musk Ox, among other groups, is, in my mind, the most interesting cellist in metal. This is in large part due to the fact that he actually plays a lot of non-metal. Musk Ox is a fantastic chamber folk project with nary a distortion to be heard. His debut solo release, Worlds Within, covers a lot of ground, but is largely a work of classical music. And yet, you can just hear in the way he plays that Weinroth-Browne is a metal musician. The influence and emotion is just there, whatever he’s doing and however he’s doing it. The follow-up to Worlds Within, Lifeblood, offers a similar premise: one man with a cello and a pocket full of dreams. The question is clear: are there worlds within Lifeblood, or will it end up feeling lifeless?

Certainly not the latter; Lifeblood is a very lively album, upbeat and intricate with many layers to explore. Compared with Worlds Within, it feels like Weinroth-Browne has placed a greater emphasis on “roles.” As it progresses, you almost get the sense that there is a “lead/vocalist” Raphael Weinroth-Browne on cello, a rhythm Weinroth-Browne on cello, a bass Weinroth-Browne on cello, and a percussion Weinroth-Browne on cello. The four Weinroths-Browne build upon each other’s work, taking simple ideas and layering them upon each other until the whole transcends its basic components. The titanic “Ophidian” does this extremely well. For nearly nine minutes, it tells largely the same story—but beneath the surface, the bass Weinroth-Browne is building to an anxious crescendo, the rhythm Weinroth-Browne is weaving a tapestry, and the lead Weinroth-Browne is practically singing through his cello, with all the passion and inflection you’d expect from an actual singer. Of course, there is no singer—Lifeblood is purely instrumental—but it does not need one.

Last year, I had the unexpected pleasure to see Musk Ox live in concert, where they performed Inheritance—my 2021 album of the year!—in full. At the time, I was struck by just how much better Weinroth-Browne’s cello sounds live. It’s a rich, expansive, expressive instrument and, despite how amazing Worlds Within sounds, I’ve felt it missed some of that low-end power that gives the cello its majesty. Lifeblood seems to address this thought. It has a richer sound than its predecessor and a mighty low end. Weinroth-Browne’s influence from metal rears its head on songs like “Lifeblood” and “Possession,” where he treats his (“bass”) cello like a guitar, utilizing what are essentially power chords to give the songs weight. On “Nethereal” and “Labyrinthine,” he goes a little lighter, but the influence is still there; the former is a slow build to an electric payoff, while the latter leans lighter and more excitable; “Labyrinthine’s” layers build with fun, lively backdrops that give the song a journeying feel. It’s not “cello metal” like Apocalyptica; Rather, Weinroth-Browne’s fusion of classical and metal themes is expert enough to feel like it isn’t overtly one or the other.

Like most classically-inspired instrumental albums, Lifeblood is best experienced as a whole and can be thought of as a journey. This is its greatest strength, and I imagine for some will be its primary drawback. Indeed, I find it difficult to just sit down and play “Labyrinthine;” on its own, it’s a good song, but may feel a bit long or a bit much. But start with the opener “Lifeblood,” and it draws you in. It begins in a similar vein to Worlds Within, but quickly establishes its own identity. It does a great job of luring the listener into Lifeblood, and flows naturally into “Possession,” and from there into “Ophidian,” and so on. With that said, I do think Lifeblood is a touch long—and front-loaded. After the gorgeous “Pyre,” Lifeblood’s best songs—to my ears, at least—are behind it, which makes the near-hour-long runtime feel like a bit much. It’s never bad in any sense, but with so many paths to traverse, it does feel a little lost by the end.

But only a little—I can’t stress enough that Lifeblood is a fantastic musical journey that establishes Weinroth-Browne as a supremely talented composer, cellist, and musician. It is a rare album, one that rewards multiple listens, evokes myriad emotions, and creates a lasting impression. It really is remarkable. Who needs a band when you have an army of Raphael Weinroth-Browne?

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Self-release
Websites: raphaelweinroth-browne.bandcamp.com | raphaelweinrothbrowne.com | facebook.com/raphcello
Releases Worldwide: October 3rd, 2025

#2025 #35 #Apocalyptica #CanadianMetal #Classical #Kamancello #Lifeblood #MuskOx #Oct25 #RaphaelWeinrothBrowne #Review #Reviews #SelfRelease

Last Retch – Abject Cruelty Review

By Alekhines Gun

Despite the core ingredient being completely the same, not all steaks are created equal. Marbleization, marination, seasonings, sauces, garnishes, lobster tail, and the right type of whiskey to chase it down are all equally important considerations in preparation for the final product, despite the cynics’ argument that you’re dealing with the same slab of beef. So too with death metal. Hailing from Canada, Last Retch are our chophouse today, offering up their second LP Abject Cruelty to appease your palate for all things medium rare, and if you’re one of those cynics who think death metal all tastes the same because of its ingredient base, you can get back to whatever soup-slinging hellhole you came from. Abject Cruelty is here to eradicate and destroy with extreme prejudice, and make sure you lick the plate completely clean by the time you’re finished.

As all good steaks should, Abject Cruelty sounds fatty and thick. Drummer Spencer Robson has his double bass rolls placed flawlessly in the mix, adding car-window rattling depth of sound to machine gun riffs (“Resinous Drip of Decay”,) while guitarists John Russell and Derek Brzozowski ride a fat tone which straddles the line between HM-2 and the more filthy production of Gutless. Vocalist Finlay Blakelock has a vicious croak reminiscent of a more revitalized John McEntee (Incantation) in its depth. These well-worn ingredients come together in a total package of high-grade death, where the riff is king and the sauce is boss tone stands supreme, resulting in an engaging listen which flows from high bpm assaults to brief respites of mid-paced atmospherics. The release sounds surprisingly organic given its low DR, and its truncated runtime allows it to entertain before ear fatigue sets in.

As for the meal on offer, what awaits is a generous offering of Bolt Thrower with garnishes via a smorgasbord of dalliances with other stylings. “Beasley Meth Merchants” rocks pit-igniting rapid chugs and simple but effective drum rhythms in the spirit of classic Vader, while “Resinous Drip of Decay” flirts with Incantation atmosphere. Nods to bands as divergent as Carcass and Demilich (“Disolved in Lye”) transition into moments that recall the chuggiest thuggiest moments of Skinless (appropriate given the heavy amount of samples) while working solos which are used more as moody set-pieces than opportunities for fretboard heroics. Last Retch have concocted an album that calls to the leaders of old and does their best to fill the footsteps of such giants.

Naturally, such a tall order has its stumbling blocks, though there’s hardly anything sabotaging the album as a whole. The samples do a good job breaking up the carnage, but some have obnoxious vocal filters, which makes them grate more than enhance the music, with “Dissecting the Leper” being the worst offender.1 The strength of Abject Cruelty is more in its composition than the technicality of its performances. Title track “Abject Cruelty” sports one of my favorite riffs I’ve heard in years as a centerpiece for the song, but the half-time verses can’t quite keep up the menace in the delivery. This isn’t to imply the band are poor in their instruments by any means, but they clearly have a vision for grand and epic death which is grazed more often than it’s grasped. They have the mood and the individual riffs down to a science, but a push to challenge themselves a bit in the technicality will give the full product the shot in the arm it needs to be in contention for the modern-day death giants of the world.

Nevertheless, the majority of Abject Cruelty is a good take on what I want out of the slightly crustier side of modern death metal. It’s succinct, every song has at least one riff worthy of living room moshing, the production is fat, and the tone violent. Last Retch is a good band, and this album is a good album with some moments of genuine greatness. During my listens, I found myself many times thinking “this would probably sound fantastic in a live setting,” and for music as cathartic and energetic as this, that is an important impression. If you’re on the quest to eradicate the kindness in your life and have a good time doing it, there’s plenty of cruelty to go around waiting for you here…

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Time to Kill Records
Website: Album Bandcamp
Releases Worldwide: September 26th, 2025

#2025 #30 #AbjectCruelty #BoltThrower #CanadianMetal #Carcass #DeathMetal #Demilich #Gutless #Incantation #LastRetch #Review #Reviews #Sep25 #Skinless #TimeToKillRecords #Vader

Finnr’s Cane – Finnr’s Cane Review

By Killjoy

Finnr is an Old Norse name that loosely translates to “wanderer” in English. Whether or not this was the inspiration for Finnr’s Cane, it’s an apt moniker for an atmospheric black metal act. Hailing from Sudbury, Ontario, Canada, this studio-only group has three prior albums under its belt, the last of which, Elegy, won the overall approval of Ferrous Beuller in 2018. Until now, Finnr’s Cane was a trio consisting of guitarist/vocalist The Bard,1 drummer The Peasant, and cellist The Slave. At some point, The Slave either escaped or was set free, as she no longer appears in the lineup. And now, Finnr’s Cane seems to signal a new era with the release of self-titled album number four.

In terms of overall atmosphere, Finnr’s Cane is more like gray metal than black metal. Its dreary demeanor hews closer to contemplative post-black than the blackened doom metal of Elegy. If the fellow on the album artwork had been so inclined to place a cooking pot over his campfire to make a stew, he might have tossed in melancholic Cascadian black metal ingredients such as Alda, Skagos, and, of course, Agalloch. For seasoning, he might also add a pinch of older Falls of Rauros’ guitarwork and the winking keyboards of Eldamar. Though the release date of Finnr’s Cane doesn’t quite coincide with the autumn temperatures that I long for, it’s been refreshing to listen to throughout August as it mentally transports me to a colder place.

Unfortunately, much of this setting is drab and desolate beyond the typical genre aesthetics. The vocals usually take the form of flat intonations or dispassionate spoken word, sapping the music of energy and emotive impact. Additionally, the instrumentation, while solid, feels like it’s missing a crucial element. Finnr’s Cane has historically distinguished itself by the usage of a cello in place of a bass guitar, and Ferrous acknowledged The Slave’s subtle yet outsized hand in the successes of Elegy. Now, her absence feels like the removal of a linchpin, rendering Finnr’s Cane more nondescript. Granted, the cello is not gone completely—whether taken over by The Bard or previously recorded by The Slave. Its blazing undertones warm up “Awaken the Sleeping Forest” and “The Everwinter Grey” and afford much-appreciated bright spots in the blizzard.

Nevertheless, when the right mood strikes, the winter storm of Finnr’s Cane can be hypnotic and immersive. “In Shadows” uses eerie keyboard sounds and delicate guitar plucks to great effect. The same thick, plucking guitar tone returns with greater enthusiasm and intricacy in the final two tracks, “The Spell of the Change of Seasons” and “Harvest.” However, other promising moments feel awkwardly tacked onto their respective songs. The outros of “Twilight Glow” and “Harvest” abruptly accelerate in tempo and urgency for a few seconds and then end just as quickly, feeling more like a tease than a natural culmination of what came before. This could be due to the fact that The Bard and The Peasant conceive their music through intuitive improvisation but in any case, Finnr’s Cane is mainly concerned with conveying feeling over coherence.

It saddens me to write that Finnr’s Cane mostly left me cold, and not just in its intended way. Even though I was not yet familiar with Finnr’s Cane’s back catalog, I immediately couldn’t shake the feeling that something was missing. Now having spent time with prior records, I can’t say Finnr’s Cane is wildly different from them, but it seems like an intangible spark was lost sometime between now and Elegy. Maybe it’s just the diminished cello presence but the songwriting also sounds more listless to my ears. I can appreciate many of the disparate components of Finnr’s Cane when I listen in the right state of mind, and other atmoblack fans may derive more enjoyment than I did. For those more willing to become lost in its atmosphere, Finnr’s Cane might just be your companion in the coming months.

Rating: 2.5/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nordvis Produktion
Websites: finnrs-cane.bandcamp.com | facebook.com/finnrscaneband
Releases Worldwide: August 29th, 2025

#25 #2025 #Agalloch #Alda #AtmosphericBlackMetal #Aug25 #BlackMetal #CanadianMetal #Eldamar #FallsOfRauros #FinnrSCane #FractalGenerator #NordvisProduktion #PostBlackMetal #Review #Reviews #Skagos

Burden of Ymir – The Long Winter Review

By Twelve

Joe Caswell of Sudbury, Canada first caught the attention of this blog in 2023, as the sole member of Drowstorm and Burden of Ymir. Both projects released albums in 2023, impressing all who wrote about them. In my case, Heorot was a fantastic introduction to the latter band, a blackened-yet-folky display of Viking metal that appealed to both my appreciation for mythologically-themed metal and my long–held belief that the accordion is the most metal of all the instruments. Now, just over two years later, Burden of Ymir return with its sixth full-length release (in as many years!): The Long Winter, with an album cover that promises just as much blackened goodness as we’ve come to hope for. At this point in the year, I’d love a long winter, but I’ll settle for some frosty metal if that’s what’s being offered!

At first glance, The Long Winter is exactly what you expect from Caswell and Burden of Ymir; the Norse influence is tangible, the black metal is blisteringly fast, and the accordion is present. And yet, The Long Winter is a darker, heavier record than its predecessor. Caswell does not hold back in the riffs department, and it’s a testament to his songwriting that The Long Winter feels heavy for the full forty-five minutes without sounding forced. Compared to Heorot, The Long Winter sees Burden of Ymir treading slightly less folk-y waters, focusing more on its black metal influences and allowing the concept to do some more of the lifting on the folk side. Songs like “Like Blood in the Snow” are angry, pulling no punches and letting riffs and blast beats shine. It’s recognizably Burden of Ymir, but sees a definitive step in a new—but still familiar—direction.

Still, folky fusion and blackened metal are two things Burden of Ymir do extremely well, and having the metal heavier only enhances the union. Opener “As Witches Under Cloak of Night” is a multifaceted gem with hooks, moody, tense interludes, and a galloping chorus that’ll have you setting sail before you know it. “Strange Craft” builds around an accordion lead in its intro into an unsettling, melodic journey through dark magic and black forests before exploding into black metal fury. “Another Seed of Yggdrasil” breaks out the clean singing for a mystical chorus that counterbalances Caswell’s rasps—as up to the task as ever, but at their most effective working alongside these more melodic elements. All this is to say that Caswell’s ability to blend black metal and Viking themes is as strong as ever, and The Long Winter is more enjoyable for it.

I’ve mentioned that The Long Winter dials back a bit on the “Viking” quality that was so apparent in Heorot, resulting in a listen that ultimately leans blacker and heavier than folky. The aforementioned accordion makes a few, brief appearances, and Caswell’s clean singing is much diminished. More notably, the hooky writing from Heorot is curiously absent; more songs are carried by riffs than leads, resulting in an overall less melodic listen. This makes tracks like “Strange Craft” and “As Witches Under Cloak of Night” stand out—they’re generally more energetic than the rest of the album, particularly the closing third. While it’s certainly all strong, it feels like the blend doesn’t quite mesh the way it should. There are a bunch of songs I love here, several that I like, and a few that feel like they’re there to beef up The Long Winter more so than entertain. They are entertaining—I can’t stress that enough—but I would hazard a guess that Burden of Ymir has a slightly different vision for The Long Winter than what I’ve personally experienced.

Still, Caswell is a great songwriter, strong guitarist, and knows his mythologies, meaning The Long Winter is a fun listen that continues his hot streak over several one-man projects, styles, and album releases. If black metal is your thing, there’s something for you here. If Viking folk is your thing, there’s something for you here. I won’t say it all comes together perfectly, but it doesn’t really have to. It just has to be enjoyable to listen to for most of an hour, and it is. If you like any of the above styles, I would happily recommend you take a break from the awful weather we’re having (read: warm) and enjoy a long winter instead.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Flowing Downward
Websites: burdenofymir.bandcamp.com | facebook.com/BurdenOfYmir
Releases Worldwide: July 4th, 2025

#2025 #30 #BlackMetal #BurdenOfYmir #CanadianMetal #Drowstorm #FlowingDownward #FolkMetal #Jul25 #Review #Reviews #TheLongWinter #VikingMetal

Visions Unseen – Echoes Through Time Review

By Killjoy

Time and memory are innately connected. In the hourglass of life, the sand of time from the top steadily and mercilessly passes to the bottom, where it may live on as memories. Musings of this nature are the inspiration of Echoes Through Time, the debut album of Visions Unseen from Montréal, Canada, which is billed as “a meditation on the impermanence of existence and the memories that persist long after all else has faded.” Yet, the mind is but an imperfect, finite vessel unable to remember all. Is Echoes Through Time memorable enough to remain in the hourglass or will it spill out through the cracks?

Visions Unseen resides somewhere between technical and melodic death metal without feeling fully like either. Guitarist Rémi Legresley,1 who creatively spearheads the group, plays vaguely neoclassical leads and solos, though you won’t hear much of the hyperactive shredding commonly found in modern tech death. The meat of the riffwork recalls Revocation’s burly brand of death metal battling against the turbulence of The Black Dahlia Murder. There are trace elements of Gojira groove at times, although Yann Guénette’s bass lines tend to be more hulking and rattling. Visions Unseen managed to nab the drum services of Simon McKay following the breakup of The Agonist, who refuses to let the frequent stylistic shifts throw him off balance.

Though the goal of combining multiple genres is for them to complement one another, the risk is a final product that doesn’t feel like it belongs anywhere. The latter is, sadly, the case with Echoes Through Time. The melodies are not particularly striking; this is no Retromorphosis or Dååth with ultra-hooky guitars that zip around. Likewise, when vocalist Patrick Goyette sings, he sounds more intent on conveying grit than a tune. Neither does Visions Unseen offer the intense sensory overload that defines tech death. The guitar solos are enjoyable (particularly in opener “Forged in Resolve” and closer “The Final Reckoning”), but they also lack purpose and structure, nor are they virtuosic enough to wow from that standpoint. Worse, the musical tones almost always come across as clinical or emotionally devoid, one of tech death’s most common pitfalls.

In truth, I would enjoy Echoes Through Time more if not for the smothering demeanor of the vocals. The guttural screams and growls are often needlessly loud and belligerent, leaving many passages charred on the outside and undercooked on the inside like an ill-fated steak. But when the compositions are occasionally given a chance to breathe, glimpses of potential shine through. The synth-led interlude midway through “Breaking the Illusions” and the tranquil guitar plucks in “The Final Reckoning” provide much-needed nuance, as well as a reprieve from the noisy assault. Interestingly, many of the intros and outros are what show the most promise, most notably the buildup of ominous keyboards and the peppy melodeath riffing bookending “Nothing Will Remain.” In like manner, McKay’s strong drumwork bolsters the opening moments of “Edge of Eternity” beyond what they would have been otherwise.

Much like its cover artwork, Echoes Through Time contains many competing ideas and philosophies that don’t completely come together. Neither the guitars nor the vocals carry enough melodic potency to cement a lasting place in my memory, even after many front-to-back spins. The style of the guttural vocals doesn’t feel like a good fit, distracting from or even actively hurting the overall experience. Visions Unseen is capable of writing ear-catching sections, but they are generally concentrated in the intros and sometimes feel totally divorced from the remainder of their respective songs. Ultimately, those looking for melody and/or technicality in their death metal would likely find more success elsewhere.

Rating: 2.0/5.0
DR: 6 | Format Reviewed: PCM
Label: Self-Release
Websites: visionsunseen.bandcamp.com | facebook.com/people/Visions-Unseen
Releases Worldwide: August 11th, 2025

#20 #2025 #Aug25 #CanadianMetal #DeathMetal #EchoesThroughTime #Gojira #MelodicDeathMetal #Review #Reviews #Revocation #SelfRelease #TechnicalDeathMetal #TheAgonist #TheBlackDahliaMurder #VisionsUnseen

Finally got to see one of the finest of Canadian exports - 3 Inches Of Blood at the Asylum, Birmingham. Great show, super tight playing. Hope they come around to the UK again.

#heavymetal #3inchesofblood #3iob #canadianmetal #canada

Harvested – Dysthymia Review

By Tyme

Despite a waning stigma, mental illness remains an oft-closeted topic, as those suffering from it struggle not only to cope but to discuss their struggles with others. Here to shed some of their death metal light on the matter are Canadian upstarts Harvested, with their independent debut full-length Dysthymia, which, according to Johns Hopkins Medicine, is defined as a long-lasting form of mild depression. Touching on topics ranging from submitting to one’s long-bottled-up ‘shadow self’ (“Repressed Neurosis”) to the gluttonous way humans abuse the earth (“Unanchored”), something Harvested consider a form of mental illness, they’ve dialed back the lyrically gorier aspects of their eponymous 2022 EP to intensify the focus on their chosen theme. As evidenced by the beautifully rendered CJ Bertram cover art, which main guitarist Mitchi Dimitriadis says depicts ‘an individual in great mental turmoil’ and represents ‘the abstract visualization of the chaos that is the human brain,’ it’s clear that Harvested are committed to the subject. The only question left to answer is whether it’s worth reaping what Harvested’s Dysthymia hopes to have sown.

Nostalgically anchored in 1990s and early 2000s death metal, Harvested also incorporate modern elements of slam and tech-death into the mix to achieve Dysthymia’s goal. This is one brutal fucking record, and from the get, you realize Harvested aren’t messing about, as Dysthymia mashes the potatoes and pulls the meaty steaks off the grill, a muscle-bound manifestation of their Cannibal Corpse, Suffocation, and Deicide (“Harvested,” “The Infestation”) influences. Dimitriadis’ and Vitto Oh’s guitar harmonics are pinched harder than Grier‘s butt cheeks at an enema convention, ensorcelled by viscerally blistering riffs, technically proficient leads, and tornadic, swirling solos. Jacob Collins’ drums1 crack skulls and pummel sternums with whirling fills and destructive double-kicks while Eric Forget’s bass lines remember everything necessary to keep things rumbling along. Adam Semler’s vocals, primarily an homage to George Fisher’s chesty aggression and Glenn Benton’s demonic discernibility, also share elements with Cattle Decapitation’s Travis Ryan at his most high-pitched and raspy. For such a young band, Harvested have planted a flag on the death metal scene, and Dysthymia is the wind through which that flag furls, filled with exuberant, energy-filled performances and solid songwriting.

With highlights aplenty, Dysthymia demands attention by way of its genuine songcraft and near flawless execution. I found myself stank-faced and sweaty through many a listen, whether basking in the glow of galloping riffs and percussive bass on “Unending Madness” or taking in the detailed technicality of the Soreption and The Zenith Passage influenced “Designed Dilemma,” a song that chugs so hard through its last ninety seconds I nearly gave myself whiplash. My favorite track, “Gathered and Deluded,” is a Cattle Decapitation-tinted slammer with pinched harmonic progressions that have been living rent-free in my head for weeks as Forget’s bass marches in flurrying lockstep with Collins’ robotically precise drums, and Selmer channels his best inner Travis Ryan. Harvested is one tight-knit outfit, belying their relatively brief existence and sounding like a band that’s been together much longer.

I’d argue the efforts of Harvested’s “sixth member” deserve as much credit for the success Dysthymia should garner as the band themselves, and that is the excellent work Joe Lyko performed from the booth at Darkmoon Productions. Lyko’s mix and master slathers Dimitriadis’ and Oh’s guitar work in a tone that, for me, defies obvious comparison, as bright and bouncy as it is deadly and devastating. Like a calculated throat punch, it was the first thing that hit me when album opener, “Harvested,” launched, holding my rapt attention all the way through to “The Infestation,” an excellent close to Dysthymia’s very manageable thirty-two-minute runtime. Each instrument exists within its own space, breathing freely and intertwining with high-definition clarity, thereby topping this auditorily successful sundae with a big, fat, juicy cherry.

Lyrically poignant, brutally heavy, and bursting with engagingly twisted, hook-filled instrumentation, Dysthymia is a helluva debut, and one Harvested should be proud of. As poetically as I have waxed, I still believe there’s room for Harvested to grow. God help those who might lay their ears on a sophomore effort from this line-up, should they remain intact. Rest assured, I’ll definitely be watching and waiting. For now, however, I wholeheartedly recommend you spend some long-lasting, quality time with Dysthymia.

Rating: 3.5 / 5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 1st, 2025

#2025 #35 #Aug25 #CanadianMetal #CannibalCorpse #CattleDecapitation #DeathMetal #Deicide #Dysthymia #Harvested #Independent #Review #Soreption #Suffocation #TechnicalDeathMetal #TheZenithProcess

Völur & Cares – Breathless Spirit Review

By Twelve

“Avant-garde doom metal from Canada. Do I really need to say more to pique your interest?” So said I a little under five years ago, closing out my Things You Might Have Missed feature for Völur’s Death Cult. The Toronto-based project launched itself to the top of my end-of-year list in 2020, owing to their expert fusion of an impressive blend of sounds and genres primarily rooted in doom metal. Wielding the violin like a sledgehammer, Death Cult featured intelligent, clever compositions that really impressed me in 2020. Now, at last, they’re back for their fourth full-length, Breathless Spirit, with one key change: a collaboration with Cares—UK/Canadian producer James Beardmore—whose influence aims to transcend an already-impressive trio to Valhallan heights. However do they fare?

But first, a correction: in reviewing Death Cult, I noted that “the guitars do not dominate, nor do they crush the listener; instead, they unsettle, distort, and act as anchor for the vocals and electric violins that make up the true meat of the music.” Völur has no guitarist—only Lucas Gadke (Blood Ceremony), who plays bass (in addition to vocals and piano). The electric violins are indeed the “true meat of the music;” Völur create their uniquely haunting sound through intense distortion on Laura Bates’s violin and viola,1 giving them a surprisingly heavy metal basis to work with—certainly I’d never have thought there’s no guitar in the blackened doom mania that is “Windbourne Sorcery II,” and I’m still not 100% sure I believe it. Previously, I compared the group to a gloomy “Apocapyse Orchestra meets King Goat” project, but, in hindsight, Apocalyptica might have been a better base point to use.

Realistically, though, none of that matters because Völur is unique in too many ways to build adequate comparisons, and Cares has only strengthened that position. Where Death Cult emphasized the heavier, doom metal basis of Völur’s material, Breathless Spirit leans more classical, a change that highlights the incredible range of the music, passing also through doom metal, black metal, folk, jazz, and drone along the way—and all of it done with “just” a violinist, bassist, and drummer (Justin Ruppel). What’s extra interesting (on an already very interesting record) is that Cares contributes piano, synthesizers, theremin, and textures. His production adds layer upon layer of grimy, modern darkness that contributes heavily to the metal feel of Breathless Spirit. It is, put simply, extremely experimental. It also works magnificently.

From the classically-inspired2 “Hearth,” Breathless Spirit’s instrumental intro whose motifs just keep reappearing, to the towering doom metal conclusion of “Death in Solitude,” Völur are as engaging as they are unpredictable. I mentioned that “Windbourne Sorcery II” has the album’s blackened highlight, with Bates’s utterly unhinged shrieks atop a steady alarm of urgency from her violin. That same song has an almost funeral buildup, a chilling passage I compare favorably with Bell Witch’s Mirror Reaper3. The title track is the highlight for me; Gadke’s roars are front and center, and all of his vocals have depth and command to them, recalling Barren Earth’s On Lonely Towers.4 Guest vocals from Amy Bowles (ex-Hollow Earth) are a fantastic counter to his baritone cleans, and the brief improvizations a third of the way in is chaotic and delightful. You can dance to the haunting middle section, but it ends on a sense of heavy, epic urgency. Whatever style they try, Völur & Cares can’t help but create something beautiful. Much credit also belongs to Ruppel, whose measured drumming keeps Breathless Spirit grounded in a steady, doom-laden theme that serves it well.

I’ve run out of words, but there’s so much more to say. Breathless Spirit is a hard album to describe with any level of brevity. It explores worlds I’ve only hinted at here, and is much stronger than the sum of its parts. It’s not perfect—”On Drangey” is perhaps a touch too long for my preferences—but it hardly has to be. Breathless Spirit should enshrine Völur and Cares as experts in the experimental. Equal parts beautiful, haunting, and dark, Breathless Spirit defies my vocabulary—you simply must listen for yourself.

Rating: 4.0/5.0
DR: 6 | Format Reviewed: 192 kbps mp3
Label: Blackthrone Productions
Websites: volur.bandcamp.com | facebook.com/VolurDoom
Releases Worldwide: August 8th, 2025

#2025 #40 #ApocalypseOrchestra #Apocalyptica #Aug25 #BarrenEarth #BellWitch #BlackthroneProductions #BloodCeremony #BreathlessSpirit #CanadianMetal #Cares #DoomMetal #Drone #FolkMetal #HollowEarth #Jazz #KingGoat #Review #Reviews #Volur #VölurCares

Crimson Shadows – Whispers of War Review

By Eldritch Elitist

When a beloved record receives a successor following a decade or more of germination, what do the fans want to hear? What do they dare hope to hear? Comparable cases have shown that the best-case scenario is typically a great record that echoes the artist’s prior success in varying degrees. Notable examples include albums that adhere to the artist’s established formula, yet whose energy has been somewhat eroded by the passage of time. Others are major departures that recall the past in genre only. Whispers of War, the third album from Canadian melodic power death metallers Crimson Shadows, reveals a third path: A record which adheres so strictly to its predecessor that it sounds like it dropped mere months afterward. With Whispers of War in my hands, I am confident that it is exactly what I’ve wanted all along.

For the uninitiated, Crimson Shadows’ sound is what would have happened if DragonForce had been mainstays in the late 90’s / early 00’s Finnish melodic death metal scene, but with a North American metalcore-adjacent sense of chunk and polish tailor-made for the 2009 Rockstar Energy Mayhem Festival. Their blend of sugary lead guitars and rhythmic violence is peak Dumb Guy Metal, and as The Dumbest Guy, I’m thrilled that this new album recaptures the formula perfectly. To compare Crimson Shadows’ album-to-album trajectory to that of DragonForce, Whispers of War is to 2014’s Kings Among Men as the first half of Sonic Firestorm is to the second half of Sonic Firestorm. Had this record been disc two of a Kings Among Men double album, not a single eye would have been batted. Everything is intact: Big riffs, bigger melodies, and ceaseless double bass drives staunchly locked to 200bpm. My biggest worry was that this unshaken formula would feel obligatory, but Whispers of War’s sheer caffeinated vigor is authentic and as undeniably addictive as ever.

Whispers of War’s quality is neck-and-neck with Kings Among Men, even surpassing it in certain areas in its battle to justify its own existence. Where Crimson Shadows’ preceding album was at its best in scattered instances of monumental grandeur, these new compositions are more compelling in their moment-to-moment execution. No song on Whispers of War feels as singularly massive as, say, the chorus of “Dawn of Vengeance,” yet its riffs feel more gleefully barbaric across the board, stampeding rowdily through verses in tracks like “Guardians” and “Rise of the Fallen Soul.” Elsewhere, the band weaves Wintersunny blastbeats into the proceedings (“Whispers of War,” “Battle Hard 2: Battle Harder”) in jolts of welcome variety. The more Whispers of War sits with me, the more I believe it superior to its younger sibling, even if I love all of Crimson Shadows’ children equally.1

What gives Whispers of War the edge as my new favorite Crimson Shadows record are its improved performances across the board. The band formed in 2006, yet in a mythically rare occurrence, has maintained their starting lineup, bassist Alex Snape being the sole exception. Guitarist / clean vocalist Greg Rounding has a notably greater control and expanded range during the record’s excellent choruses, and his and Ryan Hofing’s dueling guitar solos are elevated in both complexity and memorability. Harsh vocalist Jimi Maltais, meanwhile, remains a motherfucking powerhouse and one of the most underrated growlers in extreme metal. The only instrumental disappointment comes in the mixing of drummer Cory Hofing’s kitwork. His cymbal patterns are ear-ticklingly catchy, yet his kit’s tone and presence have been flattened in generic modern metal fashion in a downgrade from its thunderous nature on Kings Among Men.

I love this band. Maybe it’s because I had my old Xbox 360 loaded up with ripped DragonForce and Children of Bodom CDs, but to me, their music sounds like a Halo 3-branded can of Mountain Dew Game Fuel in the best possible way. There is a youthful earnestness to Crimson Shadows’ music that has become increasingly difficult to come by, and the fact that they have picked up exactly where they left off a decade ago with a record this good speaks volumes of their enthusiasm in being true to themselves and the music they love. I’d be thrilled to hear Crimson Shadows expand their sound in new directions following Whispers of War, but for the time being, this is an exceedingly rare instance where more of the same is the ideal outcome. There may be better records released in 2025, but I sincerely doubt I will spin any of them harder, louder, or with more jubilance than this one.

Rating: Great
DR: 5 | Format Reviewed: PCM
Label: Self-Release
Websites: crimsonshadows.bandcamp.com | facebook.com/CrimsonShadowsBand
Releases Worldwide: July 25th, 2025

#2025 #40 #CanadianMetal #CrimsonShadows #DragonForce #Jul25 #KingsAmongMen #MelodicDeathMetal #PowerMetal #Review #Reviews #SelfReleases #WhispersOfWar

New episode! Listen: https://linktr.ee/pctd/

Talking to Alexander Clarke from Montréal's ALYKSIR's about their new album Devourer!

ALYKSIR - Devourer
Bandcamp: https://alyksir.bandcamp.com/album/devourer
Spotify: https://open.spotify.com/album/4dVD1lPKiaPjFAv5u0B6MH

#alyksir #metalinterview #deathmetal #melodeath #melodicdeathmetal #canadianmetal #quebecoismetal #metalpodcast

#TheMetalDogArticleList
#BraveWords–WhereMusicLives
DEVIN TOWNSEND Pays Tribute To OZZY OSBOURNE – “In Our Gratitude For The Path He Carved, He Becomes A Living Part Of The Music We Continue To Write”

https://bravewords.com/news/devin-towsend-pays-tribute-to-ozzy-osbourne-in-our-gratitude-for-the-path-he-carved-he-becomes-a-living-part-of-the-music-we-continue-to-write/

#DevinTownsend #OzzyOsbourne #DiaryOfAMadman #HeavyMetal #MetalTribute #CanadianMetal #MetalLegend #BraveWords

#TheMetalDogArticleList
#MetalSucks
Despised Icon to Release New Album ‘Shadow Work’ This October
The album will be released on October 31. Despised Icon to Release New Album ‘Shadow Work’ This October .

https://www.metalsucks.net/2025/07/25/despised-icon-to-release-new-album-shadow-work-this-october/

#DespicedIcon #ShadowWork #Deathcore #CanadianMetal #NewAlbum #October31 #MetalRelease

#TheMetalDogArticleList
#MetalInjection
INTO ETERNITY Is Wrapping Up Their First STU BLOCK-Fronted Album Since 2008

https://metalinjection.net/news/into-eternity-is-wrapping-up-their-first-stu-block-fronted-album-since-2008

#IntoEternity #StuBlock #NewAlbum #CanadianMetal #ProgressiveMetal #TechnicalDeathMetal #Comeback #MetalNews #2024Album #MetalInjection

#TheMetalDogArticleList
#BraveWords–WhereMusicLives
New INTO ETERNITY Studio Album Nears Completion – “I Think People Will Really Dig It,” Says STU BLOCK; Video

https://bravewords.com/news/new-into-eternity-studio-album-nears-completion-i-think-people-will-really-dig-it-says-stu-block-video/

#IntoEternity #StuBlock #TimRoth #NewAlbum #IcedEarth #TheMetalVoice #StudioAlbum #ProgMetal #CanadianMetal #SelfFinanced

#TheMetalDogArticleList
#MetalSucks
Counterparts to Headline North American Tour with Thrown, 156/Silence, and Split Chain

https://www.metalsucks.net/2025/07/15/counterparts-to-headline-north-american-tour-with-thrown-156-silence-and-split-chain/

#Counterparts #Thrown #156Silence #SplitChain #NorthAmericanTour #Metalcore #CanadianMetal #TourAnnouncement #September2025 #MetalTour

#TheMetalDogArticleList
#BraveWords–WhereMusicLives
CRYPTOPSY Release “Blasphemy Made Fresh” Medley In Honour Of Debut Album’s 30th Anniversary; Visualizer

https://bravewords.com/news/cryptopsy-release-blasphemy-made-fresh-medley-in-honour-of-debut-albums-30th-anniversary-visualizer/

#Cryptopsy #BlasphemyMadeFresh #DeathMetal #30thAnniversary #JUNOAward #CanadianMetal #DebutAlbum #BrutalDeathMetal #Billboard #Visualizer