Author Archives: Gustavo Scuderi

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About Gustavo Scuderi

"If I could survive to live one more time I wouldn't be changing a thing at all Done more in my life than some do in ten I'd go back and do it all over again..."

Concert Review – Iron Maiden (Scotiabank Saddledome, Calgary, AB, 09/28/2023)

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And the one and only Iron Maiden took the city of Calgary by storm with the absolutely stunning first concert of their three Canadian dates during The Future Past Tour 2023.

INTRO: IMFC Meetup and FTTB, Pt. I

What a lovely couple of days Maidenheads from all over the world had in Calgary, Alberta this week with the one and only IRON MAIDEN (with opening act ATREYU) during the first stop of their Western Canadian dates as the last part of their undisputed The Future Past Tour 2023. However, before all that metal extravaganza took over the old school Scotiabank Saddledome on Thursday night, several members of the IMFC – Iron Maiden Fan Club, including myself, had an amazing meetup the day before the concert at a pub named Bear & Kilt, with over 40 Maiden fans storming the pub (when we had an initial reservation for only 20 people). Well, I don’t think the pub owner nor the waitresses were unhappy with all the extra money they made on a Wednesday night, right? And if you’re following the band anywhere, also make sure you attend some of those meetups because the energy is simply amazing!

The other awesome perk we get for being part of the IMFC is obviously the FTTB – First to the Barrier experience, and once you get a taste of it, it becomes an addiction. Thursday morning several Maidenheads arrived really early to the venue to already get their numbers and line up for the FTTB, which allows you to get into the venue around 15-30 minutes before everyone else and secure a dream spot at the barrier. The experience in Calgary was fantastic, as the location and the weather were great and we could enjoy about 12 hours together with other fans, not to mention there were decent washrooms and a restaurant within a 5-minute walk from the meeting point, and the chance to chat with “Mr. Lobster” (who will be part of our Edmonton review, by the way). And to make things even more fun, we had the utmost pleasure of listening to the band doing their soundcheck in the middle of the afternoon. We weren’t inside the venue, of course, but we could listen to everything through the gates. That was indeed a unique experience for most guys and girls there, I must say, and of course I’m sure everyone was ready for more when we headed to the FTTB in Edmonton two days later.

OPENING ACT: Atreyu

After a long (but fun) wait, it was finally time for some live music for all FTTB winners plus of course everyone else who was already inside the venue when at 7:30pm Yorba Linda, California-based Metalcore veterans ATREYU hit the stage for a weird/eclectic/fun performance, and I used all those words because that’s how the show truly was. Mixing songs form their entire career with newer ones like Save Us and Warrior, from their 2021 album Baptize, and Drowning, Watch Me Burn and Gone, from their upcoming album The Beautiful Dark of Life (to be released by the end of 2023), the band formed of Brandon Saller, Dan Jacobs, Travis Miguel, Marc “Porter” McKnight and Kyle Rosa delivered an amalgamation of styles that makes it hard to list everything they played, even adding elements from Hip Hop to their music, plus an excerpt of I Wanna Dance With Somebody (Who Loves Me), a classic by Whitney Houston, a moment that according to Brandon and Marc was inspired by those two guys having a bromance time by the river in Calgary earlier that day. In the end, everyone at the venue had a good time, the band got a very positive reaction from the crowd, and we were all pumped for the main attraction then. Good feelings and vibes, my friends!

Setlist
Drowning
Becoming the Bull
Save Us
Falling Down
Watch Me Burn
The Time Is Now
Ex’s and Oh’s
Gone
Battle Drums
Warrior
I Wanna Dance With Somebody (Who Loves Me) (Whitney Houston cover)
Blow

Band members
Brandon Saller – clean vocals
Dan Jacobs – lead guitar, backing vocals
Travis Miguel – rhythm guitar, backing vocals
Marc “Porter” McKnight – harsh vocals, bass
Kyle Rosa – drums

IRON MAIDEN

We didn’t know if the barrier was going to be relaxed or rough during the flawless, unparalleled performance by British Heavy Metal titans IRON MAIDEN, but at least in Calgary things ended up going pretty smoothly up until Fear of the Dark, as opposed to Edmonton which was a true carnage (but I’ll talk more about it on the Edmonton review, of course). So as the lights went down at 8:50pm and the iconic UFO’s song/intro Doctor Doctor was being played on the speakers, everyone at the venue could feel the energy level going up, and right after the end titles for Blade Runner (by Vangelis), Bruce, Steve, Adrian, Dave, Janick and Nicko began their sonic attack with the song that was for me the most powerful of the night, the classic Caught Somewhere in Time, followed by another classic, Stranger in a Strange Land, winning the hearts of all metalheads who were absolutely mesmerized by the band’s incendiary performance.

As they started playing the fantastic The Writing on the Wall, it became clear for the average concert goer that Thursday was not going to be any concert, but a fusion of their 1986 masterpiece Somewhere In Time and their most recent release Senjutsu, which contains a couple songs about the clash between past and future, as well as time travelling, hence the name of the tour being The Future Past Tour. Those songs are Days of Future Past and The Time Machine, and despite not everyone at the venue knowing them very well, the adrenaline kept flowing beautifully, proving Iron Maiden are so good you don’t even need to know their songs to have a great time during their shows. By the way, before The Time Machine, Bruce gave a short speech about travelling back in time, mentioning the famous DeLorean time machine from the cult movie Back to the Future, and his current attire finally made sense to everyone as he looked A LOT like the craziest version of the marvelous character of Dr. Emmett Brown.

Needless to say, Bruce and his bandmates were on absolute fire during their entire set, with Steve once again stealing the show with his thunderous bass guitar. As a matter of fact, as I was right in front of Steve the whole concert, it felt like I was having a lecture in bass playing together with the concert, not to mention the man is unstoppable on stage and inspires us all to keep moving, jumping up and down, and headbanging throughout all songs. Nicko also sounded much better than in the videos I saw from their concerts in Europe this summer, and it was awesome to see he made a very good use of the time off between Europe and Canada to recover even more from his stroke from the beginning of the year. And what to say about Dave’s solos in all songs, with a honorable mention to his perfect, soulful and striking solo during Fear of the Dark? The man knows exactly how to touch our hearts with his guitar riffs and solos, I must say.

There were two other songs that blew our minds during the show. The never-ending wait for Iron Maiden to play live Alexander the Great was totally worth it, as it sounded brilliant in Calgary; and the first song of the encore, Hell on Earth, was one of the songs from the new album that most people were eager to enjoy live, also being the only one from their entire setlist to have their trademark fires as an add-on. It was an emotional moment for me, and I’m sure others also felt that way while such metal hymn was being played on stage. And as the icing on the cake, why not ending the show with The Trooper and Wasted Years? That definitely left us all craving for more, and of course we were getting more two days later in Edmonton! Scream for me, Calgary… and see you shortly, Edmonton!

Setlist
Doctor Doctor (UFO song)
Blade Runner (End Titles) (Vangelis song)
Caught Somewhere in Time
Stranger in a Strange Land
The Writing on the Wall
Days of Future Past
The Time Machine
The Prisoner
Death of the Celts
Can I Play With Madness
Heaven Can Wait
Alexander the Great
Fear of the Dark
Iron Maiden

Encore:
Hell on Earth
The Trooper
Wasted Years
Always Look on the Bright Side of Life (Monty Python song)

Band members
Bruce Dickinson – lead vocals
Steve Harris – bass
Dave Murray – guitar
Adrian Smith – guitar
Janick Gers – guitar
Nicko McBrain – drums

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Metal Chick of the Month – Bridget Lynch

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It ends with flames, Bridget!

Whenever you think of Brutal Death Metal, words such as gore, torture, murder and depravity, among several others, quickly come to your mind, creating that physical and mental preparedness needed to endure the heaviness and violence of this distinct subgenre of extreme music. However, after reading our tribute to our metal lady of this month of October here on The Headbanging Moose, I’m sure her first and last name will also be added to your Death Metal dictionary, and you better get ready because her guttural roars are definitely not recommended for the lighthearted. As a matter of fact, she’s not just a fantastic growler, but also a talented bassist, a drum programmer, an illustrator and a tattoo artist, and if for any reason you think that’s still not enough, let me tell you that the multi-talented Bridget Lynch, the frontwoman for Texas-based Brutal Death Metal outfit Stabbing, will kick you right in the head and teach you a lesson in violence.

Born on April 14, 1998 in Houston, the most populous city in Texas and in the Southern United States, we can say Bridget began her career as a metal vocalist in 2014, when she did live vocals for a New York-based Brutal Death Metal/Grindcore band named Animals Killing People, whose music is, among other topics, inspired by animal rights. There’s only one decent video online showing her contribution to the band live at Building Temples From Death Fest in Houston back in 2014, and although the quality of the sound is not great you can already sense how venomous her growls are. Furthermore, in 2015 she was supposed to be part of a San Francisco, California-based  Brutal Death Metal/Grindcore band named Cerebral Engorgement, and although there are a couple of pictures online of Bridget with the band, she never officially played with the band, nor released any recording with them.

Let’s say that her first official band was Houston, Texas-based Grindcore/Queercore trio Dystopian Reality, having recorded alongside guitarist Valerie and drummer CC their 2019 self-titled EP. The band doesn’t seem to exist anymore (or at least it’s not active on any social media), but you can enjoy not only their full EP on Youtube or on BandCamp, but also this fun live footage from the band in 2019 on YouTube. Right after her stint with Dystopian Reality, our dauntless growler was also part of another Brutal Death Metal project from Houston named Nephilim Grinder, having recorded with them their two-track debut 2020 demo (which can be enjoyed in full on BandCamp), and one important detail about Nephilim Grinder is that it was the band that put her in contact with Marvin Ruiz, the guitarist for her current band Stabbing (and we’ll get to that shortly).

In the middle of 2020, Bridget founded her own solo project (most probably due to the isolation that happened during the Covid-19 pandemic), a Goregrind beast entitled Pyosisified, being responsible for all vocals and instruments in the best “one-woman army” way you can imagine, and releasing that same year the project’s self-titled five-track demo (which is available on BandCamp). No one knows for sure if Bridget will keep her solo beast alive due to her commitments with Stabbing, but I’m sure the Grindcore and Brutal Death Metal scene would love to hear more from Pyosisified. And apart from all those bands, you can also enjoy her demented vocals in the song Hash Driveway, from the EP Split the Fuck Open, released earlier this year by Colorado Springs-based Death Metal/Grindcore act 10 to the Chest.

It was back in 2021 when Bridget alongside guitarist Marvin Ruiz, plus husband and wife Rene Martinez on drums and Meryl Martinez on bass (both having recently left the band, by the way), founded Austin/Houston, Texas-based powerhouse Stabbing. As a matter of fact, in the beginning we can say it was just Marvin and Rene jamming back and forth with guitar riffs and drum parts. “We thought we had something and we just needed a vocalist and a bass player. He knew Bridget and I knew Meryl, so there you go. We got a band. So that’s how we put that together. And it was pretty easy. We didn’t really expect to put together a full band like that,” said Rene. Highly recommended for fans of bands the likes of Cannibal Corpse, Disgorge, Devangelic and Defeated Sanity, just to name a few, Stabbing deliver a vicious sonic assault, combining sick guttural vocals, slamming blast beats, menacing guitar riffs and terrifying lyrics.

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Rene mentioned that in the beginning they actually tried out a few vocalists before they went with Bridget, but in the end, she was the best fit for it hands down. “Bridget is just a beast on the mic. You don’t really see a frontwoman in this genre, which adds a great dynamic to the band,” he mentioned in an interview. And we must all admit her gore drenched, gut-ripping vocals are exactly what Stabbing needs to solidify even more their beyond brutal fusion of slam, grind and unfiltered brutality. Hence, you can enjoy Bridget’s maniac guttural attack by listening to their 2021 debut demo, to their 2021 EP Ravenous Psychotic Onslaught, and to their 2022 full-length opus Extirpated Mortal Process, all available on BandCamp and on Spotify (or click HERE for all things Stabbing), and you can also enjoy some of their wicked creations with Bridget kicking some serious ass on vocals on YouTube, including the songs  Gutted By The Beast, Extirpated Mortal Process, Splatter Pit, live versions of Excrement Sarcophagus and Splatter Pit, and a rehearsal of their set  for Sick Dog Fest in 2021.

As mentioned in the beginning of this tribute to Bridget, she’s also an up-and-coming illustrator and a tattoo artist who’s making a name for herself not only in the metal scene in Houston, but anywhere in the world where art and brutality unite in the name of heavy music. For instance, she’s the artist responsible for the artworks for the 2019 album Double Promo Penetration, by multinational Brutal Death Metal band Kraanium; for the 2018 EP Nullity of Light, by Tempe, Arizona-based Blackened Death Metal act Light Dweller; for the 2018 EP Purity Through Putrefaction, by Los Angeles, California’s own Death Metal group Malignant; for the 2021 demo by Oakland, California-based Brutal Death Metal band Summoner; and of course the artwork (and sometimes the logo only) for some releases by her past and present bands, those being the 2020 demo by Nephilim Grinder, the 2020 demo for her own project Pyosisified, and the 2021 EP Ravenous Psychotic Onslaught by Stabbing. In addition, if you want to know more about her illustrator and tattoo artist endeavor, and even book an appointment with Bridget to get a new ink, you can do so by visiting her Instagram profile dedicated to her work as a tattoo artist.

Stabbing are touring the United States and Canada (and hopefully I’ll be able to witness Bridget kicking ass live with her demented roars here in Toronto) this November and December as one of the opening acts for American Brutal Death Metal masters Suffocation and American Death Metal institution Incantation, as part of their Ancient Unholy Uprising Tour 2023, and if Bridget and her Stabbing are soon taking your hometown by storm, don’t miss the chance to witness one of the most electrifying growlers of the new generation of extreme music, as she definitely has the talent, the charisma and the strength to reach new heights with Stabbing or any of her other projects. She’s a hard working musician and artist that deserves our full recognition and appreciation, crafting her Death Metal magic just the way we like it, always keeping it as brutal, technical and awesome as it can be.

Bridget Lynch’s Official Instagram
Bridget Lynch – Tattoo Artist’s Official Instagram
Stabbing’s Official Facebook page
Stabbing’s Official Instagram
Stabbing’s Official YouTube channel
Stabbing’s Official BandCamp page
Stabbing’s Official Spotify profile

Concert Review – Cannibal Corpse & Mayhem (Rebel, Toronto, ON, 09/27/2023)

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An unforgettable night of mayhem, blood and chaos for all metalheads in Toronto, courtesy of two of the most important names in the history of extreme music.

***Review by Kevin Ibbitson, with photos by Keith Ibbitson of Lower Eastside Photography***

OPENING ACTS: Blood Incantation and Gorguts

The line up of CANNIBAL CORPSE, MAYHEM (the one true), GORGUTS and BLOOD INCANTATION steamrolled through Rebel on Wednesday evening on their North American Tour 2023, wreaking havok in their wake and leaving many fans satiated by the experience. The crowd got their money’s worth. It was my First time seeing these bands and honestly it was one of the best shows I’ve been to this year. Thanks Gus! The crowd was enthusiastic and bustling with energy. The pit was nuts the whole show and there was constant crowd surfing.

I’ve gotta say that the staff and security were friendly and welcoming (especially the guy in the box office who helped out with my review ticket situation). The line to get in wasn’t too crazy unlike the Parking lots. Traffic is always a bitch in this city but my brother and I avoided Lakeshore and took the back way down Lesley St. to Unwin Ave., then up Cherry St. to Polson St.. Easy as pie. Once in the venue I met some of the other media in attendance (Pedro From A&P Reacts, Jason and Kim from The Metal Pit). Such awesome people, it was great meeting them all. After grabbing a cold one I went and got settled in a decent spot foregoing my usual habit of hitting the merch stand early as the lines were crazy long.

The Lights went low and first up Was Denver Colorado’s own BLOOD INCANTATION with a short but fantastic three song set of their spacy/psychedelic brand of death metal. The pit instantly went into action as soon as the music started and soon after the crowd surfing began creating a fun atmosphere that was contagious. I wish they played a little bit longer but they gained a new fan out of me in the process. After their set I noticed the lines for merch were significantly shorter so I decided to queue up. How could I not cop a shirt or two?

Setlist
Inner Paths (to Outer Space)
Awakening From the Dream of Existence to the Multidimensional Nature of Our Reality (Mirror of the Soul)
Obliquity of the Ecliptic

Band members
Paul Riedl – vocals, guitars
Morris Kolontyrsky – guitars
Jeff Barrett – bass
Isaac Faulk – drums

While Standing in line, Sherbrooke Quebec’s resident Tech Death lords GORGUTS layed down a phenomenal set, whipping the crowd into a frenzy but alas, I was stuck in line but fret not, I was still able to enjoy the band from afar as the speaker set-up at Rebel is pretty decent as well as having TV monitors at every bar so I was still able to gauge their performance and the crowd’s reaction. Got an awesome shirt out of it and was glad they were still accepting cash because after all I’m still a f**king caveman apparently. Gorguts rules!

Setlist
Rottenatomy
Disincarnated
Bodily Corrupted
Orphans of Sickness
Obscura

Band members
Luc Lemay – vocals, guitars
Kevin Hufnagel – guitars
Colin Marston – bass
Patrice Hamelin – drums

MAYHEM

I met up with my brother Keith (photographer @lowereastsidephotography) out on the patio during the intermission. The moon was almost full, the air was cool and calm, setting up the vibe for the next band. A band that many in the crowd came to see, one of the original pioneers of the Norwegian black metal scene, the one true MAYHEM. The crowd packed it in even tighter, I couldn’t get anywhere near the pit so I had to hang back and enjoy it from a distance. Mayhem proceeded to absolutely kill it and the fans were just eating it up. The crowd surfing was absolutely nuts, even Mayhem’s bassist Necrobutcher pointed to a crowd surfer with a liberty spiked mohawk as he was jettisoned towards the stage. The band feeding off of the crowd’s energy as the crowd was feeding off theirs. After the first three songs, Keith met up with me to show me his selfie he got with George “Corpsegrinder” Fisher at the side of the stage (lucky f**ker). We decided to check out more merch while Mayhem was destroying it on stage and to our surprise Luc Lemay (guitarist and lead vocalist) of Gorguts was running his own merch stand. We were greeted with a handshake and a thank you from Luc for coming to the show which was nice. Luc was one of the most friendly and down to earth people I have ever had the pleasure of meeting. So nice in fact that when the internet went down he accepted whatever cash we had on hand (we had half of what they were worth) for a signed limited edition picture disc of the album ” The Erosion Of Sanity” and a shirt. He totally didn’t have to do that at all and we appreciated the hell out of that. Such an awesome dude. Mayhem finishes their extra long set, everyone was ecstatic at this point, having an incredible night.

Setlist
Worthless Abominations Destroyed
Crystalized Pain in Deconstruction
Malum
My Death
Voces Ab Alta
Freezing Moon
Life Eternal
De Mysteriis Dom Sathanas
Silvester Anfang
Deathcrush
Carnage
Pure Fucking Armageddon

Band members
Attila Csihar – vocals
Teloch – guitars
Ghul – guitars
Necrobutcher – bass
Hellhammer – drums

CANNIBAL CORPSE

Finally it was time for a band that I have always wanted to see but never had the time or money but as luck would have it an opportunity arose thanks to Gustavo Scuderi of The Headbanging Moose for hooking me up with a review ticket, taking his place as he is out west having a great time seeing his lifelong favorite band Iron Maiden. Currently promoting their amazing new album Chaos Horrific, American death metal institution CANNIBAL CORPSE is a band that is best heard live. Did I say heard? I meant felt. Cannibal Corpse is a band that is felt not heard. George “Corpsegrinder” Fisher’s gutturals are as concussive as a mac truck doing dentistry. At times I was at the back of the venue and the vocals were like a kick in the gut. What can I say other than Cannibal Corpse absolutely f**king rules!!! And I loved every second of it. The pit was absolutely insane and, in fact, the crowd was one of the best I’ve ever been in. Such an amazing atmosphere to be a part of. George’s crowd control and banter is always legendary and he is certainly one of the best frontmen in metal. I love watching the security guards reactions during George’s intro to “I Cum Blood”. I don’t have to tell you that everyone fails his headbanging challenge, I mean how can you even compete with that neck? You must “RESPECT THE NECK”. Props to the soundboard technicians. Great sound all night and I didn’t even have to use my ear protection. I left the show completely satisfied and I can’t wait to see them and any one of the other bands the next time they come to town. They all left me wanting more. Great show 10/10!

Setlist
Scourge of Iron
Blood Blind
Disfigured
Evisceration Plague
Inhumane Harvest
Death Walking Terror
Chaos Horrific
I Cum Blood
Summoned for Sacrifice
Pounded Into Dust
Disposal of the Body
Pit of Zombies
Stripped, Raped and Strangled
Hammer Smashed Face

Band members
George “Corpsegrinder” Fisher – vocals
Rob Barrett – lead and rhythm guitar
Erik Rutan – lead guitar
Alex Webster – bass guitar
Paul Mazurkiewicz – drums

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Album Review – Werewolves / My Enemies Look and Sound like Me (2023)

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The most savage Blackened Death Metal band to ever arise from Australia returns to the battlefield in full force with an even more demented offering.

Formed in 2019 in Melbourne, Australia, the ruthless Technical Black/Death Metal horde that goes by the name of Werewolves has been making a name for themselves in the worldwide extreme music scene not only by the undeniable quality of their music, but also by their hard work and passion for what they do, as now in 2023, only a few years after the band’s inception, they’re unleashing upon humanity their impressive fourth studio album, the annihilating My Enemies Look and Sound like Me. Recorded by Chris Themelco at Anubis Studios (drums), Matt Wilcock and Sam Johnson at Holes & Corners Studio (guitars and bass), Jack Hartley at Jack Hartley Audio (vocals), and Marc Russo at Beveridge Road Studio (additional vocals), mixed and mastered by Joe Haley at Crawlspace Productions, and displaying a sick artwork by Mitchell Nolte (with design and layout by Sam Dishington), My Enemies Look and Sound like Me is a lecture in hatred, nihilism and violence by Sam Bean on vocals and bass, Matt Wilcock on the guitars, and David Haley on drums, taking the band’s fury to a whole new level in the majestic follow-up to their critically acclaimed albums The Dead Are Screaming (2020), What a Time to Be Alive (2021), and From the Cave to the Grave (2022).

There’s no peace in the music by Werewolves, and the opening tune Under The Ground is the perfect depiction of that, already offering our putrid ears the demonic drumming by David accompanied by the rumbling bass and devilish roars by Sam; whereas the title-track My Enemies Look And Sound Like Me sounds like a hurricane of Black and Death Metal that will demolish your senses, or a bestial devastation by the trio with Matt showcasing all his dexterity, rage and passion for extreme music armed with his axe. Get ready to break your freakin’ neck headbanging and to slam into the pit like a beast to the sound of Bring To Me The Kill, another infernal Black and Death Metal aria where David continues to hammer his drums manically, and those Aussie metallers show no mercy for our damned souls in Brace For Impact, blasting more of their frantic Blackened Death Metal spearheaded by the thunderous blast beats by David.

In Destroyer of Worlds we’re treated to devilish, obscure words vociferated by Sam (“Plead my cause against an unfaithful nation / Rescue me from those who are deceitful and wicked / An abomination / Nausea and tears / I am become Fake / Destroyer of worlds / We are not his image / Creature of blasphemy / Spitting in their eye / Pissing holy water”) while the music is the most cryptic form of Black Metal you can think of; and back to their more ferocious, ruthless vibe it’s time for a circle pit feast titled Neanderhell, with Sam roaring nonstop supported by the caustic riffage by Matt. I Hate Therefore I Am carries a beautiful name for a demonic, pulverizing hymn by Werewolves, making it impossible to stand still to the venomous riffs by Matt in one of the best songs of the album hands down. I Knew Nothing Then And I Know Less Now is another song with a classy name, offering our ears one more round of the band’s visceral Black and Death Metal. Put differently, simply bang your head nonstop to the stone crushing drums by David, and be prepared for the last tune from such hellish opus, titled Do Not Hold Me Back, which will punch you hard in the head one final time with Sam sounding darkly evil on vocals.

The demolishing, unrelenting My Enemies Look and Sound like Me can be appreciated in full on YouTube and on Spotify, but of course if I were you I would certainly grab a copy of it from the band’s own BandCamp page or by clicking HERE. Don’t forget to also follow Werewolves on Facebook and on Instagram for news, tour dates and so on, keeping your damned heart as black and evil as it can be while listening to the first-class extreme music by this amazing Australian band. Will Werewolves keep the momentum going and release another jaw-dropping full-length album in 2024? Do your enemies look and sound like you? Hopefully the answer to those two questions is yes, as Werewolves are quickly becoming one of the must-see names of both the Australian and the worldwide Black and Death Metal scenes, offering us all nonstop action, adrenaline and hatred in the form of their sick creations.

Best moments of the album: My Enemies Look And Sound Like Me, Bring To Me The Kill, Neanderhell and I Hate Therefore I Am.

Worst moments of the album: None.

Released in 2023 Prosthetic Records

Track listing
1. Under The Ground 2:29
2. My Enemies Look And Sound Like Me 3:46
3. Bring To Me The Kill 3:01
4. Brace For Impact 3:14
5. Destroyer of Worlds 5:41
6. Neanderhell 3:28
7. I Hate Therefore I Am 3:23
8. I Knew Nothing Then And I Know Less Now 4:07
9. Do Not Hold Me Back 4:52

Band members
Sam Bean – vocals, bass
Matt Wilcock – guitars
David Haley – drums

Album Review – Fossilization / Leprous Daylight (2023)

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A Brazilian Death and Doom Metal duo attacks with their first full-length album, offering us all eight savage tracks soaked in doomy despair.

One of the most acclaimed and praised newcomers in the underground recesses of the contended and highly demanding Death Metal feud, São Paulo, Brazil-based Death/Doom Metal duo Fossilization attacks with their first full album, entitled Leprous Daylight, an utterly crushing and brutally wrenching release. Recorded at Hellspass Studio, mixed and mastered by Finnish musician and producer Otso Ukkonen, produced by the band’s own V, and featuring illustrations by Indonesian artist Rio Oka of Digtrash Art, the album offers us all eight savage tracks soaked in doomy despair maliciously crafted and fiercely executed by the aforementioned V (aka Thiago Oliveira of Jupiterian) on vocals, guitars and bass, and P (aka Paulo Pinheiro of Jupiterian, Mortal Embodiment and Riffcoven) on drums, being a must-listen for fans of Dead Congregation, Krypts, Spectral Voice, Incantation, and for all admirers of the Brazilian Death Metal scene in general.

The sinister, grim intro Archæan Gateway introduces the duo’s deep and sharp heaviness before all hell breaks loose in Once Was God, where P is infernal behind his drums making the earth tremble while V roars like an entity from the underworld, or in other words, it’s a modern-day Blackened Doom aria that will darken your mind mercilessly. In Oracle of Reversion we face hellish words vociferated by V (“Transcending through the ages of fog and cold / Usurper of the throne in the skies and stars / Shadows bent before thee in honor / The Gods hum their lament and sadness / To nothingness”) while he also slashes his stringed axe in the name of darkness and evil; and V also does a superb job with both his scorching riffs and thunderous bass in At the Heart of the Nest, a lecture in Blackened Death Metal with a menacing Doom Metal vibe not recommended for the lighthearted.

The second half of the album begins with the pulverizing title-track Leprous Daylight, where P sounds inhumane behind his drums, bringing his heaviest artillery and therefore generating a beyond infernal atmosphere perfect for V’s demonic roars; followed by The Night Spoke the Tongue of Flames, another brutal, neck-breaking tune of darkness blasted by the duo, and Fossilization don’t show a single drop of mercy for our souls, hammering our cranial skulls with their devilish fusion of Black, Death and Doom Metal until the very end. Then the riffage by V sounds even darker and more sulfurous in Eon, a lecture in heaviness, brutality and insanity by Fossilization that lives up to the legacy of the most visceral form of Doom Metal, with P pounding his drums with tons of rage and dexterity, whereas lastly we face the most Doom Metal of all tracks, the sluggish and grim Wrought in the Abyss. It loses its grip after a while, though, but V and P still showcase a venomous performance throughout the entire song, putting a Stygian ending to the album.

This bestial album made in the depths of the Brazilian hellish pits can be enjoyed in full on YouTube and on Spotify, and you can obviously grab a copy of it from HERE (mailorder) or HERE (BandCamp), adding an extra touch of darkness and sulfur to your already demonic collection. In addition, go check what V and P are up to on Facebook and on Instagram, succumbing to the most obscure side of heavy music, and keeping such infernal duo inspired to keep blasting our ears with their music for many years to come like what they have to offer us all in their debut opus.

Best moments of the album: Once Was God, At the Heart of the Nest and Eon.

Worst moments of the album: Wrought in the Abyss.

Released in 2023 Everlasting Spew Records

Track listing
1. Archæan Gateway 0:55
2. Once Was God 4:59
3. Oracle of Reversion 5:02
4. At the Heart of the Nest 4:24
5. Leprous Daylight 5:03
6. The Night Spoke the Tongue of Flames 4:56
7. Eon 5:40
8. Wrought in the Abyss 5:36

Band members
V – vocals, guitars, bass
P – drums

Album Review – Mystic Prophecy / Hellriot (2023)

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German’s own Heavy and Power Metal division is ready to unleash hell with their incendiary twelfth studio album.

Formed initially as a side project in the already distant year of 2000 in Bad Grönenbach, Germany by Progressive Metal band Valley’s Eve bandmates R.D. Liapakis and Martin Albrecht, the unrelenting Heavy and Power Metal outfit Mystic Prophecy has been on a roll since their inception, having released already 12 studio albums (plus their 2021 EP Hail to the King), including their newborn spawn titled Hellriot, following up on their highly acclaimed effort Metal Division. Produced by the band’s own frontman R.D. Liapakis (aka Roberto Dimitri Liapakis, who’s by the way the band’s only remaining founding member), mixed and mastered by Henrik Udd at Studio Fredman, and displaying a beyond metalized artwork by Dušan Marković, Hellriot is an ode to all things metal masterfully brought into being by the aforementioned R.D. Liapakis together with guitarists Evan K and Markus Pohl, bassist Joey Roxx, and drummer Hanno Kerstan, positioning it as one of the top Heavy and Powerl Metal albums of 2023 without a shadow of a doubt.

The incendiary riffs by Evan and Markus will put you to bang your head like a true metalhead in the breathtaking title-track Hellriot, while R.D. beautifully declaims the song’s tribute-to-the-legends lyrics (“We are the legion of the damned / We let the dragons fly together till the end / Screaming for vengeance, the number of the beast / With the devil by our side the dogs of hell unleashed”) in a lecture in classic Heavy Metal with Thrash and Speed Metal nuances, followed by Unholy Hell, darker and heavier than its predecessor, with Joey shining armed with her bass while Hanno pounds his drums nonstop in the name of darkness. Then we have Demons Of The Night, bringing forward a galloping rhythm inspired by the music by Iron Maiden and Judas Priest, sounding absolutely solid and entertaining, and led by the scorching guitars by Evan and Markus. In Metal Attack the name of the song says it all, offering us all a vibrant onrush of Power Metal full of metallic bass punches, fierce riffs and hammering drums, whereas Paranoia is slightly below the rest of the album in terms of energy (not to mention all background effects sound out of place) despite its decent backing vocals and drums. And back to their more traditional Heavy and Power Metal mode we face Revenge And Fire, a headbanging feast where R.D. once again kicks some serious ass on vocals supported by the fiery music blasted by his bandmates.

After that, the low-tuned, menacing bass by Joey kicks off the beyond exciting Rising With The Storm, a lesson in old school Heavy Metal that will certainly put you to dance, with R.D.’s vocals being nicely complemented by the song’s spot-on backing vocals. In Road To Babylon the band presents poetic words are declaimed by R.D. (“One man is born to conquer the world / The signs of his faith are falling / One man in the name of gods / Hail to the king all nations are calling / With fire and steel he sends his warning / The Persian king Darius is falling”) while the rest of the band crafts a dark yet very melodious sound, resulting in an amazing creation by those Teutonic metallers, and things get even better in Azrael, one of the best songs of the album, paying homage to the angel of death with Joey being on fire not only armed with her rumbling bass but also with her powerful backing vocals. In other words, it’s impossible to stand still to this horn-raising hymn, which is also the case in Cross The Line, a beautiful fusion of Heavy and Power Metal with modern-day Hard Rock by Mystic Prophecy presenting some striking solos by Evan and the hammering drums by Hanno, while R.D. invites us all to sing along the song’s stylish lyrics together with the band. Finally, closing this flammable album of heavy music we have World On Fire, where once again we’ll feel the urge to start dancing, banging our heads and raising our fists in the air nonstop. The world might be coming to an end, but at least it will be to the sound of this stylish metal tune.

This fantastic explosion of classic German Power Metal can be appreciated in all of its glory on YouTube and on Spotify, but of course in order to support such amazing band from the European scene you can purchase a copy of Hellriot by clicking HERE, and catch the band live in your city by clicking HERE. Furthermore, R.D. Liapakis and his crew are also waiting for you on Facebook and on Instagram with news, more of their music and other nice-to-know details about them, inviting you to join their metallic army in their quest for heavy music. Mystic Prophecy are unleashing hell with their new album, and may their inner fire keep burning bright for decades to come with more superb releases like this one.

Best moments of the album: Hellriot, Rising With The Storm, Azrael and Cross The Line.

Worst moments of the album: Paranoia.

Released in 2023 ROAR! Rock Of Angels Records

Track listing
1. Hellriot 3:21
2. Unholy Hell 3:32
3. Demons Of The Night 3:15
4. Metal Attack 4:13
5. Paranoia 3:45
6. Revenge And Fire 3:31
7. Rising With The Storm 4:13
8. Road To Babylon 4:09
9. Azrael 3:30
10. Cross The Line 4:00
11. World On Fire 4:04

Band members
R.D. Liapakis – vocals
Evan K – lead guitars
Markus Pohl – rhythm guitars
Joey Roxx – bass
Hanno Kerstan – drums

Album Review – Horrendous / Ontological Mysterium (2023)

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Philadelphia’s filthiest and finest Progressive Death Metal band returns in full force with their fifth studio album, a labyrinth where the deeper in you go, the more it twists and churns, luring you toward some monstrous final battle.

Five years after their latest album Idol, Philadelphia’s filthiest and finest Progressive Death Metal band Horrendous is finally back with their fifth full-length instalment, titled Ontological Mysterium, a love letter to Death, Atheist and other classics from the late 80’s and early 90’s. Produced, engineered, mixed and mastered by the band’s own Damian Herring at Subterranean Watchtower Studios, and displaying a sick artwork by Alex Brown and Brian Smith, Ontological Mysterium is a labyrinth where the deeper in you go, the more it twists and churns, luring you toward some monstrous final battle, all masterfully brought into being by the aforementioned Damian Herring on vocals and guitars alongside Matt Knox also on vocals and guitars, Alex Kulick on bass, and Jamie Knox on drums.

A Stygian invocation titled The Blaze warms up the listener for the infernal metal attack that’s about to come in Chrysopoeia (The Archaeology of Dawn), a fast and demolishing tune where the riffs by Damian and Matt set fire to the atmosphere spiced up by the song’s demented lyrics (“Immerse me / In jubilant flames / With iridescent tongue / Lick away the skin / Don’t dare be kind / Paralyze me in paraffin / And spark the match”). Then blending the madness and creativity of Mastodon with their own Death Metal vein we have Neon Leviathan, and the result is a crushing tune where Alex steals the spotlight with his metallic, groovy bass punches; followed by Aurora Neoterica, bringing forward two minutes of sheer insanity, progressiveness and atmospheric passages where Jamie and Alex make an amazing duo with their respective beats and bass lines, flowing into the intricate Preterition Hymn, where the quartet once again blasts our ears with their sonic extravaganza, delivering a sick fusion of harsh growls and clean vocals (albeit not as exciting as the rest of the album).

In the wicked Cult of Shaad’oah  we’re treated to more of their lunatic words (“Beat me back but I’ll keep on climbing / When you’re lost in the dreams / Of the dead / And the final sun burns / Oh, the battle begins… / Prepare for brutal ascent”) amidst a fantastic Progressive Death Metal sonority led by the band’s guitar duo’s caustic riffage; whereas switching gears to a darker, heavier sound with a dense atmosphere, it’s time for the cryptic Exeg(en)esis, once again blasting our ears with their chaotic yet extremely melodic riffs, beats and bass lines, or in other words, a weird creation that fits really well in the album, followed by the Progressive Metal-infused title-track Ontological Mysterium, where Horrendous showcase all their insanity and passion for heavy music. Moreover, Jamie is amazing as usual behind his drums while the diversity of vocal styles again reminds me of some of the best songs by Mastodon. Lastly, how about another explosion of Progressive Death Metal to close the album on a high note? That’s what you’ll get in The Death Knell Ringeth, with the whole song sounding very compelling and dynamic, while the guitars by Damian and Matt exhale sheer electricity.

“At this point, we want to wave the Horrendous banner high in a way that we perhaps didn’t around Idol and continue on this path that we’ve forged,” said the band’s talented drummer Jamie Knox. “We are very proud of Ontological Mysterium and what our band has become – it’s almost like we’ve figured out how to make this band work amidst the wildness of adult life. This entity feels worth celebrating and feeding to see where it might take us next.” Hence, go check what the band is up to on Facebook and on Instagram, including their tour dates and plans for the future, and of course go grab a copy of Ontological Mysterium from the Season of Mist webstore, as well as by clicking HERE or HERE, and don’t forget to also stream such demonic album in full on YouTube and on Spotify. Having said all that, what are you waiting for to enter the labyrinth of progressive, technical and extremely heavy Death Metal crafted by Horrendous in their infernal new album?

Best moments of the album: Chrysopoeia (The Archaeology of Dawn), Cult of Shaad’oah and Ontological Mysterium.

Worst moments of the album: Preterition Hymn.

Released in 2023 Season of Mist

Track listing
1. The Blaze 2:00
2. Chrysopoeia (The Archaeology of Dawn) 7:16
3. Neon Leviathan 3:30
4. Aurora Neoterica 1:56
5. Preterition Hymn 3:58
6. Cult of Shaad’oah 5:24
7. Exeg(en)esis, 3:38
8. Ontological Mysterium 4:44
9. The Death Knell Ringeth 5:20

Band members
Damian Herring – guitars, vocals
Matt Knox – guitars, vocals
Alex Kulick – bass
Jamie Knox – drums

Album Review – Cannibal Corpse / Chaos Horrific (2023)

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The mighty Corpse is back with another pulverizing album of old school, undisputed Death Metal, blasting gore, blood and violence throughout 39 minutes of pure and intense chaos.

Two years after the incendiary Violence Unimagined, American Death Metal legends Cannibal Corpse are back with their equally monstrous sixteenth studio album, titled Chaos Horrific, continuing to build their legacy in the history of heavy music. Produced by the band’s own Erik Rutan at Mana Recording Studios, and displaying another sick and gory artwork by longtime collaborator Vince Locke, the new album by frontman George “Corpsegrinder” Fisher, guitarists Rob Barrett and Erik Rutan, bassist Alex Webster and drummer Paul Mazurkiewicz was written shortly after the conclusion of the Violence Unimagined sessions (due to the pandemic keeping them off tour), and although echoes of that album exist in Chaos Horrific, it is a whole new beast of its own. “To me this album feels sort of like a continuation of Violence Unimagined. The style is quite similar, but individually none of the songs on Chaos Horrific sound like songs on Violence Unimagined,” said Alex. “It’s a full-on death metal album, Cannibal Corpse style.”

And Alex begins his undisputed bass attack in the visceral opening tune Overlords of Violence, where the band already crushes us mercilessly with their old school Death Metal, offering pure, unfiltered Cannibal Corpse for the masses, followed by Frenzied Feeding, another massive assault by the quintet with the guitars by Rob and Erik sounding extremely dirty, vile and evil, while our buddy Corpsegrinder proves why he’s the ultimate Death Metal growler. “One person is randomly selected to die. Thirteen people are randomly selected to kill this person by violently removing pieces of his body until he breathes no more,” commented Paul about Summoned for Sacrifice, a neck-breaking, demonic tune that will work amazingly if played live; whereas Blood Blind “is about mass mutilations to reset the human race in a genocide that was embraced by the masses,” also according to Paul, showcasing classic, evil lyrics roared by Corpsegrinder (“Seas of gore as far as the eye can see / Saturating the vision / Eternal hate this is not a fallacy / Contaminate all that lives / Subjugate the mind / Blood blind”).

The wicked guitar lines by the band’s unstoppable axe duo ignite the circle pit feast Vengeful Invasion, another great tune for headbanging nonstop together with Corpsegrinder, sounding extremely technical yet still bringing forward the band’s trademark gore and heaviness, whereas the title-track Chaos Horrific couldn’t have sounded more Cannibal Corpse than that, presenting their past, present and future sonority, with Paul kicking some serious ass behind his drums supported by the always demented bass by Alex. They show no sign of slowing down in the brutal, thunderous Fracture and Refracture, bringing forward more of their Death Metal riffage, rumbling bass lines and crushing beats in a beyond thrilling manner, followed by Pitchfork Impalement, offering us all three minutes of insanity and violence led by the inhumane growls by Corpsegrinder while Paul hammers his drums with endless fury. After that, get ready to be pulverized inside the mosh pit to the sound of Pestilential Rictus, a groovy, ruthless display of Death Metal where Rob and Erik are superb with their metallic riffs and solos. And lastly, if you’re still alive there’s time for one final sonic carnage titled Drain You Empty, where the band invests in a deep, obscure sound not recommended for the lighthearted, overflowing their brutality until the very last second.

Cannibal Corpse Chaos Horrific Boxset

If there’s one thing that we all love about Cannibal Corpse is their ability to reinvent themselves with every new album without forgetting about their old school Death Metal roots, which is exactly what we see in the excellent Chaos Horrific. Hence, don’t forget to give the guys from the band a shout on Facebook and on Instagram, to stream their vast and amazing catalogue on Spotify, to catch the kings of Death Metal live on tour now promoting their sick new album, and above all that, to purchase a copy of it from their own webstore, from the Metal Blade Records webstore, from Kingsroadmerch.com (especially the fantastic Chaos Horrific Box Set, limited to 1500 copies and including a dried blood vinyl, a 24-page 12” booklet, a puzzle, a poster, an enamel pin and an art print), or simply click HERE for all things Cannibal Corpse. Let’s support this undisputed Death Metal institution to keep blasting chaos through their music for many decades to come, spreading blood, gore, filth, violence, and all other horrific things that makes us metalheads always proud of the mighty Corpse!

Best moments of the album: Overlords of Violence, Chaos Horrific, Fracture and Refracture and Pestilential Rictus.

Worst moments of the album: None.

Released in 2023 Metal Blade Records

Track listing
1. Overlords of Violence 3:08
2. Frenzied Feeding 3:33
3. Summoned for Sacrifice 4:05
4. Blood Blind 4:34
5. Vengeful Invasion 4:44
6. Chaos Horrific 3:33
7. Fracture and Refracture 3:37
8. Pitchfork Impalement 3:17
9. Pestilential Rictus 4:13
10. Drain You Empty 4:36

Band members
George “Corpsegrinder” Fisher – vocals
Rob Barrett – lead and rhythm guitar
Erik Rutan – lead guitar
Alex Webster – bass guitar
Paul Mazurkiewicz – drums

Concert Review – Jinjer (The Phoenix Concert Theatre, Toronto, ON, 09/15/2023)

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The ambassadors of Ukrainian Progressive and Groove Metal took the city of Toronto by storm on an electrifying and sold out night of first-class music.

OPENING ACT: Monuments

Despite the insane traffic to get in and out of Toronto due to countless accidents, the endless construction in the city and so on, I was able to make it just in time (and by that I mean just a minute or so before Monuments kicked off the night) for the feast of Metalcore, Djent, Progressive and Groove Metal by MONUMENTS and JINJER at The Phoenix Concert Theatre during their North American Tour 2023 this Friday in Toronto. The concert had been sold out for weeks already, warning all concert goers that it was going to be a hot and packed night for fans of both bands; however, I think everyone at the venue was not just ready for that, but highly prepared for the heat and eager for some action inside the circle pit, and as it was a Friday night let’s say that any worries about working or going to school the next day were left outside the venue, generating a fun and intense energy inside The Phoenix Concert Theatre.

It was close to 7:30pm when London, UK-based Progressive Metal/Djent act MONUMENTS hit the stage for a breathtaking performance, receiving a truly wild reaction form the crowd with tons of horns and fists in the air, with everyone jumping up and down together with the band, and above all that, with an incendiary circle pit taking a good chunk of the floor section for the delight of all Torontonians who love a mosh pit more than they love their own families. Still promoting their 2022 album In Stasis, the band formed of the extremely talented Andy Cizek on vocals, John Browne on the guitars, Werner Erkelens on bass, and Mike Malyan on drums was on absolute fire from start to finish, setting the bar really high for Jinjer. All songs played by the quartet, including their newest ones Cardinal Red, False Providence, Opiate and Lavos, sounded fantastic live, and I’m sure after Friday their fanbase will only grow bigger and stronger in Toronto. If you want to know more about the music by Monuments, go enjoy all of their creations on Spotify, and whenever they visit your hometown during one of their tours, get ready for a wild Djent ride with those UK guys.

Setlist
Cardinal Red
I, the Destroyer
Degenerate
False Providence
Opiate
Nefarious
Lavos
I, the Creator

Band members
Andy Cizek – vocals
John Browne – guitars
Werner Erkelens – bass
Mike Malyan – drums, samples

JINJER

Although Ukraine’s own Metalcore/Djent/Progressive/Groove Metal institution JINJER was supposed to have started their flawless performance at 9:10pm, they ended up hitting the stage 10 minutes earlier than that, most probably because the team setting up the stage for them worked faster than expected. That means the break between bands to check the merch stand, to grab a beer, go to the washroom or chat with your friends was slightly shorter than we thought, but that wasn’t an issue at all because everyone at the venue was more than eager to see the stunning Tatiana “Tati Booyakah” Shmaylyuk and her henchmen kicking some ass on stage in an incendiary display of heaviness, groove and passion for heavy music. Furthermore, it is a true pleasure seeing a band like Jinjer becoming such a big name in the scene, as last time I saw them back in 2018 opening for Cradle of Filth they were “just” an opening band.

Jinjer haven’t released anything new yet after their 2021 album Wallflowers, but it was crystal clear that their fans were there on Friday for some fun it didn’t matter what the setlist was going to be. Well, let’s say we had the utmost pleasure of enjoying live pretty much all of their already classic songs including Perennial, Ape, Teacher, Teacher!, Who Is Gonna Be the One (my favorite of the entire concert), Call Me a Symbol, and Judgement (& Punishment), among many others. Needless to say, Tatiana stole the show with her incredible clean vocals and demonic harsh growls, her hypnotizing dance moves, and her undeniable charisma, creating a powerful connection with all Jinjer fans at the venue. Of course, her performance wouldn’t have been so compelling without the support of her bandmates Roman Ibramhalilov on the guitars, Eugene Kostyuk on bass, and Vlad Ulasevich on drums, who are by the way sounding A LOT tighter, better, heavier and more precise than the last time I saw them live.

Fortunately, I had the support once again from my friend Keith Ibbitson of Lower Eastside Photography to take proper photos of the whole night, as it was nearly impossible to get close to the stage due to the rowdy crowd at The Phoenix Concert Theatre, plus of course the fact that the circle pit was massive and simply walking through it was not an option. As the band played their closing song, the infuriated Sit Stay Roll Over, that task got absolutely impossible, ending their blazing performance on a high note and leaving all attendees eager for another night of Jinjer awesomeness in the city in a not-so-distant future (not to mention the fact the show ended around 10:30pm, giving everyone plenty of time to catch any type of public transportation available back home, go for some drinks, or just stay near the venue for some quality chat with their friends). Moreover, I’m sure whenever Tatiana and the boys return to the city it will be a sold out concert once again, because when a band like Jinjer keeps putting their hearts and souls into the making of their music, that beautiful energy flows into the minds of their fans, strengthening their ties and helping guide the band to stardom, just like what happened this Friday in Toronto. Or as Tatiana herself would say… Booyah!

Setlist
Perennial
Ape
Copycat
Teacher, Teacher!
Who Is Gonna Be the One
I Speak Astronomy
Call Me a Symbol
Vortex
Home Back
Pisces
Dead Hands Feel No Pain
Judgement (& Punishment)
Sleep of the Righteous
As I Boil Ice

Encore:
Sit Stay Roll Over

Band members
Tatiana Shmaylyuk – vocals
Roman Ibramhalilov – guitar
Eugene Kostyuk – bass
Vlad Ulasevich – drums

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Album Review – Ringworm / Seeing Through Fire (2023)

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Cleveland’s own Hardcore, Death and Thrash Metal masters are ready to kill armed with their ninth studio album, pushing the band up into the frontrunners of modern metallic talent.

Ever since emerging from the Cleveland underground, the unrelenting American Death/Thrash Metal/Hardcore horde Ringworm has garnered the immediate attention of all types of heavy music fans, always displaying endless ferocity and, consequently, always fascinating metalheads with their unorthodox melodies for over 30 years. Now in 2023 the band formed of James ‘Human Furnace’ Bulloch on vocals, Matt Sorg and Mike Lare on the guitars, and Ed Stephens on bass has just unleashed their ninth studio album, titled Seeing Through Fire, the follow-up to their 2019 installment Death Becomes My Voice. Recorded, mixed and mastered by Noah Buchanan at Mercinary Studios, Seeing Through Fire showcases the abundant complexities in the music by Ringworm and pushes the band up into the frontrunners of modern metallic talent, being highly recommended for fans of Integrity, Earth Crisis, Converge and American Nightmare, among others.

The title-track Seeing Through Fire is utterly harsh and infuriated from the very first second, with James’ vocals exhaling despair and aggressiveness amidst a hurricane of Thrash Metal and Hardcore crafted by his bandmates, resulting in the perfect way to start such sick album. There’s no time to breathe as their feast of pulverizing sounds goes on in Carved in Stone, where the guitars by Matt and Mike will penetrate deep inside your skin and burn your muscle tissue mercilessly in the name of the darkest form of Hardcore you can think of. Then let’s all slam into the circle pit together with ringworm to the sound of the high-octane No Solace, No Quarter, No Mercy, a lecture in modern-day Thrash Metal with Hardcore elements spearheaded by the brutal vocals by James, followed by Death Hoax, sounding like some of the most insane creations by Slayer from their Divine Intervention and Undisputed Attitude albums, with the song’s fierce blast beats matching perfectly with the rabid roars by James. And the band continues their path of destruction in Thought Crimes, another frantic, sharp and caustic tune showcasing more of the scorching riffs by Matt and Mike.

The second half of the album begins in full force with Unavoidable Truth, bringing to our avid ears more of the band’s infernal fusion of Thrash Metal and Hardcore while Ed keeps hammering his bass nonstop, bringing an extra touch of groove and heaviness to the music; and if you think those American metallers would slow down anytime, you’re absolutely wrong, as they keep speeding things up and inviting us into the pit in House of Flies, with James growling rabidly supported by the wicked riffs and solos by the band’s guitar duo. You Want It To is another feast of Death and Thrash Metal infused with Hardcore nuances where Ed’s bass sounds thunderous, not to mention the song’s demented drums; and let’s keep banging our heads in the name of evil in Mental Decontrol, with James bursting his lungs screaming while Matt, Mike and Ed are ruthless armed with their axes. There’s no mercy for our souls in the demonic Power and Blood, an incendiary lecture in Thrash Metal and Hardcore by Ringworm that will smash you like an insect, with James once again stealing the spotlight with his sick, visceral growls; whereas closing Seeing Through Fire we have the outro Playing God, which is not bad but another ferocious tune would have added more taste to the album.

“We wanted to go with a slightly different approach and look than the previous records, it’s a new era for us,” explained James. “It’s a little bit of a return to our roots, you have those moments every so often where you wanna get back to your comfort zone, but at the same time you want to expand that comfort zone. On the production side, we definitely wanted something that was raw, more in your face, and way more sonically abrasive than the last several albums. Vocally it’s the same approach on every record, my voice is just a hammer, and every song looks like a nail to me.” Hence, if you want to experience all that raw, massive violence blasted by Ringworm in Seeing Through Fire, you can stream the album in full on YouTube and on Spotify, and of course grab a copy of it by clicking HERE or HERE. Don’t forget to also follow the band on Facebook and on Instagram, and to subscribe to their YouTube channel for more of their insane music. As aforementioned, Seeing Through fire is at the same time modern and old school, showing how the band knows what they do, staying loyal to their foundations without forgetting to always move forward in their career, and to always invite us for some action inside the circle pit.

Best moments of the album: No Solace, No Quarter, No Mercy, House of Flies and Power and Blood.

Worst moments of the album: Playing God.

Released in 2023 Nuclear Blast

Track listing
1. Seeing Through Fire 3:17
2. Carved in Stone 2:49
3. No Solace, No Quarter, No Mercy 3:09
4. Death Hoax 2:51
5. Thought Crimes 2:53
6. Unavoidable Truth 2:41
7. House of Flies 2:56
8. You Want It To 2:02
9. Mental Decontrol 2:29
10. Power and Blood 2:39
11. Playing God 3:09

Band members
James ‘Human Furnace’ Bulloch – vocals
Matt Sorg – guitar
Mike Lare – guitar
Ed Stephens – bass

Guest musician
Daniel Mongrain – guitar solo on “Death Hoax”