Tag Archives: brutal death metal

Album Review – The Last of Lucy / Godform (2024)

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One of the most technical and violent bands of the current American scene returns with their fulminating third full-length offering, showcasing their trademark scathing intensity and forceful execution.

Two years after their devastating album Moksha, Huntington Beach, California, United States-based Technical/Progressive Death Metal outfit The Last of Lucy finetunes their sound, blending elements of Technical Death Metal, Mathcore, a bit of Brutal Death Metal, and even bring back aspects of their debut on their latest full-length opus, entitled Godform. Mixed and mastered by Dave Otero at Flatline Audio Studio, and displaying a sick artwork by Pär Olofsson, the new album by Josh De La Sol on vocals, Gad Gidon on the guitars, Derek Santistevan on bass, and Josef Hossain-Kay on drums showcases the band’s trademark scathing intensity and forceful execution, along with their knack for writing catchy music and shuffling things around, casting out any semblance of complacency from taking shape in the minds of the listener and, consequently, being highly recommended for fans of Inferi, The Faceless, Archspire, The Zenith Passage, and Godless Truth, among others.

Wormhole provides a more than an infernal start to the album, with Josef already decimating our cranial skulls with his hammering drums while Josh barks and roars like a beast, or in other words, it’s the epitome of modern-day Technical Death Metal by one of the best bands of the genre. They keep blasting their ruthless yet very intricate sounds in Empyreal Banisher, also bringing elements from Deathcore which is kind of in line with their beginnings, not to mention the amazing job by Gad with both his riffs and solos, followed by Twin Flame, sounding and feeling freakin’ demonic while also presenting ethereal, smooth passages, in special the ones with the saxophone, resulting in a very detailed tune that should work really well if played live. In Shedim Séance we face two minutes of first-class Technical Death Metal by the quartet condensing all their fury, rage and dexterity in a short but extremely caustic composition; and there’s no sign of slowing down at all, as Sanguinary Solace is  pedal to the metal to the infuriated riffs by Gad while Derek hammers his bass frantically.

Gad continues to impress with his top-notch technique in Sentinel Codex, delivering wicked riffs perfect for the demented growls by Josh in another Technical Death Metal beast by the quartet, followed by Darkest Night of the Soul, portraying a beautiful name for one of the most complex, multi-layered songs of the album where their Death Metal vein pulses harder than ever, all spearheaded by the pulverizing beats by Josef. Angelic Gateway is another short and sweet explosion of Technical Death Metal with Deathcore nuances, with Gad yet again sounding ruthless armed with his axe. Two more songs to go and they still have a lot of fuel to burn starting with Anima Flux, where their riffs, bass and drums match perfectly with the wicked guttural by Josh, and last but not least the quartet will pierce our damned souls with the title-track Godform, bringing forward another shot of their trademark Death Metal extravaganza, with Derek and Josef making the earth tremble with their sick bass and drums.

Godform is one of those albums that you must listen to if you have Death Metal running through your veins, as it’s not only brutal and visceral, but the level of intricacy and dexterity brought forward by The Last of Lucy throughout the entire album is majestic. Hence, don’t forget to give them a shout on Facebook and on Instagram, getting up to date with their news, including tour dates, to stream their sick creations on Spotify or on any other streaming service, and above all that, to purchase a copy of the fulminating Godform from their own BandCamp page or from the Transcending Obscurity Records webstore by clicking HERE, HERE or HERE, and also click HERE for all things The Last of Lucy, letting their venomous yet extremely technical sounds penetrate deep inside your damned soul and mercilessly burn you from inside.

Best moments of the album: Wormhole, Twin Flame, Shedim Séance and Darkest Night of the Soul.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Wormhole 4:09
2. Empyreal Banisher 3:07
3. Twin Flame 4:44
4. Shedim Séance 2:22
5. Sanguinary Solace 3:14
6. Sentinel Codex 3:00
7. Darkest Night of the Soul 3:21
8. Angelic Gateway 2:41
9. Anima Flux 3:00
10. Godform 2:51

Band members
Josh De La Sol – vocals
Gad Gidon – guitars
Derek Santistevan – bass
Josef Hossain-Kay – drums

Album Review – Nogothula / Telluric Sepsis (2024)

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Raise your horns high to the first full-length opus by this talented American Blackened Death Metal band, sounding technical yet brutal, melodic yet malevolent.

Formed in 2021 originally as a studio project amongst three friends to create fun, heavy Death Metal that eventually became a more serious endeavor to create more unique Black and Death Metal, Cincinnati, Ohio, United States-based Blackened Death Metal entity Nogothula has just released their first full-length opus, titled Telluric Sepsis, the follow-up to their 2022 debut EP Gore Vortex Ascension. Recorded by the band itself (vocals, guitars, bass and synths) and by Eric Tuffendsam at Moonlight Studios (drums), mixed and mastered by Noah Buchanan at Mercinary Studios, and displaying a sick artwork by Niklas Webjorn (plus a beyond deadly logo by Crepuscular Gloom), the new album by Eric Payne on vocals and bass, Colton Deem on vocals and guitar, John “Nick” Moeller also on the guitar, and Alex Hooper on drums will please fans of both Black and Death Metal, always sounding technical yet brutal, melodic yet malevolent.

The intro Awakening offers us all the band’s heavy-as-hell, menacing welcome card, with their deep guttural and harsh screeches piercing our minds before Chaospore arrives like a hurricane of blackened sounds, with Colton and John hammering their axes nonstop supported by the massive beats by Alex. Then in Catacomb Cauldron the band invests in a more brutal, visceral Death Metal sound led by the unstoppable drums by Alex, while Eric and Colton keep vociferating rabidly, therefore resulting in a perfect song for igniting some insane mosh pits; followed by Lacerating Vibrations, another infernal explosion of Brutal Death Metal, inviting us all to slam into the pit while Eric and Colton continue to deliver their gruesome double vocal attack. And their avalanche of Blackened Death Metal gets even more sulfurous in Observers of Perpetual Rot, again presenting the wicked riffage by Colin and John accompanied by the always menacing bass by Eric.

They still have a lot more fuel to burn, starting with Labyrinthian Sunken Spires, where their raspy, unfriendly roars match perfectly with all the instrumental devastation crafted with tons of hatred, sounding and feeling absolutely infernal until the very end; whereas Morbid Seas of Stygian Blood carries a beautiful name for a lecture in Blackened Death Metal, sounding very detailed, obscure and caustic thanks to the band’s usual demonic vocal lines and crushing drums. Then the title-track Telluric Sepsis brings forward the band’s trademark animosity and rage without forgetting to sound melodic and vibrant, with Alex stealing the spotlight once again with his massive beats and fills; and lastly, let’s enjoy eight minutes of cryptic sounds, vile passages and the band’s hammering Death Metal in Meandering Comatose Twilight… The Carrion Viaduct, where their guttural vocals sound utterly deep, sending shivers down our spines and obviously closing the album on a sulfurous note.

The guys from Nogothula are waiting for you on Facebook and on Instagram with news, tour dates, more of their music, and other nice-to-know details about the band, letting their caustic sounds penetrate deep inside your psyche. Needless to say, above all that, don’t forget to grab a copy of Telluric Sepsis, which is by the way available for streaming in full on YouTube and on Spotify, from their own BandCamp page, keeping your horns high in the name of Black and Death Metal to the sound of the visceral new album by one of the most promising bands of the current American scene.

Best moments of the album: Catacomb Cauldron, Lacerating Vibrations and Morbid Seas of Stygian Blood.

Worst moments of the album: None.

Released in 2024 Independent

Track listing
1. Awakening 2:19
2. Chaospore 4:39
3. Catacomb Cauldron 4:17
4. Lacerating Vibrations 5:16
5. Observers of Perpetual Rot 3:17
6. Labyrinthian Sunken Spires 5:53
7. Morbid Seas of Stygian Blood 4:30
8. Telluric Sepsis 4:09
9. Meandering Comatose Twilight… The Carrion Viaduct 8:09

Band members
Eric Payne – vocals, bass
Colton Deem – vocals, guitar
John “Nick” Moeller – guitar
Alex Hooper – drums

Concert Review – Thy Art Is Murder (The Phoenix Concert Theatre, Toronto, ON, 04/12/2024)

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If you love mosh pits from the bottom of your blackened heart, then Friday night in Toronto was the place to be, courtesy of four insane bands in a feast of pure, brutal Deathcore.

OPENING ACTS: Snuffed on Sight, Signs of the Swarm and Angelmaker

I have no idea what’s happening with the traffic to get to Toronto. I mean, it has always been bad, but this weekend it seems that things got even worse, which delayed my arrival at The Phoenix Concert Theatre to see SNUFFED ON SIGHT, SIGNS OF THE SWARM, ANGELMAKER and THY ART IS MURDER kill everything and everyone during the Toronto stop of their Godlike North America Tour 2024, another fantastic event brought to the city by Noel Peters of Inertia Entertainment, and “day 1” of my more-than-awesome “metal weekend” with three days of shows in a row. Besides the heavy traffic to get in and out of the city, there was also a lot of wind and rain, but nothing that could stop a horde of avid Deathcore and Death Metal fans to invade the venue and generate some of the wildest mosh pits I’ve ever seen live. Holy shit, the kids were mental inside the pit, with the action flowing nonstop until the very last second.

Due to traffic, I couldn’t make it in time to see San Francisco, California-based Brutal Death Metal/Hardcore act SNUFFED ON SIGHT, but fortunately my buddy Keith Ibbitson of Metal Paparazzi was there to take some wild pictures of the band, and to confirm what I suspected after listening to their 2023 album Smoke, that they’re extremely heavy and really fun to see live. If you want to experience their fury, you can stream their sick creations on BandCamp, Spotify, or any other streaming service, as well as get to know more about the band by clicking HERE, and as soon as you realize how brutally amazing this band is, you’ll be smarter than me and plan your trip ahead of time to be able to see them kicking some serious ass on stage.

Setlist
Intro
Blunt Cough
Time 2 Dip
Dummy
(smoke break)
Smoke
All Talk
Slippin

Band members
Seven Kane – vocals
Walid Gad – guitars
Spencer Metala – bass
Kendric DiStefano – drums

Although I had to miss Snuffed on Sight, I was lucky enough to witness live one of the heaviest, most insane concerts ever, courtesy of Pittsburgh, Pennsylvania’s own Deathcore beast SIGNS OF THE SWARM. Led by the amazing frontman David Simonich, the band delivered sheer violence, groove and fire during their short but extremely destructive set, playing songs form their most recent album Amongst the Low & Empty such as the title-track Amongst the Low & Empty, Tower of Torsos and Pray for Death. The circle pits, walls of death and crowd surfing were freakin’ insane during their whole concert, showing how electrifying their music is (and you can check it out yourself on Spotify or by clicking HERE). I can’t wait to see those guys again live, but I’ll be sure I have some sort of body armor to endure their sick mosh pits, no doubt about that.

Setlist
Amongst the Low & Empty
Tower of Torsos
Pray for Death
Borrowed Time
Between Fire & Stone
Dreamkiller
Malady

Band members
David Simonich – vocals
Carl Schulz – guitars
Michael Cassese – bass
Bobby Crow – drums

Next on the bill was North Vancouver, British Columbia, Canada-based Deathcore infantry ANGELMAKER, and yet again The Phoenix Concert Theatre became a hurricane of mosh pits thanks to their incendiary performance on stage. It’s interesting that they were able to fit all seven members of the band on stage, because not only they have three guitarists, but they also have two demented vocalists, Casey Tyson-Pearce and Mike Greenwood, and oh boy, their double vocal attack is beyond infernal. Playing songs the likes of Godless, Hollow Heart and Leech, it was a wild ride together with those Canadians, keeping the action in the mosh pit moving as fast as a shark hunting for food. Go check their crazy creations on BandCamp and on Spotify, and don’t miss the chance to see those seven wicked musicians live whenever they hit your city, as it’s absolutely worth it.

Setlist
Radiance in the Light of a Dying Sun
The Bridge Between
Suffer Forever
Day/Day
Godless
Gutless
Shia LaBeouf
Vengeance
A Dark Omen
Hollow Heart
Leech

Band members
Casey Tyson-Pearce – vocals
Mike Greenwood – vocals
Colton Bennett – guitars
Matt Perrin – guitars
Johnny Ciardullo – guitars
Cole Rideout – bass
Steven Sanchez – drums

THY ART IS MURDER

After three insane openers, it was then time for the main attraction of the night, Blacktown, New South Wales, Australia’s own Deathcore institution THY ART IS MURDER, to crush the souls of all concert goers with their visceral, harsh and furious performance. Promoting their 2023 album Godlike, the band now fronted by the talented Tyler Miller, of Australian Technical Deathcore band Aversions Crown (as the iconic Chris “CJ” McMahon has recently quit music for good, starting a career in real estate) kicked some ass during their solid performance (just as good as the last time I saw them opening for Cannibal Corpse back in 2019), with songs like Slaves Beyond Death, Death Squad Anthem, Make America Hate Again, Godlike, and of course Puppet Master, driving all fans crazy inside the wild mosh pits that kept moving frantically in the middle of the floor section. Leaving concerts earlier than the end seems to be the new norm in Toronto, maybe due to public transportation hours, maybe due to the increase in violence at night, but I would say more than 90% of the crowd stayed at the venue until the very last second, and hopefully it won’t take long for the band to return to the city for another demented concert like Friday night.

Setlist
We Like to Party (Vengaboys song)
Destroyer of Dreams
Slaves Beyond Death
Death Squad Anthem
Make America Hate Again
Blood Throne
Join Me in Armageddon
Holy War
The Purest Strain of Hate
Godlike
Keres
Everything Unwanted
Reign of Darkness
Puppet Master

Band members
Tyler Miller – vocals
Andy Marsh – lead guitar
Sean Delander – rhythm guitar
Kevin Butler – bass
Jesse Beahler – drums

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Album Review – Brutalism / Solace In Absurdity (2024)

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Behold the debut album by an American band that’s the epitome of brutality, drawing together two horrors, two powers from beyond the light, the essence of Death Metal sent spinning into a dominion of torture beyond understanding.

Welcome to a kingdom of the obscene and absurd, where reason is dissected and destroyed and reality is warped into nightmare. That’s the kingdom ruled by Boise, Idaho-based Technical/Brutal Death Metal entity Brutalism, who’s unleashing upon humanity their debut effort titled Solace In Absurdity. Mixed and mastered by Dante Haas and Jake Hotchkiss, and displaying a sick artwork by Moon Ring Design, the first ever full-length album by Cameron Bass on vocals, Jason Taylor and London Howell on the guitars, Ian Dodd on bass, and Dante Haas on drums draws together two horrors, two powers from beyond the light, the essence of Death Metal sent spinning into a dominion of torture beyond understanding, being therefore recommended for fans of the brutality blasted by renowned bands like Morbid Angel, Immolation, Defeated Sanity and Suffocation.

Introlism is a brutal, gory attack by the quintet, where Dante already crushes his drums manically supported by the visceral riffs by Jason and London, not to mention how metallic the bass by Ian feels; whereas showcasing one of the best lines from Conan as its intro, the pulverizing Asphyxiating on Vomitous Excretion presents a rabid Cameron on vocals, growling and barking nonstop while his bandmates deliver sheer sonic violence in the name of Brutal Death Metal. The title-track Solace in Absurdity offers another two minutes of dementia in the form of Death Metal, with Cameron delivering his trademark “breeeeees” while Dante sounds infernal behind his drums; and the band sounds even more infuriated and bloodthirsty in Astrocytomic Hemorrhaging, taking their Brutal Death Metal sonority to a whole new level with their guitar solos feeling absolutely sharp. It’s then time to slam like a metalmaniac into the circle pit to the sound of the wicked bass by Ian in Accelerated Decrepitude, the perfect fusion of Technical and Brutal Death Metal with endless aggression, whereas in Flesh Pyramid we face a demented riff attack by Jason and London, of course boosted by the classic blast beats by Dante, resulting in another evil Death Metal feast.

In the demonic Sickening Synaptic Pathways, a horrifying intro quickly explodes into a venomous display of brutality and gore, with the pounding sound of their drums being supported by the massive, intricate bass lines by Ian, whereas the raw, devilish album production makes Compulsive Acts of Repulsion sound even heavier and more demented, or in other words, not recommended for the lighthearted, where once again the rumbling bass by Ian and the gruesome vociferations by Cameron exhale Death Metal. Elimination of the Heliosphere might be one of the most complex of all songs, but it still presents the band’s most demented side, and of course the final result is beyond thrilling with Ian and Dante stealing the show with their demolishing kitchen. Brutalism then show no sign of slowing down at all, smashing our cranial skulls with Consuming Obsession, with the guttural by Cameron sounding one hundred percent inhumane during the entire song; and lastly we have Asyncritus, beginning in a visceral, blood soaked manner with all band members showcasing their talent and passion for brutality. Moreover, there isn’t a single second of peace during the song’s massive seven minutes, with Dante taking the lead armed with his boisterous blast beats.

Solace In Absurdity is undoubtedly a gruesome and violent album of Death Metal, leaving us completely disoriented while at the same time eager for more of the sick creations by Brutalism. Hence, you can show your support to those American metallers by following them on Facebook and on Instagram, stream their music on Spotify or any other streaming service, and of course, grab your desired copy of their demented debut album by clicking HERE (physical copy and merch) or HERE (Bandcamp), as well as from Apple Music, adding an extra share of sheer brutality to your already infernal collection. The band is not called Brutalism in vain, and if you have what it takes to face the endless aggressiveness found in Solace In Absurdity, you’re going to have a very good (and brutal) time.

Best moments of the album: Astrocytomic Hemorrhaging, Accelerated Decrepitude and Elimination of the Heliosphere.

Worst moments of the album: Solace in Absurdity, but only because it might be the less brutal of all songs.

Released in 2024 Comatose Music

Track listing
1. Introlism 1:38
2. Asphyxiating on Vomitous Excretion 3:04
3. Solace in Absurdity 2:12
4. Astrocytomic Hemorrhaging 2:29
5. Accelerated Decrepitude 3:59
6. Flesh Pyramid 3:50
7. Sickening Synaptic Pathways 2:31
8. Compulsive Acts of Repulsion 4:26
9. Elimination of the Heliosphere 2:13
10. Consuming Obsession 2:43
11. Asyncritus 7:36

Band members
Cameron Bass – vocals
Jason Taylor – guitar
London Howell – guitar
Ian Dodd – bass
Dante Haas – drums

Album Review – Ingested / The Tide of Death and Fractured Dreams (2024)

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UK’s most hardworking Brutal Death Metal and Deathcore entity is back with their eight studio album, showcasing a band willing to expand its creativity without sacrificing the ferocity that made it one of the most impressively destructive names of the current scene.

Not many top-tier Death Metal bands can record and release an album a year and follow it with an extensive tour. That’s hardly ever been the case for Manchester, England’s crushing, visceral Brutal Death Metal/Deathcore entity Ingested. Since the release of their fifth album Where Only God May Tread, in 2020, the band has been on a creative tear that has produced almost a full record every year – even through the COVID pandemic – but has resulted in the kind of musical growth that only comes from constantly practicing, playing, and writing. Now in 2024 the band formed of frontman Jason Evans, guitarist Sean Hynes, and drummer Lyn Jeffs returns with their eight studio effort, titled The Tide of Death and Fractured Dreams, sounding as innovative and brutal as their latest opus, the bleak, firestorm Ashes Lie Still, released in 2022. Displaying a stunning artwork by David Seidman, the album showcases a band willing to expand its creativity without sacrificing the ferocity that made it one of the most impressively destructive and technical Death Metal bands on the scene.

The opener Paragon of Purity is insanely slamming and brutal from the very first second, with Jason already sounding inhumane on vocals while Lyn hammers his drums without a single drop of mercy, whereas he keeps smashing our skulls in Endless Machine, another perfect depiction of modern-day Brutal Death Metal highly recommended for some mosh pit action; and an eerie start gradually evolves into another demented display of the band’s trademark sound in the form of Where No Light Shines, this time sounding more Deathcore than ever, with Sean kicking some ass with his devilish riffs. Then featuring guest vocals by Josh Middleton (Sylosis), it’s pedal to the metal in Expect to Fail, with Lyn taking the lead with his fast-paced beats while Jason and Josh make an infernal vocal duet sounding like two demons roaring to each other. After that, their fusion of Death Metal with Deathcore brings to our avid ears another bestial creation titled Starve the Fire, where Jason’s vocals reach a new level of insanity (similar to the latest creations by Ov Sulfur, by the way).

After an overdose of pure hatred and heaviness, the band brings forward an ethereal, enfolding (and a bit too long) interlude titled Numinous, soothing our melancholic souls before all hell breaks loose in In Nothingness, featuring guest vocals by Mark Hunter (Chimaira), with Mark adding his share of dementia to the overall result supported by the massive drums by Lyn, while Sean’s riffs are tailored for some brutal slamming. Pantheon is simply an ode to violence, blood and insanity by Ingested, with Jason proving why he’s one of the top voices of the current Brutal Death Metal and Deathcore scenes worldwide, and I can’t wait to witness the band delivering this wicked tune live; and Jason and the boys continue to deliver first-class aggression in Kingdoms of Sand, where Lyn’s drums sound insanely heavy and groovy. Put differently, this awesome song couldn’t have sounded catchier and more devilish. Finally, the last song of the album, A Path Once Lost, is also the longest and most intricate one, a sinister musical journey spearheaded by Jason’s introspective vocals while still presenting Ingested’s trademark violence, also showcasing a more melodic side of the band.

The Tide of Death and Fractured Dreams is proof that once Ingested sniff out a trail of musical blood, they ravenously follow it until they’ve uncovered a festering feast. Hence, if you want to show your support to one of the most hardworking bands of the current extreme music scene, you can check what they’re up to on Facebook, and on Instagram, subscribe to their YouTube channel and also check them out on Spotify for more of their savage music, and above all that, purchase the venomous The Tide of Death and Fractured Dreams from the Metal Blade Records webstore or by clicking HERE. I bet it won’t take long for Ingested to deliver another blast of their first-class fusion of Brutal Death Metal and Deathcore in the next couple of years, but it will certainly be really hard for them to beat the quality found in their newborn beast. I said hard, not impossible, because Jason, Sean and Lyn seem to be on an absolute roll in the past few years, and we can always expect the utmost excellence from those amazing musicians.

Best moments of the album: Paragon of Purity, Expect to Fail, Pantheon and Kingdoms of Sand.

Worst moments of the album: Numinous.

Released in 2024 Metal Blade Records

Track listing
1. Paragon of Purity 4:22
2. Endless Machine 3:37
3. Where No Light Shines 4:31
4. Expect to Fail 4:17
5. Starve the Fire 4:06
6. Numinous 3:50
7. In Nothingness 4:39
8. Pantheon 3:30
9. Kingdoms of Sand 5:23
10. A Path Once Lost 6:51

Band members
Jason Evans – vocals
Sean Hynes – guitars, backing vocals
Lyn Jeffs – drums

Guest musicians
Josh Middleton – vocals on “Expect to Fail”
Mark Hunter – vocals on “In Nothingness”
Thomas O’Malley – bass (live)

Concert Review – Vader (Lee’s Palace, Toronto, ON, 02/11/2024)

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A wild night of pulverizing Death and Thrash Metal in Toronto, spearheaded by the most iconic metal band to ever arise from the Polish scene.

OPENING ACTS: Inhuman Condition and Origin

The best thing about a show being scheduled on the same night as Super Bowl is that traffic is pretty much nonexistent, turning the lives of all metalheads who don’t really care about American football a lot easier when it comes to getting to the venue in time to see all bands playing. That’s exactly what happened last night in Toronto at the always cozy Lee’s Palace, when the fantastic bands INHUMAN CONDITION, ORIGIN and VADER brought to the city a true celebration of extreme music during their 40 Years of the Apocalypse Anniversary Tour 2024, another incredible event organized by the unstoppable Noel Peters of Inertia Entertainment. As usual, my friend  Keith Ibbitson of Metal Paparazzi (as well as other photographers) were there to register some wild moments of all three bands, but honestly I don’t know how they managed to stay alive and keep their cameras intact during the sick circle pits going on the entire night.

The first band to hit the stage was Tampa, Florida’s own Death/Thrash Metal beasts INHUMAN CONDITION, who were by far one of the best and most electrifying opening acts I’ve seen at any concert in the city in the past few years. Spearheaded by the incendiary frontman Jeramie Kling, the band put on a beyond entertaining show, playing songs from all of their albums including their 2022 release Fearsick and their 2023 EP Panic Prayer, with songs like Panic Prayer, Euphoriphobia and I’m Now the Monster inspiring all concert goers to slam into the pit like there’s no tomorrow. As expected, the two songs that generated the wildest mosh pits were Godzilla and Tyrantula, with everyone at the venue, including the band, acting like wild beasts on stage and in the floor section. Jeramie also had some words of wisdom to share with everyone last night; first of all, he said that a true metal concert needs three things, those being the headbangers, the circle pits, and the crowd surfers, and of course bodies started flying around as soon as he mentioned that. Also, that everything we’ve ever heard about Florida, all rumors and so on, are all true, which was quite funny as it’s usually people outside of Florida who make fun of the state. Well, one thing I know for sure, and that’s that heavy music in Florida is phenomenal, with bands like Inhuman Condition showing everything they got on stage anywhere they go, and if you know nothing about those guys, go check their music on BandCamp and on Spotify, as I’m sure you’ll love to get caught in their mosh.

Setlist
Recycled Hate
Panic Prayer
Euphoriphobia
The Neck Step
I’m Now the Monster
Killing Pace
Civilized Holocaust
Godzilla (Blue Öyster Cult cover)
Tyrantula

Band members
Jeramie Kling – vocals
Taylor Nordberg – guitars
Terry Butler – bass
Colton Zietler – drums

After a quick break, it was time for Kansas City-based Technical/Brutal Death Metal veterans ORIGIN to keep the circle pits moving frantically to the sound of their vicious, intricate and demolishing creations. Having released the album Chaosmos back in 2022, the band formed of vocalist Jason Keyser (and by the way, if you haven’t listened to it yet, go check the album Inferno by his brand new project Arborescence of Wrath as it’s a killer album), guitarist Paul Ryan, bassist Mike Flores (one of the best bass players I’ve seen in a while), and drummer John Longstreth showed absolutely no mercy for our necks and souls during their demented performance, blending Technical and Brutal Death Metal with nuances of Grindcore just to make things even more infuriated. The band was ruthless, savage and beyond technical, sounding absolutely insane with songs like Chaosmos, Panoptical and The Aftermath driving everyone at the venue simply insane inside the pit. Jason also had some words to say to the crowd before playing the song Decolonizer, where he showed his pure old school vein by demanding everyone to not take any pictures or record any videos of the song, but simply to go nuts inside the circle pit and collect bruises and black eyes as the memories of that moment (although they kept checking their phones due to Kansas City Chiefs being one of the teams playing the Super Bowl). Needless to say, it was intense, as well as the wall of death he organized before even playing one of the songs, trying to make their show as 90’s-inspired as possible. Origin are one of the coolest bands of the underground scene, and in case you still don’t know them go check their infernal music on Spotify, and don’t miss their live concerts whenever they take your depraved city by storm.

Setlist
Expulsion of Fury
Chaosmos
Accident and Error
Panoptical
Saligia
Decolonizer
Portal
The Aftermath
Unattainable Zero

Band members
Jason Keyser – vocals
Paul Ryan – guitars, backing vocals
Mike Flores – bass, backing vocals
John Longstreth – drums

VADER

It was getting late (and cold) in Toronto, but nothing that could stop Poland’s own Death/Thrash Metal institution VADER to crush everything and everyone that dared to cross their path at Lee’s Palace last night. The band formed of the iconic Peter on vocals and guitars, Spider also on the guitars, Hal on bass, and Michał Andrzejczyk on drums was flawless throughout their entire set, celebrating 40 years of existence for the delight of all lovers of extreme music in Toronto. Their setlist was a thing of beauty, including songs from their 1992 cult album The Ultimate Incantation, like Vicious Circle, Dark Age and The Crucified Ones, plus several other classics like Black to the Blind, while closing their setlist with a newer song, Shock and Awe, from their latest opus Solitude in Madness, released in 2020, and the response from the fans in Toronto was brilliant, with the circle pits moving majestically until the very last second of their performance.

It’s impressive how they can still sound to tight, vicious and heavy after so many decades on the road, showing their utmost passion for Death and Thrash Metal, and of course as we all know how much they love to play for us, that inspired us to send our love back to them by headbanging nonstop, raising our horns, and getting wild in the pit. The only “issue” was that their official photographer doesn’t seem to be a big fan of crowd surfing, but that was fine as all crowd surfers quickly learned that show was not the best place to practice such metallic art. Anyway, apart from that, and from the same two guys that almost got into a fight with each other countless time (please, be adults and behave next time, alright?), everyone had an amazing time together with those Polish metallers, and hopefully we’ll also have the pleasure of hosting in Toronto the celebration of their 45th, 50th, 55th and so on anniversaries, keeping the fires of Death and Thrash Metal burning forever in the city.

Setlist
Macbeth (Laibach song)
Decapitated Saints
The Wrath
Chaos
Vicious Circle
Dark Age
The Crucified Ones
Silent Empire
Sothis
Black to the Blind
Carnal
Wings
Cold Demons
Epitaph
Dark Transmission
Para Bellum
This Is the War
Helleluyah!!! (God Is Dead)
Never Say My Name
Come and See My Sacrifice
Triumph of Death
Shock and Awe
The Imperial March (John Williams song)

Band members
Peter – vocals, guitars
Spider – guitars
Hal – bass
Michał Andrzejczyk – drums

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Album Review – Stages of Decomposition / Raptures of Psychopathy (2024)

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This Los Angeles-based Brutal Death Metal outfit will crush you with their sophomore opus, an eleven-track beast that delves into the disturbed minds of those falling into psychopathic tendencies.

Known for their massive and impactful delivery of extreme brutality, Los Angeles, California-based Brutal Death Metal band Stages of Decomposition is unleashing upon humanity their highly anticipated sophomore studio offering, titled Raptures of Psychopathy, threatening to burrow into your brain like a death metal worm and liquefy it with brutal riffs, chaotic blast beats and adrenaline-invoking time signatures that convey the terror and psychological aspects of the stories told. Recorded by the band’s own guitarist Marco Aromatario, mixed and mastered by Manuel Acevedo at Beatcrusher Recording Studio, and displaying a horror-fueled artwork by Tony Cosgrove (with design by Sidjimbe Art), the album is an eleven-track beast that delves into the disturbed minds of those falling into psychopathic tendencies, with each song encapsulating the murderous essence of true crime, drawing inspiration from infamous figures like Vaughn Greenwood, Richard Ramirez, Jeffrey Dahmer, and more, all brought into being by Salvador Rodriguez on vocals and bass, Cesar Barajas and Marco Aromatario on the guitars, and Daniel Smoo on drums, highly influenced by the raw intensity of Dying Fetus, the brutality of Suffocation, and the slam-infused chaos of Kraanium.

Offering a glimpse inside the mind of Jeffrey Dahmer, the opening tune Drilling of the Cerebellum presents an initial narration full of gore and horror that evolves into a feast of bestiality led by the demented drumming by Daniel, kicking off the album on a beyond violent mode; and Cesar and Marco show no mercy for their stringed axes, extracting bloodthirsty riffs in What Lies Within while Salvador barks and roars like a maniac nonstop. And Salvador continues to haunt our souls with his avalanche of “bree breee breeeeees” in Beast of Jersey, while his bandmates make sure the atmosphere remains as gory and visceral as possible in a fun and vibrant onrush of Brutal Death Metal. Then we have Killing Under Possession, sounding absolutely infernal from the very first second, with Daniel sounding inhumane behind his drums, therefore inviting us all to slam like true metalmaniacs inside a blood-drenched circle pit; whereas there’s not a single second to breathe as Stages of Decomposition will mercilessly bludgeon your cranial skull to pieces in Murder by Proxy, again showcasing the slashing riffage by Cesar and Marco.

Skid Row Slasher is another headbanging extravaganza spearheaded by the deep, visceral roars and barks by Salvador, who also makes sure the earth trembles armed with his rumbling bass, and just when you think the quartet couldn’t sound more demented they will decimate your senses with Carve Out the Eyes, a fast and no shenanigans Brutal Death Metal assault that should sound amazing if played live. After such demonic onrush, the band adds elements from the Thrash Metal played by Slayer to their core Death Metal, resulting in a high-octane, mosh pit party titled Fetal Devourment, with Daniel once again stealing the spotlight with his pulverizing beats and fills; whereas Crawl Space Burial is a solid creation by the band where Salvador keeps vociferating like a rabid beast in the name of gore and extreme music. Then enhancing their animosity to a whole new level we have Human Extermination, a well-balanced, demonic fusion of classic Death Metal with Brutal Death Metal, followed by Mass Psychosis, offering us all two intense minutes of evil Death Metal for our vulgar delectation, hammering our souls with their crushing drums, venomous riffs and the always vile guttural by Salvador until the very last second.

Get ready to be swept away by the savage and brutal Death Metal blasted by Stages of Decomposition in their new album, available for purchase by clicking HERE (and for streaming on YouTube and on Spotify), delivering an onslaught of ferocious guitar work, pounding drums, and guttural vocals, creating an atmosphere of unbridled aggression, and you can also show your support to their undisputed violence by also following the band on Facebook and on Instagram. The band’s brand new opus of real-life horror-infused Brutal Death Metal will be the perfect soundtrack for your lone night walks through desert streets and obscure alleys, but I’m pretty sure if you’re listening to it at top volume or sporting a Stages of Decomposition shirt you’ll be one hundred percent  safe, as no serial killer will dare to attack you after noticing your amazing taste in music.

Best moments of the album: Drilling of the Cerebellum, Carve Out the Eyes and Fetal Devourment.

Worst moments of the album: Crawl Space Burial.

Released in 2024 Gore House Productions

Track listing
1. Drilling of the Cerebellum 4:59
2. What Lies Within 3:10
3. Beast of Jersey 2:42
4. Killing Under Possession 3:36
5. Murder by Proxy 3:26
6. Skid Row Slasher 3:36
7. Carve Out the Eyes 2:37
8. Fetal Devourment 3:04
9. Crawl Space Burial 3:12
10. Human Extermination 3:46
11. Mass Psychosis 2:09

Band members
Salvador Rodriguez – vocals, bass
Cesar Barajas – guitar
Marco Aromatario – guitar
Daniel Smoo – drums

Album Review – Soulcarrion / Enthrone Death (2024)

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A ruthless Death Metal entity from Poland will demolish your damned souls with their heavy-as-hell sophomore full-length opus.

Formed in 2019 in the always pleasant city of Warsaw, Poland, the ruthless Death Metal duo comprised of Michał on rhythm guitars and bass and Greg on lead guitars, known as Soulcarrion, will demolish your damned souls with their sophomore full-length opus, titled Enthrone Death. Mixed and mastered by Darek Młody at PanzerStudio, and displaying a sick cover art and layout by Maciej Kamuda Art and an evil logo by Paweł Pawłowski Illustration, the follow-up to their 2023 self-titled EP and their 2022 debut album Infernal Agony offers the listener 30 minutes of intense, undisputed Death Metal for the masses, with the support of session musicians Mateusz Sibila (Imperial Sin) on vocals and Darek Młody (Hellfuck, Embrional, Stillborn) on drums adding an extra touch of heaviness and insanity to the whole album.

Starting in a sinister, doomed manner, the opening tune Cage of Nothingness already invades our minds with a demonic onrush of Death Metal boosted by tons of Brutal Death Metal elements thanks to the inhumane gnarls by Mateusz and the boisterous drums by Darek, whereas Night Ceremony keeps the album at a Stygian, venomous vibe with the riffage by both Greg and Michał sounding utterly infernal, albeit a bit repetitive at times. Then featuring guest vocalist Vesper Locust (Dammnatorum), the title-track Enthrone Death offers pure hatred and darkness to our putrid ears, with the ripping sound of the guitars matching perfectly with the blast beats by Darek, and there’s no sign of peace or hope, as Infernal Agony is an overdose of old school Death Metal tailored for fans of the genre, with Mateusz once again roaring and barking like a beast for our total delight.

Oblivion will hit us hard with its two and a half minutes of brutality blasted by those talented Polish metallers, with Greg and Michał once again demolishing our senses and adding endless heaviness to the music armed with their stringed axes; and enhancing the album’s obscurity and malignancy, the Doom Metal-infused aria Revenge is Mine brings forward another round of Darek’s massive beats accompanied by the sick riffage by the band’s guitar duo. After that we have Deathoskullum, following a similar pattern as the previous song, with the deep, hellish riffs and beats blasted by the band penetrating deep inside our rotten corpses, being therefore perfect for some intense headbanging; and lastly, World of Putridity carries a beautiful name and puts a beyond vicious ending to the album, with Mateusz vociferating rabidly in the name of classic Death Metal until the very last second.

The Polish underground has always been one of the most exciting of all, in special if you’re a fan of extreme music, and of course Soulcarrion offer in their new opus a high dosage of all that sonic awesomeness that’s found in Poland. Hence, don’t forget to show the guys from Soulcarrion your utmost support and admiration by purchasing a copy of the sulfurous and infernal Enthrone Death from the Godz ov War Productions’ BandCamp page or webstore as a CD or as an ass-kicking CD + shirt bundle, keeping the flames of Polish Death Metal burning for many years to come. Soulcarrion are on fire throughout the entire Enthrone Death, and they’re more than eager to burn your soul armed with the caustic compositions from such insane album.

Best moments of the album: Enthrone Death, Oblivion and World of Putridity.

Worst moments of the album: Night Ceremony.

Released in 2024 Godz ov War Productions

Track listing
1. Cage of Nothingness 4:08
2. Night Ceremony 4:17
3. Enthrone Death 5:03
4. Infernal Agony 3:38
5. Oblivion 2:29
6. Revenge is Mine 3:02
7. Deathoskullum 4:56
8. World of Putridity 2:50

Band members
Michał – rhythm guitars, bass
Greg – lead guitars

Guest musicians
Mateusz Sibila – vocals (session)
Darek Młody – drums (session)
Vesper Locust – vocals on “Enthrone Death”

Album Review – Fathomless Ritual / Hymns For The Lesser Gods (2024)

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Behold this one-man project from Canada and his striking debut opus, offering us all a technical and brutal form of Death Metal for sacrifices and caverns fully dedicated to the prehistoric gods.

With manic glee, Newmarket, Ontario, Canada-based Technical/Brutal Death/Doom Metal creature Fathomless Ritual recreates the maddening, unhinged kind of Death Metal created by the likes of Demilich, Chthe’ilist, Dead and Dripping, and Mortiferum, among others, and give its own ugly, grime-ridden twist to it, which is exactly what you’re going to get in the project’s debut opus Hymns For The Lesser Gods. Displaying a stunning artwork and gouache paintings by renowned Brazilian artist Marcio Blasphemator, Hymns For The Lesser Gods offers a darker, murkier, cavernous sound, being labeled as “Death Metal for sacrifices and caverns”, but all the same has a denser quality and a sense of modern urgency about it which livens up the proceedings, with the project’s sole member Brendan Dean (or simply B. Dean), of bands like Gutvoid, Fumes and Pukewraith, making a conscientious effort to make the sound more extreme and relevant in his own way without attempting to dethrone the gods.

Pure insanity and heaviness flow from all instruments from the very first second in Hecatomb for an Unending Madness, where Brendan’s deep, inhumane gnarls add an extra touch of obscurity to the music, also showcasing infernal, demented riffs not recommended for the lighthearted; and our lone wolf keeps hammering all of his instruments in Exiled to the Lower Catacombs, resulting in a Neanderthalic, grim Death Metal attack with the bass sounds reverberating deep inside our heads. Those drums keep pounding our cranial skulls in Gorge of the Nameless, not to mention the acid electricity exhaling from Brendan’s riffs and bass, feeling like he’s dragging us deeper and deeper into his Stygian lair. Then get ready for six minutes of demented groove in the form of Grafted to the Chambers of Mirth, where Brendan follows his own “Cavern Death Metal” formula in great fashion, blasting his stringed axes mercilessly while also barking like a demonic entity.

There’s no limit to the level of insanity and darkness blasted by Brendan and his Fathomless Ritual, resulting in another onrush of brutal, dense and headbanging sounds titled Wielding the Bone Wand, while our ears keep being invaded by his devilish roars. And Brendan shows no sign of slowing down; quite the contrary, he keeps slashing his stringed axe like a beast in Cosmic Reflections from the Basin of Blood, another solid creation venturing through the realms of Experimental Death Metal. It’s then pedal to the metal as Brenda’s Death Metal attack will leave you absolutely disoriented in Gelatinous Being of Countless Forms, where the song’s demented but very intricate drums walk hand in hand with his devilish gnarls and rumbling bass punches, and Gifts for Aranaktu is one final onrush of demonic, ruthless metal sounds that will hit us hard in the face. Furthermore, it’s truly impressive how Brendan managed to keep his guitar and bass work so vibrant throughout the entire album without sounding repetitive or stale.

Be prepared to sacrifice yourself and win the favour of the forgotten ones with Hymns For The Lesser Gods, an album that should delight any fan of underground Death Metal, and that you can purchase from Fathomless Ritual’s own BandCamp page, as well as from the Transcending Obscurity Records’ webstore as an 8-panel digipak in the US or in Europe, and as a very special CD + shirt combo also in Europe. Don’t forget to also give Brendan and his Fathomless Ritual a shout on Facebook and on Instagram, because not only he’s embellishing our lives with an album chock-full of riffs and jangly hooks with escalating song structures culminating in cranial implosions, but it’s also a fierce and pulverizing tribute to the prehistoric gods, all embraced by that murky, twisted and engrossing form of Death Metal we all love so much.

Best moments of the album: Exiled to the Lower Catacombs, Grafted to the Chambers of Mirth and Gelatinous Being of Countless Forms.

Worst moments of the album: None.

Released in 2024 Transcending Obscurity Records

Track listing
1. Hecatomb for an Unending Madness 2:32
2. Exiled to the Lower Catacombs 4:55
3. Gorge of the Nameless 4:15
4. Grafted to the Chambers of Mirth 6:11
5. Wielding the Bone Wand 4:45
6. Cosmic Reflections from the Basin of Blood 4:01
7. Gelatinous Being of Countless Forms 4:58
8. Gifts for Aranaktu 6:54

Band members
Brendan Dean – vocals, guitars, bass, drum programming

Album Review – Revulsed / Cerebral Contamination (2023)

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Eight years after their critically acclaimed debut album, this venomous Australian Technical/Brutal Death Metal outfit is finally back to unleash worldwide their most brutal effort to date.

Eight years after their critically acclaimed debut Infernal Atrocity, the venomous Melbourne, Australia-based Technical/Brutal Death Metal outfit Revulsed is finally back to unleash worldwide their most brutal effort, titled Cerebral Contamination. Produced and recorded by the band itself, pre-mixed by Sheldon D’Costa at Ears To Hear Studio, mixed and mastered by Jason De Ron and Jayson Sherlock at Studio Vertigo, and displaying a sick artwork by Aditia Wardhana, the album offers our putrid ears a savage collection of Death Metal hymns tailored for fans of Suffocation, Inveracity, Cannibal Corpse and Defeated Sanity, among others, all carefully brought into being by Damien Graves on vocals, Sheldon D’Costa (who has recently departed from the band) on the guitars and bass, and Jayson Sherlock on drums, plus session musician Adam Wilkie on lead guitars.

Eerie, phantasmagorical sounds emerge from the pits of the underworld in the intro Dawn Of Inhuman Savagery, setting the stage for Equitable Sufferance, a demented attack of Brutal Death Metal led by the pulverizing beats by Jayson while Damien wastes no time and begins barking rabidly in our faces; whereas Asomatous Existence leans towards the more technical side of Death Metal, but of course still showcasing the band’s infuriated vein, with Sheldon sounding awesome with his riffs and bass lines, not to mention the sick guitar solo by Adam. There’s no time to breathe as the band hammers our cranial skulls mercilessly in Delusional Servitude, a Brutal Death Metal beast where Jayson sounds inhumane on drums as usual; and a sinister intro evolves into a hurricane of brutality in Beyond The Depths Of The Subconscious, showcasing devilish lyrics roared by Damien (“Boil infested a tongue befouled – churning / necrotic flesh saturates the lips / A voice grotesque and sinister – beckons / from the blighted void”). Then pig-like screeches, visceral riffs and demented drums are the main ingredients in Perditional Enslavement, keeping the album at an insane level of animosity.

Nefarious Devourment is one of the most technical and devastating of all songs, spearheaded by the nonstop drums by Jayson while Damien keeps haunting our damned souls with his venomous growling, whereas Monotheistic Postulation is a more straightforward Death Metal tune perfect for some sick headbanging, with Sheldon shredding his guitar like a maniac form start to finish, also presenting thunderous sounds recommended for some brutal slamming. The band still has a lot of fuel to burn, starting with the crushing Inconceivable Hallucinations, a bit uninspired compared to the rest of the album but still good enough for some circle pit action, also presenting Jayson’s trademark drum insanity; while their second to last blast of dementia in the form of Death Metal, titled Deistic Repudiation, is brutal, diabolical, savage and ruthless all at once, with Damien once again stealing the spotlight with another infernal performance on vocals, all boosted by another wicked solo by Adam. Lastly, the band will smash you like an insect in less than two minutes with the title-track Cerebral Contamination, another gore infested Brutal Death Metal creation that lives up to the legacy of the genre.

In case you want to put your dirty, blood-soaked hands on Cerebral Contamination, you can purchase a copy of the album by clicking HERE (mailorder) or HERE (BandCamp), and also show all your support to Revulsed by following the band on Facebook and on Instagram, and by streaming all of their wicked creations on Spotify. It might have taken eight years for us metalheads to enjoy a new sonic attack by Revulsed, plus the fact they’re only a duo now with the departures of guitarist Sheldon D’Costa and bassist Mark Smith, but that’s not stopping Damien and Jayson from delivering sick and brutal heavy music; quite the contrary, the duo sounds more inspired than ever in Cerebral Contamination, proving once again that if you’re looking for high quality extreme music, you must travel Down Under to get to know countless insane bands like Revulsed.

Best moments of the album: Asomatous Existence, Beyond The Depths Of The Subconscious and Deistic Repudiation.

Worst moments of the album: Inconceivable Hallucinations.

Released in 2023 Everlasting Spew Records

Track listing
1. Dawn Of Inhuman Savagery 1:04
2. Equitable Sufferance 3:56
3. Asomatous Existence 4:11
4. Delusional Servitude 3:01
5. Beyond The Depths Of The Subconscious 3:35
6. Perditional Enslavement 4:48
7. Nefarious Devourment 4:14
8. Monotheistic Postulation 3:20
9. Inconceivable Hallucinations 2:54
10. Deistic Repudiation 3:12
11. Cerebral Contamination 1:44

Band members
Damien Graves – vocals
Sheldon D’Costa – guitars, bass
Jayson Sherlock – drums

Guest musician
Adam Wilkie – lead guitars