Tag Archives: brutal death metal

Album Review – Coffin Feeder / Big Trouble (2025)

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This Belgian Death Metal and Deathcore supergroup will crush their enemies armed with their debut opus, see them driven before them, and hear the lamentation of their women.

Formed in 2021 in Waregem, a municipality and city located in the Belgian province of West Flanders, Death Metal/Deathcore beast Coffin Feeder has just spewed upon humanity their first ever full-length album, titled Big Trouble, the follow-up to their 2022 EPs Stereo Homicide and Over the Top. Recorded by Lander Cluyse and Jeroen Camerlynck, mixed and mastered by Dave Otero at Flatline Audio Studio, and displaying a marvelous artwork that pays homage to all action movies from the 80’s and 90’s we all love so much, the new offering by frontman Sven de Caluwé (Aborted), guitarists Jeroen Camerlynck and Bart Govers (Fleddy Melculy), bassist Jan Hallaert (Leng Tch’e, Motormouth), and drummer Siebe Hermans (Reverse the Sun, When Plagues Collide) goes above and beyond with their fusion of extreme music and action flicks, resulting in 12 tracks of ultimate brutality that will surely inspire you to crush your enemies, see them driven before you, and hear the lamentation of their women.

Not sure if the intro There Will Be Trouble was inspired by Big Trouble in Little China or by a quote from Robocop, but anyway it’s a very cool and cinematic warmup for the pulverizing Porkchop Express, featuring guest vocalist Julien Truchan of Benighted, with their slamming feast being led by the hammering drums by Siebe in the best Brutal Death Metal style imaginable. Then featuring guest vocals by Ben Duerr of Shadow of Intent, If It Bleeds, inspired by one of the most famous quotes from the 1984 cult movie Predator, is absolutely mental, with Sven sounding inhumane on vocals in this newborn masterpiece of violence and bloodshed. Conan couldn’t have been left out of the party, and the song in his honor, The Destroyer, will crush your spinal cord to the ruthless riffage by Jeroen and Bart (because they know what’s best in life); whereas the rumbling bass by Jan will make your head tremble in Love at First Death, accompanied by the always demented beats and fills by Siebe. And Plain Zero, with guest vocals by Mark Hunter of Chimaira, is a song that will pulverize your frail body mercilessly, with all vocals and instruments exhaling sheer violence and hatred.

Sven continues to bark like a demonic creature in Obey, offering more of the band’s trademark ferocity, with Jan and Siebe once again crafting utterly thunderous sounds through their infernal kitchen. Then it’s time to bang our heads like rabid maniacs in Get to the Party, with the entire band inviting our “beloved” Richter to a brutal slamming feast made in Belgium; followed by Let Off Some Steam, a lecture in Death Metal infused with Deathcore and endless dementia, with Sven once again bursting his lungs by roaring like an evil beast. Needless to say, Bennett must be proud of the boys from Coffin Feeder. H.I.S.S. is by far the least exciting of all songs, never really taking off despite its strong atmosphere, whereas A Good Day to Die offers another blast of venomous riffs and bass lines by Jeroen, Bart and Jan, bringing nuances of Groove Metal and Djent added to their core essence, not to mention its epic background elements. There’s time for one last dive into the circle pit to the sound of The Wrong Arm of the Law, offering a ruthless slab of Deathcore where Sven and Siebe are in absolute sync with their respective roars and beats.

In a nutshell, if you love a good amount of brutality played to perfection, infused with endless adrenaline, and paying homage to all movies that helped put the word “action” in Hollywood the likes of Predator, Commando, and Cobra, you must give a listen to the infuriated Big Trouble, available for purchase from the Listenable Records’ BandCamp or by clicking on these links for the physical or digital edition of the album. You can also “get to da choppa” and start following this demonic supergroup on Facebook and on Instagram, subscribe to their YouTube channel, and stream their bestial creations on Spotify. If it bleeds, we can kill it. And if it’s a ruthless fusion of Death Metal and Deathcore like what they have to offer us in Big Trouble, then we can slam.

Best moments of the album: If It Bleeds, Plain Zero, Let Off Some Steam and The Wrong Arm of the Law.

Worst moments of the album: H.I.S.S.

Released in 2025 Listenable Records

Track listing
1. There Will Be Trouble 0:56
2. Porkchop Express 2:57
3. If It Bleeds 3:10
4. The Destroyer 3:02
5. Love at First Death 3:18
6. Plain Zero 3:29
7. Obey 2:32
8. Get to the Party 3:25
9. Let Off Some Steam 3:48
10. H.I.S.S. 1:44
11. A Good Day to Die 3:28
12. The Wrong Arm of the Law 3:22

Band members
Sven de Caluwé – vocals
Jeroen Camerlynck – guitars, backing vocals
Bart Govers – guitars, backing vocals
Jan Hallaert – bass
Siebe Hermans – drums

Guest musicians
Mark Hunter – vocals on “Plain Zero”
Julien Truchan – vocals on “Porkchop Express”
Ben Duerr – vocals on “If It Bleeds”

Album Review – Unmerciful / Devouring Darkness (2025)

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This Kansas-based Brutal Death Metal beast strikes again with their fourth studio album, delivering ten tracks of unrelenting speed, crushing riffs, and sheer sonic aggression.

Known for their relentless brutality and technically devastating sound, Topeka, Kansas-based Brutal Death Metal creature Unmerciful returns with their fourth full-length opus, titled Devouring Darkness, the follow-up to their 2020 album Wrath Encompassed. Recorded, produced and mixed by Clinton Appelhanz at Waveworks Studio, mastered by Alan Douches, and displaying a visceral artwork by Santiago Francisco Jarramillo, the new album by newcomer Josh Riley on vocals, guitarists/bassists Clinton Appelhanz and Jeremy Turner, and drummer Trynt Kelly delivers ten tracks of unrelenting speed, crushing riffs, and sheer sonic aggression, solidifying their reputation as one of the most punishing acts in modern Death Metal, being therefore recommended for fans of Hate Eternal, Suffocation, and Origin.

Miracle In Fire is a beyond devastating start to the album, kicking us hard in the head with their no shenanigans, devilish sounds led by the guttural gnarls by Josh, and their Brutal Death Metal infused with Technical Death Metal keeps roaring manically in Unnatural Ferocity, with Trynt sounding like a stone crusher from hell on drums. There’s no time to breathe as Unmerciful simply shows no mercy for our necks and bodies in Malice Unbound, spearheaded by a visceral riff attack by Clinton and Jeremy, whereas the title-track Devouring Darkness offers us all a more obscure, doomed side of the band, with Josh barking deeply like a demonic entity. And Relentless Malevolence blasts our faces with two and a half minutes of sheer insanity and ruthless violence, with the crushing beats by Trynt making the earth tremble.

Their cover version for Origin’s Vomit You Out, which original version was part of their 2000 self-titled debut, is a fulminating rendition of such a tech death classic led by the demented growling by Josh; while Infernal Conquering is one of the heaviest, most infernal of all songs, with their scorching riffs and demented beats and fills providing Josh with exactly what he needs to bark like a beast. The Reaping is another explosion of brutality offered by the band, with the demonic growling by Josh and the inhumane drumming by Trynt being perfect for some action inside the mosh pit; and they keep smashing us like putrid insects in Voracious Lunacy, another killer Brutal and Technical Death Metal composition showcasing their passion for extremely heavy riffs. Finally, the album couldn’t have ended in a more ferocious way than with Vengeance Transcending, where their lancinating guitars and blast beats sound absolutely brutal until the very end.

After all is said and done, it’s clear that Unmerciful are definitely cementing their legacy even further with Devouring Darkness, offering more of their signature precision and brutality for the delight of Death Metal fans worldwide, and you can start following this ruthless band on Facebook and on Instagram, as well as stream their music on Spotify and of course purchase a copy of their sanguinary new album from BandCamp or from Willowtip Records. Unmerciful are among us to blast our ears with Brutal Death Metal at its finest, and instead of succumbing to darkness, let’s simply devour it mercilessly to the sound of their infuriated new album.

Best moments of the album: Miracle In Fire, Infernal Conquering and The Reaping.

Worst moments of the album: None.

Released in 2025 Willowtip Records

Track listing
1. Miracle In Fire 4:06
2. Unnatural Ferocity 3:33
3. Malice Unbound 3:39
4. Devouring Darkness 5:35
5. Relentless Malevolence 2:40
6. Vomit You Out (Origin cover) 2:51
7. Infernal Conquering 4:12
8. The Reaping 4:15
9. Voracious Lunacy 3:39
10. Vengeance Transcending 3:51

Band members
Josh Riley – vocals
Clinton Appelhanz – guitar, bass
Jeremy Turner – guitar, bass
Trynt Kelly – drums

Album Review – Cumbeast / Fairytales Of Filth (2025)

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Finish your plate and buckle in, as Finland’s own Brutal Death Metal creature returns with their depraved seventh studio album, their first dive into twisted fairytale territory.

Finish your plate and buckle in, as Turku, Varsinais-Suomi, Finland’s own Brutal Death Metal creature Cumbeast is back with Fairytales Of Filth, their seventh full-length album and the follow-up to their 2019 opus Gore Zoo. Recorded and mixed by Tomi Uusitupa at Oxroad Studios, mastered By Miro Kiiski at Miro Mastering, and embracing new textures without losing sight of their signature groove-heavy and aggressive sound, now enriched by melodic twists, folk influences, and a handful of surprising collaborations the likes of Sami Perttula (Korpiklaani) and John Puig (Phrymerial), the new album by Snoop Rott on vocals and bass, and Rob ‘O Cock on the guitars and additional vocals, plus former drummer Mikko “Fleshpipe Mike” Konki (who left the band after recording the album last year, being replaced by Stinky Minky this year) is their first dive into twisted fairytale territory, pushing their trademark blend of brutal grooves, blast beats, fretless bass, and guttural absurdism into even stranger places.

Cummando sounds and feels heavy-as-hell from the very first second thanks to the scorching riffs by Rob and the venomous beats by Mikko, while Snoop inspires us to slam like true metal beasts; followed by Metham Of Gotham, a first-class Brutal Death Metal extravaganza led by the deep, evil roars by Snoop, perfect for some wild mosh pit action. Then featuring guests Sami Perttula (Korpiklaani) on accordion and John Puig (Phrymerial) on vocals and intro speech we have Captain Cock, where the music sounds as demented as the “story” of its main character; and guest Lukas Swiaczny (Stillbirth) delivers some sick vocal lines in Abacus Of Testicles, with the band’s pounding drums and vicious riffage turning it into a must-listen for fans of the style. Then it’s time for Henri Sorvali (Finntroll, Moonsorrow) to blast some wicked synths in Troll Named Scrot, adding even more insanity to their core heaviness.

Åbomination is another hammering tune by those depraved bastards, with the deep vociferations by Snoop sounding truly inhumane; whereas a lot of groove flows from Snoop’s bass and Mikko’s drums in Forest Fap Frenzy, sounding at the same time perfect for slamming into the pit or for simply enjoying a cold beer in the name of our beloved Brutal Death Metal. In Ghostfuckers I’m not sure if their intention was to add some sort of Rap-like vibe to its core, but it’s by far the weakest of all due to that; and last but definitely not least, Cumbeast still has enough energy to melt our putrid faces with the cryptic, cinematic Spermafrost, sounding like a bulldozer from hell with the guitar by Rob exhaling pure heaviness.

In summary, if you’re a fan of the absurdity and gore crafted by bands such as Dying Fetus, Suffocation, Stillbirth, Aborted, and Party Cannon, you’ll definitely have a very good time listening to the ruthless, visceral Fairytales Of Filth, taking you on a one-way journey into a rotten land where all fairytales end in pure filth. The guys from Cumbeast are waiting for you on Facebook, Instagram, YouTube and Spotify with more of their depraved music, news, tour dates, and an endless dosage of sonic filth, and of course you can show them how demented you are by purchasing a copy of their new album from their own BandCamp. Because although some people might think they live in a fairytale, it’s albums like Fairytales Of Filth by Cumbeast that show those people that the reality is a lot harsher and more gruesome than any type of extreme music.

Best moments of the album: Metham Of Gotham, Abacus Of Testicles and Forest Fap Frenzy.

Worst moments of the album: Ghostfuckers.

Released in 2025 Morbid Generation Records

Track listing
1. Cummando 3:18
2. Metham Of Gotham 3:19
3. Captain Cock 3:45
4. Abacus Of Testicles 3:28
5. Troll Named Scrot 3:48
6. Åbomination 3:39
7. Forest Fap Frenzy 2:36
8. Ghostfuckers 3:13
9. Spermafrost 5:06

Band members
Snoop Rott – vocals, bass
Rob ‘O Cock – guitars, additional vocals
Mikko “Fleshpipe Mike” Konki – drums*

*Mikko “Fleshpipe Mike” Konki left the band in 2024 after the recordings of the album, being replaced by Stinky Minky in 2025.

Sami Perttula – accordion on “Captain Cock”
John Puig – vocals and speech on “Captain Cock”
Lukas Swiaczny – vocals on “Abacus Of Testicles”
Henri Sorvali – synths on “Troll Named Scrot”

Album Review – Devine Defilement / Ruthless (2025)

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This ruthless Icelandic crew returns in full force with their third opus, stripped down of the melodic parts for more favorable “slam worship”, speed and brutality.

When you think of Scandinavia, let’s say that slamming and brutality aren’t the first things to come to mind. That’s until the Reykjavík-based Brutal Death Metal/Deathcore slam crew of Devine Defilement spewed onto the Icelandic scene in late 2016, drawing inspiration from a variety of Death Metal sub-genres and having concocted a brutal cocktail of groove, slams, blasts and ferocity that has made them a force to be reckoned with. Now in 2025 such an insane horde formed of Freyr Hreinsson and Ingólfur Ólafsson on vocals, Guðmundur Hermann Lárusson and Sigurjón Óli Gunnarsson on the guitars, Arek Alenjikov on bass, and Stefán Friðriksson on drums returns in full force with Ruthless, their third full-length offering, following up on their 2024 beast Age of Atrocities. Mixed and mastered by Floor VK at GLDCHN Studios, Ruthless is stripped down of the melodic parts for more favorable “slam worship”, speed and brutality, focusing more on the groove and amplifying what makes the crowd move, with its lyrics about murderers, neglect, suicide, cannibalism, and violence being tailored for fans of Ingested, Vulvodynia, Whitechapel, and Pathology, among countless others.

Human Sewer is a beyond bestial and devastating way to kick off the album, with Stefán’s stone crushing drums inviting us all to slam into the pit like a bunch of headbanging bastards, followed by Abusement Park, the perfect fusion of Brutal Death Metal and Deathcore, with the demented guttural by both Freyr and Ingólfur sounding utterly inhumane. Then the Cannibal Corpse-inspired riffage by Guðmundur and Sigurjón match perfectly with all haunting background sounds in Terror Tales, whereas massive blast beats and a striking guitar solo ignite the also ruthless Excreted Entity, with their monstrous dual vocal attack melting our faces mercilessly. Internal Delusions of the Torn Mind carries a very Death Metal name for what’s perhaps the most Death Metal of all songs, with Stefán demolishing everything and everyone that crosses his path on drums, while Pulverised Secretions is simply pulverizing from start to finish, with Freyr and Ingólfur unleashing their deepest, most infuriated growls of the album.

The two-part song “Anthropophagic Apocalypse” kicks off in full force with Anthropophagic Apocalypse Pt. 1 Collapse, a slab of sheer brutality by this Icelandic squad spearheaded by the cryptic riffs blasted by their unrelating guitar duo, whereas Anthropophagic Apocalypse Pt. 2 Lord of Flesh is another demonic onrush of Brutal Death Metal with symphonic elements, elevating the album’s reach and punch to a whole new level. Get ready to have your head smashed in the curb to the sound of Curbstomp the Predator, perfect for some “no holds barred” action inside the pit; and the infernal, metallic bass by Arek and the unstoppable beats and fills by Stefán will make the earth tremble in Draco Dominus, followed by the beautifully titled Bio-Organic Liquid-Slam, starting with a TV ad-like intro for some sort of “action figures” before all hell breaks loose to the demented vociferations by the band’s two-headed vocal beast. Lastly, the album ends on a dark and mysterious note with Beyond the Veil of Death, offering over five minutes of melodic yet hard hitting Brutal Death Metal with lots of Deathcore nuances.

The guys from Devine Defilement are eagerly waiting to consume your putrid body on Facebook and on Instagram, and you can obviously stream all of their vicious, demented creations on Spotify, and purchase a copy of the unrelenting Ruthless from BandCamp, from Time to Kill Records, or simply click HERE for all things Devine Defilement. There’s no better word to describe the music found in Ruthless than its own title. It’s a ruthless album, a putrid Death Metal and Deathcore attack made in Iceland, and once you’re caught inside their gory mosh pit, you’ll never see the light of day again.

Best moments of the album: Abusement Park, Internal Delusions of the Torn Mind, Anthropophagic Apocalypse Pt. 2 Lord of Flesh and Bio-Organic Liquid-Slam.

Worst moments of the album: Draco Dominus.

Released in 2025 Time To Kill Records

Track listing
1. Human Sewer 3:46
2. Abusement Park 2:46
3. Terror Tales 3:09
4. Excreted Entity 4:10
5. Internal Delusions of the Torn Mind 2:54
6. Pulverised Secretions 3:51
7. Anthropophagic Apocalypse Pt. 1 Collapse 5:08
8. Anthropophagic Apocalypse Pt. 2 Lord of Flesh 3:36
9. Curbstomp the Predator 2:10
10. Draco Dominus 2:27
11. Bio-Organic Liquid-Slam 2:45
12. Beyond the Veil of Death 5:49

Band members
Freyr Hreinsson – vocals
Ingólfur Ólafsson – vocals
Guðmundur Hermann Lárusson – guitar
Sigurjón Óli Gunnarsson – guitar
Arek Alenjikov – bass, backing vocals
Stefán Friðriksson – drums

Album Review – Axiom Chaos / Primacy Arrival (2025)

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A new entity has crawled from the boiling swamps that lie in the deepest recesses of the Death Metal underworld, unleashing hell to the sound of their debut offering.

A new entity has crawled from the boiling swamps that lie in the deepest recesses of the Death Metal underworld, a force of terrifying alien power and chilling otherness that is about to bleed insidiously into our reality. I’m talking about Ohio/South Carolina, United States-based Technical/Brutal Death Metal outfit Axiom Chaos, a ruthless creature that’s unleashing upon humanity their debut offering, entitled Primacy Arrival. Bedecked in the visionary artwork of Morket Art (Engulfed, Inverted Ascension), the first full-length opus by the duo formed of Justin Vølus (Vølus, Fall Of Gnosis, Maggot Crown) on vocals and Ben Vanweelden (Venomous Echoes, Ceremonic Buryment) on the guitars, bass and drums will challenge, disturb and dominate, opening new pathways for Death Metal and, therefore, being recommended for fans of Immolation, Vastum, Blood Incantation and Disma, just to name a few.

Justin begins his ruthless vocal attack in The King, I Am, sending shivers down our spines while Ben crafts a caustic fusion of Death and Doom Metal not recommended for the lighthearted; whereas the title-track Primacy Arrival showcases an even more enraged duo, with the riffage by Ben exhaling heaviness and hatred. They keep spreading their sonic violence in The Gift of Recognition, a Brutal Death Metal feast led by Justin’s deep, inhumane roaring, and Justin’s vile shrieks will crawl under your skin in Extraterrestrial Necrotic Urge, while Ben smashes his drums in the name of Death Metal. Let’s then slam into the pit together with Axiom Chaos in Antediluvian Origin Unknown, a frantic, no shenanigans explosion of Death Metal led by the crushing riffs and drums by Ben; and there’s still time for more violence and hatred in the form of Wormhole Pathways of Conquest, with Justin bursting his lungs by roaring like a beast. Finally, Ben sounds once again striking and furious with his riffs and beats in Exodus Into Oblivion, putting a demolishing yet very melodic and vibrant ending to the album.

In Primacy Arrival, Axiom Chaos have fused the devastating impact of Death Metal with the untamable capricious might of pandemonium, invoking strange, compelling visions tailored for admirers of the genre. Hence, if you want to get in touch with such a talented and brutal American duo, you can find those guys on Facebook, stream their music on Spotify, and of course show them your utmost support by purchasing a copy of their incendiary, evil debut from Comatose Music’s BandCamp or webstore. The stairways to the new world are open and the drums of destruction are calling. The fires of war are alight to the sound of Primacy Arrival, a demented display of savagery that will surely please anyone in search for endless violence but with a huge slab of dexterity and melody.

Best moments of the album: The King, I Am, The Gift of Recognition and Exodus Into Oblivion.

Worst moments of the album: None.

Released in 2025 Comatose Music

Track listing
1. The King, I Am 4:24
2. Primacy Arrival 4:30
3. The Gift of Recognition 4:53
4. Extraterrestrial Necrotic Urge 3:54
5. Antediluvian Origin Unknown 4:25
6. Wormhole Pathways of Conquest 4:22
7. Exodus Into Oblivion 5:24

Band members
Justin Vølus – vocals
Ben Vanweelden – guitars, bass, drums

Concert Review – Dying Fetus & Cradle of Filth (Rebel, Toronto, ON, 05/07/2025)

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And Toronto savored a wild and frantic night of pure chaos and carnage, offered by seven of the must-see names of the current extreme music scene worldwide.

OPENING ACTS: Corpse Pile, Vomit Forth, Undeath, Ne Obliviscaris and Fleshgod Apocalypse

If there’s one thing that has become a true torment in the lives of all metalheads that live in Toronto and vicinities, that is concerts with an early start time. Traffic to get to the city is already brutal on any regular day, but when the weather is amazing (meaning more people on the streets) and there’s also at the exact same time an NHL playoff game happening in the heart of the city, then it’s an absolute nightmare. Those are the reasons why I had to miss almost half of CHAOS & CARNAGE 2025 (from the must-see Chaos & Carnage series) this Wednesday night when CORPSE PILE, VOMIT FORTH, UNDEATH, NE OBLIVISCARIS, FLESHGOD APOCALYPSE, DYING FETUS and CRADLE OF FILTH arose from the underworld to crush us mere mortals with an overdose of darkness, heaviness and insanity at the almost-impossible-to-get-in-and-out Rebel. Fortunately, Keith Ibbitson of Metal Paparazzi made it in time for all bands, and gave me an overview of the first three attractions of the night, who were kicking ass onstage while I was still stuck in the horrid and tiresome QEW.

Houston, we have a problem. I think it wasn’t event 5pm when Houston, Texas-based Brutal Death Metal/Hardcore outfit CORPSE PILE hit the stage at Rebel, and just to give you an idea of how early that was, I was still in the office having a client meeting at that time. I confess I was listening to their 2024 EPs Hardgore Deathmetal and Holly Jolly Hardgore a few days before the show, plus their new single Fed To The Starved, all available on Spotify, hoping I could do some sort of magic trick and be there in time to see them live, but of course that didn’t happen. Well, Keith said they were insanely heavy and fun, already igniting some sick mosh pits with whoever was lucky enough to be at a concert in the middle of the afternoon on a Wednesday. Maybe next time I’ll catch those guys live, as long as they don’t play at a “matinée” time again.

Setlist
Intro
Genesis Of Suffering
Kicked in Cadaver
Vengeful Hymns
For Flesh and All
Stacking Bodies
Fed to the Starved
Reality
Fuck Your Life

Band members
Jason Lionel Frazier – vocals
Landry Arredondo – guitars
Cody Webb – guitars
Davis Pryse Snyder – bass
Alex Covarrubias – drums

I also missed the next attraction of the night, Connecticut’s own Death Metal brigade VOMIT FORTH, who released last year the excellent album Terrified of God (also available on Spotify and all other streaming platforms), and again I was very disappointed for not having the pleasure of seeing those guys live. All my buddies who could make it to the venue in time for their show said they were ruthless onstage, blasting sheer Death Metal for the delight of a wild crowd avid for some action inside the pit. I’ll have to repeat myself and complain about the start time again, because I think it was maybe 5:30pm when they began their set. Who scheduled those early-as-hell times? Bands like Vomit Forth deserve bigger audiences, but if they keep playing at early slots like this a lot of people will end up missing them and will not care about buying their music or merch, you know what I mean?

Setlist
(Unknown)
(Unknown)
Sacred Apple
Rotting Wool
Negative Penance
Blood Soaked Death Dream
Pain Tolerance

Band members
Kane Gelaznik – vocals
Bailey Olinger – guitars
Ricky Brayall – guitars
Jett Stotts – bass
Luke Zeitler – drums

Guess what? Yes, I also missed the unrelenting performance by Rochester, New York’s Death Metal beast UNDEATH, because despite their starting time being a little later than the first two bands, it was still freakin’ early. Another huge bummer as their 2024 album More Insane, also available in full on Spotify and any other streaming service, is exactly that, an insane explosion of visceral Death Metal. Keith and the other guys said they put on a fantastic show, with the bigger (but not big enough) crowd going mental inside the circle pit. If you’re attending any of the shows from Chaos & Carnage 2025, I highly recommend you try your best to arrive in time at least for Undeath, because those guys are insane live and definitely know how to electrify fans of extreme music during their entire set.

Setlist
Dead From Beyond
Rise From the Grave
More Insane
Necrobionics
(Unknown)
Lesions of a Different Kind
Brandish the Blade

Band members
Alexander Jones – vocals
Jared Welch – guitars
Kyle Beam – guitars
Tommy Wall – bass
Matt Browning – drums

Finally, after my excruciating quest to arrive to Toronto, I made it to Rebel around 7pm, just in time to witness one of the most hypnotizing concerts I’ve ever seen in my life, the atmospheric, progressive and vibrant performance by Australian Extreme Progressive Metal unit NE OBLIVISCARIS. Having released the album Exul back in 2023 (also available on Spotify), the band now fronted by James Dorton, replacing the iconic Xenoyr, who was the band’s lead singer from 2003 until earlier this year (what’s going on with so many extreme music bands switching their vocalists these days?), put on  a short but beyond phenomenal show that inspired us all for some nonstop headbanging, horns raising and crowd surfing, plus of course some crazy mosh pit action to the sound of the crying violin by Tim Charles, turning it into one of the classiest heavy concerts of all time in Toronto. I can’t wait for those amazing musicians from Down Under to return to Toronto with another round of their unique music, and until then we all know what to do. Stay classy, and listen to Ne Obliviscaris.

Setlist
Equus
Suspyre
Painters of the Tempest (Part II): Triptych Lux
And Plague Flowers the Kaleidoscope

Band members
James Dorton – harsh vocals
Tim Charles – violin, clean vocals
Benjamin Baret – lead guitars
Matt Klavins – guitars
Martino Garattoni – bass
Daniel Presland – drums

Another band I was eager to see was Italian Symphonic/Technical Death Metal horde FLESHGOD APOCALYPSE, and once again it was a jaw-dropping, unforgettable experience to all fans at Rebel. When the sensational soprano Veronica Bordacchini took the stage carrying a huge Italian flag, I knew we were about to enjoy a magnificent, epic concert, and that’s exactly what the band provided us with. Francesco Paoli was on fire during their entire set, as well as drummer Eugene Ryabchenko, who can play drums AND headbang at the same time, which was truly impressive in my humble opinion. In addition, not only their latest album Opera (also available on Spotify) is one of the best of 2024, but the songs played from that album, I Can Never Die, Pendulum, and Bloodclock, sounded way more powerful live, and as I’m always pro live music, those Italians won my heart with their flawless concert. Veronica’s voice live is something out of this world, simply beautiful and enfolding, and I highly recommend you go see such a unique band live at least once. And did we get a nice wall of death while Francesco Ferrini was playing his classic piano onstage? Oh, hell yeah! And what about the ending with their metal version of Eiffel 65’s dancing hit Blue (Da Ba Dee)? It was apotheotic to say the least!

Setlist
Ode to Art (de’ Sepolcri)
I Can Never Die
Minotaur (The Wrath of Poseidon)
The Fool
Pendulum
Bloodclock
Sugar
The Violation
Blue (Da Ba Dee) (Eiffel 65 cover)

Band members
Francesco Paoli – lead vocals, guitars, bass
Veronica Bordacchini – vocals (soprano)
Fabio Bartoletti – lead guitars
Francesco Ferrini – piano, orchestrations
Eugene Ryabchenko – drums

CRADLE OF FILTH

Almost three years after their last visit to the city, Suffolk, England’s iconic Extreme Metal miscreants CRADLE OF FILTH were finally back to the city with another round of their undisputed, sulfurous and blasphemous music, this time promoting their latest opus, the collection of sweet lullabies entitled The Screaming Of The Valkyries, which you can enjoy in full on Spotify, of course. Their set might have been extremely short (at least for me, as I would love to see them play for over two hours if possible), but it was as dark as the black wings of a Nazgûl, and as venomous as the bite of a King Cobra. Even after seeing Mr. Dani Filth live countless times I’ll never understand how he can scream like that, and if you add to that the violent yet very technical sounds blasted by his bandmates, there you have the perfect recipe for a wild concert with lots of mosh pits, horns in the air and demonic roars form the crowd. The new songs To Live Deliciously and Malignant Perfection sounded great live, but it was Nemesis plus the closing duo Death Magick for Adepts and Her Ghost in the Fog that inspired all fans to succumb to the dark side of music and worship Suffolk’s finest. Hopefully it won’t take another three years for Dani and his horde to return to Toronto, because Cradle of Filth are one of the best bands to see live in the history of heavy music. And if you’re not convinced yet, just as Richmond from IT Crowd.

Setlist
Resurrection
To Live Deliciously
Nemesis
She Is a Fire
The Principle of Evil Made Flesh
Malignant Perfection
Cruelty Brought Thee Orchids
Death Magick for Adepts
Her Ghost in the Fog
Blooding the Hounds of Hell

Band members
Dani Filth – vocals
Marek ‘Ashok’ Smerda – guitars
Donny Burbage – guitars
Daniel Firth – bass
Zoe Marie Federoff – keyboards, vocals
Martin ‘Marthus’ Skaroupka – drums

DYING FETUS

It was getting late but after facing the brutality of all the traffic to get to the city I needed some relaxing music before heading home, and there’s nothing better than the fusion of Brutal Death Metal and Grindcore by Baltimore, Maryland’s technical and savage trio DYING FETUS. Next time your company’s HR asks for ideas for this year’s office Christmas party, simply say “the Fetus Boys” (like how Dani Filth enjoys calling them), and I’m sure Karen from Operations will love the idea and will be in the middle of the band’s demented circle pit. Blending songs from all of their albums in their setlist, including some from their 2023 offering Make Them Beg for Death, also available on Spotify, John Gallagher, Sean Beasley and Trey Williams simply decimated every single living creature at Rebel, delivering a pulverizing, frantic and absolutely technical concert for the delight of their diehard fanbase. Not even the stress of trying to get out of the city after the show was enough to erase the joy of experiencing Dying Fetus live, and I’m sure whenever they return to the city, there will be blood, sweat, violence, and endless circle pits again.

Setlist
Praise the Lord (Opium of the Masses)
Unbridled Fury
In the Trenches
Wrong One to Fuck With
Compulsion for Cruelty
One Shot, One Kill
Your Treachery Will Die With You
Grotesque Impalement
Subjected to a Beating
Into the Cesspool
Killing on Adrenaline

Band members
John Gallagher – guitars, vocals
Sean Beasley – bass, vocals
Trey Williams – drums

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Album Review – Crypts of Despair / We Belong In The Grave (2025)

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Lithuania’s most infernal band is back with their third album, offering more of the their fierce, ruthless and ball-bustingly fusion of Dissonant, Blackened and Brutal Death Metal.

Four years after their demolishing sophomore opus All Light Swallowed, Kaunas, Lithuania’s own Death Metal beast Crypts of Despair returns with their third full-length installment, entitled We Belong In The Grave. Mixed and mastered by Christian Donaldson, and displaying a funereal, grim artwork by Vainius “Anomaly” Česnauska, the new album by a now five-piece band formed of Jonas Kanevičius on vocals, Dovydas Auglys and Tautvydas Kartanas on the guitars, Simonas Jurkevičius on bass, and Henri Mäll on drums offers more of the their fierce, ruthless and ball-bustingly fusion of Dissonant, Blackened and Brutal Death Metal, being highly recommended for fans of Ulcerate, Replicant, Obscureviolence, Dead Congregation, and Saevus Finis, among several others.

The album kicks off with a beyond cryptic intro in We Belong In The Grave before Henri and Jonas decimate our ears ruthlessly armed with their demented drums and visceral roars, respectively, and after such a boisterous start it’s time to get even heavier and darker in Terminal Dais, with the riffage by Dovydas and Tautvydas sounding absolutely demolishing. Their brutality keeps flowing in Obliteration Of The Impure, where the band invites us all to headbang like demonic beasts nonstop; and their furious blend of Death Metal will hit us hard in the head in Expulsion To Purgatory, spearheaded by the vile, deep guttural by Jonas. Then we face Undisillusioned, which carries a poetic name for an unrelenting, no shenanigans Death Metal onrush by the best metal band ever from Lithuania. Needless to say, it will sound majestic during their live performances.

Seizures starts in a more obscure, atmospheric way thanks to the sluggish beats by Henri, while also presenting hints of Deathcore and Doom Metal added to its core essence. It’s absolutely heavy, despite never really taking off; and the band gets back on track in Precipitous, crushing our damned souls with their ruthless sounds, with Jonas barking like a rabid beast accompanied by the metallic riffs by Dovydas and Tautvydas. There’s still time for more heaviness and violence in the form of Gaze Of The Adversary, with Simonas blasting his bass alongside Henri and his pounding beats, all spiced up by Jonas’ deep gnarls and a beyond grim atmosphere, before the album ends with the epic instrumental outro Burial Of The World, dragging us all to absolute darkness together with the band for all eternity.

In a nutshell, We Belong In The Grave is a bold step ahead for Crypts of Despair, maintaining the band’s high standards while updating the sound for maximum impact and utter devastation, and you can put your damned hands on such an amazing album of extreme music made in Lithuania by purchasing it from their own BandCamp page, as well as from the Transcending Obscurity Records’ Bandcamp, main store, US store, or EU store. Don’t forget to also give the band a shout on Facebook and on Instagram, and to click HERE for all things Crypts of Despair, including their tour dates. As we all belong in the grave, Crypts of Despair definitely belong amongst the cream of the European Death Metal elite based on the high quality of the music found in their new album, carving their name in the scene worldwide and, consequently, leaving us eager for more Lithuanian brutality in a not-so-distant future.

Best moments of the album: Terminal Dais, Undisillusioned and Gaze Of The Adversary.

Worst moments of the album: Seizures.

Released in 2025 Transcending Obscurity Records

Track listing
1. We Belong In The Grave 5:05
2. Terminal Dais 4:29
3. Obliteration Of The Impure 4:24
4. Expulsion To Purgatory 4:19
5. Undisillusioned 3:48
6. Seizures 4:07
7. Precipitous 3:11
8. Gaze Of The Adversary 3:11
9. Burial Of The World 2:07

Band members
Jonas Kanevičius – vocals
Dovydas Auglys – guitars
Tautvydas Kartanas – guitars
Simonas Jurkevičius – bass
Henri Mäll – drums

Album Review – Throne / That Who Sat Upon Him, Was Death (2025)

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One of the strongest bands of the current American extreme music scene is back with a demolishing new album, solidifying themselves as a force to be reckoned with.

Having captivated and crushed those they have encountered with a ferocious, relentless and intricate formula of Melodic and Blackened Death Metal all their own since their inception back in 2014, Jackson, Michigan’s own four horsemen Throne are back with their most focused effort to date, poetically titled That Who Sat Upon Him, Was Death, the follow-up to their 2021 opus Pestilent Dawn, solidifying themselves as a force to be reckoned with, emerging as true contenders in the ever growing American Death Metal scene. Recorded at Bricktop Studios, engineered and mixed by Andy Nelson, mastered by Bradley Boatright at Audiosiege, and displaying a sinister artwork by Brian Sheehan, the new album by Nathan Barnes on vocals and guitars, Tim Kenefic on the guitars, Leslie Drake on bass, and Kollin Perpignani on drums is a lesson in brutality whilst continuing their descent with a heavy blackened lean, sure to satisfy the arm-crossed Suffo-crowd, while at the same time tickling those that worship at the altar of Behemoth.

Nathan and Tim’s wicked riffs kick off the band’s infuriated metal feast in Disentombed, supported by the bestial drums by Kollin in a lesson in vicious extreme music, flowing into the just as demonic To Breathe the Unknown, with Nathan’s devilish Brutal Death Metal-like growls matching perfectly with the demented bass and drums by Leslie and Kollin. They need less than three minutes to crush us mercilessly like putrid insects in Blasphemous Perversion, followed by the also infernal tune Realm of Immolation, where all band members sound like creatures from the netherworld, in special Kollin armed with his demonic blast beats.

Once again venturing through the realms of Brutal Death Metal, it’s time for a no shenanigans, ruthless display of aggression and fury by the quartet entitled Human Frailty, led by the inhumane screeches and roars by Nathan; and the same level of insanity is blasted in the utterly demented, bludgeoning composition titled Upon Deathless Winds, with the caustic riffs by Nathan and Tim walking hand in hand with Kollin’s stone crushing drums. The band still has a lot of fuel to burn, as we can clearly notice in Behold Impurity, offering a boisterous fusion of Black and Death Metal overflowing rage and despair, whereas lastly let’s get pounded into dust by Throne to the sound of Where Angels Cower in Fear, with Nathan’s scorching roars and the thunderous beats by Kollin putting a beyond violent ending to the entire album.

After all is said and done, you’ll find yourself suffocated by the blackened sounds crafted by Throne in their newborn spawn, pointing to a bight future ahead of those American metallers without a shadow of a doubt. Hence, if you want to know more about the band, their music, tour dates and so on, don’t forget to follow them on Facebook and on Instagram, to stream their sick creations on Spotify or any other streaming service, and to purchase a copy of their sulfurous new album from BandCamp or from the Redefining Darkness Records’ webstore in the US or in the EU and UK. Because in the end, that who sat upon him was Death, to the sound of the new opus by one of the most promising bands of the current extreme music scene worldwide.

Best moments of the album: Realm of Immolation, Upon Deathless Winds and Where Angels Cower in Fear.

Worst moments of the album: None.

Released in 2025 Redefining Darkness Records

Track listing
1. Disentombed 4:02
2. To Breathe the Unknown 3:37
3. Blasphemous Perversion 2:54
4. Realm of Immolation 3:43
5. Human Frailty 3:19
6. Upon Deathless Winds 4:22
7. Behold Impurity 4:34
8. Where Angels Cower in Fear 3:38

Band members
Nathan Barnes – vocals, rhythm guitars
Tim Kenefic – lead guitars
Leslie Drake – bass
Kollin Perpignani – drums

Album Review – Necrambulant / Upheaval of Malignant Necrambulance (2025)

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Enjoy this relentless record presented as an anthology of horror, gore, and slamming Brutal Death Metal by an amazing American band that describes their sound as “Inhuman Slam Grind”.

A relentless record presented as an anthology of all that the band represents, horror, gore, and slamming Brutal Death Metal, incorporating a full arsenal of Death Metal and Deathslam to further define their self-described sound of “Inhuman Slam Grind”, Upheaval of Malignant Necrambulance, the sophomore opus by Phoenix, Arizona-based horde Necrambulant, has something to offer on many levels of thematic brutality, including zombies, serial killers, cannibals, sci-fi, and Warhammer. Recorded, mixed, and mastered by Xander Bridge, produced by the band itself, and displaying a venomous cover art by Nev of Gruesome Graphx, the new album by vocalist Andy “Bonemeat” York, guitarist Ron Clark, bassist Trent Pittard and drummer Matt Riena is perfect for fans of Devourment, Kraanium, Cephalotripsy, Cannibal Corpse, and Abominable Putridity, bringing an overdose of heaviness and gore to admirers of the heaviest side of extreme music.

A horrid, desperate scream ignites the band’s overdose of brutality in Amalgamation of Gresome Curdling Ambonination, led by the inhumane gnarling by Andy in the best “BREEEEEE!” style possible, whereas the slashing guitar lines by Ron walk hand in hand with the primeval beats by Matt in Inhumane Creophagus Repulsion, a vile blast of Brutal Death Metal violence. The beautifully titled Catastrophic Inversion of Stellar Harmony Collapsing the Web of all Universal Matter into the Colossal Gaping Maw of the Widening Void that Heralds the Dawn of Absolute Unreality (Epoch.0) is highly recommended for some demented slamming into the pit, with Andy sounding even more putrid and demonic on vocals, flowing into the also demented Barbarian Brute Force Annihilation (BFTBG), where Matt hammers his drums nonstop. Their Brutal Death Metal attack goes on in the heavy-as-hell Sentenced to a Guttonous Pit, spearheaded by the trademark BREEEEEE! vociferations by Andy; and they show no mercy for our putrid, decaying bodies in Pestilential Ascendancy, offering more of their first-class, infernal riffs and blast beats.

Ineffable Tormenting Possession brings forward two and a half minutes of undisputed malignancy in the form of heavy-as-hell extreme music led by the crushing drums by Matt, followed by the also deranged Chunked Pus Chowder, carrying a sick name for an overdose of deep guttural roars, venomous riffs and classic, deadly drums, with Andy once again barking and vomiting the song’s lyrics in great fashion. The title-track Upheaval of Malignant Necrambulance will burst our ears with more of the band’s undisputed Brutal Death Metal sounds, whereas Coffin Meat offers the same level of savagery, albeit not as inspired (Andy’s depraved guttural is still there, of course). And last but not least, the dirty riffs by Ron and the metallic bass by Trent will pierce your damned soul in Self-Biologic Carnivorous Cannibalism, ending the album on a beyond visceral note.

“This new album is just a relentless barrage of slamming brutal death metal. We strived for a no-bullshit / no-filler tracklist that will just pummel the listener with heaviness. We spent the past two years working on fine-tuning these songs to be a proper representation of our original moniker of ‘Inhuman Slam Grind’. We hope this new album is something that fans of our earlier material will appreciate and something fresh for the newer fans as well. Expect a full audial assault of horror, gore, and guttural slamming sickness the Necrambulant way,” says the band, and you can join them inside their demented mosh pit by following them on Facebook and on Instagram, by streaming their music on any streaming platforms like Spotify, and above all that, by purchasing the bludgeoning Upheaval of Malignant Necrambulance from the Gore House Productions’ BandCamp or by clicking HERE, or you can also click HERE for all things Necrambulant. This is “Inhuman Slam Grind” at its finest, bringing horror, violence, blood and gore to your miserable life, and may this amazing slamming band from Phoenix continue to blast our ears with the brutality found in their unrelenting new album for many decades to come.

Best moments of the album: Inhumane Creophagus Repulsion, Pestilential Ascendancy and Chunked Pus Chowder.

Worst moments of the album: Coffin Meat.

Released in 2025 Gore House Productions

Track listing
1. Amalgamation of Gresome Curdling Ambonination 3:09
2. Inhumane Creophagus Repulsion 3:14
3. Catastrophic Inversion of Stellar Harmony Collapsing the Web of all Universal Matter into the Colossal Gaping Maw of the Widening Void that Heralds the Dawn of Absolute Unreality (Epoch.0) 3:14
4. Barbarian Brute Force Annihilation (BFTBG) 3:47
5. Sentenced to a Guttonous Pit 2:59
6. Pestilential Ascendancy 2:53
7. Ineffable Tormenting Possession 2:24
8. Chunked Pus Chowder 3:04
9. Upheaval of Malignant Necrambulance 2:01
10. Coffin Meat 2:50
11. Self-Biologic Carnivorous Cannibalism 3:00

Band members
Andy “Bonemeat” York – vocals
Ron Clark – guitars
Trent Pittard – bass
Matt Riena – drums

Metal Chick of the Month – Lorena Moraes

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Depuis les lumières… Vers les ténèbres… La République est en marche!

March might still be a very cold month, maybe not as cold as January and February, but absolutely freakin’ cold if you live in the Northern Hemisphere in places like Canada, Finland, Russia and Belgium. And why did I mention Belgium instead of other colder countries, one might ask? Well, let’s say our metal lady of the month of March might have been born in a warm country, but she currently resides in Belgium, bringing some very welcome heat to “the Battlefield of Europe” with her powerful growls and badass attitude. Her name is Lorena Moraes, the frontwoman for an amazing Belgian Technical Death Metal entity known as Triagone, and I’m sure after this short and sweet tribute to her career in heavy music you’ll develop a strong craving for more of her music.

As aforementioned, Lorena wasn’t born in Belgium, but in the sunny and warm country of Brazil, more specifically in the capital city of Brasília, located in the Brazilian highlands in the country’s Central-West region, and the seat of government of the Federal District. A former photographer at Escola do Futuro de Goiás em Artes Basileu França, located in Goiânia, the capital of Goiás state in central Brazil, Lorena studied at Faculdade Cambury in Brazil, before relocating to Brussels, Belgium’s capital and home to the European Union headquarters, expanding her photography skills by studying at Ecole de Photographie et de techniques visuelles – Ville de Bruxelles while also taking her first steps through the vast lands of Extreme Metal.

It was back in 2019 when Lorena, alongside vocalist and guitarist Lou-Indigo Caspar, guitarist Lucas Lembert, bassist Leonard Ivanciu and drummer Lorenzo Vissol formed the Technical Death Metal beast that goes by the stylish name of Triagone, with roots in Brazil, Italy, France and Belgium, and the explanation to the name chosen is indeed very interesting. According to the band itself, the word “triagone” is a hybrid word inspired by the ancient Greek word “agôn” (ἀγών), which means contest, competition, or disputation (and can refer to a physical or mental contest, or to a dramatic conflict in literature), and a direct reference to the Greek name “trigone”, which means three angles, or the triangle, in parallel with the band’s inspiration by the connection between mathematics and music, like certain demonstrations of trigonometric relations that can be found in the circle of fifths, the demonstration of the C major scale granted to Pythagoras and his demonstrations on triangles, among others. In the end, the fusion of those two Greek words gives the band’s name a third way of understanding the music played by Lorena and the boys. Furthermore, another topic mentioned by the band regarding their name is their message against the pyramid structure our society adopted, an analogy where we’re pretty much slaves building a pyramid stone by stone, trying to climb the ranks of society, with all inequality bringing a lot of disadvantage for the oppressed against the oppressor.

It was in the beginning of 2023 when Triagone released their debut effort, a six-track EP titled Sem Papyrvs, a play on words between Latin and Portuguese, as “sem” means without and “papyrvs” means paper, referring to anyone in a difficult or precarious situation, anyone without an identity, without wealth, without history, or without a diploma, with its 26 minutes of Brutal and Technical Death Metal inspired by classic metal music, baroque, and even Mesopotamian music, also featuring hints of Latin American music rhythms, and all sprinkled with a blend of male and female guttural voices in ancient Greek and Latin and modern Latin and Germanic languages. The names of the songs in Sem Papyrvs are a thing of beauty, starting with Novvs Ordo Seclorvm (“The New Order of the Ages”), followed by Abyssvs Abyssvm Invocat (“The Abyss Calls the Abyss”), Ad Mortem Sem Papyrvs (“To Death Without Paper”), Nvlla Regvla Sine Exceptione (“The New Rules Without Exception”), De Beata Vita (“The Blessed Life”), and Imperivm in Imperio (“Empire in Empire”).

One of the most compelling features in Triagone is the electrifying vocal duet comprised of Lorena and Lou-Indigo, which allows the band to explore new patterns and nuances, as well as the aforementioned lyrics in multiple languages, thanks to the undisputed combined talent of the duo. They can sound at the same time visceral and melodic, dissonant and cryptic, captivating and menacing, purely mathematical and extremely violent, and you can enjoy all that on most streaming services, like Spotify. As a matter of fact, Lou-Indigo explained in an interview that the band had to rework some of the rhythms, textures and timbres (mainly because he mocks up everything with his own voice) after Lorena joined the band, as they wanted her voice to be more present in the final product. Also, although she’s not responsible for all vocal parts nor for all lyrics, this is something Lou-Indigo wants to change in the near future, giving her more singing time, more flexibility, and therefore let her be the main vocalist of the band.

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Before joining Triagone, Lorena was the vocalist for a Brazilian Death/Thrash Metal band named Suttura, and another one named Erinyes, both from the city of Goiânia. Suttura was formed back in 2010 by Lorena alongside drummer Sílvio, bassist Thiago and guitarist Rildo, and although there isn’t a lot of information online about the band, you can stream some of their creations on YouTube, including the excellent songs Need of War, Overlook, and Villas Boas Incident. Furthermore, back in 2015 the band played at the 21st edition of a Brazilian rock and metal festival named Goiânia Noise Festival, at a venue named Centro Cultural Martim Cererê, together with renowned acts the likes of Nervochaos and Ratos de Porão, and countless amazing underground bands from Brazil and other parts of the world, and before that in 2013 they played at the 11th edition of Headbanger’s Attack Festival, held at Círculo Operário do Cruzeiro Velho in Brasília, with each of the eight bands from that specific festival having at least one woman in their lineup as a tribute to the bands Valhalla and Flammea. Apart form Suttura, the festival also featured the bands Soror, Sound’n’Rage, Gulag, Armum, Decimator, Roasting and No Sense. On the other hand, unfortunately there isn’t much online about her previous band Erinyes, except for this nice cover version of AC/DC’s all-time classic TNT live back in 2007, but it’s enough to see she has been developing her vocals in great fashion through the years.

It was when Lorena was still a member of Suttura that she and Lou-Indigo met for the first time, when Lou-Indigo’s former band Dehuman was touring in Brazil, as Lorena was playing with Suttura at the same festival as them. After Lorena moved to Belgium together with Lou-Indigo, they did some Cannibal Corpse covers together, and after he showed those to Lorenzo and Leonard they decided to recruit her to be their frontwoman, as they loved her voice and charisma. Speaking of her relocation to Belgium, Lorena mentioned in one of her interviews that she believes there are more possibilities in Belgium to make a musical project live and grow, that music is taken more seriously there if compared with the metal scene in Brazil, her native country. “In Brazil,” she explains, “each band needs a lot of financial investment and a lot of time, and I think there is more openness here in this regard.”

Apart from her work with Triagone, as well as with the previously mentioned bands Suttura and Erinyes, Lorena was a guest vocalist in the song Arterial Red, from the album Crusher of Souls, released in 2024 by Belgian Brutal Death Metal act Storm Upon the Masses. It’s a great album of sheer brutality and rage, by the way, and Lorena’s contribution to the aforementioned song only makes the whole experience of listening to it even more compelling, proving she a beyond versatile vocalist with a wide arsenal of vocal styles, always ready to stun us all in the name of extreme music. I personally can’t wait to see what’s next for Lorena as a metal vocalist, and for Triagone as a band, again proving how badass women can be in heavy music.

Lorena Moraes’ Official Facebook page
Lorena Moraes’ Official Instagram
Triagone’s Official Facebook page
Triagone’s Official Instagram
Triagone’s Official YouTube channel

““Everyone in the band is very talented and committed to making the band evolve. I have a lot of admiration for them. My goal is to continue singing, improve my vocal technique and establish more contact with the audience. I hope that Triagone will record an album soon and that we can show our music to more people.” – Lorena Moraes