Tag Archives: brutal death metal

Concert Review – Suffocation & Incantation (Lee’s Palace, Toronto, ON, 11/13/2023)

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Four of the best Death Metal bands of the current scene worldwide delivered a night of sheer brutality, rage and endless circle pits last night in Toronto.

OPENING ACTS: Stabbing and Skeletal Remains

What a night of brutality and circle pits in Toronto, my friends! SUFFOCATION and INCANTATION, with very special guests SKELETAL REMAINS and STABBING, put on a sensational performance for the delight of all attendees at Lee’s Palace last night during their Ancient Unholy Uprising Tour 2023. Although it might be getting colder and colder in Toronto as winter is almost upon us, all four bands made sure we remained as warm as possible while they blasted their instruments on stage in the name of our good old Death Metal. I just think the venue should have opened their doors a little earlier than 6:30pm to give everyone enough time to buy merch and have a few drinks, but nothing that would make the whole night less enjoyable, of course.

Shortly after the doors opened, the first band of the night, Houston, Texas-based Brutal Death Metal entity STABBING, kicked of the Death Metal ceremony with a ruthless and demonic performance spearheaded by the she-demon Bridget Lynch, who by the way looked possessed on stage and made it almost impossible to see her face during the entire show. Having released the album Extirpated Mortal Process in 2022, plus a brand new demo earlier this year, the quartet showed no mercy for our necks and bodies, demanding some vigorous headbanging and already inspiring the crowd to slam into the circle pit frantically, playing songs such as Inhaling The Dead, Gutted By The Beast, and Pulsing Wound with endless rage and dexterity. If you know nothing about Stabbing, go check their wicked and beyond brutal creations on BandCamp and on Spotify, and if you’re attending any of the shows form this tour make sure you get to the venue in time to witness Bridget and the boys crushing the souls of the lighthearted on stage. You’re going to love it!

Setlist
Inhaling The Dead
Final Flesh Feast
Gutted By The Beast
Visions Of Eternal Suffering
Vortex Of The Severed Dead
Ravenous Psychotic Onslaught
Pulled Apart
It Ends With Flames
Pulsing Wound

Band members
Bridget Lynch – vocals
Marvin Ruiz – guitars
Matt Day – bass
Nat Conner – drums

After a quick intermission (and by the way, kudos to the house DJ for playing tons of Death and Thrash Metal songs during the breaks instead of some generic stuff), it was time for Whittier, California’s own Death Metal squad SKELETAL REMAINS to ignite some of the sickest mosh pits of the night armed with their sonic savagery and heaviness. If I said it was almost impossible to see Bridget’s face during Stabbing, well, it was ABSOLUTELY impossible to see the face of vocalist and guitarist Chris Monroy during Skeletal Remains. Was it really him on stage? Jokes aside, it was another phenomenal display of classic Death Metal by the quartet, with drummer Pierce Williams sounding infernal throughout the entire concert. Blending songs from all of their four amazing albums, including their latest one The Entombment of Chaos, released in 2020, plus their brand new single Void of Despair (and judging by how demolishing the new song is, we should get ready for another merciless Death Metal attack by those guys in their upcoming album), those American metallers pulverized everyone who dared to brave the nonstop circle pit at Lee’s Palace, and if you want to get a sense of how vile and thunderous their music sounds before seeing them live, I recommend streaming all of their catalogue on Spotify. And on a side note, I must say Skeletal Remains had the best merch available hands down, offering so many cool shirts and other items you must see their merch stand to believe it.

Setlist
Void of Despair
Parasitic Horrors
Beyond Cremation
Illusive Divinity
Internal Detestation
Conquer
Congregation of Flesh
Torture Labyrinth
Tombs of Chaos

Band members
Chris Monroy – vocals, guitars
Mike De La O – guitars
Brian Rush – bass
Pierce Williams – drums

INCANTATION

One of the main attractions of the night, Johnstown, Pennsylvania’s own Death Metal machine INCANTATION, was supposed to have started their concert at around 8:35pm, but it was already past 8:45pm when they finally hit the stage. That small delay didn’t mean anything to their avid fans at all, because as soon as they began playing the first notes from the opening song Concordat (The Pact) I it was absolute carnage and violence in the floor section with a wild circle pit that looked like it was going to last forever. The new songs from their recently launched beast Unholy Deification, such as Invocation (Chthonic Merge) X, worked really well mixed with some of their most demolishing classics, while the band’s iconic frontman John McEntee kept his horns high in the air every single second he wasn’t shredding his guitar, being always promptly followed by all of the band’s diehard fans in the pit.

One of the funniest moments of the concert happened between two of the songs from their setlist when John said that every single time Kyle hits his drums, a poser dies. Guess what? Kyle hit his drums, and John simply said “another poser just died”. A simple but effective joke that added an extra touch of intimacy to their incendiary performance, building an even stronger connection between the band and their fans. Hence, if you want to feel all the fury blasted by Invocation and get more than prepared for their killer concert in your city, you can stream all of their wicked creations on BandCamp and on Spotify, warming up your blood vessels for the music by one of the most hardworking and vibrant veterans in the history of Death Metal.

Setlist
Concordat (The Pact) I
Rites of the Locust
Carrion Prophecy
Shadows of the Ancient Empire
Fury’s Manifesto
Blasphemous Cremation
Ascend Into the Eternal
Chalice (Vessel Consanguineous) VIII
Invocation (Chthonic Merge) X
The Ibex Moon
Impending Diabolical Conquest

Band members
John McEntee – vocals, guitars
Luke Shively – guitars
Chuck Sherwood – bass
Kyle Severn – drums

SUFFOCATION

It was a little past 10pm when Long Island, New York-based Brutal/Technical Death Metal institution SUFFOCATION began their violent, ruthless performance, and I honestly don’t know how all photographers, including my friend Keith Ibbitson of Lower Eastside Photography and Kim Baarda, managed to take proper photos of Suffocation or of any of the other bands without a barrier separating them from the crowd, as they had to endure all mosh pits while holding their cameras. It was insane, and I must say they’re really brave for facing that. Promoting their brand new opus Hymns from the Apocrypha (their first without Frank Mullen on vocals), the band now fronted by the talented growler Ricky Myers (Disgorge, Sarcolytic) simply kicked us all in the ass with their fast, heavy and evil songs, including some newborn killers the likes of Seraphim Enslavement, Dim Veil of Obscurity, and the title-track Hymns From the Apocrypha, all by the way available on Spotify.

There was this guy who spent more time up in the air doing crowd surfing than actually standing on his feet. I don’t know his name, but holy shit, he was going up and down the stage pretty much the entire time doing crowd surfing. Does anyone know his name? He deserves a medal for crowd surfer of the year. Anyway, one of the coolest moments during Suffocation’s thunderous concert, if not the coolest moment of the entire night, was when Bridget from Stabbing joined the band on stage and made one of the most visceral duos in the history of Death Metal with Ricky, with both growling, barking and roaring like beasts for our total delight. And suffocation kept the momentum going nutil the very last second of their show, leaving us all eager for more of their music in a not-so-distant future, and proving once again that singing about death, murder, blood, gore and so on can indeed put a smile on ourfaces, just like what happened last night in Toronto.

Setlist
Catatonia
Seraphim Enslavement
Breeding the Spawn
Dim Veil of Obscurity
Pierced From Within
Funeral Inception
Perpetual Deception
Bind Torture Kill
Hymns From the Apocrypha
Liege of Inveracity
Infecting the Crypts

Band members
Ricky Myers – vocals
Terrance Hobbs – guitars
Charlie Errigo – guitars
Derek Boyer – bass
Eric Morotti – drums

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Album Review – Display of Decay / Vitriol (2023)

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Edmonton, Canada’s own Death Metal machine is back with their demolishing fourth full-length album, paying homage to the brutal and aggressive roots of the genre.

Prepare for an unrelenting assault on your senses as Edmonton, Alberta’s very own Brutal Death Metal titans Display of Decay unleash their latest opus, titled Vitriol. Drawing inspiration from the early Death Metal pioneers like Cannibal Corpse, Malevolent Creation and Cryptopsy, Display of Decay have crafted an album that pays homage to the brutal and aggressive roots of the genre while infusing their own unique sickness into the mix. Produced by the band itself, mixed and mastered by Christian Donaldson of Cryptopsy, and displaying a sick cover art by Caelan Stokkermans, Vitriol is an auditory journey into a realm of relentless brutality, where thundering drums, guttural vocals, and savage guitar riffs converge to create a sonic onslaught that leaves no room for compromise, all masterfully crafted by Sean Watson on vocals and guitar, Brandon Siefert on bass and Logan Wilson on drums, resulting in the perfect follow-up to their 2018 album Art in Mutilation.

Sean shows no mercy for his guitar in Malicious Motorcide, delivering dirty, devilish riffs while Logan crushes his drums nonstop in the name of Death Metal, resulting in an aggressive way to kick off the album by those three marauders followed by The Butcher, even heavier and more obscure, where Sean continues to vociferate like a demon while Brandon and Logan make sure the atmosphere remains as dense as possible with their respective bass punches and hammering drums. Their fusion of brutality and rage will set fire to the music in Legion of Doom, with Brandon’s bass sounding utterly metallic while Sean shreds his guitar in great fashion until the very last second. And Familial Feast is another no shenanigans, in-you-face display of classic Death Metal infused with Brutal Death Metal elements, inviting us all to slam into the pit to the manic roars by Sean and the always demented drums by Logan.

Get ready for another sonic attack courtesy of Display of Decay titled Harbinger, where Logan brings his heavy artillery to the music contributing to make it even more perverse and insane, not to mention the putrid guttural by Sean; and featuring guest drummer Tyson Travnik (Gatekeeper, Striker, Ironstorm), the band brings forward more of their caustic Death Metal in the form of Hot Lead Vengeance, with Tyson stealing the show with a very technical yet violent performance. It’s time for Sean to slash our ears with his dirty riffage in Slaughtercast, perfect for some vigorous headbanging until your neck can’t take it anymore, keeping the album at a high level of animosity; whereas Tyson Travnik returns with his infernal, demolishing beats in the title-track Vitriol, putting a pulverizing ending to the album while Sean barks and growls in them most gruesome and demented way you can imagine.

Vitriol, which is available for a full and detailed listen on YouTube and on Spotify, definitely represents a step forward in the career of those Canadian metallers, cementing their name in the local scene and helping them spread their music all across the world. Hence, you can keep updated with all things Display of Decay by following them on Facebook and on Instagram, by subscribing to their YouTube channel, and of course by purchasing a copy of the vicious Vitriol by clicking HERE or HERE. Brutal Death Metal made in Canada is on the rise, and we must thank bands like Display of Decay for their relentless work in the name of extreme music, always offering us all top-of-the-line albums like their latest opus.

Best moments of the album: The Butcher, Harbinger and Hot Lead Vengeance.

Worst moments of the album: None.

Released in 2023 Gore House Productions

Track listing
1. Malicious Motorcide 3:17
2. The Butcher 4:26
3. Legion of Doom 4:04
4. Familial Feast 3:26
5. Harbinger 3:06
6. Hot Lead Vengeance 4:01
7. Slaughtercast 3:55
8. Vitriol 3:19

Band members
Sean Watson – vocals, guitar
Brandon Siefert – bass
Logan Wilson – drums

Guest musician
Tyson Travnik – drums on “Vitriol” and “Hot Lead Vengeance”

Album Review – NecroticGoreBeast / Repugnant (2023)

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A depraved Brutal Death Metal entity from Quebec City returns from the pits of hell with a new album, offering us all a 30-minute cascade of magnificent horrors.

A tumultuous confluence of a multitude of extremes, crimson streams of wicked creativity, cruel precision, sheer sickening heaviness and fear-choked atmosphere, bleeding together into a coagulating pool of ichor and viscera, Quebec City, Quebec-based Brutal Death Metal unity NecroticGoreBeast returns from the pits of the underworld with a pulverizing new album, titled Repugnant. Mixed and mastered by Miguel Tereso at Demigod Recordings, and displaying a sinister artwork by RF Pangborn, Repugnant is a cascade of magnificent horrors masterfully brought into being by John Mayer on vocals, Michael Chamberland on the guitars, Alexandre Brochu on bass and JP Bouchard on drums, being highly recommended for fans of the visceral music by Devourment, Cryptopsy, Deeds Of Flesh and Wormed, among many others.

Twisted, devilish guitars ignite the title-track Repugnant, exploding into a gory and visceral sound where John vociferates rabidly supported by the massive drums by JP, flowing into the also brutal and technical Unsedated Face Removal, with Michael slashing his axe in great fashion, inviting us all to slam into the pit like demented beasts. Consensual Castration is another cohesive, in-your-face display of Brutal Death Metal by the quartet where JP steals the show by hammering his drums until the very last second, whereas Michael and Alexandre keep pounding their strings mercilessly in Self-Inflicted Cerebral Edema, another vile Death Metal onrush where John continues to bark and roar viciously for our total delight. Then, bringing forward an even more sinister vibe, the band offers our putrid ears the insane Gouged Eye Copulation, a neck-breaking tune showcasing their trademark guttural and slamming riffs and drums.

Masturbated to Death is one of those songs with an eerie intro that evolves into pure carnage, heaviness and gore, with Michael once again cutting our skin deep with his caustic riffage; while Nail Clipper Circumcision carries a very charming name for another classic Brutal Death Metal extravaganza, with John roaring like a demented creature while his bandmates keep destroying their instruments in the name of savagery and heaviness. After that, Ruptured Priapism keeps the album at a high level of blasphemy, violence and evil, with the riffs by Michael being nicely complemented by the metallic bass by Alexandre; and devilish barks and roars, unstoppable drums and extreme aggression will hit you hard in Phlebotomized, a great option for crushing your skull into the circle pit. Last but not least, there’s still time for one final venomous attack titled Frozen Feces Evisceration, with john sounding inhumane on vocals as usual.

With each new album, NecroticGoreBeast redefine what Brutal Death Metal can be, to what breathtaking sonic extremes this music can be taken. Repugnant (which is available for a full listen on YouTube and on Spotify) represents a new terrifying pinnacle for the genre, and NecroticGoreBeast are gazing down at the carnage they have left in their wake, secure upon their throne. Hence, if you want to feel that carnage penetrating deep inside your mind and soul, you can purchase a copy of the album from Comatose Music’s BandCamp or webstore (as a CD, a cassette, a vinyl or a very special CD + shirt + sticker bundle), or simply click HERE for all things NecroticGoreBeast. Don’t forget to also follow the band on Facebook and on Instagram for news and tour dates, and to stream all of their wicked creations on Spotify, keeping those Canadian metallers inspired to haunt our souls with their demonic music for many years to come.

Best moments of the album: Unsedated Face Removal, Self-Inflicted Cerebral Edema and Nail Clipper Circumcision.

Worst moments of the album: None.

Released in 2023 Comatose Music

Track listing
1. Repugnant 3:07
2. Unsedated Face Removal 3:07
3. Consensual Castration 3:07
4. Self-Inflicted Cerebral Edema 2:59
5. Gouged Eye Copulation 2:58
6. Masturbated to Death 3:46
7. Nail Clipper Circumcision 3:15
8. Ruptured Priapism 3:18
9. Phlebotomized 3:00
10. Frozen Feces Evisceration 2:17

Band members
John Mayer – vocals
Michael Chamberland – guitar
Alexandre Brochu – bass
JP Bouchard – drums

Concert Review – Archspire (Factory Theatre, Sydney, NSW, Australia 10/13/2023)

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There’s nothing better than slamming into the circle pit Down Under on a Friday the 13th, courtesy of three of the best tech death bands of the current worldwide scene.

OPENING ACTS: Werewolves and Ingested

I honestly still can’t believe that in the middle of my business trip to Sydney, Australia, I was able to catch WEREWOLVES, INGESTED and ARCHSPIRE during their phenomenal Tech Trek Australia Tour 2023 at this really cool and well-located venue named Factory Theatre this Friday night. Not only that, if you’re not familiar with the public transportation system in Sydney, let me tell you that it makes it extremely easy to get anywhere you want, which allowed me to get to the venue as soon as the doors opened at 8pm without rushing or anything like that, giving me enough time to buy some merch from Werewolves, grab a beer, and even chat with some locals who were all truly surprised I came all the way from Toronto for the show.

Precisely at 8:30pm, with the venue being almost full already, Melbourne, Australia’s own Technical Black/Death Metal savages WEREWOLVES kicked off the night with a pulverizing and memorable performance for the delight of everyone who was already positioned inside the pit for some action. Vocalist and bassist Sam Bean, guitarist Matt Wilcock and drummer David Haley (that man is a beast on drums!) took no prisoners during their short and sweet set, blasting our ears with their uncompromised, venomous hybrid of Black and Death Metal with songs from all of their insane albums, including their latest beast My Enemies Look and Sound like Me. Those Aussie metallers know exactly what needs to be done on stage to inspire the crowd for some wild headbanging and circle pits, and songs like No More Heroes, Under the Ground, Crushgasm, and specially the closing one, the antisocial hymn I Don’t Like You, sound even better live than in the studio. There were even some wild howls coming from some (drunk) fans in the audience, just to prove how awesome the band was.

I’m extremely happy that I had the chance to see those guys live in Australia, and hopefully the metal community worldwide will give them the attention they deserve and we’ll finally see Werewolves assaulting the stages in North and South America, Europe, and anywhere else where violence and hatred are an intrinsic part of music. Furthermore, don’t forget to stream their visceral creations on BandCamp and on Spotify, and if you ever witness Werewolves live I highly recommend you go chat with the band after their show as they’re fantastic guys. Sam even joked by asking me if I had a suggestion for a name of their next album, which they’re already working on, but I missed the chance to say something like “Powerslave”, “Painkiller” or “Reign In Blood”. Well, maybe next time I’ll be quick enough to come up with something like that, right?

Setlist
Know Your Place
No More Heroes
Sublime Wartime Voyeurism
Under the Ground
Crushgasm
Crushing Heaven’s Mandate
Showering Teeth
I Don’t Like You

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

After a short break, it was time for Manchester, England-based Slam/Brutal Death Metal/Deathcore outfit INGESTED to crush their fans in Sydney for the first time ever  with their infectious brutality and endless energy on stage. I must admit they sounded even tighter in Sydney than the last time I saw them in Toronto, just to prove how excited they were to finally blast their wicked music Down Under. Still promoting their 2022 album Ashes Lie Still, the band spearheaded by the charismatic and lunatic Jay Evans was on fire throughout their entire performance, with songs like I, Despoiler and Skinned and Fucked turning the circle pit at the Factory Theatre into pure madness and devastation.

Jay was by far the most excited for playing in Australia, and it was actually hard to take pictures of him on stage because the guy doesn’t stop moving not even for a single second, as if he was part of the crowd, like a fan who will slam into the pit until the very last second of the last song. By the way, when the band announced their last song, the bloodthirsty aria Echoes of Hate, all hell broke loose inside the pit for the pure delectation of Jay and his crew. It’s a real pleasure seeing a hardworking band like Ingested going places, and based on the rowdy reaction they got from their fans in Sydney I’m sure they’ll return to Australia sooner than you can say “slam”. Hence, don’t forget to also check the band’s furious fusion of extreme styles on BandCamp and on Spotify, and to keep an eye on their tour dates to avoid missing the opportunity to see them crushing your city to pieces live.

Setlist
Impending Dominance
Invidious
I, Despoiler
Shadows in Time
Skinned and Fucked
Echoes of Hate

Band members
Jay Evans – vocals
Sean Hynes – guitars, backing vocals
Thomas O’Malley – bass
Lyn Jeffs – drums

ARCHSPIRE

It was close to 10:30pm when the main attraction of such fun and entertaining night, Canadian Technical Death Metal masters ARCHSPIRE, kicked off their breathtaking, mesmerizing performance, generating a schizophrenic atmosphere with their flawless fusion of violence, wrath, dexterity and energy on stage. Their flammable frontman Oliver Rae Aleron is not only a superb growler (and I’ll never be able to fully understand how that guy can sing guttural so fast as if he was rapping in the name of evil), but his charisma allowed him to basically control everything the crowd was doing, with his requests for some insane mosh pits being promptly answered by an avid Australian crowd.

Having released the album Bleed the Future in 2021, the band put on a beyond extraordinary show, with songs like Bleed the Future, A Dark Horizontal and Involuntary Doppelgänger sounding perfect live thanks to the undeniable, superb musicianship by all band members, with guitarist Dean Lamb and bassist Jared Smith stealing the spotlight with a lecture in shredding. If you’re curious to know more about one of the fastest and most talented bands of the current Technical Death Metal scene worldwide, you can enjoy all of their wicked albums in full on BandCamp and on Spotify. However, I must warn you that the demented vocals by Oliver will haunt your damned soul for all eternity so insane they are.

And last but not least, I have to say the Canadian humor and jokes the band presented on stage were simply awesome, adding a very welcome touch to their irreprehensible performance. For instance, before playing one of their bestial songs, Oliver asked the crowd to split the pit in the middle, but this time it wasn’t for a traditional wall of death; he threw a Twister game mat to the crowd, and then out of nowhere several sweaty fans were playing Twister instead of doing their regular slamming and headbanging. Then after another couple of songs he invited two fans for a shoe drinking contest named “shoey”, a gross Australian drinking tradition that for some reason Archspire seem to love. Well, it was gross, no doubt about it, but seeing the winner receiving a custom shirt made by one of the guys form the band with some weird drawing of Wolverine and a dingo was a really cool moment of their show. I would never, ever drink beer directly from my shoes, but one thing I’ll certainly do is to attend all concerts I’m able to by Archspire in the future for more awesomeness in the form of Canadian tech death.

Setlist
Bleed the Future
Abandon the Linear
A Dark Horizontal
Remote Tumour Seeker
Golden Mouth of Ruin
Human Murmuration
Calamus Will Animate
Involuntary Doppelgänger
Drone Corpse Aviator

Band members
Oliver Rae Aleron – vocals
Dean Lamb – guitars
Tobi Morelli – guitars
Jared Smith – bass
Spencer Prewett – drums

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Metal Chick of the Month – Bridget Lynch

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It ends with flames, Bridget!

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

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

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

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

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

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

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

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

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

Album Review – Cryptopsy / As Gomorrah Burns (2023)

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And Gomorrah will burn to the sound of the incendiary new album by one of the fiercest Death Metal bands to ever rise from the Canadian scene.

Known as one of the fiercest Death Metal squads to ever rise from the Canadian scene since the band’s inception in the distant year of 1992, Montreal, Quebec-based Technical Death Metal juggernauts Cryptopsy are back to pummel our collective senses anew with their eighth studio album, the infernal As Gomorrah Burns, their first record in over 10 years. Produced, mixed and mastered by the band’s own by guitarist Christian Donaldson, with additional mixing by Dominic Grimard (who’s also their touring bassist), and displaying a stunning artwork by Italian painter Paolo Girardi, As Gomorrah Burns pits the Biblical story of Sodom and Gomorrah against the modern-day Internet, with its stories based on real-life incidences such as online stalkers, cults, misinformation, isolation and intimidation showing how it’s both the birthplace of invention and a cesspool of exploitation, therefore proving why the band formed of vocalist Matt McGachy, guitarist Christian Donaldson, bassist Olivier Pinard and drummer Flo Mounier will forever be one of the references in the history of Canadian Death Metal.

The massive, ruthless drum attack by Flo sets the tone in Lascivious Undivine while Matt roars like a true beast in the name of Technical and Brutal Death Metal. It’s a bit generic, though, but a decent start to the album; and they keep destroying their instruments in In Abeyance, with Matt barking the song’s wicked lyrics nonstop (“Boom / I was promised a utopia / I’ve been silenced and isolated / Cast aside human garbage / Tortured monotonous futile existence / Another day, yet another pointless trip”), whereas Godless Deceiver sounds very technical yet violent and frantic just the way we like it in Death Metal. Furthermore, Christian’s riffage sounds absolutely mental accompanied by the metallic slabs by Olivier armed with his bass, followed by Ill Ender, a fantastic creation by the quartet presenting an amazing job by Christian and Olivier with their stringed axes, consequently adding a lot of groove and insanity to the overall result (not to mention how demented Flo is behind his drums once again).

Flayed the Swine showcases a band that’s once again extremely technical and vile, with the song exhaling madness through its lyrics (“Blasted little rotting pick / Egotistical asshole / This puny little mongrel / I will put an end to this / This simple-minded shit”), whereas their grim and thunderous metal attack continues in full force in The Righteous Lost, with Olivier stealing the spotlight with his menacing, in-your-face bass jabs, keeping the album at an insane level of aggressiveness and intricacy. Obeisant is another hellish hurricane of Death Metal sounds spearheaded by the unstoppable blast beast by Flo and the deep, inhumane growls by Matt, a song beyond perfect for heading into the circle pit for some high-quality action, flowing into the closing tune Praise the Filth, offering us all almost six minutes of total darkness and rage where Christian and Olivier are once again flawless with their stringed weapons. Put differently, we face nonstop adrenaline flowing from all instruments, putting a heavy and pulverizing ending to As Gomorrah Burns.

“We are back,” said frontman Matt McGachy. “I want our fans to know we’re more than a legacy band. Yes, we have had massive cult favorite albums – like None So Vile – but we are creating modern and relevant extreme music 30 years later. We’re so proud of As Gomorrah Burns, and we can’t wait for you to hear it!” Hence, if you want to stay updated with all things Cryptopsy and let the guys know how much you love their music, you can get in touch with them on Facebook and on Instagram, subscribe to their YouTube channel and stream more of their music on Spotify, and of course purchase a copy of the breathtaking As Gomorrah Burns from their BandCamp page or by clicking HERE. Having said all that, let Gomorrah burn to the incendiary new album by one of the torchbearers of Canadian death!

Best moments of the album: In Abeyance, Ill Ender and Obeisant.

Worst moments of the album: Lascivious Undivine.

Released in 2023 Nuclear Blast

Track listing
1. Lascivious Undivine 3:50
2. In Abeyance 2:56
3. Godless Deceiver 3:40
4. Ill Ender 4:19
5. Flayed the Swine 4:25
6. The Righteous Lost 4:16
7. Obeisant 3:52
8. Praise the Filth 5:50

Band members
Matt McGachy – vocals
Christian Donaldson – guitars
Olivier Pinard – bass
Flo Mounier – drums

Album Review – Djinn-Ghül / Opulence (2023)

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An uncanny duo from the US and Venezuela will attack your senses with their third full-length opus, flitting between full-on Death Metal brutality and jaw-dropping futuristic and mechanized sounds.

Less than two years following the release of their critically lauded EP Mechalith, industrialized Experimental/Brutal Death Metal/Deathcore unit Djinn-Ghül unleashes their third full-length album, entitled Opulence, building on their previous material while taking things to new levels of extremity. The international duo formed of Venezuelan vocalist Junior “Pat” Patiño (Voraraephilia) and American multi-instrumentalist Grant Nachbur (Auricular Insemination, Nephrectomy) has been evolving and perfecting their sound with each consecutive release since their inception in 2016, with their new album effectively flitting between full-on Death Metal brutality and jaw-dropping futuristic and mechanized sounds with impressive cohesion. Mixed and mastered by Pat himself, and displaying a sick acrylic painting as the album’s artwork by Chinese artist Guang Yang, Opulence showcases a dynamic slab of industrialized Death Metal with a crushing power that will debilitate as much as adrenalize you, resulting in their most chaotic yet refined material to date.

Haunting and atmospheric, the opening tune God Lymph will pierce your soul with the band’s hybrid of several extreme styles, with Grant’s crushing drums and phantasmagorical keys permeating the air until everything explodes into violence and insanity with Pat roaring like a demon, whereas the hammering bass and caustic riffs by Grant will demolish your senses in Xobek, a lecture in Blackened Deathcore with some industrial and electronic elements in the background to give it an even more venomous vibe. Their industrialized vein keeps pulsing in Ghola, with Pat’s inhumane growling complementing the infernal atmosphere crafted by Grant, followed by the title-track Opulence, featuring Jordan James of Disentomb on vocals, bringing forward the demented beats and scorching riffs by Grant while the song’s background elements will beautifully darken your soul. Then featuring guest vocalist Alex Marr, the duo’s horror-inspired sounds keep disturbing the minds of the lighthearted in the pulverizing Pseudosapien, where Grant’s bass and drums generate an avalanche of sheer heaviness until the very end.

Sara Crow lends her voice as a guest in Mother, another short and sweet blast of their Experimental Death Metal sounds infused with Deathcore and classic Death Metal nuances; however, it never really takes off, sounding more like an interlude of sorts. Their next guest vocalist is Phlegeton of Wormed, with more of their mechanized, futuristic keys being offered to us in Fruitless Grasp, before the music turns into a demonic feast of devilish screams, piercing guitars, infernal beats and rumbling bass lines. There’s still more from such talented duo to haunt your damned soul for all eternity in Garden of Jaws (It Sees Too Much), blending the most violent elements from Brutal Death Metal with their more experimental and industrialized vein, and with Pat sounding absolutely evil on vocals; flowing into the closing tune Grave Vessel, where the duo clearly sends a message of chaos and darkness through their electrified sounds and noises, not to mention Grant is once again ruthless behind his drums, ending the album on a beyond somber mode.

The vicious Opulence, which is available in full on YouTube and on Spotify, is certainly not recommended for the lighthearted, which is exactly what such ruthless American/Venezuelan duo wanted to achieve with their music. Hence, don’t forget to give Djinn-Ghül a shout on Facebook and on Instagram, to subscribe to their YouTube channel, and above all that, to purchase a copy of their newborn beast from their own BandCamp page, from the Vicious Instinct Records’ BandCamp page, from Apple Music, or from Amazon. In other words, Opulence is heavy, caustic, futuristic and melodic, all at the same time, effectively cementing Djinn-Ghül as one of the most interesting names of the modern extreme music scene.

Best moments of the album: Xobek, Pseudosapien and Garden of Jaws (It Sees Too Much).

Worst moments of the album: Mother.

Released in 2023 Vicious Instinct Records

Track listing
1. God Lymph 3:47
2. Xobek 2:13
3. Ghola 2:49
4. Opulence 3:13
5. Pseudosapien 3:21
6. Mother 2:40
7. Fruitless Grasp 4:29
8. Garden of Jaws (It Sees Too Much) 3:25
9. Grave Vessel 2:37

Band members
Junior “Pat” Patiño – vocals
Grant Nachbur – all instruments

Guest musicians
Jordan James – vocals on “Opulence”
Phlegeton – vocals on “Fruitless Grasp”
Sara Crow – vocals on “Mother”
Alex Marr – vocals on “Pseudosapien”

Album Review – Gutslit / Carnal (2023)

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India’s own Brutal Death Metal and Grindcore warriors are back with their incendiary third full-length album, a masterful exploration of the intricate struggles of the human psyche.

In their over 15-year journey, Mumbai-based Brutal Death Metal/Grindcore masters Gutslit have transcended their status as a mere household name in the Indian metal scene to a global force to be reckoned with, showcasing their technical prowess and brutal riffs on two critically acclaimed full-length albums, Skewered in the Sewer, released in 2013, and Amputheatre, from 2017. Now in 2023, the band formed of vocalist Aditya Barve, guitarist Prateek Rajagopal, bassist Gurdip Singh Narang and drummer Aaron Pinto unleash hell once again with their third full-length opus, titled Carnal, showcasing the band’s evolution in sound, smoldering and surging with violent energy. Mixed and mastered by Mark Lewis at Audio Hammer Studios, produced by the band’s own Prateek Rajagopal, and displaying a stylish artwork by Kidsquidy (aka the band’s own Aaron Pinto), the album offers our avid ears eight crushing compositions which together represent a captivating exploration of the many facades that we all wear and the numerous personas that we all adopt to navigate the challenges of life.

As soon as you hit play, brutality and rage flow from all instruments in the pulverizing opening track Son of Sam, with Aditya roaring like a beast supported by the Death Metal blast beats by Aaron. The album couldn’t have started in a more demolishing way, I might say, and things get even heavier in Matriarch, another infernal Death Metal attack by those talented musicians with Gurdip’s rumbling bass bringing sheer groove to the music while Prateek will pierce your skin deep with his sick riffage. Then we have the heavy-as-hell Bind Torture Kill, featuring guest vocalist Julien Truchan of Benighted, and his pig-like screeches add an even higher level of insanity to the overall result, resulting in a lecture in Brutal Death Metal and Grindcore where the guitar by Prateek sounds utterly caustic. There’s no time to breath as the quartet will kick us hard in the head in The Killing Joke, bringing forward their trademark aggressiveness spearheaded by the deep, inhumane growls by Aditya.

The second half of the album begins with the infuriated Insidious, with the band’s stringed duo sounding incendiary during the song’s intense 41 seconds, followed by Body Snatcher, a much darker, more introspective creation by Gutslit, hammering our heads with their wicked bass lines and incendiary riffs, not to mention another flawless performance by Aaron on drums. In Altar of Putridity we face lyrics that are as acid as their music (“I walk past the lines of grim depression / A fantasy to behold / A morbid compassion to withhold / Sliver of remorse, flowing through my veins / Easing up to that moment / One step closer to creating”), although the song is not as exciting as the rest of the album; whereas closing the album on a high, melodic and visceral note we have Primeval, presenting an amazing job by all band members, in special Aaron with his demented drums, being therefore perfect for slamming into the circle pit like a true metalmaniac while Aditya continues to scream nonstop before all fades out to a sinister outro.

“Carnal is a masterful exploration of the intricate struggles of the human psyche. With a keen eye for detail and a remarkable understanding of the complexity of the human mind, we delve deep into the age-old conflict between good and evil. The tracks on this album depict the various phases of the human experience, from the deepest pits of despair to the highest peaks of euphoria,” commented the band about their flammable new album, which is by the way available in full on YouTube and on Spotify, and you can also purchase a copy of it from the band’s official site (India and worldwide) or from their BandCamp page (worldwide), or simply click HERE for all things Gutslit. In addition, don’t forget to also show your support to the band by following them on Facebook and on Instagram, and by subscribing to their YouTube channel. Let the violence of Carnal flow through your mind, and may Gutslit keep destroying our senses with their music by releasing amazing albums like their new one until the very end.

Best moments of the album: Matriarch, Bind Torture Kill and Primeval.

Worst moments of the album: Altar of Putridity.

Released in 2023 Independent

Track listing
1. Son of Sam 4:04
2. Matriarch 3:31
3. Bind Torture Kill 3:23
4. The Killing Joke 3:05
5. Insidious 0:41
6. Body Snatcher 4:54
7. Altar of Putridity 4:13
8. Primeval 6:05

Band members
Aditya Barve – vocals
Prateek Rajagopal – guitars
Gurdip Singh Narang – bass
Aaron Pinto – drums

Guest musician
Julien Truchan – vocals on “Bind Torture Kill”

Album Review – Orphalis / As The Ashes Settle (2023)

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Counterbalancing Technical Death Metal with brutal elements, this ruthless Teutonic horde will crush your senses with their beautifully tempered, vibrant and energetic new album.

Counterbalancing Technical Death Metal with Brutal Death Metal elements, Dortmund, Germany-based outfit Orphalis might have found the perfect stylistic balance for the kind of music they are playing on their fourth full-length album, titled As The Ashes Settle, sounding astonishingly fluid given its dynamic and multifaceted nature. Displaying another sinister artwork by Adam Burke of Nightjar Illustration, As The Ashes Settle is a beautifully tempered, vibrant and energetic album that is bound to leave an indelible mark in the style, all masterfully crafted by Thomas Szczecina on vocals, Jens Dürholt and Morten Formeseyn on the guitars, Thomas Köhler on bass, and Phillip Hatcher on drums, being therefore recommended for fans of Benighted, Cutterred Flesh, Aborted, and Enragement, among several others.

The title-track As the Ashes Settle is a fantastic hurricane of brutality blasted by Orphalis where Thomas Szczecina roars in great fashion supported by the technical yet violent drums by Phillip and the scorching riffs by Jens and Morten, whereas Ritual of Conflagration sounds as infernal and detailed as the opening track, resulting in another lesson in Technical Death Metal by the quintet where Thomas Köhler and Phillip craft a thunderous and menacing atmosphere with their respective bass and drums. The unstoppable Jens and Morten deliver sheer electricity, fury and insanity through their riffs and solos in Watch Them Descend, a lecture in Death Metal that will please all fans of the genre; followed by The Wolves Draw Near, absolutely demolishing from the very first notes delivered by Jens and Morten, being therefore perfect for slamming into the circle pit while Thomas Szczecina’s guttural roars get deeper and more demented as time passes by. And investing in a more technical and intricate sonority without forgetting to add their trademark aggressiveness to the music we have An Effigy to Humanity, where Phillip is once again bestial behind his drums.

Such unrelenting Teutonic horde keeps hammering our cranial skulls mercilessly in Staring into Ruin, with their strident, piercing riffs walking hand in hand with the low and thunderous kitchen by Thomas Köhler and Phillip. Then after the unnecessary electronic interlude Moon Supremacy the band returns in full force with From Shadows Arisen, a neck-breaking extravaganza where the guitars by Jens and Morten couldn’t have sounded any heavier, or in other words, it’s first-class Brutal Death Metal with some welcome progressive elements. There’s no sign of slowing down as their technical yet visceral sounds keep coming strong in Labyrinth Configuration, showcasing another vile vocal performance by Thomas Szczecina; while the second to last song of the album, titled To Embrace Defeat, is also perfect for headbanging like a metalmaniac, with their fulminating riffs and beats darkening the entire atmosphere for our total delight. Lastly, get ready to be crushed into tiny pieces by Orphalis in Crowned in Hatred, starting in a grim, obscure manner before exploding into more of their Technical Death Metal. Furthermore, Thomas Szczecina leads his horde with his inhumane, deep growls, not to mention how metallic the bass by Thomas Köhler sounds.

In summary, Orphalis know exactly how to explode our senses with their refined hybrid of progressiveness and brutality, and As The Ashes Settle is the perfect depiction of the top-notch quality of their work. Hence, don’t forget to follow the band on Facebook and on Instagram for news, tour dates and so on, to stream all of their wicked creations on Spotify, and above all that, to add the breathtaking As The Ashes Settle to your personal (and devilish) collection by purchasing a copy of it from their BandCamp page, from Apple Music or from Amazon. As The Ashes Settle is a beast of an album highly recommended for anyone who loves Death Metal, it doesn’t matter if it’s old school, modern, technical or brutal, leaving us eager for more of the pulverizing music by one of the most interesting names of the current German scene hands down.

Best moments of the album: As the Ashes Settle, Watch them Descend and Crowned in Hatred.

Worst moments of the album: Moon Supremacy.

Released in 2023 Transcending Obscurity Records

Track listing
1. As the Ashes Settle 4:34
2. Ritual of Conflagration 3:58
3. Watch Them Descend 3:35
4. The Wolves Draw Near 4:21
5. An Effigy to Humanity 4:01
6. Staring into Ruin 4:33
7. Moon Supremacy 0:57
8. From Shadows Arisen 3:34
9. Labyrinth Configuration 3:46
10. To Embrace Defeat 4:58
11. Crowned in Hatred 4:48

Band members
Thomas Szczecina – vocals
Jens Dürholt – guitars, backing vocals
Morten Formeseyn – guitars
Thomas Köhler – bass
Phillip Hatcher – drums

Album Review – A Pretext To Human Suffering / Endless Cycle Of Suffering (2023)

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Tearing away the pitifully thin, obscuring skin of our reality, this multinational horde will crush your soul to the sound of their new album of first-class Technical and Brutal Death Metal.

Tearing away the pitifully thin, obscuring skin of our reality, revealing the rancid meat sculpture that is our dystopian present, United States/Canada/Mexico-based Technical/Brutal Death Metal act A Pretext To Human Suffering will crush your damned soul with their debut full-length album, entitled Endless Cycle Of Suffering, highly recommended for fans of Cryptopsy, Origin, Beneath The Massacre and Ingested, among others. Produced, engineered, mixed and mastered by Floor van Kuijk at GLDCHN Studios, and displaying a sick artwork by Vladimir “Smerdulak” Chebakov and a sinister logo by Steve Crow of Malevolent Icons Logos, Endless Cycle Of Suffering compels us to confront the unending nightmare of our own existence, and the horror which we have labored to construct, all masterfully brought into being by Chris Mathis on vocals, guitar and drum programming, Beto Vipe and Wesley Van Hook also on the guitars, and Spencer Atkinson on bass.

The short and sweet intro Indoctrinated reminds us all we’re not free, exploding into sheer brutality and rage to the massive riffs by Chris, Beto and Wesley in Endless Cycle of Suffering, a psychological and absolutely somber metal attack by such demonic band. Chris keeps roaring manically in Architect of Reality, another infernal yet very technical Death Metal feast where it’s impressive how organic their programmed drums sound; followed by Hollow Sanctuary, heavy and groovy from the very first second with the bass lines by Spencer making our heads tremble. In Formless Collective we’re treated to wicked lyrics (“Pray to old gods / Altars of antiquity / Watch them die slow / Unleash their final form / Of existence / Cleanse of this virus / Wasting away / It is time to reap what weve sewn”) embraced by a demonic instrumental led by the demented riffage by Chris, Beto and Wesley; and taking their heaviness and insanity to a whole new level, Void sounds and feels almost pure Brutal Death Metal.

Then an atmospheric, sinister intro evolves into a very melodic sound in Toxic Dreams, showcasing inhumane, deep growls, strident riffs and fulminating blast beats, leaning towards the more technical and progressive side of Death Metal, whereas Shadow of Time follows a similar pattern as the previous song, with the band’s guitar triumvirate shredding their axes mercilessly. In Paradox the band once again pierces our minds with their caustic words (“Peripheral shadows move rapidly / The familiar feelings of lunacy / They keep calling-give into lunacy / Entranced and lost-I feel”) amidst a hurricane of demonic sounds, sounding amazing from start to finish; followed by their second to last blast of insanity, titled Clandestine, bringing forward more of Chris’ deep guttural and devilish screeches supported by the song’s Cannibal Corpse-like riffs. And lastly, it’s time to slam into the pit one final time like a maniac to the sound of Cult(ure), where once again the rumbling bass by Spencer sounds insanely heavy and metallic.

The demented sounds found in Endless Cycle Of Suffering can be appreciated in full on YouTube and on Spotify, and you can obviously purchase a copy of the album from the Realityfade Records’ BandCamp page or by clicking HERE. In addition, you can also show all your support to this multinational entity by following them on Facebook and on Instagram, and by subscribing to their YouTube channel. Be ready for when you hit play in Endless Cycle Of Suffering, because A Pretext To Human Suffering are not just coming to present you with a scenario of futility and despair; they are coming to ask you a question. What can be done, and what will you do?

Best moments of the album: Endless Cycle of Suffering, Formless Collective and Paradox.

Worst moments of the album: None.

Released in 2023 Realityfade Records

Track listing
1. Indoctrinated 0:05
2. Endless Cycle of Suffering 3:50
3. Architect of Reality 2:32
4. Hollow Sanctuary 5:26
5. Formless Collective 2:56
6. Void 3:40
7. Toxic Dreams 1:24
8. Shadow of Time 2:55
9. Paradox 2:44
10. Clandestine 2:48
11. Cult(ure) 4:40

Band members
Chris Mathis – vocals, guitars, drum programming
Beto Vipe – guitars
Wesley Van Hook – guitars
Spencer Atkinson – bass