Tag Archives: brutal death metal

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

Concert Review – Aborted (The Axis Club, Toronto, ON, 02/25/2025)

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The night the earth shook in Toronto, courtesy of four of the heaviest bands of the current Death Metal scene worldwide.

OPENING ACTS: NecroticGoreBeast, PeelingFlesh and Ingested

In all seriousness, I think an earthquake hit Toronto this Tuesday night when NECROTICGOREBEAST, PEELINGFLESH, INGESTED and ABORTED took the city by storm with their ruthless, infernal Terrifying North America Tour 2025 at an almost sold out The Axis Club, another ass-kicking event brought to us metalheads by the iconic Noel Peters of Inertia Entertainment. As a matter of fact, the original plan was to have the formidable Stabbing as the first band on the bill during the entire tour, but unfortunately they couldn’t make it (for reasons beyond my knowledge). Their replacement for most of the tour is Extermination Dismemberment, while in Toronto (and in the other Canadian dates) we got the demented Canadian squad known as NecroticGoreBeast. I would love to have seen Stabbing AND Extermination Dismemberment AND NecroticGoreBeast together with PeelingFlesh, Ingested and Aborted, turning it into a massive festival of sheer brutality, but it is what it is and I can’t complain at all about any of the bands on the bill; quite the contrary, all four bands destroyed us all, and once again I have no idea how photographers like Keith Ibbitson of Metal Paparazzi manage to take photos in the middle of an endless mosh pit when there’s no barrier nor any security to protect them.

Precisely one hour after the doors opened to the crowd, Montreal, Quebec’s own Slam/Brutal Death Metal outfit NECROTICGOREBEAST kicked off the festivities with an overdose of heaviness and brutality, basing their setlist on their demolishing 2023 opus Repugnant (available on Spotify or on any other streaming service). The Axis Club in Toronto is commonly known as a nightclub, which means their sound system can go absolutely wild on bass, and that’s exactly what happened during the entire night starting with NecroticGoreBeast. The whole place was trembling as if there was an earthquake going on, and the crowd was going mental inside the pit. Vocalist John Mayer was bestial armed with his mic, and as after the night was over I could see several fans wearing the band’s hoodie it was a clear a sign the city loved their live performance, which means it won’t take long for them to return to Toronto.

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

It was when the clock hit 7:45pm that the city of Toronto felt the strongest seismic activity of the entire night. I’m talking about the demented performance by Tulsa, Oklahoma-based Slam/Brutal Death Metal/Hardcore creature PEELINGFLESH, who looked like their mission was to demolish the entire venue with one of the heaviest shows I’ve ever seen in my life. Their frontman Damonteal Harris is simply amazing, perfectly leading his henchmen and the crowd with his sick pig squeals, fry vocals, and “gangsta” dance moves, driving the entire venue wild during their undisputed performance. The songs played from their 2024 album The G Code, those being The Fuckening, Shoot 2 Kill and Perc 3000, all available on Spotify by the way, sounded even heavier and more demonic live, all boosted by the beyond thunderous kitchen by Austin Hirom and Joe Pelleter. In other words, if PeelingFlesh ever play in your city or town, do not miss the chance of seeing one of the heaviest bands of the current slam scene worldwide. They are absolutely fantastic live.

Setlist
Nefarious Moongrass
The Fuckening
Mr Nasty Time
12 Gauge Autopsy
Matar a palos
Midnight
Intro
Shoot 2 Kill
Perc 3000
F.F.W.A.S
Outro

Band members
Damonteal Harris – vocals
Mychal Soto – guitars
Jason Parrish – guitars
Austin Hirom – bass
Joe Pelleter – drums

Basically almost any band in the world who had to play after PeelingFlesh would have had a hard time topping their sick performance, but of course when the band in question is Manchester, UK’s own Slam/Brutal Death Metal/Deathcore icons INGESTED you can expect at least the same level of savagery and gore. After the unexpected departure of frontman Jason Evans late 2024, Josh Davies, vocalist of UK Deathcore band Malice and former vocalist of fellow UK Deathcore band Monasteries, became the man responsible for the band’s vocal duties, and he did a pretty good job live in Toronto. The only two things that bothered me regarding their concert were the lack of any songs from their 2024 album The Tide of Death and Fractured Dreams, and the fact that although it had been announced that touring musicians Andrew Virrueta and Thomas O’Malley had joined the band as full-time band members, they simply weren’t there.

Yes, it was only Josh plus guitarist Sean Hynes and drummer Lyn Jeffs, which looked weird, but their heaviness was there intact. Their new single Altar of Flesh (available on BandCamp and on Spotify) sounded demented live, inspiring all concert goers to bang their heads nonstop, plus all circle pits, crowd surfing, and a massive wall of death, proving Ingested are still alive and kicking even after such an impactul change in their line up with the new frontman. I’m sure they would have sounded even more imposing and vile with Andrew and Thomas, but they were absolutely professional and put their hearts and souls into the show even being two men down. Let’s see what the future holds for Ingested with their (most probably) upcoming full album with Josh on vocals, and hopefully that will guarantee another wild concert in Toronto in the coming months.

Setlist
Titanomachy
Endgame
Altar of Flesh
Impending Dominance
Invidious
Contorted Perception
Copremesis
Skinned and Fucked

Band members
Josh Davies – vocals
Sean Hynes – guitars, backing vocals
Lyn Jeffs – drums

ABORTED

Then after another short break, with most concert goers fighting for a spot at the smoking area outside (and holy shit, young people are smoking way too much these days), the main attraction of the night, Belgian horror-inspired Death Metal masters ABORTED, took the stage for another slab of sheer violence and heaviness, also making the venue shake and tremble as if the roof was going to collapse. It’s also very weird they no longer have a bassist playing live with them, with the last one being Stefano Franceschini back in 2023, but they also managed to cover the lack of bass with a lower, darker sound of one of the guitars. And what to say about their setlist? The new songs from their 2024 masterpiece Vault of Horrors sounded insane alongside their old classics, in special Brotherhood of Sleep, Death Cult and The Shape of Hate, all of course available on Spotify. Needless to say, the one and only Sven De Caluwé was a beast onstage, roaring, screaming, hitting his head with his own hands, making faces, and inspiring everyone for some wild action inside the pit.

I think Sven had a lot of time with the guys from Archspire during their last tour together to discuss different jokes, games and so on to make their concerts even more captivating, because it felt like a standup comedy show at times, including doing jumping jacks in the middle of one of the songs, and a “fart competition” between two fans, with the winner being a beautiful lady that was surely going wild in the pit, as she had gone up to the stage crowd surfing maybe twice before that specific game. After the band destroyed us all with the closing songs The Saw and the Carnage Done and Hecatomb, although everyone was extremely happy with what Aborted had just offered us all, it felt like their setlist could have been a little longer, with maybe two or three extra songs added at least. Well, maybe their goal was to leave us eager for more Aborted live in the city in the near future, because those guys love to be onstage in the name of Death Metal, and the demented reaction by the fans during their entire show proves they’re more than welcome to return to Toronto anytime they want.

Setlist
Dreadbringer
Retrogore
Brotherhood of Sleep
The Origin of Disease
Infinite Terror
Deep Red
From a Tepid Whiff
Death Cult
The Shape of Hate
Insect Politics
The Saw and the Carnage Done
Hecatomb

Band members
Sven De Caluwé – vocals
Daníel Máni Konráðsson – guitar
Ian Jekelis – guitar
Ken Bedene – drums

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Album Review – Putrid Defecation / Tales from the Toilet (2025)

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The debut album by these Finnish Brutal Death Metal newcomers delivers seven tracks that embody the unapologetically brutal themes and aggressive soundscapes characteristic of the toilet slam genre.

Originally envisioned as a one-man project in 2019, Espoo, Finland’s own Brutal Death Metal/Deathslam newcomers Putrid Defecation are set to unleash upon humanity their debut opus, titled Tales from the Toilet, showcasing the band’s raw intensity, moving beyond the programmed drums of earlier works to feature a complete recording lineup. Mixed by Atte Karm, mastered by Brad Boatright at Audiosiege, and with a perverse, gory artwork by Lucker Riquelme, the album delivers seven tracks that embody the unapologetically brutal themes and aggressive soundscapes characteristic of the toilet slam genre, all carefully crafted by vocalist Joona Pätsikkä (who unfortunately left the band in November 2024), guitarists Peter Halin and Petteri Sillanpää, bassist Johnny Grinds and drummer Alpo Laitinen, being therefore recommended for fans of Cumbeast, Torsofuck, Cerebral Incubation, and Monumental Discharge.

Introduction to Constipation is a brutal slab of Death Metal overflowing gore and madness from Joona’s deep gutturals, whereas the guitars by Peter and Petteri will inspire you for some sick slamming in Airborne Backdoor Evacuation, supported by the ruthless drums by Alpo, followed by Whirlwind of Excrement, another three minute onrush of putrid sounds led by the gruesome gnarls by Joona. Then a weird intro evolves into more of their trademark Brutal Death Metal in Unremitting Hematochezia, with the sound of their guitars exhaling violence yet feeling very melodious.

Not only the title-track Tales from the Toilet is the longest of all songs, but it’s also the most dynamic, with the pounding drums by Alpo inspiring us all to slam like true bastards, followed by Impending Anal Leakage, a one minute demented assault with the guest vocals by Jori Kemppi of Discreant and Aleksi Kiianlehto of What Awaits Us being absolutely demented; and of course the album ends with more brutality and gore in Erfurt Latrine Disaster, with Johnny blasting his bass manically while Joona keeps vomiting the song’s depraved words.

As gory and putrid as it is technical and vibrant, Tales from the Toilet is definitely an album not recommended for the lighthearted, bringing to our ears an overdose of violence crafted with endless fury and blood by those talented Finnish rockers. If you want to get your hands dirty with the music by Putrid Defecation, you can stream their wicked creations on YouTube and on Spotify, and of course purchase their new album from BandCamp or by clicking HERE. Don’t forget to also give them a shout on Facebook and on Instagram, but you better be warned that once you’re caught in a mosh of toilet slam, your soul will become so grimy and smelly you will never be able to leave their cesspool of filth.

Best moments of the album: Airborne Backdoor Evacuation and Tales from the Toilet.

Worst moments of the album: None.

Released in 2025 Stadin Rec

Track listing
1. Introduction to Constipation 1:29
2. Airborne Backdoor Evacuation 3:05
3. Whirlwind of Excrement 2:58
4. Unremitting Hematochezia 3:03
5. Tales from the Toilet 3:55
6. Impending Anal Leakage 0:56
7. Erfurt Latrine Disaster 3:11

Band members
Joona Pätsikkä – vocals
Peter Halin – guitar
Petteri Sillanpää – guitar
Johnny Grinds – bass
Alpo Laitinen – drums, vocals

Guest musicians
Jori Kemppi – vocals on “Impending Anal Leakage”
Aleksi Kiianlehto – vocals on “Impending Anal Leakage”

Album Review – Infernalivm / Conquering the Most High EP (2024)

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Get ready for the debut EP by a new and vile horde hailing from France, pointing to a new reign of dark Death Metal terror.

Formed in 2022 as a studio-only project by Melek Dlth Aton (Novae Militiae) on vocals and guirtars, Raph Daethorn (Merrimack, Ritualization) on bass, and Kevin Paradis (Benighted, Svart Crown) on drums, a Paris, France-based Death Metal legion that goes by the stylish name of Infernalivm spawned straight out of the French “Orthodox Satanic Death Metal Movement”, with their background lying the foundations for a Death Metal band heavily rooted in Satanism (in the vein of Deicide, Profanatica, and Incantation), but musically versed in a highly technical and complex strain of ultra-violent, abysmal, and dissonant Death Metal in the vein of Immolation, Nile, and Morbid Angel. Now it’s time for their debut EP, entitled Conquering the Most High, to see the light of day (or the dark of night), an inaugural and demonstrative twenty one-minute, four-track onslaught of inescapable dark Technical/Brutal Death Metal crafted in the sanguinary jaws of the Antichrist.

Kevin kicks off their infernal feast in the best Krisiun style in the title-track Conquering the Most High, hammering his drums like a demonic beast while Melek roars and barks deeply nonstop. In other words, it’s a beyond demolishing welcome card by those French metallers, who also show absolutely zero mercy for our putrid souls and rotten bodies, decimating us all in Temple of a Destroying Sun, with the thunderous bass by Raph adding even more energy to the blast beats by Kevin. Ashes of the Saints offers four minutes of undisputed Black and Death Metal tailored for admirers of the genre, with the harsh roars and sharp, caustic guitar by Melek inviting us all to slam into the circle pit frantically; and the last song of the EP, titled The Maze of Havoc, definitely leaves us eager for more Infernalivm, as its riffs, bass lines and blast beats are a stunning fusion of the music by Cannibal Corpse, Marduk and Krisiun.

In a nutshell, the band’s debut EP is a dissonant, bludgeoning beast seething with all the might and power of the Antichrist, a dark and violent abomination with an immensely evil and antihuman atmosphere and an infernal aura casting massive, ominous shadows across the face of European Death Metal and sending a clear message on the magnitude of things to come, pointing to a new reign of dark Death Metal terror. Furthermore, you can join them in their quest for all things dark and evil by following them on Facebook, and by purchasing their EP from their own BandCamp or from the Sentient Ruin Laboratories’ BandCamp or webstore, and I honestly can’t wait to see what’s next in the career of this promising horde hailing from France.

Best moments of the album: Conquering the Most High and Ashes of the Saints.

Worst moments of the album: None.

Released in 2024 Sentient Ruin Laboratories

Track listing
1. Conquering the Most High 5:23
2. Temple of a Destroying Sun 5:39
3. Ashes of the Saints 4:00
4. The Maze of Havoc 6:44

Band members
Melek Dlth Aton – vocals, guitars
Raph Daethorn – bass
Kevin Paradis – drums

Concert Review – The Black Dahlia Murder & Dying Fetus (The Phoenix Concert Theatre, Toronto, ON, 11/06/2024)

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***Review by Kevin Ibbitson and photos by Keith Ibbitson of Metal Paparazzi***

OPENING ACTS: Vomit Forth, Angelmaker and Spite

On Wednesday November the 6th legions of local headbangers amassed in front of The Phoenix Concert Theatre located at 410 Sherbourne St. Toronto, Ontario for an exhilarating evening of sonic punishment and brutality brought to us by our good friend Noel Peters of Inertia Entertainment with one of the best line ups I have seen this year consisting of headliners THE BLACK DAHLIA MURDER (Michigan) and DYING FETUS (Maryland), supported by the bands SPITE (Bay Area, California), ANGELMAKER (North Vancouver, B.C.) and VOMIT FORTH (Connecticut), during their Beg to Serve 2024 Tour stop in the city.

VOMIT FORTH opened the show with some hardcore brutal death metal rife with brutal breakdowns whipping us metalheads into a frenzy, inciting a whirlwind of feet and fists inside some pretty gnarly circle pits, and from there on the crowd was on fire for the rest of the show. 8/10

ANGELMAKER was up next and they absolutely fucking killed it with an amazing set that impressed me tremendously. It was my first time seeing them live and I think they might be one of my favourite bands now. These guys should be headlining shows for sure. The crowd was mad with bloodlust during their set and everything ratcheted up a few notches with some of the craziest crowd surfing I have ever seen. Bodies were flying all over the place literally! And it was fun as fuck to see too. AngelMaker’s vocalists were so mind-blowing and the band sounded so friggin’ good. Seriously it was an epic set.10/10

SPITE had some mighty big shoes to fill and did not disappoint. They put on an amazingly brutal show and held their own among the giants amongst them, keeping the energy going, stoking the flames of the behemoth engine that we call a crowd. The crowd was absolutely nuts that night! Non-stop action on our side of the barrier. 9/10

DYING FETUS

Marylands’ brutal tech death juggernauts DYING FETUS were up next and slew us with a blistering set full of old school death metal chugging and brutal slams. Fetus’ sound quality was top notch and holy shit what a band! Trey Williams drumming was killer and Sean Beasley was beastly on the bass guitar. John Gallagher was on fire with the riffage and solos on guitar. Vocally, both John and Sean were on point. Dying Fetus are one of the G.O.A.T.s of the genre, an absolutely tremendous trio of a band. Sometimes old is gold. 10/10

THE BLACK DAHLIA MURDER

THE BLACK DAHLIA MURDER finished off the show providing the killing stroke on the slaughter-room floor so to speak. The crowd got even crazier and one brave soul even dove head first with reckless abandon off the stage, trusting that the rest of the crowd would catch him and thankfully they did. Even before Dahlia got on the stage fans were crowd surfing in anticipation. To call it crowd surfing is a bit of a misnomer, it was more akin to midget-tossing (pardon the expression). The Black Dahlia Murder did not disappoint and put on a fantastic set full of old and new material which satisfied the crowd. Brian Eschbach brought some much needed levity to the evening with some of his crowd banter referring to Doug Ford taking him on a cocaine fueled bar-hop and seance to talk to his brother Rob. It was a nice surprise to see when I got home that The Black Dahlia Murder live streamed their set on YouTube, so I watched it again. It’s now a couple days later as I’m writing this and Nocturnal is still playing in my head. This was seriously one of the best shows of the year for me personally and I along with the crowd had an amazing time. Great show. 10/10

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Concert Review – Carnifex (The Opera House, Toronto, ON, 10/22/2024)

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Metalheads from all parts of Toronto enjoyed a killer Tuesday night in the city, celebrating the brutality and energy of Death Metal and Deathcore blasted by five incredible bands.

OPENING ACTS: Heavy//Hitter, Organectomy, Mental Cruelty and Cryptopsy

What a wild night of love, friendship and collective tree hugs brought to the city of Toronto by HEAVY/HITTER, ORGANECTOMY, MENTAL CRUELTY, CRYPTOPSY and CARNIFEX during their Necromanteum Part II USA and Canada Tour 2024 at The Opera House, setting the circle pits on fire throughout the entire event. Keith Ibbitson of Metal Paparazzi and I were there to witness such a moshing party blasted by those five amazing bands, and although I had to miss Orlando, Florida’s own Deathcore unit HEAVY//HITTER due to work, as the whole show was a very early one with doors opening at 5pm and Heavy//Hitter hitting the stage already at 6pm, I highly recommend you go after their music as it’s freakin’ heavy and hits you in the face mercilessly, just like what the name of the band says. You can find their music on Spotify and BandCamp, and get ready for their brand new EP Moments of Misery out this November 8.

Setlist
(Unknown) (unreleased)
Paved in Blood
(Unknown) (unreleased)
Waste Of Life
No Mercy, No Remorse
Heaven’s Gate
Wall of Wax

Band members
Austin Hayes – vocals
Dane Loeprich – guitar
Chris Perez – bass
Josh Archeval – drums

However, I was lucky enough to get to The Opera House just in time for New Zealand’s heaviest band of all time, the demented Christchurch-based Brutal Death Metal squad ORGANECTOMY, who led by the infuriated, unstoppable frontman Alex Paul (and sporting shirts of their idols Cryptopsy, by the way) put on a fantastic show, crushing our damned souls and demanding us all to slam into the pit like there’s no tomorrow. I’m a fan of all of their albums, I had seen them live once, but I must say their new songs Plague Mouth, Corpsethrone and Tracheal Hanging (all available on Spotify, by the way) sounded absolutely insane live, and I can’t wait for their next full-length album whenever they’re thinking about releasing it. After their show I went to their merch booth and got a very cool, high-quality beanie for a very decent price, and had a chance to chat a little with Alex about his music and his stunning country (as I was there recently on my Maiden quest in Australia and New Zealand). He’s a really nice guy, an extremely talented growler, and a hardworking musician, putting his heart and soul into his onstage performance. Having said that, don’t waste a single second and go check the music by one of the best bands ever hailing from New Zealand, and get ready to be smashed like an insect if you have a chance to see those ruthless metallers live.

Setlist
Concrete
The Third Mutation
Corpsethrone
Plague Mouth
Tracheal Hanging
Terror Form
Entropic Decay

Band members
Alex Paul – vocals
Sam McRobert – guitars
Matthew Bolch – guitars
Tyler Jordan – bass, backing vocals
Levi Sheehan – drums

The other band that I was utterly eager to see live again was Karlsruhe, Germany-based Symphonic Deathcore beasts  MENTAL CRUELTY, and let’s say their show this Tuesday night was way more explosive and fun than the first time I saw them at Hard Luck Bar, despite the fact the setlist was pretty much the same based on their most recent opus, the masterpiece Zwielicht (available on Spotify and on BandCamp). The band kicked some serious ass during their entire set, with their frontman Lukas Nicolai stealing the show with not only a flawless vocal performance, but his interaction with the crowd was amazing as well, with him getting on top of the barricade to sing together with the crowd and with a nice show of flashlights during Zwielicht, right before they blasted our minds with their best song to date, Symphony of a Dying Star. I also had a chance to talk to Lukas about Mental Cruelty, about the fact I keep trying to convince my German friends to listen to their music, and got a nice patch from those guys. Needless to say, the next time Mental Cruelty takes the city of Toronto by storm, I’ll certainly be there.

Setlist
Midtvinter
Obsessis a Daemonio
King ov Fire
Forgotten Kings
Nordlys
Zwielicht
Symphony of a Dying Star

Band members
Lukas Nicolai – vocals
Nahuel Lozano – guitars
Marvin Kessler – guitars
Viktor Dick – bass
Danny Straßer – drums

After a very quick intermission, it was time for the iconic Montreal, Quebec-based  Brutal/Technical Death Metal institution CRYPTOPSY (aka the “Kings of Hallmark Romantic Christmas Movies”) to simply destroy anyone who dared to face them inside the circle pit. What a bestial show by Matt McGachy, Christian Donaldson, Olivier Pinard and Flo Mounier, sounding one hundred percent heavy, enraged and evil from start to finish, with songs like Slit Your Guts, Crown of Horns, Open Face Surgery and Flayed the Swine (this one from their amazing 2023 album As Gomorrah Burns, available on Spotify and on BandCamp) demolishing our souls and melting our faces, all while Matt kept roaring like a demonic creature and headbanging in the best Corpsegrinder stile. Hell yeah, Canada has its own Corpsegrinder, ladies and gentlemen! Flo was also infernal behind his drums, proving why he’s one of the best of the entire genre, and his dexterity, fury and passion for heavy music inspired the fans to keep the circle pit moving absurdly fast. I honestly don’t know how I was able to catch one of the guitar pics thrown by Christian because the floor section was nonstop madness, but I can’t wait to see them again live and, who knows, grab something else like a drumstick next time.

Setlist
Slit Your Guts
Crown of Horns
Graves of the Fathers
Sire of Sin
Open Face Surgery
In Abeyance
Flayed the Swine
Phobophile

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

CARNIFEX

The last attraction of the night was also the one most fans at The Opera House (a mix of very young fans and way older metalheads, but still young at heart) were waiting for, and they didn’t disappoint the crowd at all, bringing forth a massive display of heaviness and hatred on stage. I’m talking about San Diego, California-based Deathcore masters CARNIFEX, who armed with their pulverizing 2023 album Necromanteum, available on Spotify, sounded insane on stage and, therefore, fueled some of the sickest mosh pits of the night. Vocalist Scott Ian Lewis didn’t stop screaming, barking and roaring, and I honestly don’t know how he can do that night in, night out without losing his voice, bringing even more fury to already furious songs the likes of Torn in Two, Graveside Confessions, Hell Chose Me and Heaven and Hell All at Once. It was total chaos until the very last second of Drown Me in Blood, and I must say I was very happy the show ended before 10:30pm as I had enough time to get back home and have a decent night of sleep. To be fair, if their show had been longer I wouldn’t have complained at all, because you know, first comes heavy music, then the superficial stuff like sleeping, eating and working, right?

Setlist
Torn in Two
Graveside Confessions
Dark Days
Necromanteum
Slit Wrist Savior
Crowned in Everblack
Lie to My Face
Hell Chose Me
Heaven and Hell All at Once
Dark Heart Ceremony
Hatred and Slaughter
Drown Me in Blood

Band members
Scott Ian Lewis – vocals
Cory Arford – guitars
Neal Tiemann – guitars
Fred Calderon – bass
Shawn Cameron – drums

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Concert Review – Fleshgod Apocalypse & Shadow of Intent (The Opera House, Toronto, ON, 09/19/2024)

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***Review by Kevin Ibbitson, with photos by Keith Ibbitson of Metal Paparazzi***

On Thursday September 19th, 2024, Toronto metalheads were treated to a hell of a show at The Opera House with The Black Opera Across North America Tour 2024 which consisted of five incredibly killer bands ranging from across the U.S.A, United Kingdom and Italy, in another amazing event brought to the city by Noel Peters of Inertia Entertainment. Disembodied Tyrant, The Zenith Passage and Shadow of Intent (U.S.A), Ingested (U.K) and Fleshgod Apocalypse (Italy). Having never seen any of these bands live myself yet, I was pretty excited for the experience. Before the show started I was invited to the side entrance where my photographer and brother Keith (of Metal Paparazzi) was chatting with Ingested lead vocalist Jason Evans. I was stoked at meeting him and was welcomed with a warm and friendly handshake. Jason was very humble and genuinely a great guy. We chatted a bit about England and where my family originated from and a bit about Premiere League Football until he had to get back inside. I was super glad to have met him and couldn’t wait to see Ingested rip up the stage.

The Opera House doors opened at 5:30 pm and the fans filed their way inside. Passing all the merch booths on my way in I couldn’t help lamenting the fact that I was financially tapped out from three previous shows earlier in the week and not being able to snag a couple of band shirts. I made my way to as close to the stage as I could get. Just a little off to the left side of the stage and hunkered down for the first band, Disembodied Tyrant. Not much is known about these guys other than that they will be big one day based off their recent collaboration with fellow band Synestia on their epic EP The Poetic Edda and Other EP’s The Divine Stigmata and Eclipse Pt.1 respectively. All killer by the way! The set started out a little bit slow as folks were still making their way in and the floor was only just over a quarter filled up. It took about two songs in for the floor to fill up and a mosh pit ensued. Disembodied Tyrant played a short set full of atmospheric symphonic deathcore riffs, astonishing drumming and the ghoulish vocals of singer-songwriter/producer/guitarist Blake Mullens. Mullens is a massive talent and I eagerly await anything he does next. Now that Disembodied Tyrant warmed up the blood of the masses it was time for Los Angeles’ own tech death masters The Zenith Passage to Fuck shit up.

The Zenith Passage took to the stage about 6:45pm without lead vocalist Derek Rydquist, but replacement vocalist/voice artist James Dorton (of Black Crown Initiate) filled in without missing a beat. It was almost as if he was always meant to be in the band. They put on a filthy display of talent with technical guitar shredding, nasty drumming and deep guttural vocals. The circle pits growing ever larger as The Zenith Passage played on inciting more and more insanity. Crowd surfing was off the chain. I was able to get to the front of the stage by then so I was able to take some decent pics with my phone. I had an absolute blast with these guys and I’m sure the crowd did too.

At 7:30pm Manchester England’s Ingested appeared from the fog and proceeded to break skulls. I was so excited to see them finally as my brother Keith has seen them before and told me they were awesome live. He wasn’t lying! Jason Evans was phenomenal, a truly great front man and he had the crowd in the palm of his hands. He made me find an energy inside myself that I didn’t know that I had when he ordered us to crouch down low and jump on his command. The crowd was bouncing around in a frenzy after that. The crowd surfing became even more intense and pits even gnarlier. They crushed us with every slamming breakdown and the crowd erupted with sickening glee every time Jason Evans barked out a staccato pig squeal. Ingested, who have recently released the excellent The Tide of Death and Fractured Dreams, finished their set on a high note leaving us craving more sonic punishment. That was soon to come in the form of a shadow.

Now that the crowd was fattened up for the kill, Shadow of Intent was up next and took the initiative, bashing our heads in with an epic, brutal, punishing set. They didn’t hold anything back and just fucking killed it. To say that this band is good live is an understatement. They were so fucking tight. It truly was an honour to see them destroy. Ben Duerr’s vocals were so thick and nasty over Bryce Butler’s sick drumming. Those breakdowns were massive and absolutely disgusting. The pandemonium got out of hand at the end of their set as things got rougher and rougher in the pits until it spilled out into the front of the crowd. Nothing serious, just two guys shoving each other and it got squashed pretty quick as security broke it up super fast. The Opera House security had a busy shift that night with all the crazy crowd surfing and I got to hand it to them as they were friendly and professional while keeping the peace. As far as I know no grudges were held and everybody got prepared for the final act.

It took a while for the stage crew to set up as they have extensive stage props that add to the atmosphere and aesthetic of Fleshgod Apocalypse. What a perfect setting for an operatic theatrical experience than an opera house. Fleshgod Apocalypse, promoting their recent masterpiece Opera, look like they spill right out of a page from Anne Rice’s Vampire Chronicles and I dig it. The show kicked off with a flag waving operatic intro from Veronica Bordacchini and then right into some blood curdling death metal. Fleshgod is such a unique band that blends opera, symphonics with brutal death metal and add a little piano in there as well. Every member of this band is multi-talented and they put on quite a show. The connection they have with their fans is incredible. The crowd would intuitively burst into fist-pumping chants without any verbal cues. The band and crowd were both loving it. Fleshgod Apocalypse closed off the show with a bit of levity performing their cover of Eiffel 65’s Blue (Da Ba Dee) which felt perfect. All in all this was a great show. I went in not knowing what to expect and left as a fan of every single band. Shout out to all the metalheads there, you were great. Keep it up Toronto!

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Album Review – Monument of Misanthropy / Vile Postmortem Irrumatio (2024)

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Austria’s own ruthless Technical/Brutal Death Metal titans return with an even more infuriated concept album, this time revolving around the life of serial killer Ed Kemper.

Formed in 2010 in the stunning city of Vienna, Austria, Technical/Brutal Death Metal titans Monument of Misanthropy return once again with a sickening concept album based on a serial killer, and this time it revolves around Ed Kemper. The album is titled Vile Postmortem Irrumatio, which is Latin for “a cheap postmortem raid”, where the band formed of vocalist George “Misanthrope” Wilfinger (Miasma, Raising The Veil), guitarists Julius Kössler (Spire of Lazarus) and Joe Gatsch (Scävenger), bassist Raphael Hendlmayer, and session drummer Eugene Ryabchenko (Fleshgod Apocalypse) delves into aspects of his life, using violent music to add meaning to it; their visceral and incisive music with highly expressive vocals perfectly capturing the terrifying aura around the figure, all embraced by a disturbing artwork by Daemorph Art (The Last of Lucy, Cutterred Flesh), being highly recommended for fans of Cattle Decapitation, Benighted, Aborted, Blood Red Throne, and Depravity, among others.

The wicked intro First Time It Makes You Sick to Your Stomach offers a sinister narration that will warn you of all the violence that’s about to come in How to Make a Killer, blasting our ears with an overdose of brutality with Eugene pulverizing everything and everyone that crosses his path, and with the venomous growling by George being the icing on the cake in such an amazing display of Brutal Death Metal. The same level of gore and dementia is offered to us all in The Atascasdero Years, with the guitars by Julius and Joe enhancing George’s vile gnarls to a whole new level, whereas Hits One and Two is utterly inspired by the sick creations by the mighty Cattle Decapitation, a lesson in violence while also sounding very technical and intricate. Why Did You Keep Their Heads is another eerie, visceral interlude that will send shivers down your spine until Manipulating the Experts explodes in our faces in another onrush of demonic Technical Death Metal, with George once again haunting our souls with his grim gnarling.

After that, the title-track Vile Postmortem Irrumatio will smash you like a putrid and gory insect, with the band’s fusion of enraged roars, striking riffs and solos, and stone crushing drums sounding fantastic form start to finish; whereas the band continues their path of extreme aggression and insanity in The Devil’s Slide, with the infuriated blast beats by Eugene inviting us all to the eye of the circle pit. Not sure if another interlude was necessary, although Oh, I Suppose You’re Gonna Want Sit Up and Talk All Night Now makes sense taking into account the album’s theme, morphing into A Nice Beheading for MoM, where the riffage and solos by Julius and Joe bring a welcome melodic touch to their infernal music. Then the massive kitchen by Raphael and Eugene will make your head tremble in Pueblo Paranoia, almost four minutes of unhappy, demonic Brutal Death Metal, flowing into their cover version for Dying Fetus’ Your Treachery Will Die with You (check the original one HERE, from their 2009 album Descend into Depravity), and the band’s rendition of it is just as demented and violent.

The guys from Monument of Misanthropy are waiting for you on Facebook and on Instagram with news, tour dates and so on, on YouTube and on Spotify with more of their caustic music, and if you want to put your hands on the excellent Vile Postmortem Irrumatio you can purchase it from their BandCamp page, from Transcending Obscurity Records by clicking HERE, HERE or HERE, or click HERE for all things Monument of Misanthropy. Big Ed and the boys are inviting you for a gruesome and sick party in their excellent new album, overflowing brutality while at the same time being an amazing and detailed work musically speaking, and I don’t think you should miss it or the same Big Ed will definitely pay you a not-so-friendly visit when you least expect.

Best moments of the album: How to Make a Killer, Hits One and Two and Vile Postmortem Irrumatio.

Worst moments of the album: Oh, I Suppose You’re Gonna Want Sit Up and Talk All Night Now.

Released in 2024 Transcending Obscurity Records

Track listing
1. First Time It Makes You Sick to Your Stomach 0:39
2. How to Make a Killer 3:13
3. The Atascasdero Years 3:12
4. Hits One and Two 2:46
5. Why Did You Keep Their Heads 0:55
6. Manipulating the Experts 3:12
7. Vile Postmortem Irrumatio 2:52
8. The Devil’s Slide 3:08
9. Oh, I Suppose You’re Gonna Want Sit Up and Talk All Night Now 1:20
10. A Nice Beheading for MoM 3:06
11. Pueblo Paranoia 3:55
12. Your Treachery Will Die with You (Dying Fetus cover) 3:37

Band members
George “Misanthrope” Wilfinger – vocals
Julius Kössler – guitars
Joe Gatsch – guitars
Raphael Hendlmayer – bass

Guest musician
Eugene Ryabchenko – drums (session)

Album Review – Benighted / Ekbom (2024)

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Let’s dive into the auditory abyss with this Brutal Death Metal and Grindcore entity armed with their newborn beast, inspired by the rare neurological disorder known as “Ekbom syndrome.”

Formed in 1998 in the French city of Saint-Étienne with roots deeply entrenched in the macabre realms of Extreme Metal, the vicious Brutal Death Metal/Grindcore entity Benighted has evolved from a side-project into a malevolent force, captivating fans worldwide with their skull-shattering sound and thematically explorative pieces. Now in 2024 the band formed of Julien Turchan on vocals, Emmanuel Dalle on the guitars, Pierre Arnoux on bass, and Kevin Paradis on drums invites us to dive into the auditory abyss with Ekbom, their latest offering inspired by the rare neurological disorder known as “Ekbom syndrome.” Recorded, engineered, produced, mixed and mastered by Kristian Kohlmannslehner at Kohlekeller Studios, and displaying a Stygian artwork by Róbert Borbás of Grindesign, Ekbom is a nightmarish album that drags listeners through the darkest recesses of the human psyche, a grotesque journey where the ferocious music mirrors the unsettling sensations of delusional parasitosis.

Benighted are definitely a band that knows how to craft wicked, phantasmagorical intros, like Prodrome, inviting us all to a world of gore and darkness in Scars, a pulverizing feast of Grindcore tailored for admirers of the genre where Julien and Kevin will hammer your heads ruthlessly with their respective devilish roars and blast beats, followed by Morgue, presenting a demented sound for a song with a cadaverous name, with Emmanuel slashing his stringed axe like there’s no tomorrow and, therefore, making the atmosphere even heavier and more disturbing. Le Vice des Entrailles, or “the vice of entrails” from French, is another hurricane of Brutal Death Metal and Grindcore by the quartet, with Julien’s vile gnarls cutting our skin deep supported by the always demolishing drums by Kevin. Then featuring guest vocals by Oliver Rae Aleron of Archspire, Nothing Left to Fear is highly recommended for some brutal slamming, with the unparalleled vocals by Oliver matching perfectly with the band’s bestial sounds; followed by the evil title-track Ekbom, bringing forward their trademark violence while still sounding very groovy, technical and detailed.

Metastasis, the second single released by Benighted, will pulverize your cranial skull, as Julien couldn’t have sounded more demonic than this accompanied by the caustic riffs by Emmanuel, and the quartet shows no mercy at all for our souls and keep delivering the most demented form of Grindcore in A Reason for Treason, with the beats and fills by Kevin sounding and feeling absolutely brutal. Guest vocalist Xavier Chevalier of Blockheads lends his roars in Fame of the Grotesque, perhaps the most infernal of all songs where the entire band is on fire, especially Kevin with his stone crushing drums; whereas Scapegoat is another two-minute explosion of sheer dementia and violence by the quartet where Julien once again roars manically while Emmanuel keeps firing his sulfurous riffs and solos. The second to last attack by those Grindcore beasts comes in the form of Flesh Against Flesh, once again inviting us all to slam into the pit like there’s no tomorrow; whereas lastly we’re treated to Mother Earth, Mother Whore, a charming name for a Brutal Death Metal and Grindcore assault, with Julien’s roars walking hand in hand with the chaotic sounds blasted by his bandmates.

Can you feel it crawling under your skin? If your answer is yes, you can grab a copy of Ekbom, available for a full streaming on YouTube and on Spotify, from the band’s own BandCamp page, or by clicking HERE or HERE. Also, don’t forget to check what the band’s is up to on Facebook and on Instagram, including their insane tour dates. Ekbom is undoubtedly a chilling sonic landscape that will linger in your consciousness long after the last brutal note thanks to a band that knows how to sound extreme yet melodic and captivating at the same time, penetrating deep inside our skin like parasites of brutality and gore in the best way possible, of course.

Best moments of the album: Scars, Le Vice des Entrailles, Metastasis and Fame of the Grotesque.

Worst moments of the album: None.

Released in 2024 Season of Mist

Track listing
1. Prodrome 1:18
2. Scars 3:14
3. Morgue 3:22
4. Le Vice des Entrailles 3:05
5. Nothing Left to Fear 2:43
6. Ekbom 3:42
7. Metastasis 3:32
8. A Reason for Treason 3:17
9. Fame of the Grotesque 2:19
10. Scapegoat 2:22
11. Flesh Against Flesh 3:17
12. Mother Earth, Mother Whore 4:28

Band members
Julien Turchan – vocals
Emmanuel Dalle – guitars
Pierre Arnoux – bass
Kevin Paradis – drums

Guest musicians
Oliver Rae Aleron – vocals on “Nothing Left to Fear”
Xavier Chevalier – vocals on “Fame of the Grotesque”

Album Review – Anthropophagus Depravity / Demonic Paradise (2024)

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Beneath the burning skies the moment of victory arrives, with the new album by this Indonesian Brutal Death Metal horde being the perfect soundtrack for a demonic paradise.

Following on from the pulverizing attack of their 2021 debut album Apocalypto, Yogyakarta, Indonesia’s own Brutal Death Metal brigade Athropophagus Depravity has returned with a new collection of terror inducing hymns of horror, entitled Demonic Paradise. Mixed and mastered by Indra Cahya at Texas Soundlab, with a sick artwork by Bvllmetalart and layout by Yoga Beges, the sophomore album by vocalist Pandu Herlambang, guitarist Eko Aryo Widodo, bassist Yohanes Widiasmoro and drummer Sahrul Ramadhan showcases a band that has taken the chilling atmosphere and bludgeoning violence of their debut effort and elevated all that to new levels of intricate performance and accomplished brutality, being therefore perfect for fans of Devangelic, Immolation, Cryptopsy and Incantation, or in other words, a tour de force of Brutal Death Metal, and an absolute master class in sonic savagery.

The opening track The Obscure Realm is utterly sick and brutal from the very first second, with Sarhul showing no mercy for our necks and bodies, slamming his drums like a demented creature while Pandu roars and barks manically in a beyond visceral start to the album, whereas Dogma Weakened Souls is another hurricane of Brutal Death Metal by the quartet with Eko extracting some classic Cannibal Corpse riffs from his guitar. Sahrul takes the lead with his unstoppable blast beats in Malicious Catastrophe, generating a thunderous atmosphere perfect for Pandu to keep firing his deep guttural roars, while Obliterate the Sanctified sounds even heavier and more infernal, with Eko’s riffs being supported in great fashion by Yohanes’ low-tuned, rumbling bass, feeling extremely brutal and vile. Then get ready to slam into the pit like there’s no tomorrow to the sound of Preaching Above Depravity, where the band’s intense sounds fill every single space in the air in the name of Death Metal.

The title-track Demonic Paradise brings forward more of the quartet’s hellish and vile Death Metal, with Sahrul once again stealing the spotlight with a beyond ruthless performance behind his drums, and things get really dark and devilish in When the Darkthrone Reigns, a phantasmagorical interlude that could have been slightly shorter, setting the stage for the band to kill in Pseudo Salvation, an inhumane creation by Anthropophagus Depravity where the deep, visceral vociferations by Pandy will haunt your damned soul for all eternity, resulting in one of the most infernal of all songs; followed by …of Condemnation, offering our putrid ears two and a half minutes of pure Brutal Death Metal instrumental insanity while also showcasing lots of technical and intricate moments, with Eko slashing his axe nonstop for our vulgar delectation. Finally, the band hammers our cranial skulls one last time in Delusions of the Unholy, with the savage roars by Pandu walking hand in hand with the scorching riffs, rumbling bass and demented beats by his bandmates.

Beneath the burning skies the moment of victory arrives, and just before all hell breaks loose you can grab a copy of the new album by Anthropophagus Depravity by clicking HERE (CD and merch) or HERE (digital), and don’t forget to also give those talented Indonesian guys a shout on Facebook and on Instagram, to subscribe to their YouTube channel, to stream more of their music on Spotify, and also click HERE for all things Anthropophagus Depravity, letting their devilish music penetrate deep inside your soul, turning you into a fallen angel in their brutal and visceral demonic paradise.

Best moments of the album: The Obscure Realm, Obliterate the Sanctified and Pseudo Salvation.

Worst moments of the album: When the Darkthrone Reigns.

Released in 2024 Comatose Music

Track listing
1. The Obscure Realm 2:54
2. Dogma Weakened Souls 3:33
3. Malicious Catastrophe 2:59
4. Obliterate the Sanctified 3:10
5. Preaching Above Depravity 3:54
6. Demonic Paradise 3:16
7. When the Darkthrone Reigns 3:00
8. Pseudo Salvation 3:11
9. …of Condemnation 2:23
10. Delusions of the Unholy 3:16

Band members
Pandu Herlambang – vocals
Eko Aryo Widodo – guitar
Yohanes Widiasmoro – bass
Sahrul Ramadhan – drums