Ukraine’s own metal juggernauts return with their fifth full-length opus, taking on a much more aggressive tone, ferociously wielding a fully stocked arsenal of metal genre trademarks.
Donetsk, Ukraine’s own leading Alternative/Groove Metal/Djent juggernauts Jinjer return with their eagerly awaited fifth studio album, entitled Duél, the follow-up to their 2021 album Wallflowers, taking on a much more aggressive tone, ferociously wielding a fully stocked arsenal of Progressive, Nu, and Death Metal, among other metal genre trademarks. On their new album, the iconic frontwoman Tatiana Shmayluk, guitarist Roman Ibramkhalilov, bassist Eugene Abdukhanov, and drummer Vlad Ulasevich continue their long-lasting collaboration with accomplished producer Max Morton, who co-produced, mixed and mastered the album, living up to the band’s reputation as metal visionaries, once more showing that they refuse to follow any set rules in their genre, but choose their own path of creativity.
Two seconds is all that Jinjer need to kick us hard in the ass with their enraged metal music in the high-octane Tantrum, with the bass by Eugene making our heads tremble in awe; whereas Hedonist offers four minutes of classic Jinjer to our avid ears, with Tatiana delivering her striking clean vocals and harsh roars amidst a fusion of Groove Metal and Djent. Rogue, another strong contender for their live concerts, will generate some wild circle pits if played live while Eugene and Vlad keep hammering their instruments nonstop, and the Sludge Metal-infused riffs by Roman dictate the pace in Tumbleweed, while Tatiana declaims the song’s darkly poetic lyrics with tons of passion. Then we have Green Serpent, one of the previously released singles, a venomous fusion of Alternative Metal with Groove and Post-Metal nuances where Vlad pounds his drums mercilessly for our total delight.
Kafkais another groovy, intricate and progressive creation by the quartet, with Tatiana’s mesmerizing vocals being nicely supported by the classy kitchen blasted by Eugene and Vlad, followed by Dark Bile, one of the most aggressive songs of the album thanks to Tatiana’s enraged roars, while Roman and Eugene continue with their stringed axe attack. I love when the band goes full metal like in Fast Draw, offering an overdose of heaviness, harsh, deep and visceral screams and blast beats, while Roman extracts piercing, sharp riffs from his guitar, whereas Someone’s Daughter, the very first single released, was somewhat promising, but compared to the rest of the album it feels a bit generic. A Tongue So Sly is yet another song where the band put the pedal to the metal and delivered sheer violence, while still overflowing groove and intricacy; and the album ends with the fast-paced title-track Duél, perfect for some action inside the mosh pit to the hammering beats by Vlad while Tatiana vociferates the song’s cryptic words majestically.
Showcasing the very best of their multifaceted, extreme soundscapes, providing a gripping listening experience, Duél is filled with a fierce attitude and tons of emotion, inviting their fans for multiple listens as each track evolves on their own. Hence, don’t forget to check what the band is up to, including their tour dates, on Facebook and on Instagram, to stream their music on YouTube and on Spotify, and to grab a copy of Duél by clicking HERE or HERE. Because Jinjer are always challenging themselves for a “creative duel”, pushing their boundaries further and further and, consequently, bringing joy and energy to our hearts thanks to their ever-evolving, never dull or stale heavy music.
Best moments of the album:Tantrum, Rogue, Fast Draw and Duél.
Worst moments of the album:Someone’s Daughter.
Released in 2025 Napalm Records
Track listing 1. Tantrum 3:59
2. Hedonist 3:46
3. Rogue 3:12
4. Tumbleweed 3:22
5. Green Serpent 4:01
6. Kafka 4:09
7. Dark Bile 3:40
8. Fast Draw 3:14
9. Someone’s Daughter 4:17
10. A Tongue So Sly 4:25
11. Duél 4:48
Band members Tatiana Shmayluk – vocals
Roman Ibramkhalilov – guitars
Eugene Abdukhanov – bass
Vlad Ulasevich – drums
A night of horror, brutality, circle pits, walls of death, fun games like Twister and the “shoey”, and a lot more in Toronto, courtesy of the fastest and most technical brigade in the history of Canada.
It was a beyond wild and fun night at The Phoenix Concert Theatre this Saturday when ALLUVIAL, CARCOSA, ABORTED and ARCHSPIRE took the city of Toronto by storm with their fulminating Everything’s F#*!@d Tour 2024, another extremely successful event brought to the city by the one and only Noel Peters of Inertia Entertainment, and I say wild and fun because that’s exactly what the four bands offered to us all, blasting our heads with their sick, infernal music, while at the same time demanding nonstop action inside the circle pit. Keith Ibbitson of Metal Paparazzi and I were patiently awaiting for this concert as we love the music of all four bands, and I must say I couldn’t be happier with everything we got during the event’s four hours of brutal, thrilling and captivating heavy music. Not even the (brutally) bad traffic to get to Toronto made me less excited about the show, and if you know how horrible traffic has been to get to and back from the city lately, especially when there’s rain involved, you know the show was fantastic to the point you don’t even remember the problems to get there, right?
The first band to hit the stage precisely at 7:30pm was Atlanta, Georgia’s Deathcore/Djent outfit ALLUVIAL, who have recently released a great new EP titled Death Is but a Door, the follow-up to their 2021 album Sarcoma. Let’s say their setlist was a mix of those two albums, and although I have no idea of the names of all songs I’m pretty sure they played Bog Dweller and Fogbelt, two songs perfect to ignite some intense mosh pits with whoever was already at the floor section (instead of stuck in a huge line at the way too hot merch area). Their frontman Kevin Muller was a beast during their whole set, and after that fans had a chance to meet him and the other guys at their merch table, which was a very nice touch by the band to create a stronger connection with their fanbase. If you want to know more about Alluvial, go check their BandCamp and Spotify for all of their music, and don’t miss the chance to see them live as they’re insane onstage.
Band members Kevin Muller – vocals
Wes Hauch – guitars
Tim Walker – bass
Zach Dean – drums
As I wanted so bad an Archspire “Stay Tech” pin plus a patch, I was stupid enough to face the sauna-like merch line right after Alluvial and had to miss the beginning of the concert by Vancouver, British Columbia-based Deathcore/Djent act CARCOSA, but that was OK as I still had plenty to enjoy from their infernal setlist as all bands had a lot of playing time, including the openers. Still promoting their 2021 album Anthology, the band formed of Johnny Ciardullo, Andrew Baena, Cooper Lagace, Laptop and Travis Regnier crushed the souls of everyone at the already packed venue with their heavy-as-hell music and intense energy onstage, and you know how good a band is when a renowned musician like Aborted’s Sven De Caluwé sports a Carcosa shirt during their set. Hence, don’t forget to buy and stream Carcosa’s music on BandCamp and on Spotify, because those Canadian dudes are freakin’ awesome.
Band members Johnny Ciardullo – vocals
Andrew Baena – guitar
Cooper Lagace – guitar
Laptop – bass
Travis Regnier – drums
After another short and sweet break, Belgium’s own Death Metal/Grindcore masters ABORTED opened up their Vault of Horrors and kicked off one of the most pulverizing, demented and frantic concerts of the past few years in Toronto. It was absolute chaos and madness thanks to guitarist Ian Jekelis, bassist Stefano Franceschini, drummer Ken Bedene, and of course, one of the most demented frontmen of all time, the unparalleled beast Sven De Caluwé. That man was on fire throughout their entire set, hitting his head with his hands, jumping up and down nonstop, making crazy faces, pretending to be firing a machine gun when Ken was blasting his drums manically, and so on, which translated into an overdose of violence, gore and mosh pits to the delight of all fans of the band in the city.
The opener Retrogore was beyond pulverizing to say the least, followed by an avalanche of old school Aborted and new songs from their bestial 2024 album Vault of Horrors (available on BandCamp and on Spotify, by the way), including the fantastic Dreadbringer, Brotherhood of Sleep, and Death Cult. By the way, I told my friend who’s not very familiar with Aborted that someone was going to die during Death Cult so heavy and insane it is, and that almost happened as one guy stayed on the ground for a while to the point several fans inside the pit asked the band to stop playing to check if he was OK. The guy was apparently fine, but I have no idea if he had any sort of concussion that would manifest during the next few days. As I said, Death Cult almost resulted in a real death inside the pit. There was still time for more brutal action with the demolishing tunes Insect Politics, Threading on Vermillion Deception and The Saw and the Carnage Done, leaving everyone in awe and more than ready for more Aborted and their world renowned walls of death in Toronto in the near future.
Setlist Retrogore
Bathos
Dreadbringer
Condemned to Rot
Brotherhood of Sleep
Death Cult
Insect Politics
Threading on Vermillion Deception
The Saw and the Carnage Done
Band members Sven De Caluwé – vocals
Ian Jekelis – guitar
Stefano Franceschini – bass
Ken Bedene – drums
After seeing Vancouver, British Columbia’s own Extreme Technical Death Metal brigade ARCHSPIRE kicking some serious ass live in Sydney, Australia last year, I was beyond eager to witness what they could do in Toronto, and this Saturday night they proved why they’re one of the must-see names of the extreme music scene worldwide with their ruthless aggression, undisputed technique, and a really nice sense of humor. Just to give you an example of all that together, when a concert starts with a narration saying things like “after the invention of the horse” you know it’s going to be brutal and fun. Just the idea of someone “inventing” the horse is already a good joke to kick things off.
And as soon as the unstoppable Oliver Rae Aleron on vocals, Dean Lamb and Tobi Morelli on the guitars, Jared Smith on bass and Spencer Prewett on drums began their beyond fast, pulverizing and insane concert, it was total madness inside the pit until the very last second. Their last record to date might still be the 2021 opus Bleed the Future, but honestly all songs from that album and from Relentless Mutation (which are the only two albums they currently play in their concerts, “ignoring” for some unknown reason the also great The Lucid Collective, from 2014, and All Shall Align, from 2011) sounded killer live, and you can enjoy both in full on BandCamp and on Spotify, by the way. They kicked off the show with the inhumane Bleed the Future to give all concert goers an idea of what their Extreme Technical Death Metal means, and continued their feast of technical insanity with already classic songs like Acrid Canon, Remote Tumour Seeker and Golden Mouth of Ruin, all played to perfection and at the speed of light (or maybe even faster than that).
An Archspire concert is not complete without some good jokes, and the band didn’t’ disappoint at all with a selection of nonsense that added a very nice touch to their already flawless concert. We got the Twister game inside the pit which ended with an infernal wall of death, a sweet tradition already in their concerts, and the also sick “shoey”, which is something Oliver said they learned in Australia. If you don’t know what that is, it’s simply drinking beer from your own shoe as fast as you can, with the winner getting a custom shirt made by the band. The Toronto one had something written about the Maple Leafs that I honestly didn’t get, but it was really cool and the guy who won it put it on right away, as he was really excited of being onstage with the band. And what to say about their introduction to all bands from this tour, saying Aborted only accepted their invitation to play with them (because they needed a big band to seel tickets, as they couldn’t do it by themselves) after they sucked their dicks? This one might sound childish for some people, but it was a good one as well.
Perhaps the most absurd and hilarious moment of the show was when Oliver explained why they had two Christmas trees onstage. Yes, that was their stage stuff, really weird, right? It all made sense when Oliver said that they got some “lab results” and their guitarist Tobi was “not gonna make it to next Christmas”, so they decided to celebrate Christmas with him during this tour. Yes, Christmas IN THE MIDDLE OF JUNE, and they even brough to stage what they called “Summer Santa” to throw picks to the crowd and give Tobi a dildo to complete his guitar, because according to Oliver that was the same guitar he got from his mom when he was a kid living with his poor Italian family, all in the same room. That was mental, but what was even more mental was the ending of the show with the infuriated, fast-as-a-shark song Involuntary Doppelgänger, and my favorite of all, Drone Corpse Aviator. I have no idea how Oliver can sing so fast like that, nor how Spencer can sound like a stone crusher without making too much effort behind his drums, nor how the other guys manage to play their guitars and bass at an insane speed without making any errors, but I know for sure that Archspire are by far one of the coolest bands of the entire Canadian scene, and I can’t wait to see them live again in the near future. And until then, we must all… STAY TECH!
Setlist Bleed the Future
Abandon the Linear
Reverie on the Onyx
Acrid Canon
Remote Tumour Seeker
Golden Mouth of Ruin
Drain of Incarnation
Involuntary Doppelgänger
Drone Corpse Aviator
Band members Oliver Rae Aleron – vocals
Dean Lamb – guitars
Tobi Morelli – guitars
Jared Smith – bass
Spencer Prewett – drums
The unstoppable Jake Oni and his henchmen return with their most dynamic yet cohesive and focused work, representing a means to exorcise personal demons for anyone who listens and connects to the sound, the spirit and the stand taken by each song.
The creative evolution of the multifaceted Windsor, Canada-based Progressive Metalcore/Djent force known as ONI never ends. Always evolving, braving treacherous waters and searching for a distinctive light in the darkness, the band spearheaded by frontman Jake Oni, alongside Brandon White and Martin Andres on the guitars, Johnny DeAngelis on the xylosynth, Chase Bryant on bass and Joe Greulich on drums, is about to release their new full-length beast titled The Silver Line, the follow-up to their 2022 critically acclaimed album Loathing Light. Produced, mixed and mastered by the duo of Spiritbox bassist Josh Gilbert and Joe McQueen (As I Lay Dying, Light The Torch, Bad Wolves), and featuring an array of special guests including Kellin Quinn (Sleeping With Sirens) and Howard Jones (Light the Torch, Devil You Know, Killswitch Engage), The Silver Line is at once the most dynamic yet cohesive and focused work in the band’s burgeoning career, being therefore a must-listen for fans of Allegaeon, Oceans, Monuments, Killer Be Killed, Tallah and Alluvial, among several others.
The atmospheric and futuristic Silhouette will put you to bang your head nonstop to the metallic riffs by Brandon and Martin and the rumbling bass by Chase in a great display of modern-day Metalcore, with Jake leading his crew with his melodic and enraged vocals; followed by Spark, featuring pop-punk-resurgence star Sueco, another blast of ONI’s melodious Metalcore with Joe’s drums dictating the song’s pace while Johnny adds his share of electricity to the music with his xylosynth, with the song’s harsher vocals making it even more exciting. Then we have Underneath My Skin, featuring the aforementioned Kellin Quinn on vocals, where Jake and his ONI continue to blend metal sounds with atmospheric and electronic nuances, not to mention the solid vocal duo between Jake and Kellin, and it’s time to turn up the heat in Silence In A Room Of Lies, a neck-breaking, Djent-infused feast where Jake is joined by guest Jared Dines on vocals, always supported by the sick riffage by Brandon and Martin.
ONI’s modern-day fusion of Metalcore and Djent keeps hammering our heads in Cyanide, with Chase sounding menacing with his bass jabs, being tailored for admirers of the genre; and there’s no sign of Jake & Co. slowing down at all in The Dread, featuring vocalist Justin Hill, where they continue their headbanging feast with another round of their incendiary riffs and metallic bass lines, plus of course the wicked xylosynth by Johnny. Then featuring renowned bassist Josh Gilbert and vocalist Howard Jones, Aura is a born-to-be-a-hit on any rock and metal radio, with Jake and Howard sounding insane on vocals throughout the entire song, boosted by the massive beats by Joe, whereas Armageddon, featuring Michael Lessard on vocals, follows the same pattern as the rest of the album, bringing the band’s Metalcore sound and their undeniable energy. It could have been a little more dynamic and fresher, or different than its predecessors, though. And closing the album we’re treated to Burns My Soul, inspiring us all to jump up and down with Jake while Brandon and Martin fire sheer electricity from their guitars.
In a nutshell, The Silver Line ups the ante once more, adding another full-length chapter to ONI’s ever-expanding songbook, representing a means to exorcise personal demons for anyone who listens and connects to the sound, the spirit and the stand taken by the songs, being as much for the listener as it is for Jake. “Music is such a gift,” said Jake thoughtfully. “If you can make music, and people respond to it? I’ve learned not to take that for granted. Count your blessings because the opportunity to make music is such a great one. We should always be grateful. Because it’s the coolest job anyone could do.” Hence, you can show Jake how much you love the music by ONI by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming all of their creations on Spotify, and by purchasing a copy of The Silver Line by clicking HERE. The Silver Line is undoubtedly ONI’s strongest effort since the band’s inception in 2014, and if you give them a chance I’m sure you’ll get addicted to their music and keep spinning the album while fighting your inner demons alongside one of the rising names of the Canadian Metalcore and Djent scene.
Best moments of the album: Spark, Silence In A Room Of Lies and Aura.
Worst moments of the album:Armageddon.
Released in 2023 Ironshore Records
Track listing 1. Silhouette 3:13
2. Spark 3:07
3. Underneath My Skin 2:53
4. Silence In A Room Of Lies 3:15
5. Cyanide 2:51
6. The Dread 3:11
7. Aura 3:32
8. Armageddon 3:09
9. Burns My Soul 3:47
Band members Jake Oni – vocals
Brandon White – guitars
Martin Andres – guitars
Johnny DeAngelis – xylosynth
Chase Bryant – bass
Joe Greulich – drums
Guest musicians Sueco – vocals on “Spark”
Kellin Quinn – vocals on “Underneath My Skin”
Justin Hill – vocals on “The Dread”
Josh Gilbert – bass on “Aura”
Howard Jones – vocals on “Aura”
Michael Lessard – vocals on “Armageddon”
Jared Dines – vocals on “Silence In A Room Of Lies”
The ambassadors of Ukrainian Progressive and Groove Metal took the city of Toronto by storm on an electrifying and sold out night of first-class music.
Despite the insane traffic to get in and out of Toronto due to countless accidents, the endless construction in the city and so on, I was able to make it just in time (and by that I mean just a minute or so before Monuments kicked off the night) for the feast of Metalcore, Djent, Progressive and Groove Metal by MONUMENTS and JINJER at The Phoenix Concert Theatre during their North American Tour 2023 this Friday in Toronto. The concert had been sold out for weeks already, warning all concert goers that it was going to be a hot and packed night for fans of both bands; however, I think everyone at the venue was not just ready for that, but highly prepared for the heat and eager for some action inside the circle pit, and as it was a Friday night let’s say that any worries about working or going to school the next day were left outside the venue, generating a fun and intense energy inside The Phoenix Concert Theatre.
It was close to 7:30pm when London, UK-based Progressive Metal/Djent act MONUMENTS hit the stage for a breathtaking performance, receiving a truly wild reaction form the crowd with tons of horns and fists in the air, with everyone jumping up and down together with the band, and above all that, with an incendiary circle pit taking a good chunk of the floor section for the delight of all Torontonians who love a mosh pit more than they love their own families. Still promoting their 2022 album In Stasis, the band formed of the extremely talented Andy Cizek on vocals, John Browne on the guitars, Werner Erkelens on bass, and Mike Malyan on drums was on absolute fire from start to finish, setting the bar really high for Jinjer. All songs played by the quartet, including their newest ones Cardinal Red, False Providence, Opiate and Lavos, sounded fantastic live, and I’m sure after Friday their fanbase will only grow bigger and stronger in Toronto. If you want to know more about the music by Monuments, go enjoy all of their creations on Spotify, and whenever they visit your hometown during one of their tours, get ready for a wild Djent ride with those UK guys.
Setlist Cardinal Red
I, the Destroyer
Degenerate
False Providence
Opiate
Nefarious
Lavos
I, the Creator
Band members Andy Cizek – vocals
John Browne – guitars
Werner Erkelens – bass
Mike Malyan – drums, samples
Although Ukraine’s own Metalcore/Djent/Progressive/Groove Metal institution JINJER was supposed to have started their flawless performance at 9:10pm, they ended up hitting the stage 10 minutes earlier than that, most probably because the team setting up the stage for them worked faster than expected. That means the break between bands to check the merch stand, to grab a beer, go to the washroom or chat with your friends was slightly shorter than we thought, but that wasn’t an issue at all because everyone at the venue was more than eager to see the stunning Tatiana “Tati Booyakah” Shmaylyuk and her henchmen kicking some ass on stage in an incendiary display of heaviness, groove and passion for heavy music. Furthermore, it is a true pleasure seeing a band like Jinjer becoming such a big name in the scene, as last time I saw them back in 2018 opening for Cradle of Filth they were “just” an opening band.
Jinjer haven’t released anything new yet after their 2021 album Wallflowers, but it was crystal clear that their fans were there on Friday for some fun it didn’t matter what the setlist was going to be. Well, let’s say we had the utmost pleasure of enjoying live pretty much all of their already classic songs including Perennial, Ape, Teacher, Teacher!, Who Is Gonna Be the One (my favorite of the entire concert), Call Me a Symbol, and Judgement (& Punishment), among many others. Needless to say, Tatiana stole the show with her incredible clean vocals and demonic harsh growls, her hypnotizing dance moves, and her undeniable charisma, creating a powerful connection with all Jinjer fans at the venue. Of course, her performance wouldn’t have been so compelling without the support of her bandmates Roman Ibramhalilov on the guitars, Eugene Kostyuk on bass, and Vlad Ulasevich on drums, who are by the way sounding A LOT tighter, better, heavier and more precise than the last time I saw them live.
Fortunately, I had the support once again from my friend Keith Ibbitson of Lower Eastside Photography to take proper photos of the whole night, as it was nearly impossible to get close to the stage due to the rowdy crowd at The Phoenix Concert Theatre, plus of course the fact that the circle pit was massive and simply walking through it was not an option. As the band played their closing song, the infuriated Sit Stay Roll Over, that task got absolutely impossible, ending their blazing performance on a high note and leaving all attendees eager for another night of Jinjer awesomeness in the city in a not-so-distant future (not to mention the fact the show ended around 10:30pm, giving everyone plenty of time to catch any type of public transportation available back home, go for some drinks, or just stay near the venue for some quality chat with their friends). Moreover, I’m sure whenever Tatiana and the boys return to the city it will be a sold out concert once again, because when a band like Jinjer keeps putting their hearts and souls into the making of their music, that beautiful energy flows into the minds of their fans, strengthening their ties and helping guide the band to stardom, just like what happened this Friday in Toronto. Or as Tatiana herself would say… Booyah!
Setlist Perennial
Ape
Copycat
Teacher, Teacher!
Who Is Gonna Be the One
I Speak Astronomy
Call Me a Symbol
Vortex
Home Back
Pisces
Dead Hands Feel No Pain
Judgement (& Punishment)
Sleep of the Righteous
As I Boil Ice
Encore: Sit Stay Roll Over
Band members Tatiana Shmaylyuk – vocals
Roman Ibramhalilov – guitar
Eugene Kostyuk – bass
Vlad Ulasevich – drums
This Canadian Progressive/Groove Metal unity is back in action with their breathtaking third full-length opus, fully inspired by the Wheel Of Time series.
Born out of the vast prairies and snowy peaks of Alberta, Canada, Red Cain are a modern Progressive/Groove Metal project with Eastern European roots currently formed of Evgeniy Zayarny on vocals, Samuel Ridout and Tyler Corbett on the guitars, Kalie Yan on bass and backing vocals, and Taylor Gibson on drums, offering intricate songwriting, powerful vocals, eerie soundscapes and strong electronic-backed groove in their music, therefore championing a fluid, dynamic, and unique style centered around telling dark, conceptual Faustian sagas and constructing those into an unforgettable live experience, described as “melancholy and rage”. Now in 2023 the band returns with their third full-length instalment, titled NÄ̈E’BLISS, following up on their 2021 album Kindred: Act II. Produced and written by the band itself, mixed by Tyler Corbett at Sole Audio, and mastered by Sacha Laskow at Perfect Filth Studios, the album is inspired by The Wheel Of Time series, being not only a homage to the legendary world of Robert Jordan’s fantasy epic with a grimdark edge, but also a foray into the reverse side of the Wheel of Time story, that of the forsaken antagonists, instruments of the great lord of the dark, and the brutal and captivating allure of letting chaos reign supreme.
The opening track Fisher King is absolutely imposing and grim, with Evgeniy powerfully declaiming the song’s epic lyrics (“Come, let me show you the Light / The way of the Leaf / And its final tortured cry / And saidin shall burn through your eyes / And all hope gives way, / For there’s no compromise”) in a thrilling start to the album, followed by Blight, a very atmospheric creation by the quintet with the savage riffs by Samuel and Tyler matching perfectly with the pounding drums by Taylor, not to mention the puissant Djent-inspired bass by Kalie. They continue their journey through progressive and epic lands in The Great Hunt, with Kalie and Taylor once again bringing the groove to their dense sound, whereas their Progressive Metal vein explodes in We Are Chaos, showcasing another amazing vocal performance by Evgeniy supported by the wicked instrumental by his bandmates, and of coruse by Kalie with her venomous growls.
Then we have the atmospheric and instrumental interlude Sightblinder, setting the tone for the gentle but still groovy tune The Man Who Can’t Forget (Part I), led by the poetic vocal performance by Evgeniy while Samuel and Tyler keep embellishing the airwaves with their classic riffs and solos, always supported by the intricate beats by Taylor, and flowing into the second part titled Crane of Malkier (Part II), where Kaile keeps kicking some ass with her metallic bass in a very emotional and multi-layered creation by the quintet (despite lasting for only two minutes in total). After that, featuring James Delbridge of Lycanthro as a guest vocalist, it’s time for the band to crush our senses with eight minutes of Progressive and Groove Metal infused with elements from Djent entitled Fires of Heaven, sounding very detailed, captivating and sinister from start to finish, with Samuel, Tyler and Kalie being on absolute fire until the very last second.
“We are all massive fantasy fans, and for us, Wheel of Time rubs shoulders with LOTR as a genre-defining epic fantasy series that started it all. The world of the Wheel is a brutal, compelling world with multitudes of fascinating characters, and we were particularly interested in exploring its more visceral aspects – an area which begs to be paired with heavy metal. We’ve seen some of our musical icons, like Blind Guardian, successfully go down this path, and it was magnificent to see new musical interpretations of those stories spun out by them – not to mention some bloody good fun. Now, it is our turn to ride forward in another turn of the Wheel,” commented the band about their new album, and you can support those Canadians by purchasing a copy of the album from their own BandCamp page or from Apple Music, and don’t forget to also follow the band on Facebook and on Instagram, to subscribe to their YouTube channel, and to stream all of their creations on Spotify. Red Cain continue their evolutionary path with NÄ̈E’BLISS, taking us all on a fantastic and metallic journey that will surely help them carve their name even deeper into the metal scene worldwide.
Best moments of the album:Fisher King, We Are Chaos and Fires of Heaven.
Worst moments of the album:The Great Hunt.
Released in 2023 Independent
Track listing 1. Fisher King 5:35
2. Blight 6:37
3. The Great Hunt 4:09
4. We Are Chaos 4:55
5. Sightblinder 2:47
6. The Man Who Can’t Forget (Part I) 2:38
7. Crane of Malkier (Part II) 2:04
8. Fires of Heaven 8:02
Band members Evgeniy Zayarny – vocals
Samuel Ridout – guitars
Tyler Corbett – guitars
Kalie Yan – bass, backing vocals
Taylor Gibson – drums
Guest musician James Delbridge – vocals on “Fires of Heaven”
Known to locals as “the Hammer” or “Hammertown” due to its industrial roots, the city of Hamilton has always been a mandatory stop for countless metal bands form all over the world. Names like Iron Maiden, Judas Priest, Motörhead and so on have played at least once in their careers in such important city for the Canadian industry, and one of the bands that always returns to Hamilton to kick some serious ass is of course our beloved Megadeth. That’s exactly what happened last night at FirstOntario Centre when guests ONI and BULLET FOR MY VALENTINE, together of course with the one and only MEGADETH, took the Hammer by storm as one of the Canadian stops of their Crush the World Tour 2023, and I must say it was indeed another memorable night of heavy music for the thousands of fans at the venue.
The first band to hit the stage, precisely at 7pm, was Windsor, Ontario-based Progressive Metalcore/Djent act ONI, and although there was still a lot of people outdoors those guys put on an excellent concert, properly warming up the fans of both Bullet For My Valentine and Megadeth with their harsh and clean vocals, thunderous and intricate bass lines, sharp riffs and headbanging drums. Still promoting their 2022 album Loathing Light, the band spearheaded by frontman Jake Oni, who’s by the way a fantastic vocalist capable of switching from demonic growls to stylish clean vocals without any actual effort, put everyone to jump up and down with them during their short and sweet performance, already igniting some fun mosh pits for the delight of lovers of such unique sport. I’m definitely going to take a more detailed listen at their music on Spotify, and you should do the same to get to know more about such interesting band of the current Canadian scene.
Setlist
Alone
Chasing Ecstasy
Silhouette
Cyanide
Heart to Stone
The Lie
Secrets
Band members
Jake Oni – vocals
Brandon White – guitars
Martin Andres – guitars
Johnny DeAngelis – xylosynth
Chase Bryant – bass
Joe Greulich – drums
After ONI finished their solid performance, and after a quick bathroom/beer/merch break, it was time for Welsh Melodic Metalcore icons BULLET FOR MY VALENTINE (or just BFMV, if you prefer) to begin their incendiary performance for their several fans at the venue, and I must admit there was a huge chunk of the audience that was there to see BFMV first and Megadeth as a bonus, and not the opposite. Despite not being my cup of tea, I had a good time watching Matthew “Matt” Tuck, Michael “Padge” Paget, Jamie Mathias and Jason Bowld delivering a solid show on stage, mixing their classics with newer songs from their 2021 self-titled album. Songs like Waking the Demon, Knives and the closer Scream Aim Fire worked really well last night while the band had a strong chemistry with the audience during their entire set, and of course although the mosh pits (full of young kids) were not as violent as the ones from Immolation and Obituary the night before, they were still decent enough for a band that lots of people don’t consider metal.
Setlist
Your Betrayal
Waking the Demon
Piece of Me
4 Words (to Choke Upon)
You Want a Battle? (Here’s a War)
Knives
Over It
Shatter
Tears Don’t Fall
Scream Aim Fire
Band members
Matthew “Matt” Tuck – lead vocals, rhythm guitar
Michael “Padge” Paget – lead guitar, backing vocals
Jamie Mathias – bass, backing vocals
Jason Bowld – drums, percussion
The moment most fans in Hammertown were waiting for finally arrived at 9:15pm, when one of the most important names in the history of heavy music, Mr. Dave Mustaine, supported by his henchmen Kiko Loureiro on the guitars, Steve Di Giorgio on bass and Dirk Verbeuren on drums, collectively known as American Thrash/Speed Metal institution MEGADETH, kicked off their performance overflowing classics, heaviness and speed, all spearheaded by our beloved “MegaDave” as usual. The last time Megadeth played in Hamilton was 11 years ago, during their Gigantour 2012, and one of the bands that night was the unparalleled Motörhead, which is why I think the band’s diehard fans ignored ONI and BFMV yesterday and spent all the time prior to Megadeth outside smoking and having some beers.
Anyway, back to the concert, it was simply electrifying from the very first notes of Hangar 18, with flammable hits the likes of Sweating Bullets, She-Wolf, Trust and Tornado of Souls, plus newer songs like Dystopia, inspiring us all to scream the lyrics together with Dave, banging our heads and raising our horns nonstop, and even venturing inside the sick mosh pits formed in the centre of the floor section. I also loved the fact they played Dread and the Fugitive Mind, a very underrated metal classic in my opinion, and I wish they had kept Angry Again in their setlist, but overall it was a lecture in heavy music by Megadeth, with kudos to Kiko once again for revitalizing the band and bringing so much energy, charisma and intricacy to their studio albums and live performances. In other words, Dave knew exactly what he was doing when he invited one of the best metal guitarists of the past 20 years to be part of the Megadeth family.
However, it was when Dave gave a short speech about how Covid-19 and his cancer delayed the release of the breathtaking The Sick, the Dying… and the Dead! (and he received a huge shout and a round of applauses from his fans when he proudly said he beat cancer) before playing the incendiary We’ll Be Back, when Vic Rattlehead joined the band onstage during the hard-hitting classic Peace Sells, plus of course his all-time masterpiece Holy Wars… The Punishment Due, that drove all fans mental at the venue, creating a beautiful connection between the band and the crowd. Needless to say, I don’t care if the play in Hammertown, in Toronto or anywhere else in the area, I’ll be there, and based on Dave’s final words they’ll be back to this part of the world sooner than you can say “Wake up dead! You die!”
Setlist Prince of Darkness Hangar 18
Wake Up Dead
Dread and the Fugitive Mind
Sweating Bullets
A Tout Le Monde
She-Wolf
We’ll Be Back
Trust
Conquer or Die!
Dystopia
Tornado of Souls
Symphony of Destruction
Peace Sells
Holy Wars… The Punishment Due Silent Scorn
Band members
Dave Mustaine – lead vocals, lead and rhythm guitar
Kiko Loureiro – lead guitar, backing vocals
Steve Di Giorgio – bass
Dirk Verbeuren – drums
One of the most interesting names of the current Swedish scene will crush your skull with their new album, blending their trademark Deathcore with tons of progressiveness and groove.
Hailing from Bollnäs, a Swedish locality and the seat of Bollnäs Municipality in Gävleborg County, Sweden, the up-and-coming Deathcore outfit known as Faustus plays what they like to call “a freight-train-full-of-sledgehammers-headed-straight-towards-your-whole-family” sound, adding elements from Death Metal, Progressive Metal and Djent, among others, to their vicious core sonority. Now in 2022 the band comprised of Ludvig Setterlind on vocals, Anton Pärlenskog and Mattias Lövhaga on the guitars, Nils Hedberg on bass and Oskar Pärlenskog on drums is ready to attack armed with their sophomore effort, entitled Memoriam, following up on their 2018 debut album Laments of an Obscure Mind. Produced, mixed and mastered by Robert Kukla at Obsidian Recording Studios, and displaying a classic artwork by Jani Stefanovic of Dreamdecipher Productions, “this album can be regarded as a tribute/homage to what has been. Both in regards to people from our past as well as things in life that have had a big impact on us. We felt that we needed an outlet for these feelings and took to our trade of choice to fulfil that need, and here we are. The music in itself is fuelled by these feelings and brings a sort of anger and sorrow. Not a gloomy one mind you, but more something that represents honour. With that said, we didn’t skimp out on the groove or heaviness of the music, no it’s quite the contrary. It’s our best and most complete album yet,” commented the band.
In the opening tune Deprived of Liberty we’re treated to a groovy riff attack by Anton and Mattias accompanied by the thunderous bass by Nils, kicking off the album on a high note and flowing into the also visceral Psychogenic, with Ludvig roaring and screaming in anger nonstop while Oskar dictates the pace with his pounding drums, sounding as heavy as it is intricate and melodic. Let’s keep banging our heads to the sound of Anhedonia, where Nils and Oskar sound like an earthquake together, therefore providing Ludvig with all he needs to scream manically, whereas Existence, Death? begins in the most Progressive Metal way possible, morphing into another solid tune where all instruments sound sharp, caustic and detailed. And following such pulverizing tune, The Creation of What’s Called Hell is an infernal Deathcore and Death Metal creation spiced up by its sinister lyrics (“In utter darkness / Death is my only friend / Corrupting everything / Tearing the soul apart / In the silence I scream / Rots with the corpses / No incoming sources / Creating what’s called hell”).
Ludvig continues to growl like a beast in Architect of Ruin, more modern than its predecessors with the guitars by Anton and Mattias piercing our ears mercilessly; and blending elements from the Melodic Death Metal by bands such as Arch Enemy and Soilwork in their sonority Faustus offer us all Sleep, once again hammering our heads with their venomous drums and bass. Then leaning towards contemporary Groove Metal we have Tempus, sounding darker and more demonic than the rest of the album and with Ludvig stealing the spotlight with his devilish roars; while Obscurity is slightly generic compared to the other songs albeit still presenting the band’s core sonority, with the guitars by Anton and Mattias sounding incendiary. Back to a more obscure sound, it’s time for the band to blast the multi-layered From the Beginning to the End where Nils is as usual fantastic on bass while Oskar keeps the energy level truly high with his beats, morphing into the atmospheric outro XI, putting a serene and pensive ending to Memoriam.
If you want to enjoy all the fury and melody blasted by Faustus in Memoriam you can stream the album in full on YouTube and on Spotify, and of course purchase it by clicking HERE or HERE. Also, don’t forget to give the guys a shout on Facebook and on Instagram, and to subscribe to their YouTube channel for more of their visceral music. The Swedish metallers from Faustus did a very good job with Memoriam, blending a vast array of styles into their trademark Deathcore without losing their essence and without sounding confusing; as a matter of fact, I would love to see more of their experimentations and progressiveness in their upcoming albums as those elements brought a very welcome touch to their music, placing them among the most interesting names of the modern metal scene without a shadow of a doubt.
Best moments of the album:Psychogenic, The Creation of What’s Called Hell and Tempus.
Worst moments of the album:Obscurity.
Released in 2022 Independent
Track listing 1. Deprived of Liberty 3:56
2. Psychogenic 5:01
3. Anhedonia 3:29
4. Existence, Death? 4:41
5. The Creation of What’s Called Hell 5:58
6. Architect of Ruin 4:15
7. Sleep 3:57
8. Tempus 4:06
9. Obscurity 3:19
10. From the Beginning to the End 5:43
11. XI 2:44
Band members Ludvig Setterlind – vocals
Anton Pärlenskog – guitar
Mattias Lövhaga – guitar
Nils Hedberg – bass
Oskar Pärlenskog – drums
This is my first experience of Danish band Cabal and I can only describe the sound they create as weaponized music. This their third album to date, entitled Magno Interitus and released through Nuclear Blast Records, is a sort of conglomeration of Blackened Deathcore, Djent, Dubstep, Doom and Hardcore.
What the band strive to achieve is a sort of gloomy, doom laden atmosphere, and this they achieve. Underneath that atmosphere however is something far more sinister. Whilst this kind of music isn’t my thing, I can certainly appreciate what has been pieced together here. So instead of banging on about what bands this reminds me of, (None, I have very little knowledge of this style) I’ll instead try to describe how this album makes me feel and what it brings to mind.
If I were a film maker engaged in creating a movie about two warring factions, one a desperate bedraggled remnant of humanity and the other a sleek, mechanical army of robots, (Yes, I am aware I’m essentially talking about the later Terminator films) then this would be my soundtrack. For this album sounds like mechanized Armageddon, and its unstoppable unwavering post-industrial style that fuses the disjointed nature of Djent with a more scattergun Dubstep element, as well as hostile crushing Deathcore, would be the perfect fit for my soundtrack.
In my opinion, a band like Cabal defies genre boundaries. If a band can take someone like me who has no real appreciation for Deathcore and make me think about what I’m experiencing, then they have to be a very talented and creative band indeed. So whilst a true Deathcore fan would give this a higher grade, a novice to the style like me to give it a seven I think says even more about why you should listen to Magno Interitus.
Best moments of the album: The album ends very strongly with Exsanguination and Plague Bringer.
Worst moments of the album: Nothing to massively complain about.
Released in 2022 by Nuclear Blast Records
Track listing 1. If I Hang, Let Me Swing 3:14
2. Insidious 2:09
3. Magno Interitus 3:27
4. Existence Ensnared 3:25
5. Insatiable 3:26
6. Blod af Mit 4:17
7. Exit Wound 2:43
8. Violent Ends 2:41
9. Like Vultures 3:05
10. Exsanguination 3:20
11. Plague Bringer 3:45
Band members
Andreas Bjulver Paarup – vocals
Christian Hammer Mattesen – guitars
Chris Kreutzfeldt – guitars
Malthe Strøyer Sørensen – bass
Nikolaj Kaae Kirk – drums
Guest musicians
Simon Olsen – vocals on “Insidious”
Joe Bad – vocals on “Magno Interitus”
John Cxnnor – industrial noises on “Blod af Mit”
Bang your heads to the third studio album by this excellent Spanish Alternative Metal crew, revolving around the human being’s own prison, isolated in the confines of his own mind.
Born in the year of 2009 in the charming city of Barcelona, Spain with a common philosophy among their musicians to create independent music without a fixed style, where expressivity rules over clichés, Alternative Rock/Metal unity Donuts Hole is set to release their third studio album now in 2020, entitled Fragmenta. Produced, mixed and mastered by the band’s own guitarist Marco A. Papiz at PlyGrnd Studio in Barcelona, and featuring a classy artwork by Spanish artist Alejandro Gómez Parker (Windbreaker Design), Fragmenta revolves around the human being’s own prison, isolated in the confines of his own mind, without knowing what he is or what he really wants, without sufficient expertise to focus the will towards a goal that transgresses yourself and that allows integrating all the fragments of our consciousness to connect with the community. Add to that pensive and contemporary theme the groovy and progressive fusion of rock and metal blasted by vocalist Ariel Placenti, guitarists Gun Sato and Marco A. Papiz, bassist Franx Jurado and drummer Sebastián Gonzalez and there you have one of 2020’s strongest albums of the European alternative scene, with the Spanish language giving the overall result a more organic and honest vibe.
The opening track Desde Las Ruinas (“from the ruins”, in English) sounds modern and piercing from the very first second, with Franx firing sheer heaviness and electricity from his bass while Ariel raps the song’s lyrics with tons of anger, therefore resulting in an excellent (and groovy) way to properly kick things off in Fragmenta, whereas Heridas, or “wounds”, is more atmospheric and metalized, blending American Alternative Metal with the band’s European twist, and with both Gun and Marco slashing their stringed axes nonstop. And they keep hammering their instruments in Fraccion De Ser, or “a fraction of being”, where Ariel sounds even more demented on vocals in another solid blast of modern-day metal music spearheaded by the crushing and rhythmic beats by Sebástian, not to mention its catchy chorus will work perfectly during their live concerts. Then a grim and heavy ambience enfolds us all in Espina (“thorn”), with the melodious guitars by Gun and Marco making a beautiful paradox with the rumbling bass by Franx, alternating between more visceral moments and serene passages, while Mapas (“maps”), one of the first singles released for the album promotion, brings to our ears the band’s trademark groove and progressiveness with Ariel venturing through more introspective lands.
Back to a more violent sonority, the band speed things up and fire the modern and exciting Revelador (“illuminating”), where Sebástian is unstoppable on drums providing Ariel all he needs to scream and roar manically from start to finish; followed by Tu, or “you”, a semi-ballad blasted by the quintet showcasing a very good job done by Sebástian on drums, while the guitars maintain the atmosphere at the same time heavy and gentle (albeit not as powerful as the previous songs, though). And you better get ready for a minimalist creation by Donuts Hole titled Pequeño Guerrero (“little warrior”), a more pensive tune compared to the rest of the album, bringing electronic elements in the background together with their usual alternative sounds, while the stylish piano interlude Calma (“calm”) sets the tone for the closing song entitled En La Tormenta (“into the storm”), bringing hints of Djent added to their core sonority. Put differently, it’s an inspiring composition overflowing hope and energy thanks to the crisp riffage by the band’s guitar duo and another passionate performance by Ariel on vocals.
The guys from Donuts Hole are waiting for you to join them in their quest for melodious, introspective and groovy music by following them on Facebook and on Instagram, by subscribing to their YouTube channel and by streaming more of their music on Spotify, and of course by purchasing a copy of Fragmenta from several locations such as their own BandCamp page or webstore and La Casa del Disco, as well as by adding it to your favorite streaming service. Fragmenta is more than just another album of Alternative Rock and Metal, but a solid statement by Donuts Hole that they are among us to stay, to make us think about our lives and decisions while enjoying their newborn creations and, above all, that the human mind is and will always be one o the most compelling sources for hardworking bands like Donuts Hole to keep embellishing the airwaves with their music.
Best moments of the album: Desde Las Ruinas, Fraccion De Ser and Revelador.
Worst moments of the album:Tu.
Released in 2020 Rock Estatal Records
Track listing 1. Desde Las Ruinas 2:53
2. Heridas 3:33
3. Fraccion De Ser 4:11
4. Espina 3:19
5. Mapas 3:22
6. Revelador 4:00
7. Tu 4:26
8. Pequeño Guerrero 4:48
9. Calma 1:04
10. En La Tormenta 3:13
Band members
Ariel Placenti – vocals
Gun Sato – guitar
Marco A. Papiz – guitar
Franx Jurado – bass
Sebastián Gonzalez – drums
As summer is just around the corner in the Northern Hemisphere, let’s take a trip to a place known not for its hot and warm weather, but for its wet and cool climate, which by the way has led to the growth of extensive forests featuring some of the largest trees in the world. I’m talking about the region known as the Pacific Northwest, in the United States, more specifically the city of Corvallis, located in central western Oregon and around 120km from the state’s largest city Portland, where our metal chick of the month, the unrelenting Malaysian-born vocalist Avienne Low, frontwoman for Progressive/Melodic Death/Black Metal unity Vintersea, has been embellishing the Pacific Northwestern airwaves with her powerful voice since moving from Penang, a state in northwest Malaysia, to pursue her studies in American soil. As you’ll be able to see, you’ll be absolutely stunned by Avienne with both her clean, delicate vocals and her infernal roars, showcasing all her vocal range and talent as the lead singer for Vintersea.
Married to a guy called Nick Kiuttu in Keizer, a city located in Marion County, Oregon, in 2016, which led her to use the name Avienne Kiuttu for a while (and because she switched back to Avienne Low I have absolutely no idea if she’s still married), Avienne started her life and career in music when she found an acoustic guitar in a box under her parents’ bed when she was 11 years old, and after having the guitar dusted and tuned, she discovered her passion for singing and performing while playing covers and originals for her family and friends. During her college years, her love for performing grew bigger as she joined an all-ladies a capella group named Divine, a small group of singers hand-picked from Oregon State University’s Bella Voce that began in 2003, with whom she stayed for about a year and a half before fully directing her focus on being the vocalist for Vintersea. Avienne also stated that “I absolutely love fronting the band, and my past experiences have cultivated my ongoing passion for singing, screaming, and performing.”
Regarding her career with Vintersea, as you might already know they are a female-fronted metal band from Oregon’s Willamette Valley, from the aforementioned city of Corvallis, born in 2016 from the ashes of a previous incarnation of the band itself when it was called Asterion, combining the essential elements of metal’s most revered sub-genres with memorable and anthemic song-writing sensibility, therefore crafting a unique brand of crushing Blackened Progressive Metal inspired by the dark skies of the Pacific Northwest and leading the band to share the stage with renowned acts the likes of Jinjer, Ne Obliviscaris and Arkona, among others.
Shortly after entering the United States, Avienne found her home with Vintersea, with guitarists Riley Nix and Jorma Spaziano, drummer Jeremy Spencer and bassist Karl Whinnery rounding out their current lineup. The band was actually born in the summer of 2014 under its previous moniker Asterion when high school friends Riley and Jeremy put out an ad on Craigslist searching for the right musicians to form a new metal act, with Avienne and Jorma (who had moved to Oregon from the east coast, not even sure he was going to be in a band anymore) responding to their ad based on a few early demos. They quickly got together and started jamming out, and it felt like a really good fit right away, which led them to start working on music and playing a few shows as Asterion, which by the way was based on stars and constellations, leaning towards a modern and progressive side of music, almost to a Djent vibe, releasing that same year a five-track EP titled Constellations, which you can enjoy in its entirety HERE or HERE.
However, despite the high-quality of the music found in their debut EP, Riley, Avienne & Co. figured out pretty quick that the music by Asterion wasn’t exactly what they wanted to do. Heavily inspired by European Black Metal, Atmospheric Metal and Post-Metal, the band started playing a hybrid of Progressive and Melodic Metal types, making the collective decision to delve headfirst into that and develop their own sound and later changing their name to Vintersea, with “Vinter” being winter and “sea” because they are from the Pacific Northwest, as grey ocean waves are a heavy asthetic. After such significant changes, they released two official full-length albums, The Gravity of Fall, in 2017, and more recently Illuminated, in 2019, and you can enjoy several top-notch music videos for some of the best songs from both albums on YouTube, such as Illuminated, The Host, Skies Set Ablaze, Old Ones and Entities, as well as their official tour video for the song The Gravity of Fall, and you can also go to Spotify or BandCamp for more of their stylish creations. Furthermore, there are some great interviews with Avienne on YouTube where you can get to know more about her role with Vintersea, such as this one given to Metal Shop Steve where she talks about their 2019 album Illuminated and their music videos, and this one to Dani Zed Reviews where they talk about several topics including their albums, the feedback received on them and their live performances.
Avienne has already made it pretty clear in several interviews that she wants to be a great metal vocalist, not just ‘great for a female’ metal vocalist, as almost all of her main influences are male vocalists or bands with male vocalists, including Ghost Iris, Disentomb, Unprocessed, Logic, Devin Townsend, Ne Obliviscaris, Enslaved, Ihsahn, Between the Buried and Me, Behemoth, Dimmu Borgir, TesseracT and Skyharbor, to name a few, with her vocal idol being Chris Barretto, from bands such as Ever Forthright, Monuments, Periphery and Haunted Shores. In addition, when Avianne was asked about how she discovered metal music and which artists and bands caught her attention while she was growing up in Malaysia, our talented vocalist answered by saying that because she didn’t have access to online platforms like BandCamp almost all the music she listened to as a child was either from the radio or MTV, mentioning Linkin Park from their Hybrid Theory days as a huge influence when she was only around seven years old. During the following decade, she got obsessed with discovering new metal bands after listening to the 2010 album Long Live, by American Metalcore act The Chariot, with bands like The Dillinger Escape Plan, Between the Buried and Me and Converge fueling her obsession. As she didn’t play any sports nor go to the beach at that time, she spent hours and hours developing her taste for metal and finding lesser-known bands online. Also, when questioned about which song by any artist she wishes she could have written, Avienne mentioned Celestial Violence, from the 2016 album Arktis. by Norway’s own Ihsahn, as Vintersea were all listening to Arktis. a lot during the recording of The Gravity of Fall, and that song in particular spoke to all band members with its severe changes in dynamics and epic conclusion.
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Regarding her vocal style, Avienne said that learning how to do harsh vocals and finding the perfect formula to combine them with her clean singing wasn’t an easy task at first. She complemented by saying that she started doing harsh vocals because she wanted to scream along to her favorite bands at that time, and there was a lot of trial and error while she was developing her style, also saying that one of her main techniques was to record herself, study those recordings, and look for areas of improvement, becoming familiar and comfortable with her own screams and playing around with different tones and styles to see what worked best. She also said that it is not only important to be aware of how your body feels when learning to scream, but to be patient throughout the process, complementing by mentioning that she takes care of her voice by doing vocal warm-ups and relaxing a little before hitting the stage, and avoiding spicy food prior to any concert because it’s not a good feeling to jump around the stage with a “ball of fire” burning inside her stomach.
Her view of the music industry is also quite interesting, as she said that in many ways she thinks the music industry has never been healthier, with the power being concentrated in the hands of the fans, the small labels, writers and so on, with the big, faceless corporations having lost most of the power they once had, letting truly innovative and independent bands to reach a much broader audience due to the evolution and changes to internet distribution. As long as fans keep listening to Vintersea’s music, buying their merchandise and supporting them at their live performances, Avienne said she’ll continue to write beautiful and meaningful music together with her bandmates, which is exactly what we all desire, don’t you agree? And talking about touring and live concerts, Avienne said one of Vintersea’s most memorable shows was when they shared the stage with the talented female-fronted Graveshadow, Mindmaze, Sirenia and Arkona at the Bossanova Ballroom downtown Portland in 2017, also saying that there are countless other bands they would love to play shows with or tour with, but as they’re all hugely fond of the guys in Ne Obliviscaris, she thinks it would be simply fantastic to have the opportunity to spend time on the road with that level of talent.
As it happens with pretty much all women who decide to venture through the realms of metal music, Avienne has also been asked countless times about how she sees the importance and influence of women in a music genre that’s still considered sexist by many, and her answers couldn’t have been more spot-on. “My advice is to acknowledge that misogynists and sexists are there, but don’t give them any fuel to their hateful fire. Don’t turn their hate into your hate. Focus on what makes you happy. If you focus on yourself, not only you will be happier in the long run, but your happiness and success will annoy the haters. It’s a win-win situation,” said our stunning vocalist, also saying that in her opinion the metal scene has never had so many badass, powerful and brutal women like nowadays, with more and more metal bands with women fronting them or slaying an instrument coming to light, which is a very inspiring situation for her personally. The metal scene has been exclusionary of women in metal for years, which is why she believes it’s important that there is more women in metal not only because they represents a significant portion of the listeners, but mainly because there is an endless amount of skill and talent that women in metal bring that should definitely be recognized. Moreover, when asked about who she considers the most influential women in metal today, Avienne cited the unstoppable Tatiana Shmaylyuk from Jinjer and Alissa White-Gluz from Arch Enemy, saying it’s impressive what they can do with their vocals, and that they both have showed many people for the first time that women can bring endless energy and fire through harsh vocals.
When asked about her writing process (and of the entire band), Avienne said that before starting it they discuss as a band what the theme of the album should be, followed by determining each song’s theme and message, writing the music prior to the vocal parts and making sure each of their songs can be interpreted on multiple levels, from deeply personal to globally conceptual, all within the same framework. There are songs that can come together in a matter of days, but most of them take shape over a period of months with a lot of intense work, consideration and debate, with their collective vision usually coming together after a couple of weeks. There’s a lot of trust among the band members, and they have found that this dynamic and exciting process helps them produce their best results. Avienne also said that since the band’s inception she has developed and grown in both skill and style, helping her explore different facets of her voice and making the band’s songwriting more cohesive, mentioning the moment they started receiving messages from fans saying they were inspired by Vintersea or that their music helped them through tough times was a breakthrough moment for the band, making they proud of what they’ve accomplished so far. In addition, as an up-and-coming metal artist, Avienne said that the best advice she can give to new bands and musicians is that they shouldn’t be afraid to be who they are, saying people should find their own voice to be able to craft timeless music, instead of being a “one-hit wonder” molded by the industry, also saying we should never stop learning and never close our minds to new ideas. Well, I guess we couldn’t agree more with Avienne, wishing her and her bandmates from Vintersea a bright and healthy future in the world of heavy music, taking the band to new and unexplored lands in the coming years for our total delight.
“I love singing about things that can make a person think about things differently, and I love exposing things that are poignant yet not talked about or thought of enough. I view music as another mode about storytelling, and I know I’m on the right path if I can feel the emotions rising from deep within my body.” – Avienne Low