Tag Archives: djent

Album Review – Coffin Feeder / Big Trouble (2025)

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

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

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

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

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

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

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

Released in 2025 Listenable Records

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

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

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

Album Review – Dissociated / No Connections EP (2025)

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This talented Spanish Metalcore act is ready to take their message of liberation and solidarity to  audiences all around the world armed with their striking debut EP.

Forged inside the creative mind of vocalist Kevin Soto during the years of 2019 and 2020 in Palma de Mallorca, Spain, with a deep desire to break free from the traditional bounds of classic Metalcore, the up-and-coming unit Dissociated is ready to take their message of liberation and solidarity to  audiences all around the world armed with their debut EP entitled No Connections, proving that even in the darkest moments, music can be a powerful act of release and transformation. Currently formed of the aforementioned Kevin Soto on lead vocals alongside guitarist Raúl Muñoz, bassist Toni P. Sánchez and drummer Lucas, the band delivers a powerful mix of emotional intensity and technical precision in their debut EP, leaving us eager for more of their music in a not-so-distant future.

The opening track Self-Destructive Chains sounds very introspective and modern from the very first second, exploding into a demented fusion of Metalcore and Deathcore with Djent and dissonant elements while Kevin showcasing his evil creature-like gnarls; and their Progressive Metalcore vein pulses even harder in No Connections, with Toni’s metallic bass hammering our cranial skulls mercilessly. Endless Waves offers another overdose of insanity in the form of modern, visceral Metalcore by the band, where the riffs by Raúl sound at the same time caustic and very melodic, also presenting those downtempo, punishing breaks for our total delight. Then the desperate screeches by Kevin will haunt your damned souls in Timeless Remorse, bringing forward an avalanche of violence amidst an ethereal, grim atmosphere, resulting in the most detailed and dynamic of all songs. Lastly, more of the dissonant yet harmonious riffs by Raúl permeate the air in Lost in Traces, with the entire band sounding tight and sharp until the very end.

You can find more information about this very promising Spanish band on Instagram, and of course show them your support and bang your heads to their sick creations by purchasing their striking EP from Art Gates Records as an “Endless Waves” shirt + fitted cap + CD combo, a “No Connections” hoodie + “Chains” shirt + CD combo, or as a “No Connections” shirt + tote bag + CD combo, or simply click HERE for all things Dissociated. The next step for those Spanish rockers is undoubtedly releasing their first full-length album, and if it’s just half as good as No Connections, we can rest assured the world of Metalcore will be in very good hands in the coming years.

Best moments of the album: No Connections and Timeless Remorse.

Worst moments of the album: None.

Released in 2025 Art Gates Records

Track listing
Self-Destructive Chains 3:15
No Connections 3:59
Endless Waves 4:16
Timeless Remorse 4:26
Lost in Traces 4:27

Band members
Kevin Soto – lead vocals
Raúl Muñoz – guitars
Toni P. Sánchez – bass, vocals
Lucas – drums

Album Review – Fractal Universe / The Great Filters (2025)

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This Progressive Death Metal outfit strikes again with their thrilling fourth studio album, a sonic journey like no other blending progressive tendencies with Jazz elements.

Having self-released their debut EP Boundaries of Reality in 2015, followed by the full-length albums Engram of Decline (2017), Rhizomes of Insanity (2019), and The Impassable Horizon (2021), Nancy, Grand Est, France-based Progressive/Technical Death Metal outfit Fractal Universe returns to action now in 2025 with their fourth studio effort, entitled The Great Filters. Once again blending progressive tendencies with Jazz elements, philosophical topics such as existentialism and the fragmented nature of human consciousness, innovative songwriting and high production quality, the new album by Vince Wilquin on vocals, guitars and saxophone, Yohan Dully on the guitars, Valentin Pelletier on bass, and Clément Denys on drums invites the listener to embark on a sonic journey like no other, helping those French metallers in reaching the peak of the Progressive Metal mountain worldwide.

Their progressive and metallic vein arises from the very first second in The Void Above, with the enraged roars by Vince walking hand in hand with the beyond intricate bass and drums by Valentin and Clément, respectively. Then continuing to experiment with different sounds and nuances we have The Great Filter, while staying true to their core Death Metal essence; whereas the Djent-infused bass by Valentin will hammer our heads in Causality’s Grip, accompanied by the whimsical guitar lines by Vince and Yohan, sounding like a Progressive Death Metal version of Dream Theater. And The Seed of Singularity is another song that goes heavy on bass, with a futuristic background providing Vince with all he needs to shine on vocals.

After that we’re treated to The Equation of Abundance, a smooth and charming ballad by the band, with the harsh vociferations by Vince bringing an extra touch of anguish and melancholy to the overall result; then investing in a heavier, more thunderous sound the band blasts our faces with Specific Obsolescence, with all of its breaks and variations, boosted by Clément’s spot-on drumming and Vince’s melancholic saxophone, turning it into a must-listen for fans of the genre. Dissecting the Real is another complex, vibrant and multi-layered creation by the band, offering more of the stylish riffs by Vince and Yohan, plus the endless heaviness flowing from Clément’s drums, followed by Concealed, a six-minute explosion of Progressive Death Metal led by the striking riffage by Vince and Yohan. Finally, the album ends on a strong note with A New Cycle, where the classy sound of the saxophone by Vince beautifully clashes with their visceral Death Metal sounds.

If their previous albums like their latest opus The Impassable Horizon already exhaled progressiveness and rage, it’s with The Great Filters that the quartet takes a huge step forward in their career, solidifying their core sound without repeating themselves or getting stale, always working towards innovation, and always with a lot of energy, passion and focus on their music. You can get more information about the band by following them on Facebook and on Instagram, stream more of their music on their YouTube channel or on Spotify, and above all that, show them your utmost support by purchasing a copy of The Great Filters by clicking HERE. In other words, if you love the complexity of Progressive Metal, but at the same time you’re an admirer of the visceral sound of Death Metal, then Fractal Universe might be exactly what you’re looking for in the underground, with their newborn opus sounding and feeling absolutely sharp and exciting for our total delight.

Best moments of the album: The Void Above, Specific Obsolescence and Dissecting the Real.

Worst moments of the album: The Great Filter.

Released in 2025 M-Theory Audio

Track listing
1. The Void Above 4:26
2. The Great Filter 3:41
3. Causality’s Grip 3:35
4. The Seed of Singularity 4:08
5. The Equation of Abundance 6:25
6. Specific Obsolescence 6:49
7. Dissecting the Real 5:23
8. Concealed 6:05
9. A New Cycle 5:04

Band members
Vince Wilquin – vocals, guitars, saxophone
Yohan Dully – guitars
Valentin Pelletier – bass
Clément Denys – drums

Concert Review – Meshuggah (Great Canadian Casino Resort Toronto, Mississauga, ON, 03/29/2025)

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A night to remember of sheer heaviness and brutality with three of the most must-see bands in the history of heavy music, at the best and most entertaining venue you can think of.

OPENING ACTS: Carcass and Cannibal Corpse

An amazing theater, several good friends, free parking, free pop and coffee inside the casino, no work the next day as it was a weekend, a vast selection of food options, and three of the most must-see bands in the history of extreme music. Apart from the shitty weather, with freezing rain and ice storms in parts of Ontario, Saturday night was perfect for countless metalheads at the fantastic Great Canadian Casino Resort Toronto, when the ruthless CARCASS, CANNIBAL CORPSE and MESHUGGAH took the venue by storm with their undisputed North American Tour 2025, and of course Keith Ibbitson of Metal Paparazzi and I wouldn’t miss it not even if the biggest snow storm ever had devastated the city that same day. My only complaint is that I couldn’t find the food truck (or tent) by Slayer Burger before the doors opened, and it was pouring after the show so I didn’t even dare to go outside to purchase one. Well, I wasn’t able to try their new Meshuggah’s Burger, but that’s fine. Next time I attend a concert near one of their locations I’ll definitely grab it, or another one of their exclusive burgers, because they kick some serious ass.

There was a huge line already forming way before the doors opened at 6pm, which made me a little worried if I would be able to buy a Cannibal Corpse shirt before the show started at 7pm, but the merch team was awesome and I had over 30 minutes to simply chill before the first attraction of the night hit the stage, the mighty CARCASS. They only played for a little bit over 30 minutes, but what a devastating concert by those Melodic Death Metal and Grindcore masters, or as some people like to label their music these days, “Death N’ Roll” masters. Despite their short setlist, they played some of the best songs from their most recent album Torn Arteries and Surgical Steel, plus of course my all-time favorite Carcass songs No Love lost and Heartwork, both from their 1993 masterpiece Heartwork. Let’s say it was a beyond phenomenal warmup for the upcoming attractions, courtesy of Jeff Walker, Bill Steer, Nippy Blackford and Daniel Wilding, and if Carcass ever visit your city armed with their venomous music, you know what to do.

Setlist
The Living Dead at the Manchester Morgue (Intro)
Unfit for Human Consumption
Buried Dreams
Incarnated Solvent Abuse
No Love Lost
Corporal Jigsore Quandary
Heartwork
Tools of the Trade
Carneous Cacoffiny (Outro)

Band members
Jeff Walker – vocals, bass
Bill Steer – guitars, backing vocals
Nippy Blackford – guitars
Daniel Wilding – drums

After a quick break, it was time for my favorite Death Metal band of all time to do what they do best, which is get onstage and “crush their enemies, see them driven before them, and to hear the lamentations of their women.” I’m talking about the one and only American institution CANNIBAL CORPSE, who precisely at 7.55pm kicked off their pulverizing show with the neck breaking Scourge of Iron, followed by Blood Blind (from their 2023 album Chaos Horrific), Inhumane Harvest and Evisceration Plague. And what do those songs have in common, you might ask? They’re not played at the speed of light, but that doesn’t make them less infuriated; quite the contrary, it’s their heaviness that counts, in special Evisceration Plague, which is always a pleasure to enjoy live. All that plus the gruesome roars and insane headbanging by Mr. George “Corpsegrinder” Fisher, and the flawless, jaw dropping bass playing by Mr. Alex Webster, turn their shows into memorable experiences even for nonbelievers.

As the venue is quite wide, it was not too hard to stay away from the mosh pits in case you didn’t want to experience some brutal action, or if you couldn’t because of an injury, for example, but that doesn’t mean you couldn’t headbang like a beast to masterpieces like Unleashing the Bloodthirsty (and I’m so happy they’re playing this song even in this shorter than usual setlist), Stripped, Raped and Strangled and Hammer Smashed Face. And of course, participating in another “headbanging contest” against Corpsegrinder (and therefore failing miserably) during I Cum Blood is one of the coolest things one can ever do at a metal concert. The mighty corpse killed it once again, leaving all concert goers absolutely stunned, and next time they come to the city it better be as headliners because we need more of their first-class Death Metal.

Setlist
Scourge of Iron
Blood Blind
Inhumane Harvest
Evisceration Plague
Death Walking Terror
Unleashing the Bloodthirsty
Summoned for Sacrifice
I Cum Blood
Stripped, Raped and Strangled
Hammer Smashed Face

Band members
George “Corpsegrinder” Fisher – vocals
Rob Barrett – lead and rhythm guitar
Erik Rutan – lead guitar
Alex Webster – bass guitar
Paul Mazurkiewicz – drums

MESHUGGAH

Last but definitely not least, the main attraction of the night, Sweden’s own Technical Groove/Thrash Metal/Djent entity MESHUGGAH, kicked off their festivities at around 9:15pm for the delight of their diehard fans that have taken the entire venue. I forgot to mention it was a sold out event, just to give you an idea of how much Toronto loves Meshuggah, and they put on a striking, hypnotizing concert that definitely lived up to their legacy. Playing songs from all of their albums, including their most recent ones Immutable and The Violent Sleep of Reason, and their classic ObZen, the band spearheaded by Jens Kidman offered a well-balances blend of harsh vocals, rumbling bass lines, pounding drums, and a massive feast of lighting that made the whole concert even more impactful.

All fans were going wild, with some headbanging, jumping up and down, or raising their fists like there was no tomorrow, and the band seeing that made sure they kept kicking ass onstage. When it was time for the encore, with their hits Bleed and Demiurge, the synchronicity between the band and their fans was absolutely fantastic, proving why they’re one of the most beloved bands in Toronto in present-day metal. After the show was over, a huge amount of fans stayed at the casino to try their luck, who knows, maybe some would even recover the money spent on tickets, merch or drinks, and I love the fact that there’s that option at the casino, so you don’t need to rush home nor anything like that. I mean, you can savor the post-concert adrenaline still at the venue, spend some extra time with your friends and family, grab a bite, and start thinking of your next metal show. And if it is at the Great Canadian Resort Toronto, that’s a no-brainer. Simply buy your tickets, and go enjoy some high quality music at the best venue in the entire GTA, or maybe I should say in the entire province of Ontario.

Setlist
Careless Whisper (George Michael song)
Intro (Atmospheric soundscape)
Broken Cog
Violent Sleep of Reason
Rational Gaze
Combustion
Kaleidoscope
God He Sees in Mirrors
Lethargica
Born in Dissonance
Dancers to a Discordant System
Swarm
Future Breed Machine

Encore:
Bleed
Demiurge
Boombastic (Shaggy song)

Band members
Jens Kidman – vocals
Fredrik Thordendal – guitars
Mårten Hagström – guitars
Dick Lövgren – bass
Tomas Haake – drums

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Interview – Meshuggah’s Burger (Slayer Burger)

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This Meshuggah-inspired beast of a burger will satisfy your craving for high quality food infused with Swedish traditions and an endless dosage of unrelenting heavy music.

Meshuggah’s Burger @ Slayer Burger

The Headbanging Moose: Thank you for this opportunity to meet you and know more about Slayer Burger, and your new partnership with Meshuggah. As this will be published to readers from all over the world, could you please introduce Slayer Burger to the ones who don’t know it?
Slayer Burger: Slayer Burger is not just a local premium burger place — it’s an experience. We bring together fresh, high-quality ingredients, bold flavors, and a rock-and-roll attitude to serve up the ultimate smash and grill burger. Our menu is inspired by heavy music, and we’re always pushing the boundaries with creative and unique recipes. If you love great food and even better music, Slayer Burger is the place for you.

THM: When and where was the idea of having a Meshuggah-themed burger born? And who’s responsible for selecting its ingredients, bringing it to life and making it available at Slayer Burger?
SB: The idea came by Meshuggah’s team and your chef consultant Lilian Cardoso. We wanted to honor Meshuggah’s legacy with a burger that’s just as intense as their music — bold, complex, and unforgettable. Our team, our chefs and marketing crew worked together to perfect the ingredients and create something truly worthy of the name.

THM: What makes Meshuggah’s Burger special in your opinion, I mean, why should people choose it instead of any other burger from your menu or from any competitor?
SB: This isn’t just any burger — it’s a full-on sensory experience. The black bun sets the tone, the lingonberry bacon jam adds a touch of Swedish influence, and the rich, savory flavors balance it all out. It’s a burger that stands out visually and flavor-wise, making it a must-try for fans of Meshuggah and anyone who loves a next-level burger.

THM: Apart from Meshuggah’s Burger, you also have two other burgers with black charcoal buns, Vecna and The Wagyu. How has been the feedback from your consumers to those burgers with black buns? And what makes it special? Is it just the association of color black with heavy music, or is there something else?
SB: People love them! The black bun always grabs attention, but it’s the flavors that keep customers coming back. The association with heavy music definitely plays a role, but at the end of the day, it’s about taste — and we make sure every bite delivers.

Slayer Gif GIFs | Tenor

Click on our Slayer buddy to access the official Slayer Burger website!

THM: Perhaps the most unique ingredient in the new burger is its lingonberry bacon jam. Lingonberries are extremely popular in Sweden, used in countless Swedish dishes including kroppkakor, pitepalt, potato pancakes, spinach pancakes, kåldolmar, and more, and many Swedes grow up picking them in the forest. However, we’re not in Sweden, we’re in Canada. Having said that, do you think Torontonians are ready for the lingonberry?
SB: Absolutely! Toronto is a city that embraces diverse flavors, and lingonberry jam brings the perfect balance of sweet and tart to complement the richness of the burger. It’s a nod to Sweden, but it works incredibly well in Canada burger scene too.

THM: Have the guys from Meshuggah already tried the burger, or are they going to try it during their stop in Toronto next weekend, when they play in the city alongside Cannibal Corpse and Carcass?
SB: We can’t wait for them to try it when they’re in town! We’re confident they’ll love it — it’s made with the same precision and intensity as their music. Also, we’ll have our food truck on the day of the concert, we can’t wait to serve the band and their crew as well.

THM: Is this just the beginning of a series of partnerships with metal bands to create other special items in your menu? And if so, do you already have any other bands in mind for the near future?
SB: We’re always open to new collaborations, especially with bands that share our energy and passion. We can’t reveal anything yet, but let’s just say there are some exciting ideas brewing. Stay tuned!

Meshuggah’s Burger and the Immutable album

THM: You have some amazing options in your menu to go with your burgers, including delicious sides, sweets and exclusive beers. Just like Meshuggah are making the perfect combo with a Cannibal Corpse and Carcass in the city this Saturday, what would be the ideal side and drink to go with Meshuggah’s Burger?
SB: You’ll want something that can stand up to the burger’s bold flavors. Our special Slayer cheese poutine or onion rings make a killer side, and for drinks, our own Slayer Premium Beer with deep, roasted flavors would be the perfect match.

THM: And as in the end it’s always all about the music, what’s the perfect soundtrack for enjoying Meshuggah’s Burger? It can be a full album, just a few songs, or simply one song (if the consumer is a fast eater)!
SB: If you want the full experience, put on Meshuggah’s ObZen or Immutable and let the complex rhythms match the layers of flavor in the burger. If you’re a fast eater, Bleed is a perfect choice — just make sure you can keep up!

THM: Thank you very much for your time! Feel free to send a final message to our readers, and to invite them to visit one of the Slayer Burger locations in Toronto whenever they’re in the city for a nice night of heavy music!
SB: If you love metal and burgers, you need to try the Meshuggah Burger. It’s bold, intense, and built for those who crave something different. Come visit Slayer Burger in Toronto and experience it for yourself — because great food deserves a heavy soundtrack.

Locations

1400 O’Connor Dr. – East York
Toronto – ON – M4B 2T8

739 Queen St E – Riverside
Toronto – ON – M4M 1H4

2013 Yonge St – Midtown
Toronto – ON – M4S 1Z8

Thank you so much for this opportunity to show Slayer to more people =)

Links
Slayer Burger Official Website | Facebook | Instagram | LinkedIn
Meshuggah Official Website | Facebook | Instagram | YouTube | Spotify

Album Review – Nephylim / Circuition (2025)

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This Dutch Melodic Death Metal brigade is ready to strike again with their sophomore album, exploring the concepts of “the cycle of life” and “the wheel of fate”.

Founded back in 2015 by friends Kevin van Geffen and Rens van de Ven in ‘s-Hertogenbosch, colloquially known as Den Bosch, a city and municipality in the province of North Brabant, in the Netherlands, Melodic Death Metal outfit Nephylim is ready to strike again with their sophomore opus Circuition, the long-awaited follow-up to their 2020 debut album Severance of Serenity. Produced by Joost van den Broek, Yarne Heylen and Nephylim, with guitars, bass and vocals recorded at Project Zero Studio and drums recorded at Sandlane Recording Facilities, mixed by Joost van den Broek at Sandlane Recording Facilities, mastered by Darius van Helfteren at Amsterdam Mastering, and displaying a captivating artwork by Giannis Nakos of Remedy Art Design, the new album by frontman Tijn Bosters, guitarists Kevin van Geffen and Ralph Lentink, bassist Rens van de Ven, and drummer Martijn Paauwe is a conceptual album that explores the concepts of “the cycle of life” and “the wheel of fate”, with each song being connected to a meaning or state of being such as the origin of life or birth, the consequences of old age, or everyone’s perception of the circle of life, always supported by the world famous Gothenburg Melodic Death Metal sound.

The first half of a two-part song is actually an intro, Travail Pt. I – Anima, a futuristic, whimsical composition that works as the calm before the storm that is the second half, titled Travail Pt. II – Animus, with all background elements elevating the band’s Melodic Death Metal to new heights, not to mention the guitars by Kevin and Ralph transpire melody and rage in the best Gothenburg-inspired style, connecting with Amaranth, where Martijn dictates the song’s rhythm with his classic beats, blending the best of bands like Dark Tranquillity, Insomnium and The Halo Effect. Grand Denial is another lengthy, intricate and energetic aria by Nephylim, with Tijn’s deep, enraged roars walking hand in hand with their boisterous instrumental pieces; followed by the title-track Circuition, which sounds even more melodic and epic, with the stylish riffs and solos by Kevin an Ralph embellishing the airwaves in great fashion. In Withered we face lyrics that reek of Melodic Death Metal (“Glimpse upon a tainted mind, Entangled by the heart of man / Reaching deeper and beyond, As the void smothers whole”) amidst a high-octane, metallic sonority, before all comes to an end with Inner Paradigm, presenting some welcome elements from other genres like Groove Metal and Djent, in special in the rumbling bass by Rens.

By pushing the boundaries in terms of overall production and quality, music and lyrical compositions, Circuition (which is by the way available in full on YouTube and on Spotify) is undoubtedly the band’s strongest effort to date, and will surely elevate the band to new heights in the world of heavy music. You can get to know more about those Dutch metallers on Facebook and on Instagram, stream their music on YouTube and on Spotify, and obviously support such a talented band by purchasing Circuition from BandCamp or Big Cartel, or by clicking HERE. Nephylim are surely one of the torchbearers of the Melodic Death Metal movement in their homeland, and it’s armed with albums like Circuition that they’re going places, ready to conquer new territories while blasting their undisputed music to metalheads worldwide.

Best moments of the album: Amaranth, Circuition and Withered.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Travail Pt. I – Anima 2:24
2. Travail Pt. II – Animus 6:13
3. Amaranth 5:31
4. Grand Denial 6:22
5. Circuition 5:19
6. Withered 6:18
7. Inner Paradigm 6:08

Band members
Tijn Bosters – lead vocals
Kevin van Geffen – guitars, clean & backing vocals
Ralph Lentink – guitars
Rens van de Ven – bass
Martijn Paauwe – drums

Guest musicians
Kevin van Geffen & Yannick Maris – orchestrations

Album Review – March Of Scylla / Andromeda (2025)

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Behold the debut full-length opus by this excellent French Post-Metal act, delving into the vastness of space and humanity’s intricate relationship with science, the cosmos, and the afterlife.

A dark Progressive and Post-Metal project that explores through ancient myths all the afflictions that humanity encounters, Amiens, France-based March Of Scylla are unleashing upon us their debut full-length album, entitled Andromeda, the follow-up to their previous EPs Archives and Dark Myth. Recorded, mixed, and mastered by Francis Caste at the renowned Studio Sainte-Marthe, the newborn spawn by vocalist Florian Vasseur, guitarist Christofer Fraisier, bassist Robert Desbiendras and drummer Gilles Masson delves into the vastness of space and humanity’s intricate relationship with science, the cosmos, and the afterlife, being highly recommended for admirers of the music by Gojira, Tesseract, Sleep Token, and Architects.

Elements from Djent are intertwined with the band’s core Progressive Metal sounds in Ulysses’ Lies, led by the classic drums by Gilles, whereas futuristic sounds permeate the air in the hammering Death Experience, with the metallic bass by Robert hitting us hard mercilessly while Florian declaims the song’s lyrics in great fashion. They keep blasting a wild fusion of Progressive and Post-Metal with Djent and Groove Metal in The Royal Way, perfect for some vigorous headbanging, followed by To Cassiopeia, an atmospheric, eerie and lengthy interlude that sets the tone for Dark Matter, where Florian growls and screams with tons of anguish while also firing delicate yet piercing clean vocals.

The band continues to blast our ears with their melodic and heavy hitting music in Storm Dancer, with Robert’s bass and Gilles’ beats making our heads tremble, instantly merging with BlaAst, bringing forward over six minutes of atmospheric and groovy passages, with the heaviness flowing from all instruments supporting Florian’s powerful vocals. Gilles puts the pedal to the metal and hammers his drums nonstop in Achilles’ Choice, an overdose of Progressive Post-Metal with the bass by Robert sounding utterly metallic; and Florian bursts his lungs screaming in the beyond melodic Myrrha, accompanied by the scorching riffs by Christopher in a lesson in Post-Metal. And last but not least, March of Scylla will smash us all with their Post-Metal onrush in Cosmogony, again showcasing all their energy, versatility and heaviness.

Themes of existential anxiety, social injustice, and deep emotional struggles intertwine with personal storytelling, universal mythology, and historical context throughout the entire album, offering a powerful and thought-provoking musical journey that’s definitely worth a good and detailed listen, and you can show your support to the band by following them on Facebook and on Instagram, by streaming their music on YouTube, Spotify or any other streaming service, and above all that, by purchasing Andromeda from BandCamp or by clicking HERE. After all is said and done, there’s a clear evolution in the music by March Of Scylla in Andromeda compared to their previous efforts, paving a bright future ahead of them while they keep delivering sheer sonic awesomeness in the near future, both with other striking albums like their debut one and with their undisputed focus, hardwork and passion for heavy music.

Best moments of the album: Death Experience, BlaAst and Myrrha.

Worst moments of the album: To Cassiopeia.

Released in 2025 Klonosphere Records/Season of Mist

Track listing
1. Ulysses’ Lies 5:00
2. Death Experience 6:44
3. The Royal Way 4:48
4. To Cassiopeia 2:45
5. Dark Matter 4:17
6. Storm Dancer 4:51
7. BlaAst 6:19
8. Achilles’ Choice 4:49
9. Myrrha 4:20
10. Cosmogony 6:07

Band members
Florian Vasseur – vocals
Christofer Fraisier – guitars
Robert Desbiendras – bass
Gilles Masson – drums

Album Review – Jinjer / Duél (2025)

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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.

Kafka is 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

Concert Review – Archspire (The Phoenix Concert Theatre, Toronto, ON, 06/08/2024)

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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.

OPENING ACTS: Alluvial, Carcosa and Aborted

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

ARCHSPIRE

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

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Album Review – ONI / The Silver Line (2023)

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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”