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Album Review – Overtoun / Death Drive Anthropology (2026)

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This Chilean unrelenting outfit offers in their third album a true Book of Death forged in sound, channeling the death drive into a relentless exploration of human rituals, mortality, and cultural collapse.

Expanding their fierce Chilean/American identity, channeling the death drive (Thanatos) into a relentless exploration of human rituals, mortality, and cultural collapse – a true Book of Death forged in sound – Santiago, Chile and Boston, Massachusetts-based Progressive/Technical Death/Thrash Metal beast Overtoun returns in full force with their third offering, entitled Death Drive Anthropology, the follow-up to their 2021 sophomore This Darkness Feels Alive. Recorded at Estudio del Sur, and produced, engineered, mixed and mastered by Martín Furia at Somma Productions, the new album by Yoav Ruiz-Feingold on vocals, Matias Bahamondes on the guitar, Matias Salas on bass, and Agustin Lobo on drums further cements the band as one of the most compelling and forward-thinking forces emerging from the Latin American metal landscape. Rooted in the primal force of 90’s death-thrash yet sharpened by a modern, incisive edge, the album fuses Latin rhythms, folk-tinged guitars, and razor-tight riffs, being therefore a must-listen for admirers of the music by Carcass, Atheist, and Revocation, among others.

The album couldn’t have started in a better and more demented way than with What Unites All, featuring guest vocalist Max Phelps (Cynic, Death to All), with Matias Salas and Agustin sounding absolutely mental with their heavy-as-hell, groovy kitchen. Yoav keeps roaring like a beast in the very technical, melodic yet brutal The Final Beat, blending the most caustic elements from Death and Thrash Metal, and after a cryptic intro the music evolves into another feast of progressive violence in Memento Mori, featuring guest vocalist Enrico H. Di Lorenzo (Hideous Divinity), where Agustin once again dictates the pace while Matias Bahamondes slashes his axe nonstop. Their wicked riffs and pounding drums are the main ingredients in the electrifying Dur Khrod, inviting us all to slam into the pit in the name of our good old Death and Thrash Metal; whereas their progressive vein pulses even harder in Jade, Gold, Obsidian, led by the intricate and flammable riffage by Matias Bahamondes. And in Yūrei they offer a more modern side of their core musicality, alternating between groovy moments and extreme aggression.

Matias Salas  beautifully steals the spotlight with his metallic bass in Weeping, as if Sepultura, Dream Theater and Machine Head had a bastard son (who loves Death Metal), which of course translates into total sonic brilliance. Guest Shantanu Vyas (Hazing Over) lends his desperate vocals to the band in Wind and Water, keeping the album at an extreme level of violence and progressiveness; and we then face a killer three-part extravaganza, starting with the 30-second intro The Waves Suite: Siren, setting the stage for The Waves Suite: Ocean, where the band goes almost full tribal with their ruthless sounds, flowing like an arrow on fire in the dark until The Waves Suite: Caleuche puts a very melodic ending to such an interesting aria. The band still has the icing on the cake to offer in the album, the title-track Death Drive Anthropology, inviting us all to slam one last time with them to the sound of the demonic roars by Yoav.

As mentioned, Death Drive Anthropology aims at channeling the death drive into a sonic Book of Death that examines how different cultures confront mortality, violence, collapse, and rebirth through ritual and art, and if you want to feel part of such an exciting metallic ritual, you can start following the band on Facebook and on Instagram, stream their amazing music on YouTube or on Spotify, and above all that, grab a copy of the album from the band’s own BandCamp, as well as from the Time To Kill Records’ webstore. In other words, simply open the Book of Death written by these talented Chilean metallers, and let their sounds bring to your soul the always exciting duality between life and death.

Best moments of the album: What Unites All, Weeping and Death Drive Anthropology.

Worst moments of the album: Wind and Water.

Released in 2026 Time To Kill Records

Track listing
1. What Unites All 5:23
2. The Final Beat 4:46
3. Memento Mori 6:38
4. Dur Khrod 3:54
5. Jade, Gold, Obsidian 4:00
6. Yūrei 5:25
7. Weeping 5:28
8. Wind and Water 4:05
9. The Waves Suite: Siren 0:23
10. The Waves Suite: Ocean 4:11
11. The Waves Suite: Caleuche 1:42
12. Death Drive Anthropology 4:23

Band members
Yoav Ruiz-Feingold – vocals
Matias Bahamondes – guitar
Matias Salas – bass
Agustin Lobo – drums

Guest musicians
Max Phelps – vocals on “What Unites All”
Enrico H. Di Lorenzo – vocals on “Memento Mori”
Shantanu Vyas – vocals on “Wind And Water”

Album Review – Dysentery / Dejection Chrysalis (2025)

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Ten years since their last full-length opus, this American Brutal Death Metal brigade has finally re-emerged into the light, carrying with them a new album of heaviness beyond comprehension.

“The imprisoning cocoon tears beneath my new found claws and I emerge, a beast reborn, from my shattered dejection chrysalis…”

Ten years since their last full-length opus Fragments, Waltham, Massachusetts-based Brutal Death Metal brigade Dysentery has finally re-emerged into the light, carrying with them a new album of heaviness beyond comprehension entitled Dejection Chrysalis, providing us avid metalheads with spine-splitting slams and deep grooves like scars in the surface of the Earth. Mixed and mastered by Randy LeBoeuf at Graphic Nature Audio, engineered by Jared Weed and Joey Ferretti, produced by Peter Spinazola and Joey Ferretti, and displaying a sinister artwork by Hidris, the demented new album by frontman Scott Savaria, guitarist Peter Spinazola, bassist John Cook, and drummer Eric Taranto is a bludgeoning onrush of musical extremity, a must-listen for fans of Putrid Pile, Internal Bleeding, Guttural Secrete, and Pyrexia.

Peter wastes no time and kicks off their depraved party with his cutting riffs in Transference, prepping us all for Enslavement for the Obedient, Agony for the Wayward, accompanied by the ruthless beats by Eric while Scott vomits the song’s vile words in great fashion. Their slamming party goes on in Indignation Unravels, with the metallic bass by John and the pounding drums by Eric making the earth tremble; followed by Exhausted Bliss of Self Loathing, featuring guest vocals by Josh Welshman of Defeated Sanity, where Eric sounds like a machine gun on drums in the best Aborted style. Scott then shows no mercy for our souls with his inhumane guttural in A Bestial Omen, another excellent display of Brutal Death Metal infused with gore and hatred.

Guest vocalist Jared Weed (of bands like Burial, Concrete and Futility) then makes an insane duet with Scott in Shackled by Idolatry while Peter hammers his stringed weapon in the name of extreme music, and they keep blasting their ruthless blend of Brutal Death Metal, therefore inspiring us to slam nonstop, in Transposed Benevolence. More of their share of brutality comes in the form of Fratricidium, featuring guest vocals by JT Knight (of Episiotomectomy and Invoke Thy Wrath), sounding vicious and evil from the very first second, with Peter and John bludgeoning their axes nonstop. Obsidian Womb is simply neck-breaking and heavy-as-hell, with Eric once again showing his passion for sheer violence behind his drums; whereas ending the album we face one final explosion of absolute madness and aggression entitled Ascend This Harrowing Dream, with its slamming moments sounding utterly demented.

Dynamic beyond all expectations, Dejection Chrysalis is sonically formidable and absolutely devastating from start to finish, leaving us completely disoriented after all is said and done, while at the same time eager for more of the music by those American death dealers. Having said that, what are you waiting for to start following Dysentery on Facebook and on Instagram, staying up to date with everything surrounding such an infernal beast of Death Metal, including their ruthless live performances, to stream their sick creations on Spotify, and above all that, to purchase their rabid new album from Comatose Music’s BandCamp or webstore, as well as from other locations like Amazon and Waterloo Records? Because Dejection Chrysalis is how you deliver brutal, slam Death Metal, and make it meaningful and beyond devastating. Period.

Best moments of the album: Enslavement for the Obedient, Agony for the Wayward, Exhausted Bliss of Self Loathing and Fratricidium.

Worst moments of the album: Transposed Benevolence.

Released in 2025 Comatose Music

Track listing
1. Transference 1:58
2. Enslavement for the Obedient, Agony for the Wayward 3:08
3. Indignation Unravels 2:22
4. Exhausted Bliss of Self Loathing 2:50
5. A Bestial Omen 2:02
6. Shackled by Idolatry 2:29
7. Transposed Benevolence 4:13
8. Fratricidium 2:52
9. Obsidian Womb 2:38
10. Ascend This Harrowing Dream 4:24

Band members
Scott Savaria – vocals
Peter Spinazola – guitar
John Cook – bass
Eric Taranto – drums

Guest musicians
Josh Welshman – vocals on “Exhausted Bliss Of Self Loathing”
Jared Weed – vocals on “Shackled By Idolatry”
JT Knight – vocals on “Fratricidium”

Album Review – Hexrot / Formless Ruin of Oblivion (2025)

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The first full-length opus by this American duo flows continuously across seven tracks, maintaining a constant tension between the harmony and dissonance of its ever-shifting web of musical ideas.

Combining a dense stylistic mélange of Death, Black, and Thrash Metal with inventive electronic experimentation and a keen sense of structure, Formless Ruin of Oblivion is the brand new offering by Massachusetts, United States-based Avantgarde Death/Black/Thrash Metal duo Hexrot, following up on their 2022 debut EP Gloomwrought. Mastered by Colin Marston at Menegroth – The Thousand Caves, and displaying a stunning artwork from The Garden of Earthly Delights by Hieronymous Bosch, with logo by Nat Lacuna, the 35-minute first full-length opus by Arkain on vocals, guitars and bass, and Melmoth on vocals, drums and electronics flows continuously across seven tracks, maintaining a constant tension between the harmony and dissonance of its ever-shifting web of musical ideas. Seamlessly interwoven, a bed of modular synthesizer and other digital flourishes run the gamut from clangorous and industrial to warm and ethereal, being therefore recommended for fans of Felgrave, Construct of Lethe, Deathspell Omega, Blut aus Nord, Death, Ulcerate, and Veilburner.

What Lies Veiled is simply ethereal and enigmatic from the very first second, gradually morphing into an experimental beast led by the intricate drumming by Melmoth while Arkain shreds his axe in the name of insanity, flowing into Heavenward, a lecture in Avantgarde and Progressive Death Metal where their experimentations reach a whole new level, all boosted by the the duo’s demented vociferations; again seamlessly connecting with Consecrating Luminous Conflagration, where they keep blasting their demented sounds led by the wicked riffage by Arkain. Then we have the otherworldly interlude Ghostly Retrograde I, setting the stage for Hexrot to crush our souls and dreams with Clandestine Haunt, with Arkain’s caustic guitars matching perfectly with Melmoth’s frantic beats and fills in another explosion of demented Death Metal, once again changing its shape and form into the interlude Ghostly Retrograde II, another atmospheric and embracing instrumental piece that works perfectly as the warmup for the title-track Formless Ruin of Oblivion, a 15-minute creature from the abyss of extreme music, starting in the most phantasmagorical manner before the duo begins peeling our flesh mercilessly with their chaotic and visceral sounds, exhaling madness to their wicked riffs, bass lines and cryptic drums, as if there were three or four songs clashing in great fashion inside of it, consequently setting fire to the ambience until its climatic yet vile finale.

In addition to all that, the immediacy of a live studio recording gives Formless Ruin of Oblivion a high level of authenticity and power, but careful production ensures you’ll still be discovering new things multiple listens in. Hence, you can get to know more about such a promising duo hailing from the United States through their official Facebook and Instagram, stream their debut EP and soon their newborn opus on Spotify or any other streaming service, and purchase a copy of the album from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. It’s truly impressive how only two musicians were capable of putting together such a detailed, bold and complex album, sounding like a multi-headed beast of extreme music while remaining loyal to their foundations and absolutely humble, working hard to keep crafting high quality music for us avid metalheads. No idea what’s next for those two beyond talented guys, but if their next album is just as half as good as Formless Ruin of Oblivion, we’ll have a very good reason to keep a huge smile on our faces while headbanging manically.

Best moments of the album: Heavenward, Clandestine Haunt and Formless Ruin of Oblivion.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. What Lies Veiled 3:49
2. Heavenward 5:26
3. Consecrating Luminous Conflagration 4:05
4. Ghostly Retrograde I 1:10
5. Clandestine Haunt 3:06
6. Ghostly Retrograde II 1:52
7. Formless Ruin of Oblivion 15:53

Band members
Arkain – vocals, guitars, bass
Melmoth – vocals, drums, electronics

Album Review – Cytolysis / Surge Of Cruelty (2025)

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This one-man Technical and Brutal Death Metal machine is back with its ruthless sophomore opus, constructed from eleven sonic acts of torture.

Born in Naugatuck, Connecticut, but currently based in Boston, Massachusetts, vocalist and multi-instrumentalist Darren Cesca, the demented drummer with Goratory, Eschaton and previously Deeds Of Flesh, has returned with Surge Of Cruelty, the second album from his unconscionably brutal solo project, Cytolysis, following up on his 2020 debut Portraits of Malevolence. Mixed and mastered by Darren Cesca himself, adorned in the hypnotically horrifying artwork of Vladimir Cebakov (Six Feet Under, 1914, DeadHead), and featuring brutal guest vocal performances from Mac Smith (Eschaton), Brian Forgue (Syphilic), Adam Mason (Goratory) and Flo Butcher (Tortured), Surge Of Cruelty is constructed from eleven sonic acts of torture, where twisted technicality and methodical precision collide with frenzied explosions of fury and unnerving alien atmospheres, offering exactly what we’re always looking for in high-quality Technical and Brutal Death Metal in the vein of Cannibal Corpse, Deeds Of Flesh, In Asymmetry, and Incinerate.

Darren wastes no time and ignite his demented metal attack in the form of Your Slow Demise, where his infernal gnarling matches perfectly with his killer blast beats; and featuring guest vocals by Mac Smith, Devout Sacrifice is a beyond demented creation where the sound of his riffs is truly piercing and austere, resulting in a lecture in violence and gore. Then in the title-track Surge of Cruelty our dauntless Darren keeps barking like a demented creature while also firing some of his most intricate and visceral riffage, and get ready to headbang until your neck breaks in half to the sound of Consenting Brood, with Darren’s metallic bass and pounding drums boosting his visceral growls in great fashion. After such an insane tune, guest Brian Forgue lends his demented gnarls to A Blood-Soaked Offering, leaning towards the most gruesome form of Brutal Death Metal.

The Stygian, atmospheric interlude Ritual Carnage will darken the skies before Darren comes ripping once again with Tribal Savagery, where his deep pig-like screeches will disturb your frail mind while he keeps blasting his drums in the name of extreme music. Then featuring guest vocals by Adam Mason, Tortured Flesh brings forward more of the inhumane fusion of Brutal Death Metal and classic Deathcore by Cytolysis, spiced up by some nicely inserted cryptic nuances; and of course with a guy like Flo Butcher as a guest vocalist the final result was going to be demolishing to say the least in Mark of the Demons, offering those downtempo breaks perfect for some brutal slamming. Darren doesn’t sound human with his deep guttural and unstoppable beats and fills in Innocence is Raped, offering an avalanche of first-class Brutal Death Metal, whereas the last song of the album, titled Hung from the Rafters, is just as insane and demented, with Darren hammering his guitars and bass until the very end.

Not only a seasoned musician who has already played with tons of amazing underground bands the likes of Eschaton, Goratory, Pillory, Serpent of Gnosis, Vile, In Asymmetry, Virulence, Hideous Deformity, Arsis, Blasphemer, Deeds of Flesh, Incinerate , Burn in Silence, Strappado, and Embers from Cremation, Darren has also studied Performance: Percussion at Berklee College of Music, and appeared as a guest drummer in the video game Call of Duty: Black Ops II, just to give you an idea of how talented he is, and how he crafted Surge of Cruelty to sound as catchy as razor wire through flesh, offering a blend of Technical and Brutal Death Metal of the highest order. You can find more information about him on Facebook, and put your dirty hands on Surge Of Cruelty via Comatose Music’s BandCamp or webstore, supporting such an amazing underground musician in his quest for extreme music.

Best moments of the album: Devout Sacrifice, A Blood-Soaked Offering and Innocence is Raped.

Worst moments of the album: Ritual Carnage.

Released in 2025 Comatose Music

Track listing
1. Your Slow Demise 4:29
2. Devout Sacrifice 4:29
3. Surge of Cruelty 4:32
4. Consenting Brood 3:19
5. A Blood-Soaked Offering 3:41
6. Ritual Carnage (Instrumental) 1:34
7. Tribal Savagery 3:40
8. Tortured Flesh 4:58
9. Mark of the Demons 5:07
10. Innocence is Raped 3:48
11. Hung from the Rafters 4:03

Band members
Darren Cesca – vocals, all instruments

Guest musician
Mac Smith – vocals on “Devout Sacrifice”
Brian Forgue – vocals on “A Blood-Soaked Offering”
Adam Mason – vocals on “Tortured Flesh”
Flo Butcher – vocals on “Mark of the Demons”

Concert Review – Killswitch Engage (Xfinity Center, Mansfield, MA, 07/22/2025)

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***Review and photos by Jaffer Hasan***

Killswitch Engage Light Up the Xfinity Center with Ferocity and Fire at Summer of Loud.

If there was ever a band built to headline a summer metal fest in their home state, it’s KILLSWITCH ENGAGE. At this year’s Summer of Loud at the Xfinity Center in Mansfield, the local legends proved once again why they’re not just mainstays of the metalcore scene—they’re masters of controlled chaos.

Fire, Fury, and Flawless Execution

Before a single note rang out, the stage was already alive with tension. Not from the crowd (who were more than ready), but from the impressive pyrotechnics rig surrounding the band’s setup. Pyro-heavy shows are no joke—and when you’re playing with fire, literally, precision and safety are non-negotiable. The Killswitch crew made it look effortless. From a behind-the-lens view in the pit, you could see just how dialed-in everyone was. Flames exploded into the air in perfect rhythm with the music—sometimes close enough to feel the heat slap your skin. For those of us in the photo pit, it was a surreal moment: we were laughing to ourselves while trying not to get roasted. A high-wire act of fire and fury pulled off without a hitch. Huge respect to the crew and the band for making that kind of spectacle look smooth and safe. That doesn’t happen by accident.

Right Into the Fire – The Setlist Ignites

Without delay, Killswitch Engage tore into their set with “Rose of Sharyn.” No intro, no easing in—just full-throttle power from the first beat. The opening riff dropped like a hammer, and the crowd erupted. From the pit to the back lawn, fists flew and bodies moved. The band wasted no time keeping the pace unrelenting, diving straight into “In Due Time,” which had the entire amphitheater screaming along. By the time “This Fire” hit, the title became literal. Jetting flame columns lit up the stage as if trying to keep up with the intensity pouring off it. At times, it felt less like a concert and more like a battlefield with guitars.

Adam D. & the Band – Iconic and Unhinged in the Best Way

Guitarist Adam Dutkiewicz, clad in his trademark “I’m With Stupid” shirt, was a burst of energy and humor in the chaos, sprinting across the stage, launching high kicks, and headbanging with wild precision. It’s his blend of comedic showmanship and musical mastery that keeps Killswitch shows so unique—it’s heavy, but it’s never self-serious.

Vocalist Jesse Leach was in peak form, delivering both growling aggression and soaring clean vocals with conviction, channeling raw emotion into every lyric. Whether he was screaming into the lights or putting his hand to his heart during the more emotional moments, the connection with the crowd was real.

A Tribute to a Titan

As the night neared its end, the band closed their set with their now-legendary cover of Dio’s “Holy Diver,” a track they’ve long made their own. But this time, it carried a different weight. Just hours before the show, the metal world had been rocked by the passing of Ozzy Osbourne—a foundational figure in the genre’s history.

Before launching into “Holy Diver,” Leach addressed the crowd with reverence, dedicating the song to Ozzy’s memory and legacy. It was a perfect moment of tribute—honoring a godfather of metal with the power of performance rather than words. The crowd responded with horns in the air, voices raised, and hearts full.

Final Thoughts

Killswitch Engage didn’t just play a show at Summer of Loud—they lit the place on fire. Quite literally at times. It was a celebration of metal, a masterclass in live performance, and a hometown throwdown wrapped in flame and ferocity. For fans in the pit, on the lawn, and behind the lens, it was a night to remember—one that reminded us how cathartic, powerful, and straight-up fun a metal show can be when it’s done right. And if you were there, you felt it: the heat, the heart, the history. Killswitch Engage came home—and they burned it down in the best way possible.

Setlist
Rose of Sharyn
In Due Time
This Fire
I Believe
Hate by Design
Forever Aligned
The Signal Fire
My Curse
Aftermath
The End of Heartache
My Last Serenade
Holy Diver (Dio cover)

Band members
Jesse Leach – lead vocals
Adam Dutkiewicz – lead guitars, backing vocals
Joel Stroetzel – rhythm guitars, backing vocals
Mike D’Antonio – bass
Justin Foley – drums

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Concert Review – Marilyn Manson (House of Blues, Boston, MA, 05/10/2025)

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***Review and photos by Jaffer Hasan***

Marilyn Manson Returns to Boston with Blood, Snow, and Thunder at the House of Blues.

It wasn’t just a concert — it was a resurrection.

MARILYN MANSON stormed back into Boston’s House of Blues (currently known as Citizens House of Blues) like a gothic godfather reclaiming his altar. The room was beyond packed — shoulder to shoulder, boot to boot, black lace clashing with leather jackets in a tightly wound pit of anticipation. The sweat was already dripping before the lights even dropped, and yet no one seemed to care. We were all there for the same reason: to feel something sharp, loud, and unforgettable.

The curtain stayed drawn, but a sickly green light started pulsing behind it. A low hum bled into the room, like an electric prayer. Then came the sound — low and ominous at first, like something bubbling up from a haunted basement. It got heavier. The green turned blood red. The tension climbed. Then, all at once, it dropped.

Manson emerged — no delay, no ceremony. Just impact. The Antichrist Superstar himself, boots hitting the stage like a war drum, launching full-throttle into “Disposable Teens.” The crowd exploded. It wasn’t just noise; it was a roar — primal, unified, almost spiritual. You could feel it in your ribs.

His voice? As dangerous and commanding as it ever was. His presence? Still that eerie blend of preacher and predator. Between verses, he paused to acknowledge the city: “Boston… I missed you. And they won’t take you away from me.” Each time he said it, the room got louder. Fans shrieked, fists shot up, people climbed on each other’s shoulders like they were trying to reach him physically.

At several points in the show, in a perfectly grotesque Manson flourish, he’d grab a crisp tour shirt from the stage setup, wipe the sweat from his face and chest with it like it was a communion cloth — then fling it into the sea of hands with a smirk. It wasn’t just merch at that point. It was a souvenir soaked in madness, and fans clawed for it like it meant salvation.

The setlist played like a requiem for the old world — each track crashing harder than the last. “The Beautiful People” turned the floor into a writhing sea of bodies, and “mOBSCENE” brought out the chaos with such force it almost tore the walls off. Crowd surfers popped up like popcorn, riding waves of hands and howling like lunatics.

But Manson’s not just about chaos — he’s about control. He wielded the atmosphere like a weapon, tightening and releasing with perfect timing. Energy? It never dipped. Not once. Even the walls were sweating.

And just when it felt like we’d hit the limit, the encore delivered the sucker punch. Fake snow — pure white, cascading down like ash — poured across the stage as Manson drifted into a haunting, theatrical version of “Coma White.” It was strange, beautiful, and totally unhinged.

Then — the real surprise. With a wry smile and a devilish glint, he launched into a cover of Phil Collins’ “In the Air Tonight.” Darker, slower, and more menacing than ever. That iconic drum break? It hit like a sledgehammer to the chest. The whole place lost it.

In a world obsessed with reinvention, Manson doesn’t have to change — he just has to show up. And when he does, it’s not just a concert. It’s a ritual.

Boston will be feeling this one for a long time.

Setlist
Nod If You Understand
Disposable Teens
Get Your Gunn
Tourniquet
This Is the New Shit
Sacrilegious
The Nobodies
Say10
mOBSCENE
Long Hard Road Out of Hell
The Dope Show
As Sick as the Secrets Within
Sweet Dreams (Are Made of This) (Eurythmics cover)
The Beautiful People

Encore:
In the Air Tonight (Phil Collins cover)

Encore 2:
Coma White
One Assassination Under God

Band members
Marilyn Manson – lead vocals
Tyler Bates – guitars, keyboards, backing vocals
Reba Meyers – guitars, backing vocals
Piggy D. – bass, backing vocals
Gil Sharone – drums

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Album Review – Eschaton / Techtalitarian (2025)

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This Technical Death Metal and Deathcore juggernaut returns after a gap of six years with a reinvigorated, star-studded lineup, offering us all their breathtaking, intricate and demented third studio album.

Formed in 2006 and based in both Naugatuck, Connecticut and Lowell, Massachusetts, Technical Death Metal/Deathcore juggernaut Eschaton returns after a gap of six years with a reinvigorated, star-studded lineup that undoubtedly elevates their sound to hitherto unexplored heights, exploding our senses with their third full-length offering, entitled Techtalitarian. Displaying an Aliens-inspired artwork by Dave Melvin, the new beast by vocalist Mac Smith (Apogean, Abyssalis, Hammer of Dawn), guitarists Christian Muenzner (Retromorphosis, Eternity’s End, Necrophagist, Obscura, Alkaloid) and Josh Berry (the band’s founder), bassist Scott Bradley (Inanimate Existence), and drummer Darren Cesca (Goratory, Serpents of Gnosis, Pillory, Deeds of Flesh, Arsis) is the perfect follow-up to their 2019 album Death Obsession, standing on its own without having to be necessarily pitted against any of the aforementioned bands’ past efforts.

Their futuristic Death Metal attack begins with Inferior Superior, with Darren simply demolishing everything and everyone that dares to cross his path while Mac fires inhumane roars for our total delight, and the sick shredding by Christian and Josh set the tone in Devour the Contrarian, another bestial tune overflowing heaviness and insanity. Then their violent sounds will hammer our heads mercilessly in Blood of the People, where they showcase all their dexterity while also staying loyal to the foundations of the most ruthless form of Death Metal, whereas more demented riffs, solos, blast beats and demonic vociferations are offered to our avid ears in Hellfire’s Woe, perfect for some wicked headbanging, with Scott’s bass lines sounding utterly metallic. And The Bellicose Duality sounds even more infuriated and insane than its predecessors, with the entire band melting our faces with their undisputed Technical Death Metal sounds.

The album continues on a high and visceral note with Econocracy, with Darren once again demolishing his drums with tons of rage and dexterity while Mac barks and growls like a rabid beast nonstop; and in Antimatter the rabid Mac vociferates the song’s wicked lyrics manically (“Bleeding from inanimate spiracles / Metonymy of our existence / Our roaming stative / Repelling forces within all existence”) amidst a hurricane of aggressive yet complex Death Metal. Techtalitarian, the song that carries the name of the album, perfectly summarizes Eschaton’s current sound, a striking combination of violence with the most technical form of extreme music you can imagine. Darren also dictates the pace in The Sufferer’s Dichotomy, while Christian and Josh extract sheer insanity from their axes; followed by the closing tune Castle Strnad, which might be their homage to Trevor Strnad of The Black Dahlia Murder, who sadly passed away on May 11, 2022. Not sure if that’s the case, but even if it’s not, this is another neck-breaking, unrelenting display of first-class Death Metal by the band.

You can put your tech death hands on Techtalitarian by purchasing a copy of it from their own BandCamp, as well as from the Transcending Obscurity Records’ main store, Bandcamp, Europe store or US store, and don’t forget to also follow the band on Facebook and on Instagram, and to stream more of their demented creations on Spotify or any other streaming service. Eschaton are back into the Death Metal battlefield stronger and sharper than ever, staying loyal to their foundations but of course with the renewed energy brought by the band’s new members turning their heat and aggression up to 11, and if you consider yourself a loyal servant of the extreme music arts, always staying tech, then Techtalitarian is a must-have in your dark and heavy collection.

Best moments of the album: Hellfire’s Woe, The Bellicose Duality and Techtalitarian.

Worst moments of the album: None.

Released in 2025 Transcending Obscurity Records

Track listing
1. Inferior Superior 4:12
2. Devour the Contrarian 3:46
3. Blood of the People 4:51
4. Hellfire’s Woe 5:04
5. The Bellicose Duality 4:24
6. Econocracy 5:28
7. Antimatter 4:02
8. Techtalitarian 4:00
9. The Sufferer’s Dichotomy 4:20
10. Castle Strnad 5:21

Band members
Mac Smith – vocals
Christian Muenzner – lead guitars
Josh Berry – guitars
Scott Bradley – bass
Darren Cesca – drums

Album Review – Aversed / Erasure of Color (2025)

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Boston, Massachusetts’ own Progressive/Melodic Death Metal beast returns with their sophomore album, presenting a glimpse of hope and beauty on a backdrop of raging, mournful extreme music.

Four years after the release of their critically acclaimed first full-length album Impermanent, Boston, Massachusetts’ own Progressive/Melodic Death Metal beast Aversed returns in full force with their sophomore opus, entitled Erasure of Color, bringing forward more of what the band itself likes to label as “Gothic Extreme Metal”. Currently formed of Sarah Hartman on vocals, Sungwoo Jeong and Alden Marchand on the guitars, Martin Epstein on bass, and Jeff Saltzman on drums, Aversed showcase endless rage and yearning in their new album, presenting a glimpse of hope and beauty on a backdrop of raging, mournful extreme music.

It’s pedal to the metal from the very first second in To Cover Up the Sky, with Sarah already proving why she was chosen to be the band’s new frontwoman in an interesting fusion of Death Metal with the sounds by bands like Jinjer and The Agonist. Then in Cross to Bear we face cryptic lyrics barked by Sarah (“Allow no joy / Because I am only me when I bereave / All my warmth pushed below the surface / Allow no joy, no exhilaration / I do not feel like me, anymore”) while Sungwoo and Alden extract sheer electricity from their axes. “In 1905, a French physician, Dr. Jacques Beaurieux, performed an experiment on prisoners condemned to die by guillotine. Immediately after his subjects were decapitated, he called out their names seeking to determine to what extent and for how long consciousness remained in their detached skulls”, commented the band, and that was the inspiration for Lucid Decapitation, again investing in a Jinjer-infused Progressive Metal sonority, with the bass by Martin sounding truly metallic; whereas in Inexorable they get back to a more vicious, enraged vibe, while also sounding melodic and embracing, albeit not as dynamic and inspired as the other songs.

The album continues on a high note with Burn, again venturing through the realms of classic Melodic Death Metal, with Jeff dictating the song’s pace with his unstoppable, hammering drums; while Solitary starts in a more introspective manner to the clean vocals by Sarah, showcasing the band’s more progressive and experimental side, and gradually evolving into a Melodic Death Metal aria before ending in a climatic and visceral vibe. Then the title-track Erasure of Color brings forward an avalanche of heaviness to the vicious roars by Sarah and the stylish, piercing guitars by Sungwoo and Alden, again sounding absolutely progressive from start to finish. And before all is said and done the band offers the whimsical interlude Yearning, prepping our souls for one final onrush of melodeath titled Departures, where the band delivers a more cadenced sonority perfect for Sarah’s clean and harsh vocals, even sounding radio-friendly at times, with all changes inside the music keeping it vibrant and fresh.

Fans of bands like Arch Enemy, At The Gates, The Agonist, Cradle of Filth, and Katatonia, among several others, will have an absolute blast listening to Erasure of Color, available for purchase from the band’s own BandCamp, or simply by clicking HERE. Aversed definitely know how to blend the harshness of Death Metal with melodic and gothic styles, and if you want to know more about the band, their plans for the future, and obviously their tour dates, you can find them on Facebook and on Instagram, subscribe to their YouTube channel, and stream their music on Spotify or any other service. Although the title of the album points to the lack of any color, let’s say the music found in the album is quite the opposite, a colorful, diverse and thrilling amalgamation of styles that will inspire the band to keep moving forward no matter what, always reinventing themselves and keeping us eager for more of their thrilling creations.

Best moments of the album: To Cover Up the Sky, Lucid Decapitation and Erasure of Color.

Worst moments of the album: Inexorable.

Released in 2025 M-Theory Audio

Track listing
1. To Cover Up the Sky 4:26
2. Cross to Bear 4:05
3. Lucid Decapitation 5:17
4. Inexorable 5:13
5. Burn 3:46
6. Solitary 5:42
7. Erasure of Color 4:19
8. Yearning 1:30
9. Departures 5:29

Band members
Sarah Hartman – vocals
Sungwoo Jeong – guitars
Alden Marchand – guitars
Martin Epstein – bass
Jeff Saltzman – drums

Album Review – Pathogenic / Crowned in Corpses (2025)

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This American Progressive/Technical Death Metal outfit makes their triumphant return to the battlefield with eight tracks of devastating power and haunting warnings of the darkness that lies ahead.

Boston, Massachusetts-based Progressive/Technical Death Metal outfit Pathogenic makes a triumphant return with the release of Crowned in Corpses, a brutal and immersive display of prog and tech death. This marks their first full-length release in over half a decade, promising a bold evolution of their signature brand while retaining the intensity that has defined the band for years. Produced and engineered by Pathogenic, Raymond Marte, and Anthony Lopardo, recorded at Westfall Recording Studio and at Chris Gardino’s Crispy Crackers Audio Emporium, and mixed and mastered by Raymond Marte, the newborn beast by vocalist Jake Burns, guitarists Chris Gardino and Justin Lich, bassist Dan Leahy and drummer Tyler Montaquila is a ferocious musical declaration, offering the listener eight tracks of devastating power and haunting warnings of the darkness that lies ahead.

Just hit play and an avalanche of technical and visceral sounds will hit you hard in Mass Grave Memory, with Chris and Justin showing all their dexterity armed with their stringed axes, followed by The New Rot, a lecture in modern-day Technical Death Metal with enhanced brutality thanks to the venomous drums by Tyler. Then the riffage by the band’s guitar duo revs up their Death Metal engine in Dead But Not At Rest, again offering a high dosage of violence flowing from Jake’s roars, and it’s time to slam into the circle pit to the demolishing Exiled from the Abyss, a beyond metallic, in-your-face, ruthless creation by the quintet, with the thunderous bass by Dan bringing sheer groove to the overall result.

Fragments showcases a more cadenced, atmospheric and sinister side of the band, not as visceral and exciting as the other songs, though, while back to a much more infuriated mode the quintet will hammer our putrid bodies with the title-track Crowned in Corpses, where Jake roars like a beast accompanied by the massive, intricate beats and fills by Tyler. Chris and Justin’s riffs, supported by the ruthless bass lines by Dan, will penetrate deep inside our skin in Drag Your Crosses, a first-class Technical Death Metal onrush perfect for some action inside the circle pit; and last but not least, the band will embrace us with in a Death Metal aura with eight minutes of scorching riffs, damned vociferations and crushing drums in Silicon Regime, properly ending such a great comeback by Pathogenic.

Bringing to our avid ears over 42 punishing minutes, the album offers us all labyrinthine riffs, relentless rhythms, and chilling visions of a decaying world, showcasing a sound that is ferocious, intricate, and unapologetically heavy. Hence, in order to show Pathogeinc how much you missed their sonic savagery, go give them a shout on Facebook and on Instagram, subscribe to their YouTube channel, stream their wicked music on Spotify, and purchase Crowned in Corpses from their own BandCamp page, from Skepsis Records, or by clicking HERE, welcoming the band back to the scene while also beautifully crowning them in corpses.

Best moments of the album: The New Rot, Exiled from the Abyss and Drag Your Crosses.

Worst moments of the album: Fragments.

Released in 2025 Skepsis Records

Track listing
1. Mass Grave Memory 4:30
2. The New Rot 5:32
3. Dead But Not At Rest 4:58
4. Exiled from the Abyss 4:28
5. Fragments 7:14
6. Crowned in Corpses 3:37
7. Drag Your Crosses 4:12
8. Silicon Regime 8:08

Band members
Jake Burns – vocals
Chris Gardino – guitar
Justin Lich – guitar
Dan Leahy – bass
Tyler Montaquila – drums

Concert Review – Abbath (The Phoenix Concert Theatre, Toronto, ON, 05/12/2024)

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Despite a ridiculously small crowd, the iconic Abbath and his horde didn’t care at all about that and put on a fantastic performance in a celebration of pure Black Metal in Toronto.

OPENING ACTS: Final Gasp, Black Anvil and Imperial Triumphant

It was a very weird night at The Phoenix Concert Theatre on Sunday, when FINAL GASP, IMPERIAL TRIUMPHANT, BLACK ANVIL and ABBATH presented their Dread Reaver North America 2024 to maybe less than 200 people (at a venue that supports close to 1,500 people), and I knew something was odd when I got to the venue and, to my total surprise, the parking lot in front of it was absolutely empty, when it’s usually full hours before any concert there. Based on what other people told me, the reasons for that very small crowd were of course Mother’s Day, the show being on a Sunday, and above all that, the fact that Abbath played the night before in Kitchener, which is only one hour from Toronto, so no one from any of the neighboring cities decided to come to Toronto as they could enjoy the same show on a much more pleasant Saturday night. It’s known that Noel Peters of Inertia Entertainment tried to move the show to Lee’s Palace, but that was already booked for something else. There wasn’t even a barrier for the photographers, so Keith Ibbitson of Metal Paparazzi and the others like Kim and Miles simply had to share the floor section with the crowd. It was very weird, but it is what it is, and in the end all four bands kicked ass on stage which is what really matters.

From when the doors opened at 6pm until Boston, Massachusetts-based Gothic Metal/Deathrock band FINAL GASP hit the stage, I don’t think there were even 30 people at the venue, but the band didn’t care about the low attendance and put on a great show, blasting sheer heaviness from their instruments nonstop. I have zero idea of which songs they played, but I know that their 2023 album Mourning Moon is really good, and that everyone should take a nice listen at it on BandCamp or on Spotify. It’s a real bummer that the whole night was a flop in terms of attendance because bands like Final Gasp are very entertaining live, so hopefully they’ll come back to Toronto supporting another metal giant in the coming months, and this time with a decent crowd to bang their heads together with the band.

Band members
Jake Murphy – vocals
James Forsythe – guitars
Peter Micanovic – guitars
Sean Rose – bass
Eric Lester – drums

After a short and very quiet break, New York’s own Black/Thrash Metal beast BLACK ANVIL kicked off their infernal set to a bigger but still ridiculously small crowd, and just like Final Gasp the guys from Black Anvil were extremely professional and put their hearts and souls into their performance without caring at all if there were 10 or 2,000 people in the audience. There were zero mosh pits again, which was very odd, but the show must go on, right? Anyway, their drummer R.G. is a demented beast and it’s worth every penny of the ticket price alone, and hopefully one day he’ll get the recognition he deserves for being so great behind his drums. P.D. was also infernal on vocals and bass, leading his demonic horde in great fashion and getting a very warm feedback form the crowd. Go check their music on BandCamp and on Spotify, like their 2022 album Regenesis, because their music is amazing and perfect for some vigorous headbanging.

Band members
P.D. – vocals, bass
Sos – guitars
Alex Volonino – guitars
R.G. – drums

Another short and silent break, and it was then time for the most unique attraction of the night, New York-based Avant-garde/Technical Black/Death Metal entity IMPERIAL TRIUMPHANT, to blast our faces with an extremely heavy, cryptic and chaotic performance, again sounding very energetic and professional even in front of the night’s tiny crowd. Still promoting their 2022 album Spirit of Ecstasy, the trio formed of Zachary Ezrin on vocals and guitars, Steven Blanco on bass and backing vocals, and Kenny Grohowski on drums showed no mercy for our souls with a dissonant, mesmerizing and way too foggy show, stunning us all and getting us really pumped for Abbath. Steven even hit the floor section with his bass, playing in the middle of the 100 something fans at the venue, making their whole concert more intimate and gripping. Hence, if you know nothing about those mysterious creatures, don’t forget to check their music on BandCamp and on Spotify, as I’m sure you’ll have a good time listening to their eerie creations.

Band members
Zachary Ezrin – vocals, guitars
Steven Blanco – bass, backing vocals
Kenny Grohowski – drums 

ABBATH

As already mentioned, due to the Saturday gig in Kitchener, most fans who were supposed to be in Toronto on Sunday to see Bergen, Norway’s own Black Metal institution ABBATH didn’t come to Sunday’s show, but the brave ones who managed to be at the venue were treated to a very special and intimate concert by Abbath and his horde, and let me tell you that it was infernal, heavy and bold from start to finish. The whole band played all songs from their setlist to perfection, and the mix of songs from Abbath’s three solo albums, those being his self-titled debut, Outstrider, and Dread Reaver, such as To War!, Hecate, Ashes of the Damned, and my favorite of the night, Winterbane, with some Immortal and I songs like In My Kingdom Cold, Warriors, and One by One, turned the night into a true celebration of classic Black Metal. No mosh pits either, which was even more ridiculous, but there wasn’t much we could do about that.

My only complaint about their show was the excessive smoke during all songs, to the point we couldn’t see anything from Abbath’s attire or makeup. Why does he wear all that if the fans can’t see shit due to the smoke? Well, at least the music as phenomenal, which is what truly matters in the end. Speaking of Abbath, the guy was a beast onstage, showing that his rehab was more than successful and that he still has a lot of fuel to burn in the coming years or even decades for our absolute delight. It was a beyond memorable show, even for a ridiculous crowd, but I’m sure Abbath will return to Toronto soon, and next time the scheduling and logistics will be better managed so he can see what the fans in Toronto can do when he’s playing his visceral Black Metal onstage.

Setlist
To War!
Acid Haze
Dream Cull
Hecate
Ashes of the Damned
Dread Reaver
In My Kingdom Cold (Immortal cover)
Beyond the North Waves (Immortal cover)
Nebular Ravens Winter (Immortal cover)
Warriors (I cover)
Battalions (I cover)
The Artifex
One by One (Immortal cover)
Winterbane
All Shall Fall (Immortal cover)

Band members
Abbath – vocals, guitars
Ole André Farstad – lead and acoustic guitars
Andreas Salbu – bass
Ukri Suvilehto – drums

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