A Post-Hardcore/Mathcore creature from Columbus, Ohio will attack your senses with the chaotic intensity and politically-charged lyrics of their sophomore album.
Since their formation in 2018, Columbus, Ohio’s own Post-Hardcore/Mathcore creature For Your Health has been building a reputation for chaotic intensity, visceral live performances, and politically-charged lyrics. Now in 2025 the band currently comprised of vocalist Hayden Rodriguez, guitarists Nick Marzluf and Rosa Delgado, bassist Johnny Deborde, and keyboardist Simona Morales has just released their sophomore album, titled This Bitter Garden, following the band’s acclaimed 2021 debut full-length In Spite Of. Recorded in only 15 days, with the band working with producer Eric Hudson at a studio “repurposed from an old church in the sticks of Illinois”, with an eerie artwork by the band’s own Simona Morales, and featuring session drummer Caden Clinton, the album sounds utterly harsh, haunting and caustic, helping the band in paving their Stygian path armed with their undisputed, impactful music.
The band takes no prisoners and begin distilling their noisy sounds in Davenport (A Rotten Pear), with Hayden screaming manically nonstop, followed by Flowers For The Worst Of Them, bringing forward a great fusion of Hardcore with progressive elements, with Nick and Rosa extracting sheer adrenaline from their guitars. Then the rumbling drums by Caden dictate the pace in the also melodic yet visceral With Empty Promises & Loaded Guns, perfect for some action inside the pit, and it’s pedal to the metal in the demented Gaia Wept, where Hayden’s vile screams are nicely boosted by the song’s violent beats. After such an insane sonic attack, the band delivers more melodic sounds in the form of Clementine, followed by the weird The Radiant Apostasy, a short and eerie display of the band’s core sonority.
Heaven, Here begins in a more serene mode to the sound of the piano by Simona, flowing smoothly while adding a good share of melancholy to the album before all explodes in absolute chaos and madness in Longinus, led by another wicked performance by the band’s guitar duo supported by Johnny’s bass. The Rotting Pair is undoubtedly one of the most detailed and complex of all songs thanks to the amazing job done by all band members armed with their sonic weapons, with Hayden’s striking vocals being the icing on the cake; and they keep hammering their instruments without mercy in In The Valley of Weeping, resulting in another frantic display of Post-Metal with Hardcore influences. Then they need less than two minutes once again to kick us hard in the ass with Lamb Without Fold, with the blast beats by Caden sounding heavier than hell. Your New Curse follows a similar pattern, with Hayden showcasing pure insanity and rage through his screams, and the band concludes their wild feast with the longest of all tracks, Hostel Elysia, starting in an enfolding manner until their venomous vein bursts once again.
“These songs are a true distillation of all the sonic ideas we’ve explored previously and our different interests,” shared guitarist Rosa Delgado. “Hayden has a strong appreciation for film. We’re coupling his world-building and atmosphere with the immediacy, urgency, and brutality of our early material. We’re always striving to challenge ourselves. This Bitter Garden is an expansion of everything before.” Vocalist Hayden Rodriguez also had some interesting words to say about the album. “This Bitter Garden is the first recording where we got to express ourselves as the full band we’ve been playing as for the last four years. Everyone’s voice comes through. We’ve progressed, but it still feels like For Your Health.” Hence, in order to experience the sonic attack by For Your Health in all of its glory, you should start following the band on Facebook and on Instagram, and above all that, grab a copy of their new album from the band’s own BandCamp, from the 3DOT Recordings’ webstore or by clicking HERE. The music by For Your Health might not seem too aggressive at first, but once you’re embraced by their scorching noise and grim lyrics, you’ll then realize Hardcore has never sounded so intense nd violent.
Best moments of the album:Flowers For The Worst Of Them, Gaia Wept and The Rotting Pair.
Worst moments of the album:The Radiant Apostasy.
Released in 2025 3DOT Recordings
Track listing 1. Davenport (A Rotten Pear) 2:02
2. Flowers For The Worst Of Them 3:18
3. With Empty Promises & Loaded Guns 3:29
4. Gaia Wept 1:40
5. Clementine 3:36
6. The Radiant Apostasy 1:53
7. Heaven, Here 3:10
8. Longinus 1:59
9. The Rotting Pair 4:26
10. In The Valley of Weeping 4:07
11. Lamb Without Fold 1:46
12. Your New Curse 1:46
13. Hostel Elysia 5:01
Band members Hayden Rodriguez – vocals
Nick Marzluf – guitar, vocals
Rosa Delgado – guitar, vocals
Johnny Deborde – bass
Simona Morales – keyboards, piano, synthesizers, vocals
One of the most technical and violent bands of the current American scene returns with their fulminating third full-length offering, showcasing their trademark scathing intensity and forceful execution.
Two years after their devastating album Moksha, Huntington Beach, California, United States-based Technical/Progressive Death Metal outfit The Last of Lucy finetunes their sound, blending elements of Technical Death Metal, Mathcore, a bit of Brutal Death Metal, and even bring back aspects of their debut on their latest full-length opus, entitled Godform. Mixed and mastered by Dave Otero at Flatline Audio Studio, and displaying a sick artwork by Pär Olofsson, the new album by Josh De La Sol on vocals, Gad Gidon on the guitars, Derek Santistevan on bass, and Josef Hossain-Kay on drums showcases the band’s trademark scathing intensity and forceful execution, along with their knack for writing catchy music and shuffling things around, casting out any semblance of complacency from taking shape in the minds of the listener and, consequently, being highly recommended for fans of Inferi, The Faceless, Archspire, The Zenith Passage, and Godless Truth, among others.
Wormhole provides a more than an infernal start to the album, with Josef already decimating our cranial skulls with his hammering drums while Josh barks and roars like a beast, or in other words, it’s the epitome of modern-day Technical Death Metal by one of the best bands of the genre. They keep blasting their ruthless yet very intricate sounds in Empyreal Banisher, also bringing elements from Deathcore which is kind of in line with their beginnings, not to mention the amazing job by Gad with both his riffs and solos, followed by Twin Flame, sounding and feeling freakin’ demonic while also presenting ethereal, smooth passages, in special the ones with the saxophone, resulting in a very detailed tune that should work really well if played live. In Shedim Séance we face two minutes of first-class Technical Death Metal by the quartet condensing all their fury, rage and dexterity in a short but extremely caustic composition; and there’s no sign of slowing down at all, as Sanguinary Solace is pedal to the metal to the infuriated riffs by Gad while Derek hammers his bass frantically.
Gad continues to impress with his top-notch technique in Sentinel Codex, delivering wicked riffs perfect for the demented growls by Josh in another Technical Death Metal beast by the quartet, followed by Darkest Night of the Soul, portraying a beautiful name for one of the most complex, multi-layered songs of the album where their Death Metal vein pulses harder than ever, all spearheaded by the pulverizing beats by Josef. Angelic Gateway is another short and sweet explosion of Technical Death Metal with Deathcore nuances, with Gad yet again sounding ruthless armed with his axe. Two more songs to go and they still have a lot of fuel to burn starting with Anima Flux, where their riffs, bass and drums match perfectly with the wicked guttural by Josh, and last but not least the quartet will pierce our damned souls with the title-track Godform, bringing forward another shot of their trademark Death Metal extravaganza, with Derek and Josef making the earth tremble with their sick bass and drums.
Godform is one of those albums that you must listen to if you have Death Metal running through your veins, as it’s not only brutal and visceral, but the level of intricacy and dexterity brought forward by The Last of Lucy throughout the entire album is majestic. Hence, don’t forget to give them a shout on Facebook and on Instagram, getting up to date with their news, including tour dates, to stream their sick creations on Spotify or on any other streaming service, and above all that, to purchase a copy of the fulminating Godform from their own BandCamp page or from the Transcending Obscurity Records webstore by clicking HERE, HERE or HERE, and also click HERE for all things The Last of Lucy, letting their venomous yet extremely technical sounds penetrate deep inside your damned soul and mercilessly burn you from inside.
Best moments of the album:Wormhole, Twin Flame, Shedim Séance and Darkest Night of the Soul.
Enjoy the Progressive Metalcore blasted by a promising Swiss band in their second EP, blending different styles in a hypnotic atmosphere with a desire to present a scenic performance of sound and light.
Hailing from Yverdon Les Bains, a municipality in the district of Jura-Nord vaudois of the canton of Vaud in French-speaking Switzerland, Progressive Metalcore (or “Prog-core”, if you prefer) act Lasskahl tries to blend different styles in a hypnotic atmosphere with a desire to present a scenic performance of sound and light, all while looking for the perfect mix between breakdown and delicacy as well as a complex part in syncopated rhythms. Now in 2023 the band formed of Stefano Montemari on vocals, Ludovic Coker and Philip Calvet on the guitars, Kilian Rustichelli on bass and Yves Bidaux on drums is releasing their sophomore EP titled Seasons, highly recommended for lovers of the music by Monuments, Vola and Meshuggah, among others. Mixed and mastered by Simone Pietroforte at Divergent Studio and by Vladimir Cochet at Conatus Studio, Seasons is the follow-up to their 2015 self-titled debut EP, with each one of its four songs being released as individual singles between 2022 and 2023.
The thunderous bass by Kilian bring the groove to the opening tune Labyrinth Gates, accompanied by the pounding drums by Yves before Stefano attacks with his melodic vocals in a modern-day Metalcore feast full of progressive nuances. Then we have Clouds Above Chains, sounding harsher and more progressive, where Ludovic and Philip are absolutely on fire with their riffs from start to finish while Kilian continues to hit us hard in the head armed with his bass in a great display of Progressive Metalcore; whereas an ominous start quickly evolves into a rumbling Mathcore extravaganza in Faces From The Past, presenting ethereal background elements while Yves keeps hammering his drums, all of course spiced up by a demonic vocal performance by Stefano and, therefore, turning it into the strongest of all four songs. Lastly, the band enhances their darkness considerably in Grudge, Gift Of Suffering, with the guitar duo Ludovic and Philip kicking some ass with their metallic riffage while Stefano continues to declaim the song’s acid words in great fashion.
While the band is gearing up for the release of a full-length album closer to the end of the year, you can enjoy Seasons in its entirety on YouTube and on Spotify, and of course purchase a copy of it from their own BandCamp page if you enjoy the more progressive and groovy side of European Metalcore. Hence, don’t forget to also follow Lasskahl on Facebook and on Instagram for more details about the band, their music and their live concerts, showing all your support to the Swiss metal scene. If their upcoming album is just half as good as Seasons, all admirers of the genre will have a very good reason for banging their heads nonstop as soon as it’s released, because the 16 minutes of music found in the EP are already amazing enough to entertain us in the name of contemporary Metalcore.
Best moments of the album:Faces From The Past.
Worst moments of the album: None.
Released in 2023 Independent
Track listing 1. Labyrinth Gates 3:55
2. Clouds Above Chains 3:25
3. Faces From The Past 5:17
4. Grudge, Gift Of Suffering 3:37
Band members
Stefano Montemari – vocals
Ludovic Coker – guitar
Philip Calvet – guitar
Kilian Rustichelli – bass
Yves Bidaux – drums
After such a difficult year for all of us, let’s start 2021 off with a bang to the sound of the rumbling, menacing bass by a woman that has been nothing but amazing to the metal community with her refined skills, her passion for heavy music and her immensurable contribution to the Heavy Metal, Hard Rock and Metalcore scene. Not only that, she’s also a very talented singer and pianist, showcasing all her versatility and allowing her to take part in any type of band from an array of styles. Born on January 11, 1979 in Springfield, Massachusetts, in the United States, Jeanne Sagan (also known as Jeanne Wawrzyniak) is the ass-kicking bassist and backing vocalist for American Heavy Metal band Crossing Rubicon, and also known as the former bassist and backing vocalist for American Heavy Metal/Metalcore band All That Remains from 2006 to 2015, having been embellishing the airwaves with her bass since 2001 and, more important than that, being ready to make this new year that has just been born a lot more fun with her music.
Having also played for a band called The Acacia Strain in 2003, Jeanne originally worked merchandise tables for Prosthetic Records before being called to join All That Remains in 2006 to replace their former bassist Matt Deis, which was by the way a funny story according to Jeanne herself as she had moved out to Arizona thinking she was done with Massachusetts, but after meeting someone at the record label and started helping out she ended up getting back to her birth state. In addition, if you think she comes from a family of musicians let me tell you that you’re absolutely wrong. When asked if she grew up in a musical household, Jeanne said that she only started in the world of music when she was in sixth grade, picking up the trumpet as her first instrument during high school, also mentioning her younger brother is also into music, DJ’ing and touring with bands, despite the fact their parents are not musicians. It was only when she was in college that she started playing bass and jamming with bands, and from that moment on the world of heavy music gained a new badass bass player.
Jeanne Sagan is also known as Jeanne Wawrzyniak due to the fact she’s married to American vocalist Scott Wawrzyniak, better known by his stage name of Scotty Anarchy, the frontman for metal bands Crossing Rubicon and Piercing Immortality. In one of their interviews together, Scott and Jeanne said they met through two mutual friends, Ian Jones and Rusty Kupier, sometime in 2011, with Scott saying he was instantly attracted to Jeanne’s passion and kindness, but as he was married at that time it wasn’t the right thing to do (and Jeanne said she used to run away from him because of that connection she felt with him). A few years later Scott was single and playing a Buckcherry show, and Jeanne approached her after the show to talk, asking for his number, and they have not stopped talking since, saying it’s easy to play in a band with his wife as he gets to look to his right every night and see his best friend, his soul mate and the love of his life sharing his passion with him. Jeanne complemented by saying their bond is greater and stronger than they could have ever dreamed, mentioning important milestones like their mutual fight for sobriety as one of the things that strengthen their relationship every single day.
Regarding her 10-year stint with American Metalcore band All That Remains, from 2006 to 2015, as aforementioned she joined the band while working on the merch table for Prosthetics Records, having recorded her first single with the band that same year, the excellent The Air That I Breathe, proving she was the perfect choice for handling the band’s bass duties. After that first single, Jeanne recorded an array of first-class albums with the band, those being The Fall of Ideals (2006), Overcome (2008), …for We Are Many (2010), A War You Cannot Win (2012) and The Order of Things (2015), as well as a live album and DVD in 2007 simply titled Live, and you can enjoy her rumbling bass smashing your senses in songs such as What If I Was Nothing, This Probably Won’t End Well, Two Weeks, The Last Time, Chiron and This Calling, or simply go to the band’s Spotify profile to stream each one of those albums in full.
However, in 2015 Jeanne announced her amicable departure from All That Remains in order to pursue personal interests (and by that I mean playing bass and backing vocals in Crossing Rubicon alongside her husband), being replaced by Aaron “Bubble” Patrick, formerly of the band Bury Your Dead. At the time of her departure form the band, Jeanne commented, “It is with heavy heart that I depart from All That Remains. I’ve decided to follow my heart and pursue other opportunities in life. I truly appreciate the amazing experiences and the great fans over the last decade. I wish ATR all the best going forward.” She said that just like in every band there are ups and downs to everything, and in that particular case the negatives started to outweigh the good, which drove her away eventually. She does take away growing as a person and as a musician, though, becoming more outgoing and overcoming insecurities, standing up for herself and getting the courage to follow her own path.
Now as the bass player and backing vocalist for American Heavy Metal/Hard Rock band Crossing Rubicon, Jeanne seems to be enjoying a lot more freedom in her bass playing style and in contributing to the band’s writing process, having already recorded with the band their two full-length albums so far, those being No Less than Everything, in 2016, and more recently Seeing Red, in 2019. Formed in 2009 in Bristol, Connecticut, in the United States, and having their name inspired by the expression “Crossing (the) Rubicon”, which means to pass a point of no return after Julius Caesar’s crossing of the river Rubicon in Italy in 49 BC, the band offers a molten blend of 80’s hooks and musicianship with modern rock power and relevance, having already opened for renowned acts including Mötley Crüe, Queensrÿche, Pop Evil and many more. Hence, if you want to enjoy some of the creations by Crossing Rubicon, simply search for them on Spotify or watch their official videos on YouTube for songs like The Fallen, Who’s Gonna Save You, I Will Remain and Seeing Red.
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Apart from her career with All That Remains and Crossing Rubicon, Jeanne is also featured in several other bands and projects, all hailing form the United States. For instance, she has been the bass player for a Mathcore band called Blood Has Been Shed, known for having two members of Killswitch Engage (Howard Jones and Justin Foley) in the band, since 2012, but nothing official has been released with Jeanne on the band so far (and no one knows if that will ever happen). She’s also a member of a Heavy Metal band called Piercing Immortality under the moniker Jeanne Anarchy, also with her husband Scotty Anarchy on vocals as mentioned before, playing bass and backing vocals on their 2018 EP Systematic Global Poisoning and on their 2019 EP Risen from the Ashes, and in her years before All That Remains she was the bassist for Metalcore band Ligeia, for Technical Metalcore band Light Is the Language (having recorded with them the EP The Void Falls Silent, in 2001), and for Metalcore band The Acacia Strain in 2003. In addition, you can also find Jeanne as the guest bassist for Stoner/Sludge Metal band Oxen in their 2015 album The Vanishing.
As any true rock and metal fan, Jeanne has a lot of different influences and idols regarding not only her playing style but also her looks. She said that apart from her past in the Hardcore scene, which has obviously had an impact on her style, she also considers both of Tool bass players (Paul D’Amour and Justin Chancellor) and Jason Newsted-era Metallica as her biggest influences in music. Furthermore, although she has always looked up to rock stars with larger than life personas like David Bowie, being a little envious of all his bright and vibrant hair colors, she said she’s never done anything too extreme with her appearance, considering herself more of a Janis Joplin than a Lady Gaga, and when asked about which bands or artists she enjoys listening to, she mentioned amazing options from the rock and metal scene including Hatebreed, Nine Inch Nails, The Cure, Smashing Pumpkins, The Smiths and so on. Her equipment is also a very important part of her career, and you can see her in different stages of her life using several ass-kicking pieces such as a black cherry Spector Legend 4 Classic four-string bass with EMG 35DC active pickups and Ampeg SVT bass amplifiers, a Soundgear 4-strings and an ARTB100 four-string (the latter of which can be seen in the music video for the song Hold On), Orange amplifiers and Omega speaker cabinets, Tiny Terror 1000 watt, Boss tuner, Darkglass B7K, and Shure wireless system.
Touring is obviously a crucial piece in the career of any rock and metal musician, and it couldn’t be any different than that with Jeanne. In one of her interviews, she talked about how important it is not only to put on a great show on stage, but also to hang out with the other bands, to meet new people, to do great interviews and to convince people who are seeing the band for the first time how great their music is. Apart from festivals like Graspop and Ozzfest, where not only she said she had an amazing time and was able to watch performances by bands she enjoys a lot like Dragonforce, Jeanne mentioned that she would like to return to festivals such as Download and Rock Am Ring, and to explore a little more countries like Japan. She also said that playing a lot of shows in a short span of time plus all the traveling can be a little exhausting, but that in the end she feels great after seeing so many happy fans attending the concerts. Moreover, in order to stay fit and put on a kick-ass show on stage, Jeanne and her bandmates said that they try to stay in shape by running a lot (around the parking lots), going to the gym and cooking on the bus (instead of eating junk food), usually having much healthier eating habits than if they were all at home.
Our dauntless bassist also has some interesting thoughts about the current state of metal in the digital age we’re all living in, saying that although metal is alive and kicking, a lot of people refused to change and got stuck in their old mentalities, fighting and ignoring downloading music instead of finding a way to use it as an advantage. However, if there’s one thing that annoys Jeanne is the fact that people keep taking pictures, recording everything and posting that online when her band is playing live instead of enjoying the show. “What does get annoying is people just staring at their phones when we’re playing and I wonder, are we doing our jobs right? What can we do to get their attention? We’re there to put on a show and that’s our focus,” complained our skillful bass player, and we must all agree with her that such behavior is indeed quite disturbing. Jeanne also talked about the fact she’s been doing a lot more vocals both in the studio and on stage, both clean and harsh ones, something that she used to be insecure about and learned how to overcome by practicing and preparing until making herself more confident.
Both Jeanne and her husband Scott have mentioned in several interviews about their fight against alcoholism, their struggles and how they managed to get clean and sober, something both are really proud of. Jeanne said that she used to drink to numb herself from things that were bothering her, and that after some time she talked to Scott about sobriety and they inspired each other to get sober and stay sober, having a reason to want to wake up every single day, open their eyes and live life together to the fullest. In addition, she mentioned their involvement with Road Recovery, an organization founded in 1998 that helps addiction through music, which is very inspiring and humbling from a sobriety standpoint, and we must all celebrate everything the couple has accomplished in their lives and career by getting clean and, therefore, having more energy, creativity and focus to apply to their music. Hence, if you want to know more about Jeanne, her career, her relationship with Scott, her adventures on the road and so on, go check some of her interviews on YouTube such as this one at Carolina Rebellion in 2013, this one at Rockstar Energy Mayhem Festival in 2008, and this one at Rockstar Energy Mayhem Festival in 2009, among several others, where you can see why Jeanne is not only a badass bass player, but also an awesome human being and a fantastic metalhead.
“I think that Metal is alive. It seems that people are stuck in mentalities and refuse to change. The industry fought and ignored downloading rather than finding a way to make it work for them. Also because of the Internet, people think they are going to be overnight stars—that goes for TV also. No one wants to put their nose to grind, but we will. We believe in ourselves and we believe in the scene.” – Jeanne Sagan
Immerse yourself in the debut full-length opus by four Indian metallers who are not afraid to experiment with the new and the unknown, always ready to push their own boundaries in heavy music.
Formed in late 2011 in Bangalore (also known as Bengaluru), the capital of India’s southern Karnataka state, Avantgarde/Progressive Metal entity Orchid is a four-piece band comprised of Kaushal on vocals, Vinay on the guitar, Rahil on bass and Mayur on drums that plays a dense and very distinct blend of Heavy Metal with several other genres and styles such as Progressive Rock, Hardcore and Psychedelic Rock leanings (as well as Mathcore), pushing the boundaries of heavy music in the subcontinental underground and remaining one of the most original bands to emerge from the region.
In 2016, Orchid released their much-awaited self-titled debut EP to critical acclaim with Rolling Stone India calling it “one of the best cult classics of 2016” and “one of the most intriguing metal releases of the year”, inspiring the guys to keep moving forward and keep spreading their distinguished music to all four corners of the earth with their debut full-length opus Miasma, an album tailored for fans of bands like Dillinger Escape Plan, Gorguts and Frank Zappa, among others. Unlike their previous EP, which touched upon themes of techno-surrealism, Miasma is more straightforward with sociopolitical themes, with the artwork, done by the band’s own drummer through Copycat, containing elements from every song on the album.
An enraged scream by Kaushal kicks off the low-tuned, sluggish and heavy-as-hell opening track Obsolescence, with Vinay delivering lancinating riffs while Mayur brings tons of intricacy and dementia to the musicality with his beats, remaining crazy, vibrant and unique from start to finish, whereas in Solipsist we’re treated to two and a half minutes of top-notch Progressive Metal where Kaushal growls and roars manically while Vinay and Rahil give a lesson in progressiveness and heaviness with their stringed weapons. Then we have Master Supreme, a short and sweet headbanging tune led by the crushing drums by Mayur, bringing to our avid ears the most insane elements from Progressive and Groove Metal. “The song is about the pervasive influence and the growing epidemic of gurus/godmen and their cults in Indian society as well as abroad. Religion and spirituality is the biggest scam in the world; and because we live in India, we have a front-row seat to the circus,” commented the band about this austere and captivating song.
After the shortest song of the album, it’s time for the longest one, titled Dead End, offering seven minutes of insanity, rage and eccentricity. In other words, a full-bodied sonic extravaganza full of breaks and variations, not to mention the beautiful Jazz-inspired passage featuring guest Aadarsh Subramaniam and his old school keyboard solo, building an instant bridge to the also pulverizing Identoid, where Rahil extracts truly thunderous roars from his bass while Mayur and Kaushal “duel” to see who’s the most aggressive and demented one, maintaining the album at a high level of ferocity and intricacy. Following such fun tune we have Sugar Pill, showcasing the most progressive of all starts but quickly morphing into a sonic onrush of crisp guitar riffs, Hardcore-inspired drums and raspy growls, fading into a very alternative and sluggish outro, before Zero-Sum Game comes crushing like a thunderbolt, already beginning in full force and bringing a violent Kaushal on vocals, while Vinay keeps firing his classic and slashing guitar lines in a lesson in modern-day Progressive Metal with Avantgarde Metal and Mathcore nuances. Lastly the band offers us all Disassembly Line, not as vibrant and crushing as all previous songs but still a good sample of all the madness the quartet can blast through their music, with highlights to the once again amazing job done by Mayur on drums.
In a nutshell, the guys form Orchid were able to condense all their skills, influences and rage in a very intricate and solid way throughout Miasma, placing their brand new album as a fresh option for fans of heavy music who are always in pursuit of bands that think outside the box and that are not afraid to experiment with the most distinct music styles and genres. Having said that, what are you waiting for to show your support to those Bangalore-based metallers? Go check what they’re up to on Facebook, subscribe to their YouTube channel for more of their music, and purchase Miasma directly from their BandCamp page as well as from Instamojo. I bet you’ve never thought metal music made in India could sound so insane and eccentric like this, right?
Best moments of the album:Obsolescence, Dead End and Zero-Sum Game.
Worst moments of the album:Disassembly Line.
Released in 2019 Independent
Track listing 1. Obsolescence 5:54
2. Solipsist 2:34
3. Master Supreme 1:10
4. Dead End (feat. Aadarsh Subramaniam) 6:59
5. Identoid 2:47
6. Sugar Pill 4:22
7. Zero-Sum Game 4:32
8. Disassembly Line 3:48
Band members Kaushal – vocals
Vinay – guitars
Rahil – bass
Mayur – drums, percussion
Guest musician
Aadarsh Subramaniam – keyboard solo on “Dead End”
Get ready for 21 minutes of brutal and technical Grindcore that will crush your spinal cord mercilessly.
If someone asks you to mention a good one-man or one-woman band in Heavy Metal, the first names that will come to your mind probably play raw and obscure Black Metal. I would say that’s the case in nine out of ten projects, but obviously there are also many excellent multi-instrumentalists generating interesting material in other ramifications of heavy music such as Death and Doom Metal, for example. However, I believe this will be the first time you’ll be facing a one-man army blasting a trenchant fusion of Grindcore and Metalcore, two subgenres of heavy music where you’ll usually find regular bands comprised of at least three members. I’m talking about The Sound That Ends Creation, the indomitable creature generated inside the mind of American musician Chris Dearing in which he plays all of guitar and bass, as well as performing vocals and programming drums.
Formed in early 2016 in the city of Allen, Texas, in the United States, The Sound That Ends Creation blends all main styles found in extreme music, those being Death Metal, Black Metal, Mathcore and even Sludge and Stoner Metal, together with the project’s core essence formed of unrelenting Grindcore. The result of that brutal fusion can be seen in We Are The Burden, the debut album by The Sound That Ends Creation that will crush your spinal cord mercilessly in its 21 minutes of uncompromised devastation. Do not expect any sign of happiness or positivity emanating from the music, but only sheer savagery perfect for slamming into the pit as expected from any good Grindcore band.
Chris comes barking like a rabid dog in the opening track, a two-minute technical Grindcore tune named The Complex, also blasting the first wave of heavy riffs and violent beats in We Are The Burden. Moreover, drums sound amazingly organic despite being programmed, which is also the case in Burn the Trees, Burn the Bark, a diabolical mix of Grindcore and Black Metal, with its guitar lines being as sharp as the Death Metal-inspired growls by Chris. It doesn’t matter if the music gets faster than a bullet or as sluggish and somber as traditional Doom Metal, the entire song kicks fuckin’ ass. And the distorted mind of Chris provides the listener another two-minute havoc overflowing anger and hatred entitled A Cyclical Dawn, with highlights to all its tempo changes, which in my opinion means a lot considering the fact this is a relatively short composition.
The Fires Are Growing trespasses the boundaries of heaviness, almost feeling like pure old school Death Metal at times while also sounding extremely progressive, flowing to a lancinating ending before the most intricate composition of the album, Machinations Of Progress, brings forth chaos and harmony at the same time. Highly recommended for fans of complexity and fury in music the likes of old school Carcass, this is the perfect example of how our lone wolf is capable of sounding like many well-established Technical Death Metal bands even being by himself and having no support from any record label. And how about an atmospheric break titled Interlude before Chris’ onslaught returns? You better take that time off to breathe, because what he delivers in A Hollow Pine Box is simply awesome. Not only guitars are superb (as well as all rhythmic beats and breaks), but there’s also room for hints of Pantera and the low-tuned sonority of Stoner Metal, enhancing the song’s impact on the listener.
If you’re still alive after such level of devastation, there’s still more madness in the form of music for you. Pounding his guitar and bass, Chris offers more high-quality Death Metal and Grindcore in less than two minutes titled Bottom Feeders, followed by The Open Eye, where the high-pitched growling by Chris together with his deeper guttural brings more flavor to the overall result. And closing the album with a beautiful message about how cruel and heartless we can all be, Chris presents the extremely technical A Portrait Of Inhumanity, a brutal Death Metal assault with progressive notes where Chris has another visceral performance on vocals.
After listening to such an inspiring album, I suggest you all go get in touch with Chris and his electrified The Sound That Ends Creation at the project’s Facebook page, Twitter and YouTube channel, and if you love the demolishing sound of raw and technical Grindcore you can purchase We Are The Burden at The Sound That Ends Creation’s BandCamp page. Chris’ 21 minutes of ruthless and virulent music are definitely worth the investment, and by buying the album you will also help this talented artist in perpetrating the awesomeness and energy of the independent scene of extreme music.
Best moments of the album: Burn the Trees, Burn the Bark, The Fires Are Growing and A Hollow Pine Box.
Worst moments of the album: None.
Released in 2016 Independent
Track listing 1. The Complex 2:06
2. Burn the Trees, Burn the Bark 2:18
3. A Cyclical Dawn 2:24
4. The Fires Are Growing 2:08
5. Machinations Of Progress 2:10
6. Interlude 1:13
7. A Hollow Pine Box 2:07
8. Bottom Feeders 1:38
9. The Open Eye 1:59
10. A Portrait Of Inhumanity 3:14
Band members Chris Dearing – vocals, all instruments
Since their formation in 2018, Columbus, Ohio’s own Post-Hardcore/Mathcore creature For Your Health has been building a reputation for chaotic intensity, visceral live performances, and politically-charged lyrics. Now in 2025 the band currently comprised of vocalist Hayden Rodriguez, guitarists Nick Marzluf and Rosa Delgado, bassist Johnny Deborde, and keyboardist Simona Morales has just released their sophomore album, titled This Bitter Garden, following the band’s acclaimed 2021 debut full-length In Spite Of. Recorded in only 15 days, with the band working with producer Eric Hudson at a studio “repurposed from an old church in the sticks of Illinois”, with an eerie artwork by the band’s own Simona Morales, and featuring session drummer Caden Clinton, the album sounds utterly harsh, haunting and caustic, helping the band in paving their Stygian path armed with their undisputed, impactful music.
THE HEADBANGING MOOSE 