California’s own Neoclassical Thrash and Death Metal institution returns with a collection of twelve piercing hymns, sounding blacker and more nefarious as illustrated by the eeriest and evilest Lovecraftian and Tolkien-esque tales.
Formed in 2002 in Whittier, California, in the United States, the unstoppable Neoclassical and Technical Thrash/Death Metal outfit Exmortus is back in action in 2023 with their amazing sixth studio album, titled Necrophony, a portmanteau of “necro” and “phony” (or “dead sounds”), offering nothing but a savage rebirth and a fierce renewal in the form of twelve tracks highly recommended for fans of Hatchet, Warbringer, Havok, Toxic Holocaust and Skeletonwitch, among others. Produced, recorded, mixed and mastered by Zack Ohren at Sharkbite Studios, and displaying a striking artwork by Indonesian artist Toha Mashudi, Necrophony showcases a beyond focused and inspired band currently formed of Jadran “Conan” Gonzalez on vocals and guitars, Chase Becker also on the guitars, Phillip Nuñez on bass, and Adrian Aguilar on drums, emerging stronger, faster and crazier from the throes of the pandemic while going from a Conan the Barbarian and Gladiator aesthetic from their previous records to something blacker and more nefarious as illustrated by the eeriest and evilest Lovecraftian and Tolkien-esque tales.
Melancholy flows from the intro Masquerade, evolving into a cinematic sonority before the quartet kicks some serious ass in Mask of Red Death, with Conan roaring like a beast accompanied by the pounding drums by Adrian and scorching, visceral guitar riffs in a great display of Melodic Death Metal, whereas in Oathbreaker we face poetic words declaimed by Conan (“Over the western lands a long shadow lies / And in evil times the dead awaken and arise / Until the end, they know no peace, remain forlorn / As punishment of old for an oath they have forsworn”) while the music is as vile, fast and heavy as it can be. Mind of Metal is another classic Melodic Death Metal creation by Exmortus where the guitars by Conan and Chase will pierce your mind mercilessly, keeping the album at a high level of animosity; and Yanni’s “The Storm” and Antonio Vivaldi’s “The Four Seasons” are blended together in Storm of Strings, an instrumental metallic extravaganza perfect for banging your head nonstop or simply enjoying some high-end shredding. Then back to their trademark Melodic Death Metal mode we have Test of Time, inspired by the classic sound from the Gothenburg scene, with Adrian dictating the pace with his intricate but thunderous beats.
After such striking tune, strident, melodious guitar lines set the tone in Darkest of Knights, presenting elements from classic Thrash and Death Metal with Phillip and Adrian making the earth tremble with their kitchen while Conan continues to vociferate rabidly, followed by Prophecy, another neck-breaking tune by the quartet, with Conan roaring nonstop and blasting his stringed axe at the same time, feeling like a fusion of Megadeth, Black Label Society and Ozzy Osbourne. The low-tuned, metallic bass by Phillip will crush your head in Children of the Night, a high-octane, pedal-to-the-metal extravaganza spearheaded by the demonic growls by Conan while Adrian speeds things up considerably behind his drums; whereas the slashing riffage by Conan and Chase keep darkening the skies in Beyond the Grave, blending the brutality of Death Metal with the rebelliousness of Thrash Metal. After that, the melodic and introspective interlude Overture will pave the band’s obscure path until all explodes into the title-track Necrophony, which takes away some of the energy from the rest of the album despite not being a bad song. The guitar work by Conan and Chase is once again truly solid, though.
“We wanted everything on this album to be a fresh take of what we envisioned Exmortus to be,” said Conan about Necrophony. “We had a lot of time to reflect on that during the isolation period of the pandemic, and so, this new material is a sort of rebirth of our approach to writing and performing our music.” Hence, don’t forget to give the guys from Exmortus a shout on Facebook and on Instagram, to subscribe to their official YouTube channel, to stream their wicked music on Spoitfy, and above all that, to purchase a copy of Necrophony from their own webstore, or by clicking HERE or HERE. Exmortus are going to invade your senses with their piercing, scorching “dead sounds”, and there’s nothing you can do about it but succumb to the thunderous music by one of the most innovative and hardworking bands of the current scene.
Best moments of the album:Mask of Red Death, Darkest of Knights and Children of the Night.
Worst moments of the album:Necrophony.
Released in 2023 Nuclear Blast
Track listing 1. Masquerade 2:33
2. Mask of Red Death 4:42
3. Oathbreaker 3:24
4. Mind of Metal 4:33
5. Storm of Strings 2:55
6. Test of Time 4:48
7. Darkest of Knights 8:11
8. Prophecy 4:14
9. Children of the Night 7:13
10. Beyond the Grave 3:48
11. Overture 2:05
12. Necrophony 5:10
Band members Jadran “Conan” Gonzalez – vocals, guitars
Chase Becker – guitars
Phillip Nuñez – bass
Adrian Aguilar – drums
The dead will rise and chaos will take over the entire world to the sound of the first full-length album by this venomous American Blackened Thrash Metal horde.
The dead will rise and chaos will take over the entire world to the sound of Seasons Dreaming Death, the newborn beast by Indianapolis, Indiana-based Blackened Thrash Metal horde GraveRipper. The first full-length album in their career, following up on their 2020 debut EP Complete Blinding Darkness and on their 2021 EP Radiated Remains, Seasons Dreaming Death showcases all the dexterity and passion for extreme music by Corey Parks on vocals and rhythm guitars, Keegan Hrybyk on lead guitars, Chris Pilotte on bass and Jacob Lett on drums, all spiced up by the top-notch engineering, mixing and mastering by Wesley Heaton at Postal Recording, and the sick artwork by one of the best illustrators of the current scene, Adam Burke of Nightjar Illustration, offering fans of bands like Skeletonwitch, Toxic Holocaust and Wraith everything they crave in heavy music and more.
Corey and Keegan begin their ruthless stringed attack in Into the Grave, a frantic fusion of Black, Thrash and Death Metal that will certainly inspire you to slam into the pit like a headbanging bastard, followed by Ripped and Torn Apart, a hard-hitting, no-shenanigans creation by the quartet where Jacob is relentless on drums adding his share of violence and heaviness to the overall result. Let’s keep hammering our skulls inside the circle pit to the sound of Divine Incantations, with Corey barking rabidly while his riffs together with the sounds generated by his bandmates will pierce your damned soul mercilessly; whereas Chris’ bass and Jacob’s drums will make the earth tremble in the Thrash Metal feast Seasons Dreaming Death, once again presenting the band’s animosity infused with intricate and dark sounds. And it’s nonstop action in the high-octane tune Premeditated, again blending the rebelliousness of Thrash Metal with the aggressiveness of Death Metal, spearheaded by the venomous roars by Corey.
The quartet adds hints of Hardcore, Grindcore and even Melodic Death Metal to their core sonority in An Influx of Fear, bringing forward the always caustic riffage by Corey and Keegan, and the complex but demented drumming by Jacob, and it’s then time to speed things up and generate a hurricane of thrashing sounds in Resist Against the Light, by far one of the most breathtaking songs of the album with the low-tuned bass by Chris brutally smashing your cranial skull. As you might have notice, it’s one demented tune after another, and the band keeps crushing our frail bodies in Red Skies, where their riffage sounds utterly acid and incendiary inspired by our good old Punk Rock. Back to a more traditional Thrash and Death Metal mode, Jacob takes the lead with his intricate beats in And I Curse Reality, simply perfect for some vigorous headbanging; and closing such pulverizing album we have Only Coldness, offering more of their gripping hybrid of extreme styles, with Jacob’s Black Metal drums matching perfectly with the riffage by the band’s guitar duo.
“The album title is my take on Halloween/Samhain,” commented Corey, “the day of the year where the veil between the world of the living and the world of the dead is the thinnest.” Well, let’s say the band truly captured the essence of such mysterious and adored day in Seasons Dreaming Death, which is already available for pre-order from their own BandCamp page and will be unleashed upon us before we can say “death”. Hence, don’t forget to also follow the band on Facebook and on Instagram for news, tour dates and all things GraveRipper, and to stream their sick creations on Spotify. As mentioned, the dead are about to rise when the excellent Seasons Dreaming Death is officially released, and you better be armed with GraveRipper’s demented new album in your hands if you want to join such deadly party.
Best moments of the album:Ripped and Torn Apart, Premeditated and Resist Against the Light.
Worst moments of the album: None.
Released in 2023 Wise Blood Records
Track listing 1. Into the Grave 4:11
2. Ripped and Torn Apart 3:58
3. Divine Incantations 2:19
4. Seasons Dreaming Death 3:05
5. Premeditated 4:08
6. An Influx of Fear 1:53
7. Resist Against the Light 3:43
8. Red Skies 3:28
9. And I Curse Reality 3:31
10. Only Coldness 3:31
Band members Corey Parks – vocals, rhythm guitars
Keegan Hrybyk – lead guitars
Chris Pilotte – bass
Jacob Lett – drums
Behold the breathtaking first full-length opus by a ruthless Melodic Death Metal horde hailing from France, narrating the end of the world of gods and men through ten incendiary battle hymns.
Formed in 2012 under the name of Esteliath in Montélimar, a town in the Drôme department in the Auvergne-Rhône-Alpes region in north Provence, Southeastern France, the unrelenting Melodic Death Metal horde Hrothgar (a Scylding, the son of Halfdan, the brother of Halga, and the uncle of Hrólfr Kraki, in both Anglo-Saxon and Scandinavian tradition) unleashed upon humanity earlier this year their debut full-length opus, titled Rise of Ragnarök, following up on their 2018 EP First Blood. Recorded and mixed at Studio Artmusic, and mastered by Kristian Kohlmannslehner at Kohlekeller Studio, the album offers a brilliant fusion of Heavy, Death and Viking Metal with Nordic mythology, Viking history and warrior stories masterfully brought into being by Quentin Peyrouse on vocals, Tristan Vatrain and Florian Lagoutte (who has just left the band due to scheduling conflicts) on the guitars, Bertrand Paradis on bass and Sébastien Couriol on drums, being highly recommended for anyone who loves the music by Swedish metal titans Amon Amarth.
The crushing drums by Sébastien ignite the band’s Viking feast titled Dawn of Midgard, with Quentin already delivering a deep roar as his welcome card. Put differently it’s pure Amon Amarth (on a French baguette, I might say), making it impossible to stand still to such thrilling tune. Then the venomous riffs by Tristan and Florian are spiced up by the metallic bass by Bertrand in War Makes Us Beast, another heavy-as-hell, no-shenanigans Melodic Death Metal extravaganza by the band; and get ready to bang your head nonstop to the newborn classic Sons of Odin, sounding like a song written by Amon Amarth but of course Hrothgar added their own French twist to it, with Quentin leading his horde with his deep, devilish growls. After such thrilling feast, the caustic riffage by the band’s guitar duo sets the tone in the dark hymn I Am Berserker, a mid-tempo tune that will please all fans of Scandinavian Melodic Death Metal, whereas the title-track Rise of Ragnarök brings to our avid ears another fantastic wall of sounds blasted by the band, offering everything Quentin needs to shine on vocals in a lecture in Melodic Death Metal.
It’s time to grab your sword and shield and join Hrothgar in the battlefield to the sound of For Gods and North, a tribute to all things Viking Metal where the guitars by Tristan and Florian exhale metal and electricity, followed by A Great Death for the Einherjar, another song clearly inspired by some of the most recent creations by Amon Amarth, with the kitchen by Bertrand and Sébastien sounding truly thunderous. Kill My Son is hands down one of the most exciting of all songs, and you can feel all hatred flowing from Quentin’s vocals while Sébastien keeps hammering his drums in the name of heavy music, whereas their second to last Viking attack comes in the form of Tyr’s Sacrifice, with Tristan and Floiran doing a very good job with their riffs and solos. The song is a bit repetitive, though, but still very enjoyable. Lastly, there’s of course a song about braving the cold and dangerous seas of the north titled Warriors of the Sea, showcasing their always sharp guitars and pounding drums, therefore ending the album in a beyond exciting way.
The fun and thunderous debut album by Hrothgar is available in full on YouTube and on Spotify, but of course if you want to join those French metallers in their quest for heavy music you can purchase a copy of it from their own BandCamp page or from Apple Music. Don’t forget to also start following the band on Facebook, on Instagram and on YouTube for news, tour dates and so on, proving you’re ready to fight side by side the guys from Hrothgar until your very last breath, and finally have your place right by the gods in Valhalla. The Doom of the Gods is upon us, and there’s nothing better than a first-class album like the new one by Hrothgar to put a huge smile on our faces even when our inevitable end is getting closer and closer.
Best moments of the album:Dawn of Midgard, Sons of Odin, Rise of Ragnarök and Kill My Son.
Worst moments of the album:Tyr’s Sacrifice.
Released in 2023 Independent
Track listing 1. Dawn of Midgard 4:15
2. War Makes Us Beast 4:26
3. Sons of Odin 4:13
4. I Am Berserker 5:17
5. Rise of Ragnarök 4:36
6. For Gods and North 4:42
7. A Great Death for the Einherjar 4:53
8. Kill My Son 4:32
9. Tyr’s Sacrifice 5:17
10. Warriors of the Sea 4:05
This Metalcore, Thrash and Groove Metal band with an attitude is ready to attack your senses with their debut full-length album.
A Metalcore, Thrash and Groove Metal band with an attitude founded by guitarist Jonathan Russell in South Wales, UK, and currently formed of Jonathan alongside vocalist Peter Scammell, guitarist Gareth Jones, bassist Davide Santini and drummer Matthew Toner, the unrelenting metal act State of Deceit is about to unleash upon us their first full-length opus titled Stalked by Daemons, following up on their 2019 EP Retribution. Recorded by Tim Hamill at Sonic One Studio, and displaying a modern and captivating artwork by Pierre-Alain D. of 3mmi Design, Stalked by Daemons delivers the best of several extreme music styles, often in stylistic antithesis that is startling and ultimately satisfying, resulting in a must-listen album for fans of Trivium, Pantera, Fit For a King, Machine Head and Killswitch Engage, just to name a few.
The guitars by Gareth and Jonathan will inspire you for some sick headbanging in the opening tune Endure My Fate, while Davide brings the groove to the music armed with his thunderous bass in a great fusion of Melodic Death Metal with Hardcore elements. Then it’s pedal to the metal as the pounding drums by Matthew will hammer your heads mercilessly in Demi-God, with Peter manically barking and roaring for our total delight; and get ready to break your freakin’ neck headbanging like a metalmaniac in Stalked By Daemons, Guarded By Angels, exhaling heaviness and violence to the visceral growling by Peter. It’s time for a darker, more melancholic creation by State of Deceit titled Hate Within, with the band’s stringed trio adding tons of feeling to the music, whereas drinking from the same metallic fountain as Soilwork and Arch Enemy, the band delivers sheer adrenaline in Withered, with the riffage by Gareth and Jonathan piercing our ears in great fashion.
Mark Of The Whale is a decent song, but it lacks the same punch and heaviness of the previous ones, albeit Matthew does a very good job on drums as usual; and back to a more thrilling and vibrant mode, the quintet will drag your soul into the circle pit to the sound of Scorched, a rumbling extravaganza showcasing elements from Death and Thrash Metal added to their core sound. After such demented tune, a slow and sinister start suddenly explodes in more of the band’s crushing Metalcore in Suffer, spearheaded by the venomous riffs by the band’s guitar duo and the always enraged, demented guttural by Peter. Davide’s bass sets the tone in the heavy and groovy At What Cost?, perfect for some vigorous headbanging while Matthew keeps blasting his drums nonstop; while one last round of aggressiveness infused with tons of melody and groove is offered to our ears in Digital Tattoo, with Pater and Matthew making an incendiary duo from start to finish, therefore ending the album on a sensational note.
The guys from State of Deceit are waiting for you on Facebook, on Instagram and on YouTube with news, tour dates and more of their flammable music, and if you want to show them your total support you can purchase a copy of the excellent Stalked by Daemons by clicking HERE. As expected in most debut albums, Stalked by Daemons is daring and inspiring through and through track to track, positioning State of Deceit as one of the most interesting names of the current UK scene and, consequently, fueling their minds and souls for another blast of their solid and captivating music in the coming years whenever the band is ready for their sophomore opus, all of course in the name of heavy music.
Best moments of the album:Endure My Fate, Withered and Digital Tattoo.
Worst moments of the album:Mark Of The Whale.
Released in 2023 Eclipse Records
Track listing 1. Endure My Fate 3:47
2. Demi-God 4:14
3. Stalked By Daemons, Guarded By Angels 4:46
4. Hate Within 4:40
5. Withered 3:41
6. Mark Of The Whale 4:45
7. Scorched 3:57
8. Suffer 4:17
9. At What Cost? 3:52
10. Digital Tattoo 3:08
Band members Peter Scammell – vocals
Gareth Jones – lead guitar
Jonathan Russell – rhythm guitar
Davide Santini – bass, backing vocals
Matthew Toner – drums
Zimbabwe-based Gary Stautmeister and his outer-ego Nuclear Winter attack again with their fourth full-length effort, dripping in symphonic atmospheres, powerful distorted guitar riffage and deep melancholic undertones.
Fusing thundering heavy rhythms with haunting choirs and dynamic electronic textures, the breathtaking Seagrave, the fourth full-length offering by Harare, Zimbabwe-based Melodic/Industrial Death Metal one-man army Nuclear Winter, unleashes a powerful wall of sound highly recommended for fans of Fleshgod Apocalypse, Wintersun, Rammstein and Lorna Shore, to name a few. Dripping in symphonic atmospheres, powerful distorted guitar riffage and deep melancholic undertones, while still maintaining the signature Progressive Metal elements by the project’s mastermind, vocalist and multi-instrumentalist Gary Stautmeister, Seagrave is the perfect follow-up to Nuclear Winter’s 2020 EP Stormscapes and the 2021 full-length opus Greystone, taking the listener on a voyage through darkening and cinematic realms.
Gary wastes no time and distills his fusion of the music by Fear Factory, Soilwork and Rammstein in the opening tune The Glimmering Landscape, where his harsh roars walk hand in hand with all background epic elements and his infernal riffs. Then we have Starward Longing, heavy but at the same time very melodic and orchestral, with Gary once again doing a great job with his galloping bass and drums, therefore generating a grandiose atmosphere for admirers of the genre; and there’s no time to breathe as Gary’s hybrid of Industrial, Symphonic and Death Metal comes crushing our souls once again in Fates Mysteries, showcasing his trademark roars and clean vocals, followed by Thy Shadows Fall, even more phantasmagorical, groovy and sinister than its predecessors with Gary adding nuances of Black Metal to the music through his devilish gnarls, sounding solid and electrifying from start to finish. After that we face The Grave is Wide, a lot more industrial and mechanized than its predecessors, feeling like some of the latest creations by Fear Factory but with more demonic vocals.
The Dusk and the Song is perfect for banging your head nonstop while enjoying the sinister ambience crafted by Gary through his whimsical vocals, classic riffs and pounding, industrialized beats, spiced up by all background elements; whereas blending the most electrifying elements of Industrial, Groove and Death Metal, Gary once again barks and roars in great fashion until the very last second in Pale Memories, a great song to be added to your workout playlist. Gary’s second to last breath of industrial and orchestral sounds is offered to us all in Black Waters, with his hammering drums and low-tuned bass bringing tons of groove to the overall result, before such electrifying metal party reaches its epic finale with his cover version for German pop group Bad Boys Blue’s hit House of Silence, from their 1991 album House of Silence (check the original version HERE), the perfect depiction of “Pop Metal” by Gary and his Nuclear Winter, adding his own metallic twist to the original song.
“Get ready for my latest Nuclear Winter album – Seagrave. With a deliberate focus on heavier sounds and a simpler approach to songwriting, Seagrave isn’t just about pure aggression. This album also showcases a bigger incorporation of choir elements that help add an epic dimension to the sound. The result I feel is a step forward from my previous work,” commented Gary about his newborn spawn, and you can show him your support and admiration by following Nuclear Winter on Facebook, by subscribing to the project’s YouTube channel, by streaming his multi-layered creations on Spotify, and of course by purchasing a copy of Seagrave from the MDD Records’ BandCamp page. The music by Nuclear Winter is always in constant evolution thanks to the creative mind of Gary, with Seagrave representing another step forward in his career and, therefore, fueling our multi-talented Zimbabwean musician for a lot more of Nuclear Winter in the coming years.
Best moments of the album:The Glimmering, Thy Shadows Fall and Pale Memories.
Worst moments of the album:The Grave is Wide.
Released in 2023 MDD Records
Track listing 1. The Glimmering Landscape 4:26
2. Starward Longing 4:23
3. Fates Mysteries 4:00
4. Thy Shadows Fall 4:11
5. The Grave is Wide 4:19
6. The Dusk and the Song 4:25
7. Pale Memories 4:29
8. Black Waters 4:10
9. House of Silence (Bad Boys Blue cover) 4:19
Band members Gary Stautmeister – vocals, all instruments
This amazing Orchestral Death Metal act from Quebec will crush your senses with their new concept album, overflowing aggressiveness, intensity and emotion.
A recent finalist at the Wacken Metal Battle Canada 2023 Eastern Final, Rimouski, Quebec-based Melodic/Symphonic Death Metal/Metalcore act Vortex is back with their third full-length opus, a concept album titled The Future Remains In Oblivion, the follow-up to their 2016 debut album The Asylum and their 2018 sophomore effort Lighthouse, both also concept albums, building on their sound with added Black Metal influence, a heavy dose of aggressiveness and a buildup of intensity and emotion as the storyline progresses. Produced by Pierre Luc Demers and Dany Lévesque, engineered, mixed and mastered by Pierre Luc Demers at Studio Ondechoc, and displaying a futuristic artwork by Rudi Gorging Suicide, The Future Remains In Oblivion is an Orchestral Death Metal album with plenty of heavy riffing and melodies, technical vocals, and epic soloing, all masterfully brought into being by vocalist Alexandre Labrie, guitarists Dany Levesque and Mathieu Duguay, bassist Simon Desjardins, and drummer and pianist Justin L’Italien Dubé.
A cinematic and ethereal intro gradually evolves into the Melodic and Symphonic Death Metal feast From The Sun, with the piano by Justin bringing a touch of delicacy to the music in paradox to the deep guttural by Alexandre, whereas the piercing riffs by Dany and Mathieu together with the pounding drums by Justin will hit you hard in Downfall, offering more of their Death Metal sonority infused with Metalcore elements. Moreover, it will surely inspire you to bang your head nonstop while also presenting a grandiose, epic background, followed by The Fool, even more symphonic and imposing than its predecessors, where Simon’s metallic bass and Justin’s crushing beats will shake the foundations of the earth, not to mention how evil the roars by Alexandre sound and feel. Then the orchestrations by Mathieu will transport you to a whimsical world of Symphonic Death Metal in The Walls, before Alexandre comes ripping with his harsh screams accompanied by the always venomous drums by Justin.
Our Possible End is the perfect depiction of how they’re capable of uniting sheer violence with classy orchestrations in great fashion, with the guitars by Dany and Mathieu enhancing the song’s punch considerably; and their epic and somber journey goes on in First Blood, another massive creation by the band where all background elements make the song absurdly heavy and impactful, once again spearheaded by the enraged roars and gnarls by Alexandre. After that we have the title-track The Future Remains In Oblivion, a song that will blow your mind with its insane wall of sounds, background orchestrations, epic passages, striking riffs and solos, and visceral yet intricate drums, resulting in one of the most breathtaking moments of the entire album. And lastly, When No More Words Will Be Heard represents a melancholic, grim finale to the album, and you can sense the journey is coming to its inevitable and dark end thanks to the energy flowing form Alexandre’s vocals and all climatic orchestrations.
The talented and relentless guys from Vortex are waiting for you on Facebook and on Instagram with news, tour dates and more of their music, and don’t forget to also subscribe to their YouTube channel for more of their top-notch Orchestral Death Metal. In a nutshell, if you love extreme music with orchestral elements and a captivating storyline, then the incendiary The Future Remains In Oblivion, which is available for a full listen on YouTube and on Spotify, and on sale from the band’s own BandCamp page (or by clicking HERE), has everything you need to satisfy your craving and more, proving why they made it to the Wacken Metal Battle Canada 2023 Eastern Final, and why they’re becoming one of the most respected bands of the Quebec metal scene.
Best moments of the album:Downfall, The Walls and The Future Remains In Oblivion.
Worst moments of the album: None.
Released in 2023 Independent
Track listing 1. From The Sun 5:24
2. Downfall 4:11
3. The Fool 3:13
4. The Walls 4:32
5. Our Possible End 4:23
6. First Blood 4:29
7. The Future Remains In Oblivion 4:50
8. When No More Words Will Be Heard 5:22
Band members
Alexandre Labrie – vocals Dany Levesque – guitars Mathieu Duguay – guitars, orchestrations
Simon Desjardins – bass
Justin L’Italien Dubé – drums, piano
A young and rising band from Edmonton kicked some ass armed with their Progressive Death Metal and Metalcore where rock will never die in Toronto last night.
INTRODUCTION: Where rock will never die…
It doesn’t mater if it’s a brand new Heavy Metal band no one knows about, a cover band of classic Rock N’ Roll or Industrial Metal, or a rock and metal karaoke night, the old school venue The Rockpile will always receive everyone with open arms, keeping the fires of rock music burning no matter what. Although it’s promoted as being in Toronto, it’s actually located in Etobicoke, an administrative district and former city within Toronto, a bit far from downtown but just a 15-minute walk from the Kipling subway station. Just don’t walk for THREE HOURS to get there like a very nice photographer named Cord Allman who was there last night. Take the subway or drive to the venue, enjoy the shows, their beer (for a very decent price), and have a good time with all the nice people who are always there.
Keith Ibbitson of Lower Eastside Photography and I were there for FALL OF EARTH, a young and rising metal band from Edmonton, Alberta, but The Rockpile also had other attractions as part of their Father’s Day celebration, those being AL REILLY’S CATALYST performing classics from Led Zeppelin, at 7:30pm, and PERFECT STRANGERS, a famous Canadian cover band founded in 1989 in the city of Brampton, Ontario that pays homage to one of the greatest bands of all time, Deep Purple, playing from Smoke On The Water to Highway Star, and so on. Both tribute bands were awesome, and if you’re in the area and wants to experience the true Canadian rock scene, go check The Rockpile’s schedule for several other bands like those, and even some wrestling events, which is awesome in my opinion!
As mentioned, right after Al Reilly’s Catalyst and before Perfect Strangers, more specifically at 8:30pm, it was time for Edmonton, Alberta-based Progressive Death Metal/Metalcore outfit FALL OF EARTH to hit the stage with their enraged but very melodic music, putting a pin on Toronto (for the second time this month) as part of their Eastern Canada tour to promote their brand new album From the Ashes, which will soon be reviewed by The Headbanging Moose. Formed in 2019 by Alex Rye on vocals, Brody Bauer on the guitars, Aaron Winklmeier on bass, and Brendan Meilleur on drums, the band plays a fusion of the music by Mastodon, Gojira, Trivium, Whitechapel and so on, with lots of Death Metal, Melodic Death Metal, Technical Death Metal, Metalcore and Deathcore influences and nuances as well, and if they’re playing in your city anytime soon don’t miss the chance to watch one of the most promising names from the Canadian Prairies.
Despite the small audience, those four guys put their hearts and souls into their performance, and I can imagine how amazing it would have been with more people at the venue and some circle pits. All songs from their setlist, from both their 2020 self-titled debut album and from From the Ashes, worked really well live, like for example the title-track From the Ashes where Alex was screaming at the top of his lungs (and he can also deliver some classy clean vocals, by the way), and the lack of some mosh pit action didn’t mean the people present at the venue didn’t enjoy their concert; quite the contrary, everyone had a very good time watching those kids kicking ass on stage, banging their heads and clapping their hands all the time, and I’m sure word-of-mouth will attract a lot more people to their next concert in Toronto when they do another big Canadian tour this fall already with a second guitarist, which will surely add even more depth to their live music.
If you’re curious to know more about their music, you can enjoy all of their creations on Spotify and watch their official videos on YouTube (and click HERE for all things Fall of Earth), showing your support to another up-and-coming metal act from Edmonton. After the show I had the pleasure to chat with Alex, Brody, Aaron and Brendan, and their passion for heavy music is just as great as their talent on stage. They’re huge fans of bands like Gojira, Trivium, Megadeth, Whitechapel, and other metal giants, and it’s nice to see them crafting high-quality new music by mixing their influences with their own twist. Keep an eye on Fall of Earth because those guys are going places, and who knows, maybe we’ll already see them touring the United States or playing at some amazing European summer festivals in 2024. and last but not least, thanks a lot to Jon Asher of Asher Media Relations for inviting us to the event, and to Kristen Cholak and Paul Husband of The Next Level Entertainment Consulting Inc. for supporting such promising band of the Canadian scene.
Band members Alex Rye – vocals
Brody Bauer – guitars
Aaron Winklmeier – bass
Brendan Meilleur – drums
Celebrating almost 25 years on the road, Boston’s own Death Metal/Metalcore beast returns with a demolishing opus, a concept album that follows the current effects of the man-made climate crisis.
On album number eight, titled The Wretched; The Ruinous, Boston, Massachusetts-based Death Metal/Metalcore outfit Unearth not merely continues to amp-up their metal-meets-hardcore intensities, but they also exceed themselves with a record that incorporates elements of classic Unearth offerings dating back to their 2004 “breakthrough” album The Oncoming Storm, while exploring beyond the recent back-to-basics promise of their 2018 effort Extinction(s). Recorded, produced, mixed and mastered by Will Putney at Graphic Nature Audio, and displaying a stylish artwork by Alexandre Goulet, The Wretched; The Ruinous is a concept album that follows the current effects of the man-made climate crisis as well as what will happen in the years to come if drastic and immediate changes are not made to curb emissions, and monumental efforts are not made to repair and adjust to the damages already done, all wrapped up by the fulminating yet very melodic music by vocalist Trevor Phipps, guitarist Buz McGrath, bassist Chris O’Toole and drummer Mike Justian.
The title-track The Wretched; The Ruinous is freakin’ madness from the very first second, with Mike showing no mercy for his drums nor for our necks, inviting us all to slam into the circle pit to the demented growls by Trevor. In Cremation of the Living the quartet fires more of their acid Metalcore with Melodic Death Metal nuances while its lyrics exhale insanity (“Exist – perish / Discordant nature / All turned to dust / Enraged creator / Victims to shepherds of fear”), followed by Eradicator, another pulverizing tune by the band with Buz delivering sheer electricity from his guitar supported by the metallic bass by Chris. Mother Betrayal sounds and feels more atmospheric and melodic than its predecessors, and it’s interesting how Trevor “abandoned” his clean singing in the entire album just like what we can enjoy in this song. Then it’s pedal to the metal as the quartet will smash our cranial skulls inside the pit with Invictus, a lecture in modern-day Metalcore sounding heavier and harsher than any of the songs form their previous efforts.
Call of Existence brings to our avid ears an amazing guitar job done by Buz, helping to balance the song’s aggressiveness with more melodic riffs and striking solos while Mike dictates the song’s headbanging pace behind his drums. They offer more of their visceral Metalcore in Dawn of the Militant, inspiring us to keep the circle pit action going while Trevor continues to roar and scream manically. After that, the serene interlude Aniara will soothe our souls before we’re treated to another diabolical attack by Unearth titled Into the Abyss, showcasing a solid sonority led by Buz and Chris with their stringed weapons, albeit not as thrilling as the rest of the album. Back to a more infernal mode we have Broken Arrow, where Trevor screams the song’s lyrics in great fashion (“Fire in the sky / Awoken infernal slumber / Peaceful days now ill remembered / Failed to deliver / Accidents of mass destruction / Lie in wait yet not forever”) in a display of fast and crushing Metalcore for the masses; whereas lastly you’ll break your neck headbanging to Theaters of War, with Mike hammering his drums in the name of heavy music for our total delight.
Unearth are waiting for you on Facebook, on Instagram and on YouTube with news, tour dates and more of their amazing music, and if you want to give The Wretched; The Ruinous a spin you can find the album in its entirety on YouTube and on Spotify, and purchase it by clicking HERE or HERE. “We formed this band to make music for us, not trying to create something for anyone else. As soon as we did that people connected to it, and it’s kept us pushing onward for almost 25 years. We look forward to 25 more,” commented the band about their almost 25 years of career, but let’s be honest and admit that it’s us fans who got a very nice anniversary gift with the release of their awesome new album, don’t you agree?
Best moments of the album:The Wretched; The Ruinous, Invictus and Broken Arrow.
Worst moments of the album:Into the Abyss.
Released in 2023 Century Media
Track listing 1. The Wretched; The Ruinous 4:20
2. Cremation of the Living 3:20
3. Eradicator 3:28
4. Mother Betrayal 3:32
5. Invictus 3:45
6. Call of Existence 3:33
7. Dawn of the Militant 2:57
8. Aniara 0:57
9. Into the Abyss 3:24
10. Broken Arrow 2:51
11. Theaters of War 4:49
Band members Trevor Phipps – vocals
Buz McGrath – guitars
Chris O’Toole – bass
Mike Justian – drums
Forged in this world… Chained to this earth… Forced to stay where I am… Evermore…
If you’re an admirer of the darkest forms of music and arts in general, I’m beyond certain you’ll have an absolute blast knowing more about our multi-talented metal lady of the month of May here on The Headbanging Moose. Not only she owns a powerful and beautiful voice, but she’s also a keyboardist, a songwriter, and an accomplished digital artist and graphic designer who has already worked with countless bands from the metal scene. I’m talking about Gogo Melone, the lead singer and composer for Aeonian Sorrow and Elyzia, and former vocalist for Luna Obscura, with guest appearances to bands such as ISON, Mercury Circle, IANAI, Ghostheart Nebula, As The Sun Falls and others, and having worked as a graphic designer for bands such as Xandria, Insomnium, Wolfheart, Omnium Gatherum and Vintersea, just to name a few. As you can see, Gogo Melone is an unstoppable force in heavy music, embellishing the airwaves with her voice while at the same time captivating our attention with her stunning graphic creations.
Born on July 17, 1985 in Ioannina (often called Yannena), the capital and largest city of the Ioannina regional unit and of Epirus, a region in north-western Greece, but currently residing in Helsinki, Finland, Gogo Melone began her career in music back in 2000 when she founded Greek Atmospheric/Melodic Death/Gothic Metal band Luna Obscura (Latin for “dark moon”) together with guitarist Dimitris Papachristos and vocalist Aris Potonos, inspired by the music by Draconian, Trail of Tears, Tristania, Theatre of Tragedy, Crematory, Paradise Lost, and all other bands with death and gothic elements. Gogo Melone mentioned in one of her interviews that there wasn’t any major plan to create Luna Obscura in the beginning, as it was just a musical experimentation, saying that she simply joined the band during the recordings of their demo Darcanda (released only in 2004). “The idea to have male and female vocals came easily, I guess that we all loved this combination at that time and somehow we felt it was the right direction for our music,” commented our diva, describing their sound as having atmospheric, death and gothic elements with harsh male and clean female vocals. “Our lyrics talk about death, human psychology and our transitions, the mystery, the unknown. All in combination with the music and the beautiful alternations of brutal and ethereal female vocals, create a melancholic yet strong-aggressive effect.”
Although the band was put on hold back in 2017 and has been dormant since then, and with Gogo Melone no longer being part of the band, there’s a lot to enjoy from their past releases, including the aforementioned demo Darcanda (as “Gwgw Melone”), their 2007 EP Evilyn, and their 2008 full-length opus Feltia, and you can enjoy several videos of the band on their official YouTube channel including Oronar, The Burden Of Solitude, and a live version of Dance of Forsaken Souls. Moreover, when asked about the importance of the visual part of the live performances by Luna Obscura, Gogo Melone said that all they cared about was delivering an emotional show to the crowd, focusing not only on the music, but also on the atmosphere surrounding it, as that was what their music was all about.
Fast forward to 2021, and there she is, the unrelenting Gogo Melone, starting another amazing band named Elysia (now spelled Elyzia), playing a stunning fusion of classic Black Metal and Experimental/Atmospheric Black Metal with nuances of Gothic and Doom Metal. She’s also the vocalist and keyboardist of the project, alongside vocalist, guitarist, bassist and drummer Jani Berney (of bands like As the Sun Falls, Tenebrae Aeternum and Chotzä, and who’s by the way engaged to Gogo Melone), having released their debut effort, the five-track EP Numinous, in August 2022. There’s an official video for the title-track Numinous, as well as official streams of the songs Veiled Fear and Onism on YouTube, and you can also find the full EP available for streaming on Spotify. Moreover, you can find more details about the band on Instagram, and purchase their music via BandCamp. Regarding the name change, switching the letter S for Z, the duo posted a short and sweet message on their Instagram explaining everything. “Some disrespectful idiots coming from the deathcore scene are spamming our social media with threats and hate because there is an old band using the name Elysia. Considering the fact that this other band has been inactive since 2008 and ever since they had no new releases or shows, it is a joke and a bit boring to have to read bullshit about a name when there are so many other names that have been used already three and five times. But let’s end this in a positive note. We are currently working on a new single and a new album which we plan to release in the next few months.”
You can also find Gogo Melone as a guest vocalist or keyboardist to several amazing underground bands, metal or non-metal, by the way. “So far I have met so many great musicians and bands and have done amazing collaborations worldwide so I guess the thing that counts the least is the genre of music. Although I would like to experiment more in Gothic Metal, Doom and Death Metal but the most important is to keep making good collaborations and gain more experience,” said our diva, who not only could be seen singing live with Atmospheric Doom/Death Metal band Clouds back in 2018, but she also recorded vocals for the songs In This Empty Room, from their 2017 EP Destin, When I’m Gone, from their 2018 album Dor, and an acoustic version of that same song, from their 2020 compilation Clouds Acoustic; the re-recorded version of Suffer in Darkness, released as a single in 2022 by Finnish Symphonic Death/Doom Metal band Depressed Mode; Underworld, from the 2005 EP Skotos, by Greek Black/Death Metal act Empathy; Ascension Pt. I Cosmic River, from the 2021 album Ascension, by Italian Melodic Doom/Death Metal band Ghostheart Nebula; Scaling the Summit, from the 2023 EP Scaling the Summit, by Greek Symphonic/Melodic Death Metal band Neperia; a partnership with Greek Gothic Metal act Sorrowful Angels in the cover version for Moonspell’s classic Scorpion Flower, from their 2012 EP Reborn: A Tribute to Moonspell; A Light Year Breath, from the 2020 album Empire of the Void, by Italian Death/Doom Metal band Tethra; and Where the Sun Turns to Grey, from the 2021 album Echoes of Winter, by Italian Progressive Doom Metal band Veil of Conspiracy.
Other guest appearances include the songs Drink the Effect, from the 2008 self-titled EP by Greek Industrial Black Metal band Rheinkaos; Scary Place, from the 2014 self-titled album by Vita Nova; and Winter Is Coming, a solo single released in 2014 by Stream of Passion’s Eric Hazebroek. There’s also a solo album that Gogo Melone mentioned she started working in the beginning of 2012, which should be called Black Silent Vision (or something like that), and she even mentioned in one of her interviews that a digital single was almost ready to be released that year in the summer, but so far nothing has been released maybe due to all her responsibilities as a graphic designer, which undoubtedly consumes a lot of her time.
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Speaking about her passion for arts in general and her work as a graphic designer and digital illustrator since 2007, Gogo Melone mentioned that her favorite styles are emotional, dark and surreal, nurturing a deep passion for red, black and white, as well as for digital art, photography, music and film. “I can’t be myself without freedom and creativity and with art you can have both at maximum. My work is a mixture of dark digital art and photography, highly influenced by films, dark and gothic fashion, fairytales, the beauty of fragile souls and dreamy places,” said our diva, who’s also worried about the future of album covers and booklets due to the vast majority of physical albums being replaced by their digital formats. She has already worked with countless bands in her career, being responsible for the artwork, design or layout of their albums, including for example the bands Xandria, Ablaze My Sorrow, Lutharo, Red Moon Architect, Stormbound, As the Sun Falls, Delusions of Reality, Eye of Solitude, Gallia, Mythodea, White Empress and Wolfheart, just to name a few, plus of course her own bands Aeonian Sorrow, Luna Obscura and Elyzia. Furthermore, inspired by her favorite types of music or bands, a good movie, a documentary, a walk in nature, her past memories, her fears and her dreams, Gogo Melone said in one of her interviews that it doesn’t matter the quality or technique behind an image if it captures the essence of the message that’s being sent. In addition, she also mentioned that although she can’t be considered a photographer, she finds it very inspiring to see the works of both classic and modern photographers such as Cecil Beaton, Philippe Halsman, Steve McCurry, Allan Amato, Tim Walker, Nicolas Guerin, Winter Kelly and Natalie Shau.
Regarding her idols and influences, she said that her introduction to the metal scene happened when she bought the Black Album by Metallica, leading her to take some basic non-professional vocal lessons, participating in her school choir, and starting to sing in different bands during her high school years. Among her favorite bands we’ll find some incredible names such as My Dying Bride, Theater of Tragedy, Katatonia, Anathema, Draconian, Novembers Doom, Daylight Dies, Trail of Tears, Swallow The Sun, Shape of Despair, Paradise Lost, Moonspell and many more, being a diehard fan of all things doom, gothic and death. She was also asked to list her top five albums of all time a few years ago, and if her taste hasn’t changed since then her list is formed of The Silent Enigma, by Anathema; The Angel And The Dark River, by My Dying Bride; Viva Emptiness, by Katatonia; Velvet Darkness They Fear, by Theater of Tragedy; and Arcane Rain Fell, by Draconian.
Although Gogo Melone might have never taken professional vocal lessons, she doesn’t encourage people to follow the same path. “Everything is better when you have technical knowledge and when you know how you can use your voice without destroying it,” she said, also mentioning that she warms up her voice with simple techniques and rest it for long periods. “I don’t smoke, I’m not a big alcohol drinker, I drink a lot of water, I work out a bit and I sleep well as much as possible. Thankfully I didn’t do any damage to my voice so far, but after some years, maybe many years, my voice will change anyway so I guess that a few professional lessons will help to maintain it.” She obviously loves to use her voice live, and being onstage is extremely important to her as a musician and as a person. For instance, her most memorable live performances happened during the European tour that Aeonian Sorrow did with Swallow The Sun and Oceans of Slumber in 2019, also saying that one of the best concerts she has ever witnessed was Anathema when they played in Thessaloniki, Greece in 2005.
When asked if she prefers focusing on her career or her family, as several female singers have already mentioned they would rather concentrate in their careers, Gogo Melone said she would never sacrifice her family for her career, saying that there’s no point in spending most of the time away from your family or having kids you won’t see growing up, complementing by saying that not having a family when you’re in your 20’s or 30’s might be fine, but definitely not when you turn 40 or 50. A member of Eve’s Apple, a community (that might not be active anymore) focused on uniting female metal and rock singers to share their experiences, get to know each other, chat about a variety of topics, and promote their music without any sort of competition, Gogo Melone believes that the metal scene is no longer a male-dominated space, with all female-fronted bands showing metalheads they are no different from men, deserving nothing but respect from the scene. Hence, when questioned about her favorite female singers of all time, she listed Vibeke Stene (Tristania), Liv Kristine (Theatre of Tragedy, Leaves Eyes), Anneke Van Giersbergen (The Gathering), Lisa Johansson (Draconian) and Cathrine Paulsen (Trail of Tears) as her top ones, saying that list will never change for her.
Greece has always been an amazing source of metal music, but Gogo Melone believes the scene is even stronger now, with many bands having started to act more professionaly, therefore helping the local scene grow in a healthier way. “Of course the metal music industry has the normal ups and downs but people are always interested to discover new bands and artists,” she commented about the scene in Greece, also saying that due to having lost contact with her homeland in recent years she doesn’t follow a lot of Greek bands, apart of course form renowned acts such as Rotting Christ and Septicflesh, but that she knows all bands in Greece are putting a lot of effort into their music and they definitely need the support and attention from fans worldwide.
She also mentioned in one of her interviews that working as an independent artist is more in line with her goals, as she doesn’t like the standards such has “1 album every 2 years” or “you have to go live”, relying more on the online support she receives and on crowdfunding campaigns. “The internet and especially social networks are obviously the new way of bringing people together from all over the world. So, in regards to work and how you will promote it, I think it’s one of the best and most clever ways which can give you fast results. I like to use it very often, sometimes more than I should and even if it has helped me a lot…. I believe we must be very careful. It’s very easy to fool around instead of doing serious work, so be careful.” Well, we can all agree she’s been using the internet properly, as we’re all very lucky to be able to access her music and her art from anywhere in the world, bringing endless joy to our dark and gothic hearts.
“Music is an amazing way to express your emotions and have fun all the time when you don’t take things so seriously. I prefer to sing whenever I want to and enjoy it in a way that makes me feel something instead of making albums every year with amazing productions but without soul, which obviously no one will remember after.” – Gogo Melone
Do you know those events called “celebration of life”, a time when people come together to celebrate the unique personality and achievements of the deceased without the more formal and traditional funeral service? Maybe that’s exactly how we can call The Verminous Remnant Tour 2023 with the bands PHOBOPHILIC, FUMING MOUTH, FROZEN SOUL, TERROR and THE BLACK DAHLIA MURDER, celebrating the life of Trevor Strnad (RIP), the iconic frontman for The Black Dahlia Murder who passed away on May 11, 2022. All bands have some sort of connection with Trevor, as he was a huge supporter of the underground and did A LOT to those bands and to heavy music in general during his amazing life, and fortunately several fans of heavy music in Toronto had the pleasure of taking part in that celebration this Friday at The Phoenix Concert Theatre.
After the doors opened at 6pm and fans had their special time to purchase some merch, grab a beer and chat with friends, Fargo, North Dakota-based Death Metal band PHOBOPHILIC kicked off the celebration at 7pm with a short and sweet performance promoting their 2022 album Enveloping Absurdity, getting all concert goers into the mood to start all the pit action, sounding not just great but also engaging a lot with the crowd. If you know nothing about the band go check their stuff on BandCamp or on Spotify, as I’m sure you’ll enjoy their straightforward, ass-kicking Death Metal, and who knows, maybe you’ll be caught in a mosh whenever those four metallers storm your city with their undisputed heaviness.
Band members Aaron Dudgeon – vocals, guitars
Josh Poer – guitars
Christian Alm – bass
Vincent Tweten – drums
It was around 7:40pm when the second band of the night, Milford, Massachusetts’s own Death Metal/Crust outfit FUMING MOUTH, hit the stage with their fast, thrashing and heavy music, again getting a nice mosh pit going, blending songs from their 2020 EP Beyond the Tomb, such as the title-track Beyond the Tomb and Master of Extremity, with others form their 2019 album The Grand Descent, like Out of the Shadows and Visions of Purgatory. Needless to say, they also dedicated their performance to Trevor, which of course got a warm answer from the audience. Hence, if you haven’t ever heard of this band either, you should go to BandCamp or Spotify and bathe in their demolishing creations.
Band members Mark Whelan – vocals, guitars
Andrew Budwey – guitars
James Davis – drums
After another short break, it was time for Fort Worth, Texas-based Death Metal horde FROZEN SOUL to smash the cranial skulls of all fans at the venue with another amazing performance. Playing songs from their 2021 album Crypt of Ice, including Encased in Ice, Arctic Stranglehold and Crypt of Ice, as well as the new tunes Death and Glory and Arsenal of War, from their upcoming 2023 album Glacial Domination, Frozen Soul delivered their trademark fusion of Death Metal with heavy doom and fast thrash elements, having the house turn the lights all blue, and the reaction from the crowd was nothing but a huge mosh pit. Their lead singer Chad Green even asked the fans to do push ups, and they didn’t disappoint at all, so if you’re searching for a heavy soundtrack for your push ups at the gym you know what to do, right? Simply visit BandCamp or Spotify, and voilà!
Setlist Encased in Ice
Merciless
Beat to Dust
Morbid Effigy
Death and Glory
Arsenal of War
Arctic Stranglehold
Crypt of Ice
Band members
Chad Green – vocals
Chris Bonner – guitars
Michael Munday – guitars
Samantha Mobley – bass
Matt Dennard – drums
One more memorable show was provided to all fans at the venue by Los Angeles, California-based Hardcore act TERROR, delivering their fast-paced creations highly inspired by the fantastic LA thrash scene from the 80’s and 90’s. Right after they started their concert at around 9pm the entire floor section turned into a massive circle pit, keeping the security guys busy and even photographers like my buddy Keith Ibbitson of Lower Eastside Photography, who helped the staff in between taking shots to steer the crowd surfers out of the pit. Alex and Liam (and their front stage crew) did an amazing job holding it down and making sure everyone was safe, by the way. Terror released a short but fulminating album in 2022 titled Pain into Power (available on BandCamp and on Spotify), with songs like the title-track Pain Into Power, Can’t Help but Hate and Boundless Contempt being part of their setlist for the delight of all fans at The Phoenix Concert Theatre.
Setlist Pain Into Power
Overcome
Stick Tight
Spit My Rage
Betrayer
Lowest of the Low
Can’t Help but Hate
Boundless Contempt
The 25th Hour
One With the Underdogs
Keep Your Mouth Shut
Keepers of the Faith
Band members
Scott Vogel – vocals
Martin Stewart – guitar
Jordan Posner – guitar
Chris Linkovich – bass
Nick Jett – drums
It was a little past 10pm when the main attraction of the night, Detroit, Michigan’s Melodic Death Metal institution THE BLACK DAHLIA MURDER, began their infernal performance, and everyone at the venue was blown away by their heavy and catchy sounds as expected. Now fronted by Brian Eschbach, who used to be the band’s guitarist until the death of Trevor, the band named their current tour after their 2020 album Verminous, adding the word “remnant” to it for obvious reasons, with songs like the title-track Verminous and Sunless Empire, mixed with their older material including Everything Went Black, I Will Return and Deathmask Divine, driving all fans crazy.
The crowd chanted Trevor’s name between songs during their entire performance, an emotional gesture in honor of the great Trevor, whose lyrics, onstage presence and contributions to the metal scene will always be missed. As aforementioned, what he did for all openers that are part of this tour was amazing, helping all bands get signed. He was a voice of reason to the labels, said one concert goer, and the response from all fans to The Black Dahlia Murder during their entire performance only proved how much everyone will always love Trevor and his music. Thanks once again to Noel Peters from Inertia Entertainment for organizing such incredible night for metal fans in Toronto, and of course for allowing all Torontonian fans to celebrate the life of the one and only Trevor Strnad.
Setlist Verminous
What a Horrible Night to Have a Curse
Kings of the Nightworld
Sunless Empire
Carbonized in Cruciform
Child of Night
Statutory Ape
On Stirring Seas of Salted Blood
Everything Went Black
Nightbringers
Miasma
Unhallowed
Funeral Thirst
I Will Return
Deathmask Divine
Band members Brian Eschbach – vocals
Ryan Knight – guitars
Brandon Ellis – guitars
Max Lavelle -bass
Alan Cassidy – drums
Formed in 2002 in Whittier, California, in the United States, the unstoppable Neoclassical and Technical Thrash/Death Metal outfit Exmortus is back in action in 2023 with their amazing sixth studio album, titled Necrophony, a portmanteau of “necro” and “phony” (or “dead sounds”), offering nothing but a savage rebirth and a fierce renewal in the form of twelve tracks highly recommended for fans of Hatchet, Warbringer, Havok, Toxic Holocaust and Skeletonwitch, among others. Produced, recorded, mixed and mastered by Zack Ohren at Sharkbite Studios, and displaying a striking artwork by Indonesian artist Toha Mashudi, Necrophony showcases a beyond focused and inspired band currently formed of Jadran “Conan” Gonzalez on vocals and guitars, Chase Becker also on the guitars, Phillip Nuñez on bass, and Adrian Aguilar on drums, emerging stronger, faster and crazier from the throes of the pandemic while going from a Conan the Barbarian and Gladiator aesthetic from their previous records to something blacker and more nefarious as illustrated by the eeriest and evilest Lovecraftian and Tolkien-esque tales.
“We wanted everything on this album to be a fresh take of what we envisioned Exmortus to be,” said Conan about Necrophony. “We had a lot of time to reflect on that during the isolation period of the pandemic, and so, this new material is a sort of rebirth of our approach to writing and performing our music.” Hence, don’t forget to give the guys from Exmortus a shout on Facebook and on Instagram, to subscribe to their official YouTube channel, to stream their wicked music on Spoitfy, and above all that, to purchase a copy of Necrophony from their own webstore, or by clicking HERE or HERE. Exmortus are going to invade your senses with their piercing, scorching “dead sounds”, and there’s nothing you can do about it but succumb to the thunderous music by one of the most innovative and hardworking bands of the current scene.
THE HEADBANGING MOOSE 