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Album Review – Veilburner / Longing for Triumph, Reeking of Tragedy (2025)

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The eighth opus by this uncanny Death and Black Metal creature sees the duo continue to suffer like two dragons consuming one another in a serpentine-like fashion until one can no longer consume the other, frozen in the shape of infinity.

Only one year after the release of their critically acclaimed album The Duality of Decapitation and Wisdom, Pennsylvania, United States-based Avantgarde Death/Black Metal creature Veilburner returns with their eighth full-length album, poetically titled Longing for Triumph, Reeking of Tragedy. Displaying another Stygian artwork by Luciana Nedelea, the new opus by Chrisom Infernium on vocals, lyrics and design, and Mephisto Deleterio on all instruments and production sees the duo continue to suffer like two dragons consuming one another in a serpentine-like fashion until one can no longer consume the other, frozen in the shape of infinity (∞) and numerologically represented by the digit eight (8). Samael (the “poison of god” and the eighth sphere of the Qlippoth), as well as Choronzon (the dweller of the threshold) and the Ouroboros all correlate with this symbol of infinity and exist in Veilburner’s lore as the antagonistic and immutable eternity, which if confronted can lead to self-destruction and the finality of manifestation, permanently breaking the loop.

Like the beginning of a black mass, the duo ignites their festivities with Longing for Triumph…, with the marching drums by Mephisto suddenly evolving into pure Black Metal madness while Chrisom roars like a demented entity from the abyss; and Mephisto keeps slashing his scorching axe in Pestilent Niche, delivering fierce, metallic riffs for our total delight, as experimental as it is progressive, sounding like two or three songs in one. Then venturing through Atmospheric Black Metal lands with a pinch of Doom Metal we face Rigor & Wraith, with the cryptic vociferations by Chrisom sounding truly haunting, whereas back to a ferocious Black Metal sonority they offer us That Which Crypts Howls Grandeur, where all instruments by Mephisto sound absolutely demonic, adding an extra dosage of insanity and sulfur to the overall result. Da’ath Ye Shadow Portrait is another excellent display of Avantgarde Death and Black Metal by the duo, with Chrisom once again barking rabidly nonstop, followed by Ouroboreal Whorl, the least Black Metal of all songs, maybe a bit too experimental for my taste, never sounding truly heavy. They get back on track with Matter o’ the Most Awful of Martyrs, blasting their trademark blend of demented Black and Death Metal sounds, with Mephisto sounding ruthless armed with his riffs, solos and blast beats until the very last second; and lastly, we have …Reeking of Tragedy, the “conclusion” of the opening track, therefore forming the title of the album, which couldn’t have sounded more inhumane and sinister, with the duo firing their devilish roars and eerie riffs nonstop.

In the spirit of striking while the iron is hot, this eighth evolution of the Veilburner story capitalizes on momentum while simultaneously achieving new heights in their song-crafting and story-telling, leading their characters on a journey in which they cannot recognize triumph without tragedy, and sees them residing somewhere between the abyss and their devotion to mortal re-occurrence, that which seems to attract death, being therefore highly recommended for fans of Blut aus Nord, Imperial Triumphant, Deathspell Omega, Hexrot, Oranssi Pazuzu, Akhyls, and Akercocke. You can dive into the dark realms ruled by Veilburner by following them on Facebook and on Instagram, by streaming their unique creations on Spotify, and of course by purchasing their new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. In Longing for Triumph, Reeking of Tragedy, Chrisom Infernium and Mephisto Deleterio face not just any death, but the kind in which they are bound to an infinite loop of reincarnation, and destined to repeat the same traumas and failures as before.

Best moments of the album: Pestilent Niche, That Which Crypts Howls Grandeur and Matter o’ the Most Awful of Martyrs.

Worst moments of the album: Ouroboreal Whorl.

Released in 2025 Transcending Obscurity Records

Track listing
1. Longing for Triumph… 7:00
2. Pestilent Niche 6:19
3. Rigor & Wraith 5:26
4. That Which Crypts Howls Grandeur 6:19
5. Da’ath Ye Shadow Portrait 7:04
6. Ouroboreal Whorl 6:29
7. Matter o’ the Most Awful of Martyrs 6:00
8. …Reeking of Tragedy 7:14

Band members
Chrisom Infernium – vocals
Mephisto Deleterio – all instruments

Album Review – Tine / A Winter Horrorscape (2025)

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This unrelenting entity returns from the bowels of Appalachia with its third studio album, featuring eight crushing songs of pure Symphonic Black and Death Metal.

Forged of cold, wrought iron from the bowels of Appalachia back in 2011 by vocalist, multi-instrumentalist, songwriter and composer Count Murmur, combining the sinister aggression of Black Metal, the power and ferocity of Death Metal, and the sweeping passion of orchestra and symphony to create a truly unique sound, one-man Symphonic Black/Death Metal entity Tine is unleashing upon humanity its third full-length opus, titled A Winter Horrorscape, following up on its 2022 sophomore Mergae Maris Profundi. Produced, mixed and mastered by session drummer Nikola Dušmanić alongside Count Murmur at Ezoterik Studio, with guitar Tones and re-amping by Rodoljub Raičković at Vortex Studio, showcasing a chilly, despondent artwork by James Hutton, and featuring guests Samantha Bounkeua on piano, strings and choir vocals, Peter Ferguson on guitar solos on a few of the songs, and Mark DiAngelo with wind sounds on the title-track, A Winter Horrorscape features eight crushing songs of pure Symphonic Black and Death Metal, proving why the uncanny Count Murmur has already become a reference in the genre.

Guest musician Samantha Bounkeua creates an enfolding, whimsical ambience in Winter Comes, captivating our senses before Count Murmur crushes our souls with A Feather from Lucifer’s Wing, melting our faces and burning our hearts with his visceral gnarls, offering a beautiful and austere explosion of classic Black Metal for lovers of the genre; followed by A Path Through Frozen Woods, which also presents Count Murmur’s trademark roars and Stygian riffage, always supported by the crushing drums by Nikola. And featuring a guest guitar solo by Peter Ferguson, Count Murmur ignites another darkened mass with his devilish vocals entitled Ex Cathedra, bring forward eight minutes of bitterly acid Black Metal madness.

Return to the Black Forest in Winter is a beyond cinematic composition, with all background elements and choir adding an extra touch of obscurity to its vibe. It’s not the most exciting of all songs, though, but still very enjoyable; and continuing with the album’s phantasmagorical energy we have The Scathing Blizzard, this time with Count murmur vociferating rabidly nonstop while also firing scathing riffs, supported by another guest solo by Peter Ferguson. Then our lone wolf keeps blackening the atmosphere with another eight-minute aria titled Triumph at Nineveh, where both his clean and harsh vocals add even more depth to his already multi-layered music; and lastly, the title-track Winter Horrorscape, featuring Peter Ferguson on a guitar solo and Mark DiAngelo on wind sounds, will embrace you in pitch black darkness, putting a stunning and climatic ending to the album like the soundtrack to a horror movie.

As the songs began to take on a wintry and cold feel in A Winter Horrorscape, Count Murmur decided this would be the theme of the album, with the enlisting of the skills of all aforementioned session musicians broadening the breadth and scope of the music considerably. In the end, Count Murmur and his Tine were capable of crafting a piercing, frostbitten piece of extreme music that deserves to be listened to on all four corner of the earth, and you can show your support to such a talented and hardworking metaller by following Tine on Facebook and on Instagram, by subscribing to the project’s YouTube channel, by streaming its music on any streaming platform such as Spotify, and above all that, by purchasing a copy of A Winter Horrorscape from BandCamp. The blend of Symphonic Black and Death Metal by Tine is undoubtedly a thing of beauty, with A Winter Horrorscape representing another fantastic step in the career of the unstoppable Count Murmur, a loyal servant of the darkest of arts.

Best moments of the album: A Feather from Lucifer’s Wing, Ex Cathedra and Triumph at Nineveh.

Worst moments of the album: Return to the Black Forest in Winter.

Released in 2025 Independent

Track listing
1. Winter Comes 2:20
2. A Feather from Lucifer’s Wing 5:11
3. A Path Through Frozen Woods 4:23
4. Ex Cathedra 8:05
5. Return to the Black Forest in Winter 3:41
6. The Scathing Blizzard 3:44
7. Triumph at Nineveh 7:58
8. Winter Horrorscape 6:42

Band members
Count Murmur – vocals, guitars, bass

Guest musicians
Nikola Dušmanić – drums (session)
Samantha Bounkeua – piano, strings, choir vocals, everything on “Winter Comes”
Peter Ferguson – guitar solos on “Ex Cathedra”, “The Scathing Blizzard” and “Winter Horrorscape”
Mark DiAngelo – wind sounds on “Winter Horrorscape”

Album Review – Signs of the Swarm / To Rid Myself of Truth (2025)

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Continuing to molt their slamming Deathcore exoskeleton, Pittsburgh, Pennsylvania’s own beast is unleashing upon us their strongest and most violent album to date.

Continuing to molt their slamming Deathcore exoskeleton, with their metal metamorphosis revealing a band now as indebted to Meshuggah, Gojira and Fear Factory as any of the Deathcore bands they grew up on, Pittsburgh, Pennsylvania’s own beast Signs of the Swarm is unleashing upon humanity their new offering, titled To Rid Myself of Truth, following up on their 2023 slab of brutality Amongst the Low & Empty. Produced by Josh Schroeder at Random Awesome! Recording Studio, and featuring guest appearances by Will Ramos (Lorna Shore), Phil Bozeman (Whitechapel), Jack Murray (156/Silence) and Johnny Crowder (Prison), the new album by David Simonich on vocals, Carl Schulz on the guitars, Michael Cassese on bass, and Bobby Crow on drums carries a title that exudes confidence while the band’s pursuit of substance over style of the month is as refreshing as it could be surprising.

The title-track To Rid Myself of Truth already showcases the band’s ruthless welcome card, with the bludgeoning riffs and bass lines by Carl and Michael, respectively, bringing absolute heaviness and violence to the atmosphere; followed by Hell Must Fear Me, also stylized as HELLMUSTFEARME, a lesson in modern-day Deathcore with the inhumane, deep growling by David haunting our souls for all eternity, not to mention how demented Bobby sounds on drums. Natural Selection reminds me of some of the darkest creations by Thy Art Is Murder, with David once again stealing the show with his creature from the abyss-like roars; and the way they managed to match David’s growls with the pulverizing drums by Bobby is outstanding in Scars Upon Scars, as if they were a two-headed beast of violence and Deathcore, sounding very progressive and multi-layered as well. Chariot keeps the album as demented and aggressive as possible, with Carl’s visceral riffs cutting our skin deep mercilessly; and David is joined by the one and only Will Ramos for a demented display of Deathcore in Clouded Retinas, showcasing the most Stygian form of vociferations imaginable, and the final result is insanely good.

Iron Sacrament is another song that reeks of violence and dementia just the way we like it in Deathcore, featuring guest vocals by Phil Bozeman, and of course the sick riffs by Carl will inspire you to bang your head nonstop when those guys take your city by storm; whereas Forcing to Forget is a bit too modern or alternative for my personal taste, lacking the same level of aggressiveness from all previous songs. Then back to a more visceral, headbanging sound we have Sarkazein, with Bobby once again providing David with exactly what he needs to scream like a bestial entity nonstop. Needless to day, it should also work really well if played live. Then guest vocalists Jack Murray and Johnny Crowder bring an endless amount of stamina and rage to their already infernal music in Fear & Judgment, turning it into a must-listen for fans of the genre, whereas closing such an incandescent album of Deathcore we’re treated to Creator, where their core essence is infused with the Djent sounds blasted by their idols Meshuggah, and the final result couldn’t have been heavier.

To Rid Myself of Truth is clearly the band’s strongest, darkest and most diverse album to date, showcasing a healthy evolution in their undisputed sound while remaining loyal to their foundations, becoming therefore a must-listen for both old school, diehard fans of the band, and newcomers to their reign of violence and heaviness. You can keep in touch with the boys from Signs of the Swarm by following them on Facebook and on Instagram, including their demented live performances, stream their full discography on most platforms like Spotify, and of course add the caustic, harsh To Rid Myself of Truth to your devilish collection by purchasing it from BandCamp or by clicking HERE. In our chaotic world where truth and lies walk hand in hand, there’s nothing better than the savage Deathcore by Signs of the Swarm to give us strength to keep on moving forward no matter what, with their newborn beast definitely representing the most important step in their already solid and thrilling career.

Best moments of the album: Hell Must Fear Me, Scars Upon Scars, Clouded Retinas and Fear & Judgment.

Worst moments of the album: Forcing to Forget.

Released in 2025 Century Media Records

Track listing
1. To Rid Myself of Truth 3:38
2. Hell Must Fear Me 3:07
3. Natural Selection 3:56
4. Scars Upon Scars 3:00
5. Chariot 3:31
6. Clouded Retinas 3:12
7. Iron Sacrament 3:24
8. Forcing to Forget 3:36
9. Sarkazein 4:26
10. Fear & Judgment 4:19
11. Creator 3:47

Band members
David Simonich – vocals
Carl Schulz – guitars
Michael Cassese – bass
Bobby Crow – drums

Guest musicians
Johnny Crowder – vocals on “Fear & Judgment”
Jack Murray – vocals on “Fear & Judgment”
Will Ramos – vocals on “Clouded Retinas”
Phil Bozeman – vocals on “Iron Sacrament”

Album Review – Behölder / In The Temple Of The Tyrant (2025)

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This American horde will attack our senses with their debut opus, a true love letter to Epic Doom Metal inspired by classic Dungeons & Dragons.

Hailing from Philadelphia, Pennsylvania, in the United States, Behölder are an Epic Doom/Dark/Power Metal band inspired by classic Dungeons & Dragons, formed in late 2021 by guitarist Carlos Alvarez. Produced by the same Carlos Alvarez, mixed and mastered by Ronnie Björnström at Björnström Ljud & Produktion, and displaying a stunning artwork by Zsofia Dankova, their debut opus, titled In The Temple Of The Tyrant, features eight tracks of monstrous proportions, a true love letter to Epic Doom Metal weaving cautionary tales from the more grim, foreboding realms of fantasy against a backdrop of colossal riffs with elegant yet powerful melodies, all carefully crafted by vocalist John Yelland, guitarists Carlos Alvarez and Matt Hodsdon, bassist Michael Sanchez, and drummer Andrew Julkowski.

A Pale Blood Sky begins in a strong doomed vibe thanks to the heavy riffs by Carlos and Matt, supported by the always thunderous bass by Michael, and let’s all headbang like beasts to the epic vocals by John because those are awesome. Then their melodious, penetrating guitar lines set the tone in Dungeon Crawl, another feast of Epic and Doom Metal with a thrilling galloping pace; and it’s time for an even heavier tune titled Into the Underdark, with the pounding drums by Andrew walking hand in hand with the deep vocals by John, not to mention how powerful the bass by Michael sounds. After that we face Eyes of the Deep (featuring guest vocalist Tomi Joutsen of Amorphis), which reminds me of some of the darkest creations by Black Sabbath with Dio, in special from when they were called Heaven & Hell, with the entire band sounding tight, epic and fierce until the very last second.

The band then fires a more introspective composition entitled For Those Who Fell, offering seven minutes of dark, sluggish passages rooted in classic Doom Metal, or in other words, it’s a beautiful dark ballad by the band. Then investing in a primeval, tribalistic sound we have Draconian (Slave or Master), as if it was part of a somber, obscure ritual, with the riffage by Carlos and Matt penetrating deep inside our skin in great fashion, followed by Summoned & Bound, which lacks the same energy and punch from the previous songs. John still delivers his share of epicness through his vocals, though. And lastly we’re treated to I Magus, an amazing blast of Epic Doom Metal led by the thunderous vocals by John while his bandmates not only craft a powerful sound, but their backing vocals are also spot-on, putting a phenomenal and obviously epic ending to the album.

As the band itself likes to say, their debut album offers us all avid listeners “magic, mayhem and riffs heavier than a storm giant’s ass,” being therefore highly recommended for fans of Candlemass, Solitude Aeturnus, Sorcerer, and Memento Mori, among others. Hence, you can join the band in their magic metal quest by following them on Facebook and on Instagram, and of course by purchasing a copy of In The Temple Of The Tyrant from the Black Lion Records’ BandCamp or webstore, from Indiemerchstore, from Season of Mist, or simply by clicking HERE or HERE. In the end, Behölder are definitely going to make a lot of noise armed with their first ever album, adding an extra dosage of sheer doom to the already heavy and thunderous world of Dungeons & Dragons.

Best moments of the album: A Pale Blood Sky, Draconian (Slave or Master) and I Magus.

Worst moments of the album: Summoned & Bound.

Released in 2025 Black Lion Records

Track listing
1. A Pale Blood Sky 6:34
2. Dungeon Crawl 5:39
3. Into the Underdark 5:20
4. Eyes of the Deep 6:25
5. For Those Who Fell 6:58
6. Draconian (Slave or Master) 5:52
7. Summoned & Bound 5:34
8. I Magus 6:44

Band members
John Yelland – lead vocals
Carlos Alvarez – guitars, backing vocals
Matt Hodsdon – guitars, backing vocals
Michael Sanchez – bass, backing vocals
Andrew Julkowski – drums, backing vocals

Guest musician
Tomi Joutsen – vocals on “Eyes of the Deep”

Album Review – Lady Beast / The Inner Alchemist (2025)

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Let’s ride into the battlefield to the sound of this true locomotive of old school Heavy Metal masterfully crafted by one of the most electrifying names of the current scene.

Flying the flag for refined Heavy Metal since their inception back in 2009, always influenced by metal titans the likes of Motörhead, Dio, Black Sabbath, Iron Maiden, Judas Priest, and Mercyful Fate, Pittsburgh, Pennsylvania’s own unstoppable force Lady Beast returns to action five years after their latest full-length opus The Vulture’s Amulet, and four years after their striking EP Omens, with a brand new album entitled The Inner Alchemist, continuing to melt our faces with their sturdy aesthetic, authentically 80’s-entrenched Heavy Metal that struts and gallops with equal aplomb. Recorded by Jason Jouver, mastered by Yavé “Rust” Rodriguez, and displaying an ass-kicking, evocative artwork by Adam Burke of Nightjar Illustration, The Inner Alchemist is a true locomotive of old school metal music masterfully crafted by frontwoman Deborah Levine, guitarists Andy Ramage and Chris Tritschler, bassist Amy Bianco, and Adam Ramage, offering more of their high-octane music infused with swords and sorcery.

The scorching riffs by Andy and Chris rev up the band’s metallic engine in Oracle’s Omen, a true banger where Deborah already distills her soaring vocals for our total delight; whereas their Power Metal vein pulses stronger than ever in Through the Eyes of War, with Adam dictating the song’s electrifying pace supported by the classic bass lines by Amy, being therefore recommended for some fun inside the mosh pit. The band then delivers an overdose of Heavy Metal magic in the title-track Inner Alchemist, a headbanging hymn where the rumbling kitchen by Amy and Adam is perfect for Deborah’s piercing vocal lines, morphing into Starborn, which offers our avid ears a serene, melancholic start in the best Iron Maiden way possible, then evolving into a more Judas Priest-inspired sound until the end.

Their feast of old school, no shenanigans sounds goes on in full force in Crone’s Crossroads, a frantic, in-your-face display of Heavy Metal where Adam hammers his drums nonstop while the riffage by Andy and Chris exhale fire and power; and their NWOBHM side explodes majestically in Feed Your Fire, where their caustic riffage and solos, as well as their fast-paced beats, match flawlessly with Deborah’s epic roars. Witch Light is an instrumental tune that sounds fairly decent, although I still prefer any song with Deborah’s vocals like what happens in The Wild Hunt, where she declaims the song’s lyrics beautifully supported by the galloping sounds blasted by her bandmates. Last but definitely not least, it’s pedal to the metal in the thrilling Off with Their Heads, sounding thrashy at times thanks to the infuriated riffs by Andy and Chris, therefore putting a wild conclusion to such a breathtaking album.

After all is said and done, you’ll notice that not only The Inner Alchemist is a pure Lady Beast album, but also that the production on the album beautifully highlights their heaviness, turning it into a special milestone in their already solid career. Having said that, Deborah and her henchmen are waiting for you to join them in the battlefield by following them on Facebook, Instagram and YouTube, by streaming their epic creations on Spotify, and of course by grabbing a copy of the breathtaking The Inner Alchemist from the Dying Victims Productions’ BandCamp or by clicking HERE. It’s time to ride through the vast realm of heavy music alongside Lady Beast to the sound of their newborn opus, keeping the flames of classic Heavy Metal burning for all eternity and, therefore, fueling the band to keep blasting our ears with more albums like The Inner Alchemist in the foreseeable future.

Best moments of the album: Through the Eyes of War, Crone’s Crossroads, Feed Your Fire and Off with Their Heads.

Worst moments of the album: Witch Light.

Released in 2025 Dying Victims Productions

Track listing
1. Oracle’s Omen 4:08
2. Through the Eyes of War 3:47
3. Inner Alchemist 3:48
4. Starborn 6:56
5. Crone’s Crossroads 3:27
6. Feed Your Fire 4:37
7. Witch Light 2:19
8. The Wild Hunt 3:28
9. Off with Their Heads 3:09

Band members
Deborah Levine – vocals
Andy Ramage – lead guitar
Chris Tritschler – rhythm guitar
Amy Bianco – bass
Adam Ramage – drums

Concert Review – Tomb Mold & Horrendous (Lee’s Palace, Toronto, ON, 07/04/2024)

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Lots of metalheads answered a call from the underground Thursday night in Toronto in a feast of first-class Death Metal by two of the best bands of the current scene.

OPENING ACT: Gutvoid

While all major rock and metal bands are playing at the biggest summer festivals in Europe like Hellfest, Graspop Metal Meeting and Wacken Open Air, there’s nothing better than a huge dosage of underground extreme music to keep us Torontonians entertained before those bands get back to the city, which is exactly what happened Thursday night at Lee’s Palace when GUTVOID, HORRENDOUS and TOMB MOLD kicked off their insane Enraptured By Fate’s Tangled Thread Tour 2024 with an overdose of technical, progressive and insane Death Metal for our total delight. Keith Ibbitson of Metal Paparazzi and I were there to enjoy such an amazing night of Death Metal at an almost sold out Lee’s Palace, with the hot and humid weather only making things even more incendiary inside the venue.

The first band to hit the stage was Toronto’s own Death Metal brigade GUTVOID, and those guys didn’t disappoint at all; quite the contrary, the band formed of Brendan Dean on vocals and guitars, Daniel Bonofiglio also on the guitars, D.W. Lee on drums, and guest bassist Spinny Guilbault kicked some serious ass with their exciting performance, playing songs from their 2022 album Durance of Lightless Horizons (also available on Spotify) plus a new song titled For We Are Many, from their upcoming EP Breathing Obelisk (which will surely be reviewed at The Headbanging Moose), properly warming up all the fans for the upcoming main attractions of the night. After their show I had a chance to briefly chat with Brendan, saying how much I enjoyed the debut album by his solo project Fathomless Ritual, and with Spinny, who told me he barely had any time to rehearse the songs with the band, although at least for me he sounded like he’s always been part of Gutvoid. He’s such a cool and talented guy, and I’m surely going to check his other bands Sentiment Dissolve, Goreworm and Kavara (and you should do the same, of course).

Band members
Brendan Dean – vocals, guitars
Daniel Bonofiglio – guitars
Spinny Guilbault – bass
D.W. Lee – drums 

HORRENDOUS

After a short and sweet break, when most people were either in line to grab some merch or buy a beer, or outside the venue trying to breathe some (inexistent) fresh air, Philadelphia’s most demented Progressive Death Metal horde, the unstoppable HORRENDOUS, brought to the stage the insanity from their excellent 2023 opus Ontological Mysterium, with Damian Herring, Matt Knox, Alex Kulick and Jamie Knox proving why they’re a force to be reckoned with, delivering sheer madness, heaviness and violence through their amazing music. Alternating between complex, experimental passages and pure Death Metal violence, which of course inspired everyone to slam into a wild circle pit, they put on a tremendous show for admirers of the genre, leaving us eager for more Horrendous in Toronto in a not-so-distant future. All of their first-class albums are available on BandCamp and on Spotify, and I’m sure you’ll get addicted to their music from the very first second. As you can see, Horrendous were so good, but so good, that I’m not even considering them as an opening act, but as a co-headliner, and if I were you I wouldn’t miss the chance to see them live on this tour.

Band members
Damian Herring – guitars, vocals
Matt Knox – guitars, vocals
Alex Kulick – bass
Jamie Knox – drums

TOMB MOLD

Four guys wearing shorts and colorful shirts instead of leather and spikes, none with long hair, nor any Death Metal paraphernalia onstage. That, ladies and gentlemen, is one of Toronto’s most hardworking and thrilling metal acts of the current scene, the ruthless Progressive Death Metal entity TOMB MOLD, and their show might have been one of the sickest gigs of the year thanks to the undeniable talent and onstage performance by Max Klebanoff, Derrick Vella, Payson Power and Kevin Sia. Still promoting their 2023 beast The Enduring Spirit, the quartet was flawless during their entire set, again igniting some insane mosh pits that ended up driving the already high temperatures in the city even higher. I honestly have no idea of the names of the songs they played last night, but I can assure you all of them were fantastic (and all are available on Spotify, by the way), so if you have a chance to join them on this tour, simply go for it because you’ll have an absolute blast to the sound of their top-of-the-line Death Metal. Just don’t forget to be in good shape and do lots of cardio, because you’ll get caught in some intense circle pits, no doubt about that.

Band members
Max Klebanoff – vocals, drums
Derrick Vella – guitars
Payson Power – guitars
Kevin Sia – bass

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Concert Review – Thy Art Is Murder (The Phoenix Concert Theatre, Toronto, ON, 04/12/2024)

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If you love mosh pits from the bottom of your blackened heart, then Friday night in Toronto was the place to be, courtesy of four insane bands in a feast of pure, brutal Deathcore.

OPENING ACTS: Snuffed on Sight, Signs of the Swarm and Angelmaker

I have no idea what’s happening with the traffic to get to Toronto. I mean, it has always been bad, but this weekend it seems that things got even worse, which delayed my arrival at The Phoenix Concert Theatre to see SNUFFED ON SIGHT, SIGNS OF THE SWARM, ANGELMAKER and THY ART IS MURDER kill everything and everyone during the Toronto stop of their Godlike North America Tour 2024, another fantastic event brought to the city by Noel Peters of Inertia Entertainment, and “day 1” of my more-than-awesome “metal weekend” with three days of shows in a row. Besides the heavy traffic to get in and out of the city, there was also a lot of wind and rain, but nothing that could stop a horde of avid Deathcore and Death Metal fans to invade the venue and generate some of the wildest mosh pits I’ve ever seen live. Holy shit, the kids were mental inside the pit, with the action flowing nonstop until the very last second.

Due to traffic, I couldn’t make it in time to see San Francisco, California-based Brutal Death Metal/Hardcore act SNUFFED ON SIGHT, but fortunately my buddy Keith Ibbitson of Metal Paparazzi was there to take some wild pictures of the band, and to confirm what I suspected after listening to their 2023 album Smoke, that they’re extremely heavy and really fun to see live. If you want to experience their fury, you can stream their sick creations on BandCamp, Spotify, or any other streaming service, as well as get to know more about the band by clicking HERE, and as soon as you realize how brutally amazing this band is, you’ll be smarter than me and plan your trip ahead of time to be able to see them kicking some serious ass on stage.

Setlist
Intro
Blunt Cough
Time 2 Dip
Dummy
(smoke break)
Smoke
All Talk
Slippin

Band members
Seven Kane – vocals
Walid Gad – guitars
Spencer Metala – bass
Kendric DiStefano – drums

Although I had to miss Snuffed on Sight, I was lucky enough to witness live one of the heaviest, most insane concerts ever, courtesy of Pittsburgh, Pennsylvania’s own Deathcore beast SIGNS OF THE SWARM. Led by the amazing frontman David Simonich, the band delivered sheer violence, groove and fire during their short but extremely destructive set, playing songs form their most recent album Amongst the Low & Empty such as the title-track Amongst the Low & Empty, Tower of Torsos and Pray for Death. The circle pits, walls of death and crowd surfing were freakin’ insane during their whole concert, showing how electrifying their music is (and you can check it out yourself on Spotify or by clicking HERE). I can’t wait to see those guys again live, but I’ll be sure I have some sort of body armor to endure their sick mosh pits, no doubt about that.

Setlist
Amongst the Low & Empty
Tower of Torsos
Pray for Death
Borrowed Time
Between Fire & Stone
Dreamkiller
Malady

Band members
David Simonich – vocals
Carl Schulz – guitars
Michael Cassese – bass
Bobby Crow – drums

Next on the bill was North Vancouver, British Columbia, Canada-based Deathcore infantry ANGELMAKER, and yet again The Phoenix Concert Theatre became a hurricane of mosh pits thanks to their incendiary performance on stage. It’s interesting that they were able to fit all seven members of the band on stage, because not only they have three guitarists, but they also have two demented vocalists, Casey Tyson-Pearce and Mike Greenwood, and oh boy, their double vocal attack is beyond infernal. Playing songs the likes of Godless, Hollow Heart and Leech, it was a wild ride together with those Canadians, keeping the action in the mosh pit moving as fast as a shark hunting for food. Go check their crazy creations on BandCamp and on Spotify, and don’t miss the chance to see those seven wicked musicians live whenever they hit your city, as it’s absolutely worth it.

Setlist
Radiance in the Light of a Dying Sun
The Bridge Between
Suffer Forever
Day/Day
Godless
Gutless
Shia LaBeouf
Vengeance
A Dark Omen
Hollow Heart
Leech

Band members
Casey Tyson-Pearce – vocals
Mike Greenwood – vocals
Colton Bennett – guitars
Matt Perrin – guitars
Johnny Ciardullo – guitars
Cole Rideout – bass
Steven Sanchez – drums

THY ART IS MURDER

After three insane openers, it was then time for the main attraction of the night, Blacktown, New South Wales, Australia’s own Deathcore institution THY ART IS MURDER, to crush the souls of all concert goers with their visceral, harsh and furious performance. Promoting their 2023 album Godlike, the band now fronted by the talented Tyler Miller, of Australian Technical Deathcore band Aversions Crown (as the iconic Chris “CJ” McMahon has recently quit music for good, starting a career in real estate) kicked some ass during their solid performance (just as good as the last time I saw them opening for Cannibal Corpse back in 2019), with songs like Slaves Beyond Death, Death Squad Anthem, Make America Hate Again, Godlike, and of course Puppet Master, driving all fans crazy inside the wild mosh pits that kept moving frantically in the middle of the floor section. Leaving concerts earlier than the end seems to be the new norm in Toronto, maybe due to public transportation hours, maybe due to the increase in violence at night, but I would say more than 90% of the crowd stayed at the venue until the very last second, and hopefully it won’t take long for the band to return to the city for another demented concert like Friday night.

Setlist
We Like to Party (Vengaboys song)
Destroyer of Dreams
Slaves Beyond Death
Death Squad Anthem
Make America Hate Again
Blood Throne
Join Me in Armageddon
Holy War
The Purest Strain of Hate
Godlike
Keres
Everything Unwanted
Reign of Darkness
Puppet Master

Band members
Tyler Miller – vocals
Andy Marsh – lead guitar
Sean Delander – rhythm guitar
Kevin Butler – bass
Jesse Beahler – drums

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Concert Review – Suffocation & Incantation (Lee’s Palace, Toronto, ON, 11/13/2023)

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Four of the best Death Metal bands of the current scene worldwide delivered a night of sheer brutality, rage and endless circle pits last night in Toronto.

OPENING ACTS: Stabbing and Skeletal Remains

What a night of brutality and circle pits in Toronto, my friends! SUFFOCATION and INCANTATION, with very special guests SKELETAL REMAINS and STABBING, put on a sensational performance for the delight of all attendees at Lee’s Palace last night during their Ancient Unholy Uprising Tour 2023. Although it might be getting colder and colder in Toronto as winter is almost upon us, all four bands made sure we remained as warm as possible while they blasted their instruments on stage in the name of our good old Death Metal. I just think the venue should have opened their doors a little earlier than 6:30pm to give everyone enough time to buy merch and have a few drinks, but nothing that would make the whole night less enjoyable, of course.

Shortly after the doors opened, the first band of the night, Houston, Texas-based Brutal Death Metal entity STABBING, kicked of the Death Metal ceremony with a ruthless and demonic performance spearheaded by the she-demon Bridget Lynch, who by the way looked possessed on stage and made it almost impossible to see her face during the entire show. Having released the album Extirpated Mortal Process in 2022, plus a brand new demo earlier this year, the quartet showed no mercy for our necks and bodies, demanding some vigorous headbanging and already inspiring the crowd to slam into the circle pit frantically, playing songs such as Inhaling The Dead, Gutted By The Beast, and Pulsing Wound with endless rage and dexterity. If you know nothing about Stabbing, go check their wicked and beyond brutal creations on BandCamp and on Spotify, and if you’re attending any of the shows form this tour make sure you get to the venue in time to witness Bridget and the boys crushing the souls of the lighthearted on stage. You’re going to love it!

Setlist
Inhaling The Dead
Final Flesh Feast
Gutted By The Beast
Visions Of Eternal Suffering
Vortex Of The Severed Dead
Ravenous Psychotic Onslaught
Pulled Apart
It Ends With Flames
Pulsing Wound

Band members
Bridget Lynch – vocals
Marvin Ruiz – guitars
Matt Day – bass
Nat Conner – drums

After a quick intermission (and by the way, kudos to the house DJ for playing tons of Death and Thrash Metal songs during the breaks instead of some generic stuff), it was time for Whittier, California’s own Death Metal squad SKELETAL REMAINS to ignite some of the sickest mosh pits of the night armed with their sonic savagery and heaviness. If I said it was almost impossible to see Bridget’s face during Stabbing, well, it was ABSOLUTELY impossible to see the face of vocalist and guitarist Chris Monroy during Skeletal Remains. Was it really him on stage? Jokes aside, it was another phenomenal display of classic Death Metal by the quartet, with drummer Pierce Williams sounding infernal throughout the entire concert. Blending songs from all of their four amazing albums, including their latest one The Entombment of Chaos, released in 2020, plus their brand new single Void of Despair (and judging by how demolishing the new song is, we should get ready for another merciless Death Metal attack by those guys in their upcoming album), those American metallers pulverized everyone who dared to brave the nonstop circle pit at Lee’s Palace, and if you want to get a sense of how vile and thunderous their music sounds before seeing them live, I recommend streaming all of their catalogue on Spotify. And on a side note, I must say Skeletal Remains had the best merch available hands down, offering so many cool shirts and other items you must see their merch stand to believe it.

Setlist
Void of Despair
Parasitic Horrors
Beyond Cremation
Illusive Divinity
Internal Detestation
Conquer
Congregation of Flesh
Torture Labyrinth
Tombs of Chaos

Band members
Chris Monroy – vocals, guitars
Mike De La O – guitars
Brian Rush – bass
Pierce Williams – drums

INCANTATION

One of the main attractions of the night, Johnstown, Pennsylvania’s own Death Metal machine INCANTATION, was supposed to have started their concert at around 8:35pm, but it was already past 8:45pm when they finally hit the stage. That small delay didn’t mean anything to their avid fans at all, because as soon as they began playing the first notes from the opening song Concordat (The Pact) I it was absolute carnage and violence in the floor section with a wild circle pit that looked like it was going to last forever. The new songs from their recently launched beast Unholy Deification, such as Invocation (Chthonic Merge) X, worked really well mixed with some of their most demolishing classics, while the band’s iconic frontman John McEntee kept his horns high in the air every single second he wasn’t shredding his guitar, being always promptly followed by all of the band’s diehard fans in the pit.

One of the funniest moments of the concert happened between two of the songs from their setlist when John said that every single time Kyle hits his drums, a poser dies. Guess what? Kyle hit his drums, and John simply said “another poser just died”. A simple but effective joke that added an extra touch of intimacy to their incendiary performance, building an even stronger connection between the band and their fans. Hence, if you want to feel all the fury blasted by Invocation and get more than prepared for their killer concert in your city, you can stream all of their wicked creations on BandCamp and on Spotify, warming up your blood vessels for the music by one of the most hardworking and vibrant veterans in the history of Death Metal.

Setlist
Concordat (The Pact) I
Rites of the Locust
Carrion Prophecy
Shadows of the Ancient Empire
Fury’s Manifesto
Blasphemous Cremation
Ascend Into the Eternal
Chalice (Vessel Consanguineous) VIII
Invocation (Chthonic Merge) X
The Ibex Moon
Impending Diabolical Conquest

Band members
John McEntee – vocals, guitars
Luke Shively – guitars
Chuck Sherwood – bass
Kyle Severn – drums

SUFFOCATION

It was a little past 10pm when Long Island, New York-based Brutal/Technical Death Metal institution SUFFOCATION began their violent, ruthless performance, and I honestly don’t know how all photographers, including my friend Keith Ibbitson of Lower Eastside Photography and Kim Baarda, managed to take proper photos of Suffocation or of any of the other bands without a barrier separating them from the crowd, as they had to endure all mosh pits while holding their cameras. It was insane, and I must say they’re really brave for facing that. Promoting their brand new opus Hymns from the Apocrypha (their first without Frank Mullen on vocals), the band now fronted by the talented growler Ricky Myers (Disgorge, Sarcolytic) simply kicked us all in the ass with their fast, heavy and evil songs, including some newborn killers the likes of Seraphim Enslavement, Dim Veil of Obscurity, and the title-track Hymns From the Apocrypha, all by the way available on Spotify.

There was this guy who spent more time up in the air doing crowd surfing than actually standing on his feet. I don’t know his name, but holy shit, he was going up and down the stage pretty much the entire time doing crowd surfing. Does anyone know his name? He deserves a medal for crowd surfer of the year. Anyway, one of the coolest moments during Suffocation’s thunderous concert, if not the coolest moment of the entire night, was when Bridget from Stabbing joined the band on stage and made one of the most visceral duos in the history of Death Metal with Ricky, with both growling, barking and roaring like beasts for our total delight. And suffocation kept the momentum going nutil the very last second of their show, leaving us all eager for more of their music in a not-so-distant future, and proving once again that singing about death, murder, blood, gore and so on can indeed put a smile on ourfaces, just like what happened last night in Toronto.

Setlist
Catatonia
Seraphim Enslavement
Breeding the Spawn
Dim Veil of Obscurity
Pierced From Within
Funeral Inception
Perpetual Deception
Bind Torture Kill
Hymns From the Apocrypha
Liege of Inveracity
Infecting the Crypts

Band members
Ricky Myers – vocals
Terrance Hobbs – guitars
Charlie Errigo – guitars
Derek Boyer – bass
Eric Morotti – drums

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Album Review – Horrendous / Ontological Mysterium (2023)

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Philadelphia’s filthiest and finest Progressive Death Metal band returns in full force with their fifth studio album, a labyrinth where the deeper in you go, the more it twists and churns, luring you toward some monstrous final battle.

Five years after their latest album Idol, Philadelphia’s filthiest and finest Progressive Death Metal band Horrendous is finally back with their fifth full-length instalment, titled Ontological Mysterium, a love letter to Death, Atheist and other classics from the late 80’s and early 90’s. Produced, engineered, mixed and mastered by the band’s own Damian Herring at Subterranean Watchtower Studios, and displaying a sick artwork by Alex Brown and Brian Smith, Ontological Mysterium is a labyrinth where the deeper in you go, the more it twists and churns, luring you toward some monstrous final battle, all masterfully brought into being by the aforementioned Damian Herring on vocals and guitars alongside Matt Knox also on vocals and guitars, Alex Kulick on bass, and Jamie Knox on drums.

A Stygian invocation titled The Blaze warms up the listener for the infernal metal attack that’s about to come in Chrysopoeia (The Archaeology of Dawn), a fast and demolishing tune where the riffs by Damian and Matt set fire to the atmosphere spiced up by the song’s demented lyrics (“Immerse me / In jubilant flames / With iridescent tongue / Lick away the skin / Don’t dare be kind / Paralyze me in paraffin / And spark the match”). Then blending the madness and creativity of Mastodon with their own Death Metal vein we have Neon Leviathan, and the result is a crushing tune where Alex steals the spotlight with his metallic, groovy bass punches; followed by Aurora Neoterica, bringing forward two minutes of sheer insanity, progressiveness and atmospheric passages where Jamie and Alex make an amazing duo with their respective beats and bass lines, flowing into the intricate Preterition Hymn, where the quartet once again blasts our ears with their sonic extravaganza, delivering a sick fusion of harsh growls and clean vocals (albeit not as exciting as the rest of the album).

In the wicked Cult of Shaad’oah  we’re treated to more of their lunatic words (“Beat me back but I’ll keep on climbing / When you’re lost in the dreams / Of the dead / And the final sun burns / Oh, the battle begins… / Prepare for brutal ascent”) amidst a fantastic Progressive Death Metal sonority led by the band’s guitar duo’s caustic riffage; whereas switching gears to a darker, heavier sound with a dense atmosphere, it’s time for the cryptic Exeg(en)esis, once again blasting our ears with their chaotic yet extremely melodic riffs, beats and bass lines, or in other words, a weird creation that fits really well in the album, followed by the Progressive Metal-infused title-track Ontological Mysterium, where Horrendous showcase all their insanity and passion for heavy music. Moreover, Jamie is amazing as usual behind his drums while the diversity of vocal styles again reminds me of some of the best songs by Mastodon. Lastly, how about another explosion of Progressive Death Metal to close the album on a high note? That’s what you’ll get in The Death Knell Ringeth, with the whole song sounding very compelling and dynamic, while the guitars by Damian and Matt exhale sheer electricity.

“At this point, we want to wave the Horrendous banner high in a way that we perhaps didn’t around Idol and continue on this path that we’ve forged,” said the band’s talented drummer Jamie Knox. “We are very proud of Ontological Mysterium and what our band has become – it’s almost like we’ve figured out how to make this band work amidst the wildness of adult life. This entity feels worth celebrating and feeding to see where it might take us next.” Hence, go check what the band is up to on Facebook and on Instagram, including their tour dates and plans for the future, and of course go grab a copy of Ontological Mysterium from the Season of Mist webstore, as well as by clicking HERE or HERE, and don’t forget to also stream such demonic album in full on YouTube and on Spotify. Having said all that, what are you waiting for to enter the labyrinth of progressive, technical and extremely heavy Death Metal crafted by Horrendous in their infernal new album?

Best moments of the album: Chrysopoeia (The Archaeology of Dawn), Cult of Shaad’oah and Ontological Mysterium.

Worst moments of the album: Preterition Hymn.

Released in 2023 Season of Mist

Track listing
1. The Blaze 2:00
2. Chrysopoeia (The Archaeology of Dawn) 7:16
3. Neon Leviathan 3:30
4. Aurora Neoterica 1:56
5. Preterition Hymn 3:58
6. Cult of Shaad’oah 5:24
7. Exeg(en)esis, 3:38
8. Ontological Mysterium 4:44
9. The Death Knell Ringeth 5:20

Band members
Damian Herring – guitars, vocals
Matt Knox – guitars, vocals
Alex Kulick – bass
Jamie Knox – drums

Concert Review – Hatebreed (The Danforth Music Hall, Toronto, ON, 09/05/2023)

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The city of Toronto let the hate flow through its veins and destroyed everything together with the American juggernauts of Hardcore on a beyond hot and fun night.

OPENING ACTS: Jesus Piece, Vein.FM and Terror

What’s the best thing to do when you’re in the middle of a heat wave, with temperatures over +40oC and a scorching sun to burn you alive? Attending a metal concert, of course! And the city of Toronto had the pleasure of hosting the bands JESUS PIECE, VEIN.FM, TERROR and HATEBREED at The Danforth Music Hall this Tuesday during the Rise of Brutality 20th Anniversary Tour 2023, where Hatebreed are celebrating 20 years of their classic album The Rise of Brutality. I honestly thought that the venue was going to feel like a sauna, because that was the case when Kreator and Sepultura played there a few months ago, but apparently the organizers knew that the heat was way too strong outdoors and decided to crank up the AC to the lowest temperature possible, making it quite comfortable inside for all of the concert goers. You probably saved some lives by doing that! Good job!

As traffic wasn’t too crazy yesterday, all fans had a lot of time to enjoy a few beers and buy some merch between the doors opening at 6pm and the first band of the night, Philadelphia, Pennsylvania-based Hardcore/Metalcore/Sludge Metal act JESUS PIECE, kicking off their concert at 7pm. Spearheaded by the unstoppable frontman  Aaron Heard, the band put on a very entertaining concert from start to finish, blending songs from their new album …So Unknown with their older material, already inspiring the crowd to create a massive circle pit where most kids looked like they were squirrels who had a few cans of Red Bull, moving around like rabid creatures. I just couldn’t catch the names of the songs, mainly because whenever Aaron was talking to the crowd his mic sounded a little muffled, but if you’re curious to know more about such explosive band you can find all of their wicked creations on Spotify.

Band members
Aaron Heard – vocals
David Updike – guitars
John DiStefano – guitars
Anthony Marinaro – bass, backing vocals
Luis Aponte – drums

That mosh pit madness, with everyone following the lesson taught by the mighty Exodus in the classic “Toxic Waltz”, that being “so don’t be a dunce and dance like a runt, just throw your elbows with good friendly violent fun”, continued during the concert by Boston, Massachusetts-based Hardcore Punk/Metalcore outfit VEIN.FM. Having released the album This World Is Going To Ruin You last year, the band formed of Anthony DiDio on vocals, Jeremy Martin on the guitars, Jon Lhaubouet on bass and Matt Wood on drums showed no mercy for our souls, crushing their instruments nonstop and, therefore, inviting the crowd to keep moving wildly as if each person in the pit was fighting some sort of “invisible man”. It was a fun and vibrant show that definitely warmed up all Hatebreed fans at the venue, and if you want to enjoy the music by such talented band at home, in your car, at work, at school, at the gym or anywhere else, you can find those guys on BandCamp and on Spotify. Once again it was impossible to catch the names of the songs played, but that’s just a minor detail as their live performance was awesome.

Band members
Anthony DiDio – vocals
Jeremy Martin – guitar, backing vocals
Jon Lhaubouet – bass, backing vocals
Matt Wood – drums

Quickly after Vein.FM finished their show, it was time for Los Angeles, California’s own Hardcore legends TERROR to burn down The Danforth Music Hall with another insane performance, turning the floor section into a massive circle pit where the kids were once again moving like crazy creatures. Frontman Scott Vogel was the main responsible person for that mosh pit madness, as he kept asking the crowd to keep moving around, to keep doing some sick crowd surfing and so on, and let’s say his requests were promptly answered by everyone inside the pit. Playing songs from their latest album, their 2022 beast Pain into Power, including the amazing title-track, plus some of their old school material, those Californians showed Toronto everything they got, and the temperature inside the venue went up considerably due to all the action going on while Terror continued to distill their flammable Hardcore on stage. I’ve already place in another concert review the links to where you can stream their music, but as they’re really cool guys here we go again with the links to their BandCamp and Spotify, and if they ever visit your hometown, don’t think twice and go join the band to unleash some first-class Hardcore terror, alright?

Band members
Scott Vogel – vocals
Martin Stewart – guitar
Jordan Posner – guitar
Chris Linkovich – bass
Nick Jett – drums

HATEBREED

The break between Terror and Bridgeport, Connecticut-based Hardcore Punk/Metalcore titans HATEBREED was a little longer than the previous ones for obvious reasons, allowing everyone at the venue to go buy some merch (in case they hadn’t done so already), grab a few beers, smoke a cigarette and have a quality chat with their friends, and all those things energized the crowd to the point that the iconic Jamey Jasta kept repeating how much he loves Toronto, being visibly impressed with the rowdy reaction during each song from their amazing setlist. Playing songs form their entire discography, including the classics Last Breath (dedicated to the memory of the deceased The Black Dahlia Murder frontman Trevor Strnad), Driven by Suffering, Tear It Down, Straight to Your Face, Doomsayer, and Confide in No One, the band put on an electrifying show that pleased all fans of their unique fusion of Hardcore with Thrash Metal, Punk Rock and other heavy styles.

My only complaint (and of Keith Ibbitson of Lower Eastside Photography, as well as all other photographers at the venue) was the dim lighting used for all four bands, which is becoming something quite common in most shows not only in Toronto, but everywhere. It’s getting tough to see the bands on stage with clarity, but of course, it’s nothing that would stop the fans from enjoying the shows. Well, it is what it is, and when you have a band like Hatebreed on stage let’s admit we must be really aware of our surroundings due to all the mosh pit action going on, leaving us with not a lot of time to actually pay attention to the stage, right? Jokes aside, it was a true pleasure seeing Wayne Lozinak and Frank Novinec kicking some ass with their guitars while Chris Beattie and Matt Byrne made the venue shake with their insanely heavy kitchen, keeping everyone more than entertained until the very end, with lots of fists and horns in the air, lots of screaming, and the endless insanity inside the circle pit led by the demented vocals by Jamey. Now it’s just a matter of waiting for Hatebreed to return to Canadian lands to destroy everything once again, and I bet everyone who attended their concert last night will be there again to celebrate their undisputed Hardcore music.

Setlist
Tear It Down
Straight to Your Face
Destroy Everything
A Lesson Lived Is a Lesson Learned
Empty Promises
To the Threshold
Live for This
Voice of Contention
Looking Down the Barrel of Today
Beholder of Justice
This Is Now
Perseverance
Driven by Suffering
Confide in No One
Last Breath (Dedicated to Trevor Strnad)
Doomsayer
Smash Your Enemies
Another Day Another Vendetta
I Will Be Heard

Band members
Jamey Jasta – vocals
Wayne Lozinak – lead guitar, backing vocals
Frank Novinec – rhythm guitar, backing vocals
Chris Beattie – bass
Matt Byrne – drums

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