An up-and-coming Polish Black Metal duo is crowned in darkness to the sound of their debut opus, dealing with themes like spirituality, gnostic Satanism, blasphemy, theology and philosophy.
Formed in Krakow, Poland in 2023 by vocalist Res and guitarist and bassist Blein, the ruthless Black Metal duo Todestrieb (a German word that translates to “death drive” or “death wish” in English, from the classical Freudian psychoanalytic theory) is set to darken our minds and souls with their debut album, titled Corona Tenebra, or “crown of darkness” from Latin. Recorded at No Solace Studio, mixed and mastered at Impressive Art Studio, with a fiery artwork by Izabela Grabda and with guest Michał “The Fall” Stępień (Mgła, Hauntologist, Owls Woods Graves) on drums, Corona Tenebra consists of five tracks and an outro inspired by the music by Watain, Odraza, Drastus, Kriegsmaschine, Tortorum, Funeral Mist and many more, with its lyrics circling around themes like spirituality, gnostic Satanism, blasphemy, theology and philosophy.
Res and Blein are definitely another prolific duo of the underground, and the dense atmosphere and enfolding darkness found in Axis Nihil are proof of their talent, supported by the complex yet vile drums by Michał. Then investing in a more direct form of Black Metal the band will pulverize our senses with Na Twoje Przeciwienstwo, which is Polish for “for your opposite”, where Res not only sounds demonic on vocals, but the fact the lyrics are in Polish gives the song an even edgier vibe. Blein’s visceral riffs and bass add a touch of lunacy to Po krokach naszych tylko cisza, or “after our steps only silence”, another song where the duo continues to experiment with darker than usual sounds; followed by the title-track Corona Tenebra, a lecture in Polish Black Metal, or in other words, a blasphemous, infernal blast of obscurity where Res keeps roaring like a true demon supported by the classic drums by Michał. They still have time for one final exhibit of their passion for all things evil in Misterium Fidei, which is Latin for “the mystery of faith”, with the incendiary riffs by Blein burning our souls mercilessly, ending with ע, the letter “p” or number 70 in Hebrew, a whimsical outro to their more-than-demolishing opus.
As Blein and Res are crowned in total darkness to the sound of their vile debut offering, you can show them your support by following them on Facebook and on Instagram for all things Todestrieb, and of course you can purchase a copy of Corona Tenebra from Avantgarde Music or from Sound Cave (as a digipak CD, a red vinyl, or a very special vinyl + CD bundle). Corona Tenebra is a spiritual and philosophical voyage through the realms of Black Metal, and I’m sure after such an imposing album we’ll hear a lot more from Todestrieb in the near future as they’ll keep darkening our minds and souls with their music without showing a single drop of mercy.
Best moments of the album:Na Twoje Przeciwienstwo and Corona Tenebra.
Worst moments of the album: None.
Released in 2024 Avantgarde Music
Track listing 1. Axis Nihil 5:09
2. Na Twoje Przeciwienstwo 6:50
3. Po krokach naszych tylko cisza 6:25
4. Corona Tenebra 4:38
5. Misterium Fidei 3:49
6. ע 0:56 ע
Band members Res – vocals
Blein – guitars, bass
Guest musician
Michał “The Fall” Stępień – drums (session)
This Polish cult will attack you with their debut offering, a 35-minute amalgamation of heavy and experimental sounds highly recommended for fans of the darkest side of Death Metal.
Formed in 2022 in Warsaw, Poland, Experimental/Progressive Death Metal act Deamonolith has just unleashed upon humanity their debut album, titled The Monolithic Cult of Death, a 35-minute amalgamation of heavy and experimental sounds highly recommended for fans of the darkest side of Death Metal. Recorded by Paweł “Janos” Grabowski at JNS Studio (guitars, bass and drums), by Szymon “Sigmar” Grodzki at Invent Sound Studio (vocals), and by Przemysław “Imp” Moszczyński (saxophone), mixed and and mastered by Paweł “Janos” Grabowski at JNS Studio, displaying a creepy artwork by Michał “Xaay” Loranc, with logo by Ihasan Art and layout by Paweł Ozon of XXV The Sign, plus several special guests to give their music even more depth, the debut offering by Kobuch on vocals, Major and Sunrise on the guitars, Lukas on bass, and Desecrate on drums and dark ambients will take you on a journey to the most obscure corners of the human psyche, overflowing heaviness, rage and evil.
Dark, devilish sounds arise from the underworld in The Afterfall, exploding into a visceral blend of Black and Death Metal led by the crushing drums by Desecrate while Kobuch roars manically, flowing into The Ultimate Solution, a slab of brutality where the thunderous kitchen by Lukas and Desecrate will make the earth tremble in the name of extreme music; and the following piece, titled The Fall, The Reek & Forlornness, is even more explosive and vile, with the riffs by Major and Sunrise sounding absolutely scorching. The Acknowledgment continues to burn our damned souls with the band’s venomous fusion of Black and Death Metal, with the Immolation-inspired vocals by Kobuch being an ode to classic Death Metal, immediately connecting with the longest of all parts of the song, Conquerors of the Void, a brutal Death Metal attack by the band overflowing hatred and obscurity, with Desecrate once again pounding his drums nonstop while also presenting a melancholic break and vibrant progressive passages, before all comes to an end in When All Has Been Done, with Lukas’ bass and Desecrate’s beats once again sounding ruthless accompanied by the wild riffage by Major and Sunrise until the song’s grim finale.
The Monolithic Cult of Death, which by the way contains only one song that lasts for longer than 35 minutes like the version available on Spotify (with cut episodes in the YouTube and CD versions to make the listening of the album easier), definitely sends a strong and sound message to the metal community about what Deamonolith are capable of, and if you want to know more about the band and show them your support you can find them on Facebook, Instagram and YouTube, and of course purchase a copy of their debut opus from the Godz ov War Productions’ BandCamp or webstore, as well as from Ancient Dead Productions. In other words, it’s time to join Deamonolith’s cult of death, with their first ever album being the perfect soundtrack to such a unique and devilish celebration.
Best moments of the album:The Ultimate Solution and The Acknowledgment.
Worst moments of the album: None.
Released in 2024 Godz ov War Productions/Ancient Dead Productions
Track listing 1. The Afterfall 5:19
2. The Ultimate Solution 3:53
3. The Fall, The Reek & Forlornness 4:19
4. The Acknowledgment 3:18
5. Conquerors of the Void 12:34
6. When All Has Been Done 5:47
Band members
Kobuch – vocals
Major – guitars
Sunrise – guitars, classical guitar
Lukas – bass
Desecrate – drums, dark ambients
Guest musicians Łukasz Wypych – saxophone
Magdalena Sienkiel – piano
Sebastian Świciak – piano
Michał “Xaay” Loranc – male clean vocals, choir
Anna Malarz – female vocals
Behold this journey through disappointment and despair, towards disintegration, by a newborn Black Metal beast hailing from Poland.
Exploring the lowest of lows of human nature, warped and excreted by the concrete jungle, a deeply personal tale of a troubled mind entrenched in a society seething right below the surface, and a journey through disappointment and despair, towards disintegration, the scorching L’appel du Vide(which is French for “the call of the void”), the debut opus by Kraków, Poland-based Black Metal unity KIR, is a powerful testament to the band’s relentless pursuit of creative expression. Recorded by Maciej Soboń at TRIPlets Audio, produced, engineered, mixed, mastered by the band’s own guitarist and bassist Ferment, displaying a grim artwork by another member of the band, vocalist Harvest, and featuring guest drummer Krzysztof Klingbein, the album explores themes of urban isolation, human frailty, and despair, reflecting a profound awareness of music as an art form that can challenge, disturb, and inspire.
The album couldn’t have started in a more atmospheric vibe than with DestinationVoid, exploding into the Black Metal extravaganza titled Monument, where the insane beats by Krzysztof alongside the piercing guitars by Ferment build the perfect ambience for Harvest to vociferate rabidly in the name of Black Metal. Then get ready for almost eight minutes of pure sonic devastation not recommended for the faint at heart titled Znów, or “again”, where Harvest sounds absolutely merciless during the whole song while Ferment fires his most decimating riffs of the entire album, followed by Eter, the Polish word for “ether”, which starts in a grim, more introspective manner to the vile guitar lines by Ferment, showcasing hints of Doom Metal added to their sound, therefore resulting in what’s by far the most haunting, obscure of all songs. The band brings forward their final Black Metal offering in Apoptosis, where their most cadaverous vein arises like a demonic entity, blasting almost ten minutes of no hope, nor any sign of peace, while the despair flowing from Harvest’s anguished roars is truly outstanding, consequently putting a terrific conclusion to such a flammable opus.
L’appel du Vide is a grungy, suffocating invitation to explore the “call of the void” within oneself – that impulse to teeter over the edge, to feel the pull of darkness and walk right up to it. Hence, you can get to know more about the duo on Facebook and on Instagram, and show them your utmost support to the extreme music scene by purchasing the album from their own BandCamp page or from the Godz ov War Productions’ BandCamp or webstore. With the caustic L’appel du Vide, KIR are inviting all listeners to lose themselves in a sonic landscape where the absurdity of modern life meets the beauty and despair of the human psyche, creating an unforgettable Black Metal journey for those willing to heed the call and, consequently, keeping the fires of underground extreme music burning bright for many centuries to come, always offering us all harsh, visceral and captivating music like what’s found in the band’s debut opus.
One of Poland’s most ruthless Death Metal bands returns to action armed with their most complex, atmospheric and obscure record to date.
Recorded at Monroe Sound Studio and engineered, mixed and mastered by Arkadiusz “Aro” Jablonski, with the main cover artwork by NaphulaArt adding a visually stunning dimension to the release, the heavy-as-hell Divine Miasmata is the fifth studio effort by Polish Death Metal veterans Disloyal, marking the band’s natural progression in their already infernal path. Divine Miasmata is a proposal that simply cannot be ignored, easily the band’s most complex, catchiest, most atmospheric, grooviest, and darkest record to date, combining hard-labor musical craftsmanship with top-notch artistic finesse, all masterfully brought into being by vocalist Konstantin Kolesnikov, guitarists Artyom Serdyuk and Yahor Liatkouski, bassist Kolya Kislyi, and drummer Jaroslaw Paprota, proving why the band has been standing strong since their inception in 1997.
Just hit play and the ominous intro Divine Miasmata will drag you to Disloyal’s devilish realm, decimating your putrid soul in Silent Revolution by offering us all five minutes of ruthless, deep and evil Death Metal spearheaded by the gruesome roars by Konstantin, with the dissonant guitars by Artyom and Yahor sounding truly haunting. Jaroslaw keeps crushing his drums in the name of old school Death Metal in The Black Pope, an infernal creation by the quintet where the deep gnarls by Konstantin get more demonic than ever; and it’s impressive how they sound so heavy and evil, but at the same time very melodic, which is also the case in 1347-1352, where the band’s guitar duo will slash your ears with their strident riffs and solos in over six minutes of first-class Polish Death Metal. Then it’s time to bang our heads like there’s no tomorrow and break our necks like demented beasts is Stella Peccatorum, again presenting their characteristic riffage supported by the rumbling bass by Kolya.
Jaroslaw dictates the massive, heavy-as-hell rhythm behind his drums in Betrayed Faith, a hammering tune by Disloyal that should ignite some sick mosh pits whenever played live; whereas the band continues to breathe sulfur and hatred in Religion of Warfare, a pulverizing song showcasing all their passion for Death Metal, with Konstantin once again sounding inhumane on vocals by growling and gnarling nonstop. The band enhances their progressiveness in Ravens of Starvation, based on a poem by Diana Suhova, delivering an almost Technical and Progressive Death Metal extravaganza tailored for admirers of the genre, all boosted by the infernal deep roars by Konstantin; and closing the album we have the also pounding, visceral The Ascension of Abaddon, a direct, in your-face Death Metal onrush that will smash your skeleton mercilessly thanks to the vile riffage by the band’s guitar duo and the always crushing beats by Jaroslaw, ending in a somber, melancholic and climatic way.
If you want to put your hands on Divine Miasmata and show your utmost support to one of the most important bands of the current Polish extreme music scene, you can buy your favorite version of the album by clicking HERE or HERE, and also find more information about Disloyal on Facebook and on Instagram (including their ass-kicking live shows), and stream their amazing creations on Spotify, keeping the fires of Death Metal burning bright while you enjoy one of the most visceral and demented albums of the year hailing from Poland.
Best moments of the album:The Black Pope, Stella Peccatorum and The Ascension of Abaddon.
Worst moments of the album:Silent Revolution.
Released in 2024 Black Lion Records
Track listing 1. Divine Miasmata 2:20
2. Silent Revolution 5:10
3. The Black Pope 5:28
4. 1347-1352 6:34
5. Stella Peccatorum 6:20
6. Betrayed Faith 6:43
7. Religion of Warfare 5:43
8. Ravens of Starvation 5:15
9. The Ascension of Abaddon 6:37
Band members Konstantin Kolesnikov – vocals
Artyom Serdyuk – guitars
Yahor Liatkouski – guitars
Kolya Kislyi – bass
Jaroslaw Paprota – drums
The city of Toronto witnessed this Friday one of the heaviest nights of the year so far, courtesy of four bands that definitely know how to unite violence and melody in their amazing music.
Once again due to an insane combination of heavy traffic, heavy rain, no parking near The Phoenix Concert Theatre, and a huge and slow line to get inside the venue, I was “forced” to miss the first band of a night of sheer brutality and awesomeness, courtesy of ALLEGAEON, KATAKLYSM, SEPTICFLESH and DECAPITATED during their incendiary Cancer Culture Over North America 2024, another must-see event brought to a jam packed venue by the one and only Noel Peters of Inertia Entertainment. I’m starting to hate when concerts are booked at The Phoenix Concert Theatre, which might be a great venue once you’re inside, but parking near there and getting inside it for the shows is a true nightmare. Well, it is what it is, and I’ll try to leave earlier to be there on time for the next show (although I left my place almost THREE HOURS before the first band began their performance).
Fortunately, my buddy Keith Ibbitson of Metal Paparazzi was there to check out the amazing Denver, Colorado-based Technical/Melodic Death Metal outfit ALLEGAEON, who at 7:30pm sharp kicked off the night festivities. Having released the album Damnum back in 2022, plus an amazing new single named Iridescent this year, the band put on a fantastic show according to Keith. He said he would give them not just a 10 our of 10 for their musicianship, but a 12 out of 10. They loved that he dressed up in his Carcass apron and a server hat as their lead singer did in the video for Iridescent. He then met with them all at the merch table and chatted for a bit. Their guitarist Greg Burgess told him when he saw him in the photo pit he was dying with laughter on stage. Keith ended up giving the lead singer his server hat to wear for the next show, and got his apron all autographed. If you’re curious to listen to their amazing music, simply go to BandCamp or Spotify, and click HERE for all things Allegaeon. Next time I won’t miss them, even if I have to skip breakfast to do so.
Setlist Threshold of Perception
1.618
Iridescent
Of Beasts and Worms
Gray Matter Mechanics – Apassionata Ex Machinea
Biomech – Vals No. 666
Band members
Ezra Haynes – vocals
Greg Burgess – guitars
Michael Stancel – guitars
Brandon Michael – bass
Jeff Saltzman – drums
At least I was able to get inside in time for Montréal, Quebec’s own Melodic Death/Groove Metal powerhouse KATAKLYSM, who kicked some serious ass on stage led by their talented frontman Maurizio Iacono. Blending old songs with new ones from their 2023 album Goliath (available on several streaming services like Spotify), the band demanded the crowd to keep moving inside the circle pit nonstop, turning up the heat at The Phoenix Concert Theatre to the point I wish it was still winter so that some cold air would enter the venue to freshen things up. Songs like Guillotine, The Killshot and The Black Sheep kept the circle pit moving in a wild and frantic manner until the very last second of their show, proving why they’re one of the driving forces of the extreme scene in Canada. If you’ve never seem Kataklysm live, just go for it. But please remember to be in good shape, do a lot of cardio beforehand, and even put on an armour, because their mosh pits are simply brutal.
Setlist
Goliath
Push the Venom
Guillotine
Narcissist
The Killshot
Die as a King
As I Slither
Crippled & Broken
Bringer of Vengeance
The Black Sheep
Band members
Maurizio Iacono – lead vocals
Jean-François Dagenais – guitars Stéphane Barbe – bass James Payne – drums
If you think after Kataklysm things were going to get any lighter, you’re absolutely wrong; quite the contrary, when Greek Atmospheric/Symphonic Death Metal beast SEPTICFLESH hit the stage (without one of their guitarists, Sotiris Vayenas, for an unknown reason), a visceral, Stygian ode to darkness took over the entire city of Toronto, driving their fans crazy during their entire co-headlining performance. All songs played, including newer songs the likes of Neuromancer and Hierophant, from their latest opus Modern Primitive, released in 2022, plus of course classics such as Portrait of a Headless Man and Anubis, were played to perfection by the band, with Spiros Antoniou sounding inhumane on vocals while Kerim “Krimh” Lechner sounded simply bestial behind his drums. Seriously, he’s fantastic, adding endless heaviness to the band’s already demonic music. Just like Rotting Christ, Septicflesh proudly carry the flag of Greek extreme music everywhere they go, and if you’ve never seen them live, don’t miss the chance whenever they visit your city because they do offer a truly unique sonic experience.
Setlist
Portrait of a Headless Man
Pyramid God
Neuromancer
The Vampire from Nazareth
Hierophant
Martyr
Communion
A Desert Throne
Anubis
Dark Art
It was already past 10:30pm (yes, it was a long night of first-class heavy music) when the co-headliners that were closing the night DECAPITATED destroyed The Phoenix Concert theatre with their fusion of Technical Death Metal and Groove Metal. Those Polish metallers didn’t show a single drop of mercy for our souls during their demonic set, with their new songs from their 2022 album Cancer Culture like the title-track Cancer Culture, Just a Cigarette and Last Supper blending perfectly with old school tunes including Spheres of Madness and Iconoclast. Frontman Rafał Rasta Piotrowski sounded demented on vocals, keeping the circle pits moving wildly until the very end. Damn, I think there were mosh pits happening even inside the washrooms, and even at the Domino’s Pizza located a couple of blocks from the venue. What a night of insanity and heavy music combined to bring us avid fans some top-of-the-line entertainment during such difficult times in Toronto, and I can’t wait to witness Decapitated crushing our cranial skulls again in the city in the near future.
Setlist From the Nothingness With Love Cancer Culture
Just a Cigarette
Babylon’s Pride
Post(?) Organic
Lying and Weak
Spheres of Madness
Earth Scar
Never
Iconoclast
Last Supper Planet Caravan (Black Sabbath song)
Band members
Rafał Rasta Piotrowski – vocals
Wacław Vogg Kiełtyka – guitars
Paweł Pavlo Pasek – bass
James Stewart – drums
This ruthless Polish brigade returns with their sophomore album crafted as a revival of the old school Death Metal sound, bringing the horrors of war while also inspired by the vast, dystopian universe of Warhammer 40k.
Three years after the release of the excellent Blightmarch, Warsaw, Poland-based Death Metal brigade Chainsword returns to the front with their sophomore opus, titled Born Triumphant. Recorded at Primate 666 Studio (vocals, guitars and bass) and by by Mikołaj Kiciak at Santa Studio (drums), mixed, mastered and reamped by Haldor Grunberg at Satanic Audio, and displaying a warlike artwork by Paweł Charkowski, Born Triumphant was crafted as a revival of the old school Death Metal sound, wit its lyrics being based on horrors of war and/or inspired by the vast, dystopian universe of Warhammer 40k, all brought into being by vocalist Herr Brummbär, guitarists Sarin Spreizer and Herr Hoffman, bassist Wutender Ente, and drummer Herr Feldgrau.
Like a ruthless brigade form hell the band begins their Death Metal onrush with Nekrodermis, where the riffs by Sarin Spreizer and Herr Hoffman will inspire you to bang your head nonstop in the name of war and evil, whereas the devilish, deep vociferations by Herr Brummbär will haunt your damned souls in Sinistramanus Tenebrae, while Herr Feldgrau keeps hammering his drums in a classic Death Metal extravaganza. After that we have Wrapped in Barbed Wire and Yellow Fog, another pulverizing display of Death Metal where Wutender Ente hammers his bass mercilessly while the bands guitar duo cuts our skin deep with their sick riffs, meaning it should work extremely well if played live; and there’s no time to breathe as they keep delivering sheer aggression and gore in Abominable Intelligence, a beyond heavy and infuriated tuned where Herr Brummbär’s roars sound visceral. And in Grand Funeral Pyre we face guest vocals by GÄMBIT, who bursts his lungs screaming (therefore adding a extra rebellious vibe to the music) while the band puts the pedal to the metal in the most thrashing way imaginable.
Switching gears to a more cadenced rhythm and vibe while still sounding demonic and heavy, Herr Feldgrau smashes his drums in an ode to 90’s Death Metal titled Ov Flesh and Steel, setting the stage for the band’s guitars to shine; then featuring guest vocalist Janek Kulinicz, Trident, Rise! is a headbanging composition by Chainsword that sounds a bit like a random Metallica song (except for the guttural vocals of course), followed by Death to the Enemies ov Man, a merciless Death Metal attack by those Polish marauders where Herr Feldgrau obviously sounds inhumane on drums, leading his bandmates to total annihilation. The second to last song of the album, entitled Mankind’s Last War, offers us all six minutes of no shenanigans, straightforward Death Metal that’s true to the foundations of the genre, with their guitars, bass and drums sounding tight and sharp until the very last second, and there’s still time for one final blast of brutality titled L-G P, again showcasing the guttural roars by Herr Brummbär amidst an endless amount of heaviness and rage.
The imposing Born Triumphant is available for a full and detailed listen on YouTube and on Spotify, but if you consider yourself a true trooper of Death Metal you should support the band by buying a copy of the album from their own BandCamp or by clicking HERE, and don’t forget to also follow the band on Facebook and on Instagram for news, tour dates and all other things surrounding the most ruthless brigade to ever arise from Poland. In a nutshell, Chainsword once again bring the horrors of war in the form of top-of-the-line Death Metal in their newborn opus, a highly recommended soundtrack to dive deep into the muddy trenches of the warfield as the battle rages on.
Best moments of the album:Sinistramanus Tenebrae, Wrapped in Barbed Wire and Yellow Fog and Death to the Enemies ov Man.
Worst moments of the album:Trident, Rise!.
Released in 2024 Independent
Track listing 1. Nekrodermis 3:36
2. Sinistramanus Tenebrae 4:20
3. Wrapped in Barbed Wire and Yellow Fog 3:10
4. Abominable Intelligence 2:59
5. Grand Funeral Pyre 3:55
6. Ov Flesh and Steel 4:22
7. Trident, Rise! 5:16
8. Death to the Enemies ov Man 5:03
9. Mankind’s Last War 6:00
10. L-G P 6:30
Band members Herr Brummbär – vocals
Sarin Spreizer – guitar
Herr Hoffman – guitar
Wutender Ente – bass
Herr Feldgrau – drums, backing vocals
Guest musicians GÄMBIT – vocals on “Grand Funeral Pyre”
Janek Kulinicz – vocals on “Trident, Rise!”
The best thing about a show being scheduled on the same night as Super Bowl is that traffic is pretty much nonexistent, turning the lives of all metalheads who don’t really care about American football a lot easier when it comes to getting to the venue in time to see all bands playing. That’s exactly what happened last night in Toronto at the always cozy Lee’s Palace, when the fantastic bands INHUMAN CONDITION, ORIGIN and VADER brought to the city a true celebration of extreme music during their 40 Years of the Apocalypse Anniversary Tour 2024, another incredible event organized by the unstoppable Noel Peters of Inertia Entertainment. As usual, my friend Keith Ibbitson of Metal Paparazzi (as well as other photographers) were there to register some wild moments of all three bands, but honestly I don’t know how they managed to stay alive and keep their cameras intact during the sick circle pits going on the entire night.
The first band to hit the stage was Tampa, Florida’s own Death/Thrash Metal beasts INHUMAN CONDITION, who were by far one of the best and most electrifying opening acts I’ve seen at any concert in the city in the past few years. Spearheaded by the incendiary frontman Jeramie Kling, the band put on a beyond entertaining show, playing songs from all of their albums including their 2022 release Fearsick and their 2023 EP Panic Prayer, with songs like Panic Prayer, Euphoriphobia and I’m Now the Monster inspiring all concert goers to slam into the pit like there’s no tomorrow. As expected, the two songs that generated the wildest mosh pits were Godzilla and Tyrantula, with everyone at the venue, including the band, acting like wild beasts on stage and in the floor section. Jeramie also had some words of wisdom to share with everyone last night; first of all, he said that a true metal concert needs three things, those being the headbangers, the circle pits, and the crowd surfers, and of course bodies started flying around as soon as he mentioned that. Also, that everything we’ve ever heard about Florida, all rumors and so on, are all true, which was quite funny as it’s usually people outside of Florida who make fun of the state. Well, one thing I know for sure, and that’s that heavy music in Florida is phenomenal, with bands like Inhuman Condition showing everything they got on stage anywhere they go, and if you know nothing about those guys, go check their music on BandCamp and on Spotify, as I’m sure you’ll love to get caught in their mosh.
Setlist Recycled Hate
Panic Prayer
Euphoriphobia
The Neck Step
I’m Now the Monster
Killing Pace
Civilized Holocaust
Godzilla (Blue Öyster Cult cover)
Tyrantula
Band members
Jeramie Kling – vocals
Taylor Nordberg – guitars
Terry Butler – bass
Colton Zietler – drums
After a quick break, it was time for Kansas City-based Technical/Brutal Death Metal veterans ORIGIN to keep the circle pits moving frantically to the sound of their vicious, intricate and demolishing creations. Having released the album Chaosmos back in 2022, the band formed of vocalist Jason Keyser (and by the way, if you haven’t listened to it yet, go check the album Inferno by his brand new project Arborescence of Wrath as it’s a killer album), guitarist Paul Ryan, bassist Mike Flores (one of the best bass players I’ve seen in a while), and drummer John Longstreth showed absolutely no mercy for our necks and souls during their demented performance, blending Technical and Brutal Death Metal with nuances of Grindcore just to make things even more infuriated. The band was ruthless, savage and beyond technical, sounding absolutely insane with songs like Chaosmos, Panoptical and The Aftermath driving everyone at the venue simply insane inside the pit. Jason also had some words to say to the crowd before playing the song Decolonizer, where he showed his pure old school vein by demanding everyone to not take any pictures or record any videos of the song, but simply to go nuts inside the circle pit and collect bruises and black eyes as the memories of that moment (although they kept checking their phones due to Kansas City Chiefs being one of the teams playing the Super Bowl). Needless to say, it was intense, as well as the wall of death he organized before even playing one of the songs, trying to make their show as 90’s-inspired as possible. Origin are one of the coolest bands of the underground scene, and in case you still don’t know them go check their infernal music on Spotify, and don’t miss their live concerts whenever they take your depraved city by storm.
Setlist
Expulsion of Fury
Chaosmos
Accident and Error
Panoptical
Saligia
Decolonizer
Portal
The Aftermath
Unattainable Zero
Band members Jason Keyser – vocals
Paul Ryan – guitars, backing vocals
Mike Flores – bass, backing vocals
John Longstreth – drums
It was getting late (and cold) in Toronto, but nothing that could stop Poland’s own Death/Thrash Metal institution VADER to crush everything and everyone that dared to cross their path at Lee’s Palace last night. The band formed of the iconic Peter on vocals and guitars, Spider also on the guitars, Hal on bass, and Michał Andrzejczyk on drums was flawless throughout their entire set, celebrating 40 years of existence for the delight of all lovers of extreme music in Toronto. Their setlist was a thing of beauty, including songs from their 1992 cult album The Ultimate Incantation, like Vicious Circle, Dark Age and The Crucified Ones, plus several other classics like Black to the Blind, while closing their setlist with a newer song, Shock and Awe, from their latest opus Solitude in Madness, released in 2020, and the response from the fans in Toronto was brilliant, with the circle pits moving majestically until the very last second of their performance.
It’s impressive how they can still sound to tight, vicious and heavy after so many decades on the road, showing their utmost passion for Death and Thrash Metal, and of course as we all know how much they love to play for us, that inspired us to send our love back to them by headbanging nonstop, raising our horns, and getting wild in the pit. The only “issue” was that their official photographer doesn’t seem to be a big fan of crowd surfing, but that was fine as all crowd surfers quickly learned that show was not the best place to practice such metallic art. Anyway, apart from that, and from the same two guys that almost got into a fight with each other countless time (please, be adults and behave next time, alright?), everyone had an amazing time together with those Polish metallers, and hopefully we’ll also have the pleasure of hosting in Toronto the celebration of their 45th, 50th, 55th and so on anniversaries, keeping the fires of Death and Thrash Metal burning forever in the city.
Setlist Macbeth (Laibach song) Decapitated Saints
The Wrath
Chaos
Vicious Circle
Dark Age
The Crucified Ones
Silent Empire
Sothis
Black to the Blind
Carnal
Wings
Cold Demons
Epitaph
Dark Transmission Para Bellum
This Is the War
Helleluyah!!! (God Is Dead)
Never Say My Name
Come and See My Sacrifice
Triumph of Death
Shock and Awe The Imperial March (John Williams song)
Band members Peter – vocals, guitars
Spider – guitars
Hal – bass
Michał Andrzejczyk – drums
A ruthless Death Metal entity from Poland will demolish your damned souls with their heavy-as-hell sophomore full-length opus.
Formed in 2019 in the always pleasant city of Warsaw, Poland, the ruthless Death Metal duo comprised of Michał on rhythm guitars and bass and Greg on lead guitars, known as Soulcarrion, will demolish your damned souls with their sophomore full-length opus, titled Enthrone Death. Mixed and mastered by Darek Młody at PanzerStudio, and displaying a sick cover art and layout by Maciej Kamuda Art and an evil logo by Paweł Pawłowski Illustration, the follow-up to their 2023 self-titled EP and their 2022 debut album Infernal Agony offers the listener 30 minutes of intense, undisputed Death Metal for the masses, with the support of session musicians Mateusz Sibila (Imperial Sin) on vocals and Darek Młody (Hellfuck, Embrional, Stillborn) on drums adding an extra touch of heaviness and insanity to the whole album.
Starting in a sinister, doomed manner, the opening tune Cage of Nothingness already invades our minds with a demonic onrush of Death Metal boosted by tons of Brutal Death Metal elements thanks to the inhumane gnarls by Mateusz and the boisterous drums by Darek, whereas Night Ceremony keeps the album at a Stygian, venomous vibe with the riffage by both Greg and Michał sounding utterly infernal, albeit a bit repetitive at times. Then featuring guest vocalist Vesper Locust (Dammnatorum), the title-track Enthrone Death offers pure hatred and darkness to our putrid ears, with the ripping sound of the guitars matching perfectly with the blast beats by Darek, and there’s no sign of peace or hope, as Infernal Agony is an overdose of old school Death Metal tailored for fans of the genre, with Mateusz once again roaring and barking like a beast for our total delight.
Oblivion will hit us hard with its two and a half minutes of brutality blasted by those talented Polish metallers, with Greg and Michał once again demolishing our senses and adding endless heaviness to the music armed with their stringed axes; and enhancing the album’s obscurity and malignancy, the Doom Metal-infused aria Revenge is Mine brings forward another round of Darek’s massive beats accompanied by the sick riffage by the band’s guitar duo. After that we have Deathoskullum, following a similar pattern as the previous song, with the deep, hellish riffs and beats blasted by the band penetrating deep inside our rotten corpses, being therefore perfect for some intense headbanging; and lastly, World of Putridity carries a beautiful name and puts a beyond vicious ending to the album, with Mateusz vociferating rabidly in the name of classic Death Metal until the very last second.
The Polish underground has always been one of the most exciting of all, in special if you’re a fan of extreme music, and of course Soulcarrion offer in their new opus a high dosage of all that sonic awesomeness that’s found in Poland. Hence, don’t forget to show the guys from Soulcarrion your utmost support and admiration by purchasing a copy of the sulfurous and infernal Enthrone Death from the Godz ov War Productions’ BandCamp page or webstore as a CD or as an ass-kicking CD + shirt bundle, keeping the flames of Polish Death Metal burning for many years to come. Soulcarrion are on fire throughout the entire Enthrone Death, and they’re more than eager to burn your soul armed with the caustic compositions from such insane album.
Best moments of the album:Enthrone Death, Oblivion and World of Putridity.
Worst moments of the album:Night Ceremony.
Released in 2024 Godz ov War Productions
Track listing 1. Cage of Nothingness 4:08
2. Night Ceremony 4:17
3. Enthrone Death 5:03
4. Infernal Agony 3:38
5. Oblivion 2:29
6. Revenge is Mine 3:02
7. Deathoskullum 4:56
8. World of Putridity 2:50
Band members
Michał – rhythm guitars, bass
Greg – lead guitars
Enter the Stygian realm of Moloch and his ZØRORMR in this exclusive interview where we talk about his latest offer The Monolith and a lot more.
Moloch (ZØRORMR)
The Headbanging Moose: Thanks a lot for taking time to answer some of our questions, Moloch. Could you please start by introducing yourself and ZØRORMR to our readers?
Moloch: As Fernando Pessoa would put it: “I am nothing. I’ll never be anything. I couldn’t want to be something. Apart from that, I have in me all the dreams in the world.”
THM: I read in another one of your interviews that ZØRORMR means “The Serpent of the South”, a play on the Old Norse words sør (south) and ormr (serpent). How relevant do you think the name ZØRORMR still is compared to when you started the band back in 2010?
M: That’s a good question. A lot has changed since I started Zorormr around 2010, and I think the “Norwegian vibes” are not so much present on the new record. Zorormr has outgrown its initial influences and is an abomination in its own right. I would have thought of a different name for the project now, but I don’t know if it would make a difference to the music.
THM: Now let’s talk about your awesome new album The Monolith. What are the main differences you see in your new album versus your previous releases, and do you think the album is exactly how you were expecting it to be, or is there something that still bothers you in it? I personally think the sound in it is a step forward from The Aftermath.
M: I think that “The Monolith” sounds the way it should. It’s a different album than “Corpus Hermeticum“. It has more darkness in it, and the sound design reflects that. Arek Jablonski (the sound engineer) has done a terrific job on the record. His mixing corresponds with my older recording and “Corpus…” so the result is very aggressive but still has all the qualities of contemporary production. Everything is in place, and in a way, it’s like a monolith.
THM: Although ZØRORMR is considered a one-man project, you’ve been working with guest or session musicians since your 2010 debut album Kval, more specifically with guitarist Quazarre and drummer Icanraz. What’s your relationship or connection with those two musicians, and why have you selected them to be a regular part of ZØRORMR?
M: We’ve known each other for twenty years. We’ve collaborated artistically on so many levels that it’s hard to mention here all our ventures. We’re also good friends. Quazarre has been helping me out with every Zorormr record. He is a skilled guitarist and vocalist. You could say that he helped me become a better artist myself. As for Icanraz, he’s an excellent drummer whose style fits perfectly into what you can hear in Zorormr. So far, every time we’ve worked together, we had something special going on. They’re both “regular members” of Zorormr, even if they don’t admit it. (laugh)
Album Review – ZØRORMR / The Monolith (2023)
THM: How were the recordings of The Monolith? Did everything occur as planned, or did you have to change the way you were doing things due to an unforeseen situation?
M: Frankly, it was a long and painful process. I had the music written back in 2016. I started recording in 2017 and finished it at the end of 2021. Meanwhile, I had many “tough times” along the way, so I couldn’t focus on recording “The Monolith”. I thought about ending Zororormr, and not only that… But I fought for myself. I started making darksynth, performing live, and slowly wanting to return to the latest Zorormr album. I owed that to myself, my friends, and those few fans that follow my musical journey. I’m glad I went through with it because the end result is something I can be proud of. Maybe one of the most important records of my life…
THM: Now that The Monolith has already seen the light of day, what’s next for ZØRORMR? Are you going to take the music from The Monolith to the stages anywhere, or will the focus be on creating more music in the coming months or years?
M: After “Corpus Hermeticum” I was ready to hit the road. I even looked for musicians to accompany me. But I couldn’t find the right people whose commitment to the band would allow us to perform Zorormr’s music. In 2016 I was on a downward spiral, and I stopped looking for musicians for Zorormr. Two years later, I was already performing with my darksynth project. I could have used some hired musicians, but it didn’t feel right. Nowadays, I’m focusing on different things. But I think that “The Monolith” is not the last thing you’ve heard from Zorormr…
THM: Who are your biggest idols and influences in music and in life in general? Although the music by ZØRORMR is Black Metal, do you draw inspiration from any non-metal artists to compose your music?
M: This a tricky question to answer since, in postmodernity, the influences create an endless whirlpool from which we can choose. It would be easier to answer this question when I was younger. Nowadays, I think it’s better to leave it to the listener to try and find the sources of inspiration for Zorormr. If you listen carefully, you will find some of them. And there are some hints in the lyrics too!
Album Review – ZØRORMR / The Aftermath EP (2016)
THM: I’m a huge fan of the Polish underground. There are so many amazing bands there from different styles including Sarmat, Hellfuck, Hyl, Chimera, Chainsword and Odraza, just to name a few, but all amazing. Are you proud of the current metal scene in Poland, or do you think it could be even better?
M: I wouldn’t consider myself an expert on the scene. Nor do I find pleasure in reviewing other bands’ work. But objectively, Polish extreme metal bands have a lot to offer, and I’m glad that we have so many great bands around here.
THM: Do you have any hobbies you would like to share with us, like collecting anything specific, playing a sport, anything that’s outside of music but that helps you relax and focus on your work as a musician?
M: There is never enough time to do what I want to do. I try to focus on making music as my main activity. But I do read, for example, Bukowski or Ellis, or some fantasy novels. I have a passion for B-movies. I bought a bunch of VHS tapes recently, so I suppose I’m starting to collect these. I’m an escapist. So whatever allows me to escape from the problems of this dreadful world is good enough for me. Sometimes it’s just a hike in the mountains or sitting by the seaside. Watching Star Trek TNG is also a comforting experience… I also like going to the forest. It always makes my demons go away (laugh).
THM: Once again, thank you very much for your time! Please feel free to send your final message to our readers, and any other comments you would like to make!
A majestic display of Atmospheric Black Metal, bringing the cruel peace of absolute devastation, and invoking the killing quietude of an abandoned world wrapped in the soft death of snow.
Birthed in the creative cauldron that is the mind of multi-instrumentalist Rick Costantino (Schizo, Krigere Wolf), Italy/Poland-based Atmospheric Black Metal horde Hyl is a new entity that captures an atmosphere of utter desolation, of a world bereft of life, being highly recommended for fans of Ruins Of Beverast, Vemod, Mgla and Fuath, just to name a few. Comprised of the aforementioned Rick Costantino (who also goes by his initials R.C.) on the guitars and bass, Shadow (Black Altar, Ofermod) on vocals, and Krzysztof Klingbein (Vader, Belphegor) on drums, the band is releasing their debut effort, titled Where Emptiness Is All, bringing the cruel peace of absolute devastation, and invoking the killing quietude of an abandoned world wrapped in the soft death of snow. Mixed and mastered by Dionisis Dimitrakos at Descent Studio (with vocals mixed by Devo Andersson at Endarker Studio), and displaying a sinister logo by Christophe Szpajdel of Lord of the Logos and a Stygian album art by Elysivm Artwork, the album transpires Black Metal at its most powerful and enthralling, imbued with winter magic and offering a glimpse into a darkness beyond human experience and understanding.
The atmospheric intro Pvrification will beautifully darken the skies, setting the stage for Hyl to crush our senses in Into the Unknown, with the piercing guitars by R.C. embellishing the airwaves while Krzysztof begins hammering his drums in the name of Black Metal, all complemented by the grim, visceral guttural by Shadow. Their blackened attack goes on in the multi-layered, imposing extravaganza titled And Everything Dies, a lecture in Atmospheric Black Metal sounding even more venomous than its predecessor due to the pulverizing drums by Krzysztof; and the atmosphere remains dense, somber and majestic in the title-track Where Emptiness is All, where once again Shadow roars like a demonic entity accompanied by the sharp riffs and rumbling bass by R.C. in another infernal display of Atmospheric Black Metal. Then a dark, menacing intro gradually evolves into an ethereal voyage titled Endless Illusions, with R.C. and Krzysztof blasting melodic yet at the same time sulfurous sounds from their sonic weapons, flowing into the closing tune Under a Watching Sky, which sounds and feels more like an outro than anything else. I personally preferred if it was a regular song, or if it was a little bit shorter in duration, but it’s still a solid way to conclude the album.
Those three extremely talented metallers from Italy and Poland are eager to know what you think of their music, and you can do so by giving them a shout on Facebook and on Instagram, and of course you can show them your absolute support and admiration by purchasing a copy of Where Emptiness Is All from the Odium Records’ BandCamp page or webstore, succumbing to the darkest and most atmospheric side of extreme music. You’ll certainly have a blast wandering through the Stygian realms explored by Rick Constantino and his henchmen in Where Emptiness Is All, always keeping in mind that there’s no turning back once you let darkness and desolation take over your damned soul.
Best moments of the album:And Everything Dies and Where Emptiness is All.
Worst moments of the album:Under a Watching Sky.
Released in 2023 Odium Records
Track listing 1. Pvrification (Intro) 1:03
2. Into the Unknown 7:41
3. And Everything Dies 6:58
4. Where Emptiness is All 5:12
5. Endless Illusions 7:36
6. Under a Watching Sky 5:03
Band members
Shadow – vocals
Rick Costantino – guitars, bass
Krzysztof Klingbein – drums
Formed in Krakow, Poland in 2023 by vocalist Res and guitarist and bassist Blein, the ruthless Black Metal duo Todestrieb (a German word that translates to “death drive” or “death wish” in English, from the classical Freudian psychoanalytic theory) is set to darken our minds and souls with their debut album, titled Corona Tenebra, or “crown of darkness” from Latin. Recorded at No Solace Studio, mixed and mastered at Impressive Art Studio, with a fiery artwork by Izabela Grabda and with guest Michał “The Fall” Stępień (Mgła, Hauntologist, Owls Woods Graves) on drums, Corona Tenebra consists of five tracks and an outro inspired by the music by Watain, Odraza, Drastus, Kriegsmaschine, Tortorum, Funeral Mist and many more, with its lyrics circling around themes like spirituality, gnostic Satanism, blasphemy, theology and philosophy.
THE HEADBANGING MOOSE 