Tag Archives: progressive death metal

Album Review – Fractal Universe / The Great Filters (2025)

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This Progressive Death Metal outfit strikes again with their thrilling fourth studio album, a sonic journey like no other blending progressive tendencies with Jazz elements.

Having self-released their debut EP Boundaries of Reality in 2015, followed by the full-length albums Engram of Decline (2017), Rhizomes of Insanity (2019), and The Impassable Horizon (2021), Nancy, Grand Est, France-based Progressive/Technical Death Metal outfit Fractal Universe returns to action now in 2025 with their fourth studio effort, entitled The Great Filters. Once again blending progressive tendencies with Jazz elements, philosophical topics such as existentialism and the fragmented nature of human consciousness, innovative songwriting and high production quality, the new album by Vince Wilquin on vocals, guitars and saxophone, Yohan Dully on the guitars, Valentin Pelletier on bass, and Clément Denys on drums invites the listener to embark on a sonic journey like no other, helping those French metallers in reaching the peak of the Progressive Metal mountain worldwide.

Their progressive and metallic vein arises from the very first second in The Void Above, with the enraged roars by Vince walking hand in hand with the beyond intricate bass and drums by Valentin and Clément, respectively. Then continuing to experiment with different sounds and nuances we have The Great Filter, while staying true to their core Death Metal essence; whereas the Djent-infused bass by Valentin will hammer our heads in Causality’s Grip, accompanied by the whimsical guitar lines by Vince and Yohan, sounding like a Progressive Death Metal version of Dream Theater. And The Seed of Singularity is another song that goes heavy on bass, with a futuristic background providing Vince with all he needs to shine on vocals.

After that we’re treated to The Equation of Abundance, a smooth and charming ballad by the band, with the harsh vociferations by Vince bringing an extra touch of anguish and melancholy to the overall result; then investing in a heavier, more thunderous sound the band blasts our faces with Specific Obsolescence, with all of its breaks and variations, boosted by Clément’s spot-on drumming and Vince’s melancholic saxophone, turning it into a must-listen for fans of the genre. Dissecting the Real is another complex, vibrant and multi-layered creation by the band, offering more of the stylish riffs by Vince and Yohan, plus the endless heaviness flowing from Clément’s drums, followed by Concealed, a six-minute explosion of Progressive Death Metal led by the striking riffage by Vince and Yohan. Finally, the album ends on a strong note with A New Cycle, where the classy sound of the saxophone by Vince beautifully clashes with their visceral Death Metal sounds.

If their previous albums like their latest opus The Impassable Horizon already exhaled progressiveness and rage, it’s with The Great Filters that the quartet takes a huge step forward in their career, solidifying their core sound without repeating themselves or getting stale, always working towards innovation, and always with a lot of energy, passion and focus on their music. You can get more information about the band by following them on Facebook and on Instagram, stream more of their music on their YouTube channel or on Spotify, and above all that, show them your utmost support by purchasing a copy of The Great Filters by clicking HERE. In other words, if you love the complexity of Progressive Metal, but at the same time you’re an admirer of the visceral sound of Death Metal, then Fractal Universe might be exactly what you’re looking for in the underground, with their newborn opus sounding and feeling absolutely sharp and exciting for our total delight.

Best moments of the album: The Void Above, Specific Obsolescence and Dissecting the Real.

Worst moments of the album: The Great Filter.

Released in 2025 M-Theory Audio

Track listing
1. The Void Above 4:26
2. The Great Filter 3:41
3. Causality’s Grip 3:35
4. The Seed of Singularity 4:08
5. The Equation of Abundance 6:25
6. Specific Obsolescence 6:49
7. Dissecting the Real 5:23
8. Concealed 6:05
9. A New Cycle 5:04

Band members
Vince Wilquin – vocals, guitars, saxophone
Yohan Dully – guitars
Valentin Pelletier – bass
Clément Denys – drums

Album Review – Allegaeon / The Ossuary Lens (2025)

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World domination awaits to the sound of the striking new beast by one of the must-see bands of the current Technical and Melodic Death Metal scene worldwide.

Never allowing themselves to stagnate, preferring to thrive on chaos, change and evolution, Fort Collins, Colorado-based Technical/Melodic Death Metal beast Allegaeon is back with their seventh studio opus, entitled The Ossuary Lens, the follow-up to their 2022 album Damnum, and their first with original vocalist Ezra Haynes since his 2015 departure following the Elements of the Infinite album. Produced, recorded, mixed and mastered once again by Dave Otero at Flatline Audio, the new album by the aforementioned Ezra Haynes on vocals, Greg Burgess and Michael Stancel on the guitars, Brandon Michael on bass, and Jeff Saltzman on drums might not be a concept album in the traditional sense, but there is an overarching theme to it, a representation of several different viewpoints of death, with its science-based lyrics sounding as challenging as the progressive musicianship, resulting in a set of songs that simply slay.

A serene, melancholic intro titled Refraction sets the tone for the reinvigorated Allegaeon to attack like a demented beast in Chaos Theory, where Ezra returns in full force to the band armed with his demonic roars while Jeff also showcases all his technique and rage behind his drums. In Driftwood the band blasts dark, violent words (“Blindsided, in a shell of silence, alone / Decided, motive breach the eyelids, then sewn / Reminded, death walks beside us, inside us / In hindsight it was the path of a nihilist and pawn”) amidst a beyond Progressive Death Metal sound; followed by the epic and imposing Dies Irae, with all background elements matching perfectly with the visceral riffage by Greg and Michael in an overdose of Melodic Death Metal. And The Swarm is a beautiful and violent depiction of the band’s core essence, with the inhumane screams by Ezra being boosted by the thunderous bass and drums by Brandon and Jeff.

If the first five songs of the album were an overdose of aggression, their technical and rabid feast continues majestically with Carried by Delusion, with Jeff once again stealing the spotlight with his unstoppable beats and fills. Then featuring guest acoustic guitars by world renowned musician Adrian Bellue, who brings an extra touch of finesse to the band’s demented sounds, we have Dark Matter Dynamics, where Greg and Michael’s shredding riffs and solos are a thing of beauty; and the band speeds things up considerably while letting their Technical Death Metal vein arise in Imperial, led by the melodic yet piercing guitars by Greg and Michael. Wake Circling Above is a seven-minute song that starts in a more introspective manner with a Stygian background atmosphere before evolving into a complex display of Technical and Melodic Death Metal, where Ezra screams manically to the caustic riffs, bass lines and beats by his bandmates; and lastly, the closing tune, entitled Scythe, is another sonic beast, an epic, climatic composition where Jeff’s thunderous beats are nicely complemented by the song’s Stygian ambience.

“I think in the beginning we were a little more stripped down,” commented guitarist Greg Burgess. “Very guitar-forward, focused melodeath. Over time, I think more technical, symphonic and progressive elements creeped in. Finally, where we are today is all of that combined, added with more ambient elements.” In summary, The Ossuary Lens is an accomplished album that sees a rejuvenated band at the peak of its powers, and you can enjoy their undisputed dexterity and passion for heavy music by following them on Facebook and on Instagram, by streaming their solid discography on Spotify, and by purchasing their excellent new opus from BandCamp or from Metal Blade Records by clicking HERE or HERE. In the end, world domination awaits to the sound of the newborn spawn by Allegaeon, one of the must-see bands of the current scene, always ready to kick our asses and melt our faces with their first-class, undisputed “melotech”.

Best moments of the album: Dies Irae, The Swarm, Dark Matter Dynamics and Wake Circling Above.

Worst moments of the album: None.

Released in 2025 Metal Blade Records

Track listing
1. Refraction 0:59
2. Chaos Theory 4:32
3. Driftwood 4:28
4. Dies Irae 3:48
5. The Swarm 3:28
6. Carried by Delusion 4:49
7. Dark Matter Dynamics 6:03
8. Imperial 4:08
9. Wake Circling Above 6:55
10. Scythe 5:40

Band members
Ezra Haynes – vocals
Greg Burgess – guitars
Michael Stancel – guitars, backing vocals
Brandon Michael – bass, backing vocals
Jeff Saltzman – drums

Guest musician
Adrian Bellue – acoustic guitar on “Dark Matter Dynamics”

Album Review – Aversed / Erasure of Color (2025)

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

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

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

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

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

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

Worst moments of the album: Inexorable.

Released in 2025 M-Theory Audio

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

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

Album Review – Light Dweller / The Subjugate (2025)

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Vocalist and multi-instrumentalist Cameron Boesch strikes again with his fifth album, delving into themes of death, purgatory, and the cessation of time.

Founded in December 2017 by vocalist and multi-instrumentalist Cameron Boesch in Phoenix, Arizona, in the United States, Dissonant Death/Black Metal entity Light Dweller is set to release its fifth offering, entitled The Subjugate. Inspired by a broad spectrum of dissonant and melodic influences, including Cosmic Putrefaction, Defacement, Mesarthim, Convulsing, Violet Cold, Mare Cognitum, and more, Light Dweller has forged a unique path through the darker, more obscure realms of metal, with The Subjugate spanning six tracks delving into themes of death, purgatory, and the cessation of time, presenting a cohesive journey through these concepts, all embraced by another ass-kicking artwork by Adam Burke of Nightjar Illustration.

Cameron begins his riff and growl attack in full force in Echoes from the Spectral Void, offering our avid ears four minutes of top-of-the-line Progressive Death Metal; whereas Cessation of Time sounds as demolishing and experimental as the opener, with Cameron’s deep guttural walking hand in hand with his intricate yet heavy-as-hell drumming. Then a sinister intro evolves into another darkened amalgamation of sounds in Fracturing Light, where Cameron lets his Progressive Metal vein pulse harder than ever, and with his demonic gnarling matching perfectly with the music; followed by the eight-minute title-track The Subjugate, where Cameron invests in a very diverse and progressive sound by bringing into being several breaks, variations, and experimental and sharp sounds, all combined in a harmonic yet visceral way. In the second to last song of the album, titled Phasing Through the Veil, our one-man band shows no mercy for our souls with his demented riff, bass and drum attack, with its phantasmagorical ending flowing into Adrift the Expanding Nothingness, another bestial tune overflowing insanity and heaviness where he fires his most experimental riffs of the entire album, smashing our minds and souls mercilessly during its hellish seven minutes.

With each release, Light Dweller has evolved, skillfully weaving dissonance with melody, and balancing intense aggression with haunting, introspective passages, culminating now in 2025 with the excellent The Subjugate, and of course pointing to an even more interesting path ahead for Cameron. You can get to know more about him, his music and other details by following Light Dweller on Facebook and on Instagram, and show him your utmost support by streaming his music on Spotify or any other streaming service, and of course by purchasing The Subjugate from the Avantgarde Music’s BandCamp or from Sound Cave. This is undoubtedly Cameron’s strongest opus to date, but I’m sure we’ll hear a lot more from him in the near future, and we’ll say the same about his upcoming albums, as Light Dweller is always evolving, always looking forward, and always ready to surprise us all with its unique sounds.

Best moments of the album: Echoes from the Spectral Void and The Subjugate.

Worst moments of the album: None.

Released in 2025 Avantgarde Music/Unorthodox Emanations

Track listing
1. Echoes from the Spectral Void 4:29
2. Cessation of Time 5:20
3. Fracturing Light 4:45
4. The Subjugate 8:10
5. Phasing Through the Veil 4:38
6. Adrift the Expanding Nothingness 7:39

Band members
Cameron Boesch – vocals, all instruments

Album Review – Greyember / Blooming in Antarctica EP (2025)

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This talented Australian freelance music and video creator strikes with a three-track extreme music EP that explores some of life’s harshest realities.

Hailing from the beautiful city of Melbourne, the coastal capital of the southeastern Australian state of Victoria, Greyember is the Progressive/Blackened Death Metal alter-ego of metal and dark alternative themes freelance music and video creator Richard Grimm, also known for his contributions to the bands Dracorex, Bentham’s Head, and Dreamworm. Produced, mixed and mastered at Big Vibe Creative, Blooming in Antarctica is the debut EP by Richard and his Greyember, a three-track offering that explores some of life’s harshest realities, from existential fears about climate change to his personal struggles with mental health and identity, all through the lens of metal, while also featuring incredible guest contributions from Richard White (Grim Demise) and Nikki Harrison aka Luna Starchild (With Witch).

Featuring guest vocalist Luna Starchild, Richard delivers an overdose of harsh riffs, deep guttural roars in paradox with Luna’s melodic clean vocals in Reflections, resulting in a killer Blackened Death Metal beast. Then we have the massive title-track Blooming in Antarctica, with guest vocals by Richard White, drawing inspiration from the stark reality of flowers now growing in Antarctica, a harbinger of the climate crisis and its devastating implications (“There is a debt, that we’ve burned through the century / the carbon reaper set free / Consuming all, driving life to extinction / a thriving land now devoid / it will consume, arctic surfaces break down / transforming glaciers to brine / Our heaving lungs choking down poison fumigation / 1 million tonnes to exhaust”). Musically speaking, it reminds me of some of the most recent tunes by Behemoth, which is obviously a good thing. And lastly, Richard transpires darkness and insanity in madness., transforming his inner demons into a fusion of Black and Death Metal through his classic beats, caustic riffs and a beyond grim atmosphere.

Blooming in Antarctica is already available in full on all streaming platforms including YouTube and Spotify, but of course if you want to show Richard your utmost support you can purchase a copy of the album from BandCamp, and don’t forget to also give Richard a shout on Facebook and on Instagram, or simply click HERE for more details on all of his bands and projects. As mentioned by Richard himself in the description of his official video for the title-track, our world is dying and a small handful of people are responsible for it, people with names and addresses, and we must do something to avoid the terrible fate that lurks in the shadows and waits for us all in a not-so-distant future. Let’s spread the music by Greyember all over the world, inspiring other musicians like Richard to fight for our planet, and metalheads like us to use our powerful music to make a positive change in our decaying society.

Best moments of the album: Blooming in Antarctica.

Worst moments of the album: None.

Released in 2025 Independent

Track listing
1. Reflections 4:08
2. Blooming in Antarctica 5:40
3. madness. 4:20

Band members
Richard Grimm – vocals, all instruments

Guest musicians
Nikki Harrison – vocals on “Reflections”
Richard White – vocals on “Blooming in Antarctica”

Album Review – Pathogenic / Crowned in Corpses (2025)

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

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

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

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

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

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

Worst moments of the album: Fragments.

Released in 2025 Skepsis Records

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

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

Album Review – Misanthropia / Envy The Dead (2024)

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These Dutch Black Metal veterans are back with a concept album that conjures a dark, gritty atmosphere inspired by historical horrors like Jack The Ripper and necromancy.

For over 20 years, Nijmegen, Netherlands-based Melodic Black Metal horde Misanthropia has been carving a path through the metal scene with their unique blend of blackened fury and Death Metal aggression, and that grim path continues now in 2024 with their fifth full-length offering, entitled Envy The Dead. Engineered, mixed and mastered by Mike Wead (Mercyful Fate, King Diamond), Envy The Dead is a concept album that conjures a dark, gritty atmosphere inspired by historical horrors like Jack The Ripper and necromancy. Moving away from symphonic elements, it embraces a Progressive Death and Thrash Metal vibe with influences from Dimmu Borgir, Cradle of Filth, Necrophobic, Mayhem, and Death, all carefully brought into being by Bram Koller on vocals and guitars, Dennis Schoenmaker also on the guitars, Pepijn Heilbron on bass, and Hugo de Waal on drums.

The cryptic, cinematic intro Envy the Dead will drag you to the world of horrors ruled by Misanthopia before they crush your soul in Malediction and Laughter, where Bram leads his horde with his austere, sulfurous gnarls supported by the violent yet intricate beats and fills by Hugo. Bram and Dennis showcase their passion for the riff in Organs, for a Fair Price, evolving into a bestial fusion of Death and Black Metal; followed by Prosperity by Cocaïne, presenting over five minutes of Melodic Black Metal for the masses spearheaded by the rumbling drums by Hugo with the help of Pepijn’s massive bass lines. And Hugo continues his path of devastation in Maze of Madness, enhancing the visceral reach of the riffage blasted by Bram and Dennis.

River Dumplings reminds me of some old school creations by Dimmu Borgir with the bands own Melodic Death and Black Metal twist, in special the harsh, piercing vociferations by Bram, whereas the quartet delivers another round of their flammable, caustic sounds in Coughing in the Coffin House, led by the classic beats by Hugo and supported by Pepijn’s devilish bass. Fade into the Abyss, the second single of the album, brings forward the band’s most aggressive side, resulting in a feast of Black and Death Metal where Bram’s vocals sound and feel truly haunting; and their last breath of obscurity and fear, entitled A Deadly Embrace, a Sinister Grace, will pierce our minds with it Melodic Black Metal vocalizations and riffs, not to mention how thrilling the drums sound and feel throughout the entire song.

The incendiary, harsh and devilish Envy The Dead is already available in full on YouTube and on Spotify, but of course you can join Misanthropia in their darkened path by purchasing your favorite version of the album by clicking HERE. Don’t forget to also follow those talented Dutch metallers on Facebook, Instagram and YouTube, helping them keep the spirit of both old school and present-day Black Metal alive, therefore inspiring the band to keep moving forward in the name of extreme music for at least another 20 years.

Best moments of the album: Malediction and Laughter, Prosperity by Cocaïne and Fade into the Abyss.

Worst moments of the album: Maze of Madness.

Released in 2024 WormHoleDeath

Track listing
1. Envy the Dead 2:23
2. Malediction and Laughter 6:12
3. Organs, for a Fair Price 5:47
4. Prosperity by Cocaïne 5:37
5. Maze of Madness 6:25
6. River Dumplings 4:21
7. Coughing in the Coffin House 5:10
8. Fade into the Abyss 4:15
9. A Deadly Embrace, a Sinister Grace 0:41

Band members
Bram Koller – vocals, rhythm guitars
Dennis Schoenmaker – lead & rhythm guitars
Pepijn Heilbron – bass
Hugo de Waal – drums

Album Review – Deamonolith / The Monolithic Cult of Death (2024)

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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

Concert Review – Blood Incantation (Lee’s Palace, Toronto, ON, 11/30/2024)

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The mighty Blood incantation blasted our minds with the full play of their newborn masterpiece in a night to remember in Toronto.

OPENING ACT: Midwife

The cozy Lee’s Palace might fit only around 500 people, but that’s by far one of my favorite venues in Toronto precisely due to that, as every show there becomes very intimate, with a much stronger connection between the bands and the crowd. That’s exactly what we got this Saturday night with the pulverizing, brilliant and unique performance by BLOOD INCANTATION (supported by MIDWIFE) during their Absolute Elsewhere Tour North America 2024, one of the most successful events brought to the city by Noel Peters of Inertia Entertainment. And let me tell you I felt sorry for my friend Keith Ibbitson of Metal Paparazzi as due to the fact this was a sold out show, it was really rough for him (and for all other photographers) to brave the wild circle pits while trying to take some good shots of the band. It was insane, the place was jam packed, and Blood Incantation simply killed it onstage in one of the most memorable concerts of the year, and the perfect one to conclude my own 2024 “world tour”.

Before that, the task to open the night and warm up the crowd for Blood Incantation was given to MIDWIFE, which is basically a one-woman project by American singer-songwriter, multi-instrumentalist and audio engineer Madeline Elizabeth Johnston, who describes her music as “heaven metal”. Having released this year the album No Depression In Heaven (available on BandCamp and on Spotify), she delivered a very delicate, weird and soft presentation to an already completely full Lee’s Palace, and although I would have enjoyed the show a lot more if it was a regular metal band instead of Midwife, let’s say she did a decent job overall, and the crowd applauded her effort and showed a lot of respect for her for facing around 500 metalheads only armed with her guitar and her gentle, frail vocals. The music by Midwife is not my cup of tea, but I would recommend anyone to listen to her music at least once to try to understand and feel the message in it.

Setlist
Colorado
Vanessa
2018
Killdozer
S.W.I.M.
No Depression in Heaven

Band members
Madeline Elizabeth Johnston – vocals, guitars

BLOOD INCANTATION

It was already past 10pm, which is by the way a late time for a headliner to kick off a concert in Toronto (but hey, it was a Saturday, so who cares?), when Denver, Colorado’s own Progressive Death Metal entity BLOOD INCANTATION hit the stage for an absolutely mesmerizing and incendiary performance, playing in full their newborn spawn Absolute Elsewhere, a masterpiece of extreme music that will surely feature among the best albums of the year in countless lists all over the world, and also available in full on BandCamp and on Spotify. The beyond talented Paul Riedl, Morris Kolontyrsky, Jeff Barrett and Isaac Faulk, plus guest musician Nicklas Malmqvist on synths, put on an electrifying show for their avid Torontonian fans, and the energy flowing from the band and the crowd during the entire show was a thing of beauty.

The small floor section was so full I decided to leave halfway through their set to find a better spot to watch them kick some serious ass from a different spot with more space to move (which was almost nonexistent, by the way). The insane mosh pits were moving frantically while Blood Incantation played both songs from the album, The Stargate and The Message (each one split into three parts, as you might know), to perfection, and outside of “the eye of the storm” all other fans were simply having the time of their lives to each note blasted by the band. I can’t decide which part of the show was the best, but let’s say the last part of their new album, when they were playing The Message [Tablet III], was one of the most epic moments of the year in Toronto.

There was still time for two more songs after Absolute Elsewhere, Inner Paths (to Outer Space) and Obliquity of the Ecliptic, both also flawless, and after all was said and done I had the chance to briefly chat with the amazing Paul Riedl, thanking him for their superb concert, and of course for the breathtaking Absolute Elsewhere. He’s such a nice, humble and cool guy, and we must all be thankful for having him in the metal community. We need more Paul Riedls not only in music, but in life in general, no doubt about that. I told him I can’t wait to see Blood incantation live again in Toronto, and I’m sure based on the wild reaction form the crowd that we’ll see one of the best bands of the current scene coming from outer space to take the city by storm again sooner than we can say “stargate”.

Setlist
Absolute Elsewhere
The Stargate [Tablet I]
The Stargate [Tablet II]
The Stargate [Tablet III]
The Message [Tablet I]
The Message [Tablet II]
The Message [Tablet III]

Inner Paths (to Outer Space)

Encore:
Obliquity of the Ecliptic

Band members
Paul Riedl – vocals, guitars
Morris Kolontyrsky – guitars
Jeff Barrett – bass
Isaac Faulk – drums, gong
Nicklas Malmqvist – synthetizers

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Album Review – Misanthropy / The Ever-Crushing Weight of Stagnance (2024)

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Offering a refreshing raw, frantic and visceral approach to the tech death style, the new album by this Chicago outfit proves why they’re an ever-evolving band in the best way possible.

Offering a refreshing raw, frantic and visceral approach to the tech death style, Chicago, Illinois-based Progressive Death Metal entity Misanthropy is carving their own path and going about the style in their own unconventional manner in their new album The Ever-Crushing Weight of Stagnance, the follow-up to their 2018 album Abhorrent Metamorphosis, skittering off without prior warning, swerving violently and just doing things seemingly at random but mostly at break-neck speed. Displaying a sick artwork by Pedro Sena aka Lordigan (Analepsy, Cognitive, Extermination Dismemberment), the new album by Kevin Kovalsky on vocals and guitar, José Valles also on the guitar, Mark Bojkewycz on fretless bass and Paul Reszczynski on drums is perfect for fans of Origin, Archspire, Ulcerate and Fleshbore, among others, proving Misanthropy Misanthropy are an ever-evolving band, imbibing the influences around them and freely recreating them in their own unique manner which may not be too straightforward but it definitely makes for a thrilling listen.

It’s truly impressive how their tech and progressive vein already explodes in the very first seconds of Of Sulking And The Wrathful, with Mark and Paul sounding ruthless with their bass and beats, respectively, not to mention how deep, evil the guttural by Kevin sounds and feels; and it’s pedal to the metal in the infuriated The All-Devouring, where Kevin and José give a lecture in Death Metal riffage supported by the crushing drums by Paul and the always thunderous bass by Mark, resulting in one of the best songs of the album hands down. The band continues their path of savagery and intricacy in A Cure For The Pestilence, where their riffs and fretless bass will pierce our minds in the name of Technical Death Metal, offering us all nonstop action and, therefore, calling us all to slam into the circle pit.

The quartet keeps embellishing the airwaves with their fusion of Death Metal and complex, progressive sounds and tones in the form of Condemned To A Nameless Tomb, with Paul stealing the show with another ass-kicking performance behind his drums. Descent sounds just as wicked, experimental, whimsical and furious as its predecessors, a neck-breaking tune where the sick roars by Kevin will haunt your putrid souls forever; whereas investing in a more direct, in-your-face Death Metal sonority the band will hammer our heads mercilessly in Sepulcher, with the riffage by Kevin and José exhaling sheer heaviness and animosity until the very end. Last but definitely not least, a beyond somber, eerie start gradually evolves into the massive Consumed By The Abyss, with Mark’s fretless bass punching us hard in the face in the best progressive way imaginable.

The guys from Misanthropy are eager to know what you think of their music and their new album, and you can get in touch with them via Facebook or Instagram, and of course stream all of their wild creation on any streaming platform like Spotify. And above all that, let’s support those talented metallers by purchasing their bestial new album from their own BandCamp page, as well as from the Transcending Obscurity Records’ BandCamp, main store, Europe store, or US store, and you can also click HERE for all things Misanthropy. Those guys are dead serious about the quality of their music and absolutely sharp and focused on their new album, inviting us all for a wild Death Metal ride that might be too complex for some, but extremely awesome for most of us metalheads.

Best moments of the album: The All-Devouring, A Cure For The Pestilence and Sepulcher.

Worst moments of the album: Descent.

Released in 2024 Transcending Obscurity Records

Track listing
1. Of Sulking And The Wrathful 6:05
2. The All-Devouring 4:43
3. A Cure For The Pestilence 6:39
4. Condemned To A Nameless Tomb 6:24
5. Descent 6:44
6. Sepulcher 7:18
7. Consumed By The Abyss 6:37

Band members
Kevin Kovalsky – vocals, guitar
José Valles – guitar
Mark Bojkewycz – fretless bass
Paul Reszczynski – drums