Tag Archives: sludge metal

Concert Review – Kittie (History, Toronto, ON, 07/12/2024)

Posted on by
Reply

Kittie’s first show in Toronto in ten years was an amazing celebration of the legacy of the band, of diversity, and obviously of our good old heavy music.

OPENING ACTS: Dear Evangeline and Vile Creature

I really want to understand what the hell is going on with traffic in the city of Toronto and surroundings. I left my place yesterday with plenty of time to get to History to see DEAR EVANGELINE, VILE CREATURE and KITTIE kick off their Fire Tour 2024, but due to all construction, rain and whatever else, it took me over two hours to get to the venue. Due to that driving nightmare, I missed the entire performance by Brampton, Ontario’s own Hardcore/Sludge Metal newcomers DEAR EVANGELINE, which was a real bummer as I was eager to see those girls live. At least we can all enjoy their self-titled EP on Spotify, and also click HERE to know more about such a promising Canadian band.

Another bummer was the fact that my buddy Keith Ibbitson of Metal Paparazzi didn’t get a photo pass due to some bullshit about “high demand for passes”, or something like that, but I was there as I had a ticket and I think I saw only ONE photographer apart from the band’s own, so I guess either the organizers didn’t want any external photographers taking pictures of the event (which makes no sense at all, as you want people to see those photos and get inspired to attend future shows, right?), or all of the ones who got the limited passes “didn’t attend the show”, if you know what I mean. Anyway, the photos in this review are a piece of shit because of that reason, and I almost though about not reviewing the show; however, I think Kittie still deserve a nice review because they kicked ass on stage on Friday.

At least I was there in time for St. Catharines, Ontario’s Sludge/Drone/Doom Metal beast VILE CREATURE, a non-binary duo who explores themes of veganism, LGBTQ, animal rights, and anti-oppression in their music, and let me tell you it was a dark and extremely heavy performance by vocalist Vic, vocalist and guitarist KW, and a special guest drummer who I knew nothing about. I have no idea about their setlist, but I’m pretty sure they played a few songs from their latest albums Cast of Static and Smoke (2018) and Glory, Glory! Apathy Took Helm! (2020), both available on BandCamp and on Spotify, and all songs sounded insane. One of the best moments of the show was when KW took a few minutes to talk about how much he loves Kittie, that it was Kittie who inspired him to play heavy music after years not knowing where he belonged as a gay guy, and that he sports his Kittie shirt from the very first Vile Creature live concert. It was a very emotional moment for sure, and seeing KW and his Vile Creature kicking ass right before his favorite band of all time was truly inspirational.

Band members
Vic – vocals
KW – guitars, vocals

KITTIE

The fact that both opening bands had short setlists allowed London, Ontario’s Alternative/Groove Metal powerhouse KITTIE to kick off their musical extravaganza relatively early, at around 9pm, giving a feeling of a matinee to the whole event as they wouldn’t play past 11pm for sure. That would have been a good thing if traffic back home wasn’t another nightmare, but I won’t complain about it again. Let’s focus on the show, and what a show it was! Morgan Lander, Tara McLeod, Ivana “Ivy” Jenkins (holy shit, Ivy was insane during the whole show!) and Mercedes Lander were on absolute fire throughout their entire set, which makes total sense as their new album Fire in indeed an incendiary one. Needless to say, their 22-song setlist inspired everyone at the venue to slam into the circle pit and to have a wild time with all crowd surfing going on, making the girls from Kittie really proud of their local fans in their first show in Toronto in ten years.

Blending some of the most electrifying songs of their new album the likes of Fire, We Are Shadows and Eyes Wide Open with classic including Cut Throat, Spit, Funeral for Yesterday and Brackish, the quartet sounded tight, focused and mesmerizing, and when we thought the show was over after the heavy-as-hell We Are the Lamb, the band got back and kicked us hard in the head with a special encore with the songs One Foot in the Grave and Do You Think I’m a Whore, a nice surprise that caught everyone off guard and that turned up the heat inside the venue through the roof. Having said all that, keep an eye on their tour dates by clicking HERE, stream all of their amazing albums, including their new beast Fire, on Spotify or on any other streaming service, and don’t miss the chance to see those four Canadian girls live whenever they take your city by storm. I just wish I had better photos of the band to show you, of course, but you can’t win ’em all, right?

Setlist
Fire
I’ve Failed You
Cut Throat
No Name
Spit
What I Always Wanted
Sorrow I Know
Look So Pretty
Ugly
We Are Shadows
Into the Darkness
Eyes Wide Open
Severed
Funeral for Yesterday
In Winter
Vultures
Charlotte
Mouthful of Poison
Brackish
We Are the Lamb

Encore:
One Foot in the Grave
Do You Think I’m a Whore

Band members
Morgan Lander – lead vocals, rhythm guitar, piano
Tara McLeod – lead guitar
Ivana “Ivy” Jenkins – bass
Mercedes Lander – drums, backing vocals

Album Review – Resin Tomb / Cerebral Purgatory (2024)

Posted on by
Reply

A remarkably cohesive mix of Dissonant Death Metal, gravelly Grindcore and somehow even thick Blackened Sludge crafted by an up-and-coming squad from Down Under.

After releasing their 2020 self-titled debut EP followed by their 2022 EP Unconsecrated // Ascendancy, Brisbane, Australia-based Sludge/Death Metal band Resin Tomb has perfected their sound for their highly awaited debut full-length album, entitled Cerebral Purgatory, and it’s everything you’ve come to expect from them and more. Recorded and mixed by the band’s own Brendan Auld at Black Blood Audio, mastered by Arthur Rizk, and displaying a fantastic artwork by Mitchell Nolte (who’s by the way responsible for all cover arts for Baest and Werewolves), with layout and graphic design by Mitch Long, the new album by vocalist Matt Budge (Consumed), guitarists Brendan Auld (Descent, Feculent) and Matt Gordon, bassist Mitch Long (Consumed), and drummer Perry Vedelago (Siberian Hell Sounds) is highly recommended for fans of Terra Builder, Replicant, and Vermin Womb, just to name a few, offering our avid ears a remarkably cohesive mix of Dissonant Death Metal, gravelly Grindcore and somehow even thick Blackened Sludge.

The opening tune Dysphoria is absolutely devastating and infernal, not recommended for the lighthearted, with Mitch and Perry generating a venomous wall of sounds with their respective bass and drums; and featuring additional vocals by guest Scott Tabone (Burial Pit), Resin Tomb show no mercy for our damned souls in Flesh Brick, a dissonant, violent onrush of Sludge and Death Metal with hints of Grindcore where the guitars by Brendan and Matt will darkly pierce your mind. Then the metallic, sulfurous bass jabs by Mitch will smash your skull in Scalded, a lecture in brutality and insanity by Resin Tomb that should sound amazing if played live on their shows, whereas the title-track Cerebral Purgatory is another heavy bass-infused tune by the band, with the guitars by Brendan and Matt once again cutting our skin deep (albeit a bit too repetitive).

It’s then time for a dark and sinister composition titled Human Confetti, offering the band’s dissonant sounds while Matt vociferates rabidly until the very last second. Needless to say, this song will darken your thoughts without a shadow of a doubt, followed by Purge Fluid, a disruptive, groovy and melodic chant where their guitars and bass sound absolutely heavy and evil, while Perry keeps hammering his drums in a fusion of classic Death Metal and Experimental Death Metal. Their second to last explosion of madness and heaviness is offered to us all under the name of Concrete Crypt, one of the most devastating songs of the album, if not the most, thanks to the visceral screams by Matt and the always thunderous drums by Perry, flowing into the closing extravaganza titled Putrescence, demolishing everything and everyone that’s still standing after all the violence presented in the album, also showcasing an amazing guitar job done by the band’s axe duo as usual.

If high-quality Death Metal is your cup of tea, then you must spend some time Down Under to enjoy the pulverizing new album by Resin Tomb, which is available for purchase from the band’s own BandCamp page of from the Transcending Obscurity Records’ BandCamp page or webstore as a digipak CD, a gatefold LP, a cassette, or a special CD + shirt combo. Furthermore, don’t forget to also give the guys from Resin Tomb a shout on Facebook and on Instagram, to stream all of their sick creations on Spotify, or simply click HERE for all things Resin Tomb. Cerebral Purgatory is an untamed, noisy beast of death, sludge and doom, positioning the band as one of the must-see acts of the year hands down, consequently leaving us eager for more of their wicked sounds in the coming years.

Best moments of the album: Flesh Brick, Scalded and Concrete Crypt.

Worst moments of the album: Cerebral Purgatory.

Released in 2024 Transcending Obscurity Records

Track listing
1. Dysphoria 2:39
2. Flesh Brick 3:09
3. Scalded 4:20
4. Cerebral Purgatory 4:20
5. Human Confetti 4:20
6. Purge Fluid 3:06
7. Concrete Crypt 2:46
8. Putrescence 4:20

Band members
Matt Budge – vocals
Brendan Auld – guitar
Matt Gordon – guitar
Mitch Long – bass
Perry Vedelago – drums

Guest musician
Scott Tabone – additional vocals on “Flesh Brick”

Album Review – Primordial / How It Ends (2023)

Posted on by
Reply

The excellent new album by these Irish veterans sees the band delivering more of their seminal blend of Celtic and Black Metal.

Dublin, Ireland-based Black/Folk Metal veterans Primordial really do have nothing to prove. Having lasted 32 years and now returning with their tenth full-length opus, titled How It Ends, the Irish band have made it clear they are a primal force who consistently lay it all on the line. Recorded at Hellfire Studios, produced by Chris Fielding at Skyhammer Studio, mastered by James Plotkin, and displaying a classy artwork by Paul McCarroll, the follow-up to their 2018 album Exile Amongst the Ruins sees the band delivering more of their seminal blend of Celtic and Black Metal, all carefully brought into being by vocalist A.A. Nemtheanga, guitarist Ciarán MacUilliam, bassist Pól MacAmlaigh and drummer Simon O’Laoghaire, being therefore highly recommended for admirers of the genre.

The guitar by Ciarán kicks off the band’s grim feast by exhaling a melancholic sound in the title-track How It Ends, being then joined by his bandmates and exploding into a Folk Metal extravaganza led by the passionate vocals by A.A.; whereas the tribal beats by Simon set the tone in Ploughs to Rust, Swords to Dust, a powerful tune with tons of Epic Metal elements with A.A. having an amazing vocal performance while his bandmates keep the music vibrant and imposing until the very end. Then the rumbling guitar lines by Ciarán ignite the also dense and multi-layered We Shall Not Serve, another fantastic creation by the band with Simon and Pól dictate the song’s galloping pace, blending the most energetic elements from Black and Folk Metal. Traidisiúnta, which is Irish for “traditional”, is an instrumental interlude that showcases a more Folk Metal-inspired side of Primordial and flows into Pilgrimage to the World’s End, with the progressive, experimental guitars by Ciarán walking hand in hand with the poetic vocals by A.A. until the very end.

In Nothing New Under the Sun, more of their poetry in the form of lyrics are offered to us all (“So let me show you that there is nothing new under the sun / So gather your days and to the ends of the world together we run / Are we not the penitent, the willing and the righteous, beasts without nation / We are born of plague and marked by your heresy at the myth of creation”) amidst a cryptic, grim sonority, followed by an epic intro that gradually evolves into the battle hymn Call to Cernunnos, with its tribal beats and imposing riffs making it truly compelling. After that, A.A. and his henchmen will darken the skies even more in All Against All, one of the most cryptic and atmospheric of all songs thanks to the strident riffs by Ciarán; however, it goes on for too long and loses its punch after a while. A.A. continues to darkly declaim their wicked lyrics in the somber, Sludge Metal-infused aria Death Holy Death (“I heard Hallelujah, just one last time / Your tired faces, they are worn by sorrow / Out sadness is worn like a gift from God / O Death Holy Death! You cast us in grace”); and lastly, their Irish riffage sets fire to the music in Victory Has 1000 Fathers, Defeat Is an Orphan, where A.A. kicks some ass with his deep, anguished vocals supported by the thunderous kitchen by Pól and Simon in a lecture in Folk Metal.

“How It Ends is a very angry, defiant, visceral, and rebellious album, and as we worked it all began to take more shape and form itself. It may be the note we go out on but it will be a note of resistance, in musical terms. I think it’s also more metal! And more epic!” And the band complemented by saying that “it certainly sounds like Primordial, there is no doubt about that, we have our own style and this is a new chapter of the same book. If we have done anything new it’s really to work with more conviction than ever, and trust more than ever our instincts.” Hence, you can enjoy such multi-layered album in its entirety on YouTube and on Spotify, grab a copy of it from the band’s own BandCamp page or from Metal Blade Records (by clicking HERE, HERE, or HERE), and don’t forget to also check what the band is up to on Facebook and on Instagram. Primordial have been blasting our ears with their Celtic sounds for decades, and based on what they have to offer in How It Ends we can rest assured the band will keep on embellishing the airwaves with their undisputed music for a few more.

Best moments of the album: Ploughs to Rust, Swords to Dust, We Shall Not Serve and Victory Has 1000 Fathers, Defeat Is an Orphan.

Worst moments of the album: All Against All.

Released in 2023 Metal Blade Records

Track listing
1. How It Ends 7:50
2. Ploughs to Rust, Swords to Dust 7:35
3. We Shall Not Serve 7:18
4. Traidisiúnta 2:12
5. Pilgrimage to the World’s End 7:07
6. Nothing New Under the Sun 7:11
7. Call to Cernunnos 5:59
8. All Against All 8:48
9. Death Holy Death 5:40
10. Victory Has 1000 Fathers, Defeat Is an Orphan 6:14

Band members
A.A. Nemtheanga – vocals
Ciarán MacUilliam – guitar
Pól MacAmlaigh – bass
Simon O’Laoghaire – drums

Album Review – Warcrab / The Howling Silence (2023)

Posted on by
Reply

UK’s own Death and Doom Metal bulldozer is back in action with their strongest effort to date, having progressed into a faster, crustier direction while still remaining loyal to their doomed roots.

Just when you thought the music by UK-based Doom/Sludge Metal titans Warcrab was getting slower and sludgier, they do the unexpected and bring in Death Metal influences in a huge way in their demolishing new opus, titled The Howling Silence, the follow-up to their critically acclaimed albums Scars of Aeons and Damned In Endless Night. And that Death Metal approach is not even presented in the form of a thick, ponderous blend of the two styles; instead, the band currently formed of Martyn Grant on vocals, Geoff Holmes and Leigh Jones on the guitars, Dave Symonds on bass and Rich Parker on drums has shedded the extra weight that was holding them down and have progressed into a faster, crustier direction. Displaying a sinister artwork by Feltnan Art, The Howling Silence effortlessly switches between the band’s two predominant styles as and when the music demands it rather than having a monotonous and predictable sound, while still remaining loyal to their doomed roots.

The quintet wastes no time and begins shaking the foundations of earth in Orbital Graveyard, a thunderous fusion of Death, Doom and Sludge Metal where Martyn roars and barks manically accompanied by the pounding drums by Rich; followed by Titan of War, another Stoner and Sludge Metal attack spearheaded by the crushing riffs by Geoff and Leigh while Dave hammers his bass in the name of heaviness, and the music flows majestically until the very last second for our vulgar delectation. After such imposing tune we’re treated to Black Serpent Coils, a neck-breaking extravaganza that showcases all the power of the riff, blending the band’s sound from their previous records with a more contemporary sonority, and the final result is yet again superb, whereas their harsher, more visceral vein explodes in the Death Metal-fueled tune Sword of Mars, led by the venomous growls by Martyn while the band’s guitar duo gives a lesson in riffs and solos. Put differently, simply get into the pit and crush your spinal cord to the sound of such pulverizing chant.

After such devastating aria, it’s time for a darker, more introspective creation by Warcrab named As the Mourners Turn Away, starting in a lugubrious way highly inspired by classic Doom Metal and Blackened Doom, with Rich taking the lead with his sluggish beats in almost nine minutes of total darkness; and that Stygian aura goes on in Sourlands Under a Rancid Sun, with the low-tuned, menacing bass by Dave paving the path for his bandmembers to smash us all in a great display of Death and Doom Metal, not to mention how devilish Martyn’s roars sound and feel. Lastly, the band offers our avid ears the 10-minute title-track Howling Silence, a Death, Doom and Sludge Metal voyage presenting sharp, caustic riffs, tribal drums and an absolutely cryptic atmosphere, or in other words, it’s a bestial creation that lives up to the legacy of the most infernal form of Doom Metal imaginable, with Geoff and Leigh being flawless armed with their axes from start to finish, ending the album on a grim, vile manner.

This British bulldozer of extreme music is waiting for you on Facebook to crush your soul with news, tour dates and so on, and on Spotify to haunt you for all eternity with their dense and somber creations. Also, don’t forget to grab a copy of the pulverizing The Howling Silence from their own BandCamp page, as well as from the Transcending Obscurity Records’ webstore as a digipak CD (also available in their European store) or as a very special digipak CD + shirt bundle. The Howling Silence is Warcrab at the peak of their creative prowess; they are back and better than ever before, and you’re more than invited to join them in their feast of death and doom.

Best moments of the album: Titan of War, Sword of Mars and Howling Silence.

Worst moments of the album: None.

Released in 2023 Transcending Obscurity Records

Track listing
1. Orbital Graveyard 4:07
2. Titan of War 5:54
3. Black Serpent Coils 5:30
4. Sword of Mars 4:31
5. As the Mourners Turn Away 8:55
6. Sourlands Under a Rancid Sun 5:51
7. Howling Silence 10:41

Band members
Martyn Grant – vocals
Geoff Holmes – lead guitars
Leigh Jones – rhythm guitars
Dave Symonds – bass
Rich Parker – drums

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

Posted on by
1

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

This slideshow requires JavaScript.

Album Review – Vonavibe / Bleed To Life (2023)

Posted on by
Reply

Enjoy this first-class album of Heavy Rock full of addictive hooks, intricate dynamics, clever drum pattering and diverse vocals all carefully brought into being by three skillful Greek rockers.

A Heavy Modern Rock band formed in 2016 in Athens, Greece, Vonavibe are more than ready to rock with their debut full-length album titled Bleed To Life, containing gargantuan proportions of heavy (and ultimately satisfying) chock ‘n’ gravel rock sounds that bring to mind all our favorite bars, beaches, arenas and rock festivals. Produced, recorded, and mixed by the band’s own vocalist and guitarist Dyon at Red Toy Studio, and mastered by John Christodoulatos at Sweetspot Productions, the album showcases all the talent and passion for Heavy Rock by the aforementioned Dyon together with John Tass on the lead guitars and George Andrian on drums, offering our avid ears addictive hooks, intricate dynamics, clever drum pattering and diverse vocals, all carefully brought into being by such talented Greek trio.

Somber Stoner Rock and Metal guitar lines ignite the band’s rockin’ feast in Left For Dead, with Dyon kicking some ass with his Hard Rock inspired vocals while John delivers striking solos for our total delight, followed by Run n’ Hide, the perfect tune for hitting the highway on a Harley Davidson feeling the wind on your face, with the amazing beats by George being nicely complemented by the song’s metallic bass lines. Then we have Vonavibe, the song that carries the name of the band, offering more of their classic Hard Rock sounds led by the slashing riffage by Dyon and John; and the trio slows things down and offer our ears the delicate ballad Hold On, showcasing Dyon’s smoother side on vocals while the instrumental parts exhale melancholy. After such melodious moment, it’s time for their rendition for The Rolling Stones’ classic Paint It Black (check the original version HERE), presenting a superb job done by the trio by keeping the song’s essence intact while adding their own Greek Hard Rock twist to it, with George crushing his drums in great fashion.

All That Remains is another classic Rock N’ Roll tune with an edgier vibe thanks to the raspy vocals by Dyon, always supported by the solid riffs and beats by his bandmates, whereas the trio then delivers one more dark song titled Beyond Tolerance, starting in a very somber manner to the introspective vocals by Dyon while John adds tons of feeling and groove to the music when things get heavier. In Break Your Sky they bring forward more of their fusion of classic Rock N’ Roll with Sludge Rock and Metal nuances, keeping the album at a high level of heaviness and electricity, and let’s keep banging our heads to the piercing riffage by Dyon and John in Song 9, while George hammers his drums in the name of Rock N’ Roll. Finally, closing the album we have Alive, offering more of their Hard Rock riffs and beats while Dyon keeps declaiming the song’s lyrics with tons of passion and John fires a soulful solo, resulting in eight minutes of first-class rock music for the masses.

In summary, Vonavibe play high-quality Rock N’ Roll, and you can enjoy their music to the fullest by streaming Bleed To Life on YouTube and on Spotify, and by purchasing a copy of the album by clicking HERE. In addition, don’t forget to show your love for those Greek rockers by following them on Facebook and on Instagram, and by subscribing to their YouTube channel. Whenever Dyon, John and George take your city by storm with their Heavy Rock, don’t think twice and go check such amazing band live, raising your horns for all the amazing songs from Bleed To Life and, therefore, keeping the flames of Rock N’ Roll burning bright anywhere they go.

Best moments of the album: Run n’ Hide, Paint It Black and Break Your Sky.

Worst moments of the album: Hold On.

Released in 2023 Eclipse Records

Track listing
1. Left For Dead 4:49
2. Run n’ Hide 3:22
3. Vonavibe 4:14
4. Hold On 3:45
5. Paint It Black (The Rolling Stones cover) 4:24
6. All That Remains 5:08
7. Beyond Tolerance 5:42
8. Break Your Sky 3:38
9. Song 9 4:48
10. Alive 8:13

Band members
Dyon – vocals, rhythm guitars
John Tass – lead guitars
George Andrian – drums

Concert Review – Khemmis (Lee’s Palace, Toronto, ON, 05/02/2023)

Posted on by
Reply

Not even a cold and rainy night could stop the metalheads in Toronto from enjoying another fantastic feast of underground heaviness and doom.

OPENING ACTS: Wake and Conjurer

Despite the bad weather that’s been hitting Toronto for days with nonstop rain and colder-than-expected temperatures, the cozy Lee’s Palace received an awesome number of fans this Tuesday night for the Deceiver North America MMXXIII Tour, featuring the bands WAKE, CONJURER and KHEMMIS, on another fantastic event organized by Noel Peters of Inertia Entertainment. One of the concert goers was Keith Ibbitson of Lower Eastside Photography, who took care of the amazing pictures from this review, and as you can see based on the photos taken it was indeed an incendiary night of underground Black, Doom, Death and Sludge Metal in the city, courtesy of three of the most interesting bands you can find out there.

The first band to hit the stage was Calgary, Alberta-based Black/Death Metal act WAKE, and it was an unforgettable experience for all fans at an already packed venue. Still promoting their 2022 album Thought Form Descent, those five Canadian metallers delivered an electrifying performance to the crowd, with their intense sound and powerful vocals inspiring everyone for some good headbanging throughout the entire set. The lighting and sound were on point, adding to the overall atmosphere of the show. Playing a mix of old and new songs that had the crowd singing along, Wake’s performance was flawless, not to mention the venue itself was perfect for the show, with a great layout and plenty of space for everyone to enjoy the music. Overall, it was an amazing display of heavy music and great vibes, and if you get the chance to see Wake live, don’t miss it!

Setlist
Infinite Inward
This Abyssal Plain
Swallow the Light
Venerate (The Undoing of All)

Band members
Kyle Ball – vocals
Arjun Gill – guitars
Rob LaChance – guitars
Ryan Kennedy – bass
Josh Bueckert – drums

Right after Wake, it was time for UK’s Sludge/Doom/Post-Metal outfit CONJURER to deliver a solid performance that was nothing short of electrifying, having the crowd fully engaged form start to finish. Mixing some of their old songs with newer ones from their 2022 opus Páthos, the band formed of Dan Nightingale, Brady Deeprose, Conor Marshall and Noah See showcased all their versatility and growth as musicians, hammering the heads of each and every person at Lee’s Palace with their sluggish, heavy-as-hell sounds. Kudos to the venue for another excellent lighting, adding an extra layer of intensity to Conjurer’s performance, and if I were you I wouldn’t miss their show in your city if Sludge Metal is your cup of tea. Needless to say, I can’t wait to see them perform again in Toronto.

Setlist
It Dwells
Scorn
Choke
Hollow
Suffer Alone
Retch
Cracks in the Pyre
Hadal

Band members
Dan Nightingale – guitars, vocals
Brady Deeprose – guitars, vocals
Conor Marshall – bass
Noah See – drums

KHEMMIS

After opening for Opeth and Mastodon in the beginning of 2022, and also for Trivium close to the end of the year, Denver, Colorado’s own Doom Metal entity KHEMMIS returned to Toronto now in 2023, this time as the headliners, for another lesson in doom. Having recently launched a two-track EP titled Where the Cold Wind Blows, Khemmis kicked some ass from start to finish, opening their set with the excellent Avernal Gate, followed by one of the songs form their new EP, the also amazing Sigil. The crowd was buzzing with excitement as the quartet continued their electrifying set until the very end, closing their performance with the thrilling song A Conversation with Death.

The crowd at Lee’s Palace was obviously headbanging along with the music, and Khemmis fed off of their energy, delivering an even more powerful and intense performance than expected. Overall, it was an incredible night of heavy music at Lee’s Palace spearheaded by those American metallers, who proved once again why they are one of the most exciting bands in the genre today and why they keep coming back to Toronto (either as an opening act or as the main attraction) so often. Well, as a matter of fact, Khemmis mentioned during their performance that Toronto has the most underrated food in the world, saying that every single time they come to the city to play a concert they have the tastiest food in the world. In other words, they love Toronto from the bottom of their blackened hearts not only because we’re the best metalheads in the world, but also because they know that they never have to play with an empty stomach in the city. It’s like a win-win situation where they get fed with first-class food, while we get fed with first-class music, right?

Setlist
Avernal Gate
Sigil
Candlelight
Bloodletting
Three Gates
House of Cadmus
Above the Water
The Bereaved
A Conversation with Death

Band members
Ben – vocals, guitars
Phil – vocals, guitars
David Small – bass
Zach – drums

This slideshow requires JavaScript.

Album Review – The Human Race Is Filth / Cognitive Dissonance (2023)

Posted on by
Reply

A filthy trio hailing from Pennsylvania will attack our senses with their debut full-length album, churning out a new slab of death-grinding disorientation.

Sonic violence abounds, as Pennsylvania, United States-based Death Metal/Grindcore rabble The Human Race Is Filth churns out a new slab of death-grinding disorientation entitled Cognitive Dissonance, their first full-length album and the follow-up to their 2022 EP Echo Chambers. Recorded at The Kaleidoscope, mixed and engineered by Ben Roth, mastered by Joel Grind, displaying a demented artwork by All4Band Design, and featuring a noise track recorded on every song throughout the entire recording, sometimes prominent in mix, sometimes faint, Cognitive Dissonance is a inhumane album carefully brought into being by Kasey Harrison (Police State, Bittered) on vocals and bass, Paul Folk (Exterminance, Police State, Bittered) on the guitars and noises, and Brett Rebman (Punctual, Phlegm, Gangrenous Flesh Consumption) on drums, dealing with topics like mental health, socioeconomic injustice, technology, personal struggle and privilege throughout the album’s intense 25 minutes of music.

Kasey had his toddler son speak the name of the band in the beginning of the intro Life Of Tyrants, followed by tribalistic, primeval beats and vociferations, setting the stage for the trio to kick some ass in Apes With Christ, with Brett showing no mercy for his drums and obviously for our necks while Kasey barks like a rabid beast throughout the entire song in an awesome fusion of Death Metal and Grindcore. Then we have Electronic Caterpillars, just as infernal and neckbreaking as its predecessor, showcasing dirty riffs by Paul that together with the rumbling bass by Kasey will penetrate deep inside your psyche; and the menacing bass by Kasey ignites the grim and groovy Bastardized before exploding into a demolishing Death and Sludge Metal onrush spearheaded by Kasey’s bestial roars, with the song’s heaviness going through the freakin’ roof. There’s no sign of the band slowing things down or delivering anything light; quite the contrary, their vicious, sludgy attack goes on in Cloaked In Shame, with Paul’s riffs and noises bringing an extra dosage of filth to their sound.

The Human Race Is Filth need less than two minutes to pulverize our senses in Hopes Wavered, a lesson in brutality, heaviness and darkness by the trio where Paul has a fantastic performance armed with his axe, and they keep hammering their sonic weapons in Propagating Technology, with Brett alternating between groovier moments and sheer violence. The album’s second to last song, beautifully titled Vomiting Strings Of Human Decay, is the perfect depiction of the band’s music, blending the savagery of Death Metal and Grindcore with sluggish, somber elements, being therefore ideal for slamming into the pit while drinking a cold beer, whereas Tribal Injections Of Division is solid and heavy from start to finish, albeit the band has a much stronger performance when investing into shorter songs. Nothing that hurts the overall quality of the album, of course, as it’s still very enjoyable.

“We wrote this album from August to November 2021 and were really going for straight out Death Grind with a touch of d-beat and Hardcore mixed in. We wanted dirtier guitar and bass tones, more aggressive drums, and more extreme vocals compared to the first three releases and we believe we accomplished those things on this release,” commented the band about their newborn beast, and if you want to know more about them, their tour dates and plans for the future, you can check what they’re up to on Facebook and on Instagram, subscribe to their YouTube channel, stream all of their creations on Spotify, and grab your copy of Cognitive Dissonance from their own BandCamp page or by clicking HERE. Cognitive Dissonance is heavy, noisy, evil, disturbing, and everything else we love in extreme music, proving that as long as the human race continues to be filth like the name of the band states, those three metallers will keep piercing our ears with their venomous music.

Best moments of the album: Apes With Christ, Bastardized and Vomiting Strings Of Human Decay.

Worst moments of the album: Tribal Injections Of Division.

Released in 2023 Independent

Track listing
1. Life Of Tyrants 1:22
2. Apes With Christ 3:23
3. Electronic Caterpillars 3:54
4. Bastardized 4:24
5. Cloaked In Shame 2:31
6. Hopes Wavered 1:42
7. Propagating Technology 2:04
8. Vomiting Strings Of Human Decay 1:59
9. Tribal Injections Of Division 4:04

Band members
Kasey Harrison – vocals, bass
Paul Folk – guitar, noise
Brett Rebman – drums

Guest musician
Ben Roth – guitars on “Bastardized”

Album Review – Mammoth Caravan / Ice Cold Oblivion (2023)

Posted on by
Reply

Let’s embark on a bitterly cold journey together with a new Sludge and Doom Metal band from Arkansas to the sound of their debut opus, a concept record about a primitive nomad chasing a baby mammoth from the herd.

Hailing from Little Rock, the capital of Arkansas, in the United States, the up-and-coming Sludge/Doom Metal trio Mammoth Caravan is unleashing upon humanity their bitterly cold and grim debut opus, entitled Ice Cold Oblivion, a concept record about a primitive nomad chasing a baby mammoth from the herd. Recorded, mixed and mastered by Jason Tedford at Wolfman Studios, and displaying a sinister artwork by the band’s own drummer Robert Warner, Ice Cold Oblivion will smash your head with the power of the riff, masterfully brought into being by the aforementioned Robert Warner alongside vocalist and bassist Brandon Ringo and guitarist Evan Swift, being therefore recommended for admirers of the dirtiest side of Sludge, Stoner and Doom Metal.

Get ready for a heavy and thunderous Sludge and Stoner Metal voyage in the title-track Ice Cold Oblivion, with the dirty bass by Brandon complementing the massive, sluggish beats by Robert in great fashion, whereas featuring guest vocals from Mat Johnson of Second Life, Evan extracts sheer heaviness form his riffs in Nomad, a lecture in contemporary Doom Metal perfect for headbanging like a true metal bastard. Then a pensive, melancholic start gradually evolves into another Sludge Metal aria entitled Petroglyphs, where Brandon and Evan are in a Stygian sync armed with their stringed axes, not to mention how deep and evil the roars by Brandon sound and feel; and the rawness and obscurity of Evan’s riffs will keep haunting your soul in the instrumental Megafauna, while Robert dictates the song’s venomous pace with his hammering drums in another solid and thrilling explosion of Sludge and Doom Metal for the masses. The tribalistic beats by Robert ignite their second to last blast of obscurity titled Periglacial, with Brandon and Evan quickly joining him with their respective bass lines and riffage, while also presenting Ghost-like vocals by Brandon, and lastly the trio offers our putrid ears almost 11 minutes of sluggish beats, dirty rockin’ guitars and low-tuned bass jabs in Frostbite, very detailed and electrifying from the very first second, with the music being mesmerizing, rich and demonic until the very end, therefore putting a climatic conclusion to the album.

In case you’re eager to put your hands on such solid feast of doom, you can purchase Ice Cold Oblivion from the band’s own BandCamp page, from Apple Music or from Amazon, and don’t forget to also give the guys from Mammoth Caravan a shout on Facebook and on Instagram, and to stream their album in full on Spotify. In summary, Ice Cold Oblivion has everything you can ask for in a Sludge and Doom Metal album, taking you on a bitterly cold, grim journey that will leave you eager for more of the music by this talented American trio in the coming years.

Best moments of the album: Nomad and Frostbite.

Worst moments of the album: None.

Released in 2023 Independent

Track listing
1. Ice Cold Oblivion 7:26
2. Nomad 4:12
3. Petroglyphs 5:49
4. Megafauna 4:51
5. Periglacial 5:24
6. Frostbite 10:44

Band members
Brandon Ringo – vocals, bass
Evan Swift – guitars, backing vocals
Robert Warner – drums, synth

Guest musician
Mat Johnson – vocals on “Nomad”

Album Review – They Grieve / To Which I Bore Witness (2023)

Posted on by
Reply

A two-piece Canadian band will take you on an introspective journey to the sound of their new album, a cold embrace of Post-Metal colliding with Ambient Drone meant to be dark and depressing.

A two-piece Sludge/Drone/Post-Metal band formed in 2015 by former members of Alaskan and Stay Here, those being Gary Thibert on vocals, guitars and bass, and Deniz Güvenç on vocals, drums, piano and synths, in Ottawa, Canada’s capital located in the east of southern Ontario, They Grieve hope that their music fills a niche not quite like other Post-Metal acts who are currently active, and their first full-length opus, titled To Which I Bore Witness, is a clear step up for them. Engineered and mixed by Topon Das at Apartment 2 Recording, mastered by Dave Williams at Eight Floors Above, with additional piano recorded by Alex Jakimczuk at Uppercut Studios, and displaying a stylish artwork and design by Pascale Arpin, the album takes the form of an introspective journey, meant to be depressing, while the listener is confronted with sad, loud music that’s not meant to cross into anger, a cold embrace of Post-Metal colliding with Ambient Drone recommended for fans of The Body, Cult of Luna and Bell Witch.

A slow build grows in intensity until all hell breaks loose in Wither, showcasing melancholic, grim lyrics (“Failure knows no bounds and makes its home here within me / Endless is the night of its becoming / Nothing returns / Cower, collapse, wither”) while the sluggish beats by Deniz make an interesting paradox with his own synths. Then investing in a sinister Sludge/Doom Metal sound, the duo will hammer our heads and pierce our minds with their dirty riffs and pounding drums in Under the Weight, also showcasing a phantasmagorical passage to the synths by Deniz, sounding heavy and atmospheric from start to finish; whereas If Light Should Appear is another seven-minute ode to darkness and doom where Gary is devilish with his raw riffs and low-tuned bass, resulting in the perfect depiction of what Atmospheric Sludge Metal is all about. The title-track To Which I Bore Witness will drag your damned soul to endless darkness while the duo roars in anger and pain, again showcasing their slow and steady guitar lines and drums, being therefore not recommended for the lighthearted. After such intense and Stygian tune, it’s time for a soothing instrumental interlude titled Guided, with its minimalist sounds setting the tone for Weakness, presenting deep, melancholic lyrics (“I am bound to only the quiet call of ruin / And weakness holds me / Weakness alone holds me”) while the music is as atmospheric, savage and obscure as possible until the very end.

In case you want to know more about Gary, Deiz and their They Grieve, and therefore show them all your admiration and support, you can start following the duo on Facebook and on Instagram for news, tour dates and so on, stream more of their music on Spotify, and above all that, purchase To Which I Bore Witness from the Silent Pendulum Records’ BandCamp page or webstore, or simply by clicking HERE. “This album, both lyrically and musically, tries to capture the uncomfortable juxtaposition between weakness and weight. We are constantly trying to express the ways in which the ugliness and decay we see in the world sets itself down and plants its roots inside of us – how the weight of the world transforms into our own weakness once it has done so. We try to capture this feeling of juxtaposition and tension within the music itself by oscillating between ambient, textural drones and heavy, doom-laden riffs,” commented the duo about their newborn spawn, an album that will certainly cement their name among the best bands of the current Post-Metal scene worldwide.

Best moments of the album: Under the Weight and To Which I Bore Witness.

Worst moments of the album: None.

Released in 2023 Silent Pendulum Records

Track listing
1. Wither 7:12
2. Under the Weight 7:23
3. If Light Should Appear 7:00
4. To Which I Bore Witness 6:43
5. Guided 3:18
6. Weakness 8:01

Band members
Gary Thibert – vocals, guitars, bass
Deniz Güvenç – vocals, drums, piano, synths