Tag Archives: technical death metal

Concert Review – Paradise Lost (Lee’s Palace, Toronto, ON, 05/18/2025)

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One of the pioneers of death and doom returned to Toronto after seven long years with a beyond flawless performance, sounding absolutely heavy, dark and vibrant.

OPENING ACTS: Nepenthe and Gigan

Concerts on a Sunday night are only truly fun when you don’t have to work the next morning, allowing you to enjoy the whole event to the fullest without checking the time every 30 seconds. Well, fortunately for all Torontonian fans of first-class Doom Metal, the iconic PARADISE LOST, with support from NEPENTHE and GIGAN, brought to the always cozy Lee’s Palace their undisputed The Devil Embraced North America 2025 exactly in the middle of the Victoria Day long weekend, meaning we could inhale all heaviness and doom blasted by one of the trailblazers of the style without worrying about the next day. A huge shout-out to Noel Peters of Inertia Entertainment for not only bringing Paradise Lost to Toronto after almost seven years, but for also fixing the issue with tickets from a few buyers that were showing Helmet instead of Paradise Lost, and another one to Keith Ibbitson of Metal Paparazzi for making magic with the photos of the opening bands as the lighting during both was way too red or too green, plus all the smoke, making it almost impossible to see the bands onstage. They looked like shadows only, to be fair.

The lighting might have been horrible for good photos, but the music by Guelph, Ontario-based Blackened Doom Metal outfit NEPENTHE, the first attraction of the night, was beyond amazing. Playing songs from their two EPs, those being Elegies of Loss and Doom (2020) and The Fading Promise of Tomorrow (2024), both available on Spotify (and I highly recommend you go listen to both), like the excellent Dawn, the band spearheaded by the multi-talented Konrad Schroeder, who has the undisputed ability of playing really complex beats and fills while at the same time delivering solid clean vocals and desperate harsh screams, kicked some serious ass onstage for the delight of everyone who was already at the venue. Seriously, those guys were an incredible opening act, and hopefully I’ll get to see them again on the stages of Toronto in the near future, because the reaction of the crowd to their austere, captivating songs was awesome.

Band members
Konrad Schroeder – vocals, drums, percussion
Scott Rice – lead guitars
Steven Rowlands – rhythm guitars
Chris Rowan – bass

After a quick break (which I used to go grab some food outside, as I was starving), it was time for a lot of noise, heaviness and smoke, courtesy of Chicago, Illinois’ own Progressive/Technical Death Metal entity GIGAN, and when I say there was a lot of smoke, believe, it was A LOT of smoke. Having released the beautifully titled album Anomalous Abstractigate Infinitessimus in 2024, which is by the way available in full on Spotify, the band formed of Jerry Kavouriaris, Eric Hersemann, Rajan Davis, and Nathan Cotton turned Lee’s Palace into a cauldron of violence and insanity, blasting heavier-than-hell sounds that would make your head explode if you were not wearing any type of ear protection. The smoke made it almost impossible to see the band members on stage, only their silhouettes, but that didn’t make their performance any less enjoyable. Eric’s riffs were utterly heavy and dissonant, and when you add to that the insane drumming by Nathan and the demented roars by Jerry, you have the perfect recipe for a brutal sonic chaos. In other words, if Gigan ever visit your city with their live concerts, don’t miss the chance of witnessing a tsunami of first-class noise.

Band members
Jerry Kavouriaris – vocals
Eric Hersemann – guitars
Rajan Davis – bass
Nathan Cotton – drums

PARADISE LOST

After the top-notch concerts by Nepenthe and Gigan, the crowd was more than ready for the feast of top-of-the-line Doom Metal by the main attraction of the night, the one and only PARADISE LOST. Although they’re not purely Doom Metal anymore, blending their core music with Death and Gothic Metal, plus a high dosage of Gothic Rock, the band spearheaded by the “voice of doom” Nick Holmes was finally back in Toronto after so many years, not only playing songs from their latest album Obsidian, released in 2020 (available on Spotify, and which fans in Toronto had never had the chance to see live), but from their entire career, including my favorite Paradise Lost songs of all time, Enchantment and The Last Time. These two were flawless, and the reaction of the fans to them was also beautiful to say the least.

Greg Mackintosh and Aaron Aedy were insane armed with their axes, blasting incredible riffs, solos, and headbanging nonstop like if they were part of the crowd. Steve Edmondson and Guido Zima made sure the venue kept trembling during the entire show with their demonic kitchen, and of course, Mr. Nick Holmes was perfect with both his clean and deep guttural vocals. Songs like As I Die, The Devil Embraced, and No Hope in Sight, which showcase the band’s strongest doom vein, simply darkened the atmosphere (in a very good way, of course) for the delight of the band’s most diehard fans. Add to that the absurdly catchy Say Just Words, and a stunning cover version for Bronski Beat’s Smalltown Boy, and there you have the perfect setlist for a very enjoyable and fun night of heavy music in Toronto. I don’t think it will take another seven years for Paradise Lost to return to the city again, and it doesn’t matter if it’s a holiday or in the middle of the week, or even if it’s Christmas Eve, I’ll be there. Because as the lyrics say in the closing song of the setlist, the excellent Ghosts, “for the ghosts, the ones to break me for Jesus Christ.”

Setlist
Enchantment
Forsaken
Pity the Sadness
Faith Divides Us – Death Unites Us
Eternal
One Second
The Enemy
As I Die
The Devil Embraced
The Last Time
No Hope in Sight
Say Just Words

Encore:
Embers Fire
Smalltown Boy (Bronski Beat cover)
Ghosts

Band members
Nick Holmes – vocals
Greg Mackintosh – lead guitars, keyboards
Aaron Aedy – rhythm guitars
Steve Edmondson – bass
Guido Zima – drums

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Album Review – Unmerciful / Devouring Darkness (2025)

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This Kansas-based Brutal Death Metal beast strikes again with their fourth studio album, delivering ten tracks of unrelenting speed, crushing riffs, and sheer sonic aggression.

Known for their relentless brutality and technically devastating sound, Topeka, Kansas-based Brutal Death Metal creature Unmerciful returns with their fourth full-length opus, titled Devouring Darkness, the follow-up to their 2020 album Wrath Encompassed. Recorded, produced and mixed by Clinton Appelhanz at Waveworks Studio, mastered by Alan Douches, and displaying a visceral artwork by Santiago Francisco Jarramillo, the new album by newcomer Josh Riley on vocals, guitarists/bassists Clinton Appelhanz and Jeremy Turner, and drummer Trynt Kelly delivers ten tracks of unrelenting speed, crushing riffs, and sheer sonic aggression, solidifying their reputation as one of the most punishing acts in modern Death Metal, being therefore recommended for fans of Hate Eternal, Suffocation, and Origin.

Miracle In Fire is a beyond devastating start to the album, kicking us hard in the head with their no shenanigans, devilish sounds led by the guttural gnarls by Josh, and their Brutal Death Metal infused with Technical Death Metal keeps roaring manically in Unnatural Ferocity, with Trynt sounding like a stone crusher from hell on drums. There’s no time to breathe as Unmerciful simply shows no mercy for our necks and bodies in Malice Unbound, spearheaded by a visceral riff attack by Clinton and Jeremy, whereas the title-track Devouring Darkness offers us all a more obscure, doomed side of the band, with Josh barking deeply like a demonic entity. And Relentless Malevolence blasts our faces with two and a half minutes of sheer insanity and ruthless violence, with the crushing beats by Trynt making the earth tremble.

Their cover version for Origin’s Vomit You Out, which original version was part of their 2000 self-titled debut, is a fulminating rendition of such a tech death classic led by the demented growling by Josh; while Infernal Conquering is one of the heaviest, most infernal of all songs, with their scorching riffs and demented beats and fills providing Josh with exactly what he needs to bark like a beast. The Reaping is another explosion of brutality offered by the band, with the demonic growling by Josh and the inhumane drumming by Trynt being perfect for some action inside the mosh pit; and they keep smashing us like putrid insects in Voracious Lunacy, another killer Brutal and Technical Death Metal composition showcasing their passion for extremely heavy riffs. Finally, the album couldn’t have ended in a more ferocious way than with Vengeance Transcending, where their lancinating guitars and blast beats sound absolutely brutal until the very end.

After all is said and done, it’s clear that Unmerciful are definitely cementing their legacy even further with Devouring Darkness, offering more of their signature precision and brutality for the delight of Death Metal fans worldwide, and you can start following this ruthless band on Facebook and on Instagram, as well as stream their music on Spotify and of course purchase a copy of their sanguinary new album from BandCamp or from Willowtip Records. Unmerciful are among us to blast our ears with Brutal Death Metal at its finest, and instead of succumbing to darkness, let’s simply devour it mercilessly to the sound of their infuriated new album.

Best moments of the album: Miracle In Fire, Infernal Conquering and The Reaping.

Worst moments of the album: None.

Released in 2025 Willowtip Records

Track listing
1. Miracle In Fire 4:06
2. Unnatural Ferocity 3:33
3. Malice Unbound 3:39
4. Devouring Darkness 5:35
5. Relentless Malevolence 2:40
6. Vomit You Out (Origin cover) 2:51
7. Infernal Conquering 4:12
8. The Reaping 4:15
9. Voracious Lunacy 3:39
10. Vengeance Transcending 3:51

Band members
Josh Riley – vocals
Clinton Appelhanz – guitar, bass
Jeremy Turner – guitar, bass
Trynt Kelly – drums

Album Review – Axiom Chaos / Primacy Arrival (2025)

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A new entity has crawled from the boiling swamps that lie in the deepest recesses of the Death Metal underworld, unleashing hell to the sound of their debut offering.

A new entity has crawled from the boiling swamps that lie in the deepest recesses of the Death Metal underworld, a force of terrifying alien power and chilling otherness that is about to bleed insidiously into our reality. I’m talking about Ohio/South Carolina, United States-based Technical/Brutal Death Metal outfit Axiom Chaos, a ruthless creature that’s unleashing upon humanity their debut offering, entitled Primacy Arrival. Bedecked in the visionary artwork of Morket Art (Engulfed, Inverted Ascension), the first full-length opus by the duo formed of Justin Vølus (Vølus, Fall Of Gnosis, Maggot Crown) on vocals and Ben Vanweelden (Venomous Echoes, Ceremonic Buryment) on the guitars, bass and drums will challenge, disturb and dominate, opening new pathways for Death Metal and, therefore, being recommended for fans of Immolation, Vastum, Blood Incantation and Disma, just to name a few.

Justin begins his ruthless vocal attack in The King, I Am, sending shivers down our spines while Ben crafts a caustic fusion of Death and Doom Metal not recommended for the lighthearted; whereas the title-track Primacy Arrival showcases an even more enraged duo, with the riffage by Ben exhaling heaviness and hatred. They keep spreading their sonic violence in The Gift of Recognition, a Brutal Death Metal feast led by Justin’s deep, inhumane roaring, and Justin’s vile shrieks will crawl under your skin in Extraterrestrial Necrotic Urge, while Ben smashes his drums in the name of Death Metal. Let’s then slam into the pit together with Axiom Chaos in Antediluvian Origin Unknown, a frantic, no shenanigans explosion of Death Metal led by the crushing riffs and drums by Ben; and there’s still time for more violence and hatred in the form of Wormhole Pathways of Conquest, with Justin bursting his lungs by roaring like a beast. Finally, Ben sounds once again striking and furious with his riffs and beats in Exodus Into Oblivion, putting a demolishing yet very melodic and vibrant ending to the album.

In Primacy Arrival, Axiom Chaos have fused the devastating impact of Death Metal with the untamable capricious might of pandemonium, invoking strange, compelling visions tailored for admirers of the genre. Hence, if you want to get in touch with such a talented and brutal American duo, you can find those guys on Facebook, stream their music on Spotify, and of course show them your utmost support by purchasing a copy of their incendiary, evil debut from Comatose Music’s BandCamp or webstore. The stairways to the new world are open and the drums of destruction are calling. The fires of war are alight to the sound of Primacy Arrival, a demented display of savagery that will surely please anyone in search for endless violence but with a huge slab of dexterity and melody.

Best moments of the album: The King, I Am, The Gift of Recognition and Exodus Into Oblivion.

Worst moments of the album: None.

Released in 2025 Comatose Music

Track listing
1. The King, I Am 4:24
2. Primacy Arrival 4:30
3. The Gift of Recognition 4:53
4. Extraterrestrial Necrotic Urge 3:54
5. Antediluvian Origin Unknown 4:25
6. Wormhole Pathways of Conquest 4:22
7. Exodus Into Oblivion 5:24

Band members
Justin Vølus – vocals
Ben Vanweelden – guitars, bass, drums

Concert Review – Dying Fetus & Cradle of Filth (Rebel, Toronto, ON, 05/07/2025)

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And Toronto savored a wild and frantic night of pure chaos and carnage, offered by seven of the must-see names of the current extreme music scene worldwide.

OPENING ACTS: Corpse Pile, Vomit Forth, Undeath, Ne Obliviscaris and Fleshgod Apocalypse

If there’s one thing that has become a true torment in the lives of all metalheads that live in Toronto and vicinities, that is concerts with an early start time. Traffic to get to the city is already brutal on any regular day, but when the weather is amazing (meaning more people on the streets) and there’s also at the exact same time an NHL playoff game happening in the heart of the city, then it’s an absolute nightmare. Those are the reasons why I had to miss almost half of CHAOS & CARNAGE 2025 (from the must-see Chaos & Carnage series) this Wednesday night when CORPSE PILE, VOMIT FORTH, UNDEATH, NE OBLIVISCARIS, FLESHGOD APOCALYPSE, DYING FETUS and CRADLE OF FILTH arose from the underworld to crush us mere mortals with an overdose of darkness, heaviness and insanity at the almost-impossible-to-get-in-and-out Rebel. Fortunately, Keith Ibbitson of Metal Paparazzi made it in time for all bands, and gave me an overview of the first three attractions of the night, who were kicking ass onstage while I was still stuck in the horrid and tiresome QEW.

Houston, we have a problem. I think it wasn’t event 5pm when Houston, Texas-based Brutal Death Metal/Hardcore outfit CORPSE PILE hit the stage at Rebel, and just to give you an idea of how early that was, I was still in the office having a client meeting at that time. I confess I was listening to their 2024 EPs Hardgore Deathmetal and Holly Jolly Hardgore a few days before the show, plus their new single Fed To The Starved, all available on Spotify, hoping I could do some sort of magic trick and be there in time to see them live, but of course that didn’t happen. Well, Keith said they were insanely heavy and fun, already igniting some sick mosh pits with whoever was lucky enough to be at a concert in the middle of the afternoon on a Wednesday. Maybe next time I’ll catch those guys live, as long as they don’t play at a “matinée” time again.

Setlist
Intro
Genesis Of Suffering
Kicked in Cadaver
Vengeful Hymns
For Flesh and All
Stacking Bodies
Fed to the Starved
Reality
Fuck Your Life

Band members
Jason Lionel Frazier – vocals
Landry Arredondo – guitars
Cody Webb – guitars
Davis Pryse Snyder – bass
Alex Covarrubias – drums

I also missed the next attraction of the night, Connecticut’s own Death Metal brigade VOMIT FORTH, who released last year the excellent album Terrified of God (also available on Spotify and all other streaming platforms), and again I was very disappointed for not having the pleasure of seeing those guys live. All my buddies who could make it to the venue in time for their show said they were ruthless onstage, blasting sheer Death Metal for the delight of a wild crowd avid for some action inside the pit. I’ll have to repeat myself and complain about the start time again, because I think it was maybe 5:30pm when they began their set. Who scheduled those early-as-hell times? Bands like Vomit Forth deserve bigger audiences, but if they keep playing at early slots like this a lot of people will end up missing them and will not care about buying their music or merch, you know what I mean?

Setlist
(Unknown)
(Unknown)
Sacred Apple
Rotting Wool
Negative Penance
Blood Soaked Death Dream
Pain Tolerance

Band members
Kane Gelaznik – vocals
Bailey Olinger – guitars
Ricky Brayall – guitars
Jett Stotts – bass
Luke Zeitler – drums

Guess what? Yes, I also missed the unrelenting performance by Rochester, New York’s Death Metal beast UNDEATH, because despite their starting time being a little later than the first two bands, it was still freakin’ early. Another huge bummer as their 2024 album More Insane, also available in full on Spotify and any other streaming service, is exactly that, an insane explosion of visceral Death Metal. Keith and the other guys said they put on a fantastic show, with the bigger (but not big enough) crowd going mental inside the circle pit. If you’re attending any of the shows from Chaos & Carnage 2025, I highly recommend you try your best to arrive in time at least for Undeath, because those guys are insane live and definitely know how to electrify fans of extreme music during their entire set.

Setlist
Dead From Beyond
Rise From the Grave
More Insane
Necrobionics
(Unknown)
Lesions of a Different Kind
Brandish the Blade

Band members
Alexander Jones – vocals
Jared Welch – guitars
Kyle Beam – guitars
Tommy Wall – bass
Matt Browning – drums

Finally, after my excruciating quest to arrive to Toronto, I made it to Rebel around 7pm, just in time to witness one of the most hypnotizing concerts I’ve ever seen in my life, the atmospheric, progressive and vibrant performance by Australian Extreme Progressive Metal unit NE OBLIVISCARIS. Having released the album Exul back in 2023 (also available on Spotify), the band now fronted by James Dorton, replacing the iconic Xenoyr, who was the band’s lead singer from 2003 until earlier this year (what’s going on with so many extreme music bands switching their vocalists these days?), put on  a short but beyond phenomenal show that inspired us all for some nonstop headbanging, horns raising and crowd surfing, plus of course some crazy mosh pit action to the sound of the crying violin by Tim Charles, turning it into one of the classiest heavy concerts of all time in Toronto. I can’t wait for those amazing musicians from Down Under to return to Toronto with another round of their unique music, and until then we all know what to do. Stay classy, and listen to Ne Obliviscaris.

Setlist
Equus
Suspyre
Painters of the Tempest (Part II): Triptych Lux
And Plague Flowers the Kaleidoscope

Band members
James Dorton – harsh vocals
Tim Charles – violin, clean vocals
Benjamin Baret – lead guitars
Matt Klavins – guitars
Martino Garattoni – bass
Daniel Presland – drums

Another band I was eager to see was Italian Symphonic/Technical Death Metal horde FLESHGOD APOCALYPSE, and once again it was a jaw-dropping, unforgettable experience to all fans at Rebel. When the sensational soprano Veronica Bordacchini took the stage carrying a huge Italian flag, I knew we were about to enjoy a magnificent, epic concert, and that’s exactly what the band provided us with. Francesco Paoli was on fire during their entire set, as well as drummer Eugene Ryabchenko, who can play drums AND headbang at the same time, which was truly impressive in my humble opinion. In addition, not only their latest album Opera (also available on Spotify) is one of the best of 2024, but the songs played from that album, I Can Never Die, Pendulum, and Bloodclock, sounded way more powerful live, and as I’m always pro live music, those Italians won my heart with their flawless concert. Veronica’s voice live is something out of this world, simply beautiful and enfolding, and I highly recommend you go see such a unique band live at least once. And did we get a nice wall of death while Francesco Ferrini was playing his classic piano onstage? Oh, hell yeah! And what about the ending with their metal version of Eiffel 65’s dancing hit Blue (Da Ba Dee)? It was apotheotic to say the least!

Setlist
Ode to Art (de’ Sepolcri)
I Can Never Die
Minotaur (The Wrath of Poseidon)
The Fool
Pendulum
Bloodclock
Sugar
The Violation
Blue (Da Ba Dee) (Eiffel 65 cover)

Band members
Francesco Paoli – lead vocals, guitars, bass
Veronica Bordacchini – vocals (soprano)
Fabio Bartoletti – lead guitars
Francesco Ferrini – piano, orchestrations
Eugene Ryabchenko – drums

CRADLE OF FILTH

Almost three years after their last visit to the city, Suffolk, England’s iconic Extreme Metal miscreants CRADLE OF FILTH were finally back to the city with another round of their undisputed, sulfurous and blasphemous music, this time promoting their latest opus, the collection of sweet lullabies entitled The Screaming Of The Valkyries, which you can enjoy in full on Spotify, of course. Their set might have been extremely short (at least for me, as I would love to see them play for over two hours if possible), but it was as dark as the black wings of a Nazgûl, and as venomous as the bite of a King Cobra. Even after seeing Mr. Dani Filth live countless times I’ll never understand how he can scream like that, and if you add to that the violent yet very technical sounds blasted by his bandmates, there you have the perfect recipe for a wild concert with lots of mosh pits, horns in the air and demonic roars form the crowd. The new songs To Live Deliciously and Malignant Perfection sounded great live, but it was Nemesis plus the closing duo Death Magick for Adepts and Her Ghost in the Fog that inspired all fans to succumb to the dark side of music and worship Suffolk’s finest. Hopefully it won’t take another three years for Dani and his horde to return to Toronto, because Cradle of Filth are one of the best bands to see live in the history of heavy music. And if you’re not convinced yet, just as Richmond from IT Crowd.

Setlist
Resurrection
To Live Deliciously
Nemesis
She Is a Fire
The Principle of Evil Made Flesh
Malignant Perfection
Cruelty Brought Thee Orchids
Death Magick for Adepts
Her Ghost in the Fog
Blooding the Hounds of Hell

Band members
Dani Filth – vocals
Marek ‘Ashok’ Smerda – guitars
Donny Burbage – guitars
Daniel Firth – bass
Zoe Marie Federoff – keyboards, vocals
Martin ‘Marthus’ Skaroupka – drums

DYING FETUS

It was getting late but after facing the brutality of all the traffic to get to the city I needed some relaxing music before heading home, and there’s nothing better than the fusion of Brutal Death Metal and Grindcore by Baltimore, Maryland’s technical and savage trio DYING FETUS. Next time your company’s HR asks for ideas for this year’s office Christmas party, simply say “the Fetus Boys” (like how Dani Filth enjoys calling them), and I’m sure Karen from Operations will love the idea and will be in the middle of the band’s demented circle pit. Blending songs from all of their albums in their setlist, including some from their 2023 offering Make Them Beg for Death, also available on Spotify, John Gallagher, Sean Beasley and Trey Williams simply decimated every single living creature at Rebel, delivering a pulverizing, frantic and absolutely technical concert for the delight of their diehard fanbase. Not even the stress of trying to get out of the city after the show was enough to erase the joy of experiencing Dying Fetus live, and I’m sure whenever they return to the city, there will be blood, sweat, violence, and endless circle pits again.

Setlist
Praise the Lord (Opium of the Masses)
Unbridled Fury
In the Trenches
Wrong One to Fuck With
Compulsion for Cruelty
One Shot, One Kill
Your Treachery Will Die With You
Grotesque Impalement
Subjected to a Beating
Into the Cesspool
Killing on Adrenaline

Band members
John Gallagher – guitars, vocals
Sean Beasley – bass, vocals
Trey Williams – drums

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Album Review – Ominous Ruin / Requiem (2025)

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San Francisco, California-based tech death juggernauts are back with their infuriated sophomore opus, representing a powerful exploration of the human psyche, the ravages of time, and the inevitable descent into oblivion.

San Francisco, California-based Ominous Ruin, the ruthless Death Metal juggernaut known for their intricate compositions and unrelenting sonic brutality, has returned to the battlefield with their highly anticipated new album, simply titled Requiem, following up on their critically acclaimed 2021 opus Amidst Voices That Echo in Stone. Written, produced, mixed and mastered by the band’s own guitarist Alex Bacey, recorded by Cody Fuentes at Rapture Recordings and by Petr Oplatka at Petropolys Media, and displaying a striking artwork by world renowned illustrator Pär Olofsson, the new album by newcomer Crystal Rose on vocals, Alex Bacey and Joel Guernsey on the guitars, Mitch Yoesle on bass, and Harley Blandford on drums is a formidable leap forward in both musical complexity and emotional depth, while also representing a powerful exploration of the human psyche, the ravages of time, and the inevitable descent into oblivion.

The album starts with a delicate, atmospheric Intro, setting the stage for Ominous Ruin to demolish our senses in Seeds of Entropy, with the intricate yet visceral guitar lines by Alex and Joey providing Crystal with exactly what she needs to roar like a true she-wolf in a killer display of Technical Death Metal. Crystal continues to vociferate rabidly in Eternal, while Harley delivers a bestial performance behind his drums, resulting in six minutes of first-class extreme music; and after the eerie instrumental interlude Bane of Syzygial Triality the band will smash us like putrid insects with Divergent Anomaly, with Harley once again pounding his drums manically supported by the rumbling bass by Mitch, sounding beautifully insane from start to finish.

In Fractal Abhorrence they continue with their undisputed feast of Technical Death Metal infused with sheer brutality and rage, with their riffs and bass lines sounding utter metallic while Crystal keeps blasting her venomous roars for our total delight. And get ready for eight minutes of demented, intricate and visceral sounds in Architect of Undoing, the most detailed of all songs, starting with a beyond thrilling instrumental piece before crystal arrives growling like a demon, not to mention Harley sounds beyond inhumane on drums. Then the band shows no sign of mellowing down their sound in Staring into the Abysm, again blasting our ears with their ruthless Death Metal, with Mitch simply sounding infernal on bass; whereas lastly, we’re treated to the Archspire-like title-track Requiem, another lecture in dexterity, speed and insanity by the band led by the phenomenal riffage by Alex and Joey.

Requiem is, at its core, a continuation of Amidst Voices that Echo in Stone, having its conception spawned from the raw emotion of personal issues and turmoil, as it was created during a dark time in the band’s lives. All that darkness translates into first-class extreme music as expected, turning the album into a must-listen for fans of the genre. Hence, don’t forget to check what Ominous Ruin are up to on Facebook and on Instagram, to check more of their music on YouTube and on Spotify, and to grab a copy of the incendiary Requiem by clicking HERE. The album might be a new phase in the band’s career, but their core savagery, violence and intricacy is intact, inviting us all to join them in the battlefield while they take another giant step forward in their exciting career.

Best moments of the album: Seeds of Entropy, Divergent Anomaly, Architect of Undoing and Requiem.

Worst moments of the album: Bane of Syzygial Triality.

Released in 2025 Willowtip Records

Track listing
1. Intro 0:56
2. Seeds of Entropy 4:03
3. Eternal 6:05
4. Bane of Syzygial Triality 2:39
5. Divergent Anomaly 5:17
6. Fractal Abhorrence 5:14
7. Architect of Undoing 7:59
8. Staring into the Abysm 3:16
9. Requiem 5:01

Band members
Crystal Rose – vocals
Alex Bacey – guitars
Joel Guernsey – guitars
Mitch Yoesle – bass
Harley Blandford – drums

Concert Review – Warbringer & Allegaeon (The Garrison, Toronto, ON, 03/31/2025)

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The unstoppable Allegaeon and Warbringer joined forces to take the city of Toronto by storm in another breathtaking night of the best of the underground.

OPENING ACTS: Summoning the Lich and Skeletal Remains

Only two days after the humongous metal attack by Meshuggah, Cannibal Corpse and Carcass, it was time to pay a visit to The Garrison on a Monday night for a wild feast of the best of the underground with the bands SUMMONING THE LICH, SKELETAL REMAINS, ALLEGAEON and WARBRINGER during their The Vortex Of Violence Tour 2025, another awesome event brought to Toronto by Noel Peters of Inertia Entertainment. Any concert on a Monday night doesn’t have the same appeal as a weekend concert at a casino, of course, but that doesn’t mean that the four bands on the bill didn’t kick some serious ass, proving why they’re the future of extreme music worldwide. And as weird as this might sound, getting to Toronto on a Monday night is actually easier than on any other day of the week, maybe because it’s not a chosen day for entertainment or because a lot of people take the day off or simply work from home, making traffic a lot more manageable than usual. I was very excited to see all bands live for the first time, in special Allegaeon, one of the best bands of the current scene, and I wasn’t disappointed at all with their performances; quite the contrary, I’m more than happy I decided to spend a cold Monday night in Toronto enjoying their undisputed heavy music. Furthermore, Keith couldn’t make it to the show, unfortunately, but our friend Afrida Nawar was more than happy to help us with the photos this time (soon to be added to this review, I promise!).

The doors at the venue opened at 6:30pm, and just 30 minutes after that the first attraction of the night, St. Louis, Missouri-based Melodic Death Metal/Deathcore act SUMMONING THE LICH, kicked off the festivities with a beyond energetic and vibrant performance according to some friends already at the venue (as I had to miss them due to a private appointment). Having recently released the album Under the Reviled Throne, available on BandCamp and on Spotify, the band set the stage at The Garrison on fire, and if some brutality in the form of music is your cup of tea, you must listen to this band and go see them live. Well, next time they come to Toronto, I’ll try my best to be there in time to witness their visceral performance.

Setlist
My Horrors Unending
Descend
Demon of the Snow
The Nightmare Begins
Return to the Soil
Reviled Crystal Wielders
The Forest Feast

Band members
David Bruno – vocals
Muck – guitars
Ryan Felps – guitars
John Flynn – bass
TJ Chilton – drums

I made it to the venue with plenty of time to see the performance by California’s own Death Metal horde SKELETAL REMAINS; however, their vocalist Chris Monroy didn’t. Apparently he wasn’t allowed to cross the US-Canada border for a reason beyond my knowledge, and what we got from the other three band members was a feast of instrumental Death Metal that despite sounding a bit weird without the vocal parts, was also totally devastating. Playing songs from their latest opus Fragments of the Ageless, available on Spotify or any other streaming platform, plus of course some of their older material, the trio put on their hearts and souls into their concert, doing everything they could to entertain us even without their vocalist, and in the end they got a huge positive reaction from fans who recognized all their effort and passion for heavy music. The show must go on, and Skeletal Remains did exactly that.

Setlist
Void of Despair
Beyond Cremation
Relentless Appetite
To Conquer the Devout
Devouring Mortality
…Evocation (The Rebirth)
Unmerciful

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

*Chris couldn’t make it to the show in Toronto as he had his entry in Canada denied.

ALLEGAEON

It was getting close to 9pm when the band I wanted to see the most hit the stage for a flawless performance, proving why they’re the best band in the world to mix Melodic and Technical Death Metal in a beyond exciting manner. I’m talking about Fort Collins, Colorado-based outfit ALLEGAEON, who were simply demolishing with their blend of dexterity, violence and heaviness, spearheaded by their returning charismatic frontman Ezra Haynes. Their concert was phenomenal, and I think they deserved to have played at a bigger venue like Lee’s Palace or even The Opera House, but of course they made sure their performance was memorable even with the limited space onstage. Blending old school material with two songs of their brand new album album The Ossuary Lens (available on BandCamp and on Spotify), those being The Swarm (the best song of the night in my humble opinion) and Driftwood, the band sounded tight, ruthless and electrifying from start to finish, and again I hope they get a bigger venue next time they headline a concert in Toronto, because their music demands more space, as well as a bigger audience to go wild inside the circle pit while they shred like there’s no tomorrow.

Setlist
All Hail Science
The God Particle
To Carry My Grief Through Torpor and Silence
The Swarm
Terrathaw and the Quake
Driftwood
Dyson Sphere
Of Beasts and Worms
Proponent for Sentience III – The Extermination
Parthenogenesis
1.618
Behold (God I Am)

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

WARBRINGER

And last but definitely not least, it was already past 10pm when Ventura, California-based Thrash Metal brigade WARBRINGER brought total war to the stage with one of the most electrifying, visceral and fun performances of the year in the city. All of their songs sounded amazing, in special the new metal hymn The Sword And The Cross, from their brand new album Wrath and Ruin (already available on BandCamp and on Spotify), with their lunatic frontman John Kevill even yielding a sword onstage (although he was missing the cross, right?), and of course the hard hitting Total War, which closed their show on a high note. The circle pits were insane, the crowd surfing was pure madness, and the band was having an amazing time to the point even John himself went crowd surfing and played a little “jungle gym” with the venue’s lighting equipment attached to the roof, leaving all concert goers absolutely happy and ready for more Warbringer in a not-so-distant future. Again, hopefully at a bigger venue, because just as Allegaeon, Warbringer are undoubtedly one of the best bands of the current metal scene worldwide.

Setlist
Severed Reality
A Better World
The Black Hand Reaches Out
Woe to the Vanquished
Crushed Beneath the Tracks
Firepower Kills
The Sword And The Cross
Through a Glass, Darkly
Hunter-Seeker
Remain Violent

Encore:
Total War

Band members
John Kevill – vocals
Adam Carroll – guitars
Chase Becker – guitars
Chase Bryant – bass
Carlos Cruz – drums

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”

Metal Chick of the Month – Lorena Moraes

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Depuis les lumières… Vers les ténèbres… La République est en marche!

March might still be a very cold month, maybe not as cold as January and February, but absolutely freakin’ cold if you live in the Northern Hemisphere in places like Canada, Finland, Russia and Belgium. And why did I mention Belgium instead of other colder countries, one might ask? Well, let’s say our metal lady of the month of March might have been born in a warm country, but she currently resides in Belgium, bringing some very welcome heat to “the Battlefield of Europe” with her powerful growls and badass attitude. Her name is Lorena Moraes, the frontwoman for an amazing Belgian Technical Death Metal entity known as Triagone, and I’m sure after this short and sweet tribute to her career in heavy music you’ll develop a strong craving for more of her music.

As aforementioned, Lorena wasn’t born in Belgium, but in the sunny and warm country of Brazil, more specifically in the capital city of Brasília, located in the Brazilian highlands in the country’s Central-West region, and the seat of government of the Federal District. A former photographer at Escola do Futuro de Goiás em Artes Basileu França, located in Goiânia, the capital of Goiás state in central Brazil, Lorena studied at Faculdade Cambury in Brazil, before relocating to Brussels, Belgium’s capital and home to the European Union headquarters, expanding her photography skills by studying at Ecole de Photographie et de techniques visuelles – Ville de Bruxelles while also taking her first steps through the vast lands of Extreme Metal.

It was back in 2019 when Lorena, alongside vocalist and guitarist Lou-Indigo Caspar, guitarist Lucas Lembert, bassist Leonard Ivanciu and drummer Lorenzo Vissol formed the Technical Death Metal beast that goes by the stylish name of Triagone, with roots in Brazil, Italy, France and Belgium, and the explanation to the name chosen is indeed very interesting. According to the band itself, the word “triagone” is a hybrid word inspired by the ancient Greek word “agôn” (ἀγών), which means contest, competition, or disputation (and can refer to a physical or mental contest, or to a dramatic conflict in literature), and a direct reference to the Greek name “trigone”, which means three angles, or the triangle, in parallel with the band’s inspiration by the connection between mathematics and music, like certain demonstrations of trigonometric relations that can be found in the circle of fifths, the demonstration of the C major scale granted to Pythagoras and his demonstrations on triangles, among others. In the end, the fusion of those two Greek words gives the band’s name a third way of understanding the music played by Lorena and the boys. Furthermore, another topic mentioned by the band regarding their name is their message against the pyramid structure our society adopted, an analogy where we’re pretty much slaves building a pyramid stone by stone, trying to climb the ranks of society, with all inequality bringing a lot of disadvantage for the oppressed against the oppressor.

It was in the beginning of 2023 when Triagone released their debut effort, a six-track EP titled Sem Papyrvs, a play on words between Latin and Portuguese, as “sem” means without and “papyrvs” means paper, referring to anyone in a difficult or precarious situation, anyone without an identity, without wealth, without history, or without a diploma, with its 26 minutes of Brutal and Technical Death Metal inspired by classic metal music, baroque, and even Mesopotamian music, also featuring hints of Latin American music rhythms, and all sprinkled with a blend of male and female guttural voices in ancient Greek and Latin and modern Latin and Germanic languages. The names of the songs in Sem Papyrvs are a thing of beauty, starting with Novvs Ordo Seclorvm (“The New Order of the Ages”), followed by Abyssvs Abyssvm Invocat (“The Abyss Calls the Abyss”), Ad Mortem Sem Papyrvs (“To Death Without Paper”), Nvlla Regvla Sine Exceptione (“The New Rules Without Exception”), De Beata Vita (“The Blessed Life”), and Imperivm in Imperio (“Empire in Empire”).

One of the most compelling features in Triagone is the electrifying vocal duet comprised of Lorena and Lou-Indigo, which allows the band to explore new patterns and nuances, as well as the aforementioned lyrics in multiple languages, thanks to the undisputed combined talent of the duo. They can sound at the same time visceral and melodic, dissonant and cryptic, captivating and menacing, purely mathematical and extremely violent, and you can enjoy all that on most streaming services, like Spotify. As a matter of fact, Lou-Indigo explained in an interview that the band had to rework some of the rhythms, textures and timbres (mainly because he mocks up everything with his own voice) after Lorena joined the band, as they wanted her voice to be more present in the final product. Also, although she’s not responsible for all vocal parts nor for all lyrics, this is something Lou-Indigo wants to change in the near future, giving her more singing time, more flexibility, and therefore let her be the main vocalist of the band.

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Before joining Triagone, Lorena was the vocalist for a Brazilian Death/Thrash Metal band named Suttura, and another one named Erinyes, both from the city of Goiânia. Suttura was formed back in 2010 by Lorena alongside drummer Sílvio, bassist Thiago and guitarist Rildo, and although there isn’t a lot of information online about the band, you can stream some of their creations on YouTube, including the excellent songs Need of War, Overlook, and Villas Boas Incident. Furthermore, back in 2015 the band played at the 21st edition of a Brazilian rock and metal festival named Goiânia Noise Festival, at a venue named Centro Cultural Martim Cererê, together with renowned acts the likes of Nervochaos and Ratos de Porão, and countless amazing underground bands from Brazil and other parts of the world, and before that in 2013 they played at the 11th edition of Headbanger’s Attack Festival, held at Círculo Operário do Cruzeiro Velho in Brasília, with each of the eight bands from that specific festival having at least one woman in their lineup as a tribute to the bands Valhalla and Flammea. Apart form Suttura, the festival also featured the bands Soror, Sound’n’Rage, Gulag, Armum, Decimator, Roasting and No Sense. On the other hand, unfortunately there isn’t much online about her previous band Erinyes, except for this nice cover version of AC/DC’s all-time classic TNT live back in 2007, but it’s enough to see she has been developing her vocals in great fashion through the years.

It was when Lorena was still a member of Suttura that she and Lou-Indigo met for the first time, when Lou-Indigo’s former band Dehuman was touring in Brazil, as Lorena was playing with Suttura at the same festival as them. After Lorena moved to Belgium together with Lou-Indigo, they did some Cannibal Corpse covers together, and after he showed those to Lorenzo and Leonard they decided to recruit her to be their frontwoman, as they loved her voice and charisma. Speaking of her relocation to Belgium, Lorena mentioned in one of her interviews that she believes there are more possibilities in Belgium to make a musical project live and grow, that music is taken more seriously there if compared with the metal scene in Brazil, her native country. “In Brazil,” she explains, “each band needs a lot of financial investment and a lot of time, and I think there is more openness here in this regard.”

Apart from her work with Triagone, as well as with the previously mentioned bands Suttura and Erinyes, Lorena was a guest vocalist in the song Arterial Red, from the album Crusher of Souls, released in 2024 by Belgian Brutal Death Metal act Storm Upon the Masses. It’s a great album of sheer brutality and rage, by the way, and Lorena’s contribution to the aforementioned song only makes the whole experience of listening to it even more compelling, proving she a beyond versatile vocalist with a wide arsenal of vocal styles, always ready to stun us all in the name of extreme music. I personally can’t wait to see what’s next for Lorena as a metal vocalist, and for Triagone as a band, again proving how badass women can be in heavy music.

Lorena Moraes’ Official Facebook page
Lorena Moraes’ Official Instagram
Triagone’s Official Facebook page
Triagone’s Official Instagram
Triagone’s Official YouTube channel

““Everyone in the band is very talented and committed to making the band evolve. I have a lot of admiration for them. My goal is to continue singing, improve my vocal technique and establish more contact with the audience. I hope that Triagone will record an album soon and that we can show our music to more people.” – Lorena Moraes

Concert Review – Decapitated (The Phoenix Concert Theatre, Toronto, ON, 02/13/2025)

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It doesn’t matter how much snow there is in Toronto, the metalheads in the city will always be there for a night of sheer violence with bands like Decapitated and Incantation.

OPENING ACTS: Exmortus, Darkest Hour and Incantation

After the massive snow storm that hit the city of Toronto and most of the province on Ontario from Wednesday night until Thursday morning, bringing an endless amount of snow to the streets and, therefore, turning any commute into a true nightmare, I thought all roads would be clear Thursday evening when Keith Ibbitson of Metal Paparazzi and I headed to The Phoenix Concert Theatre for a night of sheer brutality offered by EXMORTUS, DARKEST HOUR, INCANTATION and DECAPITATED during their Nihility Across North America Tour 2025, another killer event brought to the city by Noel Peters of Inertia Entertainment. Unfortunately, my predictions about the roads being clear of snow were wrong (although I was right about traffic being light that evening due to people staying home instead of going to work that day), and Toronto was still a huge freakin’ mess when I got to the show, but in the end no one seemed to care about the gargantuan snow banks blocking every single sidewalk and some streets, as the crowd at the venue was really good for a night when the best thing to do was staying home.

Less than half an hour after the doors opened, Whittier, California’s own Technical Thrash/Death Metal beast EXMORTUS kicked off the festivities with a frantic, very technical and absolutely fun performance, igniting some of the coolest and wildest circle pits of the entire night. Spearheaded by the talented vocalist and guitarist Jadran “Conan” Gonzalez, the band played a short but powerful set including songs form their latest opus Necrophony, available by the way on Spotify, and the reaction form the fans already at the venue was superb. Those guys are simply amazing live, playing all songs to perfection, and I guess it won’t take long for Torontonians to see them again in the city, and hopefully next time they’ll be the headliners and play a full set for our total delight.

Setlist
Oathbreaker
Feast of Flesh
Storm of Strings
Warrior of the Night
Let Us Roam
Metal Is King

Band members
Jadran “Conan” Gonzalez – vocals, guitars
Chase Becker – guitars
Brice Snyder – bass
Adrian Aguilar – drums

After a very short break, Washington, D.C.-based Melodic Death Metal/Metalcore act DARKEST HOUR hit the sage at the Phoenix Concert Theatre for a very energetic show, thanks in part to the breathtaking performances by guitarists Mike Schleibaum and Nico Santora, who didn’t stop shredding their axes, headbanging, running and jumping around the stage, not even for a single second. Currently promoting their 2024 album Perpetual | Terminal, available on both BandCamp and on Spotify, the quintet was eager to get more action from the crowd, which seemed a bit tired most probably due to an entire day of shoveling and braving snow banks across the city. That doesn’t mean we didn’t get some sick mosh pits during their show, and of course every single time frontman John Henry asked people to move inside the pit, he was promptly answered with some nice action by the crowd.

Setlist
Societal Bile
The Sadist Nation
Stand and Receive Your Judgment
The Flesh & The Flowers of Death
Rapture in Exile
Doomsayer (The Beginning of the End)
Tranquil
Amor Fati
Convalescence
With a Thousand Words to Say but One
Goddess of War, Give Me Something to Die For

Band members
John Henry – vocals
Mike Schleibaum – guitars
Nico Santora – guitars
Aaron Deal – bass
Travis Orbin – drums

I guess fans were also saving some energy for the ruthless performance by Johnstown, Pennsylvania’s own Death Metal veterans INCANTATION, who after a considerable delay started playing their 1994 cult album Mortal Throne Of Nazarene in full, just like in all other stops from their current tour. And let me tell you, the live rendition of such a classic album of Death Metal with Doom Metal influences sounded utterly evil, heavy and demented onstage, with the bass by Chuck Sherwood making our heads tremble during their entire show. The iconic John McEntee sounded as infernal as usual on vocals, inspiring us all for some brutal headbanging and, therefore, reminding us all why Incantation have been a staple of the extreme music scene worldwide for so many decades. It was just my second time seeing those guys live, and hopefully not the last one, as I’m sure Incantation love Toronto as much as we love their music.

Setlist
Mortal Throne of Nazarene
Demonic Incarnate
Emaciated Holy Figure
Iconoclasm of Catholicism
Essence Ablaze
Nocturnal Dominium
The Ibex Moon
Blissful Bloodshower
Abolishment of Immaculate Serenity

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

DECAPITATED

Last but not least, it was time to turn up the volume to 11 with the infuriated performance by the main band of the night, Poland’s unrelenting Technical Death/Groove Metal horde DECAPITATED, and when I say it was loud, it’s because it was LOUD. Performing their 2002 classic album Nihility in full, plus a few other songs as part of the encore, the band now fronted by vocalist Eemeli Bodde (who by the way contributed vocals for the track “Flooding Secrations”, performed by a fictional band called Impaled Rektum from the 2018 Finnish movie Heavy Trip), Decapitated crushed our damn minds, souls and bodies with endless heaviness and violence, inspiring all mosh pit lovers to have a very good time inside the hurricane formed in the middle of the floor section. My only complaint is that the show started late, after 10pm, and some fans had to leave before the end because they had to take public transportation home, or simply because they were absolutely tired. As I said, the snow storm drained a lot of our energy during the day, but of course there’s always some left when the band in question is as infernal and vibrant as Decapitated.

Setlist
Nihility
Perfect Dehumanisation (The Answer?)
Eternity Too Short
Mother War
Nihility (Anti-Human Manifesto)
Names
Spheres of Madness
Babylon’s Pride
Symmetry of Zero
Suffer the Children (Napalm Death cover)

Encore:
From the Nothingness With Love
Cancer Culture
Kill the Cult
Hello Death
Iconoclast

Band members
Eemeli Bodde – vocals
Wacław Vogg Kiełtyka – guitars
Paweł Pavlo Pasek – bass
James Stewart – drums

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