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Album Review – Weed Demon / The Doom Scroll (2025)

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A Columbus, Ohio-based trio returns heavier than ever with their vicious new album, revamping their sludged-out stoner doom with death/thrashing atrocity.

The audio equivalent of bong water spilled on a Ouija board, Columbus, Ohio-based Weed Demon are a 4-piece Sludge/Stoner/Doom Metal beast who continues to push the boundaries of their sound, captivating audiences with relentless creativity and a crushing cosmic vision. Now in 2025 the band formed of Jordan Holland on vocals and bass, Andy Center and Brian Buckley on the guitars, and Nick Carter on drums returns with their third installment, titled The Doom Scroll, following up on their 2020 album Crater Maker. Engineered at StoneRipper Studios, and displaying a stunning artwork by Mont Doom, the album sees the band revamping their sludged-out stoner doom with death/thrashing atrocity, often weaving through hallucinatory dungeon synth passages.

Just hit play and Acid Dungeon will hit us like the soundtrack to a horror movie from the 80’s, sending shivers down our spines before all hell breaks loose in Tower of Smoke, where Andy and Brian begin their riff attack in great fashion supported by the massive, headbanging drums by Nick, with the only problem for me being that it’s an instrumental song (it’s quite decent overall, though). Then we have Coma Dose, featuring guest vocalist Shy Kennedy of Funerals (PGH) and Horehound, sounding a lot stronger and overflowing groove thanks to the striking riffage by the band’s guitar duo, while the vocals by Jordan and Shy sound enraged and mesmerizing at the same time. Roasting the Sacred Bones brings forward more of the band’s acid, visceral Doom and Sludge Metal, with Jordan once again roaring manically supported by the hammering beats by Nick, flowing into the acoustic outro Dead Planet Blues, which puts a cinematic ending to the album. But wait, as there’s a secret track in the vinyl edition of the album, their cover version for Frank Zappa’s Willy The Pimp, originally recorded back in 1969 in the album Hot Rats, with Weed Demon’s rendition being as impactful and vibrant as the original.

The guys from Weed Demon are waiting for you on Facebook and on Instagram with news, more of their music, their tour dates and so on, and of course you can stream their sludgy and visceral creations on Spotify, as well as purchase a copy of the excellent The Doom Scroll from their own BandCamp, from the Electric Valley Records’ BandCamp or webstore, from the Glory or Death Records webstore, or click HERE for all things Weed Demon. As already mentioned, Weed Demon continue to experiment with different sounds including Thrash and Death Metal in The Doom Scroll without forgetting their core Sludge and Doom Metal essence, resulting in a very dynamic and fresh album while at the same time sounding old school, and based on the quality of their new opus I bet we’ll hear a lot from those Ohio guys in the coming years, always in the name of weed, heaviness and doom.

Best moments of the album: Coma Dose and Roasting the Sacred Bones.

Worst moments of the album: Tower of Smoke.

Released in 2025 Electric Valley Records

Track listing
1. Acid Dungeon 2:42
2. Tower of Smoke 7:33
3. Coma Dose 9:33
4. Roasting the Sacred Bones 6:17
5. Dead Planet Blues 4:49

Vinyl Edition secret bonus track
6. Willy The Pimp (Frank Zappa cover) 6:14

Band members
Jordan Holland – lead vocals, bass
Andy Center – guitars, backing vocals
Brian Buckley – guitars, backing vocals
Nick Carter – drums

Guest musician
Shy Kennedy – vocals on “Coma Dose”

Album Review – Hierarchies / Hierarchies (2025)

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Let’s all embark on a one-way trip to incessant and inevitable hallucinations to the sound of the debut opus by this Dissonant Death Metal creature.

Members of Acausal Intrusion and Dwelling Below conspired amongst themselves to create Dissonant and Technical Death Metal that pushes the limits of reality under a newborn beast named Hierarchies, labelling their own music as “low gain high energy aggressive jazzy tech death with lots of weird timing and insane riffage,” which is exactly what they have to offer in their self-titled debut album. Mixed by Nick Turner at Malevolent Sound Studios, mastered by Will Killingsworth at Dead Air Studios, and displaying a deadly artwork by Belial NecroArts, the album showcases vocalist and drummer Jared Moran (Dwelling Below, Acausal Intrusion), guitarist Nicholas Turner (Dwelling Below, Acausal Intrusion) and bassist Anthony Wheeler (Dwelling Below, Hollowed Idols) bringing into being a truly frightening experience not merely outwardly but one that is also psychologically scarring for the listener, and endlessly fascinating all the same.

The guitar lines by Nicholas sound utterly dissonant from the very first second in Entity, accompanied by the pounding drums and demonic gnarls by Jared, being full of breaks, variations, demented moments and grim passages. Consecrate Phenomenon is another experimental beast by the trio where Anthony hammers his bass nonstop while Nicholas keeps firing strident, piercing riffs for our total delight; and the band shows no mercy for our souls in Dimension, blasting an amalgamation of the visceral sounds of Death Metal with progressive and experimental nuances, with Jared roaring like a demonic entity. Then adding elements from Doom Metal to their already evil sonority we have Twilight Tradition, turning the song into a blackened, sluggish creature.

Abstract brings forward an ever-evolving, maniacal feast of harsh gnarls and cryptic riffs, all boosted by another hammering performance by Anthony on bass, followed by Complexity Parallels, perhaps the craziest of all tracks of the album, with the visceral guitar riffs by Nicholas sounding absolutely disturbing for our vulgar delectation. Subtraction presents their second to last display of insanity and heaviness compressed into five minutes of a truly unique sonic experience led by the intricate drumming by Jared, sounding as perturbing and experimental as it can be, and Vultures displays a more than proper name for a song to end such a wicked, vile album of Dissonant Death Metal, with all band members simply crushing their instruments with endless dexterity, madness and rage.

The debut album by Hierarchies is a dark, murky, nightmarish dive into a realm where trajectories from multiple dimensions manifest to intersect and overlap before dissipating, taking different temporal forms. Nothing is permanent in their world; the tunes change every few seconds and so does everything around them – the implications are in real-time and catastrophically mind-melting. Hence, if you want to experience all that and more, you can find the band on Facebook and purchase a copy of their caustic album from their own BandCamp, as well as from the Transcending Obscurity Records’ BandCamp, main store, Europe store, or US store, joining the band on a downward spiral of your consciousness where the out-of-control thoughts overwhelm and overpower, taking you on a one-way trip to incessant and inevitable hallucinations.

Best moments of the album: Entity, Dimension and Complexity Parallels.

Worst moments of the album: Abstract.

Released in 2025 Transcending Obscurity Records

Track listing
1. Entity 7:30
2. Consecrate Phenomenon 5:02
3. Dimension 6:04
4. Twilight Tradition 6:43
5. Abstract 6:03
6. Complexity Parallels 5:07
7. Subtraction 4:56
8. Vultures 4:46

Band members
Jared Moran – vocals, drums
Nicholas Turner – guitars
Anthony Wheeler – bass

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

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

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

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

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

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

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

Worst moments of the album: Descent.

Released in 2024 Transcending Obscurity Records

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

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

Album Review – Blood Incantation / Absolute Elsewhere (2024)

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At roughly 45 minutes, the new beast by Blood Incantation offers us all two sensational compositions that are as confounding as they are engaging in their scope.

At roughly 45 minutes, Absolute Elsewhere, the breathtaking, diverse new opus by Denver, Colorado-based Progressive Death Metal outfit Blood Incantation, is unlike anything you’ve ever heard before. Recorded at Hansa Studios, produced, engineered, mixed and mastered by Arthur Rizk at Redwood Studios, displaying a cryptic artwork by Steve R Dodd, and featuring guest musicians Thorsten Quaeschning (Tangerine Dream), Nicklas Malmqvist (Hällas) and Malte Gericke (Sijjin), the new album by Paul Riedl, Morris Kolontyrsky, Jeff Barrett and Isaac Faulk offers us all two compositions that are as confounding as they are engaging in their scope, melding the 70’s prog leanings of Tangerine Dream with the deathly intent of Morbid Angel.

In “The Stargate”, a violent storm invokes the familiar before a grand cosmic key turns for a hint of sweeping scope to come with spiritual acknowledgement and accompaniment, as their wicked experimentations mixed with the harshness of Death Metal begin in full force in The Stargate [Tablet I], showcasing mystic lyrics roared by Paul (“Chamber echoing with dust / Drifting through beams of Light / Shadows cast upon the stones / Temple doors reveal the Night”) while his bandmates craft a beyond imposing ambience. Not only that, the balance between their undisputed aggression and the ethereal, soothing moments of the song is a thing of beauty, connecting flawlessly with The Stargate [Tablet II], starting in a futuristic, whimsical manner to the sound of their keyboards and synths, and flowing smoothly until an explosion of experimentations in its final part. And that aura of madness continues in The Stargate [Tablet III], with the cryptic vocals by Paul walking hand in hand with the superb guitar work dome by the same Paul alongside Morris and Isaac, not to mention the eerie narrations by guest Malte Gerick.

“The Message” is a step through doorways of unearthly beauty, playfulness, quirk and horror, and it’s indeed a visceral Progressive Death Metal attack that we get in The Message [Tablet I], with its enigmatic, pensive lyrics (“What does it mean to be human? / And the nature of Consciousness? / The mystery has been revealed… / By the dance of Nature’s quiet songs of the birds…”) also complementing their complex, thrilling and enfolding sounds. Then just like what happened in The Stargate, the second act of The Message, entitled The Message [Tablet II], also kicks off in a more experimental way but quickly evolves into a Progressive Metal hurricane, alternating between more primeval, savage moments and soothing, atmospheric passages. Lastly, the band offers the multi-layered, detailed and otherworldly The Message [Tablet III] as the icing on the cake in their new album, with Isaac sounding sensational on drums while his bandmates continue to deliver intricacy and energy through their vocals, riffs and bass lines, ending in a climatic yet mysterious way just the way we like it in the music by Blood Incantation.

Blood Incantation’s new album Absolute Elsewhere is the sound of a star born, and you should definitely listen to that beautiful sound in its entirety on YouTube and on Spotify, as it will undoubtedly feature among the best albums of 2024 in pretty much all lists out there. Hence, don’t forget to also check what the band is up to on Facebook and on Instagram, especially because there’s an upcoming North American tour that’s just about to start, to subscribe to their YouTube channel, and to purchase the mesmerizing Absolute Elsewhere by clicking HERE or HERE, as you witness the defining of a new musical epoch for one of the most important bands of the current extreme music scene worldwide.

Best moments of the album: The Stargate [Tablet I], The Message [Tablet I] and The Message [Tablet III].

Worst moments of the album: None.

Released in 2024 Century Media Records

Track listing
1. The Stargate [Tablet I] 8:20
2. The Stargate [Tablet II] 5:08
3. The Stargate [Tablet III] 6:50
4. The Message [Tablet I] 5:56
5. The Message [Tablet II] 5:58
6. The Message [Tablet III] 11:27

Band members
Paul Riedl – vocals, guitars, mellotron, additional synthesizers
Morris Kolontyrsky – guitars, additional synthesizers
Jeff Barrett – bass, additional synthesizers
Isaac Faulk – drums, gong, additional guitars, mellotron, percussion

Guest musicians
Thorsten Quaeschning – synthesizers and organs on “The Stargate [Tablet II]”
Nicklas Malmqvist – piano, synthesizers, mellotron, organ
Malte Gericke – vocals and narration on “The Stargate [Tablet III]”, “The Message [Tablet I]” and “The Message [Tablet II]”

Album Review – Nachtmystium / Blight Privilege (2024)

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Behold the caustic new album by this iconic Black Metal musician who has clawed himself back from the abyss of a most extreme life imaginable.

San Clemente, California-based Experimental/Psychedelic Black Metal outfit Nachtmystium has returned, and after all that was said and done, mastermind Blake Judd (aka Azentrius) is still standing. Not only that, but he has clawed himself back from the abyss of a most extreme life imaginable to a much more quiet, observant, and matured artist and person. In case you know nothing about him, Blake was a prolific scammer who collected money for Nachtmystium merchandise and other goods which he did not send, being arrested and retained on grounds of theft in October 2013, but those dark days seem to be dead and gone as Blake and his Nachtmystium are back in action with their ninth studio album, titled Blight Privilege. Recorded and engineered by Blake himself with assistance by Andrew Markuszewski, with drums engineered and recorded by Jacopo Pettini at Virus Studio, mixed and mastered by Ken Sorceron at Sorceron Sound, and displaying a demonic artwork and layout by Alex Trinkl of Irrwisch Artdesign, the new album by Blake on vocals, guitars and keyboards alongside Matt Thomas also on the guitars, Ken Sorceron on bass and Francesco Miatto on drums offers everything fans have learned to love (or hate) in the music by Nachtmystium, from its harsh, rasping vocals to the fierce hum and whirr of guitars burning with an ice cold fire, and of course moments of ecstatic and exalted beauty in hellish soundscapes, like what’s found in the project’s (in)famous trilogy formed of Instinct: Decay (2006), Assassins: Black Meddle Pt. I (2008), and Addicts: Black Meddle Pt. II (2010).

And one of those sinister, cryptic spoken excepts kicks off the opening tune, entitled Survivor’s Remorse, being gradually joined by the crisp riffs by Blake and Matt, therefore resulting in a song perfect for darkening your putrid souls for all eternity; followed by Predator Phoenix, an exciting, thrilling and vibrant Black Metal extravaganza by Blake and his horde where his harsh vocals sound fantastic, not to mention the fierce but intricate beats by Francesco, and of course the fact Blake simply exposes his dark past in the song’s official video. Then investing in a more melodic, cadenced sonority, it’s time for the Melodic Black Metal aria A Slow Decay, with their strident riffs penetrating deep inside our minds, whereas Conquistador is another straightforward Black Metal song with melodic and atmospheric nuances, with Blake roaring with tons of anger until the very end. Moreover, its imposing background also brings an extra touch of obscurity to the overall result.

There’s no time to breathe as Blake continues to haunt our souls in Blind Spot, supported by the rumbling kitchen by Ken and Francesco. In other words, it’s a great song for some vigorous headbanging or for some decent circle pit action during their live shows, no doubt about that. The Arduous March is an eerie, phantasmagorical creation by Nachtmystium, overflowing anguish and darkness to the melodious riffs by Blake and Matt, sounding doomed at times and flowing majestically until its climatic finale; and last but definitely not least, Blake will melt our faces with his Melodic Black Metal in the title-track Blight Privilege, with Francesco enhancing the song’s punch considerably with his classy beats and fills, turning it into a superb way to close the album and welcome Blake back to the world of metal (even if a lot of people don’t wanted it to happen).

Blake and his alter-ego Nachtmystium can only be found on X (or Twitter) of all social media, maybe due to all of his past issues, but you can surely enjoy his music on YouTube and on Spotify. Also, you can purchase a copy of the excellent Blight Privilege from the project’s own BandCamp, from the Prophecy Productions webstore, or by clicking HERE or HERE, and as Blake seems to be a new person now let’s say nobody expects him to not deliver his album to whoever purchases it. A troubled past, an undeniable talent, a deep passion for Black Metal, and the courage to start again. That’s what makes the new album by Nachtmystium so compelling, therefore representing just the first step (towards the right direction) in this new phase of his controversial but striking career.

Best moments of the album: Predator Phoenix, Conquistador and Blight Privilege.

Worst moments of the album: None.

Released in 2024 Lupus Lounge

Track listing
1. Survivor’s Remorse 7:35
2. Predator Phoenix 4:32
3. A Slow Decay 6:33
4. Conquistador 5:11
5. Blind Spot 6:35
6. The Arduous March 7:30
7. Blight Privilege 6:26

Band members
Blake Judd – vocals, guitars, keyboards

Guest musicians
Matt Thomas – guitars
Ken Sorceron – bass
Francesco Miatto – drums

Concert Review – Carnifex (The Opera House, Toronto, ON, 10/22/2024)

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Metalheads from all parts of Toronto enjoyed a killer Tuesday night in the city, celebrating the brutality and energy of Death Metal and Deathcore blasted by five incredible bands.

OPENING ACTS: Heavy//Hitter, Organectomy, Mental Cruelty and Cryptopsy

What a wild night of love, friendship and collective tree hugs brought to the city of Toronto by HEAVY/HITTER, ORGANECTOMY, MENTAL CRUELTY, CRYPTOPSY and CARNIFEX during their Necromanteum Part II USA and Canada Tour 2024 at The Opera House, setting the circle pits on fire throughout the entire event. Keith Ibbitson of Metal Paparazzi and I were there to witness such a moshing party blasted by those five amazing bands, and although I had to miss Orlando, Florida’s own Deathcore unit HEAVY//HITTER due to work, as the whole show was a very early one with doors opening at 5pm and Heavy//Hitter hitting the stage already at 6pm, I highly recommend you go after their music as it’s freakin’ heavy and hits you in the face mercilessly, just like what the name of the band says. You can find their music on Spotify and BandCamp, and get ready for their brand new EP Moments of Misery out this November 8.

Setlist
(Unknown) (unreleased)
Paved in Blood
(Unknown) (unreleased)
Waste Of Life
No Mercy, No Remorse
Heaven’s Gate
Wall of Wax

Band members
Austin Hayes – vocals
Dane Loeprich – guitar
Chris Perez – bass
Josh Archeval – drums

However, I was lucky enough to get to The Opera House just in time for New Zealand’s heaviest band of all time, the demented Christchurch-based Brutal Death Metal squad ORGANECTOMY, who led by the infuriated, unstoppable frontman Alex Paul (and sporting shirts of their idols Cryptopsy, by the way) put on a fantastic show, crushing our damned souls and demanding us all to slam into the pit like there’s no tomorrow. I’m a fan of all of their albums, I had seen them live once, but I must say their new songs Plague Mouth, Corpsethrone and Tracheal Hanging (all available on Spotify, by the way) sounded absolutely insane live, and I can’t wait for their next full-length album whenever they’re thinking about releasing it. After their show I went to their merch booth and got a very cool, high-quality beanie for a very decent price, and had a chance to chat a little with Alex about his music and his stunning country (as I was there recently on my Maiden quest in Australia and New Zealand). He’s a really nice guy, an extremely talented growler, and a hardworking musician, putting his heart and soul into his onstage performance. Having said that, don’t waste a single second and go check the music by one of the best bands ever hailing from New Zealand, and get ready to be smashed like an insect if you have a chance to see those ruthless metallers live.

Setlist
Concrete
The Third Mutation
Corpsethrone
Plague Mouth
Tracheal Hanging
Terror Form
Entropic Decay

Band members
Alex Paul – vocals
Sam McRobert – guitars
Matthew Bolch – guitars
Tyler Jordan – bass, backing vocals
Levi Sheehan – drums

The other band that I was utterly eager to see live again was Karlsruhe, Germany-based Symphonic Deathcore beasts  MENTAL CRUELTY, and let’s say their show this Tuesday night was way more explosive and fun than the first time I saw them at Hard Luck Bar, despite the fact the setlist was pretty much the same based on their most recent opus, the masterpiece Zwielicht (available on Spotify and on BandCamp). The band kicked some serious ass during their entire set, with their frontman Lukas Nicolai stealing the show with not only a flawless vocal performance, but his interaction with the crowd was amazing as well, with him getting on top of the barricade to sing together with the crowd and with a nice show of flashlights during Zwielicht, right before they blasted our minds with their best song to date, Symphony of a Dying Star. I also had a chance to talk to Lukas about Mental Cruelty, about the fact I keep trying to convince my German friends to listen to their music, and got a nice patch from those guys. Needless to say, the next time Mental Cruelty takes the city of Toronto by storm, I’ll certainly be there.

Setlist
Midtvinter
Obsessis a Daemonio
King ov Fire
Forgotten Kings
Nordlys
Zwielicht
Symphony of a Dying Star

Band members
Lukas Nicolai – vocals
Nahuel Lozano – guitars
Marvin Kessler – guitars
Viktor Dick – bass
Danny Straßer – drums

After a very quick intermission, it was time for the iconic Montreal, Quebec-based  Brutal/Technical Death Metal institution CRYPTOPSY (aka the “Kings of Hallmark Romantic Christmas Movies”) to simply destroy anyone who dared to face them inside the circle pit. What a bestial show by Matt McGachy, Christian Donaldson, Olivier Pinard and Flo Mounier, sounding one hundred percent heavy, enraged and evil from start to finish, with songs like Slit Your Guts, Crown of Horns, Open Face Surgery and Flayed the Swine (this one from their amazing 2023 album As Gomorrah Burns, available on Spotify and on BandCamp) demolishing our souls and melting our faces, all while Matt kept roaring like a demonic creature and headbanging in the best Corpsegrinder stile. Hell yeah, Canada has its own Corpsegrinder, ladies and gentlemen! Flo was also infernal behind his drums, proving why he’s one of the best of the entire genre, and his dexterity, fury and passion for heavy music inspired the fans to keep the circle pit moving absurdly fast. I honestly don’t know how I was able to catch one of the guitar pics thrown by Christian because the floor section was nonstop madness, but I can’t wait to see them again live and, who knows, grab something else like a drumstick next time.

Setlist
Slit Your Guts
Crown of Horns
Graves of the Fathers
Sire of Sin
Open Face Surgery
In Abeyance
Flayed the Swine
Phobophile

Band members
Matt McGachy – vocals
Christian Donaldson – guitars
Olivier Pinard – bass
Flo Mounier – drums

CARNIFEX

The last attraction of the night was also the one most fans at The Opera House (a mix of very young fans and way older metalheads, but still young at heart) were waiting for, and they didn’t disappoint the crowd at all, bringing forth a massive display of heaviness and hatred on stage. I’m talking about San Diego, California-based Deathcore masters CARNIFEX, who armed with their pulverizing 2023 album Necromanteum, available on Spotify, sounded insane on stage and, therefore, fueled some of the sickest mosh pits of the night. Vocalist Scott Ian Lewis didn’t stop screaming, barking and roaring, and I honestly don’t know how he can do that night in, night out without losing his voice, bringing even more fury to already furious songs the likes of Torn in Two, Graveside Confessions, Hell Chose Me and Heaven and Hell All at Once. It was total chaos until the very last second of Drown Me in Blood, and I must say I was very happy the show ended before 10:30pm as I had enough time to get back home and have a decent night of sleep. To be fair, if their show had been longer I wouldn’t have complained at all, because you know, first comes heavy music, then the superficial stuff like sleeping, eating and working, right?

Setlist
Torn in Two
Graveside Confessions
Dark Days
Necromanteum
Slit Wrist Savior
Crowned in Everblack
Lie to My Face
Hell Chose Me
Heaven and Hell All at Once
Dark Heart Ceremony
Hatred and Slaughter
Drown Me in Blood

Band members
Scott Ian Lewis – vocals
Cory Arford – guitars
Neal Tiemann – guitars
Fred Calderon – bass
Shawn Cameron – drums

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Album Review – Enforced / A Leap Into The Dark EP (2024)

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Building on the momentum of their previous albums, this Crossover Thrash brigade returns with a blistering six-song EP journeying into new levels of ferocity.

Building on the momentum of their previous full-length albums War Remains (2023) and Kill-Grid (2021), Richmond, Virginia’s own Thrash Metal/Crossover brigade Enforced returns with A Leap Into The Dark, a blistering six-song EP journeying into new levels of ferocity that showcases the band’s relentless evolution through the years. Produced and mixed by the iconic Arthur Rizk (Blood Incantation, Power Trip, Kreator, Code Orange), A Leap Into The Dark delivers three brand new tracks alongside three B-sides, including a newly remastered version of “Casket” and powerful cover versions of “The Chase Is On” by English Dogs, and “Deadly Intentions” by Obituary, all masterfully crafted by Knox Colby on vocals, Will Wagstaff and Zach Monahan on the guitars, Ethan Gensurowsky on bass and Alex Bishop on drums.

Razor-edged riffs in the vein of Obituary and Slayer will pierce your damn ears in Betting on the End, a pure Crossover Thrash extravaganza where Knox barks rabidly supported by the classic beats and fills by Alex, whereas the title-track A Leap into the Dark sees Will and Zach delivering sheer electricity and heaviness through their riffs, translating into another excellent option for some sick headbanging. Deafening Heartbeats is undoubtedly a demented slab of brutality by those thrashers, offering nonstop action blasted by the quintet with Alex stealing the spotlight with his massive beats and fills; followed by Casket, bringing forward two minutes of pure American Thrash Metal where Knox vociferates nonstop, demanding us all to crush our skulls into the circle pit. In their cover for Deadly Intentions, by Obituary (check the original version HERE, from their 1989 cult album Slowly We Rot), they kept the visceral essence of the original song intact while also adding their personal touch to it, and the final result is simply insane, and the same is valid for their cover for The Chase Is On, by English Dogs (check the original version HERE, from their 1984 EP To the Ends of the Earth), showcasing their passion for classic Punk Rock and Hardcore.

In a nutshell, the fast and furious A Leap Into The Dark captures the band at the peak of their powers, delivering a sonic assault that pushes the boundaries of their genre, and you can let those talented thrashers know how much you love their music by following them on Facebook and on Instagram, by streaming their music on Spotify, an of course by purchasing a copy of their hammering new EP from BandCamp, or by clicking HERE or HERE. While Enforced are taking a leap into the dark in their new EP, all of us metalheads should join them and simply slam into the circle pit, because if there’s one thing those guys certainly know how to do, that’s to craft a beautiful and fulminating fusion of Thrash Metal and Hardcore perfect for some intense moshing.

Best moments of the album: A Leap into the Dark and Deafening Heartbeats.

Worst moments of the album: None.

Released in 2024 Century Media Records

Track listing
1. Betting on the End 3:42
2. A Leap into the Dark 4:16
3. Deafening Heartbeats 3:11
4. Casket 1:53
5. Deadly Intentions (Obituary cover) 2:09
6. The Chase Is On (English Dogs cover) 3:49

Band members
Knox Colby – vocals
Will Wagstaff – guitars
Zach Monahan – guitars
Ethan Gensurowsky – bass
Alex Bishop – drums

Album Review – Dragoncorpse / The Fall of House Abbarath EP (2024)

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This international Powercore army is back into the battlefield armed with a brand new EP, taking their already innovative, energetic sound to a whole new level.

Back into the battlefield and armed with a brand new EP entitled The Fall of House Abbarath, International Symphonic Deathcore/Power Metal dynamos Dragoncorpse took their already innovative, energetic sound, plus all feedback gathered from the release of their 2023 debut EP, The Drakketh Saga, to heart and used it to refine their approach in their new release. Produced by the band itself alongside Matt Schmidt, who was also responsible for all mixing and mastering, and displaying a killer artwork by Avellustration, the new EP by Mardy Leith on vocals, Kris Chayer on the guitars, Noah Nikolas Laidlaw on bass, Justin Gogan on drums, and Mark Marin on all orchestrations takes place in the space between “Sunlover” and “Blood And Stones” (both songs from The Drakketh Saga), offering a heavy yet very melodic sound perfect for admirers of the music by Dragonforce, 3 Inches of Blood, Nekrogoblikon, Lorna Shore and Brand of Sacrifice, among others.

An Introduction To [HEROISM] is a wicked spoken track that introduces the listener to Dragoncorpse’s realm of dragons, warriors and battles, exploding into the heavy and epic Welcome Home, where Mardy delivers his Deathcore-infused vocals supported by the riffs by Kris and the whimsical orchestrations by Mark, followed by I Live… AGAIN!, even more infuriated and heavier than the previous song, with the pulverizing beats by Justin inviting us all to head into the battlefield together with the band, showcasing a great balance between harsh screams and Power Metal clean vocals. A Quest For Truth starts in a weird dancing way, almost sounding pop, but quickly morphing into another Power Metal attack by Dragoncorpse with all background keys and visceral gnarling enhancing its punch. Then featuring guest vocals by Lauren Coleman we have Whisper on the Wind, a dark and enfolding ballad (if we can call it this way) that soothes our souls before their last metal aria titled Fear and Hunger, showcasing a venomous riff and bass attack by Kris and Noah while Justin keeps hammering his drums in the name of heavy music (and dragons).

“For new fans, I believe we’ve added more elements of deathcore and power metal while adding more excitement into the music for an authentic listening experience like no other band,” Noah explains. “We put a lot of emphasis on the atmosphere of the music,” adds Justin. “Throughout the entire EP there is a medieval theming that resonates in the music that keeps the tracks feeling refreshing and fun. With the addition of Mark on keys/orchestration, he brought with him a completely different approach to songwriting that I am sure fans are going to appreciate!” Hence, if you want to experience all that sonic madness brought into being by this multinational entity from Australia, Canada and the United States, you can purchase The Fall of House Abbarath from their own BandCamp, from the Shattered Earth Records webstore as a CD or as a vinyl, as well as by clicking HERE. Also, don’t forget to start following the band on Facebook and on Instagram, and to stream more of their music on Spotify, letting their Powercore invade your ears as you prepare to march into battle to fight dragons and, of course, to raise your horns to one of the most unique bands of the current scene.

Best moments of the album: I Live… AGAIN! and Fear and Hunger.

Worst moments of the album: None.

Released in 2024 Shattered Earth Records

Track listing
1. An Introduction To [HEROISM] 3:22
2. Welcome Home 3:15
3. I Live… AGAIN! 3:55
4. A Quest For Truth 4:38
5. Whisper on the Wind 3:49
6. Fear and Hunger 3:59

Band members
Mardy Leith – vocals
Kris Chayer – guitars
Noah Nikolas Laidlaw – bass
Justin Gogan – drums
Mark Marin – orchestration

Guest musicians
Nick Miller – guitars on “I Live… AGAIN!”
Lauren Coleman – vocals on “Whisper on the Wind”

Concert Review – Nervosa (Hard Luck Bar, Toronto, ON, 10/10/2024)

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Five excellent bands of the current Thrash and Death Metal scene led by the all-female beast Nervosa brought the Great American Jailbreak to Toronto on a night of pure underground madness.

OPENING ACTS: Prospects, Duskwalker, Hatriot and Lich King

Just one day after the incredible Sepultura concert in Toronto, it was time to head back into the battlefield (aka circle pit) for THE GREAT AMERICAN JAILBREAK TOUR 2024 with NERVOSA, LICH KING, HATRIOT, DUSKWALKER and PROSPECTS, who despite having the fierce “competition” of Skeletal Remains and Bewitcher at the exact same date and time at The Rockpile, put on an amazing show to a small but unstoppable crowd at Hard Luck Bar. In addition, all those shows happening at the same time in the city forced Keith Ibbitson of Metal Paparazzi and I to divide and conquer, but while he was covering the show at The Rockpile I fortunately had the support of the amazing metal photographer Afrida Nawar, which is why you’re seeing some classy photos of the night instead of my terrible mobile ones. Once again due to work commitments I missed the show by Toronto’s own Progressive Metal band PROSPECTS, and again I have no idea which songs they played, but if you’re curious about their music you can find them on Spotify and on BandCamp. Spoiler alert, they’re awesome.

Band members
Robert Medeiros – vocals, guitar, keyboards
Jerry Zhang – guitar
Matthew Lothian – bass
Anthony Zicari – drums

As mentioned, the venue wasn’t even half full when Niagara Falls-based Thrash/Death Metal act DUSKWALKER kicked off their frantic, heavy-as-hell and devilish show, with their frontman Joey Scaringi roaring nonstop and with a lot of passion as if he was playing in front of a sold out arena with 20,000 fans watching him. Well, those guys simply love the underground from the bottom of their hearts, which is more than explicit in their new album Underground Forever (available in full on Spotify), and that energy translated into a small but most excellent mosh pit during their entire set. The title-track for their new album, Underground Forever, sounded amazing live, with the band demanding us all to raise our fists and horns in the name of our beloved underground scene. Duskwalker are a killer crew, and I can’t wait to see what they can do in front of a bigger audience, opening for a band like Exodus or Death Angel, for example.

Setlist
Crippled at the Core
Shadowcreeper
The Loss
You’ve Got Another Thing Comin’
Vanquisher
Underground Forever
The Crawling Tongue

Band members
Joey Scaringi – vocals
John Robinson – guitars
John Neadow – bass
Cale Costello – drums

Speaking of Exodus, the third band of the night was formed of brothers Cody and Nick Souza, sons of the legendary Exodus frontman Steve “Zetro” Souza, plus Kosta V. and Miguel Esparza on the guitars, collectively known as California’s Melodic Death/Thrash Metal beast HATRIOT, and holy shit, what an amazing performance by one of the most hardworking bands of the current American scene. Playing basically songs form their 2022 album The Vale of Shadows (available on Spotify), with Horns & Halos, Clemency Denied and Hymn for the Wicked sounding absolutely demented, plus the excellent new song Forest of Illusion, the entire band sounded ruthless on stage, with Cody not only blasting inhumane screams (like an even more demonic version of his amazing father), but also showing how much the entire band loves the underground, just like Duskwalker, thanking us all for another unforgettable night in Canada for them. Those boys are an incredible live act, and if you have a chance to see them live don’t think twice and simply go for it, getting ready for an intense night of mosh pits, blast beats and crazy screams.

Setlist
Horns & Halos
Delete
Forest of Illusion
Clemency Denied
Ethereal Nightmare
Hymn for the Wicked

Band members
Cody Souza – vocals, bass
Kosta V. – guitars
Miguel Esparza – guitars
Nick Souza – drums

Another quick break and it was time for Amherst, Massachusetts-based Thrash Metal/Crossover brigade LICH KING to show us all why they’re considered one of the precious gems of the underground scene, a cult band that always delivers an endless amount of adrenaline on stage for the lovers of our gold old Thrash Metal. In 2015, original vocalist Tom Martin stopped performing with the band, remaining a “shadowy puppetmaster”, writing the band’s material and running things; in addition, their last official release dates way back to 2017, the excellent The Omniclasm (available on both Spotify and BandCamp), which means there’s nothing new from those guys since then. Do you think that means their show was weak or lame? Quite the contrary, it was total anarchy led by their unstoppable frontman Zach Smith, and the band also had the support of Cody Souza of Hatriot on bass as their bassist Mike Dreher could not join the band here in Toronto. Everyone at the pub simply loved each and every second of their show, leaving us all eager for more Lich King in the near future, and more than pumped for the main attraction of the night.

Setlist
All Hail
Attack of the Wrath of the War of the Death of the Strike of the Sword of the Blood of the Beast
In the End, Devastation
Lich King V: Stalemate
Crossover Songs Are Too Damn Short
Waste
Combat Mosh
We Came to Conquer

Band members
Zach Smith – vocals
Nick Timney – lead guitars
Joe Nickerson – rhythm guitars
Cody Souza – bass
Brian Westbrook – drums

NERVOSA

A lot has changed for the beyond talented and hardworking Prika Amaral and her Thrash/Death Metal creature NERVOSA since the last time they played in Toronto opening for Destruction in 2022. Now with a completely different lineup, including Prika being now responsible not only for the guitars, but also for the vocal duties, the now half-Brazilian, half-Greek band formed of Prika alongside Helena Kotina on the guitars, Hel Pyre on bass and Gabriela Abud on drums sounds even more infuriate than before, which can easily be seen in their 2023 album Jailbreak, available on Spotify and on BandCamp. As a matter of fact, due to personal reasons, Hel Pyre could not join the band on this North American tour, being replaced (at least in Toronto) by the beautiful Natalie Nova, vocalist for Los Angeles, California-based Heavy/Groove Metal band Beyond the Roots, who by the way spent pretty much the entire time the opening bands were playing together with fans at the floor section, dancing, headbanging and enjoying some good underground heavy music nonstop.

And Prika, Helena, Natalie and Gabriela simply destroyed on stage, sounding amazing from the first notes of Seed of Death until the very last seconds of Endless Ambition. There were mosh pits, horns being raised everywhere, fans screaming the lyrics together with the band, and so on, with things getting even more serious during true bangers like Death!, Kill the Silence, Kill or Die, and my two favorite songs of the night, Jailbreak and Guided by Evil. Prika promised the band will return to Toronto sooner than later, and I really hope next time they get a much bigger crowd because they definitely deserve it. After their electrifying show was over, I had the pleasure of briefly chatting with Prika, who was very humble and thanked me (an everyone else) for attending the show and supporting Nervosa. To be fair, I was the one who wanted to thank her and the girls for such an awesome night, and despite being tired for back to back shows with amazing bands the likes of Obituary and Sepultura on one night and Nervosa on the next, a good dosage of Death and Thrash Metal like what the girls provided us with this Thursday night is exactly what we all needed to regain our strength and keep headbanging nonstop in the name of live music.

Setlist
Seed of Death
Behind the Wall
Death!
Nail the Coffin
Kill the Silence
Perpetual Chaos
Venomous
Ungrateful
Masked Betrayer
Under Ruins
Kill or Die
Jailbreak
Guided by Evil
Endless Ambition

Band members
Prika Amaral – vocals, guitars
Helena Kotina – guitars
Natalie Nova – bass
Gabriela Abud – drums

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Concert Review – Skeletal Remains & Bewitcher (The Rockpile, Toronto, ON, 10/10/2024)

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Two of the most demonic bands of the current American scene fragmented the city of Toronto to a small but very active crowd.

***Review and photos by Keith Ibbitson of Metal Paparazzi***

OPENING ACT: Dominant Species, Phobophilic and Witch Vomit

Unfortunately, due to the show by Nervosa at the exact same day and time at Hard Luck Bar, I had to miss DOMINANT SPECIES, PHOBOPHILIC, WITCH VOMIT, SKELETAL REMAINS and BEWITCHER during their Toronto stop of their Fragmenting North America 2024 Tour at The Rockpile, but my friend Keith Ibbitson of Metal Paparazzi was there to cover the show and take some amazing shots of all bands involved. It’s frustrating when you go from a period of almost zero shows like July and August to an avalanche of concerts happening all at once like this September and October in the city, which in my opinion is nastily hurting the attendance of all shows, in special the underground ones, because it’s just humanly impossible to go see all bands under those circumstances.

The first band of the night, DOMINANT SPECIES, is a Toronto based Heavy Metal and Hardcore band that’s part of Reel Wolf Productions. This band is quite new in the scene but it is gaining some traction here in Toronto. As a matter of fact, their singer is actually the owner of Reel Wolf Productions, a small video production company used for rap and metal bands, so if you’re curious to know more about the band and the company you can visit their official website. They say they play “grimy brutal riffs with hip hop fusion”, and according to Keith that’s exactly what they delivered at The Rockpile.

Then hailing from North Dakota, PHOBOPHILIC are a Death Metal band with two demos, an EP, a split and a 2022 full-length album titled Enveloping Absurdity already under their belts. Although vocalist and guitarist Aaron Dudgeon is no longer with them, that didn’t stop the band from moving forward as a three-headed beast formed of Christian Alm on bass, Vincent Tweten on drums, and Josh Poer on vocals and guitars, plus lead guitarist Miles McIntosh during their live concerts, and they surely put on an energetic show with their no shenanigans Death Metal. And after that it was time for the third opener of the night, Portland, Oregon-based Death Metal act WITCH VOMIT, formed in 2012 by vocalist and guitarist Temper and drummer Filth. Witch Vomit play dark Death Metal in the American tradition with elements of Scandinavian evil and ancient Doom Metal, and that combination of styles created a truly demonic vibe when they hit the stage at The Rockpile for the delight of all fans present at the venue.

SKELETAL REMAINS

Founded in 2011 under the name Anthropophagy, Whittier, California’s own Death Metal squad SKELETAL REMAINS was one of the headliners of the night, kicking some ass with their share of brutality and speed. The band led by founding members Chris Monroy (guitars and vocals) and Mike De La O (guitars) was phenomenal on stage, and despite the smaller than expected crowd their whole performance was insane. Their new album Fragments of the Ageless, released in the beginning of 2024, is an amazing piece of Death Metal that’s definitely worth a listen if you haven’t done so already, and the songs from that album sounded even more fun live, like for example Void of Despair and Relentless Appetite. I’m sure they’ll soon return to Toronto and to a much bigger crowd if all logistics and promotion are done properly next time.

BEWITCHER

The second headliner of the night, Portland, Oregon-based Black/Speed Metal horde BEWITCHER, also has a new album out, Spell Shock, released only a couple of weeks ago. Formed of A. Magus on bass and backing vocals, M. Von Bewitcher on vocals and guitars, and A. Hunter on drums, the band kicked ass at The Rockpile for a crowd of less than 100 people, and just like Skeletal Remains they didn’t care about that small attendance at all, keeping the fires of the underground burning nonstop during their pulverizing set. Their new songs Starfire Maelstrom and Spell Shock worked really well with their classics Satanic Magick Attack and Bewitcher, and again, just like what was said about Skeletal Remains, I’m sure next time they visit Toronto they’ll play to a much bigger audience.

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