#thezenithpassage — Public Fediverse posts

#2026 #35 #Archspire #BritishMetal #Cognizance #DeathMetal #InLight #May26 #NoShape #Obscura #ProgressiveDeathMetal #Review #Reviews #Revocation #TechnicalDeathMetal #TheFaceless #TheZenithPassage #WillowtipRecords

A “faster is better” philosophy has long defined technical death metal, with bands regularly operating at breakneck speeds. While that approach requires undeniable virtuosity, I’ve always gravitated toward the genre’s more restrained, focused, and groove-oriented side. Cognizance initially walked the well-trodden path of bands like The Faceless and The Zenith Passage on their debut, Malignant Dominion, displaying speed and technicality in equal measure, but doing little to distinguish themselves from a crowded field. However, to their credit, the international quintet-turned-quartet has spent the past three albums gradually cementing their identity, culminating with 2024’s Phantazein. Though it got Stuck in the Filter, the record was packed with punishing grooves, strong songwriting, and phenomenal performances, containing all the qualities that keep me returning to the genre regularly. Two short years later, Cognizance returns with In Light, No Shape.

Much of Cognizance’s growth over the years stems from its stable lineup, though the recent departure of longtime vocalist Henry “Big Mac” Pryce disrupted that continuity. Guitarist Alex Baillie has since assumed vocal duties, marking a shift in the group’s sound. Baillie fills the role admirably, trading Pryce’s deathcore-leaning growls for a style closer to David Davidson (Revocation). In fact, In Light, No Shape—particularly tracks like “Vertical Illusion,” “Witness Marks,” “Chasm,” and “The Zone”—leans heavily into Revocation’s progressive stylings to its benefit. Drummers and longtime fans should already know the name David Diepold (ex-Obscura), but for anyone who doesn’t, consider this your required introduction. The dude absolutely cooks on this record. Whether through artful fills or splashy accents, he commands the material like a conductor leading an orchestra, sitting front and center in the record’s solid mix. Not to be outdone, guitarists Apostolis Karydis and Baillie, along with bassist Chris Binns, lock with Diepold effortlessly, never once sounding strained as they ebb between calibrated riffing, evocative solos, and ornate passages across the record’s 37 minutes.

Rather than following the Archspire school of extravagance, In Light, No Shape shows Karydis and Baillie easing off the accelerator, leaning more into atmosphere than velocity, with Diepold shouldering most of the speed. The duo utilizes more spacey arpeggiated passages (“A Reconfiguration,” “Witness Marks,” “A Game of Proliferation”) than on Phantazein, giving In Light, No Shape a feeling of dynamism and expansiveness. Accordingly, the songwriting strikes a keen balance between technical, immersive, and hooky, while leaving room for each element to breathe. Opener “Transient Fixations” wastes no time launching into hyperdrive, blasting and chugging through its sub‑three‑minute runtime, essentially functioning as an intro track that reaffirms that this is still the Cognizance fans will know. And while it feels a bit short, it flows seamlessly into “Inflection Chants'” groovy opening, making it work. Later, the surges of melodic tremolos and blasts that fuel “Chasm” give way to a haunting, aura-rich soundscape, where cymbal accents melt into jaunty tom fills before everything cascades back into overdrive. Similar structures drive tracks like “The Zone” and Song o’ the Year candidate “A Game of Proliferation,” while others (“Induced Contortions,” “Subterranean Incantation”) stick closer to standard tech death.

To state the obvious, tech death production usually sucks. Thankfully, In Light, No Shape isn’t totally brickwalled to hell, clocking in at a DR of 6. While that number looks average on paper,1 the mix retains a surprisingly natural edge while still delivering the punch and low-end presence needed to let the intricacies of the performances shine. Yes, it’s still compressed, but it never totally collapses on itself either. The guitars carry plenty of bite, avoiding the trap of sounding overly synthetic or overproduced, though the solos sit too far back in the mix for my liking. Likewise, the use of robotic spoken word interludes on tracks like “Inflection Chants” and “Transient Fixations” is conceptually fine, but they get lost behind the loud drums and end up feeling pointless. It’s a trade-off I can ultimately live with, though.

After multiple spins, In Light, No Shape stands toe-to-toe with Phantazein. Overcoming a key member’s departure isn’t easy, and while the album’s stylistic changes may feel reactive or too familiar, most come across as deliberate, pointing to a group resettling their identity. Cognizance continues to emerge as one of tech death’s most compelling acts and In Light, No Shape highlights what the genre can achieve when done right.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: cognizance.bandcamp.com | facebook.com/cognizanceband
Releases Worldwide: May 1st, 2026

#archspire #britishmetal #cognizance #deathmetal #inlight #may26

Angry Metal Guy @[email protected] · 2026-05-02 · 13:33 UTC

#2026 #35 #Archspire #BritishMetal #Cognizance #DeathMetal #InLight #May26 #NoShape #Obscura #ProgressiveDeathMetal #Review #Reviews #Revocation #TechnicalDeathMetal #TheFaceless #TheZenithPassage #WillowtipRecords

A “faster is better” philosophy has long defined technical death metal, with bands regularly operating at breakneck speeds. While that approach requires undeniable virtuosity, I’ve always gravitated toward the genre’s more restrained, focused, and groove-oriented side. Cognizance initially walked the well-trodden path of bands like The Faceless and The Zenith Passage on their debut, Malignant Dominion, displaying speed and technicality in equal measure, but doing little to distinguish themselves from a crowded field. However, to their credit, the international quintet-turned-quartet has spent the past three albums gradually cementing their identity, culminating with 2024’s Phantazein. Though it got Stuck in the Filter, the record was packed with punishing grooves, strong songwriting, and phenomenal performances, containing all the qualities that keep me returning to the genre regularly. Two short years later, Cognizance returns with In Light, No Shape.

Much of Cognizance’s growth over the years stems from its stable lineup, though the recent departure of longtime vocalist Henry “Big Mac” Pryce disrupted that continuity. Guitarist Alex Baillie has since assumed vocal duties, marking a shift in the group’s sound. Baillie fills the role admirably, trading Pryce’s deathcore-leaning growls for a style closer to David Davidson (Revocation). In fact, In Light, No Shape—particularly tracks like “Vertical Illusion,” “Witness Marks,” “Chasm,” and “The Zone”—leans heavily into Revocation’s progressive stylings to its benefit. Drummers and longtime fans should already know the name David Diepold (ex-Obscura), but for anyone who doesn’t, consider this your required introduction. The dude absolutely cooks on this record. Whether through artful fills or splashy accents, he commands the material like a conductor leading an orchestra, sitting front and center in the record’s solid mix. Not to be outdone, guitarists Apostolis Karydis and Baillie, along with bassist Chris Binns, lock with Diepold effortlessly, never once sounding strained as they ebb between calibrated riffing, evocative solos, and ornate passages across the record’s 37 minutes.

Rather than following the Archspire school of extravagance, In Light, No Shape shows Karydis and Baillie easing off the accelerator, leaning more into atmosphere than velocity, with Diepold shouldering most of the speed. The duo utilizes more spacey arpeggiated passages (“A Reconfiguration,” “Witness Marks,” “A Game of Proliferation”) than on Phantazein, giving In Light, No Shape a feeling of dynamism and expansiveness. Accordingly, the songwriting strikes a keen balance between technical, immersive, and hooky, while leaving room for each element to breathe. Opener “Transient Fixations” wastes no time launching into hyperdrive, blasting and chugging through its sub‑three‑minute runtime, essentially functioning as an intro track that reaffirms that this is still the Cognizance fans will know. And while it feels a bit short, it flows seamlessly into “Inflection Chants'” groovy opening, making it work. Later, the surges of melodic tremolos and blasts that fuel “Chasm” give way to a haunting, aura-rich soundscape, where cymbal accents melt into jaunty tom fills before everything cascades back into overdrive. Similar structures drive tracks like “The Zone” and Song o’ the Year candidate “A Game of Proliferation,” while others (“Induced Contortions,” “Subterranean Incantation”) stick closer to standard tech death.

To state the obvious, tech death production usually sucks. Thankfully, In Light, No Shape isn’t totally brickwalled to hell, clocking in at a DR of 6. While that number looks average on paper,1 the mix retains a surprisingly natural edge while still delivering the punch and low-end presence needed to let the intricacies of the performances shine. Yes, it’s still compressed, but it never totally collapses on itself either. The guitars carry plenty of bite, avoiding the trap of sounding overly synthetic or overproduced, though the solos sit too far back in the mix for my liking. Likewise, the use of robotic spoken word interludes on tracks like “Inflection Chants” and “Transient Fixations” is conceptually fine, but they get lost behind the loud drums and end up feeling pointless. It’s a trade-off I can ultimately live with, though.

After multiple spins, In Light, No Shape stands toe-to-toe with Phantazein. Overcoming a key member’s departure isn’t easy, and while the album’s stylistic changes may feel reactive or too familiar, most come across as deliberate, pointing to a group resettling their identity. Cognizance continues to emerge as one of tech death’s most compelling acts and In Light, No Shape highlights what the genre can achieve when done right.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: cognizance.bandcamp.com | facebook.com/cognizanceband
Releases Worldwide: May 1st, 2026

#archspire #britishmetal #cognizance #deathmetal #inlight #may26

Angry Metal Guy @[email protected] · 2026-05-02 · 13:33 UTC

#2026 #35 #Archspire #BritishMetal #Cognizance #DeathMetal #InLight #May26 #NoShape #Obscura #ProgressiveDeathMetal #Review #Reviews #Revocation #TechnicalDeathMetal #TheFaceless #TheZenithPassage #WillowtipRecords

A “faster is better” philosophy has long defined technical death metal, with bands regularly operating at breakneck speeds. While that approach requires undeniable virtuosity, I’ve always gravitated toward the genre’s more restrained, focused, and groove-oriented side. Cognizance initially walked the well-trodden path of bands like The Faceless and The Zenith Passage on their debut, Malignant Dominion, displaying speed and technicality in equal measure, but doing little to distinguish themselves from a crowded field. However, to their credit, the international quintet-turned-quartet has spent the past three albums gradually cementing their identity, culminating with 2024’s Phantazein. Though it got Stuck in the Filter, the record was packed with punishing grooves, strong songwriting, and phenomenal performances, containing all the qualities that keep me returning to the genre regularly. Two short years later, Cognizance returns with In Light, No Shape.

Much of Cognizance’s growth over the years stems from its stable lineup, though the recent departure of longtime vocalist Henry “Big Mac” Pryce disrupted that continuity. Guitarist Alex Baillie has since assumed vocal duties, marking a shift in the group’s sound. Baillie fills the role admirably, trading Pryce’s deathcore-leaning growls for a style closer to David Davidson (Revocation). In fact, In Light, No Shape—particularly tracks like “Vertical Illusion,” “Witness Marks,” “Chasm,” and “The Zone”—leans heavily into Revocation’s progressive stylings to its benefit. Drummers and longtime fans should already know the name David Diepold (ex-Obscura), but for anyone who doesn’t, consider this your required introduction. The dude absolutely cooks on this record. Whether through artful fills or splashy accents, he commands the material like a conductor leading an orchestra, sitting front and center in the record’s solid mix. Not to be outdone, guitarists Apostolis Karydis and Baillie, along with bassist Chris Binns, lock with Diepold effortlessly, never once sounding strained as they ebb between calibrated riffing, evocative solos, and ornate passages across the record’s 37 minutes.

Rather than following the Archspire school of extravagance, In Light, No Shape shows Karydis and Baillie easing off the accelerator, leaning more into atmosphere than velocity, with Diepold shouldering most of the speed. The duo utilizes more spacey arpeggiated passages (“A Reconfiguration,” “Witness Marks,” “A Game of Proliferation”) than on Phantazein, giving In Light, No Shape a feeling of dynamism and expansiveness. Accordingly, the songwriting strikes a keen balance between technical, immersive, and hooky, while leaving room for each element to breathe. Opener “Transient Fixations” wastes no time launching into hyperdrive, blasting and chugging through its sub‑three‑minute runtime, essentially functioning as an intro track that reaffirms that this is still the Cognizance fans will know. And while it feels a bit short, it flows seamlessly into “Inflection Chants'” groovy opening, making it work. Later, the surges of melodic tremolos and blasts that fuel “Chasm” give way to a haunting, aura-rich soundscape, where cymbal accents melt into jaunty tom fills before everything cascades back into overdrive. Similar structures drive tracks like “The Zone” and Song o’ the Year candidate “A Game of Proliferation,” while others (“Induced Contortions,” “Subterranean Incantation”) stick closer to standard tech death.

To state the obvious, tech death production usually sucks. Thankfully, In Light, No Shape isn’t totally brickwalled to hell, clocking in at a DR of 6. While that number looks average on paper,1 the mix retains a surprisingly natural edge while still delivering the punch and low-end presence needed to let the intricacies of the performances shine. Yes, it’s still compressed, but it never totally collapses on itself either. The guitars carry plenty of bite, avoiding the trap of sounding overly synthetic or overproduced, though the solos sit too far back in the mix for my liking. Likewise, the use of robotic spoken word interludes on tracks like “Inflection Chants” and “Transient Fixations” is conceptually fine, but they get lost behind the loud drums and end up feeling pointless. It’s a trade-off I can ultimately live with, though.

After multiple spins, In Light, No Shape stands toe-to-toe with Phantazein. Overcoming a key member’s departure isn’t easy, and while the album’s stylistic changes may feel reactive or too familiar, most come across as deliberate, pointing to a group resettling their identity. Cognizance continues to emerge as one of tech death’s most compelling acts and In Light, No Shape highlights what the genre can achieve when done right.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: cognizance.bandcamp.com | facebook.com/cognizanceband
Releases Worldwide: May 1st, 2026

#archspire #britishmetal #cognizance #deathmetal #inlight #may26

Angry Metal Guy @[email protected] · 2026-05-02 · 13:33 UTC

#2026 #35 #Archspire #BritishMetal #Cognizance #DeathMetal #InLight #May26 #NoShape #Obscura #ProgressiveDeathMetal #Review #Reviews #Revocation #TechnicalDeathMetal #TheFaceless #TheZenithPassage #WillowtipRecords

A “faster is better” philosophy has long defined technical death metal, with bands regularly operating at breakneck speeds. While that approach requires undeniable virtuosity, I’ve always gravitated toward the genre’s more restrained, focused, and groove-oriented side. Cognizance initially walked the well-trodden path of bands like The Faceless and The Zenith Passage on their debut, Malignant Dominion, displaying speed and technicality in equal measure, but doing little to distinguish themselves from a crowded field. However, to their credit, the international quintet-turned-quartet has spent the past three albums gradually cementing their identity, culminating with 2024’s Phantazein. Though it got Stuck in the Filter, the record was packed with punishing grooves, strong songwriting, and phenomenal performances, containing all the qualities that keep me returning to the genre regularly. Two short years later, Cognizance returns with In Light, No Shape.

Much of Cognizance’s growth over the years stems from its stable lineup, though the recent departure of longtime vocalist Henry “Big Mac” Pryce disrupted that continuity. Guitarist Alex Baillie has since assumed vocal duties, marking a shift in the group’s sound. Baillie fills the role admirably, trading Pryce’s deathcore-leaning growls for a style closer to David Davidson (Revocation). In fact, In Light, No Shape—particularly tracks like “Vertical Illusion,” “Witness Marks,” “Chasm,” and “The Zone”—leans heavily into Revocation’s progressive stylings to its benefit. Drummers and longtime fans should already know the name David Diepold (ex-Obscura), but for anyone who doesn’t, consider this your required introduction. The dude absolutely cooks on this record. Whether through artful fills or splashy accents, he commands the material like a conductor leading an orchestra, sitting front and center in the record’s solid mix. Not to be outdone, guitarists Apostolis Karydis and Baillie, along with bassist Chris Binns, lock with Diepold effortlessly, never once sounding strained as they ebb between calibrated riffing, evocative solos, and ornate passages across the record’s 37 minutes.

Rather than following the Archspire school of extravagance, In Light, No Shape shows Karydis and Baillie easing off the accelerator, leaning more into atmosphere than velocity, with Diepold shouldering most of the speed. The duo utilizes more spacey arpeggiated passages (“A Reconfiguration,” “Witness Marks,” “A Game of Proliferation”) than on Phantazein, giving In Light, No Shape a feeling of dynamism and expansiveness. Accordingly, the songwriting strikes a keen balance between technical, immersive, and hooky, while leaving room for each element to breathe. Opener “Transient Fixations” wastes no time launching into hyperdrive, blasting and chugging through its sub‑three‑minute runtime, essentially functioning as an intro track that reaffirms that this is still the Cognizance fans will know. And while it feels a bit short, it flows seamlessly into “Inflection Chants'” groovy opening, making it work. Later, the surges of melodic tremolos and blasts that fuel “Chasm” give way to a haunting, aura-rich soundscape, where cymbal accents melt into jaunty tom fills before everything cascades back into overdrive. Similar structures drive tracks like “The Zone” and Song o’ the Year candidate “A Game of Proliferation,” while others (“Induced Contortions,” “Subterranean Incantation”) stick closer to standard tech death.

To state the obvious, tech death production usually sucks. Thankfully, In Light, No Shape isn’t totally brickwalled to hell, clocking in at a DR of 6. While that number looks average on paper,1 the mix retains a surprisingly natural edge while still delivering the punch and low-end presence needed to let the intricacies of the performances shine. Yes, it’s still compressed, but it never totally collapses on itself either. The guitars carry plenty of bite, avoiding the trap of sounding overly synthetic or overproduced, though the solos sit too far back in the mix for my liking. Likewise, the use of robotic spoken word interludes on tracks like “Inflection Chants” and “Transient Fixations” is conceptually fine, but they get lost behind the loud drums and end up feeling pointless. It’s a trade-off I can ultimately live with, though.

After multiple spins, In Light, No Shape stands toe-to-toe with Phantazein. Overcoming a key member’s departure isn’t easy, and while the album’s stylistic changes may feel reactive or too familiar, most come across as deliberate, pointing to a group resettling their identity. Cognizance continues to emerge as one of tech death’s most compelling acts and In Light, No Shape highlights what the genre can achieve when done right.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: cognizance.bandcamp.com | facebook.com/cognizanceband
Releases Worldwide: May 1st, 2026

#willowtiprecords #thezenithpassage #thefaceless #technicaldeathmetal #revocation #reviews

Angry Metal Guy @[email protected] · 2026-05-02 · 13:33 UTC

#2026 #35 #Archspire #BritishMetal #Cognizance #DeathMetal #InLight #May26 #NoShape #Obscura #ProgressiveDeathMetal #Review #Reviews #Revocation #TechnicalDeathMetal #TheFaceless #TheZenithPassage #WillowtipRecords

A “faster is better” philosophy has long defined technical death metal, with bands regularly operating at breakneck speeds. While that approach requires undeniable virtuosity, I’ve always gravitated toward the genre’s more restrained, focused, and groove-oriented side. Cognizance initially walked the well-trodden path of bands like The Faceless and The Zenith Passage on their debut, Malignant Dominion, displaying speed and technicality in equal measure, but doing little to distinguish themselves from a crowded field. However, to their credit, the international quintet-turned-quartet has spent the past three albums gradually cementing their identity, culminating with 2024’s Phantazein. Though it got Stuck in the Filter, the record was packed with punishing grooves, strong songwriting, and phenomenal performances, containing all the qualities that keep me returning to the genre regularly. Two short years later, Cognizance returns with In Light, No Shape.

Much of Cognizance’s growth over the years stems from its stable lineup, though the recent departure of longtime vocalist Henry “Big Mac” Pryce disrupted that continuity. Guitarist Alex Baillie has since assumed vocal duties, marking a shift in the group’s sound. Baillie fills the role admirably, trading Pryce’s deathcore-leaning growls for a style closer to David Davidson (Revocation). In fact, In Light, No Shape—particularly tracks like “Vertical Illusion,” “Witness Marks,” “Chasm,” and “The Zone”—leans heavily into Revocation’s progressive stylings to its benefit. Drummers and longtime fans should already know the name David Diepold (ex-Obscura), but for anyone who doesn’t, consider this your required introduction. The dude absolutely cooks on this record. Whether through artful fills or splashy accents, he commands the material like a conductor leading an orchestra, sitting front and center in the record’s solid mix. Not to be outdone, guitarists Apostolis Karydis and Baillie, along with bassist Chris Binns, lock with Diepold effortlessly, never once sounding strained as they ebb between calibrated riffing, evocative solos, and ornate passages across the record’s 37 minutes.

Rather than following the Archspire school of extravagance, In Light, No Shape shows Karydis and Baillie easing off the accelerator, leaning more into atmosphere than velocity, with Diepold shouldering most of the speed. The duo utilizes more spacey arpeggiated passages (“A Reconfiguration,” “Witness Marks,” “A Game of Proliferation”) than on Phantazein, giving In Light, No Shape a feeling of dynamism and expansiveness. Accordingly, the songwriting strikes a keen balance between technical, immersive, and hooky, while leaving room for each element to breathe. Opener “Transient Fixations” wastes no time launching into hyperdrive, blasting and chugging through its sub‑three‑minute runtime, essentially functioning as an intro track that reaffirms that this is still the Cognizance fans will know. And while it feels a bit short, it flows seamlessly into “Inflection Chants'” groovy opening, making it work. Later, the surges of melodic tremolos and blasts that fuel “Chasm” give way to a haunting, aura-rich soundscape, where cymbal accents melt into jaunty tom fills before everything cascades back into overdrive. Similar structures drive tracks like “The Zone” and Song o’ the Year candidate “A Game of Proliferation,” while others (“Induced Contortions,” “Subterranean Incantation”) stick closer to standard tech death.

To state the obvious, tech death production usually sucks. Thankfully, In Light, No Shape isn’t totally brickwalled to hell, clocking in at a DR of 6. While that number looks average on paper,1 the mix retains a surprisingly natural edge while still delivering the punch and low-end presence needed to let the intricacies of the performances shine. Yes, it’s still compressed, but it never totally collapses on itself either. The guitars carry plenty of bite, avoiding the trap of sounding overly synthetic or overproduced, though the solos sit too far back in the mix for my liking. Likewise, the use of robotic spoken word interludes on tracks like “Inflection Chants” and “Transient Fixations” is conceptually fine, but they get lost behind the loud drums and end up feeling pointless. It’s a trade-off I can ultimately live with, though.

After multiple spins, In Light, No Shape stands toe-to-toe with Phantazein. Overcoming a key member’s departure isn’t easy, and while the album’s stylistic changes may feel reactive or too familiar, most come across as deliberate, pointing to a group resettling their identity. Cognizance continues to emerge as one of tech death’s most compelling acts and In Light, No Shape highlights what the genre can achieve when done right.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Willowtip Records
Websites: cognizance.bandcamp.com | facebook.com/cognizanceband
Releases Worldwide: May 1st, 2026

#archspire #britishmetal #cognizance #deathmetal #inlight #may26

Europe @[email protected] · 2026-04-14 · 20:05 UTC

Archspire Reveal Fall 2026 European/UK Tour With Crown Magnetar, The Zenith Passage & Analepsy

Archspire are set to embark upon a European/UK headlining tour this fall. The Canadian technical death metal speedsters,…
#Europe #EU #Analepsy #Archspire #CrownMagnetar #European #TheZenithPassage
https://www.europesays.com/europe/14373/

#thezenithpassage #european #crownmagnetar #archspire #analepsy #eu

Europe @[email protected] · 2026-04-14 · 15:10 UTC

Archspire announce “European Vacation” tour with Crown Magnetar, The Zenith Passage, Analepsy

Canadian technical death metallers Archspire will headline a tour of Europe and the UK this fall dubbed “European…
#Europe #EU #Analepsy #Archspire #CrownMagnetar #European #hardcore #Lambgoat #metal #News #TheZenithPassage
https://www.europesays.com/europe/14164/

#thezenithpassage #news #metal #lambgoat #hardcore #european

Metal Insider @[email protected] · 2026-01-14 · 19:48 UTC

Charting the course to 2026: reflecting on 70000tons of Metal 2025 Artist Spotlight: The Zenith Passage:

#TheZenithPassage #ArtistSpotlight #70000tons #70000tonsOfMetal

Link: https://metalinsider.net/columns/artist-spotlight/charting-the-course-to-2026-reflecting-on-70000tons-of-metal-2025-artist-spotlight-the-zenith-passage

#70000tonsofmetal #70000tons #artistspotlight #thezenithpassage

Metal Insider @[email protected] · 2026-01-14 · 19:48 UTC

Charting the course to 2026: reflecting on 70000tons of Metal 2025 Artist Spotlight: The Zenith Passage:

#TheZenithPassage #ArtistSpotlight #70000tons #70000tonsOfMetal

Link: https://metalinsider.net/columns/artist-spotlight/charting-the-course-to-2026-reflecting-on-70000tons-of-metal-2025-artist-spotlight-the-zenith-passage

#thezenithpassage #artistspotlight #70000tons #70000tonsofmetal

El Pregoner del Metall @[email protected] · 2025-12-01 · 20:35 UTC

THE ZENITH PASSAGE (Estats Units) presenta nou single: "Fleshbound Reliquary" #TheZenithPassage #TechnicalDeathMetal #Desembre2025 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

#metalmusic #musicametal #metal #metall #nousingle #estatsunits

El Pregoner del Metall @[email protected] · 2025-12-01 · 20:35 UTC

THE ZENITH PASSAGE (Estats Units) presenta nou single: "Fleshbound Reliquary" #TheZenithPassage #TechnicalDeathMetal #Desembre2025 #EstatsUnits #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

#thezenithpassage #technicaldeathmetal #desembre2025 #estatsunits #nousingle #metall

Angry Metal Guy @[email protected] · 2025-04-30 · 19:29 UTC

Exterminatus – Echoes From a Distant Star Part 1 Review

By Owlswald

“Exterminatus” is a Warhammer 40k term that describes a global mass extinction event authorized by the emperor when the Imperium deems the cost of holding or retaking a planet too high. While I’m naïve about such things, Canadian fivesome Exterminatus certainly isn’t. And these Canucks are here to incinerate your eardrums with a heavy dose of sci-fi inspired tech-death. Originally demoed in 2012, Echoes From a Distant Star Part I was to be the follow-up to Xenocide’s debut album, Galactic Oppression. However, the group disbanded before they completed the album, and its members—including most of the original lineup—subsequently formed Exterminatus. Thirteen years later, these Vancouverites have released two solid albums and are finally prepared to relaunch Echoes after recording and re-recording the material three times. Seeking to venture into deep space through a celestial narrative that investigates interstellar creation and its obscure realities, I’m left wondering if the destination justifies the voyage.

Raising the pace and intensity of its predecessors, Exterminatus mostly operates in overdrive on Echoes, peppering the limited moments of empty space with Faceless-esque grooves and melodic leads. Lead by the dual axe attacks of Tabreez Azad and Elia Baghbaniyan, the duo warps the fabric of reality with their percussive shredding, laser-fire tremolos, and technical articulation, flicking and tapping for thirty minutes across the album’s seven chapters.1 Together with Max Sepulveda’s (The Zenith Passage) ruthless drumming, the trio dominate the record’s linear mix, occasionally permitting Lucas Abreu’s virtuosic basslines to break through the wall of crushing brutality (“The Cloud,” “Suffer in Silence”). Lukas Bresan’s heavy Archspire-like growls provide additional gravity as they narrate Echoes’ grand planetary saga. Drawing inspiration from the famous works of Isaac Asimov and Arthur C. Clarke, as well as the Stargate SG-1 and Mass Effect franchises, Exterminatus explores the universe’s fundamental forces through the familiar and technical movements of tech-death’s stalwarts.

Exterminatus thrive when they back off the accelerator and use their technical expression to manipulate the cosmos in a manner that boosts Echoes’ groove-rich currents. Closer “The Signal,” is a no-frills banger that finishes with a savage dose of syncopated thrash riffs and agile drumming that aptly finds the balance between brutality and accessibility. Abreu’s playful bass lines at the onset of “Cosmic Disturbance” conveys its ominous warning with finesse, while the pulse-driven riffing of the song’s end hits with the power of a supernova. Meanwhile, the heroic solo before the launch of “Starbound” or the melodic leads of “The New Theia” provide moments of respite around outbursts of cosmic turbulence. Though Echoes’ highlights are generally not as memorable as I would like, there are enough amidst the onslaught of staccatos, pummeling double bass, and light speed shifts to provide necessary touchstones and avoid a full system overload.

Still, Exterminatus’ ambitious pursuit fares better in concept than in execution. Track sequencing and songwriting diminish Echoes’ voyage, hindering the whole with abrupt openings and sudden descents that disrupt the journey. Songs like “Primordial Sea,” and “The New Theia” suffer from bloat, while “Suffer in Silence” and “The Signal” seem truncated. Accordingly, Echoes feels more academic than vibrant, a collection of separate tracks that are challenging to connect with, rather than an absorbing cosmic saga. Additionally, the production sacrifices nuance and emotion for volume and intensity, thereby crushing any promise of dynamics. The overly loud mix is too aggressive—particularly the drums and guitars—which fatigued my ears and became frustrating. Likewise, Exterminatus’ reliance on tropey bass drops to replace the lack of energy in Echoes’ peak moments are a distraction, achieving the opposite of their intended effect.

Despite years of development, Echoes doesn’t hit its mark. Exterminatus clearly possess the talent to create something special, and their commitment to crafting an ambitious, sci-fi narrative is commendable. However, the album’s songwriting and production prevent it from reaching its potential, serving instead as a demonstration of what they are capable of. What Echoes lacks in cohesion, it partly compensates for in technical expression and sheer sonic intensity. But if Exterminatus can refine the issues that hinder Echoes, their next venture into the cosmos could be great indeed.

Rating: Mixed
DR: 4 | Format Reviewed: 256 kbps mp3
Label: Self-Released
Websites: exterminatus.bandcamp.com | facebook.com/exterminatusband
Releases Worldwide: April 18, 2025

#25 #2025 #Apr25 #Archspire #CanadianMetal #DeathMetal #EchoesFromADistantStarPart1 #Exterminatus #Review #Reviews #SelfReleased #TechnicalDeathMetal #TheFaceless #TheZenithPassage

#apr25 #archspire #canadianmetal #deathmetal #echoesfromadistantstarpart1 #exterminatus

Angry Metal Guy @[email protected] · 2025-04-30 · 19:29 UTC

Exterminatus – Echoes From a Distant Star Part 1 Review

By Owlswald

“Exterminatus” is a Warhammer 40k term that describes a global mass extinction event authorized by the emperor when the Imperium deems the cost of holding or retaking a planet too high. While I’m naïve about such things, Canadian fivesome Exterminatus certainly isn’t. And these Canucks are here to incinerate your eardrums with a heavy dose of sci-fi inspired tech-death. Originally demoed in 2012, Echoes From a Distant Star Part I was to be the follow-up to Xenocide’s debut album, Galactic Oppression. However, the group disbanded before they completed the album, and its members—including most of the original lineup—subsequently formed Exterminatus. Thirteen years later, these Vancouverites have released two solid albums and are finally prepared to relaunch Echoes after recording and re-recording the material three times. Seeking to venture into deep space through a celestial narrative that investigates interstellar creation and its obscure realities, I’m left wondering if the destination justifies the voyage.

Raising the pace and intensity of its predecessors, Exterminatus mostly operates in overdrive on Echoes, peppering the limited moments of empty space with Faceless-esque grooves and melodic leads. Lead by the dual axe attacks of Tabreez Azad and Elia Baghbaniyan, the duo warps the fabric of reality with their percussive shredding, laser-fire tremolos, and technical articulation, flicking and tapping for thirty minutes across the album’s seven chapters.1 Together with Max Sepulveda’s (The Zenith Passage) ruthless drumming, the trio dominate the record’s linear mix, occasionally permitting Lucas Abreu’s virtuosic basslines to break through the wall of crushing brutality (“The Cloud,” “Suffer in Silence”). Lukas Bresan’s heavy Archspire-like growls provide additional gravity as they narrate Echoes’ grand planetary saga. Drawing inspiration from the famous works of Isaac Asimov and Arthur C. Clarke, as well as the Stargate SG-1 and Mass Effect franchises, Exterminatus explores the universe’s fundamental forces through the familiar and technical movements of tech-death’s stalwarts.

Exterminatus thrive when they back off the accelerator and use their technical expression to manipulate the cosmos in a manner that boosts Echoes’ groove-rich currents. Closer “The Signal,” is a no-frills banger that finishes with a savage dose of syncopated thrash riffs and agile drumming that aptly finds the balance between brutality and accessibility. Abreu’s playful bass lines at the onset of “Cosmic Disturbance” conveys its ominous warning with finesse, while the pulse-driven riffing of the song’s end hits with the power of a supernova. Meanwhile, the heroic solo before the launch of “Starbound” or the melodic leads of “The New Theia” provide moments of respite around outbursts of cosmic turbulence. Though Echoes’ highlights are generally not as memorable as I would like, there are enough amidst the onslaught of staccatos, pummeling double bass, and light speed shifts to provide necessary touchstones and avoid a full system overload.

Still, Exterminatus’ ambitious pursuit fares better in concept than in execution. Track sequencing and songwriting diminish Echoes’ voyage, hindering the whole with abrupt openings and sudden descents that disrupt the journey. Songs like “Primordial Sea,” and “The New Theia” suffer from bloat, while “Suffer in Silence” and “The Signal” seem truncated. Accordingly, Echoes feels more academic than vibrant, a collection of separate tracks that are challenging to connect with, rather than an absorbing cosmic saga. Additionally, the production sacrifices nuance and emotion for volume and intensity, thereby crushing any promise of dynamics. The overly loud mix is too aggressive—particularly the drums and guitars—which fatigued my ears and became frustrating. Likewise, Exterminatus’ reliance on tropey bass drops to replace the lack of energy in Echoes’ peak moments are a distraction, achieving the opposite of their intended effect.

Despite years of development, Echoes doesn’t hit its mark. Exterminatus clearly possess the talent to create something special, and their commitment to crafting an ambitious, sci-fi narrative is commendable. However, the album’s songwriting and production prevent it from reaching its potential, serving instead as a demonstration of what they are capable of. What Echoes lacks in cohesion, it partly compensates for in technical expression and sheer sonic intensity. But if Exterminatus can refine the issues that hinder Echoes, their next venture into the cosmos could be great indeed.

Rating: Mixed
DR: 4 | Format Reviewed: 256 kbps mp3
Label: Self-Released
Websites: exterminatus.bandcamp.com | facebook.com/exterminatusband
Releases Worldwide: April 18, 2025

#25 #2025 #Apr25 #Archspire #CanadianMetal #DeathMetal #EchoesFromADistantStarPart1 #Exterminatus #Review #Reviews #SelfReleased #TechnicalDeathMetal #TheFaceless #TheZenithPassage

#apr25 #archspire #canadianmetal #deathmetal #echoesfromadistantstarpart1 #exterminatus

Angry Metal Guy @[email protected] · 2025-04-30 · 19:29 UTC

Exterminatus – Echoes From a Distant Star Part 1 Review

By Owlswald

“Exterminatus” is a Warhammer 40k term that describes a global mass extinction event authorized by the emperor when the Imperium deems the cost of holding or retaking a planet too high. While I’m naïve about such things, Canadian fivesome Exterminatus certainly isn’t. And these Canucks are here to incinerate your eardrums with a heavy dose of sci-fi inspired tech-death. Originally demoed in 2012, Echoes From a Distant Star Part I was to be the follow-up to Xenocide’s debut album, Galactic Oppression. However, the group disbanded before they completed the album, and its members—including most of the original lineup—subsequently formed Exterminatus. Thirteen years later, these Vancouverites have released two solid albums and are finally prepared to relaunch Echoes after recording and re-recording the material three times. Seeking to venture into deep space through a celestial narrative that investigates interstellar creation and its obscure realities, I’m left wondering if the destination justifies the voyage.

Raising the pace and intensity of its predecessors, Exterminatus mostly operates in overdrive on Echoes, peppering the limited moments of empty space with Faceless-esque grooves and melodic leads. Lead by the dual axe attacks of Tabreez Azad and Elia Baghbaniyan, the duo warps the fabric of reality with their percussive shredding, laser-fire tremolos, and technical articulation, flicking and tapping for thirty minutes across the album’s seven chapters.1 Together with Max Sepulveda’s (The Zenith Passage) ruthless drumming, the trio dominate the record’s linear mix, occasionally permitting Lucas Abreu’s virtuosic basslines to break through the wall of crushing brutality (“The Cloud,” “Suffer in Silence”). Lukas Bresan’s heavy Archspire-like growls provide additional gravity as they narrate Echoes’ grand planetary saga. Drawing inspiration from the famous works of Isaac Asimov and Arthur C. Clarke, as well as the Stargate SG-1 and Mass Effect franchises, Exterminatus explores the universe’s fundamental forces through the familiar and technical movements of tech-death’s stalwarts.

Exterminatus thrive when they back off the accelerator and use their technical expression to manipulate the cosmos in a manner that boosts Echoes’ groove-rich currents. Closer “The Signal,” is a no-frills banger that finishes with a savage dose of syncopated thrash riffs and agile drumming that aptly finds the balance between brutality and accessibility. Abreu’s playful bass lines at the onset of “Cosmic Disturbance” conveys its ominous warning with finesse, while the pulse-driven riffing of the song’s end hits with the power of a supernova. Meanwhile, the heroic solo before the launch of “Starbound” or the melodic leads of “The New Theia” provide moments of respite around outbursts of cosmic turbulence. Though Echoes’ highlights are generally not as memorable as I would like, there are enough amidst the onslaught of staccatos, pummeling double bass, and light speed shifts to provide necessary touchstones and avoid a full system overload.

Still, Exterminatus’ ambitious pursuit fares better in concept than in execution. Track sequencing and songwriting diminish Echoes’ voyage, hindering the whole with abrupt openings and sudden descents that disrupt the journey. Songs like “Primordial Sea,” and “The New Theia” suffer from bloat, while “Suffer in Silence” and “The Signal” seem truncated. Accordingly, Echoes feels more academic than vibrant, a collection of separate tracks that are challenging to connect with, rather than an absorbing cosmic saga. Additionally, the production sacrifices nuance and emotion for volume and intensity, thereby crushing any promise of dynamics. The overly loud mix is too aggressive—particularly the drums and guitars—which fatigued my ears and became frustrating. Likewise, Exterminatus’ reliance on tropey bass drops to replace the lack of energy in Echoes’ peak moments are a distraction, achieving the opposite of their intended effect.

Despite years of development, Echoes doesn’t hit its mark. Exterminatus clearly possess the talent to create something special, and their commitment to crafting an ambitious, sci-fi narrative is commendable. However, the album’s songwriting and production prevent it from reaching its potential, serving instead as a demonstration of what they are capable of. What Echoes lacks in cohesion, it partly compensates for in technical expression and sheer sonic intensity. But if Exterminatus can refine the issues that hinder Echoes, their next venture into the cosmos could be great indeed.

Rating: Mixed
DR: 4 | Format Reviewed: 256 kbps mp3
Label: Self-Released
Websites: exterminatus.bandcamp.com | facebook.com/exterminatusband
Releases Worldwide: April 18, 2025

#25 #2025 #Apr25 #Archspire #CanadianMetal #DeathMetal #EchoesFromADistantStarPart1 #Exterminatus #Review #Reviews #SelfReleased #TechnicalDeathMetal #TheFaceless #TheZenithPassage

#thezenithpassage #thefaceless #technicaldeathmetal #selfreleased #reviews #review

Angry Metal Guy @[email protected] · 2025-04-30 · 19:29 UTC

Exterminatus – Echoes From a Distant Star Part 1 Review

By Owlswald

“Exterminatus” is a Warhammer 40k term that describes a global mass extinction event authorized by the emperor when the Imperium deems the cost of holding or retaking a planet too high. While I’m naïve about such things, Canadian fivesome Exterminatus certainly isn’t. And these Canucks are here to incinerate your eardrums with a heavy dose of sci-fi inspired tech-death. Originally demoed in 2012, Echoes From a Distant Star Part I was to be the follow-up to Xenocide’s debut album, Galactic Oppression. However, the group disbanded before they completed the album, and its members—including most of the original lineup—subsequently formed Exterminatus. Thirteen years later, these Vancouverites have released two solid albums and are finally prepared to relaunch Echoes after recording and re-recording the material three times. Seeking to venture into deep space through a celestial narrative that investigates interstellar creation and its obscure realities, I’m left wondering if the destination justifies the voyage.

Raising the pace and intensity of its predecessors, Exterminatus mostly operates in overdrive on Echoes, peppering the limited moments of empty space with Faceless-esque grooves and melodic leads. Lead by the dual axe attacks of Tabreez Azad and Elia Baghbaniyan, the duo warps the fabric of reality with their percussive shredding, laser-fire tremolos, and technical articulation, flicking and tapping for thirty minutes across the album’s seven chapters.1 Together with Max Sepulveda’s (The Zenith Passage) ruthless drumming, the trio dominate the record’s linear mix, occasionally permitting Lucas Abreu’s virtuosic basslines to break through the wall of crushing brutality (“The Cloud,” “Suffer in Silence”). Lukas Bresan’s heavy Archspire-like growls provide additional gravity as they narrate Echoes’ grand planetary saga. Drawing inspiration from the famous works of Isaac Asimov and Arthur C. Clarke, as well as the Stargate SG-1 and Mass Effect franchises, Exterminatus explores the universe’s fundamental forces through the familiar and technical movements of tech-death’s stalwarts.

Exterminatus thrive when they back off the accelerator and use their technical expression to manipulate the cosmos in a manner that boosts Echoes’ groove-rich currents. Closer “The Signal,” is a no-frills banger that finishes with a savage dose of syncopated thrash riffs and agile drumming that aptly finds the balance between brutality and accessibility. Abreu’s playful bass lines at the onset of “Cosmic Disturbance” conveys its ominous warning with finesse, while the pulse-driven riffing of the song’s end hits with the power of a supernova. Meanwhile, the heroic solo before the launch of “Starbound” or the melodic leads of “The New Theia” provide moments of respite around outbursts of cosmic turbulence. Though Echoes’ highlights are generally not as memorable as I would like, there are enough amidst the onslaught of staccatos, pummeling double bass, and light speed shifts to provide necessary touchstones and avoid a full system overload.

Still, Exterminatus’ ambitious pursuit fares better in concept than in execution. Track sequencing and songwriting diminish Echoes’ voyage, hindering the whole with abrupt openings and sudden descents that disrupt the journey. Songs like “Primordial Sea,” and “The New Theia” suffer from bloat, while “Suffer in Silence” and “The Signal” seem truncated. Accordingly, Echoes feels more academic than vibrant, a collection of separate tracks that are challenging to connect with, rather than an absorbing cosmic saga. Additionally, the production sacrifices nuance and emotion for volume and intensity, thereby crushing any promise of dynamics. The overly loud mix is too aggressive—particularly the drums and guitars—which fatigued my ears and became frustrating. Likewise, Exterminatus’ reliance on tropey bass drops to replace the lack of energy in Echoes’ peak moments are a distraction, achieving the opposite of their intended effect.

Despite years of development, Echoes doesn’t hit its mark. Exterminatus clearly possess the talent to create something special, and their commitment to crafting an ambitious, sci-fi narrative is commendable. However, the album’s songwriting and production prevent it from reaching its potential, serving instead as a demonstration of what they are capable of. What Echoes lacks in cohesion, it partly compensates for in technical expression and sheer sonic intensity. But if Exterminatus can refine the issues that hinder Echoes, their next venture into the cosmos could be great indeed.

Rating: Mixed
DR: 4 | Format Reviewed: 256 kbps mp3
Label: Self-Released
Websites: exterminatus.bandcamp.com | facebook.com/exterminatusband
Releases Worldwide: April 18, 2025

#25 #2025 #Apr25 #Archspire #CanadianMetal #DeathMetal #EchoesFromADistantStarPart1 #Exterminatus #Review #Reviews #SelfReleased #TechnicalDeathMetal #TheFaceless #TheZenithPassage

#apr25 #archspire #canadianmetal #deathmetal #echoesfromadistantstarpart1 #exterminatus

Seth Abrikoos @[email protected] · 2025-04-25 · 08:15 UTC

Tonight's 📽️📷 planning

#Aborted + #Crypta + #TheZenithPassage + #Organectomy

#aborted #crypta #thezenithpassage #organectomy

Seth Abrikoos @[email protected] · 2025-04-25 · 08:15 UTC

Tonight's 📽️📷 planning

#Aborted + #Crypta + #TheZenithPassage + #Organectomy

#aborted #crypta #thezenithpassage #organectomy

Seth Abrikoos @[email protected] · 2025-04-25 · 08:15 UTC

Tonight's 📽️📷 planning

#Aborted + #Crypta + #TheZenithPassage + #Organectomy

#aborted #crypta #thezenithpassage #organectomy

Seth Abrikoos @[email protected] · 2025-04-25 · 08:15 UTC

Tonight's 📽️📷 planning

#Aborted + #Crypta + #TheZenithPassage + #Organectomy

#organectomy #thezenithpassage #crypta #aborted

Seth Abrikoos @[email protected] · 2025-04-25 · 08:15 UTC

Tonight's 📽️📷 planning

#Aborted + #Crypta + #TheZenithPassage + #Organectomy

#aborted #crypta #thezenithpassage #organectomy

Moshville Times @[email protected] · 2024-09-18 · 10:09 UTC

Aborted to hit the UK/IRE in May 2025

Extreme metal trailblazers Aborted have announced an extensive European headline tour under the name of Slashing Europe for April and May 2025.

Aborted front man Sven de Caluwé commented:
Hello kiddies! It’s been since 2019 that we have properly terrified Europe with a headline tour! Well, do

https://www.moshville.co.uk/news/tours/2024/09/aborted-to-hit-the-uk-ire-in-may-2025/

#ToursLiveDates #Aborted #Crypta #Organectomy #TheZenithPassage

#thezenithpassage #organectomy #crypta #aborted #tourslivedates

Moshville Times @[email protected] · 2024-09-18 · 10:09 UTC

Aborted to hit the UK/IRE in May 2025

Extreme metal trailblazers Aborted have announced an extensive European headline tour under the name of Slashing Europe for April and May 2025.

Aborted front man Sven de Caluwé commented:
Hello kiddies! It’s been since 2019 that we have properly terrified Europe with a headline tour! Well, do

https://www.moshville.co.uk/news/tours/2024/09/aborted-to-hit-the-uk-ire-in-may-2025/

#ToursLiveDates #Aborted #Crypta #Organectomy #TheZenithPassage

#thezenithpassage #organectomy #crypta #aborted #tourslivedates

Moshville Times @[email protected] · 2024-09-18 · 10:09 UTC

Aborted to hit the UK/IRE in May 2025

Extreme metal trailblazers Aborted have announced an extensive European headline tour under the name of Slashing Europe for April and May 2025.

Aborted front man Sven de Caluwé commented:
Hello kiddies! It’s been since 2019 that we have properly terrified Europe with a headline tour! Well, do

https://www.moshville.co.uk/news/tours/2024/09/aborted-to-hit-the-uk-ire-in-may-2025/

#ToursLiveDates #Aborted #Crypta #Organectomy #TheZenithPassage

#tourslivedates #aborted #crypta #organectomy #thezenithpassage

Your Future Ex @[email protected] · 2024-06-12 · 08:18 UTC

Entheos: Life in Slow Motion

#thezenithpassage #gorod #fallujah #progressivedeathmetal #musicwomenwednesday

Your Future Ex @[email protected] · 2024-06-12 · 08:18 UTC

Entheos: Life in Slow Motion

#thezenithpassage #gorod #fallujah #progressivedeathmetal #musicwomenwednesday

Your Future Ex @[email protected] · 2024-06-12 · 08:18 UTC

Entheos: Life in Slow Motion

#thezenithpassage #gorod #fallujah #progressivedeathmetal #musicwomenwednesday

Your Future Ex @[email protected] · 2024-06-12 · 08:18 UTC

Entheos: Life in Slow Motion