Photos by: Brittany Barkasi
It indeed has been a bit since this writer has done a live review. Truth be told, a number of enticing tours haven’t been within a manageable distance, and the whole craze of making up for lost time of 2023 tour extravaganza has tapered off. However, when Tomb Mold announced a run with Horrendous, it was irresistible to jump at the opportunity to see these heavy hitters of death metal. It would be this scribe’s first time catching either, so two more bands off the proverbial must see list.
Another first was the venue – Will’s Pub in Orlando. Friends also attending told us it was on the smaller side, and their assessment wasn’t wrong. It was surprising to see this bill at a place this small, however, Will’s Pub oozes underground charm at every inch. It was a little crammed, true – it had to have been a sellout, or at least close to it – but the atmosphere this place conveys is infectious, fitting in with the billing quite nicely.
On to the death metal!
Chaos Relic
Jacksonville’s Chaos Relic opened the evening with a no-frills, straight to the point death metal. Large, chunky riffs and unrelenting heaviness are their selected tools of the trade, being plied with passionate rage.
Focusing on their self-titled EP that dropped a few months ago in April, their cavernous rhythms rattled the walls of an already packed house to the crowd’s vigorously headbanged approval. The audience was definitely buying what they were slinging, and who can blame them? Chaos Relic gave the hungry onlookers a meat and potatoes death metal sampler that did the job.
Their styling is one that’s already well-tread, though doing so in a well-composed way. Portraying said music in an energetic, passionate way goes a long way, and these fellows accomplished that goal. We will be keeping a close eye on Chaos Relic, as their EP and performance showed a band with plenty going for them.
Pariah
Next was another Florida band in Pariah. This trio offered up a more discordant, foggy technical approach that serves the band extremely well. Often changing tempos while consistently exuding a commendable level of fury, these fellows came to provide a roaring set to turn some ears. In that, we have no doubt that they succeeded.
Guitarist/vocalist Harrison Hullinger expelled immense levels of enthusiasm, roaring away as the collective rhythms trampled the eager crowd. Bassist Remy Nurge put forth equal levels of fervor – sadly, he has since departed Pariah, albeit on good terms – while drummer Colin Vaccaro smashed the skins with reckless abandon. They even flash some crushing ambient moments hidden within their pulverizing affront; a quality that makes this writer grin.
Pariah show a welcome mix of creativity and fiery persistence, leaving an impression on the now sweaty onlookers. We hope to hear more from Pariah, and we wish them the best going forward, as this is an act that has thus far only scratched the surface.
Horrendous
This way for more photos Horrendous in nature
Always embracing the term reinvention, Horrendous have always stayed true to the music they want to make. No doubt making a dent in the death metal realm for the last 15 years, they always manage to stay ahead of the curve. Last year’s Ontological Mysterium was their most progressive yet; maintaining the band’s trademark ethos while exploring new elements to their sonic recipe. Having only heard about their reputationally bombastic live performances, it was time to witness the progressive death metallers myself.
Their set focused on Ontological Mysterium, and just as on said record, Horrendous erupted with energy from the first note. Guita duo Matt Knox and Damian Herring traded six stringed barbs back and forth, aiding in turning the already enthusiastic crowd into a bubbling cauldron. Their chemistry is plain to see, as they constantly feed off of each other in all aspects within Horrendous’ live show. At one point, the stringing savant Knox even joined the ruckus mid-song and forayed into the pit, much to the fan’s elation.
Blazing through with cuts such as the forward thinking, pacey “Neon Leviathan” encouraged much movement on the floor, showcasing a vigor that many acts fall short of capturing. More methodical entries such as “Preterition Hymn” gave the appropriate tonal shift at the right moment in time. Drummer and (sibling of guitarist Matt) Jamie Knox’s percussive display was incredibly smooth, yet authoritative at the same time. His command of the kit that’s undeniable and a sight to behold. Bassist Alex Kulick completes the rhythmic side of Horrendous, exerting buckets of intensity and an innate mastery of his instrument of choice. These gents are a true unit moving in the same direction.
The wildly diverse and poignant “Cult of Shaad’oah” was a highlight, blasting off big riffs amongst clever compositional directions that were reproduced effusively on the stage. As “The Death Knell Ringeth” both in song and on their performance, the reality of Horrendous’ showing was a non-stop string of high points within a diverse array of persuasions and cerebral death metal goodness. Horrendous embrace the term progressive for what it really is (or should be), always marching to their own beat to provide death metal that mirrors no other. Going forward, they’ll be a can’t miss for yours truly – a fiery performance that satisfies absolutely, but wisely leaves you wanting more.
Tomb Mold
More Moldy photos of the Tomb variety
Toronto’s Tomb Mold dropped a top quality death metal record in The Enduring Spirit that surprised many for the better, notably in how they expanded upon their murky soundscapes to form a more nuanced overall soundscape. It was also as forceful of hammer to the face, so fans of their heavier output got plenty of mileage in what was a balanced, prolific release. Branching out without alienating one’s already established fanbase is quite the accomplishment. Now the opportunity to witness the band’s latest (and maybe greatest so far) in person had arrived.
Drawing from the new album to begin proceedings was the proggy, spacious “Will of Whispers” to allure the fervent crowd into their haze. The melodic pieces shined brightly, contrasted with meaty riffs and a pounding percussive clinic via Max Klebanoff. It may not be outwardly apparent – at least to those who have yet to see them in person – that Klebanoff is also Tomb Mold’s lead vocalist. This factoid brings a rare dynamic on stage, as this simply isn’t a dynamic one sees often, let alone done with such electric proficiency. Names such as Autopsy’s Chris Reifert and Absu’s Proscriptor McGovern come to mind as those who especially excel at fronting their respective band’s behind the kit. Not to leave out Stress Angel’s Manny Sores as a more recent example, who absolutely rules. Kelbanoff himself is a wild, growling octopus, executing complex drum patterns while snarling powerfully as any other.
Moving back while moving forward, we got a few selections from Manor of Infinite Forms via “Blood Mirror” and “Final Struggle of Selves” to beef up the center of the setlist. Particularly memorable cuts for those who adore the gritty, full-throttle side of Tomb Mold. When these dudes want to get down to their core of riff-driven evisceration, they deliver a deathly punch that’ll knock anyone down with ease.
A single selection from Planetary Clairvoyance was on the docket, namely the title track – in full, “Planetary Clairvoyance (They Grow Inside 2)” – which was doubtlessly a crowd favorite, inciting moshing-a-plenty. Ripping from start to finish, we were tempted to join, but wisely remembered our pseudo mosh retirement. My back was quite thankful. Guitarist Payson Power – sporting a bad-ass Akira shirt, we must say – is a machine that makes this fellow guitar player quite envious. His fretboard mechanizations are sublime, transitioning from dazzling lead to crunchy rhythm like it was a natural bodily function.
Speaking of Mr. Power, there was a bit of an equipment issue that he was able to plow through like a champ. It looked to me – anyone else who was there, let me know if we’re off base – that the guitar strap button on the top portion of his axe seemed to break off. However, the handyman’s secret weapon was there to save the day – duct tape! Or some other kind of tape, probably, but my love The Red Green Show is strong, so let me have this. Nevertheless, the guitar was temporarily fixed, and he went on like nothing happened.
Finishing up was a return to The Enduring Spirit with the closing two tracks – “Servents of Possibility” and the monster that is “The Enduring Spirit of Calamity.” The latter is the band’s most ambitious composition thus far, and some may wonder how it would come off. Certainly not an easy piece to execute, yet they did so in pitch perfect fashion, giving their show a motivated and superlative finale.
Conclusion
Tomb Mold and Horrendous are both representative stalwarts of the current generation of death metal purveyors. The creativity that each has injected into the genre has been crucial to the style staying so prevalent, and on this night, they showed every soul in attendance why that’s the case. If one is keen to what these bands are slinging, it would be a disservice to not come out if either comes within a reasonable distance. An overall evening of quality local acts and the upper crust of forward thinking death metal that many won’t be able to purge from their thoughts for quite some time. Who would want to?
Tomb Mold on Facebook
Horrendous on Facebook
Pariah on Instagram
Chaos Relic on Facebook