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Soreption’s Ian Waye to Join Suicide Silence for Upcoming Live Shows

https://www.metalsucks.net/2026/01/10/soreptions-ian-waye-to-join-suicide-silence-for-upcoming-live-shows/

#Soreption #IanWaye #EP #announcement #guitarist #MetalSucks #metal #music

#TheMetalDogArticleList
#MetalInjection
SOREPTION's IAN WAYE Joins SUICIDE SILENCE For Live Shows, MARK HEYLMUN Explains His Hiatus From Years Ago

https://metalinjection.net/news/soreptions-ian-waye-joins-suicide-silence-for-live-shows-mark-heylmun-explains-his-hiatus-from-years-ago

#SOREPTION #IANWAYE #Joins #ForLiveShows #EP #guitarist #MetalInjection #metal #music

#TheMetalDogArticleList
#MetalInjection
SOREPTION's IAN WAYE Joins SUICIDE SILENCE For Live Shows, MARK HEYLMUN Explains His Hiatus From Years Ago

https://627e81c5fee2d202a5df846c.paas-p.smehost.net/news/soreptions-ian-waye-joins-suicide-silence-for-live-shows-mark-heylmun-explains-his-hiatus-from-years-ago

#SOREPTION #IANWAYE #Joins #ForLiveShows #EP #guitarist #MetalInjection #metal #music

Harvested – Dysthymia Review

By Tyme

Despite a waning stigma, mental illness remains an oft-closeted topic, as those suffering from it struggle not only to cope but to discuss their struggles with others. Here to shed some of their death metal light on the matter are Canadian upstarts Harvested, with their independent debut full-length Dysthymia, which, according to Johns Hopkins Medicine, is defined as a long-lasting form of mild depression. Touching on topics ranging from submitting to one’s long-bottled-up ‘shadow self’ (“Repressed Neurosis”) to the gluttonous way humans abuse the earth (“Unanchored”), something Harvested consider a form of mental illness, they’ve dialed back the lyrically gorier aspects of their eponymous 2022 EP to intensify the focus on their chosen theme. As evidenced by the beautifully rendered CJ Bertram cover art, which main guitarist Mitchi Dimitriadis says depicts ‘an individual in great mental turmoil’ and represents ‘the abstract visualization of the chaos that is the human brain,’ it’s clear that Harvested are committed to the subject. The only question left to answer is whether it’s worth reaping what Harvested’s Dysthymia hopes to have sown.

Nostalgically anchored in 1990s and early 2000s death metal, Harvested also incorporate modern elements of slam and tech-death into the mix to achieve Dysthymia’s goal. This is one brutal fucking record, and from the get, you realize Harvested aren’t messing about, as Dysthymia mashes the potatoes and pulls the meaty steaks off the grill, a muscle-bound manifestation of their Cannibal Corpse, Suffocation, and Deicide (“Harvested,” “The Infestation”) influences. Dimitriadis’ and Vitto Oh’s guitar harmonics are pinched harder than Grier‘s butt cheeks at an enema convention, ensorcelled by viscerally blistering riffs, technically proficient leads, and tornadic, swirling solos. Jacob Collins’ drums1 crack skulls and pummel sternums with whirling fills and destructive double-kicks while Eric Forget’s bass lines remember everything necessary to keep things rumbling along. Adam Semler’s vocals, primarily an homage to George Fisher’s chesty aggression and Glenn Benton’s demonic discernibility, also share elements with Cattle Decapitation’s Travis Ryan at his most high-pitched and raspy. For such a young band, Harvested have planted a flag on the death metal scene, and Dysthymia is the wind through which that flag furls, filled with exuberant, energy-filled performances and solid songwriting.

With highlights aplenty, Dysthymia demands attention by way of its genuine songcraft and near flawless execution. I found myself stank-faced and sweaty through many a listen, whether basking in the glow of galloping riffs and percussive bass on “Unending Madness” or taking in the detailed technicality of the Soreption and The Zenith Passage influenced “Designed Dilemma,” a song that chugs so hard through its last ninety seconds I nearly gave myself whiplash. My favorite track, “Gathered and Deluded,” is a Cattle Decapitation-tinted slammer with pinched harmonic progressions that have been living rent-free in my head for weeks as Forget’s bass marches in flurrying lockstep with Collins’ robotically precise drums, and Selmer channels his best inner Travis Ryan. Harvested is one tight-knit outfit, belying their relatively brief existence and sounding like a band that’s been together much longer.

I’d argue the efforts of Harvested’s “sixth member” deserve as much credit for the success Dysthymia should garner as the band themselves, and that is the excellent work Joe Lyko performed from the booth at Darkmoon Productions. Lyko’s mix and master slathers Dimitriadis’ and Oh’s guitar work in a tone that, for me, defies obvious comparison, as bright and bouncy as it is deadly and devastating. Like a calculated throat punch, it was the first thing that hit me when album opener, “Harvested,” launched, holding my rapt attention all the way through to “The Infestation,” an excellent close to Dysthymia’s very manageable thirty-two-minute runtime. Each instrument exists within its own space, breathing freely and intertwining with high-definition clarity, thereby topping this auditorily successful sundae with a big, fat, juicy cherry.

Lyrically poignant, brutally heavy, and bursting with engagingly twisted, hook-filled instrumentation, Dysthymia is a helluva debut, and one Harvested should be proud of. As poetically as I have waxed, I still believe there’s room for Harvested to grow. God help those who might lay their ears on a sophomore effort from this line-up, should they remain intact. Rest assured, I’ll definitely be watching and waiting. For now, however, I wholeheartedly recommend you spend some long-lasting, quality time with Dysthymia.

Rating: 3.5 / 5.0
DR: 7 | Format Reviewed: 320kbps mp3
Label: Self-Released
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: August 1st, 2025

#2025 #35 #Aug25 #CanadianMetal #CannibalCorpse #CattleDecapitation #DeathMetal #Deicide #Dysthymia #Harvested #Independent #Review #Soreption #Suffocation #TechnicalDeathMetal #TheZenithProcess

Weston Super Maim – See You Tomorrow Baby Review

By Dear Hollow

What’s so wonderful about Weston Super Maim is that the duo doesn’t take itself too seriously. With the style of music they profess, you’d be tempted to expect a Blindfolded and Led to the Woods or Ion Dissonance, maybe leaning a bit towards Aseitas or Dysphoria. You’d probably be right – technically – but these guys describe their sound as “imagine if Meshuggah couldn’t count,” describing a blend of the mathy pioneers’ wonky rhythms, Will Haven’s dissonance, Crowbar’s riffs, Car Bomb and Humanity’s Last Breath’s boundary-pushing technicality. From the successful 2021 EP 180-Degree Murder, they have worsened their sound (their words, not mine) to unleash the ol’ razzle dazzle of See You Tomorrow Baby on unsuspecting feet.

Somehow managing to encapsulate the three-fold overlap of mathcore, djent, and dissodeath in the Venn diagram of excess, the international duo (vocalist Seth Detrick from Oregon, the instrumentalist Tom Stevens from London) also tosses in a cyber metal sorta take on atmospherics, with laser sounds and obnoxious effects atop the fray, while Weston Super Maim’s ultimate claim to fame is their absolute apeshit intensity. Chunky riffs, wild electronics, an utter lack of rhythm, and breakdowns galore add to the insanity – a strange dichotomy of unhinged bananas music and solemn and abstract lyrics. Ultimately, See You Tomorrow Baby blessedly hits the sweet spot between listenability, unhinged ridiculousness, and unashamed excess.

This unrelenting assault comprises a blast for the willing to withstand an utter lack of subtlety and dignified rhythm for mathcore intensity with squonky tech and obscene sounds. The opening title track feels straight outta The Tony Danza Tapdance Extravaganza and Ion Dissonance’s school of thought, with chunky, djenty riffs offering a face full of thick stuffing with stinging dissonant leads and wonky blastbeats, although this insanity truly kicks in with following track “Autistic Kill Trance.” Weston Super Maim does a bang-up job of making deathcore/dissodeath/djent as brutal as possible, then amping it with even more ridiculousness, a trend further shown in “Johnny Menomic,” “Brute Fact,” and the aptly titled “The Bare Maximum” in spacy cybermetal effects and other forms of insanity. It features an expert blend of bananas hugeness, catchy earworms, moments that revel in the hugeness, and just enough melody to contrast the huge bite taken out of your left eardrum. There are four guests on See You Tomorrow Baby,1 but for better, the duo creates a bulletproof sound that the contributors do little but inject a jolt of energy. The closer “Perfect Meadows in Every Direction” offers punishment aplenty but adds a dimension of exploration to its proceedings.

See You Tomorrow Baby is big, dumb fun. The production only adds to its colossal loudness, which makes the more subdued tracks fall by the wayside. “Slow Hell” and “Kryptonite Renegade” are the best examples, few riffs dominating and some passages feeling like Frontierer or Psyopus copy-and-paste printer jobs, alongside a general and unwelcome subtlety. While “Perfect Meadows in Every Direction” does a bang-up job closing the album in its unique fusion of punishing and contemplative, its eight-minute-and-change runtime can make it feel daunting and distant. These are small potatoes, and ultimately add to the dynamic of the album at large, because you’re not here for boundary-pushing music; you’re here to have your skull caved in by a couple of dudes who make big fat metal.

This album has been on repeat for weeks, because it is both tormenting and insanely fun. The dissonant death metal influence is largely an afterthought to Weston Super Maim, but I can’t tell if it’s because the sonic palette doesn’t focus on it or the duo doesn’t take itself seriously enough. Either way, See You Tomorrow Baby leans hard into djenty deathcore/mathcore with megaton riffs and excess coded into every track, with an obnoxious aesthetic that pairs surprisingly nicely with its lyrical abstractness. With just enough melody and breathing room to give further emphasis to the beatdown at its core, its more-than-reasonable forty-minute runtime ensures that, although never overstaying its welcome, you’ll get your fair share of punishment. Don’t you worry about that.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Self-Released
Websites: westonsupermaim.bandcamp.com | facebook.com/westonsupermaim
Releases Worldwide: March 15th, 2024

#2024 #35 #Aseitas #BlindfoldedAndLedToTheWoods #CarBomb #Crowbar #Deathcore #DissonantDeathMetal #Djent #Dysphoria #Frontierer #HumanitySLastBreath #InternationalMetal #IonDissonance #Mar24 #Mathcore #Meshuggah #Psyopus #Review #Reviews #SeeYouTomorrowBaby #SelfRelease #Soreption #TheTonyDanzaTapdanceExtravaganza #WestonSuperMaim #WillHaven

I think I should squeeze in some technical Swedish Death Metal too, because why not? It is #MetalMonday so…here’s #Soreption with The Artificial North!

https://www.youtube.com/watch?v=0CS_TDabluo