“THE BLACK OPERA ACROSS NORTH AMERICA 2024”
The Olympia offers us melody and theatre for a memorable evening.
Disembodied Tyrant was the first to take the stage. A melodic deathcore atmosphere was present. When the singer arrived, he warmed up the audience with “Icarian” as the first song. He then picked up his guitar to begin the second song, “Aberrant Waltz.” Always very enthusiastic with the crowd, he followed up with “Malphasian.” In this song, we could see him alternate between his guitar and simply singing.
The crowd was there to discover them; there wasn’t a huge mosh pit, but some fans were thrilled to see them in Montreal for the first time. To conclude, they played “The Poetic Edda” from their latest micro-album, which pleased many and brought a dark, intense ambiance.
The Zenith Passage was next. Their concert was a sick experience that blended powerful riffs and extraordinary melodies. They started with “The Axiom of Error.” The singer occasionally stepped back to let his musicians take the spotlight during the solos, allowing the crowd to admire their talent.
The Zenith Passage, all former members of The Faceless, played their entire latest album. We were treated to 25 minutes of impressive technical prowess.
The next band was Ingested, a group with deathcore and slam influences. They kicked off with “Paragon of Purity” from their latest album. Jason Evans, as usual, was energetic. They followed up with “Pantheon,” also from the latest album. The band showed a lot of enthusiasm playing in Montreal, engaging with the crowd.
The mosh pits were intense from start to finish. To kick off the third song, they pulled from Ashes Lie Still and played “Shadow in Time.” The singer asked the audience to outdo Toronto, their previous date, in terms of the size of the circle pit. Of course, Montreal did not hesitate. The wild crowd was ready to tear everything apart.
We also heard “Cremated Existence” from the album Surpassing the Boundaries of Human Suffering, released in 2009. The final song was their classic “Impending Dominance.” Ingested finally made way for the next band, having set the stage ablaze.
Shadow of Intent made their entrance with “Blood in the Sands of Time,” which set the mood perfectly. From the moment they took the stage, the energy was palpable. The blend of deathcore and orchestral symphony created an atmosphere that captivated the audience.
They followed with “Gravesinger.” The dark and epic lighting provided an incredible ambiance. We got to hear several tracks from the album Elegy, which were met with enthusiasm, and each guitar solo drew cheers. The band played in a straightforward and effective manner, wrapping up with the song “Malediction” again from the album Melancholy.
Fleshgod Apocalypse. If you’re looking for something theatrical, you won’t be disappointed. They set the stage ablaze with an absolutely majestic performance, featuring incredible scenery and a truly fascinating show. The band, known for their fusion of death metal and classical elements, including opera, captivated many from the very first note.
They arrived on stage dressed in gothic costumes and extravagant makeup. The stage even had chandeliers scattered throughout, giving the impression of being in a dark, otherworldly realm. Their music transported us to their universe; it was an extraordinary experience. They blended classics like “The Violation” and “Minotaur (The Wrath of Poseidon)” with more recent tracks. The pianist added a poetic dimension to the performance.
The audience reacted enthusiastically to every riff and orchestral passage. They even performed a cover of “I’m Blue” by Eiffel 65 to close the evening.
In conclusion, it was an incredible night filled with absolutely unique and captivating melodies. Fleshgod Apocalypse completely impressed me overall. Shadow of Intent’s performance was mind-blowing. Ingested, with their dynamism, did not disappoint.
I was fascinated by The Zenith Passage, and I wanted more from Disembodied Tyrant. It was a show I would watch over and over again.
Review – Melissa Francoeur
Photos – Ryan Rumpel
