CATTLE DECAPITATION, ABORTED, FROZEN SOUL, TRIBAL GAZE — NOV. 25, 2025 — THE ORPHEUM, TAMPA, FL

(Our contributor Daniel Barkasi was lucky enough to catch the Tampa stop of Cattle Decapitation’s still-ongoing No Fear For Tomorrow North American Tour, with support from Aborted, Frozen Soul, and Tribal Gaze, and he sent us the following enthusiastic report, accompanied by terrific photos made by Brittany Barkasi @Turn off the Thunder.)

To say that we’re supporters of Cattle Decapitation could be the understatement of the day. Having followed this band ever since hearing Homovore 25 years ago – how is it that long – it’s been a constant evolution for the death/grinders with the ironic name. For these ears, The Harvest Floor displayed a bit that was really on to something special, which was fully realized with Monolith of Inhumanity, at this point not being solely a grindcore act, but a homogenization of the best elements of that style smashed together with roaring, energetic death metal.

From there, the band has been on a steady trajectory of phenomenal records, whose subject matter has also gotten bleaker in their vision of the human condition. Each album since the aforementioned Monolith has given added flavor to their already signature sound, with 2019’s Death Atlas being a personal standout – a well-assembled record that digests best as a whole, whilst being more poignant than the band could have imagined, considering what was about to happen with the dreaded COVID times.

With this tour, the band are playing Death Atlas in full, so if we couldn’t have already been more excited for another romp through the slaughterhouse, anticipation was at a fever pitch. Bringing along a notably weighty trio of Aborted, Frozen Soul, and Tribal Gaze along for the ride, an unabashedly crushing of an evening was set.

 

On a personal note, this will be our last time (at least for the foreseeable future) covering a show at what is definitively our favorite Tampa venue, The Orpheum. We’ve been there a lot in our time in Florida (both at this location and their previous one), and the staff there has always been friendly, accommodating, and just plain amazing to us each and every time. Plus, their outdoor stage for the more highly attended shows sets an atmosphere for a club-style gig that we haven’t seen replicated better, feeling like a mini festival each time, complete with a food truck from varying local folks. Thanks for being amazing, and it’s not goodbye, it’s see you real soon!

But enough of my gushing – lets get our proverbial rectums kicked in.

Tribal Gaze

Facebook: https://www.facebook.com/TribalGazeTX

Instagram: https://www.instagram.com/tribalgazetx/

 

Texas is well represented on this tour, with the opening two acts hailing from said state – the first being Tribal Gaze, who are fresh off of the release of their new album Inveighing Brilliance. The band have embraced the older style of death metal in their relatively brief history, and that principle hasn’t changed with said sophomore album, though a larger dosage of hardcore has been injected into the formula, in turn increasing the slam-inspired, beatdown moments to increased prominence.

 

Immediately noticeable upon their start is the big, fat guitar tone employed. In many ways, their material is made for the live arena, as “Smiling From Their Chariots” rumbled from the PA. The genuine anger in vocalist McKenna Holland‘s snarl and demeanor can be felt from the front row to the bar in the back, as the band pummeled through “Emptying the Nest” as Holland demanded the crowd to bang their heads. The majority happily obliged and accepted their thrashing with pride, as guitarists Ian Kilmer and Quintin Stauts tear away at the hapless mass.

 

Tribal Gaze can certainly conjure a groove-filled, fat riff that slashes through the mix, and that ability is used to full advantage on stage. As more cuts from Inveighing Brilliance fueled the onlookers “To the Spoils of Faith” caused the pit to fully break out and “The Irreversible Sequence” maintained the action, much to the band’s approval. There was even an attempt at break dancing. In my day (old man alert), that would have resulted in an elbow drop from the top rope – or at least from the nearest barstool. Nevertheless, their hard-hitting breakdowns land a haymaker; a key element to their sound, further energizing an already hot crowd.

 

“Godless Voyage” from the same-titled 2021 debut EP was broken out, blasting into a riffy rhythmic thumping – a standout moment in their set, as this track contains some particularly nasty rhythm work – drummer Cesar De Los Santos and bassist Zachary Denton form a notable one-two combination. The quick-hit “Twitching on the Cross” from their split with Deadbody and “Beyond Recognition” from their fresh LP brought the set full circle to a hearty conclusion.

 

Tribal Gaze didn’t pull punches, and they landed them squarely throughout their set. The crowd really got into what they were slinging, and by the end, they certainly garnered the attention of the previously uninitiated. They’re not doing anything wholly innovative, mind you, but these dudes can hit you where it counts and leave a mark. A fine start, without doubt.

 

 

 

 

 

 

Frozen Soul

Facebook: https://www.facebook.com/frozensoultx/

Instagram: https://www.instagram.com/frozensoultx/

 

 

Spears with “frozen” bodies – though more thawed in the Tampa swamp – adorned the stage for Frozen Soul‘s appearance, the second of the duo of Texas-based acts. The band have a significant amount of buzz, being conjoined with bands such as Undeath and 200 Stab Wounds in the old school death metal revival line of newer bands embracing that older sound, though to my ears, that style never left and has been incredibly strong over the last 10-15 years. It’s good to see it being kept alive by those with an intense passion for it, which Frozen Soul certainly possesses in abundance.

 

 

Attacking with their typical chugging, Bolt Thrower-inspired affront, the death metallers captured the attention of the audience instantaneously as they began their show with a new and thus far unreleased track in “Skinned by the Wind” that’s no doubt a part of their upcoming new album. Vocalist Chad Green, adorned with a fine Bolt Thrower shirt as is his usual tradition, emits a commanding, steadfast stage presence. He knows how to work a crowd, without doubt, embracing the role of frontman with aplomb as the band imposed the slow churn of “Beat to Dust” to the raucous attendees.

 

 

Green incited one of the largest pits I’ve seen at my many trips to The Orpheum over the years – impressive stuff for sure – as the band unleashed additional new songs such as “Chaos Will Reign” amongst cuts from their latest album Glacial Domination in “Morbid Effigy” and “Arsenal of War,” the latter being one of their more memorable efforts, with a hefty guitar incursion via Michael Munday and Chris Bonner.

As for the new songs, we can’t say they gave anything significantly different from Frozen Soul’s discography on first listen, but then again, hearing a song you haven’t heard once live doesn’t always give a full representation like listening to it on album a bunch of times. Four of the nine tracks in their set are new ones, heavily gearing up towards unleashing their freshly curated wares.

 

 

Admittedly, Frozen Soul has never truly grabbed my attention – in the vast sea of death metal, there’s an avalanche of bands, many of which have been able to savagely put their hooks deeper into my brain. However, fans of their straightforward, churn-and-burn approach have plenty of meat to sink their teeth into, as their thick rhythms and continuous, pacy tempo doesn’t relent – drummer Matt Dennard can hit hard and is incredibly capable, and Samantha Mobley has a groove and power in her basslines. They execute their form of death metal well, which is accentuated by their stage performance, hitting the right tone under the lights, and I’ll say seeing them live is assuredly a fun time.

 

 

On the flip side of the aggression, we had a heartfelt message of togetherness and checking in on your friends and family from Green between aural assaults. Certainly something we can get behind. Know that you’re loved by somebody despite your struggles. The band finished up with the last new cut of the night in “Invoke War” and the crunching “Crypt of Ice” from their 2021 debut full-length of the same name, completing the decimation of their enthusiastic and engaged fanbase.

 

 

If no-frills, knuckledragging death metal with a frostbitten theme is your flavor, then Frozen Soul may indelibly scratch that itch. I leave nodding in affirmation of their ability to capture their audience and pummel them into fragments of iced over powder. They’re worth giving a go if you haven’t (though many likely have, given their momentum), and if you’re already covered in their brand of icy tundra of death metal, then you’re guaranteed a memorable time. We hope that the new record spites me with piercing icicles of disdain.

 

 

 

 

 

 

 

Aborted

Facebook: https://www.facebook.com/Abortedofficial

Instagram: https://www.instagram.com/abortedmetal

 

For gory brutal death, it’s hard to not mention Aborted as one of the more historically important purveyors. Ever since laying ears on Engineering the Dead in 2001, they’ve been a band that we’ve consistently followed. Having seen them a handful of times, they’ve always left an impression and a fantastic time was always the result, yet it’s been some time since catching a set. Their latest and twelfth album Vault of Horrors divided some fans, as their more recent creations have included a techy deathcore infusion, leaving those who most adore their more brutal death metal days longing. Personally, their evolution hasn’t lost me, and they’ve always given me plenty to embrace – from nasty riffs to precision punchiness and the variations in between.

 

 

Frozen corpses transitioned to grisly, mutilated upper torsos on stage, as Aborted launched into “Deadbringer” from their latest. A sound fire starter, containing pace and slick, gnarly riffs to burn; a minimum for the band’s blistering set on this evening. Guitarists Ian Jekelis and Daníel Máni Konráðsson were in top form, not missing a note and exuding buckets full of energy. “Retrogore” followed, giving the audience a taste of the band’s more gristly, gritty death metal side. Aborted showed multiple purviews of their sonic evolution, and it all came across naturally, despite the difference in approach that has evolved over the years.

 

 

Aborted doesn’t know the meaning of playing slow; instead moving at fast, faster, and ludicrous speed, and they didn’t let that momentum drop a microsecond on this somewhat balmy evening. Vocalist and lone founding member Sven de Caluwé is what makes the project tick and is the undeniable face of what they do, continuing the chain of effective frontmen who have the crowd eating out of the palm of their entrails-filled grasp. Athletically punching and kicking the air while emitting inhuman, guttural growls and squeals on standout entries such as “The Origin of Disease” and “Divine Impediment,” he’s got gusto amongst a steadfast execution. 

 

 

Insanity and a bit of violence can be expected when seeing Aborted in the flesh, and the examples on this night were numerous. de Caluwé at one juncture called for a tsunami of crowd surfers, prompting venue security to be the ones to “save your asses” and ushering in a literal wave of humanity. Demanding a wall of death to kick off “The Shape of Hate” in de Caluwé’s best Arnold Schwarzenegger impression (it was pretty close, to be fair) was also quite the visual scene of calamity. The resultant was one of utter chaos, but also one of comradery, with even a kid gleefully participating, resulting in the seasoned moshers watching out for him and making sure he had an evening to remember. Moments like that make me appreciate this scene all the more.

 

 

The Texas Chainsaw Massacre themed “Death Cult” followed, continuing the unruly frenzy to a level of vehemence that Leatherface would be proud of. de Caluwé‘s banter is well-known, and he was on for this showing – jokingly stating that they’re from Tampa, and that it was their drummer Siebe Hermans’ first time in the US, which was weird due to them being from here, and demanding jumping Jack’s during “The Origin of Disease”, stating “death metal without sports is…death metal.” He should coin that and slap it on a shirt (correct me if they have, as their merch is always creative and ever changing).

 

 

As the set neared its conclusion, the discordance didn’t end with “Insect Politics” and de Caluwé calling for another wall of death, claiming it was their set’s first due to his ADHD. Like clockwork, the madness erupted again. Crowd control of the master frontman – it makes a difference, and de Caluwé simply gets it. A medley of “Threading on Vermillion Deception” and “The Saw and the Carnage Done” completed their showcase, and while it would have been cool to have seen each song in full, it was cool to creatively hear cuts from their classic material that tear to the bone just as harshly as they did over two decades ago.

 

 

Aborted do what they want and never sit still; a quality that we can’t help but respect. Their stage show hasn’t lost a single tidbit of intensity and ferociousness, with songs new and old presented skillfully and relentlessly – admirable given the band’s long history and ever evolving soundscapes. For a slimy, gore-infested romp, you never could and still can’t go wrong with Aborted. I do regret not picking up that Bruce Campbell inspired shirt, though. Maybe next time!

 

 

 

 

 

 

Cattle Decapitation

Facebook: https://www.facebook.com/cattledecapitation

Instagram: https://www.instagram.com/cattledecapitation/

 

 

Flanked by their trademark Ouroboros, Cattle Decapitation were prepared to deliver a special exhibition of Death Atlas for this now foaming at the mouth crowd. That album was one of the main records that got me through the pandemic mentally (along with Ulcerate’s Stare Into Death and Be Still and a few others), and who could ever forget the video for “Bring Back the Plague” with Travis Ryan hugging packages of toilet paper with a giant bottle of hand sanitizer nearby, masked up members of the band playing along at their homes, and Ryan playing video games with his dog, and one of his cats playing on a cat tree behind him, interlaced with videos of consumers mauling each other for toiletries. Genius, it has to be said, and will always be one of my favorite music videos, from an album that continues to be ever relevant in both its uncompromising composition and lyrical theming. Seeing that manifested in person is a moment not to miss.

 

 

The “Anthropogenic: End Transmission” intro track began as the band settled onto the stage, and then emerging opening salvo “The Geocide” eradicated the crowd with apocalyptic strength, singing a song of nature’s need to purge humanity. The masses frenzied with immediacy, as Cattle Decap rolled forth with ominous force. Mr. Ryan introduced the crowd to the playthrough of Death Atlas by almost stating they were playing Monolith of Inhumanity, immediately catching himself in a hearty chuckle before he could finish the incorrect album title he began uttering. He recovered quickly, with the band ripping into a blistering rendition of “Be Still Our Bleeding Hearts.”

 

 

Ryan’s voice, as we’ve stated many times, never wavers – his gurgling growls and goblin screams are dished out to full, ravenous effect through the entire set. “Vulturous” came off incredibly angry – maybe even more than on record, which is certainly an accomplishment – to the delight of all, as longtime guitarist Josh Elmore tore through riff after glorious riff with his counterpart Belisario Dimuzio. Their chemistry only gets better with time, and they’ve got their craft down to a science.

 

 

Yes, before you ask – Travis is still the wettest human this side of Aquaman. I’d argue that Ryan’s moisture level makes that often maligned hero look like a dry pile of sand. The photos speak for themselves. He’s the Pigpen of metal, except substitute dirt with excessive wetness. A good friend calls him “The Rainmaker” – Kazuchika Okada may take issue with that, but the title is correct and should certainly be shared for completely different reasons. I digress; the fellows dispatched the pacey and shredding “One Day Closer to the End of the World” to keep the aural doomsday clock ticking.

 

 

If the tracklisting is of close familiarity as it is for yours truly, then we both know that “Bring Back the Plague” was next – and the band had the merch for it in kind (we got a koozie and bumper stickers). A fan favorite, for undeniable reason – it alone is a monster of a song in and of itself, but it’s also an anthem for a time we’d like to forget, yet we’ll gladly recall this track any damn time. The pit was at a fever pitch, as the first three rows could be designated as the official “Splash Zone.” Hey, Cattle Decap, if any of you are reading – can we please get a shirt with a silhouette of a perspiring Travis’ in a tribute to D.R.I.’s Thrash Zone cover? I want nothing in return, other than to see something like this happen, so we can gladly give you more money.

 

 

Drummer David McGraw ranks highly on my personal list of incredible drummers in the metal world, up there with the likes of Jamie Saint Merat and David Haley in my book. A Leviathan behind the kit, his control and explosiveness are inspiring, really shining through on entries like “Absolute Destitute” and “With All Disrespect” on Death Atlas, and his playthrough was immaculate and without flaw. Live bassist Diego Soria (also of Broken Hope and Disgorge) is no slouch, either, completing the rhythm section that’s the pulse of Cattle Decapitation’s eclectic, one-of-a-kind sound.

 

 

“Time’s Cruel Curtain” slows proceedings slightly, introducing a reflective, approaching doom sort of aesthetic, with Ryan’s vocals shining with a dose of melody between the violence. All in attendance ate it up, as Cattle Decapitation seamlessly transitioned to interlude “The Unerasable Past” to set up the monstrous title track, a song they hadn’t played since 2022. A complex roller coaster of tempos and stinging moments, this piece is ambitious, and live, the band made it almost look easy when the opposite is true. As Ryan croons “There’s no fear for tomorrow when there’s no trust for today, There’s no ever after, debts have to be paid” before exploding in the most grotesquely delightful roar of the evening as he barked “We deserve everything that’s coming.” We’re running out of adjectives to describe it, but maybe chillingly poignant will do it?

 

 

After the completion of Death Atlas, the band weren’t done, giving us a welcome infusion of selections from their latest record Terrasite, starting with the grinding, galloping “A Photic Doom.” Standout single and catchy face-melter “We Eat Our Young” and the pulverizing “Scourge of the Offspring” completed their soiree. To top it off, the Travis Ryan caught loogie count was, give or take, around 3 – a stat that may confuse those who haven’t seen Cattle Decapitation live, but hey, we’re giving it to you anyway. An evening that served as a celebration of an album that, for this guy anyway, stands up as one of the band’s best in a discography that is chock full of memorable records.

 

 

We’ll always take up the chance to see Cattle Decap, and we implore anyone who even likes them a little to consider checking this trek out. The support is bursting with vibrancy and monstrous riff energy and the vibe is incredible, so if you want to have a blast of a time to grippingly caustic music about the downfall of mankind, you know what to do. What’s not to love?

 

 

 

 

 

 

 

 

 

 

There’s still plenty of dates on the dubbed No Fear For Tomorrow tour, and if you’re able, be sure to hit up one of the remaining shows. We promise it’ll be worth your while and hard-earned cash. Just be wary of the splash zone! If you do make it to one of the gigs, let us know what you thought!

You can grab tickets here.

12/5 – Montréal, QC – Club Soda – SOLD OUT

12/6 – Toronto, ON – Concert Hall 

12/7 – Detroit, MI – Saint Andrew’s Hall

12/9 – Chicago, IL – House Of Blues

12/10 – Minneapolis, MN – First Avenue

12/12 – Denver, CO – Summit

12/13 – Salt Lake City, UT – Urban Lounge

12/15 – Portland, OR – Roseland Theater

12/16 – Seattle, WA – Showbox Market

12/18 – Sacramento, CA – Ace Of Spades

12/19 – San Diego, CA – Observatory North Park

12/20 – Los Angeles, CA – The Belasco