Waxing Crescent is a Ukrainian-Dutch Progressive Death Metal band that resides in the East of Netherlands. Founded and led by (Oleksii Spitsyn) who does guitar and vocal duties, as well as song arrangements. On bass guitar we have (Fernandito Beaumont) and on drums; (Tom Sewalt), who is also known for being the sticksman of the Melodic/Tech Death Metal trio from Hengelo; Sayas. This Live EP 'Playback Rituals' marks the band's first ever release, and was recorded at Vestzak Theater, Enschede on October 21st, 2025. The Live EP saw the light of release in 2026, and it is the 1st Live release I have ever reviewed since I started working with MetalfromNL.
I have to start the review by stating how unique of an experience it was to review a live album. An extra special flavour was the fact that Waxing Crescent is a Progressive Death Metal band, which means it is already a tough mission for the band to overcome all the compositional challenges they have burdened themselves with, and deliver a performance with optimum technical efficiency in a live setting. More importantly, the fact that this live performance would go on Spotify for all to hear as the band's FIRST EVER release. It is a tough challenge for sure. So how did the Eastern Dutch force Waxing Crescent fare with this release? And how does 'Playback Rituals' (Live at Vestzak) hold up as the band's first trail of a seemingly unstoppable legacy?
The EP kicks off with the track 'Blood Moon' and a menacing vibe that grabs the listener's attention from the get go. When the beat enters, you can hear the Opeth influence so vividly. Whether vocally or just musically with those deranged chords and creepy synth samples composed and arranged by (Oleksii Spitsyn) and the accompanying groovy drum beat for which Opeth is known. This banger of an opener showcases the level of brutality and aggression that Waxing Crescent can tap into. The song exudes viciousness in every aspect. The vocal tone mixed with the groovy riff at 0:49 are an undeniable nod (whether intentional or coincidental) to Swedish legends 'Bloodbath'. An absolute merciless and filthy riff with a perfectly fitting vocal line and timbre that invokes the abhorrent sound of said legends. Moreover, the semi-clean vocal wailing at the 1:44 minute mark makes your blood boil with rage. And the sheer devastation starting minute 2:36 with the skank beat followed by a quick blast beat is also an indication of savagery level that these guys are capable of achieving.
One of my favourite riffs on the EP starts at minute 1:47 of 'Blood Moon'. That 3/4 time signature starts without a steady drum beat, and then (Tom Sewalt) kicks the door open with his whole body at minute 1:55 to emphasize the brutality of this riff ever more clearly with that skank thrash/death beat. Here, you can also start hearing the incredible chops of bassist (Fernandito Beaumont) as he starts harmonizing with the guitar riff by implementing some spectacular note choices and tasteful performance precision.
Besides the viciousness and the cool odd time signatures, there are some fantastic groove sections on this EP that compel you to relentlessly (and involuntarily) bang your head in steady, confident motion. A great example of that is the spectacular Dimebag inspired riff on minute 1:56 of the 3rd track 'Dogs of the Devil', which is probably my favourite riff on the EP. This riff was taken directly from the Pantera groove textbook and, just like Pantera, there is an incredible dynamic between guitar, bass and drums on it, which makes the groove even more infectious. Another groove-laden example would be the ending section of 'Frostbite'. Unrelenting heaviness that pummels the listener to the ground. Furthermore, the EP contains many prog moments (as the band's subgenre suggests, duh!) and dissonant note choices. This unique colour with which Waxing Crescent is painting is extremely impactful. However, what is crucially noticeable here is the mix between sick dissonant passages that cleverly resolve into brilliantly catchy riffage. This can be heard in different segments on 'Dogs for the Devil', among several others.
Speaking of the Devil, I love the bass work (and sound) on 'Dogs for the Devil' (minute 4:05). The dissonant vicious circle of notes devours your conscious being into a wormhole of horror and decay. Moreover, the bass on 'Frostbite' (minute 4:17) is equally amazing. Here you can here the melodic contrast in the composition as opposed to the aforementioned dissonant bass section in 'Dogs for the Devil'. The diversity of the compositional approaches on this EP is totally entertaining and engaging. You get the evil vibe, the proggy and melodic part, and the blast beat demolition by the awesomely talented drummer (Tom Sewalt).
Another killer bass work is also on the singing verse in 'Frostbite.' It is just transcendent. And the drumming throughout the first 2 minutes and all these intricate progressive polyrhythms are absolutely majestic. The clean singing totally compliments the whole section with a very catchy vocal melody. You can hear the effort put into the composition of this section and how magnificent it sounds live. At points, I even forgot that I was listening to a live EP, and it is because of sections like these, and the tightness with which they were performed. At the minute 3:56 mark, Tom throws in some amazing beat shifts in accents and intensity on the repeating chuggy riff. From calm and tasteful proggy dynamic, to ferocious double bass work. And while doing so, he chooses some tasteful hihat, ride ad cymbal hits that make this section beautifully interesting and captivating. This part also highlights the impressive tightness and professionalism of these guys, and definitely Oleksii's genius composition and musical arrangements.
Another important comment to make, the clean proggy guitar passage in the beginning of 'Theogony' is outstanding and the distorted melody/harmony that follows is a definite highlight for me on the EP. Simply out of this world and we need MORE of that on the next album! Moreover, The clean section midway into the song, and the bass that accompanies it, is absolutely marvelous. What makes it even better are those distorted melodic guitar harmonies that cast an immensely emotional shadow over the whole section. This, again, gives that eerie, sorrowful Opeth vibe especially when the clean vocals kick in to settle the listener into that misty and foggy atmosphere. Progressive metal at its best. This clean vocal line demonstrates how the band tips its feet into the Opeth/Tool/Soen waters, which are always favourable layers of influences on every prog record. In this killer track you can also hear influences from bands like newer Gorguts and Cynic (old and new). Emotions mixed with relentless aggression. One of my absolute favourite parts on the EP resides within this song, and that is the section from minute 2:44 with that little melodic tech death riff, followed by a blazing and melodious solo with a killer harmony lick behind it.
Finally, vocal-wise, the mix between clean singing on the EP (as heard on the track 'Frostbite') and the brutal growls are absolutely powerful and tastefully executed. I particularly like the blast beats that accompany the clean singing on this track because it gives a potent contrast and a layered intent that lies between melodicism and brutality. Definitely a proper prog metal approach; classy, tasteful and epic, all at once. This last note here is a prevalent characteristic throughout the EP. It defines the entire vision of the EP. Diverse and all over the map serving the music and atmosphere perfectly in terms of vocal compositions and ideas, guitar transitions, technical mastery, atmosphere shifts, and incredible drum and bass work throughout.
Performance
One of the things I loved the most about this EP is the bass work. Whether it's tone, volume or just sheer performance by (Fernandito Beaumont). His choices in the compositional realm is brilliant, but he is a slick and smooth bass player as well. His notes are sharp when needed, emotional when desired and chaotic when required. Just listen to the amazing bass line on 'Blood Moon' minute 3:58 and things will transpire right from the start.
As for the drums, Tom implements countless tasteful polyrhythms across the EP. They are done beautifully and triumphantly. On the song 'Frostbite', Tom enters many majestic halls of drumming, and incorporates almost every trick in the book, which helps make the song sound epic and grandiose. Every song on the EP contains world-class drumming performance and technique. The attention to detail is staggering.
Guitar and vocal wise, Oleksii is a fantastic musician and singer. His guitar playing is phenomenal. His riffage is tight, his melodies are tasteful, and his dissonant notes are wretchedly sick! From what I gathered, there is a guitar backing track in the parts where you hear 2 guitars, which is understandable since the band has 3 members. Personally, I would always prefer to have a 4th member playing the extra guitar live, but that is just a personal taste. I generally would always prefer to hear as few backing tracks and samples as possible when a band plays live. But then again, this is probably my old school mindset speaking, and I'm aware that times have changed and some things need to be sampled to give the audience the full experience.
Vocally, Oleksii delivers a diverse and very sensational performance across the EP. His growls are always on point. But he doesn't stay there all the time. He has a mid range and a chilling wailing approach, which is exemplified on songs like 'Blood Moon' minute 1:30 to minute 1:42 and again on 3:23. Just total rage and disgust. Additionally, some of his clean vocals are extremely catchy and heart-felt like the chorus on the 2nd track 'Frostbite'. A true earworm. I could actually hear some Rivers of Nihil influence on this particular song. It is more on the emotional side of the vocal approach as opposed to the aggressive growls and grunts of the first track. A very nice twist to show the range of not only the vocal delivery, but the band's stylistic approach as a whole.
Interestingly, and upon several listens, I started to notice that some of Oleksii's vocal lines that sit in that purgatory between clean and growls are reminiscent of Machine Head's Robb Flynn's mid range tone. This is showcased in 'Theogony' minute 3:15 among other slots. I think it is delivered very potently and with a heartfelt ingenuity. It serves as another welcomed layer into the vocal line approaches he uses on the EP.
Lyrics
The EP deals with very deep and interesting topics such as abuse of power and the opposition to oppressive authorities of any kind, as can be found in 'Dogs of the Devil' (which deals with the concept of the physical transformation that a dictator goes through when the pain he inflicts on others becomes an addiction), and the poetry inspired 'Theogony', which is derived from a Hesiod poem that holds the same name. This song adopts the perspective of a mortal being living under the rule of cruel gods, witnessing the creation and destruction of the world. Another theme the band dabbled into was inner pain and struggle as in the song 'Frostbite'. The song utilizes a very deep analogy about the numbing pain that doesn't go away until it is severed completely - like a frozen limb. Finally, an interesting Ukrainian heritage related topic can be found on 'Blood Moon' which, in ancient Mesopotamia, signified danger to the king. the song incorporate a ritualistic Ukrainian chant to the Blood Moon that conjures the end of the evil ruler.
Production
This is a great sounding record for a live recording. My only complaint would be that the guitars came out a bit muddy and murky sometimes. The problem is that you can tell that Oleksii is doing brilliant things, but some notes get a bit lost in translation. This happens particularly when there are low chugs and dissonant/noisy note choices. The higher notes and melodies sound nice and clear. The other instruments sound fantastic to my ears. The bass is loud in the mix and is truly given justice. The drums sound crisp as well. You can hear every detail and nuance in a very comfortable mixture. And finally, the vocals are also placed comfortably in the mix and the emotions are not lost, but rather intensified, which is always a good thing.
Critique
There isn't really much for me to bitch about on this release! If I have to nitpick I would only bitch about the backing tracks that were implemented and the somewhat murky guitar sound and production. But these are minor things compared to the outstanding overall result, and they certainly do not ruin the experience by any means.
Conclusion
'Playback Rituals' is an outright fantastic release by these progressive Dutch beasts from the East. I actually came to the conclusion that it was a great idea to showcase Waxing Crescent's chops and musical ability via a live release as their first mark on the Dutch (and hopefully global) scene. They took the challenge upon themselves, and they certainly emerged triumphantly. I'm very psyched to hear the band's legit full-length release and where they will decide to take us next, and I truly believe that with persistence, continuity and this level of musicianship they have a big chance of establishing a memorable name for themselves across the globe.
Rating
9/10
