Review: Imminence @ The Gov 13/10/25
Sweden’s devastating metalcore five-piece Imminence left everyone in awe after performing to a packed out crowd at The Gov.
Words Will Oakeshott // Images Danny Wallace
Imminence w/Inertia @ The Gov 13/10/25
“Being different gives the world colour.” – Nelsan Ellis.
What this groundbreaking and Award-winning actor has stated above is contradictory to the well-known idiom “see things in black and white”. As per the Cambridge Dictionary, this is defined as “to have a simple view of what is right and wrong, or good and bad”.
However, the brilliance behind the six words Mr Ellis professed suggests that this world in which we exist is not a simple place. As a matter of fact, it is immeasurably more diverse than “black and white”. Viewing the world in colour is arguably a far more desirable perspective that has the potential to enhance one’s very essence.
So, why be insipid when one can be inspiring?
The same perception is more than applicable in the musical universe. The captivating coalescence of genres and experimentation in more recent times has been nothing short of phenomenal.
On this evening at the Governor Hindmarsh, a capacity audience witnessed one of the most enthralling outfits to fuse classical string orchestration, the violin, with majestic melodic metalcore; they are Sweden’s Imminence. Undeniably, they embody a vast panorama of colour with their astonishing art.
The support for an exhibition of this eminent nature was required to be one with a vivid sonic landscape, a band whose musical character possessed a frantic finesse in the heavier realm. Gratefully, this outfit was Sydney’s Inertia.
“Adelaide, how we feeling?” the charming vocalist Julian Latouche asked, only to be drowned out by the deafening roar of a very eager audience.
The quartet then launched into ‘Dying To Let You Know’, a darkened pop djentcore exploration that tremendously transitioned between the delightful devastation of Northlane, to the pop intricacy of Dayseeker.
Latouche was instantly in his element. It must be highlighted that Latouche is, in all probability, one of the most exuberant frontmen in the metal dominion. His infectious smile and powerful parading around the stage enhanced his magnetism remarkably. Not forgetting his above captivating ethereal vocal melodies.
‘Leviathan’ was a crunching pop-metal tune that moved between heavy and harmony strikingly; the use of the backing track added splendid, tantalising textures (although the technology was probably a bit too much of a feature). Guitarist Mark Williamson and bassist Oliver Smith demonstrated riveting variances with their seismic artistic wanderings. ‘Dominion’ was a cataclysmic uppercut of nu metalcore fury that had the four-piece in full flight. Undoubtedly, this malicious track had the hundreds of spectators at full attention, and at Inertia’s mercy in heavy splendour.
‘Static’ was a math-metal-emo-pop adventure that would have people forget who Jonny Craig was (thankfully) in its glory. ‘Second Shadow’ would have had Boston Manor envious, especially when the quartet pulverised their witnesses with brash djentcore breakdowns. Older song ‘Parallels’ followed faultlessly, justifying the band’s subliminal songwriting.
The crowd’s phones were requested to illuminate the venue, which lustrously enhanced the aura of the showcase. Inertia then closed with the journey that is ‘Lament’, a song that begins in an electropop soundscape similar to Haux, then moves into a grand alternative metalcore ballad in a mesmerising escapade.
Latouche announced that the four-piece will be returning in January with a yet-to-be-announced US artist at Hindley Street Music Hall. Keep your eyes peeled for this exciting prospect.
READ MORE: Review: I Killed the Prom Queen @ Hindley Street Music Hall 09/10/25
A playlist featuring Refused, The Hives, Robyn and numerous others built the atmosphere for Swedish violincore trailblazers Imminence. Darkness then overtook The Gov, a resounding cheer for the audience bolstered the exhilaration for the musical expedition that lay ahead. A trembling rumble of approaching thunder was then felt, before the blast of a monsoon was all-consuming.
Imminence had arrived.
“Adelaide, we are Imminence from Sweden!” vocalist and violinist Eddie Berg shouted.
‘Temptation’ was to be South Australia’s induction (this is the first time the Trelleborgians had visited our fine city), and the quintet (sometimes, sextet, even septet) feverishly fascinated all within. Besides the superhuman ability of Berg being able to scream, sing, and bow a violin, often in unison, he also had a gymnast’s ability to back bend almost horizontally, similar to the bullet dodging scene in The Matrix.
“Colourful” practically underrepresents this extravaganza. This was enrapturing.
‘Desolation’ was a brutiful onslaught of thrash and cinematic melodic metalcore. ‘Heaven Shall Burn’ should have been used in the Battle of Helm’s Deep scene from The Lord Of The Rings: The Two Towers with its thrilling theatrics. ‘Beyond The Pale’ was its own earthquake, with some intense deathcore colouration.
‘Death By A Thousand Cuts’ was an evocative metallic odyssey, with chapters of electronica, alternative metal, catastrophic djentcore and a beyond emotive uprising of artistry. This voyage was certainly a challenge to follow, but ‘Erase’ incredibly accomplished this, with more elegance, as the quintet whirled around in acrobatic ferociousness. ‘Ghost’ provoked a massive audience sing-along for its poetic articulation:
“This is my soul, my soul / Can you tell my ghost / That he doesn't belong here anymore.”
The machine gun breakdowns and astonishing ambient post-rock passages were simply breathtaking.
‘Infectious’ exceeded reality, it conceptualised a “dream” motif. After a small intermission, ‘Come What May’ bombarded Adelaide in a ruination of metallic magnificence. The post-rock escapade of ‘L’Appel Du Vide’ entranced all who witnessed this musical wanderlust; This Will Destroy You would have undoubtedly swayed in loving appreciation. Guitarist Harald Barrett even utilised a bow to enhance his weapon’s sound textures.
‘Come Hell Or High Water’ channelled Chelsea Wolfe’s Pain Is Beauty LP, but with more sensational severity. ‘Death Shall Have No Dominion’ was rhapsodic in ruination. ‘God Fearing Man’ was bedazzling in its abstract musical movements – Berg became all encompassed in his performance; he howled into his violin, projecting sounds of astounding animalistic nature.
To close this exhibition, ‘The Black’. A composition that Tim Burton should be made aware of if he is ever to collaborate with the Wachowskis; a monumental masterpiece of spellbinding metallic resplendence that is a requirement to undertake, in every format.
“Being different gives the world colour.”
Imminence reinvents the world’s colour spectrum.
Want more pics of the gig? Check out our full photo gallery here.
