IMMINENCE REIGNS: THE RETURN OF THE BLACK TOUR ENGULFS THE WILTERN IN FIRE AND ELEGANCE
There was nothing casual about what happened at The Wiltern the other night. It wasn’t just a concert — it was a sonic ritual, a collision of continents, chaos, and catharsis, led by the Swedish architects of emotion and brutality: Imminence.
Los Angeles, no stranger to metalcore, found itself shaken in an entirely new way. The night ignited with Jiluka, Japan’s electro-goth metal export who tore through the airwaves like a futuristic horror film in fast-forward. Their aesthetic was equal parts elegance and venom — synchronized chaos wrapped in chrome. It was metal with a pulse of circuitry and samurai precision.
Then came Landmvrks, France’s answer to raw melodic mayhem. They didn’t just play — they detonated. Their energy was volatile, unrelenting, and oddly spiritual. Each breakdown felt like the floor might crack. French rage has never sounded so poetic.
And then… silence. The house lights dimmed, and a lone violin note pierced the dark like a memory resurfacing. Imminence took the stage not with a roar, but with a presence. Frontman Eddie Berg, equal parts frontman and phantom, wielded his violin like a weapon and a wound. They didn’t simply perform — they exorcised. Tracks like “Temptation” and “Heaven Shall Burn” weren’t played — they were confessed. It was as if each song carved open a piece of the crowd’s collective soul.
Imminence has mastered the art of contradiction — they are delicate and devastating, classical and catastrophic. The Return of the Black Tour isn’t just a return — it’s a reckoning. And Los Angeles will not forget the night beauty and brutality danced at The Wiltern.
