Concert Review – Iron Maiden (Budweiser Stage, Toronto, ON, 07/15/2017)

On a pleasant summer day in the city of Toronto, over 18,000 metalheads had a beautiful time screaming, singing, jumping up and down, raising their horns and “climbing like a monkey” to the flammable music by the unparalleled Iron Maiden.

OPENING ACT: Ghost

As opposed to last year’s Iron Maiden concert at the Air Canada Centre in Toronto, when it was freaking cold and a snow blizzard covered the city and made driving a true nightmare, this Saturday the weather couldn’t be more perfect, with a temperature close to 30 degrees in a sunny day, resulting in another memorable night for all Maidenmaniacs that attended the concert at the always amazing Budweiser Stage (which used to be called Molson Canadian Amphitheatre). You could see in the eyes of the fans that everyone was in a great mood, probably because they spent the whole day getting ready for the concert, drinking beer, enjoying a nice BBQ or simply listening to Iron Maiden while getting tanned by the nice afternoon sun. And besides, everyone would have the whole Sunday to recover before returning to work on Monday (unless you were also seeing Metallica on Sunday, but that’s a different story).

It was around 7:30pm when the opening act hit the stage, Heavy Metal blue-eyed boys GHOST, who for some reason are deeply loved by most musicians, but not as much by fans of metal music. Even Metallica’s James Hetfield himself was at the venue watching the performance by Papa Emeritus III (also known as Tobias Forge) and his nameless ghouls. Anyway, this was my second time seeing Ghost, once again opening for Iron Maiden as in 2014 in the Czech Republic, and this time was way better than the first, I must admit. Papa Emeritus III was more dynamic on stage, more communicative and less “stuck” to the pope gimmick. A considerable amount of fans that were at the venue enjoyed their performance, singing together with the band songs like Ritual, Year Zero and Absolution, and as their performance wasn’t too long I guess not even the most diehard fan of Iron Maiden got bored with Ghost.

Setlist
Masked Ball (Jocelyn Pook song)
Square Hammer
From the Pinnacle to the Pit
Ritual
Cirice
Year Zero
Absolution
Mummy Dust
Monstrance Clock

Band members
Papa Emeritus III (Tobias Forge) – vocals
Nameless Ghouls – all instrumentalists:

  • Fire – lead guitarist
  • Ether – rhythm guitarist
  • Water – bassist
  • Wind – keyboardist
  • Earth – drummer

IRON MAIDEN

Finally, after over one year (and another cold winter), it was time for Toronto to scream one more time for the one and only IRON MAIDEN, this time during their The Book Of Souls World Tour 2017, the second leg of their majestic tour promoting their 2015 masterpiece The Book Of Souls. The setlist was pretty much the same as last time, except for Tears of a Clown being replaced with The Great Unknown, and the saddest change of all time, Hallowed Be Thy Name being replaced with Wrathchild due to a legal dispute with retired rock band manager Barry McKay, who is taking Steve Harris and Dave Murray to court over the song. Barry claims Hallowed Be Thy Name reproduces major parts of a song titled “Lying in my Shadow”, written by musician Brian Quinn (under the name Brian Ingham), and because of that Iron Maiden couldn’t play one of their most beautiful and powerful classics during their 2017 tour.

That didn’t stop Bruce Dickinson, Steve Harris & Co. to kick ass one more time on stage for the delight of over 18,000 metalheads at the Budweiser Stage, blasting as usual a well-balanced mix of old school songs and newer compositions. Fans were already pumped up during the classic “Doctor Doctor” intro, exploding into sheer ecstasy when Bruce appeared at the top of the band’s Mayan-inspired stage to ignite their “ritual” with the initial spoken words of their new classic If Eternity Should Fail. After that it was an avalanche of hits played to perfection with Bruce interacting with the crowd all the time, while Steve was unstoppable with his galloping bass and Janick seemed as if he was high on something so electric his performance was. And I guess I don’t need to say how awesome Adrian, Dave and Nicko were with their instruments, right? There was only one minor issue with Bruceç mic, which kept failing a little once in a while, but nothing that could harm such sensational concert.

In my humble opinion, the best sequence of the night started with the classic Children of the Damned, where Bruce gave his already traditional speech about most of the fans not being born when the song was written and, for the ones born in 83 or 84, they might be the true “children of the damned”, conceived when the song was written in 82 (as Bruce mentioned, your parents had sex at least once in their lives!). After such stylish composition, the band invited all of us to fly with them and “fight” the Red Baron in the high-octane Death or Glory, with Bruce and his monkey mask enticing us to “climb like a monkey”, a fun move he started last year that became sort of mandatory every time they play this song. And the stunning sequel went on with the 13-minute hymn The Red and the Black, with all fans jumping up and down and singing the “Oh-oh oh-oh-oh! Oh-oh oh-oh-oh!” parts along with Bruce, followed by one of my top Maiden songs of all time, The Trooper, where guess what? It was time to burst our lungs again screaming the song’s famous “Oh oh oh oh oh oh oh oh oh!” together with the band. And closing their killer sequel, the imposing Powerslave, which almost made me blind with its initial flames as I was quite close to the stage.

The newer songs like The Great Unknown and the epic The Book of Souls (where Eddie had his heart “ripped out” by Bruce) kept their momentum going, making everyone even more excited for their final batch of unparalleled classics such as Iron Maiden, The Number of the Beast (with the stage fires making us literally burn), and Wasted Years. However, it was their 2000 creation Blood Brothers that really stole the show, with all fans signing its heartening lyrics together with the band, after Bruce’s inspiring intro where he spoke about how diverse and welcoming the city of Toronto is, and how there shouldn’t be no differences among us all, as we’re all blood brothers. What a brilliant performance of such amazing tune, I have to say! One of the best I’ve seen live together with the one from Rock In Rio III in 2001. As Bruce said close to the end of the show, Iron Maiden are far from being done, and they’ll return to Toronto with more of their unmatched metal music in a not-so-distant future. Needless to say, all 18,000 fans at the concert Saturday are more than eager for that without a shadow of a doubt. It doesn’t matter if it’s a hot and sunny day like this Saturday or if it’s in the middle of a cold winter, we all know that Iron Maiden’s gonna get us all.

Setlist
Doctor Doctor (UFO song)
If Eternity Should Fail
Speed of Light
Wrathchild
Children of the Damned
Death or Glory
The Red and the Black
The Trooper
Powerslave
The Great Unknown
The Book of Souls
Fear of the Dark
Iron Maiden

Encore:
The Number of the Beast
Blood Brothers
Wasted Years
Always Look on the Bright Side of Life (Monty Python song)

Band members
Bruce Dickinson – lead vocals
Steve Harris – bass
Dave Murray – guitar
Adrian Smith – guitar
Janick Gers – guitar
Nicko McBrain – drums

Album Review – Mutank / W.H.A.T.S.T.H.A.T. EP (2017)

They have a lot of thrashing songs that have abbreviated titles, and they kick some serious ass with their old school music and hardcore attitude.

They have a lot of thrashing songs that have abbreviated titles on their menu, and all those songs will certainly put you to slam into the circle pit with their endless electricity and catchy melodies. I’m talking about Canadian Crossover/Trash Metal act Mutank, who have just released a new EP titled W.H.A.T.S.T.H.A.T. (which according to the band means “We Have Alotta Thrash Songs That Have Abbreviated Titles”). Displaying a kick-ass old school cover art by Andrei Bouzikov (Holycide, Municipal Waste, Skeletonwitch), W.H.A.T.S.T.H.A.T. is not just a set of five amazing Crossover Thrash songs, but it’s also a follow-up to the band’s 2014 debut album M.E.C.H. METAL, which carved Mutank’s name in the Montreal Thrash scene and led them to play at Wacken Open Air that same year, as well as a taste of what’s to come as the band will have a full-length album to follow the EP later this year.

Inspired by Megadeth, Overkill, Iron Maiden, Municipal Waste, Mike Patton and the golden age of Thrash Metal, this Montreal-based quartet describes their sound as a “T-Rex skateboarding down a volcano”, which is exactly what you’ll find in W.H.A.T.S.T.H.A.T. “Our upcoming EP W.H.A.T.S.T.H.A.T. sort of started as a joke. I just thought it would be funny to force an acronym for ‘what’s that?’ and I came up with ‘We Have Alottta Thrash Songs That Have Abbreviate Titles’. From there we came up with the concept of an EP with a bunch of forced acronym titles. The EP itself was written somewhat conceptually with the individual songs being very short thrash songs that come together to make one longer progressive thrash track, which harkens back to the title since we don’t even know what it is! We have a ton of new material in the works as well, people can expect new stuff sooner rather than later!”

In the opening track, titled  L.I.F.E. (“Lament Infinity, Forlorn Eternity”), we’re treated to the sharp, thrilling guitar riffs and solos by Costa Skoulikas and Lee Whiskey in one minute of old school Thrash Metal, warming up the listener for I.D.I.O.T. (“I’ll Do It Over Tomorrow”), with its sick lyrics being nicely declaimed by lead singer and bassist Stephen Reynolds (“My brain’s a backed-up toilet / Can’t function cuz’ somebody soiled it / The posterior of prosperity / Thoughts too inbred to decongest / They’re unrelated so it can’t be incest / As I plunge into depravity”), whose rumbling bass also adds an extra kick to the song. Slam into the pit, have a beer with your buddies or simply bang your head nonstop to this uncompromised and electrified tune, before Mutank brings forth more shredding and thunderous bass lines for our avid ears in the faster and more hardcore mosh pit-generator P.O.P.U.L.O.U.S. (“Price Of Progress: Ugly Little Organisms Undermining Society”). This awesome composition sounds like the Thrash Metal played by Anthrax with Mutank’s own touch, turning it into the best track of the EP in my opinion.

F.O.G. (“Frailty Of Genius”) can be summarized as a minute and a half of pure madness led by the groovy beast by drummer Ahmed Daas and the inebriate vocals by Stephen, who once again sings the song’s old school demented lyrics with all his strength (“I walk around saying “It’s too late” / I know it ain’t / I guess that’s why I hold my breath under the water / ’til I come back up and drown in air”). And D.E.A.T.H. (“Divine Evaluation Awaits Thee Human”), the longest of all tracks, is also the one with the highest amount of complexity, showcasing thrashing guitars and a badass attitude, with Stephen and Ahmed sounding simply bestial with their bass and drums, respectively.

In ten minutes, Mutank slam more than several bands in their entire careers, and that says a lot about the overall quality of the music found in W.H.A.T.S.T.H.A.T. You can get to know more about Mutank and their wicked acronyms and abbreviations at their Facebook page, listen to their high-voltage music on YouTube and on SoundCloud, and purchase W.H.A.T.S.T.H.A.T. through their BandCamp page. I was trying to come up with a fun abbreviation to conclude this review, but you know what? Leave those to Mutank, as they definitely know how to condense words and, more important than that, amazing music into their short but extremely fun compositions.

Best moments of the album: I.D.I.O.T. and P.O.P.U.L.O.U.S.

Worst moments of the album: None.

Released in 2017 Boonsdale Records

Track listing
1. L.I.F.E. (Instrumental) 1:01
2. I.D.I.O.T. 2:06
3. P.O.P.U.L.O.U.S. 1:40
4. F.O.G. 1:33
5. D.E.A.T.H. 3:50

Band members
Stephen Reynolds – vocals, bass
Costa Skoulikas – guitar
Lee Whiskey – guitar
Ahmed Daas – drums

Album Review – Hammerdrone / Dark Harvest (2017)

Mixing up intense aggression, a dark atmosphere and elegant melodies, this Canadian quintet brings forth a concept album inspired by the real life but obscure tale of the Scottish terrorist organization known as the Dark Harvest Commando.

Formed back in 2010 in the city of Calgary, known as the center of Canada’s oil industry, Melodic Death Metal act Hammerdrone mixes up intense aggression, a dark atmosphere and elegant melodies to deliver songs that are both epic and catchy, being highly recommended for admirers of the musical creations by bands such as Amon Amarth, Dark Tranquility and early Soilwork. After receiving an enthusiastic response from the metal press in countries across the world with the release of their debut EP A Demon Rising in 2012 and the full-length Clone of Europa in 2014, this Canadian quintet returns with their second full-length installment, entitled Dark Harvest, a concept album inspired by the real life but obscure tale of the Scottish terrorist organization the Dark Harvest Commando.

The Dark Harvest Commando of the Scottish Citizen Army was a militant group which in 1981 demanded that the British government decontaminate Gruinard Island, a site which had been used for anthrax weapon testing during World War II, by distributing potentially anthrax-laden soil on the mainland. Enfolded by a menacing artwork by Brazilian artist Caio Caldas of CadiesArt (DragonForce, Raven Lord, Soulspell), Dark Harvest has all the elements needed to effectively portray the ominous actions of such terrorist organization, including demented vocals, blazing riffs and frantic drumming, therefore enhancing the impact of the music (and also of the story being told) on the listener.

The atmospheric intro Echoes prepares the listener for the carnivorous but very melodic Karakoram, with its lyrics explain “who” the savage mountain Karakoram is (“I am the slate of lost emotion, I am the face of blank despair / That which crushes your spirit and body / In this cold and rarified air.”). Not only the lyrics are meaningful, but the amazing job done by both Rick Cardellini and Curtis Beardy on guitars provides lead singer Graham Harris the exact ambience needed for his deep guttural vocals to thrive. In Ancestral Weight, which begins with a soulful solo by Rick while drummer Vince Cardellini blasts pure heaviness through his beats (sounding like a machine gun), we’re treated to modern and versatile Melodic Death Metal the likes of Arch Enemy and Amon Amarth.

The title-track Dark Harvest takes you to the secret lair of the Dark Harvest Commando, with the band’s Melodic Death Metal presenting a warlike vibe. The overall violence emanating from their riffs and drums is insanely high, while Graham works as the “leader” of such vile terrorist organization with his deranged growls. And continuing his momentum, Graham canalizes the size and strength of a bison on his deep vocals in the excellent Black Bison, boosting the song’s hostile lyrics even more (“I see my God as he floods the plains of destiny / With the bile of intent. / I see my God and his hooves are stained with mortal men, / Malice hangs in the fog of his breath. / No lunar eclipse is half this dark – / It crushes your will and seeps into your heart.”). Showcasing elements from Thrash Metal, in special in its drums, this full-bodied, menacing and powerful composition is tailored for admirers of the heaviest form of Melodic Death Metal, being perfect for cracking your spine headbanging; whereas in The Wasting Throne, another pounding tune by Hammerdrone, both guitars dictate the rhythm together with the lowering bass by Teran Wyer, resulting in a robust song where all spaces are filled with heavy sounds and melodic touches, while its second part offers more of the band’s neck-breaking metal music.

After the album’s intro, Harvest The Void is the first (and only) serene moment you’ll find in Dark Harvest, working as a gentle bridge to the deep and melodic Collapse Of Reality, with highlights to the dynamic guitars by Rick and Curtis and the intricate beats by Vince, while Graham keeps growling like a beast. It’s a good quality tune despite going on for too long, losing a bit of its punch after a while. However, in the last of all tracks, titled Lost In An Instant, the whole band is fuckin’ roaring, with Graham and his bandmates delivering high-end Melodic Death Metal through their beautiful guitar solos, solid beats and endless stamina.

You can listen to Dark Harvest in its entirety HERE, and also show your support to Hammerdrone (and consequently to independent metal in general) by grabbing your copy of this excellent concept album at their BandCamp page. Hammerdone, who can be found on Facebook, YouTube, SoundCloud and ReverbNation, not only bring us metalheads high-end underground heavy music made in Canada, as melodic and catchy as it can be, but they also tell a sinister and noteworthy story in Dark Harvest that will show you that many (if not all) terrorist attacks do not come out of nowhere, but that they’re always connected to classified actions taken by all governments worldwide. We obviously do not condone any of those actions and reactions by governments or terrorist groups, but it’s clear that when metal bands like Hammedrone are inspired by such controversial topics, the final result is always amazing musically speaking.

Best moments of the album: Ancestral Weight, Black Bison and The Wasting Throne.

Worst moments of the album: Collapse Of Reality.

Released in 2017 Independent

Track listing
1. Echoes (Intro) 1:09
2. Karakoram 4:37
3. Ancestral Weight 3:51
4. Dark Harvest 6:17
5. Black Bison 7:48
6. The Wasting Throne 6:07
7. Harvest The Void 3:32
8. Collapse Of Reality 5:34
9. Lost In An Instant 5:35

Band members
Graham Harris – vocals
Rick Cardellini – lead guitars
Curtis Beardy – rhythm guitars, backing vocals
Teran Wyer – bass, vocals
Vince Cardellini – drums

The Headbanging Moose Show – Thursdays @ 20:00 UTC exclusively at Midnight Madness Metal e-Radio

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Attention, metalheads!

It’s time to rumble with THE HEADBANGING MOOSE SHOW every Thursday @ 20:00 UTC (with a reprise on Saturdays @ 19:00 UTC) exclusively at Midnight Madness Metal e-Radio, your London-based web radio blasting the best of heavy music nonstop 24/7!

Presented by Gustavo Scuderi, The Headbanging Moose Show will bring to you the cream of underground metal music, giving you a short and sweet background on every band played on the show. No silly jokes, no shenanigans… THIS IS PURE F****N’ METAL!

So remember, EVERY THURSDAY @ 20:00 UTC (with a reprise on Saturdays @ 19:00 UTC) tune into Midnight Madness Metal e-Radio to enjoy one hour of kick-ass underground metal from all over the world, courtesy of The Headbanging Moose!

Here are all the options where can blow your speakers with Midnight Madness:

Official website
Facebook
Twitter
Online Radio Box
Tunein
Streema
Listen2MyRadio
Radio Garden
Streamitter.com

Don’t forget to follow The Headbanging Moose on Facebook to know beforehand which bands will be played on the show every week.

And if you want to have your new album reviewed at The Headbanging Moose AND played at Midnight Madness Metal e-Radio, simply get in touch with us through our CONTACT US page.

Concert Review –Testament (Phoenix Concert Theatre, Toronto, ON, 04/27/2017)

When you have two of the best and most iconic Thrash Metal bands of all time playing together in the city, you know exactly where you have to be.

OPENING ACTS: Prong and Sepultura

As much as I enjoy the Phoenix Concert Theatre and obviously the bands that were going to play last night, I truly and deeply hate the weekdays rush hour traffic to get from my town, the suburban Oakville, to Toronto whenever there’s a good metal concert I want to attend. At least the weather was fantastic (even with a short storm that happened at around 7pm), with the temperature being above 20 degrees, which means no one had to carry their burdensome jackets like what always happens when a concert is in the middle of the winter.

Anyway, due to traffic (and because I had to eat something before heading to the venue), I completely missed the performance by American Crossover Thrash power trio PRONG. I have absolutely no idea if it was a good concert or not. Well, probably yes as the group spearheaded by Tommy Victor has all it takes to deliver great music to the audience, but unfortunately I can’t say a word about what they did last night, not even write down their setlist.

Band members
Tommy Victor – lead vocals, guitar
Jason Christopher – bass guitar, backing vocals
Art Cruz – drums

Fortunately, I got to the Phoenix Concert Theatre just in time to see the always amazing show by Brazilian Thrash/Groove Metal masters SEPULTURA, who are currently promoting their latest album, the very experimental and exciting Machine Messiah.  Derrick Green, Andreas Kisser, Paulo Jr. and Eloy Casagrande put on an electrified performance on stage from start to finish, blending several songs of their new album like the excellent Phantom Self and Sworn Oath with all-time classics such as Desperate Cry, Inner Self (my favorite of the night) and Refuse/Resist, and of course the song most fans at the venue wanted to hear, their ritualistic hymn Roots Bloody Roots. The sound was very clear, cohesive and powerful, just like what the band offers us in their studio albums, proving Sepultura are a band that always provides their fans the same high level of quality found in their studio versions when they transport those compositions to the stage. As usual, the highlights of their performance were the insane riffs, solos and other awesome tricks done by Andreas with his guitar. That guy is one of the most gifted guitarists in the history of heavy music, which means if you’ve never seen him playing live, don’t miss that chance the next time “Sepultura do Brasil” visit your city.

Setlist
I Am the Enemy
Phantom Self
Choke
Desperate Cry
Sworn Oath
Inner Self
Alethea
Resistant Parasites
Refuse/Resist
Ratamahatta
Roots Bloody Roots

Band members
Derrick Green – lead vocals
Andreas Kisser – guitars
Paulo Jr. – bass
Eloy Casagrande – drums, percussion

TESTAMENT

After a short bathroom and beer break, it was time for American Thrash Metal behemoths TESTAMENT to create a sonic Armageddon in Toronto with their unparalleled aggression and refined technique. I guess I always say the same thing about Testament, but all band members are extremely talented and way above average, in special the guitar virtuoso Alex Skolnick and the human earthquake Gene Hoglan. Those two are not simple musicians, they’re demonic beasts when armed with their instruments, delivering the best of the best when it comes to heavy music.

Blasting some of their newest creations from the best metal album of 2016, the superb Brotherhood Of The Snake, especially the kick-ass tunes Brotherhood of the Snake, The Pale King and Stronghold, with old school songs and newer classics, they delivered a flawless performance for the delight of all metalheads at the venue. A few songs from their setlist deserve some special attention, like the brutal and sensational Rise Up for its enhanced mighty power when played live, the high-octane Centuries of Suffering for the insanely intricate magic Gene does behind his drums, and Electric Crown for the amount of groove and feeling flowing from the band’s instruments.

My only complaint about the concert was the excessive amount of solos, one for each band member. As much as I love each guy from the band, I personally prefer regular songs than solos. If they replaced those solos with newer songs like “The Number Game” or “Native Blood”, or with classic like “D.N.R. (Do Not Resuscitate)” or “Burnt Offerings”, it would have been just perfect, but that’s just my opinion. The whole concert was fuckin’ awesome anyway; not even all those solos were able to cool down the audience, mainly because whenever there was a solo there was also a demolishing classic right after it, like when they played the circle pit-generator First Strike Is Deadly after Gene’s drum solo.

Before playing the encore, the iconic Chuck Billy, who by the way is singing better and better as time goes by, therefore being able to perfectly replicate his sensational deep growls live without making any extra effort, told the fans a story about when they were in Texas hanging out with the guys from one of the most respected, energized and violent bands of all time, the one and only Pantera, drinking Jack Daniel’s (and probably taking other stuff as well) with them. Can you imagine that? Testament and Pantera together? The 90’s were definitely the best period for Thrash Metal, no doubt about that. Chuck said that after a lot of drinking, something hit his head (maybe a bottle of Jack Daniel’s, or maybe it was the alcohol itself) and he told the other guys he had the name for their new album. It was going to be called Practice What you Preach, one of their biggest hits, and one of the best of the night as well.

There was still time for one last sick mosh pit with Over the Wall, and after all was said and done you could see how happy all fans of Testament were with their amazing performance. As Chuck said, I hope all promoters in Canada turn their eyes to Testament more often aiming at having more concerts all over the country, not only two or three cities. Let’s hope that those promoters listen to the deep voice by Chuck and we have more of the brotherhood of Thrash Metal in our currently not-so-cold country, because after such brilliant performance last night I’m sure all Torontonian fans of Testament are eager for more of their music.

Setlist
Brotherhood of the Snake
Rise Up
The Pale King
Centuries of Suffering
Alex Skolnick’s Guitar Solo
Electric Crown
Into the Pit
Low
Throne of Thorns
Stronghold
Eric Peterson’s Guitar Solo
Eyes of Wrath
Gene Hoglan’s Drum Solo
First Strike Is Deadly
Steve DiGiorgio’s Bass Solo
Urotsukidôji
Souls of Black
Seven Seals
The New Order

Encore:
Practice What You Preach
Over the Wall

Band members
Chuck Billy – vocals
Eric Peterson – guitar
Alex Skolnick – guitar
Steve Di Giorgio – bass
Gene Hoglan – drums

Album Review – Infernäl Mäjesty / No God (2017)

A powerful album of Canadian Thrash and Death Metal that confirms there’s no god in our decaying world, but only an infernal majesty of extreme music reigning supreme among us.

Formed in the distant year of 1986 in the city of Toronto, Canada, but currently located on the opposite side of the country, in the beautiful city of Vancouver, Thrash/Death Metal squad Infernäl Mäjesty has been unleashing complex and exciting metal tunes upon humanity since their inception, starting with their 24-track demo recorded at the renowned Metalworks Studios in Toronto (owned by members of Canadian Hard Rock band Triumph) and their 1987 debut album None Shall Defy, and culminating with the release of their brand new opus now in 2017 titled No God.

Featuring an elegant cover art by Safir & Rifas (based on their 2014 oil on canvas art named “Death Angel”), No God offers the listener 11 imposing thrash tunes for the delight of fans of the heaviness and aggressiveness of giants such as Slayer, Behemoth and Testament, masterfully played by  founding members Chris Bailey (vocals), Steve Terror (guitar) and Kenny Hallman (guitar), together with newcomers Daniel Nargang on bass and Kiel T. Wilson on drums. “We put a lot into it physically and mentally and feel it has a classic Infernäl Mäjesty undertone while artfully expanding into episodes of melodic cacophony. Recorded at our studio in Vancouver, Canada and produced by Steve Terror, Chris Bailey and Ken Hallman, we enrolled the masterful mixing skills of Chris ”Hollywood” Holmes and believe this to be our best works since None Shall Defy”, says the band about their brand new spawn.

Chris and his horde begin their ominous attack from the very first second of the belligerent tune Enter The World Of The Undead, where we’re furiously invited to enter their world of Thrash and Death Metal to the sound of the cutting riffs by Steve and Kenny, while Kiel keeps up with the legacy of iconic drummers such as Dave Lombardo, Gene Hoglan and Tom Hunting. Dark and acrid words flow from Chris’ visceral growls in the rhythmic onslaught of extreme music called In God You Trust, also presenting a hellish aura in the background which ends up enhancing the song’s obscurity; followed by a very aggressive and infernal composition named Signs Of Evil, displaying a similar pattern than both previous songs, with highlights to the unstoppable Kiel behind his drums and to the once again sharp guitar riffs and solos by Steve and Kenny. And in Another Day in Hell the music feels like it’s rising from the pits of the underworld, with the initial roar by Chris being a sign of how heavy this tune will be. Not only it brings an old school sonority the likes of Unleashed, but its calmer but blackened breaks make the whole composition even more menacing.

Kingdom Of Heaven, a mid-tempo straightforward Death Metal chant with thrashing elements added to it, presents a neck-breaking start with lots of groove emanating from Kiel’s drumming, while Steve, Kenny and Daniel slash our skin with their razor-edged strings, whereas the title-track No God is a blasphemous feast of Death and Thrash Metal perfect for their live performances, with Chris vociferating the song’s wicked lyrics manically (“Born of fire from the starless depths of hell / The red cross turns black so many dead sent up the stacks / Spill the blood of virtue for the empire of gold / Satan laughing defecating into open mouths below”), therefore being one of the strongest compositions of the whole album. Then we have an eerie instrumental track about the 9/11 attacks titled False Flag for Europe, paving the path for the rhythmic Nation of Assassins, starting in a darker and heavier pace before exploding into a thrilling hurricane of metal, with Chris darkly screaming the song’s name while the rest of the band blasts a very cohesive fusion of Thrash and Death Metal.

The killer drumming by Kiel and the straightforward guitars by both Steve and Kenny are all Chris needs to fire his infuriated growls in the fantastic House Of War, with the aggressiveness of the entire song being way above average. All band members are absolutely on fire, delivering an intricate but always crude and primeval hymn for admirers of traditional Death Metal that has all it takes to become an underground classic. Systematical Extermination keeps the quality of the album at a very good level, albeit being less creative than the others (it might have been more effective if it was a little shorter, though), while in Extinction Level Event a truly macabre intro morphs into a pounding sonic devastation. Steve and Kenny continue with their merciless slashing, also blasting melodious lines to give more balance to all the havoc going on, with Kiel helping Chris to poetically scream about the end of mankind until the song’s somber ending.

Infernäl Mäjesty is another one of those amazing bands that makes us proud of being Canadian, and if I were you I would certainly like their Facebook page, listen to more of their demonic Thrash Metal at their YouTube channel and at their BandCamp page (where No God will be available soon), and grab your copy of No God at the High Roller Records’ webstore in different formats (CD digipak, LP black, LP splatter and LP royal blue), at the Napalm Records’ webstore, at the Season of Mist’s webstore, at Target, at Record Shop X, on Amazon and several other locations (please note that “False Flag for Europe” and “House Of War” are on the CD and digital download, but not on the vinyl edition because they are already on a custom House Of War 7”). After listening to this raging lecture of Extreme Metal, I’m more than inclined to believe there’s no god, but only an infernal majesty of metal music reigning supreme among us.

Best moments of the album: Enter The World Of The Undead, No God and House Of War.

Worst moments of the album: Systematical Extermination.

Released in 2017 High Roller Records

Track listing
1. Enter The World Of The Undead 5:44
2. In God You Trust 5:14
3. Signs Of Evil 4:53
4. Another Day in Hell 6:37
5. Kingdom Of Heaven 6:46
6. No God 5:58
7. False Flag for Europe 2:05
8. Nation of Assassins 6:24
9. House Of War 4:47
10. Systematical Extermination 6:28
11. Extinction Level Event 6:08

Band members
Chris Bailey – vocals
Steve Terror – guitar
Kenny Hallman – guitar
Daniel Nargang – bass
Kiel T. Wilson – drums

Album Review – Striker / Striker (2017)

Canadian Heavy Metal has never been more vibrant and rapturous than today, thanks to the brand new rip-roaring album by one of the biggest names in heavy music hailing from the Great White North.

In case you’ve never heard of Canadian Heavy/Power Metal act Striker, there couldn’t be a better moment to get to know such distinct band and their classic mix of Heavy Metal, Hard Rock and 80’s Hair Metal. This Edmonton-based quartet, which was formed in 2007 and has toured across dozens of countries as headliners as well as support for major metal acts in their rising career, are unleashing their fifth studio album, self-titled Striker, a kick-ass follow-up to their two previous albums Stand In The Fire (2016) and City of Gold (2014), perfect for fans of the unparalleled music by Iron Maiden, Judas Priest and Motley Crüe, as well as Swedish metallers Enforcer and Steelwing. After listening to this flammable metal album, I’m sure Striker will feature among your favorite bands of the past decade.

Featuring a neat, straightforward artwork by Rizky Putranto (Rish XXV), Striker is an ode to traditional metal, with no new elements or any type of shenanigans added to it, just plain good old heavy music. “This is our no bullshit album. We cut out everything that wasn’t absolutely necessary and kept everything short and to the point. We pray at the altar of heavy metal everyday, and there are some musical ideas that persist through time and some that don’t. We focused in on what keeps listeners coming back and got rid of everything else. You can’t climb Mount Everest dragging any useless shit with you; if you want to make it to the top, only bring with you what is absolutely necessary: Lethal Amounts of Shred”, said the band about their new album, and based on these words you can get a very good sense of what you’ll find in Striker.

Guitarist Tim Brown doesn’t waste time and starts firing electrifying Heavy Metal and Rock N’ Roll riffs and solos from the very first second in Former Glory, a song about enjoying life and being the best person you can, where frontman Dan Cleary keeps up with the greatest vocalists in Hard Rock delivering sheer awesomeness through his melodious voice. Sounding like a hard rockin’ version of Anthrax, in special due to its cutting riffs and demented vocals, Pass Me By presents a kick-ass fusion of Heavy Metal with old school Thrash Metal, with drummer Adam Brown pounding his drums mercilessly, therefore adding more stamina and heaviness to the overall musicality. And the first single of the album, Born To Lose, is in my humble opinion a newborn Hard Rock hymn, bringing all elements that make heavy music so thrilling, such as the metallic guitar lines by Tim, which  together with the rumbling bass by William Wallace (not the Scottish warrior) take the song’s impact to a whole new level.  Add to that already fantastic formula the song’s catchy chorus and a high dosage of adrenaline, and there you have not only the best song of the album, but also one of Striker’s most sensational creations to date.

Cheating Death is a short and atmospheric bridge to the incendiary Shadows In The Light, a dancing tune that lives up to the legacy of old school Hard Rock ignited by the potent bass punches by William, also offering the listener beautiful guitar solos and thrilling beats; followed by Rock The Night, another song by Striker that was born to be a classic. Dan is fantastic on vocals, supported by the song’s powerful backing vocals and the precise instrumental blasted by the rest of the band from start to finish, not to mention its extremely cheesy but entertaining lyrics (“You always seem to be on my mind / I can’t let you go / I can’t let you stay / You always seem to be a mystery to me / I can’t let you go / I can’t let you stay / The more that I think about you / The more that I know what to do / There’s something out there and it’s calling me / To rock the night / You’ve gotta bring them to their knees / There’s something out there and it’s calling me / To rock the night / Yeah you’ve got to make them see / What you can be”).

Over The Top, a fast-paced, potent Power Metal extravaganza where Tim and William are absolutely on fire with their stringed axes, brings forward elements of the traditional Heavy Metal played by Judas Priest and Iron Maiden combined with the Melodic Metal by Stratovarius, and the result is obviously beyond awesome. The same can be said about the second to last track of the album, titled Freedom’s Call, which will pump you up once again with its perfect balance of the heaviness of Power Metal with the harmony of Hard Rock. Needless to say, Dan doesn’t stop impressing with his puissant voice, never getting tired nor sounding uninspired. And the unstoppable Striker fire more of their kick-ass metal music for our total delight in the superb Curse of The Dead, where Adam takes the lead with his frantic beats whereas Tim keeps delivering his amazing riffs. Moreover, guest guitarists Simon Fallon and Adam Grimmelt only make things even more fantastic with their spot-on solos, turning the song into another memorable moment of the album.

In a nutshell, Striker not only have released a mighty Heavy Metal album, but they have also made us at The Headbanging Moose really proud of being Canadian. You can get in touch with Striker and their fiery metal music through their Facebook page, YouTube channel and SoundCloud, and in order to put your metallic hands on this first-class album all you need to do is go to the Napalm Records’ webshop to grab the CD or the LP version of it, as well as on CD Baby, on iTunes and on Amazon. If you manage to get the special edition of the album, you’ll also be treated to Striker’s cover version for Ozzy Osbourne’s Desire, from his 1991 classic No More Tears, one of the four songs co-written by the most beloved badass in the word, Lemmy Kilmister (R.I.P.), showing how much the band loves old school heavy music. We’re all born to lose, but if we work hard and have the new rip-roaring album by one of the biggest names in heavy music from the Great White North as the soundtrack to our endeavors, we’ll surely win in life and rock the night.

Best moments of the album: Former Glory, Born To Lose, Rock The Night and Curse of The Dead.

Worst moments of the album: None.

Released in 2017 Record Breaking Records

Track listing
1. Former Glory 3:59
2. Pass Me By 3:33
3. Born To Lose 3:58
4. Cheating Death 0:53
5. Shadows In The Light 3:29
6. Rock The Night 4:30
7. Over The Top 4:38
8. Freedom’s Call 4:30
9. Curse of The Dead 3:49

Special Edition bonus track
10. Desire (Ozzy Osbourne cover) 5:27

Band members
Dan Cleary – lead vocals
Tim Brown – lead and rhythm guitar
William Wallace – bass
Adam Brown – drums

Guest musicians
Simon Fallon – guitar solo on “Curse of the Dead”
Adam Grimmelt – outro solos on ““Curse of the Dead”
John Kennedy, Dave Arnold, Chris Segger, Lindsay Robinson, Clayton Parent and Tyler Dory – gang vocals

Concert Review – Lordi (The Opera House, Toronto, ON, 02/22/2017)

The God Of Thunder finally answered our call, and the most electrifying horde of Rock N’ Roll monsters in the universe stormed Toronto with their sensational, gory and theatrical performance for the first time ever.

OPENING ACTS: Mineta and Bookakee

lordi_toronto_2017The weather in Toronto couldn’t have been better for a night of heavy music, given the fact we’re in the middle of the winter and it was supposed to be freaking cold now. Not only there was no snow or rain, but with a temperature above 10 degrees we simply had the perfect conditions for praising the most awesome monsters in the world of Heavy Metal and Hard Rock, our beloved Finnish metallers Lordi, at the always comfortable The Opera House. But before Mr. Lordi and his horde hit the stage to mesmerize us with their sensational music and performance, we were treated to two very interesting Canadian bands that, if you don’t know them yet, certainly deserve our attention.

img_0141The first attraction of the night, MINETA, which is Polish for “cunnilingus” or “fellatio” (or if you prefer, in plain English it means giving oral sex to a woman), was more than just a music band, but a talented group of street performers blasting a mix of Ska, Punk Rock and Heavy Metal with a circus-inspired attitude, or as Mineta themselves like to call it, they play “Circus Party Punk”. Formed in 2012 in the city of Toronto, Mineta have just released their debut full-length album Polyglamerous, which was the base of their fun setlist, including the entertaining Fag Beef. While lead singer Bella Muerta stapled Christmas lights to her thigh, showed her boobs and urged the crowd to sing “daj mi mineta” with her (or “give me oral sex” in Polish), guitarist Tony Patrick Olivero played his strings while doing some circus tricks, Arty Basinski pounded his drums from the top of his stilts, and Matt Pazzol (bettern known as YuMB YuMB) was the weirdest clown I’ve ever seen to play bass guitar. There was still time for a sexy bunny to take some bloody eggs from her pussy and eat them. Yes, that all happened during their wicked show. Are you excited to see them live now?

Band members
Bella Muerta – vocals
Tony Patrick Olivero – guitar
Matt Pazzol (YuMB YuMB) – bass
Arty Basinski – drums

img_0149The second opening act of the night was just as insane as Mineta, but instead of an upbeat Punk Rock they played a very violent and gory version of Death Metal defined by the band as “Progressive Theatrical Melodic Brutal Gore Death Metal”. I’m talking about Montreal-based act BOOKAKEE, a name that also has a sexual connotation meaning “a sexual practice in which several men ejaculate on the face of an individual woman”. Formed in 2007, the band comprised of Philippe Langelier, Simon-Pierre Gagnon, Mathieu Paré, Jonathan David and Jean-Philippe Bouchard haunted the souls of the fans at The Opera House with the visceral compositions from their latest album, named Whorrific, including the title-track Whorrific and the bestial Bookakee Blast. And just like mineta, those five metallers didn’t only play their infernal, technical and thrilling music, but also “helped” a girl give birth to her creepy baby, scalped a nun and were joined on stage by the one and only Donkey Kong. However, the most unusual part of the show was when what was supposed to be a wall of death became a dance floor to the sound of Haddaway’s dance hit “What Is Love”. I guess no one saw that coming.

Band members
Philippe Langelier – vocals
Simon-Pierre Gagnon – lead guitar
Mathieu Paré – rhythm guitar
Jonathan David – bass
Jean-Philippe Bouchard – drums 

LORDI

img_0164After such unique performances, it was time for Mr. Lordi and his horde of monsters to deliver an absolutely flawless performance to an audience avid for their music. It was the first time ever that LORDI performed in the city of Toronto, and the whole band gave their best to make it a memorable night for their Torontonian fans. Still promoting their latest release, the excellent Monstereophonic (Theaterror vs. Demonarchy), the band blasted all types of songs in their solid setlist, from the beautiful ballad It Snows in Hell to the high-octane rockin’ anthem Bringing Back the Balls to Rock, from the very old school song Icon of Dominance to their newest hit Hug You Hardcore, and so on, putting a huge smile on everyone’s faces the whole night.

But Lordi also had some help in their theatrical performance from the very beginning like what happened with Mineta and Bookakee, with the iconic Skeletor introducing the band and displaying the decapitated head of the sissy He-Man in the opening song of the night, the cheesy but fun Let’s Go Slaughter He-Man (I Wanna Be the Beast-Man in the Masters of the Universe). Also, a priest tried to exorcise Mr. Lordi but failed miserably. Who did he think he was dealing with, right? Anyway, Mr. Lordi was on fire the whole presentation, always interacting with the fans and singing all his classics better than ever. Moreover, before playing the fantastic The Riff, he mentioned the song had the same “special ingredient” (which is obviously a heavy riff, if you have no idea what he was talking about) present in the music by behemoths such as KISS, Judas Priest, Motley Crüe, Skid Row and Black Sabbath, proving that before being a monster, he’s a crazy metalhead just like the rest of us.

img_0166Despite being slightly “hidden” at the back of the stage, Mana and Hella both had amazing performances with their powerful beats and keys, in special our stunning  schizo doll emanating charm and electricity during the entire show. And while OX blasted his strings in an entertaining disco-rock-dancing bass solo, Mr. Lordi’s right-hand man Amen was the personification (or should I say “monsterification”?) of a true Rock N’ Roll guitarist, being unstoppable on stage with his cutting riffs and solos. Let’s say their job gets easier than other average bands as they have tons of beyond-catchy hymns to mesmerize us like Hard Rock Hallelujah and Devil Is a Loser, and when they ended the concert with their two most famous “questions”, Who’s Your Daddy? and Would You Love a Monsterman?, they left us all questioning when we’ll have the pleasure of seeing those incredible monsters of rock once again in the city. I personally hope it doesn’t take another 20 years for Lordi to come to Toronto, but I guess I don’t need to worry too much about it as, based on the flammable response by their fans, it won’t take more than a few months for that to happen.

Setlist
God of Thunder (KISS song)
SCG VIII: Opening Scene
Let’s Go Slaughter He-Man (I Wanna Be the Beast-Man in the Masters of the Universe)
Babez for Breakfast
Nailed by the Hammer of Frankenstein
The Riff
Bass Solo
Bite It Like a Bulldog
Icon of Dominance
Drum Solo
Bringing Back the Balls to Rock
Hug You Hardcore
It Snows in Hell
The Children of the Night
Keyboard Solo
Down With the Devil
Blood Red Sandman
Hard Rock Hallelujah
Devil Is a Loser

Encore:
Who’s Your Daddy?
Would You Love a Monsterman?
The Night the Monsters Died

Band members
Mr. Lordi – vocals
Amen – guitars
OX – bass
Hella – keyboards
Mana – drums

Album Review – Jupiter Hollow / Odyssey EP (2017)

A young Canadian duo ready to bring fans of complex music a spacey, experimental and refreshing experience with their excellent debut EP, bursting with high-quality heaviness and progressiveness.

Rating4

ep-cover-odyssey-jupiter-hollowWhen two very young and promising Canadian musicians unite in the name of Heavy Metal and Rock N’ Roll, focusing all their developing talent and crescent passion for heavy music into their compositions, the result is always interesting to say the least. That’s the case with Progressive Rock/Metal duo Jupiter Hollow who, since their inception in the summer of 2015 in the city of Barrie, in the province of Ontario, Canada, are ready to bring fans of complex music a spacey, experimental and refreshing experience, reminding listeners of bands like Tool, Pink Floyd, A Perfect Circle and Rush. And if you enjoy that fusion of heaviness and progressiveness, you definitely should take a shot at their excellent debut EP, entitled Odyssey.

Jupiter Hollow are Grant MacKenzie (21), who plays guitar, bass and synth for the band and started his music career over 8 years ago at the age of 12, sitting in his basement watching the 2009 movie Rock Prophecies, and Kenny Parry (18), who started in music at the young age of 2, setting up pots and pans like a drum set and banging away. Now as Jupiter Hollow the two musicians use technology to their advantage, allowing them to perform with a dominating stage presence while captivated their audiences with their unique sonic journey, consequently catching the attention of the music industry in Toronto. The band then plans on releasing a full-length album titled AHDOMN, giving a short and sweet taste of what they’re capable of delivering in their debut EP, which I’m sure will please your ears avid for high-quality heavy music.

In the first of the five tracks of the EP, named Deep In Space, classic Rock N’ Roll lines are blended with modern Progressive Metal, with Kenny sounding a lot like the iconic Geddy Lee in his prime time (all fans of Rush need to listen to this awesome tune). This song has a beautiful melody with an impactful instrumental, especially the bass lines by Grant and the complex drumming by Kenny. Psychedelic and atmospheric, Ascending is a smooth and passionate ballad that will touch your soul before Hades Heart brings more of the band progressiveness in the form of a classic Rock N’ Roll power ballad. This dynamic Canadian duo knows how to add poetry to their music (“Piece by piece we sit in the sand / On separate beaches / Staring at the same star we fell in love beneath / Travelled once around in each other’s touch / Once alive on an honest trip / My psyche lies and kills your grip / Just give me gas and I’ll light it up”), with a soulful guitar solo by Grant inserted in the music to add more electricity to such inspiring composition.

grant-_-kenny-sandra-beattyOver 50 Years is where they let their Dream Theater vein take the lead, blasting more metallic and thunderous lines through their guitar and bass, again with those eccentric lyrics we always expect in progressive music (“It’s been too long / Since anyone’s tasted sweet sugar on that beach / With everyone facing death / Sinfully stricken poison pet / You say: “These are our people you prick” / These are our fucking people”, I don’t care. / I can’t be associated with you”). The heavier and more intricate riffs by Grant set the stage for Kenny to fire some harsher vocals, turning this into the most exciting composition of the EP in my humble opinion. And the title-track Odyssey, the fifth and final act of this solid album, provides the listener a futuristic voyage through the realms of Progressive Rock and Metal, with the clean vocals by Kenny emanating strong emotions in a James LaBrie-style, while Grant does an amazing job with his minimalist but powerful guitar and bass until the song’s eerie ending.

For every Justin Bieber that’s born in our home and native land Canada, heavy music fights back with a Kenny Parry and a Grant MacKenzie, keeping a necessary balance in our multicultural ecosystem. With that said, if you want to avoid any disruptions in our beautiful Canadian environment, I suggest you go support Jupiter Hollow through their official Facebook page, listen to their fine music and more at their YouTube channel (where you can also stream the full EP), and obviously purchase Odyssey through their official website or BandCamp, on iTunes or on Amazon. If these two young musicians can deliver such excellence in music at a very young stage of their careers, imagine what they will be able to provide with the proper support from fans like you in the coming years?

Best moments of the album: Deep In Space and Over 50 Years.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Deep In Space 5:06
2. Ascending 2:52
3. Hades Heart 4:30
4. Over 50 Years 5:05
5. Odyssey 5:50

Band members
Kenny Parry – vocals, drums, synth/keys
Grant MacKenzie – guitar, bass, synth

Album Review – Terrifier / Weapons of Thrash Destruction (2017)

A Canadian army of Thrash Metal proves through their phenomenal new album that thrashing is their business… and business is good.

Rating3

terrifierwotdalbumcoverasofdec21If you have already checked out our Top 10 Hard Rock/Heavy Metal Albums of 2016 you know that, at least for us at The Headbanging Moose, 2016 was the year of Thrash Metal, with bands like Testament, Anthrax and Death Angel delivering the cream of the thrashing crop. With that said, how about keeping the flame of Thrash Metal burning brighter than a thousand suns, with the first review of 2017 being not only a kick-ass album, but a tribute to this always thrilling subgenre of heavy music? Formed in 2003 in the city of Kelowna, in the province of British Columbia, Canada, but currently located in Vancouver, here comes Thrash Metal squad Terrifier (originally known as Skullhammer) armed to the teeth with their brand new opus, the thundering Weapons of Thrash Destruction.

The album’s old school straightforward artwork already tells you what you’re about to face in Weapons of Thrash Destruction, and after listening to such amazing album you’ll agree that the band’s motto could well be “thrashing is our business… and business is good.” Having release their debut album Destroyers of the Faith in 2012, followed by the EP Metal or Death in 2013, Terrifier offer in their new album exactly what diehard thrash metallers desire, being highly inspired by icons like Slayer, Exodus, Testament, Megadeth, Metallica, Overkill and Kreator, also adding to their musicality hints of Iron Maiden, Judas Priest, Pantera, Iced Earth and several other of their influences in heavy music. The band’s frontman and mastermind Chase Thibodeau explains their reason for being. “We formed this band because we love thrash and play what we think sounds cool… our music is fast, technical, heavy and melodic and shredding.”

Guitarists Rene Wilkinson and Brent Gallant waste no time and begin slashing their instruments in the opening track, the superb Reanimator, delivering the thrashiest riffs you can think of, with Chase screaming the song’s lyrics in a frantic Paul Baloff style. Inspired by the 1985 cult horror flick Re-Animator, it’s five minutes of nonstop action perfect for getting some hardcore bruises in the circle pit. In Deceiver, it’s confirmed Terrifier is a band that definitely knows how to craft true old school Thrash Metal, blasting more of their unstoppable blazing riffs while drummer Kyle Sheppard showcases his passion for metal through his insane beats; followed by Nuclear Demolisher, bringing forward sheer madness in the form of music. After an amazing rhythmic start, we’re treated to a heavy and cohesive sonority led by the beats by Kyle, with highlights to its electrifying guitar solos and to Chase’s hellish vociferations.

terrifierKeeping the speed over the “recommended” limit, fans of old school Exodus and Overkill will go crazy with the demented tune Violent Reprisal, especially due to its belligerent riffs, solos and vocals, whereas Skitzoid Embolism pays a fun tribute to one of the most iconic scenes from the 1990 classic Total Recall. This is yet another top-notch display of traditional Thrash Metal by Terrifier, with both Rene and Brent having sensational performances with their flammable guitars. And galvanized by the music bred by Exodus with Zetro on vocals, Drunk as Fuck epitomizes what Canadian Thrash Metal is all about, including the song’s spirituous lyrics. As the band states, “Heavy Metal is not just music, it’s a way of life”, so raise your beers to this awesome drinking hymn!

In Bestial Tyranny,  yet again we witness a tenacious band that is never tired of blasting high-octane thrash music, with Chase sounding completely demented with his screams while Rene and Brent, together with bassist Alexander Giles, form a “stringed trinity of Thrash Metal” throughout the song’s six breathtaking minutes. And violence never ends in this fantastic album, with Riders of Doom, an instrumental bridge displaying some nice guitar solos, setting the stage for their last onslaught of old school Thrash Metal, titled Sect of the Serpent, a song inspired by Conan the Barbarian (they do love the almighty Arnold, don’t you think?) played at the speed of light. Chase leads his demented troop of metallers, with Kyle’s berserk beats crushing the listener mercilessly.

In a nutshell, the sonic Armageddon caused by Terrifier and their Weapons of Thrash Destruction goes beyond all expectations, proving one more time how underground metal can be just as mighty and exhilarating as the classic bands we love so much. In order to know more about the band’s fantastic arsenal of Thrash Metal, go check their Facebook page, SoundCloud or ReverbNation, and if you want to put your hands on such awesome thrashy armament, simply go to Terrifier’s BandCamp page or to the Test Your Metal Records’ Big Cartel page. Weapons of Thrash Destruction will provide you the precise amount of ammunition you need to kick some serious ass into the mosh pit, no doubt about that.

Best moments of the album: Reanimator, Nuclear Demolisher, Drunk as Fuck and Sect of the Serpent.

Worst moments of the album: Deceiver.

Released in 2017 Test Your Metal Records

Track listing
1. Reanimator 5:24
2. Deceiver 5:15
3. Nuclear Demolisher 4:26
4. Violent Reprisal 4:17
5. Skitzoid Embolism 4:08
6. Drunk as Fuck 4:12
7. Bestial Tyranny 6:13
8. Riders of Doom 1:40
9. Sect of the Serpent 6:44

Band members
Chase Thibodeau – vocals
Rene Wilkinson – guitar
Brent Gallant – guitar
Alexander Giles – bass
Kyle Sheppard – drums