Metal Chick of the Month – Amanda Somerville

I hide you, I find you, I catch your fall…  I’ll be there when the lights go out…

She has already been involved with so many distinct bands and projects it feels like she’s a 100-year old veteran in heavy music, when in fact she’s just about to turn 39 years old. I’m talking about the unstoppable American vocalist Amanda Somerville, our metal chick of the month who’s not only a singer and songwriter, but also a vocal coach, being known primarily for her work with several renowned European Symphonic Metal bands such as Edguy, Avantasia, Epica, Kamelot and After Forever, and having also produced two solos albums and two solo EP’s so far, as well as a wide range of more underground acts like Aina, Trillium and Exit Eden. also, there are countless albums and songs from other artists in the world of heavy music where you can find the stunning Amanda delivering her beautiful vocal notes, only proving how professional she is and how much other musicians admire her talent and skills as a vocalist. Having said that, are you ready to get delightfully “lost” in the world of Amanda Somerville?

Born on March 7, 1979 in Flushing, a city in Genesee County in the U.S. state of Michigan, Amanda Somerville, whose full name is Amanda Somerville-Scharf, attended Flushing Senior High School, graduating a full year early and winning a scholarship for graduating with high honors to the University of Michigan in Flint, Michigan, where she majored in psychology. In 1999 she moved from the United States to Wolfsburg, Germany, working mainly in Germany and in the Netherlands. Her voice has a wide range, but she has said herself that her tessitura is in the alto range, and if you have no idea of what that means you can take a quick look at this short and sweet explanatory video HERE. On August 19, 2013, she announced that she was engaged to be married to After Forever’s former guitarist Sander Gommans, and the pair were married in July 2014; less than one year after their marriage, on January 8, 2015, the couple announced they were expecting their first child, who was born on July 17, 2015 and named Lana Elise Gommans, and now in January the couple and little Lana were joined by the identical twins Anya Jayne and Juliet Marlies (and you can expect to hear more from Amanda and her new babies through her official blog).

Amanda has started singing from a very early age in her life, having grown up in a very musical family where music was a very basic and essential part of life. Furthermore, not only she had that influence and inspiration at home, but she mentioned she also had very good music mentors at elementary school, learning how to read music and play the piano at a rather young age. In addition, she said she has always dreamed about becoming a musician, and that’s all she ever wanted to do. For instance, throughout her life she has always performed in talent shows, competitions and concerts, hosting karaoke, singing in cover bands and jazz combos to earn money while she was in university, and even doing some appearances as a DJ. However, albeit being famous worldwide for her participation in several metal bands and projects, Amanda said that when she started her career she was a solo artist directed to the Pop Rock genre with some American folk elements. It was only when she decided to record a single with her bass player and drummer years ago that she met German guitarist, bassist and musical producer Sascha Paeth, who at that time was related to her bass player and owned a recording studio. Both Sascha and German keyboard player and musical producer Michael “Miro” Rodenberg were at the spot, helped them set up everything and listened to them performing, until they asked Amanda if she wanted to do something together with them, opening the doors of heavy music for our stunning diva. And regarding her education in music and arts in general, she said she never really studied music in a formal way, nor was she classically trained in singing. Amanda mentioned that it was her grandmother who taught her how to read music and gave her the basic foundation that she still uses for composing until today. Furthermore, as a vocal coach she was able to work with several distinguished musicians, always being open to learn from her students and to face new challenges they might bring her, therefore growing as a musician and as a person.

Trying to list every single band and project Amanda was or is still involved in Heavy Metal might be one of the toughest tasks one can try to accomplish, as she has already written and recorded with several renowned acts like the ones mentioned in the beginning of this essay about our gorgeous American vocalist, as well as her solos releases (which by the way were primarily soft and elegant Pop Rock with some Hard Rock, folk and soul music influences) and a rock opera, among other distinct endeavors. Let’s start with her solo career, with the releases of the albums In the Beginning There Was… (2000) and Windows (2008), and the EP’s Blue Nothing (2000) and Never Alone (2003), with her upcoming album Conformity Challenged to be announced soon. You can have a listen at her softer and more graceful side in songs like I Miss America and Puzzling Rapunzel, from her debut album, and Inner Whore and Sometimes, from Windows, but that’s the lightest music you’ll find in this tribute to Amanda, as from now on it’s going to be pure heavy music flowing through her veins and vocals.

Her first venture in metal was her collaboration with German multi-instrumentalist Robert Hunecke-Rizzo (Heavens Gate, Luca Turilli, Kamelot, Rhapsody of Fire), co-writing the rock opera Aina, a Symphonic and Progressive Heavy/Power Metal project featuring a number of guest appearances including Glenn Hughes, Michael Kiske and Candice Night, where the concept and lyrics were written by Amanda herself. There was only one album released under the project, the 2003 opus Days of Rising Doom (which you can listen in its entirety HERE), and don’t expect to see anything new from Aina in the short or even long-term. After Aina, she made a similar collaboration with her husband-to-be Sander Gommans, providing vocals and lyrical concept for HDK (the acronym for Hate Death Kill), a Melodic Death/Gothic Metal project with whom she released the albums System Overload, in 2009, and Serenades of the Netherworld, in 2014. Do you want to bang your head to the music by HDK? Try the songs System Overload and Mortal Zombie, one from each release by the project, and see if you like this more ferocious side of Amanda.

Perhaps her most remarkable project to date is her partnership with the iconic German vocalist Michael Kiske (Helloween, Unisonic) on a musical project entitled Kiske/Somerville, also featuring Primal Fear’s own Mat Sinner on bass and Magnus Karlsson on guitars (who by the way are the two main songwriters of the project), and Czech drummer Veronika Lukešová. In 2010, the project released their debut self-titled album, followed by another full-length release named City of Heroes, in 2015. From their debut installment, you can enjoy on YouTube songs such as Silence and If I Had A Wish, and from City of Heroes you should take a listen at Walk on Water.

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Another very interesting project by Amanda goes by the name of Trillium, a Symphonic Metal band formed in 2011 in the Netherlands (where she currently resides), featuring some of her longtime fellow musicians Sander Gommans, Sascha Paeth and Michael “Miro” Rodenberg, having released in 2011 the full-length album Alloy. She described the music by Trillium as “more like an expedition with my musical family to explore and celebrate the metamorphosis I’ve gone through as an artist over the past several years”, while the name of the band “symbolizes a trinity because things are always showing up in 3s in my environment and there are a number of triads occurring in this project, as well”. And she went on saying that “the name of the album, Alloy, is symbolic and metaphorical. An alloy is a substance composed of two or more metals, or of a metal or metals combined with a non-metal, intimately mixed. It also means standard; quality; fineness and is an admixture, as of good with evil. I’m a Pisces, so I’m all about duality and combining known elements – sometimes opposing each other – to create something different. Though I’ve been working myself further and further into the metal scene, I still always feel the need to add an extra element to make it shine, bling, stand out”. From Alloy, you should check the song Coward, and if you like what you hear you can enjoy the full album HERE.

In 2017, Amanda joined a new project entitled Exit Eden, featuring four female singers from the rock and metal scene from four different countries, those being Clémentine Delauney (Visions of Atlantis, Serenity) from France, Marina La Torraca (Highlight Kenosis, Phantom Elite) from Brazil, newcomer Anna Brunner from Germany, and obviously Amanda Somerville. The band was conceived with the plan “to show the world that almost every classic song can be transformed into a solid metal-rock song”, a concept similar to Finland’s Northern Kings, releasing in 2017 the album Rhapsodies In Black, comprised of 11 metallic versions for some of the biggest pop and rock classics like Rihanna’s Unfaithful, Depeche Mode’s A Question Of Time, Shontelle’s Impossible, Lady Gaga’s Paparazzi, Backstreet Boys’ Incomplete, and Bonnie Tyler’s Total Eclipse Of The Heart, with the stunning Dutch goddess Simone Simons also appearing in two songs of the album, Madonna’s Frozen, Adele’s Skyfall.

Apart from all those bands and projects, Amanda has also been involved with several iconic acts either live or as a guest musician in some of their studio albums. For instance, in 2008, she toured America with Dutch Symphonic Metal icons Epica, while Simone Simons recovered from a staph infection; she was also one of the live guest vocalists for Tobias Sammet’s metal opera Avantasia world tours in 2008, 2010, 2013 and 2016, where she performed both backing vocals and lead vocals for a few songs; she was featured on Douglas R. Docker’s space metal opera Docker’s Guild in 2012 in a duet with Goran Edman on the debut album The Mystic Technocracy – Season 1: The Age of Ignorance, and again in 2016 in the Flash Gordon Suite on the album The Heisenberg Diaries – Book A: Sounds of Future Past; and also played the part of the “Queen of the Nile” in an album titled The Book of Gates, by a metal opera project from the Middle-East named EON, produced by Lebanese guitarist Amadeus Awad. And the list goes on and on with Amanda lending her beautiful voice to several interesting songs recorded by bands like After Forever, Edguy, Lunatica, Serenity, Wolfpakk, Shaman, DesDemon, Hollow Haze, Sebastien, Soulspell, and many, many others.

When asked about her experience working with several renowned artists such as Alice Cooper, Ian Gillan and Eric Martin due to her role in projects like Rock Meets Classic and Avantasia, Amanda answered that working with all those metal icons is always a pleasure for her, as she always enters a new situation or project with a very open mind and loves to be surprised by those artists, not to mention she also said most of them are amazing human beings. In addition, when asked which musician or artist she would love to work with in the future, Amanda mentioned some important names in music such as John Fogerty, the mastermind behind Creedence Clearwater Revival; Grace Slick, an American musician and former model, widely known in Rock N’ Roll history for her role in San Francisco’s burgeoning psychedelic music scene in the 60’s, being the voice of bands like Jefferson Airplane and Starship; and as a solo artist she would also love to work with Paul Simon and Tori Amos. As you can see although those musicians listed by Amanda are not your regular metal icons, they do have a huge influence on countless metal artists and bands from different styles, proving once again heavy music is not and can never be isolated from the rest of the world of music.

Regarding her inspirations for her music and lyrics and her full creative process, Amanda said she doesn’t really have a “normal process” as far as songwriting goes, with her songs beginning sometimes as a chorus or a verse, sometimes as just the lyrics with the body of the composition coming later, and sometimes the song will come to her from start to finish in its entirety. She complemented by saying that as a songwriter, the lyrics are of extreme importance to her, and that her songs are always very emotional because she doesn’t believe in writing or performing anything that can’t make people feel along with her. All her songs are personal-based, talking about human struggles and relationships, whether it was something she went through, a dream, or inspired by someone or something, and all being “little windows” into the innermost workings of Amanda Somerville.

Last but not least, apart from all her projects and adventures in music in general, Amanda still found some time in June 2014 to be part of a German television show named Keep Your Light Shining, which aired from the end of May to June 2014 by ProSieben, singing the song Addicted To You by Avicii (and you can also see her personal message about the show HERE). She said she accepted the challenge because she enjoys getting out of her comfort zone, pushing herself to her own limits. However, the show had to make some special arrangements for her due to her touring schedule and other details, as she was only able to join their third show. Many people asked her why she was doing that, because she didn’t need it, but she said she actually wanted to participate on the show as a new experience for her. Moreover, despite the final result not being very positive for her, she said she wasn’t sad or anything like that as in the end she was the only member with a career while some of the others went backstage and cried their hearts out. What’s next for Amanda Somerville? Now with the twins she will probably take some time off from all her endeavors in heavy music, but I’m sure it won’t take long for us metalheads to have the pleasure of listening to her beautiful voice once again accompanied by some flammable guitar riffs and headbanging beats in another ass-kicking song, band or project.

Amanda Somerville’s Official Facebook page
Amanda Somerville’s Official Twitter
Amanda Somerville’s Official Instagram
Amanda Somerville’s Official YouTube channel

“I’ve never really been able to force a song. I don’t believe in doing anything contrived, especially when it comes to songwriting. I think it’s a blasphemy to one’s art. Music is my emotional outlet and I let it take me wherever it leads.” – Amanda Somerville

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Concert Review – Epica & Moonspell (The Opera House, Toronto, ON, 01/22/2016)

An electrifying fusion of Melodic Death Metal, Dark Metal and Symphonic Metal from distinct parts of the world storms the Opera House in Toronto in a memorable celebration of music.

OPENING ACT: Starkill

The North American Enigma PosterAlthough the winter hasn’t been too harsh so far in the city of Toronto this year, there’s nothing better than warming it up even more with some high-quality metal music from different parts of the world, all at the same place and time, don’t you agree? That’s what happened this Friday at the nice and cozy The Opera House, where fans could witness the riveting fusion of Melodic Death Metal from the United States, Dark Metal from Portugal and Symphonic Metal from the Netherlands on a cold but (thankfully) snowless night.

And I was finally able to get a full concert in Toronto from the very first second, without missing anything, starting with the young and restless metallers from STARKILL. Still promoting their latest album, the good Virus of the Mind, from 2014, this talented American quartet distilled their Melodic Death Metal in a precise way, warming up the crowd for the main attractions yet to come. Lead singer/guitarist Parker Jameson and guitarist Tony Keathley seemed very comfortable on stage and also among the crowd right after their concert was over, having a few beers with their fans, therefore showing how humble these guys are too. Despite adding a couple of nice unreleased songs to their setlist (entitled Burn Your World and Cloudless), in my opinion they truly thrived with songs from their two studio albums, in special the excellent Be Dead or Die and Fires of Life. I just wish they had played a faster song such as “Breaking the Madness” or “Skyward” instead of Before Hope Fades to close the show, but that was just a minor detail in their solid overall performance.

Setlist
Be Dead or Die
Burn Your World
Cloudless
Fires of Life
Virus of the Mind
Before Hope Fades

Band members
Parker Jameson – lead guitar, vocals
Tony Keathley – guitar, backing vocals
Shaun Andruchuk – bass guitar
Spencer Weidner – drums

MOONSPELL

IMG_1037About 24 hours before the moon in the city transitioned from First Quarter to Full Moon, and after an interesting alternate version of La Bafomette working as an intro, the iconic Portuguese Dark Metal wolf pack MOONSPELL stormed the Opera House with their obscurity, heaviness, electricity and undisputed talent. I really don’t know what to say about their performance so perfect it was. Perhaps that it took me too long to watch those old school Gothic metallers live for the first time? Anyway, their live concert is so damn brilliant it feels like an enhanced version of their studio albums, especially the performance by frontman Fernando Ribeiro. There’s so much passion emanating from his voice, either through his deep clean vocals, through his powerful growls or through his “real-time poetry” (or even when he made a joke about the guys from Starkill being so young they could be his children),  that it’s impossible not to get completely mesmerized and stunned by him during the entire show.

IMG_1032Of course, the rest of the band contributes enormously to the perfection of their music, with highlights to the polished and soulful riffs and solos by guitarist Ricardo Amorim, and to the sinister notes by keyboardist Pedro Paixão. There’s an absolute attention to detail coming from each musician involved, turning the experience of seeing Moonspell live into something unique. In addition, when you have such a masterpiece like their 2015 album Extinct guiding the setlist, with incredible compositions like Breathe (Until We Are No More), Extinct and The Last of Us complementing their old classics Night Eternal, Opium, Vampiria and Full Moon Madness, it’s extremely easy to put a sincere smile on the faces of the fans that attended the concert.

My only complaint is that their setlist was way too short and didn’t live up to their dark legacy. When the show was over after a little less than one hour, I was eager for more of their Gothic Metal, something you can expect from such an amazing band with a dazzling career like Moonspell. Well, they haven’t risen to stardom for no reason, right? If they had another 20 or 30 minutes to showcase more of their beautiful music, maybe by adding songs like “White Skies” and “Scorpion Flower” to their setlist, the night was going to be epic and, more important than that, more than eternal for us mere mortals. I cannot wait to see the “gajos” from Monspell live again, and next time, before the lights go out and before our time is gone, they better be the headliners or we riot!

Setlist
La Bafomette (Intro)
Breathe (Until We Are No More)
Extinct
Night Eternal
Opium
Awake
The Last of Us
Funeral Bloom
Vampiria
Alma Mater
Full Moon Madness

Band members
Fernando Ribeiro – vocals
Ricardo Amorim – guitars
Pedro Paixão – keyboards
Aires Pereira – bass
Miguel Gaspar – drums

EPICA

IMG_1069However, as most fans at the venue were there to see the main attraction of the night, the Dutch metallers from EPICA, I had to cope with the fact Moonspell’s concert was over and get ready for another good performance by the red-haired bombshell Simone Simons and her loyal crew. Due to personal reasons, they had to cancel their concerts in Toronto, Chicago and Minneapolis last September, which is why I believe their fans at the Opera House were so excited this Friday night.

Blending old classics with newer songs from their 2014 album The Quantum Enigma, Epica captivated the hearts of most people at the venue, with Simone connecting every single moment with the fans. As it happened with Moonspell, songs like The Second Stone and The Essence of Silence, despite not being classics yet, set fire to the crowd and boosted even more the impact of their classics, creating a very positive atmosphere among the crowd. And what can I say about the weird keyboards by Coen Janssen? What the hell was that? I mean, it looks cheesy, but it ends up working well with the music. If you like Epica, you know what I’m talking about.

IMG_1066There was just one minor issue with Epica’s performance, that being Moonspell. Well, not actually Moonspell, but the quality of the sound by the Portuguese metallers was way above what Epica provided the fans, which in the end felt odd. Sometimes their music sounded a bit muffled or tangled, not as clean as their studio versions, with Simone’s voice sounding lower (and almost inaudible in some moments) than all instruments. Nothing that could diminish the excitement among the fans at the venue, though, and obviously nothing that would make the night less memorable. If that mix of different subgenres of heavy music from distinct countries will ever happen again, only time will tell. In the meantime, all that’s left for us is keep those good moments deep in our hearts and wait until these bands come back to Toronto (especially Moonspell, in my case) for another shot of top-notch Heavy Metal.

Setlist
Originem (Intro)
The Second Stone
The Essence of Silence
Sensorium
Unleashed
Martyr of the Free Word
Cry for the Moon (with drum solo)
Storm the Sorrow
The Last Crusade
The Obsessive Devotion
Victims of Contingency
Design Your Universe

Encore:
Sancta Terra
Unchain Utopia
Consign to Oblivion

Band members
Simone Simons – lead vocals
Mark Jansen – rhythm guitar, harsh vocals
Isaac Delahaye – lead guitar, acoustic guitar, backing vocals
Rob van der Loo – bass guitar
Coen Janssen – keyboards, piano
Ariën van Weesenbeek – drums, harsh vocals

Concert Review – Heavy Montréal 2014 Day 2 (Parc Jean-Drapeau, Montreal, QC, 08/10/2014)

A scorching hot Sunday of impeccable heavy music in Montreal.

DEATH ANGEL

IMG_2880After a good night of rest I was ready for more Heavy Montréal at Parc Jean Drapeau on Sunday. However, not only I was able to arrive really early that day (missing only a couple of minor bands), but also the sun was a lot hotter and the lineup  a billion times heavier, turning that day into some kind of heavy music survival camp, which was totally awesome.

The first attraction I was able to check on Sunday was American Thrash Metal band Death Angel, who at 1:30pm delivered a very consistent concert at the Heavy Stage, mixing some old songs with new ones from their most recent album from 2013 in their SETLIST, with highlights to the title-track The Dream Calls For Blood, one of the songs with the highest response from thousands of thrash metallers already present at the festival. And, of course, the energy lead singer Mark Osegueda emanates throughout the entire show was more than admirable.

Band members
Mark Osegueda – vocals
Rob Cavestany – lead guitar
Ted Aguilar – guitars
Damien Sisson – bass guitar
Will Carroll – drums

EXODUS

IMG_2883When American Thrash Metal beasts Exodus started their sonic Armageddon at 2:15pm at the Molson Canadian Stage, especially with the return of Steve “Zetro” Souza on vocals, the smile on the faces of all fans perfectly represented what Exodus are: a nonstop Thrash Metal machine ready to rumble until there’s no one standing anymore. I’ve always considered them the “extra” element that would transform the Big Four into a Big Five, and everytime I see them live I believe in that even more.

Despite not playing any new stuff from their upcoming album Blood In, Blood Out (which I really cannot wait to take a listen to), their short but superb SETLIST was a perfect lesson in Thrash Metal: Bonded By Blood, Blacklist, Toxic Waltz, Piranha, Strike of the Beast, among other masterful songs, were the soundtrack for intense circle pits, furious headbanging and constant beer drinking.

All band members were on fire, especially the returning Zetro (and his HUGE belly) and the riff master Gary Holt, a man that deserves a lot more recognition in the world of heavy music than he actually has. Maybe the only issues with their concert were sound of the guitars, which were too low compared to the drums, and the fact they had only 45 minutes to play. Anyway, the “Exodus Atack” might have been short, but it was indeed extremely effective.

Band members
Steve “Zetro” Souza – vocals
Gary Holt – guitar
Lee Altus – guitar
Jack Gibson – bass
Tom Hunting – drums

EPICA

IMG_2886After the BEASTS from Exodus, it was time for everyone to relax (and bang their heads, of course) with the BEAUTY Simone Simons and her bandmates from Dutch Symphonic Metal band Epica at 3:00pm, at the Heavy Stage. Their SETLIST was also pretty short, but instead of playing their classics they decided to offer their fans a concert full of new songs from their brand new album, the excellent The Quantum Enigma, which worked really well for them: everybody watching their performance truly enjoyed songs like The Second Stone, The Essence of Silence and Unchain Utopia.

Obviously, everyone had their eyes fixed on the stunning Simone, who is not only extremely gorgeous, but an awesome singer and a very sympathetic and charismatic frontwoman. Her headbanging was also amazing, especially due to the effect her beautiful long red hair had on that. Lastly, Simone mentioned they’re getting back to Canada in October with Machine Head and Children of Bodom, this time for a full 2-hour concert. Are you going to miss that unique opportunity?

Band members
Simone Simons – lead vocals
Mark Jansen – rhythm guitar, grunts, screams
Isaac Delahaye – lead guitar, backing vocals
Rob van der Loo – bass
Coen Janssen – synthesizer, piano
Ariën van Weesenbeek – drums, grunts, spoken words

BODY COUNT

IMG_2898I skipped Symphony X not only because they’re quite boring, but also to breathe some fresh air, watch good-quality wrestling matches at the Heavy Mania Stage, drink a couple of beers, and get ready for American Crossover Thrash band Body Count. At 4:30pm there they were at the Heavy Stage, or I should say that Body Count was literally “in the house”: that was a very entertaining concert, full of classics such as Body Count’s In the House, Disorder (my favorite of their SETLIST), Cop Killer and Talk Shit, Get Shot.

I must say that Ice-T, the mastermind behind Body Count, is a motherfuckin’ great frontman. Even after all those years, the man still got it and perfectly interacted with each and every person from the crowd. The funniest part was when he pointed to a girl and asked her age. She said she was only 16, for his surprise, as he replied back saying he would expect to see her at a Justin Bieber concert, not at Body Count, but he was 100% happy with her being there. He then pronounced some “beautiful” words for her, saying it was a pleasure to have her there and that the whole band truly respected that “bitch”. Well, the “bitch” seemed to be honored with his words. A day to remember, “bitch”!

Band members
Ice-T – vocals
Ernie C – lead guitar
Juan of the Dead – rhythm guitar
Sean E Sean – sampler, backing vocals
Vincent Price – bass
Ill Will – drums

BAD RELIGION

IMG_2902After skipping another concert, Hatebreed, and watching only 5 minutes of Alestorm’s performance at the Apocalypse Stage, I ran back to the Heavy Stage at 6:00pm for a memorable performance by American Punk Rock icons Bad Religion. The band was back in town just one year after their last performance there, or as frontman Greg Graffin said during the show, Bad Religion were back to Montreal “1 year later, 10 years older, and all fans looking better than ever”.

And what can be said about a nonstop SETLIST with 22 songs, including masterpieces such as Recipe for Hate, Struck a Nerve, 21st Century (Digital Boy), Infected, Punk Rock Song and American Jesus? It was pure madness, with kudos to drummer Brooks Wackerman for pounding his drums so intensely that each and every song became even better than the studio versions. Bad Religion might look 10 years older, but they sound like if they were all in their mid-20’s.

Band members
Greg Graffin – lead vocals
Brian Baker – lead guitar, backing vocals
Mike Dimkich – guitar, backing vocals
Brett Gurewitz – guitar, backing vocals
Jay Bentley – bass, backing vocals
Brooks Wackerman – drums, percussion

LAMB OF GOD

IMG_2907The sun was still scorching hot at 7:00pm when Twisted Sister hit the stage, so I decided to rest for a while at the Wi-Fi zone before heading back to the Heavy Stage, where at 8:00pm American Groove Metal band Lamb of God began their sonic massacre to the total delight of their diehard fans. They played a pretty decent SETLIST, with powerful songs like Walk with Me in Hell, Laid To Rest and Redneck, all accompanied by their respective awesome disturbing videos depending of course on the lyric theme, showing random images of junkies, religious fanatics such as Jim Jones and his followers, among others. That was an amazing addition to the show, holding the attention of even who was not a fan of their music.

However, it was lead singer Randy Blythe who stole the show with his close interaction with the audience, especially his funny jokes and messages, like when he said Dee Snider is one of his biggest idols (as they both have their issues with the law), his admiration for the badass names “Saskatoon, Saskatchewan”, and mainly when he asked everyone to give him a huge fuckin’ “WOOOOOO!” in honor of the Nature Boy, the one and only wrestling legend Ric Flair. And I guess I don’t need to mention anything about the insane mosh pits, right?

Band members
Randy Blythe – vocals
Mark Morton – guitar
Willie Adler – guitar
John Campbell – bass
Chris Adler – drums

SLAYER

IMG_2909You don’t need to ask anyone what you should or should not play when you’re FUCKIN’ SLAYER! At 9:15pm, American Thrash Metal behemoths tamed the Molson Canadian Stage for a brutal performance that almost devastated the whole island, bringing even the “plague” (or tons of mosquitoes) to Heavy Montréal (according to Tom Araya himself) and closing the festival on a perfect note. The most evil band in the world didn’t play any new songs, not even the recently released Implode, and of course there were no fuckin’ “requests” in their SETLIST. They simply chose to stick to their basics instead, bombarding each fan attending the concert with undisputed Thrash Metal classics such as War Ensemble, At Dawn They Sleep, Spirit in Black, Disciple, Raining Blood, Die By the Sword and Angel of Death.

It was another flawless performance by Tom Araya, Kerry King, Gary Holt and Paul Bostaph, and one thing must be said about Gary and Paul: they had some absurdly humongous shoes to fill when they replaced the gods Jeff Hanneman and Dave Lombardo, but their synergy with the other guys and their passion for heavy music make it look like they’ve always been with the band. Gary Holt is a guitar beast, as I’ve said a billion times already, and Paul Bostaph is so awesome he makes playing drums look like it’s the easiest thing in the world.

In between the songs and all the sick circle pits happening all over the festival, Tom Araya thanked the fans a thousand times for being there, saying they were the reason for that kind of festival to exist. He seemed really happy and honored by how loud everyone was screaming their names and singing their songs during the entire concert. In addition, he also tried to send some meaningful messages to the crowd while introducing some songs, like when he mentioned the horrible conflict that’s happening now between Israel and Palestine, before playing the masterpiece Die By the Sword. Do I need to say a “Slayer by Request” is totally unnecessary, especially when a band is so impressive as they are, no matter what they choose to play? I believe all the “SLAYER! SLAYER! SLAYER!” screams that echoed really loudly at the venue when the concert was over, at all subway stations and even at a McDonald’s where I had a pit stop to get some food can answer that.

Band members
Tom Araya – vocals, bass
Kerry King – guitar
Gary Holt – guitar
Paul Bostaph – drums

FINAL THOUGHTS

This was probably the best edition in the history of Heavy Montréal, because not only the main-eventers were brilliant, but mainly because the way everything was set up made the whole experience really pleasant for any type of person attending the festival. For instance, the extra stage this year allowed even more independent and/or newer bands to get known by the audience, the continuation of the Heavy Mania Stage was a great success, and the Heavy Montréal 2014 App was more than helpful for everybody.

Moreover, I don’t remember seeing any incidents during both days at Parc Jean-Drapeau. I cannot believe it’s 2014 and some idiots keep insisting on saying headbangers are violent people, when in fact we’re the most easy-going people in the whole fuckin’ world. Anyway, it’s time to recover from those two intense days, work, study, listen to metal and enjoy the local concerts wherever you are, until a new edition of Heavy Montréal is forged in the fires of heavy music next year for our pure delectation. What are your thoughts about Heavy Montréal 2014? Which attractions did or did not meet your expectations? And who do you want to see at Heavy Montréal 2015? Leave your comments below (if you have any) and, of course, keep listening to heavy music.

Album Review – Epica / The Quantum Enigma (2014)

The new album from Epica just corroborates how good Symphonic Metal from the Netherlands has been in recent years.

Rating4

coverIt definitely looks like whenever a Heavy Metal band from the Netherlands releases a new album, especially if it has female vocals, we can purchase their new material without even listening to it. All releases from bands from the “Land of Windmills” in the past few years have been simply amazing, with no exception, and that’s also valid for the excellent The Quantum Enigma, the sixth studio album by Dutch Symphonic Metal band Epica.

Although it’s the first with new bassist Rob van der Loo, who replaced Yves Huts in 2012, that didn’t hurt the overall quality of the album. Quite the contrary, the other members of the band have been together for some good years, which translates into cohesiveness and an outstanding flow of the music. Not only that, the addition of a chamber choir and some strings (violins, viola and celli), along with the excellent guest musicians Marcela Bovio (Stream of Passion) on backing vocals and Daniël de Jongh (Textures) as additional male vocals were extremely positive from a quality standpoint.

The Quantum Enigma starts with the beautiful symphonic intro Originem, tailored to create a special atmosphere for everything else to come and already introducing to us the choir, which will be a constant throughout the whole album. Also, I don’t need to say this track will be used as an intro to their upcoming live concerts, right? But it’s when the first actual song begins that we’re able to notice how grandiose the band wants its music to be in this album: The Second Stone is a great song with lots of Power Metal elements, Simone Simons’ unique voice sounding superb as usual, and the fast solos and harsh vocals complementing what might be considered the best track of the album by many fans.

The next track, The Essence of Silence, has that characteristic sonority from some old Epica songs without sounding repetitive, a beautiful chorus (“Retrieve your balance / Use your senses to observe / The essence of silence / Search for essence / Find the silence within you / The essence is…”), and all the extra strings fit perfectly with the musicality not only of this track but of the whole album. It’s a very good track but not really awesome, though, which is the case for the amazing Victims of Contingency, where its heavy riffs balance really well with the keyboards and orchestral parts. Moreover, the Death Metal punch found in this song blended with Simone’s lyrical voice is above the average, and add to that Mark Jansen and Isaac Delahaye doing an excellent job with their guitars and you have another memorable track in the album.

Perhaps the weakest track of all is the next one, Sense Without Sanity (The Impervious Code), which despite having a nice and smooth vocal intro, strong keyboard notes and a good balance of harsh and female vocals, ends up being a bit tiring, especially after the 4th minute,  losing all momentum gained. Unchain Utopia might not be a brilliant song, but it’s indeed better than the previous track and Simone’s performance once again gives it some extra energy; while The Fifth Guardian (Interlude), despite being just an instrumental bridge, is really well-crafted and perfect for energizing the listener for the following track, the excellent Chemical Insomnia. What an awesome Symphonic Metal tune! The music keeps growing and growing until it reaches a truly climatic ending, with all band members playing their parts beautifully, and also proving to us all a song doesn’t need to be absurdly long to be epic.

epicaReverence (Living in the Heart) seems to be the song chosen by Ariën van Weesenbeek to mercilessly smash his drums, with some excellent riffs, choir, and especially the quick but awesome keyboard solo adding a special touch to this sonic massacre. On the other hand, Omen (The Ghoulish Malady), with its piano intro and all orchestral parts, sounds too bland for an album so full of intense music and do not keep up with the other tracks.

The final part of The Quantum Enigma starts with the beautiful ballad Canvas of Life, where we can savor a great performance by Simone one more time. She simply steals the show here, mainly due to all the poetry in the lyrics (“The stains come alive where the paint has gone dry / You float above looking down reaching out to me / Depicting a beautiful scene that shapes divinity”) enhancing the emotion in her voice. Then comes Natural Corruption, another good track with all those Epica elements fans learned to enjoy, and The Quantum Enigma (Kingdom of Heaven Part II), an epic song with over 11 minutes with the orchestra and choir dominating the first part of the song. However, it then becomes a bit generic and, although it maintains a good rhythm, unfortunately it’s not enough for such a long song, making it a little tiresome in the end. The bottom line is, if you’re going to compose a long song make sure it has different “songs” inside of it, as for example the classics “Rime of the Ancient Mariner”, from Iron Maiden, and “Halloween”, from Helloween, otherwise just keep it simple. As previously mentioned, a band can be epic without extending the length of a song too much, which Epica themselves did in this same album. It’s not that the song is not good, let’s say it’s exaggeratedly ambitious.

Anyway, add to this very good album some interesting bonus tracks (each version of the album has a different one) and its beautiful album art done by visual artist Stefan Heilemann, who has already worked with Epica in other opportunities and with many other famous artists and bands, and you have another high quality album worth buying and, of course, worth listening to many times. Because as I said, if it’s Symphonic Metal from the Netherlands, especially if it’s an album from Epica, just go for it without thinking twice.

Best moments of the album: The Second Stone, Victims of Contingency, Chemical Insomnia and Canvas of Life.

Worst moments of the album: Sense Without Sanity (The Impervious Code), Omen (The Ghoulish Malady) and The Quantum Enigma (Kingdom of Heaven Part II).

Released in 2014 Nuclear Blast

Track listing
1. Originem 2:11
2. The Second Stone 5:00
3. The Essence of Silence 4:47
4. Victims of Contingency 3:31
5. Sense Without Sanity (The Impervious Code) 7:42
6. Unchain Utopia 4:45
7. The Fifth Guardian (Interlude) 3:04
8. Chemical Insomnia 5:12
9. Reverence (Living in the Heart) 5:02
10. Omen (The Ghoulish Malady) 5:28
11. Canvas of Life 5:28
12. Natural Corruption 5:24
13. The Quantum Enigma (Kingdom of Heaven Part II) 11:53

Bonus tracks
14. In All Conscience (Digipack additional track) 5:04
15. Dreamscape (Earbook additional track) 4:59
16. Memento (Vinyl additional track)
17. Banish Your Illusion (iTunes additional track) 6:11
18. Mirage of Verity (Japanese additional track) 5:59

Band members
Simone Simons – lead vocals
Mark Jansen – rhythm guitar, harsh vocals
Isaac Delahaye – lead guitar, acoustic guitar, backing vocals
Rob van der Loo – bass guitar
Coen Janssen – keyboards, piano
Ariën van Weesenbeek – drums, harsh vocals

Guest musicians
Marcela Bovio – backing vocals
Daniël de Jongh – additional male vocals