Concert Review – Heavy Montréal 2019 Day 2 (Parc Jean-Drapeau, Montreal, QC, 07/28/2019)

The fans at Heavy Montreal will always be thankful to the almighty Slayer for their final and utterly devastating concert in Quebec.

INTRODUCTION: Alive and Kicking 10 Years On

The 10th anniversary of Canada’s biggest and most important metal festival, our beloved Heavy Montreal, couldn’t have been celebrated in greater fashion than what metalheads from all over Canada and from several other countries were able to enjoy at the always beautiful Parc Jean-Drapeau. Although this was just my second time at Heavy Montreal, not counting the two editions of Heavy T.O. in 2011 and 2012, I must say the overall organization this year was a lot better than in 2014 (check our reviews for both days of the 2014 edition HERE and HERE), with a better layout, better access and exit, better facilities, food trucks, washrooms and so on, which was reflected in the happiness and good vibes flowing from all fans that were literally burning under a merciless sun in a (finally) scorching hot Canadian summer. As I was only able to attend day 2 of the festival, I’m not going to talk about any of the Saturday attractions, so if you’re curious to know how that day was go check the festival’s official Facebook page. And if you’re a hungry metalhead visiting Montreal for Heavy Montreal next year or any other metal concert, I highly recommend Il Focolaio for a delicious pizza or calzone to recharge your batteries before slamming into the circle pits.

SKILLET

Let’s begin with the first band I saw on Sunday, American Christian Hard Rock act SKILLET, who began their fun but not-so-heavy performance at 4:05pm when the sun and the temperature were hotter than the fires of hell. John Cooper, Korey Cooper, Seth Morrison and Jen Ledger put on a pretty good concert during the 45 minutes they had, with songs like Legendary, Sick of It and Hero receiving a very warm feedback from the crowd. I honestly had no idea they were a Christian band, but who cares? They might not be as heavy as most attractions of the festival (or maybe they’re too heavy for less extreme festivals), but they play with a lot of passion and energy, and I guess everyone who was watching their performance noticed that and showed a lot of respect for the band. Not only John is a great frontman, but the two girls Korey (who’s John’s wife) and Jen kicked ass on the guitar, piano, drums and vocals, bringing an amazing feminine touch to the entire festival. In a nutshell, if a heavier-than-usual (but not too extreme) version of modern-day Rock N’ Roll is your cup of tea, I’m sure you’re going to have a very good time watching Skillet live.

GAMMA RAY

As soon as Skillet’s performance was over, it was time for German Power Metal masters GAMMA RAY to fill the airwaves of the festival with some true old school Heavy Metal, especially because the band comprised of the iconic vocalist and guitarist Kai Hansen, bassist Dirk Schlächter, guitarist Henjo Richter, drummer Michael Ehré and second (or first) vocalist Frank Beck was the only attraction of the entire festival who played that type of music. I’m a longtime fan of Mr. Hansen’s music and I was very happy I could witness them playing at Heavy Montreal instead of another Alternative Metal band, but I don’t think most of the attendees had the same reaction when the band hit the stage. I mean, there were still countless fans banging their heads and raising their fists to classics like Master of Confusion, Heavy Metal Universe and Send Me a Sign, but there was something missing to make the show memorable. And to be fair, I still don’t understand why the band needs Frank Beck; he’s a good vocalist, but he doesn’t bring any real value to Gamma Ray’s performance. His microphone was lower than Kai’s, he didn’t sing most of the songs, and the songs he did sing were just OK. I think putting that crazy dude that was all wet dancing samba (and several other rhythms) nonstop on the gray mud to dance on stage would have been a lot more fun than Frank’s performance, don’t you agree?

IN THIS MOMENT

There was no time to breathe as, the second Gamma Ray were over, we were all able to witness a fantastic and very theatrical performance by the stunning Maria Brink and her henchmen (and henchwomen), collectively known as American Alternative Metal/Metalcore band IN THIS MOMENT. The aforementioned Maria, who I dare to say looks and feels like an evil (and of course improved) version of Lady Gaga, together with Chris Howorth on lead guitar, Randy Weitzel on rhythm guitar, Travis Johnson on bass and Kent Diimmel on drums, plus the two sexy masked dancers who worked as some sort of “mirrors” to Maria, delivered a truly hypnotizing concert, with their music being a blend of the blasphemy and anti-religiousness of Marilyn Manson and Cradle of Filth with the insanity of Slipknot and Ghost. The final result was obviously fantastic, with my two favorite songs of their setlist being by far the demented Big Bad Wolf and the closing song Whore, where Maria’s dancers entered dressed up as characters from the excellent dystopian novel and TV series The Handmaid’s Tale, holding sings with the words “SHAME” and “WHORE”. In the end, In This Moment kicked some serious ass without a shadow of a doubt, leaving all fans at Heavy Montreal extremely satisfied and eager for more of the music by metal’s favorite “whore” in a not-so-distant future.

HEAVY MANIA

When the next attraction from the Apocalypse Stage started, American stoner metallers Clutch, I went for a walk as I needed a break and some water. Terror and Demolition Hammer were on fire on the Forest and Garden stages, respectively, but I decided to watch the last wrestling show of the festival in the area called HEAVY MANIA, featuring wrestlers of the International Wrestling Syndicate like The Green Phantom, Sexxxy Eddy and Tabarnak De Team. The name of the fatal-four battle I was able to watch was “Le Cauchemar D’Oppenheimer”, and it was so fun I even missed the beginning of Slash’s concert. Well, it was definitely worth it, with Sexxxy Eddy winning the match amidst some trash talk and a few destroyed tables, just the way we like it in underground wrestling.

SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS

Back to the Heavy Stage, it was time for the one and only SLASH, accompanied by Myles Kennedy on vocals, Frank Sidoris on the guitar, Todd Kerns on bass and Brent Fitz on drums to bring old school Rock N’ Roll and Hard Rock to our avid ears. It was still very hot in Montreal, but because the show started at 7:15pm the sun was already lower and we were able to enjoy the concert without sweating like pigs. Myles Kennedy, who looks like a rocker version of Kevin Bacon, is such a great singer to the point I even forgot it was Slash on the guitar at times, showcasing all his refined skills in excellent songs like Anastasia, World on Fire and, of course, their cover version for one of Guns N’ Roses biggest hits, Nightrain. Slash was precise as usual with his unmatched riffs and solos, not to mention how happy he looked on stage, making me wonder if he’s only playing with Guns N’ Roses nowadays to have enough money to fund his solo career. Well, I’m actually happy he’s in both bands, so I can’t complain about that at all. Anyway, at this point of the festival we had already had several subgenres of heavy music, as you can see, except for our good old Thrash Metal. Guess what happened next?

ANTHRAX

From 8:15pm on, Heavy Montreal became Thrash Montreal, with Anthrax and the almighty Slayer leading us all the way into the eye of the circle pit. First, it was American Thrash Metal institution ANTHRAX who revved up our engines with their punk/hardcore-infused thrash, blasting classic moshing hymns like Caught in a Mosh, Got the Time and Antisocial for our vulgar delectation, as well as their already classic tribute to the deceased Dio, Lemmy and Dimebag with the beautiful In The End. Joey Belladonna, Jon Donais, Scott Ian, Frank Bello and Charlie Benante were unstoppable during their short but extremely vibrant performance, inspiring all fans to raise their fists and horns in the air and mosh like there’s no tomorrow. Moreover, I don’t know why but the festival organization decided it was a good idea to throw more cold water on the crowd when it was already nighttime, making some people run away from the stage due to that. Maybe they were trying to calm down the more excited fans who were crushing their skulls into the circle pit, who knows. What I know for sure is that I love Thrash Metal, just like Scott Ian asked us all, and I was more than happy to be able to witness one of the bands of the Big Four once again in my life.

SLAYER

Lastly, the moment everyone at Heavy Montreal was waiting for. The heaviest, most evil and most demonic band in the history of music, Thrash Metal titans SLAYER, took the province of Quebec by storm for one final time before calling it quits by the end of this year, which is something I still cannot believe but that makes total sense taking into account their age, everything that has happened to the band in the past decade, and the humongous amount of energy needed to play their music at the required (and insane) level. Although the opening acts might not have been as demolishing as their 2018 concerts in Canada, when Testament, Behemoth, Anthrax and Lamb Of God opened for them like their pulverizing concert at the Budweiser Stage in Toronto, Tom Araya, Kerry King, Gary Holt and Paul Bostaph were beyond possessed during their incendiary performance at Heavy Montreal, proving once and for all why you can play Black Metal, Death Metal or any other type of extreme music, but you’ll never be as badass as Slayer.

If their 2015 album Repentless was indeed their last studio album ever, let’s say they’re retiring in style, as the intro Delusions of Saviour plus the frantic thrashing hymn Repentless were everything they needed to set fire to Heavy Montreal. After that insane start it was pure Armageddon, with old school classics such as Evil Has No Boundaries and Mandatory Suicide being intertwined with newer songs like World Painted Blood and Payback (as Mr. Araya said, “payback is a bitch, motherfucker!”), and even songs they haven’t played in a while such as Gemini, Temptation and Born of Fire. By the way, Slayer played nothing more, nothing less than FIVE songs from Seasons in the Abyss, including of course the battle hymn War Ensemble (where Mr. Araya kindly asked us all to scream “WAAAAAAAAAR!” together with him), the serial killer-inspired classic Dead Skin Mask, and obviously the album’s flawless obscure title-track, or in other words, half of their 1990 masterpiece for our total delight. Furthermore, it was absolutely amazing witnessing all fans at the festival screaming “SLAAAAAYYYYEEEERRRR!”, “FUCKIN’ SLAYER!” and even “OLE OLE OLE OLE! SLAYER, SLAYER!” at the top of their lungs before, during and after the concert, showing a beautiful connection with the band as they masterfully played an avalanche of Thrash Metal classics amidst the flames burning on stage, ending with the all-time classic Angel of Death, including Mr. Araya’s famous demented roar at the beginning.

Gary Holt was once again fantastic on the guitar (needless to say, I can’t wait for the next Exodus album), Paul Bostaph couldn’t stop smashing his drums and our skulls, and Kerry King was the usual beast incarnate shredding his guitar chords manically from start to finish while all fans slammed their souls into the never-ending mosh pits. However, it was Tom Araya who stole the show with a perfect vocal performance, and after everything was said and done he didn’t leave the stage until he could thank each and every fan at the festival for our passionate support through the years. We could clearly see he was very emotional, very touched by our love for Slayer, and we were able to read his lips when he said “I’m gonna miss you, guys…” while tears fell from his eyes. Well, we’re going to miss his screams too, if that’s actually going to be the end of Slayer. Kerry King didn’t cry but he simply raised both fists in the air and roared like a wild beast, as the “demonic machine of Thrash Metal” he is. Maybe that’s his way of saying “thank you!” and crying tears of joy? At least that’s what all fans kept doing while returning from the festival on the subway, screaming SLAYER! SLAYER! SLAYER! nonstop. And that’s what we’ll keep doing forever and ever, even if Quebec, the rest of Canada and any other part of the world never see the band playing live again after this farewell tour is over. Thank you, SLAAAAAAAAAAAAYYYYYEEEERRRRR! Heavy Montreal loves you!

Setlist
Delusions of Saviour
Repentless
Evil Has No Boundaries
World Painted Blood
Postmortem
Hate Worldwide
War Ensemble
Gemini
Disciple
Mandatory Suicide
Chemical Warfare
Payback
Temptation
Born of Fire
Seasons in the Abyss
Hell Awaits
South of Heaven
Raining Blood
Black Magic
Dead Skin Mask
Angel of Death

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

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Metal Chick of the Month – Annick Giroux

Emmène-moi dans ton monde… De lumière et d’ombre… Emmène-moi dans ton monde… Car ma nuit est longue…

Born in May 1986 in Orléans, a suburb of Canada’s national capital Ottawa, in the province of Ontario, our metal chick of the month of June is much more than just your average metalhead. Not only she’s the lead singer for Montreal-based Heavy/Doom Metal band Cauchemar, but she’s also a bass player, the author of a fantastic book entitled “Hellbent for Cooking: The Heavy Metal Cookbook”, writer for UK’s Iron Fist magazine and for Morbid Tales fanzine, one of the promoters of the now defunct Wings of Metal festival in Montreal, and the co-founder of Temple of Mystery Records, not to mention she’s also a graphic designer who has already worked with the iconic Skyclad and countless underground bands. This might look overkill for any regular person, but not for the unstoppable Canadian superwoman Annick Giroux. Having said that, do you have what it takes to join Annick in her quest for metal music, good food and arts in general?

Annick’s life in metal and graphic design actually started when she was still a very young girl, at the age of 10, when her father brought home a floppy disk containing Paint Shop Pro 4.0, which she used with another software called Visual Page to make a primitive website about her favorite cartoon character. Almost at the same time, when she was 11 or 12 years old, she became pen-pals with a Vietnamese girl living in Belgium, who sent her some cassettes with the albums by Japanese Power Metal institution X-Japan. Annick immediately fell in love for their music, and that turned into an obsession to her to the point she even created an X-Japan fan site before eventually becoming a full metalhead. After that first contact with X-Japan, she started to properly explore the world of heavy music and to develop a deep passion for what she likes to call “Ancient Metal” (which includes Doom, Black, Speed, Thrash and NWOBHM), with bands such as Black Sabbath, Judas Priest, Pagan Altar, Saint Vitus, Pentagram, Anvil, Exciter, Mercyful Fate, Destruction, Sacrifice and Celtic Frost, among many, many others, changing the way she used to see music. She then started playing bass, joined a few different bands, designed their logos, demo layouts and flyers, ran the Morbid Tales fanzine for six issues, and even DJ’d weekly at a traditional Montreal metal/punk pub named Katacombes.

Owner of a potent voice, Annick founded the French-Canadian metal institution Cauchemar back in 2007 together with guitarist François Patry originally as a recording project, as performing live didn’t really appeal to them. Still, Cauchemar released in 2010 the five-track EP La Vierge Noire (which means “the black virgin” in English) and played live three Canadian shows before putting the band on hold in 2011 and embarking on an eighteen-month trip around the world. However, that plan lasted only until a friend of the band from Chile invited them to play in the country with local musicians, igniting their desire to keep the band alive and kicking and, consequently, taking them to the most distinct places like Peru, Japan, India and Thailand. All material they wrote during that insane trip ended up on their debut full-length album, entitled Tenebrario, released in 2013, and Annick even said in one of her interviews that trip was the richest and most inspiring experience of her life, as she had the unique pleasure of getting to know many different cultures, metal scenes, local cuisines, religions and social classes.

After Tenebrario, Cauchemar also released another full-length album, titled Chapelle Ardente (or “burning chapel” in English), in 2016, and as you might have already noticed Annick sings all songs from Cauchemar entirely in French, giving their music an extra touch of mysticism, delicacy and occultism. By the way, the name of the band, wihich means “nightmare” in English, stems from a series of violent nightmares Annick used to suffer, some described exactly like sleep paralysis. “I actually did some research into this in the past as some of my nightmares were rather troubling. In fact, the first meaning of the name Cauchemar, or cauquemaire, loosely translates to ‘ghost pressing down’, which surely derives from those very sleep paralyses. But I’m unsure if that’s what I experienced, I’ve been having dreams about dying ever since I was a child,” mentioned Annick in one of her interviews. If you want to feel that nightmare-sih vibe flowing from the music by Cauchemar and especially from Annick’s vocals, you should definitely take a listen at songs like Étoile D’Argent, Trois Mondes, Comme Un Poignard, Tête de Mort, and Le Fantôme, as well as several live performances by the band such as at the Nuclear War Now! Festival V in 2016, playing the song Sepolta Viva at the Magog, in Sherbrooke, in 2014 and the song L’Appel at Cafe Deckuf in Ottawa in 2013, and playing cover versions for Black Sabbath’s The Wizard at Montreal is Doomed in 2010 and Fleetwood Mac’s Green Manalishi in Montreal in 2016.

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Apart from her career with Cauchemar, you can also enjoy her bass punches and vocal lines in several other bands and projects from different parts of the world. For instance, in 2008 she played bass for Japanese Black/Thrash Metal act Barbatos during their live concerts, which ended up having Annick as their bass player in the 2008 Barbatos/Bastardator split live album Live in Montreal; you can also see her playing keyboards (yes, she can also play keyboards) on the introduction from the brand new album Destiny Calls, by Finnish Heavy/Speed Metal band Chevalier; and playing synths and/or doing female vocals on the songs Nordkarpatenland, Keď Svetlonosi Započnú V Močariskách Nazeleno Svícit, Nedlho Po Púlnoci Opacha Sa Doplazila Z Dzíry, and V Rujnovej Samote Pocichu Dumá Lovecký Zámek Zvlčilého Grófa, all from the album Nordkarpatenland, released in 2017 by Slovakian Black Metal horde Malokarpatan.

As you can see, Annick has already been involved in very distinct projects and bands in her career so far, and if you include in that mix her work as a graphic designer, then the list of bands and styles grows considerably. Having obtained a degree in Graphic Design before moving to Montreal with her then boyfriend (and now husband) François Patry, she mentioned in an interview that she actually earns a living as a freelance graphic designer, and as the co-owner of the aforementioned Temple of Mystery Records since 2016 she said she designs absolutely everything for the label’s releases. Furthermore, Annick said she has trouble listening to an album if the artwork is ugly, tasteless or uninspired, as in her opinion metal and graphic design have always been in symbiosis for her. Apart from the album design for Cauchemar’s Tenebrario and the artwork for their Chapelle Ardente album, you can also find Annick’s lines, colors and designs in the albums by tons of excellent underground bands like Anatomia, Venin, Night Demon, Metal Grave, Diabolic Force, Chevalier and Disforterror, just to name a few. For example, how not to enjoy the artwork she provided for the 2013 album Necheshirion, by Canadian Black Metal act Gevurah? When you listen to the music, it matches perfectly with the cryptic art by Annick, proving her point that the cover art is and will always be a crucial part of a metal album.

Despite being a talented musician and graphic designer, let’s say the metal community got to know Annick a lot better mainly due to her book entitled “Hellbent for Cooking: The Heavy Metal Cookbook”, which she signed as Annick “The Morbid Chef” Giroux, featuring a varied menu of over a hundred recipes from thirty countries, including Yorkshire Pudding from England, Beer Pizza Crust from Germany, Spaghetti Barracuda from Italy, Fårikål from Norway, Country Lamb Exohiko from Greece, Churrasco from Brazil, and Mushroom Steak à la Jack Daniel’s from the United States, among numerous other appetizer, breakfast, lunch, dinner, vegetarian, seafood, dessert and drink recipes, all with contributions by worldwide famous musicians from metal bands like Accept, Gwar, Tankard, Anthrax, Electric Wizard, Rotting Christ, Sepultura, Judas Priest, Thin Lizzy, Doro, U.D.O., Obituary, Mayhem, Gorgoroth, Uriah Heep, Kreator, Nuclear Assault, and a lot of underground acts. In the beginning, Hellbent for Cooking was just a section of the 6th edition of her Morbid Tales fanzine released in 2009, containing only around 20 recipes. However, the idea (originally conceived in 2007) for a metal cookbook by Annick became a reality when her editor Ian Christe picked up the 2009 fanzine and asked her if she was interested in having all recipes published as a book. Then for the pro-looking color cookbook itself that was released by Bazillion Points her deadline was only six months, and she took it seriously by dedicating herself entirely to research, writing, cooking, photographing and laying out the recipe pages. Our dauntless singer, bassist and chef said she contacted about 400 bands in total, and that she could never imagine that bands like Sepultura or Mayhem would actually respond to her. She even ended up discovering new bands during her research period, as for example a Death/Thrash Metal band from Pakistan named Dusk. Moreover, as an avid reader, Annick recommends apart from her own book a few other interesting Bazillion Points publications like Swedish Death Metal, by Daniel Ekeroth, Murder in the Front Row, by Harald Oimoen and Brian Lew, and and Only Death Is Real, by Tom Gabriel Fischer with Martin Eric Ain.

It was after her trip to different parts of the world, especially when she was in Europe and was able to enjoy many underground metal fests, that she returned to Montreal with the idea of organizing a festival of her own, naming it Wings of Metal. She said that as there was no such thing as an underground metal festival mixing styles in Canada, her idea was to do it in the European spirit with a lot of bands from overseas, focusing on the quality of sound and experience, and although the festival only lasted for four editions she’s still proud of her accomplishment. Known as somewhat of an archaeologist of obscure Canadian metal, Annick said that in her opinion Canadian metal often has a touch of something eccentric, mentioning renowned bands like Rush and Voivod as being uniquely bizarre, while other like Slaughter and Exciter are extremely violent, also mentioning that Montreal hosted the first ever international metal festival in North America, named World War III Festival, in 1985, featuring Voivod, Destruction, Celtic Frost, Possessed and Nasty Savage. In addition, when asked about the apparent division between Anglo-Canadians and French-Canadians in Montreal, Annick said she was not even aware of which local Anglophone bands were around, since they have their own shows and separate venues. However, she said that there’s no animosity between those two fronts, it’s just that people tend to stay in their own neighborhoods and feel more comfortable listening to music in their first languages. Well, it doesn’t actually matter if you’re an Anglo-Canadian, a French-Canadian or a complete foreigner to Montreal, whenever visiting the city try to stay updated about all metal concerts going on because, you know, you might be able to witness nightmares in the form of old school Doom Metal spearheaded by our multi-talented Annick Giroux.

Annick Giroux’s Official Instagram
Cauchemar’s Official Facebook page
Cauchemar’s Official BandCamp

“Canadian metal often has a touch of something eccentric. Being so far removed from the traditional music centres like New York City, Chicago, and LA made Canadian bands want to work even harder in developing something exceptional that could bring attention to them.” – Annick Giroux

Album Review – Bane / Esoteric Formulae (2018)

Conjuring visions of darkness, pain and frost, this Montreal-based Blackened Death Metal horde has poured their charred hearts into spawning their third and most complete opus to date.

Originally founded in 2006 in Novi Sad, a city in northern Serbia on the banks of the Danube River, but currently based out of Montreal, in the province of Quebec, Canada, Blackened Death Metal horde Bane has poured their charred hearts into this third full-length release, entitled Esoteric Formulae, a masterwork that leads many influences to an evil culmination, with each track being atmosphere-evoking, filling the soundscape with nocturnal melodies and conjuring visions of darkness, pain and frost. With several tours under their belts as well as countless concerts and festival performances in the United States, Canada, Germany, Austria and Poland, among several other countries, Bane continue to push the limits of their unique blend of Blackened Death Metal to the world of the underground, and Esoteric Formulae is the perfect depiction of where the band is headed to.

Featuring a classy artwork by Indonesian graphic artist and illustrator Bahrull Marta (Abomination Imagery), Esoteric Formulae not only showcases a sharp and malevolent duo comprised of vocalist and multi-instrumentalist Branislav and drummer Honza Kapak (Master’s Hammer), but also the additional (and very welcome) devilish touches by guest musicians Giulio Moschini (Hour Of Penance), Amduscias (Temple Of Baal) and Canadian composer Ophélie Gingras, enhancing the album’s taste and impact considerably. Put differently, if you’re a fan of the dark, blasphemous and very melodic music by iconic acts like Dissection, Behemoth and Rotting Christ, Esoteric Formulae will bring you a lot of (evil) joy without a shadow of a doubt, placing Bane as one of your top picks from the underground and independent Extreme Metal scene.

Invocation Of The Nameless One is a beautiful, ominous intro embraced by the epic orchestrations by Ophélie Gingras, setting the stage for Branislav and Honza to deliver sheer darkness in The Calling Of The Eleven Angles, a brutal Blackened Death Metal extravaganza where Branislav’s roars get deeper and more demonic while Honza provides a huge dosage of heaviness with his beats and fills; followed by Beneath The Black Earth, and such powerful name could only be accompanied by a crushing sonority, of course, with Branislav doing a fantastic job with his pulverizing riffs and rumbling bass lines, resulting in a vibrant, modern and obscure display of extreme music for admirers of the genre.

Then drinking form the same fountain of iconic bands like Behemoth and Dragonlord, Bane offer our avid ears Bringer Of Pandimensional Disorder, where Black Metal blast beats are intertwined with very melodic and strident guitar lines, all embraced by the cryptic, hellish words vociferated by Branislav (“I call upon the currents – of Wrathful Chaos / Let the oceans of formlessness – into this world / Awaken by the esoteric formulae / Open the gates to the Astral plane of the dark Water / Bringer of Pandimensional Disorder!”). Wretched Feast keeps the album at a sulfurous level, presenting gripping guitars and nonstop beats, and with guest Giulio Moschini adding his own personal twist to the music with his fiery guitar solo, whereas in Into Oblivion, featuring Amduscias as a guest vocalist, Bane summon all evil through their violent Blackened Death Metal, also bringing elements form Symphonic Black Metal the likes of Dimmu Borgir to their already dense musicality.

And they keep scorching our hearts and minds with their visceral Black Metal in Burning The Remains, a mid-tempo, infernal tune where the guitar lines alternate between sheer malignancy and hypnotizing lines, while Honza adds tons of intricacy and strength to the overall result with his bestial drumming. Putting the pedal to the metal, Bane deliver a violent and thrilling tune titled Reign In Chaos, presenting hints of Melodic Death Metal and of the music by Cradle of Filth, which obviously boosts the song’s impact and taste considerably and, therefore, turns it into one of the top moments of the album. Lastly, like a bulldozer smashing our heads, Honza ignites the also vile and metallic Acosmic Forces Of The Nightside, where the duo makes their devilish waves fill every single empty space in a feast of instrumental darkness, before the atmospheric outro Wrathful Reflections brings back a massive wall of orchestrations, finally fading into absolute darkness and void.

In a nutshell, the excellent Esoteric Formulae, available from Bane’s own BandCamp page as well as from the Black Market Metal Label’s Big Cartel, is definitely a must-have album for fans of contemporary and sulfurous Blackened Death Metal, consequently setting the bar really high for the band’s future releases. After purchasing such excellent album, you can also show your utmost support to Branislav and his horde by following Bane on Facebook and by subscribing to their YouTube channel, letting all the aforementioned darkness, pain and frost flowing from the music found in Esoteric Formulae guide you on a one-way journey to the depths of the netherworld.

Best moments of the album: Beneath The Black Earth, Into Oblivion and Reign In Chaos.

Worst moments of the album: None.

Released in 2018 Black Market Metal Label

Track listing
1. Invocation Of The Nameless One 1:15
2. The Calling Of The Eleven Angles 3:46
3. Beneath The Black Earth 3:35
4. Bringer Of Pandimensional Disorder 3:49
5. Wretched Feast (feat. Giulio Moschini) 3:46
6. Into Oblivion (feat. Amduscias) 4:34
7. Burning The Remains 4:01
8. Reign In Chaos 3:30
9. Acosmic Forces Of The Nightside 5:27
10. Wrathful Reflections 1:59

Band members
Branislav – vocals, guitars, bass, keyboards
Honza Kapak – drums

Guest musicians
Giulio Moschini – guitar solo on “Wretched Feast”
Amduscias – vocals on “Into Oblivion”
Ophélie Gingras – orchestrations on “Invocation Of The Nameless One” and “Wrathful Reflections”

Current/live lineup
Branislav – vocals, guitars, keyboards
Max Allard – guitars, backing vocals
Stéphane Deschênes – bass
Nicholas Wells – drums

Album Review – Ezerath / Overture: The Heir Apparent (2017)

In the vast land known as Ezerath, the impending death of a king becomes first-class Progressive Death Metal through the hands of a talented Canadian multi-instrumentalist.

Before you start listening to Overture: The Heir Apparent, the debut full-length album by Canadian Progressive Death Metal act Ezerath, let me tell you that not only this is a one-man project where multi-instrumentalist Jeremy Vocino-Montpetit was responsible for recording all vocal parts (except of course for the female vocals by guest singer Felicia Weinmann) as well as all other instruments and programming, but the album also took three full years to be released between writing, learning how to sing, and learning how to mix and master. In other words, what Jeremy is offering the world of heavy music with his Ezerath is the perfect example of how talent, hard work and a good dosage of creativity, when properly combined, always result in sheer amusement for our ears and minds.

Formed in 2016 in the city of Montreal, Quebec, Ezerath is a project highly recommended for fans of the music by Behemoth, Opeth, Nile, Edge of Sanity, Bloodbath and several other bands that know how to unite extreme music with a gripping concept. Yes, Overture: The Heir Apparent is not just another regular metal album, bringing a full-bodied storyline in the background to support the music. The entire album, which by the way features an elegant artwork by Caelan Stokkermans (from Caelan Stokkermans Arts), is a first person narrative, depicting the thoughts of several main characters immediately before the death of Alton Nayan, the King of Gnara residing in Stonegate Castle, located in the vast land known as Ezerath.

The intro to the opening track, the flammable Temple of the Forsaken, feels like we’re watching a movie or reading a novel, which in the end is Jeremy’s main goal with the album, before he begins blasting a very intricate and melodic form of Death Metal. Furthermore, the destruction crafted by Jeremy is boosted by the song’s atmospheric background, not to mention how he effectively tells the story through his evil gnarls. A Heart, an Eye, and a Womb, an instant sequel to the opening track, begins in an ominous way with a dark narrative by Jeremy, with the demonic guitars and beats giving it a more menacing pace, but of course always bringing a lot of progressiveness (one of the main characteristics found in the music by Ezerath).

And the tale goes on with another blast of Progressive Death Metal titled Whispers of Ruin, where the intricacy found in the guitars and drums matches perfectly the eerie ambient sounds, feeling more epic and obscure than its predecessors and smoothly flowing into a complex and beautiful ending. Then we have In a Gale of Inferno, presenting an acoustic intro accompanied by choir-like sounds and the pleasant vocals by Felicia, evolving into another bold composition that nicely blends the aggressiveness of Death Metal with the storytelling and melodic elements of Progressive Metal, consequently becoming one of the top moments of the album; followed by Hand of a Serth, showcasing a much heavier and darker start as well as a great combination of slashing riffs, blast beats and deep guttural vocals, flirting with Black Metal at times due to its ferocity and speed. Moreover, even amidst so much carnage you’ll find very harmonious and gentle guitar lines and the pleasant clean vocals by Felicia, enhancing the song’s overall taste even more.

The story is almost coming to its end to the sound of acoustic guitars, wicked sounds and the demonic growls by Jeremy in The Sound of Knell, this time offering a more symphonic form of Death Metal by bringing elements from the music by Dimmu Borgir and Emperor, definitely feeling like the soundtrack to an epic movie, before we face Eternally Mine, the climatic conclusion to Overture. Its intro sounds even more movie-inspired than what we can find in all previous songs, also presenting an eccentric sonority boosted by Jeremy’s obscure guitar riffs and solos, as well as his rhythmic beats and whimsical keys, gradually moving towards a melancholic ending to the gentle sound of the piano.

The land of Ezerath, conceptualized and brought into being by Jeremy through his music, can be better appreciated on his Facebook page and YouTube channel, where you can by the way listen to the album in its entirety. Overture: The Heir Apparent, available for purchase on CreatespaceBandCamp, iTunes or Amazon, is not only a fantastic album of Progressive Death Metal with a solid concept supporting the music, as aforementioned, but also a small sample of what Jeremy is capable of providing to the world of heavy music if he receives proper support from fans like us, the media and record labels, or in other words, it’s up to us to help Jeremy keep Ezerath alive and prosper for many years to come. If you’re an admirer of technical and flammable Death Metal, I’m more than sure you’ll show your support and respect for Ezerath, getting lost in those lands where the imminent death of a king was amazingly transformed into first-class metal music.

Best moments of the album: Temple of the Forsaken, In a Gale of Inferno and Hand of a Serth.

Worst moments of the album: None.

Released in 2017 Independent

Track listing
1. Temple of the Forsaken 7:12
2. A Heart, an Eye, and a Womb 6:12
3. Whispers of Ruin 5:44
4. In a Gale of Inferno 5:46
5. Hand of a Serth 7:54
6. The Sound of Knell 7:03
7. Eternally Mine 6:49

Band members
Jeremy Vocino-Montpetit – vocals, guitar, programming

Guest musician
Felicia Weinmann – female vocals

Album Review – Graveyard Strippers / Crawling (2017)

This creepy Canadian quartet brings to you the perfect soundtrack to your next party, an experimental and never-ordinary crossbred of Industrial, Gothic and Punk Metal with elements from rock, pop and electronic music.

A phoenix reborn from its ashes. That’s how Canadian Industrial Metal critters Graveyard Strippers call themselves, being born in Montreal, Quebec in 2013 with guitarist Riff (Projekt F), vocalist Holy Decay (Gotherfall, Magnum Stallion) and bassist Carl Puzzle (Sade Slavey). Since their creation, Graveyard Strippers recorded three excellent EP’s, those being Burn My Soul in 2013, Free The Monsters in 2015, which was by the way when the band recruited Dany Burton (Projekt F) as their new permanent drummer, and Burn The Monsters in 2016, culminating with the release of their first ever full-length spawn, the idiosyncratic and rousing Crawling, now in 2017.

The music by Graveyard Strippers might be considered an experimental and never-ordinary crossbred of Industrial, Gothic and Punk Metal, spiced up by hints of Rock N’ Roll, Hard Rock and even electronic and pop music. And let me tell you that those four rockers do it almost to perfection, sounding at the same time sexy and gruesome, gentle and aggressive, straightforward and progressive. You’ll notice that each one of the twelve songs featured in Crawling, which by the way portrays a fantastic artwork by renowned Canadian illustrator Felix LaFlamme, are independent from each other, presenting a unique sonority, but that they need each other for the whole album to make sense to your ears. Well, as you can see it’s not an easy task to summarize the work by Graveyard Strippers in just a few lines, and that’s why I recommend you hit play and enjoy their industrialized and sensual sounds in your own way.

The eerie and dark intro Filth invites us to the demented world ruled by Graveyard Strippers, before an industrial and metallic feast begins in full force with Broken, a song highly recommended for fans of Rammstein and Ministry where Holy Decay bursts his lungs by screaming in an insane and rabid way. After that frantic hurricane of industrialized sounds the bands offers us a more melodic tune titled Pretty, blending Gothic and Industrial Rock with elements from Neue Deutsche Härte. Moreover, Riff lives up to his monicker by delivering truly catchy riffs, while Dany keeps the song’s pace and speed at a very pleasant level with his precise beats. And then we have the title-track Crawling, which begins in a dark 80’s Gothic Rock and Metal-inspired way, gradually evolving into an imposing musicality led by the deep and lunatic vocals by Holy Decay, remaining vibrant until its climatic ending.

Featuring the seductive Natasha Nebula as guest vocalist, Freak Show sounds a lot more mechanized and sexier than its predecessors, presenting the darkest and most depraved form of Industrial Metal you can think of. In addition to that, Riff and Dany do a great job with their samples and electronic sounds, turning it into the perfect soundtrack for a real-life freak show. And if you think that after such amazing song you’ll be free from Natasha’s devilish voice, you’re absolutely wrong, as she’s back with the band in Deadsex, an ominous blast of Neue Deutsche Härte with Gothic Rock where the deranged screams by Holy Decay create a gripping paradox with the smoother but still diabolical moans by Natasha, not to mention the song’s first-class official video which perfectly epitomizes what Graveyard Strippers are all about. The “piercing assembly line from hell” titled Apocalypse Now brings forward another eccentric intro that morphs into a fantastic Industrial Metal extravaganza, showcasing rabid growls mixed with heavy-as-hell riffs and tons of wicked elements in the background in what sounds as a hybrid of Marilyn Manson and Ministry; whereas their electronic vein arises stronger than ever in Walking Dead thanks to the excellent job done by Riff and Dany once again, while Carl Puzzle adds his share of heaviness to the song with his sick bass lines, keeping the album at a high level of eccentricity.

Savior is another modern Industrial Metal composition led by the somber vocals by Holy Decay, despite not feeling as crushing and vibrant as the rest of the album, sounding a bit repetitive at times. On the other hand, Krash This Up is one of the weirdest and most fun creations by this talented quartet that should work really well if played live. Dany is simply amazing with his beats, being flawlessly accompanied by the rest of the band during the song’s two minutes of insanity. Then in King Me the band gives a lesson in how to blend Industrial Metal with Punk Rock, offering the listener a neck-breaking, electrified tune where Riff steals the show with his sensational guitar lines. Needless to say, this is another serious candidate to be part of their live performances. And lastly, madness takes control of the band in the closing tune of the album, named Serial Killer, where symphonic elements from Gothic Metal are added to create an even crazier atmosphere. Furthermore, Holy Decay sounds like a demonic entity with his Stygian gnarls, while Riff and Carl keep bringing thunder to the musicality in this top-notch ending to such electrified album.

The somber and bewitching realm of Graveyard Strippers can be further explored through their Facebook page and YouTube channel, and you can listen to and buy Crawling on Spotify, at their own BandCamp page, on iTunes, on Amazon or at the Onkyo Music webstore. Let’s say that, if you were desperately looking for the best and darkest soundtrack to your next Halloween, Gothic, Dark Electro or any other type of party not recommended for the ordinary person, I believe your hunt is finally over, as Graveyard Strippers are more than ready to put you and your guests into a lustful and mechanized trance with the high-end music found in Crawling.

Best moments of the album: Broken, Freak Show, Apocalypse Now and Serial Killer.

Worst moments of the album: Savior.

Released in 2017 Independent

Track listing
1. Filth 1:04
2. Broken 3:09
3. Pretty 3:40
4. Crawling 4:08
5. Freak Show (feat. Natasha Nebula) 3:29
6. Deadsex (feat. Natasha Nebula) 3:51
7. Apocalypse Now 4:07
8. Walking Dead 3:50
9. Savior 4:02
10. Krash This Up 2:07
11. King Me 2:46
12. Serial Killer 4:48

Band members
Holy Decay – vocals
Riff – guitars, programming, backing vocals
Carl Puzzle – bass, backing vocals
Dany Burton – drums, programming, backing vocals

Guest musician
Natasha Nebula – female vocals on “Freak Show” and “Deadsex”

Album Review – Floating Widget / The Sounds of Earth EP (2017)

One of the most celebrated bands from the Canadian independent scene is finally back in action after 13 years with an electrifying EP of old school Stoner Rock and Metal.

One of the most celebrated bands from the independent rock and metal scene from Montreal is finally back in action after 13 years with brand new material and the same rebellious attitude that made then famous among the Québécois fans of alternative music. I’m talking about Stoner Rock/Metal druids Floating Widget, who are ready to crush with their new EP The Sounds of Earth, their first original release since their 2004 debut album Praises To The Riff Monolith and a lesson in how our good old Rock N’ Roll sounds even better when the right amount of extra heaviness, speed and groove is added to the music.

Formed by vocalist and bassist Vincent Peake, who’s also the founder of the first Alternative Rock band in Quebec called Groovy Aardvark (which existed between 1986 and 2005) and who also played with bands such as GrimSkunk, Sabbath Café and even Voivod, Floating Widget are more than ready to regain their momentum with The Sounds of Earth, playing in the renowned Montebello RockFest this year with Queens of the Stone Age, Rammstein, At the Drive In, The Offspring, and many other bands, and there’s no secret formula for the band receiving all that love from the underground scene. Featuring a classy artwork displaying a “ceramic astronaut” by artist Brett Kern, The Sounds Of Earth exhales pure Stoner Rock and Rock N’ Roll, getting straight to the point without any shenanigans or artificial elements.

Vicent and his crew don’t waste a single second and begin blasting piercing Rock N’ Roll that will put everyone to dance in the opening track Rock & Roll Jubilee, just like in its official video, with guitarists Alex Leclerc and Stéphane Vigeant exhaling pure electricity through their metallic strings. And their guitars ignite another rockin’ chant, titled Psy Walker, with Vicent not only delivering awesome harsh vocals but also thunderous and groovy bass punches, while Matt Demon makes everything more rhythmic and appealing with his beats. Matt keeps the momentum going by kicking off the Stoner Rock tune I Am the Temple, with hints of Rockabilly and Hard Rock added to its upbeat rhythm, also showcasing another great performance by Vincent on vocals, as well as the perfect sync between Alex and Stéphane with their riffs.

Groovier and more melodic, Albatross (Nobody Loves an) is a solid Stoner Rock and Metal chant with a Blues-ish twist where Matt delivers some traditional, steady and sluggish beats while Vincent tells one of those fun, odd stories only found in this type of music. In other words, this is a song highly recommended for banging your head while enjoying a cold beer during the band’s live performances. And lastly, featuring the iconic Snake from Voivod as a guest vocalist, we have the very rhythmic and modern Stoner Metal tune Spiderzilla closing the EP on a high note, with longtime friends Vincent and Snake making a great vocal duo (which ends up enhancing the song’s taste even more), not to mention Vincent’s low-tuned rumbling bass.

Let’s hope it doesn’t take another 13 years for Floating Widget to release new material, because based on the amazing quality of the music found in The Sounds of Earth (which can be enjoyed in its entirety on YouTube or on Spotify), Vincent and his crew have all it takes to quickly reclaim their status as one of the most electrifying names in the underground rock and metal scene hailing from Quebec, and to remain sitting in their throne of Rock N’ Roll for many years to come. And if you live in Quebec or by any chance are going to visit the province anytime soon, keep an eye on their Facebook page for their live dates and all things Floating Widget. You can purchase The Sounds of Earth in digital format through the band’s own BandCamp page, on iTunes or on Amazon, as well as the cassette version through the GBS Records’ BandCamp page, with this version bringing on its second side 19 minutes of the famous recordings named “Sounds Of Earth” that NASA sent into space aboard Voyager 1 in 1977.

Best moments of the album: Rock & Roll Jubilee and I Am the Temple.

Worst moments of the album: None.

Released in 2017 Independent

Track listing 
1. Rock & Roll Jubilee 2:52
2. Psy Walker 3:16
3. I Am the Temple 3:26
4. Albatross (Nobody Loves an) 4:05
5. Spiderzilla (feat. Snake) 2:40

Band members
Vincent Peake – vocals, bass
Alex Leclerc – guitar
Stéphane Vigeant – guitar
Matt Demon – drums

Guest musician
Snake – additional vocals on “Spiderzilla”

Album Review – Karkaos / Children Of The Void (2017)

As we’re all the children of the void, let’s raise our horns and bang our heads to the superb new album by one of the most reputable and celebrated metal acts hailing from the beautiful province of Quebec.

Founded by guitarist Vincent Harnois in the year of 2003 under the name Sinister Vengeance, Melodic Death Metal/Metalcore outfit Karkaos soon evolved into one of the most reputable and celebrated metal acts hailing from the stunning city of Montreal, located in the province of Quebec, in Canada. Melodic yet heavy, this unstoppable female-fronted band is unleashing upon the earth their brand new full-length installment, titled Children Of The Void, which features new frontwoman Viky Boyer, drummer Justine Ethier (Blackguard) and lead guitarist Samael Pelletier (Aeon’s Fall), and let me tell you that all these lineup changes were extremely positive to the band and to their sound, especially if you’re a fan of the music by bands such as Epica, In Flames, Children of Bodom, Arch Enemy and Amon Amarth.

Featuring an elegant artwork by the immensely talented Colombian artist and designer Marcela Bolívar, as well as collaborations with guest artists Lindsay Schoolcraft from Cradle of Filth and Morgan Lander from Kittie, Children Of The Void offers the listener a considerably different sonority from the band’s previous albums, the 2011 EP In Burning Skies and the 2014 full-length release Empire, sounding more symphonic, imposing and polished than before. “We have been working hard for a long time to be able to give you an album that combines beautiful melodies to our own symphonic signature, groovy and brutal riffs to intensity as well as catchy choruses”, comments the band’s mastermind Vincent about Children Of The Void, and let’s say his “summary” of the album was spot-on to depict all the beauty and aggressiveness found in its 12 amazing compositions.

The cinematic intro Babel leads us to the symphonic and metallic world of Karkaos before the explosive Skymaster hits us with heaviness and might from its very first second in a perfect fusion of the music played by Arch Enemy with Dimmu Borgir and Nightwish. Furthermore, pay attention to the precision of Justine behind her drums and to the song’s powerful chorus (“All hope is gone, I scream at heavens / This is not yet the end! / Brothers and sisters moan, I howl / Truth will prevail!”), as well as to the amazing Viky, who steals the show with her superb vocal performance. The following tune, Kolossòs, is a song tailored for breaking your neck in half due to the passionate vocals by Viky, its thunderous riffs and bass lines, and the infinite epicness that permeates the atmosphere. This is a newborn underground Melodic Death Metal classic showcasing mighty lyrics (“Kolossòs! The earth has spoken! / To the sun, you were reaching! / Kolossòs! The earth has shaken! / On the ground eternally, you’ll be laying!”) and the awesome guest vocals by Kittie’s Morgan Lander, as previously mentioned.

Let The Curtains Fall ventures through the realms of Symphonic Black Metal the likes of Dimmu Borgir, but with a more melodic twist thanks to the potent keys by Sébastien Belanger-Lapierre while Vincent and Samael add their share of heaviness to the overall musicality; whereas Pale, one of the fastest and heaviest of all songs, is a brutal composition by Karkaos where the colorful-haired Viky is absolutely on fire while the other band members deliver amazing metal music, in special Justine with her potent beats and once again Sébastien and his cinematic keyboards. And their onrush of epicness goes on in the title-track Children of the Void, which will inspire you for some intense headbanging due to its accelerated pace, with Vincent, Samael and bassist Eddy Levitsky (who recently left the band) blasting sheer electricity through their strings, all spearheaded by the unstoppable Justine.

Then it’s time for Rêverie, an epic bridge that rises in intensity and mystery until it reaches the form of the sensational Tyrants, a first-class Melodic Death Metal hymn with tons of symphonic elements to increase its obscurity and potency flawlessly delivered by all band members, with Viky beautifully growling like a she-demon, not to mention her also amazing clean vocals during the more melodic parts of the song.  And changing a bit their style and sonority, they offer a very interesting and gripping song named Where Mushrooms Grow, sounding very harmonious, melancholic and dense, perfect for singing along its catchy chorus with the band (“Fields of sorrow / Where mushrooms grow / All trees, all hollow / We reap what we sow / Fields of chaos / Where mushrooms grow / Fading as we cross / Forgetting what we know”). This is indeed a side of Karkaos I would love to see them exploring more in their future releases so captivating it sounds.

But the band obviously has more of their fast-paced metal to offer like what we see in Lightbearer, another solid composition showcasing beautiful vocal lines, thunderous riffs and bass lines and a rhythmic drumming. In my humble opinion, this song would sound simply superb with a full orchestra accompanying the band in the background, don’t you agree? Anyway, in The Beast, Vincent and Samael fire their cutting riffs while Sébastien is responsible for the epicness in the background, sounding highly inspired by contemporary Arch Enemy and The Agonist and also highlighting the excellent job done by Justine on drums, adding tons of intricacy to the musicality. Closing this amazing album of contemporary metal we have Bound by Stars, which sounds a bit generic and doesn’t keep up with the rest of the album, despite its purpose being to sound more complete and introspective than the other tracks. Nevertheless, there’s still a lot to enjoy in the song, such as the perfect vocal lines by Viky and the powerful performances by Justine and Sébastien with their instruments.

If you also consider yourself a “child of the void”, you can join Karkaos in their quest for Melodic Death Metal by following them on Facebook, listening to their fiery music on YouTube, and buy Children Of The Void at their BandCamp page, on Amazon or on CD Baby. Children Of The Void is undoubtedly going to be among the best releases of 2017 not only in Canada but also worldwide, and the band more than deserves that due to their commitment to their work and passion for melodic heavy music.

Best moments of the album: Kolossòs, Pale, Tyrants and Where Mushrooms Grow.

Worst moments of the album: Bound by Stars.

Released in 2017 Independent

Track listing
1. Babel 1:13
2. Skymaster 3:50
3. Kolossòs 4:32
4. Let The Curtains Fall 4:34
5. Pale 4:04
6. Children of the Void 4:45
7. Rêverie 0:59
8. Tyrants 4:26
9. Where Mushrooms Grow 4:19
10. Lightbearer 4:20
11. The Beast 4:20
12. Bound by Stars 6:49

Band members
Viky Boyer – lead vocals
Vincent Harnois – guitars, vocals
Samael Pelletier – lead guitars
Eddy Levitsky – bass
Sébastien Belanger-Lapierre – keyboards
Justine Ethier – drums

Guest musicians
Morgan Lander – additional vocals on “Kolossòs”
Lindsay Schoolcraft – backing vocals

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

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

Accessories Review – Iron Maiden 2017 Calendar

Are you ready for the 2017 round of the kick-ass The Book Of Souls World Tour? You’ll need this neat and classy calendar to keep track of all those dates, not doubt about that.

Rating5

00_iron-maiden-calendar-2017As we’re reaching the end of a year full of highs and lows not only in heavy music, it’s about time we get ready for 2017, because if the new year brings us just half of the intensity of 2016 we’ll certainly have a ton of work to do to survive all the issues and hassles of our modern-day society. Well, nothing better than having a badass calendar to at least plan our year in a decent manner, right? Having said that, it’s time to review (and obviously purchase) the Iron Maiden 2017 Calendar, the brand new edition of the famous kick-ass calendar by Heavy Metal heroes Iron Maiden. And finally, after my complaints about the previous edition of it, we’re treated to a calendar featuring images from the highly acclaimed The Book Of Souls 2016 World Tour.

Once again the calendar was produced by Danilo Promotions Limited, displaying as expected very similar dimensions (42 x 29.7 x 0.4 cm) and weight (358 g) to all previous editions. Despite not having any new Eddies from The Book Of Souls’ Mayan theme, except for the one in its front cover, the selection of exclusive photos from this year’s tour is excellent, with the months of May, September and November making me want to travel back in time to March this year, when I had the indescribable pleasure of witnessing the most awesome band in the world mesmerizing the cities of Montreal and Toronto here in Canada with their unique and flammable Heavy Metal.

There are several physical stores and websites where you can grab your copy of this already traditional calendar, like at the Iron Maiden official webshop, at Danilo.com, at your country’s Amazon website such as the ones in Canada and in the United States, or at the Calendar Club’s UK webstore. The price is very reasonable considering the high quality of the material and of course its content, costing between 6 and 12 US Dollars depending on where you buy it, plus taxes and shipping costs.

iron-maiden-official-2017-calendar-square-global-multilingual

Iron Maiden 2017 Square Global (Multilingual Edition)

One thing I “forgot” to mention in the reviews for the previous editions of the calendar was the existence of the square version of it, but as this year both the regular and the square versions follow the same pattern and theme, I thought it would be a good idea to add it to the review. The Iron Maiden 2017 Square Global (Multilingual Edition) costs a little more than the regular version, being priced at around 15 US Dollars, and it’s just as classy and beautiful as its rectangular sibling. You can find this one for sale at Amazon, at Calendars.com, at the Calendar Club’s Canadian website, among other locations. As The Book Of Souls 2017 World Tour is just around the corner, I’m sure this awesome calendar will be very helpful in keeping all those dates in Germany, England and Scotland (and probably in more cities to be added to the tour) perfectly registered for you while you listen to The Book Of Souls for the millionth time, getting ready for another round of flawless performances provided by Steve Harris, Bruce Dickinson, Dave Murray, Adrian Smith, Janick Gers and Nicko Mcbrain. Just remember to hang your calendar really high on your wall so you’ll have to “climb like a monkey” every single time you need to change its month.

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