Metal Chick of the Month – Fallon Bowman

Then we lay there… Embracing our last stare… On a moonlit afternoon…

As The Headbanging Moose is based in Toronto, Canada, probably the most multi-cultural city in the world, there’s nothing better than having as our last metal chick of the year of 2017 a woman of Dutch and Indonesian descent that was born in Cape Town, South Africa, but that currently resides here in Toronto, playing an also diverse range of musical styles such as Alternative Metal, Nu Metal, Rock, Industrial and even Electronica. This woman, who’s a skillful vocalist and guitarist, goes by the name of Fallon Bowman, known for her involvement with the bands Kittie, Pigface and Amphibious Assault, as well as a solo career which she’s been pursuing since around 2011. Having said that, are you ready to bang your head to the electrifying music by the exotic Fallon?

Born on November 16, 1983 in Cape Town, a port city on South Africa’s southwest coast, on a peninsula beneath the imposing Table Mountain, Fallon has been active in the world of alternative and heavy music since 1996, when at the age of fourteen years old she helped to form Canadian Alternative Metal act Kittie with classmate Mercedes Lander and Mercedes’ sister, Morgan Lander, playing guitar and performing backing vocals for the band from their inception in 1996 until August 2001, when she left the band. As a matter of fact, her passion for music actually started a few years before Kittie, when she was around 10 years old, when she was fascinated with a guitar her grandfather had at his home in South Africa. However, she mentioned the guitar was not her first choice, as at first she wanted to be a drummer when she was around 12, but her parents were against it and she ended up getting a guitar from them after they saw her performance playing the song Violet, by Hole, at a school assembly with a friend using a friend’s guitar. Getting back to Kittie, Fallon has already explained several times in different interviews why she left the band, saying she was unhappy with some things in the band so she felt that maybe it was time for her to depart. Our dauntless guitarist recorded two albums with Kittie, those being the full-length Spit, in 1999, and the EP Paperdoll, in 2000, comprised of a remix of Spit’s song Paperdoll and five songs from Spit recorded live on June 15, 2000 at the Hultsfred Festival in Sweden.

Regarding the writing and meaning of the song Choke in Spit, Fallon said that it is “about someone telling you that they love you so much, and they put you up on a pedestal and make you feel great, then they turn around and say “screw you”, and you can sense that feeling while listening to the song (which you can do HERE). Furthermore, just to give you an idea of the impact of the release of Spit, right after that Kittie went on tours with bands such as Chevelle, Slipknot, Suicidal Tendencies, and Shuvel, also performing at Ozzfest and at the 2001 SnoCore festival. Hence, if you want to listen to Fallon playing her flammable guitar with Kittie, I recommend the songs Brackish and Charlotte, both taken from Spit.

Right after her departure from Kittie, Fallon experienced a period of stress due to splitting up with her friends from the band, but she managed to overcome that difficult situation after a while and got involved with her two next endeavors, the distinct bands Pigface and Amphibious Assault. Pigface is an industrial music supergroup formed in 1990 by Martin Atkins (Ministry, Killing Joke) and William Rieflin (Ministry, KMFDM, R.E.M., King Crimson), featuring tons of guest musicians such as our metal babe Fallon. She ended up recording several tracks with Pigface for their 2003 album Easy Listening…, which led her to begin writing music again due to the enjoyment she had during the recording process. She then purchased a sequencer and began exploring the industrial music genre that she admired but had never actively pursued, also filling her basement in the following months with drum machines and synthesizers, which in the end led to the writing of the songs for District Six, the debut album by her upcoming industrial project Amphibious Assault, mixing lots of heavy elements and aspects with her passion for industrial music. The name of the project was chosen during a flight from Toronto to New Jersey, when Bowman, at the age of seventeen, was skimming through a Tom Clancy novel when she came upon the term “amphibious assault”, with the whole project being, according to our talented musician herself, her personal “homage” to her KMFDM days, when she was obsessed with them. Amphibious Assault went on for a few years, from 2003 until 2007, with two full-length albums released, the aforementioned District Six in 2003 and On Better Days and Sin-Eating in 2006. If you want to take a listen at this more electronic side of Fallon, I recommend you check the songs Tears In Rain, District 6, The Importance Of Finding Narcissism, Mistakes, Breaks, Way Too Lates, and Benedictine, among many others.

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After the end of Amphibious Assault, Fallon mentioned that a new project was about to become a reality, tentatively named “Oh No, Torpedo!”, but that in the end became her solo project Fallon Bowman & The Grace Dynasty (with The Grace Dynasty being a five-piece band that included Rhim of The Birthday Massacre on drums), playing a series of live shows before announcing their forthcoming debut album, titled Human, Conditional, from 2011. However, right after the recording of the album was done, it was decided that the project would drop “The Grace Dynasty” from its name, being then just known as Fallon Bowman. You can take a detailed listen at Human, Conditional at Bowman’s own BandCamp page, with songs like the title-track Human, Conditional and Rio de Janeiro being a good sample of how her latest project sounds like.

Regarding her vocal range and her skills as a musician, Fallon mentioned in one of her interviews she’s highly influenced by R&B (thanks to her sister and parents), which allows her to do more than “just” scream and yell while singing, and that she hadn’t taken any singing lesson until she left Kittie. She said that her vocal teacher taught her all sorts of essential lessons about maintaining pitch while moving, and that she incorporated those into her performances to give it a more theatrical vibe. In addition, she also mentioned the emotion she transpires during her live performances is something that just happens, it’s very organic and it arises from the same place her lyrics and pain come from. And even in the middle of that sea of emotions, Fallon has time to sharpen her playing skills, being able to play guitar, keyboards, bass and sing (and getting there in regards to the piano), all helping her become a better composer. And did you know she has a degree in archeology? Well, that’s something almost no one actually knew until she was the subject of a prank for an episode of the short-lived Animal Planet series Freak Encounters a few years ago.

Fallon’s influences in music are just as diverse as her own background, with our talented multi-instrumentalist being highly influenced by R&B when it comes to her vocal style, but of course she also draws a lot of inspiration from electronic and rock music, saying that she loves the contrast between angelic singing and harder music. In terms of names, she said her taste for music varies from Whitney Houston to Deftones, from Calvin Harris to VNV Nation to Nirvana, and so on, mentioning that there’s beauty in all types of music. When asked about a band that she would have loved to tour with from the past, she promptly mentioned Nirvana, saying that meeting Kurt Cobain would have been a mind-blowing experience and that Nirvana, alongside with Hole, were the bands that made her want to be a musician. Furthermore, Fallon still had time to create her own dream band, that being David Gahan from Depeche Mode on vocals, Danny Carey from Tool on drums, Ryan from Mudvayne on bass, and Jimi Hendrix on guitar. How awesome do you think that supergroup would sound?

When asked about all changes that have impacted the music industry since she started her career back in 1996, she said when Kittie started they had almost no focus on the internet, as there wasn’t Facebook or anything like that at that time, saying it was all about street teams made up of fans that would spread the word about each band, something that doesn’t happen anymore nowadays. Fallon has been trying to learn about new apps and platforms to promote her music, and you can find her in several places, as for example you can buy her music on BandCamp, something that didn’t exist at all in the 90’s. Well, she’s also on Facebook, Twitter, Instagram and YouTube, so let’s say she has adapted to this new reality in the music business as much as her taste in music has changed and evolved, right? Well, now let’s wait and see what the future holds for this young and restless musician, hoping that she keeps “invading” all current and new types of social media sites and music apps with her uniqueness and electricity.

Fallon Bowman’s Official Facebook page
Fallon Bowman’s Official Twitter
Fallon Bowman’s Official Instagram
Fallon Bowman’s Official YouTube channel
Fallon Bowman’s Official BandCamp

“I didn’t consciously think of what I was doing as a step for me as a woman of colour – it was more simple than that – being a teenager wanting to be a rockstar. In retrospect however, no one besides maybe Skin was doing that style of music and was also a woman of colour. It’s a bit mind blowing really. There was really no one else doing that at that level.” – Fallon Bowman

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Concert Review – Trivium & Arch Enemy (The Danforth Music Hall, Toronto, ON, 11/07/2017)

Over 1,500 metalheads headed over to Toronto’s Greektown for a flammable night of modern and vibrant contemporary metal music, courtesy of the iconic Arch Enemy and the unstoppable Trivium.

OPENING ACTS: Fit For An Autopsy and While She Sleeps

Although it’s getting colder and colder as the month of November begins to switch from the colors of fall to the monochromatic look of winter, I guess no one can complain about the clear and not-so-chilly weather yesterday in Toronto, turning the night into the perfect occasion to head to The Danforth Music Hall, located at the easternmost side of what’s known as “Greektown”, to watch the fulminant performances by two of the most important bands in contemporary metal music, Swedish Melodic Death Metal masters Arch Enemy and American Heavy Metal troopers Trivium, both promoting their brand new kick-ass albums. Not only that, weeks before the concert all tickets were already sold out, which means we were going to experience around 1,500 metalmaniacs screaming, jumping up and down and slamming into the pit together with the bands. It can’t get any better than this, my friends.

The two bands chosen to warm up the crowd in a night of modern and aggressive heavy music were American Deathcore act Fit For An Autopsy and British Metalcore group While She Sleeps, with FIT FOR AN AUTOPSY being the first to hit the stage at 6:30pm. Formed in 2008 in Jersey City, in the state of New Jersey, United States, the band is supporting Arch Enemy and Trivium during their fall tour by promoting their latest album, titled The Great Collapse, released earlier this year. If Deathcore is your cup of tea, go check The Great Collapse in full on YouTube as their setlist was 2/3 formed of songs from that album, and also watch their official video for Black Mammoth, the closing song of their performance.

Setlist
Hydra
Heads Will Hang
Absolute Hope Absolute Hell
Still We Destroy
Iron Moon
Black Mammoth

Band members
Joe Badolato – vocals
Will Putney – guitar
Patrick Sheridan – guitar
Tim Howley – guitar
Peter Spinazola – bass
Josean Orta – drums

After that good start it was time for WHILE SHE SLEEPS to blast their Metalcore precisely at 7:15pm to all metalheads that were already at the venue (and the ones arriving a little late). Formed in 2006, this Sheffield-based squad is currently promoting their new album You Are We, with their setlist also being almost 100% based on it. New songs like the opening tune You Are We, Silence Speaks, and the closing one Hurricane kept the audience warm enough for the main attractions of the night, with lead singer Lawrence Taylor and bassist Aaran Mckenzie being absolutely on fire from start to finish.

Setlist
You Are We
Civil Isolation
Brainwashed
Feel
Silence Speaks
Hurricane

Band members
Lawrence Taylor – vocals
Sean Long – guitar
Mat Welsh – guitar, vocals
Aaran Mckenzie – bass
Adam Savage -drums

ARCH ENEMY

Finally, after over three long years (the last time the band was in town was in 2014 together with Kreator), Toronto had the pleasure of witnessing another bestial performance by ARCH ENEMY, precisely at 8:05pm (the punctuality of the concerts in Toronto always amazes me), and let me tell you that this time the whole band was even sharper and heavier than last time. Well, let’s say that is most probably due to the fact that in their new album, the excellent Will to Power, Arch Enemy put the pedal to the metal, sounding less melodic and more ruthless, and when their new songs were transferred to the stage the result couldn’t be different than some insane mosh pits, lots of growling and fists and horns in the air.

Frontwoman Alissa White-Gluz (with her always exotic and apocalyptic attire) seemed extremely happy and excited (as expected) to be with Arch Enemy once again in her homeland Canada, saying that it might be difficult for the band to cross the ocean to play in North America, but when they’re able to finally come to Canada and the US, it’s definitely worth it. She said that although she’s originally from Montreal, Quebec, she nurtures a deep passion and respect for Toronto, and the fans responded to that statement with a lot of enthusiasm, banging their heads nonstop to each and every song played by Arch Enemy. As mentioned, the new songs worked extremely well, in special the high-octane Slayer-ish tornado titled The Race, which by the way Alissa said is her favorite of the new album (and mine too), and the classy and groovy Blood in the Water.

Sharlee D’Angelo and Daniel Erlandsson were as precise and competent as usual with their bass and drums, respectively, but I must say it’s impressive how crystal clear, blazing and tuneful the guitars by Michael Amott and Jeff Loomis sounded during their entire performance. Those guys are true BEASTS with their cutting riffs and solos, sounding so perfect to the point you couldn’t tell if they were playing live or if it was the studio version of the songs. Whoever adjusts their instruments prior to the shows is a technical genius, no doubt about that, and if you get to see Arch Enemy live anywhere during this tour simply close your eyes and let each note played by Mr. Amott during the classic instrumental piece Snow Bound penetrate deep into your soul. The only “complaint” I have about their concert was the presence of not-so-exciting songs in their setlist, like Stolen Life, You Will Know My Name and Avalanche, which worked well, I have to admit that, but imagine if they played some of their more obscure and scathing classic tunes, like what happened with Ravenous, Dead Bury Their Dead and especially Nemesis? Well, we’ll have to wait for their next Canadian tour to see what they’ll do to their setlist (and I can’t wait for that).

Setlist
Set Flame to the Night (Intro)
The World Is Yours
Ravenous
Stolen Life
War Eternal
My Apocalypse
Blood in the Water
You Will Know My Name
The Race
The Eagle Flies Alone
As the Pages Burn
Dead Bury Their Dead
We Will Rise
Avalanche
Snow Bound
Nemesis
Enter the Machine (Outro)

Band members
Alissa White-Gluz – vocals
Michael Amott – lead guitars, backing vocals
Jeff Loomis – lead guitars, backing vocals
Sharlee D’Angelo – bass
Daniel Erlandsson – drums

TRIVIUM

After a short break, where the house DJ played some all-time classics on the speakers such as Iron Maiden’s “The Prisoner” and Motörhead’s “Born to Raise Hell” to keep the momentum created by Arch Enemy going, Orlando-based metallers TRIVIUM took the stage by storm at 9:45pm sharp already with the opening track of their superb new opus, The Sin and the Sentence, the title-track The Sin and the Sentence, which made the crowd explode in awe and ignited some serious mosh pits all over the venue. Matt Heafy, Corey Beaulieu and Paolo Gregoletto were as electrified and in sync as usual, with Matt leading the fans with his “meme-generator” faces and gestures, but it was newcomer Alex Bent who stole the spotlight. Holy shit, that guy is a relentless killing machine on drums, elevating the band’s already heavy sonority to a whole new level. Needless to say, he played all songs to perfection, in special one of the best of the new album and a serious candidate to become a Trivium classic, the Black Metal-inspired tune Betrayer.

Surprisingly (at least for me), one of the songs with the strongest reaction from fans was Until the World Goes Cold, which is a pretty nice ballad but, let’s be realistic, it’s far from being as awesome as classics like Down From the Sky and Kirisute Gomen. Two of the other songs from The Sin and the Sentence, the radio-friendly The Heart From Your Hate and Thrown Into the Fire, also sounded and felt truly heavy and thrilling, proving once again that Trivium are one of the most effective bands in heavy music when composing both heavier and slower, more melodic songs. Just like what happened with Arch Enemy, I missed a few songs in their setlist, especially some of the more complex tunes from Shogun, but Matt & Co. know what they were doing when they put this setlist together, trying to encompass all of the band’s phases in a little less than one hour and a half.

Last but not least, when the intro Capsizing the Sea started playing we all knew the show was coming to an end, but not before Matt thanked Toronto for another fantastic night of metal, promising to always return to the city with another blast of Trivium music, and asking everyone present at the venue to get down or kneel before one of their biggest classics, if not the biggest of all, In Waves. If you enjoy Slipknot you’ve already seen Corey Taylor and his bandmates do the same during their concerts, and with In Waves that Slipknot-ish formula worked extremely well like a precise time bomb, with all fans jumping up and down like maniacs while bursting their lungs screaming the two words from the song’s name. I guess there wasn’t a single fan that wasn’t eager for more Trivium when the show was over, as both Arch Enemy and Trivium had shorter-than-usual time slots to play for co-headlining the tour, but again, we must learn to be patient and wait for Trivium to get back in town in a not-so-distant future, right? At least Matt promised to be back soon, and we must trust the man.

Setlist
The Sin and the Sentence
Down From the Sky
Betrayer
Until the World Goes Cold
Like Light to the Flies
Rain
Dusk Dismantled
Strife
The Heart From Your Hate
Kirisute Gomen
Thrown Into the Fire

Encore:
Capsizing the Sea (Intro)
In Waves

Band members
Matt Heafy – lead vocals, guitar
Corey Beaulieu – guitar, backing vocals
Paolo Gregoletto – bass guitar, backing vocals
Alex Bent – drums, percussion

Concert Review – Megadeth & Scorpions (Budweiser Stage, Toronto, ON, 09/22/2017)

The city of Toronto was beautifully taken by storm by two of the greatest bands in the history of Heavy Metal and Hard Rock on the last day of the summer, and the result was absolutely fantastic.

OPENING ACT: Megadeth

When this Crazy World Tour 2017 was announced a few months ago, I instantly thought about how amazing it would be to witness on the same night two of the greatest bands in the history of Heavy Metal and Hard Rock playing some of their biggest classics (as well as a few newer songs) at what’s in my humble opinion one of the best and most pleasant venues in the world to watch any type of concert (and I’ve been to several different ones in distinct parts of the world), the Torontonian amphitheater now known as Budweiser Stage. Well, it was even better than anyone could have expected, with the combination of two bands full of energy and excited to please the crowd, thousands of fans eager for some rockin’ music, and a weather that, for the very last day of summer, was beyond perfect, making the whole night truly memorable.

As the opening act, or maybe I should call them co-headliners as they’re not your average band, we had the absolute pleasure of enjoying American Thrash/Speed Metal heroes MEGADETH. Spearheaded by the unstoppable Mr. Dave Mustaine, Megadeth were still promoting their latest installment, the excellent Dystopia, released last year, but only one song from the album (its title-track) was played during the show. The setlist was pretty much a selection of their biggest hits with a huge focus on their 1990 masterpiece Rust In Piece, kicking off the concert with the blazing Hangar 18, and also featuring from that classic album the hits Take No Prisoners, Tornado of Souls (my favorite of the show) and, closing their performance, a song that needs no introduction, Holy Wars… The Punishment Due.

And obviously “Megadave” and his henchmen David Ellefson, Kiko Loureiro (who proved to be the guitarist Mustaine needed by his side) and Dirk Verbeuren played every song to perfection, with the background screen complementing the music in a fun and exciting manner. For instance, the Nascar images used as a background for Mechanix and the official video for Dystopia (another fantastic moment of the show) played while the band executed the song were spot-on to keep the fans mesmerized and in total sync with the band. In addition, everyone at the venue singing the power ballad A Tout Le Monde guided by Mustaine was just beautiful, and the smile on his face after that moment was awesome. Now, as usual, let’s patiently wait until we can see such distinct band performing live again in our beautiful Toronto.

Setlist
Prince of Darkness
Hangar 18
Mechanix
Take No Prisoners
Sweating Bullets
A Tout Le Monde
Tornado of Souls
Dystopia
Symphony of Destruction
Peace Sells

Encore:
Holy Wars… The Punishment Due

Band members
Dave Mustaine – lead vocals, lead guitars, rhythm guitars
Kiko Loureiro – lead guitars, rhythm guitars, backing vocals
David Ellefson – bass guitar, backing vocals
Dirk Verbeuren – drums

SCORPIONS

If the venue wasn’t fully packed during Megadeth’s kick-ass performance, things changed considerably a few minutes before German Hard Rock institution SCORPIONS hit the stage with their flawless setlist, but before the concert started I had the pleasure of exchanging a few words with other fans close to where I was (which was right in front of the stage), in special one father with his 13-year old son. The name of the boy is T Bone Bentley, he’s a very talented drummer who loves metal and rock, and you can check him smashing his drums on his official YouTube channel (together with his dad), playing songs like Iron Maiden’s all-time classic “Run to the Hills” and Judas Priest’s metal anthem “Breaking the Law”. When I see little fellas like T Bone and their passion for heavy music, my hope for a better future for mankind gets renovated, so don’t waste your time and go check his YouTube videos. They’re surely going to make your day a lot better.

Back to the concert, it was around 8:30pm when the iconic vocalist Klaus Meine, the flammable guitarists Matthias Jabs and Rudolf Schenker, the talented bassist Paweł Mąciwoda and the one and only drummer Mikkey Dee hit the stage with an avalanche of Hard Rock and Rock N’ Roll hits, starting with a fantastic song from their 2015 album Return to Forever, the rockin’ Going Out With a Bang, already showing the night was going to be insanely fun. Let’s say that the first part of the show worked more like a “warm-up”, with the band jamming and rocking nonstop, generating a very good vibe and showing why they’re still alive and kicking after so many decades on the road. That first segment of the show had as its highlights the classic The Zoo, the fairly new but amazing We Built This House, and from their mini-acoustic set (including a weird but useful drum kit by Mikkey) I would say the touching ballad Send Me an Angel definitely stole the spotlight.

After that, Mr. Klaus Meine simply introduced one of the band’s biggest and most beautiful classics, Wind of Change, obviously hypnotizing all of us with the song’s renowned whistling, followed by another sensational new song titled Rock ‘n’ Roll Band and their awesome tribute to the most badass rocker that this world will ever see, Lemmy Kilmister, playing a cover version of Motörhead’s hit Overkill. Right after that, Mikkey offered us all an amazing drum solo (which put the little T Bone into a state of pure ecstasy), while the rest of the band was getting ready for a flawless Hard Rock attack comprised of nothing more, nothing less than Blackout, Big City Nights, No One Like You, Still Loving You (what a lovely moment of the show!) and Rock You Like a Hurricane. What else can you ask for, right?

Before this review of the show is over, I just wanted to mention two things that truly caught my attention during the concert, one in a very positive way, while the other was quite sad.  First, I was completely impressed with the fact that Mr. Rudolf Schenker is almost 70 years old and he keeps running frantically around the stage, screaming and interacting with the fans, and playing his guitar as if he was in his early 30’s. That was plain awesome, and definitely an inspiration for me and lots of other fans on how you can get old but remain young at heart, enjoying life until the end (just like Lemmy did, by the way). On the other hand, while Mr. Schenker was a role model to all of us, there were a few spoiled bi… I mean, girls, that thought that just because they’re (still) young and pretty they can do whatever they want, including being rude, disrespectful and annoying to anyone around them. One of them was so disrespectful to a guy next to me, elbowing him and pretending he was harassing her, to the point everyone close to that scene even stooped enjoying the concert for a few moments until security finally (and fortunately) took that stupid Barbie doll away. I hope when she gets old, and she will, she learns how to be a better person and how to respect other people. Well, Little T Bone is only 13 and he already knows how to behave in a rock and metal concert, as well as other kids that attended the show with their parents. It’s just a matter of learning what true respect is at home, right? And I hope that next time Scorpions take Toronto by storm with another faultless performance like that, that irksome girl is somewhere else, like at a Justin Bieber concert. Let the real bands for the real fans, lady.

Setlist
Intro
Going Out With a Bang
Make It Real
The Zoo
Coast to Coast
Top of the Bill / Steamrock Fever / Speedy’s Coming / Catch Your Train
We Built This House
Delicate Dance (with Ingo Powitzer)
Always Somewhere / Eye of the Storm / Send Me an Angel
Wind of Change
Rock ‘n’ Roll Band
Overkill (Motörhead cover)
Drum Solo
Blackout
Big City Nights

Encore:
No One Like You
Still Loving You
Rock You Like a Hurricane

Band members
Klaus Meine – lead vocals
Matthias Jabs – lead guitars, rhythm guitars, acoustic guitars
Rudolf Schenker – rhythm guitars, lead guitars, backing vocals
Paweł Mąciwoda – bass guitar
Mikkey Dee – drums

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Album Review – Droid / Terrestrial Mutations (2017)

An extraterrestrial three-pronged sonic organism has just landed in Canada, bringing new sounds of degradation and alienation to all admirers of the more technical and progressive versions of Thrash Metal.

In the city of Brampton, located in the peripheral suburbs of Toronto, Ontario, resides a three-pronged sonic organism known as Droid. Though conceived in 2012, it has been the amalgamation of years of shows, rehearsing and writing that has led to the fully realized aural representation of their efforts in their 2017 debut album, titled Terrestrial Mutations. And this Canadian Sci-Fi Thrash Metal entity is more than ready to present to fans of renowned acts such as Voivod, Megadeth, Annihilator and Anthrax, among many other bands known for blending aggressiveness and dexterity in a compelling way, an amazing alternative in the world of underground thrash.

Since their inception, Droid already released the demo Malfunction, in 2013, and an untitled promo in 2014, followed by the six-track EP Disconnected, in 2015, but it’s with Terrestrial Mutations that the power trio comprised of Jacob Montgomery on vocals and guitar, Chris Riley on bass and Sebastian Alcamo on drums reached a much higher level of speed and harmony, bringing new sounds of degradation and alienation to all admirers of the more technical and progressive versions of Thrash Metal. However, if you’re a fan of old school thrash, don’t think that they’ll sound too modern for your ears, as they always keep their sonority deeply inspired by the foundations of the genre.

For instance, the piercing guitar sounds by Jacob welcome the listener to the Sci-Fi world of Droid in the opening track Amorphous Forms (Shapeless Shadows), where the band delivers old school Thrash Metal with Sebastian pounding his drums mercilessly throughout the entire song. In Suspended Animation, we face lots of groove flowing from the guitar by Jacob and the bass by Chris, bringing those “dancing and slamming” elements from the music by Suicidal Tendencies as well as lyrics that couldn’t sound more thrashier than this (“Cold saline injected / straight through the heart / drained of blood given / hours to restart”); whereas in Abandoned Celestial State we’re treated to a fast and groovy start with a Blues-ish vibe led by Sebastian with his beats, generating a fun and interesting ambience for Jacob to declaim the song’s lyrics in a rabid manner. In a nutshell, this excellent tune offers the listener a well-balanced mix of Thrash and Groove Metal, and just like a Sci-Fi movie it follows a “script”, ending in a dark and somewhat apocalyptic way.

The title-track Terrestrial Mutation brings forward almost 10 minutes of 80’s-inspired Thrash Metal, starting with a somber, eerie intro before Jacob comes ripping with his riffs until the musicality reaches a very melodic shape. However, the song loses its grip mainly due to its length, but that doesn’t mean there isn’t a lot of good stuff to enjoy such as the low-tuned metallic bass lines by Chris and the song’s more progressive pieces. Fortunately, a piano intro presents to the listener another harmonious and visceral creation by Droid, titled Pain Of Reincarnation, where Jacob, Chirs and Sebastian put all the potency of their instruments together to generate a truly exciting sounding, feeling like Thrash Metal with Rock N’ Roll and Hard Rock elements, which turns it into one of the top moments of the album for sure. And in Temptations Of Terminal Progress the band fires an electrified feast of riffs, harsh and demented growls and pounding beats, also presenting interesting breaks and traditional thrashing lyrics (“The soothsayers learning / it’s best not to reveal what / he knew / the bones they are burning / for the means for the many / not the few”), morphing into a display of progressiveness mixed with elements from Blues and Jazz at times.

The rumbling bass lines by Chris and the fierce beats by Sebastian dictate the rhythm in the high-octane and electrifying tune Cosmic Debt, an old school Thrash Metal chant that will certainly ignite some good circle pits with highlights to the deranged vocals by Jacob à la Paul Baloff; followed by Excommunicated, a lot slower than its predecessors but still heavy and groovy, with Jacob delivering some cutting guitar riffs while Sebastian keeps smashing his drums effectively. The song never really takes off though, falling flat after a while, but at least the closing song, Mission Drift, with its over 10 minutes of music, showcases all the band’s passion for progressive and heavy sounds, with the bass punches by Chris sounding truly awesome. This is the perfect depiction of Progressive Thrash Metal, bringing intricate guitars and drums, and obviously keeping the stamina and complexity at a very high level until it fades into a somber, wicked conclusion.

The extraterrestrial thrashers from Droid can be better examined at their Facebook page, while Terrestrial Mutations can be purchased at their own BandCamp page, at the Nightbreaker Productions webshop, at the Hells Headbangers webshop, at the Temple of Mistery Records webshop, or at Discogs. As you can see, the music by Droid truly exists and is easy to find (as opposed to ETs), so if I were you I would support such promising power trio by buying their album, in order to ensure their future endeavors become a reality and keep their Sci-Fi soundings as thunderous as possible, piercing our metallic minds.

Best moments of the album: Amorphous Forms (Shapeless Shadows), Abandoned Celestial State, Pain Of Reincarnation and Cosmic Debt.

Worst moments of the album: Terrestrial Mutation and Excommunicated.

Released in 2017 Nightbreaker Productions

Track listing
1. Amorphous Forms (Shapeless Shadows) 4:58
2. Suspended Animation 3:26
3. Abandoned Celestial State 7:30
4. Terrestrial Mutation 9:56
5. Pain Of Reincarnation 6:36
6. Temptations Of Terminal Progress 8:00
7. Cosmic Debt 4:10
8. Excommunicated 6:45
9. Mission Drift 10:43

Band members
Jacob Montgomery – vocals, guitar
Chris Riley – bass
Sebastian Alcamo – drums

Concert Review – Blaze Bayley (The Rockpile, Toronto, ON, 08/19/2017)

A journey through the past, present and future in the career of the unstoppable Blaze Bayley in the form of first-class Heavy Metal for his diehard fans in Toronto.

OPENING ACT: Cadillac Blood

I’ll never understand why people who call themselves diehard metalheads would miss a chance to attend a top-notch Heavy Metal concert like what we had this Saturday at the really nice venue The Rockpile, which despite being usually referred as located in Toronto, technically speaking it’s in Etobicoke, an administrative district and former city that makes up the western part of the city of Toronto, around 18km from downtown. The weather was perfect, the beer was nice and cold, the food was great and all prices were very, very reasonable (including the ticket price). And those so-called fans of heavy music keep complaining on Facebook, Twitter etc. that metal doesn’t have the proper support and all those shenanigans. How about instead of just typing, you get up from that couch, head to a place like The Rockpile and support underground metal?

If you do that, perhaps you’ll face an electrifying band like the young and restless thrashers from CADILLAC BLOOD, a completely independent act from Keswick, Ontario, located 70km north of Toronto. Blending elements from Thrash Metal, Punk Rock and Rock N’ Roll in their music, and being clearly inspired by bands such as Volbeat (by the way, the band’s name comes from Volbeat’s classic album Guitar Gangsters & Cadillac Blood if you haven’t noticed yet), Metallica, Motörhead and Anthrax, the quartet comprised of Luke Morrell on vocals, Tyler Morrell on guitar, Sean Murphy on bass and Dean Fraser on drums delivered an excellent warmup to the fans that were there for Blaze Bayley, being extremely professional and excited from start to finish, in special Luke who didn’t stop jumping and headbanging for a single second while singing at the same time. Unfortunately I don’t have their full setlist, but you can go to their BandCamp page and check out songs like Crow’s Nest and Devil’s Brew, both played by the band on Saturday.

Band members
Luke Morrell – vocals
Tyler Morrell – guitar
Sean Murphy – bass
Dean Fraser – drums

BLAZE BAYLEY

When it was time for the unstoppable BLAZE BAYLEY to hit the stage with his Endure and Survive World Tour 2017, at around 10:30pm, The Rockpile was not even half full, maybe due to lack of better promotion or because the pub was a bit far for fans who rely on public transportation to move around, but I think those are just excuses for our society’s growing laziness to do anything that’s not online. Blaze deserved a much bigger crowd (he even joked it was his fault, as he asked that only true metalheads attended his concert), as he’s been doing superior music being totally independent, with very little support from anyone but himself and his bandmates. His music is powerful and vibrant, his lyrics are poetic and meaningful, and his energy on stage is simply fantastic. What else do you need in a metal concert?

Anyway, the brave fans who were at The Rockpile had the absolute pleasure of witnessing an amazing performance by Blaze and his amazing band formed by the talented Chris Appleton on guitars and backing vocals, Karl Schramm on bass and backing vocals, and Martin McNee on drums, who are not only the guys who recorded the first two parts of the kick-ass Infinite Entanglement trilogy with Blaze, the 2016 album Infinite Entanglement and the 2017 follow-up Endure And Survive (Infinite Entanglement Part II), but who are also three quarters of British Heavy Metal act Absolva, a great underground band highly recommended for lovers of old school metal music.

When Blaze was in Toronto for the last time, at the now defunct Hard Rock Café in 2014, he was supported by a Canadian Iron Maiden cover group named Maiden Quebec, and although they were a very good band, Blaze’s performance was somewhat hampered by their lack of chemistry. Fortunately for the fans at The Rockpile this Saturday, Blaze and the guys from Absolva were in perfect sync, a reflection of their years working together, delivering to the crowd a top-notch setlist encompassing the best of Blaze’s past, present, and even future (if you think of Infinite Entanglement as an evolving project), playing simply the best songs from Wolfsbane, Iron Maiden and his unparalleled solo career. From the very first notes of the inspiring Endure and Survive, to the speed and violence of Blood, Dark Energy 256 and Man on the Edge (see his intro video to this all-time classic HERE), and the epicness of The Clansman, their performance was flawless.

As I mentioned before, Blaze is a metal poet, and there was always a reason for a song to be inserted in his setlist, always bringing a powerful message to the fans who were singing along all lyrics with Blaze. For instance, his speech about how we all fail and how we all must stand up from our failures and fight our fears again and again in Fight Back, from his latest album, only shows how much he loves what he does and how much he’s passionate about Heavy Metal, as well as how he said us fans are his “home” in the emotional Calling You Home. Of course there was also room for lighter topics, like when he explained the origins of Wolfsbane and how we all would feel “sexier” after screaming the words “man hunt” during Wolfsbane’s biggest hit Man Hunt. By the way, the “duel” between Blaze and the rest of the band during this song was awesome, with Chris and Karl stealing the show with their refined techniques. Blaze made sure he acknowledged the undeniable talent of Chris not only as a guitarist, but also as a songwriter and producer, something we can easily see through his work with both Absolva and Blaze Bayley.

After the last song of the setlist, A Thousand Years (my favorite track from Infinite Entanglement), Blaze and the guys stayed at the venue for a free autograph and photo session with their fans, not charging a single penny as most band do nowadays with their “meet & greet experiences”, as a sign of his respect and admiration for us, supporters of independent music. All band members were very nice and courteous with everyone, talking about their tour across Canada and the US, their plans for the future and other topics. And all true metal fans who attended the concert on Saturday went back home with a huge smile on their faces, something that happens every single time you see a concert by the metal warrior Blaze Bayley. As simple as that.

Setlist
Endure and Survive
Escape Velocity
Futureal
Blood
Silicon Messiah
Fight Back
Virus
Calling You Home
Stare at the Sun
The Clansman
Man Hunt
Man on the Edge
Dark Energy 256
Lord of the Flies
A Thousand Years

Band members
Blaze Bayley – vocals
Chris Appleton – guitars, backing vocals
Karl Schramm – bass, backing vocals
Martin McNee – drums

Album Review – Olde / Temple (2017)

Putting society and personality in its crosshairs, attacking the traits that make people hide behind various masks in order to survive, here comes a Canadian Doom Metal brigade ready to crush our skulls with their heavy-as-hell new album.

Inspired by a recording session with long-time Stoner Metal stalwarts Sons of Otis, guitarist and producer Greg Dawson (Cunter, Grift, BWC Studios) began to handpick and assemble Canadian Doom/Stoner Metal brigade Olde, emphasizing a powerful and economic approach to doom music. Enlisting the help of drummer Ryan Aubin (Sons of Otis), bassist Cory McCallum (Five Knuckle Chuckle), guitarist Chris “Hippy” Hughes (Moneen) and vocalist Doug McLarty (Jaww), this Malton-based band began to take form, releasing their debut full-length album simply titled I, in 2014, followed by the EP Shallow Graves, in 2016.

Always true to their heavy, bludgeoning roots, Olde are back in 2017 with a brand new full-length instalment, the pungent and resonant Temple, an album where Olde put society and personality in its crosshairs, attacking the traits that make people hide behind various masks in order to survive, and how the ranks of the disguised, with their ulterior motives, aren’t exacting worried about the average Joe in their quest for self-preservation and “progress”. Olde’s sound has also grown since the band’s inception, encompassing more abstraction and harmony, whilst never forgetting to bludgeon their fans, as needed, with riff after riff, driven by the sophisticated-caveman drums of Aubin and the harsh, yet always clear, vocals of lyricist McLarty. Featuring an eye-catching artwork by Joshua Wilkinson, Temple will undoubtedly punch you in the face with all its doomed strength, like it or not.

Heavy, sluggish and thunderous from the very first second thanks to the amazing stringed trio comprised of Chris, Greg and Cory, the opening track Subterfuge is an excellent Doom and Stoner Metal composition, bringing the best elements of both genres to our avid ears, but it’s when Doug begins vociferating the lyrics that things get really dark and serious (“The blood you seek is out there, / On the frayed edges of town / Just point your boots, and follow… / Your rotten heart”). Ryan kicks off the following tune, the obscure Now I See You, with his pounding, damned beats, before Doug offers more of his grumpy and raspy vocals perfect for the music being played. Furthermore, I love when it’s possible to listen to those metallic bass punches like the ones blasted by Cory due to the album’s crisp production, but of course without losing the band’s amazing rawness. Also, if I were you, I would check Olde playing this excellent song at the NP music studio for the National Post Sessions, in order to fully enjoy the band’s catchy sonority and refined technique.

The Ghost Narrative is an excellent depiction of the most sluggish and deranged form of Stoner Metal, where Chris and Greg are kicking ass on guitars with their riffs and solos in an overdose of heaviness flowing from all instruments, which is also present in Doug’s enraged vocals; followed by the title-track Temple, the longest of all songs, starting in a somber manner through the bass sounds crafted by Cory and quickly morphing into a neck-breaking Sludge and Stoner Metal hymn. Its hostile sounding, led by the beats by Ryan, only gets more belligerent when joined by the vocals by Doug, hitting you hard and mercilessly until its dark ending. And increasing their aggressiveness and speed, Centrifugal Disaster presents modern and poetic lyrics (“The world heaves under the weight of our existence / A population siphoned from, stretched beyond all reason / Exploit everything for a fraction of what it’s worth / Rallying cry of modern Man: / Give me convenience, or give me Death”), piercing guitars and rumbling bass lines boosted by the intricate drumming by Ryan, culminating in a Stoner Metal extravaganza highly recommended for fans of the genre.

Bringing hints of Southern Rock and old school Rock N’ Roll, Maelstrom reminds me of some of the classic tunes by Down, with highlights to the excellent job done once again by Chris and Greg on guitars. Put differently, this is a song perfect for enjoying a cold beer and banging your head vigorously together with the band, presenting an excellent guitar solo at the end as the icing on the cake. And lastly, closing the album Olde brings forward an ode to darkness titled Castaway, reaching deep into our most deviant thoughts. This low-tuned and slow composition is led by the potent drumming by Ryan and the rabid, deep growls by Doug, while the rest of the band makes sure the atmosphere remains as cold-hearted, gloomy and unhappy as possible.

You can always keep up to date with everything Olde are doing, including their tour dates (especially if you live in the Greater Toronto Area), by following them on Facebook, and purchase your copy of Temple through their BandCamp page, the STB Records’ BandCamp page or Big Cartel, or the Medusa Crush Recordings’ BandCamp page. Temple is not only a top-notch album of Stoner and Doom Metal made in Canada, but it also cements Olde’s name in the Canadian independent scene, opening the doors for the band to reach new heights and to properly explore new markets in a not-so-distant future, like the United States and the UK, where their music style is extremely appreciated. And, of course, to support Olde in their mission to crush everyone’s head with their heavy-as-hell damned music wherever they go.

Best moments of the album: Subterfuge, Now I See You and Centrifugal Disaster.

Worst moments of the album: None.

Released in 2017 STB Records/Medusa Crush Recordings

Track listing
1. Subterfuge 4:06
2. Now I See You 4:27
3. The Ghost Narrative 4:17
4. Temple 7:48
5. Centrifugal Disaster 5:04
6. Maelstrom 6:16
7. Castaway 7:05

Band members
Doug McLarty – vocals
Chris Hughes – guitars
Greg Dawson – guitars
Cory McCallum – bass
Ryan Aubin – drums, guitar solo on “Maelstrom”

Guest musician
Simon Talevski – guitar solo on “Castaway”

 

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

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

OPENING ACT: Ghost

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

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

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

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

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

IRON MAIDEN

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

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

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

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

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

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

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

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

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

OPENING ACTS: Prong and Sepultura

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

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

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

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

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

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

TESTAMENT

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

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

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

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

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

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

Encore:
Practice What You Preach
Over the Wall

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

Album Review – Infernäl Mäjesty / No God (2017)

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

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

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

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

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

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

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

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

Worst moments of the album: Systematical Extermination.

Released in 2017 High Roller Records

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

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

Album Review – The Sun Through a Telescope / Black Hole Smile (2017)

Brave the psychedelic sludge waters of Doom and Drone Metal brought forth by this inventive one-man band from Canada, and have your musical boundaries pushed further in a unique way.

I love when a band challenges our senses and pushes our musical boundaries further and further, which is exactly what you’ll face in Black Hole Smile, the brand new album by Canadian Drone/Doom Metal one-man project The Sun Through a Telescope, led by Ottawa-based multi-instrumentalist Leigh Newton (also known as Lee Neutron). In nothing less than 17 (yes, seventeen!) distinct tracks, Lee offers the listener an unconventional fusion of several styles and genres that will blow your mind, or as he likes to say, his music is where “Blackened Doom meets Ambient Drone, soaked in psychedelic sludge water.”

Lee has been very active with his The Sun Through a Telescope since 2011, having released a few EP’s that year before his first full-length album, titled I Die Smiling, came to light in 2013. The following year saw the birth of a new EP named Unnatural Cruciform on a Moss Covered Rock, paving the path for Lee to go even further with his creativity and bring forth Black Hole Smile. Each song will sound different than the others, each one being a distinct experiment by Lee, creating a parallel universe of music that might not make a lot of sense at first, but that will certainly get you entranced from start to finish.

In the very atmospheric, psychedelic and experimental Never Pray, Lee’s clean vocals sound as if he was in a different dimension, with the song’s background being only a distant, smooth noise, becoming an interesting warm-up for Living Every Single Hell, where alternative and distorted guitars are complemented by slow, sharp beats before an explosion of rage and anger with elements of Black and Death Metal invades our ears. Furthermore, Lee goes from maniac growls to desolated clean vocals and back to his demented mode à la Mike Patton, guiding us in a 10-minute voyage through the world of The Sun Through a Telescope. With such an impactful name, I couldn’t expect anything less visceral and experimental than Worm(hole)s, where Lee offers more of his hypnotic guitars and doomed beats, as well as his sick gnarls blending Drone and Doom Metal in a very gripping manner; followed by The Inverted Cross Of A Sunday Funday, a fun and solid instrumental piece by this one-man army displaying less than two minutes of demonic sounds inspired by the meanest forms of Industrial and Drone Metal.

“More Light” continues with Lee’s movie score-inspired extravaganza, being somehow epic and building an instant connection to Every Single Living Hell (note the word play with the second track of the album), with the crow in the background giving it a funereal vibe before becoming a hellish hybrid of Blackened Doom and Drone Metal, also presenting wicked sounds usually found in Alternative and Groove Metal. Focusing on its choir-like vocals and gentle guitar lines, the purely atmospheric composition Dead Dies, New Born gets to a more Alternative Rock and Metal sonority halfway through it, giving even a sense of hope to the whole song, whereas Something Witchy offers 40 seconds of a demented devastation full of distortions and wicked growls before peace returns in No Way Home. However, that peaceful ambience lasts only until half of the song, when Lee beings firing his blast beats and atmospheric vocals again.

Black Hole Bile and “Oh No, This Is Mine” are two similar but somehow unique one-minute deranged instrumental tunes, while A Prolonged Vegetative State presents a more violent side of The Sun Through a Telescope, showcasing deeper guttural and heavier sounds as if Faith No More was “poisoned” with the darkness of Drone and Doom Metal. And never tired of experimenting with different sounds, Lee delivers the Ambient Black Metal tunes Burn Everything and No More Light, with things only getting weirder and more experimental as the album progresses, so alternative it’s impossible to label what’s happening. If I try to explain the music in Caught, Drugged, Trial, Exile, one more atmospheric creation spawned by Lee, I would say there’s an inner fury in this song that never fully comes out, increasing its anxiousness and despair, while the melancholy and the sounds of birds in the background in Dead Tomorrow flow into the pleasant sonority with smooth vocals and the delicate instrumental from Whitehole / Brighthell, with moments of anger meticulously inserted at specific parts of the song, building a suffocating and climatic conclusion to this extravagant album.

If you want to know more about Lee and his The Sun Through a Telescope, simply visit his Facebook page for the most up-to-date news, with Black Hole Smile (which can be streamed in its entirety HERE) being available for purchase on BandCamp, CD Baby, iTunes and on Amazon. After swimming in the psychedelic sludge waters of Doom and Drone Metal proposed by The Sun Through a Telescope, I’m sure your view of the current state of heavy music will change considerably, proving how important independent artists like Lee are for music and arts in general.

Best moments of the album: Living Every Single Hell, Every Single Living Hell, A Prolonged Vegetative State and Whitehole / Brighthell.

Worst moments of the album: “Oh No, This Is Mine” and No More Light.

Released in 2017 Independent

Track listing
1. Never Pray 2:55
2. Living Every Single Hell 9:57
3. Worm(hole)s 6:20
4. The Inverted Cross Of A Sunday Funday 1:39
5. “More Light” 1:35
6. Every Single Living Hell 7:50
7. Dead Dies, New Born 4:06
8. Something Witchy 0:38
9. No Way Home 3:14
10. Black Hole Bile 1:06
11. “Oh No, This Is Mine” 1:17
12. A Prolonged Vegetative State 2:59
13. Burn Everything 1:04
14. No More Light 2:05
15. Caught, Drugged, Trial, Exile 5:38
16. Dead Tomorrow 0:51
17. Whitehole / Brighthell 7:08

Band members
Lee Neutron – vocals, guitars, bass, drums, programming, samples

Guest musician
Ava – additional vocals