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”

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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 – Next Bullet / Zero (2017)

Are you ready to thrash to the debut album by a trio of Italian insurgents who take no prisoners in their quest for heavy music?

In case you don’t know what Thrashcore means, let me do a quick introduction to you of this electrifying style of heavy music. Thrashcore, also known as Fastcore, is a fast-tempo subgenre of Hardcore Punk that emerged in the early 1980’s, being often less dissonant and metallic than Grindcore, but still making good usage of blast beats. Thrashcore songs are usually short in duration, with the lyrics typically emphasizing youthful uprising or anti-militarism, being aligned with the skateboarder subculture in many ways. Having said that, are you ready to thrash to Zero, the debut album by a trio of Italian Thrashcore insurgents who together go by the name of Next Bullet?

Formed in 2016 in northeast Italy by members of Groove Metal act Overblood and Deathcore group Awake The Secrets, the trio comprised of Marc1 on vocals, Paske on guitar and bass, and Tom KT on drums takes no prisoners in their quest for heavy music, delivering ten ruthless compositions that exhale rebelliousness with the hardcore attitude of Grindcore, but also presenting the more melodious lines of Metalcore. Zero is already a pretty good album by itself, but if you take into account the fact that it’s just their debut release, I wonder how far those Italian metallers can go in the world of underground heavy music with this new endeavor.

Next Bullet, the track that carries the name of the band, is a precise depiction of what this power trio stands for, locked and loaded with pure heaviness and a hardcore attitude, where Marc1 begins explaining their “mission” through his deep growls while Tom KT sounds like a machine gun on drums. Following that intense start, we have All I Have Earned, a faster and more melodic Thrashcore song with elements from traditional Thrash Metal and Punk Rock, with Marc1 continuing his vocal attack and Paske delivering metallic, sharp riffs perfect for banging our heads nonstop; and Not Allow Them, where the trio keeps hitting us with their hardcore sounds. Moreover, pay attention to the drumming by Tom KT as it’s an interesting blend of the traditional Thrash Metal played by Exodus with the demented beats by old school Punk Rock drummers.

In Antiparasitic they once again unite the aggressiveness of American Hardcore with the melody found in European metal music, resulting in one of my favorite tracks of the album due to its high level of electricity, with all three members being in total sync generating a truly belligerent sonority; whereas in Unrelenting Will, another solid composition that showcases all the band’s anger and defiance, the musicality is led by the guitar lines by Paske while Marc1 bursts his lungs with his sick screams. After an eerie bridge named 2015: Mission Accomplished, we face more of the destructive music by Next Bullet titled Born On The Wrong Side, a mid-tempo, dark composition showing a more visceral side of the band. Not only that, Paske and Tom KT make a great duo with their heavy-as-hell riffs and demonic beats, therefore increasing the song’s punch and taste.

As I hate hashtags from the bottom of my heart, I have to say the furious The New Hashtag puts a smile on my face with its less than two minutes of sheer craziness, in a well-balanced fusion of Thrash Metal, Hardcore and Punk Rock. And bringing a lot of groove to their sonority, Kill The Maniac Pedophile is another short and sweet creation by Next Bullet that overflows rage despite being a bit bland, with its the last part getting a lot more dynamic (which unfortunately doesn’t last as long as it should), before the supersonic Remember! concludes the album in great fashion. The sound of the guitar by Paske is truly exciting, as if he is cutting our flesh with his riffs mercilessly, while Tom KT continues to pound his drums manically and Marc1 gets more and more insane on vocals.

Now that you have a pretty good understanding of what Thrashcore stands for and its purpose in heavy music, you should definitely give a try to Next Bullet and their berserk music by visiting their Facebook page and purchasing your copy of Zero at their BandCamp page. As mentioned before, Zero is a beyond solid debut by this angry power trio, having all the necessary qualities to become a reference in underground Thrashcore and a great source of energy for the band to keep moving forward in their career.

Best moments of the album: Next Bullet, All I Have Earned and Antiparasitic.

Worst moments of the album: Kill The Maniac Pedophile.

Released in 2017 KT Records

Track listing
1. Next Bullet 3:20
2. All I Have Earned 3:20
3. Not Allow Them 2:00
4. Antiparasitic 2:18
5. Unrelenting Will 3:04
6. 2015: Mission Accomplished 0:38
7. Born On The Wrong Side 2:38
8. The New Hashtag 1:30
9. Kill The Maniac Pedophile 1:34
10. Remember! 2:40

Band members
Marc1 – vocals
Paske – guitar, bass
Tom KT – drums

Interview – Dimitri (Primal Age)

Do you like Metalcore? If your answer is yes, you’ll certainly enjoy this exclusive interview with Dimitri, bassist for longstanding French act Primal Age, talking about their brand new EP A Silent Wound, their commitment to nature and animal rights, how much they love the unparalleled riffs by Slayer’s deceased guitar hero Jeff Hanneman, and more.

Dimitri (Primal Age)

The Headbanging Moose: Let’s start with an introduction of the band. Although Primal Age have been on the road since 1993, there are many people who still don’t know your music. Who are Primal Age? Can you tell us more about the history of the band and your main goals in music?

Dimitri (Primal Age): We are 5 guys (Didier on vocals, Flo and Ben on guitars, Mehdi on drums, and I, Dimitri on bass). We started as one of the very first European bands mixing hardcore and metal, as Arkangel, Length of Time or Kickback. We’re known for our commitment in favor of nature and animals.

THM: Your brand new EP A Silent Wound might be short in duration, with only around 15 minutes of music, but the amount of energy and violence flowing from each one of its four tracks is simply amazing. Why did you decide to record an EP instead of a full-length album this time, and how did you select the songs that would be included in it?

Dimitri: It was a special period because of a change in our line-up. Flo and Ben have replaced Johann who had to leave the band for familial reasons. So our project with this line up was an EP to give time for the new guys. It is not obvious to be incorporated to an old band.

THM: You’re a band that has always discussed delicate and controversial topics in each one of your lyrics, such as animal rights, vegetarianism and the overconsumption of mass. For instance, my favorite song of the EP, the opening track The Whistleblowers vs World Health Organization, is an acid critic to our decaying health system with a strong focus on the wrongful actions taken by the W.H.O. in the past few decades. What details can you tell us about the process to compose this specific song? What inspires you to write music, and what do your fans and critics say about the themes proposed in your lyrics?

Dimitri: The fans… some are here just for the music, and some others pay a particular attention for the topics. It’s a kind of positive revolt to compose some music with what revolts me, instead of burning my neighbor’s car ))

THM: Another top moment of the EP in my opinion is your humble tribute to the deceased Jeff Hanneman, the iconic and revolutionary guitarist of Thrash Metal titans Slayer, titled To Jeff. How did you come up with the idea of recording this excellent tribute to one of the biggest guitarist in the history of heavy music, and how did you choose which songs from Slayer would be featured in the medley? Also, did you get any feedback from any of the guys from Slayer or anyone connected to Jeff about the song?

Dimitri: As you say, Jeff was a legend who has composed some of the most famous riffs of metal music. We grew up with Slayer and we miss this guy so much, so we decided to refresh people’s minds with some of the most legendary riffs which are here to stay.

Album Review – Primal Age / A Silent Wound EP (2017)

THM: You play a solid and entertaining fusion of Thrash Metal, Hardcore and Punk Rock, which some people like to label as Metalcore. Apart from bands like Slayer, Napalm Death and Agnostic Front, what other bands and artists influenced Primal Age to become the band you’re today? And do you listen to anything outside Heavy Metal and Punk Rock? If so, which non-metal artists are part of your playlist?

Dimitri: We grew up with bands like Earth Crisis, Sepultura, Pantera, Minor Threat, Venom, Youth Of Today, Hatebreed… there are so many. Personally I’m a fan of Oi music, Cock Sparer, The Business or Last Resort are some of the bands in my playlist. But it’s only mine, each one is different and we have our own choices.

THM: A Silent Wound features a few guest vocalists that end up adding an extra touch of adrenaline to the overall result of the EP, those being Felipe Chehuan (Confronto), Julien Truchan (Benighted) and Koba (Loyal To The Grave). What’s your relationship with those musicians and their respective bands, and how did the invitations happen for them to be part of your album?

Dimitri: Benighted is a French band. We like these great guys with whom we played some shows. Felipe from Confronto is an old acquaintance we have so much respect for and we were grateful to play with Confronto in Brazil. Loyal to the Grave is a Japanese legendary band, and it was a special moment for us to share the stage with them in Japan. We’re happy to have these guys on our EP to remind us some great moments as musicians.

THM: Primal Age have already played in renowned festivals such as Free Edge Fest, Hellfest and Sonisphere, but of course as an underground heavy band you’re used to play in much smaller places like local pubs and theaters. Do you prefer playing in big festivals or at small venues? What do you feel when you’re playing in front of thousands of people as compared to a reduced crowd? What are the advantages and disadvantages of each one in your opinion?

Dimitri: We like both of these conditions. The only thing we have in mind is to give our energy to the crowd through our music, it doesn’t matter if there are 100 or 3,000 people.

THM: How has the reaction of your fans to the new songs from A Silent Wound been in your current concerts? And what are the band’s future plans in regards to touring inside and outside France, and also to releasing new material?

Dimitri: We have had a very good feedback. The new pieces are in accordance with our musical identity. We’re happy to defend this new EP on stage. We have plans in France and far from home, so, we feel lucky ))

THM: I might be wrong, but I think you have never recorded a song in your mother tongue French. Is there a specific reason for that? Are you planning on recording anything in French for your local fans, as for example a French version of one of your existing albums?

Dimitri: You’re right. I very love French lyrics, but not for what we play. English seems to be the best language for that kind of music. The other reason is to speak to everybody and to have the opportunity to play worldwide.

Primal Age

THM: What’s the current state of the metal and punk scene in France? Do you think it’s better than when the band started, or is it getting more and more difficult for new French bands to succeed in music nowadays? Which new French bands do you recommend to our readers?

Dimitri: France has never been the place to be for this music. Most of people are listening to the mainstream music you hear on TV or radio and don’t have a real culture, they just consume it, what is sad. The reputation is rather bad, but you can find some great bands. There are several great bands here in Normandy like Surounded by Sins, Elephants, Explicit Silence… so many.

THM: As you know we have a huge French-speaking community here in Canada, in the province of Quebec, where several amazing metal and punk bands are born every year. Do you know anything about the Canadian and the Quebec heavy music scene, and if so, what are your favorite bands from Canada and/or Quebec?

Dimitri: We really appreciate bands like Comeback Kids, or the first albums of Voivod we listened to when we were young. We saw them in Paris in 87 when they came for their first tour with Kreator. We also love Get the Shot, as well as Obey The Brave (with whom we played at the Bloodaxe Festival in Tokyo, Japan, in 2013).

THM: Merci beaucoup pour votre temps et votre disponibilité. Please feel free to send a final message to your fans and to the readers of The Headbanging Moose here in Canada and all over the world.

Dimitri: Thanks for the interest about the band, we really appreciate it. Maybe one day we’ll see you guys on the road.

Links
Primal Age Official Website | Facebook | YouTube | Instagram | ReverbNation | Big Cartel

Album Review – Primal Age / A Silent Wound EP (2017)

One of the most influential bands in the history of underground French Metalcore brings forth four striking new songs, blending the best of Heavy Metal and Hardcore in a fresh, vibrant and honest way.

Delivering a huge amount of energy, power and passion for heavy music to their fans since 1993, always exploring important topics such as the defense of the animal rights, vegetarianism, ecology and the denunciation of the overconsumption of mass, French Metalcore act Primal Age marked the 90’s by being among the first European bands to mix Heavy Metal and Hardcore into their music, gaining a lot of positive feedback from fans of both styles. That amazing reaction from the audience opened the doors for the band to spread their music globally, sharing the stage with renowned acts like Napalm Death, Caliban, Madball, Hatebreed and Agnostic Front, as well as playing many festivals such as Free Edge Fest, Hellfest and Sonisphere and performing in distant lands like Brazil and Japan through the years.

Hailing from Évreux, a commune in Haute Normandie in northern France, Primal Age released their debut EP The Light to Purify in 1999, followed by the full-length albums A Hell Romance in 2007 and The Gearwheels of Time in 2010, while the year of 2014 saw the birth of a split album with French Metalcore band Absone named My Legacy / Eternal Struggle – The Best of 17 Years XVX 90’s Metalcore (And Still Going Strong). Now in 2017, they’re back in full force with a brand new EP titled A Silent Wound, featuring a stylish artwork by Visual Injuries and four original songs that perfectly represent their core essence and their undisputed allegiance to classic European Metalcore.

The opening track, nicely entitled The Whistleblowers vs World Health Organization, is a frantic Hardcore chant boosted by hints of Death and Thrash Metal (and therefore an amazing choice for slamming into the pit) where drummer Mehdi Abou is simply insane behind his drums, while the sick growls by lead singer Didier are in total sync with the demonic strings by Benoit, Florian and Dimitri. Following that high-octane start, we have the title-track A Silent Wound, featuring Felipe Chehuan from Brazilian Deathcore band Confronto, another Punk Rock and Thrash Metal onslaught flawlessly blasted by Primal Age. Furthermore, both guitars by Benoit and Florian sound very tuneful and melodic, strengthening the song’s bestial vibe even more, which I believe will cause some “desired” body injuries and bruises to their fans during their live concerts.

Can the excellent Counterfeiters of the Science be labeled as “Tribal Metalcore”? It’s a fuckin’ furious and ruthless composition, in special the harsh and aggressive growls by Didier, with its unstoppable and vicious sounding being the epitome of the music by such distinct act. And featuring singers Julien Truchan (Benighted) and Koba (Loyal To The Grave), the remarkable Slayer medley named To Jeff is a beautiful tribute to the one and only Jeff Hanneman (R.I.P.). You have to listen to it to feel its potency, but as a quick summary of what you’ll find in the music (or I should say a “spoiler”), it starts with a few nice words from Jeff himself, followed by the band’s excellent versions for parts of the all-time classics “South of Heaven”, “Dead Skin Mask” and “Raining Blood”, ending with a good chunk of “Angel of Death” and back to a “Raining Blood” finale. In my humble opinion, this is a superb homage to Jeff and there’s no way you can stay indifferent to its energy and rhythm.

This superb EP by Primal Age, which can be streamed in its entirety HERE, is on sale at several locations such as the band’s Big Cartel as a regular CD version or as a special red vinyl collector edition (limited to 100 copies only); at the Deadlight Entertainment’s BandCamp or webstore; at the Bound By Modern Age Records’ BandCamp or webstore; or on Amazon. After listening to A Silent Wound it’s easy to understand how Primal Age, who can be contacted through their Facebook page and whose music can be appreciated at their YouTube channel and ReverbNation, are still alive and kicking after almost 25 years playing underground heavy music, without selling out to the mass media. This French quintet definitely knows how to bring the best of Heavy Metal and Hardcore together in their music, always sounding fresh, vibrant, honest and loyal to their foundations. Add to that their undeniable talent with their instruments, and there you have the recipe for at least another 25 years blasting awesome music to their fans and to anyone who enjoys tons of heaviness with a good melody behind.

Best moments of the album: The Whistleblowers vs World Health Organization and To Jeff.

Worst moments of the album: None.

Released in 2017 Deadlight Entertainment

Track listing
1. The Whistleblowers vs World Health Organization 3:12
2. A Silent Wound (feat. Felipe Chehuan) 3:11
3. Counterfeiters of the Science 3:35
4. To Jeff (feat. Julien Truchan & Koba) 4:20

Band members
Didier – vocals
Benoit – guitars
Florian – guitars
Dimitri – bass
Mehdi Abou – drums

Guest musicians
Felipe Chehuan – additional vocals on “A Silent Wound”
Julien Truchan – additional vocals on “To Jeff”
Koba – additional vocals on “To Jeff”

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

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

OPENING ACTS: Mineta and Bookakee

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

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

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

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

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

LORDI

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

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

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

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

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

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

Album Review – HerezA / I Become Death (2017)

This Croatian bulldozer is ready to take the underworld of heavy music by storm with their savage sophomore opus, a vortex of devastation blending the most hazardous attributes of Punk and Death Metal that will crush your skull ruthlessly.

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hereza_coverForged in the deepest fires of Beli Manastir in July 2014, a town in eastern Croatia close to the border with Hungary, Punk/Death Metal infernal duo HerezA, which by the way is Croatian for “heresy”, has been battling against all odds in a country otherwise barren for their music style, violently carving their name in the entrails of their homeland through their wicked creations. After the release of their debut album Misanthrope in 2015, lead singer Ivan Kovačević and multi-instrumentalist Slobodan Stupar are ready to take the underworld of heavy music by storm with their savage sophomore opus, a vortex of devastation accurately named I Become Death.

Displaying a darkly intimidating artwork by Polish illustrator and graphic designer Maciej Kamuda, I Become Death will utterly shatter your neck and dismantle your braincase in its 30 minutes of vicious extreme music, bringing forward the most hazardous attributes of Death, Thrash and Black Metal, magnifying their impact with the addition of elements from D-Beat Crust, Hardcore and Punk Rock. Everything is played at the speed of light with all instruments breathing fire and hatred, featuring obviously the well-known high-quality melody and cohesiveness of European Metal. Put differently, HerezA sounds like an unstoppable sonic Leopard 2A7, one of Germany’s most successful and powerful battle tanks in history, aiming directly at your head.

The most brutal Blackened Death Metal is blasted by Slobodan in the title-track I Become Death, a monstrous business card presented by the Croatian duo where Ivan gives life to the destroyer of worlds with his infernal growls through the song’s bestial lyrics (“I come in form of devastating waves / Penetrating radiation filling up the graves / Where I go, I bring the hellish fire / A burning inferno my only desire”). And there’s no time for your head to stop buzzing, as another fantastic sick devastation in the form of music named Jebem Vas U Usta Ladna (or “fucking your cold mouth” from Croatian) comes crushing mercilessly, with Slobodan exhaling anger and aggressiveness through his Death Metal beats and flammable riffs while Ivan keeps growling like a maniac; followed by Homo Homini Lupus Est (“man is a wolf” from Latin), not only an amazing portrait of their fusion of Punk and Death Metal with a strong D-Beat Crust vibe, but also an underground hymn for slamming into the mosh pit.

Get ready to be pulverized like an insignificant insect by this demented duo in the frantic Uništi, Pali, Ruši (Croatian for “destroy, burn, tear it down”), the best tune of the album in my opinion where cutting guitar lines and wicked Black and Death Metal beats make the music sound as if Cannibal Corpse went The Exploited. And again drinking from the fountain of D-Beat Crust and mixing it with elements from Black Metal, Ivan continues to fire his beastly growls in In The Name of God, a song spiced up by its anti-religious lyrics (“They’ve build their biggest temples / To worship their false saints / Covered with diamonds dressed in gold / A hunger for money never getting old”), whereas in the brutish Full Moon Slaughter the duo viciously puts the pedal to the metal, with Slobodan delivering tons of melody through his riffs, but obviously always sounding insanely heavy, leaning towards old school Scandinavian Melodic Death Metal.

hereza_bandNeplodna Jama, or “barren dich”, is perhaps the song with the highest amount of old school Punk Rock and contemporary Punk Metal elements, with the guttural vocals by Ivan being the song’s Death Metal ingredient, feeling like this time it’s The Exploited going Cannibal Corpse. Torn from the Death’s Bed, the slowest composition of all, presents solid guitar lines and beats by Slobodan in sync with the gnarls by Ivan (albeit not as kick-ass as the rest of the album), while in Pošast (“vermin”) the band gets back to their electrified amalgamation of Punk Rock and Death Metal, inspiring you to ferociously smash some skulls into the pit. And Tombcrawler, the high-octane deathblow in I Become Death, begins in a somber way before bursting into sheer brutality, keeping the rampage going on in full force until the song’s sinister neck-breaking ending.

In case you’re thinking “HerezA are awesome, but how am I going to see them live if they’re only two guys?”, let me tell you there’s nothing to worry about, as the duo is joined on stage by their henchmen Bojan Babic on guitar, Milan Prodanovic on bass and Leonardo Markovic on drums, which means their apocalyptic music is materialized quite often at metal pubs and venues in Croatia for the total delight of headbangers all over Europe eager for a sonic bloodbath. And even if you’re not planning a trip to Croatia anytime soon, you can still follow Ivan and Slobodan at their official Facebook page, and purchase I Become Death at the Godz ov War Productions’ BandCamp page. After listening to the extreme compositions by this Croatian bulldozer, your metallic senses will never be the same again.

Best moments of the album: Jebem Vas U Usta Ladna, Uništi, Pali, Ruši and Full Moon Slaughter.

Worst moments of the album: Torn from the Death’s Bed.

Released in 2017 Godz ov War Productions

Track listing
1. I Become Death 4:15
2. Jebem Vas U Usta Ladna 2:30
3. Homo Homini Lupus Est 3:05
4. Uništi, Pali, Ruši 2:20
5. In The Name of God 1:25
6. Full Moon Slaughter 3:35
7. Neplodna Jama 1:55
8. Torn from the Death’s Bed 2:16
9. Pošast 3:33
10. Tombcrawler 4:14

Band members
Ivan Kovačević – vocals
Slobodan Stupar – all instruments, backing vocals

Guest musician
Denis Sloboda – guitar solo on “In the Name of God” and “Pošast”

Album Review – Horn / Turm am Hang (2017)

One of the most respected underground musicians from Germany returns with more of his nature-themed, medieval style Black Metal bound to pagan roots and tribalism in another remarkable album.

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coverSince its creation in 2002 by German multi-instrumentalist Niklas “Nerrath”, Teutonic one-man army Horn has aimed at creating nature-themed, medieval style Black Metal bound to pagan roots, focusing on the relation of man and nature in a regional context. And this excellent project, hailing from Paderborn, a city in eastern North Rhine-Westphalia, Germany, has been extremely successful in its journey, delivering high-end extreme music always with a meaningful concept behind it and always singing in its mother tongue German. Now, in the beginning of 2017, we have Horn’s seventh studio album, the folk, dynamic opus Turm Am Hang.

Inspired by the classic German folk song “Es ist ein Schnitter”, from the 17th century, as well as lansquenets (a gambling game of German origin), wars of the past, tribalism and the spirit of masculinity, Turm Am Hang will stimulate your most primeval senses with its distinctive ambience and powerful music. Furthermore, the artwork, layout and visual concept, all brought forth by German illustrator Timon Kokott, perfectly visualize the album’s combined musical and lyrical themes, complementing the already thrilling experience of listening to the music crafted by Nerrath.

After a pleasant folk intro in the opening track, titled Alles in einem Schnitt (which would translate as “everything in one cut”), Nerrath offers us his thrilling Black Metal with Folk and Pagan Metal elements, all sung in German as aforementioned to make things even more aggressive, not to mention the uniqueness of his tribal and stylish guitar lines. The title-track Turm am Hang (“tower on slope”) also begins in a serene way, again exploding into what can be called Blackened Folk Metal, with Nerrath blasting his enraged growls, potent beats and blazing, rhythmic riffs; followed by Verhallend in Landstrichen (“ranging in landscapes”), with the folk elements in the background adding a lot of epicness to the musicality together with its menacing drums. Furthermore, simply close your eyes and you will be able to feel all the energy flowing from the folkloristic sounds generated by Nerrath in this brilliant composition.

primarA song with an impactful name like Die mit dem Bogen auf dem Kreuz (“the one with the bow on the cross”) couldn’t sound less amazing than this, with its somber intro being gradually joined by guitars until all becomes an Extreme Metal extravaganza, perfect for drinking a few pints of beer together with your friends. Ä(h)renschnitter (“spices”) kicks off at full speed, with Nerrath going berserk with his fast-paced beats and riffs while powerfully vociferating the song’s lyrics at the same time. Moreover, hints of old school German Punk Rock are a very welcome addition to the overall musicality, enhancing the song’s effectiveness. And in Totenräumer (“Mortimer”), a fantastic fast-paced creation by Nerrath, our one-man army is startling on vocals, giving life to the song’s epic lyrics. Leaning towards sheer Pagan Metal, it never slows down, keeping the listener fully entertained from start to finish.

The eerie instrumental Lanz und Spieß (“lance and spear”) works as an intro for Bastion, im Seegang tauber Fels (“bastion, in the sea of deaf rock”), a voyage through the realms of experimental and atmospheric extreme music, bringing forward elements of Black and Pagan Metal with an obscure rhythm. Ad lastly, as a “bonus” Nerrath offers the listener his excellent version for The Sky Has Not Always Been This Way, a melancholic and introspective journey of ambient music by American Ambient Black Metal band When Bitter Spring Sleeps, from their 2013 album Coven of the Wolves. Not only this is the only song in English in the album, but it also features guest vocals by American Lord Sardonyx, the mastermind behind When Bitter Spring Sleeps himself.

In order to enjoy everything Nerrath and his amazing project Horn have to offer, simply follow his steps on Facebook, and go to Horn’s BandCamp page or Big Cartel to grab your copy of Turm am Hang. As mentioned before, the experience of listening to an album by Horn is beyond unique, connecting you to the pagan and tribal origins of man and embraced all the time by superior metal music. As this is always the main goal of ambient and experimental extreme music, I must say Turm am Hang triumphs brilliantly hands down.

Best moments of the album: Alles in einem Schnitt, Verhallend in Landstrichen and Totenräumer.

Worst moments of the album: Bastion, im Seegang tauber Fels.

Released in 2017 Iron Bonehead/Northern Silence Productions

Track listing
1. Alles in einem Schnitt 5:42
2. Turm am Hang 5:09
3. Verhallend in Landstrichen 5:10
4. Die mit dem Bogen auf dem Kreuz 5:00
5. Ä(h)renschnitter 5:35
6. Totenräumer 5:34
7. Lanz und Spieß 2:09
8. Bastion, im Seegang tauber Fels 4:44
9. The Sky Has Not Always Been This Way (When Bitter Spring Sleeps cover) 8:12

Band members
Nerrath – vocals, all instruments

Guest musician
Lord Sardonyx – additional vocals on “The Sky Has Not Always Been This Way”

Album Review – Abigail / The Final Damnation (2016)

Delivering chaos, sex and blasphemy for over 20 years, one of the most prominent bands from the underground Japanese scene strikes back with more of their libertine and devilish music.

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abigail-the-final-damnation-coverWhenever the name “Abigail” is enunciated, your mind probably takes you to Denmark, home of one of the most iconic metallers of all time, the one and only King Diamond. However, if you travel further east, more specifically to Japan, the Land of the Rising Sun, you’ll face a high-octane fusion of Black, Thrash and Heavy Metal from the 80’s with a libidinous twist through the music by an uncompromising power trio known as Abigail, who have recently released their fifth studio album, titled The Final Damnation, highly recommended for fans of bands like Venom, Bulldozer and Carnivore who also nurture a profound admiration for topics such as war, alcohol, partying, depravity and bitches.

Abigail, who have dubbed themselves as “The Most Evil Band in Japan”, was formed in 1992 in the city of Tokyo, Japan by Yasuyuki Suzuki, a talented multi-instrumentalist and one of the most important names in the underground extreme music scene in Japan, having played with bands such as Cut Throat, Barbatos, Tiger Junkies and the iconic Sigh, from our beloved metal chick Dr. Mikannibal. Their musicality might have shifted a bit from their earliest raw Black Metal to a more complex degree of Speed Metal mixed with Street Punk (a mixture classified by the band as “Street Metal”), also increasing the level of debauchery and blasphemy in their lyrics. With The Final Damnation, which features an obscure artwork by French artist Christophe Moyen, the band has considerably increased the dosage of Black Metal in their music, going back to their roots without losing their current thrashy attitude and electricity.

abigail-band-promoFrantic guitars and drums with a strong melody supporting them set the tone for the berserk title-track The Final Damnation, before Yasuyuki begins firing his inebriate gnarls. In essence, it’s music to drink and fight, exactly what the band wants you to do, boosted by all old school guitar solos Noboru “Jero” Sakuma delivers throughout the whole song. Blasphemy Night is insanity in the form of music, a bestial marriage between Black and Thrash Metal with nuances of Hardcore and Punk Rock where Yasuyuki sounds truly demonic on vocals while drummer Youhei shows no mercy for mankind, obviously commanding us all to slam into the fuckin’ pit, followed by a massacre titled Whisky Coke and Bitch. I guess nothing needs to be said about the name of the song, right? Anyway, Jero continues delivering his traditional solos in this less obscure chant, strongly inspired by the rebellious Punk Rock played by bands such as The Exploited and Black Flag.

In spite of its slower-than-usual start, the deranged composition Sex & Metal (another song with a “cute” name) is sheer devastation throughout its almost 6 minutes, with Yasuyuki and his henchmen smashing everyone who dares to cross their path, also exhibiting more of their insane high-speed guitar solos. And the gates are opened by Abigail’s infernal composition straightforwardly named Open the Gates of Hell, displaying a sonority highly inspired by Thrash Metal from the 80’s with an eccentric Japanese touch. In addition, the bass guitar by Yasuyuki sounds amazingly brutal in this hurricane of disturbing metal. Blazing guitar lines ignite the thrashy composition No Pain! No Limit!, showcasing backing vocals a la traditional Punk Rock while Youhei delivers precisely what we all want in this type of music by pounding his drums like a wild beast during the entire song.

The pulverizing hymn Sweet Baby Metal Sluts doesn’t only have another gentle name, but the screeching gnarls by Yasuyuki will torment your mind while the band keeps discharging their libidinous music through your ears, with Jero continuing his feast of demented solos. And closing the album, how about 7 minutes of total anarchy? That’s what you’ll get in Holocaust by Evil with its Slayer-like guitars and extreme aggressiveness. Youhei pays his personal tribute to Thrash and Black Metal, and although there’s a melodic break influenced by traditional Heavy Metal after around two minutes, Abigail had to obviously finish off the album like a steamroller from hell with their lunatic musicality. Before all is said and done, Yasuyuki fires some final grasps from the depths of hell to give the whole song a more macabre touch.

As aforementioned, if you truly consider Heavy Metal, sex, alcohol and blasphemy as the most important things in your life (and you should), the music by Abigail will definitely be the perfect soundtrack for your metallic and carnal adventures. And in case you want to show your support for those Japanese metallers, go grab your copy of The Final Damnation at the Nuclear War Now! Productions’ BandCamp or at their webstore as a CDa regular LP or as a “die hard” LP, or at Abigail’s official webstore. Abigail have been on fire since their inception almost 20 years ago, and The Final Damnation is just another proof this defiant troop from Tokyo is far from calling it a day.

Best moments of the album: Blasphemy Night, Sex & Metal and Open the Gates of Hell.

Worst moments of the album: None.

Released in 2016 Nuclear War Now! Productions

Track listing
1. The Final Damnation 4:32
2. Blasphemy Night 3:55
3. Whisky Coke and Bitch 4:50
4. Sex & Metal 5:50
5. Open the Gates of Hell 3:57
6. No Pain! No Limit! 3:04
7. Sweet Baby Metal Sluts 3:22
8. Holocaust by Evil 7:08

Band members
Yasuyuki Suzuki – vocals, bass
Noboru “Jero” Sakuma – guitars
Youhei – drums

Metal Chick of the Month – Heidi Shepherd & Carla Harvey

heidi_carla

Ladies and Gentlemen, children of all ages… Step right up and get your tickets to the greatest show on earth!

Love them or hate them, we all must admit that the two female metallers chosen to celebrate the third anniversary of The Headbanging Moose have a strong influence on contemporary Heavy Metal due to their unique (and aggressive) attitude, which obviously includes their sexy looks and fiery and chaotic music. They deal with their sexuality more naturally than we prepare a simple orange juice, and although some people might consider their work futile or even too obscene, let’s not forget that heavy music is above all things a form of art where artists can freely express their thoughts, ideals and beliefs through their compositions and, in many cases like for example in Black Metal, through their image. Besides, their music is a billion times better than anything Lady Gaga does, a woman who calls herself a true metal fan but in reality keeps playing second-class meaningless pop stuff. With that said, let’s raise our horns to frontwomen Heidi Shepherd and Carla Harvey, the dynamic duo responsible for the amusing blend of violence and rebelliousness bred by American Metalcore/Groove Metal band Butcher Babies.

Before we talk about each “butcher baby” in more details, let me provide you a short and sweet overview of this Alternative Metal band from Los Angeles, California in case you have never heard of them in your life. Formed in 2010, Butcher Babies probably have one of the most solid lineups in the history of heavy music despite being just a few years old. Apart from Heidi and Carla, the band is also made up by guitarist Henry Flury, bassist Jason Klein and drummer Chris Warner, all still playing together since the band’s inception and, based on how healthy their relationship is, that’s the way things are going to be for many years to come. The name of the band came from the song Butcher Baby by American Punk Rock band Plasmatics, spearheaded by the iconic singer, songwriter and actress Wendy O. Williams. Both Heidi and Carla acknowledge how important Wendy O. Williams was (and still is) for the increasing acceptance of women in heavy music, which is one of the reasons why they wear such eccentric attire during their live performances including wearing nothing but black tape over their nipples (albeit they’ve ditched it in recent years).

Despite their short period of existence so far, the band has already released the single Blonde Girls All Look The Same in 2011, the EP Butcher Babies in 2012, their first full-length album Goliath in 2013, another EP entitled Uncovered in 2014 and finally their most recent full-length album, Take It Like a Man, in 2015. You can have lots of fun with their music and sexiness in songs such as They’re Coming To Take Me Away, Ha-Haaa!, Igniter, Magnolia Blvd, Mr. Slowdeath, Dead Man Walking, I Smell a Massacre, Gravemaker and The Butcher, or you can simply enjoy their entire 40-minute performance at the always superb Graspop Metal Meeting in Dessel, Belguim in 2015. There are also tons of cool interviews with Heidi and Carla on YouTube, such as backstage interviews at Knotfest in 2014 and at Rockstar Mayhem Tour in 2013; their explanation for abandoning the nipple tape and covering up; a nice interview for Metal Hammer at Soundwave 2015 where they talk about hugging koala bears, fighting kangaroos and their adventures in Australia; an interview to German channel BunchTV in 2011 still with the nipple tapes; and a very relaxed interview to FeMetalTV in 2015.

HEIDI SHEPHERD

heidi01

Enough said already, now it’s all about the girls. Let’s begin with the sometimes blonde, sometimes red-headed hurricane Heidi Shepherd, the woman accountable for the high-pitched screams and growls for Butcher Babies. Born on April 17, 1985 in Utah, United States, Heidi is more than “just” a metal singer, being also a radio DJ, actress and casting director best known for the 2008 thriller Animals and the TV series MANswers, as well as minor parts and uncredited appearances in different shows such as My Name Is Earl, Ghots Whisperer and CSI: NY.

Heidi, who by the way is the oldest of 6 kids, grew up in Provo, Utah, the third largest city in the state and located around 43 miles south of Salt Lake City, where she attended Provo High School, graduating in 2003. Still in high school, believe it or not Heidi was an accomplished track and field athlete, even traveling to Russia to participate in the Junior Olympics. She also graduated from Southern Utah University, where once again she showcased all her athleticism participating in competitions such as high jump and long jump. Also, as a girl raised in the Mormon religion, Heidi has a very interesting view of the concept of Heaven and Hell, stating those are things the human being made up to make ourselves feel comfortable about the afterlife, something to give people a purpose and life goals.

In regards to her passion for music and how it helped her become a better person, our unrestrained vocalist said music was basically the only thing she could relate to in her childhood, having as her personal heroes distinct names such as Slipknot, Wendy O. Williams, Gwen Stefani and Joan Jett, most of them being females that defy the male dominance in music as you can see. However, it’s Slipknot, a top to bottom male band, who had the strongest influence on her vocal style and stage performance, saying when she saw a picture of them for the first time (she was around 12 or 13 only) it really scared her but intrigued her at the same time. Once a girl who developed an intense fear of the dark, Heidi learned to embrace fear and use it in her creative process through the years, something we can definitely connect to what Slipknot aim with their unique approach.

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If you think she’s a party girl who doesn’t sleep at all and drinks every alcoholic beverage in sight, you’re absolutely wrong. Well, of course she always has her share of fun, but Heidi mentioned already in different interviews that if she doesn’t get enough sleep every night her live performances suffer a truly negative impact. On top of that, Heidi said that despite loving whiskey she can’t drink it on the road anymore, as the effect of the alcohol hurts her vocal chords, so she saves it for when she gets back home. If you’re a singer I’m sure you can relate to that, because you can be tired and drunk and still play a guitar, for example, but the impact alcohol can have on your vocals can be devastating without any doubt.

Lastly, as a lover of horror flicks and a believer of supernatural and paranormal forces, which in my opinion is an excellent source of inspiration for the type of music played by Butcher Babies, Heidi mentioned that among her favorite recent movies we can find titles like the new Evil Dead, V/H/S and V/H/S/2, You’re Next and The Purge, all pretty decent films with interesting storylines, don’t you think? And who knows, maybe it’s time for a slasher movie with a main female character named “Heidi the Butcher”, who not only chops and dismembers her victims, but does that screaming like a maniac while listening to some vicious heavy music. Or maybe it should be a sanguinary duo of Heidi and Carla? Read the rest of this essay and take your own conclusions.

Heidi Shepherd’s Official Facebook page
Heidi Shepherd’s Official Twitter
Heidi Shepherd’s Official Instagram

“There’s no reason why girls can’t get up there and rock just as hard as, if not harder than, the boys. And I’m so happy to say that I’m seeing a movement.” – Heidi Shepherd

CARLA HARVEY

carla01Of course Butcher Babies wouldn’t be complete without the charisma of the daredevil vocalist, author and actress Carla Harvey. Born on October 4, 1976 in Detroit, Michigan, United States, Carla is what we can call a very successful “experiment” as she is of Ethiopian, Finnish, Irish and Italian background, and her contribution to Butcher Babies comes in the form of hellish growls deeper than the screams by Heidi, endless energy on stage and some of the weirdest faces you can think of. Put differently, when Carla is performing with the band, she becomes a true female demon like Lilith, for example.

Carla attended Glenn Levey Middle School in Southfield, Michigan, before going to Mercy High School (an all-girl private Catholic school) and Harrison High School, both in Farmington Hills, Michigan. Her first job in Hollywood was as an Entertainment Reporter for the Playboy Channel, also taking part in several movies such as Frankenstein vs. the Creature from Blood Cove (2005), Happy in the Valley (2009) and Dry Run (2010), and other TV shows like Root of All Evil, Sex Chronicles and, just like her partner Heidi, MANswers. In addition, she took a break from the entertainment world to earn a degree in Mortuary Science from Cypress College in California, and worked as an embalmer and funeral director before forming Butcher Babies.

Our raven-haired (with some blue nuances) brawler said she’s been into music since she was a little kid, playing instruments like guitar and bass but always knowing she was born to be a singer. Her first appearance in a band happened when she was around 17 years old, but it wasn’t until Butcher Babies were born that she reached true stardom. Among her main influences, we can find kick-ass names like Slayer and Slipknot, with Slash and Jimi Hendrix being her personal heroes especially due to their roots. As a biracial girl growing in Detroit, seeing musicians that were also of African-American descent playing the music she loved was essential for her to keep pursuing her dreams and overcoming the odds imposed by society on her. Another huge influence on her vocal style and onstage performance in the one and only Phil Anselmo, the iconic frontman from Pantera and Down, who she has admired since she was a kid, highlighting how humble and easy-going he is as a person after finally being able to meet him on the road.

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Heavily influenced by horror movies such as The Texas Chain Saw Massacre, House of 1000 Corpses and The Devil’s Rejects (these two directed by another one of her idols, Rob Zombie), Carla is also passionate about writing, drawing and reading comic books since she was a kid, something that helped her cope with loneliness as an introverted child, and from that fusion of horror flicks, comics and Heavy Metal she became a “comic book mastermind” according to Hustler Magazine. Her first comic book, entitled Butcher Babies (illustrated by Anthony Winn from Deepcut Productions), was released at the San Diego Comic-Con in 2011, followed by her first full-length novel Death and Other Dances in 2014, and more recently the comic series Soul Sucka, the story about an African-American vampire, in 2015. Carla is always drawing “naked girls” and other stuff, and if you’re interested in taking a look at her work you can visit her Big Cartel page.

And finally, just like what was written about Heidi in terms of drinking and partying while on tour, Carla also said drinking lots of water and hot tea is what truly helps keep her vocal chords moist, together with the obvious and necessary amount of sleep per night. However, she mentioned she also enjoys drinking Jägermeister as it coats her throat rather than drying it out. Although I’m a beer guy, I’m an admirer of Jäger too and I understand perfectly what she’s trying to say about the effect of this exquisite German digestif on your throat. If your job requires you to cut off alcohol, all you have to do is improvise and find other alternatives. And it looks like being creative and always trying new stuff doesn’t scare our roaring metal babe at all.

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“I wish, some day people stop using the female fronted this, female fronted that, because it always takes the focus away from the band itself, because you know, we are all just Heavy Metal bands, we are all doing the same thing.” – Carla Harvey

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